Tradition & Innovation by Jingsi Wang

MA Textile design Chelsea College of art University Art of London

Tradition & Innovation How are Chinese traditional elements used in contemporary products?

Name: Jingsi Wang Student ID: WAN16497809 Word Court: 4016 1

contents FIGURE LIST

INTRODUCTION

CHAPTER 1 – Culture

1.1 Symbolism of colour 1.1.1 Traditional colours and their meanings 1.2 Symbolism of pattern design 1.2.1 Taoist pattern 1.2.2 Auspicious patterns

6 6 6 8 8 10

CHAPTER 2 – Contemporary

2.1 Contemporary design rooted in Chinese traditions 2.1.1 Inspiration from traditional art 2.1.2 Traditional patterns and colours in contemporary design 2.1.3 Traditional techniques used in contemporary design 2.2 Contemporary design unaware of the meaning of Chinese culture 2.2.1 Misunderstanding of Chinese characters 2.2.2 Problems of cultural mixture 2.2.3 Colour connotations in interior design

12 12 14 14 18 18 18 20

CHAPTER 3 – Creativity

3.1 Studio practice 3.2 Sustainability embodied in traditions

22 22 24

CONCLUSION & EVOLUTION

BIBLIOGRAPHY

APPENDICES

32 32 38 40 42 45

Appendix A - Interview of Shi Jiaran by Zhigeng Appendix B - Interview of Wang Hui Appendix C - The introduction of works from Xiang Yu Appendix D - Hemtextil video screen shot Appendix E - Interview of Zhu Chen

Figure list Fig.1: Cosmis Diagram of the Chinese Universe Fig.2: Taoist products Fig.3: Ba Xian with the meaning Fig.4: Long and Feng Fig.5: Xiang Yun Fig.6: The torch for Beijing Olympic Games Fig.7: Shuang Xi for wedding Fig.8: Chinese knot Fig.9: Fashion based on blue and white porcelain Fig.10: Dramatic design by Ma Ke Fig.11: Fashion design based on Terra Cotta Warriors Fig.12: Longquan Celadon Fig.13: Circle fans Fig.14: Design of lattice windowâ&#x20AC;&#x2122;s series Fig.15: Red Fig.16: Vermilion Bird Fig.17: Fashion design by Guo Pei Fig.18: Contemporary products by Xiang Yu Fig.19: Burberry scarf in 2015 Fig.20: Nike shoes in 2016 Fig.21: 2017 spring fashion Gucci menswear Fig.22: Interior design with black and white Fig.23: Shuangxi with blue colour Fig.24: Ba Xian Guo Hai Fig.25: An Ba Xian Fig.26 Hand embroidery Fig.27: Digital print Fig.28: Johanna Basford drawing Fig.29: Chinese traditional ink painting Fig.30: Cork fabric Fig.31: Silk thread Fig.32: Recycle framework of fan Fig.33: Cultural exploration Fig.34: Sample Fig.35: Sample

introduction ‘Designers are interested in Culture. But sometimes they treat it in a way corporations used to treat design: something consulted too little, too late… its odd when we consider how often designers have shaped Culture.’ –Grant McCracken What is culture? In the traditional era, “culture is referred to as a pattern that signifies human activity manifested by the arts, music, sculpture, theatre, dance, film, fashion, design, food and architecture” (Carlson, 2011). In the contemporary society, “it also includes the Internet, entertainment, and the cult of celebrity, as part of a range of cultural signifies” (Carlson, 2011). Design, as an artistic expression, has become a label of the society which is interrelated with culture closely (Carlson, 2011). It becomes a presentation of a large process of cultural exploration which means to capture ideation, innovation and enterprise (Carlson, 2011). According to Heimtextil (2017), cultural exploration also becomes a key theme in these years, asking questions about how traditional culture is used in contemporary design. Currently, new designs take elements from ancient techniques and traditional patterns and merge them with modern skills (Heimtextil, 2017) as designers are aware that their work serves contemporary consumers. Therefore, a new style of productions emerges: the cultural and creative production. Following the theme of cultural exploration, local designers tend to pay attention to the authentic traditional culture to create more national cultural productions (Reinach, 2012). China, as a main country with a large population in Asia, has been the main international producer since the 1980s (Reinach, 2012). It later also became a key territory of consumption during the 1990s (Reinach, 2012). Under this circumstance, Chinese culture as a significant composition of Asian culture, Chinese style becomes a popular design trend. It is often regarded as the rise of authentic Chinese cultural and creative design instead of derivation of Western style (Carlson, 2011). A number of designers are inclined to Chinese traditional culture to display oriental techniques and appreciation of art (Carlson, 2011). With the development of the Chinese style, more and more famous brands and designers would like to incorporate Chinese elements into their products. For instance, some brands would like to use zodiacs and Chinese characters in their design; and Antonio Marras used Chinese blue and white porcelain

style for her fashion design in spring 2017 (Cardinic, 2016). Nevertheless, some designers seem unaware of the original meanings of these aspects. Moreover, there are also designers who cannot distinguish the differences in a variety of Asian culture. This paper will analyse the type of cultural and creative products which combined with traditional culture and contemporary style together. My studio practice is dedicated to show how the authenticity of Chinese traditional culture can be applied in contemporary design. The aim of this critical research paper is to investigate how Chinese traditional design is used in contemporary products. The first chapter will introduce a brief overview of Chinese traditional design: the symbolism of traditional colour and the meanings of two types of traditional patterns. The next chapter will reflect on contemporary designs based on Chinese traditional patterns or techniques by various designers who extracted elements based on the meanings of traditional culture. It will also discuss the problem that some designers do not pay attention to the symbolism of traditional culture. Chapter three will show my studio practice, a slow design for textile wall ornament by digital printing and hand embroidery.

