ReFashioning Austria / Shanghai by AUSTRIANFASHION.NET

重尚 ReFashioning

重尚

重尚 ReFashioning ReFashioning

重尚 ReFashioning

重尚奥地利时装艺术展

主办单位刘海粟美术馆奥地利时装网支持单位奥地利联邦总理府文化艺术司奥地利驻沪总领事馆奥地利驻沪总领事馆商务处协办单位东华大学·上海国际时尚创意学院鸣

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上海映坊文化传播有限公司

重尚 ReFashioning

ReFashioning Austrian Fashion Art Exhibition

Organizers Liu Haisu Art Museum AUSTRIANFASHION. NET Supporters The Arts and Culture Division of the Federal Chancellery of Austria Austrian Consulate General, Shanghai Advantage Austria Shanghai Co-Organizers Shanghai International College of Fashion and Innovation DONGHUA UNIVERSITY Acknowledgement Shanghai Shine Cultural & Communication Co.,Ltd.

前言刘海粟美术馆馆长朱刚

由刘海粟美术馆与奥地利时装网共同主办的“重尚 - 奥地利时装艺术展”，在经过一年多的精心策划和准备后，于 2016 年 12 月 9 日在刘海粟美术馆新馆开幕了。在此，我谨向所有参展艺术家及工作人员表示敬意和祝贺！奥地利有着深厚的文化底蕴，艺术名人辈出。莫扎特、贝多芬、海顿、舒伯特、勃拉姆斯、施特劳斯等音乐家都在这片土地上留下了足迹；“维也纳分离派”独特的艺术风格，绚丽的色彩，享誉世界。此次展览既秉承传统，又展现当代，以多元的艺术样式向观众展示奥地利经典服饰和名家新作。70 多位艺术家以其多样化的精品，再现了历史和现实的风貌，通过图像、文字、装置、影像等媒介传达他们对艺术时尚的理解及追求。特别值得一提的是，两国青年设计师还以对方艺术大师刘海粟和克里姆特等人的杰

重尚 ReFashioning

作为灵感，在研习中创作，跨时空、跨地域向大师致敬。这样的对话不仅有利于传承大师精神，加强艺术交流，还开创了一种全新的展陈和传播模式，是美术馆“文教结合”的有益尝试。愿此次展览进一步深化两国的传统友谊，扩大两国艺术家的交流合作，促进两国文化艺术的繁荣发展。祝展览圆满成功！

Preface Zhu Gang Director of Liu Haisu Art Museum

“ReFashioning –Austrian Fashion Art Exhibition” co-organized by Liu Haisu Art Museum and AUSTRIANFASHION. NET is about to make its debut on 9th 12, 2016 atthe new venue of Liu Haisu Art Museum after one year of hard work. Hereby, I would like to express my sincere gratitude and congratulations to all of our artists and staff! Austria is known for its abundant cultural heritage and a galaxy of artists. Musicians like Mozart, Beethoven, Schubert, Johannes Brahms and Strausswere all connected to this land in their own way; the distinctive style of “Vienna Secession” impressed the world with its magnificent color pallet. This exhibition stands at the conjunction of tradition and modern style and proudly displays the classic clothing and fashion designs to Chinese audience through diverse art formats. More than 60 artists with their masterpieces showcase the history and the contemporary and express their artistic understanding and pursuit through images, words, installments and videos. Particularly, young designers from both countries find inspirations in the masterpieces of Liu Haisu and Gustav Klimt respectively and translate ideas into finished artworks, so as to pay remote tribute to masters. Such a dialogue not only enables the

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preservation of the artistic spirit and an enhanced artistic exchange, but also successfully pioneers a new way of exhibition and communication, which represents an effective practice for our operation model “driven bycultural exhibition and education”. We firmly believe that the exhibition will deepen the bond shared between our two countries, broaden the cooperation among our artists and contribute to the prosperity of art and culture. Finally, I would like to wish a full success to the exhibition!

序一奥地利艺术文化、宪法及媒体部联邦部长托马斯·卓达

继纽约、巴黎、伦敦和米兰之后，奥地利时装设计进军艺术时装之都上海。40 位奥地利设计师的作品将在刘海粟美术馆展出，观众将体验一场奥地利高质量、创新、不断探索的时装秀之旅。" 重尚”奥地利时装艺术展将带领我们一睹当代奥地利时装设计的魅力，体验奥地利时装设计与包括动画、摄影和纺织等艺术创意的交相辉映。" 重尚”奥地利时装艺术展将回顾发展历程，展现众多艺术家作品的独特魅力。我想特别感谢上海刘海粟美术馆的大力配合和准备，举办本次在现代艺术运动的背景下的新奥地利时装艺术。我希望所有的观众能有兴奋、愉悦的参展体验并从中受到启发。我坚信奥地利设计师在不断探索中呈现的创意和乐趣将推动实验性时装设计在中国的进一步发展。

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Foreword I Mag. Thomas Drozda Federal Minister for Arts and Culture, Constitution and Media

After New York, Paris, London and Milan, fashion design from Austria will now take on the art and fashion metropolis of Shanghai. Creations by about 40 Austrian designers will be presented in the Liu Haisu Art Museum, providing differentiated insight into Austria’s high-quality, innovative and experimental fashion scene.ReFashioning - Austrian Fashion Art Exhibition will offer visitors the unique opportunity to explore current Austrian fashion design and to experience it in connection with other artistic and creative movements, including animation, photography and textile manufacturing. In the exhibition, specific developments are retraced, making the distinctive signatures of the many artists visible. My special thanks go to the Liu Haisu Art Museum in Shanghai for the collaboration and readiness to show new Austrian fashion in the context of contemporary art movements.I wish all visitors to this exhibition exciting, inspiring and delightful moments. I firmly believe that the Austrian designers’ creativity and joy for experimentation will increase the growing interest in experimental fashion design in China.

序二奥地利驻上海总领事施丽伟

经过一年的精心筹备，奥地利驻上海总领事馆非常自豪，能在上海举办此次瞩目的奥地利当代时尚设计展 -“重尚 - 奥地利时装艺术展”。作为奥地利联邦总理府与新开放的刘海粟美术馆的一次成功合作，此次展览的宗旨不仅在于向公众呈献知名奥地利设计师的多样化作品，同时为了促进中奥文化交流，并为推动两国关系的和谐发展发挥积极作用。国与国之间的文化交流越来越重要。它让一个人可以从一定的距离看待事物的发展，观察不同之处，与此同时，在自己创造性的过程中发现一个新的世界。因此，我感到非常高兴的是，通过此次与上海东华大学的合作，中国年轻的时装设计学生可以探索并重新创作古斯塔夫·克里姆特缪斯埃米莉·芙洛格的作品，反过来，奥地利设计师也受到刘海粟绘画作品的启发，创作出新的设计。公众可以在此次展览中领略这一合作的卓越成果。

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在此，我想感谢奥地利联邦总理府文化部负责人 Olga Okunev 女士以及策展人 Claudia Rosa Lukas 女士为促成此次展览所付出的努力，以及中方策展人、刘海粟美术馆副馆长鲍薇华女士及其团队为此项目的顺利实施所提供的支持。我还要感谢刘海粟美术馆馆长朱刚先生举办此次精彩的展览。借由此次独特的群展，我们有机会展示现阶段奥地利最具潜力的年轻设计师的作品，并呈现受到国际认可的，并带有奥地利丰富文化遗产印记的现代时尚设计。我深切希望，这些艺术作品能为观者带来激动人心的体验，并使其了解奥地利现代化的一面。

Foreword II Silvia Neureiter Consul General of Austria in Shanghai

After one year of meticulous preparation, the Austrian Consulate General is proud to present the remarkable exhibition of Austrian contemporary fashion design entitled “Re-Fashioning Austria” in Shanghai. As a successful cooperation between the Austrian Federal Chancellery and the newly-opened Liu Haisu Museum its aim is not only to present a cross-section of the works by recognized Austrian designers to the public, but also to promote Sino-Austrian cultural exchange and play a positive role in enhancing the relationship of our both countries. The cultural exchange between nations is increasingly gaining importance. It allows one to view developments from a distance, observe what is different and, in the process, discover a new facet in one’s own creative process. Therefore I am particularly happy that - in cooperation with the Donghua University Shanghai – young Chinese fashion students could discover and re-create works by Gustav Klimt muse Emilie Flögge, and in return Austrian designers were inspired by Liu Haisu’s paintings to create new designs. The outcome of this fruitful collaboration can also be seen in this exhibition.

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I am particularly grateful to Mrs. Olga Okunev, head of the Department for Arts at the Austrian Federal Chancellery and the curator Claudia Rosa Lukas for realizing this exhibition, as well as to Mrs. Bao Weihua, the curator of Chinese side, the Deputy Director of the Liu Haisu Museum and her staff for their assistance and implementation of the project. My sincere gratitude goes to Mr. ZHU Gang, director of the Liu Haisu Museum for hosting this outstanding exhibition. With this unique group show we have the opportunity to present works by the currently most promising young designers of Austria. It provides contemporary fashion design that is internationally acclaimed, influenced by the rich cultural heritage Austria has to offer. It is my profound hope that these artworks create an exciting experience for the visitors in order to provide an insight of the modern side of Austria.

“重尚”之道鲍薇华刘海粟美术馆副馆长、策展人

时装起源于法国巴黎，现代时装设计的形成在 19、20 世纪之交，法文称为“高级定制服”（Haute couture）的女装，最早出现在 1900 年巴黎世博会上，巴黎世博会对于时装艺术的发展史具有奠基作用，在当时媒体的推崇下产生了“只有巴黎才是世界服装的中心”的评论，在其后的 100 多年的时装发展史中也得到了印证。随着社会历史的变迁，各国政治、经济和文化的差异性发展，继巴黎之后，伦敦、米兰和纽约也相继成为世界时尚之都，加布里埃·夏奈尔（Gabrelle Chanel），克里斯汀·迪奥（Christian Dior），伊夫·圣罗兰（ Yves SaintLaurent ），维维安·威斯特伍德（Vivienne Westwood），乔治·阿玛尼（Giorgio Armani），让·保罗·戈尔蒂埃（Jean Paul Gaultier），拉夫·劳伦（Ralph Lauren）等世界时装发展史中的风向人物，创造着各个时期的辉煌。但是纵观时尚发展史，时尚艺术往往与快速消费相生相灭，激烈的品牌市场运作，难免使得时尚的发展混合着商业的气息。时尚，使人们趋之若鹜的不仅是其赏心悦目的创意设计，也有其背后的经济意义。然而，当我们将面向世界时装之都的目光收回到欧洲中部的奥地利，深窥这一以音乐著称的国度的时装发展时，扑面而来的一派文艺气息似乎重新定义了时尚的精神。通常来看，奥地利似乎与人们心目中的时尚发源地并无交集，或许正是这悠然而若即若离的状态，使奥地利的艺术家和设计师相对远离喧嚣的时装中心，在本国的历史和文化的滋养下，与现代艺术的发展交

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融和渗透，重尚出一幅清新而具有原创精神的时尚画面。从历史的角度观看，深入人心的茜茜公主肖像画，以及 1814 年的维也纳会议期间的久负盛名的维也纳舞会装，是大众无法磨灭的时尚印象；奥地利德语区的传统服饰 Tracht，以著名的电影“音乐之声”和奥地利传统舞蹈作品为世人所熟知；20 世纪初成就了新艺术运动的古斯塔夫·克里姆特（Gustav Klimt）的举世名作以及他的创作缪斯、革新派服装设计师埃米莉·芙洛格（Emilie Flöge）的突破性设计，亦是奥地利现代视觉艺术的符号，此外，音乐大师莫扎特（Wolfgang Amadeus Mozart）和海顿（Joseph Haydn）、精神分析学派创始人弗洛伊德（Sigmund Freud）以及审视了语言和意识的关系的路德维希·维根斯坦（Ludwig Wittgenstein）等音乐与哲学领域的大师们的创造亦给这个国度注入了丰厚的人文底蕴。由此，我们不难理解奥地利时尚设计在依托本国民族传统和文化资源上的优势，他们得益于周遭环境的滋养，实践着天马行空的风格化设计思考和探索，相比其他国度的设计师更具有人文的内涵和学术的表达，他们的作品跨越了艺术、设计、哲学及表演的界限，塑造了奥地利时尚独特的文艺气质。奥地利时尚设计所呈现出的学院派风格，要归功于维也纳应用艺术大学服装系的卓越贡献，国际时尚界的重要设计师，诸如卡尔·拉格菲尔德 ( Karl Lagerfeld)、吉尔·桑德 (Jil Sander)、维维恩·韦斯特伍

德 Vivienne Westwood、海尔姆特·朗 (Helmut Lang)、维科特 & 洛夫 (Viktor & Rolf ) 等国际著名设计师分别在此担任客座教授，而本次展览的艺术家或设计师大多拥有该校学习的经历，国际时装主流风格的注入和学院派力量的传承，使维也纳的时尚设计在实现自我的风格定位中更具有思考性和国际性，能充分体现这种特质的便是奥地利时尚界里程碑式的大师海尔姆特·朗（Helmut Lang），他在 20 世纪 90 年代以其极简主义和前卫的设计风格征服了世界，被认为是二十世纪最有影响力设计师，影响力留存至今。他曾如此描述自己的设计：直线条的，细节上的纯粹主义，却如埃贡·席勒（Egon Schiele）般的性感。奥地利设计师独具创意的当代表达，还表现在突破陈规的实验性创作，他们与不同领域的艺术家的跨界合作，使时装设计师、艺术家、摄影师、动画设计师形成了一个互为联袂、相互依存的的乌托邦世界，“重尚”了时装艺术设计的方式和过程，以时尚、绘画、摄影、装置及影像等不同艺术手段，在当代艺术语境下进行创意对话，艺术家和设计师共生在互相渗透和融合的创作环境下，书写了新的设计和艺术的表达。在“重尚”的主旨概念下，我们同样关注艺术设计的本土化创作经验，“向大师致敬”是我们特别策划的展览章节。刘海粟和古斯塔夫·克里姆特（Gustav Klimt）作为两国的艺术大师，在各自的国度均极力地推动了艺术的创新，而且，他们所处的时代也是互为交集，在世界现代艺术发展的大背景下，刘海粟成为 20 世纪初中国新美术运动的拓荒者，古斯塔夫·克里姆特（Gustav Klimt）也是同时代奥地利新艺术运动的推动者、维也纳分离派艺术的代表人物，刘海粟钟爱的黄山，亦和奥地利的阿尔卑斯山形成

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呼应，如此值得思考和探寻的东西方艺术和人文背景，是本次展览中奥当代艺术和设计对话形成的基础。奥地利的设计师和东华大学上海时尚创意学院的学生分别从刘海粟、克里姆特（Gustav Klimt）以及埃米莉·芙洛格（Emilie Flöge）的艺术和精神获取灵感，以自我视角和文化背景创作出具有自身思考的设计作品，成为本次展览最为独特的部分。基于另一种文化的相似性和差异化，进行对话性的创意和设计，本身就是一次“重尚”的实践过程，也是一次结合本土经验及创新设计的跨文化合作体验。 “重尚”之道，是过程也是方法，本次展览聚焦奥地利时装艺术的特点，以“历史发展”、“当代设计”、 “创意视觉”和“致敬大师”四个章节，诠释了在当代艺术发展背景下，如何重新审视和再次定义时尚的艺术实践，也是一次中奥艺术深度对话和借鉴的探索。

The Way of ReFashioning Vera Bao Curator, Deputy director of Liu Haisu Art Museum

Fashion originated from Paris, France. The modern fashion design began to enjoy its development at the turn of the 19thand 20th centuries. The suit-dress known as “Haute Couture” in French was firstly shown in Paris World Exposition in 1900, which has thus laid down the foundation for the development of fashion art. As advocated by the media at that time, the comment of “only Paris is the world center of clothing” came into existence, which has been also verified in the subsequent history of fashion development for over a century. With the social and historical transformation, the politics, economy and culture of various counties have been developed with their unique pattern. London, Milan and New York became the capital of world fashion in succession after Paris. Celebrities including Gabrelle Chanel, Christian Dior, Yves Saint Laurent, Vivienne Westwood, Giorgio Armani, Jean Paul Gaultier, Ralph Lauren, etc. who decided the fashion direction in the development of world fashion have created the resplendence of various times. In retrospect of the development history of fashion, the fashion art usually survived and perished mutually with rapid consumption. It is inevitable to integrate the sense of commerce in the fashion development because of operation of intense brand market. The fashion, which enables the people to scramble for not only depends on its delectable and original design, but

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the economic significance behind. However, when we withdraw our eyesight from the capitals of world fashion to Austria, the center of Europe, and probed into the fashion development in the country which has been renowned for its music, the overwhelmed sense of literature and art seems to redefine the spirit of fashion. Generally speaking, Austria seems to have no intersection with the place of origin of fashion in our heart. Both artists and fashion designers are so much enjoying their life to be in a beautifully tricky distance away from the fashion center. Flourished by the history and culture here, they integrated and permeated with the development of modern art and refashion with both fresh ideas and innovation. To see from the historic prospective, the portraiture of Princess Sissi that was very popular and the Vienna dance outfits during the Congress of Vienna in 1814 that enjoyed long-lasting sound reputation form the fashion impression that cannot be obliterated in the public; the traditional clothes Tracht at the German-speaking area in Austria, the renowned film “The Sound of Music” and the Austria traditional

dances have been well known in the world wide area. The world famous masterpiece of Gustav Klimt, who accomplished the Art Nouveauin early 20thcentury, and the breakthrough design of Klimtâ&#x20AC;&#x2122;s Muse, Emilie FlĂśge, the revolutionary costume designer, symbolized the modern visual art of Austria. In addition, Musician Wolfgang Amadeus Mozart and Joseph Haydn, Sigmund Freud, the founder of the Psychoanalysis School, Ludwig Wittgenstein who reviewed the relationship between language and consciousness, these masters in the field of music and philosophy have also injected profound humanistic connotations to this country. In this sense, it is not difficult for us to understand the advantages of fashion design in Austria based on its national traditions and cultural recourses. Benefiting from the nourishment of its surrounding environment, their design, thinking and exploration in a powerful and unconstrained style highlight more humanistic connotations and academic expressions when compared with the designers from other countries. Their works have bridged over the boundary of art, design, philosophy and performance and thus shaped the unique artistic characteristic of Austria fashion. The academism style represented by the Austria fashion design owes to the outstanding contributions of the Department of Fashion Design, University of Applied Arts Vienna. Important designers in the field of

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international fashion such as Karl Lagerfeld, Jil Sander, Vivienne Westwood, Helmut Lang and Viktor & Rolf and other internationally renowned designers work as visiting professors at the university; besides, the majority artists or designers present in this exhibition also have study experience in the university. The injection of the mainstream styles of international fashion and the undertaking of the academism force enable the fashion design in Vienna to be more thought-provoking and international during realizing its own style positioning. Helmut Lang, the milestone great master in the field of fashion of Austria, can best represent this peculiarity. He conquered the world with minimalism and the pioneering design style in 1990s and was considered as the most influential designer in the 20thcentury His influence has been remained up to now. He once described his design: vertical element and purism in detail, but as sexy as Egon Schiele. Austria designers’ unique and creative modern expression is also represented in their experimental creation which breaks through the outmoded conventions. They cooperate with artists from various fields and thus create Utopia world with mutual collaboration and dependence together with fashion designers, artists, photographers and animation designers. They “refashion” the approaches and process of the

design of fashion art, make creative dialogues in the modern artistic context by means of different artistic approaches including fashion, painting, photography, device and image, etc. Artists and designers have composed new design and artistic expression under the context of contemporary art. Under the concept of “ReFashioning”, we pay equal attention to the localized creation experience of artistic design. “Hommage to the Masters” is an exhibition chapter that we specially planed. Liu Haisu and Gustav Klimt, as the artistic masters from two countries, have greatly promoted the artistic creation respectively; furthermore, the era where they were in is also mutually intersected. With the development of modern art in the world, Liu Haisu has become the pioneer of new fine art movement in China in the early 20th century; meanwhile, Gustav Klimt was also the impeller of new art movement in Austria and the representative of Vienna secession art. The Huangshan Mountain that Liu Haisu loved also echoes with Alps in Austria. The oriental and western artistic and the humanistic background worthy of thinking and exploration constitutes the exact foundation for Sino-Austria modern art and design dialogue in this exhibition. The designers of Austria and Students of Shanghai International College of Fashion and

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Innovation, Donghua University, will get inspirations from the art and spirit of Liu Haisu, Gustav Klimt and Emilie Flöge, create designs highlighting independent thoughts from the aspect of themselves and the cultural background, which will be deemed as the most unique part of this exhibition. Based on the similarity and differentiation with another culture, the originality and design with dialogicality itself is a kind of practice that “ReFashioning” and also a transcultural cooperation experience which combines the local experience and the creative design. “ReFashioning” is both a process and the approach. By focusing on the development of fashion art in Austria, this exhibition, in such four chapters as “Historical Outline”, “Contemporary Design”, “Visual Art and Creation” and “Homage to the Masters”, specifies how to reconsider and redefine the art practice of fashion under the background of contemporary artistic development, and also is an exploration of deep dialogue and reference of Sino-Austria art.

当代时尚的跨文化对话策展人克劳迪娅·罗莎·卢卡斯

奥地利时装设计冲破界限，进入大众视野。以其高质量、多样的艺术手法赢得了全球范围的关注和赞赏。在刘海粟美术馆的热情邀请下，我们在上海举办 " 重尚”奥地利时装艺术展。我们将珍视这一关注奥地利时装设计历史及当代时装发展的机会。把多个有关设计趋势及设计过程的案例形成一种对话，从以下四个角度来对前景广阔、变幻莫测的奥地利时尚景观进行探讨：设计历史、当代设计、视觉艺术及跨文化交流。奥地利的纺织和服装业历史悠久，向来推崇上乘材料和手工制作。身为策展人，我很重要的一个任务就是要突出新一代的迅猛增长的人才，即那些在设计方面天赋过人、手工精湛的人才，这些人才运用新的制造方法结合传统手工技艺来进行新的尝试。大部分参展艺术家和设计师来自奥地利首都维也纳，均是个人的和专业的。维也纳是一座以奠基时代雄伟环城建筑及巴洛克式、新艺术风格建筑闻名的城市。异彩纷呈的创意正是受这些新旧传统的启迪，使得新的设计理念和创新合作网络得以发展。这种合作的网络在展览上亦可见一斑，得益于时装创客们的紧密合作，摄影、插图、动画等领域的作品合作在展览中得到了展现，再融入奥地利的时装史及教育机构的内容，使整个展览的构成更加圆满。同时，

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“ 重尚”奥地利时装艺术展旨在推进奥地利与中国文化之间的交流，支持文化交流事业的发展。交流始于 2016 年春天东华大学的学生们的一个工作营，这是开启中奥两国未来合作寻求新时装美学的开端。我想借此机会感谢所有为这个项目的投入及注入信心的设计师和艺术家们。尤其感谢奥地利联邦总理府艺术与文化部、奥地利驻上海总领事馆和奥地利联邦商会上海分会。特别感谢刘海粟美术馆的工作人员以及我们在维也纳、伦敦和上海的团队成员们。“ 重尚”奥地利时装艺术展欢迎上海观众前来感受全新独特的奥地利的当代创造力——通过时装、设计、绘画、摄影与动画，艺术家和设计师们正在跨越旧有界限，书写新的篇章。

Transnational Dialogues in Contemporary Fashion Claudia Rosa Lukas Curator

It is not only within its own borders that Austrian fashion design has moved into the public eye. With its high quality and diverse artistic methods, the Austrian design scene has grabbed the attention and appreciation of an international audience. Upon kind invitation of the Liu Haisu Art Museum, we are presenting ReFashioning - Austrian Fashion Art Exhibition in Shanghai. We would like to acknowledge this particular occasion by providing insight into the history and development of the current fashion world in Austria. Numerous examples of design trends and processes are brought together to form a dialogue, allowing for the broad and varied Austrian fashion landscape to be investigated from four different angles: history, contemporary design, visual arts and intercultural exchange.Austriaâ&#x20AC;&#x2122;s textile and clothing industries are rich in tradition and have always prioritized high quality materials and handcraft. As curator, it was therefore particularly important to me to highlight the exponential talent of a new generation, which, with an impressive design flair and workmanship, is experimenting with alternative manufacturing methods and traditional handcraft techniques.The majority of the artists and designers in the exhibition are based in Vienna, both privately and professionally. The capital city is defined by the grand Ringstrasse constructions of the GrĂźnderzeit, as well as by baroque and Jugendstil architecture. The diverse creative scene is inspired by these rich traditions, from both the old and the new, which

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allows new design concepts to develop, as well as innovate collaborations and networks. In the exhibition these networks are brought together through works from the fields of photography, illustration and animation, which have arisen from a close collaboration with fashion makers. Rounding off the event will be insights into the Austrian history of fashion and the educational institutions. Additionally, ReFashioning - Austrian Fashion Art Exhibition has set itself the goal of supporting cultural exchange through mutual dialogues between Austrian and Chinese cultures. This began with a workshop in the spring of 2016 with students at the Donghua University, a starting point for future collaborations to find new fashion aesthetics between the two nations. I would like to take this opportunity to thank all the designers and artists for their fantastic contributions and the confidence with which they approached this project. I am particularly grateful to the Arts and Culture Division of the Federal Chancellery of Austria, also to the Austrian Consulate General in Shanghai and Advantage Austria in Shanghai. Special credit is due to the staff of the Liu Haisu Art Museum and to my team in Vienna, London and Shanghai.ReFashioning Austrian Fashion Art Exhibition invites the public in Shanghai to experience the contemporary creativity of a very different Austria – through fashion, design, drawings, photography and animation, artists and designers are transcending old borders and writing new stories.

乌托邦视角 “概貌和标准”杂志记者卡琳·塞尔尼

从皇后玛丽娅·特蕾莎（Maria Theresa，1770–1780) 华丽的长袍到埃米莉·芙洛格（Emilie Flöge）的创意新艺术设计，奥地利时装设计历史悠久，丰富多彩，展现了维也纳工坊风格特色。展览包含了大量艺术家，包括约瑟夫·霍夫曼（Josef Hoffmann）和科罗曼·莫泽尔（Koloman Moser）的设计。他们为应用艺术开拓新貌并推动二十世纪早期维也纳抽象几何形式在设计中的运用。年轻的时装设计师往往不会聚焦于当地传统。如今互联网连接了全球，灵感可以来自于世界上任何一个角落。在这样现代和多元的文化中，人们对于根基的寻找越发困难。尽管如此，每个国家仍然有各自的设计传统。即使是通过定界，这些传统可以用来衡量年轻设计师并让他们学会接受运用传统的元素。手工艺制作在奥地利享有着悠久的历史，始于罗登服饰和 Tracht（一种奥地利传统服饰），这些服饰常采用优质面料和缝纫制作。当然，不能忘了这个国家丰富的文化遗产：西格蒙德·弗洛伊德（Sigmund Freud）在维也纳发明了精神分析理论；古斯塔夫·克里姆特（Gustav Klimt）成就了新艺术运动；沃尔夫冈·阿马德乌斯·莫扎特（Wolfgang Amadeus Mozart）和约瑟夫·海顿（Joseph Haydn）给奥地利带来了音乐之都的美誉；路德维希·维特根斯坦（Ludwig Wittgenstein）审视了语言和意识的关系。

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所有这些都对奥地利时装传统观念起到了塑造作用。在时装界，奥地利还有一位里程碑式的大师无人能及，他就是海尔姆特 • 朗（Helmut Lang）。他在二十世纪九十年代以其极简主义和前卫设计征服了世界。朗被认为是二十世纪最有影响力设计师，他的影响力留存至今。但令人惊奇的是，设计风格和郎相像或受朗直接影响的设计师很少。也许是因为后来的时装制造商没有勇气把自己和大师相提并论。手工艺手工艺传统有一种流行的国际趋势。即在公平竞争的条件下，真正奢侈的东西往往是那些用传统技艺打造而成。受当前经济危机影响，许多消费者缺乏自信，更偏向从本地较小规模的公司购买消费品：他们喜欢购买还未量化生产的小众产品，随时准备去寻觅质量上乘的服饰。然而，手工艺讲求平衡协调：设计师不应只生产那些泛滥成河的大众玩意儿，他们应眼光前瞻，注重创新。许多维也纳品牌实现了传统技艺与创新设计的结合，带来让人惊叹不已的作品。克罗地亚裔日本人德·布莱德里克·欧玛 (duo Bradaric Ohmae) 最近重新命名他们的萨根·维也纳 (Sagan Vienna) 品牌。该品牌使用传统的维也纳编织技艺设计服饰和手袋，围绕经典的咖啡馆中心作品做文章，即 14 号索奈特椅。他们与欧洲的小型生产商合作，罗登呢大衣和帕克特地板在维也纳十分常见，在外国人的眼里却是与众不同的，在其服饰系

列里扮演重要角色。另一个例子是出生在乌克兰的英嘉·内米洛伏斯卡亚（Inga Nemirovskaia）的实验性针织设计。她的作品中将经典针织技艺与 3D 处理技术融合，并在功能性服饰中使用牵条。奥地利裔日本人德·罗萨·马萨 (duo rosa mosa) 从事鞋履和饰品设计，在蓝图设计行家的帮助下将传统材料技术转用于皮革制造。蓝图设计在日本和中国是由来已久的传统，至今仍能在布尔根兰寻觅其踪影。这也是这个过程中又一个兴奋点：本地技艺竟能在其他国家得到呼应，这些技艺显然具有地域特性，然而却在别的地方以全新的方式呈现。苏珊·毕索夫斯基（Susanne Bisovsky）在先锋派民族服饰设计领域崭露头角，她主攻传统服饰，设计黑色紧身连衣裙。她钟爱玫瑰图案，为民族服饰注入了哥特风格。苏珊（Susanne）的设计常常使用乳胶和其他机车服装常见面料。与此同时，卡琳·奥布斯特（Karin Oebster）也为卡伊括品牌（Kayiko）重新定义经典和服。年轻的维也纳设计师利奥波德·博塞特（Leopold Bossert）则结合传统与奢侈风打造出颇显雄风的男性服装，他还在自己的设计工坊中对古老的地毯编织机器进行改造并加以利用。概念艺术很难准确说出维也纳为何会成为时装设计的中心，各种强大设计理念得以在其中发展，跨越当代艺术、设计、哲学及性能的界限。奥地利的丰富文化遗产使其具备成为时装行业全球玩家的资本，即便没有赶上那一波商业潮流。二十世纪九十年代末，巨大激情之下一些品牌得以涌现。这些品牌不甚尊重固有标准，对市场的态度也稍显天真。现代时装行业仍算不得完全成熟，似乎一切皆有可能，所以设计师可以尝试冒险，并了解到日本顾客喜欢这些奥地利先锋派设计师们古灵精怪的设计。品牌 Fabrics interseason 由瓦利·赛尔纳（Wally Salner）及乔纳斯·施魏格尔（Johannes Schweiger）于 1990 年推出，如今这

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一品牌已不复存在，但 Fabrics interseason 仍不失为这一潮流的代表。该品牌的系列服装试图打破性别角色定型，重尚常态设计，并提供舞台，任由理论和实践碰撞交锋。很多品牌具备与音乐场景相似的特点，这在 90 年代这一电子时代表现得尤为突出。1999 年，海尔格·鲁兹纳（Helga Ruthner）和赫尔曼·范克豪泽（Hermann Fankhauser）推出 Wendy& Jim 品牌，其设计着眼于吸引大众眼球，并从艺术世界中汲取力量。奥地利时装设计的另一个重要品牌已经通过品牌名字本身传达其对于讨论与争辩的喜爱：岛屿房屋俱乐部中性阶级斗争，但问题是你现在在哪里？此品牌由一个艺术家团体于 2006 年创办，之后经卡琳·克莱芬伯尔和马库斯·霍斯莱纳（Karin Krapfenbauer und Markus Hausleitner）进一步发扬光大。这个团体推崇公平贸易、不分性别以及重视原创，并通过数学公式创造性地改良经典款式。“奇特轮廓”是他们的标志作品，主打舒适和耐穿性产品。性别对话、交叉服饰以及音乐影响力塑造其系列服装的特点。岛屿房屋的创始人均为奥地利人，相识于维也纳应用艺术大学。这可并非巧合：学生往往会受到老师的巨大影响。维也纳应用艺术大学有很多著名的实验派客座教授，包括海尔姆特·朗 (Helmut Lang), 让·查尔斯·戴卡斯泰尔伯亚（Jean Charles de Castelbaiac）、维维恩 . 韦斯特伍德（Vivienne Westwood）、拉夫·西蒙斯（Raf Simons）、薇洛妮克·布兰奎诺（Veronique Branquinho）、本哈德·威荷姆（Bernhard Willhelm）及胡森·查拉扬（Hussein Chalayan），他们塑造了年轻设计师的风格概念。艺术混合及街头服饰亚瑟·阿尔巴（Arthur Arbesser）着迷于不走寻常路：他将反传统材料组合到一起：从索耐特椅子的麦秆编织方式中获得灵感，将卢勒克斯金线用于他的一款针织套头上衣。在他的一场米兰展示中，他甚至搬来维也纳工作室历史悠久的木椅，将行动主义艺术家赫尔曼·尼特西（Hermann Nitsch）的画挂于墙上，

