Document TECHSTYLE Series 1.0: Ariadne’s Thread

Contents

目錄

Foreword 4

前言

Preface

Janis Jefferies

序文

珍妮絲．謝菲斯

Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

Takahashi Mizuki

10

亞莉雅德妮的線球：錄像藝術展的策展人語

高橋瑞木

18

錄像藝術展紀實

18

Interview with Sputniko! 42

人工衛星子！訪問

42

Essays

文章

Documentary of Video Art Exhibition

6

1. Where are women’s voices in textile and technology?

Mythologies: Penelope, Ariadne and Arachne

1.

Janis Jefferies

50

The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel Industry of Hong Kong Yesterday and Tomorrow

Edwin Keh

60

Where are Women’s Voices in Textile and Technology?

Ingrid Chu

70

2.

2. Women, textile and technology in Hong Kong and China Weaving Women in China: From Virtuous Subject to Transgressive Citizen Francesca Bray

78

Nationalism, Women and Their China: What More the Chinese Talk about

When They Talk about the Qipao?

Wessie Ling

92 3.

Women, Textile and Technology in Hong Kong and China

A Response to Francessa Bray and Wessie Ling

Edith Cheung

102

3. Technology and textile with responsibility Textile Futures Responsibilities For the Love of Cloth

Textiles as Medium to Recover our Sensibilities to the World

Anne Marr

110

Sudo Reiko

122

Takahashi Mizuki

134

4. Toward a new horizon in textile exhibition Techstyle

Sharing and Overstepping: Toward a New Horizon in Textile Exhibition

Pamela Parmal

138

Liu Xiao

152

Kinor Jiang

162

Cross Talk: A Final Panel 166 Weaving a New Cultural Fabric: Young Cultural Journalists Make Textile Art Accessible through New Media

Vivienne Chow

176

6 10

女性在紡織與科技的聲音 神話：潘尼羅佩、亞莉雅德妮和雅拉克妮

珍妮絲．謝菲斯

50

千絲萬縷的紡織業：香港紡織成衣業中的女性功績往昔今後

葛儀文

60

女性在紡織和科技的聲音

朱珮瑿

70

中國的紡織女性：從品德高尚的國民淪為違反道德規範的公民

白馥蘭

78

國家主義、婦女及她們的中國：當中國談到旗袍時，還會講到甚麼？

凌穎詩

92

中國及香港的女性、紡織與科技：對白馥蘭和凌穎詩的回應

張西美

102

紡織的未來及責任

安妮．馬爾

110

源自對布料的愛

須藤玲子

122

以紡織為媒介重拾世界觸覺

高橋瑞木

134

彭美拉．帕爾馬

138

劉瀟

152

姜綬祥

162

女性、紡織與科技在香港和中國的發展與趨勢

科技與紡織責任

紡織展覽新領域 Techstyle 「新」

“New” The Extraordinary out of the Ordinary

4.

4

分享的越界：紡織展覽新領域

跨界分享及問答環節 編織文化新生代：年輕藝評人透過新媒體把紡織藝術帶給公眾

166 周敏芝

176

前言 Foreword

高橋瑞木、張晶晶 六廠紡織文化藝術館聯席總監

六廠紡織文化藝術館（CHAT 六廠）很高興能夠為「新經 緯系列」第一浪節目「1.0：亞莉雅德妮的線球」發行文

Takahashi Mizuki and Teoh Chin Chin Co-Directors, Centre for Heritage, Arts and Textile

A frequently ignored fact is that textile production is one of the oldest arts and technologies

集，分享「新經緯系列 1.0」的展覽和研討內容。出版文 集旨在面向更多對「亞莉雅德妮的線球」感興趣的讀者，

Centre for Heritage, Arts and Textile (CHAT) is pleased

回應活動提出的多角度疑問。

to launch 1.3: the documentary book of the inaugural

「新經緯」一詞是術語，既可用來表示生產衣服的先進科

TECHSTYLE Series 1.0: Ariadne’s Thread. It is published to

which women have significantly contributed to, both in domestic and social realms. As the subtitle “Ariadne’s Thread”, taken from ancient Greek mythology implies, the inaugural programme focused on the subject of textile, technology, art and women.

share the contents of the exhibition and the discussions that

The programme consisted of two pillars: 1.1 Video Art

倒有一件事經常被遺忘，就是紡織生產是讓女性積極貢獻

took place under the umbrella of TECHSTYLE Series 1.0.

Exhibition and 1.2. Discussion Forum. Video art is a genre

家庭和社會的最古老技藝。副題「亞莉雅德妮的線球」源

The aim of publishing was to address the broader readers

which has come a very long way since its emergence

自古希臘神話，寓意本系列中聚焦紡織科技、藝術和女性

who are interested in the multi-faceted topics and questions

since the 1960s. Rapid evolution in audio, visual, and

的第一浪節目。

發各種可能」，探索科技如何聯繫紡織、時裝、藝術等方

that Ariadne’s Thread had posed to us.

information technologies has also changed the concepts

面的歷史、哲學和各種處理手法。我們希望藉找到的新科

The term “TECHSTYLE” is occasionally used as a

技，描述運用了新技術的紗線、布料，以及 / 或衣物製作 過程，也可以形容配置在衣物中的可穿戴科技設備。 但對 CHAT 六廠的「新經緯系列」而言，「新經緯」意指「觸

技，能夠衝擊上述幾方面的過去、現在和未來。

technical term in representing clothing with advanced

and methodologies of artistic productions. Showcasing the works by nine female artists, the 1.1 Video Art Exhibition challenged the conventional and biased idea that women

項目包括兩項重點活動：1.1 錄像藝術展覽和 1.2 研討 論壇。錄像藝術在 1960 年代面世，至今已經發展了一段 時間，影音技術和資訊科技進步發達，改變了創作錄像的

「科技」 （technology）一詞源於希臘文「τέχνη（téchne）」，

technology. The expression applies to its yarn, fabric

從詞源上看，能更廣闊地理解這詞；「科技」，其實是有關人

and/or production process as well as to any wearable

類製作事物的知識和能力。

technological devices within such clothing.

而「紡織」（textile）則源自拉丁文「texere」，意思是「編

For our TECHSTYLE Series, however, we use the term as

織」。事實上，製作織物是需要農夫、蠶農、紡紗工人、

a kind of trigger to explore how technology relates with other histories, philosophy and practices in the fields of

and industry has been confronted by for many years.

都是紡織文化和業界多年來面對的議題。

染工、設計師、織布工人等不同專業的人士參與才能成事。 「新經緯系列」大膽嘗試集結來自多個學科的專家，把他

textile, fashion and art. We seek to identify the types of

以上活動能夠成功舉辦，實有賴六廠創始捐助機構陳廷驊

們的看法緊密交織起來，細看圍繞紡織文化和藝術的眾多

technology that have impacted on the past, present and

None of what has been achieved would be possible

主題，也正好反映紡織生產多姿多彩的本質。

future of these fields.

have been passive user of technologies, the 1.2 Discussion Forum invited 12 academics, curators and practitioners in various textile and related fields to exchange their ideas about technology, women’s role, ethics, ecology, sustainability, aesthetic and economy that textile culture

without the generosity of our Founding Donor – The D. H. Chen Foundation, and our Main Donor –

概念和方法。錄像藝術展覽展出九位女藝術家的作品，質 疑一般認為女性只能被動地運用科技的傳統想法和偏見。 1.2 研討論壇則邀請了十二位學者、策展人與來自紡織業 和相關領域的工作者，交流對科技、女性角色、道德規範、 環境生態、能否永續發展、美感、經濟的看法，凡此種種

基金會及主要捐助機構南豐集團的慷慨支持。特別感謝研 討會協辦單位亞洲協會香港中心，以及 Tastings Group 贊

Nan Fung Group. Special thanks are also given to Asia

助餐飲服務。

Society Hong Kong Centre, our Forum co-presenter, and

我們衷心感謝所有參與活動的藝術家、合作夥伴、編輯及

ability to produce something.

catering sponsor Tastings Group.

設計師，並特別感激珍妮絲·謝菲斯教授與張西美女士不吝

The word textile originally comes from the Latin word “texere” that means “to weave”.

Our sincere thanks to all participating artists, partners,

If we return to the origin of the word technology “techne” in Greek, we employ a broader definition of technology, meaning human knowledge and

In fact, farmers, sericulturists, spinners, dyers, designers, weavers and other various professionals are engaged in the process of textile production. Reflecting on this colourful nature of textile production, the TECHSTYLE Series ambitiously attempts to interweave the views of different specialists from multi-disciplines to consider a myriad of subjects around

editors and designers. We are particularly indebted

賜教，分享知識和經驗。最後也向一直盡心盡力的 CHAT 六廠團隊致以謝忱。

to Professor Janis Jefferies and Edith Cheung for their guidance and insights. Our appreciation also goes to CHAT Team for their dedication and commitment.

textile culture and the arts.

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Foreword

前言

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5

序文 珍妮絲．謝菲斯

Preface

所謂的「視覺挽救」，即為後代保存快將消失，或是已不 復再的東西；這也許是收藏和視覺記錄當代紡織、衣飾、 服裝和紡織的生產、消費、穿著，為視覺媒介人類學的

工業生產的緣起。如張西美回應白馥蘭和凌穎詩的論文時

焦點。視覺人類學中較激進者，認為影片呈現發展中地

指出，一方面，香港經濟於 1960 年代起飛（主因是紡織

區的女性，投身傳統紡織及相關工作，力證此類工作的

業興旺，當中以女工為主），另一方面，女性亦為熱切的

重要，從而提升女性地位、自信和期許（Wickett 2007:

消費者，添購變成都市裙裝的旗袍。旗袍源自清朝末年，

The processes of textile and clothing production,

128）。我想起研討會中提及過的女性領袖，諸如循環再

二十世紀初；張氏則認為，穿著旗袍，是要面向世界，

consumption and wearing, is a primar y focus of

造非牟利團體 Redress 創辦人丁潔絲，以及香港環境局前

Kong in the late 1960s. 1 As shown and discussed by

公開表現現代化、獨立性。紡織、服裝和裙的視覺力量，

anthropological visual media. Within the activist strand

副局長陸恭惠等。

CHAT‘s former director, Angelika Li in her opening remarks

有其獨特之處。它們作為視像媒介，引發想像。人，在這

to the Symposium, the film and song reflect both the

例子主要是女性，製造、穿著這些服裝，有如凝於時空中，

significance of Hong Kong’s textile industry and the number

不為變化不息，邁向全球化的世界所動。可是，旗袍已經

of women involved. Funny and celebratory at the same

歷多次變革，並未停留在一個年代。

time, the film’s economic emphasis belies the dramatic

Janis Jefferies

in visual anthropology it has been argued that filmic representation in a developing world context of women’s involvement in such work as traditional textile production, can make a convincing case for the importance of such activity to women’s status, confidence and future expectations (Wickett 2007: 128). Here I am thinking of the references made in the symposium to female leaders like Christine Dean, the founder of Redress, a recycling NGO, and Hong Kong’s Under Secretary for the

紡織生產的影片、影像，令這門十分視覺化（雖然顯然不 單是視覺化）的工藝，可由另一視覺角度檢視。高橋瑞木 在其「亞莉雅德妮的線球：錄像藝術展的策展人語」的策 展論述引用攝於六十年代香港紡紗廠的相片，更是強而有

服裝和人獲「挽救」，卻並未凝於時空之中；布、紡織品、

力。（p. 10）

服裝和裙的感觀元素獲探索，並特意重新定位。安妮．

「相中的女子不理鏡頭，不苟言笑，將紗線筒置於機器上」 （p. 10）此一描述，亦適用於葛儀文演講〈千絲萬縷的 紡織業：香港紡織成衣業中的女性功績往昔今後〉中展示

changes that occurred in women’s lives and under British colonial rule which came to an end in 1997.

馬爾圍繞二十世紀女消費者，對新「智能」紡織品追求的

Visual “salvage”, the retention for posterity of something

演講，均有所提及。姜綬祥對彭美拉．帕爾馬在美國波士

that is perceived to be disappearing or which may, in

頓的「#technstyle」展覽作評論，剖析時裝和科技結合，

fact, have already gone, is arguably an underlying motif

不但改變設計師如何設計，亦改變人和衫的互動。大膽的

in many rather more contemporary collections and visual

新世代，可見 LED 燈、時裝展節錄、錄像投映，富實驗性

documentation of textiles, clothing, dress and industrial

Environment Christine Loh.

的舊照片。

Film and indeed images of textile production additionally

葛氏家族五十年代的相片，與英姐的動人經歷交織：她是

的變動不斷，尤其以新一代學生、研究員和藝術家為甚。

provide a vehicle for the visual examination of a highly

production. As Edith Cheung has pointed out in her

前製衣廠女工，由廣東南遷至香港的新移民，標誌在二十

博物館展示、電影和攝影，有時難以呈現布料、紡織品、

(though clearly not solely) visual skills perhaps none so

response to the two papers by Francessa Bray and Wessie

世紀中業，「數代年輕女子於製衣廠工作」（p. 60），

服裝外貌以外的特點，例如身體和服裝之間多變的關係，

Ling that, whilst on the one hand Hong Kong’s economy

何以改變現代香港。歌舞片如呂奇 1969 年導演的《郎如

當中又以裙裝為甚；但研討會中，卻未見有此困難。

boomed in the 1960s (due primarily to its thriving female

powerful as the photo that Takahashi Mizuki refers to in her curatorial statement, “Ariadne’s Thread: A Curatorial Note on Video Art Exhibition, taken in a cotton spinning factory in the 1960s of Hong Kong”. (Fig 1. Takahashi’s

春日風》，內有由陳寶珠所唱，深受歡迎的流行曲《工廠

worker based textile industry), on the other hand, women

妹萬歲》。歌曲捕捉漸見於 1960 年代末，香港新女性角

themselves also became enthusiastic consumers through the city dress adaption of Qipao.

introduction, p. 10)

色的精髓。1 有如 CHAT 六廠前總監李安琪，於其研討會

As we were told, this kind of dress originated at the end of the dynastic rule in the early

開幕演講所言，此戲此曲，反映香港紡織業之重要，顯示

20th or, according to Cheung, more specifically a dress for wearing to meet the outside

“Without giving any gaze and smile to the photographer,

工業中女性之多。戲中對經濟之着重，既鬼馬又廣受歌頌，

world, a public performance of modernity and independence. There is something about

卻未能反映於 1997 年英國殖民地統治結束下，香港女性

the visual power of textiles, clothing, dress – their functioning as a visual medium in their

生活的巨變。

own right that captures our imagination. People, in this context mostly women, who

a woman in the picture is placing yarn bobbins onto the machine” (p. 10). This is also true in the examples of the archive photographs shown by Edwin Keh in his

presentation “The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel

produced and wore such clothing can be treated as somehow frozen in time, untouched by a changing, globalising world but these presentations were not amongst them, since

Industry of Hong Kong Yesterday and Tomorrow”.

the Qipao has been mutated on many different occasions.

Keh’s family images from the 1950s entwined with a moving, personal account of Ying

Textiles and people were ”salvaged“ without being frozen in time, sensory aspects

Tse ( 英姐 ), a former garment factory worker’s story of immigrant arrival from Guangdong to Hong Kong, maps the hidden histories of how modern Hong Kong was transformed

repositioned within Anne Marr’s talk around 20th century female consumers embracing

by “several generations of women who worked in the textile and garment factories” (p. 60) in the mid 20th century. Movie musical Her Tender Love, directed by Lui Kei in 1969, includes a popular song performed by Connie Chan called “Long Live the Factory Girls”. It tries to capture the essence of the new womanhood that was emerging in Hong

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Perface

were explored within the impact of cloth, textiles, clothing and dress and purposively new “smart” textiles. Kinor Jiang’s response to Pamela Parmal’s #techstyle exhibition in Boston, USA, 2016, examined how the synergy between fashion and technology not only changed the way designers design, but how people interacted with their clothing.

A brave new world order of LEDs, catwalk snippets and video projections was in

序文

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我認為，尤以透過觸感，最能體會紡織品最真實的感覺。

我們所有人面對的挑戰，不只是在廿一世紀，研究具永續

觸感令人得以享受立體、包裹身體，由布料製成的服裝。

性的紡織生產，亦須探討纏擾我們，關乎道德、權力、

唯有用手觸摸，才能真正體驗纖維之質感，穿上後的身體

科技的問題，以及要承擔的新責任。此等討論，在研討會

線條。可是，在日常生活、視像和文字中，實在的觸摸若

結尾的跨界分享和問答環節中出現。朱珮瑿的有力評論指

非不可能，就是遭社會、宗教規條所禁止。服裝可以使身

continual, experimental flux especially amongst a

出，知識何以生產，何以隱於其工作的文獻庫；唯有將書

體線條，看起來不同。

new generation of students, researchers and artists.

和文獻「剝皮拆骨」，才能產生新關係。我們如何作選擇，

這個「現實」，被人工衛星子！以超乎想像的手法，將科 學和神道教結合的跨學科藝術創作取代時，又會有何事發 生？人工衛星子 ! 講述其創作《Red Silk of Fate – Tamaki’s Crush》時，使觀眾對身體的概念，步進基因改造的世界

In representations in museums, film and photography

and histories, encounter a deeper understanding of

選擇甚麼作研究，製作甚麼，穿著甚麼，內裏都是知識。

the extra-visual qualities of cloth, textiles, clothing and

the relationships between all of these things, social

這些都可經鑽研文獻庫、展覽和實驗發現。

particularly dress are, like the dynamic relationship

agency, industrial production, cultural reproduction and

between body and clothing, sometimes difficult to convey

contemporary consumption.

but not in this symposium.

最後一條問題：要是我們的身體可以複製，衣裙由基因改 造的絲綢所造，皮膚生自培養皿，世界將會變成怎樣？我

The challenge for all of us, including the remarkable

們何以窺探源自複雜過去的未來？現在，由此刻起，我們

The sense of touch in particular does, I think, enable the

ambitions of CHAT, is to explore not only the practices of

可以開始以各自不同的經歷，在生產、殖民擴張全然不同

full perception of textiles and of the three-dimensional,

textile making for sustainability in the 21st century but also

的時代，思索此等問題。

bodily occupied garments that incorporate them to be

engage in the questions that trouble us most around ethics,

enjoyed – the tactility of fabric and the shape of bodies

power and technology and the new responsibilities that we may face. Such a dialogue

alike are fully understood only when we place our hands

emerged during the Cross Talk exchange at the end of symposium. Ingrid Chu made a

upon them. Yet in lived experience as well as in visual and

telling comment on how knowledge is produced, embedded in archives where she has

textual representation, such physical touching is often either

worked, but by “peeling off the spines” of books and documents, new interrelationships

impossible or forbidden according to social and religious

are formed. Knowledge is already embedded in how we make choices of what and how

藉着這些計劃，透過移民的口述故事、工業生產，甚至是

rituals. Garments can be used to make the body appear

we select that which needs to be researched, made and worn through digging deep into

實驗室研究，使布料和衣衫的視覺元素，變得空前強烈。

as if it is of a different shape than it actually is.

archives or through exhibitions and laboratory experiments.

What happens though when this idea of reality is

A final question. What will the world be like when our bodies are cloned, a dress is

superseded by Sputniko!’s extraordinary cross-disciplinary

worn from genetically engineered silk or our skin is grown from a petri dish? What we

artistic practice that encompass science as well as Shinto

may glimpse of in the future emerges out of a complex past? We may now, only just,

shrines? In talking through her research project, Red Silk of

begin to comprehend such questions from all our different stories of a very different era of

中。 這次這個故事，並非出自英姐，而是源自東亞傳說：二人 若繫以不為人所見的姻緣紅線，命中注定相合。人工衛星 子！的創作歷程，情色卻不色情，絕對引人入勝，先從水 母、珊瑚的基因出發，化為會吐出螢光紅和綠絲的蠶蟲。 此創作仍有視覺元素，卻激發其他富生命力的感觀。這些 感觀之間的關係、社會能動性（social agency）和文化再 造（cultural reproduction）的更深入意義，可再作探究。

這密集的研討會彷如脈絡之線，穿引各位來自不同文化、 種族和歷史的觀眾一起，對社會能動性、工業生產、文化 再造和當代消費之間的關係，有更深入的了解。

Fate – Tamaki’s Crush, the audience is shifted from one idea of the body to another that

production and colonial expansion.

which is located within a world of bioengineering sciences.

Take another kind of story, not from Ying Tse ( 英姐 ) but one from an East Asian mythology that says that when two people destined to meet each other romantically they are connected with an invisible red string of fate. Erotic, asexual and completely compelling, Sputniko! takes on a very different journey from the DNA of jellyfish and coral to a silkworm, a silkworm that produces silk that glows red, or green. As a result, the importance of the visual is not lost, but triggers other sensory aspects of “lived” experience. A deeper understanding of

Endnote 1

For a full analysis, see “Gendering ‘1968’: womanhood in model works of the People’s Republic of China and movie musicals of Hong Kong”, Hon-Lun Yang, Barley Norton’s Music and Protest in 1968, edited by Barley Norton, Cambridge University Press, 2013.

註釋 1

詳情參見楊漢倫著〈Gendering ‘1968’: womanhood in model works of the People’s Republic of China and movie musicals of Hong Kong〉，Barley Norton 編《Barley Norton’s Music and Protest in 1968》，劍橋大學出版社， 2013。

the relationships between those aspects, social agency and cultural reproduction can be investigated.

As a consequence, the importance of the visual has never been so intense but it is also

References

參考文章

accompanied by mythologies, fantasies and memories of textiles, clothing and dress

Wickett, Elizabeth. “Video for development”, Visual Anthropology, 2007, 20(2): 123141

Wickett, E. 2007. “Video for development”. Visual Anthropology, 20 (2): 123141.

Willmont, Cory. “The lens of science: anthropometric photography and the Chippewa, 1890-1920”, Visual Anthropology, 2005, 18(4): 309-337

Willmont, C. 2005. “The lens of science: anthropometric photography and the Chippewa, 1890-1920”. Visual Anthropology, 18 (4): 309-337.

whether told in a migrant’s story, produced in industry or made in a lab. Held by a thread within one intense symposium we, as an audience of different cultures, ethnicities

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production of subjectivities and social relations. In textile history, for instance, women have

亞莉雅德妮的線球： 錄像藝術展的策展人語

Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

worked with the technologies such as spinning machines, looms and sewing machines and have developed skills, resulted to support families and communities, and gained financial independencies. As Autumn Stanley introduces in her Mothers and Daughters of Invention: Noted for a Revised History of Technology (1995), there are some female names

高橋瑞木 六廠紡織文化藝術館聯席總監

紡織與科技淵源甚深。佛洛依德認為，人類文明的科技領 域中，唯有編織一項，男人承認是由女人所創。佛洛依

Takahashi Mizuki Co-Director, Centre for Heritage, Arts and Textile

proactive users and contributors of technology and textile.2

正面，因為電腦的發明就源自紡織一提花織布機（Chan

In term of art, video was an innovative technology for present in conventional art forms such as painting and

熟而生巧，從而造福家庭，貢獻社會，經濟並得以獨立。

sculpture, female artists used video to interrogate and

of Invention: Notes for a Revised History of Technology》

or smile to the photographer, a woman in the picture is placing yarn bobbins onto the machine. Looking at the picture, I wonder what she was thinking about – menu for a

deconstruct identities and images that were fabricated by society. Since then, video has been a significant media

（1995）所言，不少女性致力改革紡織生產。一直以來，

for women artists to investigate different subjects from their

女性並非單單被科技牽引，亦主動善用、促進科技和紡織

perspectives and pursue their artistic practices.

的發展。2

dinner, next weekend plan or her family. Whatever she was

female artists in the 1970s. Freed from the restrictions

紡織歷史中，女性運用紡紗機、織布機、縫紉機等器材， 正 如 Autumn Stanley 在 其 著 作《Mothers and Daughters

1950s of Hong Kong (Fig. 1). Without offering any gaze

not only been passive receivers of technology but also

德所言，或出於他看輕女人；但時至今日，此言卻甚為 2003）。1 科技有助婦女建立自主性和社交關係。舉例，

There is a photo taken in a cotton spinning factory in the

committed to evolution of textile production. Women have

The video art exhibition of Ariadne’s Thread introduces

thinking inside her head, the woman reveals her dignity as

藝術方面，1970 年代的錄像，對女藝術家而言是新興科

one of the responsible, serious workers in the factory.

works by 9 female artists, who either address the subject of

技。她們擺脫了繪畫、雕塑等傳統媒介的限制，利用錄像

technology in their art or create their works using different

In the course of textile production and industrialisation in

剖析、解構社會塑造的身份和形象。自此，錄像成為女藝

devices and technologies. From 16 mm film camera and

術家的重要媒介；她們透過錄像，以女性觀點審視不同命

CRT television to iPhone and LCD monitor, they attentively

題，尋找各自的藝術方向。

chose appropriate devices and technologies to represent

「亞莉雅德妮的線球」錄像藝術展中的九位女藝術家，或

how technology fantasize or realize human desire and

cotton, a number of women started working in the factories.

Historically textile production had been considered a female domain because their thin fingers were appropriate for sensitive labour in spinning and weaving process.

Women have been spinning, twisting, weaving, sewing, embroidering and knitting for family, community, state and herself.

Fig. 1 Nan Fung Cotton Mills 1955 南豐紗廠 1955

這張 1950 年代香港棉紡廠內拍攝的相片（Fig. 1），相 中的女子不理鏡頭，不苟言笑，將紗線筒置於機器上。我 凝視相片，忖思她當時所想，可會是晚餐菜式、週末節目， 抑或是家人至親。無論她當時在想甚麼，她對身為工廠盡 責認真的工人一份子，流露出矜重。

The title of inaugural TECHSTYLE Series, “Ariadne’s Thread”, derives from a Greek myth about a wise woman named Ariadne. Ariadne is the daughter of Minos, king of Crete, and helps Theseus conques the Minotaur’s labyrinth with a ball of thread. Throughout history, there has been a

隨着紡織生產和棉花業工業化，女性開始在工廠工作。自 古以來，紡織被視為女性領域，因為她們纖巧的手指，適 合紡紗織布的精細工序 。女性為家庭，為社會，為國家， 更為自己，一直專責於紡線、捻絲、梭織、縫紉、刺繡、

myriad of brave and smart women like Ariadne who have

針織。

taken up the challenges and attempted to find solutions.

「新經緯系列」首個項目，名為「亞莉雅德妮的線球」，

“TECHSTYLE Series 1.0: Ariadne’s Thread” is homage to

取材自希臘神話中的聰慧女子亞莉雅德妮。亞莉雅德妮是

women who have tackled knotty issues through textile and

克里特島國王米諾斯的女兒，她巧用線球協助鐵修斯走出

artistic practices as well as an intention to explore women’s

米諾陶爾的迷宮。自古至今，無數像亞莉雅德妮般有勇有

interaction and contribution to technology, textile and art.

謀的女性，奮起應付挑戰，致力找出解決難題的方法。「新

Weaving has a deep relationship with technology.

According to Freud, weaving is the only technology in human civilization that man admits has been created

經緯系列 1.0：亞莉雅德妮的線球」向透過紡織和藝術去 疏理綦繁命題的女性致敬，同時探討她們在科技、紡織、 藝術領域中的參與和貢獻。

by women. Although Freud might say this from his underestimation to women, his claim sounds even positive today because the computer

以其作品探討科技，或以各式科技和器材創作。由十六米 厘菲林攝錄機、舊式 CRT 電視、iPhone，以至液晶電視屏 幕，藝術家各取所需，表現科技如何將人類慾望化作幻想 或現實，以及反映社會實況。參展藝術家探索的題目，不

reflect on social realities. Ranging from textile technology to genetic engineering and on-line dating platform, technology, the subject matters addressed by the artists allow us to see how technologies are embedded in our

論是紡織技術、基因改造工程、網上交友，均展現科技事

physical bodies, ways of thinking and sense of values.

實上藏於我們身體、思想、價值觀之中。

Dara Birnbaum’s Technology/Transformation: Wonder

達 拉． 畢 恩 包 的《Technology/Transformation: Wonder Woman》（1978-1979）（Fig. 2），被譽為早期錄像藝

Woman (1978-1979) (Fig. 2) is considered one of the most important early video artworks, generating multiple Fig. 2 Dara Birnbaum Technology/Transformation: Wonder Woman 1978-79 Colour, stereo sound 5min. 50sec.

Courtesy of Electronic Arts Intermix, New York and the artist 達拉 · 畢恩包 Technology/Transformation: Wonder Woman 1978-79 彩色，立體聲 5 分 50 秒 鳴謝：紐約 Electronic Arts Intermix、 藝術家

is originated from weaving – jacquard loom. (Chan 2003).1 Technology is related to the

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Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

亞莉雅德妮的線球：錄像藝術展的策展人語

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Fig. 3

Fig. 5

Tina Havelock Stevens I Don’t Want to Set the World on Fire 2016 HD video, sound 3min. 10sec.

Courtesy of the artist

Magdalen Wong Let’s Do Magic 2014 HD video, sound 2min. 18sec.

Courtesy of the artist

天娜．哈維洛克．史提芬斯 I Don’t Want to Set the World on Fire 2016 高清錄像，聲音 3 分 10 秒 鳴謝：藝術家

黃頌恩 Let’s Do Magic 2014 高清錄像，聲音 2 分 18 秒 鳴謝：藝術家

曹斐一直熱衷採用先進科技，探究它們如何反映社會環

術中，最重要的作品之一。該作品以多角度解讀形象， 探究傳媒如何在觀眾腦海中，留下特定印象。作品借用

readings of image and investigating how mass media

resistance against the preconceived view of old people

境、人們潛藏慾望和精神狀態。她在作品《Strangers》

1970 年代電視劇集《神奇女俠》的片段，重複突出角色

imprints particular image on viewers. Repeating and

as weak and fragile. The title of the work derives from the

肢體動作的場景，從而解構電視這個植根日常生活的強大

highlighting scenes of spectacle and characters’ bodily

1940s song by The Ink Spots, the first pop tune that her

（2015）中，悄悄地介入瀏覽交友平台上互不相識的眾 人當中（Fig. 4）。網上交友於 1990 年代出現，現已深

媒體，使用了甚麼影像和語言。畢恩包重新剪接舊電視片

gestures in footage from the 1970’s television show

mother heard on the radio as a young girl.

入民心，發展成為最龐大的網絡工業之一。用家到交友平

段，分析劇中神奇女俠形象的矛盾：女性身驅既是情慾對

“Wonder Woman”, Technology/Transformation: Wonder

象，又有超能力，從而揭露身份塑造的機制。

Woman deconstructs the imagery and language employed

1978 年，畢恩包的錄像製作困難重重，先是經朋友幫忙， 取得劇集片段，後又得進出紐約市中心的剪接室。2016 年的天娜．哈維洛克．史提芬斯，已經可以用 iPhone 程 式拍攝母親，將她化為女超人（見史提芬斯的 2016 年 9 月 24 日電郵）。其作品顯示，高科技產品的體積愈來

by television, a powerful medium deeply rooted in our everyday life. By re-editing the footage, Birnbaum analyzes the contradictory image of Wonder Woman – a feminine body coexisting as both a sexual object and a super powered one - and unveils the mechanisms of identity formation.

Cao Fei has actively exploited advanced technologies and has investigated how these technologies reflect social environments and people’s hidden desires and mental

台，結交志趣相投、期許相若的人。《Strangers》展示情 感脆弱，抽離現實的用家之苦悶、好奇、寂寞，觀眾於無 意間成為了偷窺者。

states. In Strangers, Cao Fei attempts subtle interventions

黃頌恩關注傳媒科技，她的兩件錄像作品由廣告標語和對

amongst strangers visiting an on-line dating platform

白組成。《Let’s Do Magic》（2014）配以柔和音樂，襯

(Fig. 4). Since its emergence in the 1990s, on-line

上醉人的花朵，以比喻手法，模仿廣告操縱心理的手段 （Fig. 5）。另一錄像《Make It Great》（2014）中，發

dating has become widely accepted and has developed into one of the largest Internet industries today. Users

提芬斯利用智能電話科技的簡便和即時性，創作一齣名為

While Birnbaum had to struggle in getting TV footage

visit dating sites to meet others who share their interests

人心省的標語傳播極速，觀眾無從招架，只能接受，就連 思索標語含意的時間也沒有（Fig. 6）。黃頌恩將廣告媒

《I Don’t Want To Set The World On Fire》（2016）的短片；

through her friend’s help and commute the editing house

and expectations. Boredom, curiosity and loneliness –

體中的信息放大，展露它們如何滲入觀眾的潛意識，揭示

她以其八十七歲的母親為主角，加插動畫效果，「賜予」 母親超能力（Fig. 3）。作品表達史提芬斯對「老人必為

in New York downtown in 1978, Tina Havelock Stevens

showcasing the vulnerable attitudes of these users, Strangers

這些沒完沒了的信息，塑造了「理想自我」的個人形象。

transformed her mother into the super woman by recording

(2015) portrays people disconnected from their actual

her with iPhone app in 2016. (From email conversation

surroundings, and casts the viewer as a passive voyeur.

愈小，卻能集照相、看片、打機、導航等功能於一身。史

殘弱」這個成見的對抗，片名則來自 1940 年代樂隊 The Ink Spots 的歌曲，亦是其母在少女時，從收音機聽到的第 一首流行曲。

with the artist dated on 24 September 2016) As Stevens’s work shows, advanced technology devices have become smaller and smaller. Capturing photos, watching videos,

playing games and navigating directions – we can manage everything with a portable smartphone.

Utilizing the ease and immediacy of the smartphone technology, Havelock Stevens made a short video entitled I Don't Want To Set The World On Fire (2016), with her 87 year-old mother, bestowing superpowers upon her mother through animation effects (Fig. 3). The work constitutes Havelock Stevens’s

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Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

of quotes and scripts from advertisements and TV commercials. Accompanied by soft music and photos of hallucinogenic flowers, Let’s Do Magic (2014) metaphorically mimics the mechanisms of psychological control used by commercials (Fig. 5). In Make It Great (2014), the speed of the flow of enlightening messages forces the viewer to be a passive receiver, without having time to digest the meanings embedded in the messages (Fig. 6).

Fig. 4

Fig. 6

Cao Fei Strangers 2015 Four-channel video installation 4min. 18sec.

Courtesy of the artist, Vitamin Creative Space and Omegle.com

Magdalen Wong Make It Great 2014 HD video, sound 2min. 11sec.

Courtesy of the artist

曹斐 Strangers 2015 四頻道錄像裝置 4 分 18 秒 鳴謝：藝術家、維他命藝術空間、 Omegle.com

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Concerned with media technology, Magdalen Wong’s two video pieces are composed

黃頌恩 Make It Great 2014 高清錄像，聲音 2 分 11 秒 鳴謝：藝術家

亞莉雅德妮的線球：錄像藝術展的策展人語

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By amplifying messages in commercial media, Wong discloses how they are delivered into

Fig. 8

our sub-consciousness, and how our endless reception of them has artificially constructed our

Ji Hye Yeom A Night with a Pink Dolphin 2015 HD video, sound 21min. 47sec.

Courtesy of the artist

image of our “ideal self”.

With the help of green screen technology, extravagant costumes and special effects makeup, Rachel Maclean portrays a saturated world; an amalgam of fairytales, grotesque

廉智惠 A Night with a Pink Dolphin 2015 高清錄像，聲音 21 分 47 秒 鳴謝：藝術家

horror, musicals, commercial films, reality TV, and on-line games. Feed Me (2015) reflects diverse contemporary realities, such as the infantilization of adults, social media addiction, the fear of aging, the commercialization of children, the gamification of value and a sense of emptiness (Fig. 7). Inhabited by monstrous characters, all played by Maclean herself, MacLean’s dark, artificial, candy-coated world caricatures the everlasting desire for happiness and fame

麗素．麥蓮借助電腦特技背景、堂皇道具、特技化妝，

driven by internet marketing, and unveils the hypocrisy of

創造一個飽和的世界，充斥着童話、驚慄、音樂劇、商業

物資源學類的科學家合作，創作一齣有如寓言的影片《Red

consumerism.

電影、電視真人騷、網上遊戲。《Feed Me》（2015）顯

Silk of Fate – Tamaki’s Crush》（2016），講述以基因改

When they were invented, computers opened up new possibilities of creating a so-called “virtual reality” using 3D computer graphics. Since 1972, when the first 3D computer animation was produced by Edwin Catmull and Frederic Parke, the software for 3D modeling and rendering

造技術，為蠶蟲注入製造催產素的基因，以生產神奇絲線 （Fig. 9）。影片中，年輕靦覥的女科學家 Tamaki，愛上

Inspired by “The Red String of Fate”, a well-known East

實驗室的英俊同事。為了吸引他，將蠶蟲的基因改造，

red string around the finger or ankle of those they are

扮演。作品黑暗、人工的糖衣世界，諧謔由網上宣傳驅動、

令其吐出神奇紅絲。人工衛星子！糅合神話傳說與科學發

destined to meet or marry, Sputniko! has created an

對歡樂名利永無止境的追逐，從而揭穿消費主義的虛偽。

明，質疑科技的倫理道德。她的錄像已上載至 YouTube，

allegorical video Red-Silk of Fate – Tamaki’s Crush (2016),

可供網上觀賞。

in collaboration with scientists from NIAS (National Institute

示現今社會多種多樣的面貌：成人猶如嬰兒、社交媒體上 癮、擔憂老去、兒童世界商品化、價值觀淪為遊戲，以及 空虛感（Fig. 7）。作品充斥怪物般的角色，全由麥蓮自己

Asian mythology that describes how deities tie an invisible

has rapidly advanced and has become easy to utilise

電腦的出現，帶來立體動畫技術，為創造所謂「虛擬現實」

for artists to create a new form of poetic narrative. 3D

製 造 新 的 機 遇。 自 1972 年，Edwin Catmull 和 Frederic

computer graphics help Yeom visualise her reinterpretations

Parke 製作第一套立體動畫起，立體圖像軟件急速發展，

of local narratives and intuitive imaginings. A Night with

且日趨簡易；藝術家得以用之，創造富詩意的新式敘事。

聯想啓發，而追求電腦世界之美。《Parallel》（2012）

a Pink Dolphin (2015) by Ji Hye Yeom was made through

廉智惠利用立體動畫，呈現她對民間故事和直覺想像的

是她的首件視聽作品，為學生時期的創作。錄像中無數的

Yeom’s participation in an Artist-in-Residence programme in

「再詮釋」。作品《A Night with a Pink Dolphin》（2015），

Brazil, and is based on oral narratives about pink dolphins living in the Amazon (Fig. 8). In the video, Amazonian

是她在巴西參與駐場計劃時創作，取材自當地的口述故 事，與棲息於亞馬遜的粉紅海豚有關（Fig. 8）。錄像中，

a magical red silk thread. Integrating both mythological and scientific ideas, Sputniko!

history is mingled with her observations of the harsh reality

亞馬遜的歷史，與粉紅海豚用作招攬遊客的殘酷現實，

of pink dolphins used as tourist attractions.

互相交錯。

accessible on-line.

「姻緣紅線」是流行於東亞的傳說：神仙將命中注定相遇 或結髮的二人，用凡人所不能見的紅線，繫於兩人的手指 或腳踝。人工衛星子！受此傳說啟發，與日本筑波大學生

Fig. 7 Rachel Maclean Feed Me 2015 HD video, sound 60min.

Courtesy of the artist and Film and Video Umbrella 麗素．麥蓮 Feed Me 2015 高清錄像，聲音 60 分 鳴謝：藝術家、Film and Video Umbrella

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Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

「網」、「線」等電腦科學的網絡詞彙，與紡織相關； 電腦繪圖，亦常令人想起紡織品的精密之美。曲倩雯受此

of Agrobiological Sciences), about genetically engineering silkworms by inserting genes that produce oxytocin to produce the magical string (Fig. 9). In the video, Tamaki, a shy young female scientist, has a crush on her handsome colleague in the lab. In order to attract her colleague, she engineers genetically modified silkworms that produce

questions the morals and ethics in technology. Her videos are uploaded on Youtube and

“Web”, “net”, “thread” – some internet jargons related to computer science are associated with textiles, and the drawing of computer graphics often evokes the complexity and beauty in textile making. Vvzela Kook is intrigued by this complex beauty, pursuing the aesthetics of cyberspace. Parallel (2012) is the first audio-visual work that Kook made as a student.

Fig. 9 Sputniko!

RED SILK OF FATE – TAMAKI’S CRUSH 2016 HD video, sound 5min. 09sec.

Project by Design Fiction Group, MIT Media Lab / Commissioned by Fukutake Foundation.

Cour tesy of the ar tist and SCAI The Bathhouse, Tokyo 人工衛星子！ RED SILK OF FATE -– TAMAKI’S CRUSH 2016 高清錄像，聲音 5 分 09 秒 福 武 財 團 委 約，Design Fiction Group、 MIT Media Lab 製作 鳴謝：藝術家、東京 SCAI The Bathhouse

亞莉雅德妮的線球：錄像藝術展的策展人語

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15

線，有如紡織機上線（Fig. 10） 。作品概念來自「多重宇宙」

Fig. 11

和「平行宇宙」理論，假定宇宙數量繁多，而我們身處的

Natacha Nisic North-Women 2007 Super 16 mm on video, stereo sound 5min. 20sec.

Courtesy of the artist

宇宙，只為其中一個。這些理論，無疑為我們既有的認知， 帶來不一樣的深度和解讀。

In the video, a countless number of threads resemble the

娜塔莎．尼希克的《North-Women》（2007），延續她

threads in textile machines (Fig. 10). The work is based

以超八米厘攝影機收錄手部動作的舊作《Catalogue de Gestes》（1995）（Fig. 11）。作品中，尼希克試圖解讀 日常生活中，各種肢體動作的多重信息。此作之後，尼希

on the “Multiverse” and “Parallel universe” theories, which which we live. These theories enable the possibility of many

克開始用超十六米厘攝錄機，以它連續最長的錄影時間，

dimensions and interpretations of what we recognise.

拍攝肢體動作。她到法國北部，尋訪從前的紡織女工，

North-Women (2007) by Natacha Nisic is an extension of

拍攝她們的手部動作。當地大多女性已不再工作於沒落的

one of her past projects, Catalogue de Gestes, a collection

紡織業，然而她們的手部動作，卻顯露昔日的工廠歲月，

of hand movements recorded with a Super 8 camera in

已烙印於身體。作品記錄當地紡織業及女工日漸消失的記

1995 (Fig. 11). In the work, Nisic attempted to read the

憶，並以同樣等待淘汰的十六米厘菲林製作。

meta-messages communicated through various everyday

除了錄像藝術展覽，「研討會 1.2」還邀請了十二位來自 五地，各有所專的學者、策展人、文化工作者參與其中。 研討會以人工衛星子！的主題演講開始；她的試探式設計， 結合了藝術與科學、傳統與創新。演講中，她分享了與日 本生物工程師、傳統和服世家的合作。

娜塔莎 . 尼希克 North-Women 2007 超 16 米厘錄像，立體聲 5 分 20 秒 鳴謝：藝術家

posit the existence of multiple universes, including the one in

其後環節，講者題目多樣，包括以哲學角度解構紡織科技、 中國和香港紡織業中女性的角色、跨國家及跨文化的旗袍

bodily gestures. After this project, Nisic started using a Super 16 camera to film bodily gestures for the maximum

1.2 began with a keynote lecture by Sputniko!. Based

設計、永續社會的環保紡織生產，以及時裝紡織展覽的挑

duration possible with this type of technology. She visited

on her speculative design, Sputniko!’s works interweave

戰和嘗試。

ex-textile female workers in North of France and filmed

art and science, tradition and innovation. In the lecture,

their hand movements. Although most of the women had

she shared her experience of collaboration with Japanese

quit working in the declining textile industry, their hand

generic engineers and traditional kimono making family

movements showed how their time working in the factories

in Kyoto.

had been imprinted on their bodies. The work records the fading memory of female textile

道德、權力、記憶、想像一科技連同這些元素，無休止 地編織「未來」，提升人類所能，同時質疑主觀性。由香 港紡織女工的相片起始，「新經緯系列 1.0」以亞莉雅德 妮的線球，穿引各藝術家多姿多彩的作品。紡織文化藝

In following sessions, the panelists presented plural topics

術，歷史深厚，現今種類繁多；本項目所能展現的，只屬

including philosophical notion of technology in textile,

冰山一角。紡織在日常生活中隨處可見，太過尋常，以至

women’s role in textile production in China and Hong

其美學、歷史、社會、政治意義，以及與其他範疇的關係，

In addition to the video art exhibition, the Discussion Forum 1.2 was organized with 12

Kong, transnational/cultural design of Qi Pao, ecology-

常遭忽視。「新經緯系列」推翻紡織的保守觀念及偏見，

leading academics, curators and practitioners from 5 regions.

conscious practices of textile making for sustainable

日後將繼續審視紡織與生活的關係，探索紡織的未來。

workers and of the textile industry in the region using Super 16 mm film, an old filming technology also destiny to be obsolescent.

society, and challenges and experiments in fashion and textile exhibitions.

Fig. 10 Vvzela Kook Parallel 2012 HD video, sound 8min. 55sec.

Courtesy of the artist 曲倩雯 Parallel 2012 高清錄像，聲音 8 分 55 秒 鳴謝：藝術家

Ethics, power, memory and imagination – perpetually weaving “future” with these elements, technology expands human’s capability as well as questions the subjectivity. Depart from the photo of Hong Kong female textile worker, TECHSTYLE Series 1.0 travels colourful practices by the artists via Ariadne’s thread. This is only a fragment of the contents that we can expect from the rich histories and contemporary forms textile culture and art. Textile is too familiar in our everyday lives, therefore, its aesthetical, historical, social and political value and relation to other disciplines are often trivialised. Undermining the conventional notion and prejudice of textile, TECHSTYLE Series will continue to interrogate how textile is connected with our lifestyles and its futures.

Endnotes

註釋

1. Chan, Kit Sze Amy. 2003. ‘When Cyberfeminism Meet Chinese Philosophy: Computer, Weaving and Women’ in Gender, Technology and Development, Vol. 7(3), New Delhi, Thousand Oaks, London, Sage Publishing: 379-397.

1. Chan, Kit Sze Amy，〈When Cyberfeminism Meet Chinese Philosophy: Computer, Weaving and Women〉，《Gender, Technology and Development》 Vol. 7(3) ， 新 德 里：Thousand Oaks； 倫 敦：Sage Publishing, 2003：379397。

2.

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Ariadne’s Thread: A Curatorial Note on Video Art Exhibition

Stanley, Autumn. 1995. Mothers and Daughters of Invention: Noted for a Revised History of Technology: 1st edition, New Brunswick: Rutgers University Press.

2.

Stanley, Autumn，《Mothers and Daughters of Invention: Noted for a Revised History of Technology》， 第 一 版， 新 布 朗 斯 維 克：Rutgers University Press， 1995。

亞莉雅德妮的線球：錄像藝術展的策展人語

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錄像藝術展紀實 Documentary of Video Art Exhibition

Installation view of TECHSTYLE Series 1.0: Ariadne‘s Thread Sheung Wan Civic Centre Hong Kong 2016 新經緯系列 1.0：亞莉雅德妮的線球 展覽裝置圖片 上環文娛中心 香港 2016

Installation View of Technology/Transformation: Wonder Woman Dara Birnbaum / 達拉．畢恩包 1978-79 Colour, stereo sound / 彩色，立體聲 5min. 50sec. / 5 分 50 秒 Courtesy of Electronic Arts Intermix, New York and the artist 鳴謝：藝術家、紐約 Electronic Arts Intermix

Work View of Technology/Transformation: Wonder Woman Dara Birnbaum / 達拉．畢恩包 1978-79 Colour, stereo sound / 彩色，立體聲 5min. 50sec. / 5 分 50 秒 Courtesy of Electronic Arts Intermix, New York and the artist 鳴謝：藝術家、紐約 Electronic Arts Intermix

Installation View of TECHSTYLE Series 1.0: Ariadne‘s Thread ／ 新經緯系列 1.0：亞莉雅德妮的線球 Sheung Wan Civic Centre ／上環文娛中心 Hong Kong ／香港 2016

Work View of I Don’t Want to Set the World on Fire Tina Havelock Stevens ／天娜．哈維洛克．史提芬斯 2016 HD video, sound ／高清錄像，聲音 3min. 10sec. ／ 3 分 10 秒 Courtesy of the artist ／鳴謝：藝術家

Installation View of RED SILK OF FATE – TAMAKI’S CRUSH Sputniko! ／人工衛星子！ 2016 HD video, sound ／高清錄像，聲音 5min. 09sec. ／ 5 分 09 秒 Project by Design Fiction group, MIT Media Lab, Commissioned by Fukutake Foundation ／ 福武財團委約，Design Fiction group 、 MIT Media Lab 製作 Courtesy of the artist and SCAI The Bathhouse, Tokyo ／ 鳴謝：藝術家、東京 SCAI The Bathhouse

Installation View of North-Women Natacha Nisic ／娜塔莎．尼希克 2007 Super 16 mm on video, stereo sound ／ 超 16 米厘錄像，立體聲 5min. 20sec. ／ 5 分 20 秒 Courtesy of the artist ／鳴謝：藝術家

Installation View of Let’s Do Magic ／ Make It Great Magdalen Wong ／黃頌恩 2014 HD video, sound ／高清錄像，聲音 2min. 18sec. ／ 2 分 18 秒 2min. 11sec. ／ 2 分 11 秒 Courtesy of the artist ／鳴謝：藝術家

Installation View of A Night with a Pink Dolphin Ji Hye Yeom ／廉智惠 2015 HD video, sound ／高清錄像，聲音 21min. 47sec. ／ 21 分 47 秒 Courtesy of the artist ／鳴謝：藝術家

Installation View of Feed Me Rachel Maclean ／麗素．麥蓮 2015 HD video, sound ／高清錄像，聲音 60min. ／ 60 分 Courtesy of the artist and Film and Video Umbrella ／ 鳴謝：藝術家、Film and Video Umbrella

Installation View of Strangers Cao Fei ／曹斐 2015 Four-channel video installation ／四頻道錄像裝置 4min. 18sec. ／ 4 分 18 秒 Courtesy of the artist, Vitamin Creative Space and omegle.com ／ 鳴謝：藝術家、維他命藝術空間、omegle.com

Installation View of Parallel Vvzela Kook ／曲倩雯 2012 HD video, sound ／高清錄像，聲音 8min. 55sec. ／ 8 分 55 秒 Courtesy of the artist ／鳴謝：藝術家

六： 你邀請不同專長的人參與，一步一步實現計劃，很有

人工衛星子！訪問

意思。同時，計劃的規模亦逐步擴充。 衛： 緊 接 的 計 劃 為《Red Silk of Fate – Tamaki’s Crush》

六 = 六廠紡織文化藝術館 衛 = 人工衛星子！

（Fig. 1），我們再次與同一班科學家合作。我以此計劃， 思考東亞傳說中的「紅線」：命中注定相遇的二人， 以人不能見的紅線相連。大多數人認為，此紅線只屬

六： 你的出身很獨特，為英國母親與日本父親所生。你先

於倫敦帝國學院修讀數學和電腦科學，再到倫敦皇家 藝術學院就讀碩士，專攻互動設計。現時，你在麻 省理工學院，帶領一個名為 Design Fiction Group 的 研究小組。興趣的多元，形成你現時跨學科的藝術創 作。 衛： 我探索新興生物科技、數碼技術，思索它們對將來的 影響一日常生活、時裝、紡織，很多、很多其他東 西。好些近期計劃，將我的興趣串連。我和日本筑波 大學內生物資源學類的基因專家合作。他們研究將水 母和珊瑚的基因，加到蠶蟲中，令其生產的絲綢發紅 光或綠光。此光來自紅色螢光蛋白和綠色螢光蛋白。 有水母和珊瑚基因的蠶蟲，眼睛發紅光、綠光，其生 產的絲綢一樣發光，有如電子蠶蟲。 六： 之後，你邀請京都傳統和服師傅，與科學家合作。

Interview with Sputniko!

