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|Title:||Fashion illustration in China - into a new era|
Fashion drawing and illustration
Historic costume and culture
|Source:||IFFTI International Conference 2002 : Fashion and Textiles : the New Frontiers : Design, Technology and Business : 7-9 November 2002, Hong Kong, p. 225-239 How to cite?|
|Abstract:||The understanding of fashion history would be incomplete and inaccurate without examining the developments of fashion illustration, which existed in many forms in the past. While fashion illustration in the west has been examined by a number of scholars (Colin, 1994; Blum, 1976; Borrelli, 2000; Drake, 1987; Heller & Fernandes, 1995; Mackrell, 1997; Robinson, 2000; Simon, 1995), there has been little substantial research on the fashion illustration in the East, particularly in China, one of the oldest and greatest civilizations in the world.|
In this study, various forms of fashion drawings of the past have been reviewed and analyzed so as to provide general trends and characteristics of the developments of fashion illustrations in China. Furthermore, contemporary fashion illustrations have been scrutinized. This cannot be achieved without the previous research on Chinese historic costumes, the close associations and the many study visits to the various fashion institutions in China, as well as observations of fashion works, pictorial collections of representation works, and personal communica tion with fashion professionals and respective academics of the related discipline.
The characteristics of fashion illustrations in different periods were found closely related not only to the state of the technology and social and economic conditions, but also to the pragmatic philosophical thinking of the time. However, with the opening to the west, the liberation of people’s mind and improved level of freedom of expression in China, a new direction of fashion expression has resulted in a transformation from the tradition of lifelike figure drawings to the contemporary form of abstractive stylized drawings, which seeks to communicate not only an artistic representation, but a sense of style. Such phenomenon of transformation also exists in the West. (Danielson, 1989: 38)
Since it is nature’s will to create the female body in its natural truism form, rather than an alienated one, the future of fashion illustration should stride a delicate balance between capturing the essence of fashion ideas, the flow and rhythm of the pose on one hand and the details and accuracy of the garment on the other to its best advantage, as opposed to the ‘art for art’s sake’ school of thought (Barnes, 1994: 27).
|Appears in Collections:||Conference Paper|
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