Tag Archives: streetwear

Future Fashion

Sci-fi is about more than dreaming up fictional worlds—it’s about creating a visual universe, a futuristic aesthetic for everything from sunglasses to satchels. And in an era of video-game marathons and binge-watching sessions, elements of these sci-fi-inspired styles are bound to bleed into the real world. Fashion inspired by the genre might even, like the best speculative fiction, offer subtle commentary on our technology-saturated society.

These are the roots of Guerrilla Group, a Taiwanese brand that draws inspiration from classic sci-fi games and films like Metal Gear Solid, Alien, and Akira, and then translates it into apparel for everyday use. Although some of the pieces might look more suitable for future-themed fashion editorials, most are functional for the street.   


所谓科幻世界,不仅仅是在杜撰一些虚无的幻想。它是在创造一个视觉化的世界观,一个涵盖所有——从你脸上的太阳眼镜到肩上的背包——的未来主义美学。在这一个充斥电玩游戏和追剧马拉松的时代,荧幕上的科幻元素必然会渗入现实世界。而受到此种风格启发的时尚,甚至可以说是科幻美学在现实中最理想的诠释,为科技无所不在的现代社会,提供了它细致又敏锐的见解。

这些都是吉丰重工(Guerrilla Group)的根源。这个来自台湾的时尚品牌从经典的科幻电影和电玩游戏如《合金装备》(Metal Gear Solid)、《异形》(Alien)、《阿基拉》(Akira)中汲取灵感,再转化成日常服饰。虽然部分作品看起来比较像是未来风格的装扮,但大多都是适用于现代的机能性街头穿着。

The brainchild of Andrew Chen and Anthony Bui, Guerrilla Group creates everything from detailed jackets and layered pants to form-fitting tees and cross-body satchels. The brand emphasizes distinctive but practical materials, such as high-modulus polyethylene, lyocell, and transparent leather. The last of these is so new, in fact, that the producers won’t even tell them how it’s made. It’s stuff you rarely see but want to see more of.


吉丰重工的创办人 Andrew Chen 和 Anthony Bui 将创意发挥在几乎所有穿得到的用品上,从富含细节的夹克、分层裤、到合身 T 恤和斜背包。该品牌强调使用有特点但实用的材料,如高模量聚乙烯、Lyocell 纤维,或是透明皮革——一种太过新兴的材料,以至于制造商甚至不愿意告诉他们制作方法。这是一个你几乎看不到、但渴望看到更多的东西。

Beyond their affinity for unusual materials, Guerrilla Group sets itself apart from other brands through its “storytelling” approach to fashion. Every new collection starts with a concept that’s then fleshed out with a story and visualized in a lookbook.


除了常用不寻常的材料,吉丰重工的特别之处还有通过“讲故事”的方式,将自己与其他时尚品牌区分开来。每一个系列都会从一个概念出发,然后用故事去充实其内容,最终视觉化呈现在品牌书中。

The stories crafted by Chen and Bui are rooted in fiction but take cues from the real world, and more often than not, they contain implicit social critique that confronts issues such as military fetishization and invasive authority. “A lot of our collections are actually trying to send a message of warning,” Chen says. “Like our End Of Secrecy line, which is based on PRISM, the American internet surveillance program. We’re addressing how governments control your information.”


Andrew 和 Anthony 创造的故事通常是虚构的,但之中隐含着他们从现实中获取的线索,并悄悄植入批判社会的暗喻,比如说军事狂热化、或威权体制的入侵等问题。 “事实上我们有很多作品是在试图发出警告。” Andrew 说。“像是《End of Secrecy》系列是发想自美国互联网监控计划‘棱镜门’(PRISM)。我们想诉求的对象是正在控制你的信息的政府。”

As of late, the brand is starting to move away from the sci-fi aesthetics that defined its early years. One of its recently released satchels was based on Buddhist monk sling bags—though since it’s made of an experimental transparent material made by Ecco Leather, it still resembles something extraterrestrial.


最近,吉丰重工的设计风格开始驶离早期的科幻美学。品牌最近发布的一个背包的原型是僧侣的吊带包——并由 Ecco Leather 生产的实验性透明皮革材料所制成,外观容易让人联想到异星世界的产物。

A more significant departure from the brand’s sci-fi and techwear roots is a new line based on street racing. Inspired by old auto magazines, Japanese car mods, and manga comics, this collection revolves around a fictional auto body shop called Silent Works. Their campaign even includes three real-life customized cars, including a Nissan 240SX.


一个基于街头赛车的新系列,更让该品牌远离了其科幻与机能的设计根源。灵感来自于旧的汽车杂志、日本汽车改装和漫画,此系列围绕着一个名为 Silent Works 的虚构汽车车身店。他们甚至还设计了三款真实定制车型,包括一辆 Nissan 240SX。

Guerrilla Group’s elaborate concepts and graphics-heavy designs hint at Chen and Bui’s ambitions beyond fashion. “Neither of us studied fashion design,” Chen notes. “Anthony was a graphic designer and I studied Art Design. This brand was actually my graduate thesis topic.” The duo ultimately hopes to operate a full-fledged creative agency under the banner Guerrilla Foundation for International Recon Media Group, or GFIRMG. They plan on expanding into film, product design, and visual design, and no matter the medium, they want to tell stories that meaningfully engage with a changing world.


吉丰重工精心设计的概念和图像暗示着 Andrew 和 Anthony 超越时尚的野心。 “我们都没有学过时装设计。”Andrew 说。 “Anthony 是一名平面设计师,而我学的是艺术设计。这个品牌实际上是我的毕业论文题目。”二人最终希望在吉丰重工(Guerrilla Foundation for International Recon Media Group, 简称 GFIRMG)的旗帜下运营一个成熟的创意机构。他们还计划扩展到电影、产品和视觉设计。无论媒介为何,他们都想继续讲述有意义的、与这个不断变化的世界互动的故事。

Website: www.guerrilla-group.co
Facebook: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

Contributor: Mike Steyels
Chinese Translation: Yang Yixuan


网站: www.guerrilla-group.co
脸书: ~/guerrilla-group.co
Instagram: @guerrillagroup_co

 

供稿人: Mike Steyels
英译中: Yang Yixuan

ROARINGWILD @ Uniwalk

 

无法观看?前往优酷

Shenzhen-based brand ROARINGWILD understands what makes a piece of clothing “streetwear” is more than its aesthetics alone – it’s the attitude and spirit behind the garment that truly makes it streetwear. And for the last seven years, ROARINGWILD has worked tirelessly to advance their vision of creating a streetwear brand that not only represents their ideals but can also inspire an attitude shift in the Chinese youth. The ROARINGWILD name itself is a message, telling the youth to no longer stay complacent; it’s a rallying call, emboldening people to live loudly and chase after their dreams fearlessly. The concept of streetwear as a lifestyle is embedded in ROARINGWILD’s very DNA, and the latest manifestation of the brand’s vision comes in the form of ROARINGWILD’s first brick-and-mortar store in Shenzhen, recently unveiled on October 28th. For the six co-founders behind ROARINGWILD, this physical location is meant to be more than simply a clothing store – it’s the physical embodiment of a yearning to introduce a lifestyle that they know and love to more young people in Shenzhen.


来自深圳的时装品牌ROARINGWILD相信,街头时尚不仅仅是一种美学风格,服装背后所蕴含的态度和精神,才是街头时尚的真正意义所在。过去的七年里,ROARINGWILD通过不懈的努力,创造一个不仅代表了他们自己的理想,同时能够激发中国青年改变态度的街头品牌。ROARINGWILD的品牌名字本身就在传递一个信息:年轻人不应安于现状,“ROARINGWILD”就像是一声号召,鼓励人们张扬地生活,无畏追逐自己的梦想。街头时尚是一种生活方式——这种理念已经深嵌于ROARINGWILD品牌的DNA中。10月28日,品牌在深圳开设的ROARINGWILD实体门店正式开幕,正是对这一理念的最新演绎。对品牌的六位联合创始人来说,这间全新实体门店不只是一间服装店,他们更想以一以真实可触的方式展示出品牌的渴望——向深圳年轻人推广他们熟悉和热爱的生活方式。

Image Courtesy of ROARINGWILD
Image Courtesy of ROARINGWILD
Image Courtesy of ROARINGWILD

The recent opening event was an experience quite unlike other conventional store launches. While products from their latest collection were on display and available for purchase, they were never the focal point of the event. The opening felt more like ROARINGWILD’s way of paying respects to the long-standing intersect between art, design, music, and streetwear. Photographers, graffiti artists, musicians, fashion designers, and more were all brought together to celebrate not only a milestone for the brand but to celebrate Chinese streetwear culture as a whole. Flaunting the cyberpunk-inspired techwear jackets and traditional Chinese tunics of ROARINGWILD’s latest collection, attendees put on a master class in Chinese street style and showcased how the Shenzhen-born brand fits alongside pieces from international streetwear powerhouses such as CAVEMPT, C2H4, and Gosha Rubchinskiy.