CHAT: Then you involved traditional kimono maker in Kyoto

SP:

CHAT = Centre for Heritage, Arts and Textile SP = Sputniko!

傳說，並不存於現實。我想以此計劃探索：這個神話，

into the collaboration with the scientists.

可否以科學實現？姻緣紅線，能否以基因改造製作？

We tried to combine this biomaterial with Nishijin

同時，我想加入釋放催產素的基因。催產素是浪漫的

kimono fabric. There is a very traditional kimono-

賀爾蒙，愛的賀爾蒙，人與人連繫的賀爾蒙。當一個

making family in Kyoto and they have been running

人墮入愛河，與人擁抱，或處於互信的關係時，大腦

for 13 generations, and always they worked with

就會釋放催產素。我想混合產生催產素的基因，以及

new themes and new technology to develop this

紅色螢光蛋白，和科學家說：「我們可否基因改造蠶

CHAT: You have very unique background – born of a British

kimono culture, so they were really excited to

蟲，使牠生產的絲綢，會發紅色光，含催產素這個愛

mother and Japanese father. You also initially studied

work with this new kind of silk. This project was

的賀爾蒙？」答案是：這主意真天馬行空，但其實可

mathematics and computer science at Imperial

sponsored by Gucci.

能做得到，我們會試試可否基因改造出這東西。

College in London, then went on to a Masters degree at the Royal College of Arts to study Design

CHAT: It is interesting you have invited people from different

之後，我們於 2015 年 4 月，開始商量這主意。大量

fields and realised the projects step by step.

討論過後，科學家於同年 6 月，將基因注入蠶蟲中。

Accordingly, the scale of project has been evolving.

同年 12 月，即討論開始後八個月，科學家終於成功

interactions. Now you direct a research group called Design Fiction Group in MIT Media Lab. The mixture of interests obviously leads your current crossdisciplinary artistic practice.

衛： 我們嘗試將此生物科技物料，用於西陣織之中。京都

SP: I am interested in exploring emerging biotechnologies

有個歷史悠久的和服世家，裁製和服已踏入第十三

or digital technologies, and thinking about the

代，不斷以新主題、新技術來宏揚和服文化。所以，

possible impact they have on the future – how we

得以用此種新絲綢，他們相當雀躍。這計劃由 Gucci

live, and also on fashion, textile; many, many things.

資助。

Some of my recent projects are bridges between my interests. I collaborated with genetic engineers in Tsukuba University in Japan working in the Institute of Agrobiological Sciences.

They developed ways to add DNA of jellyfish and coral to a silkworm, so that the

SP:

The next project called Red Silk of Fate – Tamaki’s Crush (Fig. 1), we also collaborated with the same scientists. In this project, I was exploring this East

創造第一條蠶蟲，其生產的絲綢，可以發紅光，含催 產素。難以想像於現實世界出現的神話，因藝術家的 想像力成真，實在很有意思。

Asian mythology of the red string of fate. It’s an East Asian mythology that says that two people destined to meet each other romantically are connected with this invisible red string of fate. So, this is something that we think is mythical, it doesn’t happen in the real world, but in this project I wanted to explore. Can we actually try to recreate this mythology through science? Can we genetically engineer this red string of fate? I also started thinking about adding DNA that produces oxytocin. Oxytocin is called a romantic hormone; a love hormone,

silkworm produced silk that glows red, or green. They come from Green and Red Fluorescent Protein. If you add the DNA coral and jellyfish, the silkworm’s eyes glow red and green and also the silk that they produce glow. It looks like a cyborg silkworm.

Fig. 1 Sputniko!

RED SILK OF FATE - TAMAKI’S CRUSH 2016 HD video, sound 5min. 09sec.

Project by Design Fiction Group, MIT Media Lab / Commissioned by Fukutake Foundation.

Courtesy of the artist and SCAI The Bathhouse, Tokyo 人工衛星子！ RED SILK OF FATE - TAMAKI’S CRUSH 2016 高清錄像，聲音 5 分 09 秒 福武財團委約，Design Fiction Group、 MIT Media Lab 製作 鳴謝：藝術家、 東京 SCAI The Bathhouse

42

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Interview with Sputniko!

人工衛星子！訪問

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Fig. 2 Sputniko!

RED SILK OF FATE – TAMAKI’S CRUSH 2016 HD video, sound 5min. 09sec.

Project by Design Fiction Group, MIT Media Lab / Commissioned by Fukutake Foundation.

Courtesy of the artist and SCAI The Bathhouse, Tokyo 人工衛星子！ RED SILK OF FATE – TAMAKI’S CRUSH 2016 高清錄像，聲音 5 分 09 秒 福武財團委約，Design Fiction Group、MIT Media Lab 製作 鳴謝：藝術家、東京 SCAI The Bathhouse

a social bonding hormone. And it’s a hormone that’s released in your brain when you fall in love with someone, when you’re hugging someone, or when you’re in this trusting relationship. So, I had this idea of adding genes that could produce oxytocin, and also produce this red glowing protein, and I went to the scientists and I said, “Can we actually try to genetically engineer a silkworm that can produce

六： 此作取材日本神道教之處頗多。神社可曾反對你的藝

術／科學創作？ 衛：我了解到基因改造可以跨越很多禁忌和道德界線， 其中以宗教尤甚。2006 年，《時代》雜誌有個充滿 寓意的封面，以「上帝對科學」作標題，討論基因改 造的窘境。可是，以科學角度審視文化，可以很有趣， 特別是宗教。我熟悉的神道教，認為神明藏於海， 藏於石，藏於樹，藏於蒼蠅，藏於微小細菌一所有

避免電腦死機、電腦病毒的護身符聞名，或許他們會

music film, which is basically this modern day

諱，又或無傷大雅？」

biomythology. The character here, the main character, she’s called Tamaki, and she’s an aspiring genetic engineer. She falls in love with Sachihiko, which is this guy – which I’m playing actually, right there – and she falls in love with Sachihiko and she really, really wants this love to work. But Sachihiko doesn’t notice this affection she has.

One day she decides, okay, maybe there’s no red string of fate between me and Sachihiko, but I am going to genetically engineer my own red string of fate to get the heart of my crush. So, she goes back to her house and starts DIY bioengineering

一直以來，科學質疑神話世界，企圖以科學解析，伽

to make her own red string of fate (Fig. 2). But as she does this, this strange,

俐略引證地球環繞太陽公轉，與教會紛爭如是；達爾

mythical power starts to inhabit her and her own creation, so strange things start to

文的演化論如是。觀乎近期生物科技、基因改造的發

happen to this red string of fate that she creates.

展，科學好像在創造一個近乎神話的全新未來一一

come out from an artist’s imagination.

個前所未見，有如神話，但是真實的未來。我想以此

Science has long challenged and demystified the

計劃，審視我們正在邁入的這個奇幻世界。

going to trial with the church when he proposed that the Earth rotates around the sun, or Darwin’s

I am a musician and also a filmmaker, so I directed the film, Red Silk of Fate – Tamaki’s Crush, a

started the discussion – they managed to produce

world of mythology, from the times of Galileo Galilei

SP:

創造這全新生物。神道教何以看待？它有否犯了大忌

inject the genes into the silkworm, and in December – that’s eight months after we

work?

理解基因改造。我問神社的神主：「我和科學家合作，

actually in April 2015, and after a lot of discussion, in June, they started trying to

think will never happen in real life could actually

CHAT: So did you attempt to turn illogical phenomenon in

我拜訪有一千三百年歷史的神田神社，此神社以製作

see if we can genetically engineer this thing. Then we started talking about this idea

something that’s almost like a mythology that we

we’re starting to live in.

mythology into logical scientific fact in your video

okay that’s a really crazy idea, but it’s actually possible, and we’re going to try to

silk containing oxytocin. It’s really interesting how

this project, I wanted to really look at this strange world that

身邊的事物，皆有神明。

this red glowing silk containing this oxytocin love hormone?” And the answer was,

the first silkworm that produced this red glowing

almost like mythology; a new mythical future reality. So, in

六： 你是否試圖在錄像作品中，將神話中超乎邏輯的事

CHAT: In the work, there are a lot of references to Shinto. Was there any objection from Shinto shrines against your artistic/scientific intervention?

SP:

bioengineering sciences are crossing. Especially religion. Time had this very

情，變成合乎科學的事實？

theory of evolution. Looking at the recent progress

衛：我是音樂家，但亦有製作影片。我導演的影片《Red

of biotechnology and genetic engineering, it almost

Silk of Fate – Tamaki’s Crush》是齣音樂片，以現代生

looks like science is recreating a new future that’s

物神話為題材。主角 Tamaki 是個有抱負的生物工程

symbolic cover in 2006, saying “God Versus Science” with this DNA strand. But it would be interesting to view science from many cultural perspectives, especially in terms of religion, because Shinto religion, which I’m familiar with, tends to see that there’s a spirit or god residing in the ocean, in rocks, in trees, in a fly, in a little

師，她愛上 Sachihiko，即是這個人一是我扮演的， 你看那裏一她愛上 Sachihiko，深深盼望愛情開花結 果。可是，Sachihiko 不曾發覺 Tamaki 傾慕他。有一 日，她忽然想，也許她和 Sachihiko 之間，並無姻緣

I’m aware of the many taboos or ethical boundaries that some of these

bacteria – in anything around you, there’s a Shinto spirit.

I actually visited a Shinto priest in the Kanda-myo-jin Shrine, which is a 1,300-year-old shrine, and I started to ask questions: “I’m working with scientists to make this new

紅線，但她決定用基因改造的方式，自己製造這姻緣

living thing. How is this viewed from the Shinto perspective? Is this a big no-no or

紅線，俘虜她的心儀對象。她回家着手基因改造，

is this something that’s acceptable? And the reason why also I went to see Kandamyo-jin Shrine is because they’re known for making these little protective amulets to

製作姻緣紅線（Fig. 2），神奇的力量亦降臨她和其 創造之中，引發奇異的遭遇。

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Interview with Sputniko!

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人工衛星子！

他們的答覆很有意思，在看了我的作品和絲綢後， 神主說：「真有趣。不過，我們認為，這產生姻緣紅 線的紅色蠶蟲，另有神明。這絲綢真特別一我們可 以一起在神社製作護身符嗎？」我很是詫異，同時又

人 工 衛 星 子！ 是 一 位 英 日 混 血 藝 術 家， 她 通 過 創 作 機

很興奮。我想創作一件展現這另類角度的新作品：

械、機器人、音樂和錄像作品，探討科技和流行文化的

以另一種宗教看待科學。

Sputniko!

六： 你如何為自己定位？視覺藝術家？思辨設計師？甚麼

I thought, maybe this 1,300-year-old shrine making these

驅使你挑戰傳統藝術類別？ 衛： 問題是：到底我這個計劃，是為藝術、設計，還是科 學而做？答案是，我並不太在意分類、界限。我做這 計劃，只因我想知道世界如何改變，觀點如何改變， 以及對近年的基因改造感興趣。這些東西確實正在改 變我們的生活、溝通，以及我們看待文明的方式。 我想以我的藝術創作去提供一種不同的角度，探討關 於未來的多種可能。

protect you from computer crashes or computer viruses, so computer crash protecting amulets, maybe they have an understanding for genetic engineering. And the answer I got was really interesting. They saw my work and the silk, and they were like: “Hmm, that’s interesting, but we think that there’s still this new Shinto spirit in this red silkworm that produces the red silk of fate. And actually this silk is really interesting – can we make an amulet together, together in the shrine?” That really surprised but that really also excited

（2016 年 12 月）

me. I wanted to create a new artwork that showed this alternative view of looking at science from another religion.

CHAT: How do you identify yourself? Visual artist or speculative designer? What motivate you to challenge the conventional categories in arts?

SP:

相 關 議 題。 她 畢 業 於 倫 敦 皇 家 藝 術 學 院， 其 畢 業 作 品 《Menstruation Machine - Takashi’s Take》（2010） 包 括 一部模擬月經時流血和痛楚的儀器，讓男人也可了解月經

Sputniko! is a British/Japanese artist who creates machines, robotics, music and videos exploring issues surrounding technology and pop culture. A graduate of London’s Royal College of Art, Sputniko!’s graduation piece “Menstruation Machine – Takashi’s Take” (2010), a device simulating bleeding and pain to mimic that of

來潮的感覺，該作品是她在當代藝術界打響名堂的首個項 目，完成一個月後即獲邀展於東京現代美術館。此後，她 繼續創作充滿玩味的跨媒介作品，檢視日常生活中的科技； 其電影及裝置作品曾在紐約現代藝術博物館、東京都現代 美術館等各國博物館展出。她於 2016 年在瀨戶內國際藝 術祭直島文化村的豐島建立起自己的首個常設藝術展館。

menstruation in order to allow men to understand the experience, was the first of her projects that caused ripples in the contemporary art scene and was just months later exhibited at the Museum of Contemporary Art Tokyo.

Since then, Sputniko! has continued to produce playful cross-boundary work examining the technology of everyday life, and has presented her film and installation works internationally in museums such as New York MoMA and the Museum of Contemporary Art Tokyo. In 2016 she created her first permanent art pavilion at Teshima Island in

The question was, am I doing this project for art, design or science? And the

Benesse’s Naoshima Artsite for the Setouchi Art Triennial.

answer to that, is I’m not so bothered about genres or boundaries so much. I’m just working because I’m curious about how the world changes or how our view changes, and recent bioengineering. These things are really changing the way we run our lives or the way we communicate or the way we think about civilization.

Through my artwork I would like to propose alternative futures.

(December 2016)

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essays 文章

Where are women’s voices in textile and technology? 女性在紡織與科技的聲音

雅拉克妮之重要，因為她是其中一名最早出現，既非神， 亦非王的紡織英雌。古羅馬詩人奧維德（Ovid），對其不 凡技藝加以歌頌。今時今日，仍有人對她的蜘蛛網入迷， 以及其任意罔為，擾亂邏輯規律。上述形容，亦適用於互 聯「網」：它可以超越各種界限，打破規範言行的約束。 在雅拉克妮和新約《聖經》好些篇章出現前，捕網大多為 地中海、印歐與日耳曼諸神和統治者所用的工具。其力量

神話：潘尼羅佩、 亞莉雅德妮和雅拉克妮

Mythologies: Penelope, Ariadne and Arachne Janis Jefferies

珍妮絲．謝菲斯

一個計謀，以如線的思路紡出她的計劃，好推延奧德修斯

words” (Bergren 1983) to forestall Odysseus dissolution by using the guile of her guiding-thread of thinking (“ιστόν”) to weave the structure of her scheme. As Ann Bergren (1983) has shown, the expression “weaving wiles” or “to weave a crafty scheme” (“μῆτιν ὕφηνον”) is frequently used by Homer to denote reasoning (“ἐπίφρονα μῆτιν”)

的死訊。（Bergren 1983）她以「線網」（「ιστόν」）， 編 織 計 謀 大 綱。 如 Ann Bergren（1983） 寫 道， 荷 馬 （Homer）常以「編織詭計」或「編織精妙陰謀」（「μῆτιν ὕφηνον」）， 代 表 理 論 思 維（「ἐπίφρονα μῆτιν」）。 他又用「Μêtis」（「Μήτις」，可指「智慧」、「技巧」、 「工藝」）作一般名詞，代表「一種智慧、思想、領悟方 法；心神、智力合一，複雜但調和；包含天賦、智慧、慎思、 內斂、騙術、謀略、機警、取巧，以至多年累積的技巧、

or devising Mêtis as a common noun, refers to “a type

經驗；用於無法單憑精確計算、嚴謹邏輯應對，多變未明

of intelligence and thought, a way of knowing; it implies

之時」。1

a complex but very coherent body of mental attitudes and intellectual behaviour which combine flair, wisdom,

但紡織比文字更有力傳達信息這點，則藉着雅拉克妮

forethought, subtlety of mind, deception, resourcefulness,

（Arachne）的故事，成為不朽傳說。雅拉克妮是個呂底

vigilance, opportunism, various skills and experience

亞（Lydia）的青年織師。她挑戰紡織女神雅典娜（Athena）

acquired over the years. It applies to situations which are

比賽紡織。比賽中，雅拉克妮和女神織得一樣快，一樣高

shifting, disconcerting and ambiguous, which do not lend

超；雅拉克妮的製成品，更與雅典娜所織的，一樣完美無

themselves to precise measurement, exact calculation or

瑕。雅典娜盛怒，將雅拉克妮變成毒蜘蛛。觸怒雅典娜的，

rigorous logic”.

是否單單為雅拉克妮的技藝？故事的細節透露，比起其工

1

Arachne is important to us because she is one of the first

關的神話，特別是舊約《聖經》中的橋段，展現各種「網」

heroines of weaving/networking who is not a god or a

之間的精細關聯。古代中東，並無「一個網」、「一個網絡」

king. In fact, Ovid praises her for her worldly skill. Today,

一有的是眾多紡織而成之物，視為各種結，在空間聯繫。

there is a fascination for her spider webs, her spirited running around of willful abandon, disrupting the forces

社會和政治

在希臘神話中，潘尼羅佩（Penelope）以布絮與思緒織成

In Greek mythology, Penelope “blends fabric and spoken

令人生畏，有時甚至用於死亡詛咒。其實，大部分和網有

藝，雅拉克妮抽象的圖案，對雅典娜更具威脅性。雅典娜 However, textiles’ power to communicate beyond text is

為眾神刺繡，創造以橄欖為象徵的秩序之境，鞏固其雅典

immortalised in the story of Arachne. Arachne, a skilled

守護女神的地位。

young weaver from Lydia, challenges Athena, goddess of the textile arts, to a weaving contest. During the contest, it becomes clear that Arachne can weave as quickly and ably as the goddess. Furthermore,

of logic and law, as much as for the metaphors of the

由雅拉克妮的故事伸延，紡織可比喻當代社會、政治。

World Wide Web, its spatial capacities for moving across

追溯歷史縱橫交錯的線，諷刺地可見，紡織為工業化的基

borders of all kinds and restrictions of “proper” behaviour.

礎。英國殖民，摧毀各地紡織業和世界貿易，卻有能力將

Before Arachne and some passages in the New

東西相連、撕開。

Testament catching nets were mostly an instrument of the Mediterranean and Indo-Germanic gods and rulers. Its

工業化、紡織、Spivak 和性別

power was to be feared and sometimes even used as a 馬克思並未對性別有太多探討。要討論性別規範，我們 可 讀 Gayatri Spivak 1988 年 的 論 文〈Can the Subaltern Speak?〉。她提出的質疑是：英國殖民者的紀錄，甚少提 及女性「說甚麼」，反而常強調女性「如何說」。2 倫敦

deadly curse. Actually, most of these network myths and particularly the Old Testament show a highly refined sense of the different topologies of webs and nets. Already in the ancient Orient there is no such thing as “one net” or “one

東區血汗工廠女工，以至她們的競爭對手，即在孟加拉出

network” but a multitude of textile objects as knots and

口成衣工廠中以件計薪的女工，同受此限。

nodes in spatial relations.

Society and Politics

From Arachne a link to textiles can be made which acts as a metaphor for society and politics in contemporary times. Following an entwined network of threads through history, paradoxically we can view how textiles are at the foundation of industrialisation, British colonial destruction of local textile industries and world trade but also have had the ability to weave together or tear apart.

Industrialisation, Textiles, Spivak and Gender Gender is not an issue for Marx so for ideas around gendered agency we must turn to Gayatri Spivak’s 1988 essay, “Can the Subaltern Speak?” The question she poses is how “Colonial records rarely tell us what women said, but rather emphasize how women spoke”.2 For example, this question applies to women who are sweatshop workers in London’s East End or the pieceworkers in the export-based garment industry in Bangladesh with whom they have been seen to be historically in competition.

the finished piece is as flawless as Athena’s own. Enraged, Athena changes Arachne into a venomous spider. Was it simply Arachne’s skill that enrages Athena? The story’s details suggest that the symbolic content of Arachne’s abstract ornamentation threatened Athena more than her workmanship. Athena embroidered the gods proper and orderly scenes of trim-leaved olives that reinforced her position as patron goddess of Athens.

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為引用亞莉雅德妮的線球（高橋瑞木《新經緯系列 1.0：

有關紡織和科技的理論，似乎留待藝術家、作家、文化和

亞莉雅德妮的線球》所取材），我想轉向 Sadie Plant 的

後殖民理論家、口述歷史專家以及策展人發掘。與此同時，

1997 年著作《Zeros + Ones》。書中闡述紡織和書寫的

直至近期，女性在藝術和科技領域中，還是相對隱沒。4

淵源，以及兩者之間的轉換；所以，她當時稱呼的「數碼

不少女性藝術家，均顯露二十世紀電腦文化中的性別政

女性」（digital women）和「新科技文化」（new techno

治。Angela Creager、Elizabeth Lunbeck、Londa Schiebinger

culture），均和「織」有關。如高橋強調，「亞莉雅德妮 的線球」是次盤查，以錄像藝術展覽和國際研討會兩部分，

In giving voice to Ariadne’s thread (as cited in Mizuki

探索在紡織和工業發展中，女性和科技何以不可或缺。

Takahashi’s introduction to TECHSTYLE Series 1.0:

Plant 於 其 稍 早 的 1995 年 論 文〈The Future Looms: Weaving Women and Cybernetics〉中寫道：3

Ariadne’s Thread), I make a conceptual move to Sadie Plant’s 1997 book, Zeros + Ones. It explores the text of the textile is also mobilsed in another register, digital

雅卡爾提花織機的打孔卡系統，將資訊年代推前至

women and the new techno culture as she called it then

十九世紀初。其自動化織機，為第一部自行儲存資

in her book, which in turn is also all about weaving. The

料，以機內的「軟件」運作，是將操作由人手轉至

text/textile interface has often surfaced as an explicit

機械的早期例子。

preoccupation in literature. There are structural similarities

無論我們如何看待織布機和電腦的關係，Plant 深信：操作 已由織師轉至機器，由手工轉至工業生產，而女性從事紡 織，亦轉為投身紡織相關的科技。

between ancient Greek textual analysis and techniques of weaving, with particular attention to the relationship between the “starting border” of a cloth.

As Takahashi emphasises, “Ariadne’s Thread” is a survey,

紡織技術

comprising both a video art exhibition and an international

織布機技術的發展史，可說是「轉移」的歷史：操作由織 師移至機器，由世界各地女性貨真價實卻被無視，生產

symposia both of which examines how women and technology are integral to how textiles and industry have

所必需的勞力，轉移至工業化、大量生產，以及廿一世紀

developed.

的先進技術。此段歷史中，控制織法，即是決定拿起一條

Plant offered these comments in her earlier 1995 essay,

經紗與否；控制過程，即是改變此重要經濟活動。再次 重申先前引述 Spivak 的觀點：女性為當代世界資本奠基

“The Future Looms: Weaving Women and Cybernetics”:3 “Jacquard’s system of punch card programs brought the

（1988: 28）。

information age to the beginning of the 19th century.

His automated loom was the first to store its own information, functioning with its own software, an early migration of control from weaver to machinery.”

在 2001年著作《Feminism in Twentieth-Century Science, Technology, and Medicine》， 剖 析 此 現 象 埋 根 於 軍 事、 工程。5 Joan Truckenbrod 在 1998 年論文〈Gender Issues Textile Technology The whole history of loom technology is a history of the migration of binary control from weavers to machines, from the work of women in many societies whose real but often

in the Electronic Arts Inform the Creation of New Modes of Computing〉， 描 述 此 文 化 藏 於 程 式 語 言、 統 領 結 構， 顯示電腦操作系統和軍事的淵源。她繼而指出，這種電腦 文化，使很多以電腦創作的女性藝術家，感到格格不入：

invisible labour were a necessity to industrialisation, mass

電腦是一種社會建構（social construct），在社會

production and the advanced technological processes of

政治環境中成形。6

the 21st century. Throughout this history, to control a weave meant to decide whether a warp thread was to be picked up or not, to control the process was to shift a major economic field or to reiterate Spivak’s point referenced earlier maintain the, “female ground layer that holds up contemporary global capital (1988: 28).”

If it has been left to artists, writers, cultural and postcolonial

那 麼， 回 顧 早 年 電 腦 發 展， 程 式 設 計 容 納 女 性， 無 分 性別，可謂出人意表。7 此不尋常的現象，在女性雜誌 《Cosmopolitan》1967 年 4 月 號〈The Computer Girls〉 一文中可見一斑。文章鼓勵當時的時尚女讀者，以程式設 計為事業，說它是女性有前途的工作。Lois Mandel 引述 Grace Hopper 博士，說編寫電腦程式需要耐性，專於細 節。她確信，女性「天生」適合程式設計。8 我聽過這種

theorists, oral historians and curators to unpack ideas that circulate around texts about textiles and technology. Running concurrently is that women’s role in art and technology has, until recently, remained a comparatively hidden history.4 Many female artists have highlighted the gendered politics of computer culture in the 20th century. Angela Creager, Elizabeth Lunbeck and Londa Schiebinger, in their 2001 book, Feminism in Twentieth-Century Science, Technology, and Medicine examine this history as rooted in the military and engineering.5 Joan Truckenbrod’s 1998 paper “Gender Issues in the Electronic Arts Inform the Creation of New Modes of Computing”, describes

Whatever we think is the true relation of loom and computer – Plant insists: that control has

this culture as being encoded by the syntax, command and control structures that reflect

migrated from weaver to machine, from hand made to industrial production, women and

computing operating systems and their associated history with military applications. She

textiles to women’s engagement in general to technology.

further suggests how this context has made many female artists working with computers feel alienated: “Computing is one of these social constructs that has been formulated within a socio-political milieu.”6

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觀點，並將之聯想至紡織生產。依照 1984 年 Diane Elson

顯著地，針對科技藝術範疇中女性藝術家失衡的情況之

論文的分析，亞洲女子手指靈活，技藝精巧，「天生」適

當代藝術設計群組日多，包括 G. Hack（Girl Hack）、

9

合紡織，在家或工廠均可。 電腦程式和紡織，兩者密不 可分，卻又互為矛盾。

CoDesign、Flossie、MzTEK 等。 最近，倫敦的《科技並非中性》展覽（Technology is not

可是，1960 年代過後的數十年，程式設計日漸變成男性

Neutral, Watermans Arts Centre 籌辦的巡迴展覽），顯示

為主的專業。成立專業協會、提高學歷以配合電腦程式日

在數碼藝術中，女性遠被忽視的功勞，展示女性藝術家塑

It is surprising, then, that the early years of electronic

趨專業、廣告，都偏向以男士為對象。此等轉向，鞏固一

造數碼藝術、科技和合作的當今面貌。策展概念突出多種

computing saw the role of programming remarkably

個觀點：電腦以至所有新科技，都是男性的專業。我想強

形式，包括細菌排列、機械表演、以數據為媒介、靈感來

receptive to female labour and not divided along gender

調，有如織布機的歷史，是一段由織師（多為女性）轉移

自生物的模擬、場地特定的網絡訊號、數碼印刷、動能藝

lines.7 This rather unusual situation was illustrated by “The

至機械（多為男性）的歷史；電腦程式的轉向，使當代性

術（kinetic art）、虛擬現身（telepresence）、社交媒體上

Tellingly, a growing number of contemporary art and

Computer Girls”, an article in Cosmopolitan Magazine,

別偏見、定形更見牢固。其實，Truckenbrod 的推斷，引證

的行動主義、無人機編舞、腦電波藝術，以及駭入現實。

design networks have been established to address

April 1976. The feature encouraged the magazine’s then

西方科技，暗藏父權價值觀。10 愈來愈多女性主義者，

fashionable female readership to consider careers in

如 Flis Henwood、Judy Wajcman，將科技視為文化的新近

programming, describing the field as offering promising

分析，探討性別和科技間的關係。11 這些分析，將科技看

本文最後一部分，提出一系列以女性和跨學科合作為本

job opportunities for women. Lois Mandel, quoted Dr

為「文化產物」或「進程」。由此觀之，性別和科技，

的作品。這亦一直為筆者和很多女性的研究工作重點。

Grace Hopper, as saying programming required patience

並非生來如此，固定不變，而是建構而成。

自 2002 年起，Barbara Layne（滿地可康考迪亞大學）和

Barbara Layne 和珍妮絲．謝菲斯：大西洋兩岸對談

and the ability to handle detail. Women, she believed,

筆者，聯同多個由研究生組成的小組，在大西洋兩岸工作。

were, “‘naturals’ at computer programming.”8 I have heard

中期成果之一，為 2006 年於多倫多美國紡織協會（Textile

this kind of sentiment before and linked to textile production. As analysed by Diane Elson’s

Society of America） 發 表 的〈Textiles, Transmissions and

1984 essay, in Asia women also have nimble fingers and dexterous skills which made

Translations〉。可是，我們首次合作出版，為〈Electronic

them “natural” for textile work at home and in industry.9 Computer programming and

Arts: Hacking the Museum〉。1996 年，Layne 在曼徹斯特

textile work are inextricably and paradoxically connected.

the imbalance of women artists working in arts and technology, including G.Hack (Girl Hack), CoDesign, Flossie and MzTEK. Most recently in London, Technology is not Neutral (a touring exhibition organized by Watermans Arts Centre) targets the frequent under-representation of the achievements of women in the field of digital art. It showcases the contribution of women artists in shaping what digital art, technology and collaboration are today. The curatorial concept focuses on a diversity of approaches and methodologies including sequencing of bacteria, robotic

However, the decades following the 1960s saw the programming becoming an

performance, data as an artistic medium, biologically inspired simulation, site specific online transmission,

increasingly masculinised profession. The creation of professional associations, the

digital print, kinetic art, telepresence, social media activism, drone choreography, brainwave art and

emphasis on educational requirements for programming careers and advertising

hacking reality.

campaigns increasingly targeted men. This cemented a view that computing, and by implications all forms of new technology, were deemed a masculine profession.

I emphasise the point that just as the whole history of loom technology is a history of the migration of binary control from weavers (mostly women) to machines (mostly men) the turn to programming served to reinforce contemporary gendered preconceptions and stereotypes. In fact Truckenbrod’s assertion supports the view that Western technology itself embodies patriarchal values.10 However, a growing number of feminists, including Flis Henwood and Judy Wajcman, have used the emerging cultural analyses of technology as a framework to examine the relationship between gender and technology.11 These cultural analyses frame technologies as “cultural products”, or “processes”. From this perspective, gender and technological meanings are not fixed or given; they are made.

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Barbara Layne and Janis Jefferies: Voices across the Atlantic The final section of this essay refers to a body of work where women’s voices and interdisciplinary collaboration has been core to much of my and many other women’s’ extra research work. Barbara Layne (Concordia University, Montreal) and I with various teams of postgraduate students have worked together across the Atlantic, since 2002, the interim results of the first one being Textiles, Transmissions and Translations presented in 2006 at Textile Society of America, Toronto. However, our first joint publication was Electronic Arts: Hacking the Museum, based on a series of conversations by train from Salford to London and email on the occasion of Layne’s solo show of the same title at the Glass Box, Salford, University of Manchester in 1996.12

神話：潘尼羅佩、亞莉雅德妮和雅拉克妮

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Fig. 1

電子通訊的全球增長，相扶相承。電子通訊年代，與實體

Vvzela Kook Parallel 2012 HD video, sound 8min. 55sec.

Courtesy of the artist

的手工相合，聽來似乎有所矛盾，但科技創造社會聯繫、 傳播的網絡，使女性可將技藝，由實體轉為電子。《新經 緯系列 1.0：亞莉雅德妮的線球》的錄像藝術展覽，便是 whose voices are being excavated across time and space,

曲倩雯 Parallel 2012 高清錄像，聲音 8 分 55 秒 鳴謝：藝術家

myths and stories, histories and oral testimony. So, one argument runs along these lines: that the resurgence in textiles is simultaneous with a global growth in technology and electronic communications of all kinds. While this conjunction with physical practices in the age of electronic

一例（Fig. 1）。 重申一次：「科技並非中性」。紡織同為最古老和最嶄新 的科技之一。它帶領我們穿越交織的網，展開回到未來的 旅程；潘尼羅佩的機靈、亞莉雅德妮的線球，以及雅拉克 妮的編織，縷縷續續（Fig. 2）。

communications may appear to be somewhat paradoxical, technology has provided another kind of network of social relations and distribution particularly for women who transfer their skills from the physical to the program, as in the examples of the video exhibition that forms part of TECHSTYLE Series 1.0: Ariadne’s Thread, Technology is not Neutral, cited earlier (Fig. 1). As such, The Enchantment of Cloth, like our most well-known project, Wearable Absence (2005-9),13 is funded by the Social Sciences and Humanities Research Council of Canada. Our research aims to reinvigorate some

textiles as one of the oldest and newest technologies around, takes us through a web, a journey back to the future, Penelope’s cunning, Ariadne’s thread and Arachne’s web continue (Fig. 2).

of the wealth of textiles in the archives of museums by reworking historic techniques (couching) and imagery (rank badges) with new electronic communication. The image used to illustrate this essay comes from a 索爾福特大學 Glass Box 畫廊同名的展覽，引伸一連串在 火車上和電郵的交流，為該次出版的契機。12 有如我們最知名的計劃「Wearable Absence」 （2005-9），13 「The Enchantment of Cloth」同為加拿大社會科學研究局

Byzantine textile “The Branco Belt” (c. 1350), British Museum, April 2015. The original Branco Belt, under copyright restrictions within the British Museum, was made by laying or couching silver threads by hand. This sample is a test, configured as a wyvern “patch antenna”

贊助。研究旨在以電子通訊科技，重新運用舊有技術（挑

connected to a panther antenna (also from the Branco belt)

繡）和圖案（軍銜徽章），善用博物館存檔中珍貴的紡

on a garment worn by another person. When people face

織資料。本文的插圖，來自大英博物館，一件名為《The

each other and the signal (the connection) is strong, the

Branko Belt》（1350） 的 拜 占 庭 紡 織 品。「The Branko

LEDs stitched onto the garment light up. Historical textiles

Belt」以人手製繩、挑繡銀線。此樣本是個實驗，以雙足

are transformed into conductive circuitry for “collective”

飛龍 「徽章天線」，連接至另一人身上的「黑豹天線」（同

(meaning more than one to one), communication

出自「The Branko Belt」）。當二人面對面，而訊號又夠

technologies of the 21st century.

強的話，腰帶上的 LED 燈會亮起。是廿一世紀的通訊技術

Conclusion

將歷史的紡織品轉變成了「集體」傳導的電路。

Fig. 2 The Wyvern Sample from the project, The Enchantment of Cloth Researchers: Barbara Layne (Studio subTela, Concordia University, Montreal Quebec Canada) and Janis Jefferies (The Digital Studios, Goldsmiths College, University of London) The Enchantment of Cloth 項目中的飛龍作品 研究員：Barbara Layne（加拿大魁北克省，蒙特婁，康考迪亞 大學，subTela 工作室）、珍妮絲．謝菲斯（倫敦大學金匠學院， 數碼工作室） The mythical wyvern image comes from a Byzantine textile “The Branco Belt” (c. 1350) which was observed in the collection of the British Museum in April 2015. The original Branco Belt was made by laying or couching silver threads by hand. The belt was worn by a Serbian aristocrat in Constantinople (now Istanbul). 神秘的飛龍形象是我於 2015 年 4 月大英博物館所見收藏， 來自拜占庭式紡織品《The Branco Belt》（約 1350）。 Branco Belt 原品用粗銀線手工縫製，穿戴於一位君士坦丁堡 （現伊斯坦布爾）塞爾維亞貴族身上。

Making in the physical world implies unmaking, remaking,

結論

making new connections across people and place, the

所謂創造，代表拆解創造，重新創造；為不同的人、地，

physical and the virtual. Through the manipulation of textile

實體和虛擬之間，創造新聯繫。通過整理紡織品、紡織過

materials, processes, methods, histories, technologies,

程、方法、歷史、技術，新知識得以創造；箇中，女性功

new knowledges are produced particularly by women

不可沒。她們的貢獻，可見於時空、神話、故事、歷史、 口傳箴言中。貫穿本文的推論為：紡織復興，與所有科技、

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神話：潘尼羅佩、亞莉雅德妮和雅拉克妮

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Janis Jefferies Professor, Goldsmith College, University of London

註釋

Endnotes

1.

Marcel Detienne、Jean-Pierre Vernant 著，Janet Lloyd 譯，《Cunning Intelligence in Greek Culture and Society》，芝加哥：芝加哥大學出版社，1978: 3-4。

2.

Gayatri Chakravorty Spivak，〈Can the Subaltern Speak?〉，《Marxism and the Interpretation of Culture》，Cary Nelson 和 Lawrence Grossberg 編輯，倫敦： Macmillan，1988: 24-8。

3.

Sadie Plant，〈The Future Looms: Weaving Women and Cybernetics〉，《Body & Society Vol. 1》，1995 (Issue 3-4): 45-64。

4.

Judy Wajcman 指女性在科技中的「隱沒歷史」。Judy Wajcman，〈Reflections on Gender and Technology Studies：In What State is the Art?〉，《Social Studies of Science》Vol. 30，2000（no.3）：447-64。 文 章 亦 見 於 網 址： http://www.uni-klu.ac.at/gender/downloads/Wajcman_2000.pdf

1. Marcel Detienne, Jean-Pierre Vernant, Cunning Intelligence in Greek Culture and Society, Chicago: University of Chicago Press, 1978:3-4.

2. Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. London: Macmillan, 1988: 24-8. To save the reader’s confusion, I am writing here of the British Colonial records since Spivak is critiquing British colonial rule in India. The India Office are the documentary archives of the administration in London of the pre 1947 Government of India. They can be found in the British Library in London, UK. 3. Sadie Plant. “The Future Looms: Weaving Women and Cybernetics.” Body & Society 1, 1995 (3-4): 45-64.

4. Judy Wajcman refers to the “hidden history” of women in technology. Judy Wajcman, “Reflections on Gender and Technology: In What State is the Art?” Social Studies of Science Vol.30, no 3 (2000): 447-64. Also accessible online: http://www.uni-klu.ac.at/gender/downloads/Wajcman_2000.pdf.

5. Angela Creager, Elizabeth Lunbeck and Londa Schiebinger, eds, Feminism in Twentieth-Century Science, Technology, and Medicine, Chicago: The University of Chicago Press, 2001: 4.

6. Archive of Art & Design, AAD/2009/19/10/97, Joan Truckenbrod, ‘Gender Issues in the Electronic Arts Inform the Creation of New Modes of Computing’, paper from the Patric Prince collections, Victoria and Albert Museum, London, UK, 25 June 1998: 3.

7. Thomas J. Misa, “Gender Codes: Defining the problem”, in Gender Codes: why women are leaving computing, ed. by Thomas J, Misa, New Jersey: Wiley, 2010: 4-5; Nathan Ensmenger, “Making Programming Masculine”, in Gender Codes: why women are leaving computing: 116.

8. Lois Mandel, “The Computer Girls”, Cosmopolitan, April 1976: 52-6. Also accessible online https://blog.avast.com/wp-content/uploads/2011/10/ computer-girls.png.

9. Diane Elson. “Nimble Fingers and Other Fables” in Wendy Chapkis and Cynthia Enloe (eds) Of Common Cloth: Women in the Global Textile Industry, Amsterdam: Transnational Institute. 1983: 5-14. One of the most important contributions of feminist scholarship to debates on skill is the recognition that women’s labour becomes cheapened in the marketplace by “naturalising” it, Chapkis and Enloe 1983; Elson 1983.

5.

6.

7.

8.

9.

Angela H. Creager、Elizabeth Lunbeck、Londa Schiebinger 編輯，《Feminism in Twentieth-Century Science, Technology and Medicine》，芝加哥：芝加哥大 學出版社，2001: 4。 Archive of Art & Design，AAD/2009/19/10/97，Joan Truckenbrod， 〈Gender Issues in the Electronic Arts Inform the Creation of New Modes of Computing〉，「英國國立維多利亞與艾爾伯特博物館 Patric Prince collections 文章，1998 年 6 月 25 日」：3。 參 閱 Thomas J. Misa，〈Gender Codes：Defining the problem〉、Nathan Ensmenger,〈Making Programming Masculine〉，《Gender Codes: Why Women Are Leaving Computing》，Thomas J. Misa 編輯，新澤西州：Wiley， 2010：4-5、116。 Lois Mandel，〈The Computer Girls〉，《Cosmopolitan》，1967 年 4 月號： 52-6。文章亦見於網址：https://blog.avast.com/wp-content/uploads/2011/ 10/computer-girls.png Diane Elson，〈Nimble Fingers and Other Fables〉，《Of Common Cloth: Women in the Global Textile Industry》，Wendy Chapkis、Cynthia Enloe 編輯， 阿姆斯特丹：Transnational Institute，1983：5-14。此文為女性主義學者， 探討女性勞力被「尋常化」，繼而在市場遭壓搾的現象，其中最重要的文章 之一。

10. 見 Joan Rothschild 編 輯《Machina ex Dea: Feminist Perspectives on Technology》，紐約：Pergamon Press，1983。 11. Flis Henwood，〈Establishing Gender Perspectives on Information Technology: Problems, Issues and Opportunities〉，《Gendered by Design? Information Technology and Office Systems》，Eileen Green、Jenny Owen、Den Pain 編輯， 倫敦：Taylor & Francis，1993: 32-44；Judy Wajcman，《Feminism Confronts Technology》，劍橋：Polity Press，1991: 22。 12. Barbara Layne、珍妮絲．謝菲斯，〈Electronic Arts: Hacking the Museum〉，《Art, Technology, Technique (ACT series)》，John Gange 編輯，倫敦：Pluto Press， 1998。 13. subtela.hexagram.ca/pages/WearableAbsence.html（2016 年 12 月 26 日瀏 覽網頁）。

Janis Jefferies is an artist, writer and curator based in London. She is Professor of Visual Arts at Goldsmiths,

珍妮絲．謝菲斯 倫敦大學金匠學院教授

University of London, also working with early career researchers and with developing practice research.

She trained as a painter (Sheffield School of Art, Maidstone College of Art and Camberwell College of Arts

珍妮絲．謝菲斯，藝術家、作家及策展人。她是倫敦金匠 學院的視覺藝術教授。同時與新晉研究人員合作，並發展 實踐研究。

and Crafts) and in woven construction (Poznan Academy of Fine Arts, Poland) under Magdalena Abakanowicz.

Jefferies is a pioneer in the field of contemporary textiles within visual and material culture and has been widely

她 曾 受 繪 畫 訓 練（Sheffield School of Art、Maidstone

exhibited and published. Her areas of expertise lie at the

College of Art 及 Camber well College of Arts and

intersection of arts and technologies, including textiles,

Crafts），並跟隨 Magdalena Abakanowicz 學習紡織技術

performance, sound, and publishing.

（Poznan Academy of Fine Arts, Poland）。謝菲斯糅合視 覺與物質文化元素，是當代紡織藝術界的先驅。她的作品 屢獲邀參展及出版。她擅長的領域介乎於藝術與科技之 間，包括紡織、表演、聲音和出版。 她是《Textile：The Journal of Cloth and Culture》的創立編輯 之一，也是 Bloomsbury Academic 出版的第一本《Handbook of Textile Culture》之 聯 合 編 輯（ 與 Diana Wood Conroy、 Hazel Clarke 合 編 ）；2016 年 她 為《TExTILE: Crafting

She was one of the founding editors of Textile; The Journal of Cloth and Culture, co-editor of the First Handbook of Textile Culture (with Diana Wood Conroy and Hazel Clarke) for Bloomsbury Academic, and a contributor to TEXTILE: Crafting Community in 2016.

Jefferies was co-curator of the First Hangzhou Triennial of Fibre Art in China in 2013 and an exhibitor in 2016.

Community》撰寫專文。 謝菲斯是 2013 年杭州第一屆纖維藝術三年展聯合策展人 之一，並在 2016 年以展覽者身份參加。

10. See Joan Rothschild, ed., Machina Ex Dea: feminist perspectives on technology, New York: Pergamon Press, 1983.

11. Flis Henwood, “Establishing Gender Perspectives on Information Technology: Problems, Issues and Opportunities”, in Gendered Design? Information Technology and Office Systems, ed. by Eileen Green, Jenny Owen and Den Pain, London: Taylor & Francis, 1993: 32-44; Judy Wajcman, Feminism Confronts Technology, Cambridge: Polity Press, 1991: 22.

12. Barbara Layne & Janis Jefferies, “Electronic Arts: Hacking the Museum”, Art, Technology, Technique (ACT series). ed John Gange, London: Pluto Press, 1998.

13. subtela.hexagram.ca/pages/WearableAbsence.html (accesssed 26/12/16).

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千絲萬縷的紡織業： 香港紡織成衣業中的女性功績 往昔今後 葛儀文

每天為我打掃辦公室的英姐，性格樂天知命，我倆已相識 多年，她是位已退休的製衣女工。1970 年代初，年輕的

中國帝制瓦解，數十載軍閥割據。大多數人來港，是為了 逃離新中國的動亂。香港除了二次大戰遭日軍佔領之外，

The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel Industry of Hong Kong Yesterday and Tomorrow

英姐由廣東來港。在親友的幫助下，她隨即到不同規模的

Edwin Keh

毛織廠找到工作，專於縫盤機。將衣衫各部分縫合為成 衣，稱為縫盤。每個線圈須連至另一部分相對應的線圈，

在政治巨變之時，顯得相對安定。再加上只是大英帝國的 偏遠一隅，並不重要。當時的香港，貿易商業繁盛，確是 充滿機會。 up Hong Kong transformation. The diversity of the new

香港經歷三次工業變革。自 1940 年代後期至整個 1950

immigrants, and Hong Kong’s geo-political location at the

年代，首批工業家陸續抵港，他們富裕且擁有資金，主要

intersection of East and West made it an ideal hub for

來自上海和寧波一帶，亦正是 1949 年之前，中國的工業

logistics, manufacturing, and trade. The range and variety

中心。於他們而言，共產中國非可留之地。超過三十家領

of the new arrivals spanned the social spectrum of Chinese

先行頭的中國棉紡公司，將工廠南移香港，並引入先進的

society. These included rich families from as far north as

機器、資金、營運方式和技術。他們同時帶來經驗、人脈，

Shanghai, western educated professionals, displaced

以至一切他們可以帶來香港的東西。其後十年，棉紡業和

farmers from the western countryside, and those just seeking

織造業的發展，未曾間斷。

a better life for their family.

故此工序需人手製作，技術相當講究。毛織廠的縫盤工人，

1960 年代初期，中國陷入「大躍進」之亂，觸發第二輪

Most came to escape the chaos of the then new nation

難民潮。他們大多來自鄰近省份，貧困無助，急需工作維

織廠生產力。往後三十年，英姐負擔起家庭，工廠工作令

Ying Tse ( 英 姐 ) cleans my office in the mornings. She is a very cheerful and optimistic person. I got to know her

生。由於他們並無專長，所以安於在擠逼的市區內，於小

她生活無憂。當時她的收入，可媲美剛剛畢業、坐在工廠

over the years. She is a retired garment factory worker.

of China. Since the fall of Imperial China, through the

型製衣廠或輕工業的刻苦環境中工作，為新設廠房付出勞

冷氣辦公室的大學生。

Ying Tse came to Hong Kong from Guangdong in the early

decades of warlord rule, Hong Kong was a place of relative calm in a sea of change and changing political

力。西方市場渴求廉價貨品，爭相購買。因土地稀少，

fortunes. Except for the years under the Japanese during

故工業昌盛僅限於小型工業；玩具和服裝業，自然成為主

World War II, Hong Kong was an orderly but not so

要產品。

高薪厚職，講求天份，不易培訓。縫盤之優劣，也決定毛

二十世紀中葉，香港蛻變，數代年輕女性於製衣廠工作， 香港走向現代化，她們功不可沒。

1970s as a teenager. With the help of friends and family she almost immediately found work in various large and small sweater factories. She worked on linking machines.