邀请朋友、家人伴随着舒伯特的钢琴音乐欣赏这一切。维也纳中产阶级留下的丰富文化遗产也在时装场景中有所呈现。本地设计师尤其偏爱从青春风格派的图案样式中汲取灵感。这与人们对图案风格日趋增长的热情相吻合。杜奥·德米克（Duo DMMJK）最初的服装系列就是以波斯地毯及挂毯印花作为设计蓝本，同时借鉴俱乐部文化元素，该系列被命名为“Demelrave”，意指维也纳德梅尔咖啡馆及 90 年代的狂欢热潮。维也纳全球青年文化中亦占有一席之地。同时，奥地利的设计师关注极简主义的街头服饰，正如品牌名称表明的那样，他们推崇将织物与技艺的融合。克里斯蒂娜·施泰纳（Christina Steiner）的品牌 GON 生产特别图案的服装，而且这些图案往往以手工打造。这些年轻设计师们用最轻松、最自然的方式将本地影响与全球趋势融于一体。极简主义值得注意的是，年轻设计师越来越偏好质量上乘的材料和手工艺。这点可用上世纪 90 年代开始的极度激烈的竞争加以解释，因为没有任何企业或品牌可以在市场上立于不败之地。极简主义，由海尔姆特·朗（Helmut Lang）创造的风格，在时尚中是一次回归，而且可以看成为时装业快速变换的解药。自 2015 年起，皮亚·保尔纳伯格（Pia Bauernberger）开始设计经久不衰的实用女装。她从不跟随潮流，她的服饰绝不会昙花一现。Ute Ploier 是奥地利最为成功的时装设计师之一，打造了一系列既具先锋派特色又具极简主义风格的服装。埃德温娜·霍尔（Edwina Horl）先前受日本时装影响，而以维也纳为大本营的保加利亚设计师佩塔尔·彼得罗夫（Petar Petrov）结合高端时装元素与低端时装元素，打造简约的、创新的设计。女性之家，是 2011 年成立的现代女性奢侈服装品牌。而珍娜·维兰德（Jana Wieland）尤为注重服装质感，用类似毛毯的厚重羊毛织物进行服装设计。来自俄罗斯的萨拜娜·拉切莫娃（Sabinna

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Rachimova）在 2014 年成立同名品牌 Sabinna，其特色是将传统生产制造技术——比如钩编和针织—— 与现代的 3D 打印相结合，极简主义风格使其设计出来的服装带有一种优雅运动风。维尔弗里德·迈耶尔（Wilfried Mayer）于 2005 年也成立了同名男装品牌，并推出雌雄同体风格和经典款式，具有非比寻常的精美细节，令人惊叹不已。克劳迪亚·布兰德迈（Claudia Brandmair）则在纯粹主义风格、耐穿性女装方面走相同路线，她早在 2003 年就开始投身设计，在她的设计观念里，少即是多。公平贸易与升级再造是全球趋势，同样也可在奥地利设计领域找到踪迹。在 km/a，设计师及创始人卡萨·哈雷尔（Katha Harrer）及专迈克尔·埃林格尔（Michael Ellinger）用非同一般的材料，比如二十世纪六十年代的降落伞或者使用过的军毯和帐篷，创造出独树一帜的作品。于 2002 年由建筑师转行成为时装设计师的安尼塔·斯坦维德（Anita Steinwidder），也有类似的设计风格。其同名品牌 Steinwidder，回收利用衣物对其进行重新裁剪，重新打造风格。她通过这种方式缝制出袜子和立体模特部件。结论对于很多年轻设计师来说，似乎唯有身处大都市才能设计都市作品。但很多设计师表示，他们喜欢维也纳轻松的氛围，维也纳帮助他们专注于设计本身，而非单纯想看设计的商业价值。很多设计师都曾在其他国家生活过一段时间，但大部分都会选择重新回到奥地利，其中一个原因或许是因为维也纳的生活压力比其他时装大都市的压力要小。尽管这让维也纳并未跻身时装之都，但维也纳为高度原创性作品的提供了土壤。

Utopian Perspectives Karin Cerny Journalist, profil and Der Standard

The history of Austrian fashion design is long and varied, spanning from the opulent robes of Empress Maria Theresa (1770–1780) to Emilie Flöge’s innovative Jugendstil designs, which reflected the tastes of the Wiener Werkstätte (“Vienna Workshops”). This was a design collective of artists that included Josef Hoffmann and Koloman Moser, who strove for a renewal of the applied arts and a focus on abstract geometric forms in early 20th-century Vienna. Young fashion designers, however, don’t necessarily orientate themselves on their regional traditions. The world is accessible through the internet and global inspiration can be found in the farthest corners of the earth. The search for one’s roots is, therefore, not so easy in our modern, hybrid culture. In spite of this, there remains a specific design tradition in each country, against which young designers are measured and with which they must come to terms – even if only through delimitation. In Austria handcraft has a long history, beginning with loden garments and Tracht (traditional dress in German-speaking areas), which were produced with a love for high-quality fabrics and needlework. Not forgetting, of course, the country’s rich cultural heritage: Sigmund Freud developed his theories on psychoanalysis in Vienna; painters such as Gustav Klimt shaped the Jugendstil movement; Wolfgang

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Amadeus Mozart and Joseph Haydn gave Austria its status as a musical capital; and the philosopher Ludwig Wittgenstein examined the relationship between language and consciousness. All of this feeds into the conception of fashion traditions. And even in the world of fashion there is a benchmark that is yet to be surpassed: that of Helmut Lang, who conquered the world in the 1990s with his minimalist, avant-garde designs. Lang is considered one of the most influential designers of the 20th century and his presence is still felt. Surprisingly, the list of designers who work with a similarly reduced style – or who refer to Lang as a direct influence – is very short. Perhaps subsequent clothes makers dread comparison with such a master. Handcraft There is an international trend to be observed in the tradition of handcraft. True luxuries areproducts created using traditional techniques, where possible under fair conditions. A lack of confidence due to the current economic crisis has meant that many consumers now choose to buy from smaller, local companies: they want to know that what they are purchasing has not been mass-produced, and they are prepared to dig deep for high-quality garments. However, handcraft is a balancing act: After all, designers want to be forward-looking and innovative, rather than produce mere clichés. Many Viennese

labels have achieved this combination of traditional techniques and new designs with fantastic results. The Croatian-Japanese duo Bradaric Ohmae that recently renamed their label SAGAN Vienna, uses a traditional Viennese weaving technique to design clothes and bags, playing on the classic coffee house centre piece, the Thonet Chair No. 14. They work with small European manufacturers. Loden coats and the laying patterns of Parkett flooring, which, common in Europe, appear differently to the foreign eye, play a big role in their collections.A further example is Ukrainian-born Inga Nemirovskaiaâ&#x20AC;&#x2122;s experimental knit design. She combines classical knitting techniques with new 3D processes and uses tape the way it is utilized for functional garments. The Austro-Japanese duo rosa mosa designs shoes and accessories, transferring traditional material technology onto leather with the aid of a blue-print expert. Blue print has a long tradition in Japan and China, and is still alive in the Austrianprovince of Burgenland today. This is another exciting aspect of the process: local techniques have counterparts worldwide that may seem to be specifically local but emerge again in different regions in various forms. Susanne Bisovsky has made a name for herself as an avant-garde Tracht designer. She works with traditional garments, designs black dirndls, favours the rose motif, and has given the language of Tracht a new, gothic twist. Her designs often make use of latex and other materials common to biker clothing. Meanwhile, Karin OĂ¨bster has redefined the classic kimono cut for her label KAYIKO. And the young Viennese designer Leopold Bossert creates ambitious menswear, combining tradition and extravagance. He has converted old carpet sewing machines for use in his studio.

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Conceptual Art It is difficult to pinpoint why Vienna has become such a hub for fashion design that allows for strong concepts to develop, treads a line between contemporary art, design, philosophy and performance. Austria’s rich cultural heritage has allowed it to become a global player in the fashion industry without jumping on the commercial bandwagon. At the end of the 1990s, several labels were launched with great enthusiasm; they had little respect for standards and approached the market with a certain naivety. At that time in Austria the modern fashion industry was still in its fledgling stage; everything seemed possible and risks could be taken, knowing that Japanese consumers loved the eccentric designs of these Austrian pioneers. The label_fabrics interseason, founded in 1990 by Wally Salner and Johannes Schweiger and which no longer exists, is a prime example of this tendency. Their innovative collections were all about breaking out of gender stereotypes, reshaping the construct of normality and allowing for a clash of theory and practice. Numerous labels can be characterised by their proximity to the music scene, which in the 1990s boomed with the electronic era. Helga Ruthner and Hermann Fankhauser, who founded Wendy & Jim in 1999, base their designs on pop-appeal and work with influences from the art world. Another label central to Austrian fashion design has made clear its love of discussion and debate in its own name: house of the very island’s club division middlesex klassenkampf but the question is where are you, now? It was founded in 2006 by an artists’ collective, but has been further developed by Karin Krapfenbauer und Markus Hausleitner. They prioritize fair trade, a unisex appeal and original

concepts, and use mathematical equations to creatively alter classic cuts. Curious silhouettes, which guarantee comfort and wear ability, have become their hallmark. Gender discourse, cross-dressing and musical influences characterise their collections. The two creative minds, both Austrians, now behind house of the very island’s met while studying at the University of Applied Arts Vienna. This is no coincidence: students are heavily influenced by those who teach them. The University of Applied Arts enjoys access to a wealth of renowned, experimental guest professors, including Helmut Lang, JeanCharles de Castelbajac, Vivienne Westwood, Raf Simons, Veronique Branquinho, Bernhard Willhelm and Hussein Chalayan, who all shape the style conception of the young designers. Art-Remix and Street Wear Arthur Arbesser, a fan of unconventional material combinations, took inspiration from the straw weaving of Thonet chairs for the golden Lurex threads of one of his knitted pullovers. For one of his presentations in Milan he even had historical wooden chairs flown in from the Wiener Werkstätte, had paintings by the action artist Hermann Nitsch hung on the walls, and invited a family friend to delight guests with Schubert’s piano music. The rich cultural heritage of the Vienna bourgeoisie is also present in the fashionThe rich cultural heritage of the Vienna bourgeoisie is also present in the fashion scene. Local designers particularly enjoy drawing inspiration from the pattern styles of the Jugendstil era. This is in line with a growing enthusiasm

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towards patterning in general. The duo DMMJK based its first collection on prints of Persian carpets and tapestries, which were combined with elements of clubbing culture: the collection was entitled “Demelrave”, referring to the Vienna coffee house institution Demel and the raves of the 1990s. A little piece of Vienna found its way into global youth culture. The designers at Meshit also focus on minimalist street wear and, as the name of the label suggests, enjoy combining fabrics and techniques. Christina Steiner’s label GON produces eccentric prints, often by hand. These young designers are combining local influences with global trends in the most relaxed and natural way. Minimalism Interestingly, young designers in particular are placing more importance on high-quality materials and workmanship. This can be explained by the extreme rise in competition since the 1990s, meaning one’s position on the market is not perpetually secure. Minimalism, coined by Helmut Lang, is very much back in fashion, and may be considered as an antidote to the fast-paced nature of the fashion industry. Since 2015, Pia Bauernberger has been designing functional, timeless womenswear. She doesn’t roll with the trends; her coats should be worn over many seasons. Ute Ploier, regarded as one of the most successful fashion designers in Austria, has developed an exciting mix of avant-garde aspiration and minimalist charm. Edwina Hörl was previously influenced by Japanese fashion, and the Vienna-based Bulgarian designer Petar Petrov mixes high- and low-end fashion elements to create purist, innovative

designs. FEMME MAISON, founded in 2011, is a luxury label for the modern woman. And Jana Wieland places great value on touch and feel in her collections, designing pieces made from heavy wool-blanketlike fabrics. Russian-born Sabinna Rachimova founded her label SABINNA in 2014 and prefers a mix of traditional manufacturing techniques â&#x20AC;&#x201C; crocheting and knitting â&#x20AC;&#x201C; which she then combines with modern 3D printing. Her minimalistic designs have an elegant, sporty feel to them. Wilfried Mayer founded his menswear label of the same name back in 2005 and works with androgynous styles and classic cuts, which bear unusual and surprising finer details. Claudia Brandmair is following a similar route with her purist, wearable womenswear, which she began designing back in 2003: here, less is more. Fair Trade and Upcycling Fair trade and upcycling are international trends that are also visible on the Austrian scene. At km/a, designers and founders Katha Harrer and Michael Ellinger create unique pieces using unusual materials such as parachutes from the 1960s, used army blankets and tents. Anita Steinwidder, architect-turnedfashion-designer, since 2002, has a similar style. Her label, STEINWIDDER, recuts and restyles used garments. She sews socks over each other and models three-dimensional pieces from this.

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Conclusion It is difficult for many young designers to say whether they could design such cosmopolitan pieces elsewhere. But talking with many of them has made one thing clear: they love the relaxed atmosphere in Vienna, which allows and supports them to work without purely focusing on their commercial value. Many designers have lived abroad for a time, but most of them return, probably partly because there is less pressure in Vienna than in the larger fashion metropolises. This may make it difficult to go global, but it also allows for a highly original form of creativity.

跨学科合作与视觉艺术记者，时尚专家希尔德加德·苏迪格

“关键视像”这一概念源自朵拉·菲利皮讷·卡拉莫斯，即奥拉夫人（Dora Philippine Kallmus aka Madame d’Ora）,(1881-1961)，她是维也纳第一位女性时装摄影师。在很多方面，朵拉（Dora）重新定义了摄影方式。首先，她是最早专注拍摄时装与舞蹈的摄影师之一，而时装与舞蹈也是维也纳世纪之交的两大先锋领域。其次，她避开那些僵硬的拍照姿势，以求更好地拍出被拍者的个性。自 1917 年起，维也纳工坊的时装部开始聘请朵拉（Dora）作为他们的摄影师。而她当时拍摄的那些艺术家及社会名媛均穿着集艺术与手工艺改良于一身的服装。卡罗琳娜·海德（Caroline Heider）(*1978) 沿用奥拉夫人（Madame d’Ora’）的摄影风格，模仿再现，在摄影构图方面紧密合作。卡罗琳娜（Caroline）毕业于维也纳艺术学院的摄影专业，主要探索艺术领域的摄影状态。她在历史摄影作品中寻找反映时代思潮的摄影技术、拍摄场景及拍摄对象。对她而言，时装也同样具有社会 - 政治相关性，因其始终具备自我表征的意图，因此还是会跟当时所在的阶层息息相关。通过采用不同类型的印纸、拼贴及装订技术，她让无生命物品也表现得富有生命力。这种介入同时也增加了其作品的意义，比如，卡罗琳娜（Caroline）折叠图片以遮住被摄对象的眼睛，从而避免接受者与拍摄对象的直接眼神接触，增强拍摄对象的物质性。她尤其迷恋维也纳工作室设计的服饰上的装饰，放弃使用紧身衣。这两方面都是她的介入手段。得以摆脱紧身衣并引入更柔软的飘逸服饰归功于两位时装先锋：埃米莉·路易丝·芙洛格（Emilie Luise Flöge） (1874-1952) 与爱德华·约瑟夫·威默 - 维思格尔（Eduard Josef Wimmer-Wisgrill） (1882-

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1961)。威默 - 维思格尔（Wimmer-Wisgrill）注意到维也纳工作室的全部艺术作品跟建筑与家具一样，都对当地居民服饰风格较为敏感，从而存在一定缺陷。威默 - 维思格尔（Wimmer-Wisgrill）在 1907 年也成立了维也纳工作室时装部门，Flöge 是上述部门的首位现场工作者，她在维也纳拥有一家时装沙龙，该沙龙由维也纳工作室的创始人约瑟夫·霍夫曼及科罗曼·莫泽尔（Josef Hoffmann und Koloman Moser）策划完成，其 logo 标志由古斯塔夫·克里姆特（Gustav Klimt）绘制手稿。芙洛格（Flöge）为数量不断增长的职业女性设计富有当代特色的服装，除此之外，她还将维也纳工作室的概念设计及克里姆特 (Gustav Klimt) 的革新性服装付诸实践。因其对革新者们的理进行了具体实现，她被革新者们视作缪斯女神。后来，受到第三帝国（指希特勒统治下的德国）的压迫，芙洛格（Flöge）不得不关闭沙龙，但威默 - 维思格尔（Wimmer-Wisgrill）对维也纳时装的影响力并未就此终止，他主导了应用艺术学校 Kunstgewerbeschule 的时装部，并在此任职超过 35 年。1955 年，他正式退休。尽管最初他认为时装是“快乐的放大镜”和“文明的产物”，但威默（Wimmer）在工业化的征途上谋求拓展也早已不是秘密。他主张“获得权力”，在他的诉求中，他宣扬了不向时装屈服而是要让时装向其妥协的批判性文化。 (Modetagebuch (1936) : 《新自由报》Neue Freie Presse) 从文化、经济、环境、社会视角反思时装艺术家不拘一格的特点，在威默 - 维思格尔（Wimmer-Wisgrill）之后的奥地利时装设计师身上同样有所

体现。二十世纪九十年代，海尔姆特·朗 (Helmut Lang) （*1956）与摒弃主流时装理念保持距离，用作品书写了新的设计历史。受到过往历史的启发，朗 (Lang) 将时代精神具体化，并创造了知识分子的当代风格。他的艺术审美与奥地利摄影师阿尔菲·塞默坦（Elfie Semotan）(*1941) 的视觉艺术密不可分。在那个喜欢光滑脸蛋和特定姿势的年代，阿尔菲（Elfie）的摄影作品以独具风格的人物个性脱颖而出。维也纳模特寇朵拉·雷耶（Cordula Reyer） (*1962) 为一个缪斯女神类型的雕塑当模特，结果以一种凌厉的美吸引了时装人群的目光。海尔姆特·朗 (Helmut Lang) 是第一个蜚声国际的奥地利设计师，是后代设计师的精神榜样，作为维也纳实用艺术大学时装设计系（1993-1996）的负责人，他同样也塑造了整个设计系的基调。朗 (Lang) 之后的时装设计教授中，将概念设计策略带给学生的拉夫·西蒙斯 (Raf Simons) (2000-2005) 尤为引人注目。拉夫 (Raf) 针对传统时装制度和性别话题进行了批判性思考。与此同时，他们本身也开始开展跨学科合作。在先锋派的实践中，设计师与摄影师共同在试验中摸索前进。艺术家携手合作对双方都有利，一方面是因为富有创造力的合作，另一方面则是通过出版物的发行，摄影师也因此在设计领域名声大噪，这些人包括迈克尔·杜尔（Michael Dürr）、伊丽娜·加夫里克（Irina Gavrich）、安德里亚斯·沃兹曲斯（Andreas Waldschütz）、艾丝特·弗洛斯马提（Esther Vörosmarty）或英奇·普拉德（Inge Prader）等。由时装设计师克里斯蒂亚娜· 格鲁伯（Christiane Gruber）与学生安纳利斯· 施伦克（Anneliese Schrenk）合作在 2005 年创办的 Awareness & Consciousness 品牌就是这样一个跨学科合作的例子。毕业之后，安纳利斯·施伦克（Anneliese Schrenk）回归视觉艺术，开始主要用皮革当做原材料进行试验。其 2015/16 秋 / 冬系列照片就是在工作室中完成的，其作品特意让模特表现出虚无缥缈的眼神。摄影师艾斯特·芙若斯玛特（Esther Vörösmarty）的作品暗指夹在中间进退两难的数字化社会，通过与奥地利

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顶级模特合作，使他们在获得媒体关注度方面具有双赢的效果。设计师珍娜·维兰德 (Jana Wieland) 和摄影师安德里亚斯·沃兹曲斯（Andreas Waldschüt）与模特海伦娜·泽韦林（Helena Severin）合作拍摄照片或视频，作为圣罗兰（Saint Laurent）等品牌合作模特的海伦娜·泽韦林 (Helena Severi)，身着宽松的传统条纹羊毛大衣坐在废弃房间的客厅中，模特的长发与干枯的树叶随风飘舞。自 2005 年起一些品牌开始关注性别话题，最新的作品都开始以性别变移为主题。设计中出现可见的的叙事性特征，可追溯到本哈德·威荷姆（Bernhard Willhelm）以及他作为时装系领头人（2009-2014）的影响力。在各种可能下，与本哈德·威荷姆（Bernhard Willhelm）一起从事研究工作的罗希·波卡（Roshi Porkar）尽可能开展自主性工作，并借鉴真实人物或虚构人物故事，比如美国女权主义者兼航空业先锋阿梅莉亚·埃尔哈特（Amelia Earhart）。蝙蝠袖衬衫是否是埃尔哈特的发明到目前仍未定论，不过很清楚的一点是，视频动画设计师克里斯·霍夫曼（Kris Hofmann）显然借鉴了蝙蝠袖的设计。在作品《乌托邦》中，她设计的女式衬衫好似挂在自行车后面的热气球一样在空中飘荡。衬衫的袖子则好似鸟儿翅膀一般摆动。《乌托邦》的背景是一个设在星座前的乌托邦场景——如同是用英国图书馆的图画拼贴起来的画景一样。跟罗希·波卡（Roshi Porkar）的衬衫一样，弗罗拉·米兰达（Flora Miranda）, 德米特里·戈伊科维奇（Dimitrije Gojkovic）, 皮亚·保尔纳伯格（Pia Bauernberger）和伊莎贝尔·黑尔夫（Isabel Helf）的作品也同样具备这些特征。艺术、设计与手工的融合越来越多的时装设计师开始寻求为时装设置新的界限，并将创意与手工艺相结工艺合。结合数字技术，手工艺创作获得了新生——尽管这一结果更应归于艺术，而非设计。弗洛拉·米兰达（Flora Miranda）在

数字社会中探索变化的物质概念。在作品 Press Reset 中，她将服装投射在一个被困于既定行为模式的社会中，想要通过新的结构摆脱这一既定模式。弗洛拉的服饰全都通过流动转变过程得以创造，以自主开发的硅线、硅形以及充分的加工技术作为基础。鞋履设计师卡洛琳·霍朱伯尔（Carolin Holzhuber）将鞋变成了奢侈的手工雕塑作品，在她的系列作品《共生》（创作于 2016 年夏）中，她将鞋子看做伴侣，双方相辅相成，如此方能共生。卡洛琳（Carolin）将传统手工技艺与创新技术相结合，用在其精致讲究的鞋子设计中。Isbel Helf 手袋设计背后的理论则跟我们日益减少的生活空间以及每个人对秩序的需求等心理概念相关。彼此协调的木头元素使其手袋能与用于储存的柜子或桌面相得益彰。伊莎贝拉 (Isabel) 和一位木匠合作，制作出想要的木头元素。珠宝设计师塔蒂阿娜·沃莱尼科娃（Tatiana Warenichová）则开发了几种和纸相关的技术，用以制作经久耐用的珠宝。她常常从古老的童话书中撕下书页，进行回收利用，然后层层装订成物件，再把纸剪出相应的形状，最后用银或木头对物体进行加工处理。创新生产和制作过程的结果是人们开始从艺术视角理解时装设计，且时装工作室也因此变成了实验室，年轻一代的设计师们对于姗姗来迟的时装设计的发展作出了很大贡献。方法越复杂和 / 或创新，相应的对于设计者表达能力的要求就越高。通过当代语境传达设计理念，如此才能确保时装设计师在潮水搬的媒体图像中获得必要的关注。富有吸引力的照片能让人们在社交媒介上获得更多点赞和分享，而用这样的方式才能以有限的市场预算向目标受众传播理念。另外，就连老牌时装杂志也越来越能接受崭露头角的设计师们的引人注目的创意作品。

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Interdisciplinary Collaborations and Visual Arts Hildegard Suntinger Journalist, Fashion Expert

The subject of Key Visuals comes from Dora Philippine Kallmus aka Madame d’Ora, (1881–1963), the first female fashion photographer in Vienna to revolutionise photography in many respects. For a start, she was one of the first to specialise in fashion and dance, two avant-garde realms in turn-of-the-century Vienna. Secondly, she did away with stiff posing, in order to better bring out her customers’ individuality. From 1917 onwards she was given assignments by the fashion department of the Wiener Werkstätte (Vienna Workshops). The artists and socialite women she photographed also wore the garments designed by the arts and crafts reform movement.Caroline Heider (*1978) adopts Madame d’Ora’s photographs by reproducing them and combining them with their image composition. A photography graduate from the Academy of Fine Arts in Vienna, she explores the status of photography in arts. She finds material in historic photographs, which in technique, setting and subject mirrors the zeitgeist. The representation of fashion is also of socio-political relevance to her as it prescribes an aspiration towards self-representation and thus depends on an echelon that readily engages in such. By applying different types of paper as well as collage and folding techniques, Heider invokes a corporeality of the bodiless image. These interventions simultaneously unlock a play on significances.

As an example, she folds the image to cover up the subject’s eyes, thereby denying the recipients eye contact and objectifying the subject. She is fascinated by the decorations on Wiener Werkstätte clothes and by the renunciation of the corset. Both are aspects referred to in her interventions.The renunciation of the corset and the introduction of a more softly flowing silhouette are ascribed to two fashion pioneers: Emilie Louise Flöge (1874–1952) and Eduard Josef Wimmer-Wisgrill (1882–1961). WimmerWisgrill noticed that the Wiener Werkstätte’s total work of art, as pursued in architecture and furniture, was deeply disturbed by the inhabitants’ dressing styles and thus founded the Wiener Werkstätte’s fashion department in 1907. Flöge was the reformers’ first field worker. She had a fashion salon in Vienna, planned by the founders of the Wiener Werkstätte, Josef Hoffmann and Koloman Moser. Its logo had been drafted by Gustav Klimt. Flöge developed a contemporary style for the ever-growing number of female professionals. Furthermore, she executed the Wiener Werkstätte’s conceptual designs and Gustav Klimt’s reform dress. By incarnating the reformers’ ideals, she was considered their muse.While Flöge was forced to close her salon following the Anschluss, the annexation of Austria by the Third Reich, Wimmer-Wisgrill’s influence on Vienna fashion continued. He headed the fashion department at Vienna’s Kunstgewerbeschule (today’s University of Applied Arts) for more than 35 years. In 1955 he retired. Even if he initially considered fashion as an “augmentation of happiness” and “fixture of civilisation”, he was also aware of a striving for expansion in the course of industrialisation. He advocated a “claim

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to power”, and in a plea called for a culture of criticism that should not be oppressed by fashion but, rather, make it more subserving. (“Modetagebuch”, in: Neue Freie Presse, 1936) Reflections on Fashion from Cultural, Economical, Environmental and Social Perspectives That artists exhibited a resistive nature was also characteristic of the Austrian fashion designers who came after Wimmer-Wisgrill. In the 1990s, it was Helmut Lang (*1956) who wrote history by distancing himself from the prevailing concepts of fashion. As the establishment was inspired by the past, Lang materialised the spirit of our time and created an intellectual, contemporary style. His aesthetic is inseparable from the visualisation associated with the Austrian photographer Elfie Semotan (*1941). In the era of sleek faces and poses, her pictures stood out with the unmistakeable personalities they featured. The Viennese model Cordula Reyer (*1962) assumed a muse-like status and captured the fashion crowd’s attention with her harsh beauty. Helmut Lang was the first Austrian designer to gain world fame and encouraged designer generations after him; as head of the fashion design department at the University of Applied Arts in Vienna (1993–1996), he also shaped them. Amongst the fashion professors who succeeded Lang, it was, in particular, Raf Simons (2000–2005) who brought conceptual design strategies to the students. That artists exhibited a resistive nature was also characteristic of the Austrian fashion designers who came after Wimmer-Wisgrill. In the 1990s, it was Helmut Lang (*1956) who wrote history by distancing himself

from the prevailing concepts of fashion. As the establishment was inspired by the past, Lang materialised the spirit of our time and created an intellectual, contemporary style. His aesthetic is inseparable from the visualisation associated with the Austrian photographer Elfie Semotan (*1941). In the era of sleek faces and poses, her pictures stood out with the unmistakeable personalities they featured. The Viennese model Cordula Reyer (*1962) assumed a muse-like status and captured the fashion crowd’s attention with her harsh beauty. Helmut Lang was the first Austrian designer to gain world fame and encouraged designer generations after him; as head of the fashion design department at the University of Applied Arts in Vienna (1993–1996), he also shaped them. Amongst the fashion professors who succeeded Lang, it was, in particular, Raf Simons (2000–2005) who brought conceptual design strategies to the students. Critical reflection focused on the standardised fashion system and on gender discourse. At the same time, interdisciplinary collaborations were established. In their avant-garde mode of operation, designers and photographers met in their search for experimental ground. Artist cooperations emerged that benefited both parties equally; on the one hand, through the creative collaboration and, on the other, through publications. Photographers who made a name for themselves in the design field include Michael Dürr, Irina Gavrich, Andreas Waldschütz, Esther Vörösmarty and Inge Prader. The label Awareness & Consciousness, established by fashion designer Christiane Gruber and arts student Anneliese Schrenk in 2005, is an example of such an interdisciplinary collaboration. After

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graduating, Anneliese Schrenk returned to visual arts and has since mainly experimented with leather as material. The photo from her Autumn/Winter collection 2015/16 was developed in Anneliese Schrenk’s studio; the model’s physically absent look is part of the script. Photographer Esther Vörösmarty thus alludes to the mediatised and digitised society. Working with Austrian top models results in synergy effects in their pursuit of media attention. Designer Jana Wieland and photographer Andreas Waldschütz worked together with model Helena Severin on a photo/video production. Helena Severin, who has worked for labels such as Saint Laurent, is wearing an over-sized traditional gingham wool coat and is sitting in the living room of an abandoned house; her long hair and dry leaves are blowing around in the wind. Whereas discourse on gender has shaped labels since 2005, gender fluidity is the common sense of their most recent works. There is a visible narrative component in designs that can be traced back to Bernhard Willhelm and his influence as head of the fashion department (2009–2014). At any rate, Roshi Porkar, who studied with Bernhard Willhelm, tries to work as spontaneously as possible and makes reference to real and fictional characters such as Amelia Earhart, the American feminist and aviation pioneer. Whether the wing-sleeved blouse refers to Earhart, remains open to question. Evidently still, the video animator Kris Hofmann has taken the winged sleeves literally. In her work Utopia, she lets the blouse float in the air like a hot-air balloon attached to a string behind a bicycle. The sleeves move like the wings of a bird. The background of Utopia – a utopian landscape in front of a stellar constellation

– was assembled like a collage of pictures from the British Library. Alongside Roshi Porkar’s blouse, the work also features objects by Flora Miranda, Dimitrije Gojkovic, Pia Bauernberger and Isabel Helf. Fusion of Art, Design and Craft A growing circle of fashion designers seeks to set new boundaries for fashion and foster the collaboration of creatives and craftsmen. Combined with digital techniques, the craft is attaining a new shape – even if the outcome is assigned to art rather than design. Flora Miranda deals with the changed concept of materiality in a digital society. In her Press Reset collection she projects clothes for a society that is trapped in stereotypical behavioural patterns but aims to release itself from this through new configurations. Her clothes were created in a fluid transformation process, based on self-developed silicon yarns and silicon shapes as well as adequate processing techniques. Shoe designer Carolin Holzhuber turns shoes into luxurious handmade sculptures. In her Symbiose collection (Summer 2016), she sees shoes as couples, where both parts depend on each other in order to exist at all. She combines traditional craft with innovation in her elaborate constructions. The theory behind Isabel Helf’s bag design refers to living spaces that become more and more sparse as well as to psychological concepts such as a compulsory need for order. Integrated wood elements

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make her bags compatible with shelves and surfaces for storage. She produces the wood elements in cooperation with a carpenter. Jewellery designer Tatiana WarenichovĂĄ has developed various paper techniques that she uses to produce durable jewellery. She often takes the paper from old fairy-tale books and recycles it into objects by binding it in layers, then cutting the paper into shape and processing the objects as they are with silver or wood. As fashion design is understood from an arts perspective and fashion studios are turned into laboratories as a result of innovative manufacturing processes, the youngest designer generation is making a contribution to the development of fashion design that is long overdue. The more complex and/ or novel the approach, the higher the demand on the visualizers to communicate this accordingly. A representation that conveys the concept in a contemporary language ensures the fashion designer the necessary attention in the flood of media imagery. Photos that are appealing and attract attention trigger likes and shares in social media. In this way, relevant target audiences can be reached even with a limited marketing budget. Moreover, even establishedfashion magazines are becoming increasingly receptive towards the outstanding creative work that comes from the circles of budding designers.

