Tag Archives: design

Unexpected Boxes

A behind-the-scenes look at how Unexpected Boxes was created.

Taiwanese artist Sydney Sie is a photographer and graphic designer who creates surreal, dream-like pictures that blur the line between imagination and reality. Using pastel colors and playful illusions, her work radiates a gentle feminine energy that eases viewers into each scene. Sie approaches every project like they’re her personal playgrounds, places where she can use candy-colored backdrops, mundane props, and familiar body parts to play games of hide-and-seek with the viewers.


来自台湾的谢昕妮(Sydney Sie)是一名摄影师,也是一名平面设计师。如果说要用一个词来概括她的作品,那或许就是:如梦似幻。

她的作品经常充斥着渐变的色彩、错位的视觉效果和柔软的女性气息。平凡的人物和场景,似乎统统隐匿在纯色背景之后,相片中呈现出来的只有经过筛选的景物,宛如置身真实与虚假的边界,并将其镶嵌到一个糖果色的故事气氛中去。

An image from Unexpectable Boxes
An image from Unexpectable Boxes

From the color usage to the methodical compositions, Sie’s experience as a graphic designer shines through in her photography work. But this intermingling of cross-medium concepts doesn’t end there. Having graduated with a degree in animation, influences from her major are also evident in her work – this is perhaps most apparent in her usage of close-up shots and attention to layering. Sie believes merging concepts from all three is what allows her to tell a complete story. In her eyes, photography should be more than just documenting reality – they’re opportunities to create something completely original and never before seen.


无论从色调还是构图的角度来看,Sydney 的作品都带有平面化的风格,那是因为平面设计出身的她,在研究所时期读了动画专业,所以她常用特写镜头,构图也更分解化。但 Sydney 觉得,这样反而更接近“完整呈现”,因为对她来说,摄影不仅仅是“记录”,更是“创造”。

A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.
A behind-the-scenes look at how Unexpected Boxes was created.

“I like to capture the surreal moments of ordinary life,” Sie tells us. “Rather relying on the pre-existing beauty of subject matters I’m capturing, I like to create unique settings and look at things from atypical perspectives.”

Each one of Sie’s projects is a window into the varied terrains of her active imagination, and this willingness to push the limits of her creative boundaries is what has captivated viewers again and again.


“我喜欢去捕捉现实生活中的超现实时刻……我喜欢去创造一个新的空间,或是新的构图,不依赖本来就很美好的东西。”但或许这就是 Sydney Sie 作品的魔力,让人在她创造的色彩梦境中,不断流连徜徉。

An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Unexpectable Boxes
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem
An image from Orange Requiem

Website: www.sydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

Contributor: Chen Yuan


网站: www.ydneysie.com
Behance: ~/sydneysie
Instagram: @sydneysie
Vimeo: ~/sydneysie

 

供稿人: Chen Yuan

What’s the Point in Growing Up?

 

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Born in Taipei, having studied in Milan, and now based in Shanghai, Ning (aka Kang Yung-Ning) is a designer and entrepreneur whose intercultural experiences have broadened her mind and shaped her creative interests. In the past, she’s found success as a high-end menswear designer, stylist consultant, and lecturer. In more recent years, she co-founded XSPLUSLAB, an eyewear brand designed specifically for kids, and Speechless, an online fashion and lifestyle platform. Eager to learn and experiment, Ning’s career path has been a path filled with many twists and turns. Even now, it’s difficult to define her job roles and responsibilities, which might change on a day to day basis. She sums everything up by simply saying, “It’s a bit complicated!”


生于台北,留学米兰,现在长居于上海的 Ning(康韵宁) 形容自己是一位专业“不务正业”的跨文化人士。除了担任一线品牌的男装设计师、造型顾问和学院讲师之外,她还创办了儿童眼镜品牌 XSPLUSLAB 以及时尚创意平台 Speechless。当被问及怎么定位自己的时候,Ning 的反应是,“哇,这很复杂,实在一言难尽!

Despite her cross-disciplinary interests, Ning has been able to balance all of her creative and entrepreneurial pursuits. Unsurprisingly, when asked what she would prioritize to if she had to choose between her personal life and work life, Ning went with the latter. But she admits, it’s often difficult for her to determine where one ends and the other begins. “I discover inspiration for my work everywhere in life,” she says. “It might come from spotting a row of interesting buildings, a particular floor tile, how random colors interact with one another, graffiti art on the street, or even a fallen leaf.”


