A Reader Textile Legacies: Now and Future CHAT Discussion Forum 2018 by mill6chat

CHAT Discussion Forum 2018 Claudia Pestana, Chief Editor

Gabriela Sánchez y Sánchez de la Barquera Antonia Syme Sharon Tsang-de Lyster Yee I-Lann

文集

紡織傳六承廠：研現討在會與未來

2018

Ade Darmawan Johanna Engman Koike Kazuko Kobayashi Fumie Li Cheuk Yin Bruce

歌地亞．匹斯坦娜主編

CHAT

A Reader Textile Legacies: Now and Future

紡織傳承：現在與未來

Gabriela Sánchez y Sánchez de la Barquera Antonia Syme Sharon Tsang-de Lyster Yee I-Lann

2018

Ade Darmawan Johanna Engman Koike Kazuko Kobayashi Fumie Li Cheuk Yin Bruce

六廠研討會 CHAT

Claudia Pestana, Chief Editor

文集

CHAT Discussion Forum 2018

歌地亞．匹斯坦娜主編

A Reader Textile Legacies: Now and Future

Content 目錄

Co-Directors’ Foreword

聯席總監前言

Editorial Notes: Reﬂection on Legacy and Gathering

編輯扎記：有關傳承和結集的反思

Claudia Pestana

歌地亞．匹斯坦娜

Narrating Legacies 細說傳承

In Textiles, We Trust

Koike Kazuko

To Narrate Textile Legacy

Johanna Engman

VLISCO: Past, Present and Future

Gabriela Sánchez y Sánchez de la Barquera

Sharon Tsang-de Lyster

CALICO: Reclaiming its Identity

Kobayashi Fumie

too many t-shirts: a reﬂection on the

Ade Darmawan

to grasp around and not just at a thing

Li Cheuk Yin Bruce

Australian Tapestry Workshop

Antonia Syme

WHY TIKAR? Brief Notes on Works, Contexts

Yee I-Lann

我們信仰紡織品細說紡織傳承

VLISCO：過去、現在與未來

小池一子

約翰娜．恩格曼

加貝埃娜．山齊士．伊．山齊士．德拉巴克拉

Textiles as Platform 紡織為平台

In Search of Textile Legacies: Excerpts from an Ethnographic Journal on Embodied Practices 尋找紡織傳承：民族誌的體現與實踐 CALICO：重拾身分

appropriation and intersection of images T 恤氾濫：反思影像的挪用與交錯

曾思朗

小林史恵

埃德．達瑪萬

Practising Legacies 實踐傳承

掌握，而非捉緊事物澳洲掛毯工作坊

and Works-in-Progress, 2018- 2019

為甚麼 TIKAR？關於作品、背景和製作階段 2018 - 2019

李勺言

安東尼婭．賽姆于一蘭

Co-Directors’ Foreword The December 2018 Discussion Forum, Textile Legacies: Now and Future, was the third iteration of these yearly gatherings organised by CHAT (Centre for Heritage, Arts and Textile) and the first one to be held at our final venue, The Mills, a project that converted the original cotton-spinning factory building of Nan Fung Textiles in Tsuen Wan into a vibrant mixed-use centre that houses CHAT, The Mills Fabrica and The Mills Shopfloor. Providing context for the programme, the yearly discussion forum is a crucial tool in conveying CHAT’s mission as an art centre that weaves creative experiences for all. Firmly rooted in textiles and the many social, material and artistic definitions evoked, CHAT aims to become an experimental, experiential and thought-provoking art centre where unexpected approaches to contemporary art, making and labour are explored through the lens of textiles. The topic of the 2018 Discussion Forum was textile legacies and invited a varied group of contemporary art and design practitioners and academics to speak about how their work with creative communities, makers and the language of textiles and fashion asks questions about the future of textile craft, its commodification and the communities around it. The approaches came from very diverse contexts but they shared in commonality a careful bond with the past while looking for ways to use the lessons learned to plot the future. At CHAT we are constantly asking what many inheritors of historical crafts, architecture and cultures around the world grapple with. How do we find the balance between old and new? How does obsolete technology impart modern day wisdom? How do traditional crafts re-energise themselves and their creations? How do we best communicate these composite and complex narratives to our audience? How do we motivate people to reconsider the past without using only nostalgia as a tool? Each of the speakers answered these questions in unique ways and the conversations started that weekend have rippled into areas of exploration for CHAT, future programming and a strengthened network of thinkers and creatives that help us build an institution that is open and committed to asking questions and finding creative and responsible solutions in a changing world. With CHAT’s opening in 2019, CHAT’s mission to build a creative space for Hong Kong’s public is fostered and amplified by these exchanges and discussions with visionary practitioners from various international entities who share their wisdom on how they face similar thematic challenges in their respective home countries. With this publication, we wish to collect and convey some of the crucial ideas discussed during the forum but also as part of the body of knowledge that CHAT wants to share around the topic of textiles and the evolution of making. We invite you to

discover the different projects and points of view and hope to see you in future forums. We want to acknowledge the generous support from our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. Without their deep understanding of our mission to reactivate Hong Kong’s textile industrial legacy with contemporary art and design to communicate with present-day audiences, this could not have been possible. The discussion forum was an accredited event of BODW City Programme 2018 and was made possible by the tremendous support received from the Kingdom of the Netherlands. In addition, we want to further acknowledge ShowTex, KLM Royal Dutch Airlines and L’hotel Group, who have provided us with significant support for hosting the overseas speakers. Takahashi Mizuki and Teoh Chin Chin Co-Directors, CHAT (Centre for Heritage, Arts and Textile)

Co-Directors’ Foreword

聯席總監前言

透過這本刊物，我們希望收集和闡述論壇中討論到

2018 年 12 月「紡織傳承：現在與未來」是 CHAT 六廠

的重要議題，同時就紡織品及其工業演進積累知識，並

首次於 CHAT 六廠的永久場地舉行，南豐紗廠乃位於荃

待以後在論壇中見到您。

（六廠紡織文化藝術館）舉辦的第三場年度研討會，亦灣的南豐紡織廠房舊址改裝成的一棟多用途中心，容納

予以分享。我們誠邀您從中發掘不同項目與觀點，並期我們藉此感謝創始捐助機構陳廷驊基金會及主要

了 CHAT 六廠、南豐作坊和南豐店堂。

捐助機構南豐集團。他們確切了解我們的使命並使之

的理念同出一轍：成為一間為大眾編織創作體驗的藝術

元素，跟當今的觀眾對話。這個論壇也是設計營商周

週年研討會作為展覽項目的藍圖，故與 CHAT 六廠

實現：活化香港紡織傳奇，為之注入當代藝術與設計

中心。CHAT 六廠致力營造實驗性、體驗主導和啟發思

（BODW）城市項目的正式活動，並得到荷蘭政府的大

術性的多重定義，運用出人意表及另類的角度，透過紡

家航空公司及如心酒店集團的支持，在接待海外講者方

考的項目，紮根於紡織及其衍生之社會性、物料性和藝織探索當代藝術、創造力和勞動。

2018 年研討會的題目為「紡織傳承」，邀請了一眾

當代藝術及設計工作者和學者分享他們就與創意社群、創作者、紡織及時裝語言合作時，詰問紡織工藝的未來、它的商品化以及圍繞它的社區。這些議題雖然涉獵

力支持。我們也希望藉此感謝 ShowTex、KLM 荷蘭皇面提供支援。

高橋瑞木及張晶晶

CHAT 六廠（六廠紡織文化藝術館）聯席總監

不同範疇，卻都刻意保留與過去的聯繫，設法讓未來借

鑒。CHAT 六廠經常向許多傳統工藝、藝術和文化的繼承人了解，他們在世界大勢所產生的衝突為何？我們怎

樣找到新舊之間的平衡？不合時的科技怎樣啟發新一代的智慧？傳統工藝怎樣活化自身？我們怎樣才能有效向

觀眾傳遞這些既多義又複雜的論述？我們如何不打著懷舊的旗號，做到鼓勵人們反思過去？

每位講者對這些問題均有獨特見解，那個週

末的研討對話慢慢發酵，領著我們作多方面的發展，包括計畫未來的項目，以及建立並鞏固我們的網絡，與有想法和創意的人共構一個開放且勇於發問的機構，在轉變不息的社會中努力尋找具創意和負責任的答案。隨著 CHAT 六廠於 2019 年正式開幕，藉著此等交流與討論作為催化劑，不同國際機構具

前瞻性的業內人士都毫不吝惜地分享面對類似問題的解決手法，有助我們逐步實踐為香港大眾建構創意空間的使命。

聯席總監前言

Editorial Notes: Reflection on Legacy and Gathering

EK 941468, 2016 João Vasco Paiva Transfer Ink and Inkjet on paper Photo Courtesy: the artist and Edouard Malingue Gallery

《EK 941468》，2016 周奧油墨及噴墨轉印圖片提供：藝術家及馬凌畫廊

EK941468 (2016) at first glance appears to be a drawing on paper. Upon a closer look, the uneven thicknesses of the blue lines crisscrossing the white surface and rectangular orange grid are of an intriguing randomness not easily imaginable as the result of gestures associated with drawing. Exactly how did these traces appear on this surface – were they drawn somewhere, and then printed on? Are they a chemical characteristic of the paper itself? What actions produced this work? Why do the drawn lines seem to ignore the grid onto which lines are usually plotted? The appearance and process that originated EK941468 (2016) bring to the fore a series of issues regarding lines, surfaces and textures2. The EK941468 in the title is the baggage tag code assigned to a blank sheet of paper with an inkjet printed millimetre

grid composed of orange lines that was covered in carbon paper and checked-in as outsized luggage on an Emirates flight from Hong Kong to Lisbon, via Dubai, in 2016. Each blue marking inscribed on the paper resulted from interactions between the surfaces of the carbon paper and the blank sheet whenever they came into contact with other surfaces along the trip: from conveyor belts, to other baggage, to conditioning devices within the cargo holds of the planes it travelled on. This process brought about this object’s transition from an item shipped as cargo, into an inscribed surface detailing numerous moments, and finally into an artwork when it arrived, accompanied by several other objects, all with their respective luggage codes as titles, at Cargo, João Vasco Paiva’s solo show in Lisbon. Cargo3, through its title and works resulting from the interaction between materials being transported and the means of their transportation, queries fixed perspectives of value, belonging, origin, identity and even production. Having the works produced, as they travelled with him from one place to another, Paiva suggests

Editorial Notes

What if what matters is not the meat or the hero, but gathering?1 Claudia Pestana

編輯扎記：有關傳承和結集的反思

假如重點不是菜餚或英雄，而是相聚？

此書的野心⸺輯錄成有關彼此相遇的書卷、經驗和知識的紀錄，有待尚未出現的主角閱讀和重新整合。

小池一子在她的主題演講中展示了一些樣辦筆記

的圖像 ⸺ 人們可能會視之為自創圖案的記錄，並記住

歌地亞．匹斯坦娜《EK 941468》（2016）第一眼看似是紙本畫作。仔細看，粗幼不均的藍線在白色平面交織橙色長方形，隨意得耐人尋味，難以想像與繪畫的動作扯上關係。究竟這些痕跡是如何出現在這表面上⸺它們是不是事先畫好，然後再印上去？它們會是紙張本身的化學特性嗎？這個作

品是怎樣處理的？為甚麼畫上的線條似乎無視了那些引導性的框格？

如何重新製作，或想了解如何編織這個花紋。這些筆記

本長時間紀錄了布碎或條紋布樣板。這也許正是本文的起點，因為編輯此書之初期我們也討論過以一冊圖像記錄形式博覽不同樣本：透過文字把論壇的經驗分享及伸

延開去，由讀者承載、把片段或回憶製作成線、打結、編織，甚至解開並重新塑造成其他圖像 ⸺ 其包含的素材可隨環境改變，以另一種形態出現。

小池認為樣辦筆記內的紋理、線條和圖案，是製衣

《EK 941468》的外觀和形成過程帶來了一連串有關

過程中在最隱姓埋名、真摯、必要和基本的層面，我們

從香港經杜拜飛往里斯本的阿聯酋航空航班中，印在一

「編織」描述了不同的工藝者，通過學習和實踐，把外

毫米計的橙色線條組成，用碳紙覆蓋，整件當成超大行

這些筆記本證明了紡織品的編織圖案以及其表面

線、面和質地的問題。標題 EK 941468 是 2016 年一程 2

張空白紙張上的行李標籤。空白紙張以噴墨打印，由以

可以透過它去閱讀工匠潛藏在織物樣辦中的文本。這些來的布料變成日常和歷史遺產的一部分。

李托運。紙上每個藍色痕跡都是碳紙表面和空白紙張在

的印刷圖案，承載著不同層次的意義和複雜性，揭示歷

或在飛機行李艙內的調節裝置。這個過程令這個物件

對待。此外，錯綜複雜的關係亦能提供創作機遇，予不

旅程中與其他表面接觸的結果：如輸送帶、其他行李、從一件貨物，過渡到一個時刻交集的表面，當它到達周

奧於里斯本名為「Cargo」的個展時，與其他幾件物品，各自有一個行李代碼作為標題，最後變成一件藝術品。

「Cargo」的展品透過物料被運送與運送方式之間的互 3

動，探討價值觀、歸屬感、源頭、身份乃至生產的既定觀點。周奧說當作品跟著他從一地到另一地，從 A 點到 B 點是一段旅程，乘客和行李花在旅程的時間縱然微小

卻仍有轉化。本來不透明平面在這個旅程中變成了紋理層狀圖案⸺揭示了沒有標示主角的「無意識文本」，而不是線性式的敘事閱讀。

CHAT六廠研討會「紡織傳承：現在與未來」邀請講者

分享紡織在現在和將來的承傳。南豐紗廠和 CHAT 六廠

致力保存、活化、資助、展示和研究紡織，令紡織文化的過去、現在得以傳承，藝術與文化交匯。當科技、結

構和場所成了主角，她們亦不忘強調跟紡織品相關的人物和概念，此兩家機構正正以其宗旨恰當地回應了當

下對文化傳承的關注，並在研討會的不同環節向講者提

問：「為紡織承傳建立一個全新平台」、「再生或保育？」、

「如何捍衛紡織工藝？」、「創新和工藝可以攜手合作嗎？」、「如何講述紡織品傳承的故事？」、「當代藝術家

史和貿易的交錯所衍生的各種關係、代價甚至不公平的同社區介入、挪用並吸取原來為傳統而設的工藝，使其

得以延伸，甚至開拓出新的傳統。不論樣辨筆記本或山

齊士的印花設計都能使製作布所牽涉到的種種議題浮現。埃德．達瑪萬是藝術家團體 ruangrupa 的一員，他

們以 ruangrupa 為創作平台「透過獨立不記名的方式，採用與重叠圖像」；重新奪回這些符號的話語權，並產

生了另一有關織物及其組成表面的觀點。通過研究及並置他們熟悉的那些流行符號，以及他們在其他環境中遇

到的符號，透過「閱讀」或「參與」這些文化和政治的陳述，不難發現當中的制度，是一個全球性和地方性複雜且充滿疑問的課題。

「因此，運輸的區別不在於使用機械方式，而在於

通過把親密關係瓦解，這種親密關係是建基於運動

和感知來實現的。被運送的旅行者成為一名乘客，他自己不會移動，而是從一個地方被搬到另一個地方。過程中的景象、聲音和感受，與他的移動完全

沒有關聯。」Tim Ingold，《Lines: a Brief History》 4

某些意味著偶遇的聚會，可能會帶來無法預料和

遇上紡織傳承」。這兩天結集了人們及其故事。

失衡的後果。當不同文化彼此擊撞，那些物化和工具化

同背景的人們和其故事的交匯處，而不是僅讓一群從業

史恵講述了「以效率為本的大規模生產經濟體系」如何

如此著重人和歷史所承載和創造，這兩天成了不

者聚在一起並建立其專業、學術甚至道德目標。這種聚

集的概念不易敘述，歷史文化不論遠近皆不容易傳承，故本文希望思考歷史遺產和各種生活經歷所構成的世界觀。借用周奧《EK 941468》（2016）的圖像為比喻出版

生產和居住模式所帶來災難性的後果，影響至今。小林

改變了人們與紡織品甚至食物的關係。這些體系使人們不再了解這些東西是甚麼和可以做甚麼，當中所衍生

的「快速時尚」和「速食文化」，正因其對環境和人類健康帶來的影響變得聲名狼藉。小林在 CALICO 中嘗試與編輯扎記

even travel from a point A to a point B is a journey, a time that is inscribed onto both passenger and baggage, and during which, however imperceptibly,

transformation still occurs. The opaque flat surface of the sheet becomes a textured layered pattern on this journey – a texture that can be read even if only to reveal an ‘unconscious text’ without an embodied protagonist, rather than a linear narrative plot. CHAT’s Discussion Forum: Textile Legacies: Now and Future summoned speakers to share perspectives related to textile legacies, what they entail now and in the future. CHAT, as an institution intersecting art and heritage through a commitment to archiving, activating, commissioning, showing and researching textile practices, ensures the dynamic between past, present and future. This, along with how they also place an emphasis on the people and concepts associated with textiles, alongside the technologies, structures and sites – often presented as the sole protagonists – makes them a fertile context for considering legacies and an apt institutional response to the concerns underpinning the topics posed to the sessions of speakers: ‘Building a New Platform for Textile Legacies’, ‘Rejuvenation or Preservation? How to Protect Textile Craftsmanship?’, ‘Can Innovation and Craftsmanship Be Good Friends?’, ‘How to Narrate Textile Legacies?’, ‘When Contemporary Artists Meet Textile Legacies’. This emphasis on people and the legacies they carry and create fostered more than just a summoning of committed practitioners working to establish their professional, intellectual or even ethical goals. As other contexts were brought into consideration and participants engaged with one another, those two days became a gathering of people and of their stories. This notion of gathering – which is challenging to narrate and points out how legacies, whether long-established or shortlived, are not easily transmitted – is the terrain this text wishes to travel as it ponders the many worlds constituted by legacies and the lives lived through them. Opening with the image of Paiva’s EK941468 (2016) alludes to this desire for a publication as a palimpsest of encounters, a record of experiences and knowledge to be reviewed and reconfigured by protagonists to come. Koike Kazuko, in her keynote lecture, presented images of a shima cho, mentioning that people might keep them as either records of patterns they had made, and wanted to remember how to make again, or as patterns they were interested in figuring out how to weave. These images of a notebook filled with either scraps or samples of mostly woven striped cloth carefully accumulated over time, is perhaps where the journey of this text should start, given how early editorial discussions imagined the idea of an annotated book of samples as the premise for this publication: an exercise in capturing, sharing, and

opening out the experience of the Discussion Forum; a collection of texts that invite the reader to keep it alive, to treat as fragments or recollections to be spun into threads, to knot, weave, braid together, or even unravel and refashion into other images – a surface that is made up of what it contains or can be reconfigured to take on different forms as circumstances require. The collections of textures, lines and patterns in the shima cho are, to quote Koike, at its ‘most anonymous, authentic, essential and fundamental sense, [where] cloth making is located[…] We can inherit a craftsperson’s unconscious text in these sample weavings.’ These ‘weavings’ tell the story of how different craftspeople transformed what was initially a foreign fabric through their study and practice of making, into something eventually commonplace and part of their own legacy. These encounters, which become an enduring legacy of prints, testify to the unexpected outcomes that the intersection of numerous lines of interests, histories and trade routes can put into effect, often with long lasting costs that are not shared equally. However, there are also instances of transformation when groups of individuals, taking ownership of what these encounters can produce, subvert what might originally have been intended as an instrumentalisation of a tradition or technique. This can be a reclamation or the establishment of a new tradition where the originally ‘foreign’ object is assimilated into something that has been irrevocably influenced by another context taking ownership of it. The samples in the shima cho, or the prints presented by Gabriela Sánchez y Sánchez de la Barquera are testament to this notion of fabrics and their surfaces conveying the contexts that produce them. Ade Darmawan offers an additional perspective when he connects ‘the independent and anonymous efforts at appropriating and intersecting images’ on T-shirts with ruangrupa’s practice, the artist collective he is a part of. Through researching and juxtaposing those types of popular expressions they are familiar with, with ones they encounter in other contexts, ruangrupa devise forms of ’reading’ or ‘engaging’ with cultural and political statements that make visible the structures inherent to their production and the complex, often problematic, interconnectedness of global and local contexts. ‘Transport, then, is distinguished not by the employment of mechanical means but by the dissolution of the intimate bond that, in wayfaring, couples locomotion and perception. The transported traveller becomes a passenger, who does not himself move but is rather moved from place to place. The sights, sounds and feelings that accost him during the passage have absolutely no bearing on the motion that carries him forth.’ Tim Ingold, Lines: a

Editorial Notes

生產商和消費者合作，重建印度手紡織傳統棉織物的品

心致力於教授這些技術，並提高婦女對產品價值的認

博物館開幕「紡織力量」展覽的論述和展示，亦表明需

的 Textile Linker 項目所面對的挑戰揭示了整個地區面臨

質和品牌。約翰娜．恩格曼在策劃 2016 年於瑞典紡織

要從生產和消費的兩面立場，或過去和現在的觀點來檢

視紡織品。這個由恩格曼和瑞典紡織博物館團隊共同策劃的展覽，揭示了瑞典紡織工業所經歷的艱難情況。這

些困難推動了過去的鬥爭，間接實現了現有的人權和福利，也反映其他地方至今仍面對類似的狀況。把「此地、往刻」與「彼邦、此刻」視角結合在一起，目的是讓

快速時尚消費者意識到自己對這些工人的影響，及如何可幫助他們。

「在一個流動的過程中，如何使進行中的形式持續

下去？甚麼使物料互相緊貼？[...] 我們的答案是，物件並非因其材料的慣性而持續存在，而是因為物

料緊密交織相連而產生的摩擦力。」Tim Ingold，

「The Textility of Making」

某程度上，科技、現代通訊和運輸可以協助小林

重振 CALICO 的名聲，亦有助恩格曼去履行作為負責任

知。優質的產品或有望為編織者帶來更好的待遇。阮萱著上述的不穩定性。由於具消費力的人主要來自城市，且對紡織工藝認知甚少的，來自農村社區的手工藝匠較難獲得認可和合理的報酬。有見及此，阮萱利用從研究

活動和非政府組織工作中得來的能力和人脈發展一個系統，讓工匠們能透過工作坊和各種活動來展示他們的作品。阮萱的 Textile Linker 亦能充當一個促進手工藝匠與有潛力的合作夥伴聯繫的網上平台。

曾思朗的作品展示了大多數傳統手工藝實踐中所

包含的豐富歷史，但由於大部分注意力集中在製作的物件上，工藝作為文化本身總是被忽略。她以視覺民族誌的形式，通過故事和圖像呈現出人的身體、日常生活和

生計與這些複雜層次息息相關。曾思朗受有關紡織品生

產現象學方法的學術研究啟發，強調實際經驗的體現，設計這些獨一無二的圖案、刺繡或服裝的人，亦曾參與

婚禮，或悼念往生的至親，並努力實現他們對社區的期望。

于一蘭提及她的一系列作品，不乏對社群及其所

消費者和生產商的承諾。正如一眾講者所言，這些配合

居住生態系統的關注，尤其是有些社群的文化和傳統

瑪萬和小林的敘述，挪用傳統能開拓出革新的平台予對

行的項目，包括兩個意義深遠的影像：源於馬來群島區

機械化的輔助工具亦衍生了一些代價與不公義。正如達話、創作及參與，甚或改變大眾對傳統的固有設想。相

比之下，細尾真孝和安東尼婭．賽姆分享的經驗，就不約而同地提出革新及介入科技能提供的種種機遇。

細尾真孝是細尾品牌的品牌總監。細尾品牌是一家

受到政治或經濟限制。在此書中，她分享了一些尚在進

域用於很多場合的織墊（tikar），以及娥蘇拉．勒瑰恩

（Ursula K. Le Guin）食物袋的概念，即「萬物之開始同時是萬物之終結 ⸺ 沒完沒了」。

於京都紡織老舖，成立於 1688 年，幾百年來致力於製

「這就是我喜歡小說的原因：內裡的角色不是英雄，

的傳統品牌。細尾真孝作為細尾品牌的總監深明此道，

袋的東西，食物袋裡裝滿了奇怪的念頭，還有一些

作傳統日本紡織品與和服，被公認為擅於適應時代變遷

並沒有把傳統工藝製作技巧與現代技術之間的關係視為

「假設」。相反，他努力探索並實現這種關係，並在此過

程中創立品牌獨有的新傳統。安東尼婭．賽姆帶來澳洲掛毯工作坊（簡稱 ATW）的成功故事與細尾品牌的略有不同，即使兩者在工藝、技術和當代之間有一些相似之

處。起源於對有數百年歷史的戈布蘭（Gobelin）技術的

仰慕，ATW 希望在澳洲把此技術發揚光大。在過去 43 年，ATW 憑藉對技術的追求，以及與志同道合的工匠合作，得以完成許多掛毯，並與新客戶和觀眾分享這些

是人。所以當我開始寫科幻小說時，我帶來了一大

比芥菜籽還小的顆粒，以及多個纏繞着一塊藍色卵石的織網，一個告知另一世界時間、準確無誤的計時器，還有一個老鼠頭骨 ; 無盡的開端、啟蒙、轉

化與翻譯的誤差；詭計多於衝突，陷阱和妄想遠超

勝利的號角 ; 很多擱淺的宇宙飛船、失敗的任務，以及不理解的人。」娥蘇拉．勒瑰恩，《食物袋：載體小說理論》

在整個研討會中，就著「紡織傳承：現在與未來」

經驗。

為主題的各種回應，最明顯的共通點就是對人們的承

喚醒了奄奄一息的傳統工藝，也創造了新的機會。中心

有義務關注。雖然本文主編李勺言沒有出席論壇，但他

位於老撾永珍的 Houey Hong 婦女職業訓練中心，

由錢莎桑・英莎芳創立，旨在為婦女提供一個安全的養

家途經。她的願景源於她早期對老撾紡織品製作的喜愛，她懷念家家戶戶都擁有織布機，及留意外國對紡織

工藝的研究和重視。她意識到本地染料和纖維的傳統知識和鑑賞在幾年間式微，Houey Hong 婦女職業訓練中

諾，包括關注紡織承傳的人和文化，致力令消費者自覺

探討了英莎芳、阮萱和細尾真孝的論述，認為保護紡

織業是要「顧及製造商和消費者」去積極支持「持續生產布料」，在這「教育框架」裡，創新和同理心可以確保

「紡織工藝的長生不老」。

正如小池所說，每個人都可以有自己關於一塊布

編輯扎記

Brief History.4

In some ways, Kobayashi’s endeavour to reclaim the legacy of calico and Engman’s commitment to fostering responsible consumption and production are made easier by the same technology, modern means of communication and transportation, that, along with mechanisation, have also produced many of the inequalities and costs these speakers make explicit. Perhaps in loose resonance with

the presentations by Darmawan and Kobayashi – suggesting how appropriation is a way of action upon perceptions of traditions that can be used to craft spaces for the transformation of ways of saying, making, and engaging – the experiences shared by Hosoo Masataka and Antonia Syme are interesting counterpoints that suggest technology itself as something that can be acted upon too. Hosoo Masataka is the current head of HOSOO, a Kyoto textile studio established in 1688 that has been specialising in traditional Japanese textiles and kimono making for centuries. Given the longevity of their business, HOSOO could also be said to specialise in the adaptability to weather a multitude of shifting circumstances. Familiar with this reality, as head of HOSOO, Hosoo does not posit the relationship between their traditional craftmaking techniques and contemporary technology as an ‘if’. Instead, he works towards exploring all the opportunities that may result from continuously actualising this relationship and, in the process, altering the landscape for new traditions the company may specialise in. The Australian Tapestry Workshop’s (ATW) history, described by Antonia Syme, is a slightly different success story from HOSOO’s, even if they share some similarities in their relationship between crafts, technology and the contemporary. Originating in the appreciation of the centuriesold Gobelin technique, ATW was established with the ambition of being able to explore the potential of developing work with that technique in Australia at that time. Throughout its 43-year existence, this pursuit of exemplary skills and technique, alongside the willingness to innovate and collaborate with those seeking their craftsmanship, have now created numerous opportunities for ATW to complete tapestries and share this practice with new clients and audiences. Houey Hong Vocational Centre in Laos recuperates a crafts tradition lying dormant or even disappearing, to also create new opportunities. Established by Chanthasone Inthavong to equip women with skills to provide for their families more safely, her vision was informed by her early fondness for Laotian textile making, her recollection of a time when looms were commonplace in most Laotian homes, and her experience of how traditional textile crafts were appreciated and studied in other countries. Aware of how the knowledge and taste for locally sourced dyes and fibres used traditionally have been waning over the years, the Houey Hong Vocational Centre works to teach these techniques and raise awareness about the value they bring to products. This is motivated by the hope that, if they are better able to account for their work, the weavers may also be able to command better prices. The aforementioned precariousness of these practices is shared throughout the region and highlighted by

Editorial Notes

Some gatherings, given how they tend to also imply encounters, can entail unforeseen and deplorable consequences. Of the many dire situations caused by encounters between cultures, those involving the imposition of objectifying and instrumentalising modes of production and inhabitation are still producing disastrous consequences today. Fumie Kobayashi recounts how ‘the adoption of an efficiency-driven economic system anchored on mass production’ changed people’s relationships to textiles and even to food. Alienating people from a direct knowledge of what these things are and can do, these systems enabled a culture of ‘fast fashion’ and ‘fast food’ that is becoming notorious for its consequences for the environment and human health. CALICO represents Kobayashi’s attempts to work with both producers and consumers to reclaim the quality and appreciation of handloom traditional cotton fabrics produced in India. The need to consider textiles from the dual position of production and consumption, or from past and present viewpoints, is also present in Johanna Engman’s account of the concerns driving the research and displays for the ‘Textile Power’ exhibition at the Textile Museum of Sweden opened in 2016. The displays devised by Engman and the Textile Museum team exposed the difficult conditions experienced in Swedish textile industries, which motivated struggles in the past that achieved the welfare rights enjoyed in the present, alongside less favourable conditions still experienced elsewhere today. This bringing together of a ‘here & then’ with a ‘there & now’ perspective was designed to raise awareness to the costs of fast fashion being deferred from the consumer to textile workers and to the potential for improvement of conditions for those workers if such costs were taken into account properly. ‘In a world of fluid process, how can emergent forms be made to last? What makes things stick? [...] Our answer is that it is not because of the inertia of the materials of which they are made that things endure beyond the moment of their emergence, but because of the contrary forces of friction that materials exert on one another when they are ever more tightly interwoven.’ Tim Ingold, “The textility of making” 5

