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EDITOR'S LETTER

我們的世界一直都在劇烈的轉變著 我們努力 為著生活努力著 卻好像又被緊緊囚困在一段 看不見未來的道路上 儘管這是一段艱苦的道 路 我們都得相信自己的信念努力活著 我們 都得為了自己去創造一段屬於自己的未來 這一期的臺客雜誌滿溢著時尚元素 因為我們 相信時尚是一種生活美學更是一種生活態度 ‘INSURGENT’ 一字並非貶義 而是正面的 形容詞 並且合適合宜的形容著正在用自己力 量對抗世界體制的時裝設計師們 旅居德國的 臺灣設計師 陳玟廷 Kent & Curwen 創意總 監 Daniel Kearns 擁有同名時裝品牌的 Lou Dalton…等 都是為了實現心中理想而奮鬥的 人 而在這樣子充滿嚴肅氣息的時代裡 我們也 需要著生活中的娛樂 因此在 ISSUE04 中也 記錄著顛覆了喜劇家和網路世界規則的 Paul Taylor 的獨家訪問

現在的人們對於舊的事物充滿嚮往 對於未來 的事物又展現創造的企圖心 所以我們展開了 衝撞 衝撞著現有的體制 目的不是要成為帶 頭搞破壞的頑劣份子 而是要成為一個對自己 的信念負責的人

Our world has been drastically transformed, we strive to work hard for our lives. Yet we seem to be in great imprisonment on a path that we can not see the future. We all have to believe in ourselves. Faith, keep fighting for our life and we all have to create our future by our own even though it is a difficult road. This issue of TAIKER Magazine fulfil of fashion elements, because we believe that fashion is a life aesthetic and is also an attitude. 'INSURGENT' is not a derogatory word but a positive adjective, and it is appropriate to describe fashion designers who are using their power to fight the world establishments, such as Taiwanese designer CHEN Wen-Ting, Kent & Curwen’s creative director Daniel Kearns, Lou Dalton designer owns the same name as the fashion brand ... and so on are all people who strive to achieve their ideal. Furthermore, in this age of serious-mindedness, we also need entertainment in our lives, so an exclusive interview with Paul Taylor, who overrides the rules of comedians and the Internet world, is also recorded in ISSUE04. Nowadays, people are longing for the old things and showing the ambition of creating things for the future. Therefore, we have started a collision and collided with the existing system. The purpose is not to be the nasty member who takes the lead in sabotaging but to become a believer who are in charge of their own faith.


CONTRIBUTORS

EDITOR

EDITOR

Hayden, Lee

Samuel Balkin

UNITED KINGDOM/HONG KONG

UNITED KINGDOM

PHOTOGRAPHER

GRAPHIC DESIGNER

GRAPHIC DESIGNER

PHOTOGRAPHER

Bruce, Chen

Yen-Fen, Wen

Michelle, Lin

Pietro Recchia

TAIWAN

TAIWAN

TAIWAN

UNITED KINGDOM


Kent & Curwen A / W 2018

過去中的未來 Daniel Kearns, 從 不 畏 懼 的 時 尚 創 造 者 Photographed By Keiron O'Connor


Interviewed By Dylan Tang Photographed By Perry Ogden

對於時裝 每個設計師都有自己獨特的見解 對於未來 每個創作者更踏上自 己的步伐邁向創造的道路 而總是不落窠臼的時裝設計師 Daniel Kearns 在 Kent & Curwen 最新一季的男裝系列中運用了解構時間主義的手法 使用當 下的角度望著 ’過去’ 並且重新塑造成這個英國品牌未來一季的模樣 Kent & Curwen 的 2018 秋冬男裝透過回首 1920 年代中 英國社會中的人 物關係 細節以及相互交織出來後的火花 ‘The Boxer, The Artist and the Musician’ 便從中誕生出來 成為最新一季服裝的核心主題 為了將過去拖曳出來放置在未來畫框裡 Daniel Kearns 找來了知名攝影師 Perry Ogden 一同合作 讓這個充滿活人衣架的時尚週中 屏除了活生生的 模特兒而使用了平面攝影來呈現 Kent & Curwen 在下個季度的未來形象 如果仔細觀察每一張 Kent & Curwen 的最新系列 你會發現 Daniel Kearns 非常膽略兼人 並且對於時裝發表的固有形式拋之腦後 除了欽佩他在這個浮 華世界中獨樹一格的勇氣以外 更透過這位出生於愛爾蘭的豪膽設計師和攝影 師 Perry Ogden 親自口述的一字一句來透析 Kent & Curwen 的 2018 秋冬 男裝