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第一章：历史发展 Chapter 1 : Historical Outline

历史时间轴聚焦并剖析奥地利时尚历史中的重大转折点，从十九世纪早期维也纳的重要地位开始，追忆上世纪末前卫的奥地利设计作品在国际舞台上声名鹊起。当代年轻设计师比以往都更为关注借鉴传统历史，对当代奥地利时尚身份和社会进行重新审视和再次定义。

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The historical timeline aims to spotlight the major turning points in Austrian fashion history, starting in the early 19th century with Viennaâ&#x20AC;&#x2122;s powerfull position, moving through the turn of the century avant-garde, the first successful Austrian exports gaining international recognition. More so today than ever before, young designers borrow from the past to reinvent and reexamine the present identities of Austrian fashion and society.

Time Line Austrian Fashion

1814 大量服装历史学家认为维也纳时装历史可追

1840s 在三月革命的推动下，皇帝斐迪南一世

溯至 1814 年。1814 也正是维也纳和时尚之都巴黎

(Ferdinand I.)（1793-1875）退位，弗兰茨·约瑟

走向不同发展道路的一年。基于其政治历史及地理

夫一世 (Franz Joseph I.)（1830-1916）登上帝位。

位置使得维也纳成为了西方、东方和南方文化的大

使得时尚在维也纳的地位日渐削弱。法国利用时尚

熔炉。流行于维也纳会议期间的盛大舞会使维也纳

业在历史发展结构中的重要地位重新为时尚业带来

时装成为世界焦点。维也纳时装以和谐的轮廓，剪

生机，包括维也纳在内迫切渴望发展的竞争者们却

裁以及恰到好处的颜色与细节为特色。

无法跟上法国的脚步。

1840s Set against the backdrop of the March revolution and the abdication of Emperor Ferdinand I. (*1793; +1875) in favour of Emperor Franz Joseph I. (*1830; +1916), the significance of the Viennese fashion is wearing off. France re-establishes fashion sovereignty due to its historically grown structures. Cash-hungry competitors including the Viennese industry cannot keep up. Vienna Congress 1814, copperplate engraving. Jean Godefroy after a painting by Jean-Baptiste Isabey.

1814 Many costume historians begin the history of Viennese fashion with 1814, which is also the

1865 Franz Xaver Winterhalter 于 1865 年创作的肖像画描绘了茜茜公主和她穿着的新星长袍。新星长袍出自设计师 Charles Frederick Worth

year when Vienna and fashion metropolis Paris

(1825-1895) 之手。那个时代，女皇的穿着引领时

went separate ways. With its political history and

尚风向。19 世纪，贵族和上层资产阶级开始追求

geographical location, Vienna has become a

时尚和品位。于此同时，时尚界的新星有了更大的

melting pot of Western, Eastern and Southern

影响力。Franz Xaver Winterhalter (1805-1873)

cultures. The big balls during the Vienna Congress put Viennese fashion at the centre of the world's

是一名深受追捧的德国肖像画家，他为欧洲各国的

attention. Viennese fashion features harmonious

贵族和皇室人员作画。

silhouettes and narrow cuts, limited colours and

1865 In a portrait by Franz Xaver Winterhalter

details.

from 1865, Sisi is dressed in her 'starlet robe', designed by Charles Frederick Worth (*1825; +1895). The empress (*1837; +1898) is the fashion icon of her time. Aristocracy and upper

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bourgeoisie set their stamp on fashion taste in

1890s 累赘、华而不实的女性时装受到抨击。由

the 19th century. At the same time, new stars on

英国发起，深受人们推崇的改革运动“艺术与手工”

the stage have increasing influence. Franz Xaver Winterhalter (*1805; +1873) was a sought-after German portrait painter, taking on assignments from nobilities and dynasties across Europe.

解决了女性面临的着装难题。“要衣服 - 不要时尚” 将成为妇女从危害健康的紧身胸衣中解放出来的口号。同时，随着自行车成为交通工具，设计师们开始寻找更适合女性骑车的着装。

1890s The overloaded and highly impractical women's fashion faces criticism. Arts & Craft, the reform movement from England with continental foothold, addresses fashion questions. ‚Clothing – not fashion’ is the new catchphrase set to emancipate women from the corset that is blamed for many health problems. At the same time, as women discover the bicycle as a means of transportation, the search for appropriate cyclewear begins.

19 和 20 世纪之交在 1900 年，现代主义者提倡转变审美趋势，推崇无饰品装饰的功能设计。其中包括 Josef Hoffmann (1870-1956) 和 Koloman Moser (1868-1918)。1903 年，她们建立了维也纳工作室“Wiener Werkstaette”。除了建筑和室内设计，她们依然热衷于对女性服装的改革。她们的作品将德国、法国和奥地利风格与元素进行融合。然而只有少数来自资产阶级和艺术圈的前卫女性敢 Portrait of Elisabeth of Austria, Empress of Austria, Queen of Hungaryby Franz Xaver Winterhalter.

于穿着艺术家或 Flöge 姐妹设计的服装。这种改良后的服装休闲中透露着优雅。

Turn of the century In 1900 modernists proclaim an aesthetic turn of trends and represent a functional design that make do without ornaments. Among these are Josef Hoffmann

seen as ‚elegant clothing of the distinguished idleness’.

1910 Wiener Werkstaette 的创始人之一 Josef Hoffmann 在维也纳接待了巴黎的女装设计师 Paul Poiret (1879-1944)，并使 Paul Poiret 了解了革新运动的计划。回到巴黎后，Poiret 创建了装饰艺术学校 Atelier Martine。学校生产灵感来自民间艺术的面料、墙纸、陶瓷和家具。Poiret 也会使用来自维也纳工作室 Wiener Werkstaette 的布料，比如 1919 年生产的 Dagobert Peche's 和 Diomedes。

1910 Josef Hoffmann, one of the founders of the Wiener Werkstaette, receives Parisian couturier Paul Poiret (*1879; +1944) in Vienna and acquaints him with his reform movement programme. Back in Paris, Poiret establishes Atelier Martine, a school for decorative arts that produces fabrics, wallpaper, ceramics and Emile Flöge (1874 – 1952) Photo: Madame d’Ora Benda © IMAGNO / Austrian Archives

(*1870; +1956) and Koloman Moser (*1868; +1918). In 1903 they establish the Vienna

fabrics from the Wiener Werkstaette, for example Dagobert Peche's ‚Diomedes’ from 1919.

Workshops, Wiener Werkstaette. Alongside

1933 Wilhelm-Alfred Adlmüller (1909-1989) 在

architecture and interior design, they work on a

维也纳市中心的著名女装精品店 Tailor Stone &

reformation of women's clothing. The outcome is a

Blyth 第一次举办了高级时装展。1936 年以来，他

synthesis of the German-sensible reformed dress,

一直担任电影、剧院演员的服装设计师。在世界

a French line of fashion and Austrian stylistic elements. Only very few avant garde women from the better-off bourgeoisie and artists' circles wear

furniture inspired by folk art. Poiret also uses

二战期间，许多犹太商人逃至美国避难，于是， Wilhelm-Alfred Adlmüller 接手了他们的生意。犹

the artists' design or the designs from the Flöge

太人回国后，他继续接管并且在 1950 年成立了自

sisters' atelier. Reformation fashion is generally

己的时装品牌 W.F. Adlmüller。他为明星、政

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Upon their return, he takes over the business and dedicates it in 1950 to his couture label W.F. Adlmüller. He dresses stars and politicians' wives and remains close to the world of film, theatre, opera, nobility and jet set. His style is described as classic and feminine.

1959 – 1972 二战后，Gertrud Höchsmann 担任维也纳应用艺术大学（Kunstgewerbeschule）时装系主任。当时，女服设计师状况可以用这两句话来描述：“我们只要生产了纽扣，就一定会生产纽扣孔，优雅来源于人格魅力和服饰的协调搭配”。

Emile Flöge (1874 – 1952) Photo: Madame d’Ora Benda © IMAGNO / Austrian Archives

客阔太们设计服饰并且和电影，剧院演员、贵族、富豪们保持着亲密的关系。他的设计风格古典且彰显女性气质。

1933 Wilhelm-Alfred Adlmüller (*1909; +1989) presents his first haute couture-collection at ‚Tailor Stone & Blyth’, a renowned fashion boutique in the Vienna city centre. From 1936 he also works as a costume designer in film and theatre productions.

Evening dress, 1952, by Gertrud Hoechsmann © Austrian National Library

During WWII he runs the business on behalf of the Jewish owners who had emigrated to America.

1959 – 1972 Gertrud Höchsmann takes over as

泳衣。Gernreich 也是社会批评家，认为时装设计

head of the fashion department at the Academy

是一种社会评价，他拒绝认为人体是有性特征的，

for Applied Arts, which replaced the School of

也强烈反对性别定式。

Applied Arts, Kunstgewerbeschule, after WWII. The couturiers position becomes clear in quotes

1964 The Austrian fashion designer Rudi

like this: „Where there is a button, there ought to

Gernreich (*1922; +1985), who emigrated to

be a button-hole", and „Elegance is the consensus

the USA in 1938, launches the Monokini, the

between personality and clothing“.

first swimwear that leaves the female breasts uncovered. Gernreich, a critic of society, sees fashion design as a social commentary and

1964 奥地利设计师 Rudi Gernreich (1922-1985) 于 1938 年移民到美国，他发明了单片比基尼泳衣，这是人类历史上第一款没有完全遮盖住女性胸部的

refuses to understand the body as sexualised. He is particularly opposed to gender stereotyping.

1979 奥地利艺术家奥斯瓦德·奥伯胡博 Oswald Oberhuber （1931-）为维也纳应用艺术大学的校长。1980 年，他任命 Chloé 设计师卡尔·拉格菲尔德 ( Karl Lagerfeld) 为大学客座教授。生于汉堡的拉格菲尔德因此成为维也纳应用大学的第一个非奥地利籍时装系主任。在随后的几十年，国际设计师们追随他的步伐，其中包括吉尔·桑德 (Jil Sander)（1983-1985）、让·夏尔·德·卡斯泰尔巴雅克 (Jean-Charles de Castelbajac) （1985-1990）、薇薇恩· 韦斯特伍德 Vivienne Westwood（1990-1991）、马克· 博汉 (Marc Bohan )（1991-1993）、海尔姆特· 朗 (Helmut Lang)（1993-1996）、维科特 & 洛夫 (Viktor & Rolf )（1999-2000）、拉夫· 西蒙斯 (（Raf Simons)(2000-2005）、薇洛妮克· 布兰奎诺 (Veronique Branquinho)（2005-2009）、本哈德·威荷姆 (Bernhard Willhelm)（2009-2014）和侯赛

Everett Collection / picturedesk.com

因·卡拉扬（Hussein Chalayan）（自 2014

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und Tal ”（“山川和山谷”），以心形的低颈露肩造型和夸张蓬松的袖子令人瞩目。今天，该设计已成为维也纳应用大学的收藏。

1979 The Austrian artist Oswald Oberhuber (*1931) becomes rector at the University of Applied Arts Vienna. In 1980, he appoints the designer Karl Lagerfeld (*1933), who worked for Chloé at the time, guest professor at the university. Born in Hamburg, Lagerfeld is the first non-Austrian director to lead the fashion department. Over the coming decades other international designers follow in his footsteps, including Jil Sander (1983 – 1985), Jean-Charles de Castelbajac (1985-1990), Vivienne Westwood (1990-1991), Marc Bohan (1991-1993), Helmut Lang (1993–1996), Viktor & Rolf (1999–2000), Raf Simons (2000–2005), Veronique Branquinho (2005–2009), Bernhard Willhelm (2009–2014) and Hussein Chalayan (since 2014). In 1987, Oberhuber designs his own clothing collection, Oswald Oberhuber two-piece „Herz-As“, 1988, KM 5685, collection „Effektiver Sommer“ ("Effective Summer") Costume and Fashion Collection, University of Applied Arts Vienna Photo © Peter Hoiß, Konrad Strutz

Effektiver Sommer (“Effective Summer”), presented as part of the U-Mode Wien young fashion designer fair in Vienna’s Messepalast. The models have names such as Herz-Ass (“Heart-Ace”), Reife Mango (“Ripe Mango”) and Herbstrüschenlose

年）。1987 年，奥伯胡博（Oberhuber ）设计了

(“Autumn without Flounces”). The collection also

他自己的服装系列“Effektiver Sommer ”（“有

includes a dirndl called Berg und Tal (“Mountain

效的夏天”），作为 U 型时装在维也纳博览大厦的维也纳青年设计师博览会中展出。该设计亦被称为 “Herz-Ass”（红桃 A）、“Reife Mango”（熟

and Valley”), featuring a heart-shaped décolleté and exaggerated puffy sleeves. Today, the models are part of the collection of the University of Applied Arts, Vienna.

了的芒果）以及“Herbstrüschenlose”（“秋天没有荷叶边”），该系列也包括紧身连衣裙“Berg

二十世纪八十年代伴随着全球设计行业空前发展，

1986 Helmut Lang presents his collection in Paris

商业化随之而来。商业化力图推动亚文化的发展，

for the first time and is feverishly celebrated by

这遭到了艺术、音乐界的强烈抗议。在很多领域，

the international fashion press. The reason is the

甚至时装界也催生出人们意识的觉醒。尽管维也纳一时出现了大量独立时装品牌，但因为他们的反时装态度，很快便淡出了人们的视野。

inspired by Josef Hoffmann, Adolf Loos (*1870; *1933) and Koloman Moser. Lang makes use of unconventional materials like rubber, feathers and

1980s Globally there is an ‚explosion in design'.

metals and redefines the 1990s silhouette. In 1996

Inevitably intertwined is a commercialisation that

he is named ‚Best International Designer of the

also calls subcultures into action. Protest and

Year’ by the CFDA, Council of Fashion Designers

provocation surface from the arts and music sectors and spur on, even in fashion, a sense of awakening. In Vienna a number of independent fashion labels crop up. They are however soon out of sight due to their anti-fashion attitude.

1986 海尔姆特·朗（Helmut Lang）在巴黎举办的第一场展览《维也纳 1880-1938》受到了国际时装媒体的大力追捧。他的展品灵感来源于 Josef Hoffmann、Adolf Loos (1870-1933) 以及 Koloman Moser。Lang 在设计中用了许多非常规原料，比如香蕉、羽毛和金属，展现了二十世纪九十年代维也纳的缩影。1996 年，他被 CFDA（美国时装设计师协会）评为“年度国际最优秀设计师”。 1997 年他移居美国。1998 年他成为第一位在网络上举办展览的设计师（98 年秋季 /99 年冬季）。 Helmut Lang 将他的作品分配给全球 18 个博物馆。最珍贵的则收藏在维也纳应用艺术博物馆 Museum für Angewandte Kunst (MAK) 之中。时至今日， Helmut Lang 品牌依然存在，并于 2006 年后被东京 Link Theory Holding 公司收购。

exhibition ‚Wien 1880-1938’. His collection is

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1988 经过战略重组和贸易升级，针织品制造商 Wolford 跻身于高端奢侈品市场。与设计师 Vivienne Westwood、Karl Lagerfeld 以及 Valentino 的合作确保了 Wolford 的时装在 T 台上站稳脚跟。与摄影师 Helmut Newton 以及 Mario Testino 的合作使得 Wolford 建立其品牌形象。在奥地利时装局（Österreichisches Modesekretariat）的资助下，时装表演和商品展览开始在慕尼黑、杜塞尔多夫以及巴黎上演。Atil Kutoglu(1968) 是为数不多仍然积极参与、推广奥地利时装出口的设计师。

1988 As a result of a strategic reorganisation and trade-up, hosiery manufacturer Wolford is now positioned in the high-end luxury market. Cooperation with designers like Vivienne Westwood, Karl Lagerfeld and Valentino ensures Wolford a very strong presence on the catwalk. left: Helmut Lang, Paris, Ready to Wear. Autumn/ Winter 2003/04 (Model: Karolina Kurková) © PIERRE VERDY / AFP / picturedesk.com right: Archive Helmut Lang New York, Ready to Wear. Autumn/ Winter 1994 (Model: Christy Turlington) © Anthea Simms / Camera Press / picturedesk.com

Contributing to building their image is also their cooperation with photographers like Helmut Newton and Mario Testino.

二十世纪九十年代资本化后，全球时装逐渐朝着

of America. He moves to New York in 1997. In

新潮时装和快速时装的方向发展。公司为各自股东

1998 he is the first designer to stream a collection

争取利益的现象催生了新潮时装行业的商业化进

online (Autumn/Winter 1998/99). He draws a close to his fashion career in 2005 and moves into the cultural field. He divides his archive between

程。奥地利于 1995 年加入欧盟，快速时装行业随之进入奥地利市场，导致这一行业竞争愈发激烈。

18 museums worldwide; the most important items

1990s Following capitalisation, global fashion

are given to the Museum of Applied Arts, Museum

concerns move in direction of High fashion and

für Angewandte Kunst (MAK). The brand Helmut

Fast fashion. A strive for ‚shareholder value’ spurs

Lang still exists and has been the property of the

a commercialisation process in High Fashion.

Link Theory Holding in Tokyo since 2006.

And as Austria is joining the EU in 1995, the Fast

fashion businesses' entry on the market leads to an intensification of the competition.

1991 Andreas Kronthaler (1966) 与 Vivienne Westwood (1941) 在维也纳应用艺术大学相识。当时 Andreas Kronthaler 还只是个学生，而 Vivienne Westwood 已在维也纳应用艺术大学时装系任教了两年。Andreas Kronthaler 当时正在绘制文艺复兴时期服装的草图，Vivienne Westwood 邀请他前往自己位于伦敦的工作

Andreas Kronthaler for Vivienne Westwood, 2016 © Francois Mori / AP / picturedesk.com

室，将这些草图转化为实物，之后两人结为伉

Bisovsky, Wendy & Jim, Filip Fiska (Hartmann

俪。如今 Kronthaler 和 Westwood 一起经营

Nordenholz), Sergej Schmid, Christiane Gruber

公司。2016 年春天，Kronthaler 开办了自己的

(Awareness & Consciousness), Ute Ploier,

展览，名为“Andreas Kronthaler for Vivienne

Markus Hausleitner (House of the Very Island’s

Westwood”。

…) 及 Isabelle Steger. 5 月 29 日，在维也纳市政厅举办了第一次维也纳

1991 Fashion student Andreas Kronthaler (*1966)

慈善舞会。这样的慈善活动旨在帮助感染 HIV 病

meets Vivienne Westwood (*1941) at the fashion

毒和患有艾滋病的人群。在舞会宾客们的积极推动

department of the University of Applied Arts

下，这种刺激、迷人的舞会蓬勃发展。当时有 70

where she teaches for two years. As he sketches renaissance dresses, he receives an invitation to turn these into realisation at her atelier in London.

家电视台报道了舞会盛况。舞会的固定节目是由明星们策划的时装秀，这些明星包括 Thierry Mugler,

They become a couple. Today Kronthaler manages

John Galliano, Jean Paul Gaultier

the business jointly with Westwood. In Spring 2016

Rabanne。

和 Paco

he presents his own collection titled ‚Andreas Kronthaler for Vivienne Westwood’.

1993 在维也纳应用艺术大学时装系首次颁发 Adlmüller Scholarship 奖学金。回顾以往，奖学

1993

The Adlmüller Scholarship is for the first

time awarded at the College of Applied Arts' fashion department. In retrospect, previous winners include designers with sustainable concepts and

金获得者既有推崇可持续发展的设计师，亦有已经

successes even to date. Among these: Susanne

功成名就的设计师。其中包括：Susanne

Bisovsky, Wendy & Jim, Filip Fiska (Hartmann

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Nordenholz), Sergej Schmid, Christiane Gruber

敦的奥地利设计师 Peter Pilotto (1977) 和 Marios

(Awareness & Consciousness), Ute Ploier, Markus

Schwab (1978)。

Hausleitner (House of the Very Island’s …) and Isabelle Steger. 29th May sees the first Lifeball on stage in the Vienna City Hall. This is a charity event to benefit HIV positive and Aids patients. The popularity of this provocative and glamorous ball keeps growing thanks to the list of edgy guests. Meanwhile 70 TV

1999 Swarovski works even closer with the fashion industry to develop new prospects for the use of crystals. The foundation for the ‚Swarovski Collective’ project is built in collaboration with Alexander McQueen and Isabella Blow, which also provides the concept. As of 2015, Swarovski works with 150 designers all over the world. Among them are the Londonbased Austrian designers Peter Pilotto (*1977) and Marios Schwab (*1978).

新千年的第一个十年奥地利时装局（the Austrian Fashion Bureau）曾资助设计师推广奥地利时装产业向外出口，但现在奥地利时装局已被私有化。随后，联邦大臣发起了一系列举措支持创新行业，培 Fred Adlmüller with mannequin, assistants and students at the College of Applied Arts' fashion department, 1977 © Costume and Fashion Collection, University of Applied Arts Vienna

养时装设计师。通过举办区域展会、提供专项资金和奖学金，在巴黎、伦敦和米兰涌现了越来越多的奥地利设计师。包括 Wendy & Jim, Petar Petrov,

stations report from the event. The fixed post on its

Ute Ploier, Hartmann Nordenholz, Babrics

programme is a fashion show put on by stars like

Interseason 和 Pelican Avenue 在内的大量设计

Thierry Mugler, John Galliano, Jean Paul Gaultier

师因为获得资金支持得以在巴黎举办展览。同时本

and Paco Rabanne.

1999

施华洛世奇为了开发水晶运用的新前景，

一直与时装行业保持着紧密的合作。Alexander McQueen 和 Isabella Blow 为“施华洛世奇展” 的项目提供了概念和想法，该项目的最终成立离不开这两位设计师的合作。截止到 2015 年，施华洛世奇与全球 150 多位设计师合作，包括位于伦

土时装平台也取得了发展，出现了“维也纳时装周”、“穿之博览会”（WearFair）以及“时装宫” （Modepalast）。

The first decade of the second millennium While the Austrian Fashion Bureau granted support to designers in their export endeavours in previous years, the Bureau is now being privatised. Subsequently, the Federal Chancellery launches a number of targeted initiatives to support the creative industry and budding fashion designers. A stronger presence of Austrian designers in Paris, London and Milan is facilitated through community exhibitions, earmarked funding and scholarships. Wendy & Jim, Petar Petrov, Ute Ploier, Hartmann Nordenholz, __fabrics interseason or Pelican Avenue finance their shows in Paris thanks to the funding. At the same time, new platforms arise locally, for example Vienna Fashion Week, left: Peter Pilotto, London Ready to Wear. Autumn/ Winter 2015 © Anthea Simms / Camera Press / picturedesk.com right: Marios Schwab, London, 2013 © Lewis Whyld / PA / picturedesk.com

the WearFair and the Modepalast (eng. fashion palace).

2003 移居到米兰的奥地利设计师 Carol Christian Poell (1966) 在米兰一条运河上开办了名为 “mainstream-downstream” 的时装秀，模特们背部漂浮在河面上进行时装展。Poell 的工作室也称得上是科学实验室，因为非常规材料处理技术

重尚 ReFashioning

就是在这里发明的。他也使用皮革、人体毛发和猪

装出口额达到了三亿三千四百万欧元，而 2010 年

肠做实验。因 Poell 作为一名颠覆性、社会批判性

出口额却下降到 1982 年的五分之一。奥地利百分

时装艺术的代表，维也纳应用艺术博物馆中专门为

之九十五的时装货物用于出口，其中百分之五十

Poell 设有档案。

销往非洲，以尼日利亚为主。福拉尔贝格刺绣行

2003 Carol Christian Poell (*1966), a Milan-

业内部成立了创新小组“Smart Embroideries

based Austrian, puts on a ‚mainstream-

Austria”。其目标是推动刺绣技术创新以保护奥地

downstream’ fashion show on a Milanese canal.

利未来市场竞争力。奥地利刺绣学校建于 1887 年，

The models float on the river on their backs. His workshops also serves the function of a

目前仍吸引着来自世界各地的学生前来深造。

science laboratory where processing techniques for unconventional materials are developed.

2010 V i v i e n n e W e s t w o o d 和 A n d r e a s

He experiments with leather, human hair and

Kronthaler 于 2010 年赢得了“ 艾蜜莉芙洛格奖

pig intestines. The Museum of Applied Arts in

（Emilie Flöge Prize）”。该奖项是由传统戏服

Vienna has dedicated a special archive to Poell as representative of a subversive, socially critical fashion art'.

(Trachten) 设计师 Gesine Tostmann (1942-) 设立的。知名设计师 Westwood 的作品运用了传统元素和突出女性胸部的造型轮廓。此次获奖

在欧盟和全球化的积极影响下，越来越多立志从事

也让她有机会传达出自己的心声：“ 所有穿上

时装行业的年轻人选择在安特卫普、米兰、伦敦

阿尔卑斯连衣裙（Dirndl）的女性朋友都是美丽

深造，就业，生活。Peter Pilotto 于 2009 年在伦

的！”Westwood 表示，即使对于身材不好的女

敦确立了品牌标签，2013 年在柏林创造了时装品

性来说，穿上阿尔卑斯连衣裙（Dirndl）可以让

牌——Marina Hoermanseder。Arbesser 在伦敦

她们看起来更有型。Westwood 的丈夫 Andreas

学成后就职于 Giorgio Armani 公司，八年后他在

Kronthaler 是提洛尔人，他在伦敦的公司总部依然

米兰创立了自己的时装品牌。

身穿皮短裤。Tostmann 家族企业诞生于 1949 年，

福拉尔贝格刺绣行业已经学会了如何迎头面对时

Gesine Tostmann 是企业第二代传人，她的母亲

装领域经济波折带来的挑战。1982 年，奥地利时

Marlene 在战后时期塑造了“奥地利风格”。

2010s Favoured by the European Union and

how to tackle fashion-related economic peaks and

globalisation, young people who pursue a

troughs head-on. While the export value was 334

career in fashion are increasingly making use of

million euro in 1982, it was reduced to a fifth in

educational opportunities in Antwerpen, Milan

2010. 95 percent of the goods are exported, of

and London. And they tend to remain there. Peter

which 50% to Africa and in particular Nigeria. The

Pilotto founds his label in London in 2009, Marina

innovation panel ‚Smart Embroideries Austria’ has

Hoermanseder hers in Berlin in 2013. Arthur

been formed within the Vorarlberg Embroidery

Arbesser, who worked for Giorgio Armani for

Industry. Its goal is to look out for innovations

eight years after finishing his studies in London,

from the realm of technical embroidery in order

establishes his label in Milan.

to protect future market positioning. The School of

The Vorarlberg Embroidery Industry has learnt

Embroidery, established in 1887, is still running and attracts students from afar. Vivienne Westwood and Andreas Kronthaler are awarded the ‘Emilie Flöge Prize 2010’, set up by Gesine Tostmann (*1942), herself a designer of traditional costumes (Trachten). Westwood is known for her traditional bonds and her feminine silhouette where the breasts are accentuated. The Prize refers to Westwood's statement: “If all women wore a Dirndl, ugliness would cease to exist.” Especially women who do not possess a perfect physique would look a lot better in a Dirndl, meant Westwood. Her husband, Andreas Kronthaler, a native Tyrolean, wears Lederhose even at their

Two women in Dirndl, 1935, Bad Ischgl © Austrian National Library

head office in London. The Tostmann's family business was established in 1949, and Gesine

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Tostmann is the second generation to run it. Her mother Marlene gave shape to the ‘Austrian Style’ during the post-war period.

2016 于上海刘海粟美术馆举行的“重尚”奥地利时装艺术展，首次向大众呈现奥地利当代时装设计的发展历程。

2016 The “ReFashioning”exhibition in Liu Haisu Art Museum in Shanghai offers a first summary of the development of contemporary Austrian fashion design.

第二章：当代时尚 Chapter 2 : Contemporary Fashion Design

2000 年至今，奥地利时尚设计发展迅速：国际时装周中奥地利设计师的身影越来越多地进入大家的视野，在国家创意产业领域及公共文化艺术资助计划中，他们的设计亦捕获更多关注。本次展览中，大部分展出作品的设计师均毕业于著名的维也纳应用艺术大学，因此设计者们有机会与业界精英携手合作：包括海尔姆特·朗（Helmut Lang）、让·夏尔·德·卡斯泰尔巴雅克（Jean-Charles de Castelbajac）、薇薇安 . 韦斯特伍德（Vivienne Westwood）、拉夫·西蒙（Raf Simons）、薇洛妮克·布兰奎诺（Veronique Branquinho）和本哈德·威荷姆（Bernhard Willhelm）或候塞因·卡拉扬（Hussein Chalayan）等，大师们携手这些设计师塑造新一代的风格概念。然而，奥地利的时尚不仅着眼于未来，更秉承经典传承。当代设计师经常借用传统手法和材料，并将它们运用至前瞻性设计中，并在公平、可持续的条件下，开发创新制作方式。手工艺制作在奥地利享有着悠久的历史，始于罗登服饰和 Tracht（一种奥地利德语区传统服饰），这些服饰常采用优质面料和缝纫工艺制作，对当地传统产品关注度的重新建立并持续加强，使独特的传统手工技术再次崛起，又一次登上了工业舞台的中心。奥地利设计师不断证明了他们在传统技术与新设计相融合方面的专业才能，突破陈规，标新立异。

é&#x2021;?ĺ°&#x161; ReFashioning

Since the millennium, Austrian fashion design has experienced significant growth: Austrian designers have become increasingly present at international fashion weeks, and design has gained greater importance within the national creative industry, as well as with the public arts and cultural funding schemes. Most of the designers showcased in the exhibition are graduates of the prestigious University of Applied Arts in Vienna and have thus had the chance to work with the industryâ&#x20AC;&#x2122;s greats, such as Helmut Lang, Jean-Charles de Castelbajac, Vivienne Westwood, Raf Simons, Veronique Branquinho, Bernhard Willhelm or Hussein Chalayan, who all helped shape the style conception of the new generation. Nevertheless, Austrian fashion not only draws on its future, but also on its heritage. Contemporary designers often embrace traditional methods and materials and include them in their forward-thinking designs, striving to develop new ways to produce in fair and sustainable conditions. Handcraft has a long history in Austria, beginning with loden garments and Tracht (traditional dress in Germanspeaking areas), which were produced with a love of high-quality fabrics and needlework. New and ever-growing interest in local products shines a light on exceptional traditional handcraft techniques that are yet again taking centre stage in the industry. Austrian designers consistently prove their expertise at combining traditional techniques with new designs. They are thus able to transcend old preconceptions and set new boundaries.

奥地利时装品牌 STEINWIDDER 创始人 Anita Steinwidder 是一位自学成才的时装设计师，在维也纳工作和生活。 2000 年 Steinwidder 从格拉茨技术大学毕业，获得建筑文凭，但很快就在 2002 年开始服装设计与制作。Steinwidder 的设计方式别具一格：跟其他很多时装设计师不同，Steinwidder 的设计流程并非从绘图开始，而是对现已存在的物体进行三维建模。二手服装或二手物品被剪切或分解然后形成新的原创设计，既具功能性又带有不同的概念。 Steinwidder 的项目导向作品强调有机造型、结构和带给人轻松感的面料，通过一种有趣的方式表达出对空间和空间性的强烈建筑学意识。Steinwidder 在 2011 年份奥地利时装大奖上夺得时装制作奖，并在 2011 年五月获得清洁绿色时装奖。2012 年，Steinwidder 夺得 Modepalast 十佳奖。 Anita Steinwidder, founder of the Austrian fashion label STEINWIDDER, is a self-taught fashion designer living and working in Vienna. Anita graduated in 2000 from the University of Technology Graz with a degree in architecture, but swiftly began designing and producing clothes in 2002. Her approach to design is unusual: unlike most other fashion designers, Anita’s working process does not originate in drawing, but rather, in the three-dimensional materiality of already existing objects. Second-hand clothes and articles are cut up or ripped apart and reconfigured into original forms with new functions and different conceptual contexts. STEINWIDDER’S project-oriented collections all emphasize organic shapes, structures and relief-like surfaces, interestingly expressing a strong architectonic awareness of space and spatiality. STEINWIDDER was awarded the Vienna Chamber of Commerce Fashion Production Prize at the 2011 Austrian Fashion Awards, and the Green & Clean Fashion Award in May 2011. In 2012 STEINWIDDER won the Modepalast Best of 10 Prize.

