Tag Archives: 设计

Face Value

You're in my pictures.

These days it seems interactions with others are always mediated by the screen of some device. In our hectic lives, talking in person has become a luxury. Gone are the days of friendly banter and shooting the breeze, replaced by the tip-tap of our on-screen keyboards. But what if we could set our phones aside for a moment, look each other in the eyes, and spend more time speaking face to face?

To hold onto the important people in our lives, perhaps we need to do more than keep them in mind. Why not keep them in art? Shanghai-based designer Hema’s independent accessory brand Face to Face creates wearable pins with an individual likeness, letting you hold the memory of others close to your heart (in a literal sense). The cute, pastel-colored pins are created with a mix of unconventional materials, such as steel wires, pieces of metal, and even cereal grains, and finished with a transparent layer of resin. All of her pins are unique—one-of-a-kind, just like real people. “When I think of the people in my life, each one has their own distinctive traits,” she says. “So I wanted to record their faces in the form of pins.”


为了把身边重要的人的脸庞好好记下,不只记在脑海,也要记录在创作里。现居上海的设计师河马(Hema)自创品牌 Face to Face ,主要的作品脸谱胸针收录了形形色色的人们的脸。扑上温柔的色彩,造以浑圆的形状,并结合多种异想天开的材质拼接,钢丝、金属、甚至是谷物,压印在通透的树脂里。每一个胸针就像我们所遇见的每一个人一样,都是仅此唯一的存在。“我想起身边的人们,每个人都很有自己的特点,于是想把他们的脸通过胸针的形式记录下来。”

I'm a Photographer
I'm a Storyteller

“At first I just wanted to make fun faces, so I made the pins. But ultimately, they’re static,” Hema says. “I also like things that are goofy and dynamic. I firmly believe movement brings vitality, so I began wondering if there was a way to make the pins more lively, have them tell a story.”

This desire led to her first animated works. The series Exhibition, based on her Face to Face pins, is inspired by childhood memories of her mother and others.





First time seeing an outdoor film 第一次看户外电影
First visit to a museum 第一次去美术馆
You told me about the Loch Ness Monster 你给我讲尼斯湖水怪的故事
First time taking me to see grown-ups at work 第一次带我去观察大人上班
First time following a pop star 第一次追星
Seeing a magic show together 一起看魔术表演
First time exploring the outdoors 第一次野外探险
First time at the firefly park 第一次去萤火虫公园

In her Forest series, the familiar faces of her pins have become fully developed characters with their own backstories. As they wander through a forest of the artist’s imagination, they pass by each other and encounter each other again. The series is inspired by Japanese novelist Haruki Murakami’s Norwegian Wood, with each image directly based on quotes from the book itself.

Through all these works, Hema wants to help us hold onto the beautiful, one-of-a-kind faces around us.




What makes us most normal is knowing that we're not normal. 我们的正常之处,就在于自己懂得自己的不正常
It is wonderful for two people to love each other, don't you think? 人与人可以爱得那么深,实在美妙
How great? Great enough to knock down all the trees in all the forests of the world. 如何好法?好得像全世界森林里的树通通倒到地上
I want you always to remember me. Will you remember that I existed, and that I stood next to you here like this? 希望你可以记住我,记住我这样活过,这样在你身边呆过
We were like kids who grew up naked on a desert island. If we got hungry, we'd just pick a banana; if we got lonely, we'd go to sleep in each other's arms. 我俩就像在无人岛长大的光屁股孩子,肚子饿了就吃香蕉,寂寞了就相拥而眠
Nobody likes being alone that much. I don't go out of my way to make friends, that's all. It just leads to disappointment. 哪里有人喜欢孤独,只不过不乱交朋友罢了,那样只能落得失望

WeChat: faceworkshop


Contributor: Yang Yixuan

微博: ~/FacetoFace
微信公众号: faceworkshop


供稿人: Yang Yixuan

Geometric Thinking with Liam Lee

In celebration of Chinese New Year, Beijing-based graphic designer Liam Lee recently released a poster comprised of the Chinese characters fu (福), lu (禄), shou (寿), and xi (禧). The significance of these four characters comes from their appearance on spring couplets and their widespread usage as an auspicious greeting for family and friends during New Year celebrations. Lee deconstructs the familiar blessing into individual characters and restructures them into separate phrases to expand on their meaning. Fu, forms fu hai (福海), which means a world of happiness; shou forms the phrase shou shan (寿山), which is a blessing for longevity; xi forms xi qi (喜气), which means jubilant delight; and lu forms the phrase feng lu (丰禄), which wishes for good fortune and wealth. As a call out to his own Mongolian ancestry, Lee also included a Mongolian translation alongside each Chinese phrase.