Chapter one - Culture The brief overview of Chinese traditional elements Accumulated throughout a long and rich history, Chinese culture contains a range of aspects, including design. Usually, each colour is given different symbols and each pattern is endowed with distinct meanings. This chapter will provide a brief overview of Chinese culture from two aspects: colour and pattern. It will first explain the symbolism of colour, followed by a discussion of two types of patterns in Chinese culture.

1.1 Symbolism of colour

1.1.1 Traditional colours and their meanings

Colour has long been treated as an indispensable component of design. Since the ancient times, each colour is afforded certain meanings. For example, the five most representative colours of the ancient China are used to refer to five orientations. Bright yellow, also called minghuang in Chinese, is a symbol of China (Chatterton, 2002). It was adopted as the imperial colour in the 6th century, because yellow stands for the earth and the emperor is considered as the son of Heaven, a connection between the earth and heaven (Chatterton, 2002). In Chinese compass, yellow symbolises the â&#x20AC;&#x2DC;centreâ&#x20AC;&#x2122;, so it can represent the Middle Kingdom of China (Chatterton, 2002). Black is the colour that stands for the north, which also can symbolise water and winter (Chatterton, 2002), because water it is believed in yin element (Taoism thinks that everything can be separated into two element of yin and yang) (Levitt, 1998). People think water has many negative emotion, so it can be symbolised for black (Levitt, 1998). Green and blue are regarded as the same colour in ancient China (Chatterton, 2002). It represents spring and the east, because this colour is believed to provide rebirth and new inspiration (Chatterton, 2002). Blue is also a representation of Qing Dynasty and the emperor would wear blue which connotes admiration for heaven (Chatterton, 2002). Red is the colour of south to symbolise happiness and fire, so it is usually used in wedding occasions to wish fortune for new couples (Chatterton, 2002). In Chinese myth, a new couple will be bound by an invisible red silk thread together from the God of Marriage (Chatterton, 2002). It also stands for summer, because red can make people feel warm (Chatterton, 2002). White is associated with death and usually used in funerals in China (Chatterton, 2002). Also, it is the colour of west that

stands for autumn and is associated the old age (Chatterton, 2002).

Fig.1: Cosmis Diagram of the Chinese Universe (Chatterton, 2002)

1.2 Symbolism of pattern design

In ancient China, most of patterns are attached with positive intentions. For instance, dragon is a symbol of China which means power and good fortune; mandarin duck symbolises a couple, which also means marital harmony and the loyalty of love. The following discussion will focus on two types of traditional patterns developed from the ancient era. 1.2.1 Taoist pattern Taoism is a traditional religion in China formed around 2000 years ago. It is believed that Taoism have roots in Shamanic traditions and is established by a famous philosopher called Laozi (Reninger, 2016). According to Taoism, the inspiration comes from the natural world, which is called the way (Tao). Tao is the passionate love for the nature (Yetts, 1916). Therefore, Taoist pattern focuses on exploring the relationships between the internal and external terrains, for example, how the human body can be related to mountains, rivers and forests (Reninger, 2016). Ba Xian, as a key representative of Taoist religion, refers to eight immortals. The image of these immortals stands for all human beings include the old, young, male, female, civil, military, rich, poor, afflicted, cultured and noble (Werner, 1922). Their portraits appear frequently to connote happiness. Moreover, the pattern of the tools that the immortals carry with is used in the interior decorative productsâ&#x20AC;&#x2122; design (Fig.2), which shows the meaning of protecting families and remaining happiness forever (Hediao, 2016). (Fig.3)

Fig.2 Taoist products 8

Castanets - Cao Guojiu Description: The world will be peace when the castanets play a harmony music. Meaning: It can clean the environment. Fan â&#x20AC;&#x201C; Zhongli Quan Description: It will feel happiness when the fan shakes gently. Meaning: It can save life.

Sword - Lu Dongbin Description: The sword is scared by demons when it appears. Meaning: It can overthrow evil and exorcism. Crutch and gourd - Li Tiezhuan Description: Gourd does not only have five blessin. Meaning: It can save the all living beings. Lotus pod - He Xiangu Description: Lotus does not have any dust. Meaning: It can help to improve selfcultivation. Bamboo tube and rods - Zhang Guolao Description: The tube can provide fine sound because of frequency knocking. Meaning: It can be able to divination future life. Flower baskets â&#x20AC;&#x201C; Lan Caihe Description: The flower basket has many special and fine goods. Meaning: It can talk with gods. Flute - Han Xiangzi Description: The flute can provide peace environment when blowing. Meaning: It can help everything to grow up.