斯坦维德 STEINWIDDER 重塑时尚 Remade Fashion 2012 摄影 : © Peter Garmusch Photography by © Peter Garmusch

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Claudia Brandmair 没有按部就班地上大学，而是从小就在母亲的服装定制工作室里耳濡目染。1998 年，她在维也纳的国际时装日活动中展示自己最初的设计作品。之后便在纽约追随马克·雅可布（Marc Jacobs）和鲁宾·夏佩尔（Rubin Chapelle ）工作了一年。“Bandmair”品牌于 2003 年创立，并在维也纳的“一周风格诱惑（One Week Style Seduction）”活动中首秀。 Claudia Brandmair 崇尚极简主义和纯粹主义，她所设计的服装结实耐穿，且适合日常穿着。Claudia Brandmair 要么用非典型材料制作经典款服饰，要么将普通的布料改造成极富震撼力的系列。Brandmair 服装系列的特点之一就是不设主题，相反每一件衣服都别具一格。2010 年， Brandmair 赢得奥地利时装大奖国际 PR，2011 年又在维也纳时装及生活方式大奖上获得设计师分项的第一名。 Claudia Brandmair did not take the conventional university route, instead she was trained as a child in her mother’s tailoring studio. She presented her first collection in 1998 at the International Fashion Days in Vienna. This was followed by a year long work experience at Marc Jacobs and Rubin Chapelle in New York. The label “Brandmair” was founded in 2003 and debuted at the One Week Style Seduction in Vienna. Her silhouettes are minimalistic and purist, her pieces wearable and appropriate for the everyday. Brandmair either uses atypical materials for classical cuts, or she molds modest fabrics into contrasting constellations. A hallmark of her method is that there is no overriding thematic to her collections; instead each piece should stand alone. In 2010 she won the Austrian Fashion Award for International PR and at the 2011 Vienna Awards for Fashion and Lifestyle she took first place in the designer category.

布兰德迈 Brandmair 春夏 Spring / Summer 2015 摄影 : © Irina Gavrich Photography by © Irina Gavrich

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Arthur Arbesser 在伦敦的中央圣马丁学院学习艺术与设计，得益于与伦敦丰富艺术场景的亲密接触，他的个人审美提升很快。一毕业，Arbesser 就搬到了米兰，随后几年都为意大利最负盛名的时装店之一承担设计工作。 Arbesser 于 2013 年 2 月米兰时装周期间创立同名女装品牌。经由时装界最有影响力的声音，国际媒体迅速发掘 Arbesser 这一年轻且才华横溢的设计师。在第二届路易威登设计师大奖上，Arbesser 进入最后决选名单。同年 6 月，他作为女装嘉宾设计师，被邀请参加极负盛名的于佛罗伦萨举办的佛罗伦萨服装展博览会。最近，Arbesser 又被任命为冰岛的创意总监，成为国际知名的、最有潜力的新设计师。 Arthur Arbesser studied at Central SaintMartinsCollege for Art and Design in London, where he quickly developed his personal aesthetics, influenced by his intimate contact with London’s prolific art scene. Upon graduation he moved to Milan, where he designed for one of Italy’s most prestigious fashion houses for the next few years. Arbesser launched his eponymous women’s wear label in February 2013 during Milan’s Fashion week. Taking their lead from the most influential voices of fashion, the international press quickly discovered the young talent. At the second edition of the LVMH prize in 2015, Arbesser was one of the finalists, and in June of the same year he was invited to participate at the prestigious PITTI Immagine Fair in Florence as a women’s wear guest designer. Recently appointed as Creative Director of Iceberg, Arbesser is internationally known as one of the most promising new designers.

亚瑟阿尔贝塞 Arthur Arbesser 秋冬 AW 2015 — 2016 摄影 : © Henrik Blomqvis Photography by © Henrik Blomqvis

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AGNES NORDENHOLZ 于 2015 年创办，以柏林为大本营，其背后负责创意的是 Agnes Schorer。这个品牌代表的是思想前卫而低调朴素的服装系列，因独特的手袋系列出名，其手袋常常结合使用皮革、罗登呢和皮毛制作而成。 AgnesSchorer 在维也纳应用艺术大学学习，师从马克·博昂（Marc Bohan）, 海尔姆特·朗 (Helmut Lang) 及 JeanCharles de Castelbajac。当了 Hartmann Nordenholz 品牌 14 年的联合创始人及主创设计师之后，Agnes Schorer 搬到柏林，开始‘回归根本’，以 AGNES NORDENHOLZ 的名义继续创作。她的作品针对现代主义在时装语言中的定位提出质疑和拷问。Agnes 把自己的作品看做发展和定义自我“语言”的需要。探讨的基础是美的舒适性与不适性、现今都市生活中意想不到的规则平衡与破坏。Agnes Schorer 的设计针对女性在生活中的可能性作出思想前卫、不抱任何成见的展示。 Agnes Schorer is the creative mind behind AGNES NORDENHOLZ, founded in 2015 and based in Berlin. The brand stands for forward-thinking yet understated collections and is known for it’s unique handbags, often combining leather, loden and fur. Nordenholz studied at the University of Applied Arts in Vienna under Marc Bohan, Helmut Lang and Jean-Charles de Castelbajac. After 14 years as co-founder and designer of the label Hartmann Nordenholz, Agnes moved to Berlin to go ‘back to her roots’ and to continue her work under the name AGNES NORDENHOLZ.

艾格尼丝·诺登赫兹 Agnes Nordenholz 秋 / 冬 Autumn/Winter 2015—2016 摄影 : © Agnes Schorer Photography by © Agnes Schorer 模特 : Katharina/AMT Model: Katharina/AMT

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Awareness & Consciousness 由 Christiane Gruber 于 2005 年成立，Gruber 在维也纳应用艺术大学师从拉夫·西蒙斯（Raf Simons），维克多和罗尔夫（Victor&Rolf）和 Jean-Charles de Castelbajac 学习时装。2002 年， Gruber 赢得时装大奖，由奥地利联邦教育、艺术与文化部门颁奖，这也让她获得为设计师如 Haider Ackermann 和 A.F.Vandevorst 工作的机会，积累更多国际经验。从 2005 年到 2009 年，克里斯蒂亚娜（Christiane）在巴黎时装周上展示自己的设计作品。2007 年，Awareness & Consicousness 品牌赢得 Ringstrassen 大奖，此后又于 2008 年获得维也纳时装大奖，于 2009 年获得国际 PR 奖。A & C 作为 Awareness & Consciousness 的缩写，代表着一种个人对生活的态度，同时也可以代指饰品 & 服装。克里斯蒂亚娜（Christiane）富有质感的柔软飘逸服装由高品质的毛线材料制成。所有服饰都经过手工漂白和特殊的染色过程，以打造独一无二的图案样式和颜色组合。因此，每一件作品都是最独特的存在。 Awareness & Consciousness was launched by Christiane Gruber in 2005. Gruber studied fashion under Raf Simons, Victor&Rolf and Jean-Charles de Castelbajac at the University of Applied Arts, Vienna. In 2002 she won the Fashion Award, presented by Austria’s Federal Ministry for Education, Arts and Culture, which gave her the opportunity to gain further international experience working for designers like Haider Ackermann and A.F.Vandevorst. From 2005 to 2009 she presented her collections at Paris Fashion Week. In 2007 Awareness & Consicousness received the Ringstrassen award, followed by the Vienna Fashion award in 2008 and international PR award in 2009. A&C stands for Awareness & Consciousness, a personal attitude towards life, as well as for Accessories & Clothing. Her sensuous, soft flowing collections are made from high-quality jersey materials. All items undergo a hand-bleaching and special dyeing process which creates unique patterns and color combinations. As a result each piece is entirely unique.

Awareness & Consciousness 永不再冷秋冬 NEVER GET COLD AW 2008—2009 摄影 : © Michael Strasser Photography by © Michael Strasser

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原名 Bradaric Ohmae 的 SAGAN，是由 Tanja Bradaric 和 Taro Ohmae 于 2012 年 10 月创立的维也纳服装配饰品牌。受传统服饰、设计实验、手工制作和创新的启发，SAGAN 针织衫及皮革手袋由精选顶级意大利纱线皮革制成。其设计理念是打造具有鲜明个性和独特性的奢侈品。两位设计师不断在伦理社会及文化起源中汲取灵感，并认为对司空见惯事物的改造可以带来独一无二的创造。由此带来的是生气盎然的色彩、值得玩味的细节以及对传统材料的现代解读。 SAGAN 的所有产品都由精心选择的欧洲制造商打造。 SAGAN, previously named Bradaric Ohmae, is a Vienna-based clothing and accessory label founded by Tanja Bradaric and Taro Ohmae in October 2012. Inspired by tradition and experimentation, craft and innovation, SAGAN knitwear and leather handbags are made from carefully selected top quality Italian yarns and leather. Their design philosophy is to create luxurious pieces with strong personality and a sense of uniqueness. They find continual inspiration in ethnic and cultural origins, and enjoy playing with the idea that something wholly unique can mutate from a cliché. What emerges is a vibrant impulse of color, playful detail and modern interpretation of traditional materials. All SAGAN goods are created entirely by selected European manufactures.

萨根维也纳 SAGAN Vienna 秋冬 AW 2016 摄影 : © Jork Weismann Photography by © Jork Weismann

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DMMJK 是两位年轻设计师 Emil Maria Beindl 及 Markus Binder 的心血结晶。无论是在奥地利还是其他国家， DMMJK 已经名声大震，大家都知道这是一个设计日常服装的品牌——走流行、青春路线。符合当代审美和大胆张扬是这个品牌的标志，其作品本身便是对于时装大胆玩味的最好体现。两位设计师在维也纳应用艺术大学师从本 Bernhard Willhelm 及 Veronique Branquinho 学习，作品一经推出便横扫众多奖项。后被时装界大咖普罗恩萨·施罗（Proenza Schouler）发现，并于 2014 年在他那里担任设计师工作。DMMJK 通过其特别的视角和影响力混搭随意风、现代风和传统风，并以不可抵挡的姿态出现在世界时装舞台上。 DMMJK is the brainchild of two young designers Emil Maria Beindl and Markus Binder. Highly in demand both in Austria and abroad, DMMJK have made a name for themselves by designing what they know and live by every day – pop culture and youth. Contemporary aesthetics and a cheeky boldness are their hallmarks, and their pieces are nothing if not a reflection of their own playful take on fashion. Studying under the tutelage of Bernhard Willhelm and Veronique Branquinho at the University of Applied Arts in Vienna, the duo started sweeping numerous awards with their first collection. They were spotted by fashion powerhouse Proenza Schouler, and spent time there as designers in 2014. DMMJK remix the random, modern and traditional with their own very special visions and influences, and are coming out into the world with a powerful bang.

DMMJK 摇曳我想要更多 Shuffle I want more 秋冬 AW 2016 — 2017 摄影 : © Mario Kiesenhofer Photography by © Mario Kiesenhofer

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Edwina Hörl 是一名自学成才的时装设计师，最初接受的是特需教育。1991 到 1993 年，：Edwina Hörl 在东京为山本耀司（Yohji Yamamoto）工作，1996 年才在维也纳创办中性风格同名服装品牌。2000 年，她将工作室搬到目前在东京的住处。对 Edwina Hörl 来说，在时装领域工作就意味着要深入探讨不同的文化与社会，思考自己的文化身份以及社会政治趋势和性别话题。按照她的时装设计方式，其工作跨越学科，与其他创意人士开展合作，实现概念设计。 Edwina Hörl 与在东京的瑞士插画设计师 Alex Sonderegger 和 Susanna Baer 自 2004 年开始合作。并从 2008 年起开始在维也纳美术学院时装风格系教授纺织艺术课程。 Edwina Hörl is a self-taught fashion designer having initially studied special-needs education. She worked for Yohji Yamamoto in Tokyo from 1991 to 1993 before launching her eponymous unisex label in Vienna in 1996. In 2000 she moved her studio to Tokyo where she currently lives. For Hörl, to work in the field of fashion means an intensive discussion about different cultures and societies, reflecting on her own cultural identity as well as sociopolitical trends and discourses. Her approach to fashion leads to an interdisciplinary body of work and collaboration with other creative minds and conceptual realizations. She has been working with Tokyo-based Swiss graphic designers Alex Sonderegger and Susanna Baer since 2004. She has been teaching Textile Arts at the Department of Fashion and Styles at the Academy of Fine Arts in Vienna since 2008.

埃德温娜·霍尔 Edwina Hörl 家族帮派 Family Gang 2016 摄影 : © Alfons Sonderburger Photography by © Alfons Sonderburger

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Flora Miranda 以优异成绩毕业于安特卫普著名的皇家美术学院，主修时装设计。之后在阿姆斯特丹的艾里斯·范赫本（Iris Van Herpen）工作室获得宝贵工作经验。Flora 显然喜欢那些超凡脱俗的东西，她探索心灵传递、自然规则的蜕变、时空穿越等问题，并将这些内容直接映射在作品中。她的未来主义风格无视自然或界限，完全摆脱情绪：Flora 走出了她自己的一条路，无视主流需求。她的设计取材于未来，应用于现在。经由技术的影响、关于时空旅行的探索以及她对于雕塑独树一帜的观点，Flora 用非同凡响的才能打造出令人惊叹的科幻风格作品。凭借独特的时装风格，她在奥地利和其他国家摘奖无数，包括意大利 Miittelmoda 颁发的科技应用特殊奖项。 Flora Miranda studied Fashion Design at the prestigious Royal Academy of Fine Arts in Antwerp, and graduated with outstanding results. She also gained valuable work experience at Iris Van Herpen’s studio in Amsterdam. Miranda’s interest in the otherworldly is evident, and her exploration of teleportation, the disintegration of physical borders, and transcendence of time and space are directly translated into her pieces. Her futuristic silhouettes pay no respect to nature or limits, and are entirely stripped of emotion: Flora is carving her own path, ignoring mainstream demands. Her designs are taken from the future and applied to the present. Technological influences, explorations of space/time travel, and her striking vision for sculpture create a sci-fi spectacle underlined with true talent. Her unique take on fashion has won her numerous prizes both in Austriaand abroad, including the Special Prize for Use of Technology, awarded by Mittelmoda in Italy.

弗洛拉·米兰达 Flora Miranda Press Reset! 2016 系列 Press Reset Collection 2016 摄影 : © Domen/VanDeVelde Photography by © Domen/VanDeVelde

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GON 由 Christina Steiner 创立，Christina Steiner 同样毕业于维也纳应用艺术大学，师从 Raf Simons 和 Veronique Branquinho。穿衣、玩乐和收藏，是这个品牌的三个核心理念。采用创造性的方法处理信息，并通过收集和调研各种话题如自然、文化和历史来获得印象概念。通过此方式，ChristinaSteiner 打造出一个关于好奇心的虚拟空间，“奇迹屋”——这在欧洲文化复兴文化中十分常见。奇迹屋由各种图案、形状和更加抽象的实体如情绪和概念组成，空间不断变化直到这些不同方面的内容升华成巧妙想法或理念，然后再通过时装设计语言加以改良呈现。GON 设计在奥地利、日本、西班牙和美国均设有实体店。 GON was founded by Christina Steiner, a graduate of Raf Simons and Veronique Branquinho, at the University of Applied Arts Vienna.Dressing, playing and collecting are the most important terms in the label's philosophy. The creative approach on information and impressions gained by collecting and researching a wide variety of topics such as nature, culture and history. In this way, Steiner creates a virtual cabinet of curiosities - a wonder room - common in European Renaissance culture. Comprising a varierty of patterns, shapes and more abstract entities like emotions and concepts, this room constantly grows and changes until various aspects evolve into an elaborated idea or concept, which then is taken and finally adapted in a fashion context. GON designs are sold in Austria, Japan, Spain and the US.

GON 春 / 夏 Spring / Summer 2016 摄影 : © Katsey Photography by © Katsey

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House of the very islands …一开始是由来自维也纳的四位地下艺术家、音乐家和电影人群体的设计师合作创办。具有广泛影响力的服装理念可以用来定义这个品牌的设计作品，此品牌所推出服装系列均配有微电影。2008 年，Karin Krapfenbauer 和 Markus Hausleitner 开始以团队的形式主攻时装设计。为打造中性风格、具有先锋派随意感的时装， House of the very islands …轻松将耐穿性与概念图案设计、及轮廓感融为一体。设计师通过数学运算将经典图案融入复杂、精妙且极具个人风格的服饰中。另一个关键点就是生态及物美价廉材料的使用。该品牌之所以关注可持续发展及生产的社会公平模式，并不仅仅是因为政治观点，首先还是出于美学选择和想要达到更高标准质量的决心。手工编织的质感，鲜活的植物颜色以及耐穿的有机材料都是品牌服饰最后呈现样式的关键部分。 House of the very island’s ... started out as a cooperation of four designers rooted in a network of underground artists, musicians and film-makers in Vienna. A widely influenced notion of clothing defined the label’s work, and all collections were accompanied by short films. In 2008 Karin Krapfenbauer and Markus Hausleitner began working as a team focusing solely on fashion. Aiming for a unisex, avantgarde casual-wear feel, House of the very island’s ... combines effortless wearability with conceptual patternmaking and explicit silhouettes. Mathematical operations are used to make classic patterns into complex, witty and highly individual clothes. Another key aspect is the use of ecological and fair-trade materials. The focus on sustainability and socially fair modes of production is not only due to political convictions but it is first of all an aesthetic choice and a decision for high quality standards. The sensual quality of hand woven textures, the liveliness of plant colors and the wearing characteristics of organic materials are an essential part of the looks.

岛屿房屋 House of the very islands … 米妮马尔·罗曼提科斯 minimal romantixx 2016 摄影 : © Magdalena Fischer/Maria Giovanna Drago Photography by © Magdalena Fischer/Maria Giovanna Drago

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Inga Nemirovskaia 擅长高品质的创新针织设计，现于安特卫普和维也纳工作。2012 年，她从林茨艺术大学取得学士学位，该学校与维也纳海岑多夫时装学校合作办学。之后，Nemirovskaia 搬去伦敦在中央圣马丁学院艺术与设计系攻读时装针织专业的硕士学位，并于 2014 年顺利取得硕士学位。Nemirovskaia 的作品屡获大奖，包括 J-Crew——MA 时装羊绒项目奖、奥地利总理府时装大奖等。Nemirovskaia 在伦敦的彼得·皮洛托（Peter Pilotto）、拉拉·柏林（Lala Berlin）以及柏林的 Prag PR 手下工作过。去年，Nemirovskaia 还在 Stoll 实习，并从 2016 年 1 月起以针织开发人员的身份为海德·艾克曼（Haider Ackermann）工作。 Inga Nemirovskaia specializes in high quality, innovative knit design and currently works in Antwerp and Vienna. In 2012 she attained a BA from the Arts University Linz in cooperation with the Fashion School Hetzendorf in Vienna. She then moved to London to pursue her MA in Fashion Knitwear at Central Saint Martins College of Art and Design, which she successfully completed in 2014. Nemirovskaia has been awarded a number of prizes for her work, including the J-Crew – MA Fashion Cashmere Project, and the Fashion prize of the Federal Chancellery of the Republic of Austria. She has gained work experience at Peter Pilotto in London, Lala Berlin as well as Prag PR in Berlin. Nemirovskaia undertook an internship with Stoll last year and has been working for Haider Ackermann as a knitwear developer since January 2016.

英嘉·内米洛伏斯卡亚 Inga Nemirovskaia 春 / 夏 Spring/Summer 2015 摄影 : © Balint Barna Photography by © Balint Barna

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Wieland 于 1990 年出生，是一名前途似锦的设计师，在维也纳工作和生活。最近，她在林茨 / 维也纳艺术与工业设计大学获得时装学士学位，大学期间她曾获得 2013 年份 BA 时装设计项目“最有意思艺术成就奖（the most interesting artistic accomplishment）”。2014 年，她被知名国际评委提名奥地利委员会时装大奖。Wieland 的作品曾刊登在电子版时尚杂志、Nasty 杂志及 Dossier 周刊等著名刊物上。 Wieland 的很多作品都是用厚重的毛毯一样的面料制作而成——马海毛纱、蚕丝和棉——以此呈现出大胆、坚韧的风格，既优雅展现女性身体同时又加以保护。深泥土的色彩带给衣服一种宁静感，让人感受到内外世界的神秘。Wieland 的塑造方法偏向触觉回馈，并突出身体、动作与服饰的互动性。 Born in 1990, Wieland is an up-and-coming designer living and working in Vienna. She recently completed her BA in Fashion at the University of Arts and Industrial Design in Linz /Vienna, during which she was awarded the 2013 prize for the most interesting artistic accomplishment of the BA Fashion Design program. In 2014 she was nominated for the Austrian Council’s Fashion Award by a jury of international heavyhitters. Her work has been featured in Vogue.it Online, Nasty Magazine and Dossier Journal amongst others. Many of her pieces are made from heavy, blanket-like knit fabrics – mohair yarns, dupion silk and cotton – resulting in bold and robust silhouettes, which envelop the female body with elegance as well as protection. Dark earthy hues instill the garments with a sense of calm and bring to mind the mysteries of our external and internal worlds. Wieland’s approach to shape is haptic and highlights the interconnectedness of body, movement and clothing.

珍娜·维兰德 Jana Wieland 奇怪馅饼 Strange Pie 2014 摄影 : © Domen/VanDeVelde Photography by © Domen/VanDeVelde

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卡萨·哈雷尔（Katha Harrer）和迈克尔·埃林杰（Michael Ellinger）是 km/a 品牌的创始人，他们通过高质量手工打造不拘一格的时装作品。该品牌的设计兼具创新性、功能性，款式经典，且全部都是用不同寻常的材料打造。帐篷、毛毯、降落伞以及其他一些经久耐用的材料被设计师拿来改造成永恒经典的时装作品。两位设计师最新推出的大衣系列，用降落伞碎片制成，完全符合上述说法。天然材料与精美剪裁相结合，创造出格外舒适的穿着体验。Km/a 没有选择大规模批量生产，而是更加注重个性，利用过去久经验证的染色和漂白技术。 Katha Harrer and Michael Ellinger, founder of km/a, creates non-conformists pieces defined by high quality handcraft. The designs are innovative, functional and timeless, and produced from the most unusual materials. Tents, blankets, parachutes and other durable materials are transformed into timeless pieces. The same can be said for her latest coat collection, made from scrap parachutes. The combination of natural materials and refined cuts makes for an extra comfortable wearing experience. Instead of working with mass production processes, km/a priorities personality and makes use of tried and testes coloring and bleaching techniques from the past.

km/a 收缩 Shrink 2011

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Lena Hoschek 就读于维也纳 Schloss Hetzenhorf 时装学校的时装设计专业。2005 年 11 月，Hoschek 在格拉茨老城一个温馨的小工作室里成立自己的品牌。从那之后，她的名字就成了传统定制、经典设计和女人味十足的沙漏型服装设计的代名词，且设计不落俗套。Hoschek 总试图寻找可以讲出一个好故事的华丽面料——这种热情是她很小的时候就培养出来了的。丰富的图案设计、精致的面料、对细节的一丝不苟是其设计作品的特点，与此同时也概括出她本人的特质，也就是抱着期待永恒的态度重视服装的每一个细节。2009 年和 2012 年，Hoschek 分别赢得维也纳时装大奖的“设计师品牌”和“设计师”奖项。 Lena Hoschek studied Fashion Design at SchlossHetzenhorfFashionSchool, Vienna. In November 2005 she set up her own label in a cozy little atelier in Graz’s OldTown. Ever since, her name has been synonymous with a nostalgic return to traditional tailoring, classic designs and the ultra-feminine hourglass silhouette, without ever being conventional. Hoschek is always on the look out for sumptuous textiles with a story to tell – a passion she has nurtured ever since she was a little girl. Opulent patterns, exquisite materials and meticulous attention to detail characterize her collections while at the same time epitomizing her ethos, which is to value each item of clothing as something timeless and lasting. In 2009 and 2012 Hoschek won the Vienna Fashion Award in the categories ‘Designer Branding’ and ‘Designer’ respectively.

莉娜·霍希克 Lena Hoschek 英国人 The Brits 秋冬 Autumn/Winter 2016 摄影 : © Wolfgang Pohn Photography by © Wolfgang Pohn

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一完成国际商业管理硕士学位课程，Marina Hoermanseder 就选择在柏林的 ESMOD 时装学校和伦敦的中央圣马丁学院继续学业。在亚历山大·麦昆（Alexander McQueen）手下顺利完成实习并在几大时装周亮相之后，她在柏林举办的 2014 年梅赛德斯 - 奔驰时装周和伦敦的时装童子军完成作品首秀。2014 年 7 月，Marina Hoermanseder 获得优秀年轻时装设计师奖并获得柏林议会颁发的一个名为“开始你的时装事业（Start Your Fashion Business）”的奖项。 Hoermanseder 将先进的剪裁与恋物元素融为一体，探索鲜明对比，并喜欢尝试不同寻常的东西。精确剪裁的皮革束腰和精致封口加上飘逸面料，另外加上设计师的个人签名。修身设计加上皮带、扣子、褶皱处理和铆钉等精致细节， Hoermanseder 创造出先锋主义与日常着装——包括她自己特别夸张的审美——互相影响的作品。 Upon completing her MA in International Business Administration, Marina Hoermanseder continued her studies at Berlin’s ESMODFashionSchool and London’s Central St. Martins College. After a successful internship at Alexander McQueen and appearances at several fashion weeks, she debuted her first collection at the 2014 Mercedes-Benz Fashion Week in Berlin and the Fashion Scout in London. In July 2014 she was awarded the Premium Young Fashion Award as well as a prize from the Berlin Senate, called Start Your Fashion Business. Hoermanseder unites progressive cuts with fetish elements, experimenting with sharp contrasts and playing with the beauty of the unconventional. Precisely fitted leather corsets and intricate closures combined with delicately flowing fabrics, revealing the individual signature of the designer. With slender silhouettes and subtle details such as leather straps, buckles, gatherings and rivets, Hoermanseder creates an interplay between the avant-garde and ready to wear including her own particular extravagant aesthetic.

玛丽娜·霍尔曼斯特 Marina Hörmanseder 春夏 Spring / Summer 2015 摄影 : © Andreas Waldschütz Photography by © Andreas Waldschütz

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Meshit 是由设计师 Ida Steixner 和 Lena Krapf 合作创办的年轻时装品牌，探索对比强烈的审美符号和文化概念。为打入年轻人的文化世界，该品牌的设计将朴素的形状与特殊的细节相结合，把截然不同的元素试着融入独特设计。紧身或宽松的尺寸、男女均可穿的样式、富有质感的面料、经典服饰以及尖端的表面处理，所有这些结合在一起让每个人都能打造出自己独特的风格。这个品牌尤其吸引年轻人和喜欢追赶城市潮流的人群，其富有想象力的时装系列包括易于穿脱的服装以及需要一定胆量才敢穿的特殊设计。Meshit 凭借激动人心的设计作品屡获大奖，包括 2011 年的维也纳城市时装奖以及 2013 年在维也纳时装 & 生活方式奖中获得的 2013 年份设计师奖。 Meshit, a young fashion label by designers Ida Steixner and Lena Krampf, enjoy experimenting with contrasting aesthetic codes and cultural concepts.  Tapping into the world of youth culture,  their designs combine clean shapes and special detailing  by playfully »meshing« or fitting together distinct elements  into one unique design. Tight and oversized volumes,  androgynous shapes and sensual fabrics, classic attire and  edgy finishes blend together, allowing each individual to  create their own original style. Appealing particularly to the  young and urban trend-conscious crowd, their imaginative collections include easy-to-wear outfits as well as  unusual pieces for the more daring. Meshit has been awarded numerous prizes for their exciting designs, including the 2011 Fashion Award of the City of Vienna and the 2013 prize for Designer of the Year at the Vienna Awards for fashion & lifestyle.

meshit 秋冬 Autumn / Winter 2015 摄影 : © Matthias Aschauer Photography by © Matthias Aschauer

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Natures of Conflict 是 Kathrin Lugbauer 和 Nora Berger 于 2008 年创立的品牌。两个人均毕业于维也纳应用艺术大学的时装设计专业，师从 Veronique Branquinho 和 Raf Simons。过去的五年中，Natures of Conflict 为富有独立精神的女强人打造具有现代感的耐穿行头。Natures of Conflict 把时装当做探索与自己和当代社会有关问题的一种手段。两位设计师从经典穿着和制服的功能性美学中汲取灵感，并将其与精美巧妙的细节结合起来，以此打造具有亲切感特质的简单服饰。该品牌服装的目标群很大，也不受时装行业的快节奏影响。尽管 Natures of Conflict 品牌在女装方面对女性特质有所表现，但大部分服装都带有模糊性别的特质，而且是更加偏好男性定制元素。 Natures of Conflict was established in 2008 by Kathrin Lugbauer and Nora Berger. Both are graduates of the University of Applied Arts Vienna, Department of Fashion Design, where they studied under Veronique Branquinho and Raf Simons.Over the past five years Natures of Conflict has developed a modern, wearable wardrobe for strong women with an independent spirit.Natures of Conflict uses fashion as a means for exploring issues related to the self and contemporary society. They draw inspiration from the functional aesthetic of classic work-wear and uniforms, and combine it with sophisticated, subtle details to create a simple, honest wardrobe that has a familiar quality. Their clothes are designed to appeal to a broad range of people, and are free from the fast-paced dictates of the fashion industry. Although Natures of Conflict incorporate feminine lines in their womenswear collections, there is also an androgynous quality to their clothes, visible in their preference for elements of masculine tailoring.

冲突本性 Natures of Conflict 部落生活 Tribal Life 2010 摄影 : © Yasmina Haddad Photography by © Yasmina Haddad

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Pia Bauernberger 于 2015 年创立自己的品牌，并带着明确的目标进军时装行业。Pia Bauernberger 毕业于维也纳艺术与设计大学，师从 Fabrics Inter 和 Uter Ploier，这两位大师打磨出她惊人的设计天分。最近，Bauernberger 在伦敦马里奥·施瓦博（Marios Schwab）手下实习工作，并荣获 2015 年份奥地利总理府奖学金。Bauernberger 对于未来服饰的渴望和需求十分感兴趣，目前正在进行一个很有趣的概念设计。她从不同角度探索工作着装理念，玩味现实与俗世及其无尽的可能性。Bauernberger 打造的设计作品，不仅反映出穿者的个性与职业，而且能带给人们更多启发。 Pia Bauernberger established her own label in 2015 and is already forging a career in the fashion industry with her clear-cut vision. She studied at the ViennaUniversity for Art and Design under Fabrics Interseason and Ute Ploier, who molded her striking flair for design. Most recently she completed an internship with Marios Schwab in London, and was also awarded the 2015 Scholarship by the Federal Chancellery of Austria. Bauernberger has a keen interest in the wants and needs of the future wearer and is developing a conceptually interesting body of work. She explores the idea of work-wear from different angles, playing with its reality and mundaneness, but also its unlimited possibilities. Bauernberger creates pieces that do not only reflect the personality and occupation of the wearer but also inspire him further.

皮亚·保尔纳伯格 Pia Bauernberger 性格密码 A character’s code 2015 摄影 : © Marlena König Photography by © Marlena König

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Rani Bageria 毕业于安特卫普皇家艺术学院，在 2012 年创办个人同名品牌之前，她为蔻依承担针织设计师的工作，那段经验让她的审美和技术均得到提升。Rani Bageria 的设计风格体现出渴望观察、吸收、分析和重新解读正宗先锋派精神的特点。Bageria 的设计作品是真实世界中对女性的讴歌——淡定从容、精明强干、独立坚强，却拥有一颗柔软的心。她的作品通过使用精心制作的羊毛混纺和传统的手工针织，为看待传统提供新的视角。Bageria 的首秀作品 AW13 于巴黎时装周展出，并被名为 Opening Ceremony 的店铺发现。这名以维也纳为大本营的设计师已获得奥地利时装大奖（2014）、Ann Chapelle Createur 奖 (2007) 并曾进入过 ITS 的决选名单（2007）。 Rani Bageria graduated from the Royal Academy of Fine Arts in Antwerp, refining her aesthetic sensibility and technical skills as a knitwear designer for Chloé before launching her own line in 2012. Her signature style is shaped by a desire to observe, absorb, analyze and reinterpret with an authentic avant-garde spirit. Bageria’s creations are an ode to women from the real world: women of contrasts - nonchalant, sophisticated and independent, yet naturally vulnerable. Her pieces offer a fresh perspective on traditions by using elaborate wool blends and reverting back to handcrafted knitwear. Bageria’s debut collection AW 13 was presented during Paris Fashion Week and discovered by the shop Opening Ceremony. The Vienna-based designer has received the Austrian Fashion Award (2014), the Ann Chapelle Createur Award (2007) and was amongst the finalists of ITS (2007).