在不同领域间游走,天秤座的她也形容自己是一个很平衡的人,尽管有很多不同的身份,也能尽量让这些角色达到彼此平衡,并且每个工作都全力以赴。如果要工作与生活二选一,Ning 毫不迟疑地选择工作,原因是她认为做自己喜欢的事,工作也像生活一样。她喜欢四处搜集与流行,时尚,艺术及生活相关的资讯。“生活中大大小小的事物都能为我带来灵感,走在路上看到一排特殊的建筑,路上的一块砖头,不同的色彩搭配,墙角的一个涂鸦,甚至是一片落叶,都能带给我灵感。”

In early 2016, Ning met Vic, an eyewear designer. At the time, Ning worked full-time as a menswear designer. But the two had a mutual interest in using their respective expertise to create something fun for kids; this resulted in the idea of designing playful eyewear for children. To their surprise, the project – initially created just for fun – received an overwhelming amount of positive feedback. This success would sow the seeds for the two to launch XSPLUSLAB not long after. Their vision for the brand is simple – create eyewear for stylish kids and adults with a child-like sense of wonder. But aside from simply designing glasses, Ning aims to communicate an underlying message of “Never grow up.” She hopes the brand can help foster creativity in the youth and inspire people of all ages to live their life without constraints.


2016 年初,Ning 碰到了她现在儿童眼镜品牌的合作伙伴 Vic,那时的 Ning 以从事男装设计的工作为主,而 Vic 是个很资深的眼镜设计师。因为两人对于小朋友的生活方式有着共同的想法,他们以做着玩的心态设计制作了一些儿童眼镜,没想到反响非常好。此后,两人就将这个概念发展为了现在的 XSPLUSLAB,一个专为有自我主见的酷小孩和童心未泯的有趣大人设计眼镜和配饰的原创品牌。而制造眼镜之外,Ning 也更想将这种“不想长大”的生活态度传递出来,和大家分享勇敢创新、充满创意的生活方式。

Aside from XSPLUSLAB, a large portion of Ning’s time is dedicated towards Speechless, an online platform that curates a collection of quirky lifestyle and fashion-related stories. “On one particularly hot day, when I was walking around town with my friend, I noticed a group of older folks in public with their shirts rolled up, revealing their stomach. To me, it felt almost like a fashion statement. I thought it was so much fun, but I couldn’t quite explain why. Not long after, I realized I had other interesting observations and ideas about fashion that I wanted to share. And so, Speechless was born,” she says, explaining that her long-term vision is for the platform to grow into an archive of stories that’s able to captivate people of all professions, races, cultures, and genders. “Maybe it’s a naive idea, but we’re open to everything. On this platform, I want people to not worry about ‘stepping over boundaries.’ There shouldn’t be any!”


说起 Speechless,这个 Ning 一手创立的线上生活形态资讯平台,背后还有个可爱又有点搞笑的小故事。“当初和朋友走在街头,看到夏天时大叔们因为天气闷热,把衣服卷到肚皮上散热,一群人站在路口形成有趣的‘时尚风景’,觉得说不出的逗趣景象,加上自己有许多对于生活趣事和时装及美感的看法想跟大家分享,于是便有了Speechless。” Ning 想借助这个平台,和一群对新鲜事物充满好奇的人们分享资讯,他们不按常理出牌,喜欢打破沙锅问到底,勇于打破常规,当然还有,充满幽默感。Ning 希望透过 Speechless 推广一种没有边界,跨产业、跨种族、跨文化、跨性别的理念,创造一个单纯且有趣的意见交换与分享平台。“在这里因为我们单纯而开放的多元精神,大家不必在意互踩界线!哈哈,因为我们也没有界限!”

“I’m both a dreamer and a dream maker,” Ning tells us. “I’m interested in sharing my experiences with people eager to learn so that they can make it closer to their own dreams. I think the best way to live life is to keep an open mind about everything. Kids and adults think differently. Adults already have preconceived notions about many things in life, but kids are different. They look at things in a different light – they don’t see limitations.” Ning often reminds people to retain their child-like sense of wonder about the world, to be receptive to different ideas, and create by thinking outside of the box. She wants people from all walks of life – especially designers, stylists, and fashion enthusiasts – to see that life can be lived without the mental limitations we often place on ourselves and spread the message that by harnessing our creativity, we hold the key to unlocking endless possibilities.


我是一个梦想家(Dreamer),也同时是一个梦想实现家(Dream maker) 。因为我在做梦的同时,也会把自己的经验传达给很多学生,帮助他们更靠近梦想。” Ning 和我们分享道,我觉得最有趣的生活状态就是对任何事物都采取开放的态度。”所以 Ning 常提醒自己用小孩子的态度对待世界,“孩子的生活和成人的生活不同,成人对事物已经有既定的印象,可是小朋友不一样,小朋友没有带有色眼镜,也没有任何的限制。” Ning 希望用更开放的心胸和更多元化的想法去创作,把这种没有界限的生活方式带给所有人,包括设计师,和那些对时尚和设计有热情的人们。

If you’re interested in checking out more designs from Ning and XSPLUSLAB, they’re now available at the POY Art Designer Concept Store.