而这次的门店开幕活动也与其它开幕式截然不同。虽然门店内也在展示和出售品牌的最新系列产品,但这一点并不是这次开幕活动的焦点所在。整场开幕式感觉更像是ROARINGWILD在以自己的方式致敬艺术与设计、音乐、街头时尚之间的融合。摄影师、涂鸦艺术家、音乐家、时装设计师汇聚在一起,一起来庆祝这一代表品牌全新里程碑的活动,同时也在庆祝中国的街头文化。身穿ROARINGWILD最新系列中的机能(Techwear)美学夹克和中式长袍嘉宾们云集荟萃,上演了一场令人瞩目的中国街头时尚秀,展示出这个来自深圳的本土品牌与CAVEMPT、C2H4、Gosha Rubchinskiy等国际街头时尚品牌竞相媲美的实力。

At the event, Shenzhen’s streetwear community demonstrated a sense of inclusiveness and welcoming spirit that was a refreshing departure from the better-than-thou attitude adopted by similar scenes in other cities. People of different backgrounds, different ages, and different professions all mingled together, united by a shared passion for streetwear.  “Shenzhen is definitely a very inclusive city,” says BG, the creative director and head designer of ROARINGWILD. “It’s because the city is younger and the youth here are open to new things. Even when people are doing different things from one another, they’re all interested in what their peers are up to. That’s probably what has forged this sense of community. It feels like something that’s exclusive to this city.”


在这次活动上,深圳的街头时尚社区所表现出的包容和开放的精神,不同于其它城市街头时尚圈子那种高高在上的态度,令人耳目一新。不同背景、不同年龄、不同职业的人们,因为彼此对街头时尚的热情而汇聚一堂。ROARINGWILD创意总监兼首席设计师饼干(BG)说:“深圳的确是包容度很大的城市,可能因为城市比较年轻,年轻人更乐于接受新事物。即使彼此做不同的事情,互相之间都比较感兴趣,从而促进了圈子里紧密的交流。我觉得这是深圳年轻人的一个特点。”

While the new store marks a brand new chapter for ROARINGWILD, BG is well aware that there will be more challenges on the road ahead. However, having started the brand from scratch back in 2010, overcoming unforeseen obstacles is nothing new. Sharing parallels with the DIY ethics and figure-it-out-as-you-go style of many of today’s most successful streetwear brands, ROARINGWILD has gotten to where it is today by swimming against the current, learning from its mistakes, and proving all the naysayers wrong “In life, people might tell you that you can’t do things this way or that way, but you’ll often end up doing it anyway,” says BG, shrugging. “A lot of what we’ve done up to this point defies the traditional methods or ways of thinking. We want to pass this attitude on to today’s young people. It’s not just about selling products – it’s about expressing ourselves.”


虽然新门店的开幕对 ROARINGWILD 来说又是一个新篇章,但六位共同创始人都知道,未来的道路上会有更多的挑战。不过,自从他们在2010年开始一手创立品牌,克服困难障碍对他们来说已经是家常便饭。和如今许多成功的街头品牌那种DIY和“兵来将挡,水来土掩”的精神一样,ROARINGWILD逆流而行,从错误中不断学习,证明给所有曾经不看好他们的人看。饼干说:“在生活中,可能有很多人会跟你说这样做这件事情不行,但你最终还是会千方百计把它给做了。我们就做过很多打破传统、跳出思维方式的事情,所以也想把这样的态度传达给现在的年轻人。这不仅仅只是卖产品,更重要的是通过产品去传输一种表达自我的理念。”

Address:
Uniwalk
L1-069, 1F
No. 99 Xinhu Road
Bao’an District, Shenzhen
People’s Republic of China

Hours:
10:00 ~ 22:00

 

Website: roaringwild.net
Taobao
ROARINGWILD
Facebook~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
Weibo: ~/ROARINGWILD

 

Contributor & Photographer: David Yen
Videographer: Damien Louise
Additional Images & Footage Courtesy of ROARINGWILD


地址:
中国
深圳宝安区
新湖路 99号
1楼 L1-069
壹方城

营业时间:
10点至晚上10点

 

网站roaringwild.net
淘宝
ROARINGWILD
脸书: ~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
微博: ~/ROARINGWILD

 

供稿人与图片摄影师: David Yen
视频摄影师: Damien Louise
附加图片与素材由ROARINGWILD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 Private Label / Pre-Fall 2017

Recently, independent clothing brand The Private Label released Last Days, the newest lookbook for its 2017 Pre-Fall collection. Shot by French photographer Laurent Segretier, the series takes place in Hong Kong’s Chai Wan District, in an old shopping arcade that’s been scheduled for demolition. The project is a commentary on the rapid development of Hong Kong, especially the invasion of corporations that have rendered these traditional shopping malls obsolete. With the belief that this mass production and developmental frenzy is eroding the very essence of Hong Kong and wiping away the city’s many unique characteristics, the designer behind The Private Label set off to try and capture a vanishing side of Hong Kong. Last Days is a documentation of the final days of one these communities and encapsulates a sense of wistful regret and nostalgia.


最近, The Private Label 发布了2017秋季服装目录“LastDays”,此系列照片由法国摄影师Laurent Segretier掌镜,于香港柴湾区一个即将被政府拆除的商场拍摄。在香港,城市的快速更替让一些旧式商场和社区小店接连被淘汰,取而代之的是大型连锁商铺。The Private Label的幕后团队认为这些高复制性的产出在发展的同时却让城市变得单调乏味,失去了原本的独特性和人情味,为了尽可能地保留住这些即将逝去的回忆,他们创作了”Last Days“,用相片记录下这个旧式商场被清除前最后的日子,同时表达出对旧香港文化流失的惋惜和留恋。

The designer behind The Private Label consider the 80s and 90s as the golden era of Hong Kong and is influenced by the kung-fu movies and romance movies of the period, envisioning a photo series that could convey the texture and ambiance of the Chinatowns depicted in the films from this time period. To establish this particular aesthetic and mood, Sergretier chose to use 120 film. The end result is a palette of soft colors that appear to seamlessly combine the clothing, subject, and environment into one unified frame.


受到八九十年代香港功夫片及爱情片的影响,The Private Label的设计师希望照片能传递出一种旧电影中唐人街的质感和气氛,那个黄金年代也正是香港文化对外输出最为旺盛的日子。此次拍摄摄影师Laurent Segretier选用了120胶片相机,照片柔和的色彩使服装和周围的环境协调地融在一起。

In addition to the lookbook’s retro vibes, the designs of the collection itself are also derived from the designer’s nostalgia. Growing up at the turn of the millennium, the designer behind The Private Label have observed hip-hop and NBA culture’s influence on the trends of this generation. This realization translates into this collection’s designs, appearing in the form of oversized fits inspired by the streetwear of the 2000s. Coupling this with the choice of a finer fabric and modified silhouette commonly seen in Eastern garments, the collection blends the best of both worlds, accomplishing the designer’s goal of combining the spirit of Western street culture with the aesthetic sensibilities of Eastern culture. The new collection is now available on The Private Label’s official website.


除了打造复古质感的服装目录以外,这系列服装本身的设计灵感也同样来源于设计师的怀旧情怀。成长于千禧年代,The Private Label的设计师认为嘻哈文化及NBA文化深刻影响着他们这代人的潮流见解。他试图将那些宽大舒适的服装剪裁与中国元素的服装细节及面料融合在一起,也希望能将西方的街头文化精神和精致的东方美学串联在一起。此系列服装正于The Private Label官网发售,点此查看。

Websitetheprivatelabelclothing.com
Instagram: @theprivatelabelclothing

 

 Contributor: Ye Zi


网站theprivatelabelclothing.com
Instagram@theprivatelabelclothing

 

供稿人: Ye Zi

Dig Deep, Always

Dig Deep is an independent menswear label based in Singapore, their apparel is designed in and inspired by the East Asian region. Each collection focuses on a particular country within the region and aspires to convey certain elements of each country’s culture. Dig Deep juxtaposes traditional elements with the most rugged aspects of their respective countries to create premium garments for curious-minded people living in this homogeneous generation. Recently, Neocha sat down and talked to Choo, one of the founder of Dig Deep, to find out more about their inspirations and view on streetwear culture in the region.


Dig Deep是一个来自新加坡的独立男装品牌,设计充满东亚风情。Dig Deep的每一季的设计灵感来自东亚地区的不同国家,致力于把不同文化中的传统元素带进他们的设计。Dig Deep把这些传统元素和男装的硬朗相结合,为这个充满好奇心而又有些同质化的这一代人,创作出牛逼的服装。最近新茶和Dig Deep的创始人之一Choo聊了聊他们的设计灵感和对新加坡的潮流文化的看法。

Neocha: Within the context of Singapore, have you faced any difficulties in trying to start an independent fashion label? What are some of the more memorable experiences of starting this label?

Choo: We’ve actually encountered countless issues along the way due to nature of the fashion industry in Singapore. The difficulty of sourcing embellishments and fabrics was definitely one of the most challenging one we’ve had to overcome. By many measures, the local fashion industry is quite small when compared to other industries in Singapore’s economy. This led us to the sourcing of our fabrics and embellishments from more established markets in Japan, China and Vietnam. One of the most interesting things we did in starting Dig Deep, and still continue to do this day, is work closely with our pattern makers. Both ladies of whom are in their late fifties and have been perfecting this art for over the past thirty years. Pattern making is essentially a dying trade in Singapore, a skill that many can pick up with time but only able to master through countless years of experience and practice. Pattern making can be loosely defined as making the shapes for each component (e.g. sleeve, cuff, collar, bodice etc. for a shirt) of a particular type of garment and these shapes will eventually be used to cut the fabric according to the patterns before being sewn together. The pattern makers we work with exercise a great degree of judgement and precision in crafting the patterns according to our sketches, measurements, and inputs through fitting sessions. We actually rely heavily on these increasingly rare artisans to bring Dig Deep’s designs to life.