Fig.3 Ba Xian with the meaning 9

1.2.2 Auspicious pattern Auspicious pattern is an important part in Chinese culture. The main inspiration comes from different festivals or celebrative occasions such as the spring festival and weddings. For instance, the combination of Chinese dragon (Long) and phoenix (Feng) (Fig.4) is adopted to represent auspiciousness. Another popular pattern is Chinese cloud motif, an abstract drawing (Fig.5). It is called “Xiang Yun” in Chinese which literately means ‘auspicious clouds’. In 2008, the torch for Beijing Olympic Games instantiates a contemporary design featuring the group of cloud pattern (Fig.6). There is a pattern usually used for weddings called double happiness (Shuang Xi) which expresses wishes to the new couple (Fig.7). The knot is a crucial mascot for ornament in Chinese mythology as Chinese people believe it can avoid evils and inauspiciousness. The ‘knot’ (Fig.8), ‘jie’ in Chinese, also has the meanings of reunion, friendliness, warm, marriage and love (eChineseLearning, 2008). It is widely used in contemporary design, especially knitting clothing adornment such as rings, eardrops and necklaces (eChineseLearning, 2008).

Fig.4 Long and Feng

Fig.7 Shuang Xi for wedding

Fig.5 Xiang Yun

Fig.6 The torch for Beijing Olympic Games

Fig.8 Chinese Knot 11

Chapter two – Contemporary Chinese traditional culture in the contemporary design Economic development and the rapid growth in consumerism in China is a significant driver of the popularity of Chinese style that has been noticed in recent years. However, some products suggest problems caused by the unawareness of the original symbolism of Chinese traditional culture. This chapter will examine how these creative products interact with Chinese elements.

2.1 Contemporary design rooted in Chinese tradition 2.1.1 Inspiration from traditional art

The inspiration is an important and original part of design. Applying for Chinese traditional culture as the inspiration in contemporary design is a general way which can be found in different types of designs or artworks. In 2015, Suzy Menkes reviewed two fashion design collections by Guo Pei: ‘looking for Chinese glasses’ and “China’s Moon in the Water”. The two themes can be merged into a Chinese phrase called Jing Hua Shui Yue which means flowers in a mirror and the moon’s reflection in water. One garment of the fashion show is an evening dress based on blue and white porcelain, and the idea of colours and pattern is from this porcelain (Fig.9). Another famous Chinese fashion designer, Ma Ke, also used Chinese inspiration for her creations and built a design studio called Wuyong. In 2008, her dramatic design (Fig.10) was displayed in Victoria & Albert Museum (Deisgnboom, 2009). Her inspiration of this collection is rooted in the rich Chinese history but also connects with a natural process by organic material and handicraft (Deisgnboom, 2009). Her design which won an award in 1994 is based on the Terra Cotta Warriors (Fig.11) to recreate a mighty soldier (China silk museum, n.d). It transferred the traditional inspiration to a new creation (China silk museum, n.d). For interior or ornament design, the traditional inspiration can be also found in contemporary design. In the 2017 London craft week, I visited the China Design Centre and learnt about a collection of Longquan Celadon (Fig.12) rooted in Taoism. Celadon is one kind of porcelain that is glazed in a green-blue colour like green jade (Building centre. 2017).

Fig.10 Dramatic design by Ma Ke

Fig.9 Fashion based on blue and white porcelain

Fig.11 Fashion design based on Terra Cotta Warriors 13

2.1.2 Traditional patterns and colours in contemporary design More and more designers and companies tend to use Chinese elements to complete their creations. As the most important part in contemporary design, patterns and colours are regarded as the first step in design. China has many different and interesting patterns that have special meanings. Some of them are from the folklore stories and others are from the development of history. Shi Jiaran (Appendix A) particularly likes craft from the southeast of China (Zhigeng, 2017). She is famous for making ornament circle fans (Fig.13), and she would like to use traditional craft to attract more people and to promote Chinese culture (Zhigeng, 2017). She thinks that colour and pattern are essential for design (Zhigeng, 2017). In her design of lattice windowâ&#x20AC;&#x2122;s series (Fig.14), there are elements of Chinese ancient doors and windows as well as the typical Chinese colours that include gradient blue, little red, and gold (Zhigeng, 2017). All of them show an original impression of a Chinese design. Another designer Wang Hui (Appendix B) who is an inheritor of intangible cultural heritage of Shu embroidery (a type of Chinese traditional embroidery) built a designer brand called Xiang Yu. She wishes Chinese traditional culture can be applied in contemporary design, and more importantly those products can be used in daily life (Xiangyu, 2017). She thinks understanding the background of traditional colours and patterns is a necessary process prior to creation. Her works of fashion design, a series of a normal garment by Shu embroidery, reflects this concept. The work, called Red, was displayed in Personal design show (Fig.15). The reason of using red colour is that the â&#x20AC;&#x153;redâ&#x20AC;? means happiness and symbolic festive in Chinese culture (Appendix B). This gown is improved traditional cheongsam (Appendix C). The inside part has the white loose dress which can provide gentle and elegant feeling (Appendix C). Another work, Vermilion Bird (Fig.16), which was awarded by China Art Association was a blue dress (Appendix C). Vermilion Bird is one of the Four Symbols of the Chinese constellations to represent the fire-element and the direction of south. The blue Vermilion Bird can provide the symbol of elegant and free by Chinese traditional dress (Appendix C). 2.1.3 Traditional techniques used in contemporary design Traditional technique is one part in Chinese culture. In the long history of China, there are various techniques that were created and inherited. Most of them is hand work, because mechanisation is not popular in ancient China. It is also a significant part to promote Chinese traditional culture.