拉尼·白格瑞拉 Rani Bageria 秋冬 AW 2015 摄影 : © Christiano Tekirdali Photography by © Christiano Tekirdali

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Sabinna Rachimova 是 SABINNA 的联合创始人兼负责人，这是一个针织衫设计品牌，主要为手钩针织，目前以伦敦和维也纳为根据地。该品牌所有服装均在英国和奥地利生产，只采用最高级的材料，以此打造激动人心的新鲜面料，具备独一无二的质感。凭借丰富生动的想象力、精密的细节和高雅的风格，该品牌的设计呈现出混搭的风格，其中可见俄罗斯传道士民族服饰的总计，且同时具有高度现代的特质。Sabinna Rachimova 出生于俄罗斯，在维也纳长大。她曾在中央圣马丁艺术大学攻读时装设计，并在巴黎迪奥高定品牌获得了宝贵的工作经验，伦敦时装设计师玛丽·卡特兰佐（Mary Katrantzou）对她赞赏有加。自 2015 年 2 月在伦敦时装周上推出作品首秀之后，SABINNA 品牌现在国际上取得成功，并一直都位于正式名单之列。 Sabinna Rachimova is the co-founder and director of SABINNA, a knitwear and ready-to-wear label with a focus on hand crochet based between London and Vienna. All pieces are produced in the UK and Austria using only high quality materials to generate fresh and exciting fabrics with unique textures. Imbued with a vivid sense of imagination, precision and sophistication, the designs reveal a compelling mix of references with traces of the ecclesiastical Russian folk dress and a world of hyper modernity. Rachimova was born in Russia and raised in Vienna. She was trained in Fashion Design at Central SaintMartinsUniversity of the Arts and gained valuable experience working at Christian Dior Couture in Paris and the highly acclaimed London-based fashion designer Mary Katrantzou. SABINNA has already achieved international success by presenting its debut collection at London Fashion Week in February 2015 and being on the official schedule since then.

萨拜娜·拉切莫娃 Sabinna Rachimova 家，在远方 Home is where you are not 2016 摄影 : © Benjamin Mallek Photography by © Benjamin Mallek

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设计师 Ute Ploier 先后在伦敦中央圣马丁学院和维也纳应用艺术大学攻读时装设计，受拉夫· 西蒙斯（Raf Simons）、维特罗夫（Viktor & Rolf）和让·夏尔·德·卡斯泰尔巴雅克（J.C. de Castelbajac）指导。她代表的是一种精致但简单的着装态度，轮廓清晰，细节精妙。从材料与颜色的组合可以看出该品牌对于超现实艺术与出其不意的钟爱。其作品获奖无数，包括被《时尚男装最新杂志》选为最佳男装系列，及获得法国著名杂志《Festival d'Hyères》的时装与摄影奖。Ute Ploier 的作品曾刊登在 i-D 杂志及纽约时报杂志等刊物上。United Arrows 的 Hirofumi Kurino 描述她的风格是“灵动中带一点幽默，微凉但不高冷，简单却不平凡”。除了自己的品牌线之外，Ute Ploier 还与法款乐都特（La Redoute）或男装（Topman）等客户合作。如今，Ute Ploier 在维也纳工作和生活。 Designer Ute Ploier studied Fashion Design at Central Saint Martins in London and the University of Applied Arts in Vienna under the direction of Raf Simons, Viktor & Rolf and J.C. de Castelbajac. She stands for a sophisticated yet easy to wear attitude with precise shapes and subtle details. Materials and color combinations reveal the label’s love for surreal art and unexpected twists. Her collections have won her numerous prizes, including the «Prix Hommes» for best menswear collection at the renowned «Festival d'Hyères» for fashion and photography in France. Ute’s work has been featured in i-D Magazine and the New York Times Magazine among others. Hirofumi Kurino of United Arrows describes her style as ‘intelligent with a twist of humour, cool but not cold, simple but not minimal’. Besides her own line, Ute has collaborated with clients such as La Redoute or Topman. She lives and works in Vienna.

尤特·伯莱尔 Ute Ploier 男人机器 Man Machine 秋冬 AW 2010 摄影 : © Günther Parth Photography by © Günther Parth

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Utope，是一个由沃尔夫冈·朗格登（Wolfgang Langeder）于 1999 年在奥地利林茨创办的品牌，将创新、杰出的可穿电子元素融入时髦的城市着装中。其设计团队将此与智能运动功能性与男装服饰传统元素相结合，打造全新的、令人激动的服装作品。Utope 这个名字起源于古希腊语 utopos（英语为 utopia），意思是“不存在的地方”。这一想象出来的虚幻空间——虚无空间——是该品牌的主要灵感来源，是所有可能性的开始。Utope 的产品采用高科技设计，适合日常穿着：无论是坐办公室还是骑单车，抑或是环游世界或在家中休闲。所有产品的灵感都来自古老但精良的裁缝手艺，来自大自然，仿生样式及功能实用性。因此，所有衣物穿着舒适，且能很好地适应我们动感十足的移动生活方式。Utope 曾获 2013 年最佳红点设计奖，同年还在设计奥地利 Staatspreis 中获得优秀奖，并获得德国设计奖提名。 Utope, a Linz-based label founded in 1999 by Wolfgang Langeder, integrates innovative and outstanding wearable electronic components into stylish urban wear pieces. The design team mixes this with smart sportswear functionalities and traditional elements of menswear clothing to create new and exciting collections. The name Utope is inspired by the ancient greek word utopos (engl. utopia), which means "no place". This imaginary empty space - the nonspace - is the main source of inspiration for the label, the beginning of all potential possibilities. The products are high-tech design pieces for everyday use: in the office or on the bike, whilst traveling the world or relaxing at home. They are inspired by good old sartorial artisanry and by nature and bionic shapes and functionalities. Therefore, they are comfortable to wear and very well adapted for our dynamic and mobile way of living. Utope won the Best Redot Design Award 2013 and received an Honorable Mention at the Design Austria Staatspreis the same year and was nominated for the German Design Award.

尤托普 Utope 运动风 Supaheroe Sporty Supaheroe 2013 摄影 : © Elisabeth Grebe Photography by © Elisabeth Grebe

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Susanne Bisovsky 的设计体现出时髦与羞耻、轻蔑与无辜混合的爆炸性效果。尽管她从未出席任何活动或出现在社交媒体上，但她的高级时尚女装沙龙仍然汇聚着不少国际买家。最近 Bischur 去拜访了艾瑞斯·阿普菲尔（Iris Apfel）并与苏熙·曼奇斯（Suzy Menkes）一番畅谈，其对话详细内容见纽约时报的访谈。佩吉·西格尔（Peggy Siegal) 参加 2016 年纽约大都会艺术博物馆慈善舞会穿的就是 SusanneBischur 的设计。Bischur 还为卡斯泰尔巴雅克（J.C. de Castelbajac）、海尔姆特·朗 (Helmut Lang)、卡瑟琳·马登 (Kathleen Madden )、奥地利刺绣等设计过衣服，现在正积极与罗贝麦尔（Lobmeyr）、施华洛世奇（Swarovski）、巴克豪森（Backhausen）、奥格腾（Augarten）及匈牙利人瓷器专家赫伦（Herend）等公司开展 Sportalm/Kitzbühe 合作，让传统技术和材料重新进入人们视线并得到青睐。Bischur 还曾在 2010 年上海世博会上为奥地利展馆设计着装。就她的高级时尚女装品牌而言——“永恒”——其每件作品都可能花费数年时间反复打磨，并赋予其新的内涵。通过这种特殊的方法，Susanne Bisovsky 超越时装界主流之外占有一席之地。 Susanne Bisovsky’s designs reflect the explosive impact of chic and shame, blasphemy and innocence. Although sheSusanne Bisovsky’s designs reflect the explosive impact of chic and shame, blasphemy and innocence. Although she is never seen at any events or on social media, her haute couture-salon is a meeting point of international clientel. Recent visits from Iris Apfel and a long talk with Suzy Menkes are detailed in a New York Times Interview. Peggy Siegal wore a Bisovsky dress at the Met Gala 2016. She has designed for J.C. de Castelbajac, Helmut Lang, Kathleen Madden, Austrian Embroideries and is currently active for Sportalm/Kitzbühel. Cooperations with companies like Lobmeyr, Swarovski, Backhausen, Augarten and the Hungarian porcelain specialists Herend, among others, led to a rediscovery and new appreciation of traditional techniques and materials. In 2010 she created the outfits for the Austrian Pavillon at the Expo Shanghai. In her own haute couture - “everlasting” - collections, pieces are reworked over a period of years and placed in new contexts. With this special approach Susanne Bisovsky has established a place herself way beyond the fashion mainstream.

苏珊娜·毕索夫斯基 Susanne Bisovsky 美骨瓷器上衣 Fine bone china shirt 2010 摄影 : © Wolfgang Zajc Photography by © Wolfgang Zajc

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Wendy Jim，原名 Wendy&Jim，于 1999 年由创意二人组 Hermann Fankhauser 和 Helga Ruthner 创立，当时两人刚在维也纳应用艺术大学相识不久，师从时尚界大腕海尔姆特·朗 (Helmut Lang)。从那之后，两位设计师便开始在巴黎展出他们的男装和女装系列。2012 年，两人发布 Drop No. 01 Eau de 香水，这是全世界第一瓶有机设计师香水，与其时装系列相得益彰。香水瓶设计成狐狸骨骼的形状，由 Augarten 陶瓷制成。温迪最近把品牌名中的“&”去掉，并在柏林的 Galerie Crone 展出最新作品。该品牌获奖无数，包括 2010 年份维也纳时装大奖的最佳品牌，2008 年奥地利年份奖：创意产业奖（由 die Presse 赞助）及 2001 奥地利时装奖。 Wendy Jim, previously Wendy&Jim, was founded in 1999 by creative duo Hermann Fankhauser and Helga Ruthner, shortly after the pair met during their studies at the University of Applied Arts under the mighty . They have been exhibiting their men’s and women’s collections in Paris ever since. In 2012 they launched Drop No. 01 Eau de Parfum, the first organic designer perfume in the world, to accompany their fashions. The flacon, in the form of a fox skeleton, was developed with Augarten Porcelain. Wendy Jim recently dropped the & in their name, and exhibited their latest collection at the Galerie Crone in Berlin. The label has received many accolades, including the 2010 Vienna Fashion Award for Best Branding, the 2008 Austrian of the Year: Creative Industry Prize (sponsored by die Presse) and the 2001 Austrian Fashion Award.

温迪 & 吉米 Wendy & Jim Voom Voom 春夏 SS 2010 摄影 : © Lukas Gansterer Photography by © Lukas Gansterer

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AND_i 算得上是奥地利最有名的配饰设计之一，该品牌在 2009 年 " 蒂埃里穆勒男装秀 " 展出之后便迅速蜚声国际，随后 Lady Gaga 穿着该品牌配饰录制视频。Lady Gaga 使用的眼罩成为时髦之物，并为 AND_i 在好莱坞粉丝中打开了全新的市场。AND_i 吸引眼球的张扬风格、闪亮的设计丝毫不影响品牌背后的个性、努力与天分。AND_i 品牌的创始人 Andreas Eberharter 最初是一名金匠和雕刻家，后作为著名艺术家 Anna Heindl,、Manfred Wakolbinger 和 Eva Schlegel 的助理而开启设计事业。自 1992 年起，她一直以特约艺术家的身份在维也纳工作。2001 年成立 AND_i 品牌之后，他获得了维也纳时装奖和 Mercur 创新奖等奖项。 AND_i counts amongst one of the most prominent accessory designers in Austria, but the label was catapulted to international fame after appearing in Thierry Mugler’s Men Show in 2009 and subsequently being worn by Lady Gaga in one of her videos. The eye-patch she used became a cult object, and opened up AND_i to a wholly new market of Hollywood fans. AND_i’s eye-grabbing style, loud presence, and shiny design, doesn’t take away one bit from the individuality, hard work and talent behind the brand. Trained as a goldsmith and sculptor, AND_i’s founder Andreas Eberharter began his career as an assistant to the renowned artists Anna Heindl, Manfred Wakolbinger and Eva Schlegel. Since 1992 he has been working as a freelance artist in Vienna. After founding the label AND_i in 2001, he was named for numerous awards like the Vienna Fashion Awards and the Mercur Innovation Award.

AND_i 公共敌人系列 Public Enemy Collection 面具 Mask 8x8 cm AW2015 — 2016 聚焦眼罩、黑色 / 铝、阳极电镀铝、弹力绳 focus patch, black / alu nature anodized aluminum, elastic strings

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萨根维也纳 SAGAN Vienna 维也纳纳米晚宴包 VIENNA EVENING BAG NANO 18 ×13 ×7cm 2016 手把宽 2.5cm, 包带长 113-123cm width 2.5cm , Strap drop 113-123cm 小牛皮，棉花秸秆 calf leather, straw, cotton

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Carolin Holzhuber 通过轻松的方式将注意力转移到形状和功能上。她的每一对鞋子都在讲述一个极其复杂的超现代故事，并得以巧妙展现，传递出她独一无二的风格。Carolin Holzhuber 拥有维也纳时装学院的时装专业学士学位，该校与林茨艺术与工业设计大学合作办学，同时拥有伦敦时装学院服饰鞋类专业的硕士学位。之后她在维也纳的鞋定制品牌 Andreas Kudweis、英国鞋类品牌及设计师埃特兰塔·维勒（Andreas Kudweis）、及伦敦鞋品牌 FINSK 实习。其作品曾参展包括 2014 年 Kunst Haus Wien Museum Hundertwasser "SHOEting Stars" 等展览，并夺得意大利国际天才支持的配饰奖。Holzhuber 现生活在伦敦东区，正开发自己的品牌和鞋子工坊。 Carolin Holzhuber has a playful approach to form and careful attention to shape and functionality. Each pair of her shoes tells an intricate hyper-modern story, and is skilfully presented, conveying her unique style.Holzhuber holds a BA in Fashion from the Fashion Institute Vienna, in cooperation with the University of Art and Design Linz, as well as an MA in Fashion Footwear from London College of Fashion. She has completed internships at the bespoke shoemaker Andreas Kudweis in Vienna, the British footwear brand and designer Atalanta Weller and London based footwear brand FINSK. Exhibitions include ‘SHOEting Stars’ at the Kunst Haus Wien Museum Hundertwasser 2014, and received the Accessories award from the International Talent Support in Italy. Holzhuber is currently based in East London where she is developing her own brand and footwear workshop.

卡洛琳·霍朱伯尔 Carolin Holzhuber 共生 SYMBIOSIS 2016 鞋履 Shoes 摄影： © Britta Burger Photography by © Britta Burger

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卡洛琳・霍朱伯尔 Carolin Holzhuber 联体幻觉鞋底 Conjoined Illusion Sole A 2014 鞋履 Shoes 摄影： © Catharina Pavitschitz Photography by © Catharina Pavitschitz

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Thomas Zeitlberger 发现了自己对于围巾的热情，对每一件设计作品投入极大的热情。大胆的技术创作与传统图案交融，经过调整更新，赋予作品全新生命力。Zeitlberger 对于传统的把控增添其作品的吸睛力，随意搭配都可以，不受传承或目标偏见的影响。Zeitlberger 在维也纳美术学院的布鲁诺·杰罗科利（Bruno Gironcoli）门下学习，之后又攻读媒体艺术的硕士学位。自 2007 年起，他以艺术家的身份参加众多展览、项目并参与合作，充分展示他多方面的创造天赋。 Thomas Zeitlberger discovered his passion for scarfs, and he designs each of his pieces with great energy and love of the garment. His bold, technicolor palette merges with bits and pieces of traditionalist patterns, subverting, updating, and bringing them to life. His manipulation of conventions makes for an arresting array of pieces, free to be worn in all ways possible, released from the preconceptions of their heritage or purpose. Zeitlberger began his education at the Academy of Fine Arts Vienna under the tutelage of Bruno Gironcoli, and went on to study Media Art as a postgraduate. Since 2007, he has been working as an artist, participating in many exhibitions, projects, and collaborations, well suited for his multifaceted creative talents.

托马斯·泽特贝格 Consumed by Thomas Zeitlberger 菲利克斯奥地利熔岩 TU FELIX AUSTRIA LAVA TU 97×97cm 2014 丝面数码印花 digital printed silk scarf 摄影： © Thomas Zeitlberger Photography by © Thomas Zeitlberger

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从最初的作品到 2015 的毕业设计，Dimitrije Gojkovic 用服饰营造气氛的能力早就清楚地体现出来。他尝试不同材料，直面挑战，赋予日常普通事物以新的内涵，而这种巧妙的颠覆性能力也让他在国际时装舞台上脱颖而出。在塞尔维亚和瑞典完成学业和学徒工作后，出生于克罗地亚的 Dimitrije Gojkovic 搬去奥地利，并在维也纳应用艺术大学上学。他师从三位传奇导师——维诺尼卡·布兰奎诺（Véronique Branquinho）、本哈德·威荷姆（Bernhard Willhelm）和候塞因·卡拉扬（Hussein Chalayan）——这也意味着 Gojkovic 能接触到多样的设计风格、丰富的灵感启迪和天才思想火花的碰撞，所有这些条件让他本已明确的设计触觉更加敏锐。2015 年，其毕业作品美利诺羊毛横空出世，立刻在国际时装领域清楚证明了他的发展潜力。Gojkovic 研究人的恍惚状态，探索潜意识打开的时刻，进而将常规的朦胧感觉摒弃，转而为这种人类状态注入丰盈感和目标感。 After completing his studies and apprenticeships in Serbia and Switzerland, Croatian born Dimitrije Gojkovic moved to Austria to attend Vienna’s University of Applied Arts. Learning under the tutorage of not one, but three legendary professors – Véronique Branquinho, Bernhard Willhelm and Hussein Chalayan – meant that Gojkovic was exposed to diversity, inspiration, and great talents, all aspects sharpening his already precise eye for design.His 2015 graduate collection New Wool came out with a bang, clearly establishing his potential on the international fashion scene. Delving into the state of sleepiness, the moment when the portal to the subconscious opens, Gojkovic uproots the conventional idea of dreaminess, in its place infusing this human state with lushness and purpose.

德米特里·戈伊科维奇 Dimitrije Gojkovic 铅笔鞋 Pencil Shoes 2013 摄影： © Yasmina Haddad Photography by © Yasmina Haddad

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Florian 是生活在维也纳的设计师 Florian Ladstaetter 打造的同名珠宝品牌。尽管 1967 年出生在德国，但 Florian Ladstaetter 于奥地利长大，并在维也纳应用艺术大学的先进金属设计专业取得学位。随后，他回到德国慕尼黑攻读哲学。其作品向来受设计师的欢迎，曾刊登在各大时装杂志上，包括女性杂志 ,、另类杂志、日本时尚杂志、惶惑杂志和 i-D 杂志。如今 Ladstaetter 的珠宝设计作品常常出现在各大高校和博物馆的私人收藏或公共收藏中，包括应用艺术博物馆和技术博物馆，这两个博物馆都位于维也纳，另外还有奥地利文化教育部以及伦敦久负盛名的维多利亚 & 阿尔伯特博物馆。她为维也纳的 Lobmeyr 设计镜子和吊灯，为伊丽莎白·雅顿（Elizabeth Arden）设计珠宝，工作涉及雕塑、视频展示及摄影，与著名设计师 Hussein Chalayan 合作，还在纽伦堡和杜塞尔多夫学院、以及东京的水野珠宝设计学院学院开设工作营。 Florian Ladstaetter is the Vienna-based designer behind eponymous jewellery brand FLorian. Though born in Germany in 1967, Florian grew up in Austria, where he completed a Diploma in Advanced Metal Design from the University of Applied Arts Vienna. He then returned to Germany to study Philosophy in Munich. Ever popular with stylists, Florian’s pieces have featured in magazines at the vanguard of fashion including W-magazine, AnOther Magazine, Japanese Vogue, Dazed&Confused and i-D. His work currently appears in private and public collections at the University and Museum of Applied Arts and the Museum of Technique, both in Vienna, the Austrian Ministry of Culture and Education and at London’s prestigious Victoria & Albert Museum. He has created mirrors and chandeliers for Lobmeyr in Vienna, jewellery for Elizabeth Arden, sculptures, video-performances and photography, collaboration with renowned designer Hussein Chalayan, as well as running workshops at the Academy of Nuremberg and Duesseldorf and Hiko Mizuno College in Tokyo.

弗洛里安 Florian jewellery 男士系列 Men’s Collection 40cm 2010 天然鹿角及抛光鹿角、抛光牛角加绳子 natural and polished antler, polished cow horn and rope

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Fritz Maierhofer 的作品总能带给人一种奇迹之感。其作品赋予物体独创的多样性，还有作品体现自身的方式、同时作为整体的一部分，这些足以让迈尔霍菲尔的创意作品与众不同。Maierhofer 在设计领域的探索体现在他每隔一段时间就会尝试使用不同种类的材料，比如亚克力剥离、珍贵的金银或锡，每一种材料都借着 Maierhofer 灵巧的双手和清晰的头脑呈现出新的模样。Maierhofer 最初跟随维也纳一个知名珠宝商安东赫尔德温（Anton Heldwein）作传统金匠学徒，1995 年，他搬到伦敦为安德鲁格·里玛（Andrew Grima）工作。由于后面被指派为欧米茄手表管理装饰手表系列，他回顾七十年代的维也纳，并开始专注于自己的设计和艺术作品。从那时起他开始以珠宝设计师、雕塑家、以及艺术家的身份活跃在各大颁奖礼，并参加各种奥地利和国际展览。 Fritz Maierhofer’s work possesses a sense of wonder. The ingenious diversity of his objects, the way in which they each speak for their own, and also become a part of a whole, are distinguishing aspects of Maierhofer’s creative output. His experimental side is marked by period of play with various materials, such as acrylic glass, precious gold and silver, or tin, each lending itself to Maierhofer’s talented hands and clear vision. His concept of turning jewellery into signs of the inner being resonates throughout his work. Starting his traditional goldsmith apprenticeship with Anton Heldwein, a well known jeweller in Vienna, back in 1955, Maierhofer moved to London to work for Andrew Grima. After being placed in charge of the ornamental watch collection for Omega he returned to Vienna in the 1970s to concentrate on his own designs and artworks. He has since been active as a jeweller, sculptor, and overall artist, been awarded prizes, and participated in Austrian and international exhibitions.

弗里茨·迈尔霍费尔 Fritz Maierhofer 折叠系列 Foldings Collection 6 × 6.5 × 8cm 2012 指环（镀银，亚克力） Ring(oxidated silber, acrylic) 摄影 © Fritz Maierhofer Photography © Fritz Maierhofer 弗里茨·迈尔霍费尔 Fritz Maierhofer 折叠系列 Foldings Collection 6 × 5.5 × 3cm 2012 指环（镀银） Ring(oxidated silver) 摄影 © Fritz Maierhofer Photography © Fritz Maierhofer

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劳伦·库克（Lauren Cooke），是一位年轻的设计师和创造者，喜欢寻找不同寻常的形状物品，并寻找可以用来装饰日常生活的与众不同的饰品。她别具一格的饰品是受到 " 我们都是过去的继承者，也是未来的继承人 " 这一理念的启发。在她的维也纳工作室里，库克为两个饰品品牌设计，继承人（HEIRS）和 HENWOOD，在她的设计理念中，创新和坚持同样重要。库克与当地工匠和金匠合作，她的目标是要打造一个能让社会再生的品牌，一方面坚守过去，另一方面重新定义未来。 Lauren Cooke, is a young designer and creator who is passionate about seeking out unconventional forms and finding extraordinary beauty that can embellish the everyday. Her distinctive accessories are inspired by the notion that 'we are the HEIRS of our past and the HEIRS of the future...' From her Viennese studio she designs for two accessories labels, HEIRS and HENWOOD, due to her design ethos that innovation is just as important as preseravtion. Working with local artisans and goldsmiths, her goal is to produce a socially regenerative brand that has one foot preserving the past and the other redefining the future.

罗伦·库克 Lauren Cooke 天狼星系列（继承者） Sirius Collection (HEIRS) 1. 7 × 2. 2 × 4cm（直径 1 cm） 2016 指环 Ring 摄影 © Andreas Waldschütz Photography © Andreas Waldschütz

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Isabel 在维也纳的 Schloss Hetzendorf 学习女装设计，并拥有伦敦时装学院时装加工专业的硕士学位。成功很快叩响了她的门扉，2015 年，她获得意大利国际创意人才大赛的饰品设计奖。Isabel 将传统手工艺与她自己的数字新方法结合，打造跨家具、产品及时装设计领域的饰品。Isabel 对于人类特点及行为模式多样性的好奇心，清楚体现在她的作品中，其作品还体现出她对于木工和高端材料的兴趣。Isabel 的设计作品反映出现代人崇尚的都市生活，同时也有好玩、异想天开的一面。她用令人振奋的设计作品来体现想要理解世界的欲望，重建观点并采用不同的视角。她的设计是打造既好玩又同时能保持优雅与功能性的一个缩影。 Isabel followed her studies in Womenswear at Schloss Hetzendorf in Vienna with an MA in Fashion Artefact from the London College of Fashion. Success came soon after and in 2015 she received the Accessories award from the International Talent Support in Italy. Coupling traditional craftsmanship with new, digital and self-developed methods, Isabel creates accessories that sit between furniture, product and fashion design. Her curiosity towards the variety of human characteristics and behavioural patterns is evident in her work, but also her passion for woodwork and high-end materials. Her collections reflect an urbanism that flows through contemporary individuals, but they also show off a playful and whimsical side. Her uplifting works portray a desire to understand the world by deconstructing it and adopting a different angle. Her designs are the epitome of architecture made fun, whilst maintaining elegance and utility.

伊莎贝尔·黑尔夫 Isabel Helf 手提冲动系列 PORTABLE COMPULSION Collection 40 × 30 × 30cm 2015 手袋 Bag 皮革、木头 Leather, Wood 摄影 © Iringo Demeter Photography © Iringo Demeter

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个性化设计，用渔网进行持续化生产，加上幽默风格，MARGARET AND HERMIONE 的泳装系列将设计、质量和可持续性提上了一个新台阶。两位设计师旨在生产出可以让顾客享受其穿着泳装的感觉，与此同时又知道自己正穿着质量上乘的可持续面料做成的衣物。MARGARET AND HERMIONE 由 Barbara Gölles 和 Andrea Kollar2015 年在维也纳创立。Barbara Gölles 负责设计，Andrea Kollar 负责绘图，其产品均采用手绘图案。两位创始人是在维也纳应用艺术大学拉夫西蒙斯（Raf Simons）门下念书时相识。毕业之后，Barbara Gölles 为伦敦的亚历山大麦昆（Alexander McQueen）品牌工作，之后为维也纳的帽子生产商堡尔（Mühlbauer）工作，而 Andrea Kollar 则成为了一名独立插画家。 Designed individually, produced sustainably out of fishing nets and, styled with humor, the swimwear line by MARGARET AND HERMIONE places design, quality and sustainability on a new level. They aim to produce swimwear that allows the customer to relish the feel of it, while at the same time knowing that they are wearing sustainable fabrics of the highest quality. MARGARET AND HERMIONE was founded by Barbara Gölles and Andrea Kollar in Vienna in 2015. Barbara Gölles is the designer and Andrea Kollar the illustrator, who hand-draws illustrations for the prints. The two label owners met during their years of study under Raf Simons at Vienna’s University of Applied Arts. After graduating, Barbara Gölles, worked for Alexander McQueen in London and later designed collections for Viennese hat manufacturer Mühlbauer. Andrea Kollar became an independent illustrator.

玛格丽特和赫尔迈厄尼 MARGARET & HERMIONE 黄绿野兽花色椰子壳纤维 Collection: Coco, Lime and Beasts s 回收渔网 Recycled fishing nets 摄影 © Margaret and Hermione Photography © Margaret and Hermione

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Mark Baigent 的作品拥有与众不同之处：" 无性别 " 理念定义了这个品牌，崇尚极简主义、跨越时空的经典款式、以及几何图形。Mark Baigent 属于先锋派设计师，总是会先形成设计概念，无论任何产品总要追求完美的手工制作。把每种性别的人看做 " 唯一 " 人类，并将两种服装轮廓等同起来，这一点使其变得格外特别，同时也反过来成为设计者的特色。2008 年在林茨完成时装学业之后，Baigent 开始在奥地利和世界其他国家当模特及自由设计师。如今，他一般在奥地利、巴厘岛和新西兰三个地方来回跑。Baigent 曾三次获得路虎揽胜风格奖，并在 2012 年获得启程先锋奖和环球购物商场奖。 There is something very distinctive about Mark Baigent’s pieces: a ‘gender-free’ concept has defined his brand, prioritizing the minimalistic, timeless, and the geometric. Baigent is avant-garde, always conceptual, but with a focus on delivering the perfect craftsmanship in any given piece. Seeing every gender as “only” human and equal the silhouettes become indistinct and wrap themselves around their host. After finishing his fashion education in 2008 in Linz, Baigent started working as model and freelance stylist in Austria and internationally. He currently splits his time between Austria, Bali and New Zealand. He has been awarded three Range Rover Style Awards, and won both the Departure Pioneer Award and Ringstrassen Galerien Award in 2012.

马克·贝金特 Mark Baigent 标志性领饰 The Mark Neckpiece 40 × 40cm 2016 椰子木、黄铜 coconutwood, brass

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Winkler 的鞋子设计是以后启示录为背景，想象那些扎根于乡村却与现代环境有所联系的人。Winkler 设计的鞋子是乡村风与都市风的结合，融合粗糙皮革、柔软皮毛、焦油或橡胶等材料，以此打造保护性的、伪装性的、漂亮的、且让人有愉悦审美感受的产品。Winkler 于 2008 年在维也纳应用艺术大学完成学业，后又在伦敦皇家艺术学院获得男装 / 鞋类设计文凭。他的作品曾在各大展览上展出，包括转瞬即逝艺术博物馆、价值点数、iemens_artLab,、Galerie Hilger、 MAK、以及维也纳应用艺术博物馆。Winkler 现在柏林为鞋子品牌 Trippen 承担设计工作。 Winkler’s footwear designs are set against a post-apocalyptic background, imagined for those rooted in the countryside but who find themselves interacting with a modern environment. His shoes reflect this fusion of the rustic and urbane, incorporating materials such as rough leather, soft fur, tar or rubber, to create protective, camouflaged, yet beautiful and aesthetically pleasing pieces. Matthias completed his studies in Fine Art at the University of Applied Arts, Vienna in 2008, and continued at London’s Royal College of Art with a degree in Menswear/Footwear Design. His work has been shown at various exhibitions including the Museum of Fleeting Art, Value Point – Siemens_artLab, Galerie Hilger, MAK, Museum for Applied Arts, Vienna. Winkler currently designs for the Berlin based shoe label Trippen.

马蒂亚斯·温克勒 Matthias Winkler 树干 Trunk 2013 鞋履 Shoes 摄影 © Manuel Vilhena Photography © Manuel Vilhena

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出生在萨尔斯堡的 Simone Springer 和来自日本京都的 Yuji Mizobuchi 是 rosa mosa 品牌设计师。两人在伦敦时装学院的鞋履饰品设计专业就读时相识，后开始携手合作。rosa mosa 代表的是个人主义、创新和顶级手工。品牌定位主要从奥地利本土寻找供应商和手工匠人，并与皮革厂深度合作，确保每一双 rosa mosa 作品都在手工艺和艺术创想之间做到完美平衡。 Salzburg born Simone Springer and Yuji Mizobuchi from Kyoto are the designers behind the rosa mosa label. They met and began collaborating while studying Footwear and Accessory design at the Cordwainers college in London. rosa mosa stands for individualism, innovation and the highest level of craftsmanship. By sourcing primarily from local suppliers and artisans in Austria and working closely with tanneries each pair of rosa mosa shoes finds the perfect balance between craftsmanship and artistic thought.