这一组汉字设计海报,来自蒙古族的图形设计师李岩松(Liam Lee),图中呈现的是“福、禄、寿、禧”四个汉字,寓意着对美好生活的期盼和祝福,而李岩松从新的角度出发,使用新的设计技法,做了一次不同的尝试——将 4 个单字组词为“福海、寿山、喜气、丰禄”,同时加入了蒙古文字释义。这种独特的平面构成 + 数学几何造字的方法,是李岩松步入设计之途的十余年里逐渐形成的个人风格。

Being a veteran designer who’s worked in graphic design for over a decade, this latest project is an impressive showcase of how his unique compositional style and eye for geometry has developed over the years. While graphic design is his bread and butter nowadays, prior to his official foray into the field, he worked alongside Yue Xin in 2001, a trailblazer in the world of Chinese type design. “I was also exposed to the works of Nod Young around that time, so it’s safe to say these two have greatly influenced all of my design work, and for that, I’m immensely grateful to both of them,” he says with a warm smile. “Even though many of my designs are heavily influenced by calligraphy, I actually don’t come from a background in the discipline. I’m first and foremost a graphic designer, but I enjoy and feel inspired by calligraphy of all forms. When I work, I often find myself referencing the stroke order, pen movements, and composition of old Chinese calligraphy.”

对汉字图形设计的热衷,源于 2001 年,李岩松当时与设计前辈岳昕老师共事,正式接触了字体,“之后(我)偶然看到前辈 Nod Young  闹老师的设计作品,受到很大启发,借此向两位老师致敬。”李岩松笑说,“虽然作品常以‘字形’示人,但我不是一个字体设计师,而是个图形设计师。我也没有专门练过书法。只要是写得好看的书法,我都喜欢。我创作的时候会参考书法的运笔、连笔、动势、构图。”

As the result of his diverse influences and an ongoing passion for a wide variety of calligraphy, Lee’s designs rarely stick to one uniform aesthetic. He unabashedly extracts concepts and techniques from graphic design and wields them as building blocks for his calligraphy-inspired works. “I especially like to design in grids – any shape or density,” Lee explains of his methods. “I work and think in geometric shapes but I like to try and conceal specific patterns in my end design. I like to keep it interesting by experimenting and seeing what I can come up with.”


Behance: ~/LiamSoso


Contributor: Chen Yuan

Behance: ~/LiamSoso


供稿人: Chen Yuan

Everyday Abstractions

Andhika Ramadhian is a 21-year-old Indonesian graphic designer and photographer who creates stunning minimalist images. Inspired by architectural design and the works of other minimalist photographers, Ramaddhian began capturing scenes from his daily life with his iPhone and DSLR camera. Most of his postprocessing involves Photoshop, which is used to masterfully render a layer of magical surrealism onto his mundane snapshots. Ramadhian, with his keen understanding of color and geometric harmony, uses his artistic talents to transform the ordinary into the extraordinary. In his own words, “I create another world which is completely abstracted from the reality of my imagination.”

Andhika Ramadhian,一位21岁的来自印度尼西亚平面设计师和摄影师,他用镜头创作了惊人的极简主义图片。受到建筑设计和其他极简派摄影师的启发后,Andhika 就着手用他的 iPhone DSLR 相机捕捉日常生活中的场景。为了实现超现实的图像质量,Ramadhian的后期处理方法需要用 Photoshop 进行大量的编辑。凭借着对色彩和几何和谐的敏锐理解,Andhika 创造出神奇的瞬间,将平凡变成非凡。用他自己的话说,我创造了另一个完全脱离了我想象的现实的世界。

Instagram: @andhikaramadhian


Contributor: George Zhi Zhao

Instagram: @andhikaramadhian


供稿人: George Zhi Zhao

The Eye of Binhai



Tianjin Binhai Library is a futuristic space that was recently unveiled in October of 2017. Designed by Dutch architects MVRDV in collaboration with the Tianjin Urban Planning and Design Institute, the library is part of a greater plan to launch a cultural district in Tianjin.

2017 年 10 月,天津滨海图书馆正式开幕。该图书馆由荷兰 MVRDV 建筑设计事务所与天津市城市规划设计研究院合作设计,并作为天津滨海建成文化中心的一部分。

The highlight of the library is the auditorium. Boasting a spherical centerpiece that looks like an iris within the oval-shaped opening, the atrium has been nicknamed “The Eye.” Inside the atrium, terraced bookshelves run from floor to ceiling, rippling across the ceiling as if following the contour of the luminous orb.