香港經濟，隨着來自中國大陸的難民潮而演變。自 1940

Linking is the process of attaching various knitted panels

年代後期，一浪接一浪的人離鄉別井，來到英國殖民地，

together to form the final knitted garment. Every loop has

以求安定。共產政權成立早年，動蘯風波接連，中國難民

to be linked to its corresponding loop in the other panel.

來港不斷。1950 至 60 年代來港的移民，令香港轉變加

This is a manual and very skilled process. Linkers in sweater

速、膨脹。新移民各有所長，而香港又是東西方地理、

factories are paid well. They are talented and hard to train.

政治的交界，令它成為上佳的物流、工業和貿易中心。

Linking is usually the capacity constraint for knitted apparel

新移民來自五湖四海，橫跨中國社會各階層，包括北至上

factories. For the next three decades Ying Tse raised a

海的富裕家庭，受西方教育的知識份子，來自西部的鄉郊

family and made a good living in the factories. Her income

農夫，以及為家庭生活得更好的人。

level rivaled new university graduates who work behind desks in the air-conditioned offices of the factories.

The development of modern Hong Kong is powered by several generations of young women who worked in the textile and garment factories during the transformative years in

significant British outpost. This was a prosperous and busy place for trade and commerce. This indeed was a city of opportunities. There were three significant waves of industrial changes to the landscape of Hong Kong.

From the late 1940s through the 1950s the first wave of

1980 年代初，中國對外開放，香港工業北上，以覓地擴 張，並取其源源不絕的廉價勞工。於 1979 至 2005 年間， 廣東省 64.7% 的海外投資來自香港。其後二十年，工業 潮逆轉；雖然製造業萎縮，但香港於成衣業的參與反增， 躍升為製衣行業的採購、融資中心。

wealthy industrialists came from Shanghai and Ningbo area. These were the industrial centres of China before 1949. Among the new arrivals was a generation of Chinese industrialists. Communist China has become inhospitable for them.

Over 30 leading Chinese cotton spinners moved their operations to Hong Kong. They brought with them advanced machinery, capital, management knowhow, and technology.

They also brought with them their experiences, their business connections, and whatever resources they could carry. A decade of spinning and weaving industries ensued.

the middle of the last century.

Hong Kong’s economy changed with the arrival of multiple waves of refugees over the border from China. Starting in the late 1940s wave after wave of displaced people came seeking the relative safety of the then British colony. As a young Communist China went through its early decades of turmoil and change, wave after wave of refugees crossed the border to Hong Kong. The new arrivals in the 1950s and 60s accelerated and scaled

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十多年前，紡織及成衣業配額制度正式告終；今日，香港

羅 樂 風 於 其 2016 年 著 作《 大 我 為 先 》 中， 憶 述 他 們

再次身處變革之時。

1960 年 代 簡 樸 的 生 活，1970 年 代 卑 微 的 起 步， 以 至

1841 年，香港人口為七千五百人。1937 年，因逃離戰 亂的中國難民來港，香港人口升至一百五十萬人。1949

他和子女如何將公司變成業間稱羨、市值數億的製造業 The story of Textile Alliance (TAL) is an example of the first

王國。

年，香港人口受中國內戰影響，膨脹至兩百萬人；首輪富

1980 年代，工廠開始北上，移師內地；中國改革開放，

裕移民亦於此時來港。1960 年，香港人口已為三百萬。

很快學會香港一套，然而規模大得多。香港的工廠作業，

1980 年代，中國開放，內地移民來港不斷，人口繼續增

隨之流失。為照顧家庭，不少技工如英姐，決定留港，

長。現時，香港人口已達至七百二十萬人。

從事低薪工作。英姐高中未畢業，但滿足於其現職和生活。 雖然，她不時提起昔日工廠的風光歲月。

wave of early industrialists moving to Hong Kong from China. In 1947 the Lee family moved their various spinning mills from Shanghai to Hong Kong. Through consolidations and transformations these all became TAL, a large apparel manufacturer and technology company that is well respected worldwide. The current generation of leaders

With the chaos of the early 1960s “Great Leap Forward”

聯業紡織有限公司（TAL），正是首批中國工業家來港發

in China, there was a second wave of immigrants.

展的例子。1947 年，李氏家族將旗下多間紡紗廠，由上

1950 年代以來，香港最大的勞動階層，為年輕女性，

of TAL, all descendants of the Lee family, many boasts

These were mostly poor and desperate immigrants from

海移至香港。這些工廠經過重組改革，變成聯業紡織有限

與男工不分高下。自動化前的輕工業，需要專門技藝。

advance degrees and PhDs from the best universities from

nearby provinces. They were desperate for work and

公司。這家大型成衣生產及技術公司，蜚聲國際。公司現

比起蠻力，巧手更為重要。在中國社會中，工藝如鏠紉，

the West, and a blue ribbon list of the clients from around

opportunity. Lacking in skills they were glad to work in the

時的管理層，全為李氏家族後裔，當中不少於西方最優秀

傳統為女性在家的工作。她們同時兼顧家務，以及一切大

the world.

harsh conditions of small garment factories and other light

的學府，獲取研究或博士學位，並擁有世界各地最高級的

小事宜。此等工作，女性具先天優勢。

industries that emerged in the crowded urban areas. These

客戶。

provided the labour and talent to fill the new factories and shop floors. Western markets, hungry for goods made by cheap labour eagerly bought the products made. Since land is scarce, the production boom was confined to light consumer products. Toys and apparel became the natural major industries.

An example of the Hong Kong experience of the 1960s

羅樂風憶述：「……蔡玉清（其妻）多年以來，全身投入

and the second wave of industrialisation is the development

晶苑集團則是受惠於香港 1960 年代第二波工業潮的公

公司業務，管理財務、行政。她是模範妻子和母親，使我

of Crystal Knitters a Hong Kong based manufacturer that

司之一。晶苑是毛衣製造公司，1960 年代在香港成立；

無後顧之憂，全神貫注於業務……」（《大我為先》第

has its roots in Hong Kong from the 1960s and today

時至今日，公司於多國坐擁工廠。晶苑生產成衣之多，

42 頁）

own factories in multiple countries in the region. Probably

大概多於世上任何一家公司，但它初時只是一家簡陋的分 包商，租用九龍一小單位工作。晶苑創辦人羅樂風先生， 為 1960 年代來港的移民。他和家人由務農轉為手作工藝，

「除照料孩子起居，玉清更要打理工廠內大小事務。她全 心投入生產、會計、技術支援、包裝，甚至雜工……」

producing more apparel than any other company globally, Crystal started out as a modest sub-contractor working out of a small rented Kowloon location. Kenneth Lo, the founder

工業發展，機會和財富隨之而來。除了蔡玉清和英姐之

of Crystal, was an immigrant to Hong Kong in the early

industries moved north back to China looking for land

外，數之不盡，勤奮上進的中國年輕女性，亦各有際遇。

1960s. He and his family moved from farming to various

to grow and an unlimited supply of cheap labour. Between 1979 and 2005 64.7%

部分人如英姐，樂於將精力放在下一代身上；亦有人視香

sub-contracting handwork, to finally opening their own

In the early 1980s with the opening of China, local

最終於 1970 年代設廠。

factory in 1970.

of Guangdong Province’s foreign investment came from Hong Kong. Over the next two decades, the industrial tide reversed. While manufacturing declined, Hong Kong’s involvement in the garment industry grew. Hong Kong became the sourcing, and financial centre for the industry.

With the end of the export quota era a decade ago, Hong Kong is now yet again on the cusp of a new period of change.

Kenneth recalls in his recent book, For The Greater Good (2016), their very simple life in the 1960s, their humble beginnings in the 1970s, and how he and the next generation made this into a multibillion manufacturing powerhouse that is the envy of the industry.

Then the factories started to move north in the 1980s. China reformed and opened up in the 1980s and soon learned to do what Hong Kong did, but at scale. Hong Kong

In 1841, Hong Kong had a total population of about 7500, this grew to about

factories and factory jobs left with them. With family to take care of, workers like Ying Tse

1.5 million in 1937 as refugees escaped a war torn China. The population swelled to

opted to stay behind and take on lower paid jobs. Not having ever finished high school,

more than 2 million in 1949 with the chaos of civil war in China and the first wave of

she is happy with her career and her work life today, though every now and then she talks

economic migrants. By 1960s the population grew to over 3 million. In the 1980s, with

about her industrial heydays.

the opening of China and reunification and immigration the population continued to grow.

It stands at close to 7.2 million today.

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港工業發展，為另一機會。2016 年 9 月，紐約亞洲協會

會企業。公司和飼養氂牛的西藏人合作，支付足夠他們生

邀請 Arianna Huffington 和張欣，以「女領袖的力量」為題

活的薪酬，並協助他們改進生意。公司的盈餘，用於改善

演講。張欣為 SOHO 中國的創辦人兼總監，公司為目前

中國西部西藏平原，女性健康和兒童營養等問題。Shokay

中國最大的商業房地產發展商之一。活動中，張欣提及其

的生意模式，結合奢侈品和社會意識，打動世界各地顧客。

家族為知識份子，在中國受逼害。她於 1980 年代來港，

喬氏畢業於賓夕法尼亞州大學華頓商學院和哈佛大學，隨

當時年僅十四。張欣於製衣廠工作，十九歲儲夠錢到英國

From the 1950s onwards the largest labour pool in

後想到這套營運模式。她認為此模式具良心，對社會有貢

秘書專業學校就讀。其後，她攻讀經濟學，繼而躋身國際

Hong Kong was young women. They competed well

獻，是貿易的未來方向。相比慈善團體或非牟利機構，商

投資銀行高盛集團。1990 年代，她和丈夫創辦 SOHO 中

with their male counterpart. Light industries, before the

業公司更有效率，可不斷改善社會。

國。這個商業帝國，令她成為億萬富豪。一切種種，由香

age of automation, were skill based. Dexterity was more

港製衣廠的工作機會而起。

important to brute strength. Artisan skills, like sewing and

今時今日的中國，似乎正經歷同樣的工業變革。年輕女性 成為中國成千上萬廠房的動力，使中國成為「世界工廠」。 Leslie Chang 的 2008 年著作《Factory Girls: From Village to City in a Changing China》，記錄在中國南方工廠工作

linking, were traditional female domestic roles in Chinese society. Women also took care of the household and all the operational details this entailed. Women had a natural competitive advantage.

China today seems to be going through a similar industrial

筆者管理的香港紡織及成衣研發中心（HKRITA，下稱研發

transformation. Young women power the thousands of shop

中心）於 2006 年成立，並非偶然。2005 年，入口西方

floors in China today to make it the “factory of the world”.

的配額制度正式撤消；香港成衣業最後一個優勢，同告消

Leslie Chang’s book “Factory Girls: From Village to City in

失。可是，早於此之前，本地工業已逐漸轉型，改為管理

a Changing China” (2008) documents the experiences of

品牌，促進革新，提升供應鏈的效率。研發中心著重研究

some of these young women in Southern Chinese factories

的應用，亦投入上述範疇的發展。

的年輕女性，十年以來的心路歷程。這些故事，似乎和香

Kenneth recalls, “…Yvonne (his wife) devoted herself to the

from a decade ago. It seems like a version of the Hong

港 1970 年代同出一轍。

running of the company throughout the years, taking charge

Kong story from the 1970s.

張欣的故事，並非香港工業發展中的個別例子；其他女性 領袖走過不同的路，取得不同的成就，身處有影響力的領 導位置。今時今日的香港，紡織製衣工廠幾近絕跡。它們

of finance and administration. She was an exemplary wife and mother and left me free from other worries to focus on the business…”

While other female leaders may have taken different roads, or have achieved different successes, Zhang Xin’s story is not unique in the development of industry in Hong

已悉數移至內地、東南亞或更遠的地方。本港經濟現以金

“In addition to caring for the children, Yvonne had to take

Kong. Other women have risen to roles of leadership and

融、貿易為主；女性的貢獻，亦隨時代轉變。

up all chores big and small at the factory. She threw herself

influence. Hong Kong today no longer has any significant

wholeheartedly into production, accounting, technical

textile and apparel industries. These have all moved to

support, packing and even janitorial work…(Lo 2016: 42)”

China, SE Asia, and beyond. In our financial and trading

獨特的 Shokay，主要業務位於上海，但其實是一間香港 公司、高級品牌，專營以氂牛絨製作的服裝、配飾和袋。 Shokay 於十年前由喬琬珊創立，是間主要由女性營運的社

There were the opportunities and wealth that came with the growing industry. Along with stories like that of Yvonne Lo

女性的貢獻，亦隨香港一同轉變。她們以各種方式改善社 會，革新工業。 研發中心絕大部分研究工作，均由女性領導。項目發展總 監姚磊博士發明新物料、系統和儀器，加強紡織及成衣業 的競爭力。研發中心開發成衣循環再造的方法，為長者 設計的防撞物料，以及自動清潔的紡織品。2016 年， 姚博士帶領團隊，為參與里約熱內盧奧運的兩組港隊製作 服裝。

based economy the contributions of women have also changed with the times.

and Ying Tse are those of other countless hardworking and aspiring young Chinese women.

An interesting HK Company, though its major activities are mostly in Shanghai, is Shokay, a

Some, like Ying Tse, are content with putting their aspirations in the next generation. Others

luxury brand. Shokay sells apparel, accessories, and bags made from yak down. Founded

see the industrial developments of Hong Kong as opportunity for more. In September 2016

about a decade ago by Carol Chyau, this predominantly women led social enterprise

the Asia Society in New York invited Arianna Huffington and Zhang Xin to talk about

works with Tibetan yak herders to give them a living wage. Shokay also help them improve

“The Power of Female Leadership”. Zhang Xin ( 張欣 ) is the founder and CEO of SOHO China, one of the largest commercial real-estate developers in China today. At the event

their business. The profits go to work on women’s health and children nutritional issues

Zhang Xin talks about her background from a family of intellectuals that were persecuted

with a social conscious resonates with their customers globally. Carol, who got the idea

in China, to coming to Hong Kong in the 1980s as a 14-year-old teenager. Working in

after graduating from the Wharton School and Harvard, sees this model of business as a

apparel factories, she saved up enough money to go to UK to secretarial school at 19.

responsible and positive contributor to society and as the commerce of the future. Neither a

She later studied Economics, and got into a global investment banking with Goldman

charity nor a non-profit, business is a more efficient, effective, and sustainable institution to

Sachs, a leading global investment banking, securities and investment management firm

improve society.

in the 1990s. Alongside her husband, she founded SOHO China. Their business empire has made her a billionaire. All of this made possible because of the opportunity to work in Hong Kong factories.

on the Tibetan plateau in Western China. Shokay’s business model of luxury products

It may have been no coincidence that the research institute I manage, The Hong Kong Research institute for Textile and Apparel (HKRITA) came into existence in 2006. In 2005 the era of import quotas to the Western economies came to an end. Along with this ended the last competitive advantage of making apparel in Hong Kong. Well before this, local industries have been moving into new roles in managing brands, driving innovation, and

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Fig. 1

香港未來可以如何，可作何貢獻？香港的女性領袖和其

HKRITA is an example of Hong Kong’s response to the next

Photo by Edwin Keh Professor Carol Lin of the City University of Hong Kong talking about her successful HKRITA project to convert food waste to fibre September 2016

他資源，有何發揮？亞洲協會九月份的活動中，Arianna

wave of change in the materials and fashion industries.

Huffington 羅列女性領袖的優勢，包括建立團隊、合作，

Materials used in apparel, the function of apparel, and

和富人情味的管理。女性領袖的情商較高，美感較強；

the new attitude towards fashion have changed with

女性取得成功，多靠判斷而非韌勁，靠精細而非蠻力；

our lifestyle, our globalised economy, and our growing

最重要的是，女性富「智慧」。女性憑上述特質，當可繼

environmental concerns. The Hong Kong value contribution

續貢獻業界。

has changed from manufacturing, to sourcing, to design

相片來源：葛儀文 香港城市大學連思琪博士講解其研 發中心計劃，成功將廚餘變成纖維。 2016 年 9 月

縱觀部分女性領袖現時的工作，可見她們致力修補過往 四十年，全球化帶來的過量消耗和破壞。過去，世界並不 關心環境，只求消費，不理節約，浪費而不顧後果。女性 試圖喚醒我們，改變現有方式。本地女性領袖如循環再造 非牟利團體 Redress 創辦人丁潔絲（Christina Dean），以 研發中心的另一出色拍檔，為香港城市大學的連思琪博 士。連博士剛完成研究首個階段，成功將廚餘變成纖維。 此實用而重要的計劃，可助小城香港，將每日送往堆田區 streamlining supply chains. HKRITA, an applied research centre fills some of these new roles of Hong Kong.

manufacturing methodologies, and more sustainable supply chains bring with them new opportunities for innovation, creativity, and design needs. HKRITA works with the industry to innovate and invent new materials, new manufacturing methodologies, and enterprise solutions.

現時生活模式。科學家如研發中心的姚磊博士、香港城市

What of the opportunities and contributions for Hong

大學的連思琪博士，為改變作出重大貢獻（Fig. 1, Fig. 2）。

Kong for the future? Where do our female leaders and resources fit in? Arianna Huffington in the September

的大量廚餘，再造成有用的東西。

event in the Asia Society talked about the capacity of women in leadership. She outlined

研 發 中 心 的 國 際 研 究 合 作 單 位， 包 括 品 牌 如 H&M、

a series of capabilities that female leaders have. These include the ability to build teams

Female resources have changed with Hong Kong.

Patagonia， 中 國 品 牌 如 李 寧 牌， 大 學 如 美 國 俄 勒 岡 大

Contributions are made in these and other useful manner to

學， 工 業 組 織 如 澳 洲 的 AWI（Australia Wool Innovation

improve society and drive improvements to industry.

Ltd.）。當然，大部分香港業界的大型機構，亦與研發中

At HKRITA most of the research work is led by female

及前環境局副局長陸恭蕙，展示女性如何彌補傷害，改變

and innovation. New materials with functionality, cleaner

心合作。

and collaborate, to practice “compassionate management”, women leaders have greater ‘emotional intelligence” and a deeper sense of “esthetics”. Women tend to build success based on judgement rather than on stamina, with finesse rather than brute force. Most important women have a capacity for “Wisdom”. These seem to provide the direction ahead for continued women contribution to industry.

leaders. The Director of Research & Development Dr. Gloria

近年，研發中心已註冊超過一百六十個專利權，驘得逾

Yao has developed and invented new materials, systems,

四十個國際及本地發明獎項，包括 2016 年度香港工商業

and machines to improve the competitiveness of the textile

獎大獎。中心研究人員不多，資源有限，由零開始，以之

at work repairing and undo some of our excesses of the last 40 years of globalisation. We

and apparel industry. Together we have worked on new

所得的成就，可謂驕人。

made with little regard for the environment, we consumed with little thought to conservation,

apparel recycling methods, impact resistant materials for

Looking at the current work of some of our industry’s women leaders they seem to be hard

and we disposed with little awareness of consequences. Into this women lead the charge 研發中心為香港應對物料和時裝業轉變的一例。時裝物

to wake us up and change our ways. Local female leaders like Christine Dean, the founder

料、功能，以及對時裝的新取向，改變了我們的生活、

of Redress, a recycling NGO, and our Under Secretary for the Environment Christine Loh

全球經濟和對環境的關注。香港的角色，由生產轉為採購，

are examples of women undoing some harm and changing our ways. Supporting them are

再轉為設計研發。功能性物料、環保的生產方式，以及可

Another successful research partner at HKRITA is Professor

the important contributions of scientists like HKRITA’s Dr. Gloria Yao, and City University’s

持續的供應鏈，帶來革新、創意和設計的需求。研發中心

Carol Lin at the City University of Hong Kong. Dr. Lin

Professor Carol Lin (Fig. 1, Fig. 2).

冀和業界共同努力，研發新物料、新生產方式和企業方案。

elderly care, and self-cleaning fabrics. Recently, Dr. Yao lead a team that outfitted two teams of Hong Kong’s Rio Olympic Athletics.

recently completed the first phase work to successfully convert food waste into fibre. This useful and significant project will help a small city like Hong Kong do something useful with the large amount of food waste headed daily to our landfills.

Global research partners of HKRITA include brands like H&M, Patagonia, Chinese brands like Li Ning, universities like the University of Oregon, industry organisations like Australia’s AWI, and of course most of HK’s large industrial organisations.

Fig. 2 Photo by HKRITA Dr. Gloria Yao and Edwin working with one of Hong Kong’s athletics on version 2.0 of a rowing speed suit in preparation for the Rio Olympics. September 2015 相片來源：香港紡織及成衣研發中心 姚磊博士和葛儀文，聯同香港隊運動員合作研究改良 版的高性能運動服，準備迎戰里約熱內盧奧運會。 2015 年 9 月

HKRITA in recent years have registered over 160 patents, and won over 40 global and local awards, including the Grand Award in the 2016 Hong Kong Awards for Industries.

For a very small team of researchers working with limited resources and no scientific legacy to build on this is an incredible achievement.

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葛儀文

女性領袖亦為創新和貿易賦予新意義。研發中心的研究 員，企業家如喬琬珊，正是新的典範。

香港紡織及成衣研發中心（HKRITA）行政總裁

宏觀審視未來，女性正在重新界定科技、工業：不單是看 待商業和科技的方式，更是它們有何更崇高的意義。

Women in leadership are also repurposing innovation and

Edwin Keh

香港未來工業和科技的「精神」，當見於引領我們的女性

commerce. Our researchers at HKRITA and business owners

之中。

like Carol Chyau are pointing out new possibilities and

Chief Executive Officer, HKRITA

directions.

As we look more holistically into the future, we see the female influence in reframing the purpose of technology and industry. Not only how we look at business and tech, but for what larger purposes these serve.

If there is a soul to Hong Kong’s industry and technology of tomorrow, it would probably be found with the women who lead the charge and light the way for us.

Edwin Keh is the CEO of the Hong Kong Research Institute of Textiles and Apparel. He is also part of the Faculty at the Wharton School, University of Pennsylvania and The Hong Kong University of Science and Technology, where he teaches supply chain operations.

葛儀文是香港紡織及成衣研發中心（HKRITA）行政總裁， 同時在賓夕法尼亞州大學華頓商學院、香港科技大學教授 供應鏈營運課程。 直至 2010 年 4 月，葛儀文是全球零售連鎖集團沃爾瑪全 球採購組織（Wal-Mart global Procurement）的高級副總 裁兼營運總監。此前，他擔任顧問團隊的管理人，此團隊 曾為多間企業提供與供應鏈、生產及產品設計相關的諮詢 服務，另外亦為非牟利組織及慈善機構提供顧問支援。他 亦是大中華區卓越營運聯盟（Consortium For operational

Until April 2010, Edwin was the SVP COO of Wal-

Excellence in greater China，CoER gC）的聯合創辦人；

Mart Global Procurement. Prior to Wal-Mart, Keh

該集團由華頓商學院與清華大學贊助。

managed a consulting group that has done work for companies regarding supply chains, manufacturing, and product design. The group also did work for nonprofit organisations and charities. Edwin co-founded the Consortium For Operational Excellence in Greater China

葛儀文曾出任多間美國消費及零售企業的高級行政職 位， 包 括 Payless Shoesource International、Donna Karan International、Country Road Australia 等企業的總經理， 並為聯合國難民事務高級專員公署工作。

(COER GC). The Consortium is sponsored by the Wharton School and Tsinghua University. 參考資料

References

羅樂風，《大我為先》，晶苑集團，香港，2016。

Lo, Kenneth. “For the Greater Good” Hong Kong: Crystal Knitters Ltd., 2016.

Schrnk, Catherine R.（ 格 拉 斯 哥 大 學 ），〈Economic History of Hong Kong〉， EH.net（The Economic History Association），https://eh.net/economic-history-ofhong-kong/（2017 年 8 月 7 日瀏覽網站）。

Schrnk, Catherine R. University of Glasgow, “Economic History of Hong Kong” eh.net, https://eh.net/economic-history-of-hong-kong/

Farhoomand, Ali、Ho, Phoebe，《聯業製衣有限公司：在價值鏈中舉步上揚》， 香港大學亞洲個案研究中心，2005。 Schiavenza, Matt，〈Arianna Huffington and Zhang Xin: Women Have a ‘Tremendous Capacity for Leadership’〉， 亞 洲 協 會，2016 年 9 月 30 日，http://asiasociety. org/blog/asia/arianna-huffington-and-zhang-xin-women-have-tremendous-capacityleadership （2017 年 8 月 7 日瀏覽網站）。 Chang, Leslie T.，《Factory Girls: From Village to City in a Changing China》，紐約： Random House，2008。

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Keh had a career as senior executive with several US consumer goods and retail companies. He was the Managing Director of Payless Shoesource International, Donna Karan International, and Country Road Australia.

He also worked for the United Nations High Commission for Refugees.

Farhoomand, Ali, Ho Phoebe. “TAL Apparel Limited: Stepping Up the Value Chain” Asia Case Research Centre, The University of Hong Kong 2005.

Schiavenza, Matt. “Arianna Huffington and Zhang Xin: Women Have a “Tremendous Capacity for Leadership”, Asia Society, September 30, 2016 Asia Society, http://asiasociety.org/blog/asia/arianna-huffington-and-zhang-xinwomen-have-tremendous-capacity-leadership Chang, Leslie, T. “Factory Girls: From Village to City in a Changing China” Random House, New York 2008.

The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel Industry of Hong Kong Yesterday and Tomorrow

千絲萬縷的紡織業：香港紡織成衣業中的女性功績往昔今後

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女性在紡織和科技的聲音

Where are Women’s Voices in Textiles and Technology?

可是，獲稱頌為紡織英雌的所有女性，她們的經歷，有多 少是「為了」她們，而不是「透過」她們，將之化為神話？ 為了帶出性別規範的矛盾，而不單單呈現性別規範，謝菲

朱珮瑿

斯引用 1867 至 1894 年出版的三卷《資本論》，馬克思 「以政治經濟學作出的批判」。在其數卷論著當中，馬克 思得出的結論為：一件衣服的出現，真正功勞歸於工人，

Ingrid Chu

What follows is my response to the first session, “Where are women’s voices in textiles and technology?”. Janis

以下為筆者對研討會主題一「女性在紡織和科技的聲音」

而非設計師或零售商。更重要的是，他並沒有定義「何謂

的回應。珍妮絲．謝菲斯發表和主題同名的論文；葛儀文

工人」。

以其文章〈千絲萬縷的紡織業〉，展現女性對紡織成衣業 的貢獻。之後，筆者主持討論和問答環節。

為此，謝菲斯轉為引述女作家，例如自稱為「跨行的倫

Yet, for all of the women being lauded as heroines working

理 哲 學 家（para-disciplinary, ethical philosopher）」 的

in textiles, how much are their experiences articulated for

Jefferies presented a paper after the topic question. Edwin

謝菲斯的演講，以是次項目、討論和展覽的靈感一亞莉

Gayatri Spivak，以及英國哲學家 Sadie Plant。她們將數碼

and not through them in attributing their stories to the realm

Keh then spoke on the contribution of women to the textile

雅德妮開始。在希臘神話中，亞莉雅德妮是宙斯之子、克

文化的建構，視為「當代世界資本的女性基礎」中的一環。

of myths and fables? In addressing the dilemma of how

and apparel industry through his essay “The Tapestry of

里特島國王米諾斯的女兒。她為人所認識的故事，是她將

3

首先，這是一種負擔。既然有「基礎」，亦即有其他階層，

to elicit rather than merely to present “gendered agency”,

Industry”. Serving as moderator, a discussion and question

線球交予其情人鐵修斯，以助他逃離無數人葬身的米諾陶

不論在上、在下、隱藏，也可以全盤否定這「基礎」的存

Jefferies turned to Capital, Karl Marx’s 1867-1894 “critique

and answer period followed.

爾迷宮。

在。以上描述，同樣適用於謝菲斯其後引述 Plant 的理論：

of political economy”. As part of his multi-volume treatise

生產由織師轉至機器，進一步消除「創造者」，使所有在

Marx concludes that the true contribution to a garment

生產過程中隱沒的東西，諸如身體、聲音，變成空洞。

stems from the labourer, rather than the designer or retailer.

For her presentation, Jefferies began by exploring the

借用另一經典，荷馬的《奧德賽》，謝菲斯引出伊薩卡島

inspiration for the programme, discussion, and exhibition –

王后，潘尼羅佩的故事。為等待其夫、國王奧德修斯歸來，

Ariadne. Essentially, in Greek mythology, as the daughter

她縫製裹屍布，又偷偷拆掉，以阻隔求婚者。「潘尼羅佩

《新經緯系列 1.0：亞莉雅德妮的線球》展覽中，將工業

of Minos, Zeus’s son and King of Crete, Ariadne is

不僅是一位著名編織師，也非一般的女流之輩。」謝菲斯

生產中，有血有肉的女性，一一呈現。展出環繞紡織創作，

recognised for having aided her lover Theseus by gifting

認為：「她真摯堅定，行事機智聰敏。在希臘文化中，這

概念、方法、媒體各異的藝術家。曹婓、達拉．畢恩包、

For this Jefferies acknowledges women writers like self-

麗素．麥蓮、人工衛星子！，和其他展出藝術家的作品，

described Indian “para-disciplinary, ethical philosopher”

似乎顯得敵托邦一若然她們的意願，不是令非一般英雌，

Gayatri Spivak and British philosopher Sadie Plant

佔據超現實世界。作品科技精湛，於現實邊界外徘徊。

instead. Their writing Jefferies likens to the construction of

him a ball of thread to escape the Minotaur, in whose labyrinth many had perished in ritual tribute over the death of Minos’s own son.

1

些特質和編織相關。」

第三個謝菲斯引用的例子，是凡間女子雅拉克妮。她編織 的功藝和速度，可媲美紡織女神雅典娜。為了報復，雅典

Referencing another classic text, Homer’s Odyssey, Jefferies

娜將雅拉克妮變成蜘蛛。有如潘尼羅佩，謝菲斯指向雅拉

then drew on the tale of Penelope, Queen of Ithaca,

克妮與紡織的重要關聯一她是「最先出現，既非神，亦

who in waiting for her husband King Odysseus’s return,

非王的編織英雌」。2 事實上，其紡織使「互聯網」（world

surreptitiously wove and unraveled a shroud to fend off

wide web）一詞誕生，為當今主要的科技聯繫方式。

suitors, next. “Penelope is by no means a helpless female character or simply a renowned weaver,” Jefferies argues, “she is an earnest, strong minded woman who acts with cleverness and ingenuity – capacities that in Greek culture are associated with weaving.”1 A third example followed: Arachne, a mortal woman whose speed and skill in weaving is revealed to equal the goddess of textile arts, Athena. In retaliation Athena turns Arachne into a spider. Like Penelope, Jefferies notes Arachne’s significant association to weaving, this time for being “one of the first heroines of […] weaving who is not a god or a king”.2 In fact, her textile work is shown to have spawned the descriptor, the “world wide web”

More importantly, he does not distinguish who the labourer is exactly.

the digital as part of “the female ground layer that holds up contemporary global capital.”3 First and foremost, the burden of carrying this load is implied. So is the fact that while foundational, any “ground layer” connotes that others exist, whether over top, underneath, hidden, or denied all manner of their existence. The same can be said about Jefferies subsequently discussing Plant and how the transference from human weaver to machine further removes authorship, with only the inference of all that is missing, like the body and the voice, rendered visible as a void instead.

This leaves voicing the role of real women within industrialised processes to the exhibition, including artists engaged with textiles through diverse conceptual, methodological, and media-oriented approaches. From Cao Fei, Dara Birnbaum, Rachel Maclean, and Sputniko!, to others, the environments they create in their work might seem dystopian were it not for the artists’ choice to populate these hyperreal worlds with anti-heroines. Complete with tech-savvy wardrobes, all appear to hover just beyond the realm of believability.

for our now predominant means of technological interconnection.

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不論藝術家或其他人，「操控紡織物料、過程、生產方法，

葛氏講述，1980 年代早期，香港成為金融中心，有助本

以及歷史和口傳箴言」，令電子通訊全球擴張之時，紡織

地工業北上，尋求土地和廉價勞工。成衣業轉變，與人口

同時再起。對此，謝菲斯詳加闡述，又同時提及早期的程

遷移流失兩者相合，再次顯現。

式設計，有較多女性投身。1960 年代，男性開始主宰程

葛氏用數個案例，以人性化故事，展現當今成功企業、製

式設計，又日趨專業化，一直到現在。4

造業公司，起始其實簡單。首代來港的內地工業家，以數

謝菲斯以她抗衡現時局面的學術計劃，例如和英國國立維

Be it artists or otherwise, “the manipulation of textile

個例子詳細描繪。1960 年代起，以香港為基地的聯業紡

多利亞與艾爾伯特博物館、大英博物館合作，以及探討電

materials, processes, methods, histories and oral

織有限公司（TAL）和製造業公司晶苑集團，以及 1980 年

腦文化中，性別政治未來的展覽，5 結束其演講。

testimony,” accounts for what Jefferies details as textiles

代開始北上的工廠，種種時代、地理的變遷，都建基於下

resurging alongside a global expansion in electronic

列一點：

第二部：千絲萬縷的紡織業

communications. This comes alongside the fact that early

wave of immigrants to Hong Kong. The result was the right

1950 年代以來，香港最大的勞動階層，為年輕女

combination of immigrant labour coupled with land scarcity

性，與男工不分高下。自動化前的輕工業，需要專

that enabled the large-scale production of so-called “light”

門技藝。比起蠻力，巧手更為重要。在中國社會中，

consumer products including apparel. Additionally, as

工藝如縫紐，傳統為女子在家的工作。她們同時兼

Countering this current state of affairs Jefferies concluded

Keh and others have long recognised, it is “Hong Kong’s

顧家頭細務，以及一等大小事宜。8

by sharing some of her scholarly pursuits, including

geopolitical location at the intersection of East and West

collaborations with Victoria & Albert Museum, British

[that makes] it an ideal hub for logistics, manufacturing

Museum, and topical exhibitions in determining how

and trade.”7

如謝菲斯，葛儀文也在說故事，然而主角由人所共知的神，

computing involved more women until the 1960s brought

轉為清潔工英姐。葛氏以 1970 年代，英姐小時候由廣東

the male dominated professionalised industry that it is

來港開始，並追溯她三十年紡織工業的經驗：英姐操作縫

today.4

連機，將衣衫各部分縫合，以完成製品，代表技藝、勞力 和時間的無價結合。他又讚譽英姐，以至眾多女性的功勞。 如他所說，香港發展至今日的地位，「有賴上世紀中葉的 變革之時，數代投身紡織、成衣工廠的年輕女性。」6 由生產和經濟角度分析，香港製衣業的興衰，可分為三個

gendered politics for a computer culture may exist in the

階段。依葛氏所言，第一階段為 1940 年代後期，中國各

future.5

階層來港尋求安穩，及後整個 1950 年代，富有的內地工 業家抵港。1960 年代早期，中國正值「大躍進」，引發

The Tapestry of Industry

The consistency with which shifts in the apparel industry coincide with the ebbs and flows of real people was revealed yet again through Keh’s account of the early 1980s when Hong Kong became the financial centre

此等勞工，常被看成集體受操控，但葛氏所講的故事，展 現英姐等女性對工作自豪。同樣的自豪，見於現時帶領紡 織製衣業，以及其他行業的女性。現今女性，擔當以前不 屬於她們的重任，可謂一大解放。 葛氏以另一真人真事，繼續闡述此觀點。今次主角，是 SOHO 中國的創辦人、行政總監張欣。公司為中國最大的 商業房地產發展商之一。9 因為其家人在內地受逼害，張

第二批人來港。結果如何？移民工人加上有限土地，令各

Like Jefferies, Edwin Keh engages in storytelling, but only

式輕工業大放異彩，當中包括成衣業。而且，如葛氏和其

insofar as to swap fabled gods for the personal history

他人所說，「香港的地理位置、政治地位，處於中西交界，

of his cleaner Ying Tse, who Keh traced back beginning

令它成為理想的物流、製造業和貿易中心。」7

with her travels from Guangdong to Hong Kong as a

Through specific case studies (or stories) Keh personalised

teenager in the early 1970s. Keh, who tracks Tse’s three

how now successful corporate brands or merchandising companies began from humble

decades worth of textile industry experience, primarily through her work on “linking

beginnings. Several examples detail the first wave of industrialists moving to Hong Kong

machines” used to attach knitted panels to form finished garments, simultaneously registers

from China. From the Textile Alliance (TAL) and manufacturer Crystal Knitters, both based

an unquantifiable mix of skill, labour and time. He also recognises Tse alongside her

in Hong Kong since the 1960s, to the factories that started to move north in the 1980s,

affiliation to other women. As he states, the development of modern Hong Kong was

key to all of these fluctuations over time and geography were some basic facts:

“powered by several generations of young women who worked in the textile and garment factories during the transformative years in the middle of the last century.”6

supporting local industries returning to China seeking larger land and cheaper labour.

欣輾轉到香港工廠工作，最終建立十億王國。她的故事， 和清潔工英姐的經歷，顯然吻合。

From the 1950s onwards the largest labour pool in Hong Kong was young women. They competed well with their male counterpart[s]. Light industries, before

Framing the rise and fall of the Hong Kong apparel industry, from both a product

the age of automation, were skill based. Dexterity was more important to brute

focused and financial standpoint, Keh categorised these according to three significant

strength. Artisan skills, like sewing and linking, were traditional female domestic

time periods. According to Keh, first were a diverse group of asylum seekers in the late

roles in Chinese society. Women also took care of the household and all the

1940s, followed by wealthy mainland industrialists between the late 1940s through the

operational details this entailed.8

1950s. The early 1960s brought the “Great Leap Forward” in China and a second

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這些個案研究成為故事，同時引證葛氏的說法：中國現正

長遠而言，深入研究重要，亦與研討會主旨、六廠紡織文

經歷同樣的工業改革。依照《Factory Girls: From Village to

化藝術館目標相符。在成衣業以至其他行業，「不但要思

City in a Changing China》（Random House，2008）一書，

量如何看待商業、科技，更要賦予它們更崇高的意義。」

女性撐起一片天，其勞力為全球市場帶來商品；當中，服

具影響力的女性，不斷重新界定科技的功用，以及科技和

裝又佔多數。謝菲斯認為此勞力為「女性基礎」，葛氏亦

她們、和所有人的關係。11

持類近觀點，重申：「年輕女子成為中國成千上萬廠房的 10

動力，使中國成為『世界工廠』。」

own work managing the Hong Kong Research institute for

葛氏列舉研發中心的國際研究合作機構，包括企業如 H&M 和 Patagonia、教學人員和其院校，以及大部分香港

Textile and Apparel (HKRITA) brought this into perspective.

According to Keh, HKRITA, launched in 2006, signaled a time when import quotas to the Western economies ended,

While such labour could easily be seen as subjugation

可是，這情況並非一成不變；葛氏其後帶出的例子，說明

業界。其他還包括與飼養氂牛的藏人合作，支付薪酬，使

en masse, individuals like Ying Tse when given voice

現況剛剛相反。女性致力創新，帶來改變；科技並非限制，

他們足以生活的氂牛絨品牌 Shokay，以至其他由女性設

through Keh claim a sense of pride in their work, and as

而是潛能。葛氏本人在香港紡織及成衣研發中心的工作，

立的本地品牌，關心社會，公平貿易，重新界定何謂「高

one that extends to the women who now helm these same

可為有力例證。研發中心於 2006 年成立，亦為入口西方

級」品牌。而香港城市大學教授連思琪博士的研究，則將

Thinking long-term that in many ways compliment the

businesses, but also others. It is in this place that brings

的配額制度正式撤消之時，代表香港製衣業最後一個優

廚餘變為纖維，減少堆田。

intentions of the symposium and through the core values

into sharp relief, how women today exist within roles

勢，同告消失。

predominantly not reserved for them in the past.

Keh furthers this perspective by delving into another real life story. This time, through Zhang Xin, who as founder and CEO of SOHO China, is currently one of the largest commercial

thus eliminating any last economic competitive advantage Hong Kong had in making apparel.

of CHAT also signals the need for further research, “not only [in] how we look at business and tech, but for what larger purposes these serve” in the apparel industry and beyond. All told, female influencers are continuing to reframe the purpose and relationship to technology for themselves and others.11

property developers in China.9 While her backstory is one of persecution leading to

To this end, Keh discussed HKRITA global research partners, from corporate entities like

Hong Kong factory work, and then eventually a billion dollar empire, clear parallels exist

H&M and Patagonia, to educators and their association to most of industrial Hong Kong.

between Zhang Xin’s case and cleaner Tse.

Others like the homegrown label led by women, Shokay, through socially conscious fair

What these case studies form are two points demonstrating the range between any number of female factory workers’ experience over roughly the same period. They also form the basis for Keh’s argument that China today seems to be going through a similar industrial transformation. Furthermore, in referencing the book, Factory Girls: From Village to City in a Changing China (2008) by Leslie Chang, the women represent a micro universe where their labour manifests as the global circulation of goods, and one in which garments constitute a vast majority. Similar to Jefferies’ discussion on this labour serving as a “female ground layer”, Keh reiterates, “young women power the thousands of shop floors in China today to make it the 'factory of the world’.”10

trade practices like working with Tibetan yak herders to provide them with a living wage – are redefining “luxury” branding. Another is Carol Lin, a City University of Hong Kong Professor who is working to convert food waste into fibre, thus avoiding landfills.

Concluding Remarks Technology, defined as “the application of scientific knowledge for practical purposes, especially in industry”, invokes many different kinds of uses that enhance our everyday lives.12 But what appears as a positive projection into the future also gives rise to questions about its effect on all manner of people, places and things, from whose lives, to what extent and at what cost does technology help or hinder? In essence, to deem technology

However, the situation is not a fait accompli; in fact, quite the opposite according to further case studies Keh shares. Once again, change is found within the forward thinking efforts of women, and with technology not as a means of repression but potential. Keh’s

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朱珮瑿

結語 科技是「以科學知識，達至實際效用，尤其見於工業」；

there may be in favour of extolling its virtues and perceived

但它對人、地、物的影響，亦有疑慮：到底科技幫助、

benefits, whether real or imagined.

阻礙甚麼人的生活？程度為何？代價為何？單純將科技視

亞洲藝術文獻庫公共項目策展人（2014-2017） Forever & Today, Inc. 聯席創辦人及總監、策展人

simply as progressive hides whatever detrimental aspects

其各式功用，提升大眾生活。 科技似乎帶來光明的未來，

12

為進步，難免掩蓋其害，歌頌其利一莫論此利屬真屬假。

Through their respective presentations Janis Jefferies and

謝菲斯與葛儀文二人的演說，分別以幻想及寫實角度，思考科

fantastical to the experiential in thinking specifically about

技如何影響女性投身紡織，以至相關創意範疇，譬如藝術。

what impact technology has on women in textiles, and

他們同時為無數付出血汗，卻為人所忽略的萬千女性平反。

within related creative fields like art by extension. They

葛氏和謝菲斯以富批判性的縝密，以及實際經驗，期盼將來。

also give credence to establishing a record that serves to

此將來之深、之廣、之複雜，可能性無數，現正由女性掌舵。

witness the countless women bearing the brunt and toil of

Edward Keh offer examples running the gamut from the

so many others’ toss – tossing on, tossing off, tossing away – only for the cycle to begin again. As for the future, Keh and Jefferies offer a hopeful vision through critical rigour but also lived experience as to the depth, breadth and complexity of what lies in-between, and as one today being led by female “captains of industry.”

Ingrid Chu Public Programmes Curator, Asia Art Archive (2014-2017) Co-founder, Co-Director & Curator, Forever & Today, Inc. Ingrid Chu is a curator and writer based in Hong Kong with experience at such leading museums and nonprofit art organisations as Asia Art Archive, Hong Kong; Creative Time, New York; The Noguchi Museum, Long Island City; The Power Plant, Toronto; the CCA Wattis Institute for Contemporary Arts and the San Francisco Museum of Modern Art, San Francisco.

Chu's reviews, interviews, and articles have been featured

註釋

Endnotes 1. Janis Jefferies, “Where are women’s voices in textiles and technology?”, Document TECHSTYLE Series 1.0: Ariadne’s Thread (2017: 50).

2.

同上，第 51 頁。

2. Ibid., (2017: 51).

Center Magazine, Yishu, and others. Chu founded RED-I

3.

同上，第 53 頁。

3. Ibid., (2017: 53).

Projects, an independent curatorial platform in 2004,

4.

同上，第 56 頁。

4. Ibid., (2017: 56).

5.

紡織與科技的關係，為不少相關展覽的主題。很多博物館，以時裝角度展 現紡織，例如已停辦的荷蘭 Arnhem Mode 雙年展（2013），美國紐約大 都會藝術博物館的《Manus X Machina: Fashion in an Age of Technology》 （2016） 和《China: Through the Looking Glass》（2015 年 ）， 美 國 華 人 博 物 館 的《Front Row: Chinese American Designers》、《Shanghai Glamour: New Women 1910s-40s》（同為 2013），以及紐約現代藝術 博物館（MoMA New York）的 《SAFE: Design Takes on Risk》（2006）等。

5. The interrelationship between textile and technology has been the subject of many related exhibitions, with numerous museums showcasing textiles through their association to fashion.

and she co-founded Forever & Today, Inc., a non-profit

葛儀文，〈千絲萬縷的紡織業：香港紡織成衣業中的女性功績 往昔今後〉， 《新經緯系列 1.0：亞莉雅德妮的線球文集》（2017）：第 60 頁。

7.

同上，第 61 頁。

8.

同上，第 64 頁。

9.

2016 年 9 月， 葛 氏 參 加 紐 約 亞 洲 協 會《 女 領 袖 的 力 量（The Power of Female Leadership）》。張欣獲 Arianna Huffington 邀請，在活動中演講。

10. 同上。 11. 同上。 12. 來源為維基百科。引用科技中的參考文章，乃筆者有意所為。

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7. Ibid., (2017: 61).

8. Ibid., (2017: 64).

獻庫、紐約 Creative Time、長島市野口勇博物館、多倫多 The Power Plant、三藩市 CCA Wattis 當代藝術學院、三藩 市現代藝術博物館。 朱珮瑿的評論、訪談及文章曾多次刊登於國際當代藝術及 文 化 雜 誌，包 括《Afterall》、《frieze》、《Kaleidoscope》、 《Kaleidoscope Asia 亞 洲 》、《Performa Magazine》、 《Timeout New York》、《Walker Art Center Magazine》、 《Yishu》等。2004 年她創辦獨立的策展平台 RED-I Projects， 以及 2008 年在紐約與 Savannah gorton 聯合創辦非牟 利 委 約 機 構 Forever & Today, Inc.。她 並 參 與了 2012 年 Creative Capital | Warhol Foundation Arts Writers grant Program 的藝術創意寫作坊。

including Afterall, frieze, Kaleidoscope, Kaleidoscope

珍妮絲．謝菲斯，〈女性在紡織與科技的聲音〉，《新經緯系列 1.0：亞 莉雅德妮的線球文集》（2017）：第 50 頁。

6.

重要博物館及非牟利藝術組織合作，例如香港亞洲藝術文

in international contemporary art and culture publications

1.

6. Edward Keh, “The Tapestry of Industry: The Feminine Contribution to the Textile and Apparel Industry of Hong Kong Yesterday and Tomorrow,” Document TECHSTYLE Series 1.0: Ariadne’s Thread (2017: 60).

朱珮瑿是一位以香港為基地的策展人兼作家，她曾與多間

Asia, Performa Magazine, TimeOut New York, Walker Art

commissioning organisation alongside fellow Co-Director & Curator Savannah Gorton (Curator, Friends with Books, Art Book Fair Berlin) in New York in 2008. She was a 2012 Creative Capital | Warhol Foundation Arts Writers Grant Program Art Writing Workshop participant.

9. Keh attended a September 2016 talk on “The Power of Female Leadership” at the Asia Society in New York where Zhang Xin spoke at the invitation of Arianna Huffington.

10. Ibid.

11. Ibid.

12. The source is from Wikipedia and intentional insofar as my objective is to cite references for the text through readily available online sources.

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Women, textile and technology in Hong Kong and China 女性、紡織與科技在香港和中國的 發展與趨勢

Weaving Women in China: From Virtuous Subject to Transgressive Citizen

中國的紡織女性： 從品德高尚的國民淪為 違反道德規範的公民

Francesca Bray “Men plough, women weave” (nangeng nüzhi 男耕女織 ) (Fig. 1) was a mantra for state officials and ordinary folk alike in imperial China: men’s work in the fields fed the family and the empire, women’s work at spindle and loom clothed them. Weaving skills were a mark of virtuous and productive womanhood in China for at least 2,000 years, and handloom weaving by village women continued to provide a significant portion of China’s textile needs through the Republican era (1911-1949). All this changed in the 1950s and 1960s. Under the revolutionary policies of the People’s Republic of China new policies towards women, work and nation-building led to official condemnation and suppression of homespun production, driving women weavers, so to speak, underground. What used to be socially valued work was now a transgression.

By the late 1970s handlooms had almost disappeared from Chinese villages.

白馥蘭

在帝制時期的中國，上至朝廷百官，下至普通老百姓， 「男耕女織」（Fig. 1）都為人所歌頌：男子耕種，養家 活口，奉獻國家；女子織布，為君民提供衣物。逾二千年 的時間，紡織手藝一直被視為中國女性的美德和生產力的 標徵。直至民國時期，農村婦女的手工紡織都在滿足紡織 品的需求方面，佔了重要的地位。來到 1950 至 60 年代， 情況才有了轉變。在中國的改革政策下，針對婦女、勞動 和國家建設的措施，導致家紡產品受到政府譴責和壓制， 迫使女工紡織轉為地下職業。以往受社會所重視的職業， 如今卻被視為侵犯了社會的道德規範。到了 1970 年代末， 手工紡織幾乎在中國農村消失。 Fig. 1 Men plough, women weave Top: The figure of man ploughing is from Gengzhi tu (Ploughing and Weaving Illustrated), by Lou Shu, ca 1140, here in the stoneengraving edition commissioned by the Qianlong emperor in 1769.