的故事。我必須承認，我最珍愛的紡織品並非來自童

年，卻是由繼母的阿姨 Carminda dos Anjos Gouveia

為我製作的桌布，她今年已 99 歲，出生在葡萄牙村莊 Esculca，那裡的傳統是女性要為自己及家庭中的其他

女性做「嫁妝」，這塊桌布以方形麻布手工製成，很可能

在我出生前，甚至在我認識繼母或 Carminda 阿姨之前已經存在。眼前精細的鉤織圖案是她一邊編織、一邊與

表親好友暢談的許多個美好晚上。姑勿論我們對彼此的感受如何（雖然我慶幸我們相處融洽），我們用來討論的時光 ⸺ 討論我們，即我繼母的這個家庭，及我們融入他們的生活的方式，每一鉤、線和縫都造就了這份禮

物，也令我們成為一家人。雖然我可能沒有機會把她的禮物用作桌布，但我很珍惜它，因為把我倆的世界聯繫

在一起。紡織品以各種形式如無價的歷史遺物、服裝、墊子、網袋、甚至桌布等把人凝聚起來，不用血緣而建立的親摯關係，這可能是其最重要和最可持續的承傳。

Carminda dos Anjos Gouveia’s bed sheet with embroidered initials was made by her grandmother and she still uses it on her bed today

Carminda dos Anjos Gouveia 祖母在床單上繡上 Carminda 的略稱， Carminda 阿姨今天仍在使用這床單

編輯扎記

Nguyen Huyen’s overview of the context behind her Textile Linker project and the challenges it faces. In contexts where purchasing power is urban and has little knowledge of the work textile crafts imply, it is not easy for craftspeople, often from rural communities, to be recognised for their skills and receive proper remuneration. Aware of these circumstances, Nguyen pooled her skills and contacts from research and NGO work to develop a system that empowers craftspeople to set up workshops and events to showcase their work. Complementary to this practice, Nguyen’s Textile Linker also functions as an online platform that facilitates contact between craftspeople and potential future collaborators. Sharon Tsang-de Lyster’s work reflects how the rich histories embedded within most traditional artisanal practices, and the cultures they are part of, are not always recognised when the bulk of the attention is on the artifact produced. Her desire to understand these practices as embodied activities taking place under particular circumstances is present throughout her contribution made in the form of a visual ethnographic journal. Through stories and images, she brings to the fore the people whose bodies, daily routines and livelihoods are directly engaged in the process of bringing forth such intricately layered objects. Informed by academic concerns regarding phenomenological approaches to textile production, Tsang-de Lyster also emphasises the experiences of actual people through considering notions of embodiment. The people that create these incomparable patterns, embroideries, or costumes, also celebrate weddings, remember loved ones that have passed, and work towards achieving aspirations they have for the futures of their communities. Concern for communities and the ecologies they inhabit, especially for those communities whose culture and traditions are imperiled by political or economic constraints, is inescapable in Yee I-Lann’s presentation of a series of her own projects and the references and situations they address. For this publication she has shared notes on a few ongoing projects that among other things, offer two invaluable images to contemplate the experience of this Discussion Forum: the tikar, a woven mat that can play many roles and is present throughout the Nusantara region; and Ursula K. Le Guin’s image of a carrier bag that is ‘a womb of things to be and tomb of things that were, of this unending story.’6 ‘That is why I like novels: instead of heroes they have people in them. So, when I came to write science-fiction novels, I came lugging this great heavy sack of stuff, my carrier bag full of wimps and klutzes, and tiny grains of things smaller than a mustard seed, and intricately woven nets which when laboriously unknotted are seen to contain one blue pebble, an imperturbably functioning chronometer telling the time on

another world, and a mouse’s skull; full of beginnings without ends, of initiations, of losses, of transformations and translations and far more tricks than conflicts, far fewer triumphs than snares and delusions; full of spaceships that get stuck, missions that fail, and people who don’t understand. Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’7 Throughout the Discussion Forum, one of the main threads found in these different responses to the topic of Textile Legacies: Now and Future was the commitment of a multitude of people to caring for the people and worlds from which such legacies emerge and to working towards creating ways for the people consuming them to share in this duty of care too. Auspiciously, Li Cheuk Yin Bruce, the one person contributing to this publication who was not present at the Discussion Forum, reflects on the presentations made by Inthavong, Nguyen and Hosoo in a way that highlights this issue well by suggesting that the preservation of textile legacies is an active engagement with the ‘continued production of cloth’ that ‘takes into account makers and consumers’ to establish ‘educational frameworks’ where adaptability to innovation and empathy for each other can assure the ‘longevity of textile craft.’ In keeping with Koike’s statement that possibly everyone will have an anecdote about a piece of cloth, I have to confess, in closing, that perhaps my most cherished piece of textile is not from my childhood. Rather it is a tablecloth made for me by my stepmother’s now 99-year old aunt Carminda dos Anjos Gouveia. Traditionally a ‘dowry’ item women in Esculca, her village in Portugal, would make for themselves, each other and female members of their family, this tablecloth was handcrafted from linen squares, which were probably woven long before I was born or even met my stepmother or ‘Tia Carminda’. Pieced together with intricately patterned crochet, it was made over many evenings spent crocheting and chatting with her friends and cousins. Regardless of how we might have felt about each other (although I’m happy to say we get along rather well), the time spent – possibly discussing how we, this family my stepmother inherited, might be and how we might fit into their lives, along with each loop, thread and stitch dedicated to making such an amazing gift, surely made us family. Although, I may not really have occasion to use her gift as a tablecloth, I cherish it because it binds me to her and her world. Pondering this ability of textiles to create bonds, to gather people, establish kinship without the need for a blood tie, suggests that this is perhaps one of its greatest and most sustainable legacies, whether in the form of a priceless historical item, of a costume, a mat, a mesh bag, or even a tablecloth.

Editorial Notes

Claudia Pestana Claudia Pestana works with artists, exhibitions and publications. At the Sharjah Art Foundation, Pestana curated What should I do to live in your life? (2012), an exhibition reflecting on hospitality, familiarity and reciprocity through the work of Lee Kit, Minouk Lim, Part-time Suite, Yuk King Tan and João Vasco Paiva; and Pilot Micro Multiplex Mall (2012), an exhibition as a micro mall consisting of Heman Chong’s secondhand bookshop Lem 1, Dirk Fleischmann’s my concept store, and Jun Yang’s MICRO M – a proposal for a public space – a cinema. In Seoul, she was one of the co-curators of City Within the City (2011) presented at Artsonje Center and, as assistant curator at Nam June Paik Art Center, worked on exhibitions such as Now Jump (2008) and Random Access (2010). Pestana was co-editor of Musa Paradisiaca: Views on Misunderstanding (2018) and has contributed to publications including Jun Yang’s The Parallax Hanok: A Café/Bar at the Art Sonje Center in Seoul (2016), Heman Chong’s The Part In The Story Where We Lost Count Of The Days (2013), and Paintings against Painting by Hugo Canoilas (2013).

歌地亞．匹斯坦娜

歌地亞．匹斯坦娜的工作圍繞著藝術家、展覽和刊物。匹斯坦娜於 Sharjah Art Foundation 策劃「What

should I do to live in your life?」（2012）和「Pilot Micro Multiplex Mall」（2012）的展覽，前者透過李傑、林珉

旭、Part-time Suite、陳玉瓊和周奥的作品反映款待、親切和相互的概念；後者則是由張奕滿的二手書店「Lem 1」、Dirk Fleischmann 的「my concept store」和楊俊的「MICRO M ─ 設想一個公共空間 ─ 電影院」，建構

而成的一個迷你商場。在首爾她是 Artsonje Center 的

「City Within the City」（2011）的策展人之一，也是白南准藝術中心的助理策展人，參與過的展覽包括「Now Jump」（2008）和「Random Access」（2010）。

匹斯坦娜曾是《Musa Paradisiaca: Views on

Misunderstanding》（2018）的共同編輯，也曾編輯過其他刊物包括楊俊的《The Parallax Hanok：A Café/ Bar at the Art Sonje Center in Seoul》（2016），張奕

滿的《The Part In The Story Where We Lost Count Of The Days》（2013），和 Hugo Canoilas 的《Paintings against Painting》（2013）。

A text by Ursula K. Le Guin, mentioned by Yee I-Lann in her presentation, set the tone for considering the notion of gathering to address the Discussion Forum and questions of legacy. The subtitle draws from Le Guin’s suggestion that bringing people together was perhaps a more important aspect of stories than the actual feats of the heroes they immortalised or even the meat those ﬁgures provided. 1

“‘[…] from spinning a thread to stretching it from point to point lies the ‘hinge’ between bodily movement and abstract reason, between the textilic and the architectonic, between the haptic and the optical, between improvisation and abduction, and between becoming and being. Perhaps the key to the ontology of making is to be found in a length of twine.’” Tim Ingold, ‘The textility of making’, in Cambridge Journal of Economics , Volume 34, Issue 1, January 2010, p. 100. 2

Paiva’s solo show Cargo was curated by Adelaide Ginga and presented at the National Museum of Contemporary Art (MNACChiado) as part of a series dedicated to Portuguese artists based and working abroad. 3

Ingold, Tim, Lines a Brief History , Routledge, UK, 2007, p. 78.

in Cambridge Journal of Economics , Volume 34, Issue 1, January 2010, pp. 91– 102. 5

Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’ in C. Glotfelty and H. Fromm, ed., The Ecocriticism Reader , University of Georgia Press, 1996, p. 154. 6

in C. Glotfelty and H. Fromm, ed., The Ecocriticism Reader , University of Georgia Press, 1996, p. 153. 7

于一蘭在演講中提及 Ursula K. Le Guin 的文本，以相聚的概念作為研討會的定調和傳承的問題。副題引用 Le Guin 的建議，比起聚會上被奉為英雄的主角及席間酒肉，把人聚集一起更能述說故事。 1

「…把線旋轉，然後把它從一點伸延到另一點，就像一條鉸鏈，在身體動作和抽象理性之間，在紋理和建築之間，在觸覺和光學之間，在即興和綁架之間，以及在是和成為之間。也許製作本體論的關鍵可在一條繩中找到。」Tim Ingold,「The textility of making」，刊於《Cambridge Journal of Economics》，第 34 卷，第 1 期，2010 年一月，第 100 頁 2

周奧的個展「Cargo」由 Adelaide Ginga 策劃，並在國家當代藝術博物館（MNAC-Chiado）展出，為國外葡萄牙藝術家系列的一部分。 3

Ingold, Tim, Lines: a Brief History, Routledge，英國，2007 年，第 78 頁 4

《Cambridge Journal of Economics》，第 34 卷，第 1 期，2010 年一月，第 91- 102 頁 5

Ursula K. Le Guin，「The Carrier Bag Theory of Fiction」，C. Glotfelty 及 H. Fromm（編）《 The Ecocriticism Reader》，喬治大學 6

摘自 C. Glotfelty 及 H. Fromm（編）《 The Ecocriticism Reader》，喬治大學出版社，1996 年，第 153 頁 7

編輯扎記

Narrating Le 細說傳承

egacies

In Textiles, We Trust 我們信仰紡織品 Koike Kazuko 小池一子

Koike Kazuko graduated from Waseda University’s School of Literature and began her writing career in the 1960s as a copywriter and fashion editor. Koike founded Japan’s first alternative art space – SAGACHO Exhibit Space – and served as its curator from 1983 to 2000. As one of the original founders of MUJI, Koike has been on the brand’s advisory board since its establishment in 1980. Centring around the statement, ‘In Textiles, We Trust’ her presentation combines her many experiences in the development of contemporary Japanese textile art and design with personal narratives and her own thoughts on the ever-present usage of textiles in our daily lives. 小池一子畢業於早稻田大學文學部，並於 1960 年代開始從事文字工作，撰寫廣告文案並擔任時尚編輯。

她創立日本首個獨立藝術空間─佐賀町展覽空間，並於 1983 至 2000 年期間

擔任策展人。作為無印良品的創辦人之一，自該品牌於 1980 年成立至今，她一

直擔任其諮詢顧問委員。以「我們信仰紡織品」為題，她的演講圍繞日本當代紡

織藝術與設計的發展，並分享她對於日常生活中無處不在的紡織品的個人經驗及見解。

Koike Kazuko

Childhood photo: my father’s photo of my mother and me. Photo courtesy: Koike Kazuko 由我父親拍攝的一張童年照，載有我和我的母親圖片提供：小池一子

小池一子

When you are born, what is the first material that touches your skin? Most probably it will be a very soft natural cotton. I believe this to be almost globally true. Textiles are the first materials that we encounter when we come into this world. As our consciousness grows and our lives go on, we encounter countless other materials. I often think of my favourite cloth, textiles, and of course, my dresses and blankets from my childhood. Once, I had a tenugui, a traditional Japanese washcloth. I treasured it so much that I used it until the white parts were almost brown. This was during the war and there were extreme shortages of fabric and almost every other material. When the war ended, everyday life in Japan gradually recovered. In the 1950s, I remember my father going abroad on a trip and bringing back the most beautiful handkerchiefs from Switzerland. They were embroidered with flowers and a maid wearing a folk dress. These images were quite touristy, but, for me, at the time, they were something I had never seen or touched before. They became my treasures and were possibly what opened my eyes to foreign textile products. Everyone has these stories related to their memories of family, friends and some particular episode involving a textile. For many, kimonos are a way to enjoy Japanese textiles, from elegant silk kimonos, to handspun, handwoven, hand-dyed, and sometimes to ones using techniques such as shibori and embroidery. All these bring together a highly treasured degree of craftsmanship that is mostly found in kimonos made for festive occasions. Throughout history, the kimonos used for daily wear are mostly made of cotton. In my late teens, I chanced upon a craft shop in Ginza founded by Masako Shirasu. This great lady is a writer who is knowledgeable in Japanese Art from historical paintings and Buddhist sculptures, to performance art such as Noh and Bunraku. Her research and interests developed from the tools for tea ceremonies to the objects of daily life including textiles and other cloth-related objects. Her collection of textiles had many handwoven cotton swatches showing the most beautiful but fundamental stripes, plaids, geometric ikat patterns, as well as deepcoloured plain dyed cloth. Since my mother was a professional dressmaker, I asked her to make a one-piece dress using Madam Shirasu’s cotton stripe cloth, which I wore repeatedly. After this, I started to trace the history of traditional Japanese woven stripes and found the most beautiful archive materials. There is a type of sample notebook that each craftsperson makes through the collecting of their own weavings. Recently I found a tiny handmade book with a family’s samples. Whenever I open the pages, I can’t help but become sentimental

thinking of their committed thoughts and handiwork that produced these new but familiar and beautiful textiles. In the most anonymous, authentic, essential and fundamental sense, cloth-making is located here. We can inherit a craftsperson’s unconscious text in these sample weavings. Issey Miyake, in his first book East Meets West, which I edited with Ikko Tanaka, the great art director of our era, shows the contemporary clothing designs he created for the urban citizens of Japan and the world. He recreated Japanese cotton stripes and suggested where contemporary society should be headed. It has been 40 years, but this concept is still vivid and alive. Issey Miyake’s fabulous series of daily clothes was shown to the public in SAGACHO Exhibit Space, an alternative space I will elaborate on later. My interest in textile-related clothing culture has continued to grow and I now find myself as a design and art curator who enjoys the experience of dealing with textile and textile related artworks. This led me to found and open an alternative space for art and design, SAGACHO Exhibit Space, where I experimented with new horizons for creation. For textile design, I chose Arai Junichi, who in the 80s was very busy developing new ideas for fashion designers such as Comme des Garçons, Issey Miyake, and many others. Each collection season, designers would seek out Arai and he would do his best to propose a new expression in textile. When I think back on those days, I like to call those times ‘the days of TACTILE sense’. When I proposed a solo exhibition to this preeminent figure of textile-making, he agreed to take part; and for the opening, he presented a performance of human textile weaving. In the exhibition, people stood at each side of the space carrying the edge of the fabric in a row, vertically and horizontally. Then, at Arai’s command, they moved as if they were warp and woof. Through the performance, the audience, students and staff all took part in weaving an enormous textile piece together. Although a fairly simple idea, it made all the participants happy. I often think that without textiles or the idea of them, we cannot realise certain concepts in art or even certain artworks. For her exhibition at SAGACHO Exhibit Space, Naito Rei needed a particular type of huge tent. Her concept of art is that the universe is composed of the tiniest pieces of things such as the seeds of plants, small pieces of gauze, toothpicks, grains, etc. Oval-shaped and with an area of 240 m2, the tent was made possible by our architect friend Hasegawa Itsuko and the Taiyo Tent Company. Naito Rei requested a textile so delicate that its surface had to be brushed and shaved, until it became soft as flannel. The right texture was only achieved after several trials. Inside the tent, the atmosphere was like a meditation area and only one person was allowed in at a time, as the artist hoped each individual would encounter the artwork alone. Once inside, you could

Koike Kazuko

出生之後，第一種與我們肌膚接觸的物料是甚麼？很可

能是一種非常柔軟的天然棉。我相信這幾乎放諸四海皆準。紡織品是我們來到這世界時最先遇見的物料。隨著我們的意識漸長且生命尚存，我們會遇見無數的其他物料。

我常常憶起我最喜歡的布料、紡織品，還有我孩提

時的衫裙和毯子。我曾經擁有一條「手拭」，亦即一種傳統的日式毛巾。我極之鍾愛它，甚至將它白色的部分用

得幾乎變成啡色。那是戰爭的時候，布料和其他物資都處於極度短缺的狀態。當戰爭結束後，日本的日常生活

逐漸回復。在 1950 年代，我記得我父親出外公幹，並

從瑞士帶回來了最美麗的手帕。它們有花朵和穿著民俗裙的侍女刺繡。這些圖案相當俗氣，但對當時的我來說

卻是我從來沒有看過或觸摸過的東西。它們成為我的寶藏，而且為我打開了欣賞國外紡織品的大門。所有人都有類似的故事，與家人或朋友的記憶，以及與某件紡織品相關的事情。

對很多人來說，和服是欣賞日本紡織品的一個途

徑，不論是高雅的絲質和服，或是手工紡線、編織、染色，甚至由絞染和刺繡技術製成的和服。這些為人重視

的工藝通常在為喜慶場合製作的和服中找到。在歷史上，日常穿著的和服多數是由棉製成的。

在我快成年時，我在銀座偶然發現一家由白洲正

子創辦的手工藝店。這位令人敬佩的女士是一名作家，她通曉日本藝術，從歷史繪畫和佛教雕塑，至表演藝術

如能劇和文樂。她的研究和興趣從茶道用具發展至日用品，包括紡織品和其他布製物件。她的紡織品收藏中有很多手工紡織的棉布樣本，展示美麗而基本的條紋、格

紋、幾何的印尼綁染圖案、以及色彩濃厚的淨色染布。因為我的母親是專業裁縫，我便請她用白洲女士的條紋棉布造了一件連身裙子，當時的我不斷重複穿著。自此之後，我開始追查日本傳統紡織條紋的歷史，並找到最美麗的檔案資料。

有一種樣辦筆記，是每一位工匠收集自己的紡織品

製作而成的。最近我找到一本，記載著家族樣辦的小本

子。每當我打開它，並想到嶄新而熟悉的美麗紡織品背後，是他們投入的巧思和手工，我就無法抑制自己的感

動。在最隱姓埋名、真摯、必要和基本的層面，這是製衣的本質。從這些紡織樣辦中，我們可以閱讀工匠潛藏在織物樣辦中的文本。

三宅一生的第一本著作《East Meets West》，即我

和當今具代表性的美術總監田中一光共同編輯的書中，展示了他為日本和世界城市人設計的當代衣物。他重新打造日式棉質條紋，並提出當代社會應該走的方向。至

今已過了 40 年，但這個概念仍然鮮活眼前。三宅一生出

色的日常服系列在佐賀町展覽空間展出，我稍後會再詳述這另類空間。

小池一子

easily feel as if you were returning to your mother’s womb. Only textiles can make such a space. In the late 1990s, I curated a show of contemporary artists from Portugal. Most works were by emerging younger artists, but I also included work by an experienced older female artist. The work consisted of stitches in black thread replicating Cézanne's Mont Sainte-Victoire on white cotton cloth. Mont Sainte-Victoire by Cézanne was drawn in black thread. Seemingly simple on the surface, this work strongly conveys the depth of modern art history. Now in her 70s, the artist Ana Jotta was relatively unknown to the international art scene until a few years ago. I even received an email recently informing me that a museum in Bremen will have a thematic show on Cézanne and would like to include her piece in their exhibition. Amazingly, my eyes enabled me to find such a fabulous work, which I have been enjoying on the wall of my living room for approximately 20 years now. In the early 1980s, I was busy working on the launch of MUJI. Together with art director Tanaka Ikko and design specialist friends, we conceived a new product line that would serve daily life at reasonable prices. It was a private brand line launched by Seiyu supermarket and their merchandisers, along with a creative team who found the possibilities for the new line.

Naito Rei’s net fabric enclosure for her tiny world of objects Photo: Hayashi Masayuki © SAGACHO Exhibit Space

We set out three points: point number one – selection of materials; point number two – eliminate factory processes; point number three – use the least and the simplest packaging possible. The economy was booming at the time, enabling European and American brands to sell with very high markups. In a way, we foresaw that this bubbling economy prime time would eventually change and then the most important thing for a sustainable business plan would be to offer the right price for the right thing. We took our principles as far as we could, applying them even onto cans of tuna. Why use only the round central part of the fish, as other national brand producers did, when the other parts are just as delicious and useful? The same could be said about cracked dried mushrooms, which are just as tasty as full roundshaped mushrooms. All these products were made by applying the idea of finding and making better use of materials in the general market. Our aim was to propose to consumers the most fundamental, minimalistic product at the lowest price. MUJI started with 40 items and although the number of products has now grown to 7000, our wish was and will always be to enable a better everyday life with comfortable products. Through the process of developing such a product line, we also came up with fine cotton

內藤禮的帳幕裝置，放滿各種小物攝影：林雅之 © 佐賀町展覽空間

Koike Kazuko

我對紡織衣物文化的興趣與日俱增，而我現在成

了設計師及策展人，樂於涉獵紡織品和相關的藝術品。這驅使我創辦了一個另類的藝術設計空間⸺佐賀町展

覽空間，以創新角度實驗和創作。在紡織設計方面，我挑選了新井淳一，他在 1980 年代忙於為 Comme des Garçons 及三宅一生等時裝設計師構思新概念。在每一個時裝季，設計師們會找上新井，尋求他計畫出一個新

的紡織表現手法。我喜歡以「觸覺的歲月」命名當時的

光景與日子。當我向這位紡織巨星提出為其舉辦個人展覽，他同意參與，並在開幕禮上呈現了人體編織的表

演。在展覽中，人們站在展覽空間的四邊，持著布的一端橫直排成兩行。然後，在新井的指令下，他們像經紗

和緯紗般移動。透過這個表演，觀眾、學生和職員一同

編織出一塊巨型紡織品。雖然是一個相當簡單的主意，卻令所有參加者都很喜悅。

我常常想，倘若沒有紡織品或其概念，某些藝術構

思甚至具體的藝術品便不能得以實現。在佐賀町展覽空間的展覽中，內藤禮要求一種特定的巨型帳幕。她的藝

術概念確信宇宙是由最細小的東西組成的，如植物的種子、小片的紗布、牙籤、穀種等等。我們的建築師朋友長谷川逸子和太陽帳幕公司製作面積 240 平方米的橢圓形帳幕。內藤禮要求一種很輕柔的布料，需要重複刷刮布面，直至它柔軟得像棉絨，經過幾次試驗才做到合適

的質感。帳幕裡面的氣氛像一個冥想空間，每次只能一

人進入，因為藝術家希望每一個個體獨自與作品相處。一進入其中，你很容易感覺自己回到母親的子宮內；只有紡織品能打造這樣的一個空間。

在 1990 年代末，我策劃了一個葡萄牙當代藝術家

的展覽。當中大部分作品由新晉年輕藝術家創作，但我

也邀請了一位較有經驗和年長的女性藝術家。這作品在白色棉布上用黑色線步勾勒塞尚的《聖維克多山》；看似簡單的作品，卻強烈地表現了現代藝術史的深度，其

藝術家的名字為 Ana Jotta，她現在已 70 多歲，但幾年

前才開始為國際藝術圈所認識。我最近甚至收到一封電子郵件，通知我不來梅的一家博物館將舉辦塞尚主題

展，並希望在展覽中展出她這件作品。神奇地，我的視線引領我找到這份迷人的作品，而更幸運地它已掛於我客廳的牆上約有 20 年了。

1980 年代初的我忙於籌辦無印良品的開幕。我與

美術總監田中一光及設計專家朋友們一同構思了一系列的新產品，以合理價錢包辦日常生活所需。那是由西友

超級市場及其買辦開拓的商品系列，並與創意團隊發掘系列的可能性。

我們提出三個要點：一，物料的選擇；二，除去工

廠工序；三，盡可能使用最少和最簡單的包裝。當時經濟急速發展，使歐美品牌能以非常高的價格出售。我們

預視到這個泡沫經濟終將改變，因此維持生意的竅門就

One family's woven stripe sample book Photo courtesy: Koike Kazuko 一個編織家族的條子織物樣辦小本子圖片提供：小池一子小池一子

resources. I mentioned in the beginning how the first material a newborn baby touches is most likely textile. A concerned mother will surely choose the softest and safest cotton product, which is an act of real love. Inspired by this, we thought there is no need for colourful or unnecessary decoration. Simple soft white cotton wear is all that we believed would be necessary. A very early poster for MUJI featured a baby dressed in just cotton cloth as a symbol for the concern taken in the selection of textile materials. This inspired me to create the slogan: ‘Love is not pretentious.’ Nowadays, with my experience and understanding of the versatile roles of textiles and the human body in the fields of art, design and life, I would also suggest: that ‘In textiles, we trust.’

是將合適的貨品以合適的價錢出售。我們將這個原則發揮至極，甚至將應用於吞拿魚罐頭上。魚的其他部分明

明一樣美味，為何要像其他國有製造商般只使用魚身的中間圓形部分？同樣地，破裂的蘑菇亦如完整的蘑菇般

可口。這些產品的面世，皆源自去尋找並更好地運用市場上現有的材料。

我們倡議向消費者提供最基本和簡潔，而價錢最便

宜的產品。無印良品由 40 種商品開始，雖然產品數目已

經增長至 7 千，我們的心願仍然、一直會是以舒適的產品營造更好的日常生活。

在發展這個產品系列的過程中，我們也找到優質的

棉料。我在開頭提到新生嬰兒第一種接觸的物料很可能是紡織品。一個關愛的母親肯定會選擇最柔軟安全的棉

製品，這是真愛的表現。受此啟發，我們認為不需要有色彩斑斕或不必要的裝飾，簡單柔軟的白色棉衣就是我

們認為必須的。很早期無印良品一張海報的主角是棉布穿裹的嬰兒，象徵挑選紡織物料時的關懷。這啟發我創作出口號：「愛是不裝模作樣。」

現在，憑著我在藝術、設計、生活的各個範疇中

領悟紡織品與人的角色多變，我也會說：「我們信仰紡織品。」

Koike Kazuko

MUJI poster with Yamashita Yuzo’s illustration, Tanaka Ikko’s art direction and Koike Kazuko's copy: Love Never Beautifies 無印良品海報，上面有山下雄三的插圖、田中一子的美術指導以及小池一子的文案：《愛是不裝模作樣》

小池一子

To Narrate Textile Legacy 細說紡織傳承 Johanna Engman 約翰娜．恩格曼

Johanna Engman previously served as the curator and industrial heritage coordinator at the Textile Museum of Sweden in Borås, a town that has been defined by textiles and textile industry. Her presentation centres around the award-winning permanent exhibition Textile Power, which she curated in 2016 and that presents an overview of the textile industry on both local and global levels. Through her research in Borås, striking similarities have emerged between the town’s local development – from industrialisation to decline and subsequent regeneration – and the contemporary mass production of textiles worldwide. 約翰娜．恩格曼曾於瑞典布羅斯市瑞典紡織博物館擔任策展人及工業遺產統籌，該市以紡織品與紡織業聞名。

她的演講以她於 2016 年策展並屢獲殊榮的常設展覽「紡織力量」為中心，展

現當地和全球紡織產業的概況。透過她在布羅斯的研究，突顯該鎮的本地發展─

從工業化到經濟衰退及隨後的東山再起，與現代全球大量生產紡織產業之間的相似之處。

Johanna Engman

The Textile Fashion Centre Photo: Anna Sigge 紡織時裝中心攝影：Anna Sigge

約翰娜．恩格曼

The Textile Museum of Sweden When the Textile Museum of Sweden moved to a new location in 2014, we took the opportunity to update the museum’s entire concept. Even though the museum had many qualities, it was very much a museum for those that already had a great interest in textiles. Now we had a chance to reshape our concept in order to reach a wider audience. Grounded in the knowledge and collections gathered by the museum, we were able to work on our appearance and approach: from graphic and interior design, to the use of colours and communication, through to content and what we chose to exhibit. The essence of the new concept aims to get people to interact and react, to become involved, enlightened and creative. The result is a colourful museum with a playful attitude, and most importantly: a welcoming atmosphere, one that is still attractive to industry professionals but also to all those who do not yet know that they like textiles. Our audience is now a lot more diverse, and the number of visitors has increased. Since we relocated, we now share the building with quite a few other institutions and companies, all having textiles in common. This hot spot for textiles is called the Textile Fashion Centre. Located in former textile mills, we share many commonalities with CHAT and The Mills.