F

or fashion, each designer has their own unique vision of the future. Each creator is walking on their own path to curate their individual fantasies. Daniel Kearns, the creative director of Kent & Curwen is an insurgent within the fashion industry. A person who is consistently breaking the barriers of the modern world. His approach to his latest collection uses the method of deconstructing the chronological time order of the past up to the present. Therefore resulting in reshaping the brand's future figure. Kent & Curwen's 2018 Autumn/Winter Men's collection is titled "The Boxer, The Artist and the Musician" which goes back into the depths of the 1920s showing the different levels of the societies within Britain highlighting further the certain themes of the "The Boxer, The Artist and the Musician". Bringing speci c past elements into the future, Daniel Kearns has asked the award winning photographer Perry Ogden to collaborate

together. They dismissed the actual models that were to be presented in Kent & Curwen’s latest collection and instead used the still photography to capture the figure of the British heritage brands coming future. Pulling a bold move of having a gallery of their collection instead of real life models show their innovativeness and bravery within this industry. If you look closely at each of Kent & Curwen's newest photography, you'll find that Daniel Kearns is courageous and a fearless Irish fashion designer by placing his subjects within the environments. This results in integrating with the theme emphasizing further the origination of specific elements. We came to a halt and had a moment to speak with him and Perry Ogden quickly as to the reasons why he has done this collection in this way and how he has achieved it.


FUTURE

IN THE

PAST Daniel Kearns, a fearless man in his own ideal world. Kent & Curwen 2018 Autumn/Winter Collection.


Q: 在最新一季男裝系列裡 有讓 你最引以為傲的部分嗎 D.K: 這一季我們使用了三種不同 的角色來描述倫敦三個不同生活 圈 ‘The boxer, the musician and the artist’ 有 趣 的 是 想 要成為這三種生活方式 都必須 透過某種方法和準備來達成 因 此選擇過去 20 年來將英國文化 以自己的美學記錄下來的 Perry 合作則是這一次最棒的事情 因 為這真正地引起了品牌所要表達 在意識上真實性方面的共鳴 而 且也帶了些許的浪漫情懷 我們 想要將這個系列展示給世人的是 真正的音樂家 真正的拳擊手和 真正的藝術家 因為真實性是這 一次系列最基本的立足點 Q: Kent & Curwen 這個品牌對 你來說有什麼意義嗎 D.K: 真實性 對你所做的事感到 驕傲 因為我認為這就是我們這 一季的服裝所想要傳達的事情 不管你是音樂家 藝術家 板球 運動員 或者你是拳擊手 你都 有自己一套的方法以及對自己身 份的驕傲 這就是你的生活和生 活方式 所以這也是我們正在談

論的 你對你的 團隊和你的生 活圈裡的真實 性感到自豪 Q: 對 於 男 裝 未 來的看法 你有什麼想法嗎 D.K: 對於男裝的未來我總覺得非 常的興奮 因為我們總是從很多 事情中得到不同的啟發 因為你 看到現在在街頭正在發生的事情 以及過去發生的歷史 對於我們 來說 卻是兩個平行的事件 非 正式和反文化 把兩者交織後的 事 Q: 為什麼這一季選擇不用模特兒 而是選擇與攝影師合作來呈現最 新系列呢 D.K: 我認為展示一個系列有許多 種方法 而且我認為我們都想把 發表的重點放在創造一個世界觀 上 和 Perry 一起 我們有潛力 製作一部真正能夠紀錄一般主題 的電影 但也可以創作出令人驚 嘆的平面影像 我認為現在你看 到的這些照片是很真實地呈現這 個系列的主題 而且我相信這是 一個雋永之作

Q: 請 問 你 怎 麼 看 待 這 一 次 和 Kent & Curwen 的合作呢 P.O: 這是一次非常棒的合作 因 為我清楚地知道 Daniel 在做什 麼 並且喜歡他正在做的事情 而且我以前曾經為雜誌拍過一 些作品 接著 Daniel 和我聯繫 上了並跟我談談合作的可能性 而且提到一些像是 ‘只有孩子 和 Francis Bacon 工 作 室 ’ 這個工作室一直是非常具有代表 性的 而且我認為試圖找到“真 實的人” 並在他們拍攝 拳擊 手 音樂家和藝術家 他們的服 裝 這個想法這真的非常反映出 倫敦 一個擁有 青年文化 過去 和 當下的城市 就像是你畫著老 舊的 浪漫的英國 但也使它成 為新的事物


