How Designers Express The Beauty Of The East

　 First, we should treat oriental culture correctly

It is the basis of design innovation for designers to transform what they see and beauty they see into unique visual language. In the current fashion field, the Oriental fashion culture phenomenon can be roughly divided into the following three categories: first, Western designers use Oriental elements into western style tailoring to design; Second, the Oriental designers adopt the Western modeling and add the Oriental elements to the creative design; Thirdly, the designers integrate the essence of eastern and Western culture to re create and redesign.

1. The implication of Oriental Culture

Pattern symbols are important and spiritual symbols of Oriental clothing culture, such as ink, blue and white porcelain, plum, orchid, bamboo and chrysanthemum. Some dominant pattern symbols, including Chinese traditional patterns, are important signs for Chinese designers to go to the world fashion stage and gain cultural identity. Therefore, designers should first see the differences between eastern and Western culture and the uniqueness of Oriental culture, and need to think about how to realize the harmony between the two.

2. Oriental aesthetic concept

The cultural identity of designers and artists is creative. They embody their own cultural identity and personality style through design practice. In this regard, some Japanese fashion designers have become the "pioneers" of Oriental designers. In the 1970s and 1980s, the trend of "westerly eastward" emerged in Japan's clothing industry. Kenzo Takada, Mori Yinghui and others were good at applying Japanese traditional flower patterns to fashion design in modern forms. Issey Miyake, Yoshi Yamamoto, Kawabata and others "got" the oriental cultural connotation by "giving up" the dominant cultural symbols such as patterns and shapes. Designers need to value the essence of traditional culture and "internalize" and "transform" through careful consideration. That is, they should seriously consider how to transform the traditional and modern, ancient and modern, Chinese and foreign material content into the beauty of modern form, express the true feelings, and reflect the designer's own unique aesthetic concept. "Oriental beauty" should be a kind of modern beauty of form, implication and spirit, Instead of blindly copying and copying some traditional element symbols.

3. The material carrier of Oriental clothing culture

The beauty of charm, realm and virtual reality is an important embodiment of the difference between Oriental costume and Western costume. Oriental style needs a certain material carrier and technology to realize, such as elegant silk satin, transparent Eugene yarn, comfortable and light cotton and linen, and some elegant new blended materials.

　 Second, the fashion expression of Oriental culture

1. Adopt international language symbols

"Internationalization" is an active or passive adaptation of designers from the perspective of multi culture. Compared with internationalization, "Regionalization" and "Regionalization" seem to be a "paradox". Because the clothing works more or less reflect the designer's life experience, there is a certain correlation with their educational background, life and work experience, and cultural accomplishment. With the internationalization of the market, the realization of fashion design creativity needs a universal and international visual language to obtain universal applicability. Therefore, the internationalization of language symbols becomes the most important task for designers.

First, simplification in form. Simplification is an important symbol of modernization. Wu Guanzhong thinks that his ink painting is an abstract, generalized and refined beauty, which is the formal beauty of the atmosphere. The complicated traditional ink painting language gradually disappeared in Wu Guanzhong's pen, the brushwork became concise and powerful, the vision became more concentrated, and the complex aesthetic image became pure, simple and generalized. In the process of applying traditional elements to fashion design, the simplification of design language is the foundation and premise. In the works of ink and wash Danyun, the creator constantly inquires about the essence of clothing art, subtracting the style and color of clothing, using Chinese traditional cheongsam combined with Western clothing modeling and cutting techniques, using black and white to show the relationship and relationship between mountains and rivers and Danmin's clothing. Through the ultimate simplification of shape and color, the design language is promoted to modern.

Second, content transformation. Fashion designers should take fusion and innovation as the main ideas, and strive to stand in the perspective of Oriental culture, and build their own design concept, that is, to reflect the contemporary fashion style through material innovation, color pattern innovation, modeling innovation, applicability innovation and so on. Designers' cognition of "Oriental beauty" should not only stay in the reproduction or reproduction of traditional Chinese symbols such as stand collar, buckle, blue and white porcelain, peony, plum orchid, bamboo and chrysanthemum. Even though these element symbols have been widely recognized by domestic and foreign designers, mass consumers and fashion people, this does not mean that we have completed the modern transformation of traditional elements. In the work of ink and wash Danyun, the creator constantly exerts his imagination and tries to transform the materials related to dans' life scenes, such as mountains and rivers, clouds and fog, into aesthetic images and design elements composed of black and white ink, and the concrete rolling clouds, surging waves and silent flowing rivers and streams into abstract black and white colors and blocks, It is applied to the clothing design to reflect the living state of dans who take water as their home, the pride of "broad sea and strong family" and the broad mind of wandering freely between heaven and earth (as shown in Fig. 1-fig. 4)