整个图书馆的最精彩的部分是中庭的发光球形报告厅。这中庭有一个球形的中心,看起来像一个椭圆形的虹膜,因此又被命名为“眼睛(The Eye)”。再往里走,成排的书架从地板开始堆叠,既作为阶梯、座椅,且一直延伸到天花板,仿佛描绘出了中间发光球的轮廓。

The actual library is impressive in its own way. While less visually striking than the atrium, the building contains five levels and an area of 33,700 square meters with enough space to house a collection of 1.2 million books. The first and second floors contain reading rooms, books, and lounge areas, while the upper levels contain meeting rooms, offices, computer and audio rooms, as well as two rooftop patios.

而整座图书馆也独具自己的特色。虽不及中庭发光球的视觉震撼,但图书馆总面积达 33,700 平方米,足足有 5 层,设计藏书总量达 120 万册。一楼和二楼设有阅览室、藏书区和休息区,上层则设有会议室、办公室、电脑和音响室以及两个屋顶露台。

From initial design to opening, the library took only three years to complete, making it MVRDV’s fastest completed project to date. It’s a breathtaking achievement of design that’s quickly establishing a reputation as a must-see landmark for those visiting Tianjin.

由于施工周期比较紧张,图书馆从最初的设计到最终落成只花了三年的时间,成为 MVRDV 迄今为止进度最快的项目。这可谓是一个惊人的设计成就,并已成为天津必去的标志性地标。

347 Xu Sheng Road
Binhai New District, Tianjin
People’s Republic of China

Tuesday ~ Sunday 10:00 ~ 18:00
Monday 14:00 ~ 18:00


Facebook: ~/MVRDVRotterdam


Contributor & Videographer: George Zhi Zhao
Images Courtesy of MVRDV


周二至周日 10:00 ~ 21:00
周一 14:00 22:00


脸书: ~/MVRDVRotterdam
: ~/mvrdv


供稿人与视频摄影师: George Zhi Zhao
图片由 MVRDV 提供

Blue & White Porcelain

Shann Larsson is a Hong Kong-based mixed media artist of Eurasian descent. Having been raised in Germany, Sweden, Indonesia, and Hong Kong, Larsson’s creative process has been deeply influenced by her exposure to these different cultures. Her latest project, Blue & White Porcelain, is a playing card deck that reflects the influences of her mixed cultural background. While the front-facing graphics and coloration are based on 14th-century Chinese ceramics, the card backs are influenced by modern Scandinavian porcelain, which tends to incorporate abstract and geometric characteristics. Building on the Chinese influences, the graphical elements on the rest of the cards, aside from the aces, are all based on the 12 animals of the Chinese zodiac.

Shann Larsson是一位现居香港的多媒体艺术家。身为一名欧亚混血,她成长于德国、瑞典、印尼和香港这四个地方,而这样的成长背景也深深影响到了她的作品创作。这在她近期的一件产品设计作品《Blue & White Porcelain》亦能体现出来。在扑克牌的牌面设计上,Shann以中国明朝时期青花瓷的纹样和颜色作为灵感,而牌背则借鉴了另外一种较为现代的瓷器——产于斯堪的纳维亚、独特风格的瓷器,其中包含了抽象元素和几何特征。在图案设计中,Shann还融入了中国的十二生肖,来展现牌面的大小等级。

In the printing process, Larsson used a Spot UV varnish on individual cards and the packaging, which gave it a special coating that augmented the colors of her watercolor paintings; the glossy surface is also a reference to the lustrous qualities of real ceramics. Understanding that design is a balancing act, Larsson finalized the project with the use of the simple, minimal Novecento font, which complemented her complex graphical designs.


Blue & White Porcelain recently won a Junior Award at the Red Dot Award: Communication Design event and it’s now available in the Neocha Shop.