 

Address:
Aegean Shopping Mall
1588 Wuzhong Road 1F 123A
Minhang District, Shanghai
People’s Republic of China

 

Website: xspluslab.com
Facebook: ~/xspluslab
Instagram: @absolutespeechless
WeChat: SPEECHLESS_Official

 

Contributor: Ye Zi
Videographer: Yang Bingying & Ye Zi

Photographer: Chan Qu


想看到更多 Ning 和 XSPLUSLAB 的更多作品,可以到半境空间设计概念店参观。

 
 

地址:
中国
上海市闵行区
吴中路1588号 1F 123A
爱琴海购物公园

 

网站: xspluslab.com
脸书: ~/xspluslab
Instagram: @absolutespeechless
微信: SPEECHLESS_Official

 

供稿人: Ye Zi
视频摄影师: Yang Bingying & Ye Zi

照片摄影师: Chan Qu

The Eye of Binhai

 

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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。

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

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

 

Websitemvrdv.nl
Facebook: ~/MVRDVRotterdam
Weibo~/mvrdv

 

Contributor & Videographer: George Zhi Zhao
Images Courtesy of MVRDV


地址:
中国
天津市滨海新区
旭升路347号

开放时间:
周二至周日 10:00 ~ 21:00
周一 14:00 22:00

 

网站mvrdv.nl
脸书: ~/MVRDVRotterdam
微博
: ~/mvrdv

 

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

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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.


在制作产品时,Shann选用了一种叫做局部UV的印刷方式,赋予卡片和卡盒一种微妙的光泽感,这样光滑的触感也正呼应了产品的瓷器主题。为了视觉上的均衡,Shann选用了简洁的字体Novecento,这种干净极简的字体正好中和了牌面上精细又复杂的设计图案。

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.


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Sharon Larsson的《Blue & White Porcelain》

¥90

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Website: shannlarsson.com
Facebook: ~/shannlarssonsart
Behance~/shannlarsson 
Instagram@shannlarssondesign

 

ContributorYe Zi
Images Courtesy of Shann Larsson


网站shannlarsson.com
脸书:~/shannlarssonsart
Behance: ~/shannlarsson 
Instagram@shannlarssondesign

 

供稿人: Ye Zi
图片由Shann Larsson提供

Functionality & Permanence

Chairs, having existed since the beginning of civilization, have taken on different forms as society and technology evolved. And for Joyce Lin, an American-born Taiwanese artist and designer, chairs are much more than inanimate objects for people to rest their buttocks on – they’re iconic, familiar, and possess anthropomorphic qualities that parallel the human form. “I think that furniture objects are powerful because whether they’re practical or not, they evoke a type of environment that is accessible to most everyone,” Lin explains of her fascination. “To me, furniture represents reality. So when I use it in my work, I see myself manipulating or altering that reality.”


自人类文明诞生以来,椅子就已经存在,并随着社会和技术的发展而呈现出不同的形式。Joyce Lin是一名生于美国的台湾艺术家和设计师,对她来说,椅子不仅仅是供人坐下的无生命之物,它更是一种符号——它们有一种亲切感,还被赋予了一种拟人化的性质。“我认为家具蕴含巨大的能量,因为无论它们是否实用,都能令人们联想起一种大多数人都能拥有的环境。”Joyce解释说,“对我来说,家具代表着现实。所以当我使用家具创作时,我会感觉自己是在操纵或改变某个现实。”

Exploded Chair
Exploded Chair

As a recent graduate with a double major in both biology and furniture design  – two seemingly unrelated fields – the 23-year-old designer realized that she can take concepts from the former and integrate it into the latter. “Biology and geology have given me a lot of insight into understanding internal structures and systems on a broad scale,” Lin shares. “They tell us where we, and everything in our environment, come from, how they have evolved over time, and how they are evolving now. It challenges my assumptions about how and why things work – how parts come together or fall apart – which translates to how I work in the studio. Learning about science keeps me interested and makes me love and care about the world in a way that I hope is expressed in my work.” 