Borås, City of Textiles Borås is the centre for textiles in Sweden, just like Manchester is for Great Britain, or Tilburg is for the Netherlands. There has been a long tradition of crafts in the area around Borås bringing in extra income from agriculture. Since medieval times the craft of making textiles has been organised in a system where merchandisers supplied thread to weavers, who turned them into fabric in their homes, and then returned it to the merchandiser who could then make fortunes out of its trade. This meant that when industrialisation made its breakthrough in Sweden by the mid-19th century, pre-conditions for a successful textile industry were already present. The textile industry became very successful and greatly contributed to the increase of welfare in the area. Sweden went from being a poor country to one of the top welfare states in a short period of time. The textile industry played an important part in this. After the Second World War, the garment industry expanded dramatically. A vast number of seamstresses were required in order to satisfy demand. Influx of foreign labour made the evergrowing production possible. However, competition from abroad also increased. By the 1970s it was no longer profitable to produce in Sweden. Even though this was a great crisis for the city of Borås that dealt a hard blow to companies, jobs and

The Textile Museum of Sweden Photo: Anna Sigge

瑞典紡織博物館攝影：Anna Sigge

Johanna Engman

瑞典紡織博物館

展是論述的中軸。可惜，事與願違，能夠扣連當今社會

年遷移到新址，我們便藉此決意提升博物館各方面的概

周的布料，便會發現我們的日常穿著，不大可能出產自

瑞典紡織博物館（Textile Museum of Sweden）於 2014 念。雖然博物館本來已有許多良好特質，但它始終只為

本身已對紡織有興趣的群眾而設。現在我們有機會重新構思博物館的面向，從而接觸更多觀眾。

而策劃一個有關於紡織展覽的資料不多。當我們環顧四

瑞典，布羅斯再沒有工廠式生產。我們研究得越深入，便發現本土發展和現時全球大量生產之間的吻合越趨明顯。歷史在重演，將本土的「此地、往刻」對比全球的

我們以博物館擁有的知識和收藏為基礎，著手思考

「彼邦、此刻」，我們能夠將過去和現在並排對照。我們

傳遞，以至內容和挑選的展品。新概念的精髓在於能吸

實過去貧乏的苦況仍然在現實發生，只是換了個不同的

博物館的新貌和面向︰由平面至室內設計，用色和訊息

引大眾積極互動、回應，並轉化為參與、啟發和創意。最終我們得出一間色彩繽紛又充滿玩味的博物館，更重

發現將這兩個時空平行而置，會令參觀者更容易理解其場地而已。

我們認為，事情的光明與黑暗兩面都有需要敍述。

要的是那份讓人感到樂在其中的氣氛，不論是專家抑或

紡織業雖然改善社會福利，但同時亦跟低工資、惡劣的

觀眾來自不同範疇，訪客量亦有所增長。

─ 因缺乏帶來的後果 ─ 亦在整個展覽裡佔著相當重要

還未了解紡織的大眾，都會找到博物館吸引之處。現時

我們的新址座落紡織時裝中心（Textile Fashion

Center），跟另外數間機構和公司在同一棟大樓，各個

工作環境和破壞環境等議題不無關係。工業的可持續性的部分。

富庶國家過度購置衣物亦是故事的其中一節。我們

單位都跟紡織有關。這個紡織大熔爐，前身為紡織廠的

為此特地設計了一個觀覽方式，誘發參加者從展覽中反

南豐紗廠有不少共通點。

責任。

大樓，所以我們和六廠紡織文化藝術館（CHAT 六廠）及

思自己的消費模式。我們都應該為我們的購物模式負上展覽覆蓋了約 500 平方米，依不同主題而建，每個

紡織之城︰布羅斯

主題場區都就著它的展覽內容而經過精心設計。甫入展

的蒂爾堡。布羅斯一帶有源遠流長的工藝傳統，此亦為

織工藝 - 紡織力量」。這類型霓虹燈牌在布羅斯紡織業

布羅斯是瑞典的紡織樞紐，好比英國的曼徹斯特或荷蘭農業帶來額外收入。從中世紀時期開始，布料生產已經非常有系統，商人為紡織者提供紗線，由紡織者在家裡

將紗線梭織成布，再轉交商人販賣獲利。這意味著早在十九世紀中期，即工業化進入瑞典之前，一個成功的紡織業需要具備的配套經已存在。

紡織業發展相當蓬勃，為當地庫房貢獻了不少。不

覽，參觀者會見到一塊霓虹燈牌照住他們的旅程︰「紡

的全盛時期是個重要標誌，可見於大部份工廠樓頂。這

趟旅程牽涉各種感官︰機油的氣味、傳自廠房的聲響、大量照片和影片。以入口為例，介紹影片投射在工人儲

物櫃上。此外，燈光佈置構成觀者的體驗並營造各項主題的氣氛。

我們在展場中間建構了一個具象徵性的工廠，圍

消多久，瑞典從一個貧窮國家發展成世界數一數二的富

繞著展覽的中心。牆身由鐵絲網組成，層層透視感形成

第二次世界大戰過後，成衣業急速擴展，市場急需

二十世紀的紡織機器。我們的技術員裝置了整條生產

庶國家，紡織業在此扮演著重要角色。

車衣女工，外勞大量湧入以支撐著不斷擴充的生產線。然而，海外製衣業競爭越見激烈。到了七十年代時，瑞

了內外之間一個隱晦的連繫。在「工廠圍城」內放置了線，示範由紡紗至織布的生產。

「此地、往刻」對比「彼邦、此刻」，乃至紡織業的

典成衣生產變得不再符合經濟效益。

優點缺點都迴盪於展覽的每個主題區。參觀者在第一個

共同面對著這場危機，但紡織業仍然穩住站腳。縱然景

樹林被煙囪替代。工業時期前後大有不同，幾乎改變了

布羅斯有不少公司、工種、以至這個地方的身份都

況不如七十年代，紡織業仍然存活，並不斷調適，尋求

新的可能性。時至今日，除了時裝設計之外，研究、科技和發展等皆為布羅斯帶來強大推動力。常設展覽︰紡織力量

為了對應博物館的新概念，以及布羅斯深遠的紡織工業歷史，我們需要一個以此為題而又貼近時代的常設展覽。於 2015 年開始統籌並於 2016 年開放的「紡織力

主題區會行經由農業社會轉型為工業社會的城貌勾勒：所有事物。透過展覽，參觀者體驗到由英國領導的創新

和科技發展的力量。當製造過程由人手變成機器，開拓商機的速度也趕得上機械化效率。為免令這種新知識外傳，當時的英國政府頒布禁制令，禁止出口所有機器

或機器圖則。當然，這禁制令注定失敗。間諜和走私活

動更加成為了一個新行業；第一架被偷運的機器是一台針織機，並於 1720 年代落戶瑞典。

瑞典的成衣業在第二次世界大戰之後迅速擴展，為

量」展覽，便成為了我率領的項目。

配合勞動所需。大量外勞湧入，工業迅速增長。可惜隨

約翰娜．恩格曼

從策展初期，我們已經意識到本土歷史和城市發

住時間過去，海外競爭越見激烈，製衣工廠都遷移至生

even to the identity of this place, the textile industry still stands strong. It is not what it used to be in the 1970s, but it does live on, constantly adjusting to new conditions and finding new possibilities. Today, research, science and development are the big driving forces of Borås, alongside fashion design, for example. The Permanent Exhibition, Textile Power In response to the new concept of the museum and the rich history of Borås as a centre for the textile industry, an updated permanent exhibition addressing these themes and relevant to present times was needed. It became my mission to lead the project to creating this display in 2015, and the exhibition Textile Power opened in 2016. Very early in the process it became clear that the local history and development of Borås were a good base for the construction of the storyline. It was not, however, enough to make an exhibition about textile industry that resonated with the relevance of the present, as we had wanted to achieve. When we, in our local context, look at the textiles that surround us today, they are not likely to have been produced in Sweden, and especially not for the clothes that we wear. Mass production has moved far away from Borås. But the more research we did, the more apparent the striking parallels between our local development and global mass production of today became. History repeats itself, and by mirroring the local perspective of ‘here & then’ into a global ‘there & now’ perspective, we were able to make past and present face each other. We also realised that these parallels made it easier for visitors to relate both to history as something that happened not that long ago, and to understand that the poor conditions of the past are still a reality today – only one that is exported to other places. It was also obvious to us that both the light and dark sides of the story had to be told. The textile industry has built welfare, but it is also an industry associated with low wages, bad working conditions, environmental problems and more. Sustainability – the lack thereof and consequent response – plays an important part throughout the exhibition. The excessive consumption of clothes in the wealthier parts of the world is also part of the story. This is also a mechanism designed to encourage visitors to relate what they encounter in the exhibition to themselves and to their own patterns of consumption. We all have responsibilities regarding how we do our shopping. The exhibition covers about 500 m2. Built around various themes, the design of each thematic space serves to enhance the story being told. Upon entering the exhibition, one is met with neon signs introducing the name of the experience – Textil Kraft – Textile Power. Signs like these were significant in the heyday of the textile industry of Borås and

could be seen on most factory roofs at the time. The experience involves different senses: the smell of oil from the machines, sounds from the factory floor, a lot of pictures, and film. At the entrance, for example, an introductory film is projected on workers’ lockers. Lighting is crucial to the experience and creates different atmospheres for the various themes. In the central part of the room, we built a symbolic factory that surrounds and frames the heart of the exhibition. The walls are built out of expanded metal mesh, which gives a semi seethrough effect that allows a slight connection between the inside and outside to exist. Within the ‘factory walls’, we have our textile machines from the 20th century. Our technicians are able to demonstrate an entire production line, from fibre to fabric, on these machines. The ‘here & then’ vs ‘there & now’ narrative and the pros and cons of the textile industry are recurrent issues in each and every theme. In the first theme the visitors walk through a landscape that changes from an agricultural society to an industrial one: trees are replaced by chimneys. The differences between a pre- and post-industrialised society are huge and brought about change to almost everything. Further into the exhibition, visitors meet the power of innovation and technical development, an innovation led by Britain. When the methods of making something that used to be made by hand became mechanised, trading possibilities expanded with the increase in the speed of production. By decreeing an export ban on machines and drawings of machines, the British government hoped to keep this new knowledge within its boundaries. This was, of course, doomed to failure. Espionage and smuggling became an industry in itself. The first textile machine to be smuggled to Sweden was a knitting machine that landed on Swedish ground in the 1720s. The garment industry in Sweden became huge after the Second World War. A vast number of seamstresses were required to satisfy demand. There was a huge influx of foreign labour and the industry thrived. Over time, however, competition from abroad increased and the garment industry moved on to other places where manufacturing costs were lower. This still goes on – the search for the least expensive seamstress continues. Again ‘here & then’ mirrors ‘there & now’. We buy clothes like we have never done before, and the more clothes we buy, the more are produced. Our overconsumption of clothes is far from sustainable and the low price we pay for cheap garments is not a cost to us. It is made possible at the expense of those who are underpaid to manufacture them. The textile industry established the welfare in and around Borås. Sweden went from being a poor country to being a welfare state. A hundred years

Johanna Engman

Textile Power, textile research and future Photo: Jan Berg

「紡織力量」提供的研究設施攝影：Jan Berg 約翰娜．恩格曼

Textile Power, exhibition entrance Photo: Jan Berg

「紡織力量」展場入口攝影：Jan Berg

Textile Power, the textile machines Photo: Jan Berg

「紡織力量」展出的紡織機器攝影：Jan Berg

Johanna Engman

Textile Power, garment industry Photo: Jan Berg

「紡織力量」介紹的成衣業攝影：Jan Berg

Textile Power, replica of a shed from Dhaka, Bangladesh. Photo: Jan Berg

「紡織力量」模擬孟加拉達卡棚的屋攝影：Jan Berg

約翰娜．恩格曼

ago, textile workers struggled in Borås to make enough for a living. In the exhibition, we show a replica of a shed from Dhaka, Bangladesh, the home for a family of textile workers. Again, the similarities between ‘here & then’ and ‘there & now’ are striking. Long workdays, low wages, poor housing and poor conditions for the children are some examples of such parallels. But there is also power and will to change, and the struggle slowly brings improvement. As a museum, we believe it is important to also create awareness about the humanitarian side of the textile industry. Another characteristic of the textile industry that we wanted to highlight in the exhibition is its history and ongoing problem as a polluter. The waters downstream from Borås are the most contaminated in the country as a result of the prosperous textile industry of the past. Like the rest of the problems inherent to the mass production of textiles, this one is now exported to other parts of the world, creating even greater concerns as they affect freshwater supply for millions of people. The last theme of the exhibition brings hope of a better future to visitors. Here, we look at research and development that strive to make the textile industry better. Achieved in collaboration with the academy, this is a fantastic opportunity to present some of the ongoing research that positions Borås in good standing internationally. The projects we have chosen to showcase offer insights towards solutions to problems that were brought up throughout the exhibition; the pursuit of sustainability being one that is common to them all. The way we have chosen to present the past, present and future of the textile industry and the use of a storyline anchored on a ‘here & then’ mirroring a ‘there & now’, has turned out to be a winning concept not just with audiences. Last year, the Textile Power exhibition was awarded the most prestigious prize an exhibition can receive in Sweden: Exhibition of the Year.

Johanna Engman

產成本較低的地方，繼續尋覓更廉價的勞工。再一次展示「此地、往刻」如何對照「彼邦、此刻」。

現代購買衣物的模式前所未有，銷量越高，生產

越多。我們過度消費衣物的模式已遠超可持續的狀況，一件廉價衣物對我們而言幾乎不花分文，但卻把工人剝削。

紡織業為布羅斯和周邊帶來了經濟增益。瑞典從一

個貧窮國家變成一個富庶國家。一百年前，製衣工人在布羅斯生活艱苦，為口奔馳。展覽裡我們複製了孟加拉

城市達卡的一個棚屋，是一家製衣工人的生活居所。「此

地、往刻」與「那地、此刻」的對照一目了然。長工時、

低工資、惡劣的住所和生活環境依然存在於其他地方。但是只要有渴望改變的心和力量改變，才會發生。作為

博物館，我們認為引起大眾對紡織業人性的關注極為重要。

另一個我們渴望展示的重點是紡織業的歷史和其

長久以來作為污染的源頭。過往繁榮興盛的製衣業，為

布羅斯的下游地帶留下全國污染問題最嚴重的一面。正如紡織業因過量生產而遺留下來的其他問題一樣，污染

問題經已轉移至其他國家，甚至對於過百萬人的食水供應構成嚴重威脅。

展覽的最後一個主題旨在為參觀者對於美好的將

來帶來希望。在此，我們放眼於致力改善紡織業生態的研究和發展。藉著與學院合作，展示布羅斯在國際研究

地位的良機。我們精心挑選了跟主題有關的研究計劃，為展覽裡帶出的問題提供不同的解決方法和見解；尤其是各個範疇所求的可持續性。

我們精心呈現紡織業的過往、現在和未來的心思，

以及策劃「此地、往刻」對照「彼邦、此刻」的故事線不

單止贏得參觀者的讚賞，「紡織力量」展覽於去年更榮獲「年度展覽」⸺ 瑞典展覽界別的最高殊榮。

約翰娜．恩格曼

VLISCO: Past, Present and Future VLISCO：過去、現在與未來 Gabriela Sánchez y Sánchez de la Barquera 加貝埃娜．山齊士．伊．山齊士．德拉巴克拉

Gabriela Sánchez y Sánchez de la Barquera is a Mexican-Dutch designer who has exhibited and given lectures and workshops across the globe and for 7 years she was a Senior Print Designer at Vlisco. Gabriela is currently Head of Vlisco&co, a new venture that started three years ago and creates a network of young and experimental creative talent across Africa. She has built a network of 65 creatives in film, photography, fashion, illustration, music, architecture and craft in Ghana, Nigeria, Ivory Coast, Benin and the Democratic Republic of Congo. Joining forces to stage events in Lagos, Accra and Abidjan, they engage in debate about their interpretation of modern African culture and its future. 加貝埃娜．山齊士．伊．山齊士．德拉巴克拉是一名墨西哥裔荷蘭籍設計師，其作品以展覽及工作坊形式走遍全球，更有 7 年擔任 Vlisco 高級設計師的經驗。

她現在擔任 Vlisco&co 的負責人，一個三年前成立的組織，銳意成立創

意網絡，至今已涉獵到 65 位成員，來自的界別包括電影、攝影、時裝、插畫、音樂、建築及手工藝製作，跨越北非多國，包括加納、尼日利亞、科特迪瓦、貝

寧和剛果民主共和國。聚集各方面的人才資源，她們在拉哥斯、阿克拉和阿比讓舉行並參與活動，展述現代非洲文化及未來路向的辯論。

Gabriela Sánchez y Sánchez de la Barquera

Photo: Lakin Ogunbanwo 攝影：Lakin Ogunbanwo

加貝埃娜・山齊士・伊・山齊士・德拉巴克拉

Vlisco print designs were not originally intended for Africa but for Indonesia; the effects and products of introducing newly mechanised printing methods to traditionally hand-printed batik found no favour with the intended Indonesian consumer. Remarkably, however, when the prints found their way to Africa in the late 19th century through the Dutch maritime trade, the African traders and consumers became enamoured with the ‘crackling’ and ‘bubbling’ effects of Indonesian batik, left apparent as the wax, which serves as a dye resist, was removed from the cotton fabric upon completion of dyeing. Since then, so-called ‘African prints’, imported from the Netherlands, have gained widespread popularity in the West African region. Of course, the prints were not ‘African’ at all, they were Dutch. Although several serendipities and coincidences led to their success, a key element was undoubtedly the way their adoptive Africa received them. The way in which African women took ownership of them by intervening and modifying existing designs and fabrics to suit their own sensibilities is what made them ‘African prints’. African women, now, as they were then, are a dynamic force in the economy. Their entrepreneurial spirit drives them to conduct local commerce, their sense of responsibility propels them to provide for their families and their indomitable spirit enables them to find solutions where problems might have defeated them. The traders of Togo, collectively known as Nana Benz (along with the traders of their neighbouring countries), through buying and selling numerous yards of Vlisco fabric, amassed enough fortune to buy their Mercedes-Benz cars. Their sense of fun and pride led to the creation of the famous ‘6 spark plug’ print, which a trader commissioned Vlisco to design. And that was how it was; designs that were originally of Dutch conception, are now requested, inspired and influenced by African women. Vlisco would not exist today if not for the African women who traded their fabric and for those who turned them into clothing and items of extraordinary selfexpression. Along the way, Vlisco designs have gained special meaning. Stories arose around the designs, symbols were created and messages that could never have been conceived by a designer in the Netherlands were communicated. The unfettered imagination of Vlisco designers may originate the designs but, ultimately, the direction and interpretation became African. This remarkable history of collaboration and cooperation, which has lasted for more than a century, has resulted in a textile archive consisting of 350,000 samples housed at the Vlisco headquarters in Helmond, the Netherlands. Photo: Jessica Sarkodie 攝影：Jessica Sarkodie

Gabriela Sánchez y Sánchez de la Barquera

Vlisco 的印花設計，來自荷蘭，俗稱「非洲印花」

（African Prints）。它本為印尼而設，把印尼傳統人手蠟染工藝（棉織品染色後，將蠟從其移除防染，留下圖案

效果）機械化，可是在印尼沒有帶來預想的效果，沒有

吸引目標顧客。不過意外地，當這些印花於 19 世紀後期

流入非洲後，非洲商人和顧客漸漸愛上印尼蠟染的裂紋和泡沫效果，在西非一帶廣受歡迎。

雖然這些印花來自荷蘭，不是「非洲的」，而且在

機緣巧合下導致它們成功，但是毋庸置疑的是，其中一

個成功關鍵在於非洲如何迎合並採用這類設計。非洲女士們透過改良現有的設計和布料，配合自身需要，化其為自己專屬的設計，因此成為「非洲印花」。

不論古今，非洲女士們皆是推動經濟的重大力量。

她們的企業家精神促使她們實踐本土營商，她們的責任心驅使她們擔起養家的責任，她們不屈不撓的精神助她們解決棘手的問題。

多哥的商人及鄰國商人，統稱 Nana Benz，透過

買賣無數疋 Vlisco 布料，累積一定財富來購買她們最愛的平治轎車。她們的樂趣和自豪感促使著名「6 spark plug」印花的誕生，這印花是由一位多哥商家委託 Vlisco 設計。

而這就是故事的起源，過往由荷蘭構思的設計，現

今則受非洲女性愛戴、啟發和影響。若然沒有一群為布

料做貿易和將衣物轉化成表現自我的非洲女士，Vlisco 便沒有今日的成就。

一路以來，Vlisco 的設計贏得特殊的意義。故事

圍繞設計而起，建立了一連串象徵符號，傳遞了一系列

荷蘭設計師永遠無法構想的訊息。Vlisco 設計師們自由奔放的想像力可能造就了各種原創設計，不過，最終的

方向和詮釋皆融入了非洲元素。這段過百年、非比尋常

的協作歷史成就了一個藏有 35 萬個樣板的布料資料庫，位於荷蘭海爾蒙德的 Vlisco 總部。

Photo: Trevor Stuurman 攝影：Trevor Stuurman

加貝埃娜・山齊士・伊・山齊士・德拉巴克拉

Photo: Trevor Stuurman

攝影：Trevor Stuurman

Gabriela Sánchez y Sánchez de la Barquera

Photo: Trevor Stuurman

攝影：Trevor Stuurman 加貝埃娜・山齊士・伊・山齊士・德拉巴克拉

Today, this century-old collaboration continues to thrive and to evolve. The dynamics remain the same between Africa and Vlisco, despite the threat of counterfeits that flood the market from China. At the same time, Vlisco also looks to the future and has, therefore, set up a new venture called Vlisco&co, which creates a network of young, creative talents across Africa and which expresses modern culture through experimentation and collaboration. In the name Vlisco&co, the ‘&co’ stands for collaboration and cooperation, which are values long embraced by the Vlisco tradition. The Vlisco&co network has, within the last year, reached 52 young creative talents in disciplines as various as fashion design, music, photography, handcrafts and film. This network covers Nigeria, Ghana, Ivory Coast and the Democratic Republic of Congo, encouraging its young partners to initiate exchange and engagement across the region.

Photo: Jessica Sarkodie

Vlisco sees the future of Africa in the hands of its young population and wonders how they perceive the role of these prints in their culture. Vlisco wants to listen to and to learn from young Africa, to engage and debate, and hopefully to nurture vibrant talent and energy that might go otherwise unnoticed. The commitment and creativity of those channelling this talent and energy represents the youth of Africa and the promising futures offered by this diverse and vibrant continent.

攝影：Jessica Sarkodie

Gabriela Sánchez y Sánchez de la Barquera

時至今日，這個跨世紀合作仍在持續進步和演變。即使

市面湧現不少中國贗品，非洲與 Vlisco 之間的互動仍然保持不變。與此同時，Vlisco 亦開展了一趟新旅程，創

立 Vlisco&co ── 一個在非洲的青年創意奇才網絡，透

過實驗與合作，共同展現當代文化。在 Vlisco&co 一

詞，「&co」代表了合作和協作，亦是傳統一直擁戴的價值。

Vlisco&co 網絡在過去一年，接觸到 52 位年輕創意

人才，團隊涉獵的範疇包括時裝設計、音樂、攝影、工

藝和電影。這個網絡覆蓋尼日利亞、加納、象牙海岸和剛果民主共和國，並鼓勵年輕夥伴展開跨地域的交流。

Vlisco 相信非洲的未來緊握在年輕人手中，亦好奇

他們怎樣定位這些印花在文化裡扮演的角色。Vlisco 希望聆聽非洲年輕人的想法，向他們學習，和帶動他們積

極參與和討論，以培育人才。年輕人帶著熱情和創意，傾注才華和能量，成為非洲年輕一代的象徵，也指向大洲多元而富活力的美好未來。

Photo: Nuits Balneaires 攝影：Nuits Balneaires

Photo: Daniel Obasi 攝影：Daniel Obasi

加貝埃娜・山齊士・伊・山齊士・德拉巴克拉

Textiles as P 紡織為平台

Platform

In Search of Textile Legacies: Excerpts from an Ethnographic Journal on Embodied Practices 尋找紡織傳承：民族誌的體現與實踐 Sharon Tsang-de Lyster 曾思朗

Sharon Tsang-de Lyster is a storyteller, textile and design researcher, specialising in material cultures and artisan engagement. She founded The Textile Atlas and Narrative Made. With experience in and knowledge of Asian heritage textiles, sustainable production and journalism, Tsang-de Lyster is known for her considered and styled approach in bringing artisanship to the international stage. Her presentation shares reflections on case studies that offer insights into what informs The Textile Atlas as an online platform that champions textile culture conservation and ethical sourcing. 曾思朗是一個說故事的人，同時是紡織品與設計研究者，專門研究物質文化和工

匠參與。她創立了網上資源平台 The Textile Atlas 及 Narrative Made 設計工作室。憑著她對亞洲傳統紡織、可持續時裝生產及新聞業方面的經驗和知識，曾思

朗以其精湛和別具一格的手法將手工藝品引入國際舞台而聞名。她的演講分享了一些案例，以及 The Textile Atlas 如何成為一個推廣紡織文化保育和道德採購的網上資源平台。

Sharon Tsang-de Lyster

Every year on the third day of Día de Muertos, the San Antonio Castillo Velasco community holds a grave decoration competition, where families come together to make amazing art to cover their loved ones! How lovely it is to respect, adorn and ‘spend time with’ those who passed Photo courtesy: Sharon Tsang-de Lyster 每年亡靈節的第三日，San Antonio Castillo Velasco 社區都會舉辦一個墓地裝飾比賽，當地家庭會聚在一起在摯親的棺木上創作令人驚嘆的藝術，與過身的親人「聚首」渡過一段快樂的時光攝影：曾思朗

曾思朗

London, 19 February, 2019 My mission at the British Museum’s storage is to find out whether there is any documentation on how people from a Miao group in Guizhou in southwest China learn to make their folk embroidery. Helen, the Collection Manager, kindly prepared a table covered with embroidered garments from the Gina Corrigan collection, acquired in the 1990s, alongside her original photo slides and notes, boxes of workin-process items, and tools that Helen herself had purchased during a study trip there. ‘It was really to keep a record of this amazing needlework, such a legacy of the minority groups there,’ she said, remembering the beautiful time she had spent in those villages while slightly discouraged by the disappearance of the craft. The lavishly embellished costumes, as well as the silk threads, needles, paper patterns and braiding tools, laid out before me, all testified to a masterful making process. Years of empirical research into these embroideries have resulted in highly detailed and instructive publications dedicated to these impressive materials. Appreciating and evaluating embroidery solely at their finished stage, as they would be displayed in an exhibition, has, however, been described by Nicolas Argenti (Argenti 2013, p. 72) as a bias of the Western ‘matter-form model’ where matter entails only the technological processes. Perhaps, by approaching these crafts from a less material-driven perspective, they could be seen as physical products to be examined across cultures? As material evidence of practices, might they propose paradigm shifts into how mind and body, process and product, or subject and object are understood? Given that any thematic and coordinated embroidering involves planning, it is also complex mind work that requires full control of body techniques to produce precision in intricate work that can only be achieved by repeated practice. Like problem-solving, such craft demands constant negotiating and coordinating of the mind and physical body (Marchand 2016), deep concentration and skilled bodily movements, especially — but not exclusively — by the fingers. Anthropologist Thomas Csordas states ‘the body is simultaneously both the original object upon which the work of culture is carried out, and the original tool with which that work is achieved.’ This embodiment of the maker’s mind, body and social life in textile, like in many crafts, motivated my interest in investigating how artisans learn, design and interpret the legacy of their craft at the British Museum’s storage. The fact that there were no embroidery samplers found in the museum collection left my questions unanswered and I was called back to the field…

Yang Miu Zi’s ‘Hundred Bird’ Costume, Miao Group, Guizhou: A Point of Departure After driving and trekking up some curvy roads to Guizhou, I met Yang Miu Zi, master of the Hundred Bird costume. Her craft, known for its intricate embroidered bird motifs, is both rare and highly priced. With a fine silk-felt as their base cloth, these embroideries carry important Miao folklore such as the worship of birds. To make the ‘Hundred Bird’ costume, silkworms have to be farmed, silk-felt sheets made, and then dyed, before even beginning the heavy embroidery of the numerous motifs with silk threads on approximately 40 panels. These are then all sewn together with batik fabric added onto cuffs and at the joints between the front and back panels. To complete the costume, 12 hanging panels make up the lower part with Job’s tears and feathers for embellishment. In all, the process can take six months to a year to complete. Perfecting the skills to create such complex work entails unrelenting commitment to learning and practicing each step of the process. Yang learned her craft from her Miao mother, the traditional way, and has passed this on to her daughter-in-law, whom she sees as her successor.

Yang designs her own bird motifs as she directly shapes the ﬁne paper patterns through her scissors’ magic Photo courtesy: The Textile Atlas Photo: Stephanie Teng 楊秀芝徒手剪出自己設計的鳥類圖案紙樣圖片提供：The Textile Atlas 攝影：Stephanie Teng

Sharon Tsang-de Lyster

倫敦，2019 年 2 月 19 日

其是不僅限於手指。人類學家 Thomas Csordas 表示：

我走進大英博物館的藏品庫是為了尋找關於貴州苗族人

「身體既是體現文化本身的對象，也是實現成品的工

調動出於 1990 年代所收購，並以學者 Gina Corrigan 所

起了我去調查工匠如何學習、設計和理解他們在大英博

用以學習民間刺繡的教授記錄。藏品管理人 Helen 為此

命名的一系列刺繡服裝。此外，Helen 亦有準備幻燈片、筆記甚至自己往貴州學習時所購買的工具。憶述在當地度過的美好時光，Helen 慨嘆：「這種針線活，是苗族這

個少數群族遺留下來的優秀文化遺產，絕對需要被記錄

下來。」眼前的物品包括華麗的服裝、絲線、針、紙樣

具。」工匠的思想、身體及紡織的社交生活的實踐，激

物館藏品庫留下的文化遺產。然而，由於在博物館藏品

中沒有發現刺繡的樣本，讓我的疑問仍未解開就被召回到當地現場……

楊秀芝的貴州苗族「百鳥衣」：一個出發點

和編織工具，每一樣都見證著一個精湛的製作過程。經

我在開往貴州迂迴曲折的道路上，遇到了「百鳥衣」的

為出色的刺繡工藝致敬。

名，既稀有而且價格高昂。這些刺繡以精美的絲綢氈為

過多年研究，博物館已經著有詳細且具教育性的刊物，然而，Nicolas Argenti（Argenti 2013，72 頁）認

為只在完成階段猶如在展覽中鑑賞及評估刺繡作品是來

自西方「形質模」的偏見，當中物質只著重技術過程。或許我們不從物料為先的角度去切入觀看這些刺繡，它們可否被看作是跨文化的產物？這些產物又可否作為刺繡文化的憑證，改變人們對於民間刺繡相關的思想和身體、過程和成品或主體和客體上的既有理解？

鑑於任何主題的刺繡都需要規劃，製作者亦需掌

控複雜的思維及技術從而良好控制身體，以產生精確的複雜工作，並只有通過反覆練習才能實現。就像解決

問題一樣，該工藝需要不斷地談判及協調思想與身體

大師楊秀芝。她的工藝以其錯中複雜的刺繡鳥圖案而聞基布，帶有重要的苗族民間傳說，如對鳥類的崇拜等。在製作「百鳥衣」前，必須先養蠶，製作絲綢氈，然後染色，更要在大約 40 塊氈上用絲線重複刺繡無數圖案。

繼而將它們全部縫合在一起，並於袖口和前後幅之間以蠟染織物接縫。下半部由 12 組掛布組成，並用薏仁和羽毛點綴。整個過程需要六個月到一年才能完成。

要完美掌握這種複雜的工藝必需堅持不懈地去學

習和重複練習每一個工序。楊秀芝的手藝是由她的苗族母親根據傳統傳授給她，她再將其傳授給她的媳婦，並視她為繼承人。

（Marchand，2016），深度專注和熟練的身體動作，尤

Yang, proudly introducing her daughter-in-law as her successor, who will continue writing the story of the ‘Hundred Bird’ costume Photo courtesy: The Textile Atlas Photo: Stephanie Teng

楊秀芝自豪地介紹她的媳婦為她的繼承人，她將會繼續編織「百鳥衣」的故事圖片提供：The Textile Atlas 攝影：Stephanie Teng 曾思朗

Oaxaca, 3 November, 2018: A Family Craft Today is the last day of the Pathway of Artisanal Craft Forum, hosted by Garland Magazine. It’s been a blessing to celebrate Día de Muertos (Day of the Dead) with various craft families in the past few days. Their love and attachment to the family and community inspire me. To them, people may be gone but never forgotten. They decorate the graveyards with homegrown flowers, handmade ceramics or candles, and curate the altars with personal memories. I wonder what it would be like to have a family craft. My mother and her siblings talked about making toys as a family and followed my grandma to spinning mills for work, an experience shared by a large population of Hong Kong in the 60s and 70s. The textile industry has built lives around the world throughout the centuries. It was textile that also built many well-known Hong Kong families’ legacies. To visit a few well-known textile families, I decided to venture out to San Antonio Castillo Velasco to meet Miriam Campos, whose mother, grandmother and all her aunts are widely recognised as embroiderers and designers of the signature cloth from her town: a tightly packed rainbowtoned floral flat embroidery. Reyna, Miriam’s mother, enthusiastically demonstrated drawing her signature patterns on the fabric. While in the global (western) craft trade the term used for Reyna’s role would be ‘designer’, here she is called an ‘artist’. This reflects a fundamental difference in concepts: not only is each piece unique because it starts from hand drawing, but there is also a great degree of creative liberty embedded in the making process. The same applies to the embroiderer, who freely decides on the colours to be applied. Teamwork, here, is community-building. The ‘labouring’ is, dare I say, artistic innovation and even touches on ways of thinking about intellectual property and scaling production.