罗莎·莫萨 rosa mosa ISI 蓝图圆点拖鞋 ISI BLUEPRINT SLIPPERS DOTS 2014 亚麻、木头 Linen, wood 摄影 © Magdalena Jurisic Photography © Magdalena Jurisic

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生活在维也纳的珠宝设计师 Sonja Bischur 曾使时装设计与珠宝设计的界限整整模糊了二十年。Sonja Bischur 设计风格大胆，在原材料、样式及生产方式上采用混搭风格。这总能带来让人眼前一亮且优雅精致的珠宝设计，并通过无可挑剔的表面处理、高端材料，彰显佩戴者随意搭配的百搭性。Bischur 珠宝设计采取的独特直观法，赋予冰冷的珠宝以生命，每一款珠宝如同一首优美的诗，诗意缓缓流淌。作为维也纳应用艺术大学毕业生，Bischur 的设计出现于 DAZED & CONFUSED, SELF SERVICE, I-D, W-MAGAZINE, NUMERO, HARPERS BAZAAR, ZOO 和 PURPLE FASHION 等各类国际知名杂志。英国时装记者 Maïa Adams 时装书目《时装珠宝——伸展台和服装设计》一书中，将 Sonja Bischur 被列为当代 33 位时装珠宝设计师之一。 Vienna-based jewellery designer Sonja Bischur has been blurring the lines between fashion and jewellery design for almost two decades. Her audacious cross-over styles and an eclectic mix of materials, shapes and production methods always result in striking yet elegant pieces that convey through impeccable finishes, high-end materials and, last but not least, a versatility that allows its wearer to combine and mix at will. Her unique and intuitive approach to jewellery design is what brings her objects to life, as an intrinsic poetry flows through the pieces she creates. A graduate of the University of Applied Arts in Vienna, Bischur’s creations have been featured in renowned international magazines such as DAZED & CONFUSED, SELF SERVICE, I-D, W-MAGAZINE, NUMERO, HARPERS BAZAAR, ZOO and PURPLE FASHION. Sonja Bischur was also profiled by UK-based fashion journalist Maïa Adams in her 2010 reference book ‘Fashion Jewellery – Catwalk and Couture’ as one of 33 contemporary fashion jewellery designers.

索尼娅·比丘尔 Sonja Bischur 橘色镶边白皮革环形坠饰 White leather edged with orange, looped pendant 12cm x 26 cm 2014 摄影 © Sonja Bischur Photography © Sonja Bischur

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出生于德国的维也纳珠宝设计师 Susanne Hammer 投身珠宝工艺数十年。其基调和设计审美十分纯粹，设计是 Susanne Hammer 的独有关键词，而概念设计又是她的名片。Susanne Hammer 关注珠宝佩戴者身体活动与轮廓之间的关系。Hammer 寻求珠宝的意义及功能的方法，使她的作品处于纯艺术的边缘底线。获得金匠专业硕士学位后， Hammer 在维也纳应用艺术大学学习金属产品设计。从那时起，她的作品便开始频频获奖。2002 年，Hammer 再次就读维也纳应用艺术大学艺术教育专业。她广泛参与在欧洲、日本、中国和美国举办的众多展览、项目、讲座和研讨会。 German-born Vienna-based jeweller Susanne Hammer has been active in her craft for a few decades. Her toned town and clear aesthetics are pure and design-based yet highly conceptual, focusing on the relationship with the wearer’s movements and body-shape. Her approach to questioning the meaning and function of jewellery places her pieces at the borderline with fine art. After attaining an MA in goldsmithery, Susanne Hammer studied Metal Product Design at the Vienna University of Applied Arts. She has been winning awards and prizes for her work ever since. At 2002, she enrolled at the Vienna University of Applied Arts once again, for their Studies of Art Education programme. She has taken part in numerous exhibitions, projects, lectures and workshops in Europe, Japan, China and USA.

苏珊娜·哈默 Susanne Hammer 珠串 BALL CHAINS dekonstruier 橘色镶边白皮革环形坠饰 70cm 2014 珠子直径 4 厘米 Diameter per ball: 4cm 摄影 ©Susanne Hammer Photography © Sonja Bischur

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作为珠宝设计师，Tatiana Warenichova 从普通物品中选择媒介。设计中用到不同种类的纸加工技术、银质及木头，并以此获得具有可持续性的作品。Warenichova 酷爱故事路线，打造童话，创造意义，并通过层叠技术和回收再利用来实现故事作品。Warenichova 关注丰富多样：珠宝、艺术项目等。但无论何种元素，必然与美学相关。Warenichova 出生于斯洛伐克的波拉迪斯拉瓦，后进入比利时的安特卫普皇家艺术学院学习。专注艺术学习后，她便积极投身创作，并参与众多展览，这些展览主要位于斯洛伐克、维也纳或安特卫普。Warenichova 于 2013 年获得斯洛伐克视觉艺术联盟颁发奖项，使她梦想成真。 As a jewellery designer, Tatiana Warenichova has chosen a medium out of the ordinary. Her works with different paper techniques in combination with silver and wood, and the results are an ode to sustainability. She likes to tell stories, create fairy-tales, make meaning, and she does it all through layering and recycling. Her focus shifts from one thing to another, be it jewellery or art projects, but everything draws together under her unmistakable aesthetic. Born in Bratislava, Slovakia, Warenichova finished her studies at the Royal Academy of Fine Arts in Antwerp, Belgium. She has been actively creating since her studies, and has been taking part in many exhibitions mainly in her home country, Vienna, or Antwerp. She received the coveted Award of the Slovak Union of Visual Arts in 2013. 印花硬纸做成的脆弱三维立体童话故事形象。胸针背部带木质、银质或硬纸板剪裁而成的人物形象，强化故事主题。 Fragile three – dimensional fairy tale images cut out from printed paper. The back side of the brooch has a cut out image in wood, silver or cardboard that is the repeating motif of the story.

塔蒂阿娜·瓦莱尼科瓦 Tatiana Warenichova 童话故事讲述者 Fairy Teller 8cm × 5cm 2014 胸针（纸、木头、银、丝线） brooches (paper, wood, silver, thread) 摄影 © Tatiana Warenichova Photography © Tatiana Warenichova

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在弗洛伊德的世界里，木头通常代表的是性欲，尤其代指女性胸部。奶香的味道还原肌肤相亲的感觉——加以动物香和内酯酸，围绕带来感官满足的木质核心共振。 In the world of Freud, wood stands for sexual desire in general and the female bosom in particular. A milky fragrance that captures intimate skin feeling –with animalic and lactonic notes vibrating around a luscious woody core. 二十世纪末，Wiener Blut 领悟维也纳的精神要领，期待将顾客带回哈斯堡王朝首都的宏大气氛。这家维也纳香水工作室基于原创配方和 19 世纪的时尚创造香氛，并于 2009 年推出第一支香水。因为建立在重建和重新塑造的理念之上，所以取名 Taschentuch-Parfums。这个词是 Wiener Blut 在 1873 年杜撰，用来描述维也纳人的一种兼具顽皮与快乐主义的特质。该香水品牌由亚历山大·劳勃尔（Alexander Lauber ）开创，尽管有着深厚的历史背景，其产品却带着浓厚的逗趣气息。 Capturing the spirit of Vienna at the end of the century, Wiener Blut aims to transport the customers’ senses back to the times of grandeur in the Habsburg capital. The Viennese perfume house creates fragrances based on original formulas and fads of 19th century , with their first product being launched in 2009, and based on the deconstruction and remodeling of so called Taschentuch-Parfums. The term Wiener Blut was coined in 1873 and describes the unique blend of archness and hedonism attributed to the Viennese. Founded by Alexander Lauber, the perfume brand has a historic background, but a playful tone to all its products.

维纳·布勒特 Wiener Blut 弗洛伊德木头 Freudian wood 10cm ×7cm 2015 香水瓶 Perfume flacon

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奥地利的制帽传统由来已久，根基深厚。妮琪奥斯陆（Niki Osl），莉莉小姐帽子（miss lillys hats）品牌的创始人，是帽子的拥趸。Osl 的女帽设计是对奥利地传统 high-outings 的致敬，打造礼帽、花环、结婚礼帽等，所有这些都兼具复古风格和现代元素。只需要一顶莉莉小姐帽子（miss lillys hats），定能对整套着装起到画龙点睛的作用，完美结合新老元素，把佩戴的人带到过去，同时又不失掉现在。妮琪奥斯陆（Niki Osl）是狂热的复古爱好者，在维也纳生活、设计和创造。她的花环作品曾风靡维也纳，众多名媛选择佩戴更添优雅，作品竞相被刊登于各类时装杂志，踏上时尚康庄大道。 The tradition of hats is long and strong in Austria, and Niki Osl, the founder of miss lillys hats, is a true promoter of just that. Osl’s millinery pays homage to the traditional high-outings of the Austrians, creating fascinators, flower crowns, wedding hats, and more, all designed with a vintage note and modern presentation. Livening up any outfit, miss lillys hats make for the perfect combination of the old and the new, taking the wearer down memory lane, without ever losing sight of the contemporary. A vintage aficionado, Niki Osl lives, designs and creates in Vienna. Her revival of the flower crown has taken over Vienna, gracing the heads of celebrities, appearing in fashion magazines, and being walked down fashion runways.

莉莉小姐帽子 Miss Lillys Hats 花冠 Flower Crown 65cm 2014 复古材料（天鹅绒、真丝、线网、布料） vintage materials (velvet, silk, wire, cloth) 摄影 © Jürgen Hammerschmid Photography © Jürgen Hammerschmid

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Bless 是由 Ines Kaag 和 Desiree Heiss 创立于 1997 年的一间时尚 / 设计工作室分别在柏林和巴黎驻点。两位设计师摈弃了琐碎的时尚定义，而是忠于初心，将时尚、艺术、设计和建筑等领域的创意灵感条分缕析又融会贯通。他们采用独特的工作方法，与朋友、客户和其他人进行合作和互动。他们的创作根植于个人需求；旨在保持日常生活的简洁舒适，同时又带来美好愿景。他们的产品以及分销系统也独具创意；Bless 游刃有余地行走于实用为上到抽象边缘的各个不同领域。设计理念无拘无束，流畅现代。BLESS 没有清晰界定的风格——因为它无所不能！ Bless is a fashion/design studio created in 1997 by Ines Kaag, based in Berlin, and Desiree Heiss in Paris. The two designers escape from any calibrated definition of fashion, faithful to their initial concept, dividing and combining creation, between fashion, art, design and architecture, they engage an independent work method, which often implements collaborations and interactions with friends, customers and other contributors. Their creations are born from true personal needs; aiming for simplicity and comfort throughout daily life while aspiring for more visionary horizons. Their products as well as their distribution systems do not fit into any pre-established category; Bless passes without transition from one area to another, from highly functional forms to conceptual propositions on the verge of abstraction. An unlimited, fluid and contemporary conception. BLESS does not promote any style – BLESS fits every style!

BLESS 美丽发梳 Beauty – Hairbrush 长度：25cm Length: 25cm 1999 真毛发，50% 榉木 / 原产国：法国 50% real hair, 50% beech wood / country of origin: France 摄影 © Jürgen Hammerschmid Photography © Jürgen Hammerschmid

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BLESS 金属刘海 N°36 Metalfringe 高度：20cm Hight:20 cm 2008 steel country of origin: France 钢材原产国：法国摄影 © Jürgen Hammerschmid Photography © Jürgen Hammerschmid

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Dvorak 出生于捷克共和国，在捷克的运用艺术、金属与宝石学院攻读珠宝设计专业。毕业后，他在布拉格成为了一名珠宝设计师。随后，他搬到维也纳继续以独立珠宝设计师身份闯荡时尚界。而后他申请攻读宝石和珠宝方向的硕士学位。他的作品运用于公开系列并在全球进行展览，自 1970 年起斩获大奖无数。Dvorak 还是德国哈瑙金饰工艺协会成员。 Born in the Czech Republic, Dvorak majored in jewellery design at the School for Applied Arts, Metals and Precious Stones in his home country, moving on to become a jewellery designer in Prague. He continued his career as an independent designer in Vienna, before enrolling for a Master in Gemstone and Jewellery. His work features in public collections, and he has exhibited internationally, winning awards since 1970. Dvorak is a member of the Association for Goldsmiths’ Art in Hanau, Germany.

彼得·德沃夏克 Petr Dvorak 项链 Trychter necklace 直径：20cm Hight:20 cm 2008 steel country of origin: France 钢材原产国：法国

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第三章：创意视觉 Chapter 3: Visual Art & Creation

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在奥地利，视觉艺术如同音乐和哲学一样重要，是奥地利文化遗产的重要部分。这些丰富的新旧传统启发了多样化的创意场景，使得新的设计理念得以发展，并极大地促进了新旧之间的对话合作。这样的网络架构汇集了来自摄影、插图和动画领域的作品，而这些作品彰显了时尚打造者与艺术创造者的紧密合作。一群令人兴奋的摄影师和电影制作者与新一代时装设计师一起成长，他们能从设计师的作品中捕获到其独到见解。奥地利设计师在时尚设计和创作过程中使用复杂的创新手法和另类技巧，并受益于摄影师和电影制造者的作品再现，令他们的视野更为清晰，更容易贴近当代观众。

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Visual arts in Austria are just as vital a part of the country’s cultural heritage as its music and philosophy. The diverse creative scene is inspired by these rich traditions – the old and the new – allowing new design concepts to develop as well as collaborations to thrive. These networks are brought together with works from the fields of photography, illustration and animation, arising from close cooperation with fashion makers. The new generation of fashion designers is accompanied by an exciting group of photographers and filmmakers, who capture their own interpretation of the designers’ collections. The innovative and alternative techniques used by Austrian designers in fashion design and production are complex; they benefit from how they are represented by the photographers and filmmakers. Thus, the designers’ visions are made clearer and more approachable for contemporary audiences.

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作品介绍：受“重尚”奥地利时装艺术展委托安排，打造系列服装及大量动画，以彰显奥地利对英国文化委员会在萨默塞特府（Somerset House）举办的“时装乌托邦”秀的贡献。今年的展览上，作为“乌托邦 2016：想象力与可能性之年”的一部分，奥地利因其卓越贡献被提名为最佳国家展之一。展览上的拼贴画图片都是从大英博物馆最近向公众开放的图片档案中撷取而来。// Pia Bauernberger、Dimitrije Gojkovic、 Isabel Helf、Flora Miranda 及 Roshi Porkar 时装设计。传记：出生在维也纳的动画导演兼设计师克里斯·霍夫曼曾就读皇家艺术学院，现已在伦敦工作多年。霍夫曼的 2010 毕业电影《早餐》在多家国际电影节上放映，将其作品推向国际舞台，让她进一步探索自己的兴趣和天分。从那时起，霍夫曼便开始发展一些个人项目，并继续接受《纽约时报》、V&A 展馆、伦敦奥地利文化论坛、《观察者报》、以及最近的 Wildlife Aid。2013 年，克里斯·霍夫曼和尼克萨斯动画公司就交互式动画合作项目——“时装混搭”——作为伦敦国际时装周的一部分内容。 Commissioned by Another Austria to create a series of vines as well as a large scale animation to accompany the Austrian contribution to the British Council's 'Fashion Utopia' show at Somerset House. At this year’s exhibition, as part of “Utopia 2016: A Year of Imagination and Possibility”, the Austrian contribution was nominated as one of the best national showcases. The pictures used for the collages were taken from the British Library image archive, which was recently made available to the public. // Fashion by Pia Bauernberger, Dimitrije Gojkovic, Isabel Helf,, Flora Miranda and Roshi Porkar Biography: Viennese-born animation director and designer Kris Hofmann studied at the Royal College of Art and has been working in London for many years. Hofmann’s 2010 graduation film 'Breakfast' screened at numerous international film festivals, taking her gifted work around the globe and allowing her to explore her interests and talents further. Since then she has developed a number of personal projects and continues to work on commissions for clients such as the New York Times, the V&A, the Austrian Cultural Forum London, The Guardian and most recently Wildlife Aid. In 2013 Kris Hofmann and Nexus Productions collaborated on an interactive animation – 'Fashion Remix' – as part of the International Fashion Showcase in London.

克里斯·霍夫曼 Kris Hofmann 时装乌托邦 Fashion Utopias 2016 视频 - 每段一分半钟循环 Video – 1.5min Loop 克里斯·霍夫曼 & 威拉·凯 Kris Hofmann & Vera K 维也纳 Vienna 2015 时长 : 每段 3 分 06 秒循环 Length: 3min 06sec loop

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传记 :Susanne Bisovsky 的设计体现出时髦与羞耻、轻蔑与无辜混合的爆炸性效果。尽管她从未出席任何活动或出现在社交媒体上，但她的高级时尚女装沙龙仍然汇聚着不少国际买家。最近 Bisovsky 去拜访了艾瑞斯·阿普菲尔（Iris Apfel）并与苏熙·曼奇斯（Suzy Menkes）一番畅谈，其对话详细内容见纽约时报的访谈。佩吉·西格尔（Peggy Siegal) 参加 2016 年纽约大都会艺术博物馆慈善舞会穿的就是 Bisovsky 的设计。Bisovsky 还为卡斯泰尔巴雅克、海尔姆特·朗、卡瑟琳·马登 (Kathleen Madden )、奥地利刺绣等设计过衣服，现在正积极与罗贝麦尔（Lobmeyr）、施华洛世奇、巴克豪森（Backhausen）、奥格腾及匈牙利人瓷器专家赫伦等公司开展 Sportalm/Kitzbühe 合作，让传统技术和材料重新进入人们视线并得到青睐。Bisovsky 还曾在 2010 年上海世博会上为奥地利展馆设计着装。就她的高级时尚女装品牌而言——“永恒”——其每件作品都可能花费数年时间反复打磨，并赋予其新的内涵。通过这种特殊的方法，Susanne Bisovsky 超越时装界主流之外占有一席之地。 Biography:Susanne Bisovsky’s designs reflect the explosive impact of chic and shame, blasphemy and innocence. Although she is never seen at any events or on social media, her haute couture-salon is a meeting point of international clientel. Recent visits from Iris Apfel and a long talk with Suzy Menkes are detailed in a New York Times Interview. Peggy Siegal wore a Bisovsky dress at the Met Gala 2016. She has designed for J.C. de Castelbajac, Helmut Lang, Kathleen Madden, Austrian Embroideries and is currently active for Sportalm/Kitzbühel. Cooperations with companies like Lobmeyr, Swarovski, Backhausen, Augarten and the Hungarian porcelain specialists Herend, among others, led to a rediscovery and new appreciation of traditional techniques and materials. In 2010 she created the outfits for the Austrian Pavillon at the Expo Shanghai. In her own haute couture - “everlasting” - collections, pieces are reworked over a period of years and placed in new contexts. With this special approach Susanne Bisovsky has established a place herself way beyond the fashion mainstream.

苏珊娜·比索夫斯基 Susanne Bisovsky 嫁妆 / 妆奁 “三名女童之家” MITGIFT / DOWRY Maison des troisfilles 拍摄 : 彼得·奥尔斯车斯基 & 维蕾娜·维斯 Camera: Peter Olschinsky & Verena Weiss 声音 : 埃米尔·波林纳 Sound: Emil Berline 导演（Regie）: Emme de la Emme 制作（Produktion:）: M.O.F

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Tx- 变形（tx-transform）是一种由 Martin Reinhart 研发的全新电影技术，能在电影中将时间轴（t）和空间轴（x）彼此互换。一般来说，每一帧电影画面在展示全部空间的同时只能表现片刻的时间（1/24 秒）。但有了 Tx- 变形（tx-transform）的电影，事情便截然不同了：每一帧画面都可以展示完整的时间但只展现一小部分空间（照片的左边是 „ 在”之前，右边是 „ 在”之后。 2006 春夏系列 // 现展示巴黎时装弗洛里安 (Florian)、 rosa mosa、flor de illusion、克劳迪娅·罗莎·卢卡斯（Claudia Rosa Lukas）、 Eva Blut、索尼崖·比丘尔（Sonja Bischur）的时装配饰设计 tx-transform is a new film technique developed by Martin Reinhart that transposes the time axis (t) and the space axis (x) with one another in film. Normally, each individual frame of film depicts the entire space but only a moment in time (1/24 second). With tx-transformed films, it is just the opposite: each frame shows the entire time but only a tiny portion of space (the left side of the picture is „before,” the right side is „after”). Spring Summer Collections 2006 // We showroom paris now Fashion and Accessories by FLorian, rosa mosa, flor de illusion, Claudia Rosa Lukas, Eva Blut, Sonja Bischur 马丁·莱因哈特（Martin Reinhart）1967 年出生在维也纳，1995 年以优异成绩从维也纳应用艺术大学毕业。后担任继续教育学校的讲师。与奥地利文化服务 (Österreichische Kulturservice) 合作过数个项目： "Das Ding”（展览，目录）、"Literatur macht Schule”（目录）。参加名为“ schafftwissen，科学学院 150 年华诞”（研究与导航）的虚拟展览。作为电影制作与评论的自由工作者（Die Presse 报）。作为电影技术人员的从业生涯中，为 Otto Nemenz International（好莱坞）制作相机。为 Martin Arnold、 Linda Christanelli 和 Karl Sierek 的项目提供技术支持。数年来坚持将实验电影技术应用于艺术创作中。导演了数部短片（1992 到 1997）。现参与的项目有： "Herzlose Filme.” 奖学金：1993 联邦艺术指导部年份奖学金，1995 年再次夺得；1995 维也纳应用艺术大学年份奖学金 ,1996 联邦艺术指导部奖学金，1997 总理府艺术奖学金。维吉尔·韦德瑞奇（Virgil Widrich）,1967 年生于萨尔斯堡。12 岁时便开始从事电影行业，已制作 8 部超级电影。1990 年，在好莱坞担任约翰·贝利（John Bailey）的导演助理（“与莉莉·汤米林 Lily Tomlin 寻找宇宙智慧生命”）。1993 年到 1995 年期间，担任萨尔斯堡对角线（Diagonale）电影节的组织负责人。参与数个 CD-ROM 项目。执行出品人，为 "Robbi-Abenteuer auf CDROM,”写剧本和对话，这是奥地利到目前为止最大的 CD-ROM 制作项目之一。在“慕尼黑媒体实验室”、维也纳“人工智能协会”、“维也纳电影学校”教授文案书写技术及电影软件课程。电影（精选）包括：Auch Farbe kann träumen/ 《颜色的梦》（动画，1981）、《萨尔斯堡怪兽》（(Insektenmonsterfilm, 1982）、Vom Geist der Zeit/《时间的精神》（动作 / 冒险，113 分钟，198385），1997 年：短片电影剧本 "Vier Uhr im Café”、 "Das Kind 、und der Zauberer”，1999/2000：故事片："Heller als der Mond”（制作人兼导演）、 2001 年：„Copy Shop“. Martin Reinhart, born in Vienna in 1967. Studied at the Academy of Applied Arts, graduation in 1995 with honors.Instructor at universities and schools for continuing education. Work on specific projects with the Austrian Culture Service (Österreichische Kulturservice): "Das Ding” (exhibition, catalog), "Literatur macht Schule” (catalog). Participation in the virtual exhibition entitled "schafftwissen, 150th Birthday of the Academy of Science” (Research and Navigation). Freelance work in film production and criticism (Die Presse newspaper). Manufactured cameras for Otto Nemenz International (Hollywood) in the course of his work as a film technician.Technical work on projects by Martin Arnold, Linda Christanelli and Karl Sierek.Spent several years applying experimental film techniques to his artwork.Directed several short films (1992 to 1997). Current project: "Herzlose Filme.” Scholarships: Annual scholarship awarded by the Federal Ministry of Art and Instruction, 1993, and follow-up grant, 1995; annual scholarship awarded by the Academy of Applied Arts, 1995; grant and scholarship awarded by the Federal Ministry of Art and Instruction, 1996; grant and scholarship awarded by the Chancellery Departement for the Arts, 1997. Virgil Widrich, born in Salzburg in 1967. Work with film at the age of 12, production of Super 8 movies. In 1990, director’s assistant for John Bailey in Hollywood ("The Search for Intelligent Life in the Universe” with Lily Tomlin). From 1993 to 1995, organizational head for Salzburg’s Diagonale Film Festival. Work on a number of CD-ROM projects, etc. Executive producer, wrote screenplay and dialogs for "Robbi-Abenteuer auf CDROM,” one of the largest Austrian CD-ROM productions to date. Lectures on screenwriting technique and film software at the "Munich Media Laboratory,” the "Institute for Artificial Intelligence” in Vienna and the "Filmschool Vienna”. Films (Selection): "Auch Farbe kann träumen/ Color can dream” (Zeichentrick, 1981), "Monster in Salzburg” (Insektenmonsterfilm, 1982), "Vom Geist der Zeit/The spirit of time” (Action/ Adventure, 113 min., 1983-85), 1997: Short Film Screen Plays "Vier Uhr im Café”, "Das Kind , und der Zauberer”, 1999/2000: Feature Film: "Heller als der Mond” (producer and director), 2001: „Copy Shop“

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马丁·莱因哈特 & 维吉尔·韦德瑞奇 Martin Reinhart &Virgil Widrich Tx- 变形春夏 2006 Tx-transform Spring Summer 2006 时长 : 3 分钟循环 Length: 3min loop

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格奥尔格·埃克迈尔我的风景 Quicktime 格式电影，全高清，48.000 KHz 立体音响动画短片“我的风景”讲述的是一个容颜变幻不定的女人的故事。站在镜子前，她便想象自己是另外的人。她想象自己是博物馆馆长、是商业女强人、已婚主妇、通灵人士、健身爱好者、朋克女孩或著名歌星。最后，所有这些想象出来的角色融合形成多重人格。导演 / 摄影 / 动画：Georg Eckmayr 舞蹈艺术：Katharina Meves、 Georg Eckmayr 表演：Katharina Meves 造型：Georg Eckmayr、 Katharina Meves 化妆师：Wiltrud Derschmidt 时装设计师： Arthur Arbesser、 Christina Berger、GON、 Kayiko、 Michelle Kraemer、Wilfried Mayer、 Ulrich Reithofer、 Sabinna, Wubet Georg Eckmayr 是土生土长的维也纳人，也是一名艺术家、摄影师和讲师，专攻移动影像、电影及空间设施或编码结构形式。Eckmayr 还运用雕塑手法、科学方法、纪录片及新闻报道的手法来打造多样性的人体作品。Eckmayr 奔波于世界各地参加各种研讨会、讲座、展览及艺术节活动，还以调查员的身份发表文章。2008 年，Eckmayr 被伦敦萨奇画廊（Saatchi Gallery ）授予 Showdown 奖。

Georg Eckmayr A Landscape of Me Quicktime Movie,Full HD, 48.000 KHz Stereo The animation short film "A Landscape of Me" tells the story about a woman, who changes her appearance. In front of the mirror she imagines herself to represent different roles. One after another she sees herself as a museum curator, a business woman, a married woman, a spiritual person, a fitness fan, a punk girl or a famous singer. In the end all these imagined roles combine themselves into a multiple personality. Director / Photography / Animation: Georg Eckmayr Choreographie: Katharina Meves, Georg Eckmayr Performance: Katharina Meves Styling: Georg Eckmayr, Katharina Meves Make Up Artist: Wiltrud Derschmidt Fashion: Arthur Arbesser, Christina Berger, GON, Kayiko, Michelle Kraemer, Wilfried Mayer, Ulrich Reithofer, Sabinna, Wubet The Viennese Georg Eckmayr is an artist, photographer and lecturer. He specialises in moving imagery, films and installations in space or in the form of coded structures. Eckmayr also uses sculptural approaches, scientific methods, documentary and journalism to produce a body of work coming full circle despite its multiformity. He participates in workshops, lectures, exhibitions and festivals around the world, as well as publishing papers and articles as a researcher. In 2008, he received the Showdown awards by the Saatchi Gallery in London.

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沃兹曲斯 (Waldschütz) 职业生涯开始的关注点独辟蹊径：最初他是在美国的电影制作业创作视频。走遍全世界寻找有意思的面孔、话题和灵感，这些体验丰富了他的经验，并逐渐形成自己的风格。内心的动力与热情最终让他进入了摄影领域，回国之后他开始为时装评论杂志和广告宣传拍摄照片，通过捕捉未来主义和城市化环境，始终关注颇有争议的事物并打造具有个人特色的审美。凭借对完美的追求、强大的概念化能力以及电影摄影技巧，安德里亚斯·沃兹曲斯 (Andreas Waldschütz) 很快就成为奥地利最优秀的摄影师之一。 Waldschütz began his professional life with a slightly different focus, working in film-making creating videos in the US. After travelling the world in search of interesting faces, subjects, and inspirations, he gathered all his experiences and forged his own style. His drive and energy brought him to photography, and after moving back home he made a career shooting for fashion editorials and advertising campaigns, creating his own aesthetic by capturing a futuristic and urbane environment, always focused on the object in question. His perfectionism and strong conceptualisation, as well as knack for cinematography, make him a stand-out amongst our Austrian photographers.

安德里亚斯·沃兹曲斯 Andreas Waldschütz 关于关于卡洛琳·霍朱伯尔的鞋子视频 Video about the shoes of Carolin Holzhuber 2016

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维罗妮卡·德雷尔 (Veronica Dreyer)，是维也纳的一个泳装品牌，创立于 2013 年，强调永恒、品质、优雅和舒适。该品牌名称取自演员安娜·卡里娜 (Anna Karina) 在让·吕克·戈达尔（Jean-Luc Goddard）1960 年的电影《小兵》中扮演的维罗妮卡·德雷尔 (Veronica Dryer) 这个角色，角色形象特别符合时代的视觉审美意象，低调却机具格调。维罗妮卡·德雷尔（Veronica Dreyer）代表的是按照最高标准生产的朴素作品，每一季都会推出永恒经典的游泳套装和比基尼系列。 Veronica Dreyer, a swimwear label based in Vienna, was founded in 2013 as a sustainable brand emphasizing timelessness, quality, elegance, and comfort. The label’s name, derived from actress Anna Karina’s performance as Veronica Dryer in Jean-Luc Goddard’s 1960s film Le Petit Soldat, is a perfect fit for the visuals and imagery of the time, understated and classy. Veronica Dreyer stands for simplistic pieces manufactured to the highest standard, featuring a permanent collection of swimsuits and bikinis, added to each season.

维诺妮卡·德雷尔 Andreas Waldschütz “泳装” “Swimwear” 模特 : 艾薇·维特克 model ; IlvieWittek 2014

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自 20 世纪 80 年代早期开始，国际著名时装界明星如 Karl Lagerfeld、Jil Sander、 Vivienne Westwood、海尔姆特·朗（ Helmut Lang）、拉夫·西蒙斯（Raf Simons）及本哈德·威荷姆（ Bernhard Willhelm）等便在各时装项目中挑大梁。随之而来的训练也主要着眼以最高水平的手工和技术打造的独立、创新时装系列的概念设想、生产制造、呈现及展示。每年，学生的毕业作品都会在奥地利最热门、覆盖面最广的时装展示会 Angewandte 展中呈现。该展会邀请国际知名评委专家前往维也纳作为这一网络的关键建设者，颁发的众多奖项也强调出其高超的艺术水平和稍纵即逝的机会。 Since the early 1980s internationally renowned fashion stars such as Karl Lagerfeld, Jil Sander, Vivienne Westwood, Helmut Lang, Raf Simons and Bernhard Willhelm have headed the fashion program. The training it offers centers on the conception, production, presentation and staging of independent, innovative fashion collections at the highest level of handwork and technique. Every year, the students' work is presented in one of Austria's most talked-about and widely covered fashion events, the Show Angewandte. Its high artistic level and the opportunities at stake are underlined by the numerous prizes awarded at the show, whereby the international jury of experts invited to Vienna is a key network builder.

维也纳应用艺术大学 University of Applied Arts ViennaShow Angewandte 2016 安格万德秀 2016 Show Angewandte 2016 创意指导 : 侯赛因·卡拉扬 Creative Director: Hussein Chalayan

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迈克尔·杜尔 Michael Dürr “飞翔” “FLY” AWARENESS & CONSCIOUSNESS 品牌提供服装 Dress by AWARENESS & CONSCIOUSNESS 表演者 .: 玛姬·蔡尔兹 feat.:Maggie Childs 时装摄影 Fashion Photography 59.4 x 42 cm 2008

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Peter Garmusch 用一种独创方式对待周围的世界，通过他独特的视角捕捉画面。他精心挑选拍摄对象，先分解，再按照自己的方式组合，拍出极具个人特质的主观性照片。Garmusch 对于概念性的关注决定了他的摄影界限，他的作品常通过描述那些非比寻常的事物，激发观者的思考。目前，Garmusch 在维也纳和布尔根兰工作，发现日常生活的无限可能，创造颠覆性的作品。 Peter Garmusch has adopted an ingenious way of treating the world around him in order to capture it with his unique perception. He selects objects, only to dismantle them and put them back together in his own way, constructing subjectively charged images with a strong individuality behind them. Garmusch’s focus on the conceptual also borderlines the odd, and his photography often depicts the extraordinary, making for a thought provoking examination. Working in Vienna and southern Burgenland, Garmusch finds potential in the everyday, turning it upside down.