Bottom: The figure of women dressing a cotton loom is from Mianhua tu (Cotton illustrated), by Fang Guancheng, Governor of Zhili Province, presented to the Qianlong emperor in 1765. 男耕女織 上： 男人耕地圖來源於約 1140 年樓璹作品《耕織圖》，此為 1769 年乾隆皇帝命人所翻製石版畫。 下： 織布婦女圖來自《棉花圖》，是清乾隆三十年（1765）直隸總督 方觀呈送皇帝的棉紡織過程圖譜。

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手工紡織的道德價值觀為何出現了這麼大的逆轉呢？ 紡織是女性的工作 1 中國典型的男女分工，可用「男耕女織」這個準則來概括 （Fig. 2）。從公元前 300 年至公元 1581 年，這種男女 分工，都被歸納在財政政策當中。中國政府要求以實物繳 稅，徵稅的對象是已婚夫婦。作為丈夫的男子，需要繳納 十分之一的穀類作物；而作為妻子的婦女，則要繳納同等 份量的布匹，可以是未加工的大麻或純絲，種類因地而異。 國家的紡織品需求量很大，不管是粗布還是細布亦然。 布料可用作製造士兵的制服、繳付官員的俸祿（紡織品常

How did this dramatic reversal of the moral value of homespun and handloom weaving come about?

Weaving as womanly work1

被當作貨幣之用）以及提供皇室成員的衣服和禮服。貴 重的絲帛也用來購買中亞游牧民族的馬匹，當作外交的貢 品或收買想侵略國境的外敵。婦女提供了國家必需的紡織 品，因此跟他們的丈夫一樣，被視為國家活躍而不可缺少

The classic gender division of labour in China was 的勞動人口。 encapsulated in the formula “Men plough, women weave” (Fig. 2). From around 300 BC to 1581 this demarcation of manly and womanly work was embedded in fiscal policy. The Chinese state depended upon payment of taxes in kind. The taxable unit was the married couple. The husband paid one-tenth of his cereal crop; the wife’s dues, equivalent in value, were paid in bolts of rough hemp cloth or plain silk, depending on the region. The state needed enormous quantities of textiles, coarse and fine, for soldier’s uniforms, for clothes and payments for its bureaucrats (textiles were commonly used as currency), and for the clothes and regalia of the imperial court.

Valuable silks were used to buy horses for the army from the Central Asian nomads, as diplomatic gifts, or to buy off would-be invaders. In supplying the state’s essential needs for textiles, women were recognised as active and indispensable subjects of the state just like their husbands.

Fig. 2 Commercial reality, moral ideal Top: This is the unique late imperial depiction of a man working at a drawloom, with a boy sitting in the tower manipulating the cords; it comes from Tiangong kaiwu (The exploitation of the works of nature) by Song Yingxing, published 1637.

Bottom: This is a conventional late-imperial depiction of weaving at a drawloom, showing a woman sitting at the loom, in a domestic setting, with a girl sitting in the tower; it comes from Gengzhi tu, 1742 imperial edition.

Women of all classes made cloth. Peasant women raised silkworms or processed the hemp that their husbands grew, using simple looms small enough to fit in a cottage; the rough weaves clothed the family, paid its taxes, and surpluses could be sold for cash. In elite households, senior wives directed a work-force of kinswomen and servants.

As well as plain cloth they often wove fine patterned cloth on draw-looms; these fetched

商業現實，道德理想 上： 這是一幅獨特的描繪男性操作紡織機、男孩坐在塔 中操作線頭的圖片，1637 年重印宋應星著《天工 開物》。 下： 這是一幅傳統的描繪女性操作紡織機、女孩坐在塔 中操作線頭的圖片，1742 年御製重印《耕織圖》。

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在古代，每個婦女都織布，不分階級。農家婦女養蠶繅絲，

期。婦女在織布機前勞動，不但在物質上是必需的，這也

或在家裏用簡陋的織布機為丈夫種出的大麻加工。編織出

是一種宇宙的秩序和道德修養。女子紡織，體現了勤奮節

的粗布會給家人添衣取暖，用作繳納稅項，剩下的也可用

儉的美德，也是孝道的表現，能夠鞏固家族，團結君民。

來出售。而大富人家中，名份較高的妻妾，會負責監管作

男女分工的互補，為社會提供了物質和道德的基礎。如果

為織工的女親屬和奴僕。她們用提花機織造出的紡織品，

婦女沒有盡本分，做好工作，宇宙的秩序就會被擾亂，

不但有平紋的，也有圖案精細的，價格昂貴。不管在大富

自然或政治災難必隨之而來。

人家，還是貧窮家庭，紡織都使妻子成為「丈夫合適的伴 侶」、他的得力助手，而不是無力工作的受養人。

very high prices. Whether rich or poor, weaving made the wife “the fitting companion of her husband”, not his helpless dependent but his active partner.

Weaving also reproduced the basic social and ritual fabrics of Chinese society. Home-woven cloth played a central role in the ceremonials of marriage and of death.

Wedding rituals required exchanges of cloth between families, and girls wove the cloth for their dowries. When a death occurred, archaic mourning garb of rough hemp cloth had to be worn; the differences in mourning dress showed how closely a person was related to the deceased. Cloth thus consolidated the kinship structures of the Chinese lineage.

l

一，尤其在男女分工這種「自然秩序」開始動搖的時候。

紡織也重現了中國社會基本的社交和典禮衣料。家紡布料

從宋代開始，商業化和城市化促進了以城市為基地之製造

在婚禮和喪禮儀式中，扮演着重要角色。在婚禮儀式中，

業的發展，製造商為富貴人家和商人家庭提供了高質量的

家族之間需要交換布料；女孩們也會織布，準備嫁妝。

貨品。這些紡織店一般有好幾輛織布機，也僱用工人。

有喪事時，人們會穿上用陳舊粗麻織成的喪服。不同的喪

由於婦女出外工作被視為不合體統的事，包括低下階層的

服，正標示穿戴者跟死者的親疏關係。因此，布料也鞏固

婦女在內，故在城市的紡織店工作的，自然都是男子。

了中華民族的親屬架構。

因此，宋代標誌了中國紡織業分工化的開始。在城鎮，

紡織有深厚的象徵意義，這可從有關的字詞所含的隱喻意 義看出：「治」指的是用卷軸把毛線整齊地捲起來，這個 字可引伸為治理國家或醫治疾病；「經」本指編織物的縱 線，後引伸為孔子編輯的典籍，以及自然界有規律的循環 或通道，其中包括針灸中所談的經脈以及婦女的月經週

Weaving’s profound symbolic significance was reflected in the metaphorical uses of textile terms: the word for reeling yarn tidily onto a bobbin (zhi 治 ) was extended to mean ruling the state or healing a disease; the word for warp-thread (jing 經 ) denoted the canonical texts edited by Confucius, and the regular cycles or paths of nature – including the acupuncture tracts, and women’s menstrual cycle. Woman’s work at the loom was not just materially essential: it was also a cosmic ordering and a moral training. In weaving, a woman performed the virtues of diligence, thrift, and the filial duty that bonded families together just as it tied the people (min 民 ) to the ruler (jun 君 ). The complementarity of female and male labour was both the material and moral foundation of society: if women failed to perform womanly work, disturbing the cosmic order, natural or political disasters were sure to ensue.

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這就是官方言論，強調婦女應當投身紡織工作的原因之

Weaving Women in China: From Virtuous Subject to Transgressive Citizen

This is one reason why official discourse emphasised the importance of women devoting themselves to the loom – 婦女在家紡紗，再把紗線賣給工作坊；作坊裏的男子用織 particularly at times when the supposed “natural order” of 布機織布，以供買賣。為了繳納稅項，許多城鎮的家庭都 gendered work appeared to be faltering. Starting in the 開始購買布匹。與此同時，農村的大部分婦女還在用簡陋 Song dynasty, around 1000 or 1100, commercial growth 的織布機紡紗和織造粗布，為家人提供衣物，繳納稅項。 and urbanisation fostered the development of urban-based manufactures to supply quality goods to prosperous elite or merchant families. This included weaving-shops, typically housing several looms and hiring weavers. Since even lower-class women could not respectably work outside the home, these urban weavers were men. So the Song marks the beginning of two bifurcations in China’s textile industry. In towns women would spin at home and sell yarn to the workshops, where men worked at the looms producing cloth commercially; in order to pay their taxes, many urban households began to purchase cloth. Meanwhile in the villages most women continued both to spin and to weave, and to clothe their families and pay their taxes with the rough cloth they made on simple looms.

Cotton, introduced to China by the Mongol Yuan rulers in the late 13th centur y, gave a new lease of life to village handloom weaving. By 1500 cotton had become the normal clothing for peasants and city-dwellers alike.

Village women produced rough but durable homespun on simple handlooms, for domestic use and for sale; in urban workshops men wove fine cotton damasks, dyed and pressed till they shone like silk; in the sprawling suburban villages around important cotton centres like Songjiang, near modern Shanghai, whole

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到了 1550 年，不管在國內還是國外，中國的紡織品和其 他商品都有了龐大而複雜的市場。1581 年，國家終於廢 除了以物品繳稅的做法，所有稅項一律以貨幣繳納，結果 令更多家庭投入了生產市場。商業發展導致傳統行業沒落 的現象，不管在經濟還是道德方面都令地方官十分擔憂。 看到男人坐在織布機前，更糟的是女人不再投入紡織工 作，尤其令他們沮喪。對他們來說，這意味着女人完全不 工作，這種判斷的象徵意義大於經濟上的意義。儒家認為，

Fig. 3 New Year prints Left: The ten tasks of men (Nan shimang); modern reprint of early 20th century woodblock image from Fengxiang, Shaanxi; Courtesy of James Flath Right: The ten labours of women (Nü shimang); modern reprint of early 20th century woodblock image from Fengxiang, Shaanxi; Courtesy of James Flath; http://history.uwo.ca/nianhua/big_cfs/cfs10.html 年畫 左： 《男十忙》，陝西鳳翔，二十世紀早期木版畫，現代重印，鳴謝：James Flath 右： 《女十忙》，陝西鳳翔，二十世紀早期木版畫，現代重印，鳴謝：James Flath

families worked together to make cotton cloth, wives and daughters spinning, reeling and dressing the looms while the men wove. Their toil was unceasing: writers describe looms clattering right through the night. Such “peasant” families 十三世紀末，元朝的蒙古統治者把棉紗引進中國，為農村 had no time to grow food, depending on the sale of their 的手工紡織帶來了生機。到了 1500 年，棉織品成為城市 cloth to meet all their needs. 居民和農民的日常衣服。農村婦女用簡陋的織布機編織出 By 1550 China had huge, complex national and 粗糙卻耐用的土布，供家人穿用，也用來售賣。在城市， international markets in textiles and other commodities. 工坊裏的男子編織上好的棉質錦緞，這些布料經過漂染、 In 1581 the state finally abolished any tax payments in 按壓後呈現出絲一般的光澤。位於現代化城市上海附近的 kind: obliged to pay all their taxes in cash, even more 松江，是製造棉織品的重要中心之一，這些中心的周邊有 families turned to market production. The abandoning of 一些正在發展的城郊村落。在村落裏，整家人都一起工 traditional occupations prompted by this commercialisation 作，製造棉布。妻子和女兒負責紡紗、捲線、設置織布機， deeply distressed magistrates, who saw it as both 而男人則負責織布，一家人日以繼夜地工作。有些作家寫 道，織布機發出的咔噠聲整夜都響個不停。這些「農民」 家庭根本沒有時間種植糧食，而是靠售賣衣服所得的錢維 持生活所需。

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紡織工作是一種道德修練，不但製造貴重的貨品，也塑 materially and morally risky. They were particularly upset 造出可貴的女人。在儒家的精英份子看來，女人不紡織， when they found men sitting at looms, or – worse still – women not engaged in textile work. To them, this meant 就等於不守本分，不管她們多麼勤奮地釀酒、造紙或種菜 去幫補家計也於事無補。在一些地方，女人為了實際上和 that women were simply not working – but this was a 經濟上的原因而丟棄了紡織生產。看到這種現象，地方官 symbolic rather than an economic judgement. In the eyes of Confucians, the activity of weaving was a moral 採取了果敢的行動去振興婦女紡織行業，卻大多以失敗 收場。這種理想也可從大眾文化看出：1950 年代的年畫 training that produced both valuable goods and estimable （Fig. 3）描繪了男人的十項勞動和女人的十項工作， women. If they did not weave, women were not deemed 分別跟耕種和紡織有關。 by the Confucian elite to be performing their proper womanly work, however hard they might be brewing or paper-making or growing vegetables to support the family. In regions where women had abandoned textile production for pragmatic, economic reasons, magistrates made valiant if typically unsuccessful efforts to revive female weaving. This ideal was echoed in popular culture: well into the 1950s New Year prints (nianhua 年畫) (Fig. 3) depicted the ten labours of men and the ten tasks of women as respectively field work and textile work.

Modern women and their work Given how highly imperial officials valued women’s labour in the textile sector, and how fundamental its contribution was to the economy, one might have expected modern reformers likewise to value and support the work of the tens of millions of peasant women in China’s cotton regions who continued to weave homespun cotton (tubu 土布) well into the 20th century. But the moral and the economic calculus had both radically changed. Chinese reformers and revolutionaries violently rejected Confucian values which they believed stood in the way of China’s national survival and success. They valued engineering, mechanisation and industrialisation, seen as key to improving labour productivity and the rate of capital accumulation, promoting a modern spirit and building a strong nation. Textile mills, not handlooms, were to be the engine of China’s progress.

The reformers were indifferent to the moral, let alone the cosmic values that had hitherto been attached to women’s weaving. Indeed, since women did their spinning and weaving within the walls of the house, they viewed such activities as just one means by which the “traditional” Chinese woman was enslaved by patriarchy and rendered helpless, useless and passive.

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現代女性與她們的職業

Fig. 4 Iron Girl: the New Chinese Woman “Increase the speed of agricultural mechanisation to struggle for the modernization of agriculture”, designed by Liu Wenxi, 1975; publisher: Renmin meishu chubanshe Image copyright: International Institute of Social History (Amsterdam).

農家婦女從事手工紡棉（土布）的工作，一直延續到二十 世紀。在國內各個製棉地區，多達數以百萬計的農村婦女， 仍然從事這種勞動。既然古代的朝廷官員這麼重視婦女在

「加速農業機械化的步伐，為農業現代化而奮鬥」， 劉文西畫，1975，人民美術出版社 圖片版權：International Institute of Social History（阿姆斯特丹）

紡織業的勞動，她們對經濟的貢獻又這麼大，大家可能以 為現代的改革者也同樣珍視這個行業，予以支持。然而， 衡量道德和經濟的標準起了巨大改變。中國的改革者和革

In 1898 Liang Qichao complained that “out of two hundred million women, every one is a consumer, not one is a producer. Because they cannot support themselves but depend on others for their support, men keep them like dogs and horses”. This would have been news indeed to the roughly half of rural women who wove cloth at the time, selling some 50% of their product on the market!2 It was however the unquestioned view shared by all Chinese modernisers. In order to liberate women from their families and from their own backward mind-set, the reformers were convinced, they must be given the opportunity to work, as Engels advocated, for wages outside the home.

命領導人極度排斥儒家思想，視之為國家走向富強之路的 障礙。他們珍視的，是工程、機械化和工業化，認為這些 才能提高勞動生產，增加資本積累，倡導現代精神，使國 家富強。推動國家向前邁進的不是織布機，而是紡織工廠。 改革者對道德漠不關心，更不用說會顧及婦女紡織的活動 與宇宙價值觀之間的聯繫。事實上，由於婦女只能被關在 家裏紡紗織布，他們認為這些活動是「傳統」中國婦女被 父權制奴役的現象之一，婦女被看作是無助、無用和被動 的。

在民國時期，日本人、歐洲人，以致中國人都先後在各城 市設立絲廠和棉廠，吸引了大批年輕女性從窮鄉僻壤前

1898 年，梁啟超抗議說，兩億個女子當中，每個都是消

來，尋找工作機會。3 雖然如此，農村婦女仍是繼續製造

費者，沒有一個是生產者。她們都不能靠自己維持生計，

大量土布，有時混合工業和手工紗線紡織。接近上海的

只能靠別人，因此被男子當成狗和馬一樣畜養。然而，

崇明縣內有十萬架織布機，每年製造兩百五十萬匹布。4

Japanese, European and eventually Chinese companies 當時大概半數的農村女子都在織布，並把約百分之五十的 set up silk and cotton mills in China’s cities through 生產布料賣給市場！ 2 她們聽到這番話一定會感到吃驚。 the Republican period, to which young women from 儘管如此，所有中國現代主義者還是抱持以上的看法。 3 the impoverished hinterlands flocked to work. But 為了解放婦女脫離家庭的束縛，改變她們落後的思想， village women continued to produce large quantities 改 革 者 確 信， 要 給 婦 女 出 外 工 作 的 機 會。 正 如 恩 格 斯 of tubu, sometimes mixing industrial with homespun （Engels）所倡導的，要在戶外賺取工資。 yarn. Chongmin County near Shanghai had 100,000 handlooms producing 2.5 million bolts annually.4 Industrially manufactured cloth was often cheaper than tubu but it did not last as long, nor was it as warm and comfortable, so tubu continued to find a ready market. Indeed, although the modernisers were convinced that home weaving must have been nearly eradicated by the competition from industrial cloth, in the late 1930s “handloom cloth still accounted for 70% of China’s cotton textile output ... [and] 24% of Chinese rural households span and wove”. In remote Shaanxi, in the precarious decades of war, “a diligent weaver could feed a family of four even if she was the only earner in the household”.5

工業生產的布料通常比土布便宜，卻沒有土布那麼耐用、 耐寒和舒適，因此土布的市場銷路保持良好。雖然現代主 義者深信，手工布料一定敵不過工業布料的競爭，終會被 淘汰。可是，在 1930 年代末，手工布料仍然佔了全國棉 製品生產的百分之七十，也佔了中國農村家庭紡織的百分 之廿四。在偏遠的山西，於戰前艱難的幾十年間，一個勤 奮的織工可以養活一家四口，儘管她是家裏唯一的經濟 支柱。5 新興的共產領導人跟共和黨一樣，對農村社會的活力、 價值以及農村織布的婦女在經濟和社會上所作的貢獻不屑 一顧。從 1949 年起，在兩種政策的雙行下，土布生產不 但被削弱，還大受鎮壓，並被視為非法勞動。從事紡織的 婦女可說是被迫走向地下。共產黨跟從恩格斯的理論， 相信要解放婦女，就得帶她們脫離沒有工資的家庭勞動， 轉而在外間工作，賺取薪水。因此，他們堅持要農村婦女 跟男人一起到田裏勞動（Fig. 4）。與此同時，中國的紡

The new Communist leaders proved to be just as dismissive of the dynamics and values of village society and of the economic and social contributions of rural women weavers as the Republicans. From 1949 a combination of two policy imperatives not only undermined but actively impeded and de-legitimised homespun production, driving women weavers, so to speak, underground. Following Engel’s theory that the liberation of women depended upon bringing them out of unpaid domestic labour and into the waged workforce, the Communist Party insisted that rural women spend their days working with men in the fields (Fig. 4). Meanwhile, in the drive towards industrialising China’s textile industry as an essential base for economic development cotton growers were required to sell all their crop to the state in return for cloth ration coupons. They were only allowed to keep 1 kg per year for domestic use, supposedly not for weaving but for padding quilts and winter clothes.

Unfortunately, exporting cotton proved so lucrative and so essential to the fledgling state’s survival that very little of the cloth found its way into the ration fund for distribution to Chinese citizens, and its quality was poor. Desperate to keep their families clothed and warm, many village women gleaned damaged or unripe bolls from the fields or smuggled raw cotton home under their tattered jackets.6 Then they laboured through the night to card, spin and weave tubu, some of which they used for their families, some of which they exchanged for more raw cotton. The industrial cloth that was their ration they sold in the towns, using

織業也必須工業化，好為經濟發展打下基礎。為此，國家

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規定種棉的農民把所有穀物賣給政府，換取布料配給劵。

絕大多數的漢族婦女都丟棄了手織機，到當地更「現代」

農民每年只得到一公斤的棉，用來為家人做棉被和冬天的

的工廠工作，賺取工資，或搬到城裏做民工。一個受政府

衣物。

支持而得到保護的領域，就是少數民族的手工紡織。按照 1960 至 70 年代現代主義者的標準，少數民族屬於「落

可惜的是，由於出口棉紗的利潤十分豐厚，成為新興政府

後的」社群。事實上，中國歷史學家和考古學家一般都認

必不可少的收入，以致剩餘下來、可用來分配給國民的

為少數民族的手藝有助於保存中國古代的工藝。因此，

棉卻少之又少。許多農村婦女想盡方法，為了使家人可以

少數民族操練他們的手藝被視為恰當的，可以織造能標示

有衣服穿，得到溫暖，她們到田裏撿拾受損壞或未熟的棉

民族身份的「傳統」服裝。後來，隨着經濟發展，還能把

鈴，或者把原棉藏在破爛的外套裏，偷偷地帶回家。然後， 她們徹夜工作，梳棉、紡紗、編織土布。編織出來的土布， 有的給家裏人用，有的拿去換取更多原棉。她們也把分 配得來的工業布料拿去城鎮售賣，再用賺到的錢買糧食。 在當時苛刻的採購政策下，糧食十分缺乏。農村婦女除了 要到田裏幹活，也做額外的工作，諸如用手織機織布。 她們讓家人衣食不缺，還能剩下一點布料當嫁妝及喪禮之 用。令人遺憾的是，雖然農村婦女的織布機繼續滿足了家 庭和社會在物質和社會禮儀上的需求，但是她們的紡織 工作不再被視作社會秩序的支柱，而是視為違反了道德規 範。共產黨一心要改善婦女在新中國的地位，現實卻與他 們的理念背道而馳。 手工紡織雖然轉向地下活動，但在 1970 年代還算普遍。

the cash to buy grain that was scarce at home under the draconian state procurement policies of the time. Village women’s work as handloom weavers, conducted in addition to their work as farmers, saved their families from hunger, kept them decently covered, and even provided a little extra cloth for dowries and funerals. But although their handlooms continued to supply both the material and social-ritual needs of family and community, village women’s work as weavers was now a transgression rather than a pillar of the social orde it a sad paradox given the Party’s determination to improve women’s status in the new People’s Republic of China.

Still widespread although covertly practised into the 1970s, handloom weaving in Han-nationality villages 微。1979 年實施經濟改革後，手工紡織幾乎銷聲匿跡。 gradually died out as the economy improved and industrial cloth improved in quality and availability. It disappeared almost completely once the economic reforms began in 1979. With very few exceptions, Han village women abandoned their handlooms and sought waged employment in other, more “modern” local manufactures, or as migrant workers in the cities. One protected niche where there was official support for handloom weaving, however, was among ethnic minorities. By the standards of the modernisers of the 1960s and 1970s, minority communities were judged “backward” – in fact Chinese historians and archaeologists would commonly study minority techniques as a living survival of China’s ancient technologies. It was therefore considered appropriate for minority weavers to practice their craft skills both to produce the “traditional” costumes that marked their ethnic identity, and later, as the economy expanded, as a means of livelihood. Today these same ethnic craft skills are rebranded as “authentic” rather than 不過，由於經濟愈來愈蓬勃，再加上工業布料在質量上的 改良和供應量的增加，導致漢族村落的手工紡織日漸式

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它當成一種謀生技能。今天，這些民族手藝被視作為「真 正的」手藝，而不是「落後的」：它們有一種異國的風味， 是一種藝術，包含着某種精神，因此，能在國內甚至國外 的網絡市場開通銷路。這類市場通常由政府資助，或跟大 學裏的設計或市場部門有夥伴關係。 今天的中國是個繁榮的社會。紡織工業發展迅速，源源不

“backward”: they have an aura of exoticism, artistry and spirituality which is helping them to build internet markets within China as well as abroad – often with government financial support and/or partnerships with university design or marketing departments.

絕地為國民提供衣物需求。隨着國家富庶起來，走向現代 化，生活供應充足，人們開始緬懷遺失的傳統，喜歡上傳 統文化和手藝，為這些「真正的」民族作品開拓了龐大的 市場，而這類市場還在不斷發展。「淘寶」網上農村產品 異常暢銷，從手工作品、食品到汽車不等；市場之大，

可見一斑。值得關注的是，有了電子商務，傳統漢族土布 China is now a prosperous society; the clothing needs 的手工紡織明顯重現生機。在好幾個傳統的棉織品中心， of its citizens are amply supplied by its booming textile 古舊的手織機恢復了運作。跟少數民族的手工紡織不同， industries. With wealth, plenty and modernisation has 漢族手工紡織現今還沒得到中國政府的支持。不過，要是 come nostalgia for the “traditions” that have been lost, 漢族土布能在網絡上開拓市場，前景還是光明的。有些愛 a taste for heritage and crafts – a huge and growing 好者為它重塑形象，把它定為「傳統」工藝品；另一些則 market for “authentic” folk products, as evidenced by the 視之為時尚的產品。可是，今天，只有老年人懂得手工紡 astonishing success of the Taobao ( 淘寶 ) Network’s online 織。土布織造會不會在幾年內被完全淘汰呢？還是說質量 sales of village products, ranging from crafts to foodstuffs 優良、價格高昂的新土布會吸引年輕一代去當學徒，重振 to ORVs. Interestingly, with e-commerce traditional Han 手工紡織，讓它再次成為一種受尊重、讓人可以維持生計 tubu handloom weaving is apparently experiencing a 的職業？ revival.7 In several traditional cotton-centres old handlooms are back at work. Unlike minority weaving the Chinese government has so far given no special support to Han handloom weaving, but if Han tubu finds decent online markets there could be a promising future for what some enthusiasts are now trying to rebrand as a “heritage” product, others as a fashion item. But nowadays only elderly women still know how to weave.

Will tubu-making literally die out in a few years, or might the high prices paid for fine new tubu entice younger people into apprenticeships, reviving handloom weaving as a respected and viable occupation?

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Endnotes

註釋：

白馥蘭

1. This section is based on Part II (chapters 4-6) of Bray 1997.

1.

本節以白馥蘭 1997 年著作第二部分（第 4-6 章）為基礎。

愛丁堡大學社會人類學教授

2. Eyferth 2012: 371, 370.

2.

Eyferth，2012: 371, 370。

3. See Honig 1986. Because of the moral associations of textile skills, this form of waged, industrial work was considered suitable for young women.

3.

Honig，1986。由於紡織技術衍生的道德問題 , 這種受薪的勞動工作被視為 適合年輕婦女。

4. http://www.shanghaidaily.com/district/chongming/Handwoven-clothmakes-a-comeback/shdaily.shtml , accessed 2016.12.21.

4.

http://www.shanghaidaily.com/district/chongming/Handwoven-cloth-makes-acomeback/shdaily.shtml，2016 年 12 月 21 日瀏覽網站。

5. Eyferth 2012: 373, 381.

5.

Eyferth，2012: 373, 381.

6. Eyferth 2012: 387.

6. Eyferth 2012: 387.

7. https://www.taobao.com/oshtml/buy-cn/cp_s-fD983Bsrw.html accessed 2016.12.21.

7. https://www.taobao.com/oshtml/buy-cn/cp_s-fD983Bsrw.html accessed 2016.12.21.

白馥蘭是中國古代科學、科技及醫藥歷史學家，曾受中國 研究及人類學專業訓練。她作為人類學家，對古今科技的 宏觀及微觀政治深感興趣。她特別注重研究中國史上的科 技如何反映及塑造性別角色，在其著作《技術與性別：晚

Francesca Bray Professor of Social Anthropology, The University of Edinburgh

期帝制中國的權力經緯》（1997）、《帝制中國的科技、 性別及歷史》（2013）中，白馥蘭展示交織於中國帝制社 會中的性別原則，包括從統治階級的天地觀及意識形態， 以至國家的物質基礎和民間百姓的日常習慣。 在古代中國，全國上至官員下至百姓皆以男耕女織為基本 社會概念：男人負責種田耕作，養育家庭和國家，女性 則紡布織衣，為其裹身。白馥蘭在著述中分析，在中國經 濟及社會秩序發生巨變的時代，這些道德理念如何繼續 發展。

Francesca Bray is a historian of science, technology and medicine in imperial China, trained in Chinese studies and anthropology. As an anthropologist, Bray is fascinated by the macro- and micro-politics of technologies, past and present. She has specifically looked at how technology has expressed and shaped gender roles throughout Chinese history. In Technology and Gender: Fabrics of Power in Late Imperial China (1997) and Technology, Gender and History in Imperial China (2013), Bray demonstrates how gender principles were woven into the very fabric of the

References:

參考資料：

Bray, Francesca (1997) Technology and Gender: Fabrics of Power in Late Imperial China, University of California Press.

白馥蘭，《技術與性別：晚期帝制中國的權力經緯》（Technology and Gender: Fabrics of Power in Late Imperial China），江蘇人民出版社，2006。

Eyferth, Jacob (2012) “Women’s Work and the Politics of Homespun in Socialist China, 1949-1980.” International Review of Social History 57, 3: 365-391.

Honig, Emily (1986) Sisters and Strangers : Women in the Shanghai Cotton Mills, 1919-1949, Stanford University Press.

Eyferth, Jacob, “Women’s Work and the Politics of Homespun in Socialist China, 19491980.” International Review of Social History vol. 57, issue 3 (2012): 365-391. 艾美莉．洪尼格，《姐妹們與陌生人一上海棉紗廠女工，1919-1949（Sisters and Strangers: Women in the Shanghai Cotton Mills, 1919-1949）》，韓慈譯，江 蘇人民出版社，2011。

Chinese empire, from cosmology and ideologies of rule to the material foundations of the state and the everyday practices of the domestic sphere.

Nan geng nü zhi 男耕女織 (men plough, women weave) was a popular mantra for state officials and ordinary folk alike in imperial China: men’s work in the fields fed the family and the empire, women’s work at the spindle or loom clothed them. Bray’s work analyses how these moral ideals fared in the face of dramatic changes in the Chinese economy and social order.

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中國的紡織女性：從品德高尚的國民淪為違反道德規範的公民

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國家主義、婦女及 她們的中國：當中國談到 旗袍時，還會講到甚麼？ 凌穎詩

最近，在香港（2016，2013，2010）、台北（2013） 和新加坡（2012）的旗袍展覽漸多，這些展覽似乎有不

學生（Ng 2006: 272-4, Scott 1958: 81-3），也有願意接受 新想法的時尚女性（Wong 1975: 98）。雖然許多人為了把 這種服飾跟滿族人的服飾區分開來而提議了一些名稱一長 衫、長衣、長袍、中華袍（《民國日報》，27/2/1926, 引自吳

Nationalism, Women and Their China: What More the Chinese Talk about When They Talk about the Qipao?

同的策劃方向，究竟想展示甚麼？這種服飾除了展示中國

Wessie Ling

女性的身段之外，在中國各地還傳達了甚麼不同的信息？ 這篇論文首先會簡潔地論述旗袍的歷史，接着探討在香 港、新加坡及台北舉行的旗袍展覽，怎樣強調中國女性的

Recent years saw the proliferation of qipao exhibition in

身體外型與其身份以及地域之關係。

Hong Kong (2016, 2013, 2010), Taipei (2013) and Singapore (2012). All of which have seemingly different

為求平等而穿上男性服裝

curatorial directions. What was transmitted through these

旗袍的起源，引起過不少爭論。普遍的說法，是旗袍的誕生

qipao shows? Beyond the Chinese bodily appearance,

跟滿州人這個民族的名稱有關，因而認為是滿族服飾演變而

what did the dress convey in different Chinese regions?

來的。歷史和實物的證據都顯示，旗袍跟當時男性的服飾有 密切關係（Finnane 2008, 1996, Ng 2006: 1001）。1920 年代早期的旗袍有寬大、「清教徒式有角」的剪裁，這種剪 裁模仿男性的長袍，是提倡兩性平等的女性服裝。在當時女 性解放運動的高峰期，女性穿男性的服裝，反映了她們渴求 得到平等的權利，也希望個人的特性得到尊重。1920 年代 穿這種有角旗袍的，不但有婦女運動的提倡者及留學回國的

This essay will commence with a brief history of the dress, followed by discussion of exhibitions in Hong

2006: 274），但當中沒有一個被採用，最後採用的名稱是 「旗袍」。 國家主義之下的標準女性服裝 隨着紮腳（1911）和束胸（1928）的廢除，中國女性的 身型經歷了轉變，需要新的服裝。女性身型和尺寸的大小， women’s cross-dressing reflected their desire for equal

都有所改變。此外，對許多追隨潮流的人來說，現成的服

rights and respect for their individuality. Those that wore

裝和洋裝都不稱身，而旗袍就能解決這些問題。因此，旗

the 1920s angular qipao were not limited to women

袍可說是來得非常合時。許多中國女性都穿用自己製造的

activists and returning overseas students (Ng 2006: 272-4,

旗袍（Ling 2009），她們接納不同的風格，使之成為時

Scott 1958: 81-3), but also trendy women who followed

尚產品，同時跟西方的潮流和影響接軌。

new ideas (Wong 1975: 98). Despite many suggested names to differentiate the dress from Manchu ladies’ wear

現代化和消費文化

of the Qing dynasty – for instance, changsan, changyi,

毫無疑問，旗袍跟資本主義的帶動有密切關係，目的是把

changpao, zhonghua pao (Minguo ribao, 27/2/1926,

中國推向西方的現代化及商業化。西方國家一直把現代化

cited in Ng 2006: 274) – none were adopted. The name

強加在中國之上，方法是通過不斷擴大的互動通訊網絡，

qipao was eventually accepted.

跟資本主義的西方國家進行交流。旗袍展現了中國的裁縫

Women’s Standard Dress under Nationalism

傳統，同時深受西方的裝飾風格影響，其重要性不可忽視。

Kong, Singapore and Taipei addressing the relation of

Following the abolition of foot-binding (1911) and breast-binding (1928), Chinese

Chinese women’s bodily appearance to their identities and

women’s bodies experienced a transformation that required a new wardrobe. The qipao

perceived locality.

emerged at the right time in order to address the problem of changes in the body and size

In Men’s Clothes For Equality The origin of the qipao opens up numerous debates.

Popular belief leans towards an affiliation with the Manchurians whose name gave birth

and the dilemma that many fashion-trend followers were unable to fit into ready-made or western-style garments. Many Chinese women were prosumers of their own qipao. (Ling 2009) They embraced its stylistic changes that made it part and parcel of the fashion cycle, in tune with western trends and influences.

to the dress. Consequently, it is often seen as a continued evolution of the Manchurian dress. Historical and visual evidences revealed a close association with Chinese menswear of the time (Finnane 2008, 1996, Ng 2006: 100-1). The early-1920s qipao had a wide, “angular and puritanical” cut, resembling the men’s changpao and worn by women advocating gender equality. At the peak of women’s emancipation in the early 1920s,

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1920 及 30 年代，穿用旗袍的女性代表着正在浮現的中

感色情及異國情調扯上關係（Ling 2007b）。自此之後，

產階級，她們有一定程度的學識，經濟獨立，也有社會和

在某程度上，這成了香港長衫的典型款式。不管是改良的

文化方面的意識，有着現代霸權的影子。穿用旗袍的女性

長衫，還是展覽館裏的，都可看到這樣的款式。香港電影

對中國的進步有重大意義，獲推選為國民黨的標徵。

《花樣年華》（導演王家衛，2000）中出現的誘人長衫，

中國女性受西方服飾的特點所啟發，將之併入旗袍當中， 這 種 行 為 顯 示 了 國 家 對 現 代 化 的 渴 望（Ling 2012）。 後來，在共產黨的統治下，被視為標籤資產階級的旗袍被 Modernity and Consumer Culture Nonetheless, the qipao had an indissoluble link with the capitalist drive for Western modernity and commercialisation. Western powers had long imposed modernity on China via an ever-widening and interactive network of communication and exchange with the capitalist West. The qipao’s perceived Chinese sartorial tradition, materiality, and wild partnership with westernstyle accessories prevailed. Its wearers in the 1920s and 1930s represented an emerging middle class with some education, financial independence, and social and cultural awareness: they are the signifiers of the hegemony of the modern. Those women wearing their qipaos were significant in the creation of a progressive China and were co-opted by the state as Republican icons.

禁止，這更加強了其身份象徵的功能，以及它跟國情之間 不可分割的關係（Ling 2007a）。今天，雖然旗袍仍然是 中國大陸的文化紀念品，但許多人都認為，1980 年代後 改造的旗袍，都缺乏傳統師傅的技藝。 中西結合的香港長衫

使這個形象再次得到了肯定。張曼玉所穿經改良過的長 衫，吸引了西方和中國的目光，引起了國際轟動。在電影 場景裏，想像中 1950 年代的香港，浮現了中西結合的形 象，而長衫在當中扮演了不可或缺的角色。在熒幕以外， 西化以及帶有時尚觸覺的長衫，一直都是許多展覽的主 題。這些展覽由香港歷史博物館籌辦：《歷久常新：旗袍 的變奏》（2010）；《百年時尚：香港長衫故事》（2013）； 《摩登東方美人》（2016）。如果說時尚是香港長衫的 主要元素，最鼎力支持的團體就是「長衫薈」（2014 年 成立）。「長衫薈」是個非牟利的社會團體，倡導穿戴和

在另一邊廂的香港，旗袍經歷了顯著演變。1940 年代末，

製造當代長衫的傳統。團體的成員熱衷於設計和穿戴長

大量技藝精湛的裁縫師從大陸移民來到香港。在隨後的

衫，使長衫成為日常服飾，並在當中加入創新的物料，

1950 及 60 年代，旗袍成了香港的中國女性的標準服裝。 旗袍之所以能存留下來，也因為它發揮了許多不同的功用： 可以用作校服、服飾、派對穿的衣服、婚宴禮服、服務及

融合於本地風格當中（Tsang 2016, Cheung 2016）， 以跟其他中國地區的風格區分開來（Fig. 1）。

The East-West Binary of Hong Kong cheongsam Elsewhere in Hong Kong, the dress experienced a remarkable evolution given the mass migration of skilled tailors in late 1940s and the dress as Hong Kong Chinese women’s standard wear in 1950s and 1960s. Numerous functions also ensure its lifespan: as school uniform, costume and party-wear, ceremonial dress in wedding banquets,

娛樂行業的制服。事實上，不管在甚麼時候穿旗袍，它都

除了風格的多樣化，這種服飾的命名也彰顯出它的混合性

uniforms in the servicing and entertainment industry as well

是中國的明顯標誌（Clark 2000, Roberts 1997）。在《蘇

質，如果撇開政治方面。香港是唯一一個中國地區交替使

as a strong marker of Chineseness whenever it is worn.

絲黃的世界》這部荷里活電影裏，小說人物蘇絲黃穿着貼

(Clark 2000, Roberts 1997) The image of the fictional

身長衫，這個形象不但使旗袍瘋魔歐美各國，也使它跟性

character, Suzie Wong in her clinging cheongsam in the Hollywood production, The World of Suzie Wong (dir. Richard Quine, 1960), has not only popularised the dress in

The practice through which Chinese women incorporated Western-inspired clothing features into their qipao

Euro-America but also largely attributed it sexy, exotic and eroticism (Ling 2007b). Such

was paralleled by the nation’s desire for modernisation. (Ling 2012) Its later banning under Communist rule

images have since, to a certain extent, typified the style of Hong Kong cheongsam (ibid)

for its association with bourgeois decadence only enforced its functioning symbolism and indelible relation

whenever it is re-created and exhibited. Only to be reaffirmed by the seductive cheongsams

to national agenda. (Ling 2007a) Although today, the dress remains as cultural souvenir from the Mainland,

in Hong Kong Chinese directed film, In the Mood for Love (dir. Wong Kar-wei, 2000).

many considered its re-make from 1980s onwards in the absence of skilled and traditional qipao tailors.

Both the western and Chinese gaze have since been trapped under the reconstructed sheath of Maggie Cheung whose cheongsams in the film have stirred an international sensation. The cinematic setting of an imagined 1950s Hong Kong evokes an image of East-meets-West whereby the dress takes share (Chang 2017). Out of the limelight, the ever westernised and trend sensitive cheongsam has always been a strong feature running across numerous cheongsam exhibitions curated by the Hong Kong Museum of History: The Evergreen Classic: Transformation of the qipao (2010); A Century of Fashion: Hong

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雙重混合的台灣旗袍

Fig. 1 Emerging Hong Kong fashion designers were invited to recreate qipao for The Evergreen Classic: Transformation of the Qipao (2010).

The Hong Kong styled qipao is characterised by its fashionability and trend sensitivity.

Courtesy of Wing Choi.

在台灣，日本殖民統治的影響使中西結合的旗袍變得更複 雜，這在國立台灣博物館的展覽《旗麗時代：伊人、衣事、 新風尚》（2013）中可見一斑。在日本殖民統治期間， 台灣被灌輸了一種思想，其服飾應帶有日本的味道，逐漸 同化的過程就此產生（Kuo 2000）。1920 及 30 年代，

年輕的香港時裝設計師獲邀參展 「歷久常新－旗袍的變奏」展覽 （2010），香港旗袍的特點在於 其時尚氣息和貼近流行趨勢。 鳴謝：Wing Choi

台灣的旗袍混合了日本和西方風格，同時帶有傳統和時尚 the recent political climate endures the term cheongsam

的特色。1920 年代末，台灣的知識份子為了防止傳統價

in Hong Kong to distinct itself from the mainland and

值被殖民霸權侵蝕，以及保存中國傳統文化的優點，就發

Taiwan. At a time when Hong Kong strikes to be heard, its

起了新文化運動。有些人在公開的正式場合穿旗袍是為了

political right and autonomy are under threat, naming of

維護文化身份，也有人則是為了反抗殖民統治。

the dress underlies the conflicts between the post-colonial city and its motherland. It is not without reason that the city has indulged in a collective preservation of colloquial heritage and tradition since the millennium. The urge to withstand a distinguish Hong Kong-ness sees the revamp and recognition of many forms of local art, cultural and Kong Cheongsam Story (2013); Modern Oriental Beauty (2016). If fashionability is the major ingredient of Hong Kong cheongsam, earnestly supported it is Cheongsam Connect (est. 2014), a non-profit social group promoting the tradition of making and wearing of contemporary cheongsam. Group members, including keen cheongsam designers and wearers, take the dress to everyday wear embracing innovative materials and new ways of adaptation (Tsang 2016, Cheung 2016) whilst setting its style apart from those in neighbouring Chinese regions (Fig. 1).

tradition. The cheongsam has merely become one of these engineering programmes.

1930 年代，來自上海的時尚旗袍在台灣流行。不過， 這也是通過日本引進台灣的。此外，上海的旗袍也打進了 荷里活電影，出現在西方音樂及雜誌上。值得留意的是， 在殖民時期，初次被引進台灣的西洋服裝、生活方式和消 費品都已經受到日本的影響；它也決定了西洋服裝或生活 方式，在當地會怎樣被改造及演繹。大體來說，台灣是同 時受到東方（殖民統治者日本）和西方（通過日本被引進 的西方風格）影響的（Ling 2018）。台灣旗袍的美感和

Taiwanese qipao: Double-scored hybridity

西方的影響，跟過去的殖民統治有密切關係。有時候，

In Taiwan, the East-West stylistic binary is complicated by the colonial Japanese influence which can be found in the

殖民的影響可在旗袍的製作中呈現，台灣的旗袍用的是日 本花紋和布料。兩地的旗袍展覽不同的是，香港的展覽著

exhibition, Qipao: Memory Modernity and Fashion in the National Taiwan Museum (2013). During the period of Japanese colonialisation, a gradual

用「長衫」和「旗袍」這兩個名稱，人們普遍都明白它們

Further to its the stylistic variations, naming has expanded

process of assimilation was enforced to inculcate Taiwan with a sense of “Japaneseness”

指的是同一種服裝。「長衫」是廣東話的讀法，而「旗袍」

the dimension of the dress’s hybridity if not politics. Hong

(Kuo 2000). 1920s and 1930s saw the blend of Japanese and western styles and

則是普通話的讀法。不過，對於這種服裝起甚麼名稱，不

Kong is the only Chinese region in which both terms –

the fusion of tradition and modernity. Anxious of the erosion of traditional values by the

同的人各持己見。有些人認為，「長衫」指的是一種比較

cheongsam and qipao – are interchangeably used to

colonial power, in late 1920s, the New Cultural Movement was launched by Taiwanese

隨意的服裝（長度通常到膝蓋為止），而「旗袍」則是比

describe the dress. It is commonly understood that both

intellectuals to preserve the advantages of Chinese traditional culture. Qipao were worn

較正式的服裝，也可當作晚裝（長度通常到腳踝為止）。

terms refer to the same dress; the former Cantonese

on formal public occasions to assert cultural identity, some wore it as an opposition to

有些裁縫師堅持這種服裝應叫「旗袍」，因為在廣東話裏，

pronunciation, the latter Mandarin. However, to some,

colonialisation.

男人所穿的長袍也叫長衫。關於這種服裝該有甚麼名稱，

disagreement arouses when it comes to naming. Some

香港的中國人一直未能達成共識。不過最近，在政治氣候

consider the former refers to the dress in its causal form

的影響下，人們都接受「長衫」的叫法，使之跟大陸和台

(usually reaching up to knee length), whilst the latter a

灣分別開來。當香港奮力爭取外界的關注，政治權利和自

more formal and evening look (usually reaching the ankle).

主權受到威脅時，為這種服裝命名就表達出後殖民地城市

Some tailors insisted that the dress must be called qipao

與祖國的衝突。難怪在千禧年以後，這個城市一直沉溺於

for men’s long robe shares the same name (of cheongsam)

民間遺產和傳統的集體保存。香港個性化的渴望體現在各

according to Cantonese dialect. Agreement has never

種形式的本地藝術、文化和傳統當中；長衫只是其中一種

been reached among the Hong Kong Chinese. Instead,

而已。

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However, the trend of 1930s’ fashionable qipao from Shanghai only came to Taiwan via Japan, same to other western imports such as Hollywood movies, western music and magazines. It is worth noting that the occidental clothes, lifestyle and consumable products first introduced to Taiwan during the colonial period, were a version already filtered by the Japanese. They became the instructor on the way occidental clothes or lifestyle could be adapted and presented. In essence, the double gaze - East (i.e. colonial Japanese power) and West (western influence via the lens of Japan) – is at play. (Ling 2018) When it comes to Taiwanese qipao, its aesthetics and occidental influences have much to do with its colonial past. In some cases, the visibility of colonial touch is prevalent in the making

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of the dress given the use of Japanese motifs and textile.

Unlike qipao exhibitions in Hong Kong where the focus lied in the wealth of exclusivity and sublime tailoring, the one in Taiwan drew on memories, self-dressmaking (Laumann 2013) and most of all modernity underlined by doublescored hybridity (Fig. 2).

The hybrid harmony in Singaporean cheongsam Nevertheless, Cantonese phonetic system suggests that the

重展現強烈的排他性及精工細緻的剪裁；而台灣的展覽則

Fig. 3

著重展現對過去的緬懷及旗袍的自造（Laumann 2013）， 最重要的是體現帶有雙重混合特色的現代感（Fig. 2）。

The use of batik in Sinaporean qipao, featured in In the Mood for Cheongsam (2012), National Museum of Singapore.

Courtesy of National Museum of Singapore, National Heritage Board

新加坡長衫的和諧混合

新加坡國家博物館「旗遇」（2012）展覽中展示的新加坡蠟染布旗袍。 鳴謝：National Heritage Board 新加坡國家博物館

2012 年，新加坡國家博物館舉辦了《旗遇》這個展覽。 根據策展人鍾美娟所說，在廣東話的讀法中，「長衫」指 的是 1910 及 20 年代中國男人的長袍。雖然許多說廣東 話的人繼續把這種服裝叫做「長衫」，但這個名稱卻暗示 着某程度上的混合，在這種情況下，指的是性別的交換。 這解釋了一部分原因，為甚麼該展覽選用了《旗遇》這個 題目。

term cheongsam refers to men’s long robe in 1910s and

可是，該展覽重點所展現的混合卻不是跟性別有關，也不

1920s China, according to May Kheun Chung, the curator

能跟香港和台灣的旗袍混為一談。香港和台灣的旗袍展現

of In the Mood for Cheongsam (2012) at the National

的中國味，以及它所提倡的中國價值觀，跟新加坡和諧的

Museum of Singapore. While many Cantonese speakers

多元文化及提倡的亞洲價值觀互相抵觸。新加坡展覽強調

continue to refer the dress as cheongsam, the name implies

社會歷史及女性在社會所扮演的角色，從而看出旗袍發揮

Chung 2012). A handful of dresses on display featured

certain hybridity, gender exchange in this case, which

的象徵意義（Lee and Chung 2012）。小部分展示的旗袍

the incorporation of Batiks in its making. The diversity of

partly explains its choice for the title of the exhibition.

