王晨儒 服裝設(shè)計(jì) 本科預(yù)科

我的奶奶是裁縫，因此我在成長過程中接觸到了服裝設(shè)計(jì)，并在高中時(shí)作為我的職業(yè)發(fā)展目標(biāo)。除了制作服裝，我更希望可以在材料上做出創(chuàng)新。

在《女巫娃娃》中，我以夢為靈感結(jié)合梅蘭妮 馬丁內(nèi)茲（Melanie Martinez）的音樂電影《K-12》中即甜美又古怪的風(fēng)格去展示社會(huì)對于女性的物化與霸凌。我嘗試了使用非常規(guī)材料去展現(xiàn)部分服裝，例如:假發(fā)，眼睛，牙齒，粘土等等。最后我設(shè)計(jì)制作完成兩套成衣。成衣的拍攝選擇一個(gè)“復(fù)古”的別墅中的置景，來比如社會(huì)對女性的固有印象與看不見的禁錮枷鎖。

在作品《碼頭咖啡》中，以冰島退休漁民的悠閑慢生活憧憬為靈感。在發(fā)展中提取了自然懸掛的漁網(wǎng)、警示浮標(biāo)、報(bào)紙、咖啡、冰島五顏六色的房子等元素，結(jié)合編織、印染、硅膠等多種材料工藝進(jìn)行面料改造，體現(xiàn)出退休漁閑散的愜意生活。

《亞特蘭蒂斯》是我在Youtube上巧然看見的世界傳說迷團(tuán)，我?guī)е鴮@個(gè)神秘又未知的古國的好奇展開了調(diào)研。在僅有的一些信息中我提取了被摧毀的國都、海嘯、希臘神話、磁歐石等元素，結(jié)合3D打印和立裁去展現(xiàn)亞特蘭蒂斯在海嘯襲卷后的悲涼景象。

我希望我的設(shè)計(jì)可以用多種工藝結(jié)合特殊材料帶給人們服裝的全新體驗(yàn)，不用過多的解釋也能理解服裝想展現(xiàn)的含義。

My grandmother was a seamstress, so I was exposed to fashion design growing up, which became my career goal in high school. In addition to creating clothes, I aspire to be creative with materials.

In <Witch Doll>, I drew inspiration from dreams to illustrate the objectification and bullying of women in society. I combined this concept with the sweet and eccentric style of Melanie Martinez's musical film "K-12". To showcase the costumes, I experimented with unconventional materials; such as wigs, eyes, teeth, and clay. Additionally, I designed and produced two ready-to-wear outfits. For the photoshoot, I chose a 'vintage' villa setting to portray the stereotypical image of women and the invisible chains of confinement.

In the work <Dock Coffee>, I found inspiration in the leisurely and slow life of retired fishermen in Iceland. I incorporated elements like naturally hanging fishing nets, warning buoys, newspapers, coffee, and colourful houses in Iceland. These elements were developed and combined with various material processes such as weaving, printing and dyeing, and silicone for fabric transformation, reflecting the leisurely and relaxed life of retired fishermen.

<Atlantis> is a world-legendary mystery that I coincidentally saw on the oil tube, and I started my research with curiosity about this mysterious and unknown ancient country. From the only information available, I extracted elements such as the destroyed capital, tsunami, Greek mythology, and magnetic ore, combined with 3D printing and vertical cutting to show the sad scene of Atlantis after the tsunami hit.

I hope that my designs can offer people a new clothing experience by combining a variety of techniques combined with special materials. I aim to convey the intended meaning of the clothing without relying heavily on explanations.