Q: Which part makes you feel proud of with this season? D.K: This season we wanted to look at three different characters in a way really narration about three different tribes of London. The boxer, the musician and the artist. What is interesting is that all of these have a method or preparation that in a way become the lifestyle. The obvious choice to illustrate that was to collaborate with Perry who has documented British culture with his own aesthetic for the past 20 years, that really resonates with the brand in terms of its awareness authenticity but also its romanticism. We want to show the collection on real people so real musicians, real boxers and real artists to show the authenticity of what the product stands for.

a boxer if you were musician and an artist. You also have a methodology and pride in what you do and that becomes your life and your lifestyle so that's what we're talking about it pride in your team and your tribe and authenticity. Q: What do you think about the future of Menswear? D.K: I think it's an exciting place, there’s so much that we get inspired to draw from. In terms of What's Happening Now on the streets that you see and also the history. And for us it's always about the juxtaposition of the two things. Culture informality and counterculture and bringing the two things together

The boxer, the musician and the artist.

Q: What does Kent & Curwen mean to you? D.K: Authenticity, Pride in what you do, because I think that's what we're trying to say this season. It's not necessarily that you're a cricket player or you're

Q: Why have you used a live model for this season and instead collaborated with a photographer to show the new collection? D.K: Well I think it's many ways to present a collection that I think because we really wanted to focus on this idea of creating a world if you like. With Perry, we have the possibility to create a film that would really document general theme but also the still images as striking they are. And I think that has a longevity to it which is exciting. So these pictures now will be around to really represent what this collection stands for. Q: What do you think about the collaboration with Kent & Curwen?

P. O : I t ’s b e e n a w o n d e r f u l collaboration and obviously I knew what he was doing and loved what he was doing because I photographed some of the clothes previously for magazines. Then Daniel contacted me and asked me to come and talk about a possible collaboration and mention some things like only kids and Francis Bacon studio. It’s been it's been very powerful and I think that the idea of trying to find “real people” and to photograph them in their clothes (boxers, musicians and artist) It really sort of avokes something about London, youth culture, the past and the present. You know drawing on the romance of sort of the old school Britain but making it new as well.


Kent & Curwen A /W 2018. # FutureInThePast Daniel Kearns, a fearless man in his own ideal world.


透 過 與 Daniel Kearns 的 對 話 對 於 Kent & Curwen 2018 秋冬最新系列的平面攝影已經不 再是單純 2D 平面上的圖像 而是引發每個人 內心對於現實和過去所交織出來的個人親密感 受 如果歷史被框架困著 現實被無奈束縛著 那麼為了打破這些被人定義出來的壓抑準則 不如就就像 Daniel Kearns 一樣 在時裝設計 的世界裡 用自己對當下生活以及刻畫未來藍 圖的勇敢態度去打破現有的體制 成為一個自 己世界中的反抗者

T

hrough the dialogue with Daniel Kearns, the latest collection of Kent & Curwen is no longer a 2D image, but a personal intimacy between each person's reality and the past. If history is to be trapped by the framework and the reality makes you feel helpless bound. Then in order to break those - the repressive guidelines by someone’s definition. It is better to do what Daniel Kearns done in the fashion industry. With his brave attitude towards the present life while drawing the blueprint of the future. Break the existing system and become an insurgent within your own field.