在製作過程中，用了蠟染的布料。此外，穿旗袍的人也不

wearers can be traced beyond Chinese women. The harmony of multicultural society was mapped in a single

At heart of the show is hybridity however neither is it gender

exhibition in which the qipao has been taken to address

related nor can it be muddled up with that of Hong Kong or Taiwan. In particular the

national desire given Chinese as the highest populated

Chineseness, with which the dress is associated, via Hong Kong and Taiwan is seemingly

racial group in the country. The multicultural harmony that

conflicted with Singapore’s multicultural harmony and promotion of Asian rather than

forms part of the national agenda in the can be found in

Chinese values. The functioning symbolism of the qipao is seen at work when the exhibition

the dress’s harmony of hybridity. The selected range of

focused on the social history of Singapore and their women’s role in society (Lee and

hybrid qipao, in the Singaporean context, allows such a 局限於中國女性。該展覽體現了新加坡多元文化的和諧，

preconception to persist. In spite of the influx of international

因華人是當地人口最多的一個民族，該展覽就用旗袍展示

fashion, contemporary Singaporean designers refer to

Fig. 2

這個民族的渴望。旗袍的和而不同就顯示了和諧，這種和

Japanese inspired Taiwanese qipao Left: Satin qipao suit with machine embroidery, c. 1970 (Ms Cheng Shaun Hua made for her daughter’s wedding); Right: Ankle-length printed qipao with large floral pattern design, c. 1980 (donated by Ms Lai Ha Quin).

Courtesy of Chinese Textiles and Clothing Culture Centre, Fu Jen Catholic University

their multicultural roots. As such, multi-ethnic characteristics

諧組成了國情的一部分。在新加坡這個背景下，展覽中多

typified by the newly created qipao have its visible

元化的旗袍獲得社會的認同。雖然面對國際時尚的湧入，

presence in the contemporary session of the said exhibition

當代新加坡的設計家仍然依附他們那多元文化的根源。

(Fig. 3).

受日本服飾影響的台灣旗袍 左：機繡綢緞旗袍， 約 1970（Cheng Shaun Hua 女士為她女兒的婚禮製作）； 右：大花紋設計的長款旗袍， 約 1980（Lai Ha Quin 女士捐贈）。 鳴謝：台灣輔仁大學織品服裝學系中 華服飾文化中心

其新製作的旗袍有着多民族的特色，這種特色在該展覽當 代旗袍的部分顯而易見（Fig. 3）。

Three types of qipao; various kinds of Chinese sensation

三種旗袍，多重的中國韻味

To conclude, adaptability, versatility, and inclusiveness

總括來說，適應性、多樣化及包容性是旗袍的骨幹。隨着

facilitated by nationalism and the growing consumer culture

帝國霸權的衰落，以及國家主義的興起和消費文化的普

following the collapse of the imperial power. Chinese

及，旗袍備受青睞。中國女性戰勝當權者，她們靈巧地在

women defeated the authorities by tactically intervening

旗袍的設計中加入時尚元素。旗袍成為一塊有自主權的領

through adopting prevailing trends in the design of their

were the backbone of the qipao, whose popularity was

qipao. The dress became an autonomous territory from which to discard the label of women as weak and bearers of the tradition. Style change and the inclusion of western-inspired elements have characterised the dress since the 1930s.

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國家主義、婦女及她們的中國：當中國談到旗袍時，還會講到甚麼？

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Wessie Ling

土，丟棄了女性作為弱者和死守傳統的標籤。自 1930 年 代以來，旗袍的風格經歷了改變，也融合西方靈感的元素。

Chinese women fashioned the qipao according to their

中國女性的旗袍時尚受社會文化、經濟及政治情況帶動。

socio-cultural, economical and political situations. Their

在中國的不同區域，她們對周圍環境的敏感性，也使得旗

sensitivity to their immediate surroundings saw further

袍產生了不同的變化。如果用「混合」來形容旗袍的話，

variations of the dress across different Chinese regions.

那當中就是多種獨特的方式來體現中國的韻味。儘管在外

If hybridity is the adjective of the dress within, which is the

國人眼中，旗袍的韻味好像沒多大差別；但對中國人來說，

coexistence of numerous hybridities. All of which embody

當中的差別是很大的。旗袍一直是文化身份的象徵；而深

Chinese sensation in distinctive ways. Although to most

奧的中國韻味也是中國人一直津津樂道的。

foreign eyes, such sensation may seem similar, the subtle

Reader, Department of Arts, Northumbria University, UK Wessie Ling is a trained cultural historian and artist who

production of fashion and the cultural property of fashion are common themes in her work.

凌穎詩是文化歷史學專家，也是一位藝術家，她透過撰寫

differences are huge to the Chinese. So much as the qipao

Author of Fusionable Cheongsam (2007), she has written

remains a strong marker of cultural identity, the multiple

widely on the socio-cultural revolution of the qipao,

Chineseness is a story that the Chinese choose to retell over

through which she has dissected the material culture in

and over again.

China.

(2018), “Hyper-Text (ile)s: Transnational Networks in

參考資料

References

Clark, Hazel. The Cheongsam. UK: Oxford University Press, 2000.

Clark, Hazel. The Cheongsam. UK: Oxford University Press, 2000.

Finnane, Antonia. Changing Clothes in China: Fashion, History, Nation. New York: Columbia University Press, 2008.

Finnane, Antonia. Changing Clothes in China. New York: Columbia University Press, 2008.

---------. “What Should Chinese Women Wear? A National Problem” Modern China 22, no. 2, 1996, 99-131.

---------. “What Should Chinese Women Wear? A National Problem” Modern China 22, no. 2, 1996, 99-131.

(2019).

Chang, William, Artistic Director of In the Mood for Love (dir. Wong Kar Wei, 2000), Interview with author, Hong Kong, 02/2017.

Chang, William, Artistic Director of In the Mood for Love (dir. Wong Kar Wei, 2000), Interview with author, Hong Kong, 02/2017.

She had lectured and delivered talk in many institutions

Cheung, Donna, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2006.

Cheung, Donna, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2006.

香港歷史博物館，《百年時尚：香港長衫故事》（2013）。

Hong Kong Museum of History. A Century of Fashion: Hong Kong Cheongsam Story, 2013.

Lee, Chor Lin and Chung, May Khuen. In the Mood for Cheongsam: Singapore: National Museum of Singapore, 2012.

Ling, Wessie. “Textile, Apparel and Fashion Design in Taiwan”, in Haruhiko Fujita and Christine Guth, Encyclopeadia of East Asian Design, Volume 3, Oxford: Bloomsbury, 2018.

---------. “Chinese Modernity, Identity and Nationalism: The Qipao in Republican China”, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture. Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, 2012: 83-94.

---------. “Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China”, Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, 2009: 209225.

---------. Fusionable Cheongsam. Hong Kong: Hong Kong Arts Centre, 2007a.

---------. “Chinese dress in The World of Suzie Wong: How the Cheongsam becomes Sexy, Exotic, Servile”, Special issue on ‘Fashioning Society’, Journal for the Study of British Cultures, 14(2), 2007b: 139-49. 吳昊，《都會雲裳一細說中國婦女服飾與身體革命（1911-1935）》，香港：三 聯書店（香港）有限公司，2006。 Roberts, Claire (eds). Chinese Dress 1700s-1990s. Evolution and Revolution. Sydney: Powerhouse Museum, 1997.

Scott, A. C. Chinese Costume in Transition. Singapore: Donald Moore, 1958.

Tsang, Anita, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2016. 王宇清，《歷代婦女袍服考究》，台北：中國旗袍研究協會，1975。

Kuo, Jason, Art and Cultural Politics in Postwar Taiwan, SMC publishing Inc, 2001.

Laumann, Maryta. Qipao. Memory, Modernity and Fashion, Taipei: Fu Jen Catholics University, 2013.

學術文章及視覺藝術創作，討論時裝相關的議題。她經常 在作品中探討時裝生產中文化身份和時裝的文化內涵。 在其著作《Fusionable Cheongsam》（2007）中，她詳述 傳統長衫一直以來的變革及社會文化含意，從中剖析中國

Chinas: Chinese Styles in the Transglobal Landscape

Laumann, Maryta. Qipao. Memory, Modernity and Fashion, Taipei: Fu Jen Catholocs University, 2013.

英國諾桑比亞大學藝術系教授

issues in fashion. The discourse of cultural identities in the

Other publications include Making Fashion in Multiple

Kuo, Jason C. Art and Cultural Politics in Postwar Taiwan, SMC publishing Inc, 2001.

凌穎詩

uses academic writing and visual art practice to address

Fashion Exchange” in Textile: The Journal of Cloth and Cultures (2018), and a special issue on Inter-East Asian Fashion Production for the journal Visual Anthropology

的物質文化。 目前，她的工作項目包括參與修訂《Making Fashion in Multiple Chinas: Chinese Styles in the Transglobal Landscape》（2018出版）；為《Textile: The Journal of Cloth and Cultures》撰寫文章「Hyper-Text (ile)s: Transnational Networks in Fashion Exchange」（2018）； 為期刊《Visual Anthropology》的特別專題撰文「東亞區

including Royal Academy of Arts (UK), Tate Modern (UK),

內的時裝生產」（Inter-East Asian Fashion Production） （2019）。

Victoria & Albert Museum (UK), Institute of International

她曾於多間機構授課及演講，包括英國皇家藝術學院、

Visual Arts (InIVA, UK), University of the Arts London (UK),

倫敦泰特現代美術館、英國國立維多利亞與艾爾伯特博物

Goldsmith College (UK), Erasmus University (Rotterdam, Netherlands), University of Bologna (Rimini, Italy). She is granted a Research Fellowship at Mahidol University

Lee, Chor Lin and Chung, May Khuen. In the Moon for Cheongsam, Singapore: National Museum of Singapore, 2012.

(2018, Bangkok) and previously held visiting scholarships

Ling, Wessie. “Textile, Apparel and Fashion Design in Taiwan”, in (eds.) Haruhiko Fujita and Christine Guth, Encyclopeadia of East Asian Design, Volume 3, Oxford: Bloomsbury, 2018.

Catholic University (2017, Taipei).

at The University of Hong Kong (2017) and Fu Jen

館、英國國際視覺藝術中心、倫敦藝術大學、倫敦大學金 匠學院、荷蘭鹿特丹伊拉斯謨大學、意大利博洛尼亞大學。 她獲泰國馬希敦大學授予 2018 年度研究獎學金， 2017 年並分別獲資助成為香港大學、台北天主教輔仁大學之訪 問學人。

---------. “Chinese Modernity, Identity and Nationalism: The Qipao in Republican China”, Jacque Lynn Foltyn (ed.), Fashions: Exploring Fashion through Culture.

Probing the Boundaries at the Interface Series. Oxford: The Inter-Disciplinary Press, 2012: 83-94.

---------. “Harmony and concealment: How Chinese women fashioned the Qipao in 1930s China”, Beth Tobin and Margaret Goggin (eds.), Material Women: Consuming Desires and Collecting Objects 1770-1950, Ashgate, 2009: 209225.

---------. Fusionable Cheongsam. Hong Kong: Hong Kong Arts Centre, 2007a.

---------. “Chinese dress in The World of Suzie Wong: How the Cheongsam becomes Sexy, Exotic, Servile”, Special issue on ‘Fashioning Society’, Journal for the Study of British Cultures, 14(2), 2007b: 139-49.

Ng, Hao. Duhui yunshang. Xishuo zhongguo funü fushi yu shenti geming (19111935). Hong Kong: Joint Publishing Co. Ltd, 2006.

Roberts, Clare (eds). Chinese Dress 1700-1990s. Evolution and Revolution.

Sydney: Powerhouse Museum, 1997.

Scott, A. C. Chinese Costume in Transition. Singapore: Donald Moore, 1958.

Tsang, Anita, Co-founder of Cheongsam Connect, Interview with author, Hong Kong, 12/2016.

Wong, Yuching. Lidai funü paofu kaojiu [The Research and Examination of Chinese Women’s Gown in Successive Dynasties]. Taipei: Zhongguo qipao yanjiu xiehui [Chinese Chi Pao Research Association], 1975.

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凌穎詩的論文隨即把我們的注意力從紡織製造轉向紡織消 費。旗袍源於二十世紀初王朝統治結束的時候興起，是城 市女性的服飾；更好說，是「面對世界」的服飾，即中國

中國及香港的女性、 紡織與科技：對白馥蘭和 凌穎詩的回應 張西美

Edith Cheung

現代化的象徵。旗袍的出現，可說是預示了女性在紡織方 面之角色的結束。在城裏，各家各戶不再擁有織布機，

Wessie Ling’s paper quickly diverted us from women in

由縫紉機取而代之。縫紉機成為紡織業的機器，既可製衣

textile production to women textile consumers. Qipao,

給家人，也是維持生計的工具。裁縫的工作，例如針線活、

which originated at the end of the dynastic rule in the early

刺繡則繼續存留。與此同時，西方的編織、鉤織也加入了

20th Century, was a city dress, or more specifically a

這個行列。

dress for wearing to meet the outside world, representing

不過，在文化大革命（1966-1976）期間，棉和其他供應 都有配額。於是，農村婦女再次做起紡線和織衣的工作，

My response reflects and comments upon the papers from

我的反思和評論，是針對白馥蘭和凌穎詩就〈中國及香港

Francesca Bary and Weeise Ling who addressed Women,

的婦女、紡織和科技〉這主題提出的論點。

Textile and Technology in Hong Kong and China.

供給家人所需。棉線十分罕有，婦女們都發揮她們的創意 和才智。2014 年，我遇到兩位六旬的上海女士。在文化 大革命期間，她們才十來歲，住在鄉下。她們告訴我：

modernity in China. Perhaps its arrival announced the end of women’s role to make cloth. In the cities, weaving looms no longer had a role in households. Sewing machines took over to become the “machine for textiles”, making garments for the family and for a livelihood. Needlecraft like sewing and embroidery stayed on, while Western knitting and

1960 年代，香港的紡織業帶領貿易和製造業增長，推動

「我們用配給劵拿到的工廠製造布料不怎麼耐用，於是把

Hong Kong’s economy boomed in the 1960s with the

經濟迅速發展。歐美的影響和標準通過自由貿易被引入本

那些毛巾布上的毛圈絨頭拔下來，也拆散棉織手套上的

growth in trade and manufacturing spearheaded by the

地，在社會留下痕跡。與此同時，生死婚嫁等家庭事務依

線，取得足夠的纖維，用這些纖維紡成紗線，編織耐用的

textile industry. American and European influences and

However, during the Cultural Revolution (1966-1976),

然由傳統規矩支配。在中國，人們通常用「弄瓦之喜」

布料給家人穿用。」物質缺乏的這段時期過後，中國對外

standards imported through free trade left their marks on

when cotton and other supplies were rationed, women in

（「弄瓦」，意即「手拿紡錘」）這個傳統賀詞來祝賀女

開放貿易，很快發展成為一個生產國。在為世界各國生產

the society. At the same time, traditional rituals held on

the villages once again took up the task of making yarn

嬰的出生；男孩的話則被稱作「弄璋之喜」（「弄璋」，

的同時，也接納了西方的服飾標準和時裝潮流。

in family matters like birth, marriage and death. An age-

and cloth to provide for the family. Cotton fibre was scarce.

意即「手拿美玉」，象徵獲得權力）。能手握紡錘的女孩

old Chinese congratulation on the birth a baby girl is “the

就是好的紡織者，也是理想的妻子應具備的條件之一。

joyful arrival of a child that handles a spindle weight (弄瓦 之喜nongwazhixi), while a baby boy is referred to as one handling a piece of jade, a symbol of authority ( 弄璋之喜 nongzhangzhixi). A capable handler of the spindle weight is a good weaver, and that meets one of the standards of a desirable wife.

這就是白馥蘭在她的論文提到的舊中國「男耕女織」的 社會現象。1960 年代，手工織布早已在香港銷聲匿跡， 紡織業轉向工業化。當時的紡織業是一個很賺錢的行業， 吸引了許多人，尤其是婦女投身其中；當中有打工的， 也有創業的。

This was the social norm in old China described in Francesca Bray’s paper, where “men plough, women weave”. By the 1960s, spinning by hand had long been forgotten in Hong Kong; it was done in the factory. Incidentally, working in the textile industry at this time was a favoured way to earn an income or make a career, especially for women.

crochet joined the repertoire.

The women got creative and resourceful. In 2014 I met two 60-year-old women in Shanghai. They were in their teens and living in the countryside during the Cultural Revolution. They told me, “Factory-made cloth from the ration coupons was not very sturdy. We pulled out the loop pile from the factory-made terry towels and unravelled cotton work gloves to gather enough fibres to re-spin into yarn to weave sturdy cloth for the family.” After that deprived period, China opened up its doors to trade. It grew rapidly to become a manufacturing country. As she produces for the world, she has at the same time taken in Western dress standards and fashion trends.

Fashions of the East and West Between 2012 and 2016, I spent much time in major cities in China. I met a lot of young people who are interested in traditional textiles, especially in cloth-making and natural dye.

I see a generation fired by growing economic opportunities and unprecedented prospects of exploring the world. While admiring Western inventions and achievements, these young people also want to reaffirm their Chinese identity. References to ancient China has become a new obsession for them. Classical Chinese studies like Confucianism, Buddhism, calligraphy, Chinese music, tea drinking and traditional crafts have suddenly gained favour and are attracting a rising number of followers.

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東方和西方的時裝

對中國歷史和美學所產生的興趣引發人們重新釐定何謂中 國服飾。從 1920 年代開始，有接近一個世紀的時期，旗

從 2012 至 2016 年，我在中國各大城市待了不少時間，

袍一直都是中國服飾的代表。最近，有人提議，中國服飾

遇到很多對傳統紡織有興趣的年輕人，尤其對製布和天然

的代表應該是漢服，也就是漢朝（公元前 206 年至公元

染布方面感興趣的。我看到這些新一代受到不斷增多的商

220 年）的服裝才對。中國學術界正進行激烈辯論，探討

機所推動，對探索世界充滿前所未有的期望。這些年輕人

大學畢業袍是否應該繼續採納西方風格，還是應體現儒家

仰慕西方的發明和成就，同時也想肯定自己作為中國人的 身份，古代中國的事物便成為他們着迷的新對象。中國古

In 2014 during Chinese New Year, a humorous limerick

典研究如儒家、佛家、書法、中國古典音樂、茗茶和傳統

gained popularity in the Chinese social media, mocking the

工藝頓時得到青睞，愈來愈多人跟隨。

Chinese nouveau rich or “tuhao 土豪 ”.

2014 年農曆新年期間，有一首幽默的五行打油詩在中國

The criteria for the Shanghai tuhao include: wearing

媒體大受歡迎。這首打油詩是嘲弄中國的暴發戶或「土豪」

Buddhist beads, not gold chains; donning ramie and cotton

的。

shoes, not Western suit and tie; collecting Tibetan tangkas,

上海土豪的標準包括：戴佛珠而不是金鍊子；穿麻衣布鞋 而不是穿西裝繫領帶；收唐卡而不是買油畫。 人們一邊注視最流行的歐洲風格，另一邊則留意着中國 的絲綢和服裝潮流，視之為時尚的話題。他們視野廣闊， 從歷史研究到角色扮演服裝，課題包羅萬有。自古以來， 中國的絲綢織品就聞名於世。今天，這些精緻的奢侈品被 視為國家的驕傲，喚起了人們對古代中國一種浪漫的想 像，並和諧地表現在家庭與國家、紀律及奉獻、絲綢之路、 模範婦女以及文學之上。

風采。 中國悠長的歷史為人們帶來了多樣化的靈感。2008 年北 京奧運會的開幕典禮展示了各個朝代的威榮。1956 年， 普通話成為中國大陸的標準語言，導致方言和當地文化在 過去幾十年被推向邊沿。如今，隨着旅遊業的發展、文化 遺產的命名，以及非物質文化遺產的推廣，各地的當地文 化經歷了一場復興，歷史也得到重述。紡織和服裝重現社

not oil paintings.

With one eye watching out for the latest European styles, the other eye following the trend of Chinese silks and costumes as fashionable topics, one’s vision covers a wide span from historical studies to cosplay fashions. Chinese silk textiles have enjoyed world-wide fame throughout history.

Today these refined and luxurious goods are a national pride, and evoke romantic nostalgic imagination of ancient China, characterised by harmony in family and state, discipline and dedication, the Silk Road, iconic females, literature.

This interest in Chinese history and aesthetics has led to a reconsideration of what is Chinese dress. For nearly a century since the 1920s the qipao was the representative.

Now Hanfu ( 漢服 ), the dress style of the Han Dynasty (206 BC-220 AD), has been suggested in its place. A heated debate is going on in academia as to whether the university graduation robe, an adoption from the West, should be replaced by a robe in a more Confucian style.

會，並列入「中國服裝」的名單之內。 China’s long history offers many diversified inspirations.

自 1992 年以來，杭州市的中國絲綢博物館一直著重古代

The opening ceremony of the Beijing Olympics 2008 was

中國紡織品的研究和展覽，尤其是考古發現和養蠶的歷

a show of the glories of the different dynasties. In 1956,

史。2016 年 G20 杭州高峰會期間，博物館經過一年零

Putonghua (the common language,普通話) became the standard Chinese language in mainland China. With this,

八個月的整修後，重開大門。翻新後的博物館有個新館，

dialects and local cultures were pushed to the sidelines

特色。通過講述紡織品的故事，這成為一個向世界領導

for decades. Now, with the growth of tourism and the

展示何謂現代中國的時刻。對本地參觀者而言，博物館原

accompanying naming of heritage sites and the promotion

本是專為學者而設的，現今則成了供普羅大眾參觀的時尚

of intangible cultural heritage, local cultures have made a

熱點。

展示西方古代服飾和時裝。另一個館則以中國當代時裝為

comeback, and histories are retold. Textiles and costumes are recreated, adding to the list of “Chinese Costumes”.

Since 1992, the China National Silk Museum in Hangzhou has been focused on the study and display of historic Chinese textiles, especially archaeological finds and the history of sericulture. During the 2016 G20 Hangzhou Summit, the museum reopened its doors after 20 months of renovation, with a new gallery featuring Western historic costumes and fashion, and another gallery featuring Chinese contemporary fashion. This is the moment to show world leaders what modern Chinese is, with a story told through textiles. For the local audiences, the museum has shed its former image as a specialised museum for the academics and become a fashionable place for all to visit.

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紡織品的製造 雖然現代中國女性在學校和工作地點跟男性享有的權利愈 趨平等，但她們深知，社會的現象是，女性通常在二十 Making of textiles

紡織的科技與潮流

幾歲結婚，在 1979 年起直至近年才放寬的一孩政策下，

過去幾年，我看到智能手機、社交媒體（微博、微信）、

這點尤其受到家庭重視。過去，中國女性只是留在家裏，

網絡消費及快遞服務在中國迅速發展。這意味着，織布機、

Modern Chinese women, while enjoying rising equal

這種浪漫形象仍受現今年輕女性所緬懷。藉着發掘傳統紡

天然染料、棉紗、絲線、絲綢、人造絲織品、旗袍或漢服

opportunities with men in school and workspace, are still

織品，她們偶爾可以讓自己沉浸在這種幻想當裏，但同時

這些消費品，只要想買，按一個鈕就行，而你的購買紀錄

very much aware of the social norm that they be married in

處於兩難當中：應該追隨過去的社會標準，還是遵循現代

也會在社交媒體上顯示出來。

their 20s. This is very important to a family which has only

的社會規範。

one child under the one-child policy. So the modern young women cannot help but reminisce the romantic image of Chinese women of past ages whose role was just to be at home. Exploring traditional textiles allows the modern young woman to occasionally indulge in this fantasy.

Chinese women are still negotiating their way between the old and new social standards.

Hand-spinning and weaving has long been forgotten in the cities. But, in remote villages, especially in minority groups in Yunnan and Guizhou, textile making still exists.

Once seen as backward, it has now gained recognition as intangible culture and sustainable green living. Textile tours are often organized to feed the growing appetite for

Technology and Trends in Textiles

真正的傳統只存在於學術界，但在大眾文化，人們則隨意

在城市裏，手工紡織早已被人遺忘。不過，在偏遠的鄉村，

越界，打造新面孔。紡織品及服裝，甚至連製作過程也成

尤其是在雲南和貴州一些少數民族村落，手工紡織品依然

為一次性的道具，創作出即興的影像和扮演。每個人都有

存留。過去被視為落後的工作，現今卻得到了認同，被定

機會享受成名的片刻，擁有百變身份。所有人都能一天廿

為非物質文化和可持續發展的綠色生活。這些地方吸引了

四小時，時刻表現他們最時尚的中國特色一面。

不少觀光團前來，滿足了人們對傳統紡織品不斷增強的 渴求。 上文提到的兩位從事紡織工作的女士問我：「紡紗和織布 既單調又費時，只是為了生產，提供必需品，是窮人的工

In the past few years in China, I have witnessed the rapid growth of smart phones, social media (weibo, we chat), consumption through internet (Taobao) and courier services.

This means that the weaving loom, natural dyestuff, cotton and silk yarn, silk fabrics, man-made silks, qipao or Hanfu

這種自由讓我想起張建德博士在他所著的《香港電影：額

you want to buy, are just the press of a button away. And

外維度》（1997）一書中，對香港電影業所作的評論一

your purchase in turn can be shown on social media.

「抽象愛國主義」的概念。

Authenticity remains in the academic field, while the public

張 建 德 博 士 在《 李 小 龍： 水 仙 與 小 龍 》（Bruce Lee:

freely crosses over disciplines to create their new looks.

呢？」我解釋說，經過太多用腦工作後，一個人需要安靜

Narcissus and the Little Dragon）的第八章寫道：

Textiles and costumes and even the making process have

下來，做一些單調的事情，用自己的雙手，專注於一件工

……這種愛國主義，是身在海外的中國人一種情緒上的期

作上，對中國女性來說，就是做一個能紡織的女人。

盼。即使他們未必在中國出生，但依然說祖國的語言或方

作，為甚麼這些可以用電話買衣服的城市人會對它有興趣

become disposable props for creating pop-up images and acts. Everyone can enjoy a few seconds of fame, and can have many changing identities. Everyone can show his/her

traditional textiles.

言，希望自己與中國有所聯繫。他們想肯定自己的身份，

The two weavers mentioned above asked me, “Weaving and spinning is monotonous

製造一種抽象及非政治的愛國主義……中國的愛國主義

This freedom in creativity reminds me of Stephen Teo’s

and time-consuming. It is really production, something done out of necessity and poverty.

著重中國文明的道德及文化層面……（1997 年，110 至

comment on the Hong Kong film industry – the concept of

Why are these city people interested in it when they can buy clothes on the phone?”

121 頁）

“abstract nationalism“, in his book Hong Kong Cinema: the

I would explain to them that, after too much brain work, one needs to calm the mind with monotonous work, using your hands, focusing and, in China’s case, be a Chinese woman who can make textile.

實現他們的文化理想，就是藉着認同「祖國的文化」，

updated Chineseness, 24 hours a day.

Extra Dimensions (1997).

In chapter 8, Bruce Lee: Narcissus and the Little Dragon (1997), Teo wrote, ….the nationalism, manifesting itself as an emotional wish among Chinese people living outside China to identify with China as things Chinese, even though they may not have been born there or speak its national language or dialects. They wish to affirm themselves and fulfil their cultural aspirations by identifying with the “mother culture”, producing a rather abstract and apolitical type of nationalism…Chinese nationalism focuses on the moral and cultural aspects of Chinese civilisation (1997:110-121).

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在我研究中的中國人，他們雖在中國生活，但由於多年來

Edith Cheung

都不被鼓勵並阻止學習歷史，所以對中國歷史認識不多。

Textile Catalyst

他們渴望認同古老的祖國文化。 今天，在紡織品製造和服裝方面，中國都可說是個世界強

Edith juggles her time between commercial and self-initiated projects. She takes interest

國，同時也具有「大躍進」的消費能力。中國服裝和時裝

in all textile-related matters, ancient and modern, East and West. After returning to Hong

不再只是中國人的事，全球的企業都想在這塊市場分一杯

Kong from New York and Europe in the late 1980s, she started working as a costume

羹。凌穎詩在其論文中評論道：「中國女性根據自身社會 文化背景、經濟及政治情勢來製造旗袍。」這讓我想到： 世界各國正注視着中國的社會文化、經濟及政治情勢。 只要中國的消費市場保持蓬勃，世界各國就會想根據中國 的時尚來製造紡織品和服裝，對「中國的紡織品及時尚」 作出貢獻。

designer in the film industry. At the 27th Golden Horse Award, Edith was awarded the Though the Chinese I discuss live in China, Chinese history was foreign to them as its study was discouraged and disrupted for years. They have an urge to identify with the ancient “mother culture”.

Best Costume Design and Best Art Direction for her work in Director Yim Ho’s “Red Dust”.

She worked with private collections, museums and academics on the study of Chinese Textiles, with the items ultimately being used as a study archive for the

張西美 紡織研究及教育人士

Today China has become a world power both in

public. From 2010-2015, she also wrote a bi-weekly

manufacturing textiles and clothing, and at the same time

column for Mingpao Weekly Magazine on textile-related

with “Big Leap Forward” consuming power. Chinese

matters. Currently, her services include consultation work

張西美在商業和自發藝術項目之間遊走自如。她對關於紡

個字的形成及其詞源。以「糸」為部首的字共超過 250 個，

clothing and fashion is no longer just a Chinese issue,

for the Fashion Archive at Hong Kong Design Institute,

織的一切都深感興趣，而且不論古今與中外。1980 年代

證明紡織品在中國歷史上的重要地位。由於製造紡織品是

global businesses want a share of this market. In Wessie

China National Silk Museum in Hangzhou, Centre of

末，她從紐約及歐洲返回香港，自此開始成為電影界的服

每個家庭的一件重要事務，因此，許多以「糸」為部首的

Ling’s paper, she commented that “Chinese women

Heritage, Arts and Textile in Hong Kong and the St. James

裝設計師。張西美曾榮獲第二十七屆金馬獎最佳服裝設計

字所包含的意義都超越紡織品的範圍，延伸至紀律、秩序、

fashioned the qipao according to their socio-cultural,

Settlement Rehabilitation Services.

及最佳藝術指導，參與電影是嚴浩執導的《滾滾紅塵》。

奉獻、命運及感情的範疇。

economical and political situations. “This brings to my

比喻的連貫性 在一本典型的中文字典裏，每個字都以部首分類，指出一

今天，我們可能不再紡紗、織布，不過，它的象徵依然存 留。在中文裏，「網絡」這個詞，字面意思是「網」， 也以「糸」為部首。我們都由網絡聯繫起來，而網絡在日 常生活中是不可缺少的，也許比一件紡織品更重要。通過 中國語言，關於的紡織的象徵會繼續見證着社會持續不斷 的演變。

mind: The world is watching the socio-cultural, economical and political situations of China, as long as the Chinese consumer market stays healthy, the world will want to make textiles and clothing according to the Chinese fashion, contributing to “Chinese Textiles and Fashion”.

她與私人機構、博物館及學術機構合作研究中國紡織品， 當中所收集的織品最終被納入研究檔案庫，向公眾開放。 2010 至 2015 年間，她為《明報周刊》撰寫關於紡織的 專欄，每兩個星期刊登一次。目前，她出任香港設計學院 時裝資料庫（Fashion Archive）、杭州中國絲綢博物館、 六廠紡織文化藝術館、聖雅各福群會復康服務的顧問。

The Continuity of Metaphors In a classic Chinese dictionary, characters are categorized under radicals, pointing to how a character was formed and the etymology. There are over 250 characters in the “silk 絲 ” radical family – evidence of the important role of textiles in Chinese history. As textile making was a major task in each household, the meanings of many characters with the silk radical have been extended beyond textiles, to mean discipline, order, dedication, fate and sentiment.

Today, we might not be spinning and weaving, but the metaphors are here to stay. In Chinese the word network is wangluo 網絡, literally “net”, and both characters belong to the silk radical family. We are connected by the internet, which is so embedded in our daily life, perhaps more important than a piece of textile. Through the Chinese language, the metaphors of textiles will witness the continuous evolution of the society.

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Technology and textile with responsibility 科技與紡織責任

編織未來：與業界合作，探討和開發立體紡織、平面紡織、 電子紡織、創意工作室、工業提花編織等各種技術。 中央聖馬丁藝術與設計學院設有由卡羅爾．科萊教授 （Professor Carole Collet）領導的「設計與生活系統實驗 室」，提倡利用原有的「自然界特性」和全新的「可編程 大自然」，發展創新的生態設計和組裝模型。 何謂「負責任的紡織品設計」？

Textile Futures Responsibilities

紡織的未來及責任 安妮．馬爾

多年來，紡織、女性、科技三者之間有着千絲萬縷的關係：

Anne Marr

Urban Fabric, investigating the connection between materials and society to develop socio-responsive textile

工業大革命期間，新出現的蒸氣織機加快了生產布料的速

solutions that are empathetic and promote local ownership.

求顯著下降。

Futures Research Centre） 一 眾 研 究 員 的 責 任。 紡 織 未 來

例如當年認為有醫療效用的電熱胸衣和放射性滑雪裝束。

研 究 中 心 由 中 央 聖 馬 丁 藝 術 與 設 計 學 院（Central Saint

1920 年代，女性於紡織品的角色由生產者變成研發者，

Martins College of Art and Design）、切爾西藝術與設計學

當時有德國包浩斯設計師安妮．亞伯斯（Anni Albers）和

院（Chelsea College of Art and Design）共同成立，專門

法國設計師索妮雅．德勞內（Sonia Delaunay）「航領業界」

研究紡織設計。研究中心設有兩位總監、五位首席研究員

design research which spans across Chelsea College and

一設計新物料，開拓科技。過去二十年，新的數碼智能

和六位副研究員，並招收六位博士班學生進行指導。研究

Central Saint Martins (CSM). It consists of two directors,

技術、生物科技、未來工藝創作者都為紡織品生產帶來急

中心源起自 2007 年成立的紡織未來研究小組，當時研究

劇變化，同時就設計者的責任提出新問題。

Textile Future Research Centre (TFRC) based at the University of the Arts London (UAL). TFRC is a centre for textile

five lead researchers and six associate researchers as

Weaving Futures, exploring research and development of 3D, surface and e-textile, innovative studio and industrial

二十世紀初，女性消費者已開始採用新式「智能」紡織品，

textiles and responsibility by different researchers from the

design for a circular economy.

不僅是進步和發展，更引發前所未有的挑戰和責任。例如

（University of Arts London）旗下紡織未來研究中心（Textile This essay will portray and discuss current approaches to

textile production and design methods, investigating how to

能夠影響經濟、環境，以及瞬息萬變的社會，所帶來的

度，為環境和工業生產帶來的衝擊，令傳統紡織技藝的需 本 文 論 述 現 時 看 待 紡 織 的 方 式， 以 及 倫 敦 藝 術 大 學

Circular Design and TED, developing sustainable fashion

jacquard weaving methods in collaboration with industry.

Central Saint Martins also has the Design and Living Systems LAB, led by Professor Carole Collet, pioneering innovative ecological design and fabrication models working with both existing “natural nature” and a new “programmable nature”.

What is Responsible Textile Design?

小組希望在倫敦藝術大學內建立關於創作實踐的新群體。

well as providing supervision for six PhD candidates. The

研究中心的所有成員都從藝術和設計的脈絡發展自己的研

Textiles, women and technology have been intrinsically

centre emerged from the Textile Futures Research Group

究項目，而非以自身的紡織技術或人文研究訓練出發。

linked for many decades: impacting on economics, the environment as well as rapid

which was originally founded in 2007 to establish a new

關於今次演說的背景，重要的是倫敦藝術大學沒有配備媲

social change, bringing about new advances but also creating new challenges and

community of practice across the UAL. All TFRC members

美工程學院的高科技紡織實驗室。因此，中心全體研究員

responsibilities. For example, during the Industrial Revolution new steam-powered looms

have developed their research from an art and design

為了革新紡織生產，都謀求與外面的夥伴合作，希望通過

enhanced the production times of fabrics, whilst impacting dramatically on the environment

context, rather than being trained in textile technology or

未來設計方案、社區參與、原材料開發，研發新的重要紡

as well as on industrial working conditions and a drop in demand for traditional textile

humanities research. In the context of this presentation it

織技術。紡織未來研究中心目前有三個研究平台：

craft skills.

equipped with the high tech textile laboratory of the calibre

循環轉化與紡織環境設計（TED）：推動可持續發展的時

At the turn of the 20th century female consumers were already embracing new “smart”

of a large engineering faculty. In order to innovate new

裝紡織品生產和設計方法，研究如何就循環經濟而設計。

textile outcomes, TFRC researchers seek collaborations with

都市布料：研究物料與社會的關聯，以研發回應社會需要

is important to note that the University of the Arts is not

external partners as well as developing new critical textile approaches through future design scenarios, community

的紡織品，處理和推廣本地擁有權的概念。

textiles such as electric corsets and radioactive ski wear which where hailed for their medical benefits at that time. In the 1920s the role of women in textiles changed from producer to developer and saw German Bauhaus designers Anni Albers as well as French designer Sonia Delaunay “in the driving seat” – designing new materials and pioneering

engagement and material prototyping. There are currently three TFRC research platforms:

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物料以後如何促進不同群體的福祉？

可悲的是現今紡織業已經不可持續發展：相比於十年前， 西方消費者所購買的衣服，多了六成（丁潔絲 2014），

目前的設計和生產狀況，深深植根於經濟分配制度。提倡

而預料 2019 年年底前，每年將會棄置 354 億磅紡織廢

時裝可持續發展的先驅凱特．傅萊徹（Kate Fletcher）認

料（Takruri 2015）。同一時間，百分之十七至二十的工

為︰「消費至上的價值觀支配時裝界……意味着替代品被

業污水來自紡織業（Delgado 2015），有關數字不勝枚 舉。今天，人類需要相當於 1.6 個地球的資源才能滿足 所需（全球足跡網絡，2016），即是每年花掉的資源， 地球就需要一年半時間才可以補充過來。地球正面臨危

Whether materials cause harm to the environment or to the

排除在外，其他選擇也不太可行……由於文化環境製造對

body?

現存體制的渴求，外來替代品……顯得較為次等、空洞、

How does their production and distribution affect the new

機，紡織界必須承擔責任，解決污染和浪費等逼切問題，

technologies. Over the past twenty years new digital and

economic opportunities as well as enhancing human skills

製造新紡織物料，革新生產程序。因此，我們必須帶出具

smart technologies as well as bio technologies and future

and abilities?

爭論的議題，以正視紡織界的責任：

crafts have all led to rapid changes in textile production and

物料和生產程序會引致甚麼後果？這種物料帶有怎樣的文 化和道德信息？ 只有全面處理為環境、經濟，和社會所帶來的影響，才能 真正履行可持續發展的設計責任。具體來說，要做到可持 續發展的紡織品設計，需要考慮︰

as a result raised new questions about the responsibilities of designers.

Sadly the textile industry today has become unsustainable: Western consumers buy 60% more clothing today than ten years ago (Dean 2014). By 2019 there is projected to be 35.4 billion pounds of annual textile waste (Takruri 2015). At the same time 17-20% of all industrial water

物料對環境或人體有害嗎？ 生產和運送物料如何帶動新興經濟？怎樣提高技術和 人力？

pollution comes from the textile industry (Delgado 2015) and the list goes on. Today humanity uses the equivalent of 1.6 planets to provide the resources we absorb (Global Footprintnetwork 2016). This means it now takes the Earth

one year and six months to regenerate what we use in a year. Our planet is already in crisis and textile responsibility must address urgent questions about the actions caused by inventing and producing textile materials and new making processes. Therefore we must ask difficult questions, addressing our textile responsibilities: What actions are the material and making processes responsible for? What kind of cultural and ethical information does this material stand for?

Sustainable design responsibilities can only be successful if they holistically address the

乏味。」（2012）紡織未來研究中心正採用全面的設計 研究方式，從多個角度研發響應式紡織品，所以於設計期 間和之後，我們也比以往加入更多持份者。例如研究中心 會與不同的創意學科合作，並讓科學家、生產商、工程師、

How do they promote well-being for diverse future

零售商、心理學家、本地團體、從政者、記者等各界人士

communities?

參與研發，推動創新研究。

The status quo is deeply rooted in our economic distribution

紡織環境設計（TED）研究小組／循環轉化研究平台由麗

systems. Sustainable Fashion pioneer Kate Fletcher

貝嘉．婀莉教授（Professor Rebecca Earley）和凱特．高茲

observes: “The domination of consumerist fashion (…)

沃斯教授（Professor Kate Goldsworthy）主導，發展出「TED

means that alternatives are squeezed out. Other options

十大原則」猶如構思設計的工具，帶領研究小組處理「為

seem unworkable (…) because cultural conditions create

循環再生而設計」到「設計行動主義」等複雜的可持續發

desire for the current set up and alternatives from outside (…)

展議題。

appear inferior, impractical and unattractive” (2012). At TFRC we are applying holistic design research approaches and are developing responsive textiles thorough multiple lenses. As a result we are including a much wider pool of stakeholders before, during and after the design process.

We collaborate with other creative disciplines and involve scientists, manufacturers, engineers, retailers, psychologists, local communities, politicians and journalists to drive innovation.

The Textiles Environment Design (TED) / Circular Design research platform, led by Professor Becky Earley and Kate Goldsworthy, has developed TED’s Ten – a generic tool box operating around ten strategies to navigate the complexity of sustainable issues ranging from “Design for Cyclability” to “Design Activism”.

following parameter: environmental, economic and social impact. More specifically sustainable textile design needs to look at:

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TED 研 究 小 組 目 前 正 研 究 如 何 就 循 環 經 濟 進 行 設 計，

在「諾貝爾紡織品計劃」（Nobel Textiles）中，布羅克

開展了由瑞典政府資助的研究項目「Mistra 未來時裝計劃」

與化學家兼生物物理學家阿龍．克盧格爵士（Sir Aaron

（Mistra Future Fashion Project），探討短期流行的衣服相

Klug）配成一組，回應克盧格關於自行排組粒子結構的科

對於耐用衣服的潛力。項目會構想設計原型、建議、指引、

學研究，將科學發現融入編織設計。她的最新項目「系列

工具等，研究如何在講求速度的同時，亦可循環原則而設

之 1580，覆寫本」（Series 1580, Palimpsest）探究運用

Her latest project: Series 1580, Palimpsest explores woven

計，以推動更能持續發展的循環供應鏈，制定計策以鼓勵

雷射剪裁，增加紡織立體結構的形式。

3D structures enhanced through laser-cutting.

都市布料是由安妮．馬爾（Anne Marr）主導的研究領域，

The Urban Fabric research area is led by Anne Marr

力主探索新物料和生產程序，同時強調公共空間和社區參

explores new materials and processes with an emphasis

與。因為城市的人文風景是日常生活的介面，所以能夠對

on public spaces and community engagement. City

物質資源和社群福祉有重大影響。都市的面貌可以展示文

surfaces are the interface of our daily life and therefore

化資本，創造有意義的本土連繫，讓居民於社會和經濟上

impact greatly on sustaining material resources as well as

增權益能。因此，研究目的是以設計介入生活，帶來正面

community wellbeing. Urban surfaces can communicate

影響，諸如︰

cultural capital to create meaningful local connections and

TED currently investigates how to design for a circular

有利可持續發展的用家習慣，增加用家參與和可持續消費

economy by exploring the potential for short-life and long-

的機會。新時代下紡織品設計師要搭建溝通的橋樑，集結

life garments in the Mistra Future Fashion Project, funded

供應鏈上的不同細線，促成物料完全循環再用的機制。

by the Swedish Government. The project will include the

而另一個研究項目「垃圾換現金」（Trash-2-Cash）中，研

development of prototypes, recommendations, guidelines

究團隊則直接與北歐成品生產商合作，利用廢紙和聚酯纖

and tools for how to design for circularity within a context of

維廢料，開發零廢棄紡織品和布料纖維，希望可以更有效

speed. It promotes a more sustainable circular supply chain,

運用廢料，也為減少堆填區廢物出一分力。

as well as devising strategies to encourage sustainable user behaviour and increase user engagement and sustainable consumption. New here is the role of the textile designer as a communicator to bring together different strands from the supply chain in order to contribute to the overall vision of closing the material loop. In Trash-2-Cash the TED team is working directly with Nordic end-product manufacturers in order to develop Zero-Waste textiles and fibres by utilising

編織未來是編織未來下的其中一個研究項目，以菲莉帕． 布羅克（Philippa Brock）為首。布羅克與業界夥伴合作， 通過研究和試驗，延伸工業編織程序和設備的界限，創造 新知識和生產方法。她主理的立體數碼提花紡織研究， 發掘布料加工程序的潛力，例如在織機編織布料時直接打

－ 任用「參與式設計」，鼓勵協同設計，探究設計擁 有權 － 加強「利社會交流」，提升歸屬感，增加居民文化 資本

Weaving Futures is a TFRC research area led by Philippa Brock. Working in collaboration with industry partners, Brock creates new knowledge and methods through the investigation, testing and extending the boundaries of the industrial weaving processes and equipment. Brock’s innovative 3D digital jacquard research explores the capacity to create finishing processes such as pleating and embroidery directly through the weaving process on the loom. This reduces the number of manufacturing stages involved in the creation of a fabric – enhancing a more sustainable industrial production line.

In Nobel Textiles Brock responded to Sir Aaron Klug’s scientific findings on self-assembling structures – marrying scientific discovery to weave design.

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– stimulating co-design and investigating design ownership through participatory design

－ 製造可持續發展的都市環境，以開發響應人為建設 的物料促進幸福生活

– enhancing pro-social interaction promoting a sense of belonging and increasing the cultural capital of residents

paper and polyester waste materials. The project’s aim is to encourage better waste utilisation and be instrumental in the reduction of landfill waste.

is to make a positive impact through design interventions such as:

摺和繡花，減少生產布料的製作階段，擴展更能夠持續發 展的工業生產線。

social and economic empowerment for residents. The aim

– Creating sustainable urban environments and enhancing wellbeing through responsive surface materials.

Six Branch is a collaboration between BA Textile Design students from Central Saint Martins and the Women in Hebron, a collective of 120 embroiderers based in the Hebron area of Palestine. The collective offers vital opportunities for local women to generate their own income whilst raising a family. The Six Branch project was initiated by founding director Nawal Slemiah and TFRC researcher Linda Florence, who were eager for the collective to find new challenges for making and selling their products. Six Branch is a platform for cultural exchange through textile design, celebrating the traditional embroidery skills and trans-local co-design.

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「六紋帶」（Six Branch）是中央聖馬丁藝術與設計學院

Fig. 2

的紡織設計學士課程學生與非牟利合作社「希伯崙婦女」

Hybrid Knots Prototype 03 by Rebecca Hoyes and Anne Marr

合作的項目。「希伯崙婦女」是活躍於巴勒斯坦希伯崙地

Rebecca Hoyes 與安妮．馬爾共創的混合結原型

區的手工藝團體，有一百二十名刺繡女工，旨在為當地婦

The development of new ideas started as an open dialogue

女提供以手藝賺錢養家的機會。「六紋帶」由「希伯崙婦

– with Slemiah travelling to London to introduce the

女」創會幹事娜娃．莎勒米婭（Nawal Slemiah）和紡織

students and staff to the narrative of existing textile patterns

未來研究中心研究員琳達．佛羅倫斯（Linda Florence）共

and explain specific working methods. Originally it was

同發起，二人都盼望為「希伯崙婦女」尋找製作和銷售的

planned that London tutors would also travel to Palestine

新機遇。而「六紋帶」就是通過紡織設計進行文化交流的

– however due to the politically uncertain situation in the

平台，表揚傳統刺繡工藝，鼓勵跨區域協同設計。

region the visits had to be postponed. Instead Slemiah has

「六紋帶」的意念發展由開放式對話展開 一莎勒米婭率 先前往倫敦，為聖馬丁的學生和教職員介紹現行的紡織模 式，並解釋具體的生產方法。原定計劃是倫敦的導師也會 到巴勒斯坦交流，但基於當地政局不明朗，故決定將行程 延期。期間莎勒米婭先後到過倫敦四次，她的團隊也經常

visited London four times and her team has taken part in skype calls with students to discuss the development of the work. The students created storyboards and colour palettes inspired by traditional Palestinian patterns and the design process was shared using collage, drawing and stitch. The

與學生用 Skype 通話，討論合作進展。學生又從傳統的巴

project uses social media technology such as Skype and

勒斯坦圖案中得到靈感，創作故事板和調色板，而拼貼、

Facebook chat as a means to bring makers and designers

繪圖、縫紉都是設計過程的一部分。項目利用 Skype 和

together in order to enable co-design (Fig. 1). Each side learned about the cultural, political

Facebook chat 等社交媒體為交流工具（Fig. 1），讓兩地

and economic situation of their counterpart, creating a peaceful message about cultural

製造商和設計師進行協同設計，並互相了解兩地的文化、

exchange and shared responsibilities. Currently five new Hebron interior products have

政治、經濟狀況，帶出文化交流和承擔共同責任的和平信

been developed and will be for sale in 2017, promoting cultural understanding through

息。現在「六紋帶」新發展了五種希伯崙的室內產品，

embroidery.

準備在 2017 年推出市場，以刺繡增進文化理解。 「物料界限」（Material Boundaries）是由麗貝嘉．海茲 （Rebecca Hoyes）和安妮．馬爾負責的研究項目，以探 索陶瓷從何而起、紡織從何而終為目的（Fig. 2），因而 研發出一系列新的混合物料和應用於空間上的紡織設計。 項目利用克維拉纖維、矽石、玄武岩玻璃線等各種近年的 Material Boundaries is a project lead by Rebecca

革新物料，結合可持續發展的耐火陶土進行試驗，所選用

Hoyes and Anne Marr exploring where textiles end and

的紡織物料都能承受攝氏一千度的窯火，儘管很多試驗都

ceramics begin (Fig. 2). This led to a collection of new hybrid materials and a series of spatially applied textile design outcomes. The project brings together recent material innovations such as Kevlar, silica and basalt yarns and bonds them with sustainable once fired clay. All textile materials were selected on their qualities of surviving 1000C during the kiln firing, leading to many failed experiments but eventually also to new textiles, which combine both soft and hard qualities. A systematic combination of processes and materials eventually led to new semi-flexible ceramic-textiles.