A lead drawer, such as Miriam, marks designs on the fabric, which are then ﬁlled with stitches by other women in the community 一名如 Miriam 的主設計師會先在織物上作出設計，然後由社區中的其他女性刺繡

It’s time to hit the road for the Taller Casa Viviana in Teotitlan del Valle. Upon arrival, I was greeted by the ladies who were moulding the delicate and hyper realistic candle flowers. I walked past a very diverse garden in the open courtyard of the complex. Initially it seemed a bit odd to me that each botanic species was kept in one pot and that these were scattered rather irregularly around an otherwise very neatly arranged courtyard. Then I realised: these were kept for natural dyeing. The row of cochineal-covered cacti hanging across the wall should have given it away! The family handles dyeing of all shades in-house using dyestuff from their garden and from the mountains where they go once a year as part of a family tradition. The production and export of cochineal in colonial America has a complicated and brutal history in Oaxaca as it became Mexico’s second most valued export after silver. Cochineal left its footprint all over the world, being traded to as far away as India. Still, the industry collapsed once synthetic dye came into fashion. Just as I was impressed by the family’s ecofriendly practice, one of the Viviana brothers showed me their ‘gym’. The loom was so wide that it took each of them three sidesteps to weave one weft across. Nevertheless, they managed to establish a rhythm to the action. It is clear that their engagement with the craft of rug-weaving is a matter of physical work. The energy exchange, between the form and the body, is vital and persistent ‘until the whole leads to a state of equilibrium’ as described by Gilbert Simondon (Argenti 2013, p. 77). On the other side of the courtyard was one of their sons, aged 9 or 10 and already starting to practice weaving, but on a much smaller scale, set up on a chair turned upside down. By the time I waved goodbye to Taller Casa Viviana, the brothers were stretching their backs against the wood frame. Regarding physical hardship in textile making, I immediately think of my admirable friend Catherine Allié, who I miss dearly. Taipei, 10 August, 2018: Textiles of the Past? Who would have thought that Catherine and I would be chilling in a café in Taipei on a warm and humid day? She just flew in from Ladkha in north India, where she has been living with the Kharnak nomads from Changthang Plateau. It is a vast, dry area in the middle of the Himalayas. In my own adventures of sourcing heritage textiles, I am aware of how tempting it is for textile lovers to focus primarily on the materials. Individual artisans can easily be reduced to what they do and what they are capable of doing. Catherine’s trips there, even from the very first time five years ago, were already different. She experiences life with the people and the environment under the same harshness: -40°C in the winter. In fact, she enjoys following the whole route of the yarn, from being transported on a donkey and on foot from where it is gathered across the plateau,

Sharon Tsang-de Lyster

瓦哈卡，2018 年 11 月 3 日：家族工藝

今天是由 Garland 雜誌主辦一個名為「Pathway of Artisanal Craft Forum」手工藝品論壇的最後一天。在

庭院的另一邊是他們的兒子，約 9 至 10 歲，已經開始練習編織，當然規模小得多，於倒置的椅子上進行。

當我向 Taller Casa Viviana 揮手道別時，兄弟倆

過去數天，有幸與各個工藝家庭一起慶祝亡靈節（Día

正背靠著木框架拉筋。說起製造紡織品所消耗的體

會被忘記。這種對家庭和社區的愛和依戀啟發了我。他

Catherine Allié。

de Muertos）。對他們來說，人雖然會離開，但永遠不們會用自己種植的花朵、手製陶瓷或蠟燭裝飾墓地，使

力，我便立即想起一位我非常想念及令人敬佩的朋友

祭壇充滿個人回憶。

我想知道擁有一門家族傳承的工藝會是甚麼樣子。

我的母親和她的兄弟姐妹常談到從前一家人一起製作玩具，並跟著奶奶去紡紗廠工作，這種經歷都是 60、70 年代不少香港人的成長過程。幾個世紀以來，紡織工業

在世界各地衍生出不同的生活模式，在香港也造就了許多知名的紡織世家。

為了探訪一些著名的紡織家族，我決定到訪 San

Antonino Castillo Velasco。Miriam Campos 的母親、祖母和她的所有姨媽都是鎮上著名的刺繡工匠及設計師，擅於創作當地具標誌性的布藝，由緊密的平繡針步

繡出彩虹花卉圖案。Miriam 的母親 Reyna 熱情地示範在織物上繪畫她引以為傲的圖案。

在全球（由西方領導的）手工業貿易中，Reyna 的

角色會被視為「設計師」，但在當地，她卻被稱為「藝術家」。這反映了觀念上的根本分別：每件作品因設計師

的手繪圖而變得獨特，接下來的刺繡工匠更會自由決定顏色，所以在製作過程中，每個角色都有很大的創作空

間。工藝師之間的合作，變成凝聚社區的力量。我認為

這種非一般的勞動模式其實是一種藝術的革新呈現，令人深思關於知識產權和大規模生產等議題。

我踏上前往 Teotitlan del Valle 的路去尋找 Taller

Casa Viviana。抵達時，歡迎我的是一群正在為精緻而

逼真的蠟燭花倒模的女士。我走過庭院中的花園時，覺得有點奇怪，每棵植物都被放入一個花盆裡，而且散落

於整齊的庭院內。後來我才意識到，這些都將成為天然染料。這家庭製作各種色調的染料，而天然染料均取材

Altar at ceramist Adan Paredes’s studio remembering the migrants who did not make it in their journey Photo: Sharon Tsang-de Lyster 陶藝家 Adan Paredes 工作室中的祭壇，以紀念未能順利完成旅程的移民攝影：曾思朗

自庭院以及附近山區。作為他們家庭傳統的一部分，他們每年都會登山去收集原材料。

胭脂蟲曾為墨西哥僅次於白銀的第二大出口貨值，

並在美洲殖民地有著複雜而殘酷的進出口歷史。胭脂

蟲紅在世界各地留下了足跡，出口地甚至遠至印度。但當化學染料開始流行後，整個胭脂蟲行業就面臨崩潰。正當我為此家庭的環保實踐感到佩服時，其中一位 Viviana 兄弟便向我展示他們的「健身房」。

織布機寬闊得需要走三步才能編織一行緯紗，所以

他們發展出一套獨有的行動節奏。明顯地，紡織者與地

氈編織工藝的關係建基於體力勞動之上，形式和身體之到整體達到一個平衡的狀態」（Argenti 2013，77 頁）。

This is the Viviana brothers loom for weaving large scale ﬂoor rugs Photo: Sharon Tsang-de Lyster 用以編織大型地氈的織布機攝影：曾思朗

曾思朗

間的能量轉換至關重要，如 Gilbert Simondon 所述，「直

Bowls of botanical species used for natural dyeing and harvested from the family’s diverse garden Photo: Sharon Tsang-de Lyster

Each embroidery, unless it is for competition or exhibition, is done collaboratively within the family or community Photo: Sharon Tsang-de Lyster

從一個家庭的花園中收成的幾盆草本植物，用作天然染料攝影：曾思朗

除非是用於比賽或展覽，不然每個刺繡都是由一個家庭或社區合力完成的攝影：曾思朗

Sharon Tsang-de Lyster

An everyday object turned to mark a potential lifelong journey of weaving! Perhaps similar to my mother’s experience when she was learning to spin and do other crafts with my grandma Photo: Sharon Tsang-de Lyster

一件日常用品，標誌著或會長達一生的編織旅程！經驗或許就像母親向外祖母學習紡紗一樣攝影：曾思朗

曾思朗

to the settled nomads, who are now the weavers in this chain. Her commitment to the wool and the Kharnak is active, patient and kind. She would not allow her understanding of the individual artisans to be reduced to what they do. Her understanding is that human partnerships cannot be outsourced. While our modern textile industry has grown through having multiple middlemen to handle production, we tend to only value the textiles once completed. This continually removes the social side from the act of textile making. Until you know someone by name, you won’t be able to rightfully credit their work. Until you care for someone, you won’t be able to share the concern and risk of a collapsed roof or share in the happiness a household feels when there is a wedding in the family, share in it enough to disregard a delay to receiving your order as part of the celebration. In the last 20 years, due to climate change and modernisation, about 70% of the Kharnak community has settled in permanent homes in Kharnakling, located around five hours from the Kharnak region and close to the capital city Leh. Little recognition and support is given to their integration into the wider Ladakhi society. Having said that, herding remains one of their most valuable knowledge and cultural assets, especially for the supply of pashmina. In fact, if they keep tending their animals, they have more chances of earning sustainable incomes. Catherine started the social enterprise We are KAL to work with linking the nomads supplying the raw materials with those that are settled and who weave and knit, establishing a closed loop of production within the communities. Here over a cup of coffee, rather than yak tea, we are envisioning the future: a winter school programme that allows kids to explore elements of their heritage nomadic lifestyle so that making a living from tending animals, and selling pashmina or woven pieces, becomes know-how that can be valued and opens future options to them. Future-proofing is important to any textile legacy – do you want it to have a future? Will it be through documentation, with well-preserved pieces in case of a future revival? Or, through building networks that allow the continuous innovation of the tradition? Java, 6 June, 2018: Building the Future Trekking into the village of Jlamprang in Central Java with Denica Flesch, founder of SukkaCitta, I was ready to see how hand-drawn batik and homegrown indigo dye is done in this particular village. We have been working on a collaborative collection of batik and indigo dyed casual wear to raise funds to build a new workshop in this community. The long history and global recognition of Indonesian batik have sustained its popularity as a craft. However, many related communities still live in poor conditions. This household that we are standing in was part of a government initiative

to produce natural indigo batik. Without proper business and management training, the work did not prove sustainable for the household and was almost abandoned. Each adult earned about $1 USD per day based on irregular farm work. Now, with SukkaCitta’s support towards basic capacity building and bringing in sales orders, the batik and dyeing artisans can earn up to six times their previous wages. As batik becomes an attractive occupation, larger workspaces are needed for capacity and safety concerns. Hence the idea of a communal workshop that is big enough to host more men and women for the batik work, which requires sitting around heated wax and dyeing with large scale indigo processing and dye vats. Many of the villagers grew up familiar with the batik skills, therefore, this new workshop not only allows them to put their valuable skills to use but can also empower them to keep this Indonesian legacy alive in a lower-risk environment. Sometimes building a future for textiles requires building a physical building! Future-proofing textile crafts here is not only about keeping a tradition alive, but it also contributes to poverty alleviation.

(Top) The traditional way of living and textile making are not considered viable anymore, and has perhaps led the young generation to question their identities （上）現代生活態度的轉變，使傳統生活與紡織模式不能得以持續，而年輕一代更會因此失去歸屬感 (Bottom) Padma Angmo is a weaver in Ladakh, who settled about 10 years ago. Padma weaves woollen fabric and carpets. To support her family, she has worked in construction sites in Ladakh. Today, she mainly weaves at sessions set up by We are KAL （下）編織者 Padma Angmo 約 10 年前定居於拉達克，她會紡製羊毛布料和地氈。為確保家庭生計，她會在拉達克的建築工地工作。現在她會在 We are KAL 的小組裏編織 Photo 攝影：Catherine Allié

Sharon Tsang-de Lyster

台北，2018 年 8 月 10 日：過去的紡織品？

誰想到我會跟 Catherine 在和暖又潮濕的天氣下相聚於

台北的一所咖啡店內？她剛剛從北印度的拉達克回來，在那裡，她與來自羌塘高原的卡納克遊牧民族共處。那

在過去 20 年，氣候轉變及現代化，使約 70% 的卡

納克族群移居至離卡納克地域大約五小時，接近首都列城的 Kharnakling。

他們融入當地的過程沒有得到足夠的支持。可是放

地區是位於喜瑪拉雅中心，很遼闊和乾涸。

牧，尤其是製作羊絨依然是他們其中一個最寶貴的知識

總會著重紡織的物質層面，並且以生產力考量工匠的價

Catherine 成立了 We are KAL 以連結提供原材料和已定

在我追尋古物布料的旅途上，我留意到布料愛好者

值。Catherine 遊歷時的取態，早於五年前已與眾不同。她會與當地的居民體驗同樣艱辛的生活和氣候，如低至負 40 度的冬天。她享受追隨布料的生產過程，從紗線經

與文化資產。他們甚至能從放牧中取得較穩定的收入。居為織工的遊牧民族，為社區設立一個自給自足的生產網絡。

我們在品嘗一杯酥油茶的時候，閒聊著對未來的設

由驢仔或徒步的運送，穿過高原，到最後送達編織者手

想：營辦一個讓孩子們探索其傳統游牧生活的冬季體驗，

術，也明白必須與合作單位保持緊密的聯繫。現代紡織

們開拓未來的出路。為未來設想，對任何紡織文化的傳

中的每一刻。她不願對整個工藝的理解只流於工匠的技工業牽涉很多中間人，但我們卻只會將焦點放於成品之

上，撇除紡織品的社交層面。直到你記下工匠的名字，你才懂得肯定他們的貢獻；直到你關懷他們，你才會懂

讓他們可以學會撫育動物、出售羊絨或編織成品，為他

承都很重要。您會希望紡織未來能透過紀錄蒐集，抑或透過建立網絡，讓傳統得以革新並延續下去？

得與他們同憂共喜。

The Kharnak live with their livestock – yaks, sheep and goats – and move up to 10 times a year to bring their animals to grazing land Photo: Catherine Allié

卡納克遊牧民族與他們的家畜：氂牛、綿羊和山羊同住；每年移居多達 10 次以帶領動物到合適的放牧地攝影：Catherine Allié 曾思朗

With a lifestyle closer to Tibetan nomads than settled Ladakhis, the Kharnak have been weaving saddlebags, tents, rugs and fabric for centuries. While the women are dedicated to spinning and weaving sheep and yak wool, making fabric, bags and rugs, the men make ropes and tents through spinning, weaving and braiding yak hair Photo: Catherine Allié

Jigmet Tenzin, nomad. ‘Tenzin is the best herder out there.’ Catherine said. He walks kilometres with his animals every day, in sun or snow, to take them grazing. He shears the sheep, plucks the yak wool, and combs the pashmina. His days start at 4: 00 am in the morning and end at around 10: 30 pm. When all this work is done, he has a hot rum and chants mantras to reach enlightenment Photo: Catherine Allié

相比以定居的拉達克牧民，卡納克牧民過百年來織製馬鞍袋、帳篷和布的生活更接近藏族遊牧民族。女性專注於紡製羊毛和氂牛毛以織造布、袋和地氈，而男性則以紡、織和編辮的方法製作繩索和帳篷攝影：Catherine Allié

牧民 Jigmet Tenzin。Catherine 說：「Tenzin 是最出色的牧民。」他每天不論天氣好壞都走數公里路放牧。他替綿羊剪毛、氂牛拔毛和梳理羊絨。他工作天由上午 4 時開始到晚上 10 時半結束。完成工作後，他會喝一杯熱冧酒和吟誦祈禱文以達到啟蒙攝影：Catherine Allié

Sharon Tsang-de Lyster

爪哇，2018 年 6 月 6 日：建設未來

與 SukkaCitta 的創辦人 Denica Flesch 一起步往中爪哇

省的 Jlamprang 村的同時，我已準備好去了解這個村莊

獨有的手繪蠟染技術以及藍染染料。我們正致力發展一個以蠟染及藍染技術為題的休閒服裝系列，透過籌集資金，為這個社區建立一個新工作室。

印尼蠟染的悠久歷史備受國際認可，使其成為一

種受歡迎的工藝。雖然如此，但許多相關社區的生活條

件仍然非常惡劣。我們現正身處的這戶家庭曾獲政府資助，以製作天然藍染的蠟染，但在缺乏妥善培訓的情況

下，工作未能得以持續，甚至幾乎被廢置。從前，一位

成年人以不定期的農活謀生，每天收入約為 1 美元。現在，隨著 SukkaCitta 帶來生意往來，蠟染和染色工匠

可以賺取高於以往工資六倍的收入。隨著蠟染漸漸成為一種具吸引力的職業，工作空間的需求亦有所增加；共

享工作室的念頭因而出現，以容納工匠們共同進行蠟染工作，以及可以大規模地將藍染染料加工。許多村民在

成長的時候已經對藍染工序耳熟能詳，因此這個新工作坊不僅可以讓他們發揮有價值的技能，還可以讓他們在

低風險的環境中延續這種印尼獨有的文化遺產。或許紡

Welcomed into one of the cosy homes with simple dye setups, one could ﬁnd many pots made of blue stained wood and concrete at the back of the house. I was certain this was where the dyeing happened. I’d discover later that men and women from the neighbourhood gathered here for batik and dyeing on an average day Photo: Denica Flesch 走進具簡單染布設備的舒適民居，我們能在後院裏看見多個藍色染木與混凝土製的桶。我起初知道這是染布的地方，後來發現鄰近的街坊經常來到這裡進行日常的蠟染和染布攝影：Denica Flesch

織品的未來，需要建造出一座真實的建築！在這裡為紡

織工藝品的未來設想，關乎的不僅是保留傳統文化的活力，還會牽涉到扶貧的工作。

Cited References 引用的參考文獻： Argenti, N 2013, ‘Follow the Wood: Carving and Political Cosmology in Oku, Cameroon’ in S Kasﬁr & T Förster, (eds), African Art and Agency in the Workshop, pp. 65- 90. Indiana University Press, Bloomington. Csordas, T 1990, ‘Embodiment as a Paradigm for Anthropology’, Ethos, vol. 18, no. 1, pp. 5- 47. Csordas, T 1994, ‘The Body as Representation and Being-in-theworld’ in T Csordas (eds) Embodiment and Experience. Cambridge University Press, Cambridge. Ingold, T 1992, ‘Culture and the perception of the environment’ in E Croll & D Parkin, (eds), Bush base: forest farm. Routledge, London. Marchand, T 2016, Craftwork as Problem Solving, Ashgate Publishing, Surrey.

曾思朗

CALICO: Reclaiming Its Identity CALICO：重拾身分 Kobayashi Fumie 小林史恵

Kobayashi Fumie is the founder and designer of CALICO LLC / CALICO: The Art Of Indian Village Fabrics. After studying journalism, she moved to India to work on social development projects and since 2010, has been researching textile design, history and current social movements. CALICO promotes the arts and crafts of village fabrics by conveying the narrative stories behind these designs and products at workshops held in Japan and other countries. In her presentation she talks about the experience of working both as a design studio and as a connection between artisans, NGOs and the market. 小林史恵是 CALICO LLC/CALICO：印度村落織布藝術的創辦人及設計師。在取

得新聞系碩士後，她便移居到印度從事社會發展項目，自 2010 年起持續研究紡

織品設計、歷史以及時下的社會運動。CALICO 在日本及世界各國舉辦的工作坊透過分享這些織布設計和產品背後的故事，推廣村落織布的藝術與工藝。她的演

講談到同時作為設計工作室，以及連接工匠、非政府組織和市場之間的橋樑的經驗。

Kobayashi Fumie

Photo: Arimoto Yayoi

攝影：Arimoto Yayoi

小林史恵

It has been more than a century since the tradition of handloom textiles, largely used for kimono in daily lives, was lost. Elderly Japanese people, such as my grandmother, used to say that at a time when wearing such textiles was more commonplace, people were also more familiar with the materials that they were made from, be it ramie, wool, silk or cotton. Back then, individuals whom we do not imagine to be concerned with what they wore, such as children and men, considered what materials might be appropriate for a given season or occasion. As these traditions were passed on from generation to generation, sensitivity towards textile as a common culture also developed. However, things changed with the adoption of an efficiency-driven economic system anchored on mass production. When observed in parallel to food culture, some useful analogies can raise pertinent questions. The emergence of a fast food model caused a crisis in the relationship and discipline many people had with food. Having been taught to have gratitude for food and to see it as gifts from god or nature, the consequences resulting from the mass production of food and its consumption did not take long to produce symptoms of resistance among people. These symptoms became visible after just a few decades when countering initiatives and movements emerged to indicate an increasing abandonment of the unquestioned acceptance of mass-produced foods, these include Slow Food, chisan-chisho (‘produce locally, consume locally’), Food Traceability and Food Education. Today, almost everyone can name their region’s major products, when they are in season, what can be made from a particular food, and which ingredients are better for a certain dish. This seems to suggest that sensitivity to food has recovered and a productive diversity to food, ranging from fast food to more culturallysensitive ones, is emerging. How do these observations translate into the world of textiles and fashion and what can be done to change the existing realities? Like fast food, fast fashion has been flourishing since the end of the last century, and well into the 21st. As this continues, an increasing number of people are beginning to question the extraordinary volume of waste produced and the implications of the low labour cost models that sustain this process. Although I can recognise that achievements have been made to remodel entire supply chains to improve sustainability and benefit end users, yet whenever there is surplus production, those goods are still disposed of by the end of the fiscal year to protect profit margins. This cannot continue to be treated as an externality, and we all need to begin bearing the cost of waste and the inefficient use of the earth’s limited resources. Not only is the current system not sustainable, it is my belief that fast fashion cannot be the only solution to the need for clothing and the demand for

fashion. Recovering a better appreciation of textiles, in the same way food culture has been doing over the years, could bring a renewed understanding of fashion that goes beyond what is currently being offered. These concerns and intentions underpinned the launch of CALICO: The Art of Indian Village Fabrics in 2012. The term ‘calico’ originally, and generally, represented handloom woven cotton cloth made in India, and exported to Europe or East Asia. This has been the case since at least the GrecoRoman period, when handloom woven cotton cloth was one of the major goods the Indian continent traded with the world. In Japanese, for example, the term became ‘kya-ra-ko’ and refers to thick, plain, woven cotton fabric. After 17 centuries, however, calico began to mean imported cotton cloth. Today, although this term is still familiar to people working with textiles, especially in India, people most often associate it with cotton fabric made in mills, particularly cloth produced at the Calico Mills. A few others associate it with the Calico Museum of Textiles in Ahmedabad, a place that I greatly admire. This common misperception of the term ‘calico,’ and the confusion about it being handloom woven or millproduced, motivated many friends to encourage me to find an alternative name for my initiative. Despite appreciating their concerns, I felt strongly about revitalising the original value and identity of this term and intentionally adopted it as a way to pursue that goal. CALICO, as our label is known in Japan, has two major activities: firstly, to collaborate with local organisations and craftspeople to design traditional fabrics with updated tones; secondly to develop product and market models that consider quality while meeting the specification of market demands today. To give a picture of the background of this fundamental industry in India, it is relevant to note that more than 4 million weavers are still engaged in the manufacture of textiles. An additional 5 to 10 times this number of village people are also indirectly engaged in this trade. Their involvement can be through handspinning, warp and weft yarn preparation, dyeing, washing, marketing and numerous other tasks that support weavers in their activities. As Gandhi said, khadi (handspun and handloom woven cotton cloth) is the sun of the village solar system. The planets are the various industries that support khadi in return for the heat and the sustenance they derive from it. Without it, other industries cannot grow. However, even with a production system full of willing hearts and hands, if there is a lack of good designs to capture the market, the ecosystem will still be unable to sustain itself. For instance, when we develop products from Jamdani fabrics, we always modify some specifications; for example, we may

Kobayashi Fumie

用於日常和服的傳統手織布技藝已沒落了過百年。日本

的同時，越來越多人開始質疑異常大量的廢料，以及反

織物時候，對物料比較熟悉，儘管是苧麻、羊毛、絲綢

組整條生產線而改善可持續性及使消費者得益，可是每

的上一輩如我的祖母從前會說，人們以前常常穿著這種或棉。那時候，我們認為如小孩和男人不太會關心自己穿著的人，也會考慮甚麼質料適合甚麼季節或場合。這些傳統代代相傳，發展出對紡織品敏感的共同文化。

可是，自從採納以效率為先的經濟系統並重視大

量生產之後，情況就改變了。與食物文化比類觀察，我們可以從中找到一些相關的議題。速食模式的出現造成群眾與食物的惡性關係。人們以往被教導要對食物心存感激，把它看作神明或大自然的禮物，所以因進食量產

思廉價勞工模式的可持續性。無可否認，現時有人會重

當生產過量時，貨品仍會在財政年末被丟棄以保持淨利率。這不可以再被當作為外部成本，我們所有人都需要

開始承擔廢棄物的成本和不當使用地球有限資源的代價。現存的系統不但不可持續，我亦深信快速時裝不可

能是滿足衣物和時裝需求的唯一方法。透過效仿近年飲食文化的改進，人們恢復對織物的欣賞，或能對時裝帶來比如今更廣闊、更全面的理解。

這些關注和意願造就 CALICO：印度村落織布藝

食物而產生的後果很快就出現排斥。經過短短幾十年就

術在 2012 年誕生的基礎。「Calico」一詞原本泛指在印

「地産地消」（本地生產，本地食用）、食品源頭追蹤、食

早從希羅時代開始，當時手工編織棉布是印度大陸與

浮現出對抗盲目接受量產食物的運動，包括慢食運動、物教育等。時至今日，幾乎所有人都可以說出自己地區

的主要產物，它們何時當造，食材可以加工成甚麼，以

及甚麼食材適合製作甚麼菜式等。這似乎顯示人們對食物的敏感度是可以復原的，從快餐至關乎文化的食物選擇，具建設性的食物多樣性正在出現。

這些觀察能怎樣應用至紡織和時裝的世界，又有

甚麼可以去改變量產紡織品的現況？像快餐一樣，快速

時裝從上世紀末興起，發展至二十一世紀。這情況持續

Meena Raste from the Qasab-Kutch Craftswomen Producer Co. Ltd., and the embroidery craftswomen of Dhebariya Rabari community meet in their village to discuss the production of the embroidery tote bags, which are a part of the ‘Creating New Tradition’ project. Run by CALICO: The Art of Indian Village Fabrics, this project fosters interdependency of Kutch artisans, such as the use of kala cotton and employing Vankar weavers, ajrakh block printers and dyers and Dhebariya Rabari embroiderers to create new products Photo: Arimoto Yayoi

度手工梭織，並出口至歐洲或東亞的棉布。這個情況最世界貿易的其中一種主要貨品。在日語中，這詞演譯成

「Kya-ra-ko」，意指質料厚的純色梭織棉布。可是，經過 17 個世紀以後，「calico」開始表示進口的棉布。到了

現在，雖然紡織業人士尤其是印度仍然熟悉這個詞語，但人們通常會聯想到紡織廠特別是產自 Calico 紡織廠所

製作的棉布。少數人會聯想到阿美達巴德的 Calico 紡織

博物館，一個我很仰慕的地方。對「calico」一詞的錯誤觀念，以及它到底是手工梭織還是工廠生產的混淆，使

來自 Qasab-Kutch Craftswomen Producer 公司的 Meena Raste 正與拉巴里族的刺繡女工討論如何將刺繡袋投入生產，是「創造新傳統」的項目之一。項目由 CALICO：印度村落織布藝術統籌，旨在令喀奇縣的工匠互相合作，過程用上 Kala 棉、聘用 Vankers 織工、Ajrakh 的印染技術及邀請拉巴里族刺繡女工參與製作新產品攝影：Arimoto Yayoi

小林史恵

request that the cloths be made thick enough to be stitched together without tearing. This has to do with the fact that while original Jamdani cloths were designed to be as light as possible to wrap more elegantly around the body as saris, we might have other uses for them. Although some modifications may be needed, we always bear in mind the identity and pride of tradition and refrain from becoming too commercial or fashion industry-driven just to meet market demands. Through CALICO, we hope to encourage the appreciation of the product to be kept as something precious, not to be wasted or just consumed, but rather treated as if it were something made by someone you know. For instance, we have a project in Kutch to develop Rabari appliqué bags in collaboration with three organisations: Qasab, for appliqué works by Rabari ladies and for the stitching; Khamir, for indigenous handloom woven cotton fabrics; and Khatris, for Ajrakh block print fabrics. In Kutch, there is a culture of different community groups working with each other interdependently. For instance, to make shawls, Rabari women cut and spin woollen yarn that is given to the Vankers community to weave, the Khatris community to dye, and finally the Rabari women will make the final embroidery. For our project, we have followed that system to source local materials and techniques to retain local colours and hues as much as possible. Our second focus is to establish cultural connections between India and Japan. Unlike trade between India and Europe, trade between India and Japan has remained indirect and less visible. This was partly due to these products being imported to Japan through either continental China or Southeast Asian islands initially by local traders and then via the Dutch VOC (East India Company). Although indirect, this influence has been significant and is still present in Japanese culture today. However, not many people are aware of this, including the Japanese. For instance, in Momen Izen no Koto (Things Before Cotton), Kunio Yanagita addresses how yanagigoshi (a woman’s willow-shaped waist and hip) is a change to the Japanese body that resulted from the adoption of Indian cotton textiles. Designs and colours may also have changed at that time given the characteristics of ramie and silk fabrics. During the Edo period, the Japanese were fascinated by Indian textiles, particularly santome. Consisting mostly of stripes, checks, simple and sober cotton fabrics, this type of textile reflected the spirit and taste of that period. Santome was named after the port town of Santhome, located near Madras and renowned for being the last resting place of Saint Thomas. It became one of the major ports of Dutch VOC as their export business to East Asia expanded. It also inspired many clans in Japan at the time to produce cotton fabric from cotton flowers and to spin yarn

into fabric with designs similar to the original santome. CALICO now develops handloom woven fabrics referencing santome to celebrate the histories of textiles that journeyed from India to Japan. Apart from santome, there are other antique Indian textiles that travelled to Japan. These are called kowatari sarasa and are more present in the collectors’ market. A type of chintz or calico, they are handpainted or block printed fabrics that were exported to Japan from other Asian countries between the 16th and 19th centuries. These were collected and used as fukusa, handkerchiefs used for the tea ceremony, or as wrapping cloths for the tea cup, box and tray. Of the many kowatari sarasa fragments available, I have been fascinated by handpainted designs of sesame patterns from Coromandel in southern India. It is however too difficult to revitalise this design at present. Now, in collaboration with Sufiyan Khatri, a master dyer from Ajrakh in the Kutch region, we have been able to revitalise those made with brass blocks instead of handpainting. Needless to say, even the development of brass block printing becomes challenging due to an ever-decreasing number of craftspeople. In addition to the two main activities described above, CALICO also represents Indian textile and fashion brands, such as MAKU by Santanu Das, in Japan. We are also expanding our orders and jobs to extend our business to other designers and fashion houses. Creating places to market, exhibit and trade these fabrics and goods is an area that needs to be focused on more. We have held over 30 events every year, mostly in Japan, where workshops, presentations and different events have introduced the journey of this Indian textile, its current role and context, to an increasing number of people. Response to these initiatives has been very positive and the great demand that is present for this type of fabric is apparent. Given how much people yearn for the touch of handloom woven or handcrafted fabrics, it makes sense that they are also increasingly interested in understanding where they come from and how they are made. It is CALICO’s hope that through our activities we can revive both these handcrafted textiles and the appreciation of them as a shared world heritage now and in the future.