作为一名刚毕业的23岁设计师,Joyce同时修读了生物学和家具设计——两个看似毫无关联的专业,她发现,自己可以从生物学的一些概念中获得灵感,然后将其融入到家具设计中。“生物学和地质学给了我很多洞察,帮助我从更广泛的范围去深入去了解事物的内部结构和系统。”Joyce解释道,“这两个学科能告诉我们,人类以及环境中的一切来自哪里,是如何随着时间的推移而演变,今后又会如何发展。它挑战了我对于事物如何和为什么会运作的种种假设和想法,每个部件如何组合、如何分解,这些最后都成为了我在工作室里创作的思路。学习科学让我始终对外界满怀兴趣,从而更能去热爱和关心这个世界。我希望这一点能最终体现在我的作品中。”

Exploded Chair

For Exploded Chair, one of Lin’s most well-received project, she dissects a wooden spindle chair, encasing its dismembered parts within transparent acrylic containers. Each individual piece that makes the chair whole is isolated and shifts freely in their respective containers. While most people naturally believe that these disembodied pieces of wood are what makes the chair a chair, Lin’s reimagining of the traditional chair challenges this concept. This project plays off of the audience’s expectations and is her way of making viewers question the function of a chair and contemplate the role of different materials as well as the meaning of permanence.


在Joyce颇受好评的作品之一《Exploded Chair》(肢解座椅)中,她解剖了一张木椅,将“肢解”下来的部分再各自装进透明的亚克力容器里。曾组合椅子的各个部位,现在都被单独隔开了,在各自的容器里兀自晃动。大多数人自然会觉得,是由于这些“肢解”的部件才能形成了一张椅子,但Joyce对传统座椅的重新设计,摆脱了这个概念。这个设计挑战了观众的期望,使观众质疑椅子的功能,思考不同材料的作用以及永恒性的意义。

Used Chair
Used Chair
Used Chair

In an older project, titled Used Chair, Lin manipulates the anthropomorphic elements that she’s observed in the seating furniture with the idea of creating a “subservient” chair. The final creation bends the traditional wooden legs into human-like limbs, positioned to almost look as if the chair was groveling on its knees. Lin intended for this project to be a statement piece on the relationship dynamic between people and objects. In a separate project, titled Fused Chair, Lin salvaged parts from five discarded chairs. The bottom part of the final creation is formed of distinctively identifiable parts from the original chairs. Moving up, they begin to disintegrate into generic cubic shapes before finally forming into a smooth seating surface and back support. Presenting the chair’s evolution in three different stages, this piece is meant to display the gradual process of change and visualize how materials transform into a final product.


在此前的一个项目《Used Chair》(二手椅)中,Joyce重新设计她在椅子上观察到的那些拟人化元素,打造出一张“顺从”的椅子。她将传统的椅子木腿被弯曲成像人一样的四肢,看起来,这把椅子几乎就像跪在了地上。在另外的项目《Fused Chair》设计中,Joyce的目的是探讨人与物之间的关系动态。这件作品是Joyce从五把椅子上取出零件,最终组装而成的。在椅子的底部,她所使用的5张椅子的不同部件还清晰可辨。这些部件开始分解成一般意义的立方形状,一步步往上堆叠,直到最终融合成一个光滑的椅座和椅背部。这一设计呈现出椅子演变的三个不同阶段,用来表达变化的渐进过程。

Fused Chair
Fused Chair
Fused Chair

Viewing Lin’s work, the often hard-to-discern line between art and design might feel even blurrier. But she shares her understanding of the key differences between the two, explaining that she sees art as being more about expression, research, and communication while design is about applying research towards a practical goal. “Of course, you can do both at once,” she adds. “Most things hold multiple functions. At the core, both are embodiments of an idea or philosophy regarding our lived experience. I’d say that my goals are more about expression and communication, but honestly, I’ll do anything that excites me. As long my work affects people in an exciting and meaningful way, I don’t care what form it takes.”


纵观Joyce的作品,你会发现艺术与设计之间原本模糊的界线变得更加模糊了。她对两者差异的理解为:艺术是一种表达、研究和交流,而设计是为了将研究应用于实际的目标。她说:“当然,两者兼得也是可以的,大多物件都具备多种功能。从本质上来说,这两者都是在诠释关于我们生活经验的想法或哲学理念。我觉得我创作时会更倾向于表达和交流,但是说实话,只要是让我觉得兴奋的项目我都会去做。我只希望作品能令人们感到兴奋和觉得有意义,什么样的形式并不重要。”

Website: joyce-lin.com
Behance: ~/jlin

 

Contributor: David Yen


网站: joyce-lin.com
Behance: ~/jlin

 

供稿人: David Yen

Vans Custom Culture Asia

Vans has brought the Custom Culture Competition to Asia for the first time ever this year. With a well-established reputation for individualism and self-expression, the Vans brand spirit is perfectly embodied through this competition. Working with the goal of rallying Asia’s creative community and providing a new platform to help showcase the region’s burgeoning creators, the contest invites everyone to flaunt their creativity for a chance to see their design make its way onto a pair of these iconic canvas shoes.