Fig.12 Longquan Celadon

Fig.13 Circle fans

Fig.14 Design of lattice windowâ&#x20AC;&#x2122;s series 15

Guo pei became a famous Chinese fashion designer since the 2008 Olympic Games. She labels herself as ‘a modern messenger’ of cultural heritage, especially embroidery and painting traditions which are afforded a new definition in her works (Guopei, 2017). Her creations reveal the relationships between the finest of traditional Chinese craftsmanship and contemporary innovation of the Western style, because she would like to evoke people’s emotions by art (Fig.17) (Guopei, 2017). Similar to Shi Jiaran (Appendix B), her design is partially linked to a particularly precious Chinese technique called Tian Tsui which is a historic and difficult technique (Zhigeng, 2017). She completed a variety of techniques, including embroidery, welding, textile flowers, three-dimensional embroidery, and metalworking (Zhigeng, 2017). She said that the former collection of fan focused on painting and traditional embroidery, but she also wanted to mix the decorative techniques reinvented by herself to change people’s concept of traditional embroidery (Zhigeng, 2017). Compared with the designers mentioned above and as an inheritor of Shu embroidery, Wang Hui’s work uses a purely traditional technique with the contemporary part of her creation being displayed through the use of patterns and the styles (Fig.18).

Fig.17 Fashion design by Guo Pei 16

Fig.15 Red

Fig.16 Vermilion Bird

Fig.18 Contemporary products by Xiang Yu 17

2.2

Contemporary design unaware of the meaning of Chinese culture

The previous part of research shows the proximity of contemporary design with traditional culture. However, when extracting elements from Chinese culture, it is easy for some designers to neglect the cultural meanings of these elements. Therefore, this section will analyse three types of mistakes related to this phenomenon. 2.2.1 Misunderstanding of Chinese character Chinese character is one of the most complex languages in the world and has various forms of writing. Each character as well as the different ways of combination of characters can generate different meanings. There are many designers who use Chinese character as the motif in their creation, but an incorrect comprehension of the characters may sometimes lead to an awkward condition. In 2015, Burberry designed a scarf with a Chinese character Fu (Fig.19), meaning “blessing and prosperity” during Chinese New Year (Chan, 2015). Fu has a general meaning of good fortune, but it is used differently during the New Year. The upside-down shape of Fu has a meaning of “blessing and prosperity have arrived” (Chan, 2015). The word for “upside-down” has the same pronunciation with the word for “arrived” in Mandarin (Chan, 2015). Therefore, this design ignored the local culture in particular context (Chan, 2015). In 2016, Nike revealed a new pair of shoes for Chinese New Year (Fig.20). They chose two characters of Fa and Fu which, when separated, means ‘prosperous’ and ‘luck’ (Chan, 2015). Although it used the upside-down shape of Fu this time, Nike does not pay attention to the fact that, when the two characters are linked together, it means “get fat” (Chan, 2015). 2.2.2 Problems of cultural mixture When designers create their work, some of them do not understand the whole stories of the national culture. Therefore, there is another problem with creative and cultural products. Some designers attempt to coalesce distinct cultural elements into one design without concerns of the intrinsic links between them. 2017 spring fashion Gucci menswear (Fig.21) connected many different cultures together. Mixing culture is not wrong, but cultural understanding is also important for a reasonable design. There are many fashion designs that use Chinese pattern such as dragon, pavilions terraces and Chinese traditional

Fig.19 Burberry scarf in 2015

Fig.20 Nike shoes in 2016

famous painting, but some of them create a strange feeling. The pattern of the spring fashion mixes Chinese pattern of the hundred beads diagram and Disney character together. It produced an interesting and new design, but the hundred beads diagram is a traditional painting which represents the wish for having more children in a family. This painting is usually used in interior design or ladies design and therefore feels strange in this context. 2.2.3 Colour connotations in interior design Colour is an important part for design. Sometimes, the meaning of the pattern will be changed the original symbolism with different colour. Although the coloursâ&#x20AC;&#x2122; meaning is not really important for contemporary design, some are also significant when you use in different occasion. Black and white are popular in western interior design as well as in Chinese families. However, the black and white wall with Chinese traditional pattern is usually used in the mourning hall in Chinese history. Therefore, the interior design with black and white does not convey a good meaning sometimes (Fig.22). Another mistake is the incorrect match of colour with pattern. There is an interior ornament of Chinese character with Shuangxi (double happiness) which is usually used for weddings with red colour. However, the blue colour applied on the vase (Fig.23) departs from the original cultural meaning of the pattern.