Kobayashi Fumie

很多朋友提議我倒不如為我這個項目另取一個名字。我很感激他們的意見，但我強烈希望挽回這個詞原本的價值和身分，沿用這個字就是為了此目的。

我們的品牌 CALICO 在日本有兩個主要活動：第一，

與當地機構和工匠合作，設計全新色調的傳統布料；第

二，發展出著重品質同時兼顧現今市場需要的產品和銷售模式。

為介紹這個印度主要工業的背景，必須提到現在仍

有超過 400 萬名梭織者在紡織品製造業工作，此外還有 5 到 10 倍的村民仍然間接牽涉在其中。他們的工種包括手工紡紗、預備經緯紗線、染布、清洗、營銷及許多其

他支持梭織者工作的活動。就如甘地所說：「『手織布』

（Khadi；手工紡線及梭織成的棉布）是村莊太陽系中的太陽。而行星就是支持『手織布』的其他工業，從太陽得到熱能和供養。沒有它，其他工業便無法滋長。」

Photo: Arimoto Yayoi 攝影：Arimoto Yayoi

Santome 棉織品。它主要由條紋、格紋、簡單樸素的棉布組成，這種紡織品反映了那個時代的精神和品味。

Santome 取名自海港城市 Santhome，位處於馬

可是，即使生產系統中有很多有心人，如果沒有好

德拉斯附近，相傳是聖多默最後安息的地方。當荷蘭東

來說，當我們用 Jamdani 布料研發產品時，我們總會修

個主要港口，也啟發了當時許多日本的家族從棉花生產

的設計去吸引市場，這個生態還是不能自我維持。舉例改某些規格；例如 Jamdani 布料設計原意要輕薄，能用

作紗麗優雅地包裹身軀，但當我們可能用 Jamdani 作其他用途，布料便要有足夠厚度，縫紉時才不致走紗。

縱有一些修改，但我們總要記住傳統的身分認同

印度公司的出口生意在東亞擴充時，馬德拉斯是其中一棉布，並運用跟條紋棉布相似的設計將毛線紡成布料。 CALICO 現正研發參考條紋棉布的手工梭織布料，以讚頌從印度傳至日本的紡織史。

除了 santome，還有其他遊歷至日本的古董印度紡

和自豪感，避免為迎合市場趨勢而變得太商業化或被時

織品。它們被稱為「古渡更紗」，在收藏家市場比較常

品，並把它看作珍貴的物件保存，不要浪費或只當作消

間從其他亞洲國家出口至日本的手繪或印花布料。這些

裝界牽著走。透過 CALICO，我們希望鼓勵人們珍惜產

耗品，把它看成是一位朋友手造而成的。舉個例子，我們在喀奇縣有一個計畫，與三間機構一同研發拉巴里族貼花手袋。這些機構分別是 Qasab，負責拉巴里女性製

見。它是 chintz 或 calico 棉布的一種，是 16 至 19 世紀

布料會被收藏，用作茶道的手帕「袱紗」，或包裹茶杯、盒子和托盤的布巾。

在市面上仍流存的古渡更紗碎布之中，我被南印度

作的貼花和縫紉；Khamir，提供原住民手工編織的棉布；

科羅曼德爾海岸的手繪芝麻圖案深深吸引，可惜這個設

不同社群合作而獨立運作的文化。例如製作圍巾時，拉

師 Suﬁyan Khatri 合作，成功重新製作以黃銅凸版印製，

以及 Khatris，供應 Ajrakh 印花布料。在喀奇縣有一種

巴里女性會紡製及裁剪羊毛線，交給 Vankers 社區編

織，Khatris 的民眾染色，最後由拉巴里女性製作刺繡。我們的計畫跟隨這個系統，採用本地原料和技術，以儘

計暫時太難重現。現在，我們與喀奇縣 Ajrakh 的染布大

而不是手繪的古渡更紗。眾所周知，工匠的人數逐漸流失，連黃銅凸版印刷也變得困難。

除了以上描述的兩項主要活動，CALICO 也在日本

量保留當地的色彩和色調。

代理印度紡織及時裝品牌，例如 Santanu Das 的品牌

連結。與印度和歐洲之間的貿易不同，印度和日本的貿

他設計師和時裝設計公司。

我們的另一個焦點是建立印度和日本之間的文化

易一直間接而不易被察覺。這是因為經過中國大陸或東

MAKU。我們也正擴充訂單和職位，以將生意擴展至其創造營銷、展示及買賣這些布料和貨品的場地平

南亞小島進口至日本的貨品，一開始由當地商人，後來

台，是一個需要更著力的領域。我們每年舉辦超過 30

影響重大，至現仍能在日本文化中體現出來。可是，這

活動來介紹印度紡織品的旅程、它的背景及如今的角

轉由荷蘭 VOC（東印度公司）買賣。雖然間接，但這些個連結不太受關注，甚至包括日本人。

舉例來說，在柳田國男的著作《木棉以前的事》，

「柳腰」一詞是指女性楊柳般彎曲的腰臀線條，這個用

法可以追查至使用印度棉織品以前。由於苧麻和絲綢質料的限制，那時使用的設計和顏色非常不一樣。

在江戶時期，日本人為印度紡織品所著迷，特別是

個活動，大部分在日本，形式則以工作坊、講座和其他

色，使越來越多人認識。這些項目反應非常熱烈，市場對這種布料有明顯的需求。如此多人嚮往手工紡織布料的觸感，反映出越來越多人有興趣了解布料的來源和製

作過程。CALICO 期望透過我們的活動復興手工紡織品，恢復人們對它們的賞識，使它們作為現今的共同世界遺產，跨進未來。小林史恵

too many t-shirts a reflection on the appropriation and intersection of images T 恤氾濫反思影像的挪用與交錯 Ade Darmawan 埃德．達瑪萬

Ade Darmawan lives and works in Jakarta, Indonesia, as an artist, curator and the Executive Director of the Jakarta Biennale. In 2000, with five other Indonesian artists, he founded ruangrupa, an artists’ collective platform based in Jakarta. ruangrupa have participated in many of the most important art biennales and in early 2019 were announced as the artistic director of the 2022 edition of Documenta in Kassel, Germany. This historic decision marks the first time a collective, and one from Asia, is chosen for this important role. In his presentation he spoke about how t-shirts and their circulation have been a strong artistic and political tool in his practice and are a mirror for social movements in the South East Asian region. 埃德．達瑪萬現於印尼雅加達居住和工作，是一名藝術家、策展人，同時是雅加

達雙年展的行政總監。他與五位印尼藝術家在 2000 年成立了 ruangrupa，一個設於雅加達，由藝術家主導的平台，更在 2019 年初被宣布成為 2022 年德國卡塞爾

「Documenta」的策展人，為該展覽首個來自亞洲的策展團體。

在他的演講中，他談及 T 恤及其流動性如何成為一種強大的藝術和政治工

具，反映東南亞地區的社會變遷。

Ade Darmawan

Kaos, 2005 T-shirts, digital prints and video, dimensions variable A research project for the 9th International Istanbul Biennial. Photo courtesy: ruangrupa 《Kaos》，2005 T 恤、數碼印刷，尺寸可變為第九屆伊斯坦堡雙年展進行的研究計畫圖片提供：ruangrupa

埃德．達瑪萬

Almost 15 years ago the collective I am a part of, ruangrupa, started a project involving researching and collecting T-shirts as a way to consider how independent and anonymous makers were using these items of clothing to make political and cultural statements. The open-source processes and organic development of T-shirts were very interesting to us and given the ubiquity of T-shirts as a phenomenon, we aptly titled the project ‘We are the generation who wear too many t-shirts’. In fact, we eventually had to stop the project because we were collecting too many T-shirts. The notion of T-shirts as representative of political and cultural statements remained with us. In 2005, the idea was further integrated into our proposal for the 9th Istanbul Biennial curated by Charles Esche and Vasif Kortun. In 2006 it also informed our participation in ‘Act Three: The Faroe Islands’, as part of a postcolonial exhibition titled Rethinking Nordic Colonialism curated by the collective Kuratorisk Aktion and founded by Frederikke Hansen and Tone Olaf Nielsen. Both interventions attempted to juxtapose an element of popular Indonesian culture with a similar local counterpart found through research. For the 9th edition of the Istanbul Biennial, the point of departure for our research and comparison was the emblem of Indonesian popular culture, Benyamin Sueb. A comedian, movie actor and musician, Ben, as he was colloquially known, has been a prominent presence in Indonesian culture as early as the 1960s and 70s. The movies he was most regarded for often followed the narrative of someone moving to the big city from a rural area and the adjustments that had to be made in order to become accustomed to urban life. As the narratives commented on how certain values were crushed or transformed, they resonated widely with the masses, rendering him a local icon across Indonesia. When we initially mentioned this figure to the Istanbul Biennial curators Charles and Vasif, asking for suggestions of a similar figure with a similar following in Istanbul, no figure came immediately to their mind. This led to us spending three weeks going to markets, archives and cinemas in search of such a figure from a similar era. In the end, a popular icon was found, Kemal Sunal, though his work was primarily focused on acting and not much on singing. But most importantly, the themes of the films these icons starred in were comparable, thus enabling us to form connections across two different but related contexts. We tracked down the movies they starred in, the posters featuring them, and finally produced about 10 T-shirts with quotes from those films. The design for the T-shirts was as ordinary as white text on red fabric. We then went out into the streets to exchange these T-shirts with people and in the process collected the participants’ stories. These stories were written on a wall in the exhibition space

alongside posters and memorabilia related to both figures of popular culture in Indonesia and Istanbul. As more exchanges took place in the streets, the stories on the wall similarly expanded. For the exhibition Rethinking Nordic Colonialism, our few months of work on the Faroe Islands culminated in a piece titled ‘You’re Welcome’. During those months we researched literature and songs to identify minorities and their cultures that may have disappeared or become invisible under Danish colonial rule or by processes of marginalisation as a majority identity was formed. In addition to literature and songs, we also worked with materials such as

Photo courtesy: ruangrupa 圖片提供：ruangrupa

Ade Darmawan

將近 15 年前，ruangrupa 和作為一員的我開始了一個關於研究和收集 T 恤的專案，藉此探索獨立和匿名 T 恤製

造者如何透過衣物對政治與文化表態。我們覺得 T 恤製

造過程的開源性（open source）和有機發展非常有趣，考量到 T 恤無所不在的現象，我們把專案命名為「我們是穿太多 T 恤的一代」。實際上，我們最後甚至因為收集了太多 T 恤而要終止專案。

我們至今仍有著 T 恤能代表政治與文化表態的看

法。於 2005 年，我們進一步把這想法融入到 Charles Esche 與 Vasif Kortun 策劃的第九屆伊斯坦堡雙年展

提交的計劃書中。這想法也體現在我們 2006 年參與名

為「Rethinking Nordic Colonialism」的後殖民展覽中的

「Act Three: The Faroe Islands」，該展覽由 Frederikke

Hansen 與 Tone Olaf Nielsen 創立的 Kuratorisk Aktion

策展。我們在兩個展覽中都嘗試把一個印尼流行文化元素和於調查中找到的當地類同例子並列在一起。

於第九屆伊斯坦堡雙年展中，我們研究和比對的出

發點為印尼流行文化標誌 Benyamin Sueb。身為喜劇家、電影演員和音樂家，暱稱為 Ben 的 Benyamin Sueb 早於 1960、1970 年代已成為印尼文化的重要存在。Ben

參演並最有代表性的電影大多圍繞主角從鄉郊移居到大城市，和他們嘗試融入市區生活的過程。因為故事提及

到某些價值觀如何被粉碎或改變，能與大眾產生共鳴，亦令 Ben 成為印尼的本土偶像。

起初我們對伊斯坦堡雙年展策展人 Charles 和 Vasif

提起 Ben，並提及想要在伊斯坦堡尋找一個與 Ben 相近

和有著和他相仿的追隨者的人物時，他們未有立刻確定

一個人選。因此在接下來的三個星期，我們到市集、檔案室和電影院尋找同年代中一個相似的人物，最後我們

找到 Kemal Sunal。雖然他比 Ben 更專注於演戲多於歌唱，但最重要的是，兩名偶像演出的電影有著相近性質

的主題，令我們能在兩個不同但有關聯的背景中構成聯繫。我們翻查他們主演的電影和海報，最終訂製了 10 款印有他們的電影對白的 T 恤，而 T 恤的設計用上了平凡

的紅底白字。接著我們走到街頭與人們交換這些 T 恤，同時收集參與者的故事。收集到的故事被寫到一道牆壁上，和兩位印尼和伊斯坦堡的偶像的海報及紀念品同時於展覽空間展出。牆上的故事亦隨著逐漸增加的交換 T 恤次數同時擴張。

在展覽「Rethinking Nordic Colonialism」中，我

們在法羅群島以數個月時間打造了名為《You’re Kaos, 2005 T-shirts, digital prints and video, dimensions variable A research project for the 9th International Istanbul Biennial Photo courtesy: ruangrupa 《Kaos》，2005 T 恤、數碼印刷，尺寸可變為第九屆伊斯坦堡雙年展進行的研究計畫圖片提供：ruangrupa

Welcome》的作品。這段時間我們探索法羅群島的文學和音樂，嘗試尋找在丹麥殖民統治或主要族群身份認同的形成，而導致邊緣化下銷聲匿跡的少數民族文化。除文學和音樂外，我們也在傳說、詩和其他文字資料中尋

找在主要族群背景中種族多元化存在的證據。搜集到的資料被用於製作可以在市面派發、廣泛流通的物品如襟埃德．達瑪萬

legends, poems and other forms of texts to search for references that suggested diversity within such majoritarian contexts. The material gathered was transferred onto widely circulated items such as pins, postcards and T-shirts that could be distributed throughout town. The distribution and consequent activation of these items was not to disseminate any specific message, but to interrogate and break down the stereotypes that are held for a given community. My interest in T-shirts stems from the way they are used by people as a means of expression, to make statements and as an artistic medium in itself. Particularly in Indonesia, where it is hot and humid, T-shirts have been ubiquitous with a long tradition of wear. They are even a part of my personal experience growing up in the 1980s and 90s. In the 90s, there was a huge wave of second hand T-shirts imported from abroad arriving on ships. During those years it was hip to dig through piles and piles of T-shirts to find some printed with Andy Warhol, or with figures such as Joy Division or David Bowie. It is remarkable how these second hand T-shirts from abroad would come to serve as the initial medium

Photo courtesy: ruangrupa

through which many of us in the 90s came to be connected to certain communities or to different groups in art school. Thus at the time, T-shirts were not only regarded as mere inexpensive garments, but additionally as influential over the way in which they both specified and displayed the communities one chose to be a part of. Common types of T-shirt in Indonesia might convey: various jokes and parodic expressions; attest to the liveliness of local music scenes; and reflect feelings of identity and belonging. The tradition of parody and humour is found even within traditional Indonesian performances. For example, the logo for the beard-growing tonic Firdaus oil might be paired with a photo of Chewbacca from Star Wars; or the herbal energy drink Kuku Bima (‘Bima’s nail’) paired with an image of the Wolverine.

圖片提供：ruangrupa

Ade Darmawan

章、明信片和 T 恤。這些物品的派發和使用並不是要散

佈特定的訊息，而是要在社區群體中審問和拆解既定的偏見。

中朱兒的相片配對，或把草本能量飲料 Kuku Bima 與狼人的圖像配對等。

印尼人非常熱愛足球，不論足球隊的場上表現如

我對 T 恤的興趣源於人們能透過它們表達自我、表

何，印尼球迷對國家隊的狂熱依然高漲。這份植入在文

印尼，T 恤於多年前已經變得非常普及，而 T 恤也是我

迷在嘗試表達並把自己與球隊聯繫起來，成為購買 T 恤

明態度，和把他們當作一種藝術媒介。在炎熱和潮濕的在 1980 和 1990 年代個人成長經歷的一部分。在 1990 年

代，大批二手 T 恤從外地經船運進口，那時從一堆又一

化當中的狂熱反映著有關身份認同與歸屬感的議題；球的人眾的一大部分。

音樂界是另一個 T 恤普及的領域。金屬音樂因為

堆的 T 恤裏尋找印有安迪華荷作品或偶像如 Joy Divison

80 年代末在本地興起而對我來說特別有趣。這持續不衰

這些從海外而來的二手 T 恤成為了在 1990 年代長大的

今日甚至發展得更為活躍。美學觀反映著時代與時勢，

和大衛寶兒便成為了非常時髦的行為。值得注目的是，我們最初接觸和聯繫各個社群或藝術學院團體的媒介。所以當時 T 恤除了是廉價的衣物外，也因為民眾能透過 T 恤明確指出並向外展示他們選擇參與的團體，而被視

的音樂風格的美學鑒賞觀在不同時代中不斷易手，時至

而當世界趨向多樣化時，伊斯蘭教的設計和象徵也逐漸被接受。

T 恤幾乎都是限量生產和在本地生產及設計。它們

為一種具影響力的媒體。

成為了一種重要表達形式已有一段時間，所以即使隨著

子、本地活躍音樂圈子有關的字句和反映身份認同與歸

息作出回應和為了表達自我購買 T 恤。

在印尼普及的 T 恤主要傳達：各種笑話和滑稽的句

屬感。在印尼慣常的表演中也能找到滑稽模仿與幽默的傳統，例如把生鬚滋補劑 Firdaus Oil 的標誌與星球大戰

You’re Welcome, 2006 ‘Living (in) the Postcolonial’, part of ‘Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts’ Faroe Islands Photo courtesy: ruangrupa

社交媒體的影響力不斷增加，人們仍然對 T 恤傳達的訊 1998 年的改革伴隨著空前的政治變化，合法的政

黨由蘇哈圖政權時的三個驟然增加到 48 個。在多個政

《You’re Welcome》，2006 「Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts」中的「Living (in) the Postcolonial」展覽，法羅群島圖片提供：ruangrupa 埃德．達瑪萬

Football is something that Indonesians love. Regardless of actual performance, Indonesian football club followers will remain fanatical for their national team. This culture of fanaticism reflects issues of identity and belonging; football fans, in an attempt to express and to identify themselves with their team, thus make up a large portion of the population that consumes T-shirts. Music is another field that embraces T-shirts. The genre of metal is of most interest to me because of the large local scene that developed in the late 80s. As a genre that persists, the aesthetic sensibilities of metal have been handed over from generation to generation. They are possibly livelier than ever today. They are reflective of their times, and, as diversity increases, some even embrace the designs and iconography of Islam. T-shirts are almost always produced in limited runs and are manufactured and designed locally. They are forms of expression that have been fundamental for quite some time, so that even with the increasing relevance of social media, they are still responded to and consumed by people as modes of self-expression. Huge political change accompanied the reformation of 1998. The previous Suharto regime allowed for just three political parties, a number which rose suddenly to 48. Given the plentitude of competing parties, T-shirts came to be utilised for political campaigns, for both legislative and presidential elections. Over the years, these T-shirts changed from just displaying candidates’ faces to more colourful and patterned designs. Indonesia holds large-scale elections because there is a direct vote for every position from President and Governor through to the Head of District. There exists always: one person, one vote. Thus in a large and as populated a city as Jakarta, citizens may go to vote without already knowing all the candidates on the ballot. These days, most political campaign T-shirts have come to look alike through the adoption of popular designs that rely on similar patterns and formats; so much so that at first glance it may not be clear whether a T-shirt is promoting a Muslim party, a nationalist one or any other. Two important T-shirt designs warrant particular attention. The first is a design from 2004 depicting Munir, an Indonesian humanitarian activist who passed away after being poisoned on a flight from Jakarta to Amsterdam. Munir’s portrait is accompanied by the words ‘Menolak Lupa’, which means ‘Against Forgetting’. This T-shirt design became popular because of his dedicated efforts campaigning and fighting for the people. In addition, the design also serves as a reminder for the government to not forget the 1980s and the years 1965 and 1998, during which numerous student disappearances and massacres of communist party members took place.

The other T-shirt designs of note are those depicting the image and the messages of Benyamin Sueb. This figure’s popularity is reflected by the way in which fans collage his image with various international icons. These T-shirt designs would often replace the faces of such icons with that of Benyamin Sueb. Globally recognised faces such as those of Jim Morrison, the Beatles, or Albert Einstein are manipulated thus, demonstrating efforts at placing this local figure at the centre of international attention and import. This T-shirt phenomenon is neither a planned nor predetermined endeavour. The cultural and political statements made result from independent and anonymous efforts at appropriating and intersecting images.

Ade Darmawan

黨的激烈競爭下，T 恤在立法機構和總統選舉中都被用

另外值得留意的 T 恤設計描繪著 Benyamin Sueb

作競選活動的一部分。這些 T 恤也由只印有參選人的面

的形象和訊息，從崇拜者把他與國際標誌拼貼在一起中

導人、省長到總統之間的每個職位都由全民直選、一人

代家喻戶曉的名人如占摩理臣、披頭四和愛因斯坦而出

容變為更富色彩和豐富圖樣的設計。印尼從地方政府領一票的方式產生，因此需要舉行大規模的選舉。如雅加

達般的大城市中的市民可能在投票時仍未完全了解每一個候選人。時至今日，很多用作競選的 T 恤因為靈感都

來自數個流行的設計而用上相似的圖案和形式，令 T 恤

乍看之下難以分辨是在推廣穆斯林黨派、民族主義黨派或是任何其他黨派。

就能看到他受歡迎的程度。Benyamin Sueb 的肖像會取

現在以他們面孔作設計的 T 恤上，顯示了人們想要把本土人物 Ben 放到國際關注和入口文化的努力。

T 恤現象不是一個有計劃或是預先決定的嘗試，而

是透過獨立不記名的方式，採用與重叠圖像，構成對文化與政治的取態。

有兩個 T 恤設計有必要受到特別重視。其一是

2004 年描繪在雅加達往阿姆斯特丹的航班中被下毒而

死的印尼人道主義行動分子 Munir。Munir 的肖像旁寫著「Menolak Lupa」，意為「拒絕忘記」。T 恤設計變得

受歡迎是因為他堅持不懈地發起運動和為人民戰鬥。此外，這設計也提醒著政府不要忘記在 1980 年代、1965

年和 1998 年屢次發生的學生失蹤和屠殺共產黨員事件。

You’re Welcome, 2006 ‘Living (in) the Postcolonial’, part of ‘Rethinking Nordic Colonialism: A Postcolonial Exhibition Project in Five Acts’ Faroe Islands Photo courtesy: ruangrupa

Practising Le 實踐傳承

egacies

to grasp around and not just at a thing 掌握，而非捉緊事物 Li Cheuk Yin Bruce 李勺言

Li Cheuk Yin Bruce is a researcher at CHAT. Having graduated from Brown University and the Rhode Island School of Design joint programme, Li holds a dual degree in Comparative Literature and Textiles. With knowledge and practical experience as a weaver, knitter and writer, one of Li’s main research strands includes what mode of reading is engendered through textile-making. Li’s text offers a reflection on the presentations of Chanthasone Inthavong, Nguyen Huyen and Hosoo Masataka constructed from Discussion Forum documentation materials. Recalling his own experiences when confronted with textile preservation dilemmas and CHAT’s own remit, Li reflects on the speakers’ practices to address issues concerning innovation, technology, education and fabric collection and preservation to propose an active notion of textile preservation that involves empathy for practitioners as well as the contexts within which textiles are produced. 李勺言在 CHAT 六廠擔任研究員。畢業於布朗大學及羅德島設計學院合辦的課程，李勺言持有比較文學及紡織的雙學位，擁有編織、針織和寫作的知識及實際經驗，以研究製造紡織的過程中所引起的不同閱讀體驗。

李勺言從研討會的講者演說中整理出錢莎桑・英莎芳、阮萱和細尾真孝的論

點，並回顧自己在面對紡織品保育時遇到的困難和挑戰，透過總結講者的經驗和

做法，以解決創新、技術、教育和織物收藏與保存的議題，提出一個嶄新的紡織品保育概念，當中包括對從業者以至生產體系的同理心。

Li Cheuk Yin Bruce

Chopsticks sleeves detailing the Yaeyama minsa weave Photo courtesy: Nuchigafu 敘述八重山 minsa 織物寓意的筷子套圖片提供：命果報

李勺言

Grasping at something felt to be disappearing is an effort to counter its extinction; such is the logic of preservation that is at once established, tempting and convenient. In practice, this metaphorical 'grasping' is often manifest in the purchasing of the materials, rendering it present. As this action is repeated, it positions both the emergent collection of objects and its philanthropic consumer-collector at centre-stage. What of acts of ‘grasping’ that exceed, or are in addition to, the material and therefore account for the unsighted peripheries of persisting production contexts and the concerns of producing craftspersons? What of a mode of preservation that finds strength in circumvention, that does not, in its praise of materiality, designate its signified craft tradition as dying, if not already dead? In the case of a textile heritage, such concerns are exemplified by the decisions a dilettante might have to make when visiting places with established textile traditions, such as Okinawa, a Japanese prefecture boasting an impressive 15 governmentsanctioned crafts to be preserved. The dilettante, in this case my tourist self, is threatened both by the sight of diminishing crafts and by his pocket filled with money ripe to be dispensed. He holds back, in passivity but in good faith, uneased and often frustrated by those who equate and confuse a purchase as preservation proper. Instead, he acquires a book that details the technicalities of kasuri, the Japanese variant of ikat and a pedestaled form of weaving whereby image emerges from the confluence of neighbouring resist-dyed warp and/or weft threads. He is content to learn of the methodologies, technologies and labour of kasuri. He believes that when process is capitalised over product, the longevity of a craft might persist in the possibility of re-creation. He also holds to his belief that the most ethical and sustainable form of acquisition might be to circumvent acquiring the ready-made, and instead to do-it-yourself. But his most meaningful encounter with textile happens on his penultimate evening spent on those sun-drenched Ryukuan islands, as he toys with some disposable chopsticks at the dinner table. On their paper sleeve, the significance of the traditional textile, Yaeyama minsa, is printed on its backside. The Yaeyama minsa is a traditional belt woven for daily wear with alternating four- and five-block check motifs, of which the numbers are homophones to the terms ‘world’ and ‘whenever’, amounting to a pattern calling for the union of loving pairs. He encounters a textile legacy nonchalantly and without cloth, on an object of peripheral concern like the sleeve of a disposable something. Okinawa is saturated with such curated efforts for people to chance upon craft knowledges; he ponders: what is a meaningful encounter with a textile heritage? What is the significance and merit of circumventing physical material? Of conceptualising craft beyond the thing?