今年,Vans 首次将 Custom Culture 鞋履设计比赛带到亚洲。这一比赛充分体现了Vans 一向推崇个性化和自我表现的品牌精神,致力凝聚亚洲创意社区,为新兴艺术家提供一个新的创意平台。比赛邀请一众亚洲艺术家,尽情发挥他们的设计创意, 获奖者的设计将会被用于设计该品牌的全新帆布鞋产品。

For the competition, Vans has invited various respected artists from around Asia as both mentors and judges. Mentors will help the selected finalists to flesh out and complete their final design. These mentors include Chinese visual artist Lin Wenxin, South Korean illustrator Original Punk, Hong Kong-based woodworking atelier Start from Zero, Singapore-based husband-and-wife creative duo Sabotage, self-taught Malaysian street artist Fritilldea, and India-based street artist duo Varsha Nair. Judges include renowned San Francisco-based illustrator Jay Howell, Nini Sum of the Shanghai-based artist duo IdleBeats, plus many more.


在今年比赛中, Vans邀请了亚洲各地备受推崇的艺术家作为导师和评委。导师将帮助决赛选手改善其设计作品。这些导师包括来自重庆的视觉艺术家林文心, 韩国插画家Original Punk, 香港木艺画室Start from Zero, 新加坡夫妻组合艺术家Sabotage, 自学成才的马来西亚街头艺术家Fritilldea和印度街头艺术家组合Varsha Nair。评委则包括来自旧金山的著名插画家Jay Howell,来自上海 IdleBeatsNini Sum等等。

Now, the six talented finalists from China, Korea, Hong Kong, Malaysia, Singapore, and India have all finished their designs alongside their respective mentors. The final round will decide who will win a trip to House of Vans London and have their creation debuted in stores Asia-wide next year! See the final entries below and vote for your favorites by clicking here.


现在,六位来自中国、韩国、香港、马来西亚、新加坡和印度才华横溢的设计师分别在各自导师的帮助下完成了最后的鞋履设计。最后一轮比赛的结果将会决定谁最终能赢得前往参加House of Vans伦敦站的机会,获胜的设计还将在明年亮相亚洲地区的Vans门店公开发售!下面是所有最终入围的决赛作品,来看看哪一款是你的最爱,点击此处,为它投上一票。


Felix / China

“The initial idea of this design is to make it appealing to a large audience while also bringing the Vans spirit alive. The reason I used this color combination is because I wanted to design a pair of summer shoes. It’s mainly green, dotted by red, with a little watermelon feeling.”


Felix / 中国

“这款设计的最初想法是让它既能吸引主流大众,同时也能诠释出Vans的品牌精神。之所以用这种颜色组合,原因是我想要设计一款夏季穿的鞋子。主色调是绿色,加上红色的点缀,有一种西瓜的感觉。”


Kim Young Hyun / Korea 

“My design is inspired by comics. It’s a bit different from what people see in popular comics. This idea I came up with can be easily executed on a pair of Authentic shoes. I wanted to make a scary character in a witty situation, in order to maximize the humorous atmosphere.”


Kim Young Hyun / 韩国

“我的设计灵感来自漫画,风格跟一般流行的漫画有点不同。我所想出来的创意很适合用在Authentic系列的鞋子上。我想要创作出一个恐怖的角色,把它放在诙谐的情景中,最大限度地突显出一种幽默的气氛。”


Taka / Hong Kong 

“First things first, it’s got to be something I would wear. I like to wear simple colored shoes for ease of outfit matching. I wanted to create something for everyday use, yet as an artist, it has to be a recognizable shoe that was designed by me.”


Taka / 香港 

“首先,我的设计必须是我自己会想穿的鞋子。我喜欢穿色彩单调的鞋子,这样容易搭配服装;我想创造一款适合日常穿着的鞋子,但作为一个艺术家,我也希望它能成为一款独特的鞋子,让人一看就知道是我的设计。”


Khiddir Baharudin / Malaysia

“My design was inspired by how Vans has influenced the people in different parts of Asia. The design portrays different cultures in Asia, with people from Malaysia, Singapore, China, India, and Korea,  focusing on traditional outfits, transportation, and architectures from the ’60s and ’70s.”