《Blue & White Porcelain》还是2017红点奖:传达设计部分的得奖作品!现正于Neocha商店限量发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


Sharon Larsson的《Blue & White Porcelain》



Website: shannlarsson.com
Facebook: ~/shannlarssonsart


ContributorYe Zi
Images Courtesy of Shann Larsson

Behance: ~/shannlarsson 


供稿人: Ye Zi
图片由Shann Larsson提供

Saigon Emoji

Emojis have become an indispensable part of modern communication, allowing people to easily convey their feelings and thoughts at the mere click of a button. In 2015, to the surprise of many, the “Face with Tears of Joy” emoji was even selected as Oxford Dictionaries Word of the Year. Seeing this, Saigon-based designer Maxk Nguyn had an idea: “Why don’t I mix those tech icons with symbols of daily life in Saigon?” This light bulb moment culminated into the Saigon Emoji project. From streetside fruit vendor selling baskets of Instagram likes and Facebook Reactions to old mailboxes with unread notifications and a street cleaner sweeping away the past hour’s internet browsing history, Nguyễn’s fun series embeds these familiar digital symbols and emojis with photos of Saigon locals as a way of presenting the city and its stories through a universal language.

近年来,Emoji表情符号成为了现代人沟通过程中一个不可缺少的元素,一些无法用语言表达的想法或情感却可以用一个emoji符号轻松传递。emoji的喜极而泣符号更是在2015年的时候破天荒地成为了英国牛津字典的年度风云词汇。听到这则新闻,来自越南西贡 (胡志明市)的设计师 Maxk Nguyễn冒出了一个想法:当这种简单的数位图画影像和西贡的生活景象结合在一起,结果会是怎样? 《Saigon Emoji》就此诞生。坐在路边贩售水果的越南阿姨,果篮里装满的却是爱心和点赞符号;老房子的旧式信箱右上角冒出红色的未读邮件数字;清道夫的扫把下是上一小时的网络浏览记录。Nguyễn将这些数位符号带入西贡人的日常生活中,用emoji这个无国界之分的语言,讲着他家乡的故事。

Facebook: ~/Maxknguyen91


Contributor: Ye Zi



供稿人: Ye Zi


Sunkyung Kim and Wonjun Jeong are the creative duos behind the South Korea-based art collective Sailors Studio. Their newest photography series, Conversation, features delicately distorted portraits that are projected across a fleeting cloth, tossed into twilight landscapes. The duo began experimenting with this fluid portrayal of the human face in their earlier photo series, Floating Life, where the cloth acted as “a screen to absorb a variety of images which tell the story of life and death”.

Sunkyung KimWonjun Jeong 是韩国艺术工作室Sailors Studio的两名艺术家。他们的最新摄影系列《对话》(Conversation),将精美的人像投射于飘逸的布料上,映衬暮色的风景背景。在早期的摄影系列《浮动生活》(Floating Life)中,他们第一次尝试创作这种充满液态动感的人像作品,用布料“作为屏幕,展现一系列影像,讲述有关生命和死亡的故事”。

From the Floating Life series
From the Floating Life series
From the Floating Life series

Whilst their previous photo series explored the themes of life and death, Conversation focuses solely on the former and delves into the topic of self-discovery. The work was originally inspired by French philosopher Emmanuel Levinas’ conception of responsibility, which states that being human meant that one is responsible for someone other than oneself, known as “the Other.” The cloth that is tossed into the air depicts one’s relationship with the Other, with each moment captured symbolizing a conversation. Through these portraits, “one finds one’s essence through the Other.” See the complete series below.

尽管他们以前的摄影作品探讨了生与死的主题,而这一次在《对话》中,他们只关注前者,深入探讨自我发现的主题。深受法国哲学家伊曼纽尔·莱维纳斯(Emmanuel Levinas)的责任观的启发,其中指出,作为人类,对他人的责任是与对自己的责任所不同的,这一点可以被称为“对方”。通过捕捉交谈中的每一个瞬间的特征,所完成的肖像告诉我们,“我们可以通过对方发现自我的本质”。下面一起来欣赏一下这一系列的作品吧。



Contributor: Whitney Ng



供稿人: Whitney Ng

Designing Happiness

Since arriving in Tokyo, Duncan Shotton has set about bestowing happiness around the world, one little hand-painted push pin at a time. Five years ago, in 2012, Shotton set up his own design studio in Japan. Since then, many aspects of his adopted home have served as inspiration. From holding his first pop-up shop in a tree within Tokyo’s Harajuku district to rethinking the humble soy sauce dish, Shotton has the ability to turn the everyday into the extraordinary.