Melancholic Beauty Lou Doulton is all about texture. Photographed By Josh Hight


Lou Dalton

壓抑・美感

“ Lou Dalton

的高品質時裝

Written By Samuel Balkin Interviewed By Dylan Tang

英 國 Shropshire 出 生 的 時 裝 設 計 師 Lou Doulton 16 歲時離開學校時就已經開始了她 在男裝設計上的成就 她是時裝界裡少數幾個 專注於男裝設計的女性之一 因為她的職業生 涯始於她的專長 這是由於她對於的男性服裝 的喜愛 也透過設計男裝而她快樂 因此她便 與 女 裝 設 計 背 道 而 馳 Lou Dalton 這 品 牌 成 立於 2005 年 而設計師本人也曾經在日本的 United Arrows Iceberg 和 Stone Island 等 知名品牌企業下擁有相當的寬廣的國際視野 現在她的 2018 年秋冬系列正準備席捲世界 Lou Dalton 的 大 部 分 靈 感 來 自 於 她 過 去 的 經歷 這一季的服裝設計當然也不例外 Shropshire 時期 她所擁有的童年記憶 都是 她在這部作品中的繆思 最好的一個例子就是 她使用她的兄弟們和朋友間 時常坐在石頭的 回憶來做為這一季的發表方式 這使她再一次 將親身感受轉換為高品質的產品 同時間 她 將自己的生活真實感傳達到世界上的各個角落 裡 2018 秋 冬 男 裝 的 顏 色 透 露 出 了 Lou Dalton 在 Shropshire 和 Shetland 花了很多時間的感 受到的自然之美 通過她在這些地方徒步的時 間 我們能想像她所看到的 以及她親自挑選

出來的顏色 從青銅色到深夜的藍色 都是 Lou Dalton 透過回憶對於美學的傳達 從布料上解 釋的話 這一次使用乾燥的 Shetland 羊毛更能 支持這種情況 使用美利奴羊毛和馬海毛以及羔 羊毛紗線的混合物進一步提高了舒適度 賦予它 更多的觸覺和觸覺上的感受 想當然爾 這也是 Lou Doulton 最著名的特色之一 Lou Dalton 這個系列的所有針織服裝 都是與 John Smedely 合作生產的 透過這樣的合作 高品質更是無庸置疑 由於他們的技能整合在一 起 顯示了時裝產業界中合作的重要性 當然 Lou Dalton 在這一季上與其他人合作也不僅止於 兩品牌的交流 為了將最新一季的設計更加獲得 大眾的青睞 這一次也使用了更多不同形式的不 同時裝設計手法和剪裁設計 最重要的是 她在 這一季使用的創新方法將對未來的時裝界有一定 的影響力 Lou Dalton 在這一季還與 Bunney 一個手工製作的高品質的倫敦珠寶品牌合作 Bunney 提供了這一季所使用到的所有飾品 而 所有的鞋都是由 Diadora 所提供 最後透過與 Lou Doulton 本人的訪問 我們將可 以更深入地了解這位時裝設計師在整體設計上的 的思想過程


Lou Dalton

L

ou Doulton, a Shropshire born fashion designer who left school at the age of 16 had already begun her journey in making a mark in menswear. She is one of the few women within the fashion industry who focuses only in menswear, as her specialty is within this field since the beginning of her career. This is due to her admiration for men and their clothes giving her a sense of joy leaving her to turn her back on womenswear as she see’s it as a distraction. Having her own brand in 2005 with International experience through a range of companies such as United Arrows Japan, Iceberg and Stone Island as her backbone. She has now revealed her Autumn/Winter 2018 collection. Most of Lou Dalton’s inspiration comes from predominantly her past experiences and theses seasons are no exception. The nature of Shropshire, and the childhood memories she have are some elements that she has placed within this work. An instance would be her using the boys of her brothers friends, as a way of relating the way the models are sitting on the stone. This resulted in making her once again personal with the high quality products she provide. While at the same time presenting a sense of truth of her life to the market that she reaches internationally.

M elan ch o lic B ea u t y


The colour palettes that were selected represents the beauty of nature where Lou Dalton spent a lot of time at - Shropshire and Shetland. Through her time hiking within this county and island, we can only imagine the beauty that she has seen through the colours of the collection that she has chosen. This ranges from burnt bronze to deep midnight blue giving the collection a home grown aesthetic to it. This is supported even more with the use of dry Shetland wools offering further comfort with a mixture of merino wool and mohair and lambswool yarns. Giving it a more tactile and textured approach where the unique selling point of Lou Doulton is renowned for.

so. It’s a method of gaining an understanding more of different forms of fashion designs from different designers, reaching a broader audience that haven’t been attracted yet and can convert into customers. Most importantly, its a method of innovation that will help shape the future of the fashion industry. Lou Dalton

It has become even more unique with its quality as Lou Doulton collaborated with John Smedely producing all the knitwear with this collection. As both integrate their skills together, it shows the importance of collaboration and Dalton is not shy on doing


has also collaborated with the likes of Bunney, a handcrafted high quality London based jewellery brand that provided all jewellery within these seasons. Whilst all footwear were provided with Diadora. We have had the chance to speak to Lou Doulton herself regarding the collection and gave us more indepth knowledge as to the thought process and decisions made within. Q : Why did you choose a rich colour? The palette is quite melancholy for this season but it feels very personal to me and it also feels very contemporary and i think it also reflects the way people are buying clothes with the sense of longevity. Wanting something that they can wear season on season so for me it felt really, it just felt right, felt very fresh and new for us. Q : Do you dislike rich colour? No, I love rich colour for me and you know Lou Doulton is all about texture every season thats what we do. I work in a collaboration with John Smedley and so Im very aware of their colour palette for this season but also I think autumn, winter is a particular favourite of mine and i wanted it to be like something really fresh and new.