 Khiddir Baharudin / 马来西亚

“我的设计灵感来自Vans在亚洲不同地区的影响。这款鞋子展示了亚洲不同的文化,有来自马来西亚、新加坡、中国、印度和韩国的人们,不同的传统服装、交通景观、60年代及70年代的建筑。”


Edmund Seah / Singapore

“As an artist, I paint on various platforms, bringing the style and flow of the Japanese craft onto different media apart from the skin. I do not merely want to create a pretty image without flow and form.”


Edmund Seah / 新加坡

“作为一个艺术家,我会在不同的平台上绘画,将日本手工技艺的风格和韵律展示在不同的媒介上,包括肌肤。我不想要徒有美丽外表,而没有韵律和形式的画。”


Anaghaa Chakrapani / India

“My inspiration for the shoe comes from the local essence of places I’ve traveled. I’ve traveled to many major cities in Asia. The elements in my shoe are inspired by the things I’ve observed and loved in the Asian region and my motherland India.”


Anaghaa Chakrapani / 印度

“这款鞋子的灵感来自我旅游时所去过的那些地方的文化精髓。我去过亚洲的各大城市,我设计这款鞋子的灵感就来自我在亚洲,包括在我的祖国印度,所观察到的一切,以及我所热爱的事物。”

Website: houseofvansasia.com

 

Contributor: David Yen
Images Courtesy of Vans


网站: houseofvansasia.com

 

供稿人: David Yen
图片由Vans提供

Herschel Supply’s China Debut

With a newly opened Shanghai office and a strong showing of upcoming releases at this year’s YO’ HOOD streetwear trade show, Herschel Supply appears ready to take the Middle Kingdom by storm. The Vancouver-based brand, founded by brothers Lyndon and Jamie Cormack, has been producing quintessential bags and accessories for North American urbanites since 2009. Herschel’s foray into China is an opportunity for the brothers to introduce their products and share the brand’s spirit of exploration and thoughtful designs to a new, massive audience.


Herschel Supply先是在上海开设新办公室,又在刚结束的YO’HOOD世界顶尖潮流品牌新品展上亮相品牌新品,看来,这个加拿大包袋品牌已经准备好大举进军中国。品牌由Lyndon Cormack和Jamie Cormack两兄弟成立,总部位于温哥华,自2009年以来,品牌包袋已经成为北美都市潮人的必备配饰,今年,他们进军中国也将标志着品牌一个全新的开始。这也会为两兄弟提供一个机会,向全然不同的消费者分享他们的探索精神与设计美学。

What sets Herschel apart from all the other brands entering China is its open-mindedness and ambition – the brothers aren’t merely interested in introducing a Western aesthetic into China. Chatting with Lyndon, he shared some plans of upcoming collaborations with local Chinese designers and brands. Speaking passionately, Lyndon says, “Being a global brand is about collaborating with artists around the world and bringing their stories to the global audiences. It’s not enough to bring North American stories to China, we want to bring stories from China back to North America.” Taking into account Herschel’s recent collaboration with Japanese streetwear brand WTAPS, the brand appears genuinely keen on facilitating creative collaborations in not only China but throughout Asia and the rest of the world.


或许,Herschel Supply最有别于其它进入中国的品牌的一点是他们的开放性和抱负——他们可不仅仅是想将西方美学引入中国。最近,我们与Lyndon聊了一下,他充满热情地介绍了他与中国当地艺术家和品牌在接下来的合作计划。Lyndon说:“我们希望透过与世界各地的设计师合作,把品牌打造成为一个全球品牌,将设计师的故事分享到世界各地。不仅仅是把北美的故事带到中国,同时也要把中国的故事带回北美地区。”考虑到他们最近与日本服饰品牌WTAPS的合作,Herschel似乎确实很急切地希望能有更多创意合作,不仅是中国,而是在全球范围内。

Beyond an interest in the cross-pollination of cultures, Lyndon places great importance on respecting and understanding cultural nuances from region to region. When releasing new collections, the brand carefully considers the needs of different regions in terms of both functionality and aesthetics. Hinting at features of upcoming designs, Lyndon shared his observations of Chinese cities: “Sometimes when you leave home for the day, you won’t return until late at night. In North America, most people rely on cars so they can leave things there and bring more with them. For China, people have to be more thoughtful with what they’re bringing with them every day.”