2012年来到东京之后,英国设计师Duncan Shotton一直通过自己对平常生活的小用品的创意设计(譬如手绘小图钉),在世界各地传播快乐的精神。五年前,Shotton在日本成立设计工作室,日本的许多方面启发了他的创意灵感。不论是他在东京原宿区一棵树上开设的第一家概念性快闪店(pop-up shop),或是他对酱油碟的重新演绎,Shotton一直着眼于将平凡的小用品变得不平凡。


In Japan, it’s considered rude to wear shoes indoors. This custom is so deeply embedded into Japanese culture that many apartments come with a built-in sunken porch at the entrance. Shotton was inspired by stepping stones that he saw in Kyoto and designed Tobiishi as a clean space that serves as a stable treading spot for people greeting guests or accepting deliveries.


在日本,在室内穿鞋都是不礼貌的。这种习俗在日本文化中影响很深,以至于许多公寓在入口处都会设有一个“ 凹陷式门廊”。Shotton以自己在京都看到的垫脚石 为灵感,设计出Tobiishi,为人们在门口迎接客人或签收包裹时提供一个干净、稳固的踩点。

Soy Shape

Noticing that the natural color of soy sauce takes on a gradient form when poured into a shallow dish, Shotton designed these delightful dipping sauce dishes to give off the illusion of 3D shapes, giving an extra “dimension” to every sushi eating experience.

Soy Shape


Sticky Page Markers

This stationary series allows every bibliophile to build adorable landscapes from their favorite pages. From the iconic junk boats of Hong Kong sailing around the harbor to the infamous Godzilla monster terrorizing downtown, these page markers are sure to be a favorite amongst bookworms.

Sticky Page Markers


Shotton continues to work from Tokyo, collaborating with Japanese companies and sticking to a small production scale to maintain a high level of quality. His latest project, Planet Pins and the Moon – which is comprised of a hand-painted solar system and complete with a hand-casted concrete moon push pin – is now available for pre-order.

Shotton目前仍在东京生活,他与日本企业合作,坚持小规模的产量,以保证最佳质量。他最新的作品Planet Pins and the Moon是一组太阳系行星主题的手绘图钉,以及一颗用纯手作的混凝土月球图钉,现在已经开放预订。

Website: dshott.co.uk
Facebook: ~/DuncanShottonDesignStudio
Instagram: @_dshott


Contributor: Whitney Ng

网站: dshott.co.uk
脸书: ~/DuncanShottonDesignStudio
Instagram: @_dshott


供稿人: Whitney Ng

Polluted Water Popsicles



Polluted Water Popsicles is an award-winning project made to raise awareness about water pollution in Taiwan. Created by National Taiwan University of Arts students Hong Yichen, Guo Yihui, and Zheng Yudi as their graduation thesis, the project sourced polluted water from 100 different sources across Taiwan to create colorful, frozen popsicles. Afterwards, polyester resin models of the popsicles were molded and individually packaged to create the final series of works, which were shown as a gallery exhibition. The 100 different packaging designs identified the specific locations that water was sourced from to create each individual popsicle.

获奖作品《100%纯污水制冰所》(Polluted Water Popsicles)是国立台湾艺术大学学生洪亦辰、郭怡慧、郑毓迪共同完成的毕业作品,旨在提高人们对台湾水污染问题的关注。他们跑遍台湾100多个污染水源地采集污水,创造出丰富多彩的冰棒。然后,将冰棒制成聚酯树脂模型,经过单独包装后成为最后的作品,以画展形式展示。100种不同的包装设计分别代表着每支污水冰棒的污水来源地。

Over the course of the year-long project, the team sampled water from rivers, ports, drainage ditches, and sewers all across Taiwan. According to Hong Yichen, “In the beginning, we didn’t have the proper equipment. We would just go and sample water from these smelly places. It was pretty difficult. The kind of pollution we came across the most was plastic waste, such as bottles, plastic packaging from straws, and so on. The colors in the water samples come from industrial waste and dye pollution.” The Polluted Water Popsicles project has recently gone viral not only in Taiwan but globally, serving as a leading example of how design can help raise awareness on environmental issues. 


Facebook: ~/PollutedWaterPopsicles


Contributor: George Zhi Zhao

脸书: ~/PollutedWaterPopsicles


供稿人: George Zhi Zhao

Unfolding the Saree

Creatively concocted by Mira Malholtra of India-based design atelier Studio Kohl, Unfolding the Saree is a zine created to resemble sarees, a garment commonly worn by women in India. Traditional sarees are long cuts of fabric, averaging six meters in length and 1.5 meters in width. From the waist to the heel, sarees are designed to wrap around the wearer’s body into a skirt while the upper portion of the saree is intended to be draped over the shoulder. To complete this homage to the saree, the content of the zine is even printed on a one-meter long strip of paper that’s meant to evoke imagery of the long cut of fabric. The opposing side of the paper is printed with patterns that are commonly seen on classic sarees. To form the palm-sized zine, the paper is folded over twelve times.