Q: Why did you decide to make the models sit on the stone? It relates to when I was a kid, when I was a child and when I lived back in Shropshire. You know there would always be a group of guys that my brother would hang out with, that I would wanna be part of coz they are super cool. I also spent a lot of time in Shetland which is a really raw island in the north sea. Very beautiful, you know one minute is sunshine and the next is rain. It’s really rich in texture and colour. Its just such a wonderful place to be and I love the fact that the boys have this ruddiness about them so that was the inspiration behind that. Q: What do you think about the menswear in the future? I think its an interesting time for everybody with whats going on in the industry but at the same time I think that were all in the place where we have to do what is right for us. So as much as i think that things will change, I try to not to think about what other people are doing, I try to think especially now about what were doing and whats right for us.


Melancholic Beauty Lou Doulton Q : 在這一季裡頭 豐富的顏色

THE BEAUTY OF NATURE.

SHROPSHIRE & SHETLAND. It's

All About

Texture.

你為什麼選擇

其實這個色調對於這個秋冬來說 是相當憂鬱的 但是對我來說這 個感覺非常個人化 也感覺非常 現代 而且我想這也反映了人們 對於衣服想要保值 耐穿的感覺 他們想要一些季節性的商品 所 以我才進而設一次這一季的服裝 對我來說 2018 秋冬系列感覺非 常新鮮 Q : 所以你不喜歡豐富的顏色嗎 不 我喜歡鮮豔的顏色 你知道 Lou Dalotn 每個季節都是關於以 質感為出發點的 這一季因為我 和 John Smedley 合作 所以我 非常了解這個季節中他們的顏色 選擇 而且我覺得秋天 冬天是 我最喜歡的季節 因此我希望這 一系列能夠展現出真正新鮮的東 西 Q : 你為什麼決定要讓模特兒坐在石頭上 這涉及到我小的時候我還還住在 Shropshire 時候 你知道 總會有一群哥 哥和我一起出去玩 我也經常幻想能成為他 們超級酷的一份子 我大部分的時間在都是 在 Shetland 的北部的生活著 是一個非常 漂亮的地方 有趣的是 你知道一分鐘天空 是充滿陽光的 但是下一分秒就會開始下 雨 這個地方就這樣千奇萬變 一個充滿美 好事物的地方 我喜歡這樣的體驗 也因為 這樣對這些模特兒有著要讓他們坐在石頭 上的靈感 Q: 你對未來的男裝有什麼看法呢 我認為 對於每個人來說 現在就是一個有 趣的時刻 但同時間我認為很多事情我們都 必須去做對我們來說是正確的事 因此 儘 管我認為事情會發生改變 但是我不想去想 其他人在做什麼 我現在只想做一些什麼 一些對我們來說是對的事情


透 過 Lou Dalotn 的 最 新 系 列

她的靈感

起源

的個人敘述方式 和使用的面料

獨特

顏色選擇

Lou Dalton

始終以自己為基礎

決定最

適合自己的未來

W i t h h e r co l l a b o rat i o n s , h e r inspirations, origins and personal narratives presented in unique ways through the colour palettes and the very fabric used on the collections. Consistently building on her brand and deciding whats best for it. There is no doubt that in the future we will see Lou Dalton have an even stronger bond with its audience established on a worldwide scale.