除了跨文化地域的合作,Herschel也明白到尊重和充分理解不同地区在文化上的细微差异的重要性。他们在新品中就考虑到了不同地区在功能和美学方面的潜在需求。Lyndon分享了他对中国城市的一些观察——当然,这些观察很可能会成为新品的设计特点。“有时,当人们离开家后,可能就要到深夜才会再回家。在北美,大多数人都很依赖汽车,他们可以把物件放在车上,所以也能带更多物件出门。但在中国,人们必须在平日随身带什么物件上考虑更多。”

One of the most surprising aspects of Herschel might be where its products are manufactured. Even though its design aesthetics are firmly rooted in North American heritage, much of Herschel’s products are manufactured in China, a matter that the brand has happily maintained transparency around. “The factories and the amount of technologies in China they’ve been investing in to ensure they’re cutting-edge and leading is far superior to what we’ve seen in other countries,” Lyndon beams. “We want to make our products in the best place we can and it happens to be right here in China.”


虽然他们的设计和美学风格都源自北美,但是Herschel的产品大部分都是在中国制造的,这一点令很多人大感意外。但是,对于这一点,品牌一直保持完全的透明度。Lyndon骄傲地说:“中国的工厂和他们为了保持先进地位、引领行业而对技术的投资远远超过了我们在其它国家找到的工厂。我们想要找最好的工厂来制造我们的产品,而这个工厂恰巧就在中国。”

As our conversation came to an end, Lyndon optimistically commented on China’s fast-developing fashion scene, “Before, Chinese kids might’ve wanted to be like American kids. Now, Chinese kids want to dress like Chinese kids. I think it’s going to come full circle. What’s going on here is going to influence everything in North America and Europe as well.”


在我们的谈话最后,Lyndon谈及中国的时尚行业,他乐观地说:“之前,中国的年轻人可能会想追随美国年轻人的潮流。但现在,中国的年轻人只想要穿出中国的风格。我觉得这就像是一个循环。现在,在中国发生的变化也会影响到北美和欧洲。”

Website: www.herschelsupply.co
Weibo: ~/HerschelSupply
Instagram: @herschelsupply

 

Contributor: David Yen
Images Courtesy of Herschel Supply


网站www.herschelsupply.co
微博~/HerschelSupply
Instagram@herschelsupply

 

供稿人: David Yen
图片由Herschel Supply提供

The Line Between Fashion & Art

Every year, London’s Central Saint Martin hosts the BA Fashion Show, featuring collections from the year’s graduating designers. This year, Chinese designer Xiaoming Shan received special mention at the end of the show for creativity, making it the first time that a designer, aside from the winners, was given recognition in the speaker’s notes. Looking beyond Shan’s bold use of colors and shapes, deeper themes are present in his work, often based on his observations of modern times. “Everyday, you encounter different people, things, and events,” he says. “Even if you’re not consciously aware of it, they become catalysts for inspiration.” For Shan, finding creativity from his life experiences seems to come quite naturally.


Xiaoming Shan毕业于世界最负盛名的的时装设计学院之一的英国中央圣马丁艺术设计学院,今年,他的设计获得了年度毕业秀的特别创意提名。回看他的作品,引人瞩目的不仅仅是他对颜色和图案的大胆运用,背后的设计理念也远超越了这些强烈的视觉元素。他在不同时期的作品也往往带着当下的影子,叙述着当下发生的事。“每天接触到的不同的人,物,事,都会成为日后创作的良药,即使你不会特别留意他们。”在他眼里,一切积累与输出发生得如此自然。

Discussing some of the biggest changes he’s undergone since attending CSM, Shan shares: “I suppose it’s the way I view clothing. I feel like I’m slowly breaking away from this preconceived notion of what clothing can or can’t be, and it’s allowed me the freedom to pursue what feels right to me.” His eccentric and colorful designs are a clear departure from conventional fashion – it’s a visual representation of his understanding of pop culture, style, himself and his relationships. When viewing Shan’s work, perhaps we can temporarily set aside the idea of how certain things “should” be done and learn from how Shan creates what he wants to create.


谈及自己求学期间最大的改变,Xiaoming Shan表示:“看待服装的态度吧,感觉自己慢慢从“服装”这个字眼中走了出来,可以更自由的做你认为对的事情。”他的作品也的确有别于我们一贯理解的服装概念,它们戏剧性的呈现了他对当下流行文化的思考,关于我们对自己风格的取舍,关于本我与他我。也许我们也可以暂时抛下我们认为“应该做”的成见,看看Xiaoming Shan呈现的他“想要做”的。

Weibo: ~/XIAOMINGSHAN_official
Instagram@xiaomingshan_official

 

供稿人: Shou Xing
Images Courtesy of Xiaoming Shan


微博: ~/XIAOMINGSHAN_official
Instagram: @xiaomingshan_official

 

供稿人: Shou Xing
图片由Xiaoming Shan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。

Instagram@maxknguyen
Behance~/maxknguyen
Facebook: ~/Maxknguyen91

 

Contributor: Ye Zi


Instagram@maxknguyen
Behance~/maxknguyen
脸书~/maxknguyen91

 

供稿人: Ye Zi

Reconstructing Loneliness

Chinese photographer River Zhang says he likes being alone. Having studied in four universities between China and the UK, Zhang’s daily routine consists of getting up on time, making breakfast, eating it, and either attending class or creating art. He says that “this state of loneliness” is something he values, as it introduced him to thoughts about loneliness and thereafter his photographic works on the subject of loneliness.