《Unfolding the Saree》是由印度设计工作室Studio Kohl出版的一辑zine(独立小杂志)。它的外形是一件袖珍版本的纱丽。纱丽是印度最常见的女性传统服饰,传统的纱丽实际上就是一块长型的布料,通常长约6米,宽约1.5米,从腰部围到脚跟成筒裙状,然后再将末端下摆搭在左肩或右肩上。在印度,各个年龄层的女性都会要穿着纱丽,《Unfolding the Saree》的创作者Mira Malhotra,用一种创意有趣的方式制作了这本zine,她模仿纱丽的样式,将杂志的内容设计印刷在长约1米的长条形纸张上,并在背面印上纱丽布料的经典图案,再通过12次折叠,变成了一本手掌大小的迷你杂志。

To bring the design concept to life, Malhotra had to experiment and invest a considerable amount of time in finding the right paper. In real life, it usually requires ten folds to completely fold up a saree. Thus, to replicate how real sarees are folded, finding the right type of paper was crucial. After repeated attempts with different types of paper, Malhotra finally landed on a suitable choice: a type of recycled paper used for a locally printed newspaper. The paper is soft enough for the repeated folds that she envisioned, but also durable enough to allow dual-sided color printing. The softness of the paper coincides with her original design concept, which is to make a zine that could resemble real sarees. To complete her vision, Malhotra even custom ordered mini clothes hangers to ship with the zine.


With the flip of each page, Unfolding the Saree unravels the story of how sarees came to be. Through this zine, Malhotra wants to introduce the cultural and historical aspects of this traditional garment to a larger audience in an approachable manner. More importantly, she intends to incite discussion on the contradictory views on women who wear sarees. Malhotra explains, “The saree is a very versatile garment. It is mostly considered to be modest and decent. It’s also often considered as some sort of eternally feminine, traditional and dignified dress. Some colleges in India enforce it as a uniform so as to not ‘tempt’ haplessly hormonal young boys. But I found that funny. In Bollywood productions, which makes up a large chunk of what India watches and listens to, they use the saree as a sexy dress. And my guy friends have often referred to the saree as the ‘sexiest thing a woman can wear.’ The is exactly the Madonna-whore complex. On one end, the women is a goddess, dignified and extraordinary, almost divine, and on the other end, she is the whore, the slut, as pictured in raunchy songs where the ‘heroine’ is clad in a white wet saree, a common trope in Bollywood films.”

当你在一层层展开这本迷你杂志的时候,你也揭开了纱丽这种印度传统服饰背后的故事。借由这个作品,Malhotra希望向大家介绍纱丽这种服饰的历史文化,更重要的是,Malhotra想和读者一起探讨印度社会对于女性穿着纱丽服装的矛盾看法。Malhotra解释说:传统定义上,纱丽是一种多功能性服饰,穿着者通常典雅优美,被定义为淑女的服装,印度一些学校也要求女学生穿纱丽作为制服,因为这对青春期发育中的男孩子们来说显得最无害。而可笑的是,在流行的宝莱坞电影中,纱丽又几乎可以和性感或性诱诱惑划上等号,我身边的男性朋友也常说纱丽是女人们最性感的衣服。我很想借此作品来探索印度社会对于女性的这种圣母妓女情节(Madonna-whore complex)。” 

With a history of sexism lingering over Indian society, Malholtra’s ultimate goal for creating this zine was to help speak up on these injustices that women have faced in the country. “Even if there might be a lot of crime against women – as there always has been – at least we are standing against it. It feels hopeful.”


Unfolding the Saree is now available in the Neocha Shop in limited supply.

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.

Unfolding the Saree 现已于Neocha商店限量发售。



  • Year of Publication: 2016
  • Number of Pages: One unfolding sheet
  • Size: 3 × 4 × 0.5 inche
  • Print Quantity300
  • Printing Method: Silk screen
  • Price: $12 USD


  • 出版年份:2016
  • 页数:一张长型折叠纸
  • 尺寸: 10.5 × 13厘米
  • 出版数量:300
  • 印刷方式:网版印刷
  • 价格: ¥80 RMB

《Unfolding the Saree》



Website: studiokohl.com


Contributor: Ye Zi
Images Courtesy of Studio Kohl

网站: studiokohl.com
Behance: ~/studiokohl


供稿人: Ye Zi
图片由Studio Kohl提供