Photographer: Spyros Droussiotis Model: Sami Gottschalck MUA: Nicholas Serenio


新浪潮中的閃耀鑽石 陳玟 廷 在 千 年 時 空 中 創 造 的 永恆設計

WEN-TING, CHEN Written & Interviewed by Dylan Tang Edited by Hayden Lee

臺灣設計師陳玟廷 每一次設計出來的系 列都充滿著強烈的故事以及具有穿透人 心的能力 現在旅居德國的她 在交出最 新一季的作品時更使用了華夏民族中具 有重要地位的哲學思想 道家 作為設計 理念的主軸 道家的哲學思想與現代社會相差了數千 年之久 但是設計師陳玟廷卻穿越了時空 將它從歷史中帶回到現實 並且透過她身 為設計師的精湛技巧 設計出能夠永續發 展的全新服裝系列 從過去到達未來 陳 玟廷 如何設計以及為什麼設計 都將透 過她親自描述 讓大家有機會對這位來自 臺灣的時空旅行者一探究竟

Taoist & Sustainable Fashion.

A / W 2018

Wen Ting Chen, Taiwanese designer, each collection by her design are full of strong stories and have the ability to penetrate people’s the mind. She now living in Germany and her latest collection is using an important philosophy in Chinese history; Taoist, as the theme of her latest design. Taoist is a philosophical thinking and is thousands of years ago from the modern society, but the Wen Ting Chen made a time travel and brought it back from history to present. She used her phenomenal design skills to combined philosophy and fashion further developed her new sustainable clothing line. From the past to the future, we’ve had a chance to ask Wen Ting Chen, how she process design and why used Taoist on her clothes. Through her personal description, we have a chance to explore this fashion time traveller from Taiwan.


A / W 2018

新浪潮中的閃耀鑽石 陳玟廷在千年時空中創造的永恆設計 1. 請問這一次的設計理念是什麼呢

這一次的設計理念是透過古老的道家哲學為架 構 創造一個屬於現代和帶有文化內涵的永續 時 而這一次的挑戰 在技術上是將創新的臺灣 布料技術和傳統的刺繡技藝做結合 因為我想證 明人文精神和科技發展是可以共存的 並且在永 續時尚的發展都是不可或缺的 這次的布料上 選用了宏遠的百分之百寶特瓶回收纖維 100% Recycled Polyester 符合 Blue Sign 和 Ökotex100 等國際認證 並盡可能的使用單一材質 將每件服裝都設計好未來改變樣式的可能性 使 服裝不再只有一次性的生命週期

我的碩士論文題目就是探討道家哲學與永續時尚 的關係 在柏林接觸到永續時尚的議題時 發現這似乎是 個以歐洲為主的議題 在亞洲國家卻少有討論 因此我不斷地問自己 sustainability 在我的文化中 到底是什麼意思 然而當所有人都在嶄新科技中尋求答案時 我選 擇回溯 5000 年在歷史中尋找答案 我好奇在沒 有科技可以計算 carbon footprint 時代 古人是 怎麼保護環境 如何教育後人的 道家的宇宙觀其實與現今德國人所提出的搖籃到 搖籃 cradle to cradle 不謀而合 道家的哲 學更是體現了美學與環保的融合 影響了亞洲的 設計美學

因為誰說永續時尚只能是有機的休閒服 我認為 透過設計 運動服飾的布料也能有更多元化的面 老子提出體現道家思想的方法論為 " 一慈 , 二儉 , 貌 因此我和歷史悠久的府城光采繡庄合作 在 三不敢為天下先“ 這給我帶來了很深的影響 我希望未來永續的服 機能布料上注入了傳統刺繡工匠的精神 裝能實現老子的哲學 以慈為設計 認真感受世 這次的服裝造型參考的是臺灣的官將首傳統服 界 設計出有靈魂的服裝 ; 以儉為製造方針 選 擇安全的布料 不傷害環境 三帶著謙卑的心 飾 官將首是臺灣神明的侍衛 我以他們的形象 以不爭為爭 比起廉價的大量生產拼銷售 更重 作為靈感 希望這一系列也能像他們一樣 在快 視產品的品質 時尚中守護傳統文化價值 在蒐集資料的過程中 也發現臺灣在民俗文化保存上的不足 所以我親 3. 你覺得從過去的歷史創造新的未來 有什 自進行田野調查 聯繫了民俗專家呂江銘老師與 麼困難之處嗎 官將首表演團五股振鑫社 去了解服飾意涵 結 構與穿著的步驟 我認為當設計師參考某種傳統 我提出現代永續環保的概念早已存在於 5000 年 的文化與歷史時 透徹的了解其文化內涵是基本 前古老的中國哲學中 著實也讓許多外國人提出 質疑與挑戰 我認為當人類擁抱科技與未來的同 的責任 時 更需要認真的審視歷史與傳統的價值 我想 官將首的傳統服裝包含了許多層次的穿法 綁繩 證明永續與環保不是只能用科學去評量 數字去 計算 它應該是一種信仰 一種生活哲學 的結構 複雜的穿衣過程就像是一種神聖的儀式 這和現代迅速就能脫掉的 T-shirt 展現的是完全不 然而因為文化的不同 有許多人對東方文化有興 同的價值觀 這樣的“繁複”與“慢”給我帶來 趣 也有許多人表示反對的聲音 透過這經驗我 也學到 不用要求每個人都同意你的觀點 但若 反叛快時尚的力量 能用你的觀點在每個人的心中種下一個對世界提 2. 道家文化對你來說有什麼意義嗎 出疑問的種子 , 可以激發更多人的想像力 這樣 就很有意義了


