書籍介紹
服裝就像文化的代言人，織就人文與自然的身體風景。
這是一本你可以看見臺灣服裝設計，同時認識臺灣的書。
透過第一手採訪16位臺灣重要服裝設計師的故事，理解臺灣服裝設計如何從1980到2010年的短短40年間吸聚驚人的能量。
相對於歐洲醞釀百餘年的時尚歷史，臺灣的服裝設計當然是年輕的，正因為如此，設計師更能融合東西方不同的元素，綜合全球化與在地元素，帶著自己家鄉的島嶼色彩，大膽走向國際的伸展台。
夏姿、潘黛麗、呂芳智、葉珈伶、陳季敏、溫慶珠、洪麗芬、竇騰璜+張李玉菁、徐秋宜、許艷玲、陳劭彥、古又文、田明彬、詹朴、周裕穎。
15個服裝設計師品牌，微縮臺灣服裝設計的品牌歷程、設計理念與工藝語彙，也一覽台灣的文化生命力與創新力。
目次
PREFACE
006
Clothed Body as a Site
for Experiencing Artistic
Craftsmanship / Chang Jen-Chi
INTRODUCTION
008
Introduction : A Guide to
the Modern Era of Taiwan
Fashion / Chuang Kuo-lin
CHRONOLOGY
012
Stories of fashion in Taiwan
- a timeline
The 1980s
Sunrise Department Store:
the Cradle for Taiwan's First Generation of Fashion Designers
018 SHIATZY CHEN
034 PunDailee
052 LUFONGCHIH
The 1990s
New Designer Square
074 CHARINYEH
090 JAMEI CHEN
108 ISABELLE WEN
128 SOPHIE HONG
146 DOUCHANGLEE
166 NAIF by Hsu Chiu-i
184 YENLINE
2010 and On
Post 2010: Independent Designers
Make a Name Overseas
208 SHAO YEN
226 Johan Ku Gold Label
244 MING
266 APUJAN
286 JUST IN XX
編／著／譯者簡介
主編:書虫股份有限公司
翻譯:傅思可(Scott Michael Faul)
序言／導讀
At a longitude of 120 East and latitude of 23 North lies a long narrow island named Taiwan. Situated off the coast of the massive Asian continent, with Japan to the north and the Philippines to the south, Taiwan can lay claim to being at the crossroads of the Asia Pacific.
This location has brought with it the vicissitudes of political change, an island once colonized and governed by both European and Asia powers: Dutch adventurers, Spanish conquistadors, Ming loyalists, Qing mandarins, Japanese imperialists, and, since 1949, the governing apparatus of the Republic of China (ROC).
When the ROC nationalist retreated to Taiwan and then set up their new seat of government in Taipei, they received economic aid from the US. seeding a series of investments on the island. This had a direct impact on the meteoric rise of Taiwan from the 1960s onward. As the economy took off, the society experienced rapid growth and change as well. Rising living standards brought increasing opportunities for cross-cultural contacts that contributed to a series of developmental stages in Taiwan’s clothing industry.
According to historical records and documents, Taiwan from an early stage exhibited high levels of crafting capabilities in fine embroidery. Western wear began to appear in Taiwan during the period of Japanese colonization when women began attending schools and wearing western fashions on campuses. This led to the increasing popularity of a western look in clothing. The Taiwan of these times was sorely lacking in haute couture, and had yet to develop the concept of promoting and protecting its traditional arts and crafts industries. As a result, many of the nation’s high quality hand-crafted textiles, such as the once highly valued artisanal artistry of women’s embroidery, began to rapidly disappear.
With the promulgation of the 1949 act on short-term supplemental education many “sewing schools” began to appear, which served as a cornerstone for early post-war Taiwan fashion. The government’s designations of textiles along with food processing as key industries in its 1952 economic development plan sparked Taiwan’s emergence on the world clothes-making scene as a thriving destination for contract manufacture by the end of the decade, and also initiated a turn toward export markets.
Although the trend of global independent designers had already taken off in the 1970s, Taiwanese, under an onslaught of movie and television images, only gradually changed their daily dressing habits and clothing aesthetics. Not until the government’s 1978 opening up and promotion of overseas tourism did Taiwan’s designers and other related professionals truly turn their eyes to the world stage.
By the 1980s, the worldwide craze for independent fashion designers finally took Taiwan by storm. During this decade, national policy actively encouraged and coached industries on the setting up of brands, and with this the concept of branding gradually took shape. This became known as the golden age of Taiwan’s first generation of master designers, pattern-makers, and tailors; when a great number of people in the industry turned from working in mass-marketed ready-made export clothing to working as seamstresses, tailors, pattern-makers, etc. under the banner of Taiwan’s own designer labels.
分類
其他詳細資訊
- 英文題名：Formosan Fashion: An Overview of Taiwan's Contemporary Fashion Design
- 適用對象：成人(業務參考)，成人(學術性)，成人(休閒娛樂)
- 關鍵詞：服裝設計、設計師、工藝、時尚、纖維、品牌、時裝週、 穿著品味、Formosan Fashion、Taiwan's Fashion Design、Designer、brand、label、handcrafts
- 附件：無附件
- 頁/張/片數：320
授權資訊
- 著作財產權管理機關或擁有者：國立臺灣工藝研究發展中心
- 取得授權資訊：聯絡處室：研究及展覽組
姓名：孫愛華
電話：049-2334141-272
地址：南投縣草屯鎮中正路573號