Neocha:在新加坡的大环境下,创立这样一个独立设计品牌的过程中有遇到什么困难吗?或者有发生什么有趣的事吗?

Choo:因为新加坡时尚产业自身的局限性,导致我们在做这个品牌时遇到了很多困难。目前布料和配件的供应是最大的困难。在很多程度上,本地时尚产业和新加坡其它产业相比规模是很小的,这让我们必须从更成熟的市场寻找供应商,像是日本,中国和越南。在成立Dig Deep以来,最有趣的事就是和我们的服装制版师们一起工作,两位年近六十的女士都有着超过三十年的从业经验。服装制版师在新加坡是一个快要消失的职业,服装制版也是个简单易学却需要多年经验和练习才能如火纯青的技术。制版可以简单定义为制作衣服的每个部件形状(如果做件衬衫的话,像是袖子,袖口,领子等等),根据这些形状裁剪出布料,最后进行缝制,我们的样板师根据我们的设计,测量和数据,能够超级精准的制作出我们想要的样板。想要把Dig Deep的设计转化为现实,这些越来越少的匠人使我们不可或缺的。

Neocha: Many would agree that Singapore is the financial center of South East Asia, and you come from a financial business background. In a country where it’s possible to have a comfortable career in finance, what led you to abandon this path and dedicate yourself to fashion?

Choo: I would say there weren’t any factors that pushed me to leave the world of finance, but rather I was pulled and drawn into the world of fashion by a number of factors; one of which was definitely the insatiable desire to create. I saw the creation of garments and Dig Deep as an avenue that would allow myself and my team to create a brand and products that hopefully many would be able to relate to. In fashion, the individuality beyond just the garments itself was also something that truly intrigued me. I have always found it very interesting how the same piece of garment could be part of such a disparate impression for two different people wearing it. The styling, the attitude, the age of the individual, their gender, their body structure, their tattoos or the lack thereof are all components that actually give the garments its character. To me, It’s really fascinating how people buy clothes with the mindset that it creates a certain persona or impression of themselves to others, or even to themselves. They’re generally unaware that their interaction with the garment itself is actually what gives the garment its character.


Neocha:我们都知道新加坡是的东南亚金融中心,你也曾在金融界工作。是什么让你放弃了金融业舒适的生活,转而投身时尚界呢?

Choo:其实不能说是什么原因让我离开了金融界,而是时尚界的很多东西深深地吸引了我,其中一个原因就是我很想搞自己的创作。我把服装制作和Dig Deep看做一个渠道,能够让我和我们团队创作一个很多人喜欢的品牌。我喜欢时尚的个性超越了服装自身,同一件衣服两个人穿,也会产生完全不同的效果,我觉得这很有趣。每个人的风格,态度,年龄和性别,甚至身材都能够给一件衣服带来不同的特质。对我来说,我觉得人们买衣服为自己或者他人制造某种印象,但是大部分人没有发现到他们自身与衣服的互动,这也给衣服赋予了他们自身的性格。

Neocha: Most Asian countries have westernized rapidly in the last few decades, and it’s kind of xenophilic on some levels. When you created Dig Deep, did you feel a certain sense of responsibility to make certain cultural and traditional aspects of Asia more accessible to the younger generation?

Choo: Most definitely. There are a number of reasons why we feel this way. One of the main reasons is this perspective that we all hold in the team, which is without knowledge of history, and the cultural, traditional aspects of different parts of Asia, we would not be able to appreciate the present to the fullest extent. It’s only by learning about the journey of how Asia has come to be where it is right now that one is able to understand where the future of Asia lies. The result of the rapid westernization of the East has most definitely brought about some benefits for Asia, but not without its disadvantages, such as the erosion of our own culture, tradition and aesthetics. These things have to be relearned due to the younger generation’s lack of exposure to these elements. The result of which is often an aversion to these seemingly archaic elements, often seen as being outdated and irrelevant to the current generation. What we aim to achieve here at Dig Deep is to generate curiosity and create designs for garments that we feel would be highly relevant to this generation and also serve as a catalyst for one to explore deeper into East Asia’s immensely rich heritage.


Neocha:大部分亚洲国家在过去的几十年里迅速西化,在某些程度上也有些崇洋媚外。当你在创立Dig Deep的时候,你是否觉得有某种责任去把一些亚洲文化和传统,变得更容易被年轻人接受?

Choo:那是肯定的。我们这么觉得是有几个原因,我们团队都认同一个原因就是,我们不会对今天拥有的一切心存感激,如果我们对亚洲的文化,历史和传统一无所知,只有了解过去,才能展望未来。迅速的西化的确给亚洲带来了一些好处,但是也带来了很多负面的东西,像是对于文化,传统和美学的侵蚀。这些我们都要重新去学习,也因为年轻人对这些缺乏了解,导致他们对这些看上去有些“陈旧”的东西产生厌倦,认为是过时的,或者跟这一代人没有什么关系的。我们想要做的就是让Dig Deep能够激发年轻人的好奇心,创作出现代人喜欢的服装,也希望能成为探索深厚东亚传统文化的一剂催化剂。

Neocha: How did all the minds behind Dig Deep meet and get together to start the brand?

Choo: A good friend of mine and I were actually having a conversation, about a year and half back, talking about how we felt that much of what we wore in both formal and casual settings was predominantly, or in most cases, entirely Western by nature. We then went on to speak about how wearing our traditional outfits was essentially left for rare occasions and we imagined how people would react if we wore it on a day-by-day basis; we envisioned most people might find it quite odd, and we’d most likely be ridiculed by some, which really got us thinking why that was the case. It became quite clear to us that the economic and political dominance of the West over the last few centuries have permanently altered our perception of our own culture, traditions, and arts, to the point that most of us have developed a sense of aesthetics or normalcy in dressing in a style that’s aligned with Western cultures. We felt that the underappreciation of the arts and culture in the Asian region was less a result of inferiority and more related to an underexposure of Asian elements. Thus, in order for Eastern aesthetics to be considered “normal” and “pleasing to the eye,” it needs more exposure. It was through this conversation that Dig Deep was manifested. We noticed the absence of an Asian-inspired high street brand in the global fashion scene and felt strongly there was definitely room for a number of Asia-inspired brands such as visvim and the up-and-rising IISE to appeal to the global audience, in what has become a rather homogenous environment for high street fashion. It is our hope that Dig Deep, along with other Asia-inspired labels, will be able to bring about a refreshing perspective on high street fashion.


Neocha:Dig Deep现在的主创们是怎么走到一起的?

Choo:大约一年半前,我和我一哥们在聊天,我们都觉得我们平时穿的正装和休闲服都太西方了。继续聊到我们只在一些节日的时候才会穿一些的传统服饰,如果平时也穿这些,别人会怎么看,我们猜别人肯定觉得很奇怪,甚至会被嘲笑。这让我们去思考为什么会变成这样,这显然是西方在过去几个世纪经济上和政治上的统治对改变了我们对自我文化,传统,艺术的认知。以至于我们穿衣风格也被西化了。我们觉得对亚洲文化,艺术的忽视,并非因为自卑,只是缺少对传统文化的推广。因此,为了让东方审美变成“正常的” “好看的”,这都需要对其更多的推广。自那时起,创立Dig Deep的想法就出现了。我们发现在国际时尚界缺少亚洲风格的高街时尚品牌,除了visvim和上升很快的IISE之外,还是有很多发展空间的。我们希望Dig Deep能够和其他亚洲风格的品牌一起给高街时尚带来一股新风。

Neocha: You guys insist on all-original designs, and there are many interesting details in each single one of your creations. What are some reoccurring concepts you try to incorporate when designing an outfit?

Choo: One of the concepts we constantly explore from collection to collection is the reinterpretation of certain iconic traditional elements and how we are able to respectfully transform and incorporate these elements into a particular garment, but in a unique and refreshing way. For example, our first official collection Dragon in the Concrete Jungle explored one of the legends of the East, the late Bruce Lee. We were particularly fascinated with Bruce Lee’s final film appearance before his passing, the 1973 classic Enter the Dragon. In that film, Bruce Lee can be seen wearing a particular type of pants in several iconic scenes. We saw the incredible structure and silhouette of the pants, which was extremely flattering to the male body; being slim at the waist, with strength around the thigh areas, before it’s tapered down near the ankle region, allowing it to elongates the legs. We adopted a very similar structure to our pants and not only that, the cloth used in securing the ankle regions as seen in the film was reimagined. What we created was essentially Bruce Lee’s pants. In the early design phase, we will also try to understand the functionality and reasoning behind why a particular traditional East Asian attire is the way it is, the reasons behind how the aesthetics of that attire has come to be. In our upcoming collection based around Japan, we researched extensively on a couple of facets of Japanese culture, one of them being the attire worn in the art of yabusame, a type of mounted archery in traditional Japanese culture that originated in the Kamakura period.


Neocha:你们坚持原创设计,你们的很多设计中有很多有趣的小细节。当你们在设计一件衣服时,有什么你们很看重的理念吗?

