The recent international fashion circle is quite unstable, the Xinjiang cotton incident has made the Chinese people see a lot of black-hearted brands that come to the domestic market to "fish in muddy waters", and measures such as public boycotts and celebrity termination have caught these overseas brands by surprise. After the stock price of their own brands plummeted and Chinese domestic fashion brands grew wildly, these overseas brands realized that they may have underestimated the strength and development speed of China's local fashion market today.
In addition to being amazed by the strength of the mature domestic fashion, the president was also fortunate to be invited to witness the growing national tide brand at the scene of AW21 Beijing International Fashion Week.
On the evening of March 25th, the emerging young designer Huang Guangchen took his brand FACEON to hold his first big show in Beijing International Fashion Week at the Beijing 798 Art Center, as a fashion commentator, the president naturally did not miss this big show, and it was also in this show that the president once again saw the rise of the strength of the national tide.
<h1 class="pgc-h-center-line" data-track="56" > today's youth tribute to the bloody era</h1>
As an up-and-coming designer, Huang Guangchen and his brand FACEON are unfamiliar to most people. Although the new brand, which was founded in 2019, has only been based on the fashion circle for two or three years, at the scene of this big show, the design that combines traditional Chinese elements with Japanese "rebel" culture has instantly ignited the atmosphere of the scene, and a large group of fans have been circled on the scene.
I have to say that among the many designers, it is still young designers who understand contemporary young trends the most. Huang Guangchen's big show in this season is based on the classic Japanese movie "Hot Blood College", through the opposition of "tradition and rebellion", so that the original adherence to stereotypes of Chinese culture has been renewed.
In the model, we can easily identify the elements of the traditional Hanfu part of the model through fragmented elements, as well as the campus subculture and BOSOZOKU (riot family) elements that were popular in Japan and the 90s and 00s.
The Japanese overseas suit suits and classic elements such as leopard prints, trouser chains, Gothic prints and ripped fishnet socks that appear in the film are basically integrated into his own designs, high-profile tribute to rebel culture.
But on this basis, Huang Guangchen also injected a number of Chinese elements such as local Chinese buttons, cardigans, Zhongshan uniforms and Chinese characters. I have to say that such a redundant element is superimposed, and the president was not very optimistic before seeing the models' physical display.
Looking back at the various classic shows in the past fashion circle, most of the designs are "subtracting" the clothing, from overseas to domestic, the design at a glance is always more understandable to outsiders in the circle. However, today's youth show completely subverts the president's consistent cognition.
The theme of tribute blends elements of different styles, and even boldly uses a coil buckle with leopard print and a chain with a mountain suit in the design. However, this kind of design details that impact the tradition with a new trend did bring many surprises to the president and the audience.
In Huang Guangchen's design, it can be clearly seen that every detail is interspersed with the admiration and tribute to the enthusiastic university and the rebellious and personalized youth culture. The cashew turbans wrapped around and worn on the model's head, waist and wrist coincide with the look in the movie "Hot Blood College".
Although there are more elements, whether it is the show or the overall tone of the costume, Huang Guangchen is well controlled. Most of the theme tones choose a calm and restrained black and white system, which can not only emphasize the aura of clothing and subcultural background, but also better highlight the focus of clothing and make the whole series more impactful.
<h1 class="pgc-h-center-line" data-track="56" > deconstructivism "decodes" contemporary youth</h1>
Most of the understanding of Chinese fashion and aesthetics stays on the traditional elements of modest Hanfu, qipao or full closure. However, in the design of today's youth series, designer Huang Guangchen has taken the opposite approach, using deconstructivist design techniques to combine traditional elements of China and Japan with modern fashion elements.
The details seem to be fragmented, but after combining many cultural fragments together, each set of shapes presented by Huang Guangchen is unique and complete enough. In the whole series, in addition to the integration of elements with a contemporary sense, Huang Guangchen's fabrics also use some postmodern scientific and technological fabrics, and collide with the combination of traditional cotton and linen fabrics, and do a lot of classic dismantling and reorganization through a large number of structuralist cuts.
For example, in this set of styling, the original ordinary leather coat, Huang Guangchen is to disassemble it and mix with the velvet fabric splicing, while the pants are mixed with the water-light fabric and the low-key pure black fabric that has emerged in the past two years, and the combination of matte and mirror surface also makes the contrast of the clothing more intense.
This kind of contrast and disassembly can also be seen from time to time in other designs of this show, and this deconstruction and contrast even goes deep into the accessories of the costume. The irregular hem of the crocodile-patterned leather jacket, the contrast between the round hat and the square-toe shoes and other details highlight the contradictions, conflicts and core concepts of personality of youth culture everywhere.
Rather than saying that Huang Guangchen deconstructs the design of the details of the clothing version, it is better to say that he is "decoding" the attitude and personality in the bones of young people.
<h1 class="pgc-h-center-line" data-track="56" > become a national tide</h1> force
Nowadays, with Anta and Li Ningzhuyu in front, and old brands such as Metersbonwe and Huili have also begun to seek changes in design. When foreign fashion brands "withered" in China, we saw that the national tide was quickly replenished after the army, and Chinese elements began to frequently occupy the main show of the international fashion industry.
In addition to Huang Guangchen, in Beijing Fashion Week and even International Fashion Week, more and more young designers have begun to devote themselves to the implementation of national tide culture. Like the blood-boiling show of "Youth Today", more and more brands are no longer pursuing the expression of Western culture, but have begun to use their own language and traditions to impact the status of national tide culture in the international fashion circle.
In the future, the national tide fashion will surely be like today's youth, "rebellious" growth!
#2021 Beijing Fashion Week#, #Today Youth,#国潮力量 #
Author: Echo
Editor-in-Charge: Echo
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