Possible outcomes include playful hybrid knots and prototypes for external urban use.

This project illustrates the responsibility of textiles to constantly invite open-ended research to unlearn existing knowledge and risk failure. Tacit textile knowledge is built through active engagement with materials and there is a need for designers to acquire material knowledge through direct handling and experimentation. Interdisciplinary collaborations bring opportunities to develop new sustainable material qualities as well as re-applying Fig. 1

and preserving craft techniques to stimulate their potential for future technologies and craft

Co-designing with the Women of Hebron at Central Saint Martins

innovation.

在英國中央聖馬丁藝術與設計學院與希伯倫婦女一起設計

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The Design and Living Systems Lab (DLS Lab) was set up

失敗收場，但最終也製作出特性軟硬兼備的新纖維。研究

提出各種設計新主張， 促進社會轉變至「共享地球的生

by Professor Carole Collet in 2014 to explore biological

將不同程序和物料有系統地組合，終於生產出新的半柔性

活態度」（Bioregional，2003）。

sciences through design to grow new design propositions

陶瓷纖維，並可製作成具玩味的混合繩結和織品模型等適

that could facilitate the transition to the ‘one planet living’

合城市人的產品。項目表明了紡織品也能負起不斷開放式

(Bioregional 2003).

研究的責任，冒着失敗的風險，忘掉現有的知識。內隱的

Collet’s Biolace project explores the possibilities for new knowledge emerging from synthetic biology and the potential for future textile fabrication. Her “Reprogrammed Nature” approach focuses on the reprogramming of living

紡織知識是建立於積極的物料試驗，設計師需要直接處理 物料，進行實驗，才可以實際理解物料。跨學科合作提供 機會研發可持續發展物料的新特性，保存和重新應用工藝 技術，激發物料成為未來科技和革新工藝的潛力。

科萊的項目「生物花邊」於合成生物學發掘新知識，發展 未來製作紡織品的潛力。「為大自然重新編程」的做法是 集中於為生物再次編程，培育成度身定制的「生物合成」 物料。「生物花邊」就零廢棄、使用最低能源，和最少物 料等方向，探討生物系統的優勢一為生物設計和編寫程 式，栽種出特定的物料。科萊的設計方案從理論預測未 來，帶大家預想 2050 年的紡織生產，工廠會重新設計，

organisms to grow tailored and customised “biosynthetic”

「設計與生活系統實驗室」（Design and Living Systems

能夠同時生產紡織品和食品。項目已成功栽培「黑草莓」，

materials. Biolace explores the advantage of biological

Lab， 簡 稱 DLS Lab） 由 卡 羅 爾． 科 萊 教 授（Professor

融合生產食物和衣飾製作，生產出可用於時裝業的「生物

materials – programming and engineering living organisms

systems in terms of zero waste, minimum use of energy and

Carole Collet）於 2014 年創立，用設計探索生物科學，

製造」花邊鬚根（Fig. 3）。

to grow tailored materials. Her speculative design scenarios

「菌絲橡膠」（2016）探討如何以大自然為好幫手： 集中與真菌菌絲等生物協調合作，讓菌絲「自然地」自動 組織橡膠物料。

transport us into the year 2050, where plants are reengineered to grow textiles and food at the same time.

With Strawberry Noir, food production is combined with the growth of ‘bio-manufactured’ lace roots for the fashion industry (Fig. 3).

Mycelium Rubber (2016) explores Nature as a co-worker: here the focus is on collaborating with living organisms such mycelium fungi to “naturally” fabricate self-patterned rubber materials.

In Future Hybrids, Collet has re-imagined future fur production with the help of fungi – using nature as a model translating natural behaviours and principles into product conceptualisation and production.

The DLS Lab explores the potential of the current emerging biological revolution and promotes a re-evaluation of the position and potential of design in an area of technological ambiguity such as genemanipulation and synthetic biology.

Fig. 3 Carole Collet's Strawberry Noir produces black strawberries and black lace doilies Carole Collet 作品《Strawberry Noir》的黑草莓和黑蕾絲布

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安妮．馬爾

科萊又於另一個項目「未來集合體」中，利用真菌重新定 義未來的毛皮生產一以大自然為模型，將自然界的習性 和法則，轉化到產品構思和生產上。

Conclusion

創立「設計與生活系統實驗室」是為了探索目前新興生物

It is difficult to predict exactly which technological changes

革命的潛力，於操縱基因和合成生物學等模糊不清的科技

will be most beneficial and which will be disruptive.

範疇上，鼓勵重估設計的地位和可能。 結論

會，殊不容易。 現在談及承擔責任便必須無所不包，才可以構想出合乎情 理的新穎方法，處理傳承未來的社會、經濟，和可持續發 展之間，既複雜的共存關係。

倫敦藝術大學中央聖馬丁藝術與設計學院系主任

安妮·馬爾是倫敦藝術大學中央聖馬丁藝術與設計學院紡織 品設計系學士課程系主任、紡織未來研究中心副總監。

Responsibility today can only be all-inclusive in order to develop a sensible and innovative approach to address

要預測甚麼科技變革對人類裨益最大，甚麼改變會顛覆社

紡織品設計師

the complex interrelationship between inheritable social,

Anne Marr

economic and sustainable futures.

Textile Designer; Course Leader, Textile Design Central

At TFRC we embrace new technologies and we embrace

Saint Martins, University of the Arts London

the responsibility to develop a critical and ethical understanding of how best to apply textiles and ensure they

Anne Marr is currently the Course Leader for the BA of

can contribute to shaping a truly inheritable future.

Textile Design at Central Saint Martins, as well as Deputy

紡織未來研究中心的成員，擁抱新科技，也樂於肩負責任，

Director of the Textile Future Research Centre (TFRC), both

探究重要而合乎道德的知識，思考如何最有效運用紡織技

based at the University of the Arts London.

術，並確保可以傳承下去。

Marr’s research is based around the socio-cultural context of textiles, particularly the area of Urban Fabric, exploring understandings and boundaries of different textile-based

馬爾從社會文化的背景研究紡織業，尤其是「城市結構」 （Urban Fabric）的範疇，她探索以紡織為本的不同方法 如何回應社會和城市的需要，以及創造更具人情味的社區 環境，以及這些方法的概念和界限。 她最新的創作項目包括英國惠康基金會支持的「Threads and Yarns」，內容是探討物質與社會之間的連繫，從中 發展可持續、具社會責任的紡織業，須與城市生活息息相 關，並推廣本地擁有權及社區參與。其工作目標是推動社 會創新，並突破圖案及物料設計的界限。她最近與設計師 Rebecca Hoyes 合作，研發新型混合材料，結合織物的軟 質感和瓷器的硬度，以及織物上釉等需在窯中完成的新裝 飾技術。

approaches to respond to societal or urban needs and to create more empathetic communities.

Recent projects such as “Threads and Yarns”, supported by the Wellcome Trust, investigate the connection between materials and society in order to develop sustainable socio-responsive textiles that empathise with urban experiences and promote local owner參考資料

References:

Bioregional（2016）。〈共享地球的生活態度〉（“One Planet Living”）。http:// www.bioregional.co.uk/oneplanetliving/（2016 年 12 月 9 日瀏覽網站）。

Bioregional (2016). One Planet Living. http://www.bioregional.co.uk/ oneplanetliving/ [Internet] [accessed 9.12.2016]

丁潔絲（2014）。穿甚麼得甚麼：丁潔絲 TED x 香港浸會大學講座錄像（You are what you wear: Christina Dean at TED x HKBU）。https://www.youtube.com/ watch?v=cduGLWhm1LM>（2016 年 12 月 9 日瀏覽網站）。

Dean, C. (2014). You are what you wear: Christina Dean at TED x HKBU, video recording, [Internet] https://www.youtube.com/watch?v=cduGLWhm1LM> [accessed 9.12.2016]

Delgado, R.（2015）。〈 重 新 定 義 紡 織 業 的 回 收 過 程 〉（“Redefining Textile Industry’s Recycle Process”）。（2016 年 11 月 7 日 瀏 覽 網 站 ）http://www. slideshare.net/RomuloDelgado/business-society-final-project-the-3-rs-inditex-marinateam-8

Delgado, R. (2015). Redefining Textile Industry’s Recycling Process, [Internet]. http://www.slideshare.net/RomuloDelgado/business-society-final-project-the-3-rsinditex-marina-team-8 [Internet] [accessed 7.11.2016]

Fletcher, K.（2012）。〈消費至上的時裝：創意的窒礙〉（“Consumerist Fashion: Innovation Repressor”）。http://katefletcher.com/consumerist-fashion-innovationrepressor/（2016 年 11 月 14 日瀏覽網站）。 全 球 足 跡 網 絡（2016）。〈 世 界 足 跡： 我 們 還 能 在 地 球 生 存 嗎？〉（“World Footprint: Do we fit on the Planet”）。www.footprintnetwork.org/en/index.php/ GFN/page/world_footprint/（2016 年 11 月 7 日瀏覽網站）。 Takruri, D.（2015）。為何 H&M 貨品價格比你想像中貴？（Why H&M costs more than you think?）。https://www.youtube.com/watch?v=UOW5jpXnktY&gt（2016 年 11 月 7 日瀏覽網站）。

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ship and community engagement. In her work, Marr aims to stimulate social innovation as well as push the boundaries of pattern and material design. In her latest collaboration with designer Rebecca Hoyes, Marr is developing new hybrid material research – combining soft textile properties with hard ceramic qualities and new kiln-based finishing techniques such as textile glazing.

Fletcher, K. (2012). Consumerist Fashion: Innovation Repressor, [Internet] http:// katefletcher.com/consumerist-fashion-innovation-repressor/[accessed 14.11.2016] Global Footprint Network (2016). World Footprint: Do we fit on the Planet? www. footprintnetwork.org/en/index.php/GFN/page/world_footprint/, [Internet] [accessed 7.11.2016] Takruri, D. (2015). ‘Why H&M costs more than you think’, [Internet] https://www. youtube.com/watch?v=UOW5jpXnktY&gt [accessed 7.11.2016]

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Fig. 1

源自對布料的愛

Indigo some-naoshi Photo courtesy of Sudo Reiko / NUNO Corporation, Toyko 靛青 some-naoshi 圖片鳴謝：須藤玲子、東京 NUNO 集團

須藤玲子

For the Love of Cloth

我於 1953 年生於筑波山山腳的石岡市，當地距離東京北 部只是約兩小時的火車車程。石岡市是小型農耕社區， 遠離都市塵囂，據說是北部地區種植蘋果和橙的邊界，

Sudo Reiko

這裏的女性昔日多是穿和服的。1953 年還見證了日本首

The town of Ishioka where I was born in 1953 lies at the foot of Mt. Tsukuba, some two hours by train to the north of Tokyo. A small farming community close to nature, said to be the northern limit for growing apples and mandarin oranges, back then most women still wore kimono. That year also marked the first television broadcast and the first Christian Dior fashion show in Japan. A-line and V-line dresses were suddenly all the rage. My mother sewed my clothes by hand, all with flared skirts and petticoats, using fabric from old adult clothes. Japan was not a rich country and people could not afford to discard anything, certainly not something so lovingly made as someone’s weaving. People would say Mottainai!, meaning it’s a shame to let this perfectly useful material go to waste.

為我縫製衣服，包括闊腳半截裙和襯裙。以往日本並不富

個電視廣播節目，以及 Christian Dior 在日本的首個時裝 展。A 字裙和 V 領裙曾經突然成為熱潮，媽媽會用舊衣物 裕，大家都不會隨意丟棄東西，更何況是每針每線都充滿 愛意的人手織物。日本人會說「不要浪費」（もったいな い mottainai），表達浪費有用的物料實在可惜。

拆掉一件和服的縫線，就會有十三米長的布料，即是一卷 和服用布的原本長度。傳統上每隔數年會拆開和服的縫線 清潔布料，讓布料整潔如新一過程稱為「洗張」（洗い 張り arai-hari），有「清洗再縫接」的意思。以前在陽光 普照的日子，會見到屋檐下放着鋪板上或掛繩上的和服布 料。不論是較重的捻線綢絲質和服，還是輕薄的夏季棉質 浴衣，布料都不是完全縫合的，因此可以用前述方法簡單 地清潔翻新無數次。再者，假如布料弄髒了或者沾上頑固 污漬，和服師傅會圍繞圖案紋飾小心為背景刷染更深的顏 色一技術稱為「重染」（染め直し somé-naoshi）。傳統 的淺色布料以貝殼磨細的「胡粉」（gofun）上色，容易因

從前布料非常珍貴，日本人想出很多聰明的辦法，悉心保

Unstitch a Japanese kimono and we get 13 metres of 時間而褪色，但也可以用「黃染」（ohen-naoshi）的方法， cloth, the original length of one roll of kimono fabric. 重新染成均勻的黃色；而煙蒂燒成的洞和細微的撕口， We traditionally undid the seams once every couple 則可以用「拼接編織」（かけつぎ kaketsugi）的手法， of years to clean and give the fabric taut new life – 以不規則的線藝修補布縫，至幾乎不留痕跡。當然，任何 a process known as arai-hari “wash and reblock”. 顏色或狀況的布料都可以染黑重新加工；事實上，十九世 We used see lengths of stretched out on boards or 紀末專門做黑染的「黑染屋」（kurozomeya）便於日本各 strings under the eaves of houses this way on sunny 地經營黑染生意。 days. Neither heavier tsumugi pongee silk kimono nor lightweight cotton summer yukata were lined, so they could easily be refreshed this way any number of times. Likewise, if fabrics became stained or heavily soiled, the background could be carefully brush-dyed in a darker colour around the design motifs – a technique called somé-naoshi “dyeing over”. Light-hued fabrics that were traditionally tinted using gofun ground shell powder, which is prone to discolouration over time, could also be dyed an even tone of yellow – ohen-naoshi “yellowing over” – and cigarette burns or minor tears might be invisibly mended by kaketsugi “splice weaving” . Although of course fabrics of any colour or condition could always be dyed black all over; in fact, during the late 19th century specialist kurozomeya “dark-dyer” professionals used to ply their trade all over Japan.

護布料，節約使用；直至今天，不少創意做法仍然值得學

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習。我是無印良品的紡織品顧問，數年前我建議他們在零 售連鎖店推行節約資源計劃，在日本全國的分店收集舊衣 物，重新染成靛藍色（Fig. 1）。近年，全球掀起了牛仔褲 熱潮，正正反映了市場對靛藍色的銷售需求。很久以前， 遠道而來的西方旅客，已十分欽佩日本人特殊的藍染工藝 和精緻成品，更稱這種藍染為「日本藍」。怎麼現在卻忘 記了以前每個城鎮、每條村落都有全日運作的「藍屋」 （aiya）呢？ 在布料還是很珍貴的年代，世界各地的人都會將舊衣料縫 起來，造成被褥和日常衣物。日本各地民眾為善用碎布， 縫製了無數的工作外套 / 大衣（donza）和利用源於青森

Cloth was so very precious back then, we Japanese came up with many ingenious practices for treating fabrics with utmost care and thrift, different creative measures that we can still learn from today. A few years ago I suggested to the Muji retail chain, whom I advise on textiles, that they launch a resource-saving project to collect used wearables at their shops throughout Japan and re-dye them in indigo (Fig. 1). The marketable demand for indigo may reflect the worldwide popularity of jeans in these global years, but long ago Western travelers to our faraway islands called it “Japan blue” in admiration for our special skill and refinements in dyeing. How did we forget that every town and village once had its own full-time aiya “indigo dyer”?

In the days when fabric was precious, people all over the world used to stitch old pieces together to make bedding and daily wear. Local folk throughout Japan, made countless donza or kogin-zashi patchwork work clothes; over and over again they layered and reinforced damaged material, stitching all-over line patterns in heavy thread. In India, a similar technique known as kanta stems from the popular belief that the spirit of whoever wore a garment previously will protect the

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縫合與針扎 最清楚直接的「重用」技巧是將布碎縫合起來。堆積如 山的布碎是一般紡織經營的一大問題。「繼接」（継接 ぎ tsugihagi）基本上就是將布料東拼西湊，但 NUNO 的

理念是提高生產力。我們在工作室完成樣板後，就用自動

artisans, and – long before “upcycling” – to eliminate waste by re-using our fabric scraps by creatively working them into new designs.

Stitching and Needle-Punching

繡花縫紉機沿布料的曲線或角度隨意縫接。1995 年起， NUNO 將「繼接」結合早在 1883 年德國發明的「水溶 花邊喱士」技術，只是當年用溶於碱性溶液的薄絲底布， 而我們用近似於洗衣漿粉的水溶性聚乙烯醇處理。我們 的 NUNO 薄絲蟬翼紗（kasane）和 NUNO 混合布棉麻 （tsunagi），是用盡每片剩餘織品設計的產品（Fig. 2）。

The most obvious “re-useful” technique is simply to stitch 另一個「重用」技巧是針扎，又名氈合織法：只需不斷戳 scraps together. In our business we amass mountains 刺零碎的布料，讓纖維緊密交纏。 of scraps, which is a serious problem for us. The idea behind our Tsugihagi is basically patchwork, but 溶解 upgraded for productivity. After making samples in 蒟蒻是多年生的魔芋屬植物，乾製後磨粉可製成模板印染 our studio, we work with a steering wheel embroidery 的防染劑，以前還會用於使紙製和服「紙衣」（kamiko） machine to freely stitch along any curve or angle. 能夠防水。同時，自十七世紀起，製作「小千谷縮」（Ojiya From 1995, we combined this with a “chemical lace” chijimi）的苧麻和服時亦加入蒟蒻凝膠，讓布料更具質感； technique invented in Germany in 1883 using a thin 今天這苧麻和服已被視為重要的文化財產。NUNO 則給 silk base that dissolved in a lye solution, though we now 紗線塗上一層蒟蒻凝膠，讓紗線變得挺身，才用來織布。 use a water-soluble polyvinyl alcohol base similar to laundry starch. Our silk organdie Nuno Kasané and the puzzle-pieced cotton-and-linen Nuno Tsunagi use very tiny bits of leftover textiles (Fig. 2). Another obvious “re-useful” technique is needle-punching, also called felting: simply roughing up fabric remnants so the fibres mesh and interlock.

Fig. 2 Tsugihagi 2007 Photo courtesy of Sudo Reiko / NUNO Corporation, Toyko Tsugihagi 2007 圖片鳴謝：須藤玲子、東京 NUNO 集團

的刺繡手法（こぎん刺し kogin-zashi），把舊布片層層堆 疊，補救損壞的衣料，以重針把圖案縫滿布上。印度也有 類似結合拼布和刺繡的技藝「坎塔」（kantha），拼合舊 布的做法源自民間信仰，印度人相信舊衣服上一位主人的 精神會保佑現在的主人。可見收集舊布料、堆疊縫接造成 新布料的生活智慧和技能，曾經是隨處可見。 現今，大家都跟隨美國過着所謂便利的現代生活，完全西 化，幾乎沒有人會思考衣服從哪裏來、往哪裏去。現在的 時裝等同於用完即棄的潮流，但我的織品設計公司 NUNO 經營三十年以來，一直致力尋找不會破壞生態的物料， 更與未能物盡其用的小型工廠和本地技工建立合作網絡，

Dissolving

current wearer. The living wisdom and skill of collecting old fabric, then layering and piecing it together to make new fabric once existed everywhere.

Nowadays, we lead such Westernised lives, following the American example of so-called convenient modern living hardly anyone thinks about where our clothes come from or where they go. Fashion now equates to disposable trends, yet in the three decades my textile company Nuno has been in business, we have always tried to source ecologically sound materials, to network between underemployed smaller mills and local

Konnyaku is a perennial yam, which is dried, and ground to a powder that can be used as a resist for stencil dyeing. Historically, it was also used to waterproof paper kimono, called “kamiko”. Likewise, from the 17th century, konnyaku gel has been used to give added body to Ojiya chijimi crepe ramie kimono, which are designated as an Important Cultural Properties. At Nuno we have used konnyaku gel to coat threads to make them stiff to weave textiles.

Bashofu textiles, woven from a plantain that grows in Okinawa, were long treasured and presented as offerings to the Ryukyu royal court. Even today, exquisite bashofu is still woven at Kijoka using only good quality fresh fronds, though typhoons often destroy most of the plants that are also loosing ground to urban growth. In 1984, with the idea of using damaged plants, we collaborated on developing a unique process to dissolve basho fibre like konnyaku to a gel for coating cotton threads. We

甚至早於「升級再造」流行前，已將布碎重用融入新設計， 減少廢料。

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「芭蕉布」（Bashofu）由生於沖繩的一種芭蕉織成，當地 人一直非常珍視這種布料，會當成貢品獻給琉球王室。時 至今日，喜如嘉的村民仍會用優質蕉葉編織芭蕉布，但颱 風經常摧毀當地大量芭蕉樹，而芭蕉樹又在市區愈來愈常 見。1984 年 NUNO 想到利用被強風摧毀的芭蕉林，於 是與當地人合作，研發出特別的處理程序，將芭蕉纖維溶 解成塗漿，就如製作蒟蒻凝膠一般，塗在棉線上。NUNO 用這個方式生產了許多芭蕉布一不論製作方法和質感上

created a number of Nuno bashofu fabrics this way – completely different to traditional bashofu in production method and texture, more of a contemporary feel – but then in 2000 bashofu was designated an Important Cultural Property and the plantain orchards came under national protection, so ironically we had to source other growing regions. We eventually found enough wild basho plantains on Amami Oshima island north of Okinawa.

都與當地傳統的芭蕉布迥然不同，甚具當代感。諷刺地，

Another time, Living National Treasure Yuzen dye master Kunihiko Moriguchi gave us some small skeins of silk, called sendoshi, that are spun to test the quality of the thread, then otherwise discarded as industrial waste. Was there any way we could think of using these? So once again, we dissolved these to a gel and coated five-strand lengths of silk thread into flat “tapes” to create two rather interesting weaves: Harmony Stripe and Harmony Check.

成扁「帶」，再用以創作了兩款有趣的織物：「柔和條紋」

Re-spinning

2000 年芭蕉布獲列入重要文化財產，芭蕉園受國家保護， 所以諷刺的是，我們不得不從其他種植地尋找原料。最終 在沖繩北面的奄美大島找到足夠的野生芭蕉造布。 有一次，被日本人譽為「人間國寶」的友禪染大師森口邦 彥送給我們一些叫「纖度絲」（sendoshi）的絞狀細絲， 「纖度絲」經絞捻後用來測試布線的質量，不合格的便當 成工業廢料棄置。究竟有沒有方法可以善用這些絲料呢？ 當時我們也是將「纖度絲」溶成凝膠，塗在五股絲線上編 （Harmony Stripe）和「柔和格子」（Harmony Check）。 再絞捻 前往奄美大島採收芭蕉的旅程上，我參觀了奄美編織研究 中 心（Amami Weaving Research Centre）， 中 心 的 研 究 員告訴我，當地有一門泥染的技藝，已經流傳過千年了， 工序所用的天然染料，是由亞熱帶厚葉石斑木和富有鐵質 的黑泥壓榨而成的。我們決定用泥染法試染剩餘的大島捻 線綢，但為節省時間而使用了專業紡紗機，將絲線再捻合 成結子紗、聚氨酯包芯彈力紗和圈圈紗。東京北面的桐生

On a trip to Amami Oshima island to harvest basho 是 NUNO 紡織中心的所在地，將用奄美方式處理的紗線 plantains, I visited the Amami Weaving Research Centre 結合桐生出產的紗線，設計了「大島再生圍巾」（ReText where a researcher told me about a type of mud-dyeing Oshima）（Fig. 3）。雖然圍巾是機器織成的，但泥染的紗 that had been passed down there for over a thousand 線讓每條圍巾都獨一無二，輕柔天然。 years. The process uses pressings from the subtropical sharinbai hawthorne bush and native iron-rich mud. We decided to try it out on leftover Oshima tsumugi silk, but had a professional spinning mill do all the incredibly time-consuming work of rewinding bits of thread into bouclé yarns, polyurethane-core stretch yarns and loop yarns. By combining these Amami yarns with fresh new threads from Kiryu north of Tokyo, where our Nuno Textile Centre is located, we created ReText Oshima scarves (Fig. 3). Although machine-woven, the mud-dyed threads give each scarf a totally unique feel. Very light, very natural.

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Fig. 3 ReText OSHIMA Window 2005 Photo courtesy of Sudo Reiko / NUNO Corporation, Toyko ReText OSHIMA Window 2005 圖片鳴謝：須藤玲子、東京 NUNO 集團

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發現 這種布料是用家禽留下的羽毛所造成的。在日本，街上募 捐的大型慈善組織會送贈紅色或綠色翻領羽毛，就像為防 治乳癌籌款的粉紅絲帶一般。很多日本公司會處理羽毛， 不過經手的羽毛都是深色的，或是花紋太豐富，不適合染

Found

色，大部分被拒諸門外的羽毛一孔雀毛、鴨毛、珠雞毛、 雉雞毛一都來自供應給餐廳的入口禽鳥。我們挑選了最

This fabric uses leftover feathers from poultry. In Japan, major charities who collect donations on the street 堅硬的末端，再以人手插入透明的蟬翼紗之間，每次都要 often give out red or green lapel feathers, like pink 停下織機放入羽毛，在「袋子」封口前再啟動織機，才能 ribbons for breast cancer donations. Many companies 造出「羽毛蟬翼紗」（feather flurries）（Fig. 4）。 in Japan deal in feathers, but most are dark-coloured and heavily patterned, thus unsuitable for dyeing. Most of these rejects – peacock, duck, guinea hen, pheasant – are from imported fowl for restaurants. We selected the biggest, softest, most regularly shaped feathers, disinfected them and snipped off the tough quill points one by one, then inserted them by hand between layers of sheer organdy, stopping and restarting the loom each time just before the “pockets” sealed to make Feather Flurries (Fig. 4). 大片、最軟、形狀最規整的羽毛，將羽毛消毒，逐一剪掉

Based on this idea, we began looking into all sorts of different “reject” materials.

Here’s a fabric woven with copper telephone wire that’s coated with anti-static polyurethane. At only 30 microns in diameter, it’s hard to believe it is actually metal wire. For the warps, we used the fibre “Promix”, synthesized from milk casein and acrylonitrile. The Promix gives this Copper Cloth its silky sheen, while the copper allows the fabric to bend like metal.

This started us looking at other metal “discards”. Heaped in a corner of an iron workshop was a huge coil of disposible sheet metal cutting wire, which we wove to make this Stainless Steel Cloth. That first time we rewound all the used wire by hand, which was incredibly difficult, but now we use 60 micron stainless steel wire readyspooled for filtres and sieves.

Fig. 4 Feather Flurries 1993 Photo courtesy of Sudo Reiko / NUNO Corporation, Toyko Feather Flurries 1993 圖片鳴謝：須藤玲子、東京 NUNO 集團

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NUNO 依照上述意念，開始研究各種「遭拒絕」的物料。

屏障纖維，加工成粗厚但可用的絲線，同時為城鎮的長者

例如有由銅製電話線編織而成的布料，電話線上有防靜電

提供工作機會。處理蠶絲的過程中，我們發現了黏在紡輪

的聚氨酯塗層，直徑只有三十微米，要相信這種布料由金

上的生絲殘餘物，並將殘餘物刮下來，補綴成透明迷人、

屬絲造成，真的不容易。經紗是由乳酪蛋白和丙烯腈合成

猶如紙張的薄片。蠶繭的外層絲線和生絲的殘餘物都含有

的「乙烯系單體蛋白質共聚物」（promix）纖維，這種纖

豐富蛋白質，以前蠶農會將這些副產品餵給蠶蟲一正好

維讓「銅布」（copper cloth）帶有絲綢般的光澤，而銅絲

是零廢棄回收再用的寫照。

Perhaps it traces back to a Buddhist teaching from 2500 years ago and the noble poverty ideal of living lightly in the world. Tradition says when the Sakya Prince renounced the palace to seek an answer to human suffering, he begged for food wearing rags scavenged from rubbish tips, ditches, even cremation

可以讓布料像金屬般折彎。

Kibiso

設計「銅布」後，NUNO 考慮使用其他金屬「廢料」。 鐵材工場的角落有成堆的現成金屬線捆，NUNO 就拿來

One of Nuno’s recent success stories is our kibiso 織布，設計了「不鏽鋼布」（stainless steel cloth）。最初 project (Fig. 5). Starting in 2008, we were asked to help NUNO 只是以人手繞舊金屬線，過程非常困難，但現在 revitalise one of two remaining silk-producing towns still 用的是已經繞好的六十微米不鏽鋼線，是用於製作濾網和 barely active in Japan amidst the tides of cheaper import 篩的金屬線。 fibres. There we “rediscovered” kibiso, the hard outermost shell of the silk cocoon, which has been typically 硬質絲線 Kibiso discarded as too stiff and thick to weave on automated Kibiso 項目是 NUNO 近年的成功故事（Fig. 5）。2008 looms. We invented a way to hand-process this extra年起，正值日本大量入口價格較低廉的纖維，國內兩個生 strong barrier fibre the silkworms secrete for protection 產絲綢的城鎮將近停產，NUNO 應邀協助振興其中一個 into heavyweight but useable threads, and are now 城鎮。就在那個城鎮，NUNO「重新發現」蠶繭最外層的 helping provide jobs for the elderly of the community. 硬質絲線（Kibiso），由於絲線質地硬粗，不能經自動織 In the process, we also found the raw silk residue called 機織成布料，所以一般會被工廠丟棄。然而，NUNO 發 ogarami-choshi that gums up the spinning wheels can 明了人手處理的方法，抽出蠶蟲分泌出來保護自己的特強 be scraped off and patched into beautifully translucent paper-like sheets. Long ago, both protein-rich by-products were fed back to the silkworms – the perfect image of waste-free recycling.

The Real Truth in Fabric Whilst pioneering creative re-uses for overlooked materials is only part of what we do at Nuno, I do believe that commitment to eliminate waste goes hand-in-hand with flexible imaginative thinking in the pursuit of new designs. With today’s technologies almost no waste material is impossible to recycle. The real question is how to keep our sensibilities supple and responsive – and for us Japanese at least, to remember the redemptive spirit of Mottainai!

Fig. 5 Ogarami choshi panel 2016 Photo courtesy of Sudo Reiko / NUNO Corporation, Toyko Ogarami choshi panel 2016 圖片鳴謝：須藤玲子、東京 NUNO 集團

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須藤玲子

布料的真相

藝術家、NUNo 總監

倡導創新方法，重新運用被忽視的物料，只是 NUNO 其 中一項工作，我相信致力消除廢料和以靈活想像追尋新設 計，同樣重要。以現今的科技而言，幾乎沒有廢棄的物料 是不能回收再用。真正的問題是如何保持觸覺柔和靈敏，

Sudo Reiko

回應時代一至少身為日本人要記得「不要浪費」的救贖

Artist; Director of Nuno

精神！

須藤玲子是東京造形大學教授、東京 NUNo 集團設計總 監；NUNo 集團是日本東京一間創新紡織公司，以新科 技融合傳統技術與美學而聞名於國際。 須藤用絲綢以至金屬等不同物料進行實驗。她關注紡織品

再用布料的做法也許可以追溯二千五百年前的佛教教義，

Sudo Reiko is a professor at Tokyo Zokei University

佛教主張安於清貧簡樸的生活。佛教傳統說法是，釋迦

and Design Director of Nuno Corporation of Tokyo,

族的太子為了尋找解脫眾生苦難的方法，離開宮廷生活，

an innovative textile company in Tokyo, Japan. Nuno

須藤的作品曾參與世界各地多場聯展，在日本、冰島、

乞討食物時所穿的破舊衣服，都是從垃圾堆、溝渠，甚至

is internationally known for interweaving traditional

英國和美國展覽會上屢受矚目。她的作品獲多間機構永久

火葬場收集而來。收集得來的布碎洗淨後，縫合成僅夠包

techniques and aesthetics with new technologies.

收藏，包括紐約現代藝術博物館、英國國立維多利亞與艾

裹身體的長方形布，再以樹根和樹皮染色。佛陀於講經云： 「不可浪費人家贈予的東西，即使是最小片的布碎，只要 能用就不要丟棄。」因此，袈裟就是將世間的廢料轉化成 純淨珍貴的僧袍。袈裟的拼湊圖案也是源自佛陀講經的年 代，他讓弟子將化緣時穿的衣服縫成「長方形布塊與條紋 相間的樣子」，猶如田界，提醒世俗人所布施的一切， 都來自農田的出產，僧尼都頌唱袈裟讓他們置身於「福田」 中。 袈裟包含的意義十分動人，也正是我在 NUNO 創作紡織 品時，一直設法做到的事；沒有東西需要丟棄，或說，根 本沒有廢料這回事。只要不放棄想像，所有東西都是有用 的。大家一起努力，盡力為世界穿得簡樸，穿得可愛。

grounds. The scraps were then washed and pieced together into a rectangular cloth to just cover the body, then dyed with tree roots and bark. In one sermon the Buddha taught: “Never waste what has been given.

Do not discard even the smallest scrap of cloth that can still be used.” The kesa robe is thus waste material of the world made pure and precious. The patchwork pattern of the robe also dates from the Buddha’s lifetime, when he told his disciples to arrange their begging clothes “laid out in squares and strips like the fields” to remind them of the lay people who give alms from their crops. Monks and nuns chant that their kesa wraps them in “a field of blessings”.

Experimenting with various materials from silk to metal,

的回收和升級再造，以及紡織生產對環境的影響。

爾伯特博物館、東京國立博物館的近代美術館工藝館。

Sudo has been concerned with the recycling and upcycling of textiles and the environmental effect of textile production.

Sudo has participated in numerous group shows worldwide and has been the focus of exhibitions in Japan, Iceland, the UK and the US, and her works are represented in the permanent collections of many institutions including the Museum of Modern Art, New York; the Victoria & Albert Museum, London; and the Modern Art Craft Gallery of Tokyo National Museum.

The values embodied in the kesa are very moving to me; they speak to the heart of what I have always tried do when creating textiles at Nuno. Nothing need go to waste. The real truth here is there’s no such thing as scrap; everything is useful as long as we don’t waste our imagination. We are all in this together; let us wear the world as lightly and lovingly as possible.

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致以下九點才稱得上「合符道德」：公平貿易、有機種植 和生產、利用升級再造和回收物料、以工藝創作、運用本 地原料生產、善待動物、減少浪費、貢獻社會。1

高橋瑞木

Textiles as Medium to Recover our Sensibilities to the World

第三節的講者安妮．馬爾和須藤玲子既是藝術家，又分別 是倫敦和東京藝術院校的教授。兩位藝術家都注意到紡織

2014 年，我為孟加拉雙年展進行策展研究期間，參觀了

Takahashi Mizuki

In 2014, I visited a garment factory in Bangladesh during my curatorial research for the Bangladesh Biennale.

Having read about the problems in garment industry there, for example, harsh work environment and low wages, I wanted to see what was happening with my own

生產的種種問題，於是以自己的方法和研究，並與工匠、 科學家、建築師、發展中國家的婦女合作，嘗試將紡織生

的報道，例如工作環境苛刻和工資過低，故想親身看看當

產的負面問題變成正面動力。但她們的研究始終不敵時裝

地的情況。讓我到訪的工廠整潔有序一也許導遊有意帶

界商業周期的速度而被比下去。為甚麼購買快速時裝店的

我到一間工作環境相對理想的工廠。一如報道和社交媒體

衣物？答案很簡單，快速時裝店能夠迅速以低廉價錢，

所說，大部分工人都是年輕婦女，不停地剪布縫紉，趕製

提供最新款式的時裝。然而，由於大部分人都不熟悉紡織

大量牛仔褲。可是最吸引我注意的，反而是工人色彩繽紛

和衣服生產程序，所以需要思考的是生產一條售價不過

In addition to the working condition in the factories I

的衣服，她們身穿配有披肩的旁遮比裙（Fig. 1）。工人縫

一百港元的裙子要付出多大代價，運送到零售商前又有多

visited and what can be said in general, there are serious

製外銷的牛仔褲平平無奇，穿着的衣服卻豔麗奪目。眼見

少個步驟。今天，在多數已發展的國家，傳統的紡織生產

problems such as environment pollution in cotton farming,

大堆工人生產的牛仔褲，我不期然思考自己縫製和穿着的

方式已經不是日常生活的一部分，反而成為展示於博物館

chemical dyeing process and the surplus of garments. In

衣服，在美學上和經濟上有甚麼價值。

的非物質遺產。現在的紡織和衣服生產一是屬於大規模生

response, the term “ethical fashion” has been generated.

產的大公司，一是由小型設計公司和藝術工作室開發。

According to the Japanese organisation, Ethical Fashion

eyes. The factory that I was introduced was clean and

除了我到訪的工廠在工作環境和一般情況的問題外，紡織

organized – perhaps my guide took me to a factory with

業還面對棉花種植受到污染、化學污染，和衣物產量過剩

在第三節，倫敦藝術大學紡織未來研究中心的副總監安

relatively better working condition. As reported in the press

等嚴重問題，因此業界創造了「道德時尚」一詞回應情況。

妮．馬爾與分享了與中心的研究員別開生面的研究和實

and social media, most of workers were young women

按日本組織「Ethical Fashion Japan」的說法，紡織業要達

踐，而須藤玲子則講述自行研發的紡織品所用原料來自哪

and they restlessly cut, sewed and produced countless denim jeans. What drew my attention most however, was colourful Panjabi dresses with shawls that the women were

wearing (Fig. 1). Whilst the jeans they produced for export

孟加拉一間製衣廠。我之前看過不少關於當地製衣業問題

裏，自己又怎樣於創作中復興傳統技術，讓被棄置的過 剩布料起死回生。二人針對問題的挑戰都經過深思熟慮， 足以改變大家現有的評估紡織和衣服價值的既有心態。

looked so plain and boring, what they were wearing was very beautiful. Looking at the big piles of jeans that they produced, I wondered the value, both aesthetically and economically, of the garments I saw worn and made.

Japan, to be “ethical”, you need to cover 9 points; Fair Trading, Organic farming and production, Using upcycled and reclaimed materials, Using sustainable material, Working with craftsmanship, Making with local, Being animal-friendly, Trying waste-less, Contributing to a society.1 Anne Marr and Sudo Reiko, speakers in Session 3, are both artists as well as professors in their respective art

schools in London and Tokyo. Considering the problems in textile production, they have experimented to turn negative aspects in textile production into positive ones, through their methodology and research. They achieve this through and in collaboration with craftsmen, scientists, architects and women in developing countries. Yet, their practices are often overshadowed by the speed in the commercial cycle of fashion.

Why do we rush to buy products in fast fashion shops? The answer is simple; because they quickly supply the most updated mode with cheap price. We, however, have to consider how much is paid for producing the dress whose retail price is 100 HKD and how many steps are taken to be delivered it to us because most of us are no longer familiar with production processes of textiles and garments. Traditional textile production method is no longer part of our everyday lives in most of developed countries. Instead, it becomes intangible heritage in museums today. Textile and garment production belong to either big companies for mass production or small-scale design houses and artist studios.

Fig. 1 Garment factory in Bangladesh 2014 Photo by Takahashi Mizuki 孟加拉的製衣廠 2014 圖片來源：高橋瑞木

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不過我又想到一條問題，雖然須藤出於關注可持續發展的 環境和社會而研製紡織品，但究竟有多少普通消費者能夠 負擔她的產品呢？相比於大量生產的紡織品和衣服，她的 產品卻因為在生產過程經過多位工匠之手，因而變成奢侈 品，將製作成本反映在價格上。須藤回應我的提問，指 她領導的設計生產工作室 NUNO 會為產品定下「公道價 錢」，所謂「公道價錢」可以理解為「透明化價格」，表 示所定售價僅能維持資付工人合理工資、購入原料、運輸、 以可持續發展方式生產等各方面的成本。 聽過馬爾和須藤的報告，並與她們對話之後，我繼續思考 生產和消費紡織品需要甚麼，而為了建立可持續發展社會 和提高生活質素又需要甚麼。首先，對自己穿著的衣服要 更有好奇心，將對品牌和設計師的關注轉移到技術和原料 來源上。其次，想想衣服的益處也是有需要的，誰人能從 我們所穿的衣服得益呢？我們需要將益處擴展得有多廣才 可以惠及看不見的紡織業勞工呢？利益增長後工人可以獲 得甚麼益處呢？第三，我們需要媒介擔當生產者和消費者 之間的橋樑，如此一來，展覽、博物館、工作坊可以調和 兩者的關係，向消費者訴說紡織和衣服生產背後的故事。

In Session 3, Marr shared distinctive researches and practices with the practitioners in the Textile Future Research

Fig. 2 and 3

Centre at the University of the Arts where she is engaged

TextielLab in TextielMuseum, Tilburg, the Netherland, September 2016 Photos by Takahashi Mizuki

in as a vice director, while Sudo talked about where the materials for her textiles come from and how she

荷蘭，蒂爾堡，TextielLab in TextielMuseum，2016 年 9 月 圖片來源：高橋瑞木

has attempted to revive abandoned surplus fabrics and traditional techniques for her creations. Their challenges

invisible textile labours? What benefit will the workers get from the benefit accrued? Thirdly

are thoughtful enough to change our mindset as to how to

we need medias to bridge between the relationship between producers and consumers.

evaluate textile and garments around us.

In this way, exhibitions, museums and workshops can mediate this relationship and tell the

Yet, one question came to my mind. Although Sudo’s textiles are produced out of concerns

story behind textile and garment productions.

for sustainable environment and society, how many general consumers can afford to

For instance, TextielMuseum in Tilburg of the Netherlands exhibits historical factory objects

purchase her products? Compared with mass produced textiles and garments, her products

including machines in the old building, whilst there are new machines and devices for

sometimes become luxury items because her production process involves many craftsmen’s

textile production in the TextielLab of the new one (Fig. 2, 3). In the TextielLab, visitors can

hands and it results to reflect on the price. In answer to my question, Sudo answered

interact with weaving machines and watch the artists at

that NUNO, the design and production studio which Sudo leads, puts an “honest price”

work. TextielMuseum calls them “working museum”, and

on the products produced. The term “honest price” can be paraphrased as “transparent

位於荷蘭蒂爾堡的紡織博物館 TextielMuseum 就是一例，

they provide opportunities to see various experiments

前身為紡織工廠的博物館既會展出舊大樓的機器等具歷

price” which implies the retail price is just enough to cover a healthy wage for the workers,

and creative process which are usually out of sight. The

expenses to gain the materials and to pay for logistics, and sustainable production.

史價值的工廠物品，同時又在館內的 TextielLab 展覽當

TextielMuseum functions not only as a historical archive but

代紡織生產的新型機器和設備（Fig. 2, 3），遊客可以

also as a studio where new textiles are crafted.

在 TextielLab 與織布機械互動，親身看看藝術家工作。

After the presentations by Marr and Sudo and consequent conversation with them, I have

TextieLMuseum 稱自己為「工作中的博物館」，為遊客提

continued to consider what is required in textile production and consumption and what

Woven as history, power and social reality, textiles directly

is necessary to contribute to sustainable society and elevation of our quality of life. Firstly,

touch our skins and stimulate our senses to the world

enlarge curiosity to what we are wearing is important. We can direct our awareness

around us. Moreover, they also offer a clue as to how we,

not only to the name brands and designers, but also to the technique and the origin of

as consumers, approach global issues such as poverty,

materials. Secondly, imagination aligned to benefit is also needed; who will get the benefit

waste-less and environmental protection through the texture

紡織品直接接觸我們的肌膚，刺激我們的官能去感受身邊

from what we wear? How far can we expand the scope of the benefit to impact on the

and materiality. From the moment we wear a piece of

的萬事萬物，編織出歷史、力量和現實社會。紡織品又通

garment, we start a journey towards our future which is as

過質感和物料提供線索，讓我們明白如何以消費者角度，

much about ethics and responsibility as it is about our own

理解貧窮、減少浪費、保護環境等全球關注的議題。由穿

aesthetic pleasure.

上衣服的一刻開始，就是向未來出發，遵行道德和承擔責

供機會，觀看各種平時難得一見的實驗和創作過程。由此 可見，TextielMuseum 不僅是歷史資料館，還是製作新種紡 織品的工作室。

任，跟追求審美意趣同樣重要。

Endnote 註釋 1

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http://www.ethicalfashionjapan.com/about-ethical/

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Toward a new horizon in textile exhibition 紡織展覽新領域

由 Pleats Please、A.P.O.C. 起，以至近期的 Miyake Design Studio、Reality Lab 亦如是。是次展覽展出 Miyake Design Studio 的《132 5.》、《3D Steam Stretch》系列。《132 5.》 系列是與熱忱摺紙的工程師兼數學家三谷純合作開發。

Techstyle Techstyle Pamela A. Parmal

彭美拉．帕爾馬

波士頓美術館於 2013 年，將 Iris Van Herpen《Voltage》 系列中的「Anthozoa Dress」納為藏品。此藏品意義重大：

The Museum of Fine Arts, Boston, acquired Iris Van

打印製成的服裝，亦是與美國麻省理工學院 MIT Media

Herpen’s Anthozoa Dress from her Voltage collection in

Lab 媒體藝術與科學副教授 Neri Oxman 的合作成果。收

2013. The dress was a significant acquisition for several

藏「Anthozoa Dress」，意味着波士頓美術館 David and

reasons. It was the first 3D-printed garment to walk the

Roberta Logie Department of Textile and Fashion Arts 收藏的

Paris runways and it was made in collaboration with

新取向，同時肯定了波士頓高科技發展、工業中心的地位。

Associate Professor of Media Arts and Science at the

此裙亦啟發美術館 2016 年的展覽《#techstyle》。

Oxman. The acquisition of the Anthozoa Dress marked a

The introduction featured the work of Hussein Chalayan,

服裝，摺為各式平面。同場展出的作品來自《3D Steam

Issey Miyake, Alexander McQueen and Rei Kawakubo.

Stretch》，此創新技術受 Pleats Please 和 A.P.O.C. 啟發，

Chalayan and Miyake have explored new technology

可製作永久的褶痕。

throughout their careers and are well known for their

Hussein Chalayan 在 其 時 裝 生 涯 中， 一 直 和 技 術 專 家 合 作， 早 於 2007 年 連 同 Moritz Waldemeyer 創 作 首 批 「video dress」；近期則有和電子木偶（animatronics）專 家 Adam Wright 共同創作，於第三部分〈表演〉裏展出 的「Possessed Dress」。Chalayan 是「Remote Control」裙

「Anthozoa Dress」既是首度見於巴黎時裝天橋、以 3D

Massachusetts Institute of Technology’s Media Lab, Neri

三谷和 Miyake Design Studio 創作的系列，將本是立體的

展覽策展人包括：筆者 David and Roberta Logie

（1998）和「Airplane」裙（1999）的設計師；他和時 裝攝影師 Nick Knight 共同創作的錄像「Readings」，使他 成為首位棄用真人模特兒，改以錄像發表時裝系列的設計 師。「Readings」展示了 Chalayan 2008 年的春夏季系列， 概念是由崇拜名人和偶像所啟發。錄像以鋪滿施華洛世奇 （Swarovski）水晶玻璃的裙作結，裙擺將鐳射燈光反射到 觀眾身上。

innovative collaborations. Miyake is celebrated for his innovative work developing new methods of manufacturing textiles and clothing from Pleats Please and A.P.O.C. to the more recent developments of the Miyake Design Studio and Reality Lab. The show featured the Miyake Design Studio lines 132 5 and 3D Steam Stretch. 132 5 was developed in collaboration with the engineer and mathematician Jun Mitani who is fascinated by origami.

Working together, Mitani and the Design Studio created a collection of three-dimensional garments that fold into twodimensional forms. Also included was work from 3D Steam Stretch, a new technique inspired by both Pleats Please and A.P.O.C that creates permanent pleats.

Hussein Chalayan has collaborated with technologists

throughout his career including Moritz Waldemeyer with whom he created the first video dresses in 2007 and more recently with animatronics expert Adam Wright to create

Department of Textile and Fashion Arts 策展人暨部門主管彭

the Possessed Dress, which was featured in the Performance section of the exhibition.

美拉．帕爾馬、高級策展人 Lauren Whitley，以及 Penny

Chalayan was also responsible for the Remote Control and Airplane dresses of 1998 and

Vinik Fashion Arts 策展人 Michelle Finamore。展覽探索的

1999 and was the first designer to show his collection by video and not on live models

主題包括：當今時裝設計師作品中，時裝和科技的結合；

when he collaborated with the fashion photographer Nick Knight to create the video

科學家和技術專家一致對時裝的投入；服裝和布料生產的

Readings. The video introduced the designer’s Spring/Summer 2008 collection, which

新方法；數碼和電子媒體在時裝界日漸重要的地位。展覽

was influenced by celebrity and idolatry. The video ended with a segment showcasing

The exhibition was curated by the author, Pamela Parmal,

最終分為三部分，深思上述主題。第一部分介紹以科技創

Swarovski-crystal-encrusted dresses that reflected laser light back onto the audience.

Chair and David and Roberta Logie Curator of Textile and

作為題材的知名時裝設計師；第二部分闡述「生產」；

Fashion Arts; Lauren Whitley, Senior Curator of Textile and

第三部分以「表演」為題。

new collecting direction for the Museum’s Logie Textile and Fashion Arts Department and was also a nod to Boston’s important role as a centre of high tech development and industry. The dress also inspired the 2016 exhibition #techstyle.