Choo:其中一个理念,在我们每一季的设计中都在一直探索的就是,用一种新鲜且独特的方式,把一些标志性的传统元素转化和融入我们的设计中。举个例子,我们的第一季《Dragon in the Concrete Jungle》灵感来自东方传奇李小龙。在他离世前的最后一部电影,1973年的《龙争虎斗》中,在很多标志性的场景中李小龙都穿着一种很独特的裤子。我们能发现它的剪裁其实是很衬托男性身材的,在腰部的地方收窄,大腿部分相对宽松,最后在脚踝部分收窄,使其更显腿部的修长。我们把这种结构带到我们裤型设计中,在此之上,又重新设计了脚踝部分的设计,使我们真正意义上做了一条“李小龙”裤。在设计的初期,为了理解为什么设计成这样,我们努力去研究和学习亚洲传统服饰设计中独特的功能性。我们下一季的灵感主要来自日本,深入研究了日本文化的几个方面,其中一个就是在流镝马这个起源于镰仓时期的传统马上射箭项目时穿着的服饰。

 

Neocha: Many brands are starting to create more Asia-inspired apparel, and most of them keep it rather traditional, what would you say makes Dig Deep different from the rest?

Choo: There are a number of factors which set Dig Deep apart from the rest and chief amongst these is in our view, our perspective on East Asia which stems from the dynamic nature of our team. The heritage and influences of our team is quite wide ranging. On our team, we have Chinese individuals who have grown up in westernized societies, such as Melbourne and Singapore; a Eurasian whose heritage is part Polish and part Chinese, but whose nationality is American; and also a Shanghai native who has spent a large amount of time in Singapore. This diverse dynamism within the team allows for Dig Deep to have a highly varied and nuanced view of East Asia and affects how we interpret different elements of East Asia. This has a direct impact on the brand and all of our designs. Our individual opinions and perspectives are forced to interact collectively and the result of which are designs that stand apart. On the more tangible side of things, we place a lot of emphasis on the quality of our fabrics and embellishments along with the workmanship behind putting each garment together. We never compromise on the smallest of details for each garment. Every piece of garment is handmade, which allows us certain types of finishes and quality that would not be possible with machines.


Neocha:现在很多品牌都在做亚洲风格的服装,大部分都是尽量保留传统的风格,和这些品牌相比,Dig Deep有什么不同?

Choo:我认为,在几个方面Dig Deep与其它品牌不同,我们对东亚文化独特的理解,源于我们团队对自身文化和传统的影响。在我们团队中,有在墨尔本和新加坡这样西方社会长大的华人,一个波兰和华人的美籍混血儿,以及一个常年生活在新加坡的上海人。这样一个充满多样性和活力的团队让Dig Deep对东亚文化有着多样且细致的观察,能够更好地融合不同的东亚文化元素,这对我们品牌和设计有着直接的影响。我们每个人不同的想法和观点在一起产生化学反应,使我们的设计与众不同。在一些更实际的方面,我们强调用料的质量和缝制的工艺。我们也从不在任何的小细节做出妥协,花大量时间调研,只跟行业里最成熟的供应商合作,制作最高标准,耐用的服饰。不仅如此,每一件衣服都是手工制作,这让我们的服装达到了很多机器无法完成的质量。

Neocha: Traditional East Asian attires have a very unique look compared with traditional attire in other regions. What is your take on the aesthetics of traditional East Asian attire?

Choo: One of the major differences for traditional East Asian attire compared with traditional attire of other regions would most definitely be the evidence of strong hierarchal elements in traditional East Asian attire. It’s not to say that these elements aren’t present in the traditional attire of other regions, but the difference is really in how the hierarchal elements are expressed. In traditional East Asian attire, the aesthetics for royalty and higher ranking members of society revolved around mythological creatures, in addition to rich colours and embellishments. The unique look of traditional attire in East Asia can also be attributed partly to the environmental conditions of the region where seasons play a large role in what people used to wear to protect themselves against the environment. The iconic layering often seen in East Asian attire was mostly due the harsh winters in certain areas of East Asia and though it served a functional purpose, it has also become one of the more prominent features of East Asian aesthetics in the traditional garments. However, we are very often very cautious in generalising traditional East Asian attire under one category, as the differences from country to country, even within a country itself from region to region, or the different time periods have spawned numerous looks within East Asia. It is this dynamism within the East Asia region that we at Dig Deep, truly revel in.


Neocha:东亚传统服饰和其它地区的传统服饰相比是非常独一无二的。你对东亚传统服饰的独特美学有着什么样的理解?

Choo:东亚传统服饰与其它地区的传统服饰相比,最大的不同之一就是历史承载的深厚文化底蕴。这并非说其它地区的传统服饰不具备这些,而是东亚传统服饰有着独一无二的表达方式。在传统东亚服饰里,对于皇室或者贵族的服装设计,是围绕着神话中的麒麟异兽展开的,而且有着丰富的色彩和装饰。东亚传统服饰的独特美感一部分也是由自然环境决定的,这包括四季的变化,以及人与自然的对抗。其标志性的多层次穿法,也是源于东亚部分地区寒冷的严冬,而且能够因地适宜,这也成为东亚美学中最突出的特点之一。所以我们在把所以东亚传统服饰归为一个类时非常谨慎,因为不同国家,甚至是一个国家的不同地区,不同时期,都有着很多不同的着装风格。就是东亚地区这种多样性让我们Dig Deep十分地着迷。

Websitedigdeepalways.com
Facebook~/digdeepalways
Instagram@digdeepalways

 

Contributor: George Liu Zhen


ROYALTY by MISSYSKINS

Founded by Natasha Ivachoff, Victoria Ivachoff, and Jessica Brus, MISSYSKINS is a womenswear brand that officially launched in 2012. With the tenacious mindset of wanting to make leatherwear trendy and easily accessible, the three have released two different collections under the MISSYSKINS brand. The first of the two, MISSY SKINS by NATASHA IVACHOFF, is their mainline collection filled with impeccably crafted iconic leather garments. The other is Diffusion, a collection that combines street-orientated aesthetics with a sense of playfulness.


Natasha Ivachoff、Victoria Ivachoff,以及Jessica Brus于2012年正式创立了女装品牌MISSYSKINS。为了展示皮革艺术的时尚之美,并推动其市场化,三人为品牌名下的产品设计了两条风格鲜明的时装系列:一个是围绕精细的经典皮革工艺展开的服饰系列MISSY SKINS BY NATASHA IVACHOFF;另一个是融入街头美学的趣味皮革系列Diffusion

The new AW16 Diffusion release, ROYALTY, is based around the sports luxe look. But staying true to the brand’s original vision, the collection still consists of many leather pieces, with boldly emblazoned floral prints making frequent appearances this release. From a cerulean blue fur coat worn over a pair of indigo blue leopard leggings to a metal-studded leather jacket juxtaposed with a white laced dress, ROYALTY is a diverse and youthful collection designed with the modern fashionista in mind. Scroll down to see more images from the new collection.


Diffusion旗下推出的2016年秋冬ROYALTY系列,呈现出一种动感奢华的风格基调。新品整体依旧包含不少皮革元素,沿袭品牌的创立初衷。同时大胆频繁地使用花卉图案作为装饰,配色鲜明夺目。天蓝色皮毛大衣配以靛蓝色豹纹紧身裤,蕾丝白裙上披着铆钉皮夹……本次ROYALTY的服饰正以多元化的设计和充满青春气息的风格的成为时下新宠。下翻即可欣赏更多新品图像。

Website: missyskins.com
Instagram: @missyskins
Weibo: ~/missyskins
Facebook: ~/missyskins
WeChatmissy_skins

 

Contributor: David Yen


网站: missyskins.com
Instagram: @missyskins
微博: ~/missyskins
脸书: ~/missyskins
微信missy_skins

 

供稿人: David Yen

GRAF&WU

Street culture embodies the spirit of freedom. It is a culture that emphasizes the importance of confidently expressing yourself. Modern street culture has already broken through many geographic and cultural boundaries and is deeply rooted in today’s youth culture on a global scale. The youth of China have been attempting to find their own voice amidst the endlessly changing trends. Many phenomenal streetwear brands have already emerged from the country, but there are still a lot of misconceptions in China about streetwear with many people believing it is only t-shirts, button downs, hoodies, and so on. Many brands look to transcend the generic designs cluttering the streetwear scene in China and establish a unique brand identity of their very own. GRAF&WU is one of those brands that have successfully done so.


街头文化因着它倡导更自由、更自信地去表达自己、证明自己,而打破地域和文化壁垒,渗透到全球青年中去。一直以来,中国的年轻人也在这股潮流中摸索前进,并逐渐创立自己的街服品牌。尽管,认为做做T恤、衬衫、帽衫、休闲裤就是街头品牌在这里还是广泛的认识误区,但是还是有少数成功做到了拥有自己很明确的品牌文化或者特色,GRAF&WU便是其中之一。

GRAF&WU’s logo is a giraffe, but the “GRAF” in the brand name is actually an acronym that stands for “Generation Represent Artistic Fashion”. This reflects their brand ethos that aspires to have a generation of people using fashion as an artistic medium. The “WU” represents Wuhan, the city that the founder and brand director Graf grew up in. Graf is an illustrator, designer, and 3D modeler who is currently studying at the Academy of Art University in San Francisco. The entire concept for GRAF&WU began in 2013 when she was studying in Beijing, and it followed her to the U.S. where it continued to grow as she explored her love affair with hip-hop. It was in San Francisco where GRAF&WU started coming into its own as a brand. As the brand continued to refine their aesthetic and vision, their fanbase in China has grown along with it. Read our interview with Graf below.