Fig.21 2017 spring fashion Gucci menswear 20

Fig.22 Interior design with black and white

Fig.23 Shuangxi with blue colour

Chapter three – Creativity Creative design based on Chinese traditional culture How are Chinese traditional elements used in contemporary design? In my studio practise, learning about traditional culture is a basic element, then I should connect with the contemporary parts for re-creation. My studio practise would like to choose one branch of Chinese culture to show how the authenticity can be applied in contemporary design. For another aspect, sustainability is a prime development in present society, which can be a collaboration between traditional culture of materials and handmade techniques to create finest slow design in the future. This chapter will introduce my studio practice and analyse the relationship between tradition and sustainability.

1.1 Studio practice

The inspiration of my studio practice is based on the Chinese traditional and indigenous religion of Taoism. The design takes ideas from the Taoist representation of Ba Xian, and its well-known ancient story called “Ba Xian Guo Hai (Fig.24)” or “the Eight Immortals crossing the sea” (Werner, 1922). The pattern design used the tools belonging to the immortals, called An Ba Xian (Fig.25) in Chinese, which are usually used in interior design. It means that the family will have good fortune and peace forever (ihediao, 2016). This project is textile wall ornament based on natural material of cork fabric, silk thread and recycled paper folding fans. It is the slow up-cycling work by hand embroidery. In this studio practise, the key word is “tradition” and “innovation”, so how does my work combine them together? It is reflected through three respects. Firstly, the technique combines hand embroidery (Fig.26) and digital print together (Fig.27). Digital print is a new convenient technology at present, which can be drown on fabric with any styles of patterns quickly. Handwork is an original way in ancient world. Hand embroidery is a traditional and slow technique. I used the satin stitch which is the Chinese traditional stitch of embroidery for my design. Secondly, the drawing types combine two ways, including the contemporary drawing styles from contemporary artist research (Fig.28) and Chinese traditional ink painting (Fig.29). Both of them is completed by the computer for digital print. Thirdly, it is a new ornament style of fan with the traditional shape. I made the new ornament fan from an old and recycled framework of paper folding fan.

Fig.24 Ba Xian Guo Hai

Fig.25 An Ba Xian

Fig.27 Digital print Fig.26 Hand embroidery 23

Sustainability is one key topic for the whole project. In material research, there are three primary forms: cork fabric (Fig.30) for basic digital print; silk thread (Fig.31) for hand embroidery; and recycled framework of fan (Fig.32) which of them is friendly for environment. The idea of cork fabric is inspired from the market research of Hemtextil. Cultural exploration (Fig.33) is one of the trends from Heimtextil theme park in 2017. According to the video (Appendix D), the colour blood of brown is the vital colour. The natural brown wood colour can provide a traditional and original feeling, so this is the reason why I chose cork fabric. Silk is a traditional and popular material in China. It has a soft feeling and provides a high-quality embroidery. The best silk is the natural material from silkworm, which is sustainable. Finally, digital print is an easy technique to create products, which can simplify the process. Hand embroidery can provide a slow design which can reduce mass production through which it is supposed to solve the environmental side effects.

1.2 Sustainability embodied in traditions

Sustainability becomes a main issue in these years. How does tradition connect with sustainability? Firstly, most of traditional work is handmade works which can reduce over-production and over-consumption to create slow design. Secondly, the connection between tradition and sustainability can traced from the use of materials. An ancient word of â&#x20AC;&#x153;return to the natureâ&#x20AC;? is an important inspiration in Chinese culture, which is also useful for contemporary design.

Fig.33 Cultural exploration 24

Fig.28 Johanna Basford drawing

own drawing

Fig.29 Chinese traditional ink painting

Fig.30 Cork fabric Fig.31 Silk thread Fig.32 Recycle framework of fan 25

Fig.34 Sample

Fig.35 Sample 26

Conclusion & Evolution In conclusion, this critical research paper from the word of culture to analyse the relationship between tradition and innovation. Culture exploration, as a topic in Heimtextil theme park, creates a new style of cultural and creative productions. China, as a main branch of culture in Asia, Chinese style also become a popular trend in these years. More and more designers would like to use Chinese traditional elements in their creations, but some designers seem unaware of the original meanings of these aspects. This paper analysed the issue from introducing two types of designers: one applied for the corrective use in their contemporary design; and another do not pay attention to the symbolism of traditional culture. My studio practice follows this topic, showing my creations how to use Chinese traditional elements in contemporary design. It is a slow design for textile wall ornament by digital printing and hand embroidery. My work will link to the topic of “tradition and innovation”. The inspiration is from a branch of culture of original religion – Taoism. The final studio practise will describe the meaning of An Ba Xian by eight fans for interior design. The last of the paper discuss the tradition how to connect with sustainability. For most of traditional work, the material is usually from nature and the technique often use by hand, without mechanisation and chemical industry. Therefore, tradition can coexist with sustainability. Designers’ creation can become a trend sometimes, so it is important to provide a correct knowledge for consumers. China, as a main country with a large population in Asian area, has been the main international producer, and Chinese style has been a rise of authentic Chinese cultural and creative design instead of derivation of Western style (Carlson, 2011). Therefore, In the future, I would like to know about more history and local culture, because it can provide a more expand inspiration for my design. I want to inherit original culture and promote own culture. I would like to use design to describe or introduce Chinese history and culture.