彼德·加姆斯 Peter Garmusch 金色兜帽 GOLDHAUBE 97×80cm 2016 时装摄影 - 传统奥地利服饰 Fashion Photography – Traditional Austrian Dresses

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彼德·加姆斯 Peter Garmusch 菲儿紧腰短裤 TRACHT “FELLDIRNDL”” 97×80cm 2016 时装摄影·传统奥地利服饰 Fashion Photography – Traditional Austrian Dresses

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布丽塔·伯格 : 尽管年龄不大，伯格 (Burger）却能在奥地利甚至国际上赢得一席之地。这位天才摄影师混合时尚、新闻、商业、亚文化及所有这些内容捕捉自由的纯粹。伯格 (Burger）拥有的文学、语言及时尚新闻背景让她清楚了解拍摄流程，并影响她的多层次照片。伯格 (Burger）拍摄那些毫无伪装或从不品头论足的人。探索和呈现社会边缘事物的能力是她的优势之一。 Despite her young age, Britta Burger has managed to build a name for herself in Austria and beyond. The talented photographer mixes fashion, journalism, commerce, subculture, and everything in between to capture the unadultered purity of freedom. Her background in literature, linguistics, and fashion journalism informs her processes and influences her multi-layered photos. She captures people in their environment without pretence or judgement. Burger’s ability to explore and present even those the fringes of society is her trademark.

布里塔·博格 Britta Burger Indie 杂志 2015 年份大奖得主 Indie Magazine Award Winner 59.4 × 42cm 2015 时装摄影 Fashion Photography

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“全新奥地利” Another Austria “全新奥地利”是伦敦国际时装秀的组成部分，由英国文化委员会、英国时装委员会同各国领馆及文化机构在伦敦时装周期间共同举办。本次活动将来自约 30 个国家的新兴设计师及策展人聚集到一起，互相分享交流，在同一地点展出，参展设计师和艺术家得到了广泛的支持。自 2013 年首秀以来，“全新奥地利”展览越来越强大。展览由 AUSTRIAFASHION.NET 启动，由克劳迪娅·罗莎·卢卡斯 (Claudia Rosa Lukas) 策展，致力于将奥地利设计人才推向国际，已成为一个令人激动的未来概念，发展非比寻常的想法和新鲜观点，促进国际设计网络的发展，并让奥地利以具备高创造力潜能的国家形象出现在国际视野中。“全新奥地利”展览不断发展壮大，展示奥地利艺术家的年轻活力和创新作品。 “全新奥地利”展在国际时装展中占有一席之地：两次被提名最佳国家展，并有多家杂志公开赞赏其概念性观点和展览设计。2015 年，为反对如今以图片为基础的时装文化，寻求时装与设计新的表达方式，举办了一场名为“书写时装” 的活动。诗歌、故事、散文与六位年轻奥地利时装设计师的作品系列同台分享。 2016 年，“全新奥地利”参加主题为乌托邦的常规国际时装展。该展览呈现了一个具有多样性、跨越国界的世界，在这个世界里，时间失去了意义。展览讲述发展、语言的变化、地点和媒介。最近，拥有超百万张图片的大英图书馆数据库免费开放，受此启发，“全新奥地利：乌托邦”展也同样采用公共开放的理念，使展览本身成为乌托邦的一种形式。 Another Austria is part of the International Fashion Showcase in London, organised by the British Council and the British Fashion Council in cooperation with embassies and cultural institutions during London Fashion Week. The initiative brings together the visionary ideas of an emerging generation of designers and curators from around 30 countries, and showcases them all under one roof, featuring a widespread support programme for the participating designers and artists. Another Austria has been going strong for four seasons ever since its debut in 2013. Dedicated to promoting Austrian talent on an international level, the exhibition, initiated by AUSTRIANFASHION.NET and curated by Claudia Rosa Lukas, established itself as a thrilling future concept, developing unusual ideas and fresh perspectives that promote international networking and reveal Austria as an emerging country with high creative potential. Another Austria is constantly growing and developing, reflecting the youthful energy and innovative creations of the country’s artists. Another Austria has clearly marked its place in the International Fashion Showcase: it has nominated for best country showcase twice and has been featured in publications praising its conceptual ideas and exhibition design. In 2015, the subtitle of the exhibition ‘Writing Fashion’, created as a counter movement to the image based culture of fashion today, sought to offer alternative expressions of fashion and design. Commissioned poems, narratives and essays shared centre stage with the pieces from the collections of six young Austrian fashion designers. In 2016, Another Austria participated in the common International Fashion Showcase theme of Utopia. The exhibition presented a world that embraces diversity and crosses borders, and in which time is of no consequence; it described developments, the change of language, location and medium. Inspired by the recently freely available British Library database, which is home to over 1 million images, Another Austria: Utopia used the principle of Open Access as a kind of utopia in itself.

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布里塔·博格 Britta Burger 全新奥地利 / 书写时装——2015 伦敦国际时装展 Another Austria/ Writing Fashion International Fashion Showcase 2015 London 套装由 Katharina Perkhofer 提供 Suit by Katharina Perkhofe 84 × 59.4cm 2015 时装摄影 Fashion Photography 模特：艾玛·薇洛 Model:Emma Willow

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全新奥地利展委任作品 Commissioned work for Another Austria 全新奥地利——2013 伦敦国际时装展 Another Austria International Fashion Showcase 2013 鞋子由 Dimitrije Gojkovic 提供，外套由克劳迪娅·罗莎·卢卡斯 (Claudia Rosa Lukas) 提供 Shoes by DimitrijeGojkovic Jacket by Claudia Rosa Lukas 84 × 59.4cm 2013 时装摄影 Fashion Photography 模特：艾玛·薇洛 Model:Emma Willow

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全新奥地利展委任作品 Commissioned work for Another Austria 全新奥地利——2014 伦敦国际时装展 Another Austria International Fashion Showcase 2014 London 服饰由 Marios Schwab 提供 Dress by Marios Schwab 84 × 59.4cm 2014 时装摄影 Fashion Photography

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邀约不断的著名摄影师玛利亚·茨格伯克 (Maria Ziegelböck) 目前生活在维也纳，为国际杂志和高端品牌商业活动拍摄照片。在协助阿尔菲·塞默坦 (Elfie Semotan) 工作并与时尚设计师本哈德·威荷姆紧密合作几年之后，她找到了自己的人物摄影风格。玛利亚·茨格伯克 (Maria Ziegelböck) 拍摄的人物照构图完美，捕捉人物的每一丝情绪和夺目的美丽。茨格伯克 (Ziegelböck) 为时尚摄影领域注入了活力，并通过人而不仅是衣服来讲述故事。 The renowned and in-demand photographer Maria Ziegelböck, currently based in Vienna, shoots for international magazines and campaigns of the highest calibre. After assisting Elfie Semotan for a few years, as well as working closely with fashion designer Bernhard Willhelm, she found her own unique style in her focus on portraiture. Her work with the human subjects is perfectly executed, and captures the nuances of emotion as well as a glossy grandeur. Ziegelböck brings a living quality to the fashion photography scene, always telling a story through the people, not just the clothes.

玛利亚·茨格伯克 Maria Ziegelböck 模特 : 汉娜·普特兹 Model: Hannah Putz 105 × 70cm 2015 时装摄影 Fashion Photography

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Bernd Preiml 珠宝设计师佛罗莱恩图片运动 Image campaign for Jewellery Designer FLorian 84 × 59.4cm 时装摄影 Fashion Photography 化妆 : 阿妮塔·奥比 / 造型 : Pigeondisco Make Up: Anita Obi / Styling: Pigeondisco

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乌多·蒂次（Udo Titz）并不是那种按部就班的摄影师。在因斯布鲁克念完经济学之后，在选择摄影作为表达其多面性格之前，他还当过 DJ、编辑、文案和设计师。蒂次深深着迷于世界呈现的多样性，这一点也体现在他的作品中：他从不避开经典人物摄影、记录摄影，还拍摄建筑物，或为商业时尚活动拍摄。随时随地准备迎接挑战的蒂次，现在为杂志拍摄照片，也做新闻报道，怀着真挚的兴趣捕捉周围的生活。 Titz is not your conventional photographer. After studying Economics in Innsbruck, he worked as a DJ, editor, copywriter, and stylist, before settling into photography as a way of expressing his multifaceted nature. Titz is deeply enticed by the diversity the world has to offer, and it shows in his work: he doesn’t shy away from classical portraits, documentary photography, shooting architecture, or working for a fashion campaign. Always up for a challenge, Titz now contributes to magazines, does reportage, and captures his surroundings with a true interest.

乌多·蒂次 Udo Titz 春夏系列 Natalia Babska Spring Summer Collection Natalia Babska 48.3 × 32.9cm 2002 时装摄影 Fashion Photography

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Peter Garmusch 用一种独创方式对待周围的世界，通过他独特的视角捕捉画面。他精心挑选拍摄对象，先分解，再按照自己的方式组合，拍出极具个人特质的主观性照片。Garmusch 对于概念性的关注决定了他的摄影界限，他的作品常通过描述那些非比寻常的事物，激发观者的思考。目前，Garmusch 在维也纳和布尔根兰工作，发现日常生活的无限可能，创造颠覆性的作品。 Garmusch has adopted an ingenious way of treating the world around him in order to capture it with his unique perception. He selects objects, only to dismantle them and put them back together in his own way, constructing subjectively charged images with a strong individuality behind them. Garmusch’s focus on the conceptual also borderlines the odd, and his photography often depicts the extraordinary, making for a thought provoking examination. Working in Vienna and southern Burgenland, Garmusch finds potential in the everyday, turning it upside down.

彼德·加姆斯 Peter Garmusch 无题 untitled 59.4× 42cm 时装摄影 Fashion Photography 造型 : 娜塔莎·霍臣艾格 / 化妆 & 发型 : 娜塔莎·霍臣艾格 / 模特 : 瓦娜 Styling: Natascha Hochenegg / Make-up & hair: Silvie Albegger/ Model: Oana

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安德里亚斯·沃兹曲斯 : 沃兹曲斯 (Waldschütz) 职业生涯开始的关注点独辟蹊径：最初他是在美国的电影制作业创作视频。走遍全世界寻找有意思的面孔、话题和灵感，这些体验丰富了他的经验，并逐渐形成自己的风格。内心的动力与热情最终让他进入了摄影领域，回国之后他开始为时装评论杂志和广告宣传拍摄照片，通过捕捉未来主义和城市化环境，始终关注颇有争议的事物并打造具有个人特色的审美。凭借对完美的追求、强大的概念化能力以及电影摄影技巧，安德里亚斯·沃兹曲斯 (Andreas Waldschütz) 很快就成为奥地利最优秀的摄影师之一。 Waldschütz began his professional life with a slightly different focus, working in film-making creating videos in the US. After travelling the world in search of interesting faces, subjects, and inspirations, he gathered all his experiences and forged his own style. His drive and energy brought him to photography, and after moving back home he made a career shooting for fashion editorials and advertising campaigns, creating his own aesthetic by capturing a futuristic and urbane environment, always focused on the object in question. His perfectionism and strong conceptualisation, as well as knack for cinematography, make him a stand-out amongst our Austrian photographers.

安德里亚斯·沃兹曲斯 Andreas Waldschütz 无题 untitled 模特 : 让娜·维兰德 Model: Jana Wieland 84× 59.4cm 时装摄影 Fashion Photography

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安德里亚斯·沃兹曲斯 Andreas Waldschütz 屏幕背后的声音 The Voice Behind the Screen 造型 : 安迪特利施勒服饰由苏珊娜·比索夫斯基提供上衣由耐德拉·车臣提供，鞋子由 GON 提供 Styling : Adia Trischler http://www.adiatrischler.com Dress by Susanne Bisovsky Shirt by Nedra Chachoua, Shoes by GON 84× 59.4cm 2013 时装摄影 Fashion Photography

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约克·威丝曼 Jork Weismann 斯特拉·露西亚 Stella Lucia 59.4× 42 cm 2015 时装摄影 Fashion Photography

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Esther Vörösmarty 已活跃于摄影领域活跃，打造机具个人风格的艺术作品。她关注时尚、社会公平和时事。作为创造性品牌“Sistah's Hunting”的联合创始人之一，Vörösmarty 凭借独特的摄影展览方式和项目获得了广泛的媒体关注和赞誉。Vörösmarty 的优势在于她的颜色、构图意识和审美感觉，常常作为当代摄影的参考。Vörösmarty 还对跨学科很感兴趣，这让她开始探索摄影与其他媒体领域比如音乐或照明等领域之间的联系。 Vörösmarty has been active on the scene for quite a while now, applying her personal vision to her art. She focuses on fashion, social justice, and current issues. As one of the co- founders of the creative production ‘Sistah's Hunting’, she received wide media acclaim for the unique approach to photo exhibitions and projects. Vörösmarty’s signature is her sense of colour, shape, and her feeling for the aesthetic, always in reference to the contemporary. Her interest in the interdisciplinary brings her to her explore the connections between photography and other media such as music or light.

埃丝特·弗洛斯马提 Esther Vörösmarty 2015/16 秋冬系列 AWARENESS & CONSCIOUSNESS 品牌 COLLECTION A/W 2015/16 AWARENESS & CONSCIOUSNESS 84 × 59.4cm 2015 时装摄影 Fashion Photography

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维也纳自由摄影师 Komenda 在开始全职摄影工作之前学的是图形设计。她的摄影才能很快就被国家级杂志发现，并从那之后开始为全世界各高端品牌及著名杂志拍摄众多商业广告和照片。Komenda 将其鲜明个性融入摄影作品中，丝丝入扣，超凡脱俗，甚至产生一种不真实的感觉。Komenda 对于完美和时尚的触感是她有别于其他摄影师，对于时尚的独有观点也是 Komenda 备受赞赏的能力之一。 Vienna-based freelance photographer Komenda studied graphic design before starting a full time career in photography. She was quickly talent-spotted by national magazines, and has since worked on numerous campaigns for high-end labels and editorials for renowned fashion magazines around the world. Komenda’s character is visible in all her photography, oozing an otherworldly, almost surreal ambience. Her feel for the perfectly staged and stylised distinguishes her from the rest, and her inventive perspective on fashion has been one of her highly praised skills.

贝蒂娜·柯曼达 Bettina Komenda 永不再冷 2008/09 秋冬系列 AWARENESS & CONSCIOUSNESS NEVER GET COLD AW 2008/09 AWARENESS & CONSCIOUSNESS 59.4 × 42cm 2008 时装摄影 Fashion Photography

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任何时代，Elfie Semotan 都可以名列奥地利最有名摄影师之一。二十世纪六十年代从奥地利时装设计学校毕业之后， Semotan 搬回巴黎从事模特工作，但很快她就发现了自己对于摄影的热爱。回到维也纳之后，她便开始跟随自己的心开始摄影工作，并成为奥地利最有名气的摄影师之一。成名之后，她继续周游世界为各大著名杂志和品牌拍摄照片，独特的风格贯穿所有摄影作品。她令人惊叹的人物照能反映出她的拍摄技术，照片中拍摄对象构图简洁，而周围环境好似是跟拍摄对象融为一体一样。 Semotan is easily classed among the most famous Austrian photographers of all time. After graduating from the Austrian Fashion School of Design in the 1960s, Semotan relocated to Paris to model, but quickly discovered her love of photography. Upon returning to Vienna she decided to pursue this passion, and established herself as of the most prolific photographers in the country. She continued to travel the world working for high-profile magazines and brands, applying her unique touch to all her photos. Her stunning portraits in particular exemplify best her sensitivity towards her craft, as they allow the elegant simplicity of the subject and its surroundings to shine through.

阿尔菲·塞默坦 Elfie Semotan 维也纳应用艺术大学，时装系教授 (1993 — 1996) 海尔姆特，上衣为艾迪斯·加伊作品 University of Applied Arts Vienna, Fashion Departmentz Professor (1993 – 1996) Helmut Lang, Top by Edith Agay 48.3 × 32.9cm 1994 时装摄影 Fashion Photography

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阿尔菲·塞默坦 Elfie Semotan 维也纳应用艺术大学，时装系教授 (1993 — 1996) 海尔姆特，T 恤为马克斯·锐易特作品 University of Applied Arts Vienna, Fashion Departmentz Professor (1993 – 1996) Helmut Lang, Top by Edith Agay 30 × 45cm 1994 时装摄影 Fashion Photography

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Lukas Gansterer 目前在维也纳和柏林居住和生活，真实地反映周围的生活环境和人类。他的作品常常会捕捉那些具有攻击性的、刺激性的、甚至是颠覆性的场景和画面，把隐藏的真相展示出来。Gansterer 所摄照片带一种漂白质感，打光直接穿过所摄物体，这是 80 年代和 90 年代朋克的一种怀旧记忆，无序混乱之中带着时尚。Gansterer 在全世界各地展览，同时也为杂志拍摄照片，并与奥地利品牌 Wendy Jim 合作紧密。 Gansterer, currently living and working in Vienna and Berlin, takes to the authentic essence of his surroundings and the people inhabiting them. His mementos capture the aggressive, provocative, and often subversive, bringing the underground out into the light. The bleached quality of his photography, penetrating the objects with bright shots of insight, is a nostalgic memorial to 80s and 90s punk, fashionable in all its anarchy. Exhibiting all over the world, Gansterer also shoots for magazines, and works closely with the Austrian label Wendy Jim.

卢卡斯·甘斯特雷 Lukas Gansterer Wendy&Jim NEW H - 08/09 秋冬系列 Wendy&Jim NEW H - Autumn/Winter 08/09 59.4× 42cm 2008 时装摄影 Fashion Photography

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Irina Gavrich 是乌克兰人，却成为了奥地利最好的年轻摄影师之一。在格拉茨学完媒体设计之后她又到维也纳学习摄影，始终深耕艺术领域，与各设计师合作，为各大刊物拍摄作品并出现在各大展览中。目前她在维也纳、柏林和巴黎三地之间穿梭，从当代年轻人的文化中寻找灵感。Gavrich 的作品总能让人感知到服装之外的情绪。通过对人性的原始把握， Gavrich 的作品有一种奇异的简单力量。 Of Ukrainian descent, Irina Gavrich has made her name in Austria as one of the best young photographers. After studying visual media design in Graz and then photography in Vienna, Gavrich settled firmly on the art scene, collaborating with designers, shooting for publications, and appearing in exhibitions. She currently splits her time between Vienna, Berlin and Paris, gathering inspiration from the contemporary young culture wherever she is. Her work, always drawn back to the emotions, is more than just about the garments on show. Picking at the rawness of human nature, Gavrich’s work is strangely enticing in its simplicity.

伊丽娜·加夫里克 Irina Gavrich Meshit 2016 春夏系列模特 : 马维·霍比格 Meshit Collection Spring Summer 2016 Model: Mavie Hörbiger 59.4× 42cm 2016 时装摄影 Fashion Photography

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恩斯特·赫罗尔德曾在维也纳应用艺术大学念书，始终对时装特别感兴趣。他关注人的身体，同时对其进行深入探索，自由地在艺术中进行表达。赫罗尔德对于随意、世俗和奇异情景的意识及欣赏让他成为一位全能艺术家，富有洞察力，并对周围的世界始终保持兴趣，始终追求通过自己的创意镜头来表达。对于现代风格的启发性思想，赫罗尔德总能用完全概念性的方式将其拍摄出来。 Herold studied at the University of Applied Arts in Vienna and has always been interested in fashion. Attentive to the human body, but also explorative of it, Herold has taken on the freedom of expression in his art. His appreciation and awareness of the random, mundane and bizarre make him a well-rounded artist, observant and interested in the world around him, and always eager to represent it through his own creative lens. Inspiring a contemporary thought process, Herold manages to shoot in full conceptual mode.

恩斯特·赫罗尔德 / 马克斯·威斯纳 Ernst Herold / Marcus Wiesner 维也纳应用艺术大学时装系教授 (1996—1998) 让·夏尔·德·卡斯泰尔巴雅克（Jean—Charles de Castelbajac）上衣为恩斯特·赫罗德作品 University of Applied Arts Vienna Fashion Department Professor (1996 – 1998) Jean–Charles de Castelbajac Top by Ernst Herold 84 × 59.4cm 1997 时装摄影 Fashion Photography 恩斯特·赫罗尔德 / 马克斯·威斯纳 Ernst Herold / Marcus Wiesner 维也纳应用艺术大学时装系教授 (1996—1998) 让·夏尔·德·卡斯泰尔巴雅克（Jean—Charles de Castelbajac） University of Applied Arts Vienna Fashion Department Professor (1996 – 1998) Jean–Charles de Castelbajac 84 × 59.4cm 1997 时装摄影 Fashion Photography

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乌多·蒂次并不是那种按部就班的摄影师。在因斯布鲁克念完经济学之后，在选择摄影作为表达其多面性格之前，他还当过 DJ、编辑、文案和设计师。蒂次深深着迷于世界呈现的多样性，这一点也体现在他的作品中：他从不避开经典人物摄影、记录摄影，还拍摄建筑物，或为商业时尚活动拍摄。随时随地准备迎接挑战的蒂次，现在为杂志拍摄照片，也做新闻报道，怀着真挚的兴趣捕捉周围的生活。 Titz is not your conventional photographer. After studying Economics in Innsbruck, he worked as a DJ, editor, copywriter, and stylist, before settling into photography as a way of expressing his multifaceted nature. Titz is deeply enticed by the diversity the world has to offer, and it shows in his work: he doesn’t shy away from classical portraits, documentary photography, shooting architecture, or working for a fashion campaign. Always up for a challenge, Titz now contributes to magazines, does reportage, and captures his surroundings with a true interest.

乌多·蒂次 Udo Titz 针织上衣 : 德斯锐·海斯 Knitwear-Top: Desiree Heiss 30 × 45cm 1995 时装摄影 Fashion Photography

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达莉娅·斯宾格的怪异风格让她注定要从事摄影。就读医学专业之后，她发现自己被摄影深深地吸引，于是决定转学摄影。斯宾格在维也纳出生和长大，探索文化中那些肤浅的方面，主要关注当代那些做事不合时宜、喜欢浓妆艳抹、逆势而行并不断惹麻烦的年轻人。她的作品绝对不能算作诗主题色彩淡化：相反照片里充斥着视觉刺激、华丽和色彩。斯宾格通过很多种方式拍摄现代奥地利的失败者们，拍出他们革命的、反动的和争议的表现主义。 Spiegel’s eccentricity predestined her for a career in photography. After enrolling to study medicine, she found the contrasting allure of photography too appealing, and decided to study that instead. Born and raised in Vienna, Spiegel tapped into the kitschy aspect of the culture, focusing on the young contemporary crowd of misfits, playing dress-up, going against the tide, and causing trouble in the process. Her work is far from toned-down: instead it overflows with visual stimuli, opulence, colour. In manyways, Spiegel’s shoots the underdogs of modern Austria, with all their revolutionary, reactionary, and controversial expressionisms.

达莉娅·斯宾格 Daliah Spiegel 米西特 & 达利亚·施皮格尔，2013 春夏系列 Meshit & Daliah Spiegel , Spring Summer 2013 59.4 × 42cm 2012 时装摄影 Fashion Photography

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冈瑟·帕斯（Günther Parth）来到维也纳学习摄影之后，帕斯便开了一个工作室专心研习摄影技术。从 80 年代末期开始，他的作品开始在各大杂志和刊物相继出现，在世界各地展出，并被许多风景介绍书籍和目录册收录。帕斯用不同寻常的方式记录周围的世界，性质各不相同且总能带给人惊喜，营造出极其现代的感觉以弥补较为惨淡的摄影情景。帕斯的摄影偏向未来主义，明厉的取景和干净的线条更强化了他作为艺术家的个人声音。 Günther ParthAfter moving to Vienna to study photography, Parth opened his very own atelier and focused on honing his craft. Ever since the late 80s, his work has appeared in renowned magazines and publications, has been exhibited around the world, and has been featured in many lookbooks and catalogues. Parth’s unusual take on the world around him, varied in nature and alwyas surprising, makes for poignant photography with a highly modern twist. His slight deviation towards the futuristic, sharp vision and clean lines all add to Parth’s strong individual voice as an artist.

冈瑟·帕斯 Günter Parth 男人机器尤特·泊罗伊儿 2010/11 秋冬系列 Man Machine Ute Ploier AW 2010/11 59.4 × 42cm 2010 时装摄影 Fashion Photography

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原力碰撞上海本土新锐时尚设计师 Ziggy CHEN( 陈翔 ) 与奥地利摄影师 Stefan Sappert 联合打造超凡摄影展 – 原力碰撞。展览中将呈现超大尺寸、独一无二的采取玻璃干板摄影术拍摄的照片，在当今时装摄影中成为一股清流。展览的独特内容与拍摄手法将带来前所未有的视觉冲击感，恰如其分地诉说着这个时尚品牌的张力：特立独行、手工打造、原汁原味。这组照片于 2016 年 6 月在上海拍摄，在巴黎 Armel Soyer 画廊首次展出。 COLLIDING FORCES Shanghai based fashion designer ZIGGY CHEN and Austrian photographer STEFAN SAPPERT teamed up tocreated the truly outstanding project COLLIDING FORCES. Large-format, one-of a kind Ambrotype photographs that stands out of the mass of conventionalfashion photography. Content and medium form a visual powerful unit which echoes the ethos of the brandperfectly: unconventional, handmade and full of raw beauty. Photographed in Shanghai in June 2016, first presentation during Fashion Week at Armel Soyer Galery Paris. 斯特凡塞伯特工作于奥地利的世界知名摄影师，曾多次荣获时尚与人物摄影大奖。Stefan 擅长从独特视角切入，创造出能够带来强烈视觉冲击的画面，将复古元素与当代时尚完美结合。斯蒂芬是一名热情洋溢、标新立异、特立独行的摄影师。他的作品带有鲜明的个人特点，好评如潮，受到各大期刊杂志的追捧，在全球范围内多次展出。 STEFAN SAPPERT award winning fashion & portrait photographer based out of Austria with an unconventional approach increating visually powerful imagery: mixing up the vintage with the contemporary. driven by passion, out-of-the-box thinker, always in search of the different and unique. His recognizable style of imagery is appreciated by clients who love the exceptional and made his work appearin major publications and exhibitions worldwide.

斯特凡·塞伯特 Stefan Sappert 原力碰撞 Colliding Forces 设计师：陈翔 SS 17 系列导演：中野大须贺 , 模特：遊屋慎太郎，发型与化妆设计：马萨 Designer ZIGGY CHEN Collection SS 17, Director: Hiroki Osuka, Model: Shintaro Yuya, Hair / Grooming: Masa 玻璃干板摄影法，纯银与黑色玻璃纯手工制作。 Ambrotype photographs handmade out of silver and black glass. 版本：1/1. 独一无二的艺术作品 Edition: 1/1. unique one-of-a-kind artworks 50 × 60c m 2016

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维也纳慈善舞会每年都在维也纳市政厅举行，这是全世界最大的艾滋病慈善活动之一。其宗旨是：帮助感染艾滋病的人通过打破常规的方式与社会对艾滋病的禁忌状态抗争。因此，维也纳慈善舞会也是庆祝生活的一大盛事，并发出抗争艾滋病的宣言——其影响力超越维也纳和奥地利国界。广泛吸引国际注意力是很有必要的一件事，因为维也纳慈善舞会同时也是艾滋病病毒阳性者或艾滋病患者的发声渠道。当前，艾滋病仍是全世界共同面临的威胁，且艾滋病毒致死率很高。艾滋病的感染不分性别、年龄、社会地位或性倾向。创造性理念：维也纳慈善晚会 / 盖瑞·凯斯勒（Gery Keszler）照片：英奇·普拉德（Inge Prader） The Life Ball, which takes place annually inside Vienna City Hall, is one of the biggest AIDS charity events in the world. The aim: to help affected people in an unconventional way and to fight against the taboo status of HIV/AIDS in our society. The Life Ball is therefore an exuberant festivity that celebrates life and makes a loud statement in the fight against HIV and AIDS - resounding across the boundaries of Vienna and Austria. The broad national and international attention it attracts is particularly necessary, since the Life Ball also serves as voice of HIV positive people or people suffering from AIDS. The threat from AIDS is still present in the whole world; the HI-virus is deadly. HIV and AIDS can affect everybody regardless of gender, age, social status or sexual orientation. Creative Concept: Life Ball/Gery Keszler Photos: Inge Prader 照片专为维也纳慈善舞会 2015《风尚宝典》而摄。参加舞会的嘉宾都从维也纳慈善舞会风尚宝典中寻找灵感，根据每年的最新潮流主题选择合适着装。 The photos were produced for Life Ball´s Style Bible 2015. The Life Ball Style Bible is an inspiration for ball guests to feature their own Life Ball aqudate look according to the annual changing motto. 英奇·普拉德（Inge Prader）维也纳摄影师英格·普拉德是奥地利摄影界的真正大腕，为最高端的客户服务，尤其是参与了很多大小极高的盛会。她为艾滋病慈善项目——维也纳慈善舞会拍摄的照片反响尤其强烈，让她迅速获得国际名声。普拉德拍摄 Gustav Klimt 的画作还原意象，其作品在世界巡回展出，也重新让奥地利人用现代的方式去重新构建其过去。普拉德生动的摄影作品加上传统与现代的巧妙结合，是不得不看的精品。 Inge Prader Vienna-based photographer Inge Prader is a true powerhouse in Austria, working for clients of the highest calibre, and participating in some of the most prolific events. Her photos for the AIDS charity event Life Ball have been particularly instrumental in catapulting Prader’s name onto the international scene. Her inspirational take on Gustav Klimt’s paintings as reimagined by her vision circled the world, and brought cognisance to the Austrian modern reimagination of its past. Prader’s lively photos, her sense for the traditional elegantly mixed with the contemporary, is a match made to be seen.

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英奇·普拉德 Inge Prader Inge Prader 的娱乐细节之 Gustav Klimt 的《贝多芬·弗里兹》(1901). 照片 : 维也纳慈善舞会 , © Inge Prader Detail of Inge Prader's recreation of Gustav Klimt's Beethoven Frieze (1901). Photo: Life Ball, © Inge Prader 84×59.4c m 2015 艺术摄影 Art Photography 英奇·普拉德 Inge Prader Inge Prader 的娱乐之 Gustav Klimt 的 Danae (1907). 照片 : 维也纳慈善舞会 , © Inge Prader Inge Prader's recreation of Gustav Klimt's Danae (1907). Photo: Life Ball, © Inge Prader 84×59.4c m 2015 艺术摄影 Art Photography

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Benjamin Eichhorn 花了一段时间才走上艺术与摄影道路，专供艺术创造之前曾入学学习心理学和生物学。不过，他对于世界及世界上的人和事、以及人们对世界的感知的强烈好奇心还是在他的摄影作品中有着清晰的表现。希霍恩从基础学起，每天拍摄日常事物，只为发现平凡之中的不平凡，打造出令人惊喜的作品。Eichhorn 凭借对细节的关注和独特的摄影方式，拍出发人深思的迷人作品。无论是用花布面料打造的立体裁剪作品还是解构某一张照片的焦点， Eichhorn 从来不缺创造力，是完全的先锋派。 Benjamin Eichhorn took a while to settle into his art and photography path, enrolling to study psychology and biology before focusing solely on his creativity. However, his intense curiosity for the world, its workings, the way it is perceived by the human mind, is clearly visible in his photos and objects. Always starting from the basic layer, Eichhorn takes everyday things, only to re-examine them and turn them into the unexpectable. His attention to detail and unique processes allow him to create works which question and intrigue. Draping work tools in floral fabric or deconstructing a focus in a single photograph, Eichhorn is nothing short of inventive and completely avant-garde.

本杰明·艾克霍恩 Benjamin Eichhorn BE 高级定制 BE Couture 84×59.4c m 2014 艺术摄影 Art Photography

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Anneliese Schrenk 曾在维也纳应用艺术大学接受教育，是一位以独特风格著称的视觉艺术家。Schrenk 充分发挥非传统材料的潜能，探索其独特特质和完整性，创造出现代的具有艺术启蒙影响的平台和画布。她重视质感和小细节：眼泪、抓痕或小孔。Schrenk 的皮革作品将原始兽性元素带入线条明晰的艺术空间，并引人思考其所代表的意象及其深层意义。 Schrenk 总能抓住观众的兴趣所在，并将自然普通的东西改造成艺术。 Anneliese Schrenk, educated at the Academy of Fine Arts in Vienna, is a visual artist well known for her peculiar and stand-alone style. Schrenk uses the potential of non-traditional materials, exploring their uniqueness and integrity to create modern art-inspired plateaus and canvases. She focuses on texture and the little details: the tears, scratches and holes. Her work with leather brings an element of raw animalism to the clean-cut gallery space, and invites an inquiry into what it represents, and the meaning it carries. Forever piquing the interest of the spectator, Schrenk reforms natural matter into a thing of art.