GRAF&WU以长颈鹿为标志,其”GRAF” 为 “Generation Represent Artistic Fashion” 的缩写,意为用时尚的媒介传达艺术理念的一代人;”WU”则为武汉,是品牌创始人和主理人Graf成长的地方。Graf是一名插画师、设计师以及3D建模师,现今就读旧金山艺术大学3D建模专业。GRAF&WU于2013作为一个概念便是诞生于她在北京求学时期,随后随着她赴美并追寻自己热爱的hip hop文化,品牌在旧金山不断发展壮大,而今在中国本土拥有大量拥趸。阅读以下采访,了解更多。

Neocha: When did you start GRAF&WU? What inspired you to launch the brand?

Graf: In 2015, the brand was officially registered as a business in China. In the beginning, I noticed certain societal issues on Weibo that I wanted to address. I felt frustrated at my inability to fully articulate my thoughts through words, but at the same time, I enjoyed expressing myself through illustrations. I then realized even if I make a hundred, or a thousand pieces of work, it wouldn’t guarantee that people will look at them. The internet, magazines, and other kinds of print matter are all mediums people use to communicate ideas. I studied fashion design, so I thought perhaps I could use textile and fabric as a medium to express my ideas. Nothing will makes people pay closer attention to your work than if they spend money on it. Also, if someone wore my work and walked around in it, then aren’t my creative concepts being displayed even more effectively? So then I decided to create something basic: t-shirts. That was how the first GRAF t-shirt came to be. From then until now, I’ve lost track of how many I’ve designed.


Neocha: 最初是什么激发你创立GRAF&WU

Graf: 2015年正式注册成公司。最初,我在微博上看到一些社会问题就想表达自己的想法。无奈文采不好,可我喜欢用插画的形式表现。但络上千百个画作,不一定会有人仔细去看。于是我就想,网络、杂志、纸张都是传播媒介,而我在念服装设计,是不是应该用服装面料去传递我的想法呢? 而没有什么比让一个人花钱消费你的作品更能使他仔细观赏了。另外,假若有人穿着我的作品四处走动,那岂不是更有效的传达了我的设计理念?于是,我决定用所有人都能想到的: T恤。就这样开始了GRAF第一件T恤,然后到今天,有了第N件。

Neocha: What do you consider to be the distinctive characteristics of the GRAF&WU brand? How did you develop this style?

GRAF: Originality in design. Many of my illustrations and images requires careful observation or understanding of a certain culture to fully comprehend it. In that regard, my customer base is a fairly select group of people. But there are also a large number of people that just like the aesthetic qualities of the images. Most of my designs are closely related to rap music, which is something that I really love. Sometimes I might be feeling the lyrics of a song and I will want to turn it into an image. My focus generally revolves around cultural aspects from the ’80s and ’90s, but my work will also sometimes touch on more recent events.


Neocha: GRAF&WU的品牌风格特点是什么?为什么选择这种风格的?

Graf: 原创设计,非常多的插画和图案,内涵要仔细观察或者你懂某个文化才会理解,有一点挑客人。不过光是喜欢图案的客人也很多。大部分设计和我喜欢的Rap Music有关,有可能是某一句歌词我特别喜欢,就用一个画面表达出来. 许多80-90年代的文化都是我关注的重点,跟随时事推出相关设计也有。

选择一个街头潮流品牌风格,一是因为喜欢这个文化。二则是在从初中开始就非常喜欢美国说唱音乐,自己也会写歌录歌,然后认识了不少国内同好。刚开始做衣服的时候,这些朋友是最开始支持我的一批客人。

Neocha: Wuhan is obviously important to you, as can be seen in your deliberate choice to call out the city in your brand name. How do you think Wuhan influences your work?

Graf: To be honest, Wuhan isn’t a huge influence on my work. I just wanted to be constantly reminded about where I came from. Many streetwear brands originated from Chinese cities, but they will force an “LA” or “NY” somewhere in their brand name. When it comes to a person’s creation process, I think it’s important to keep it real. That’s why I included Wuhan into my brand name.


Neocha: 你在品牌名字里强调了武汉,那么武汉对你现在的创作有什么影响吗?

Graf: 武汉本身并没有太大的影响,单纯只是希望自己时刻记得来自哪里。很多原创潮牌其实也来自中国的某个城市,可是他们要在自己的品牌后面加LANY。我认为keep it real在一个人的创作态度里很重要,所以干脆加到品牌名字里面。

Neocha: What are the concepts behind the brand. What message do you intend to communicate through your brand?

Graf: I often hide slogans in the details of my clothes, such as “Hustle Hard,” “Be Great,” and so on. These can be found on the inside of sleeves and at the bottom of shirts. The concept here is to encourage being persistent and doing everything to the best of your abilities. It’s about pushing your potential to the absolute limit. It’s easy in theory, but hard to actually do. We live in a comfortable world now, and many people think that working eight or nine hours is a hardship. The people that are actually working hard are trying to push themselves and improve themselves every second and every minute. They’re never satisfied. The images on my clothing might just be a fun little cartoon, or just some text, but I intend for these details to become a constant reminder to the wearer. I want to remind them to always be determined and push themselves to do everything to the best of their abilities. This is a big part of street mentality.


Neocha: 品牌背后的理念是什么?通过这个品牌你想传达给别人的是什么样的信息?

Graf: 我经常会在衣服的小细节里标注一些口号例如“Hustle Hard” “Be Great” 等,在一些袖口、衣服底摆之类的小地方。从这里看出GRAF&WU的理念就是努力去做好每一件事,做到最好,把自己的能力发挥到极致。乍一看很简单,要做到这一点很难。现在环境好,很多人以为工作8,9小时就算艰苦。其实真正努力地人时时刻刻都在提升自己,永远不能自满。可能衣服的图案就是一个好玩的卡通或者字母,但是这些小细节会时刻提醒着穿着这件衣服的人,你需要努力,你需要做到最好。这也是street mentality(街头的思维方式)

Neocha: Does your personal work and your designs for GRAF&WU conflict with one another?

Graf: Some people say it is impossible to turn your hobby into a career, because once a hobby becomes a job then the pressure of work will make you hate it. But this mentality doesn’t apply to me. I love working. I am basically at home creating everyday, or looking for new inspiration in my travels. Even if I am attending some party or event, it will be related to the brand. The majority of my personal artistic creations have turned into products for GRAF&WU and can be found as products. It’s a perfect example of killing two birds with one stone.


Neocha: 你的个人创作和你在GRAF&WU品牌中的设计互相之间有什么影响吗?

Graf总有人说人不可能把爱好变成工作因为一旦爱好成了工作便不会再喜欢它带来的压力。在我这里并没有发生。我是一个超级热爱工作的人,基本每天我就是在家创作,或出去旅游找寻灵感,即使有派对和活动也是和品牌有关联的。平日创作的作品大部分都变成了艺术衍生品作为GRAF&WU的产品进行销售了,可以说一举两得。

Neocha: Can you tell us about the collaboration between GRAF&WU and Vital? Do you plan on working on more collaborative projects in the future?

Graf: Vital is a very talented rapper on the West Coast. He’s collaborated with the likes of Snoop Dogg and Berner. Currently, his label just finished a coast to coast tour in the U.S. and he is preparing to release his brand new album. I am already working closely with his team to start planning out their next tour. GRAF&WU will be designing and supplying all of the products and merchandise for it. Our clothing will also appear on stage during the tour. I am also talking with many other U.S. artists about possible collaboration. These will all be announced on our Weibo or on our online shop in the near future. In China, besides our upcoming Fall/Winter collection, GRAF&WU will also be working with Yo It’s Free between August and October to host a street dance competition. We also plan on working together with Japanese street dancer Kato to release some new products. The street dance competition will make stops in cities all over China. Everyone is welcome to join!


Neocha: 可以谈谈GRAF&WU和Vital的合作吗?往后还有更多跨界合作计划吗?

Graf: Vital是西海岸很有实力的说唱歌手,他和Snoop Dogg还有Berner都有歌曲合作。目前他的唱片公司刚做完一个全美巡演,正在筹备新专辑的发售。我和他的团队已经在制定下一次巡演的计划,将由GRAF&WU来设计和赞助下一次演出的周边商品,整个巡演也只会出现我们的服装。美国方面我有联系更多艺术家合作,这些都会随后在微博或者我们得店铺更新消息。国内方面,除了固定的秋冬新品发布,在8月到10月,GRAF&WU将和Yo Its Free街舞赛事一起做很多有意思的活动,包括和日本街舞大师Kato的联名产品等等。全国都会有站点,有兴趣的朋友不妨关注起来!