What is the object of any preservation enterprise at all? In these quotidian struggles of a contemplative tourist, the difference between apprehension and comprehension emerges. Our logic that monetises craft objects as within reach and purchasable demonstrates the prioritising of materiality at the expense of more meaningful encounters, such as the kasuri book that details labour or the unlikely chopstick sleeve that details narrative. How is a textile legacy more meaningful when you strip away cloth itself, the jester of the textile act, and instead recentre attention onto its surrounding circumstances? Such are also the concerns of the Houey Hong Vocational Training Centre, located in the outskirts of the Laotian capital, Vientiane, where its founder Chanthasone Inthavong seeks to train women to account for their labour that is traditionally unaccounted for.1 Inthavong describes growing up during a time when every Laotian household was equipped with a loom, though she herself was denied access by a father who emphasised more conventional forms of education. Textiles did not gain significance for her until she arrived in Japan, the country where she is now based, and where she found, to her surprise, that textiles were documented and preserved by museums and collections; a craft previously shrouded by the spectre of femininity, utilitarianism and domesticity is now coveted as it is exteriorised, exposed, categorised, and enumerated by units of monetary value and library systems. She laments that collections in Laos were always private and fortressed within secretive ateliers, denying the possibility for the lay craftswoman to understand that her work is, in fact, deeply mathematical, calculable and marketable to her own economic benefit. In a country with no tradition of standardised cataloguing, the women of Laos have long archived their work, impressively, by memory alone. Many weavers can see a fabric, know its construction and be able to re-weave it. Some even encrypt their methodologies onto bamboo sticks. Part of Inthavong’s philosophical inclination with the founding of the Houey Hong Training Centre is to provide an organised database that is commensurate to conventional collections. Laotian textiles require such meticulousness that handweaving advances at a rate of just 10 cm per day. Inthavong radiates deep empathy and comprehension as she speaks, quite poetically, on and around the textiles of Laos, remaining adamant in distinguishing Laotian textiles from its counterparts. She notes how unlike Japanese kasuri that usually requires the strategic dyeing of both warp and weft, the Laotian ikat only requires that of the latter. Her sensitivity to these details of textile construction allows her to locate opportune moments in the weaving process from which economic value could be derived in favor of the producer. Warping, or the

Li Cheuk Yin Bruce

Kosasing (Elephant Lion) pattern, discontinuous supplementary weft. Design used as the bottom part of a sinh (skirt) Photo courtesy: Houey Hong Vocational Training Centre

「捉緊」是對抗物質消逝的手段，應用於保育，既直白又

Kosasing（獅子象）圖案，特緯組織，以製作 sinh（裙子）的底部圖片提供：Houey Hong 婦女職業訓練中心

在陽光充沛的琉球群島上，筆者與「紡織」有過各

方便快捷。「捉緊」這個概念往往透過購買展現，而當

種相遇，包括探訪工作室及參觀博物館等，但最難忘的

於論述中心，成為焦點所在。究竟甚麼形式的「捉緊」

留意到封套背面印有八重山 minsa 織物的寓意。八重山

交易不斷重覆，突發收藏品和善心消費者就自然會被置能繞過物質本身，把焦點重置於不為人知的製作環境以至工藝的繼承之上？在物質都將消逝的前提下，甚麼形

式的保育能審視物質以外的大環境，詰問物料與工藝之間的瓜葛，改變所有工藝都必將消失的設定？

就保育紡織工藝而言，這種購買的決定體現於筆者

遊歷沖繩時的見聞；該縣佔地雖小，但卻擁有高達 15 門

日本政府官方認可的傳統工藝。身為旅客的我頓感到驚惶，一方面了解到傳統工藝產量的減少，另一方面，深

知袋內的金錢即將被「擄掠」。出於善意的我卻步於以

相遇發生在一席晚宴上。當時我在餐桌上把玩竹筷子， minsa 是當地的一種日常穿著的傳統腰帶織紋，載有絣織而成的格子圖案，格子分為四格和五格兩種。在日語

中，「四」和「五」分別與「世」和「時」同音，寓意情侶

「生生世世」。我在一件不起眼，甚至即棄的非紡織物上，領悟到一個關乎紡織承傳的啟發。沖繩這個地方充滿巧遇工藝知識的機遇。這趟旅程讓我思索：能撇開並

超越事物的本質，將工藝概念化是否更能體現「傳承」這個理念？而保育的對象終究為何？

本該享受假期的我，傻傻地糾纏於這些議題之間。

金錢消費工藝、購買等於保育，我感到不安和迷茫。最

當紡織工藝變可觸及且可購買的，我們反而會放棄具意

術，亦即日本的 ikat（伊卡）絣織；伊卡絣織以獨特的染

民間小故事。當我們拋開布料為承傳論述的主軸，反而

後我反而買了一本書，內容詳述當地的 kasuri（絣布）技

色技術，將防染染色而成的經緯線精準地重疊於彼此，使匯合處出現織布前已預先計算好的圖像。能了解絣布

義的了解，就如絣布書能展示勞動過程或筷子套能敘述重新審視其周邊，「紡織承傳」可會變得更有意義。

這些議題為老撾永珍郊區的 Houey Hong 婦女職

的巧妙技術和勞動，使我心感滿足。我們著重過程多於

業訓練中心所關注，該中心的創辦人錢莎桑・英莎芳致

乎道德和可持續性的紡織承傳並不在於現成品的蒐集，

芳憶述，在她成長的時候，因每個老撾家庭都配備一台

成品，工藝才也許因創造而得以延伸。我亦堅信，最合而是透過學習製造過程，使大眾對製造者的處境產生理解、尊重與同情。

力培訓女性，引導她們正視時常被忽視的勞力。英莎織機，而使紡織成為一門司空見慣的工藝。直到她移居

至日本才發現原來紡織不應止於日常生活，而是賦有宏李勺言

preparation of threads to dress a loom, for example, can easily be calculated for material cost and labour time. Dyeing is another such process. Traditional Laotian textiles derive their colours from natural dyes, both from plants and from the unlikely source of insect nests. While chemical dyes are readily available for sourcing and would be convenient for expense logging, Inthavong is also sensitive to the lucrative market of naturally-dyed goods among the affluent that could be taken advantage of. Organic materials as various as jackfruits, ebony and annatto seeds are used, and part of the centre’s curriculum is invested in teaching women how to retrieve, source and calculate the time and effort involved in acquiring such natural goods that are susceptible to the volatility of season and climate. The Houey Hong Vocational Centre continues to provide training for disadvantaged women struggling with disabilities or under poor economic circumstances. The emphasis on Laotian textile is present and guided its founding, but the education of women remains in parallel centrestage. In short, textile is a method of social engagement as much as it is an artistic medium. If one chooses to view the endeavour under the sole framework of textile preservation, then Inthavong can be criticised for capitalising a legacy that has traditionally acquired

Working on patterns Photo courtesy: Houey Hong Vocational Training Centre 織造圖案圖片提供：Houey Hong 婦女職業訓練中心

significance only when made behind closed doors, outside of capital, guarded by anonymous, domestic women. But such a conclusion hinges on the fixation of cloth as a commodity and is also not empathetic to the living conditions of the disadvantaged many. If Inthavong’s didactic approaches and literal stature render her a matriarch figure and an emblem of the top-down propagation of knowledge, then Nguyen Huyen stands in decided contrast with her Textile Linker project, a platform leaning towards a horizontal axis that facilitates the dissemination and cross-pollination of information on Vietnamese heritage textile among women, buyers and artisans.2 Textile Linker is based on an empowerment model that mediates the sharing of information in hopes that its participants and communities will then transform knowledge to suit their own specific needs. Textile Linker was started in 2017, when Nguyen observed that people, including the Vietnamese themselves, did not understand Vietnamese textiles very well. Events and workshops as various as batik dyeing, shibori and Thai embroidery are hosted for these crafts to reach larger audiences. Motivating the plethora of events is the founder’s concern over giving voice, holding close to her heart the belief that to understand craft, one must first talk to the people behind it. As such, Textile Linker events are often hosted within artisans’ homes and maintained at a scale that is small, cosy and conversational. The insistence of engaging the domestic space is important for participants to experience materials and tools that have survived generations of use, so as to provide a concrete testament to lineage and pride. These events often culminate in small exhibitions held at the respective artisan’s home, a format for viewers to consider the overlooked and missed opportunities for creative projects when domesticity is relegated to a position of little to no influence. In effect, these small but potent happenings begin to map out a network of craft and craftsmen previously unrecognised by the Vietnamese public. These networks are further facilitated by willing travel agencies that organise tours to and from Hanoi and various artisans’ homes. Nguyen does not attempt to keep the artisans to herself, but rather to catapult them into a place where they can begin to learn and make their own connections within and beyond their communities. Nguyen shifts the understanding of textile from cloth as product to meaningful musings of textile as process that involves makers. In addition to collecting stories from artisans, Nguyen is also invested in the narratives told by the patterns of cloth. Traditional Thai embroidery, for example, often sews onto cloth messages using the Thai alphabet and motifs of mystical animals and insects that hold cultural significance. Its modern variants, however, use the same elements but only as superficial embellishments. As such, there is also an educational modality to Nguyen’s project that is

Li Cheuk Yin Bruce

大的意義；她驚訝於紡織品能被納入博物館館藏、被記

這些工藝品接觸到更多觀眾，他們舉辦了各種活動和工

性現象所籠罩的紡織工藝在日本得到青睞。紡織透過被

萱鍥而不捨，因為她深信要理解一門工藝，必先與其背

錄、分類、展示和保存；過往被女性化、日常化和實用

賦予經濟價值和檔案系統所量化，而獲得能被比較及衡

量的標準。她感嘆家鄉的紡織工藝總被埋沒於隱蔽的工作室內，等同否認紡織品於社會及經濟上的地位，使女

作坊，如蠟染、日本紮染（shibori）和泰式刺繡等。阮

後製作者作交流。因此，Textile Linker 的活動多數於工匠家中進行，以保持一個舒適及易於對談的規模。

為了讓參加者體驗飽受年月洗禮的材料與工具，阮

性沒法確切認識其工作能轉化為可量化、有市場的經濟

萱提倡造訪創作空間；就越南而言，這些活動與展覽通

在一個沒有工藝紀錄標準的國家裡，老撾的婦女向

生活，因忽視而錯過的創作機會。這些小聚會，漸漸形

價值。

來僅以記憶保留編織的技巧。許多織匠光看一眼織物，便能分辨出結構，並能將其重新編織，而有些織工甚至

會將她們的方法刻畫於竹棍上。Houey Hong 婦女職業

訓練中心的成立旨在為紡織品提供一個媲美國際標準的資料庫。

常會發生於工匠家中，親密的形式鼓勵參加者反思日常

成了過往未被越南公眾注視的手工藝網絡。後來甚至有旅行社協助，促成往返河內和工匠住所的旅行團。阮萱不會獨佔工匠，反而會鼓勵他們自學，令他們能往後在

沒有協助下，建構自己的社區聯繫。阮萱把人們對紡織

老撾紡織品的細膩體現於其每天 10 釐米的編織進

度。英莎芳帶著深切的關懷和認識細說老撾紡織工藝的

特徵，例如她說出日本的絣布需要為經紗及緯紗染色，而老撾的伊卡絣織則只需要處理後者。英莎芳因能掌握紡織品的各項細節，使她能夠在織造過程中找到容易被

單位化的工序，而從中獲得有利於生產者的經濟價值。譬如整經，亦即梳理出設計所需的經紗根數，就為一個能輕易計算出材料成本和勞動時間的工序。

染色亦是一個容易被單位化的工序。傳統的老撾染

料取材自大自然，既有來自植物，亦有來自昆蟲巢穴。雖然化學染料訂購容易，並且便於預算，但英莎芳察覺

到天然染色商品在富有人家仍有一定的市場，因而堅持

傳統。職業訓練中心會教授如何使用有機材料如大樹菠蘿、烏木和胭脂樹種子染色，更會教授女性如何採購和計算易受季節和氣候變化所影響的天然材料。

Houey Hong 婦女職業訓練中心持續為殘疾或經濟

狀況不佳的弱勢女性提供培訓。自成立起，中心固然強

Thai ikat dyeing and weaving workshop in collaboration with Hoa Tien Brocade Cooperative; Quỳ Châu, Nghệ An, October 2017 Photo courtesy: Textile Linker 2017 年 10 月，於乂安省葵州縣，與 Hoa Tien Brocade Cooperative 合作舉辦的泰式伊卡絣織與編織工作坊圖片提供：Textile Linker

調老撾紡織品，但教育婦女亦同樣重要。簡而言之，紡織品能分飾兩角：藝術媒介及推動社會的參與。如果觀

者選擇用保育這個單一的框架作菱鏡，那麼英莎芳可以被批評將工藝添上價錢，使原來存在於資本以外，向來

由住家婦女閉門而成的工藝資本化。但這樣的批判建基於人們把布料定性為商品的習性，往往忽略了弱勢群體的生活條件。

若說英莎芳的教學方法象徵著傳統，自上而下的

知識傳播，那麼阮萱以及她的 Textile Linker 項目便會形

2 成鮮明對比。 Textile Linker 這個橫向的平台促進婦女、

買家和工匠之間傳播和交叉發放有關越南傳統紡織品的信息。Textile Linker 以賦權模式為基礎，促進資訊共

享，希望其參加者和社區能夠根據自己的特定需求轉化知識。

Textile Linker 成立於 2017 年，全因阮萱觀察到大

眾，包括越南人本身，都不太理解越南紡織品。為了令

Patterns Story: an antique Thai fabric showcase, talk, embroidery workshop and weaving experimentation addressing stories behind decorative patterns in vintage textiles from Quỳ Châu, Nghệ An; Hanoi, September to October 2017 Photo courtesy: Textile Linker 2017 年 9 至 10 月，於乂安省葵州縣，名為「圖案說故事」的演講與刺繡工作坊，以探討紡織技術及舊布花紋的寓意圖片提供：Textile Linker 李勺言

concerned with (re)sensitising the public to learning how to read a cloth with respect. Textile Linker maps textile legacies as embedded into our social landscapes, ready to gain a voice when provided with the right platform. But its cartographic ambit has exceeded the founding scope of Vietnamese textile and extended into Japanese shibori and Thai embroidery; along with an entrepreneurial spirit and a digital tendency, the scope might prove, at times, farreaching enough to render the project a flattening, cosmopolitan endeavour. Maps and networks pose challenges to preservation efforts by giving the appearance of commensurability, when in fact, crafts gain significance precisely because they are incommensurable to one another. The location of craft could not be as easily identified as placing a finger on a map. The question remains: when you remove the product of tactile cloth, what remains to be preserved? Hosoo Masataka, the inheritor of HOSOO, a family-run, kimono maker established in 1688 and based in the throbbing heart of textile craft, Nishijin, Kyoto, ponders exactly that same question.3 Posed in a different manner but in effect with similar concerns, Hosoo asks, ‘when traditional Japanese textiles meets science, what will happen?’ Hosoo laments that 30 years ago, the kimono market was in grim decline as the company was losing up to 90% of its business. Foreseeing a possible end to the family company, Hosoo returned to it a little more than a decade ago, with the intention of saving it by shifting its targeted consumers to those overseas. One of the first attempts occurred in 2006, when the company presented a sofa made with original weavings at the interior fair, Maison&Objet, in Paris. Hosoo remarks that the project was unsuccessful due to the technical limitations their historical looms imposed, which wove fabrics that, at their widest, measured a mere 32 cm. This width of loom is historically befitted to weave the traditional obi, the intricate sash worn around the waist that fastens a kimono onto its wearer. In order for those narrow weavings to fully upholster a sizeable sofa, they had to be patched together with seams: markers of inelegance in the context of sleek, luxury design. A travelling exhibition with the Louvre Decorative Arts Museum from Paris to New York in 2008 redirected Hosoo’s efforts and understanding. The New York exhibition exposed architect Peter Marino to Hosoo’s work, who commissioned him to produce a textile in the manner of an obi, only adorned with contemporary motifs. As such, the fabrics did not appear flamboyantly Japanese, allowing Hosoo to consider Japanese textile craft as process- and not product-based. The project also shifted his fixation from the body onto interior spaces. Had Hosoo stubbornly clung to the historical but narrow loom, he might not have become the

emblem of Japanese craft innovation that he is today. In response to shifting tastes and demands, Hosoo developed an original loom weaving at the fivefold width of 150 cm. One of the first products coming out of it was used to upholster the walls and chairs of the Christian Dior store in New York. Adapting to the collaborative and cosmopolitan workings of contemporary craft and design, Hosoo’s projects are now 70% for interiors, 20% for fashion, and 10% for contemporary art. Hosoo insists on reserving time and effort to work with at least one artist every year, so as to challenge his team to new outlooks and concepts. HOSOO now boasts an impressive clientele ranging from Liberty of London to Lane Crawford of Hong Kong, Dior, Chanel, Leica, Bang & Olufsen, Honda, TUMI, and even David Lynch. Through these collaborations, Hosoo has expanded upon traditional techniques to create utilitarian, transparent, camouflage, colour-changing, bi-, or even multi-layered textiles. In reference to Hosoo’s aforementioned guiding question, science has apparently met textiles. Hosoo demonstrates an active and radical willingness to adapt; in conjunction with his harnessing of Japan’s convenient reputation as a progenitor of high craft, Hosoo’s work in textile craft preservation appears hard to fault. Hosoo’s ambitious projects spread outwards internationally and upwards to titillate the desires of consumers with utmost purchasing power. In contrast to the work of Inthavong and Nguyen, Hosoo paints an image of textile craft that is aggressively forward, existing outside the often-localised geographies and picturesque oases of tradition. Hosoo presents a case on how traditional crafts can be perpetrated with the consumer logics of luxury. If the extra-textual circumstances around textile, and thus the focus, for Inthavong and Nguyen is with the maker, community and education, then Hosoo’s could be understood as the technology inherent to it, as evidenced by his innovation of an original loom and focus on the scientific. With a focus catering towards a luxury clientele, however, the idea of craft might begin to register as financially inaccessible to many. Mired in this fault within Hosoo’s otherwise impressive story of success, is the problem of access that Inthavong and Nguyen seek to counter. Nonetheless, such criticism is minor and academic, for Hosoo’s work most importantly achieves the feeling and promise of a sustainable future, replenished with patrons. Perhaps it would be in-between Inthavong, Nguyen and Hosoo that we might begin to approximate a formula that is driven by technical adaptability and financial sustainability, while dismantling notions of high craft by way of education and access. If the comparison among the three related but different visionaries reveal both merits and shortcomings individually, then perhaps the decentring of textile away from the mere material

Li Cheuk Yin Bruce

品的理解從產品中解放出來，讓紡織品及其工匠變得密不可分。

除了收集工匠的故事外，阮萱還著重布料圖案裡所

帶出的信息。傳統的泰式刺繡通常會用上泰文字母和別具文化意義的神話動物與昆蟲為圖案。然而，它的現代

藝術項目。細尾堅持預留時間和人手，讓團隊每年與至

少一位藝術家合作，好讓團隊能夠受到新思維和概念刺激。

細尾品牌現時的客戶，由倫敦利寶百貨到香港連

卡佛、Dior、香奈兒、Leica、Bang & Olufsen、本田、

變體雖然使用相同的元素，但流於膚淺的表面裝飾。因

TUMI，甚至導演大衛連治。細尾通過這些合作，在傳

學會如何尊重地閱讀布料。

雙色甚至多層顏色布料。回應細尾最初的提問，科技和

此，阮萱的項目還有一種教育理念，就是促使公眾重新

Textile Linker 將紡織承傳反映於我們現有的社交

景觀中，並準備一個平台，為其爭取發言空間。但它的

版圖範圍已經由剛成立的越南紡織品，擴展至日本的紮染和泰國刺繡；伴隨著企業家精神和數碼化的趨勢，項

統技藝的基礎上，創造了高實用性、透明、迷彩、變色、布料明顯在實踐中接軌了，他漂亮地示範了如何適應市場的改變，善用日本高端工藝品質保證的美譽，以此方式來保育紡織無可挑剔。

細尾野心勃勃，眺望國際，並向最具購買力的顧客

目便會受到國際化與平面化所威脅。地圖與網絡的平坦

招手。相對於英莎芳和阮萱，細尾把紡織塑造成一個前

錯覺；這對工藝承傳造成挑戰，正因工藝的成立取決於

藝如何以奢侈商品的邏輯重新演繹。

往往予人一種其內容因共存於同一表面上而可作比較的其不可代替及比較的特性。

衛的藝術，擺脫了固定的地域和傳統限制，展示傳統工

如果英莎芳和阮萱是以布料以外的大環境，如織

工藝的精髓，不應如地圖上的邊界般容易辨別。需

布者、社區和教育為焦點，那麼細尾的焦點則是延伸科

保育的是甚麼？細尾真孝是 1688 年啟業的家庭式和服

由於他主要顧及奢侈品客群，產品有時為大眾所不能

要詰問的議題尚存：撇除了可觸及的布料，值得傳承及製造商細尾的繼承人，落戶於布藝之都：京都西陣。

技，發展出原創的織布機，並專注於工學計算。不過，

他所思索的問題雖然演繹方式不同，但本質其實相同。細尾質問：「傳統日本布料揉合現代科技，會擦出甚麼樣子的火花？」

細尾慨嘆，30 年前的和服市場急速萎縮，使公司

損失約 9 成生意。預視到家族企業面臨結業，細尾於十

多年前歸隊，嘗試改以海外顧客為銷售目標。其中一個最早的項目於 2006 年出現，當時，公司在室內設計展

Maison&Object 上，展示一張以原創織布包裹的長椅。

可是，由於傳統織布機技術上的限制，項目不如理想。織布機本來是用來織造傳統和服的腰帶，因此最多只能織到寬 32 釐米的布。用如此窄身的布來製造沙發，也就

意味要把布拼合。在講究無縫、細緻的奢華設計中，顯露出接縫，難免有失高貴。

2008 年，一個巴黎羅浮宮設計藝術博物館的巡迴

展覽，讓細尾的工藝與認知得到昇華。當展覽巡迴至紐約，建築師 Peter Marino 首次接觸到細尾的作品，並委

託他以製作傳統和服腰帶的技術織布，但同時加入當代

元素。因此，成品沒有散發過於濃烈的日本風，讓細尾想到布藝設計可以過程主導，而非產物主導。這個項目亦將細尾的焦點從衣服轉移至空間設計。

如果細尾固執地堅守那台歷史悠久但窄幅的織布

機，他可能不會成為今天為人所知的日本創新工藝師。在新的啟發與需求下，他發展出一台原創的織布機，能

織製 150 釐米寬的布料，比原來的高出 5 倍。其中一件最早的新產品，用以裝飾 Christian Dior 的紐約店。細尾現在較著重與牌子合作，吸引國際客戶；細尾的生產

現有 7 成為室內設計、兩成為時裝項目、一成為當代

Nishijin Sky, in collaboration with Teresita Fernández, exhibited at the Kyoto University of Art and Design; October 2014 - January 2015 Photo courtesy: HOSOO 《西陣天空》，與 Teresita Fernández 合作，並於京都造形藝術大學展出；2014 年 10 月至 2015 年 1 月圖片提供：細尾品牌李勺言

will never be perfect as a singular endeavour. Instead, it may be best pursued collectively, contextually and critically, a multiplicity of efforts that complement one another. These three speakers each envision preservation as meaningful insofar as its extra-textual and social circumstances are also taken into account: when makers – animate or inanimate – are noticed for being intrinsic. Inthavong and Nguyen emphasise educational frameworks and networks, allowing makers and consumers to empathise with one another. Hosoo, on the other hand, provides longevity to textile craft by the adaptation of historical machinery and techniques for contemporary inclinations. Moreover, for these three speakers, preservation is an active and manual engagement with the continued production of cloth, as opposed to the sole, retroactive purchasing and collecting of extant objects as illusions of sustainment. Through this process, both production contexts and makers are enlivened, no longer grimly dead or dying, and that is perhaps more, if not the most, human engagement with craft.

Nguyen Huyen After completing her undergraduate studies in International Economics in Hanoi in 2010, Nguyen Huyen worked in the mountainous northern Vietnamese province of Dien Bien, where she discovered a love for traditional textiles through efforts in supporting local artisans to improve their livelihood. After a Master’s degree in social entrepreneurship in 2012 in Liege, Belgium, she founded Textile Linker in 2017 as a not-for-profit project committed to exploring Vietnamese heritage textiles. She works closely with artisans to help share the inside stories of textile making and to encourage interdisciplinary collaboration in the development of the local craft and design sectors. Hosoo Masataka Hosoo Masataka is the innovative brand director of HOSOO, a traditional kimono textile maker based in Kyoto, Japan. Hosoo aims to bring Nishijin-ori, a special yarn dyeing and weaving technique developed more than 1,200 years ago, to the forefront of contemporary design. HOSOO’s history can be traced back to the Kyoto silk industry of the 6th century, and continues to support traditional Japanese three-dimensional weaving by applying its exceptional craftsmanship to contemporary design. Hosoo shares how implementing innovative business acumen and introducing modern technology to this traditional craft has allowed HOSOO to keep a textile legacy alive and advancing. Chanthasone Inthavong Chanthasone Inthavong is the founder of the Houey Hong Vocational Training Centre for Women in Vientiane, Laos. Established in 1998, it aims to empower rural women by offering them training in weaving, natural dyeing and tailoring while reviving the traditional textile crafts of Laos. She has been involved in various exhibitions of Laotian textiles around the world and leads active efforts to improve children’s education in Laos. Having studied in Japan in the 1970s and 80s, she now lives and works in Tokyo. Her presentation introduces how these social efforts build a social fabric that sustains craftspeople while conserving and revitalising textile knowledge.

Reﬂection based on Chanthasone Inthavong’s presentation in: TECHSTYLE Series 3. 2 Discussion Forum Session 2, YouTube video, 21 Jan, 2019. Available from: https://youtu.be/ asrhE 4Q 9byA?t= 8. Accessed 17 April 2019. 1

Reﬂection based on Nguyen Huyen’s presentation in: TECHSTYLE Series 3. 2 Discussion Forum Session 1, YouTube video, 21 Jan, 2019. Available from: https://youtu.be/ bpNlCvZM 67U?t= 1594. Accessed 19 April 2019. 2

Reﬂection based on Hosoo Masataka’s presentation in: TECHSTYLE Series 3. 2 Discussion Forum Session 3, YouTube video, 20 Jan, 2019. Available from: https://youtu.be/ e-Ff 7cdAsxs?t= 108. Accessed 16 April 2019. 3

Li Cheuk Yin Bruce

負擔。無可否認，細尾的故事從其他角度來說都是成功

阮萱

轅北轍。

於北越山區奠邊府工作，在當地協助工匠改善生活條件

的，但其成品的昂貴，則與英莎芳和阮萱的開放態度南

不過，這種評語頗為微不足道及過於學術，因為

細尾的作品予人一種紡織工藝得以傳承的良好印象。也許，我們可以在英莎芳、阮萱和細尾之間找到具備科技

適應性、資金可持續性、教育與工藝普及化於一身的成功之道。通過對比這三個目標不同、但性質相關的項

目，我們就可以看到他們各自的優劣。也許，把紡織從物料中解放出來，並不是一朝一夕的事，而是需要靠集

阮萱在 2010 年於越南河內完成國際經濟學學士課程後，的過程中，她發現對民族紡織傳統的喜愛。她於 2012 年遠赴比利時列日完成社會創業碩士學位，及後於 2017 年成立了一個非牟利項目 Textile Linker，專門研究越南

傳統紡織。她透過與工匠密切的合作關係，分享紡織品

製作背後的故事，並推動當地工藝和設計界別進行跨領域的合作。

體、情境和批判性思考互相填補而達至的結果。

細尾真孝

和社會環境，並確立製作者 ⸺ 無論是人還是物件 ⸺

日本京都的傳統和服製作老舖，旨在將擁有 1200 餘年

三位講者一致認為，保育需要顧及布料以外的意思

在創作過程不可替代的定向。英莎芳和阮萱強調教育框架及網絡，讓製作者和觀眾能夠互相諒解。細尾則為

古老的機器和技術，加入當代元素，延續布藝發展。再

細尾真孝是細尾品牌的品牌總監，該品牌是一家位於歷史的特殊染線及編織技術的西陣織推向當代設計的前線。

細尾的歷史可追溯至六世紀在京都的絲綢製作，通

者，對這三位講者來說，保育是一件不斷演進的人為工

過將其卓越的工藝應用於當代設計，堅守著傳統日本立

的事物，營造可持續的假象。這個過程激活了產物和創

慧，以及將現代技術元素注入傳統工藝，使細尾能夠傳

作，期間需要持續生產布料，而不是光購買和收集尚存

作人，不再徘徊於頻死邊緣。也許，這是人類和工藝相對重要的互動吧。

體編織的精湛技藝。細尾分享了如何發揮創新的商業智承紡織的傳統工藝，並持續發展。錢莎桑・英莎芳

錢莎桑・英莎芳是老撾永珍 Houey Hong 婦女職業訓練中心的創辦人，創於 1998 年，旨在透過給農村婦女傳授編織、自然染色和裁縫等技能，給予她們自力更生的

能力，同時藉此振興老撾的傳統紡織工藝。她曾於世界

各地參與多個有關老撾紡織品的展覽，並致力改善老撾

兒童的教育。英莎芳於 1970 至 1980 年代於日本求學，現於東京居住及工作。她的演講解說了如何透過社會的努力去建立一個可以維持工匠生活，同時保育並復興紡織產業的社會結構。

以錢莎桑 • 英莎芳在「新經緯系列 3. 2 研討會議題 2」上的講話為基礎。YouTube CHAT 六廠（六廠紡織文化藝術館）上載。2019 年 1 月 21 日，https://youtu.be/asrhE 4Q 9byA?t= 8。於 2019 年 4 月 17 日登入。 1

以阮萱在「新經緯系列 3. 2 研討會議題 1」上的講話為基礎。YouTube 由 CHAT 六廠（六廠紡織文化藝術館）上載。2019 年 1 月 21 日， https://youtu.be/bpNlCvZM 67U?t= 1594。於 2019 年 4 月 19 日登入。 2

以細尾真孝在「新經緯系列 3. 2 研討會議題 3」上的講話為基礎。 YouTube 由 CHAT 六廠（六廠紡織文化藝術館）上載。2019 年 1 月 21 日，https://youtu.be/e-Ff 7cdAsxs?t= 108。於 2019 年 4 月 16 日登入。 3

李勺言

Australian Tapestry Workshop 澳洲掛毯工作坊 Antonia Syme 安東尼婭．賽姆

Antonia Syme is the Director of the Australian Tapestry Workshop (ATW) in Melbourne, Australia. Founded in 1976, the ATW occupies a unique position within Australia’s artistic landscape as the only contemporary tapestry workshop of its kind in the country, and one of only a handful in the world. The ATW has produced more than 500 tapestries, many of which can be found in major public institutions, embassies and private collections in Australia and around the world. Antonia’s presentation highlights ATW’s emphasis on collaboration between weavers, artists, designers and architects and on how this process is vital in ensuring creative excellence and cross-disciplinary exchange. 安東尼婭．賽姆是澳洲墨爾本澳洲掛毯工作坊（簡稱 ATW）的總監。 ATW 成立於 1976 年，在澳洲藝術界獨樹一格，是當地唯一一間專門製作掛毯的工作坊，即使在國際間也是少數。ATW 已經製作超過 500 件掛毯，其中遍佈於澳洲和世界各地的大型公共機構、大使館和私人收藏中。

她的演講強調 ATW 著重織布師、藝術家、設計師和建築師之間的合作，以

及這個過程對於卓越的創意和跨領域交流的重要性。

Antonia Syme

Weaver trainee Sophie Morris draws the cartoon for the 22 Temenggong Road, Twilight tapestry Photo: Jeremy Weihrauch 見習生 Sophie Morris 為《天猛公道 22 號，暮色》製作草圖攝影：Jeremy Weihrauch