BIBLIOGRAPHY Text

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Figure

Fig.1: Chatterton, J. (2002) Chinese Silks and Sewing Tools. Louth: Allinson & Wilcox Ltd. pp.53 Fig.2: 368Tea (2011) The pattern of An Ba Xian. Available at: http://www.368tea.com/html/233-16/16030.htm (Accessed: 5 July 2017). Fig.3: 360doc (2017) The story of Ba Xian. Available at: http://www.360doc. com/content/17/0203/07/5473201_626136953.shtml (Accessed: 19 June 2017). Fig.4: Tchi, R (2017) Dragon and Phoenix Harmonious Marriage Feng Shui Symbol. Available at: https://www.thespruce.com/dragon-and-phoenix-harmonious-marriage-symbol-1274729 (Accessed: 19 June 2017). Fig.5: Kim, E (n.d.) Buddhism graphics. Available at: https://www.pinterest. co.uk/pin/521643569312925654/ (Accessed: 19 June 2017). Fig.6: Chinadaily (2007) 2008 Beijing Olympic Games Torch unveiled. Available at: http://www.chinadaily.com.cn/olympics/2007-04/26/content_6009642_6. htm (Accessed: 19 June 2017). Fig.7: Zhang, A (2012) A Special Time for Double Happiness. Available at: http://www.theworldofchinese.com/2012/10/a-special-time-for-double-happiness/ (Accessed: 19 June 2017). Fig.8: Chinesebon (n.d.) Chinese knot. Available at: http://www.chinesebon. com/detail/detail/858 (Accessed: 19 June 2017). Fig.9: Quinlan, K (2015) Blue and White: Fashion. Available at: http://www. vam.ac.uk/blog/blue-and-white/blue-and-white-fashion (Accessed: 19 June 2017). Fig.10: Deisgnboom (2009) ma ke : wu yong chinese fashion. Available at: https://www.designboom.com/art/ma-ke-wu-yong-chinese-fashion/ (Accessed: 15 June 2017). Fig.11: China silk museum (n.d) Ma Ke: Terracotta Warrior of Qin Dynasty. Available at: http://www.chinasilkmuseum.com/visiting/detail_6009.html (Accessed: 15 June 2017). Fig.12: Longquan Celadon (2017) Less is More â&#x20AC;&#x201C; A Story of Longquan Celadon. London: China Design centre (own photo) Fig.13 & 14: Zhigeng (2017) Conversation with Shi Jiaran, 9 June. Fig.15 & 16: Appendix C Fig.17: Guopei (2017) Courtyard: Spring/Summer 2016. Available at: http:// www.guo-pei.fr/courtyard/ (Accessed: 25 June 2017). Fig.18: Xiangyu Company (2017) Xiangyu 2017. Fig.19: Burberry scarf in 2015 Chan, J (2016) Burberry finds Chinese-speaking markets hard to please.

Available at: http://www.campaignasia.com/article/are-these-nike-shoes-telling-china-to-get-fat-update-not-really/405342 (Accessed: 12 July 2017). Fig.20: Chan, J (2016) Are this Niki shoes telling China to â&#x20AC;&#x2DC;get fatâ&#x20AC;&#x2122;? Available at: http://www.campaignasia.com/article/are-these-nike-shoes-telling-china-toget-fat-update-not-really/405342 (Accessed: 12 July 2017). Fig.21: Viamos, Y (2017) Spring 2017 Menswear Gucci. Available at: http:// www.vogue.com/fashion-shows/spring-2017-menswear/gucci/slideshow/collection (Accessed: 12 July 2017). Fig.22: Fromental (n.d.) Col Gunpowder. Available at: http://www.fromental. co.uk/gallery/fromental-design-gallery/ (Accessed: 17 April 2017). Fig.23: Eleven Gables (n.d.) French Country Fall Home tour with Soft Surroundings and Romantic Homes Magazine. Available at: http://www.elevengables.com/2016/09/french-country-fall-home-tour.html (Accessed: 12 July 2017). Fig.24 & 25: Ihediao (2016) Daoist classic: hidden symbolism of the eight immortals, KK news, 18 July. Available at: https://kknews.cc/culture/m28nb6.html (Accessed: 17 April 2017) Fig.26 Hand embroidery (own photo) Fig.27: Digital print (own photo) Fig.28: Basford, J (n.d.) Secret Garden. Available at: https://www.johannabasford.com/book/secret-garden/ (Accessed: 12 July 2017). Fig.29: Chinese traditional ink painting (own photo) Fig.30: Rosieundhein (2014) Cork Fabric. Available at: https://www.etsy. com/uk/listing/498722193/cork-fabric-natural?ga_search_query=cork+fabric&ref=shop_items_search_1 (Accessed: 17 April 2017). Fig.31: Silk thread (own photo) Fig.32: Recycle framework of fan (own photo) Fig.33:Heimtextil (2017) Cultural Explorations. Available at: http://www.vogue. com/fashion-shows/resort-2017/antonio-marras (Accessed: 17 April 2017). Fig.34: Sample (own photo) Fig.35: Sample (own photo)