Websitegrafwu.com
Instagram@grafwu
WeiboGRAF原创品牌
WeChat: GRAFCLOTHING
Taobao: GRAFWU

 

Contributor: Banny Wang
Images Courtesy of GRAF&WU


网站grafwu.com
Instagram: @grafwu
微博GRAF原创品牌
微信: GRAFCLOTHING
淘宝: GRAFWU

 

供稿人: Banny Wang
图片由GRAF&WU提供

Second Generation

In recent years, South Korea has undoubtedly become one of the most culturally influential countries in Asia. Hallyu, or “Korean Wave,” has permeated every nook and cranny of the region over the last decade and it’s even seeping into Western culture with the likes of PSY’s “Gangnam Style”. This has led to many Western fashion brands pairing up with various influential Korean celebrities. South Korean pop idol G-Dragon frequently appears alongside Karl Lagerfield at Chanel runway shows and has even released a footwear capsule collection with Giuseppe Zanotti. With Korean tastemakers like G-Dragon on the forefront of Asia’s fashion scene, it’s not surprising that more and more Western brands are looking to become associated with Korean pop culture. On the other side of this thriving Korean pop culture phenomenon are the local Korean brands. A number of local streetwear brands have been on the uprise in Korea following the K-pop craze. In the Seoul street style scene, these brands often appear as pieces that accompany Western luxury brands. Western luxury brands have already successfully found footing in the Korean market, but it’s not as easy for Korean fashion brands to gain traction in the Western market.


최근 몇 년 동안, 한국은 의심할 여지없이 아시아에서 문화적으로 가장 큰 영향을 준 국가 중 하나가 되었습니다. 한류 또는 “한류(한국의 물결),”는 지난 십 년간 해당 나라의 구석구석에 스며들었으며, 심지어 싸이의 “강남스타일”과 같은 서양 문화에도 스며들었습니다. 이는 칼 레거펠드와 함께 종종 샤넬 런웨이쇼에 나타나고 심지어 쥬세페 자노티와 함께 신발 캡슐을 출시한, 한국 메가급 스타 지드래곤과 같은 영향력이 큰 한국 연예인과 많은 서양 패션 브랜드들이 페어링하는 결과를 초래했습니다. 아시아 패션 시장 중심에 지드래곤과 같은 한국의 유행 선도자와 함께, 점점 더 많은 서양 브랜드들이 케이팝 문화와 관련되고자 찾고 있는 것은 그다지 놀라운 일이 아닙니다. 이 번영하는 케이팝의 문화 현상의 다른 반대편에는 현지 한국 브랜드가 있습니다. 수많은 현지 길거리표 브랜드는 케이팝 열풍에 따라 한국에서 떠오르고 있습니다. 서울의 길거리 스타일 업계에서, 이러한 브랜드들은 종종 럭셔리 브랜드와 함께 매칭하는 동반된 부분으로써 나타납니다. 심지어 많은 서양 브랜드들이 한국 시장에 성공적으로 토대를 마련했지만, 이는 한국 패션 브랜드들이 서양 시장에서 견인력을 얻기는 쉽지 않습니다.

Meet IISE, a streetwear brand that has set themselves apart from other Korean brands and built a devoted following online that mostly consists of a Western audience – a difficult task that many other Korean brands are having trouble achieving. Part of the appeal is IISE’s unique line of products; their collection of streetwear is an imaginative reinterpretation of traditional Korean aesthetics. The two brothers and founders behind IISE, Terrence Kim and Kevin Kim, are second generation Korean Americans. Their background ties into the brand name IISE, which translates to “second generation” in Korean. “We believe everything we create is an extension of our identity. It’s not 100% American, not 100% Korean, but a mix of both cultures,” Terrence says. The name IISE and the concept of “second generation” is also related to the brand’s approach of taking things from previous generations, such as fabrics, techniques, and design elements, and then reintroducing them through the brand’s own minimal, street-sensible aesthetics.


새로운 브랜드 IISE를 만나보자. 대부분의 한국 브랜드들은 주요 고객층이 서양인으로 구성되어 있는 두터운 온라인 시장 진출에 어려움을 겪고 있는 것이 현실이다. 이러한 한국 브랜드들과는 차별되게 IISE는 자신만의 온라인 시장 구축에 주력하고 있다. IISE의 매력 중 하나는 IISE 제품의 독창적인 선 구성에 있다; IISE의 캐주얼 웨어 콜렉션은 전통적인 한국의 미학을 창조적으로 재해석한 작품들이다. IISE를 창업한 형제인, 테렌스 김과 케빈 김은 재미교포 한인 2세대들이다. 그들의 정체성은 IISE라는 브랜드 이름에도 잘 나타나있다. IISE를 한국말로 읽으면 “2세”가 되는데, 이는 “교포 2세대”라는 뜻이다. “우리가 만들어 나가는 모든 것은 우리의 정체성의 연장선 상에 있다고 생각합니다. 100% 미국 문화도 아니고 100% 한국 문화도 아니지요. 오히려 이 두 문화를 혼합한 형태입니다.”라고 테렌스는 말한다. IISE라는 이름과 “2세대”라는 컨셉 역시 직물이나 테크놀로지 및 디자인 요소들을 전통적인 세대로 부터 차용하여 캐주얼 웨어의 미학에 어울리는 미니멀 룩으로 새롭게 재 창조해 나가는데 그 의미를 두고 있다.

IISE officially launched three years ago after the two brothers visited Seoul for the first time since they were kids. The traditional Korean architecture and art they saw there became a catalyst that set them off on a journey to learn more about Korean culture and rediscover their roots. They began looking for ways to showcase Korean culture to the rest of the world, and IISE was born as a means of fulfilling this ambitious vision. Recently, Neocha spoke to IISE to learn more about their designs and the streetwear scene in South Korea.


IISE는 그들이 아이였을 때부터 이 두 형제가 처음으로 서울을 방문한 이후, 공식적으로 출시했습니다. 전통 한국 건축과 예술은 한국 문화를 위한 열정에 불을 붙이는 촉매제가 되었으며, 이는 그들의 뿌리를 재발견하기 위한 여정을 시작할 수 있도록 했습니다. 그들은 자체 방법을 통해 한국 문화를 소개하는 방법을 찾기 시작했으며, IISE는 전 세계 나머지 국가들과 함께 전통 한국 문화를 공유하는 그들의 비전으로 가득채우기 위한 수단으로써 설립되었습니다. 최근에, Neocha는 한국에서의 그들의 디자인과 길거리 업계에 대해 더 자세히 배우도록 IISE와 인터뷰를 했습니다.

Neocha: Can you share with us about how the brand began?

IISE: The idea for the brand came when we visited Seoul, so we owe everything to this city. Other inspirations are from American streetwear and street culture, things we grew up with while living in the U.S. almost our entire lives.


Neocha: 이 브랜드를 시작하게 된 계기에 대해 말씀해 주시겠습니까?

IISE: 저희가 서울에 방문했을 때 이 브랜드에 대한 아이디어가 떠올랐으니까, 저희는 이 도시에 모든 것을 빚진 셈입니다. 다른 영감은 미국의 길거리 의류와 거리 문화, 저희 인생 전체를 통해 미국에서 살면서 성장한 것들로부터 왔습니다.

Neocha: How does your clothing match up to the cityscape of Seoul?

IISE: Each piece we design may have more traditional elements or more modern elements depending on how we approach each piece. Some pieces are heavily inspired by traditional Korean culture like our hanbok jacket (which is inspired by traditional Korean clothing). Other pieces like our leather Double Rider are our version of a classic western silhouette we’ve seen for so long. We do feel like the colors we have chosen thus far are representative of some of the neutral colors of the city. But there are also many vibrant colors found in Seoul that we have yet had the chance to explore.


Neocha: 귀하의 의류는 서울의 도시 경관과 어떻게 매치합니까?

IISE: 저희가 디자인한 각 제품은 저희가 각 제품에 접근하는 방법에 따라 더 많은 전통적인 요소와 더 많은 모던한 요소를 가질 수 있습니다. 일부 제품들은 한복 자켓(전통적인 한국 의상에 의해 영감을 받은)과 같은 전통적인 한국 문화에 의해 매우 영감을 받았습니다 저희의 가죽 더블 라이더와 같은 다른 제품들은 오랫동안 봐온 클래식한 서양의 실루엣 버전에서 영감을 받았습니다. 저희가 선정한 색상들이 이 도시의 일부 중립적인 색상을 표현한 것같은 느낌입니다. 그러나, 탐색할 기회가 있었던 서울의 많은 선명한 색상들도 있었습니다.

Neocha: What differentiates your brand from other Korea-based streetwear brands? Or even other international streetwear brands?

IISE: When we were in the States, we’ve never even heard of a Korean-inspired streetwear brand. Even when we first arrived to Korea we couldn’t find one, which was a big reason why we wanted to start one. After living in Seoul for almost four years now, we have discovered other Korean-inspired brands in design, but I think IISE differentiates from the others because we also use traditional fabrics, and natural dyeing techniques that have existed in this country for hundreds of years. Many of the things we use are often seen as “old-fashioned” to native Koreans, but for us it was something completely new and continuously discovering these age-old things has been very exciting.


Neocha: 다른 한국 기반 길거리 의류 브랜드, 아니면, 다른 국제 길거리 의류 브랜드와 귀하의 브랜드의 차이점은 무엇입니까?

IISE: 저희가 미국에 살았을 때, 한국에서 영감을 얻은 길거리 의류 브랜드를 들어본 적이 없습니다. 심지어 저희가 처음으로 한국에 도착했을 때, 저희는 이를 찾을 수 없었습니다. 그렇기 때문에 이는 사업을 시작하고자 원했던 가장 큰 이유입니다. 지금 거의 4년 동안 서울에 살면서, 저희는 디자인 측면에서 다른 한국에 영감을 받은 브랜드를 발견했지만, 저는 전통적인 패브릭과 수백년 동안 한국에 존재한 천연 염색 기술로 인해 다른 브랜드와 IISE가 다르다고 생각합니다. 저희가 사용하는 대부분의 것들은 종종 한국인들에게 “구식”으로 보여질 수 있지만, 저희에게 있어 이는 완전히 새로운 것이며 지속적으로 이러한 오래된 것들을 발견하는 것은 매우 흥미로운 일입니다,

Neocha: What sort of Korean techniques and aesthetics have you incorporated into your modern streetwear?