安東尼婭．賽姆

Formation It is fascinating to consider how a tapestry workshop practicing a centuries-old woven textile art form can operate so successfully over 40 years with continuing relevance. From its beginning in 1976, the Victorian Tapestry Workshop reflected a contemporary art and design aesthetic while offering a model of exemplary weaving knowledge, skills and technologies. Renamed the Australian Tapestry Workshop (ATW) in 2010, its record of innovative, collaborative working relationships between weavers and artists includes the completion of more than 500 tapestries commissioned for private, corporate and government buildings and collections, both in Australia and around the world. Significantly, the production of these works has not only involved leading Australian and international artists but has also been integrated with the practices of contemporary architects. At the same time, the workshop has provided many opportunities for employment and training to many weavers and dyers, artists and curators. The workshop was launched as the result of considerable planning and brought together several strands of interest. Following examples from elsewhere, many architects in Australia were interested in including tapestries in their plans, while a number of well-known artists were keen to work with them, motivated by the opportunity to make large works for public spaces. From the 1960s, commissions for tapestries as public artworks had been sent by Australian artists such as John Olsen, John Coburn, Leonard French and Arthur Boyd, to international workshops such as those at Aubusson in France or Portalegre in Portugal. The idea for a tapestry workshop in Victoria grew out of a broad professional context of example and experience. A number of enthusiasts argued a case for an enterprise employing local weavers and using Australian materials, in anticipation of cultural and economic benefits. The most significant influence was the Dovecot Studios, and director Archie Brennan’s practice was determined to be most appropriate for an Australian venture. The Victorian Tapestry Workshop (VTW) was opened in November 1976 and Sue Walker was to be director of the Workshop for 27 years, from 1976 to 2004. The Victorian College of Arts provided training for potential employees, most of whom had already completed art school study, which was considered to be a prerequisite. Five weavers were initially appointed — with a further three in 1977 after a second training course. The first tapestries were made to demonstrate the scope of the weavers and the workshop but, when the possibilities became better known, tapestries were made to order. From the outset the philosophy of the Workshop was clearly intended to be one of creative collaboration between weavers and artists. By late 1978, the exhibition Tapestry

and the Australian Painter at the National Gallery of Victoria (NGV) showed tapestries made in the first two years, resulting from collaboration with 14 artists. Several milestones occurred at this early stage: as early as 1977, the VTW started on its first major commission, which was for four tapestries to be hung in the Saskatchewan Centre for the Arts in Canada, won from worldwide competition; and, in 1978, the first collaborations were made with indigenous Australians, starting with artists from Papunya Tula and their designs from the Western Desert. In 1988 the monumental tapestry by Arthur Boyd was completed for the new Parliament House in Canberra, which remains as one of the largest in the world. Overseas exhibitions have been to the UK, Europe, the USA, Papua New Guinea and Asia. Associated with the range of exhibitions were the production of catalogues; the Workshop has also published a number of books. From the beginning, board members of the ATW have represented a range of professional experiences in the creative, business and philanthropic fields. As well as contributing their knowledge to policy development, fundraising, and working with state and federal governments, many have provided financial support for specific projects. Process Each ATW tapestry is unique and hand-woven by a team of specialist weavers using the traditional Gobelin technique on vertical Shannock looms made in the USA. ATW employs a dyer to produce 370 Australian wool and 200 cotton colours in-house, as it is critical to ensure quality control and availability of the yarns. To guide the decisions about the interpretation of a tapestry, the weaving team creates a range of research samples that experiment with different warp settings, colour relationships, scale and ways of translating the design into the medium of tapestry. The experimental samples from the tapestries produced over the past 43 years form our valuable archive, which the weavers can use to draw inspiration and knowledge from. This is also a valuable resource for artists and teachers, clients and researchers. Once the samples have been woven, the designing artist or architect will meet with the weavers to discuss the samples, resulting in a dynamic creative exchange that ultimately sets the creative direction for each tapestry. The loom is then warped and the cartoon is created. The cartoon is a sketch based on the artwork, which serves as the ‘map’ for the tapestry. The cartoon is then mounted behind the warp so that the image can be traced onto the warps. This inking on is done as the tapestry progresses. The weavers will continue to collaborate with the designing artist or architect, until the tapestry is

Antonia Syme

Tapestries in progress at the Australian Tapestry Workshop, South Melbourne Photo courtesy: ATW

位於墨爾本的澳洲掛毯工作坊（ATW）圖片提供：ATW

工作坊的成立

帶來裨益。其中特別受 Dovecot Studios 影響及其總監

工藝，並一路維持其圈內的影響力，實是難得。從 1976

嘗試。

壁毯工作坊能持續營運 40 餘年，承傳幾千年歷史的紡織年成立起，維多利亞掛毯工作坊的運作展現出過人的

Archie Brennan 的工作模式被認為是最適合在澳洲維多利亞掛毯工作坊（VTW）在 1976 年 11 月開幕，

編織知識、手藝和技術，同時反映當代藝術設計美學。

由 Sue Walker 從 1976 年至 2004 年擔任工作坊總監達

織者及藝術家之間創新的合作關係，完成了超過 500 幅

們大部分已經完成藝術學院課程並且被認為是先決條

2010 年改名為澳洲掛毯工作坊（簡稱 ATW），憑著與編澳洲和世界各地私人、企業、政府建築物和收藏的委託

作品。重要的是，這些作品不僅由澳洲和國際的頂尖藝

術家製作，更融合了當代建築師的做法。同時，工作坊

27 年。當時維多利亞藝術學院會為準員工提供培訓，他

件。開始時工作坊聘用了 5 位編織者，在 1977 年完成第二次培訓後再增添了三人。

製作第一批掛毯是為了展示編織者和工作坊的規

為很多編織者、染工、藝術家和策展人提供了工作和培

模，後來發現更大的可能性，就開始接受訂製掛毯。從

工作坊的成立是經過長時間的計畫和有賴於多方

共同創作。1978 年末，維多利亞國家美術館（NGV）的

訓的機會。

關注。當時很多澳洲建築師從其他地方借鏡，有意於自

己的設計中放入掛毯，加上不少知名的藝術家希望為公共空間製作大型作品，也有意與這些建築師合作。自

一開始工作坊的理念就十分明確，是讓編織者和藝術家展覽「Tapestry and the Australian Painter」展示了首兩年與 14 位藝術家共同製作的掛毯。

在此早期出現了幾個里程碑。早於 1977 年，維多

1960 年代起澳洲藝術家如 John Olsen、John Coburn、

利亞掛毯工作坊已經開始製作第一個大型委託作品在全

工作坊製作掛毯作為公共藝術品，當中包括法國奧比松

溫藝術中心的 4 幅掛毯。在 1978 年開始與澳洲原住民合

Leonard French 及 Arthur Boyd 等開始委託世界各地的

及葡萄牙波塔萊格雷的工作坊。

在澳洲維多利亞省設立掛毯工作坊是源於行內廣

泛的例子和經驗。一班愛好者主張成立一家聘用本地編織者及使用澳洲出產物料的企業，期望為文化和經濟

球競爭中脫穎而出，製作了將要懸掛在加拿大薩斯喀徹作，第一批為來自 Papunya Tula 的藝術家以及他們在

西澳洲沙漠的設計。1988 年 Arthur Boyd 完成為坎培拉

新國會大樓製作的巨型掛毯，至今仍是世界上其中一幅最大的掛毯。安東尼婭．賽姆

completed and cut from the loom during a special ceremony. Depending on the scale and complexity, our tapestries can take months or even years to weave. Building New Audiences The key challenge facing the ATW Board is to ensure the sustainability of the organisation. Tapestry workshops are now very rare in the world, as tapestries are so expensive to create. They are very labour-intensive, and are therefore only accessible to a very small market. The contemporary arts scene is very diverse and competitive and the ATW must think creatively about how best to effectively engage new audiences and supporters. The ATW is a not-for-profit arts organisation and it receives some financial support from the Government of Victoria, but must raise 85% of its infrastructure and programmes budget through commissions, sales, grants and philanthropic support. Though we have been very fortunate to have some wonderful philanthropic supporters from the beginning, we must always work hard to find new commissions and supporters. In a country where sport is far more important than the arts, and where there is no cultural history of tapestry, as there is in Europe, we face many challenges in finding

Tapestry in progress: 22 Temenggong Road, Twilight, 2017, Justin Hill, woven by Karlie Hawking, Sue Batten, Chris Cochius, Pamela Joyce, Leith Maguire, Sophie Morris and Cheryl Thornton, 2. 35 x 3. 5m, wool, cotton Photo: Jeremy Weihrauch

commissions to keep this old art form alive and vibrant. It has therefore been essential for us to create strategies to engage new audiences, build relationships with clients and donors, find new sources of funding, as well as build our reputation internationally. It is critical to our survival to excite more people about contemporary tapestry. The ATW is focusing on a number of initiatives to expand awareness of tapestry worldwide as an exciting contemporary medium for artists, buyers, curators and people interested in the textile arts. We are constantly improving the ways we communicate our tapestries and programme with audiences near and far. The internet is a vital tool for reaching out to supporters and new audiences about our projects (past and present), our programs, events and activities, and our achievements. Our website is being redeveloped to be more accessible and interactive. We publish through our e-news, social media, annual newsletter, exhibition catalogues and books. Our Programmes: Artist-in-Residence, Weaving Classes and Exhibitions In 2012, we established a formalised program to encourage cultural exchange between contemporary artists and weavers. The program is open to artists

織造中的掛毯：《天猛公道 22 號，暮色》，2017，Justin Hill，由 Karlie Hawking, Sue Batten, Chris Cochius, Pamela Joyce, Leith Maguire, Sophie Morris 及 Cheryl Thornton 協助編織， 2. 35 x 3. 5 米，羊毛、棉攝影：Jeremy Weihrauch

Antonia Syme

工作坊曾在英國、歐洲、美國、巴布亞新畿內亞及

亞洲舉辦海外展覽。除了配合一系列展覽而製作的作品圖錄，工作坊也曾出版不少書籍。

從一開始，澳洲掛毯工作坊的董事會已經涵蓋創

意、商業及慈善領域的專業人士。他們不但在政策、籌款以及與州政府和國家政府合作上作出貢獻，不少更為某些企畫提供財務資助。製作過程

澳洲掛毯工作坊的每一幅掛毯都是獨特的，由專業編織隊伍以傳統戈布蘭（Gobelin）技術及美國製造的 Shannock 垂直織布機製作而成。

工作坊聘請染工駐場，製作了 370 種澳洲羊毛及

200 種棉色，是確保毛線質素及供應的關鍵。

作出掛毯設計的決定前，編織團隊會製作樣本，嘗

試不同的經紗設定、顏色配搭、大小及演繹圖樣的方法。過去 43 年製作的掛毯實驗樣本組成了我們珍貴的資料庫，編織者可以在此獲得靈感或作參考。資料庫對藝術家、教師、客戶和研究人員來說也是一個寶貴的資源。

樣本編織好以後，設計圖樣的藝術家或建築師會與

編織者見面傾談，帶出一個雙向的創意交流，最終為每一幅掛毯定出創作方向。

下一步是在織布機裝上垂直的經紗，並製作草圖。

草圖是以圖樣為本的草稿，作為掛毯的「地圖」。草圖會被裱在經紗後方，以便將圖樣描畫在經紗之上。這個描圖的步驟可以在編織掛毯的過程中持續進行。

編織者會繼續與設計圖樣的藝術家或建築師合作，

直至完成掛毯，並以一個特別的儀式將掛毯從織布機剪下。視乎大小和複雜程度，我們的掛毯需時數月甚至數年完成。

建立觀眾群

澳洲掛毯工作坊面對的一個重大挑戰是如何確保機構的可持續性。當今世上只有少數掛毯工作坊，因為製作掛毯所費不菲。由於掛毯消耗大量人力，變相只適合一

個很小的市場。當代藝術環境多元化而競爭激烈，工作

坊必須要以創意思考如何有效地吸納新的觀眾群和支持者。

澳洲掛毯工作坊是一個非牟利機構，並獲得維多利

亞省政府一部分財政支持，但其餘 8 成半的設備和計畫

預算仍需要依靠委託作品、售賣、資助計劃和捐贈。

即使我們一開始有幸得到很多慈善家支持，我們仍

必須努力尋找新的委託和支持者。在一個體育比藝術更重要，而且不像歐洲有掛毯文化背景的國家裡，我們在

Tapestry sampling: 22 Temenggong Road, Twilight, 2017, Justin Hill, woven by Karlie Hawking, Sue Batten, Chris Cochius, Pamela Joyce, Leith Maguire, Sophie Morris and Cheryl Thornton, 2. 35 x 3. 5m, wool, cotton Photo: Jeremy Weihrauch 為掛毯打辦：《天猛公道 22 號，暮色》，2017，Justin Hill，由 Karlie Hawking, Sue Batten, Chris Cochius, Pamela Joyce, Leith Maguire, Sophie Morris 及 Cheryl Thornton 協助編織，2. 35 x 3. 5 米，羊毛、棉攝影：Jeremy Weihrauch

者之間的關係，尋找新的資金來源，並在國際舞台上建立聲譽。

工作坊的生存取決於我們提起更多人對當代掛毯

的興趣。澳洲掛毯工作坊集中於幾個初創項目，好使世界各地的藝術家、買家、策展人以及對紡織藝術有興趣的人士更認識掛毯這個令人振奮的當代媒介。

我們持續努力改進與國內外觀眾群介紹掛毯和活

動項目的方式。互聯網是一個至為重要的工具，幫助我

們向支持者和新觀眾傳達我們過去和現在正進行的項目，我們的計劃、活動，以及我們的成就。

我們的網頁現正進行重建，使之更容易使用及增加

互動性。我們會在電子報、社交媒體、年報、展覽圖錄和書籍刊登資訊。

活化這古老的藝術媒介上面對很多挑戰。因此，我們有

機構項目：藝術家駐場計畫、編織課程及展覽

安東尼婭．賽姆

需要營造創新的策略以吸納新的觀眾，建立客戶與捐贈

在 2012 年我們成立了一個正式項目，鼓勵當代藝術家

at any stage of their career working with any artistic medium – over the years we have hosted butoh dancers, ceramists, painters, textile and tapestry artists, jewellers, sculptors, architects and photographers. We connect and provide opportunities to artists to engage in different creative experiences. We have an exhibition of the artists’ work the year following their residency, which is always very stimulating. We have regular public tours of the ATW and we open to the public on weekends for special public events (musical performances, fringe theatre, architectural tours, etc.) We run a range of popular weaving classes to encourage people to learn the skills of tapestry weaving. We also run classes in partnership with hospitals’ community outreach programmes. Throughout the year we hold a variety of public exhibitions and talks, which are featured on our website. Tapestries Awards We also have developed a range of innovative programmes and competitions including the Kate Derum and Irene Davies Awards for Small Tapestries. This is an international bi-annual prize, which invites tapestry weavers from around the world to submit small tapestries (30 x 30cm). The exhibitions are very exciting as they celebrate the diversity of contemporary tapestry weaving practices worldwide. We have been thinking differently about ways to engage important potential supporters and clients through the architecture world internationally. Our Tapestry Design Prize for Architects was conceived by former Board Chairman and architect, Peter Williams, as a great opportunity to creatively engage future clients in the exciting possibilities of tapestry as an art form for buildings. Based on the longstanding historical connection between architectural space and tapestry design, the award seeks to foster new creative dialogues between architects and contemporary weavers. In 2015, the ATW Tapestry Design Prize for Architects — inaugurated to actively engage architects with tapestry — was launched, and is the only tapestry prize for architects world wide. It offers the once in a lifetime possibility of having the winning design made into a tapestry in collaboration with our highly skilled weavers. To help promote the prize, we formed a partnership with Australia’s leading architectural publisher and we have been delighted about how enthusiastically the architectural profession has embraced this initiative. The Hancock Fellowship enables us to bring internationally recognised artists, curators and scholars in tapestry and textiles to the ATW audiences and the public. Recent speakers include Sudo Reiko, Dr Élisabeth Taburet-Delahaye and Pae White.

Supporters and Fundraising We have also introduced dinners and events in order to engage leading artists, architects, collectors and business people with the work of ATW as well as to thank our existing clients and donors. We have established an annual fundraising appeal to assist in the support of its creative and public outreach programmes, as well as weaver training and development. We are seeking tax deductibility status in order to better achieve our strategic objectives to support and develop the organisation. We will be introducing a bequest programme to encourage people to leave us a financial gift in their wills. Throughout its 42 years, the ATW has played an important role in integrating the sometimes differing sensibilities of contemporary visual arts, crafts, architecture and design through imaginative expression of the professional interaction that is possible between them. The ATW founders and those who have worked on the loom have had their visions and hopes met and expanded in fascinating and enriching ways. We are committed to collaborate with exciting leading artists and architects, who challenge us and help us to push the boundaries of the tapestry medium, and to ensure that the art of contemporary tapestry weaving is kept alive and thriving for generations to come.

Antonia Syme

和編織者間的文化交流。項目公開予任何資歷及以任何

42 年來，澳洲掛毯工作坊擔當重要的角色，融合

媒介創作的藝術家。多年來我們曾接待舞踏舞蹈員、陶

當代視覺藝術、工藝、建築和設計之間偶或相異的感

建築師及攝影師。我們連繫藝術家，給予他們不同創意

洲掛毯工作坊的創辦人及所有編織者的理想和期望不但

藝家、畫家、紡織和掛毯藝術家、珠寶設計師、雕塑家、體驗的機會。在駐場結束後的一年，我們會舉辦總是充滿啟發性展覽，展出藝術家的作品。

我們定期舉行工作室導賞，週末也會開放予公眾，

舉辦特別公眾活動（例如音樂表演、實驗劇場、建築導

賞團等）。我們開辦一系列受歡迎的編織課程，鼓勵人

知，富想像性地表達他們之間可能發生的專業交流。澳達到，更以豐富而引人入勝的方式擴張開去。

我們銳意與頂尖藝術家和建築師合作，他們挑戰我

們、幫助我們擴展掛毯這個媒介的界限，以確保當代的掛毯藝術保持活力並世代相傳。

們學習編織掛毯的技術。

我們也與醫院的社區項目合作舉辦課程。每年我們

都會舉辦不同類型的公開展覽及講座，並上載在我們的網頁上。

掛毯獎項

我們也發展出一系列創新項目和比賽，包括「Kate

Derum 與 Irene Davies 小型掛毯獎」。這是一個國際雙年獎，邀請全球掛毯編織者提交小型掛毯（30 x 30 厘

米）參賽。這些展覽十分精彩，因為他們展示了世界各地編織當代掛毯做法的多樣性。

我們一直思考如何吸引國際建築界中可能會支持

我們的人士和客戶。我們的「建築師掛毯設計獎」由前董事會主席及建築師 Peter Williams 構思，是一個極好

的機會利用創新的方法向未來客戶介紹掛毯作為藝術媒

介為建築物帶來的可能性。基於建築空間及掛毯設計之間歷史悠久的連結，此獎項期望培養出建築師及當代編織者間新的創意交流。

2015 年，澳洲掛毯工作坊的「建築師掛毯設計獎」

成立，目的是主動將建築師與掛毯連結，它亦是全球唯

一頒予建築師的掛毯獎項。獎項提供極難得的機會，讓

得獎者可以與我們技術高超的編織者合作將設計製成掛毯。

為了宣傳獎項，我們與澳洲頂尖的建築出版社合

作，而我們也樂見建築界如此歡迎這個企劃。

The Hancock Fellowship 讓我們可以把國際有名

的紡織和掛毯藝術家、策展人及學者帶給澳洲掛毯工作坊的觀眾和公眾。近期講者包括須藤玲子、Élisabeth Taburet-Delahaye 博士及佩 • 懷特（Pae White）。支持者與籌款活動

我們亦舉辦晚宴和活動，讓領軍藝術家、建築師、收藏

家及商界人士認識澳洲掛毯工作坊的工作，並感謝我們現有的客戶和捐贈者。

我們建立了年度籌款以支持我們的創意及公眾外展

項目，還有編織者訓練和發展。我們尋求減稅資格，好達到我們的策略性目標以支持及發展機構。我們即將設

立一個遺贈計劃，鼓勵人們在遺囑中留下資金贈予我們。

安東尼婭．賽姆

WHY TIKAR? Brief Notes on Works, Contexts and Works-in-Progress, 2018– 2019 為甚麼 TIKAR？關於作品、背景和製作階段 2018– 2019 Yee I-Lann (Kota Kinabalu, Sabah) 于一蘭（沙巴亞庇）

Yee I-Lann lives and works in Kota Kinabalu. Her art practice addresses issues of culture, power and the role of historical memory in our social experience. Exploring such layers of meaning necessitates an extensive and multilayered visual vocabulary drawn from research, historical references, popular culture, archives and everyday objects. She presents her latest projects incorporating indigenous media, such as bamboo, mengkuang and pandanus weaving and observes how conversations on and around making can reveal underlying and overlooked connections within and between cultures. 于一蘭現於沙巴居住和工作，她的藝術帶出了文化、權力以及歷史記憶在社會

經驗中所扮演的角色等議題。要探討如此層層堆疊的意義，需要從研究、歷史參照、流行文化、檔案和日常物品等面向，汲取大量且多層次的視覺詞彙。

在她的演講中，她展示了她近年的創作，作品結合原住民工藝媒介，包括竹

子、露兜樹及葉子編織等的工藝技法，並觀察在製作過程中如何揭示文化之間被忽視的潛在聯繫。

Yee I-Lann

This family snapshot was taken by my father in 1974 at my grandmother’s village, Kampung Nambazan in Sabah, during the Kaamatan Harvest Festival. That’s me, third from left, mouth open, fascinated by the performance before me. That’s my sister being lifted. My grandmother is the woman at the centre by door, facing the camera. She used to weave mats 這張家庭照是家父在 1974 年，在我祖母沙巴的村莊 Kampung Nambazan，在 Kaamatan 豐收節期間拍攝的。左起第三個是我，對眼前的表演看得目瞪口呆。被抱起的是我的妹妹。門口中心面對著鏡頭的女人士是我的祖母，她以前是編織墊子的

于一蘭

Tikar is a traditional, utilitarian object found across the Nusantara region. Tikar is the common Malay lingua for a woven mat. As an object it is often dismissed for being a commonplace household item. The tikar is not a sacred object in itself, but it can become thus when signified through ritual and assigned meaning. I see the woven tikar mat as architectural, providing performative space. When laid out on the ground, it invites a gathering of some sort, provides a platform or stage, a demarcated space for communal interaction. The tikar can be activated as a kind of cultural portal when used in ritual performance or festivities. The tikar is also used to wrap a body for burial, the most intimate of roles. Tikar is primarily communally made, used and sold by women. The tikar is associated with domesticity as well as domestic economy; it involves intimacy, comfort, familiarity, as well as utility related to chores or work, such as fish and chilli-drying. It is also slept on, when and where it provides a dream time-space. The tikar is an heirloom replete with local knowledge: in its preparation, patterns are passed down through generations of women; as storytelling, it contains narratives, holds memory; as capital, it is an object of income, often made for barter and trade; as cultural significance, it may act as a billboard of cultural heritage and pride; it can be 'read' as a map that is both geographical and cultural, describing a place, the geographic vegetation of its making, the peoples from its community of origin, as well as its relationship to landscape. Through its familiarity and a general understanding, we can know tikar without conscious learning, reflecting a ‘genetic memory’ operating on multiple spatio-temporal registers, perspectives and aesthetics. It is an impressive mnemonic trigger that is also a portal and an interstitial weave between cultural interchange, modernism, historiographies. I have recently moved back home to Sabah. I need to find my tikar, my platform, my community to commune with again. After living and working in Kuala Lumpur for more than 20 years, this body of work on tikar is also about finding ways to assert resistance to the homogenisation and assimilation into the dictated and state-sanctioned Malaysian cultural and personal identity. This body of work claims and celebrates communities and their geographies, often at the peripheries, that give shape to the centre. But we all know tikar. Tikar A-Gagah: Introduction Tikar A-Gagah is a giant two-sided tikar mat.1 The monochromatic split bamboo weave of the Dusun/Murut land peoples of inland Keningau district forms the base of the giant mat. When hung lengthways from the ceiling, this faces inwards

towards an intimate space encouraging close proximity to detail. The colourful pandanus weave of the Bajau Laut/Sama DiLaut sea peoples of the Sulu Sea and Semporna coastal district is woven into the outward facing side of the mat, towards the National Gallery Singapore foyer void space, forcing viewing from a distance. The two (geographic) sides remain distinct but are intrinsically woven together into a single twosided mat. Although indigenous communities are incredibly diverse and distinct, in generalised ways, there has been animosity between the land indigenous and the sea indigenous across Southeast Asia for centuries, but this is especially prevalent in Sabah. Exacerbated through the colonial period, this animosity carries through to modern day and encompasses geopolitical issues and identity politics. In the Malay language, tanah means land or earth and air means water or sea. When these two words are conjoined as a compound word tanahair, the meaning changes to become the word for homeland. TanahAir however was a term invented by Dewan Bahasa Pustaka (Malaysia’s Institute of Language and Literature est. 1956) after the English word ‘homeland’, soon after Malaysia's independence from the British to accommodate notions of nation-state modernity under the climate of decolonisation and the rise of nationalism (Leow 2016). This constructed TanahAir homeland was essentially linguistic manipulation not dissimilar to manipulative use of the census, map, mass media and museum, as described in Benedict Anderson’s Imagined Communities, to make diverse people feel like they cared for one another and belonged to each other (Anderson 1983). Notwithstanding sweeping nation-building statecraft, I am zooming in to a very local reality, countering these national frameworks to find alter(-) native relationships in our ‘Zomia’ (Scott 2009). Sabah has always had a somewhat uneasy relationship as a state under the Federation of Malaysia, feeling forced subservience to a dominant centre. This is also personal. I know Sabah will only find peace when the land indigenous and the sea indigenous come together. Accusations of alleged Federal Malaysia social demographic manipulations in Sabah (see Projek IC) and massive undocumented stateless populations have made this issue highly contentious, political and current. Alongside those concerns, in the age of climate change and the Anthropocene, community and sustainable community-driven solutions are everything. These weavings, to be made entirely by women, will stimulate local and household economies. The project hopes to empower communities and encourage the celebration of Sabah’s indigenous crafts and craft makers, whilst inspiring innovation and artistry. I hope to contribute to sustainable revival within the rural and urban crafts as a means to support art-making in Sabah at large.

Yee I-Lann

Tikar 是馬來群島區域一種傳統的用品。Tikar 在通俗馬

來語解作織墊。它雖然本身是一個不具神聖意義的家居用品 , 其意義卻可透過儀式昇華。

我從建築的角度去閱讀織墊，它帶來了表演空間。

把它攤放在地面，便會成為一個平台或舞台，邀請大家

我們沒有刻意學習織墊，就自然產生熟悉和建立一

般理解。它寄存了多元時空、觀點和美學操作的「遺傳記憶」。這是一個精彩的記憶輔助器，也是通往交織文化、現代主義、歷史學的一扇門。

我近來搬回了沙巴，皆因需要與我的織墊、平台和

在空間裡聚首互動。當織墊用於儀式表演或節日時，它

群體再次交流。在吉隆坡生活了 20 多年之後，這一系列

的屍體。

人身份的同化所作出的抵抗。這作品宣告並歌頌社群及

便象徵了一扇文化窗口。織墊最貼身的用途是包裹下葬通常織墊由女性集體製作、使用和銷售。織墊與

家居和家庭經濟息息相關。它是親密的、舒適的、熟悉

的，亦是家務或工作的用品，如晾曬魚乾和辣椒。我們可以在織墊上睡覺，發個好夢。

織墊是一個裝滿在地智慧的傳家寶。各種圖案透過

編製織墊而在一代代婦女間承傳。它包含敘事、保存記

織墊作品是對應正被國家機器灌輸的馬來西亞文化和個其地區，要知道中心其實是由這些周邊地區所塑造。但我們都知道織墊。

Tikar A-Gagah：簡介

《Tikar A-Gagah》是一張大型雙面織墊。

根地咬內陸地區杜順／姆律的村民製作的純色竹

憶、述說故事，也是資本，透過以物易物或買賣月帶來

織物是這大型織墊的主軸。從天花板橫向懸掛時，這一

示牌。它是一幅記載了地理和文化的地圖，我們可以了

本那沿海地區的薩馬 - 巴瑤族民的露兜樹彩色織物加入

收入。它有文化意義，可視為文化遺產和引以自豪的展解其來源地及當地植物、社區的人文風景，以及它與山水之間的關係。

面朝向一個私密的空間，讓細節一覽無遺。蘇祿海和仙

墊子的外面，朝向美術館大堂空間，觀眾只可遠觀。兩種截然不同的（地理）平面，被編織在一起形成一張雙面墊。

雖然每個原住民社區各具特色，但在過去幾百年，

東南亞陸地和海島原住民之間存著敵意，在沙巴尤為普

遍。在殖民時期情況加劇，這種爭執持續到現代，形成地緣和身份政治問題。

馬來語「tanah」意思是陸地或土壤，「air」意思是

水或海洋。當這兩個字複合成「tanahair」時，就會變成家鄉的意思。然而，Dewan Bahasa Pustaka（馬來西亞語言文學研究所，1956 年成立）在馬來西亞獨立

於英國以後，為了取代英語單詞「homeland」而發明了 tanahair 一詞，以配合去殖民化和民族主義的興起

（Leow 2016）。

新造詞彙 tanahair 對照家園一意實際是語言操

縱，與本尼迪克特 · 安德森的「想像的共同體」中，人類利用人口普查、地圖、大眾媒體和博物館的模式大致

相同，以使不同的人相信大家彼此關心並且屬於彼此

（Anderson 1983）。

儘管國家有徹底的治國方針，我反而微觀本土現

狀以抗衡國家定下的框架，在我們的「贊米亞」（原意是指坐落東南亞的一個山區地域）中尋找另類原意（Scott

2009）。沙巴作為馬來西亞聯邦的一個州，總有被迫服 Homemade plain tikar bundusan or tikar bemban seen in these snapshots are like the ones my grandmother used to weave. These mats demarcated space for the Kadazan (land indigenous) Kaamatan Harvest Festival Magavau ritual performed by Bobohizan high priestesses. Family snapshot taken by my father in 1981 從這些照片中看到的自家製 tikar bundusan 或葛藤織墊，就像我祖母以前造的那些。這些墊子劃定了由卡達山（陸地原住民）杜順族高級女祭司主持的豐收節馬嘎哇儀式的範圍。照片由家父於 1981 年拍攝

從中央的感覺。

這也是個人情意。我知道除非陸地和海島原住民能

和平共處，否則沙巴難有寧日。馬來西亞聯邦政府被指控操縱沙巴社會人口統計（參見 Projek IC），加上大量無證件無國籍人口湧現，使這個當下的政治問題極具爭議性。

除了以上問題，在氣候變化和人類世，社區及其可

于一蘭

To place this work into the NGS foyer is a means to (re)claim indigenous voices, memory and mediums within the largest art gallery of Southeast Asian modern art. Tikar A-Gagah is a site-specific artwork commissioned by the National Gallery Singapore for its new artwork commissioning series titled OUTBOUND and which is to be installed in one of the major foyers of the National Gallery Singapore in late 2019. The photos that follow are work-in-progress images documenting its creation. Tikar A-Gagah: Notes on First Steps TANAHAIRKU (#01) (2018), part of four initial test pieces made in Sabah with Sabahan craftspersons, is also the first work made since moving back home to Sabah. This has been a very significant personal shift. Tanah (earth/land) and Air (water/sea) when conjoined become Tanahair, meaning ‘homeland’. I want us to reclaim what tanahair can mean for ourselves. This work also experiments with testing the translation of digital pixels into woven ones. This translation carries concepts of modernism and language into the woven design. This two-sided weave has the letters appearing in black on one side, and on the reverse side, natural upon natural. The black ‘pixels’ appear less dense as they are interwoven with naturally coloured split bamboo. MEJA (2018); a table on a mat can be 'eaten' by the mat, like a stone by paper in ‘rock scissors paper’, or when my open hand encloses your closed fist. The table in the mat becomes a shape, a presence, a haunting. The mat and the table become portals across times. Historically and traditionally we didn’t have tables (or chairs) in the Nusantara Malay speaking archipelago. The closest objects resembling a table were the pelamin, a raised platform, on which a Sultan sat in an elevated position (on a mat). Accompanying the Sultan would be a dulang, or an elevated tray, usually containing wedding gifts or betelnut paraphernalia for an elite person. Private and public affairs, certainly for indigenous groups, were usually carried out sitting on a mat on the ground. This is still the habit. In my contemporary experience in Sabah, I have come to equate the table less with knowledge than with the violence of administrative power: the census, education curriculum, national cultural policies, the tender of commerce, subjugating people to be literally beneath the table of power and exercised control. It is telling that the Malay word for table is meja from the Portuguese mesa. The table in the English language is used in common idioms to connote instances of power and decision-making, sometimes as an enabler and other times as a veil or divider: being at the table; tabling something; under the table; crumbs from the rich man’s table; laying cards on the table; putting food on the table; taking

something off the table; turning the tables. KIPAS (2018) means ‘fan’ in Malay. The heat is turned and turned; folded. The outside shimmers, framed by shadows. Friends, sweat, gossip, hope, despair, love, a slap on the back. Light swings, turns, folds, catches here, catches there, an elegance, a coarseness, familiarity. Shadows creeping in. Space turns over spinning, dizzying familiarity; with friends, on the ground, spinning, spinning swallowed into memory. Nantuapan, also known as the aramaiti design, tells the story of a girl who loved weaving this design so much that she stopped eating. She would weave day and night until she became ill like a mad pig. Aramaiti in the Kadazan Dusun language means friends coming together to drink for a sharing session, much like therapy and/or having a festive good time together. Now, this term is often used as ‘cheers’ over a drink.