Appendix A Interview of Shi Jiaran by Zhigeng Shi Jiaran who particularly likes craft is from the southeast of China. She thinks that fan is a symbol of Chinese elements. Her designs of the fan will use a variety of techniques, including embroidery, welding, making flowers, three-dimensional embroidery, and metalworking. She said that the former group fan focused on the main painting and traditional embroidery, but she wanted to mix own many decorative techniques to let people change the concept of traditional embroidery. By the way, she also hope that foreigners can understand the rich Chinese decorative techniques.

How does traditional craft attract more people? The technique of embroidery is important, and colour is also important. For the colour part, Jiaran linked to a particularly precious Chinese technique of Tian Tsui. The colour of blue is in her mind. Therefore, there is an embroidered blue series works which is the similar as Tian Tsui.

Another series of work is Chinese lattice doors and windows whose inspiration is from a book, describing the ancient doors and windows in ancient China.

Chinese lattice doors and windows are very particular and beautiful. The lines of lattice doors and windows became the patterns in the fanâ&#x20AC;&#x2122;s design. The lattice windowâ&#x20AC;&#x2122;s series is not only used in the pattern element, as well as the colours which chose a typical Chinese colour, including gradient blue, a little red, gold, awakening. All of them is the original impression of Chinese design. 34

Jia Ran's fan has a little bit differences of traditional fans in the details. The fan’s handle is in the front. Originally, the fan’s handle is very expensive, so her designs are divided into two parts in one circle because of a fan’s handle. The marine series is a sample which used the handle to design the pattern. The handle is a part in her designs. Fan’s handle is selected brown bamboo by herself, because the colour is low enough, which will not grab the embroidery style.

"Insects is a very popular element in foreign countries, including in the fashion or design. I used my own method to design, mixed many different techniques of traditional embroidery, Indian silk embroidery, feather embroidery, beaded embroidery, mats, three-dimensional embroidery, welding and so on. A small insect can provide more elements to understand more technologies. The designs can own a variety of performance.â&#x20AC;? She said. 36

The inspiration is from the Chinese traditional pavilions.

Appendix B Interview of Wang Hui HUI WANG Chongqing Arts and Crafts Master The inheritor of intangible cultural heritage of Shu embroidered The inheritor of Gongbi (Chinese traditional painting) from Men Cai The founder of Xiang Yu Personal image designer Introduction of Xiang Yu - A designer brand of cultural and creative products Xiang Yu was established in 2015. It is a contemporary Chinese designer brand whose products focus on daily life based on traditional culture. Initiated by two designers of Hui Wang and Ying Liu, this brand created by a number of personal haute couture designers and craft master. Xiang Yu has five collections of Shu embroidered Han clothing, Shu embroidered Qipao, Shu embroidered ornaments and accessories, Shu embroidered interior textiles, Shu embroidered new art. The core team has 18-year experience of intangible cultural heritage craft and it has been also designed clothing and accessories more than 12 years. It has a strong cross-border handicraft creative capabilities. The inspiration of launching Xiang Yu derived from the Chinese peopleâ&#x20AC;&#x2122;s spirit of independence. Xiang Yu pays more attention to that people can be free in the busy society at present. It also focuses on finding the source of traditional culture and the inner value of culture. They think traditions need to adapt the world. During these years, they explored personal understanding and creative principles of three groups of Chinese culture source code: Neutral and free; reflection and pithy; unification and open. It is an oriental design philosophy of the East. All designs can meet changes with constancy. How do you think about contemporary creative products based on Chinese traditional culture? Chinese traditional culture is inheritable constancy, which can represent the spirit of the whole nation. It is suitable for the fashion nowadays. Innovative designs are necessary for contemporary daily life. The relationship is contem-

porary peopleâ&#x20AC;&#x2122;s understanding of traditional culture from different perspectives. How do you evaluate the application of traditional Chinese culture or elements in many famous brands? China has a strong consumptive power nowadays. Most of the brands is not very understanding of Chinese traditional culture and they are more attention to the formal beauty. Do you think the meanings or symbols of Chinese culture or elements are important for the contemporary design? Why? It is very important. No core of the spirit will not create a good design. Designers should not only use Chinese forms and colours. They need to understand the backgrounds, the processes and the existence of the value first. Whilst designers finish this preparation, they can get a better creative design. How should Chinese traditional culture develop and publicise in the design field? Traditional culture need to mix in peopleâ&#x20AC;&#x2122;s daily life and it need to converge contemporary elements. Nowadays, many people would like to collect the traditional cultural products instead of using them in daily life. How should link traditional culture and creative design in the contemporary? Designers need to create cultural and creative products mixing in peopleâ&#x20AC;&#x2122;s daily life. Do you know sustainable development? Do you know environmental design or sustainable design? How do you evaluate this type of design? Designers need to choose some friendly green materials. How does use traditional culture for sustainable products? Design can return to nature.