IISE: Our debut bag collection utilized a combination of high quality leathers mixed with a Korean silk and cotton blended fabric. What makes this fabric unique is the natural dyeing techniques that were applied to it, which gave us the color and feel that we desired. Some of the ingredients used to achieve our colors were Korean persimmon fruit, natural indigo plant, charcoal, and volcanic ash. After the fabrics were dyed with these ingredients over and over again for a four to six week period, we felt satisfied with the final outcome. The unique texture, color, and story this produced was what made our first collection really stand out in the market.


Neocha: 귀하의 모던한 길거리 의류에 어떤 종류의 한국 기술과 미학을 통합했습니까?

IISE: 저희의 데뷰 가방 컬렉션은 한국의 실크와 면을 혼합한 패브릭을 섞은 고품질 가죽의 조합을 활용했습니다. 이 패브릭을 독특하게 만드는 것은 색상과 원하는 느낌을 주기 위해 이에 적용한 자연 염색 기술입니다. 일부 자재들은 한국 과일인 감, 자연 쪽, 숯 및 화산재에서 온 색상들에서 따오기 위해 사용됩니다. 패브릭이 이러한 재료들에 의해서 4-6번 주의 기간 동안 반복해서 염색된 이후, 저희는 최종 결과에 만족했습니다. 이 독특한 텍스쳐, 색상 그리고 생산한 스토리는 이 시장에서 정말로 눈에 띄는 첫 번째 컬렉션을 구성하는 것이었습니다.

Neocha: Can you share your thoughts about the current streetwear scene in Seoul?

IISE: Streetwear and street culture in general are exploding in Seoul largely due to the internet and social media. Everyone is now able to see the minute a streetwear brand from across the world releases product now, so people are definitely more aware of what’s available. I believe it will continue to grow as time goes on. It would be amazing for a Korean brand to be known globally and we would love IISE to be one of them. I think the scene is still at its infant stages actually. Sooner or later, the world will know more about Korean fashion brands. For a long time Korea has been a third world country. Only in recent times has it risen to become an economic power where creatives now have the chance to pursue more artistic work. I believe many artists and creatives in previous generations were not able to so because of economic reasons. Now you have a wealthy country, and a whole generation of creatives ready to show what Korea can offer. We’re all waiting to see what happens.


Neocha: 서울의 현재 패션 의류 업계에 대한 귀하의 생각을 말씀해 주시겠습니까?

IISE: 일반적으로 길거리 의류 및 거리 문화는 인터넷과 소셜 미디어로 인해 크게 서울에 넘쳐나고 있습니다. 지금 모든 사람들은 전 세계에 걸쳐 출시되는 길거리 의류 브랜드를 몇 분 내에 볼 수 있으므로, 사람들은 무엇이 이용 가능한지 분명히 더 잘 인식하게 되었습니다. 저는 시간이 지남에 따라 지속적으로 성장하리라 믿고 있습니다. 한국 브랜드를 전 세계적으로 알리는 것이 놀라운 일이며, 저희는 IISE가 그들 중 일환이 되는 것을 좋아합니다. 저는 이 업계가 실제로 아직 신생 단계라고 생각합니다. 곧, 전 세계가 한국 패션 브랜드에 대해 더 자세히 알게 될 것입니다. 오랫동안, 한국은 제 3세계 국가였습니다. 최근에 더 많은 예술적인 작품을 추구할 수 있는 기회를 갖은 경제적인 파워를 갖도록 성장했습니다. 저는 많은 예술가와 이전 세대의 창의력은 경제적인 이유로 인해 이를 실시할 수 없었다고 믿고 있습니다. 지금, 한국은 부유한 나라이며, 창의력이 있는 전 세대가 한국이 무엇을 제공할 수 있는지 보여줄 준비가 되었습니다. 저희는 무엇이 발생하는지 보고자 모두 기다려 왔습니다.

Websiteii-se.co
Facebook: ~/IISE
Instagram: @iiseSeoul


웹사이트ii-se.co
Facebook: ~/IISE
Instagram: @iiseSeoul

Contributor: David Yen
Images Courtesy of IISE


기부자: David Yen
이미지 제공IISE

ROARINGWILD

Shenzhen is a modern day behemoth of a city; its rapid expansion over the years has transformed what was previously a quiet fishing village into the Silicon Valley of China and a mega-metropolis. Despite the developmental strides of the entire city, the streetwear and fashion scene hasn’t quite caught up – especially when compared to the likes of New York and London. ROARINGWILD is an independent Shenzhen-based streetwear brand not complacent in the quiet state of the scene. Instead, they have aspirations of becoming the vanguard of Chinese youth culture, not only for Shenzhen – but for China as a whole.


深圳这个现代庞然巨城,短短数载,就从一个小渔村发展为中国的硅谷,成为一座国际大都会。然而与纽约和伦敦的街服和时尚环境相比,深圳在这方面并未赶上其城市的步伐。ROARINGWILD是深圳的独立街服品牌,他们不满于现状,渴望成为不仅是深圳,更是整个中国青年文化的先锋者。

Through ROARINGWILD, the founders wish to encourage young people to chase after their dreams and fearlessly express themselves, rather than conforming to the expectations of society. In a way, the brand’s attitude pays homage to the American countercultures of the 1970s and 1980s that set up the foundation for modern day streetwear. Holding the belief that streetwear is more related to lifestyle than fashion, the founders of ROARINGWILD create what they consider to be hip and relevant to their own lives, as opposed to creating with the current trends and appeasing as many consumers as possible. It’s this same mentality that puts further emphasis on their brand ethos and instills a sense of authenticity into their designs. Neocha recently talked to BG, the creative director and head fashion designer of ROARINGWILD, about their brand’s identity and the current state of streetwear in China.


通过ROARINGWILD,创立人想鼓励年轻人敢于追逐梦想和表现自己—而不是屈从于社会为谋生而生活,为物质而生存。在某种程度上,他们是在向美国70和80年代青少年中盛行的反主流文化致敬,这种反主流文化正是促成了现代街服的诞生。秉持着街服更是一种生活方式和时尚的信念,与按照当下流行创作、尽可能多地取悦消费者的做法相反,他们的想法是创造与自己生活圈相关的街头潮牌服饰。这些设计理念都在他们的街头风格品牌中得到体现。最近,Neocha与饼干,ROARINGWILD的创意总监和首席设计师,谈了关于他们的品牌和中国街服的现状。

Neocha: How did the brand start? Who are the minds behind this project? What inspired the idea of starting a streetwear brand in Shenzhen of all places?

BGROARINGWILD was founded by the six of us during college. It was me, CY, MIMI, QIAO, PPC, and REIKA. All six of us grew up in Shenzhen and went to the same university, and that’s how we all got together. At the time, it felt like there weren’t any interesting independent brands in the city; combine that with the fact that the six of us were quite interested in streetwear culture. These two things led to us creating the brand. In the beginning, we were just having fun with it, making small accessories that people liked. Our early days are actually quite similar to the DIY ethics many other streetwear brands were founded on. We kept refining the brand and we somehow ended up where we are today.


Neocha:这个品牌是如何开始的?谁是创始人?是什么激发你们在深圳做起一个街服品牌?

BGROARINGWILD起初是由我们六个人 (昵称: CY、饼干、MIMI、阿乔、高鹏、妹子) 在大学期间创立。我们六个,都是从小在深圳长大,也在同一所大学里读书,于是就自然走到了一起。我们做这样一个街服品牌,是因为觉得身边缺乏有意思的原创品牌。抱着我们自身对街头文化的共同热爱,就做了这样的一件事情。最开始的时候,我们就是很纯粹地一起玩,做一些大家喜欢的小东西。和所有的街服品牌一样,从做许多DIY的事开始,不知不觉做到了现在。

NeochaHow would you say the urban environment of Shenzhen plays into your design? How does the cityscape influence your brand?

BG: The brand and its products is meant to serve us, so a lot of the designs will be based on our personal needs and how the city influences us. Shenzhen is located in a subtropical region, so most our products won’t be for the outdoors. You also won’t find too many jackets and raincoats that are commonly seen with European brands. Shenzhen is a young city, but it subtly and constantly exerts an influence on the direction of our brand. It’s difficult to compare it to other Chinese cities with a long history (such as Beijing, Xi’an, and so on). Many people consider Shenzhen to be a barren “cultural desert”, with only a few decades of history behind it, but in a place like this is where an oasis is most needed.


Neocha深圳的都市氛围对你们的设计有什么影响吗?城市景观有对你们品牌产生影响吗?

BG会的。毕竟,这个品牌首先还是服务于我们自己的,所以,很多设计会基于我们的需求。深圳地处亚热带地区,因此,我们的产品中不会出现很多户外的东西,也不会像一些欧洲品牌那样,出现许多像外套、雨衣类的产品等等。深圳作为一个很年轻的城市,对我们的品牌一直以来都有着潜移默化的影响。深圳只有区区几十年历史的地方,相比国内一些拥有长远历史的城市,如北京、西安等,这里相当于文化沙漠。但正是因为她是这样的一个地方,所以才需要一片绿洲。

NeochaHow does China as a whole influence your brand and design?