The nantuapan design motif used for KIPAS (Suimin 2010) 用於《KIPAS》的 nantuapan 設計圖紋（Suimin 2010）

Yee I-Lann

持續解決方案是王道。這些織物由婦女一手包辦，可刺

孩為編織執迷，茶飯不思。她會不分晝夜地編織，後來

品，同時引發新的創作意念。我希望為農村和城市工藝

聚首一堂，就像一起慰藉／一起享受節日良辰美景。現

激當地和家庭經濟。此計劃旨在推動沙巴的本土手工藝的持續復興出一點力，以支持沙巴藝術創作的風氣。

把這作品放在新加坡國家美術館大堂，旨在於東南

瘋了。Aramaiti 在卡達山杜順語意味朋友聚在一起喝酒，在，這個用詞也經常在暢飲時用作「乾杯」。

亞最大的現代藝術空間內（重新）塑造原住民聲音、記憶和媒介。

《Tikar A-Gagah》受新加坡國家美術館 OUTBOUND

計劃委託，將於 2019 年年底裝置在新加坡國家美術館的大堂。以下照片紀錄此作品的製作過程。 Tikar A-Gagah：關於開端

（2018）是在沙巴與當地工匠一《TANAHAIRKU（＃01）》起製作的 4 件初步測試件之一，也是我回到沙巴後的第

一件作品。對我來說，這是一個很大變化。Tanah（土

壤／陸地）和 Air（水／海）合併成 Tanahair，意為「家

園」，我則希望我們能為 tanahair 重新詮釋。這作品還

嘗試將數碼翻譯成編織物，這種轉化將現代主義和語言

的概念融入到編織設計中。這雙面的編織物正面呈現黑字，而在背面則是純色。當與天然色的竹蔑交織在一起，黑色「像素」看起來沒那麼密集。

《MEJA》（2018）；地氈可以「吃掉」它上面的桌子，

就像「包剪揼」（石頭剪刀布）中的包（布）一樣，或者

像我張開手把你的的拳頭包起來。地氈中的桌子變成了一個形狀，縈繞的幽靈。地氈和桌子變成時空門。

MEJA, 2018 Yee I-Lann with weaving assistance from Lili Naming Split bamboo pus weave, Kayu Obol black natural dye, clear PVC glue, Velcro 126 x 171cm 《MEJA》，2018 于一蘭，Lili Naming 協助編織竹織物，木薯黑色天然染料，透明 PVC 膠水，魔術貼 126 x 171 厘米

在歷史和傳統上，我們在馬來群島語的區域沒有桌

子（或椅子）的概念。最接近桌子的物體是權貴坐在凸起台上的矮沙發（放有墊子），旁邊有個高身托盤，上

面通常放着送給權貴的結婚禮物、檳榔用具。原住民群

體的公私大小事務大都在地上的墊子進行，這習慣仍保留至今。

在沙巴的經驗令我把桌子與行政暴力掛鈎，與知識

偏離：人口普查、教育課程、國家文化政策、商業招標，人民受控於這「桌子」代表的一切權力和所行使的控制。馬來語中的 meja 是來自葡萄牙語 mesa。英語中不少與桌子有關的常見習語象徵權力和決策，有時意為推動

者，有時作為蒙蔽或分隔者。例如：放上／下［談判］桌、

［把事情］擱置桌上、桌下交易、富翁桌上的餅屑（不公平分配）、桌上攤牌、把食物放上餐桌（求謀生計）、桌面轉向（形勢逆轉）。

《KIPAS》（2018）是馬來語「扇」的意思。

熱力幾經翻滾 ; 折疊。外面閃閃發光，被陰影包圍。

朋友、汗水、是非、希望、絕望、愛、讚賞。輕輕的搖

擺、轉動、折疊、捕捉這裏、捕捉那裏、優雅、粗獷、熟悉。陰影悄悄進入。空間轉動旋轉，令人目眩的熟悉感；與朋友一起、在地上、旋轉、旋轉、被記憶吞噬。

Nantuapan，又稱為 aramaiti 設計，講述了一個女

Weaving collaborator, Lili Naming, with embroidered artwork label Lili Naming 協助編織，附有刺繡藝術品標籤于一蘭

KIPAS, 2018 Yee I-Lann with assistance from Julitah Binti Kulinting Split bamboo pus weave, Kayu Obol black natural dye, clear PVC glue 126 x 171cm

《KIPAS》，2018 于一蘭，Julitah Binti Kulinting 協助竹織物，木薯黑色天然染料，透明 PVC 膠水 126 x 171 厘米

Yee I-Lann

TANAHAIRKU (# 01), 2018 Yee I-Lann with weaving assistance from Julitah Kulinting, Lili Naming and Juraen Sapirin, Shahrizan Rupin (Keningau) Split bamboo pus weave, Kayu Obol black natural dye, clear PVC glue 160 x 250cm

Detail of weave

《TANAHAIRKU（# 01）》，2018 于一蘭，及來自根地咬 Julitah Kulinting、Lili Naming 和 Juraen Sapirin、Shahrizan Rupin 協助編織竹織物，木薯黑色天然染料，透明 PVC 膠水 160 x 250 厘米

局部于一蘭

Tikar A-Gagah: Notes on Contexts I first visited the Pulau Maiga area as an adult in 2007 when these photographs were taken. As a restricted marine reserve, the area was closed to tourism. I went with Sabah Parks staff. The only people who lived in the area were nomadic seafaring Sama DiLaut/ Bajau Laut peoples. It was also the first time I met Sama Bajau tepo (tikar) weavers. This area has since been opened to tourism. When I visited Pulau Maiga in 2018 there were 28 speed boats with tourists parked at this beach for snorkeling. The houses had moved onto land. The Sulu Sea is the point at which colonial forces of Spanish and American Philippines met Dutch Kalimantan met British North Borneo, where a millennia of Chinese trade met local ruling Sultanates and Chieftains, where sea and land indigenous peoples – where Catholicism, Islam and animism abutted. Contemporary borders between the Philippines, Indonesia and Malaysia date to just over 50 years, born through pain and the ‘Confrontation’ years of territorial dispute. Semporna town and the Sulu Sea area has since endured decades of security unrest, including kidnappings, Abu Sayyaf terrorism and problems

related to undocumented statelessness. This is a haunted sea, barred to the world by the currents of politics and prejudice. As a Sabahan it frustrates me when Kuala Lumpur, Manila and the world speak over, or worse, ignore completely, the local and Sabahan voice on Sulu. Pulau Omadal Island comprises of three Bajau Tempatan villages and a medium sized Sama DiLaut/ Bajau Laut water village. The island has three mosques, a police post, a government school, a century old cemetery and a tiny museum run by Kak Roziah’s husband. Kak Roziah (Bajau Tempatan) runs a women’s organisation called ‘Wanita Pulau Omadal – WAPO’ on the island, empowering Bajau Tempatan and Sama Bajau women through craft production as an alternative livelihood. WWF runs a turtle conservation programme on the island.

Pulau Maiga, Tun Sakaran Marine Park, Sulu Sea, Sabah ( 2007) 沙巴蘇祿海邁佳島，敦沙卡蘭海洋公園（2007）

Yee I-Lann

Tikar A-Gagah：關於背景

這些是 2007 年拍的照片，那是我成年後首次到訪邁佳

島地區。那是海洋保護區，不對遊客開放。我跟沙巴公園的工作人員同行。該地區的唯一居民是海島游牧民族

薩馬 - 巴瑤族。那亦是我第一次見到薩馬族織墊工匠。後來該地區已對外開放，2018 年再到訪邁佳島時，我看見有 28 艘載有遊客的浮潛用快艇停泊在海灘，房子移徙到內陸。

蘇祿海是一個交匯點 ─ 菲律賓的西班牙及美國

殖民勢力遇上加里曼丹的荷蘭人，遇上北婆羅洲的英 Sama DiLaut / Bajau Laut water village at Pulau Omadal, Semporna, Sabah ( 2019) 沙巴仙本那奧瑪多島的薩馬 ── 巴瑤族水上村（2019）

國人，遇上數千年的中國貿易和當地的蘇丹國和酋長，遇上海陸的原住民族 ─ 天主教派、伊斯蘭教和泛靈論交匯。

菲律賓、印尼和馬來西亞之間的現有邊界可追溯

到 50 多年前，誕生於充斥著痛苦和領土爭端的「對抗」年代。此後，仙本那鎮和蘇祿海地區經歷了數十年的動

盪，包括綁架、阿布沙耶夫恐怖主義和與一些鮮有報道的無政府狀態。

這片海暗湧處處，被政治和偏見的潮水阻隔。

作為一名沙伯人，無奈被吉隆坡、馬尼拉和全世界

的聲音掩蓋，更糟的是，沙巴人對蘇祿的意向完全被忽視，這讓我沮喪不已。

奧瑪多島由三個巴瑤族村莊和一個中型的薩馬 - 巴

瑤族水上村組成。島上有三間清真寺、一個警崗、一所 Dinner being prepared at Kak Roziah’s house ( 2019) 在 Kak Roziah 的家準備晚餐（2019）

公共學校、一個有百年歷史的墳場和一家由 Roziah 姨姨的丈夫經營的小型博物館。

Roziah（巴瑤族）在奧瑪多島上有一個名為 WAPO

的女性組織，旨在推動工藝生產作為另類生計，為巴瑤族和薩馬 - 巴瑤族的婦女帶來自主。世界自然基金會在島上有一項海龜保育計劃。

Century old Bajau Laut cemetery on Pulau Omadal 奧瑪多島上巴瑤族的百年墓地

于一蘭

Tikar A-Gagah: Notes on Collaborators

Tikar Tabled is a work in progress exploring how to describe diﬀerent knowledge systems interacting

Keningau primary community collaborator: Kak Julitah Kulinting. Dusun, Batu Lunguyan 根地咬主要社區夥伴：Kak Julitah Kulinting （Batu Lunguyan 杜順族）

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《Tikar Tabled 》是一個仍在進行的作品，探討不同知識系統的互動

Semporna Project Field Coordinator and Assistant : Rozaliah Binti Mohktar (Anthropology Masters student, University of Malaysia Sabah) (L), Yee I-Lann 仙本那項目當地統籌和助理：Rozaliah Binti Mohktar（馬來西亞沙巴大學人類學碩士生）（左）、于一蘭

Yee I-Lann

Tikar A-Gagah：關於合作夥伴

I-Lann and Kak Roziah from Pulau Omadal in I-Lann’s Kota Kinabalu KOTA-K studio with Tikar Tabled initial tests on wall

Semporna primary community collaborators: Kak Roziah (L), Bajau Tempatan, Pulau Omadal Makcik Indah Laiha (R), Sama DiLaut, Pulau Omadal. Sadly Makcik Indah Laiha passed away on 8 March 2018 仙本那鎮主要社區夥伴：Roziah 姨姨（左：奧瑪多島巴瑤族人）、 Indakliyah 婆婆（右：奧瑪多島薩馬族人，於 2018 年 3 月 8 日離世）

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來自奧瑪多島的 Roziah 姨姨與一蘭在其亞庇的 KOTA-K 工作室為《Tikar Tabled》初步測試

16 May 2019. The Tikar being passed to the Keningau weavers Kak Siat, Kak Julitah and Kak Lilli at the Yayasan Sabah Pusat Krafttangan Handicraft Center. They weave split bamboo in the (inland) Dusun/Murut style. The PVC full scale print acts as a pattern. They are somewhat overwhelmed by the scale but are excited by the challenge. In this photo they are discussing weaving techniques and how best to transition from one pattern to another as embedded within the overall design. 2019 年 5 月 16 日。我們把織墊送到沙巴基金會手工藝中心的根地咬織工匠 Siat 姨姨、Julitah 姨姨和 Lilli 姨姨。他們以（內陸）杜順／毛律族風格製作竹織物，以 PVC 全幅印花作圖案。他們為作品的巨大尺寸感到既緊張又興奮。在這張照片中，他們正在討論編織技術以及花紋設計的變化于一蘭

Tikar A-Gagah: Images The Pulau Omadal community took charge in how the project was documented. I passed them a camera and they took these photographs with that or with Kak Roziah’s mobile phone. I wanted them to feel comfortable with documentation photographs especially as much of the weaving was done in their personal homes. They had control over what the camera captured.

Photos courtesy: Pulau Omadal community

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圖片提供：奧瑪多島社群

Yee I-Lann

Tikar A-Gagah：影像

奧瑪多島社群負責記錄此計劃。他們用我給他們的相機，或 Kak Roziah 的手機拍了這些照片。我希望他們在鏡頭前特別是在家中編織時感到自在，他們也可決定鏡頭拍攝的影像。

Photos courtesy: Pulau Omadal community

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圖片提供：奧瑪多島社群于一蘭

Tikar A-Gagah: A Diary in Photos (adapted from original Instagram posts): 18-26 April, 2019. Pulau Omadal 18 April 2019 A sneak peek of our team: weavers led by Kak Roziah. We’ve been working together for a year now, we first met in May 2018 but started on this tepo on Nov 2018 so this mat has taken about six months with 14 women from the community + Roza + me. 16 of us working on it in total. I am deeply grateful to Kak Roziah. She’s an amazing woman on Pulau Omadal, the one wearing a tudung. She runs the turtle conservation program here for WWF & WAPO the women’s organisation, their handicraft center on the island, is a master weaver & organises all the other women. She’s fierce and takes no crap, she’s deeply empathetic and cooks for many and most visitors. Today’s lunch was deep fried crumbed prawns, smoked barbecued tuna, crab & corn soup and veg, she’s the one everyone goes to with their issues, she’s tiny and comes up to my shoulder and I’m tiny, she’s a doer and a hero. Put more women in charge of everything. Kak Roziah is the epitome of the consummate multitasker. She’s amazing. This tikar tepo is not yet done, halfway there. This is woven pandanus and mengkuang. Next we go to Keningau where Keningau weavers will also be weaving into the mat with bamboo. Orang Tanah and Orang Air our TanahAir. This is a commission project for National Gallery Singapore OUTBOUND program. My collaboration with the Omadal women continues with several projects on the go. Today we also spoke about planting pandanus and mengkuang around the outlaying surrounding islands replenishing and encouraging careful sustainable regeneration of their primary raw materials. They have their own cultivated pandanus and mengkuang grove on the island and are also encouraging neighbouring Bajau Laut communities to plant pandanus and mengkuang as a potential income supplement. My learning curve guided by these women has been huge. I’m so so grateful to them. This tikar is only partially completed. It has now been handed over to Dusun Murut weavers of Keningau under Kak Julitah’s team leadership. The Keningau weavers will add to the colourful front of the tikar and weave the reverse design. Pak Haji conducting a Doa Selamat thanksgiving for the tikar before it is handed over to the Dusun Murut weavers of inland Keningau.

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Kak Budi (left) with her daughter. We are gathered in her home. The plain mat is made by her. Only plain mats are used in ritual. Kak Budi made the small colourful play mat for her daughter Budi 姨姨（左）和她的女兒，攝於她家。那些純色織墊是她造的，只有純色墊子可以用於儀式，Budi 也有為女兒造了小塊彩色遊戲墊

Kak Sanan with I-Lann. Kak Sanan wears a traditional Sama DiLaut / Bajau Laut baju to represent sea peoples of Sabah, I wear a Kadazan baju to represent land peoples of Sabah. Together we are whole Sanan 姨姨和一蘭。Sanan 穿著傳統的薩馬 - 巴瑤族上衣來代表沙巴海島居民，我穿著卡達山上衣來代表沙巴內陸居民。我們如一

Yee I-Lann

Tikar A-Gagah：照片中的日常（取自 Instagram 帖子）： 2019 年 4 月 18 日至 26 日，奧瑪多島 2019 年 4 月 18 日

這是我們團隊：以 Roziah 姨姨為首的織匠。我們在 2018 年 5 月首次見面，至今已經合作了一年。但我們認識了半年後，即 2018 年 11 月才開始這個作品，這個墊子花了大約六個月的時間、來自社區的 14 名女性，加

上 Roza 跟我的共同作品，一共十六人。我非常感激 Roziah 姨姨，她是奧瑪多島戴著穆斯林頭巾的一個了不

起的女人。她專責島上世界自然基金會舉辦海龜保護計劃，和婦女組織 WAPO 手工藝品中心。她是一名織布大師，把其他婦女組織起來。她很強悍，廢話不說，但非

常善解人意，很多時為很多旅客做飯。是日午餐是炸蝦仁、燻烤吞拿魚、粟米蟹湯和蔬菜。Roziah 樂於為他人解決問題。她比我還嬌小，只到我的肩膀。她是一個行

動力高的英雌，她讓女性負責一切。Roziah 是一個多工執行者的完美體現，她太棒了。

這個織墊仍有待完成，是露兜樹和假菠蘿的編織

品。接下來我們去根地咬，當地織匠也將用竹子編織到 Both sides of tikar with Pulau Omadal Sama Bajau water village in the background 織墊的背面以奧瑪多島薩馬 ── 巴瑤族水上村作背景

墊子裡。內陸人和海島人是我們的家園，這是新加坡國家美術館 OUTBOUND 計劃的委託項目。我與奧瑪多島

婦女們繼續合作，有幾個項目在進行中。今天我們談到

在外島周圍種植露兜樹和假菠蘿，以推動他們的原材料持續再生。他們在島上有自己種植的露兜樹林，並鼓勵鄰近的巴瑤族社群也一起種植來補助生計。我在這些女性的指導下獲益良多，心存感激。

這張織墊暫時完成了一部分，目前已在 Julitah 姨

姨的領導下、交給根地咬杜順／姆律族織匠負責，他們將為織墊的正面添上色彩，並會編織背面。

Haji 伯伯把織墊交給內陸根地咬的杜順／姆律族織

匠之前，為它進行了祈福儀式。

Views of Pulau Omadal Sama Bajau water village 奧瑪多島薩馬 ── 巴瑤族水上村的風景

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于一蘭

24 April 2019 Happinesses!!! We presented our tikar at the International Bajau Conference at Tun Sakaran Museum in Semporna yesterday! I can’t tell you how much relief I have to have the approval of the Bajau academic community before we continue with the project in Keningau then on to the foyer of the National Gallery Singapore for their OUTBOUND initiative. I am very fond of this Conference, I attended last year and it is where I met my assistant Roza. It is expected to be installed at National Gallery Singapore in November, all going well and if we can finish in time, only halfway there at the moment. Saturday morning we are going to try opening the mat in front of the lepa lepa boats at the Lepa Regatta (traditional Sama Bajau Laut houseboats like the one here in museum foyer). It’s all been a bit last minute and I am very thankful our mat is considered for presentation when we weren’t part of the official programming, I do feel like a bit of a gate crasher to the party but we’ll try our luck where we can. I’m so hungry and greedy to show this mat on home turf and for local community blessings before we continue and go forth.

26 April 2019 FRICKEN BEAUTIFUL!!! The Bajau Laut lepa lepa boats have started coming in, soon the harbour will be full of these incredible houseboats. Sabah Parks has agreed in principle to our pandanus and mengkuang planting program on the islands, will work out details after the Regatta. We open tikar at their tent then will drama drama walk down to the Dataran Lepa open area marina in front of the Lepa boats and strike a pose with our tikar. This journey continues on.

The foyer of the Tun Sakaran Museum in Semporna Sabah. That is a Sama Bajau Laut lepa lepa houseboat in the background with a Sambulayang ﬂag, from which is derived the far left motif in our tikar 沙巴仙本那敦沙卡蘭博物館的大廳。那是薩馬──巴瑤族 lepa lepa 船屋，背景有一張航海旗 ( 後來啟發了我們的織墊最左邊的圖案 )

Thrilled to have the Igal Igal dance to a female-led Kulintangan orchestra performed by UMS students on our mat 在我們的織墊上，馬來西亞沙巴大學學生表演 Igal Igal 舞蹈，配上以女性演奏的排式座鑼民族樂器

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Yee I-Lann

2019 年 4 月 24 日

很高興！我們昨天在仙本那敦沙卡蘭博物館舉行的國際

巴瑤族會議上，展示了我們的織墊！在我們繼續根地咬的項目之前獲得巴瑤學術界的認同，再到新加坡國家美

術館的大堂實現他們的 OUTBOUND 計劃，我為此感到非常欣慰。我對這個會議充滿期待，去年我在這裡遇上

了我現在的助手 Roza。我們預計 11 月設置在新加坡國

家美術館，希望一切順利和能夠及時完成，因為目前只到一半。星期六早上，我們將嘗試在彩船節（傳統的薩

馬 ── 巴瑤族住家艇，在博物館大廳就有一艘）的船前

打開墊子。這一切有點匆忙，雖然我們不是官方節目之

一，我卻慶幸我們能夠臨時加入，我們儘管碰碰運氣，我衷心渴望在家鄉展示織墊，獲得當地社群的祝福，再向外出發。

2019 年 4 月 26 日

嘆為觀止！巴瑤族彩船已經開始進入海港，很快這裡將泊滿很棒的住家艇。沙巴公園大致上同意我們在島上種

植露兜樹和假菠蘿，細節待定。我們在他們的帳篷裡打

開織墊，然後大搖大擺走到泊岸的 Dataran Lepa 空地，並和我們的織墊合照。旅程繼續進行。

Makcik Bilung, Kak Roziah, I-Lann, Kak Nurbaya and Kak Budi at our launch for the wider Sama DiLaut / Bajau Laut community at the Lepa Lepa Regatta, Dataran Lepa Marina, Semporna. The mat is now folded to be sent to Keningau to Dusun Murut weavers waiting (nervously) there

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Bilung 婆婆、Roziah 姨姨、一蘭、Nurbaya 姨姨及 Budi 姨姨在仙本那的彩船節。墊子已摺好，並將送到位於根地咬的杜順／毛律族織匠，他們正翹首以待

于一蘭

24 January 2018 On the occasion of the passing of Ursula K. Le Guin and in relation to Untitled (Self-Portrait) I love & live by Ursula K. Le Guin’s ‘The Carrier Bag Theory of Fiction’ expanded beautifully by another fav writer feminist scientist philosopher Donna Haraway in her recent book Staying With The Trouble. In the patriarchal world of the phallic pen and gun, we need to rebalance and emphasise our carrier bag, our vessel in which we carry our communities, all pains, all joys. Everything. Each in relation to/with other. This vessel is the strength of the woman in the patriarchal world. Staying with the troubles, not dismissing, belittling or shooting troubles down, but staying with, addressing and carrying them for whole solutions in the age of the Anthropocene and climate change. It’s so friggin’ beautiful. The basket is also a vessel, this basket is a weave; weave brings the perpendicular and the parallel together and makes something of it.

Mt Kinabalu as seen via the domestic ﬂight between West and East Coast Sabah (I call Mt Kinabalu my compass to home)

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OUTBOUND is a series of art commissions by National Gallery Singapore for various public sites at the Gallery so as to trigger unexpected but meaningful art encounters outside exhibition galleries. This series is part of a broader outreach by the Gallery to contribute to the art ecosystem by providing a platform for artists to create works that extend their current practice. OUTBOUND focuses on a collaborative, process-oriented methodology with the artists that is open to experimentation and sometimes unexpected outcomes. It also aims to feature artworks that speak to the Gallery’s built environment and therefore enrich visitors’ experiences. For more on the projects in OUTBOUND, please see https://www.nationalgallery.sg/OUTBOUND 1

OUTBOUND 是一系列由新加坡國家美術館所委託的作品，以提供於展廳外，煥然一新的體驗。此系列亦旨在提供藝術家一個擴展藝術手法的途徑。OUTBOUND 注重互動與過程，鼓勵藝術家變得更勇於嘗試。同時，亦希望透過展出相關的藝術品，使觀者能更切身地體驗美術館的空間。如欲了解更多關於 OUTBOUND 的資訊，請查看： https://www.nationalgallery.sg/OUTBOUND 1

乘搭沙巴東西海岸之間的國內航班，可以看到基納巴盧山（我稱基納巴盧山為回家的指南針）

Yee I-Lann

2018 年 1 月 24 日

Cited References 引用參考文獻：

題（自畫像）》

Anderson, B 1983, Imagined Communities: Reflections on the Origin and Spread of Nationalism, Verso, London.

娥蘇拉．勒瑰恩（Ursula K. Le Guin）的逝世，有關《無我喜歡並實踐勒瑰恩的「食物袋：小說的載體理論」，理

論由另一位著名女權主義作家、科學家及哲學家唐娜．哈洛威（Donna Haraway），在最近的著作《與麻煩同

Leow, R 2016, Taming Babel: Language in the Making of Malaysia, Cambridge University Press, Cambridge.

在》中加以發揮。在筆和槍下的陽具主導父權世界中，

Scott, JC 2009, The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia, Yale University Press, New Haven.

的社群，各種痛苦和歡樂，可說是包含了一切。一切息

Suimin, A (ed) 2010, Ambatik: Corak Anyaman Tradisi Murut Ulu Tomani, Tenom, Sabah Forest Industries Sdn. Bhd, Sabah.

我們更應重視我們的食物袋，這個載體盛載我們不同

息相關。這個載體是女性在父權制世界中的力量。在人類世和氣候變化的時代，堅持不懈，尋求完整的解決方案，而不是貶低或無視問題。這方為真正的美麗。

籃子也是一個容器，這個編織出來的籃子，將縱橫

交疊，成為新象。

Untitled (self portrait), Yee I-Lann, 2018 《無題（自畫像）》，于一蘭，2018 年

109

于一蘭

CHAT Crew (As of 16 March 2019)

Catalogue Production Team

Takahashi Mizuki Co-Director Teoh Chin Chin Co-Director

Chief Editor Claudia Pestana

Curatorial Department Paola Sinisterra Director, Textile Programmes Erica Huang Curator, Exhibitions and Learning Him Lo Curator, Community and Learning Wendy Wo Project Manager Sylvia Feng Curatorial Assistant, Exhibitions and Collections David Chan Curatorial Assistant, Exhibitions and Collections Men Tin Lam Community Facilitator Hazyl Lam Senior Officer, Project Management Essa Lin Senior Officer, Textile Programmes & Merchandise Bruce Li Textile Research Specialist Rayven Sin Programme Assistant, Learning

Editor Bruce Li Paola Sinisterra

Management Department Chiu Tsz Man Director, Finance and Administration Marlene Lieu Director, Operations Zon So Head, Communications Kara Li Venue Manager, Creative Production and Operations Jackle Cheng Manager, Visitor Experience Ida Chow Senior Accountant Stephanie Li Executive Secretary Dennis Man Assistant Manager, Creative Production and Operations Zita Szeto Senior Officer, Creative Production and Operations Felix Lo Senior Officer, Communications (Digital Media) Grace Wong Officer, Communications Leo Yuen Administration Assistant Miki Ho Executive - Visitor Experience Alison Lau Executive - Visitor Experience Cheung Wai Wai CHAT Ambassador Kiki Chong CHAT Ambassador Lilian Lee CHAT Ambassador Yeung Tik Yan CHAT Ambassador

Chinese Editor Wendy Wo Editorial Coordinator Bruce Li Contributors Ade Darmawan Johanna Engman Koike Kazuko Kobayashi Fumie Bruce Li Claudia Pestana Gabriela Sánchez y Sánchez de la Barquera Antonia Syme Sharon Tsang-de Lyster Yee I-Lann Chinese Translators Mona Chu Chinese Proofreading David Chan Taylor Cheng Bruce Li Venus Wong Content Design HATO Inside and Outside Cover Photo Chris Lusher Published by Mill 6 Foundation Limited Published and printed in Hong Kong Printed by Colham Printing Co., Ltd All rights reserved Copyright © 2019 the authors and Mill 6 Foundation Limited ISBN: 978-988-79607-1-3

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CHAT 六廠團隊（截至 2019 年 3 月 16 日）

製作團隊

策展部門 Paola Sinisterra 黃又文盧樂謙胡敏儀馮昱瑄陳信騫萬天琳林楚穎連曦雯李勺言冼慧芝

編輯李勺言 Paola Sinisterra

高橋瑞木張晶晶

管理部門趙子珉呂瑪琳蘇綽玲李曉澄鄭善文鄒詠婷李盈慧文永亮司徒家琪羅港俊黃曉恩袁建暉何燕兒劉曉珊張維慧莊詩慧利欣恩楊狄恩

聯席總監聯席總監

紡織項目總監展覽及共學策展人社區及共學策展人項目管理經理展覽及館藏策展助理展覽及館藏策展助理社區項目統籌項目管理高級主任紡織項目及採購高級主任紡織研究專員共學活動助理財務及行政總監營運總監傳訊主管創意及營運場地經理訪客服務經理高級會計行政秘書創意生產及營運助理經理創意生產及營運高級主任傳訊（數碼媒體）高級主任傳訊主任行政助理訪客服務專員訪客服務專員 CHAT 六廠大使 CHAT 六廠大使 CHAT 六廠大使 CHAT 六廠大使

主編歌地亞．匹斯坦娜

中文編輯胡敏儀編輯統籌李勺言

撰稿埃德．達瑪萬約翰娜．恩格曼小池一子小林史恵李勺言歌地亞．匹斯坦娜加貝埃娜．山齊士．伊．山齊士．德拉巴克拉安東尼婭．賽姆曾思朗于一蘭中文翻譯朱馥沛中文校對陳信騫鄭銘柔李勺言王樂澄內文設計 HATO 外封面及內封面攝影 Chris Lusher 六廠基金會有限公司出版香港出版及印製高行印刷有限公司印製

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Acknowledgement 鳴謝 Founding Donor 創始捐助機構

Main Donor 主要捐助機構

Supported By 支持機構

An accredited event of BODW City Programme 此為「BODW 城區活動」