基于解构手法的当代女性羊毛毡服装设计
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摘要
针对目前羊毛毡工艺传承保护不力和使用日益减少,将羊毛毡的拼毡与戳毡技法用于当代女性服装设计,以解构手法对女性服装进行空间改变、材质图案重组、冷暖色彩差异融合等创意设计,实现了对女性羊毛毡类服装的传承与创新。从理论层面,强调解构手法对艺术表现的统一性、规律性,以及功能性设计的单调、过分装饰及其模式化趋势的颠覆;在实际应用上,采用解构原则,对女性羊毛毡类服装进行拼接裁剪、图案重组、色彩重构等工艺制作,总结出具有解构艺术韵味的排列重组、残缺构图、超常表现、失重特性的一般艺术规律,综合体现经解构的服装局部与局部之间的内在联系,加强了女性羊毛毡服饰的整体外在效果,丰富当代女性创意服装的设计风格,满足现代人讲究服装多样性,追求个性的穿戴乐趣,对当代服饰的创新设计提供借鉴。
Many deconstruction methods were used to apply the spelling felt and poke felt techniques in garment design, such as changing structure, pattern restructuring, cold-warm color blending etc. On the theoretical level, the deconstruction emphasized the subversiveness of performance unity, ordinal structure, mode of structuralism′s monotonicity, model trend and over-decoration. On the practice level, the deconstruction connotation was fully displayed in feminine costumes by use of felt costumes′ spell and color composition to form. It was expressed the arrange recombination, incomplete composition, supernormal performance, weightlessness, and illustrated an inner connection between a costume part and another parts. The design method enriched the design style of contemporary feminine creative costumes, satisfied an enjoyment of clothing diversity and individual pursuit of the modern people, and further promote the inheritance and innovation of clothing culture.
Many deconstruction methods were used to apply the spelling felt and poke felt techniques in garment design, such as changing structure, pattern restructuring, cold-warm color blending etc. On the theoretical level, the deconstruction emphasized the subversiveness of performance unity, ordinal structure, mode of structuralism′s monotonicity, model trend and over-decoration. On the practice level, the deconstruction connotation was fully displayed in feminine costumes by use of felt costumes′ spell and color composition to form. It was expressed the arrange recombination, incomplete composition, supernormal performance, weightlessness, and illustrated an inner connection between a costume part and another parts. The design method enriched the design style of contemporary feminine creative costumes, satisfied an enjoyment of clothing diversity and individual pursuit of the modern people, and further promote the inheritance and innovation of clothing culture.
引文
[1] 张锐,马晓陈.手工魅力:羊毛毡产品的设计与制作[J].美与时代(上), 2015(6): 76-79.
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[4] 肖锦龙. 德里达的解构理论思想性质论[M].北京:中国社会科学出版社,2004: 82.
[5] 王蕾. 当代服装设计中的“立体主义”影响[J]. 南京艺术学院学报(美术与设计版), 2008(5): 151-152.
[6] K·马尔科姆·理查兹. 德里达眼中的艺术[M]. 重庆:重庆大学出版社,2016: 86-91.
[7] 陈玉刚. 当代服装设计对中西方绘画色彩形式语言的传承[J]. 纺织科技进展,2015(5): 88-90.
[8] 高琛. 解构手法在服装材料中的时尚运用[J]. 现代装饰,2013(7): 128.
[9] 王晶,刘彦喆. 从服饰色彩的变迁看中国女性自我意识的转变[J]. 云南民族大学学报(社会与科学版),2011(5): 68-72.
[10] 梁惠娥,张冠峰,王潮霞. 基于数码印花技术纺织面料肌理图案设计[J], 纺织学报, 2013,34(9): 103-107.
[2] 杨熊端.白族羊毛毡手工艺技艺探寻:怀旧人类学的视野[J]. 北方民族大学学报(人文社会科学版), 2012(2): 109-116.
[3] 陈慧. 毛纺面料特性对服装设计的影响[J].毛纺科技,2016,44(8): 48-50.
[4] 肖锦龙. 德里达的解构理论思想性质论[M].北京:中国社会科学出版社,2004: 82.
[5] 王蕾. 当代服装设计中的“立体主义”影响[J]. 南京艺术学院学报(美术与设计版), 2008(5): 151-152.
[6] K·马尔科姆·理查兹. 德里达眼中的艺术[M]. 重庆:重庆大学出版社,2016: 86-91.
[7] 陈玉刚. 当代服装设计对中西方绘画色彩形式语言的传承[J]. 纺织科技进展,2015(5): 88-90.
[8] 高琛. 解构手法在服装材料中的时尚运用[J]. 现代装饰,2013(7): 128.
[9] 王晶,刘彦喆. 从服饰色彩的变迁看中国女性自我意识的转变[J]. 云南民族大学学报(社会与科学版),2011(5): 68-72.
[10] 梁惠娥,张冠峰,王潮霞. 基于数码印花技术纺织面料肌理图案设计[J], 纺织学报, 2013,34(9): 103-107.