Fashion Arts; and Michelle Finamore, Penny Vinik Curator of Fashion Arts. The exhibition provided a platform for the exploration of several themes – the fusion of fashion and technology as seen in the work of contemporary fashion designers, the concurrent embrace of fashion by

Video was also a key theme in the work of Alexander McQueen and was particularly important in his famous Spring/Summer 2012 collection Platos Atlantis. The collection

展覽第一部分，展出了 Hussein Chalayan、三宅一生、

included digitally-printed fabrics and 3D-printed shoes designed by HR Giger, the

Alexander McQueen、 川 久 保 玲 的 作 品。Chalayan 和 三

imaginative force behind the film Alien. McQueen, in collaboration with Nick Knight and

宅的時裝創作，一直探索新科技，又以創新的合作享負盛

his fashion video company SHOWstudio intended to live-stream the show, the first time

名。三宅嶄新的作品備受讚譽，以新技術製作布料及服裝，

for a catwalk presentation. They installed cameras on large moving booms that focused

scientists and technologists, new methods of clothing and textile production, and the growing importance of digital media and electronics in the fashion world. In the end, the exhibition was divided into three sections that reflected these themes. The first section provided an introduction to established fashion designers

on both the models and the audience and planned to cut in a video produced by Knight that opened the show. Unfortunately, an hour before the event, Lady Gaga tweeted to her millions of followers that her new single Bad Romance would premiere at the show. This caused so much traffic to SHOWstudio’s site, that it crashed the server.

who have included or addressed technology in their work. A second gallery focused on Production and third was titled Performance.

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錄像也是 Alexander McQueen 作品中的主要元素，在著

展覽的「生產」部分探索新近發明，且普遍應用於時裝界

名的 2012 年春夏季系列《Platos Atlantis》中尤其重要。

的技術，例如數碼印刷和鐳射切割。此部分同時介紹可能

系 列 包 含 數 碼 印 刷 的 布 料， 和 以 3D 打 印 的 鞋 履； 鞋

改變生產、購置服飾方式的新興技術，包括 3D 打印、電

的 設 計 師， 是 為 電 影《 異 形 》 注 入 豐 富 想 像 力 的 HR

子、自製電腦模型，以及用於循環再造和生產的永續技術。

Giger。當時，McQueen、Nick Knight 及其時裝錄像公司

While digital printing and laser cutting had important

SHOWstudio 打算在網上直播時裝表演，該為史上首次。

places in the exhibition, the first piece you actually saw

他們在大型吊桿上裝上攝影機，特寫模特兒和觀眾，更打

upon entering the gallery was Van Herpen’s 3D-printed

算插入 Nick Knight 製作的錄像作序幕。不幸地，網上直

Anthozoa Dress. Van Herpen’s garment is notable for the

播前一小時，Lady Gaga 於 Twitter 向其數百萬追隨者公

use of two materials in its printing to create both hard (white

佈，其全新單曲《Bad Romance》會於表演期間首播，

acrylic) and soft (black polyurethane rubber) textures. The

令至直播網站 SHOWstudio 流量過大，伺服器最終癱瘓。

The final designer featured in the introduction was Rei Kawakubo with her 2012 “flat” collection. This collection

「介紹」部分中最後一位設計師為川久保玲，展出作品是

was a critique of the growing importance of digital media

其 2012 年的《Flat》系列。此系列批判數碼媒體在時裝

in the fashion world and the fact that most people now

界地位日增，以及大多數人以平面熒幕感受時裝的現象。

experienced fashion on a two-dimensional screen. The

系列為剪裁平面、圖案搶眼的服裝，於平面熒幕上展示一

collection featured two-dimensional garments with bold

流，卻未必適合本為立體的身體。

graphic designs, perfect for display on a flat screen but not

「介紹」部分向觀眾展示業內主要設計師，同時強調是次 展覽的部分主題一合作、數碼媒體的影響，以及生產的 新方法。

the most flattering for a three-dimensional body.

The introductory space allowed us to present to our audience key fashion designers in the field, but also to reinforce some of our key themes – collaboration, the impact of digital media, and new methods of production.

The Production section of the exhibition explored newer technologies, which have, in recent years, become standard practice in the fashion world such as digital printing and laser cutting. It also featured emerging technologies that could transform the way we produce and acquire clothing and accessories including 3D printing, electronics, DIY (do it yourself) computer modeling, and sustainable technologies used in recycling and manufacturing.

The work of Mary Katrantzou was used to showcase digital printing and highlighted how digital media has influenced not only fashion, but fashion photography and

has progressed rapidly in the recent years. Digitally printed shoes and even dresses can be pulled out of the printer

由以數碼加工照片而聞名的攝影師 Erik Madigan 親自操 刀。同一部分展出的還有 SHOWstudio 的錄像《There’s Something About Mary》， 以 最 先 進 的 立 體 動 畫， 展 現 Katrantzou 的作品。展覽的鐳射切割部分中，重點之一是 Giles Deacon 於 2012 年春夏季系列的一襲裙：漆以銀色 的皮革，以鐳射切割出精細的喱士圖案，再以施華洛世奇 的水晶點綴。

and worn the same day. One of the most forward-looking

縱然數碼印刷和鐳射切割技術在展覽中位置顯要，但觀

garments in the show and one that points the way to the

眾步入展場，首件看到的作品卻是 Van Herpen 以 3D 打

future was the Somerville, Massachusetts, based company

印製作的「Anthozoa Dress」。Van Herpen 這襲裙裝的特

Nervous System’s Kinematics Petal Dress. The dress is

點，是由兩款物料打印，製造硬（白色亞加力）軟（黑色

composed of 1600 unique pieces that are interconnected

聚氨酯橡膠）兩種質感。裙子和披肩由 3D 打印的小型組

by more than 2600 hinges and, while it is made of

件構成，並非在打印後可即穿。在 2013 年，這是最先進

plastic, the small, hinged elements create a garment

的技術，但近年發展迅速。以 3D 打印的鞋，甚至裙子，

that fits and moves on the body. The dress was digitally

已可即時打印，即時穿上了。展覽中其中一件最具前瞻

printed in three parts that easily snap together, and, while

性、最能引領向未來的作品，為美國麻省薩默維爾的公司

the production method is revolutionary, what is more

Nervous System 所製的「Kinematics Petal Dress」。裙子由

significant is that the buyer can customize it with Nervous

一千六百塊完全不同的組件，以超過二千六百個鉸鏈接合

System’s online design software. The user can alter the

組成。雖然裙是塑膠製，但其細小、扣連的組件，配合人

shape of the garment by resizing the hinged elements and

體，穿着貼服。裙子分三件作 3D 打印，易於組合。此裙

by choosing their preferred neckline or hem. Once it has

的生產方法固然先進，但更嶄新的是，買家可用 Nervous

been designed, the buyer feeds in their measurements or a

System 的網上設計軟件度身訂造：調較鉸鏈的大小，揀選

body scan and a custom-designed and fit dress is printed

Erik Madigan Heck who is known for the digital enhancement of his photos. Also

The innovative 3D-printed garments and shoes of Nervous System, Francis Bitonti, United

laser-cutting, one of the highlights was a dress from Giles Deacon’s Spring/Summer 2012 collection made of silver coated leather laser-cut with delicate lace patterns and further embellished with Swarovski crystals.

Techstyle

wear. This was the state of the art in 2013, but the field

Katrantzou 於 2012 的《Expandit》 裙 作 品 圖 片， 便 是

for them.

Katrantzou’s work and was created using pioneering 3D animations. In the section on

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units; the ensemble did not come off the printer ready-to-

碼 媒 介 的 影 響 不 單 限 於 時 裝， 還 有 時 裝 攝 影 和 錄 像。

video. Accompanying Katrantzou’s 2012 Expandit dress was a photo of it taken by included was the SHOWstudio video There’s Something About Mary, which celebrated

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skirt and cape are both constructed of smaller 3D printed

展覽藉 Mary Katrantzou 的作品展示數碼印刷，強調數

Nude, and the young design collaborative ThreeasFour presented viewers with a look into one possible future for clothing manufacture.

The incorporation of electronics into wearables could also be found in this section of the exhibition. Ralph Lauren’s Ricky Bag with Light and Pauline Van Dongen’s Solar Dress both represented functional garments. The handbag included a detachable battery charger

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領口或衫邊的款式，從而改變裙的外型。設計完畢，買家

膠樽，製成牛仔服裝。此部分又檢視倫敦藝術大學 Textile

只須輸入其尺寸或 3D 身體掃描，一條度身訂造的稱身裙

Futures Research Centre 高 級 研 究 員 Kate Goldsworthy 的

子，隨即為買家打印。

作 品。 她 以 激 光 技 術 作 實 驗， 創 作 圖 案， 製 作 衣 服。

Nervous System、Francis Bitonti、United Nude，以 及 年 輕 設 計團隊 ThreeASFOUR 以 3D 打印製作的創新服裝、鞋履，

實驗尚在起步階段，但對往後將影響深遠。世界銀行估 計，多達百份之二十的海洋污染，源自漂染和加工業。 Goldsworthy 以激光製作布料圖案，並研究出數種技術，

world’s water pollution is a result of the cloth dyeing and

例如模板印和合拼層次等，製作一系列紋理、圖案。博物

finishing industries. Goldsworthy has been experimenting

電子融入服裝，亦見於此部分展覽。Ralph Lauren 的「Ricky

館邀請 Goldsworthy 為展覽創作一條裙，成品「Zero-Waste

with the use of lasers to pattern cloth and has developed

Bag with Light」和 Pauline Van Dongen 的「Solar Dress」，

Dress」是她和 David Telfer 合作成果，由生產到完成均用

several techniques such as stenciling and fusing layers to

and light source. When the bag is not in use the charger

均為功能性衣服的代表。「Ricky Bag with Light」內含一個

激光技術，服裝純以聚酯纖維製作，不含其他物料或化學

create a range of textures and patterns. The museum asked

can be removed and recharged so that it is ready and

燈和可拆的電池充電器。不用手袋時，電池充電器可拆出，

品，所以易於循環再造。Telfer 製作的圖案無污染，服裝

Goldsworthy to produce a dress for the exhibition and the

waiting the next day if an emergency cell phone charge

充電備用，以防緊急為電話充電的不時之需。Van Dongen

縫製精簡，節省資源。

resulting Zero-Waste Dress was designed in collaboration

is needed. Van Dongen’s Solar Dress provided the same

的「Solar Dress」具備同樣功能：背心上半截鋪上太陽能

function. The upper bodice is faced with solar panels that

板，將光轉化為電；太陽能板中嵌入一個 USB 插頭，可為

展 覽 的 第 三 部 分〈 表 演 〉， 展 出 與 穿 者 在 實 際 或 概

capture light and convert it into electricity. A USB port is

手提電話供電。此裙子可謂美觀實用兼得。

向觀眾展現未來服裝生產的可能。

integrated into the design of the panels and can be used to power or charge a phone. The dress is functional and beautiful at the same time.

Albert Kriemler 為 Akris 設計的 2014 年秋冬系列，同樣着 重可穿性和美感。Kriemler 和 Forster Rohner 合作，將他們 的刺繡科技，用於時裝表演的一系列服飾，每件嵌有小型

Wearability and beauty also characterize Albert Kriemler’s

LED 燈。刺繡呈螺旋狀，內藏供電和接駁的電線。系列受

Autumn/Winter 2014 collection for Akris. Kriemler

Thomas Ruff 以星際為主題的照片所啟發，並慶祝公司於巴

worked with Forster Rohner to incorporate their technical

黎展示作品滿十年。展覽中展出的晚禮服，為系列中較易

embroidery into a series of garments for the runway, each

穿戴的一件，表現在優秀的設計師和開發人員手中，科技

embedded with small LED lamps. The swirling embroidery

可以創造美輪美奐的衣裳。

designs incorporated the circuitry used to power and connect the lights. The collection was inspired by Thomas Ruff’s astral-themed photos and celebrated the company’s 10th anniversary of showing their collections in Paris. The

念 上「 互 動 」 的 衣 飾。 展 出 作 品 來 自 六 位 設 計 師： Iris Van Herpen、Ying Gao、T H E U N S E E N、Hussein Chalayan、CuteCircuit 和 Viktoria Modesta。 Van Herpen 與 Nick Knight、SHOWstudio、Daphne Guiness 共 同 創 作 的「Crystallization」 裙 裝， 以 及 Ying Gao 的《Incertitudes》系列，展示藝術家以服裝和科技為 創作媒介。Van Herpen 的裙裝，靈感來自將清澈的黑色水 潑至赤裸的 Guiness 身上，再以高速攝影機捕捉。藝術家 從錄像抽取硬照，依照相片以熱風槍，塑造透明黑色的確

with David Telfer as a closed-loop process. Produced and finished using laser technology, the garment remains 100% polyester and can be easily recycled due to fact that no other materials or chemicals are present. Telfer’s zero-waste patterns and the garment’s minimal seaming also conserve resources.

The third section titled Performance featured clothing that interacted with the wearer in both practical and conceptual ways. The work of six artists were included – Iris Van Herpen, Ying Gao, T H E U N S E E N, Hussein Chalayan, CuteCircuit and Viktoria Modesta.

〈生產〉中最後一部分，是 G Star RAW 為海洋而製的循

Van Herpen’s Crystalization dress, a collaboration with Nick Knight, SHOWstudio, and

環再造衣裝，審視永續性。此部分展示的《capsule》系

Daphne Guiness, and the ensemble from Ying Gao’s Incertitudes collection represented

列，是與 Pharrell Williams 的合作成果，以海洋中的垃圾

the work of artists who express themselves through clothing and technology. Van Herpen’s

tuxedo chosen for the exhibition was among the more wearable pieces in the show and illustrated how technology, in the hands of the right designer and developer can be used to create extremely beautiful clothing.

dress was inspired by black and white water splashed onto Guiness’s nude body, which was captured with a high-speed video camera. The artist then chose a still from the video and recreated the garment by manipulating clear and black PET plastic with a heat gun.

Ying Gao also incorporates an element of performance art in her designs. Her kinetic

The final section in Production examined sustainability with recycled clothing from

garments respond to noise in the environment. Electronic sensors react to the sound of a

G Star Raw for the Oceans. This section featured an ensemble from the capsule collection

nearby voice and activate the dressmaker pins covering the surface, causing them to move

designed in collaboration with Pharrell Williams that incorporated denim recycled from plastic bottles recovered from the ocean. This section also examined the work of Kate Goldsworthy, Senior Research Fellow at the Textile Futures Research Centre at the University of Arts, London. Goldsworthy is experimenting with laser technology to both pattern

and flux in waves. The surprising, prickling motion points to Gao’s interest in expressing ideas about the modern experience through a use of technology in fashion. According to Ying Gao, both the spectator, as well as the wearer, engage in a curious conversation “filled with misunderstanding and uncertainty.”1

and construct clothing. Her work in is the most preliminary stages, but it could have far reaching effects on the future. The World Bank has estimated that as much as 20% of the

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涼塑膠，製作裙裝。Ying Gao 的設計，同樣融入表演藝

此部分同時展出 T H E U N S E E N Lauren Bowker 的作品。

術的原素；其動能衣裝，隨身邊聲音改變。當電子感應器

Bowker 對化學感興趣，受訓於布料設計，於 2012 年成

探測到附近聲音，它會使裙上的裁縫針有如波浪般擺動。

立設計公司。T H E U N S E E N 的產品，採用 Bowker 研

這些看起來令人產生驚奇甚至是疼痛感的動態表達，反映

製的墨，隨外界不同因素變色。此墨起初為探測二氧化碳

出 Ying Gao 對於當代用科技探索時尚邊界這種手段的濃

而開發，並曾用於漂染一外套，隨空氣中的二氧化碳變色，

烈興趣。Ying Gao 說，不管是旁觀者，或是正穿着作品

以視覺表現空氣污染。是次展覽展出兩件作品《Bird》和

的人本身，都可以通過裙的動態，展開「充滿錯覺、不確

《Beetle》， 也 來 自 其 2015 年 的「AIR」 系 列。《Bird》

定」的奇妙對話。1

Hussein Chalayan’s Possessed Dress also explored the influence of outside forces on the human body. Chalayan

colour as the amount of CO2 in the air changed – a visual

Hussein Chalayan 的「Possessed Dress」，探索環境因素

designed the dress for the dance Gravity Fatigue

manifestation of the pollution in the atmosphere. Exhibited

對人體的影響。他為舞蹈《Gravity Fatigue》設計此裙，舞

performed by Sadlers Wells Ballet in November 2015. It

were two pieces from her 2015 AIR collection, the Bird

隨環境中的空氣流動變色，而《Beetle》則隨濕度、光度 和溫度變色。Bowker 的作品，可謂科學、時裝全新結合 的最佳例子。

蹈由 Sadlers Wells Ballet 於 2015 年 11 月演出。裙裝受

was controlled by robotics and moved independently of the

and the Beetle. The Bird changed colour in response to

展覽以藝術家 Viktoria Modesta 的作品作結，其創作蘊含

機械控制，自行舞動，不受舞蹈員影響。Chalayan 稱，

dancer. According to Chalayan, the garment represented

changes in air currents, while the Beetle’s colours changed

是次展覽要旨，以及當今時裝、科技的結合。Modesta 自

作品代表「一條裙的內在力量……影響、改變穿者的行

“the innate powers a dress can have…to influence and re-

in response to humidity, light, and temperature. Bowker’s

言自己是位「多媒體藝術家、模特兒、彷生電子（bionic）

為」。2

appropriate the behavior of its wearer.”2

work epitomizes the new fusion of science and fashion.

女子」，出生時足部受傷。她自小受傷患困擾，決定割

Chalayan 的「Possessed Dress」 舞 動 不 受 穿 者 影 響， 而

While Chalayan’s Possessed Dress moved independently

The exhibition closed with the work of an artist who

CuteCircuit 的「MFA Dress」則由穿者操控其活動。用於

of the wearer, CuteCircuit’s MFA Dress, was controlled

embodied the spirit of the show and the current fusion of

「MFA Dress」的 LED 技術，可用智能電話或平板電腦的

by the wearer. Using LED technology controlled by an

fashion and technology, Viktoria Modesta. Modesta, a self-

應用程式操控，改變裙上的圖案。CuteCircuit 的 Francesca

app on the iPhone or iPad, the wearer can change the

described “multimedia artist, model, and bionic woman,”

Rosella 和 Ryan Genz 開發技術，可毋須電線，於衫上裝

pattern of the garment. Francesca Rosella and Ryan Genz

suffered a leg injury at birth. Plagued throughout her life,

上多達一萬盞微型 LED，保持衣衫柔軟妥貼。博物館委約

of CuteCircuit have developed technology that allows

she decided to have her leg amputated below the knee.

因空間所限，是次展覽展品精心挑選，每件作品背後，

創作「MFA Dress」，又與設計師合作，製作裙上的錄像；

them to incorporate as many as 10,000 micro-LED’s into

What some would call a disability, she has embraced.

都蘊含着故事。觀眾反應踴躍，參觀者眾；觀眾不只是粗

觀眾可用 iPad 操控。其中一組效果最佳的影像，為葛飾

their garments without using any wires so that the clothing

Her prostheses have become an extension of her persona

略觀賞，更駐足細閱介紹，討論展品。觀眾的反應，證明

北齋的浪花，在裙上無瑕地循環轉動。

remains pliant and drapes well on the body. The museum

and the ultimate fashion accessory. She is also a fellow

他們受展品啟發，參觀後對將來有所期盼。

commissioned the MFA Dress and worked with the

at the MIT Media Lab and is working with Hugh Herr

除一邊膝蓋以下的腿部。其他人或會稱之為「傷殘」， 她卻欣然接納缺失。其義肢成為她的標誌，終極的時裝配 飾。她是美國麻省理工學院 MIT Media Lab 的研究員，與 Hugh Herr 及 The Biomechatronics Group 共事，開發結合 生理學（physiology）和機電學（eletromechanics）的義肢。

designers to develop video sequences, which the museum’s visitors could control using an

and the Biomechatronics Group to develop prosthetics that merge human physiology with

iPad. One of the most effective images was that of Hokusai’s wave, which moved around

electromechanics.

the dress in one seamless motion.

Because of limited space a conscious effort was made to select objects for the exhibition

The gallery also featured the work of Lauren Bowker of THEUNSEEN. Bowker, interested

that had strong stories. The audience responded. The show was well attended and people

in chemistry and a textile designer by training, opened her own design firm in 2012. The

did not simply pass through the gallery, but stopped to read labels and discussed the

group’s products feature inks developed by Bowker that are sensitive to a range of external

work on display. Visitor comments show that people were inspired by the work and left the

forces that cause them to change colour. The ink was originally developed to detect CO2

exhibition optimistic about the future.

in the atmosphere. It was used to dye a jacket, which when worn outdoors, changed

Endnotes

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註釋

1

See http://yinggao.ca/interactifs/incertitudes/(last access date)

1

http://yinggao.ca/interactifs/incertitudes/(last access date)

2

Proposal for creation of the Possessed Dress by Hussein Chalayan, David and Roberta Logie Department of Textile and Fashion Arts, object file 2015.2399.

2

「Possessed Dress」計劃書，Hussein Chalayan, David and Roberta Logie Department of Textile and Fashion Arts，藏品 2015.2399。

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The exhibition #techstyle at the Museum of Fine Arts, Boston 6 March 2016 to 10 July 2016 Henry and Lois Foster Gallery Photograph © Museum of Fine Arts, Boston 波士頓美術館展覽「#techstyle」 2016 年 3 月 6 日至 7 月 10 日 Henry and Lois Foster 畫廊 圖片版權：美國波士頓美術館

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彭美拉．帕爾馬 波士頓美術館 David and Roberta Logie Department of Textile and Fashion Arts 策展人

彭美拉·帕爾馬（Pamela Parmal）自 1999 年起擔任波士 頓美術館（MFA）副研究員，直至 2004 年出任策展人 暨部門主管，再於 2014 年獲委任為 David and Roberta Logie 紡 織 及 時 裝 藝 術 部 門（David and Roberta Logie

Pamela Parmal Curator, David and Roberta Logie Department of Textile and Fashion Arts, Museum of Fine Arts, Boston

Department of Textile and Fashion Arts）策展人。她負責 管理館內豐富的紡織品及服飾珍藏，當中精品包括秘魯

Pamela Parmal, Curator, David and Roberta Logie

紡織品、日本和服、十八世紀歐洲及美國繡花工藝品及

Department of Textile and Fashion Arts, Museum of Fine

羊絨披肩。

Arts, Boston

她策劃過多場展覽，包括 2006 年「Fashion Show: Paris

Pamela Parmal began work at the MFA in 1999 as

Collections」、2012 年「The Embroideries of Colonial

Associate Curator, became Curator and Department

Boston」及 2016 年「#techstyle」。帕爾馬在紐約時裝

head in 2004 and was appointed Chair of the David and

學院取得碩士學位，亦是威斯康辛大學藝術史及法語學

Roberta Logie Department of Textile and Fashion Arts in

士。在出任波士頓美術館一職前，她曾先後擔任羅德島

2014. She oversees an encyclopaedic collection of textiles

設計學院藝術博物館的助理及副研究員；她在該館曾為

and dress, the highlights of which include Peruvian textiles,

美國國家人文基金會（NEH）資助的展覽及圖錄「From

Japanese costumes, 18th century European and American

Paris to Providence: The Tirocchi Sisters Dressmaking

embroideries, and cashmere shawls.

Shop」的計劃階段擔任聯合項目負責人；此外亦策劃了 展覽「geoffrey Beene」，並為展覽撰寫圖錄。

She has curated a number of exhibitions including “Fashion Show: Paris Collections” in 2006; “The Embroideries of Colonial Boston” in 2012; and “#techstyle” in 2016.

Parmal received a Masters Degree from the Fashion Institute of Technology in New York City. The University of Wisconsin granted her BAs in Art History and French. Before taking her position at the MFA, she worked as Assistant and then Associate Curator for the Museum of Art, Rhode Island School of Design where she served as co-project director during the planning stages for the NEH funded exhibition and catalogue, “From Paris to Providence: The Tirocchi Sisters Dressmaking Shop”, and curated the exhibition “Geoffrey Beene”, for which she also wrote the accompanying catalogue.

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Fig. 2

「新」

Sheila Hicks Conversation – East/West & West/East Cotton, ramie, silk Two panels, each 480 × 330 cm Manufacture: La Fabrica, Denburg Art Space, Guatemala 2016 Original design made by Sheila Hicks in France and India, 1973 Original Title: Will Bertheux, silk, wool, 23 × 17.5 cm Courtesy of the artist

“New” The Extraordinary out of the Ordinary

劉瀟

扺達印度

希拉·習克斯 對話 – 東方 / 西方 & 西方 / 東方 棉、麻、絲 兩片，各 480 × 330 厘米 製作：La Fabrica, Denburg Art Space，危地馬拉 2016 原始設計：希拉·習克斯（在法國和印度），1973 原始標題：Will Bertheux，絲、羊毛，23 × 17.5 厘米 鳴謝：藝術家

Liu Xiao

2015 年 10 月，我第一次踏足印度的土地，尋找以無畏 之靈充滿一個個具有生命感的纖維雕塑。柔軟天然的麻線 經由藝術家之手編織塑造而成，向我傳遞了一種編織產生 的力量。這些力量來自於柔韌的蒲草，以及一雙易倦的

Arriving in India

手。1970 年代中期，穆科傑以黃麻或大麻線編織的作品，

In October 2015 I arrived in India. I was searching for

首次引起了國際關注。她以精巧的手藝把材料製作成立體

sculptures that had been vividly made with a fearless spirit.

的藝術品，跟傳統的工藝品截然不同。人們經常把這些

Thanks to an artist’s magic hands, the soft and natural linen

When looking at Mrinalini Mukherjee’s fibrous sculptures,

綢博物館、中國美術學院美術館（Fig. 1）。展覽的主題是

藝術品看作印度廟宇及路邊寺廟裏的高大雕塑；那些藝術

threads are transformed into fibre art, enabling me to feel

I think about another but related question how to weave,

「我織我在」。編織是門專業，展覽述說了編織工人與製

品的形象突兀、峭立，他們的骨骼一覽無遺。它們熾烈的

the strength of weaving. To me this strength comes from

how to evaluate the end result of weaving, and how to

做編織品的歷史，當中牽涉到原材料，也包含先進技術。

存在着、沸騰着、但同時靜默着，蘊含強大的生命力。

both the soft cattail leaves that were used in the work and

make it into an art form? What exactly is artistic weaving?

在穆科傑的手中（可惜的是，她的作品未能在三年展中展

大家也許想到，我提到的藝術家就是姆娜里尼．穆科傑

the hands roughened by that work. In fact, Mukherjee, first

What do artists think of turning their weaving into art? I turn

出），編織不但能製造平面織品，也能製作立體織品。

came to international attention in the mid-1970s with work

to the Christian Bible to know that there isn’t anything new

她的作品體現了現代線纖藝術的技巧和實驗特性。

了有關南亞纖維藝術的提問。

in jute, or hemp fibre, estranging the material’s traditional

under the sun and I reflect on the fibre art or the weaving

看到穆科傑的纖維雕塑時，我的腦海浮現出一個又一個問

artisanal connotations by the playful ways in which she

art I have seen to suggest that I am talking about in this

harnessed it as a medium for three-dimensional form.

essay is nothing new at all. However, I am still left with a

在《 我 織 我 在 》 的 展 覽 中， 焦 點 藝 術 家 是 希 拉． 希 克

They are often thought to reference high Indian temple

question, what make these ordinary things so extraordinary

斯（Sheila Hicks）。她是法籍美國藝術家，活躍藝壇逾

sculptures to wayside shrines. The sculptures I saw were

after all?

六十載，對 1960 年代的線纖藝術發展有很大的貢獻，

（Mrinalini Mukherjee，1949-2015）。 穆 科 傑 為 我 解 答

題：怎樣編？編得怎樣才算得上藝術？藝術家的編織是怎 樣進行？他們對編織的體會又是甚麼？正如《聖經》所說， 太陽之下無新事，那麼我們此刻談「纖維藝術」或者「織 的藝術」，也並不是新鮮之物，那麼，如何能夠找到「新」 之處呢？

stood proudly, voluptuous and high, their skeleton frame exposed completely to the eyes of the public. We can feel the power of life through such sculptures, they are both

作為第二屆杭州纖維藝術三年展（2016 年 9 月 26 日至

enormous yet silent. The artist whose work I cite here is,

10 月 25 日）的策劃人之一，在我研究的過程中，這個疑

not surprisingly, Mrinalini Mukherjee (1949-2015). She

問一直困擾着我。這次的展覽地點有浙江美術館、中國絲

answers my search for fibre art in South Asia.

It is a question that stayed with me throughout my research

希拉．希克斯：顏色的遊戲

至今仍然創作不斷（Fig. 2）。

as one of the co-curators for Second Hangzhou Triennial

我相信，希拉從不預設自己要去編織甚麼，對她而言，

(26 September-25 October 2016) at the Zhejiang Art

編織是顏色的遊戲，是線的交響。在她日復日的編織中，

Museum, China National Silk Museum and the Museum of

秉持着絕對的興趣，專心致志。她不尋找題材一因為顏

China Academy of Art (Fig. 1). The Second Triennial had

色就是她的核心。然而，正是這種無求，更顯示出通過編

a very distinctive theme, “Weaving & We”. “Weaving”

織而獲得的戲劇性力量。希拉帶着她的感官，走進無限的

is a special practice. It tells stories that combine a history of textile labour and production with human experience.

It tells these stories with raw materials and advanced technology. In Mukherjee’s hands (sadly here work was not available for the Triennial), weaving was both a two-dimensional fabric and a method of three-dimensional shaping and displayed the techniques and the experimental characteristics of modern fibre art.

Sheila Hicks: The Colour Game One of the major artists shown in “Weaving & We” was Sheila Hicks, the Paris-American artist who played a central role in the development of fibre arts in the 1960s and is still actively working today in a career of over 60 years (Fig. 2).

Fig. 1 View of 2016 Hangzhou Triennial of Fibre Art, Courtesy of HZTFA 2016 年杭州纖維藝術三年展展覽圖片 鳴謝：杭州纖維藝術三年展

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顏色和材料，以及更大的世界裏。她的所見所聞是：世界 的顏色，以及遍佈各地的雙手。希拉本來修讀人類學， 後來轉研繪畫，1957 年於耶魯大學藝術學院取得藝術創 作學士學位。在前哥倫比亞學者喬治．庫伯勒（George Kubler）的影響下，又轉去修讀編織。庫伯勒教導她說， 要「把一切人造的事物看作藝術」。當她還是研究生時， 就走遍南美各地，到訪考古遺址，學習原住民的編織技 藝。如果我們不能欣賞希拉的色彩世界和她的原居民編織

I firmly believe that Sheila Hicks doesn’t have any preconceived idea about what she is about to weave. To her weaving is the colour game or what I call, a symphony of threads. She weaves day after day with single-minded devotion. She doesn’t search for any particular topic to inform her art works rather colour is the core of her artistic creation. It is exactly because of her carefree attitude that

黃大清：用雙手禮讚生活 黃大清是浙江安吉縣山裏的一個竹編師傅，曾經到非洲教 導工人學習竹編器物。兩年之後，回到安吉，開始為各種 藝術家和設計師製作竹編的「新器物」，這些器物被稱為 新藝術和新設計。隨之而來的是媒體的聞風而動，一種民 間手藝與走在媒體和潮流之前的熱點。可是矛盾和質疑之 聲開始出現：他替設計師和藝術家編織的就是「美」嗎？

Huang Daqing: In Praise of Life with His Hands Huang Daqing is a bamboo artist at Anji County in

藝術，她的作品就只是線；心懷欣賞，編織則成為串連線、

提問者所追求的也許是對傳統手工藝的一套固有看法，

Zhejiang Province. He once spent two years teaching

顏色和人類的語言。

工匠的生產、姿勢、工作的意義，是一種廉價的手工藝，

bamboo weaving skills to African workers. After his return

唾手可得。而這樣的手工藝，恰好是被推到這樣的現實面

from Africa, he started making new bamboo artworks that

前：塑膠製品取代了一切。他們並非不屑一顧地去製作，

were custom-made for artists and designers, something that

他們只是編一些籃筐、保溫瓶套、掃帚而已，但取代他們

was classified as trendy art or design when customary steel

手工藝的，是快速和無生命的大量製造。

chairs in contemporary patterns were reinvented though

她的創作靈感源於各種顏色和材料，各有自己的歷史、 傳說、自然，希拉分辨出每一條線、每一根羽毛的氣質、 脾性和感情。從她自身的經驗出發，編織這些具有戲劇性 和生命力的故事；藉着編織，把這些豐盈的獨立故事，串 連成與眾不同的整體。在新的編織品中，我們看到了新的

然而通過黃大清等師傅的雙手，運用了不同的編織形態和

形式和新的平衡。所以在希拉這裏，「新」就是每天。

形象技能，通過組合和拆解，組成一件件東西。在中國過

enables me to see the dramatic power of weaving. By giving full play to her sensory ability, Hicks can explore deep into the world of colours, the world of materials, or the even vaster the world of infinity. She is fascinated by the colours and the great many hands that are engaged in weaving around the world.

A former student of anthropology, Hicks graduated as a painter at Yale School of Art in 1954 but turned to textiles under the influence of pre-Columbian scholar Dr. George Kubler, who taught her to “embrace the whole of human-made things as art.” Her research

去的經濟和文化發展方面，竹扮演着重要的角色。安吉這 個城鎮種植了許多不同種類的竹樹，人們的日常必需品都 離不開竹枝。無論藝術與設計是怎樣的世界，黃大清還是 那個用編織的雙手去換取生活的人。我們可以想像他們在 每天平靜生活中的自由，手持具體的「存在物」，找到他 們與編織的聯結。這樣的生活敦促着他，用豐富和美滿的 技藝，去換取一件日常生活器物之外的「新」物品。

of colours and indigenous weaving, they are nothing but threads; however if we do, weaving can become a language of threads, colours and people.

with W&Q who explore the position of traditional folk handcraft, to evaluate the relationship between traditional and local designs. Daqing’s new artworks immediately attracted media attention, being dubbed as a trendy traditional folk art. However, amidst his sudden fame, people started to ask a challenging question – Do Huang’s new weaving artworks created for designers and artists contain real aesthetic value?

It is likely that those people asking this question all have

led her to tour South America as a student in 1957 where she visited archeological sites and learned techniques of indigenous weaving. If we fail to appreciate Hicks’s world

the convention of bamboo handicrafts. This was his work

a stereotype of traditional craftsmen – their way of production, posture, purpose of work and the handicrafts that are low-value and readily available; but they have no idea that these handicrafts have been exposed to a very harsh reality – the reality that plastic products dominate this world. In the past traditional

Hicks uses a great many of colours and materials, each with their distinct historical

craftspeople were making basketry, vacuum bottle covers and broom, but this kind of

background or legend; while Sheila truly acknowledges their unique texture, temper or

traditional production was replaced by fast but lifeless mass manufacturing.

sentiment behind each thread and each feather. From her own experience, she knows that through weaving, many separated stories, including dramas and the stories of life, can be transformed into a new and independent entity. When taking a closer look at these new woven objects, we can see the transformed format and a new equilibrium. For Hicks, the extraordinary takes place every day.

However, through the hands of Huang and other craftspeople, the use of different types of weaving techniques and bamboo materials are assembled and dismantled but we should remember that bamboo has played a tremendous role in the economic development and cultural enhancement in Chinese history. Anji, a town of bamboo in China, is most densely covered with a large variety of bamboo and this closely relates to many aspects of people’s necessities of life.

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Fig. 3

帶着自己幾乎快要廢棄的紡織手藝，成為了新成立的婦女

Women in Ten Mile Inn are Practicing Weaving, 1950 Courtesy of David Crook

協會主席最合適的人選。協會的主要任務是教婦女紡線織 布，原材料和設備的款項由當時剛成立的村合作社提供，

十里店的女人正在織布，1950 鳴謝：David Crook

技術由王雪德和幾個精通紡織的姐妹負責支持。從 16 歲 到 50 歲的所有婦女都符合條件，她們開展這種後勤工作， 還能取得一定的報酬。十里店的婦女過去因缺乏本錢， When she was still a young girl, Wang had acquired

以及城市機器大量生產的競爭而被迫失去職業，現在重拾

superb weaving skills. In the 1920s, hand weaving

這種技能並賴以為生。經濟地位的改善，成了十里店婦

workshops in the countryside were not affected by the

女開始解放的最強有力的因素。對當時的社會境況來說，

industrialised use of looms in the cites; however that was

編織無疑為新社會帶來了新景象。

far from a peaceful time, Wang’s father was shot dead

by Japanese soldiers, because he wore a light blue suit that looked similar to the uniform of the Eighth Route Army. Wang’s husband was later captured by Japanese and disappeared for good when doing business in other places. She suffered a lot from her mother-in-law and a widespread famine, ending up becoming one of the most loyal supporters of Chinese Communist Party. She was the most suitable candidate to lead the Women’s

十里店的織女：織機的生命

Association. The main duty of the association was to teach

現在，我想說一個故事，跟本文開頭所講的很不一樣。

weaving skills to local women. A newly set up farmers’

大衛．柯魯克（David Crook）和伊莎白．柯魯克（Isabel

co-op was responsible for the purchase of raw materials

Crook）伉儷在 1948 年春作為觀察員採訪河北十里店村 土改複查，在他們的拍攝與寫作中，記錄了一位名叫王

In that region. Perhaps they are Daqing’s objects that are

雪德的女性和她所帶領的婦女編織團隊。在這個村莊裏，

not widely used in everyday life, globally, but regardless of

婦女、生產、解放和抗日通過紡織緊緊地聯繫在了一起

a discussion around their aesthetic value Daqing is making

（Fig. 3）。

a living with his work. We can imagine another kind of

當王雪德還年輕時，已經熟悉紡織這門手藝。當時仍是 二十世紀初，鄉村的手工織布還未受到城市織布機器化的 衝擊。但時代並不平靜，父親因為身穿和八路軍相似的淺 藍色套裝，被日本人槍殺。因為家傳的織布手藝，她的丈 夫外出做布料生意時，又被日本人抓走，從此杳如黃鶴。 後來，她受不了婆婆的壓迫和饑荒的折磨，成為十里店最 早和最積極擁護共產黨的人員之一。深諳村中情況的她，

daily life, one in which someone weaves quietly in search for freedom. I suggest that this freedom enables them to find the connection between their daily chores and the finished woven products. By doing so, Daqing is able to further perfect his weaving skills in exchange for new kinds of objects that are beyond ordinary daily items.

Woman Weavers: The Life of Loom Here is another story which is very different to the one I

opened with at the beginning of this essay. In the spring of 1948, David Crook and his wife Isabel Crook were invited, as observers, to report the land reform taking place in Ten Mile Inn in Hebei Province. They accidentally kept a video footage of Ms. Wang Xuede and a women’s weaving team led by Wang.

In the village, women, mass production, the liberation of China and War of Resistance Against Japan

and equipment, while Wang and other women would teach weaving skills to local farmers. Any woman, aged between 16 and 50, could join this weaving program and

然而，當我們再回到今天的十里店，折射出的是一張中國 地圖一無論男性和女性，早已離開農田與手工業，包括 曾經給予女性地位的織機與針線。這時候的十里店，早已 被華北地區高聳着煙囪的鋼廠蠶食。織機早已不復存在， 靈動而生命的雙手，早已沾滿灰塵。這些塵土在華北的霧 霾天空飄蕩着，籠罩整個村莊。 海蒂．沃特：非專業編織 編織是這樣的一種技藝或記憶：當身體和大腦掌握了這門 技能，身心合一，忘然如呼吸；就好比人們掌握了開車 之後，便會說「我也不記得是怎麼把車開回家的」。學會 做一件事情的過程，有時是解釋不了的。從笨拙到熟練， 再到爐火純青、胸有成竹一再到開始上手時，會發現這 也是一種對技藝的遺忘，不知如何，便抵達了終點。

earn a regular payment from their weaving works. In the past local women barely made ends meet, as they were unable to raise enough funds to start their own businesses and not a strong competitor for mass production of textile in the cities. The picking up of ancient weaving skill enabled them to sustain their living; while the improvement of their economic status was the driving force behind the liberation of women in Ten Mile Inn. Under the social setting at that time, weaving no doubt became a clear signal in ushering in a new society.

However, when we return back to Ten Mile Inn today, we are seeing the epitome of China’s economy – both men and women have abandoned their farm lands and handcrafts personship the loom and needlework. These skills were essential to improve women’s status. Now, Ten Mile Inn has become part of the properties owned by steel mills. The looms are gone; those busy and work-roughened hands are now covered with dust. The entire North China region is covered by a hazy mist, and the Ten Mile Inn is no exception.

were closely connected with weaving as I go on to tell (Fig. 3).

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然而，我們也看到愈來愈多的藝術家使用編織，而非從編 織開始。材料得以拓展，而編織的意義在當下的藝術展示 中，也獲得了新的運用。海蒂．沃特（Heide Voet）在比 利時布魯塞爾及台北生活、工作。在第二屆的杭州三年展 裏，她用了彩色膠袋作為展品。沃特用五百年後才能分解 的彩色塑膠袋，編織了不同國旗一這些國家都已經在地 Heode Voet: Non-professional Weaving Weaving is an acquired skill through the coordinated efforts of both the body and the mind. By analogy, when someone has “mastered” the skill of driving he or she might say “I have no idea how I have driven the car home,” such is the tacit experience of the action was learned.

Skill improves gradually practicing for a long time. For beginners, the learning process is also an art of forgetting; for some reason the skill can be acquired in a mysterious way though usually it is a life time of daily practice.

More and more artists are applying weaving techniques to their art work. It has become a noticeable trend. However, they are not professional weavers. Their weaving materials

圖消失，換言之，這作品旨在紀念只存在於歷史中的政治 體系。而在編織的領域中，圖像化的表達方式並不新鮮， 這手法向觀眾們呈現了一種思考的模式。觀眾不理會誰是 藝術家或編織者，對這件作品的評價不從編織入手，而是 專注於作品藉圖像和語言所表達的含義；換言之，觀眾要 注意的，是編織的藝術，並非藝術的編織。藝術是一種改 變編織的實踐，而不僅僅是藝術家回到編織原初的專業狀 態。這是編織面臨的詭譎，也是與之相關的藝術展覽面對 的新情況一如何不被圖像和符號佔領。 然而，編織是比符號和圖像離我們遠得多的領域，所以在 現代的藝術展示中，非專業化是一個潛在的趨勢，或者 說已成為現實。專業的編織者會看其編織方法、精緻度、 材料與技法的突破，這是屬於一個編織者的驕傲。

新式編織，新的世界 舉辦第二屆杭州纖維藝術三年展的目的，既為了發掘新的 作品、發現尚不可知的編織者，和探索創作的新途徑。我 們會發現，在似乎大範圍的衰落和消失中，各個地方和群 體能夠承襲下來的生活，除了通過大眾媒體被展示之外， 也在藝術中獲得閃光。這也讓我們看到纖維藝術的發展潛 力。我們看重其背後所伸展開的生活方式和思維方式，無 論其持久與否，都是一種提醒。我們看待衰落的方式在藝 術與設計的展示中得到提醒，而編織者則從中能獲得一些 新生。機器大量生產的紡織替代了手工編織。有時候我們 僅僅將前者看成是破壞的力量，有時候，卻又提供了一種

However weaving is an art form that is far away in our

更響亮的對雙手的禮讚。手，無論在物質貧乏時期或者豐

daily life compared to imageries and symbols; therefore in

富過剩時期，都面向未來，為有形世界織造溫暖。

today’s art exhibition, de-professionalization has become

編織着的那個世界，是織者尋找並捍衛的團體一無論是 專業還是非專業，無論是愛好還是生命依存。在編織的世 界，無論展示的是甚麼，都是以一種方式為先決條件一 編織的能量，它並不需要通過符號來證明其編織的意義， 因為編織就是它自身的圖像、符號與藝術。在編織的世界 裏，與編織有關的活動也是一門具有實際價值的知識。強

are different, and weaving is given new meaning in artistic

烈的編織感和獨特的編織法是可以被欣賞的，它可以是不

display. Heide Voet, who lives and works in Brussels and Taipei, used colour plastic bags

再流行，但仍有自己的知識系統和生命系統。

in her installation in the second Hangzhou Triennial. The bags would only degrade in 500 years. The national flags she wove were for countries that had disappeared for good. In other words, she tried to pay homage to countries that used to have thriving history.

an underlining trend, or has already been a reality. Only professional weavers are sensitive enough to notice the breakthroughs in terms of weaving methods, accuracy, raw materials and weaving skills, which is the pride unique to professional weavers.

New Weaving, New World The Second Hangzhou Triennial of Fibre Art was designed to discover new artworks and introduce to the public weavers that are unknown from places with long weaving

history. It is true that weaving has declined or disappeared dramatically in recent years.

For those places or interest groups that are strong enough to inherit weaving arts, their

Graphic design is nothing new in the weaving world. It has enabled artists to present

ways of living have been exposed to public eyes, enabling us to see the glittering

their ways of thinking to audiences. Audiences are keen to learn more about the graphic

potential of fibre art. However, what matters most is their way of living and way of

design and the hidden meaning behind its visual language, but not who the artists or

thinking, regardless of their sustainability; it is a kind of reminder. We are made aware

weavers are. On the other hand, the fibre art is not artistic weaving. The art is a kind of

of a declining art form, on the one hand whilst some weavers are witnessing a rebirth.

practice that tries to transform weaving, not requiring artists to return back to the primitive

The machine does indeed replaces a lot of manual work in weaving. In the Triennial this

condition of weaving. This is exactly the dilemma of weaving nowadays, or weaving

is exactly why we examined machine weaving as a destructive force; on the other hand,

related art exhibitions. The question is how not to be occupied merely by imageries and

machine weaving can be also interpreted in praise of hands. Capable hands, regardless

symbols.

of scarcity or place, are ready to embrace the future and produce the warmth of a tangible world.

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劉瀟

由此，我們是否可以這樣來構想，通過編織，我們是否可 以重新構建一個新的藝術地圖？編織的地方不是紐約、

2016 年第二屆杭州纖維藝術三年展策展人

北京、倫敦、巴黎，這些是流行的藝術中心；編織的地方 是德里、杭州、危地馬拉、墨西哥的瓦哈卡。在當地， 編織是一種尊嚴，也是生命的意義。

Liu Xiao

劉瀟（2016 年第二屆杭州纖維藝術三年展策展人）

結論

Curator, 2016 Hangzhou Triennial of Fibre Art

劉 瀟 是 2016 年 第 二 屆 杭 州 纖 維 藝 術 三 年 展 策 展 人、 2014 年第十屆上海雙年展「社會工廠 」聯合策展人、

顏色、雙手、織機、地域，都成為我構思《我織我在》

The weaving world is a private realm for many weavers

（Weaving & We）展覽時，嘗試找到編織具有獨特的形

around the world, both for professionals and non-

Liu Xiao is the Curator of the Second Hangzhou Triennial

式的生命要素，為這以編織為核心的展覽提供一種心理景

professionals alike. For weaving fans and weavers

of Fibre Art in 2016, the co-curator of the “Social Factory:

觀、視覺景觀。我們的方式是通過與編織產生關聯，從編

who have to rely heavily on weaving, this is true. In the

The 10th Shanghai Biennale” in 2014, and the curator

劉瀟畢業於中國美術學院當代藝術與社會思想研究所，

織開始，從而創造織物藝術展覽策劃的深度和廣度。在這

weaving world, regardless of the display, the power of

of the “Resolution Power” exhibition in West Bond 2013:

曾為廣東美術館研究部研究員。近年她積極投入大型學術

樣的展覽中，並不是每個藝術家都是編織的專家或者研究

weaving is above all prerequisite conditions. The power

A Biennial of Architecture and Contemporary Art.

展覽、西岸建築與當代藝術雙年展。目前，她的研究和

者，相反，他們對編織有着複雜且微妙的感悟。在我看來，

of weaving does not rely on symbols to prove its value, as

以編織為核心的藝術，要塑造的並非是關於編織的藝術，

weaving has its own sets of symbols, imageries and artistic

而是通過編織去思考，對編織有所感的藝術一在這裏，

patterns. In the weaving world, weaving related activities

我們重估編織的價值，對織造進行一種反思性和創造性的

are also practical knowledge. We can admire the sense

生命實踐，面向一種新的編織思維與視野。

of responsibility and unique weaving skills, despite the fact that they may no longer be popular, but this kind of knowledge has its own knowledge and life system which we should respect.

Graduating from the Institute of Contemporary Art and Social Thoughts in China Academy of Art, Liu – a former

《與後殖民說再見》及相關系列（2008-2012）、《巡迴

exhibitions and the West Bond Biennial of Architecture

排演》（2010）、《胡志明小道》（2010）、《第九屆

and Contemporary Art. Currently, her research and

上海雙年展：重新發電》（2012）、《圓明學院讀本系列》

practice can be divided into three parts: taking part in the

（2012）、《第十屆上海雙年展：社會工廠 》（2014）等。

planning of contemporary art exhibitions, writing articles independent research projects.

Conclusion Colours, hands, looms and territories, all these elements lead me to the unique life forms

長期的大型獨立研究計劃。 除了策劃過多場展覽，劉瀟亦協助出版了數本書籍，包括

about social thoughts, and long-term and large-scale

weaving is about human dignity and the meaning of life.

實踐可分為三部分：當代藝術策展實踐、社會思想寫作、

recent years been deeply involved in large-scale academic

possible for us to construct a new artistic creation map through weaving? It is not about art centres, but in other places such as Delhi, Hangzhou, Guatemala and Oaxaca, where

展人。

researcher in the Guangdong Museum of Art – has in

This is why when we start to have new thinking we can ask new questions like – is it not the weaving art in New York, Beijing, London and Paris, which are arguably mainstream

西岸 2013 建築與當代藝術雙年展影像特展「解像力」策

In addition to organising numerous exhibitions, Liu also helped publish several books including Farewell to Post-Colonialism and related series (2008-2012), Rehearsal (2010), Ho Chi Minh Trail (2010), Reactivation: the 9th Shanghai Biennial (2012), The Academy of Reciprocal Enlightenment Series (2012), and Social Factory: the Tenth Shanghai Biennial (2014).

of weaving when I co-curated “Weaving & We”. It provided a kind of psychological and visual landscape. The direction we took was to create a connection with weaving. We started with weaving and opened up the dimensions and scope of the field to other fabric, art exhibition projects. In this type of exhibition, artists are not all specialists or researchers of weaving, but some only inspired by weaving. As far as I can see, arts with weaving are at the core aim at making and arts thinking achieved through weaving and feeling through weaving, rather than arts about weaving – in Hangzhou we sought, to revalue weaving, with reflective and creative practices of life to weaving were acknowledged thereby and leading to new visions of weaving and life.