Appendix C The introduction of works from Xiang Yu Work 1: Red Product category: Gown Introduction: Red means happiness and symbolic festive. This gown is improved the traditional cheongsam. The inside part has the white loose dress, which can provide gentle and elegant feeling. The material of fabrics is Chinese silk, and the embroidery part use the traditional embroidery needle, decorated with flowers.

Work 2: Vermilion Bird Product category: Dress Introduction: The inspiration of fashion design comes from flying frescoes. The blue Vermilion Bird can show elegant and free feeling by Chinese traditional dress. The material is soft silk fabric. It combined the traditional embroidery and European Nail bead craft together. The part of the background coloured by hand-painted, showing a realistic Bird.

Work 3: Blue Flame Product category: Brooch Introduction: Blue flame is from a bird of vermilion bird, the birth of the universe. It symbolises new vitality. This work used traditional embroidery stitch to describe gorgeous feathers of the bird, combining with the European three-dimensional embroidery, and the natural pearl is made by nail bead process. At last, there is dancing a realistic bird. (â&#x20AC;&#x153;Blue flameâ&#x20AC;? is a series of brooches. Vermilion bird is one of them.)

Work 4: The Goddess of Dunhuang Product category: Artwork Introduction: The inspiration sources from the Dunhuang frescoes. It is hand-painted artwork. It used traditional embroidery stitch. The skin part is hollow blank. It combined with positive and negative part together to show the smart and elegant goddess.

Appendix D Hemtextil video screen shot

Appendix E Interview of Zhu Chen CHENG ZHU Executive Chief Editor of Chongqing Arts Research Director of Chongqing Gallery Art Theory and Planning Committee of Chongqing Art Institute Member (deputy senior title) of China Association of Collectors The son of artist Xuanxian Zhu Introduction He graduated from Sichuan Academy of Fine Arts school attached Sichuan Fine Arts Institute in 1984. And in 1989, he graduated from Sichuan Fine Arts Institute with bachelor’s degree. Following the solo exhibition in Sichuan Fine Arts Institute, he is one of the representatives of “85 Art” and concept art in the contemporary. “Cheng Zhu - Personal Exhibition” was held in Chongqing Contemporary Art Museum and the National “85 Art Forum”. He published eight collections of personal works, and dozens of papers and reviews. Some works:

How do you think about contemporary creative products based on Chinese traditional culture? For China, the culture and creative product is a form of expression. Design is free. Designers should create products based on own inspiration, and then redesign traditional works.

How do you evaluate the application of traditional Chinese culture or elements in many famous brands? Art is no national borders. Any culture can be used in new design from various designers. It is impossible to force all the designers to understand the deep cultural meaning. Different designers will have different inspirations and creativities to represent their own understanding of the culture. The creative products cannot be satisfied by all the consumers. For the applications of design, designers only need to display their own inspirations and concepts. Design should have a free development. Do you think the meanings or symbols of Chinese culture or elements are important for the contemporary design? Why? Actually, if designers have a profound understanding of the culture in their creations, it is better. This type of design will have a larger range of understanding of patternsâ&#x20AC;&#x2122; meanings, and contents, and then these designs will be more extensive. However, it is not strongly important. It is impossible to force all the designers to understand the deep meaning of patterns and contents. In addition, different people for the understanding of traditional culture will be differences. Designers should force on own inspirations for re-creation of traditional culture. How should Chinese traditional culture develop and publicise in the design field? The both of surfaces and profound meanings need to spread together. Spreaders can make words and illustrations at the same time. Nowadays, many people would like to collect the traditional cultural products instead of using them in daily life. How should link traditional culture and creative design in the contemporary? Designers can extract traditional elements. The collection or museum is closed works, but it cannot close all the elements. For example, a traditional painting has the theme of lotus. Designers can extract techniques, a variety of colours and styles from this painting. This extraction can be used as design feature and personality. Do you know sustainable development? Do you know environmental design or sustainable design? How do you evaluate this type of design? Not really understand. Sustainable design is environmental or green products which can protect our environment.

Do you think there are any links between traditional culture and sustainable development? If yes, in which aspects? Not really strongly link. The main aspect is material. How does use traditional culture for sustainable products? Design can return to nature, but it is not easy, because a lot of natural materials and historical environmental materials have been scarce resources. Designers need to choose some alternative and friendly green materials. Designers are more attention to materials and need to make more publicity of sustainable design. What does promote and develop the Chinese traditional culture in gallery? There are two aspects: the first is processing communication and display; the second is collecting traditional art. The young generationâ&#x20AC;&#x2122;s designers need to have a profound understanding of culture and exchange idea with old generationâ&#x20AC;&#x2122;s designers. Designers need to contact with the world for cooperation and development.