BGAll the founders are Chinese, and we all hold a reverence for our culture. Naturally, the brand and designs will be inspired by China. Personally, I’m quite interested in Chinese characters and Chinese philosophies – this is reflected in our brand’s concepts. We don’t want ROARINGWILD only to represent us or the city. We look forward to the day when our brand can be a strong representative for China and become a well-known brand amongst the other amazing international streetwear brands out there. We want it to be up there with Stussy, Supreme, Vans, Palace, RIPNDIP, White Mountaineering, Neighborhood, Undercover, Stone Island and so on. Some of those brands are as young as our own brand, but they still exude their own style.


Neocha中国作为一个整体如何影响您的品牌和设计?

BG首先,我们团队本身就都是中国人,也都十分喜欢中国文化,自然,整个品牌和设计也都基于中国这样一个大环境。我自己本身很喜欢汉字的文化以及中国文化哲学类的东西,这在整个品牌的理念中都会有所体现。我们同时也希望 ROARINGWILD 不仅能代表我们抑或是深圳,也想有朝一日他能代表中国,在街头文化的领域向全世界发声。就像一些优秀的国外品牌如Supreme、Stussy、Vans、Palace、RIPNDIP、White Mountaineering、Undercover、Neighborhood等等,他们当中也会有一些像我们的品牌一样年轻,但都散发着自己的魅力。

Neocha: How would you describe the streetwear scene in Shenzhen? How does it match up to the likes of cities such as Shanghai, Beijing, Hong Kong, or Tokyo? How does it match up to other international cities like New York and London?

BGThe streetwear culture in Shenzhen is a bit behid in comparison with these other cities. Not many people know what they want out of life, what they want to wear, and even less people have their views on lifestyle. Most people just follow the fads, they wear whatever’s trending. It’s not like Shanghai, Beijing, Hong Kong, or other metropolises in the region where people are more confident. For example, I feel in places like Tokyo, young people are even more confident and able to express themselves more freely. Most people in Shenzhen care too much about what other people think, and in doing so have neglected themselves. I think everyone should live their own life, instead of worrying too much about what other people think.


Neocha深圳的街服是什么样的,跟其他城市有什么不同吗?如上海、北京、香港、东京?或者纽约和伦敦这样的国际大都市?

BG深圳的街头文化,相对还是比较匮乏。很少人有人知道自己真正想要怎样的生活,想要穿什么,也很少有人会对自己的生活态度有自我的想法。更多的还是跟随潮流,最近流行穿什么就穿什么,而不像上海、北京、香港这样的其他国内城市一样,大家更有自信。我觉得像东京这样的城市里的年轻人更勇于表达自我,感觉深圳大部分人还是更在乎别人的眼光,而忽略了自己。我觉得每个人都应该为自己而活,而不是为别人的眼光而活。

NeochaWhat kind of challenges have you encountered getting your brand up and running?

BGWe really came from the streets. We were just normal kids with an interest in streetwear and nothing more. We didn’t create this brand in the same way that a well-developed company would have. So in the beginning, we failed to factor in a lot of things – such as resources, finances, manpower, and technique. We were a team but we had no one to depend on besides ourselves. We’ve developed into a mature company now, but there will always be more challenges to overcome.


Neocha: 建立这个品牌的过程有遇过哪些难关?

BG我们是真正的来自于街头,最初是以一群爱好者的身份慢慢做起来,而不是一个成熟公司的形式去创立这个品牌。因此最初,在很多方面,如资源、资金、人脉和技术都不能很好地顾及,可以说是一个完全自给自足的团队。直到现在,虽然我们已经发展成为一个相对成熟的公司,仍然还会有需要克服的难关。

Neocha: Do you feel like the streetwear scene has changed since ROARINGWILD started? Do you feel like more Chinese youth are becoming more interested?

BGIn the first year that ROARINGWILD was established, many more independent brands and streetwear brands began popping up. Of course, this was already somewhat happening before, but with the development of the internet and Chinese people becoming more open to things like these, more and more brands are able to thrive. The interconnectivity of the web allowed streetwear to be more accessible to the youth, so more people are beginning to accept it. To some extent, I would say it’s becoming more and more mainstream. More people are also beginning to be exposed to the lifestyle behind the streetwear. This is a great sign. A lot of young people are living lives that go against societal expectations and are thinking more independently now. They’re not living just to live anymore.


Neocha自ROARINGWILD成立到现在,你觉得街服场景发生了什么变化?你是否觉得现在有更多中国年轻人对街服更感兴趣了吗?

BG的确从ROARINGWILD创立开始,就有许多原创品牌、街头品牌出现。在这之前当然也一直有,但随着整个中国社会和网络的发展,现在的品牌更容易在这片土壤上生存下去。网络的信息化也让街服更容易被年轻人接触到,慢慢地,就有更多人去接受它,一定程度上它变得更大众了。但大家也会开始去思考这样一种生活方式,这是一个很好的现象。很多年轻人也活得越来越多样化,有许多对于自己的思考,而不只是为了生活而生活。

Website: roaringwild.net
Taobao
ROARINGWILD
Facebook~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
Weibo: ~/ROARINGWILD


网站roaringwild.net
淘宝
ROARINGWILD
脸书: ~/ROARINGWILDOFFICIAL
Instagram: @ROARINGWILD
微博: ~/ROARINGWILD

Contributor: David Yen
Photographer: Qiao Chen

 

Images Courtesy of ROARINGWILD


供稿人: David Yen
摄影师: Qiao Chen

 

图片由ROARINGWILD提供

Juice Shanghai

Neocha: In your opinion, what does the Juice Shanghai store represent? Between the wide range of brands that you carry in the store and the style of the space itself, what does Juice Shanghai give to the fashion community here in Shanghai?

Juice Shanghai: Juice Shanghai was the first of our stores to open in China, and our third store to open worldwide. Through this storefront platform, CLOT hopes to continue the innovation of streetwear culture in China. Located in a three-floor building among the traditional architecture of Julu Road in Jing’an District, Juice Shanghai creates an open space that combines both lifestyle and fashion through streetwear that also has an element of history in it.


Neocha:对你来说,JUICE上海店主要代表什么?JUICE提供的品牌非常多元化的,而且你们店的风格也很特别,所以这家店对上海的时装社区有什么样的贡献和影响?

JUICE上海:JUICE上海是中国第一站及JUICE的第三家分店,CLOT希望借由这个平台,打造出创新的中国街头文化。坐落于上海静安区巨鹿路一座三层楼的文化建筑,闹中取静,通过潮流文化与历史相融,制造出一个时尚生活融合的休闲区域。

Neocha: Since Juice Shanghai opened in 2009, what have been the biggest changes to the store?

Juice Shanghai: There have been some changes in the brands we carry at the shop, as well as changes to the style of our logo, towards a more functional, formal style. Our customers have also shifted in demographic, starting as 15 to 20 year-olds who were fans of Edison (Chen) and now moving into 25 to 30 year-olds who have careers. Of course, we also have customers who travel through Shanghai and will stop by to shop.


Neocha:自从2009年JUICE上海店创立以来,店里最大的变化有哪些?

JUICE上海:店里品牌会有一些变化,从LOGO/ICONIC的风格变成绅士、功能等更加实用的风格;另外消费者也从最早Edison的粉丝,15-20岁的年轻人变成25-30岁的上班族,当然会有固定的游客来参观、购物。

Neocha: What is unique and different about Juice Shanghai from other streetwear shops in China, as well as from the other Juice stores in Hong Kong, Taiwan, and Beijing?

Juice Shanghai: The unique aspects to Juice revolve around the original brand CLOT, as well as the selection of foreign brands that we carry. Every Juice store has a different design to it, and out of all of our stores, the Shanghai shop is the largest space. Each floor of our store has a different style, and throughout the store there is a distinct Chinese style in the design.


Neocha:与中国其他的街头时装店相比,JUICE上海店有哪些独特之处?JUICE上海店跟JUICE其他地方的店,包括香港,台北,还有北京,有哪些特别之处?

JUICE上海:JUICE独特之处是以原创品牌CLOT和精选国外的品牌为主。每家JUICE店的装修上会有所不一样,在所有的JUICE店中,上海店面积是最大的一家,而且在每层风格都不一样,在上海店能发现很多有趣的中国风设计。

Neocha: What are your hopes for Juice going forward? What type of impact do you hope that it will have upon streetwear fashion and culture in China?

Juice Shanghai: We hope that we will be able to open more Juice locations, so that people in more places around the world can enjoy CLOT and those who like Juice can shop with us.


Neocha:对JUICE的未来有什么期望?希望它对中国潮流文化产生什么影响?

JUICE上海:希望JUICE能多开分店,让更多地区喜欢CLOT,喜欢JUICE的人可以买到东西。

Address:
832 Julu Road (near Changshu Road)
Jing’an District, Shanghai
People’s Republic of China

Phone: 3308 0888
Hours: Midday~9:30pm daily


地址:
中国 上海市静安区
巨鹿路832号(近常熟路)

电话
:3308 0888
营业时间:每日中午12点至晚上9点30

Contributor: Ross Donovan
Photographer: Leon Yan


拱稿人:Ross Donovan
摄影师:Leon Yan