摄影师张沛之说自己是不喜欢从众的人。在中国大陆和英国四所大学接受过摄影教育的他,每天生活规律,早上定时起床,做早餐、吃早餐,然后上课或创作。他说自己很享受“孤独的状态”,也是这种仪式般的孤独带给他对“孤独”的思考,而创作了一系列关于孤独的作品。

Zhang, who graduated from the University of Creative Art in the UK earlier this year, created the photography series Dialogue with Memory as his graduation project. The series explores his loneliness of being an only child. To complete the project, Zhang’s father helped him scan over 400 photos from their family albums. Zhang says, “Among those photos, some I can remember vividly, others I have no memory of at all. I believe all these memories are from my confusion as an only child. So I ended up working with the photos that I remember the most.”


今年刚从英国创意艺术大学毕业的张沛之创作了名为《与记忆的对话》的毕业作品。该作品在年度毕业生大展伦敦“无围栏”毕业作品展展出,讨论了自己作为独生子的孤独感。张沛之的父亲帮他扫描了400多张家庭相簿里面的照片。张沛之说:“这些照片中,有的会让我有非常强烈的记忆,有些则完全记不起来,我相信那些记忆都是来自于‘独生子女孤独的困惑’,于是我筛选了有强烈记忆的作品进行二次创作。”

To create the series, Zhang selected the photos that he liked the most, pixelated them, and printed them out. From afar, viewers can make out the content of the image. However, viewing at a closer distance, the colored photos turn into abstract collages of colorful blocks. In order to give context to the contents of each photo, Zhang filled certain squares with Chinese text, each standing alone in the middle of certain blocks. Zhang intentionally used photos that might outwardly show harmony and happiness, but to him, they represent painful memories – this contrast is invisible to the viewer, and that is why he used mosaics to conceal the superficial harmony and happiness. The blocks also represent another aspect of his childhood, which is that they’re similar to the paper he worked with for writing practice around the time when these photos were taken. Zhang’s carefully composed text not only serves as a form of self-expression but as a form of catharsis. These works were created in the context of China’s family planning policy and ideas of Confucianism, topics that, to him, have direct connections to the notion of loneliness.


张沛之从童年的照片里选出最合心意的照片,将他们像素化并印制出来。在远处,观者可以恍然辨认相片的内容,而凑近之后,色彩斑斓的战片变成印着汉字的方框,却辨别不出照片的内容。为了解释图片内容,张沛之以书法练习方格的模样在马赛克上写上了汉字,这些字比起方格来要小许多。对张沛之来说,这些文字才是照片的真正意义。张沛之选择了表面看起来欢乐和谐,但是背后却隐含痛苦回忆的照片,而这种强烈的反差使得外人完全看不到。所以,他选择用马赛克来掩盖表面的欢乐和谐,而马赛克又正好和他小时候练字的田字格有着非常多的相似点,照片上他的年纪也正是学写字的年纪。张沛之写下这些表达内心的文字,并把自己的作品作为“一种自我救赎的方式”。张沛之在创作初期就把这组作品放在“计划生育”以及“儒家思想”的大背景下去考虑,这两个背景有着非常充分的关联:孤独。

Zhang says: “In Confucianism, which has existed in Chinese society for 2500 years, loneliness isn’t something to be openly discussed. The five cardinal relationships in Confucianism tell us that everyone has close relations to those around them, so those who feel lonely are thought of as being incomplete humans. However, under the family planning policy in the past, it feels impossible – every family only has one child, which is a lonely thing, but we cannot talk about it.”


张沛之说:“在束缚了中国2500多年的儒家文化中,是不允许讨论孤独的存在的。儒家文化中的五伦,都是在讨论每个生命与周边生命的关系,感受到孤独的人,在五伦的关系中,是不完整的,不能被称作完整的人。但是在之前有计划生育的大背景下,这就显得格格不入,明明一家就一个孩子,明明就是一个个孤独的个体的存在,却无法被讨论。”

Website: zhangriver.com

 

Contributor: Shanshan Chen


网站: zhangriver.com

 

供稿人: Shanshan Chen