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展示應用於時裝界的最新科技，例如以 3D 打印製作纖維 柔軟的服裝、結合科技元素的時裝發佈會，與廿一世紀崇 尚多媒體裝置的趨勢一致，亦已廣泛見於當代藝術之中。

分享的越界： 紡織展覽新領域

Kinor Jiang

另一方面，劉瀟研究「織」和「線」，從古到今，兩者如 何將「人」連繫，並到鄉間織造作坊和藝術家工作室搜集 資料。她將研究所得，用於當代、國際的三年展中。結合 當代藝術與社會研究，以及「織」和「我」的關係，為其 策展的起點。三年展同樣包含多媒體裝置，跟傳統的作品，

Production and the market are primary concerns of the fashion business which is what I am involved at the Hong Kong Polytechnic, through research teaching and The Fashion Gallery in Institute of Textiles & Clothing.

Together with design schools and professional institutions around the world, the Gallery holds artistic exchange activities and design competitions. The Gallery serves as a platform for east-west design exchange and multidisciplinary dialogue among design, management and technology. This establishes new channels for textile art and innovation in design education. The exhibitions include designs, archives, demonstrations, seminars and publications. The Fashion Gallery has left notable footsteps on the path of promoting local fashion design.

The Hong Kong textile industr y has drastically transformed since the end of the 20th century, bringing new challenges to the society. Textile art is an emerging form in Hong Kong. For a long time, the numerous museums and galleries in Hong Kong have a rich variety, but textile art exhibitions remain rare. Therefore I was particularly interested in hearing about Pamela Parmal’s curatorial work at the Museum of Fine Arts, Boston, USA and Liu Xiao’s experiences as one of the curators of the Hangzhou Triennial of Fibre Art in China.

姜綬祥

工作流失為題。中國藝術家許江和袁柳軍的《山水離歌》 （2016），將廿四部老織機列陣，鋪上黑布，恍如蜘蛛網， 時裝業關注生產和市場，這亦是我在香港理工大學進行

再投以聚光燈。藝術家寫道：「這是現代紡織工業的訣歌，

研究、教學，以及於紡織及製衣學系服裝館（The Fashion

真正的工業景觀。」作品關注「中國襪業之鄉」大唐鎮，

Gallery）的工作重點。服裝館連同世界各地的設計學院、

因新織機出現，可作大量生產，繼而帶來轉變。

專業團體，舉辦藝術交流和設計比賽，促進東西方設計交 流，增強設計、管理、科技之間討論，為服飾藝術、設計 教育革新帶來機會。館內展覽包括設計作品、文獻、示範、 講座和出版。服裝館在推動本土時裝設計的路上，早已留 下足跡。 自二十世紀末開始，香港紡織工業迅速轉型，為社會帶來 新挑戰。一直以來，香港的博物館、畫廊林立，但紡織藝 術展覽極為罕見。所以，我對波士頓美術館策展人彭美拉． 帕爾馬的工作，以及身為杭州纖維藝術三年展策展人之一 劉瀟的經驗，格外感興趣。 美術館舉辦紡織服裝展覽，是設計和藝術界線的突破性轉 移；對策展人來說，既有知識，亦是新挑戰。彭美拉．帕 爾馬以富實驗性的方法，策展紡織服飾展覽。追溯其過往 的策展，帕爾馬聯同藝術家和設計師，挑戰限制，跨越界 線，突破傳統，為紡織服裝展覽引入嶄新的藝術元素。 2016 年，帕爾馬策展的展覽「#techstyle」，將 Hussein Chalayan、Alexander McQueen、三宅一生，以及川久保 玲四位頂尖時裝設計師的作品，聚首一堂。「#techstyle」

Textiles and clothing exhibitions taking place in art museums is a groundbreaking shift of design and art, and a challenge to the established knowledge of curators. Pamela Parmel handles textiles and clothing exhibitions with an experimental approach. Tracing her curatorial direction, together with artists and designers, we see her challenging constraints, breaking boundaries, going beyond tradition, rejuvenating a textiles and clothing exhibition with new artistic potentials. The images of “#techstyle” (2016) that she showed us, included the pioneering fashion designers, Hussein Chalayan, Alexander McQueen, Issey

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Sharing and Overstepping: Toward a New Horizon in Textile Exhibition

Miyake and Rei Kawakubo. The exhibition’s focus on the application of new advanced technologies, such as 3D-printed clothes with soft fabrics, is very much in keeping with 21st century developments around multimedia installations and is a strong feature of many contemporary art shows.

On the other hand Liu Xiao researched “weave” and “line” and how historically such concepts could bring people together within a contemporary, international 筆者主持的環節「紡織展覽新領域」，當中兩位策展人講 Triennial. This involved collecting materials in textile 者，探討策展和社會的關係。中國藝術家許江和袁柳軍的 workshops in villages and in artists studios. The 《山水離歌》為一例，「#techstyle」展覽中的 Alexander combination of contemporary art and social research McQueen 為另一例。McQueen 的時裝設計，觸發何謂於 together with “weaving” and “self” were the starting 二十世紀身為「人」 的哲學思考；《山水離歌》則思索 points of her curatorial vision. It too featured multi-media installations alongside works that maybe considered to be more traditional, embroidery, weaving, tapestry. There were a number of artists who considered the themes of textile factory closure and loss of work. Chinese artists Xu Jiang and Yuan Liujun’s Farewell Song for Landscape (2016) spot lit a grid of twenty-four sock knitting machines draped in spider webs of black cloth. The artists’ catalogue text explains, “This is the farewell song of [the] modern textile industry. This is the real industrial landscape.” (2016: 180) The work emphasised the changes facing Datang, known as the Sock City of China for its volume of sock knitting, the result of replacement by digital knitting machines.

Our session was called, Towards a New Horizon in Textile Exhibition, and both curators explored the relationship between exhibition making and society, Xu Jiang and Yuan Liujun’s Farewell Song for Landscape was one and Alexander McQueen from “#techstyle,” another. Whilst McQueen contributed to the philosophical dialogue between fashion and what is it is to be human in the 20th century, Farewell Song for Landscape dwelt on a local textile factory closures and obsolete industrial machinery.

This is a story with which we are familiar in Hong Kong.

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本土紡織工廠關閉、過時的工業機器。此等故事，香港似 曾相識。

香港理工大學副教授

視紡織為藝術，在香港屬新概念。能否獲社會肯定，視之 為本土當代藝術發展的里程碑，仍然為挑戰之一。多元

姜綬祥的設計研究領域是紡織品的物理及化學處理技術，

文化環境，開放包容；美術館和畫廊當可帶領當代藝術， 容納設計和時裝。 波士頓美術館和杭州纖維藝術三年展，均以策展來探討紡 織、科技、時裝、纖維，使我們重新思考設計、藝術的價 值，繼而思索在香港有何可為。研討會中，我們探討展覽 所需的專業支援，以及與設計師、藝術家通力合作，建立 可由時裝、藝術、設計多角度詮釋的環境。機構間互相合 作，分享策展知識，以及不單以市場定論時裝藝術價值的 信念，同樣重要。

尤其在發展紡織金屬化方面享譽國際，為紡織生產可持續

Textile art, however, is an emerging field in Hong Kong. Whether it can be recognised by society as a benchmark in the development of local contemporary art, remains one of our challenges. Through multiculturalism and its subsequent acceptance, openness and inclusivity, art museums and galleries can lead the direction of contemporary art which includes fashion and design.

From the Museum of Fine Arts in Boston to Hangzhou Triennial of Fibre Art, China the curatorial exploration 重塑傳統和當代、本土和國際的關係，將人以新方式穩固 of textiles, technology, fashion and fibre gives us a 連繫，超越地域疆界。 way to reexamine art and design’s value and see what we can do in the context of Hong Kong. We discussed how all exhibitions require professional support and how specialised work calls for collaboration with designers and artists. This allows environment to be created that is open for multiple interpretations in fashion, art and design. Collaboration between institutions and sharing curatorial knowledge is important as is the recognition that the artistic quality of a piece of fashion is not only to be decided by the reception of the market. 六廠紡織文化藝術館成立，有望更新香港傳統紡織工業，

Kinor Jiang Associate Professor, The Hong Kong Polytechnic University

發展、增加紡織品功能和服飾效果開闢了新徑。其設計作 品獲英國國立維多利亞與艾爾伯特博物館、美國舊金山藝 術博物館、中國絲綢博物館收藏。他現任大學紡織及製衣 學系之時裝及紡織品資源中心兼服裝館主席，以及擔任深

Kinor Jiang’s design research deals with innovative

圳現代設計博物館、中國絲綢博物館的策展人。

textile effects using physical and chemical treatment technologies. He is internationally renowned for his development of the metallising textile process, which has opened new routes in sustainable textile production and improving textile functions and aesthetics. His design works are collected by international museums including the Victoria and Albert Museum in London, Fine Arts Museums of San Francisco (de Young Museum) and China National Silk Museum. Dr. Jiang holds Chairman of ITC Fashion & Textile Resource Centre and The Fashion Gallery of the Institute of Textiles and Clothing, The Hong Kong Polytechnic University, and is guest curator at the Shenzhen Modern Design Museum and China National Silk Museum.

With the founding of Centre for Heritage, Arts and Textile (CHAT), their programmes potentially can refashion traditional Hong Kong textile industry by building new relations between the traditional and contemporary, the local and international.

People can be linked together in new and lasting ways, beyond geographical boundaries.

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Sharing and Overstepping: Toward a New Horizon in Textile Exhibition

分享的越界：紡織展覽新領域

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跨界分享及問答環節 高橋瑞木：這正是我們的目的。所以，聽到你這樣說， 高橋瑞木：非常感謝各位精彩的演講，精湛的主持。現在

我很高興。我想將時間交給珍妮絲，紡織與科技論述的教

是「交織」的時間：跨界分享及問答環節。我會將線球，

母。你一定對各環節的講者，有回應或問題。

拋予所有講者、主持。在座觀眾，一定對各個環節的講者

謝菲斯：「教母」這稱呼，令我有點擔憂一電影《教父》

Takahashi: Thank you very much for the wonderful

有疑問。我請大家一同加入討論。如對個別環節或講者，

中，他們最終被槍殺！其實，我認為其中一個要討論的重

presentations and the moderations. Now is the time for

有疑問、回應，請舉手提出。

要議題，是道德和責任，而安妮亦於其有關製作和生物科

this rich history. I think our idea, maybe, of technology is

好，首先，我想將線球拋予人工衛星子！，因為妳是個別

技的演講中提過。我認為，大家並未仔細探討這方面，而

like, these robotic interfaces, hard interfaces, zeroes and

樹一格的當代藝術家。這可能是你首度參加以紡織為題、

這問題確實有意思。很可惜，時間所限，我們最終未有討

ones. But I think, more and more, these material, soft things

相當專門的研討會。你覺得此研討會如何？可有新得着？

論你的提問。

are becoming technological. For me it’s an interesting

there are any questions or comments on the sessions

人工衛星子！：今日各界人士，聚首香港，以製作、歷史、

另一值得探索的範疇，是策展。因為，我們必須思考，

or individual speakers: please, do not hesitate to raise

策展、科技角度講紡織，我很是驚嘆。當中想法之多樣，

為何收集，收集甚麼，向何人展示，以及對歷史的理解為

your hand. Okay, so firstly, I would like to throw the ball

亦很有趣。對，我從來不是個紡織專家，而是一個以科技

何？我可以說，今時今日，我愈來愈醉心於歷史，多於任

of thread to Sputniko!, because you are such a unique,

創作的思辨設計師。投入基因改造絲綢，和科學家合作，

何事情。其實，我差不多兜了一圈，因為我受訓於繪畫，

contemporary artist – I’m sure this is maybe the first time for

可謂偶然。最大的發現是，當我思考設計時，亦在思索未

其後以纖維創作。我想說，除了摸索出一個介乎繪畫和雕

you to participate in this sort of specialised, textile-oriented

來，思索紡織。紡織歷史豐富，例如絲綢吧，以蠶蟲製絲，

塑之間的美學外，這樣做毫無功用。這做法相當之 1960

symposium. So how do you find the symposium, is there

已有數千年歷史。而基因改造，則加快新種蠶蟲的出現。

年代。我之後上大學，修讀歷史，卻只在五十年後，才多

Takahashi: That is actually our intention, so I’m happy to

any new discovery?

可是，大致上，處理蠶蟲的工作，一直由人手處理。人使

想「歷史」的問題，真是諷刺。我沈迷文獻：會說故事的

hear that. I would like to pass the microphone to Janis,

蠶蟲不能飛，令其更易於處理。蠶蟲製絲的工序，非常之

文獻，好像相片一這是葛儀文個人紡織歷史的精彩故事：

godmother of discourse of textile and technology. I’m

手工。絲綢業與亞洲，與中國、日本的發展，息息相關。

其家人由中國來港，其後設立工廠。重申文獻類近相片的

sure you have some comments and questions to the other

所以，某程度上，我偶爾闖進這多姿多彩的歷史。近日，

特性很妙，因為有如一張相片，它告知或隱藏怎樣的歷

speakers in different sessions.

我開始想，亞洲、歐洲、性別、科技，都和這段歷史有關。

史，誰人的歷史？所以，文獻很重要。一鑽進一個文獻，

我們對科技的概念，可能是機械人、冷冰冰的界面、無數

我就高興莫名。可是，我們仍須問：文獻是否策展的未來？

的零和一。近日愈來愈多研究，科學家着手柔軟的物料、

策展又是否只是以記錄出發？那會是怎樣的故事？我覺得

Cross Talk: A Final Panel

interweaving, a cross talk conversation. So I’m going to throw the thread ball to all the contributors. I’m sure you, the audience, have questions for the speakers in the different sessions, so I invite all of you to join in. If

Sputniko!: Today, I’m so amazed at the diversity of people that gathered in Hong Kong, talking about textile from a making perspective, history, curation theory, technology, and it was really interesting to me to see such diverse ideas. That’s true; I’ve not been a textile expert, I was more a technology, speculative design person, but then it was kind of an accident that I stumbled upon this genetically engineered silk and I started working with these scientists.

But the biggest interesting finding was that I was thinking

生物、有機體，使其科技化。有趣地，這和紡織的歷史， 似乎有所連繫。我不知道我是否好好回答你的問題，但這 是我今日所見。

about technology, I was thinking about the future, about textile – it’s got such a rich history and like, silk worm – the history of people working with silk worm, it’s like thousands of years, and genetic engineering is sort of speeding up the process of creating these new kinds of silk worm, but people have, in a way, manually worked with silk worms. People made them unable to fly and people made them more easy to manage; it was like a very DIY, hand-crafted progress. And also, you know, the silk industry has so much association with Asia and the development in China and Japan. So, in a way I stumbled upon this super, super rich history and it’s interesting how this rich history and also Asia, Europe, gender, but then technology recently I feel is sort of connecting with

thing. I’m seeing more and more research around me.

Scientists are working more with soft material, living things, organisms, and they’re becoming technological and in a way it’s making this interesting connection with this textile history. I don’t know if I answered the question well, but that’s what I saw, that’s what I’m seeing at the moment.

Jefferies: Well, I’m a bit worried about this godmother thing, because as we remember with The Godfather they ended up shot! I think we should thank the audience for their extraordinary patience. Actually I think one of the big

issues to discuss, and Anne’s touched upon it in terms of her presentation around making and biotec, is the question about ethics and responsibility. I think what we haven’t really thought this issue through, and it’s tantalizing, I’m sorry there was not enough time for your questions at the end. Another issue to explore, is in the area of curation. Partly because we have to think, why are we collecting? What is the collection for? To whom are we going to show it? And what is it trying to say about history? And I would say nowadays, probably more than anything, I have become more and more fixated with history. And in fact I’ve almost gone full circle, because yes I did train as a painter, I did work in the fibre area; I have to say the point about is that it had no function at all, but was to explore an aesthetics between something that was between painting and sculpture, so that’s a very ‘60s thing. And I did get into university to do history so it’s an irony that I’ve come 50 years later to think more and more about the question of history. And I’m obsessed with archives. Archives that tell a story, like photography – and that was terrific account of Edwin’s personal textile history, his family arriving in Hong Kong and images of some

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Cross Talk: A Final Panel

跨界分享及問答環節

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未必常有此種空間、資源，舉辦大型展覽。它們花時間，

高橋瑞木：在座的女士，為各自的工作和研究，都在發掘

耗金錢，而着眼點又常放在計算有多少人參觀之上。這是

資料庫和檔案 。你們可否稍為講講方法，以及如何找出

所謂「入座率」。現在，我不確定當中價值為何。是否大

檔案或紡織品？如好些講者所說，紡織品纖弱，難以保存。

家要再審視、思考文獻？這是一大問題。我想拋出此問題，

我想，要尋找紡織品，追溯來源，該很艱難。

因為我們未能一不好意思一逐一討論你的論點。

Chu: I just wanted to make a quick comment, since I work

張西美：首先，因為我曾做電影道具，所以對處理不同紡

帕爾馬：我可作回應。我相信，博物館並不只為舉辦展覽，

for an archive. Although it’s an art archive, there are some

織品，都有經驗。我要為熒幕上現身的每個人，預備服裝。

吸引觀眾進場。博物館為將來，保存文化遺產。所以，

similarities in terms of some thought processes and some

我接觸過的藏庫，特別是中國，如彭美拉所說，尚在起步

對我而言，細心想收集「甚麼」，以作保存，十分重要。

challenges that you say. You know, at the moment, my

階段。他們有藏品，但並無紀錄。那怎麼辦？我深深受益

當然，儲藏為今日一大疑問，因為五萬件藏品，已經很多。

of the factories established. This recalling of archives of

task is really through programming to enliven the archive,

於 1980 年代，於紐約流行設計學院（Fashion Institute of

每次我們帶來新藏品，受託人盯着我們，面面相覷。但我

photographic is fantastic, because what does that image

and really to circulate the information. And it’s an art

Technology）資料庫的工作；我可以親自動手探索，知道

們需不斷增長、推進。我們美術館也在改進：過往，我們

tell us or not tell us about what kind of history, and whose

archive, so it’s mainly books, but we still say we try to

何以完成不同工作。我可以自稱為製作者，亦覺得這樣很

試過收集一件物件，卻無紀錄。例如一條裙，我們對何人

story? And that’s why archives are so important, so once

peel off the spines and circulate the knowledge, and that,

重要。有時，我對文獻庫頗為厭倦，因為，每個人都有龍

所做，何人穿過，皆一無所知。今日，我們更專注記錄藏

I can get into an archive, I’m extremely happy. But it still

I think, applies to all of us, in terms of just our research,

袍，但怎樣挖出相關資料，使其和觀眾連繫？這正是我嘗

品，甚至將紙樣收進藏品，以保存藝術家的作品。這成為

begs the question: is the archive the curation of the future?

regardless of topic or area of interest. The other thing I

試所做。我認為，處理文獻的機構，應以此為目標。至於

現時敝館工作的一大部分。

Or is the curation only through the documentary evidence,

guess I was going to say about that is, I think it’s even more

一般保存工序，濕度、氣溫等等一我相當幸運，好像對

of what kind of story? So it seems to me that we don’t

possible than with something like fibre, textiles, fashion;

這些免疫。我有朋友，甫進古著店，噴嚏就打個不停，而

always have the kinds of spaces, or kind of resources to put

all those kind of interrelationships, because it is something

我就可和數以百計的骯髒戲服同眠，依然無恙。

on the big shows. They take a lot of time, they take a lot

that’s functional, as we’ve discussed; something that’s

of money, and people are all so obsessed in management

wearable, something that’s, in some ways, potentially more

about how many people go through the door. It’s what we

democratic because it’s something we all have to wear. So,

call “bums on seats”. Now, I’m not sure what the value is in

there’s knowledge embedded already in terms of choices

帕爾馬：我有個評註一研討會之初，有問將來誰人帶領

that. And is it about learning to relook and rethink through

that we make and maybe our understanding through the

時裝和科技。這愈來愈清晰，亦成為我們過往展覽的主題：

the archives and those kinds of – I mean that’s a big

experiences and the different ways that we work through

那不會是科學，而是合作。我們展出過的作品中，很多都

question. And that’s what I would like to throw out, because

the exhibitions or through research or through art itself, or

是設計師和工程師、科技專家或其他人合作。這是現今很

we didn’t have a chance really, forgive me, to pick up

through, I think eventually what CHAT is creating, on all

令人興奮的事。人工衛星子！提過，各範疇的人合作，

those points through your discussion.

these levels, so I find that personally very exciting.

科學家不怕投身時裝，我實在鼓舞。

朱珮瑿：我想作簡單回應，因為我也在文獻庫工作。雖然 那是藝術文獻庫，但所需考慮和面對挑戰，相當類近。 現時我的工作，是以籌辦節目，活用文獻庫，將資料傳播。 藝術文獻庫以書為主，但我們仍需抽絲剝繭，散播知識。 我認為，在座每位的研究部分，莫論題目、範疇，都在做 這件事。我想講的另一點是，纖維、紡織、時裝等，如早 前討論所講，因為較為實用，人人都要穿，所以某程度上， 更具民主的潛能。我們對服裝的選擇，自己的經驗，籌劃 展覽的方式，研究，藝術本身，或 CHAT 六廠的使命，各 個層面，均有知識於其中。所以，個人而言，我相當興奮。

Takahashi: You ladies have actually excavated the archive

do exhibitions and, you know, get visitors through the door. We’re also there to preserve

and the documents for your practice and research. So could you, a little bit, share your

our cultural heritage for the future. So for me it’s very important to think carefully about

methodology and how to find out the documents or textiles? Because textiles are so fragile,

what we collect, and to try and preserve that. Of course, storage is a big issue today as

as some speakers shared. It’s quite difficult to preserve and I think sometimes you might find

collections – 50, 000 pieces is a lot to store. And every time we bring in another collection

it so difficult to track or trace.

push that. And I don’t know, our museum too is moving – well, in the past we collected an object and no documentation. So you didn’t know anything about who made it, who wore it, if it were a dress. Today, we’re much more focused on documenting the piece, and we’re even taking paper archives to preserve an artist’s work, so that’s a big part of what’s going on at the MFA.

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Cross Talk: A Final Panel

我會請大家提問。

Parmal: I can comment on that. I mean, I do believe that the museum is not only there to

the trustees look at us, cross-eyed. But I think we have to continue to grow and continue to

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高橋瑞木：對其他講者，可有問題或回應？若果沒有，那

Cheung: Well, first of all, I had the experience of handling numbers of textile because I used to do movie costume. I had to dress everybody on screen. So I can handle numbers, I say, I have a feel like how much. And my experiences with archives, especially in China, that people have them, I mean, like, very early stage like what Pam was saying. They have things, but they didn’t have the documents, so what do you do? And I’ve been very

跨界分享及問答環節

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朱珮瑿：我有一簡短回應：同樣有趣的是，這些合作關係

謝菲斯：不好意思，但人仍在不同學系之內。人在學系之

可能早就有，但現在逐漸浮現，而歷史較久的合作，亦獲

中討論，以達至流動的狀態，仍困難重重，因為學院招聘，

關注。我們也提及過，多少女性一我們今日講女性一一

以學生修讀的學科為本。這些障礙，我們尚未拆除。

直以各自所長合作。深化此知識，或如你所說，將新人引 influenced by my experience in the ’80s when I was in New York at the FIT archive, and I benefited from hands-on exploring, how things are done. So as, I can call a maker, myself, now I think that’s very important, but sometimes I

入過程中，令人興奮。

採購、市場推廣、零售，全部歸於同一部門共事。以本人

也有男性。且看我們展覽的設計師和科學家，就清楚不過。

為例，我在實驗室、工作坊做紡織設計，和物料科學的

謝菲斯：我正打算說些有關合作的觀察。在教育機構之中，

dragon-robes, but how do you dig out the information that

要策展人互相激發，消融界線，仍需在教育之中一我們

makes it relate to the audience? That’s what I’m trying to

仍受學科所限。我很幸運，在很多學科之間游移。若然入

do. And I think that should be really the aim of the mission

讀入職一個學系，那就通常非此即彼。我想，如何創造使

of that institute, which directs how things are handled.

人奇思妙想，通合作的環境，是想像「空間」十分特定的

And of course the normal conservation, humidity and

方式。這該是一個人可以流動、討論的空間，但教育機構

temperature – I’m very lucky because I seem to be immune

卻並非為此而設。

sneeze and they sneeze, and I can sleep with hundreds of dirty costumes and I’m still okay.

Takahashi: Are there any questions or comments, to the

技、紡織科技、時裝設計、針織時裝設計、內衣設計、

帕爾馬：另一回應：合作並無性別之分，和女性合作的，

grow so tired of archives, because, okay, everybody has

to these. I have friends who walk in vintage stores and they

姜綬祥：香港理工大學有個紡織及製衣學系，當中包括科

馬爾：我也可說說教育方面。現時，很多機構對中央聖馬 丁藝術與設計學院感興趣，想校內不同部門合作。例如， 絲巾公司想和紡織設計系合作，為其絲巾圖案製作動畫。 我們樂於接受，亦寄望再下一城一各個學系之間。

other speakers? No? If you don’t, I will open the questions.

Parmal: I have one comment – very early in the program, a question came up in terms

研究人員、科學家、科技部門合作。我們將學系混和，亦 為現時大勢所趨。設計、時裝設計，本應隸屬設計學院。

Parmal: One more comment: it’s not gendered, either.

所以，我們將來所受壓力頗大一其實，也許物料科學會

There are men working with women, and if you look at the

成為一個學系，而時裝設計則屬於設計學院。我認為，

designers and the scientists in our show, it’s a real cross-

現時，我們得各學系科技的知識、支援，獲益良多。可以

section.

和物理、化學的研究員合作，我們很高興。

Jefferies: I was going to make an observation in terms

凌穎詩：我想接着講珍妮絲提出，有關打破學科之間隔閡

of collaboration actually. In the sense that, in the fields

的一點。在座當中，肯定有人看過些網上資訊，有如新聞

of institutions, educational ones, whilst you’re talking

般流傳，我也是近期才看到，說未來時裝，還剩下何工種。

about cross-fertilization amongst curators, and blurring of

當然，傳統的時裝設計、平面設計工作都將不復見。未來

boundaries, it still has to be the case within education. We

一或「新」未來一剩下的工作，是數據創造者、以科技

are still in pockets and disciplines. I’ve been very fortunate

獲取資訊的中介員。我不完全記得，但那資訊確切告之，

because I move across a lot of disciplines, but if you come

現時的時裝教育，是何等落伍。我亦就職於大學設計學系

into a programme you’re often in one thing or another. So

的一個學院。雖然我們剛開設一個多學科研究中心，鼓吹

how you create, I think, environments where people can

of who is going to lead the future of fashion and technology. And I think what became

brainstorm and work together is a very particular way of

obvious to us, and became a real theme in the exhibition we did, is that it’s not science, it’s

thinking about space. The space in which people can move and have those conversations.

collaboration. So many of the pieces we showed were done by a designer in collaboration

And our institutions aren’t necessarily set up for that.

with an engineer, or a technologist or someone else, and I think that is what’s so exciting about what’s going on today. I think Sputniko! mentioned that, is that people are working together, and scientists aren’t afraid of fashion, which is for me something really exciting.

Marr: I could say something about the educational side as well, because at Central Saint Martins we actually have the interest of a lot of companies now who want collaborative projects between different departments to happen, for example animation and textile

Chu: One small thing to that: because I think what is also interesting is that maybe it was

design, just as an example, for a scarf company who want to animate their patterns. And

always there, those relationships, but at the same they’re also becoming exposed and

we welcome that, and hopefully to expand on that. With the separate departments, yeah.

there’s an awareness of older types of collaboration or as we were talking about before, how many women – because we’re talking about women today – have always sort of in some ways worked together in different capacities. And that’s exciting to sort of deepen that knowledge and then definitely what you were mentioning about new people then getting involved in the process.

Jefferies: Sorry – but one is still in separate departments. So people actually having conversations inside to set up a kind of fluid state are still a big challenge, because recruitment is about students in one area or another. We haven’t broken down those barriers yet.

Jiang: So this idea: in Hong Kong Polytechnic University, we have an institute with textile and clothing. We have a program with the technology, textile technology, fashion design, knitwear design, underwear design, merchandising, marketing, retailing. So we are the same department working together. Like me: I do the textile design in the laboratory

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不單是學系之內，亦是多學系的合作。這代表我們鼓吹科

高橋瑞木：步入尾聲，現在有請觀眾發問。對於各個環節

學、數學人員投身設計。可是，這只停留在研究層面，

或講者，可有人有回應或問題？

受惠的只是相關教授和讀者，未及教學層面，年輕一代未

and workshop, and collaborate with the researcher

能接觸這種模式。我認為，現時教育面對將來轉變的問題，

of the material science – a scientist – and technology

實委嚴峻。

development. So, we also mix the programs. Currently it’s

人工衛星子！：噢，剛才很多人講我想得到的一那關乎 合作，就像（指向自己）。我很幸運，麻省理工大學媒體 實驗室，合作文化極盛，而波士頓、劍橋都是有意思的小 鎮，科學家互相合作。我覺得近來，因為社交媒體，這趨 勢更是蓬勃。因為，若果要找研究，找專才，變得太容易。 太容易了，我在面書發個信息，或者電郵，就可直接會面。 我覺得，對學生以至每個人，社交媒體確實除去範疇之間 的界限。這只是小小回應。 謝菲斯：我不認為那只是藝術家、科學家、設計師之間的 事，其他學系多不勝數。例如，我心目中那流動的空間， 同時屬於以歷史、政治、社會學、人類學、文化分析、 社區運動角度思考的人 一那只是不同方式重新思考， 可能和價值系統有關。數據資料的確極多，但看得懂資料 和圖表，並加以剖析的，是社會學家。

觀眾：我想向你請教一個須藤玲子也提出過的問題。你提 及日本政府令時裝業循環再用自己產生的廢料，我覺得 很嶄新。在政策、環境的歷史上，這是極為重要的一步。

the climate. The design, fashion design should belong to

我想問，你覺得這政策是否見於日本以外的地方？其他地

the school of design. So, we will receive high pressure in

方有否類近政策？

the future – Actually, maybe material science will be one department, fashion design will be the design department.

馬 爾： 我 們 剛 剛 有 個 關 於 無 限 循 環 再 用（circular

I think currently we have very good benefits to receive a

transitions）的研討會。瑞典政府現正大加推廣，在家修補

lot of knowledge and support from technology in different

東西，自行修理汽車、電子產品等用品的市民，可獲減稅。

programs. So, we’re happy to collaborate with the researchers from physics and chemistry people, together in

of social media. Because if I want to find out about

a team.

research or if I want to contact someone, it’s just so easy

Ling: I want to follow Janis’ point about that sort of breaking

I meet that person. So I think the boundary between genres

boundaries and disciplines. I’m sure that some of you may have come across, it has just recently come across to me, there was this kind of online information, almost as news circulating saying that what would be the future for fashion left in design. And certainly those traditional fashion design jobs, graphic design jobs are all gone. What’s really left

in the future, or maybe in the new future, are those who are data creators, those who are coordinators of some sort of technological information. I don’t remember it all, but it literally just tells us about how dated our fashion education is. And I’m also from a school of design department from our university; although we have newly set up this multidisciplinary

now. So easy, and I just go Facebook message, email, is getting – social media really put it down for students or

觀眾：這又是將責任加諸顧客，而非業界。 馬爾：業界亦有參與。政府資助研究項目，試圖改變生產 商的運作。所以，我覺得北歐國家現正推出很多新政策。 這個計劃，政府直接與政客合作。

just anyone, so that’s just a small comment.

高橋瑞木：有其他問題嗎？

Jefferies: I don’t think it’s only just between the artists and

張西美：大家知道我所迷。我為「糸」部的中國字體所迷，

scientists or designers though. I think there are many other

無論是中文或日文漢字。人工衛星子！的《姻緣紅線》有

disciplines. For example, when I’m thinking about that fluid

四字，當中三字從「糸」部，代表「絲」。紅字亦為「糸」

space, it’s also a space where people who have been

部。我一直研究「糸」部的字：中文有約二百五十字，

thinking through history, politics, sociology, anthropology, cultural analysis, community activism – it’s a different kind of way of rethinking, maybe value systems. And it’s true there’s masses of data, but actually the ones who really know

research centre, which certainly encourages collaboration not just within disciplines but also

how to read it and interpret it, from information and visualization, are sociologists.

multidisciplinary, meaning that we are encouraging scientists and math staff to work with

Takahashi: So, I think at the end now is the time to open the questions from the audience.

design. This really just rests on the research level, where it has become the exclusivity with those kind of professors and readers, but not really disseminated into the broader education

Do you have any comment or question to the session or any speakers?

level, which means the younger generations are not exposed to those routes of education.

Audience: I want to ask a question about a comment that Reiko spoke about. You

So I think there are indeed serious problems of education sort of in response to the change

mentioned something that I found groundbreaking about the Japanese government, making

of the future.

the industry recycle its own waste. And I think that’s a very important move forward in the

Sputniko!: Oh, but a lot of people said what I kind of wanted – it’s about collaboration, which is like (points at herself). So, I’m very fortunate that there’s a big culture of collaboration at MIT Media Lab, and also Boston and Cambridge is an interesting town for collaboration between scientists. But I think this is really speeding up recently I feel because

history of policy and the environment. I wanted to ask about in general, if this is something that you see going on anywhere else than Japan? Is it happening anywhere else, are governments working on policies like this?

Marr: We just had a conference on circular transitions, and there’s actually a big push in the Swedish government at the moment to give tax relief to people who repair their own stuff at home. There’s a big policy-making process in Sweden at the moment, who are inventing new policies around a tax relief for people who repair their cars or their electronic devices and stuff like that at home.

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而日本人又再創造更多。以「紅」字為例，那一定是由將

朱珮瑿：瑞木，我可問你一個問題嗎？你昨日談及是次展

紡織品染紅而生。然後有「線」，接着就是「紡織」。

覽，以及如何構成，相當有趣。若你可和在座各位稍為講

但最妙的是「姻緣」，因為在粵語叫這做「姻緣」，亦即「邊

講，就太好了。

緣」，有如滾邊。紡織中用滾邊不多，主要用在婚禮中， 二人契合，永結同心等東西。滾邊多為此用。這古老比喻， 見於你作品之中，我很高興。

高橋瑞木：線球拋回給我了！《新經緯系列 1.1：亞莉雅

Chu: Mizuki, can I ask you a question? I thought something

德妮的線球》錄像藝術展，和女性、科技、紡織、藝術有

you said yesterday when you were talking about your

關，靈感來自熒幕上的照片，一個香港紡織女工一棉紡

exhibition and the relationship to how you came up with it

Audience: That’s again sort of putting all the brunt on the

人工衛星子！：我沒有留意，你說得對，全部字都從這部

廠及其矜重。其實，我亦非紡織專家，但這相片令我發現，

was really interesting, so I would love it if you could share

consumer, not the industry.

首一部首多在一個字的左邊。

不論工業或技藝，女性都已投身紡織很多年。我以此打開

that a little bit with us and the audience.

Marr: Well, the industry as well; I mean they funded

張西美：白馥蘭的論文解釋，紡織之於女性，之於「管治」

this research project as well to find out how to change

中國的重要性。 對我來說，中國紡織品頗為四方。我們

the behaviour of producers as well. So yes, I think in the

或多或少受織機所限，織品模樣非似即彼，我們沒有太多

Nordic countries, the Scandinavian countries, there’s a

交織、順暢的線。當然，因為和女性有關，這些「糸」部字，

lot of new policy-making going on. And actually they’re

常見於詩詞之中，例如以情愛為題，很是有趣。

working directly with politicians on that project.

Takahashi: Any other question?

高橋瑞木：十分感謝這優美的箋注，以及分享對中國字體 的知識。

Cheung: You know my obsession. My obsession with Chinese characters in the silk family. The Chinese and Japanese, the kanji. Sputniko!’s red silk of fate – so it’s four characters, but three of them have the silk radical. So, it’s the

對話。另一方面，錄像藝術，亦是 1960 年代女藝術家的 創作新途徑。藉此展覽，我希望展現女藝術家如何掌握先 進科技，拓闊其界限。就像人工衛星子！現在所做的！

Takahashi: Thank you – the ball is passed back to me!

So, the textile series 1.1, ‘Ariadne’s Thread’ the Video Art Exhibition, it’s about the women, technology, textile and art.

Actually that idea comes from the picture on the screen, the

Hong Kong ladies in textile – the spinning mill, and her dignity. Actually, I’m not a specialist in textiles either, but this photo made me realise – oh, the textiles are really, really – the industry and the techniques women have engaged for many years. So that is the entrance for me to open up the dialogue. On the other hand, video art is also to open the path for the women artists in the ‘60s as well, so through that exhibition I really wanted to show how women artists have interlocked the advanced technologies to push their boundaries.

As Sputniko! is doing right now!

red. So I’ve been doing my own study on these silk radicals, silk families, and in Chinese there are like 250 characters, and I think the Japanese made more actually. But, like, the red, right? So the red was like, must have originated from making the textiles red.

And then you had the thread, so naturally, it’s a textile. But the most amazing one is the fate, because in Cantonese you call it yuen. It actually physically means “the edge”, so as you do a binding. Even in textiles we use it very little, but it’s mostly used for weddings, where, you two have your fate so you should be together or something like that.

So it’s most used in that way. So I’m very happy that this very old character metaphor has been used in your work.

Sputniko!: I didn’t realise, that’s true, it all has that – the characters are usually on the left side.

Cheung: So as Francesca’s paper explained, the importance of textile weaving for women, and sort of governing the Chinese nation, actually for me for the longest time I thought Chinese textiles are quite square. Because we are sort of controlled by the loom, it’s either this or this, so we don’t have a lot of interlacing, free-flowing threads. And then of course, because it’s associated with women, all these silk characters were often used in poetry for like, relationships. So it’s really interesting.

Takahashi: Thank you very much, it’s such a beautiful comment, and sharing your knowledge about the Chinese characters.

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CJC 面對瞬息萬變的媒體形勢，為了接觸更廣大的觀眾

編織文化新生代：年輕藝評 人透過新媒體把紡織藝術 帶給公眾 周敏芝 文化新聞學研習營創辦總監

紡織是社會的重要部分。由生產布料供應日常所需，到建 立社會架構，編織的概念對建構社區鄰里是不可或缺的。 不過我們可以怎樣傳達這個信息呢？又如何讓社區的一份

群，決定自 2014 年創辦以來，首次選擇用錄像和社交媒 體為溝通媒介。由於 CJC 自成立起一直都專注於寫作和 出版的工作，所以這次運用其他媒介可算是重大的挑戰。

Weaving a New Cultural Fabric: Young Cultural Journalists Make Textile Art Accessible through New Media Vivienne Chow

文化新聞學研習營（CJC）為非牟利的自發教育組織，

Founding Director

以培養新一代文化記者和藝評人為宗旨，今次有幸成

Cultural Journalism Campus

為 2016 年六廠紡織文化藝術館（CHAT 六廠）秋季項目 探討如何回應上述的問題。

幸好 CJC 獲 CHAT 六廠支持，得以開辦教授錄像製作、

opportunity for the young cultural journalists and art

拍攝技巧、面對鏡頭報導的工作坊，並派出六位 CJC 學

critics from CJC. One of CJC’s missions is to bring arts

員參與其中。工作坊參加者透過嚴謹的訓練，學習拍攝

and culture to the people through the practice of cultural

Facebook 直播和製作錄像的技巧，以吸引更廣泛、更年

journalism and art criticism. The young CJC journalists

青，而又不熟悉紡織藝術的觀眾。

and critics were given not only an exclusive opportunity to experience textile art for the first time in their lives. They also took up the responsibility of explaining what might sound like complex art concepts to a much wider and

子主動參與社區建構呢？

《新經緯系列 1.0：亞莉雅德妮的線球》的學習合作夥伴，

The partnership with CHAT provided a great learning

young audience in their late teens and early 20s. They acted as a bridge between the art world and the public.

In order to reach a much wider audience in this fast changing media landscape, CJC opted video and social

Textile is an integral part of our society. The concept of weaving, from the production of fabrics that meet our daily

media as the medium of communication for the first time since CJC was founded in 2014. It was a major challenge for CJC as we had been focusing on writing

CJC 學員於上環文娛中心舉行《亞莉雅德妮的線球》錄像 展覽開幕時，共製作了四段 Facebook 直播錄像和一齣短 片。他們採用活潑手法為錄像展覽的觀眾導賞，還訪問了 參展藝術家天娜．哈維洛克．史蒂芬斯、曲倩雯，以及展 覽策展人高橋瑞木，請他們分享創作靈感和策展經驗， 從而拉近公眾與紡織藝術的距離。 CJC 學員也參與了在亞洲協會香港中心舉行的《亞莉雅德 妮的線球》研討論壇，繼續項目第二部分的工作，訪問參 與論壇的講者，包括藝術家人工衛星子！、2016 年杭州 纖維藝術三年展策展人劉瀟、中央聖馬丁藝術與設計學院

為年青一代和市民大眾展示由紡織生產而來的編織概念，

needs to the creation of social fabric, is indispensable in

藝術是最好不過的方法。《新經緯系列 1.0：亞莉雅德妮

the making of our communities and neighbourhoods. But

的線球》共有兩個部分，分別是錄像展覽，以及由本地和

how do we get the message across, and how can we

海外藝術家主講的研討論壇，探索紡織藝術的動向，追尋

involve the members of our community to play an active

紡織與日常生活的連繫。

role in this process?

six CJC Fellows taking part in this programme. The vigorous training prepared them for

CJC 能夠與 CHAT 六廠合作，對營內的年青文化記者和藝

As a non-profit arts educational initiative grooming a new

audience who might be new to textile art.

評人都是很好的學習機會。CJC 的其中一個使命是通過新

generation of cultural journalists and art critics, Cultural

聞學和藝術評論，將文化藝術帶入群眾之中。參與活動的

Journalism Campus (CJC) was honoured to be the learning

年青記者和藝評人獲得的不僅是首次認識紡織藝術的獨特

partner of Centre for Heritage, Arts and Textile (CHAT) fall

體驗，更肩負起闡述的責任，向十多歲至二十多歲的廣大

programme “TECHSTYLE SERIES1.0: Ariadne’s Thread” in

觀眾解釋看似複雜的藝術概念，作為藝術界和公眾之間的

2016, to explore the answers to the questions above.

exhibition, interviewing participating artists including Tina Havelock Stevens and Vvzela

There is no better way to demonstrate the concept

inspirations and bringing the concept of textile art closer to the public.

橋樑。

weaving derived from the production of textile to the young

and publishing since our inauguration. But with the support from CHAT, CJC was able to organise workshops on video

紡織品設計系學士課程系主任安妮．馬爾等等。受訪講者 在問答環節與 CJC 學員輕鬆對答，以年青人明白的簡明語

production, camerawork and on-camera presentation to the production of Facebook Live and videos that can appeal to a wider and younger

CJC Fellows together produced a total of four Facebook Live videos and a short video feature at the opening of the “Ariadne’s Thread” video art exhibition at the Sheung Wan Civic Centre. The Fellows adopted a lively approach to take audience to a tour of the Kook as well as exhibition curator Takahashi Mizuki to get them share their creative

generation and members of the public through art. “TECHSTYLE SERIES1.0: Ariadne’s Thread” was composed of two parts, a video art exhibition as well as a discussion forum featuring artists from locally and abroad. They explored not only the dynamics of textile art but also its connection with our daily lives.

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言，表達對紡織藝術的看法，為培育未來的藝術觀眾撒下 種子。而發佈在 CJC 和 CHAT 六廠兩個 Facebook 專頁的 直播錄像，共獲得二萬次觀看率，成績令人鼓舞，同時鞏 固了 CJC 一直相信的想法：很多人對紡織藝術非常好奇， CJC Fellows continued their work at the “Ariadne’s

有興趣學習，只是未有在香港引起廣泛討論。如果有一個

Thread” discussion forum, which took place at Asia

平台讓他們探究紡織藝術的奇幻世界，他們便可投入其

Society Hong Kong Centre. They interviewed participating

中，盡情探索。

speakers including artist Sputniko!, Liu Xiao, curator of the 2016 Hangzhou Triennial of Fibre Art, and Anne Marr, the Course Leader for BA Textile Design at Central Saint Martins. Through the light Q&A session with CJC

CJC 感謝 CHAT 六廠給予合作機會，也感謝他們對紡織藝 術高瞻遠矚，為建構香港不斷編織。這次合作推動紡織藝 術進入香港社區，我們對能夠參與其中，感到自豪。

Fellows, interviewees were able to share their views on

CJC 學員：

textile art in plain and accessible languages that can be

Godric Leung

understood by young people, sowing the seeds to groom

Jane Li

a future generation of art audiences. The Facebook Live

Jessica Wu

videos published on the Facebook pages of CJC and

Daniel Suen

CHAT together garnered more than 20,000 views. The

Christy Hui

results were highly encouraging and sent us a strong

Madeline Lai

message reinforcing our belief: people are curious and are interested in learning about textile art, which was not widely discussed in Hong Kong. If there is a platform for them to explore the fantastical world of textile art, they will dive into it.

工作坊導師： Lau Siu-nin Gillian Yau Yonden Lhatoo

CJC would like to thank CHAT for the opportunity and its daring vision in the textile art as well as the weaving of the city’s social fabric. We were proud to be part of this collaboration that helped bring textile art to the Hong Kong community.

CJC Fellows: Godric Leung Jane Li Jessica Wu Daniel Suen Christy Hui Madeline Lai Workshop instructors: Lau Siu-nin Gillian Yau Yonden Lhatoo

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Weaving a New Cultural Fabric: Young Cultural Journalists Make Textile Art Accessible through New Media

CHAT 六廠團隊

CHAT Crew

高橋瑞木 張晶晶

聯席總監 聯席總監

Takahashi Mizuki Teoh Chin Chin

館藏及展覽部 施君玉 周翌 馮昱瑄

策展人 助理策展人 策展助理

Collections and Exhibitions Curator Jane Sze Chow Yik Assistant Curator Sylvia Feng Curatorial Assistant

策展人 助理策展人 策展助理 展覽及項目部助理主任

Community and Learning Curator Him Lo Annette Lo Assistant Curator Men Tin-Lam Curatorial Assistant Hazyl Lam Assistant Officer

主管 高級傳訊主任 主任 助理主任

Branding and Communications Head Zon So Ankie Fok Senior Officer Zita Szeto Officer Essa Lin Assistant Officer

主管 主任 行政秘書

Finance and Administration Head Chiu Tsz Man Mandy Lam Officer Stephanie Li Executive Secretary

助理主任

Creative Production and Operation Assistant Officer Dennis Man

社區及共學部 盧樂謙 盧雁祈 萬天琳 林楚穎 品牌及傳訊部 蘇綽玲 霍康琪 司徒家琪 連曦雯 財務及行政部 趙子珉 林敏儀 李盈慧 營運部 文永亮

Co-Director Co-Director

製作團隊

Production Team

主編 珍妮絲．謝菲斯

Editor in Chief Janis Jefferies

編輯 高橋瑞木 施君玉 周翌 馮昱瑄

Editors Takahashi Mizuki Jane Sze Chow Yik Sylvia Feng

中文編輯 郭美玲

Chinese Editor Rebecca Kwok

編輯統籌 司徒家琪

Editorial Coordinator Zita Szeto

中文翻譯 林敏 劉偉娟 葉啟俊

Chinese Translation Christine Lam Lau Wai Kuen Caddie Yip Kai Chun

攝影 黃彥聰

Photographer Michael Wong

設計 CA Design

Design CA Design

封面設計 Toby Ng Design

Cover Design Toby Ng Design

CHAT 六廠

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Acknowledgement 鳴謝 Electronic Arts Intermix (EAI) SCAI THE BATHHOUSE 55 Sydenham Rd Mikala Dwyer Huang Zhaoxuan / 黃昭璇

Kit Huen / 𧝁詩汶 Damia Ip / 葉嘉珩 Kung Chi Shing / 龔志成 Hedy Leung / 梁凱欣 Angelika Li / 李安琪 Karl McCool Katherine Murphy Osaka Koichiro / 大坂紘一郎 Luke Parker Jinsuk Suh / 徐真錫 Isabel Tang / 鄧美茵 Ueuo Kazuhiro / 上野和広 Yokoyama Ikko / 横山いくこ

Published by Centre for Heritage, Arts and Textile / 六廠紡織文化藝術館出版 Printed in Hong Kong / 香港印製 Printing by CA Design /CA Design 印製 All rights reserved / 版權所有 翻印必究 Copyright © 2017 the artists, authors and Mill 6 Foundation Limited / 版權屬於藝術家、作者及六廠基金會有限公司 ISBN: 978-988-79607-6-8 MILL6 Foundation is a non-profit arts and cultural organisation in Hong Kong / 六廠基金會為香港非牟利藝術文化團體 Donors 機構 Founding Donor 創始捐助機構

Heritage Partner / 保育合作夥伴

Discussion Forum1.2 / 研討會 Co-presenter / 協辦機構

Main Donor 主要捐助機構

Learning Program Partner / 學習項目合作夥伴

文化新聞學研習營

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Acknowledgement 鳴謝

Catering Sponsor /

飲贊助