Design 1

Design 2

Design 3

Third, the expression of implication. Wu Guanzhong believes that the greater difference between Oriental Art and Western art lies in the Oriental implication. "Implication" corresponds to reality, which has the aesthetic concept of "environment generates image". One comes from the reality (image), the other comes from people's aesthetic experience, which is the combination of creation and appreciation. The creator needs to pick up and experience the emotional beauty mood of the virtual and the real in the design to express appropriately, so that the audience can take care of the heart with things and realize the aesthetic emotion of the coexistence of the virtual and the real. In the design of "ink Danyun", the creator pays more attention to the combination of the freehand brushwork of Eastern costumes and the modeling aesthetic feeling of Western costumes, and expresses the designer's unique understanding and Thinking on the clothing culture of Danmin in Dongguan and the eastern costume culture. In order to better express the Oriental aesthetic image, the creator integrates the design elements such as mountains and rivers, misty rain and so on to strengthen the oriental charm of clothing works.

2. Pay attention to the expression of human body beauty

The expression and praise of "beauty of human body" is an important content of western culture and art, such as painting, sculpture, music, dance and other art forms. Wu Guanzhong also believes that plastic arts should focus on the beauty of the human body. Western clothing emphasizes on highlighting the beauty of human body curve through modeling structure, material and color, and even shows beauty through more or less naked human body. For example, the Rococo and Baroque styles in the 17th and 18th centuries highlighted the beauty of "hourglass" and "s" curves by means of corset to enhance breasts, lift buttocks, and shape waist, which originated from Western Mathematical and geometric traditions and logical speculation based on binary contradiction, which highlighted personality temperament.

Oriental people's attitude towards the human body is implicit and secretive. No matter it is the traditional clothing of China, Japan or South Korea, people's body is concealed by wide clothes, and the status and social level of the wearer are reflected through surface decoration such as material, color and pattern. Western costumes pay attention to the expression of three-dimensional modeling and formal aesthetic feeling. On the one hand, it is based on the unique geographical environment characteristics, on the other hand, it is influenced by the "humanism" thought of the Renaissance movement, highlighting human body shape and paying attention to the visual expression of human body beauty. However, many designers misread or do not have a deep understanding of the Western clothing culture. They blindly believe that the fusion of eastern and Western cultures can be expressed only by attaching some traditional patterns and patterns through exaggerated modeling, but they ignore the understanding and cognition of the subject "human" of the clothing wearer. They are familiar with Dior, McQueen and other clothing brands with exaggerated geometric modeling, but they turn a blind eye to the elegant, noble, introverted, steady design that embodies the spirit and temperament of human beings represented by Baron Chagall and vionai. The beauty of fashion comes from the expression and reappearance of the beauty of human body and human spirit.

3. Reflect the modernity of fashion design

Under the idea of multi-cultural exchange and cultural renaissance, the local fashion art in China is developing continuously, and the uniqueness of traditional clothing culture is gradually valued and respected by people. Fashion design integrates various elements such as art, science and technology. At the same time, it is also a market behavior of "commercial reality" in the name of art. With the rapid development of fashion in the world, designers need to stand in the eastern position, discover and extract the beauty of modern, international and integrated forms with multiple methods from an aesthetic perspective, respect the value of traditional culture, remove the dross and extract the essence, and pay attention to the integration and innovation of tradition and modernity, East and West, that is, "the past serves the present and the foreign serves China", The unique artistry, commerciality and Modernity of Chinese fashion design are embodied in the works.

Conclusion:

Since the Opium War in 1842, Chinese traditional costume culture has been affected and impacted by the subversive western culture. The influence of traditional culture is weakened and the Western clothing culture is dominant. The connotation and significance of "Oriental beauty" is deeply rooted in the spirit of our traditional culture and contains rich contents. It should be built on the spiritual and cultural level with the core of inclusive Confucianism and the integration of Confucianism, Buddhism and Taoism, which is also the important ideological source of the beauty of Chinese clothing culture.

Note: the content of this paper is reprinted in the fashion implication of Wu Guanzhong's "formal beauty" from the "ink Danyun", fashion designer, No. 11, 2020, pp. 126-131, written by Guo Xiaoxiao.