安娜莉丝 . 施伦克 Anneliese Schrenk 中间的空间 The space between 366 x 157 x 30cm 2015 皮制艺术作品 Leather cut artwork

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出生在贝鲁特的 Yasmina Haddad 目前以自由摄影师的身份在维也纳工作和生活，走出自己的视觉摄影之路。她把情绪投射到真正的艺术物品中，姿态完美，再通过当代视角对其进行处理展现。Haddad 展现情绪的过人技术同样也贯穿在她的人物摄影中，用彩色构图描述拍摄对象，现代之中又带一丝奇妙，似乎触及经典边缘，但又始终掺杂现代元素。 As a freelance photographer working in Vienna, Beirut-born Yasmin Haddad has carved her own visual path on the photography scene. The sensibility in her photos, which she applies to stand-alone objects, turns them into actual objects of art, perfectly staged, and approached with a contemporary range of view. Haddad’s emotional prowess comes across in her series of portraits as well, depicting her subjects with a colour-pop infused modernity and a touch of wonder, always verging on the classical, while remaining thoroughly current.

亚斯米娜 . 哈达德 Yasmina Haddad 光泽 Glossy 29.8 x 42 cm 2014 时尚艺术摄影作品－“书“/ 墙上的架子上 Fashion Art Photography Artwork - “book” / Bar or rail on the wall

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Hannes Gröblacher 目前在维也纳工作和生活，是一名自由跨学科艺术家，而他之前学的是城市规划和建筑。他对对公共空间以及人们与公共空间的相处方式兴趣浓厚，这也是其摄影作品的一个重要特点。Gröblacher 钻研普通人的日常生活，努力捕捉个体与大环境之间的联系。他曾在地铁进行过一个为期两年的人像素描项目，这也足以体现出他对于俗世生活的热爱，但除了热爱之外还会认真研究。Gröblacher 通过艺术建立起自己和开放的城市空间之间的联系，并不断提出问题，引人思考。 Living and working in Vienna, Hannes Gröblacher is a freelance interdisciplinary artist, who trained as an urban planner and architect. His apparent interest in the public space and the way people interact with it, is one of the main motifs in his work. He digs into the everyday lives of normal people, striving to capture the connections between their individualities and their surroundings. His two year project of sketches of people on the underground exemplifies his affection for the mundane, but more than that, the study of it. Gröblacher connects with the open urban spaces through his art, always posing questions and inviting investigations.

汉内斯 . 格洛布莱切 Hannes Groeblacher 12 x 29,7 x 21cm 2012 高质量打印的，速写 Printed high quality live scetches

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出生在德国的卡罗琳·海德曾在维也纳学习摄影、美术和电影，从那时起便将自己独特的视觉才能融会贯通。作品中对于概念的关注更加促进了有关现实和幻象的文化性调查研究。海德常研究那些隐晦的观点、重建视角，并不断提出疑问，用高度电影化的手法来捕捉拍摄画面。海德的作品频繁参加奥地利国内外的展览，并获得奥地利文化部办法的杰出艺术家奖等奖项。 German born Caroline Heider enrolled to study photography, fine art and film studies in Vienna, and has been merging her unique visionary talents ever since. Her conceptual focus in all her work makes for a culturally investigative study of realities and illusions. Heider often plays with obstructed views, deconstructing the gaze, and always questioning things, capturing everything in a highly cinematic style. Her work has been frequently exhibited both at home and abroad, and has been honoured with prizes such as the Outstanding Artist Award by the Austrian Ministry for Culture.

卡罗琳 . 海德 Caroline Heider 多奥拉 - 本达系列 WW-204273（钟形帽）宣纸涂料印花反面签名 Wiener Werkstätte (D´Ora – Benda Series) WW-204273 (Topfhut / Clochehat) Pigmentprint on ricepaper signed on the reverse 47 x 36cm 2016 裱框艺术摄影 Art Photography framed

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卡罗琳 . 海德 Caroline Heider 显示屏（多奥拉 - 本达系列，卡斯泰尔伯爵夫人），纸上印刷，折叠 © Caroline Heider 2013 Display panel (D`Ora-Benda Series, Countess Castell ), print on paper, folded. 53 x 40cm 2013 裱框艺术摄影 Art Photography framed

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第四章：致敬大师 Chapter 4: Homage to Masters

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Cultural exchange, interdisciplinary collaboration, and the sharing of knowledge and innovative ideas are further exploration of ReFashioning- Austrian Fashion Art Exhibition . Austria meets China, Liu Haisu and Gustav Klimt are masters of art in China and Austria, they advocated positively the art renovation in their own countries respectively, their times are connected too. Liu Haisu is established as the pioneer of China new art movement, while Gustav Klimt comes to be known as the representative of Secession.When the exhibition are initiated, a cross-cultural workshop “Homage to the art of Liu Haisu，Gustav Klimt” are discussed and taken into consideration. The designers and students are to re-imagine their works with the inspiration from the art of Liu Haisu，Gustav Klimt and Emilie Flöge, the muse of Klimt and the fahion designer with the style of renovation at the beginning of 20 century. This cross-cultural workshop “Homage to the art of Liu Haisu,Gustav Klimt and Emilie Flöge” were organized in China and Austria.To launch this, the fashion students of the Shanghai International College of Fashion and Innovation, Donghua University and also a number of Austrian designers, were invited to participate in a cross-cultural project over several months. The participants were asked to create an outfit by taking inspiration from the other respective culture. While China and Austria are quite literally half a world apart, they are connected by a number of traditions in the realm of fashion and design. Embracing another culture’s similarities and differences is vital to any cross-cultural collaboration, and the ability to create something novel and innovative with local expertise out of these similarities and differences is an enriching experience for both sides.

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文化交流、跨学科合作，知识共享和观念创新是“重尚”奥地利时装艺术展的更深层的探索。奥地利与中国相遇，刘海粟和古斯塔夫 • 克里姆特（Gustav Klimt）分别是中国和奥地利的艺术大师，他们在各自的国度都极力地推动了艺术的创新，并且，他们所处的时代也是互相关联。刘海粟是中国新美术运动的拓荒者，古斯塔夫 • 克里姆特（Gustav Klimt）是维也纳分离派代表人物。在“重尚”奥地利时装艺术展策展启动之时，一个跨文化的工作坊项目“向刘海粟、克里姆特的艺术致敬”便酝酿产生，中奥设计师和学生分别从刘海粟、克里姆特，以及克里姆特的缪斯、20 世纪初奥地利革新派时装设计师埃米莉 • 芙洛格（Emilie Floge）的艺术和精神获取灵感，并创作出具有自身思考的作品。这个跨文化的工作坊在中国和奥地利分别举行。东华大学上海国际时尚创意学院的学生及一些奥地利设计师应邀参加了为期数月的跨文化项目。双方参与者都从对方国家文化中寻求设计灵感并完成了各自的服装设计。尽管中国和奥地利相隔半个地球，但中奥两国的经典传统，连接其时尚和设计领域。接纳另一种文化的相似性和差异化对任一种跨文化合作来说都至关重要，且基于这些相似性和差异化的结合本土经验及创新设计的交流对中奥两国都是一种丰富的体验。

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师友黄山——刘海粟的黄山作品黄山是刘海粟一生最爱的自然奇景和人文胜境，也是他毕生垂练笔墨的客观物象。黄山峻急奇幻的云山变化赋予了刘海粟研磨黄山绘画提供了文化资源和绘画范本。从 1918 年刘海粟首次登临黄山到 1988 年他第十次登黄山，在人生的百岁历程中，刘海粟凭借着非凡的毅力与气魄，完成了一生十上黄山的壮举，并开启了以黄山绘画为代表的中国气象。

Mount Huangshan, Both a Great Teacher and Old Friend—Liu Haisu’s Mount Huangshan-themed Paintings Mount Huangshan was Liu Haisu’s most beloved natural wonder and cultural heritage. He perfected his painting skills and aesthetics against it throughout his life. Its ever-changing landscape enriched Liu Haisu’s relentless study and practice. From his first time to Mount Huangshan in 1918 to the last time in 1988, Liu Haisu climbed the majestic mountain for ten times in total which could not be achieved without courage and perseverance, and he rejuvenated Chinese art through his pioneering Mount Huangshan-themed paintings.

刘海粟 Liu Haisu 黄山图 Mount Huangshan 117×81.5cm 1966

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刘海粟 Liu Haisu 黄山青龙潭 Qinglong Pool in Mount Huangshan 104.5 X51.3cm 1980

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刘海粟 Liu Haisu 石笋云松 Shisungang Pines 96.5 x 52.3 cm 1983

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关于工作营在本次跨文化交流的工作营活动中，奥地利的设计师们从刘海粟大师的画作中汲取灵感，建立时装 / 纺织艺术与美术之间新的联系。他们结合传统和现代手工艺技术来打造创新作品，使用了包括针织、钩编、缝纫、绣花、编织、手工印、数字打印及系列染色技术在内的许多技术，设计制作了独具风格的系列作品。 About Workshop Involved in the workshop, the Austrian contribution was inspired by a selection of Liu Haisu’s beautiful drawings and paintings, establishing yet another link between fashion/textile art and fine art. The selected participants use traditional and modern craftsmanship skills to create innovative works. Techniques used by the designers include knitting and crocheting, stitching and embroidering, weaving, manual print, digital print and a range of dyeing techniques. Series of pieces are designed in each designer's unique style.

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艾格尼丝·诺登赫兹（AGNES NORDENHOLZ）于 2015 年创办，以柏林为大本营，其背后负责创意的是艾格尼丝·肖尔（Agnes Schorer）。这个品牌代表的是思想前卫而低调朴素的服装系列，因独特的手袋系列出名，其手袋常常结合使用皮革、罗登呢和皮毛制作而成。诺登赫兹（Nordenholz）在维也纳应用艺术大学学习，师从马克·博昂 (Marc Bohan), 海尔姆特·朗（Helmut Lang) 及让·夏尔·德卡斯泰尔巴雅克（Jean-Charles de Castelbajac）。担任了 Hartmann Nordenholz 品牌 14 年的联合创始人及主创设计师之后，艾格尼丝 (Agnes) 搬到柏林，开始‘回归根本’，以艾格尼丝·诺登赫兹（AGNES NORDENHOLZ）的名义继续创作。她的作品不断对现代主义在时装语言中的定位作出拷问。艾格尼丝 (Agnes) 将作品看做发展和定义自我“语言”的方式，其创作基础是探讨美感的舒适与不舒适，探讨平衡和在当今都市生活中意外打破的规则。她的设计思想前卫，不拘一格，是当代女性突破可能性的必备。 Agnes Schorer is the creative mind behind AGNES NORDENHOLZ, founded in 2015 and based in Berlin.The brand stands for forward-thinking yet understated collections and is known for it’s unique handbags, often combining leather, loden and fur. Nordenholz studied at the University of Applied Arts in Vienna under Marc Bohan, Helmut Lang and JeanCharles de Castelbajac. After 14 years as co-founder and designer of the label Hartmann Nordenholz, Agnes moved to Berlin to go ‘back to her roots’ and to continue her work under the name AGNES NORDENHOLZ.Her collections are about doubting and requestioning the positions of modernism in the language of fashion. Nordenholz sees her work as a need to develop and define her own ‘words’. The base is the comfort and discomfort of beauty, the balance and the unexpected break of rules in the codes of todays urban living.The design is an unprepossessed and forward-thinking scetchbook of possibilities for women now

艾格尼丝·诺登赫兹 Agnes Nordenholz 印象刘海粟 Inspiration Liu Haisu 印花图案技术 Print & pattern technic 摄影：© 艾格尼丝·肖尔 Photography © Agnes Schorer

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Awareness & Consciousness 由克里斯蒂亚娜·格鲁伯（Christiane Gruber）于 2005 年成立，格鲁伯（Gruber）在维也纳应用艺术大学师从拉夫·西蒙斯 (Raf Simons),，维克多和罗尔夫（Victor&Rolf）和让 - 夏尔·德卡斯泰尔巴雅克（Jean-Charles de Castelbajac）学习时装。2002 年，克里斯蒂亚娜·格鲁伯（Christiane Gruber）赢得时装大奖，由奥地利联邦教育、艺术与文化部门颁奖，这也让她获得为设计师如海德·艾克曼 (Haider Ackermann) 和安·凡德沃斯特 (A.F.Vandevorst.) 工作的机会，积累更多国际经验。从 2005 年到 2009 年，克里斯蒂亚娜（Christiane）在巴黎时装周上展示自己的设计作品。2007 年，Awareness & Consicousness 品牌赢得 Ringstrassen 大奖，此后又于 2008 年获得维也纳时装大奖，于 2009 年获得国际 PR 奖。A & C 作为 Awareness & Consciousness 的缩写，代表着一种个人对生活的态度，同时也可以代指饰品 & 服装。克里斯蒂亚娜（Christiane）富有质感的柔软飘逸服装由高品质的毛线材料制成。所有服饰都经过手工漂白和特殊的染色过程，以打造独一无二的图案样式和颜色组合。因此，每一件作品都是最独特的存在。 Awareness & Consciousness was launched by Christiane Gruber in 2005. Gruber studied fashion under Raf Simons, Victor&Rolf and Jean-Charles de Castelbajac at the University of Applied Arts, Vienna. In 2002 she won the Fashion Award, presented by Austria’s Federal Ministry for Education, Arts and Culture, which gave her the opportunity to gain further international experience working for designers like Haider Ackermann and A.F.Vandevorst. From 2005 to 2009 she presented her collections at Paris Fashion Week. In 2007 Awareness & Consicousness received the Ringstrassen award, followed by the Vienna Fashion award in 2008 and international PR award in 2009. A&C stands for Awareness & Consciousness, a personal attitude towards life, as well as for Accessories & Clothing. Her sensuous, soft flowing collections are made from high-quality jersey materials. All items undergo a hand-bleaching and special dyeing process which creates unique patterns and color combinations. As a result each piece is entirely unique.

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韦罗妮卡·帕斯（Veronika Persché）在电脑驱动针织机的帮助下，得以创造三维面料结构。通过组合材料与改良设计，她可以用同样的材质实现完全不同的效果。帕斯（Persché）使用的面料从有机到高端，色彩独独钟爱绿色（她对这种颜色痴迷已久）。帕斯（Persché）很少创作属于自己的服装，相反她选择与几个不同的服装设计师合作，她觉得通过合作的过程可以让所有参与其中的人拓宽视野。帕斯（Persché）出生在克洛斯特新堡，从小生活在创造性教育的环境之中。母亲缝衣服，父亲就在一旁研究图形设计与建筑，而她的外祖父是一位木雕艺人，家里来往的友人中不凡表演艺术家。帕斯 (Persché) 成为设计师是完全有迹可循的，这些成长经历也足以解释她的风格——精细化设计，手工打造有机面料，并将戏剧表演性融入其中。 Veronika Persché creates three-dimensional fabric structures with the help of a computer-driven knitting machine. Combining materials and altering the design, she can create a variety of different effects from the same starting point. Her fabrics range from the organic to high glamour and are very often green (she has long been obsessed with the color). Persché rarely creates her own garments; rather, she works closely with a variety of different clothing designers, a process she feels expands the horizons of all involved. Born in Klosterneuburg, Persché had a creative upbringing; her mother sewed whilst her father studied graphic design and architecture, her grandfather was a woodcarver and family friends included performing artists. It is entirely logical that Persché became a designer and these influences explain her style - precise design with organic handcraft and the theatrics of performance.

韦罗妮卡·帕斯 Veronika Persché 印象刘海粟 Inspiration Liu Haisu 机械编织 / 重点为罩衫印花图案 Machine knitting / Focus on overall patterns 摄影：© 韦罗妮卡·帕斯 Photography © Veronika Persché

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Susa Kreuzberger 认为服装即是身体的延续。她关注女性主义并将融入到时装设计中去。她尝试发展面料和质地，达到重塑身型的效果。她既把穿戴者看做雕塑，同时用抓住其强烈的精神特质，并坚信服装应当成为表达方式。她的作品洋溢着纯粹又成熟的气质。Susa Kreuzberg 的品牌 Madame With a Mission 在奥地利时尚界发展得风生水起。该品牌创立于 2013 年，Susa 已拥有了一批客户基础，她不断推出设计系列，无一不是她探索未知、力求创新的真实写照。 Approaching clothes as an extention of the body, Susa Kreuzberger is interested in feminist ideas and their representation in fashion. Playing with fabrics and textures to reshape the body, she sees the wearer as a sculpture, but also as a powerful spirit to whom clothes are the means of expression. Creating clothes with a purist but sophisticated spirit, Susa Kreuzberger's label Madame With a Mission stands firmly on the Austrian fashion landscape. Established in 2013, Susa has managed to find her customer base, continuously putting out collections which reflect her need for exploring the unknown, and designing something utterly new.

Susa Kreuzberger 印象刘海粟 Inspiration Liu Haisu 手印技术 Handprinting technic 摄影： © Susanne Kreuzberger Photography © Susanne Kreuzberger

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奥地利时装品牌 STEINWIDDER 创始人安尼塔·斯坦维德（Anita Steinwidder）是一位自学成才的时装设计师，在维也纳工作和生活。2000 年安妮塔（Anita）从格拉茨技术大学毕业，获得建筑文凭，但很快就在 2002 年开始服装设计与制作。安妮塔（Anita）的设计方式别具一格：跟其他很多时装设计师不同，安妮塔（Anita）的设计流程并非从绘图开始，而是对现已存在的物体进行三维建模。二手服装或二手物品被剪切或分解然后形成新的原创设计，既具功能性又带有不同的概念。斯坦维德（STEINWIDDER）的项目导向作品强调有机造型、结构和带给人轻松感的面料，通过一种有趣的方式表达出对空间和空间性的强烈建筑学意识。斯坦维德（STEINWIDDER）在 2011 年度奥地利时装大奖上夺得时装制作奖，并在 2011 年五月获得清洁绿色时装奖。2012 年，斯坦维德（STEINWIDDER）夺得 Modepalast 十佳奖。 Anita Steinwidder, founder of the Austrian fashion label STEINWIDDER, is a self-taught fashion designer living and working in Vienna. Anita graduated in 2000 from the University of Technology Graz with a degree in architecture, but swiftly began designing and producing clothes in 2002. Her approach to design is unusual: unlike most other fashion designers, Anita’s working process does not originate in drawing, but rather, in the three-dimensional materiality of already existing objects. Second-hand clothes and articles are cut up or ripped apart and reconfigured into original forms with new functions and different conceptual contexts. STEINWIDDER’S project-oriented collections all emphasize organic shapes, structures and relief-like surfaces, interestingly expressing a strong architectonic awareness of space and spatiality.STEINWIDDER was awarded the Vienna Chamber of Commerce Fashion Production Prize at the 2011 Austrian Fashion Awards, and the Green & Clean Fashion Award in May 2011. In 2012 STEINWIDDER won the Modepalast Best of 10 Prize.

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苏菲·斯卡其是来自维也纳的设计师，目前工作地点为伦敦，在伦敦玛丽王后大学电子工程和计算机科学学院攻读博士学位。同时，她还担任该学院的媒体、艺术以及面料科技方向的研究员。苏菲·斯卡其拥有的跨专业背景使她在时装设计时注重融会贯通，将不同领域和专业带入时装设计，尤其注重数学和自然科学的运用。从米兰到东京，全球著名的时装秀和时装展上皆可看到她呈现的精彩作品。在担任研究员之前，她曾担任丹麦初创公司“裁缝之子”（Son of A Tailor）的定制经理。同时，她还担任施华洛世奇针织衫设计师。在她最新推出的时装设计作品——2017 春夏系列中，再次充分调动跨界融合能力，打造出集男装、针织衫和多媒体技术为一体的精彩作品。 Based in London, Viennese designer Sophie Skach is currently undertaking a PhD in Textile Technology at the School of Electronic Engineering & Computer Science at Queen Mary University of London. Her work combines fashion with mathematics and natural sciences, and has been exhibited in Milan, Paris and Tokyo among others. Before embarking on her PhD, Skach worked as a tailoring manager for the Start-Up Son Of A Tailor in Denmark, and as a knitwear designer for Swarovski. Skach has also gained interdisciplinary acclaim with her ink drawings, which were most recently used as conceptual designs for Austrian hairdresser HeadWork. Her latest collection for S/S17 once again merging multiple interests into one output of work: menswear, knitwear and multimedia technology.

苏菲·斯卡其 Sophie Skach 向刘海粟先生遥致敬意 ! A homage to Liu Haisu ! 使用墨黑色在棉布上绘图，直接在成衣（而非布料）上进行绘画绘画工具：毛笔及相关工具 hand painted black ink on cotton fabric using a calligraphy brush

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! !

SOPHIE SKACH!

an hommage to Liu Haisu!

! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

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关于古斯塔夫·克里姆特（Gustav Klimt）古斯塔夫·克里姆特（Gustav Klimt）（1862-1918），奥地利象征主义画家、维也纳分离派的创导者，其艺术深受各国多位艺术家影响，同时吸收了拜占庭镶嵌画和东欧民族的装饰艺术的营养，致使他的画具有“镶嵌风格”。克林姆特的画面具有强烈的装饰色彩及与其不相称的严肃和伤感。克林姆特生于维也纳一个制作金银首饰的世家，这也是他的作品多用金色的原因。他在作品中运用沥粉、贴金箔、嵌螺钡、贴羽毛等等特殊技巧，取得了特殊的艺术效果。 Gustav Klimt (1862-1918)was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. He was influenced by both Byzantine mosaics and Eastern Europe National decorative arts, resulting in his paintings with "mosaic style." Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Klimt was born in Vienna in a family of gold and silver jewelry production, which is the reason he works more with gold. In his works are Lek powder, paste gold foil, inlay barium, paste feathers and other special skills, which achieves a special artistic effect. 关于埃米莉·芙洛格 (Emilie Flöge) 埃米莉·芙洛格 (Emilie Flöge)（1874-1952），奥地利服装设计师，克林姆特一生的伴侣。埃米莉主张实用和舒适的设计风格，成为了女权运动的一个象征。不同于 19、20 世纪之交时典型的紧身风格，埃米莉设计的服装宽松释放，没有紧身胸衣，却有舒适的肩膀及流动的宽大袖子。埃米莉有着叛逆独特的时尚品味，作品成为当时传统设计界的革新派代表，并不被多数人接受，如今却是一直被沿用的经典。 Emilie Flöge (1874-1952)was an Austrian fashion designer, and businesswoman. She was the life companion of the painter Gustav Klimt. Emily advocated practical and comfortable design style and has become a symbol of feminist movement. Unlike the typical tight-fitting style at the turn of the 19th and 20th centuries, Emily's loosely designed clothing are without a corset and has a comfortable shoulder with wide sleeves. Emily has a rebellious unique fashion taste.

古斯塔夫·克林姆特 Gustav Klimt 艾蜜莉·芙洛格穿着“改革服饰” Emilie Flöge wearing “Reformkleid” 42x29,7cm 1906

欧拉夫人 Madame d’Ora 艾蜜莉·芙洛格穿着“改革服饰” Emilie Flöge wearing “Reformkleid” 42x29,7cm 1910

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古斯塔夫·克林姆特 Gustav Klimt 阿德勒·布洛赫 - 鲍尔夫人 ”Adele Bloch- Bauer 42x29,7cm 1907

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古斯塔夫·克林姆特 Gustav Klimt 吻 The Kiss 42x29,7cm 1907-1908

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古斯塔夫·克林姆特 Gustav Klimt 弗莉莎雷德 Fritza Riedler 42x29,7cm 1906

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奥地利档案馆 Austrian Archives 艾蜜莉·芙洛格穿着“改革服饰” Emilie Flöge wearing a “Reformkleid” 42x29,7cm 1913

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欧拉夫人 Madame d'Ora 艾蜜莉·芙洛格穿着“改革服饰” Emilie Flöge wearing a “Reformkleid 42x29,7cm 1910

奥地利档案馆 Austrian Archives 古斯塔夫·克林姆特和艾蜜莉·芙洛格穿着“改革服饰” Gustav Klimt and Emilie Flöge wearing “Reformkleider” 42x29,7cm 1909

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关于工作营（About Workshop）随着“重尚”奥地利时装艺术展策展启动，东华大学上海国际时尚创意学院的学生们应邀参加了为期数月的跨文化项目。工作营的参与者们从古斯塔夫·克林姆特（Gustav Klimt）以及其创作缪斯、20 世纪初奥地利革新派服装设计师埃米莉·芙洛格（Emilie Flöge）的作品中汲取灵感，并创作出具有自身思考的作品。 When the exhibition was initiated, the students of the Shanghai International College of Fashion and Innovation, Donghua University were invited to participate in a cross-cultural project over several months. The participants get inspirations from the works of Gustav Klimt and Emilie Flöge, the muse of Klimt and the fashion designer with the style of renovation at the beginning of 20 century, create designs highlighting independent thoughts from the aspect of themselves and the cultural background

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陈禧雯 Crystal Chen 灵感来源于奥地利艺术家克林姆特的作品，不规则的形状排列是其绘画的特色之处，于是我将其表现在设计中。 Inspired by the works of the Klimt, the irregular shape of the arrangement is the characteristic of hispainting, which I showed in the design.

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朱吉蕾 Jennifer Zhu 容是容器，包括了人体和一切；溶是溶化，容器里的一切都逐渐统一；熔融，去掉杂质的与不美的，剩下坚毅的部分。透过克利姆特的装饰性语言转述，女性总是身在一个美丽的包容之中。处于这流动又柔和的空间里，主角安静地或微笑或凝视或阖眼，提供与周遭相反的纯净天真的气息。所以我决定制作一个容器，盛放胴体。 Container contains.Including figures and the universe. Content has been dissolved while impurityburnt in the fire.The beauty and fortitude remains. Women are always included into a gorgeous surrounding throughout Klimt’s decorativelanguage.They smile or nap in silent, existing in the gently flowing space, adding chasteness to theglorious atmosphere. So I decided to make a container to contain the body.

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李佳珂 Jane Li 我的设计理念源于克林姆特本身的画作，他的作品拥有非常漂亮的颜色以及印花。并且其妻子以及他本人都崇尚宽大舒适的着装风格，他们喜爱自然舒适。我运用了类似于克林姆特画作的漂亮印花来表达我对他的直观感受，并运用极简的廓形以及适当的体积来表达我对克林姆特的理解。 FashionInnovation 1401 My design concept comes from Klimt's own paintings, his works have a very beautiful color and printing. And his wife and himself are advocating large and comfortable style of dress, they love natural comfort. I use a beautiful print similar to Klimt painting to express my intuition of his feelings, and the use of minimal profile shape and the appropriate volume to express my understanding of Klimt.

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赵峥洋 Joann Zhao 作品的设计理念来源于克林姆特作品中色彩的变化和竖条形的相结合。于是我将欧根纱和白坯布重叠在一起制作出其画中的层次感。 The design concept of the work comes from the combination of the color change and the vertical stripe in Klimt Gustav works. So I sewed organza with muslin and overlap together to produce the feeling of sense of hierarchy.

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鸣谢 Acknowledgements 在此我们特别向下列人士表示感谢，感谢他们的慷慨支持。若没有你们的帮助，这次展览将无法实现： We would like to give a very special thanks to the following people for their generous support. This exhibition would not have been possible without your help: Michaela Amort, Liane Baal, Carmen Bock, Ana Berlin, Cecilia Cadman, Andrea Danmayr, Xiaomei Duan, Georg Eckmayr, Tazeena M. Firth, Peter Garmusch, Barbara Goeker, Casey Hall, Caroline Heider, Stephan Hilpold, Kris Hofmann, Regina Karner, Elisabeth Kögler, Joseph Kohlmaier, Stefan Kraus, Jasmin Ladenhaufen, Wolfgang Langeder, Eugenia Lapteva, Reanne Leuning, Polimekanos,

李峻（Legend Li）, 李琛（CC Li）, 吴思敏（Sunny Wu）,Jinze Li, Anna Lukas, Herbert Lukas, Peter Lukas, Marilyn Minns, Manuela Mitevova, Melani Murkovic, Silvia Neureiter, Olga Okunev, Rita, Andrea Schellner, Christina Schösser, Gudrun Schreiber, Nadine Cordial Settele, Daliah Spiegel, Michael Sprachmann, Waltraud Sommer, Lisa Stephanides, Christoph Thun-Hohenstein, Johanna Zimmerer,

徐嘉霏（Stella Xu）, 周宇雯（Zoey Zhou）, 康凌（Vincent Kang）, 张一鸣（Ethan Zhang）, 陈恩迪（Endi Chen）, 杨海绵（Michelle Yang）, 袁侃（Yuan Kan）, 马亚洲（Ma Yazhou）, 张亦颀（Mia Zhang）, 张牛牛（Niuniu）

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《重尚—奥地利时装艺术展》ＲｅＦａｓｈｉｏｎｉｎｇＡｕｓｔｒｉａｎＦａｓｈｉｏｎＡｒｔＥｘｈｉｂｉｔｉｏｎ

中方：

编委会主任朱刚副主任鲍薇华靳文艺

编委（以姓氏笔画为序）王欣王静朱学毅李学东杨忠明洪亮戴左海主编鲍薇华责任编辑赵姝萍编辑助理刘璐

展览出品人朱刚项目总监鲍薇华靳文艺策展人鲍薇华项目协调赵姝萍项目执行刘璐项目支持张为民沈婷婷徐洁朱慧勤陆佳颖项目助理宋佳任舒森

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Chinese Team:

Editorial Board Director Zhu Gang Deputy Director Vera Bao Jin Wenyi Editorial Committee (according to the number of strokes of the surname) Wang Xin Wang Jing Zhu Xueyi Li Xuedong Yang Zhongming Hong Liang Dai Zuohai Editor in chief Vera Bao Executive Editor Zhao Shuping Editor Assistant Liu Lu Exhibition Producer Zhu Gang Project Directors Vera Bao Jin Wenyi Curator Vera Bao Project Coordinator Zhao Shuping Project Executive

Liu Lu

Project Supporters Zhang Weimin Shen Tingting Xu Jie Zhu Huiqin Project Assistants

Song Jia Ren Shusen

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《重尚—奥地利时装艺术展》ＲｅＦａｓｈｉｏｎｉｎｇＡｕｓｔｒｉａｎＦａｓｈｉｏｎＡｒｔＥｘｈｉｂｉｔｉｏｎ

奥方：

策展人克劳迪娅・罗莎・卢卡斯

项目助理约翰娜・齐默勒曼纽拉・密涅瓦瓦尔特劳德・萨默莎拉・霍瓦特奥地利驻上海总领事馆文化事务官梅拉尼・默尔科维奇

作者卡琳・切尼希尔德加德・苏迪格曼纽拉・密涅瓦约翰娜・齐默勒

翻译及审稿塞西莉亚・凯德曼海琳・朗德海姆－哈姆林安德里亚・舍尔纳麦慧・麦高恩

封面艺术作品卡罗琳・海德ｗｗｗ．ａｕｓｔｒｉａｎｆａｓｈｉｏｎ．ｎｅｔｉｎｆｏ＠ａｕｓｔｒｉａｎｆａｓｈｉｏｎ．ｎｅｔ

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Austrian Team:

Curator Claudia Rosa Lukas Project Assistants Johanna Zimmerer Manuela Mitevova Waltraud Sommer Sarah Horvath Cultural Officer at the Austrian Consulate General Shanghai Melani Murkovic Authors Karin Cerny Hildegard Suntinger Manuela Mitevova Johanna Zimmerer Translations and Copy Editing Cecilia Cadman Helene Lundheim-Hauglin Andrea Schellner Mý Huê McGowran Artwork on Cover Caroline Heider

ｗｗｗ．ａｕｓｔｒｉａｎｆａｓｈｉｏｎ．ｎｅｔｉｎｆｏ＠ａｕｓｔｒｉａｎｆａｓｈｉｏｎ．ｎｅｔ

Ａｌｌｒｉｇｈｔｓｒｅｓｅｒｖｅｄ．Ｎｏｐａｒｔｏｆｔｈｉｓｐｕｂｌｉｃａｔｉｏｎｍａｙｂｅｒｅｐｒｏｄｕｃｅｄｏｒｔｒａｎｓｍｉｔｔｅｄｉｎａｎｙｆｏｒｍｏｒｂｙａｎｙｍｅａｎｓ，ｅｌｅｃｔｒｏｎｉｃｏｒｍｅｃｈａｎｉｃａｌ，ｉｎｃｌｕｄｉｎｇｐｈｏｔｏｃｏｐｙｉｎｇ，ｒｅｃｏｒｄｉｎｇ，ｏｒａｎｙｉｎｆｏｒｍａｔｉｏｎｓｔｏｒａｇｅｏｒｒｅｔｒｉｅｖａｌｓｙｓｔｅｍ，ｗｉｔｈｏｕｔｔｈｅｐｒｉｏｒｗｒｉｔｔｅｎｐｅｒｍｉｓｓｉｏｎｏｆＬｉｕＨａｉｓｕＡｒｔＭｕｓｅｕｍａｎｄｏｆＡＵＳＴＲＩＡＮＦＡＳＨＩＯＮ．ＮＥＴ．

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