Kent & Curwen by Rémi Quentinet


Wen-Ting, Chen 1. What is the theme of this collection? The concept of this collection is through the ancient Taoist philosophy to create the modern and cultural connotation of the perpetual. The challenge of this season is how to combine the Taiwan’s cloth technology and the traditional embroider y skills. I want to prove t h at h u m a n i sm and technological development can coexist and that both are indispensable to the development of sustainable fashion. This time, the fabrics are made of 100% recycled Recycled Polyester by EVEREST Textile Co., Ltd, conforming to international certifications such as ‘Blue Sign’ and ‘Öko-tex100’. I tried to use a single material whenever possible to design each garment in the future. The possibility of making clothing no longer has only a one-off life cycle. Because who says sustainable fashion can only be organic casual clothes? I think through this design, sportswear and fabrics can also have a more diverse look, so I cooperated with the historical embroidery company, G-Colours for functional fabrics to be a part of the spirit of the traditional embroidery craftsman. The bodyguard of Taiwan’s god is the

main styling reference for this collection. I use their image as an inspiration, and I hope this series can also be like them. Fast fashion has the ability to protect traditional cultural values. During my research, I found that Taiwan lacked in the preservation of folk culture. Therefore, I conducted a field investigation and contacted JIANG MING LYU who is an expert of local folklore, to understand the meaning, structure and their outfit details. I think that when designers refer to some kind of traditional culture and history, it is the basic responsibility to thoroughly understand their cultural connotation. The traditional costumes of the bodyguard of Taiwan’s God include many different details such as tie-rope structure and complex dress patterns. It’s like attending a holy ceremony, which has completely different values in comparison with the modern T-shirt that can be taken off anytime and anywhere. The "complicated" and "slow" aspects of these designs bring me a concept of rebellion within fast fashion. 2. Does Taoist mean anything to you? My Master's dissertation topic was to explore the relationship between Taoist and sustainable fashion. When I came across the topic of green fashion in Berlin, I found that it was a trending issue in European but not in Asian culture, so I kept asking myself what exactly does sustainability mean in my culture? However, while everyone was keen to find answers through technology, I chose to go back 5,000 years ago to find the answer. I wonder how people could calculate carbon footprint when they didn’t have this technology and science that we have now. How did our ancestors protect the environment? How did they educate future generations?

The Taoist philosophy actually coincided with the 'Cradle to Cradle’ proposed by today's German people. The Taoist philosophy embodies the integration of aesthetics and environmental protection and affects design aesthetics in Asia.


Lao Tzu mentioned the methodology of reflecting Taoism as follows: "merciful, secondfrugal, third, not the first.” This has brought me a deep influence. I hope future sustainable clothing can achieve Lao Tzu's philosophy, as merciful as the designs, feeling the world, and connecting with the soul. For manufacturing guidelines, choose a safe fabric and do not harm the environment. Stay away from cheap mass production and pay more attention to product quality with a humble heart.


WEN-TING, CHEN

3. Do you find it difficult to create a new future from the history? The concept of modern everlasting environmental protection that I put forward already existed in the ancient Chinese philosophy five thousand years ago, and indeed many foreigners challenged it such as belief-based scientists and anthropocentric theorists ... and so on. I think it is even more necessary for human beings to embrace both science and technology and the future while being more careful. Consideration should be given to the values of history and tradition. I want to prove that perpetuation and environmental protection can not only be evaluated by


COMPLICATED & SLOW FAST FASHION of REBELLION

science but also by numbers. It should be a belief, a life philosophy. However, because of cultural differences, many people are interested in oriental culture. Many people also voiced their opposition. Through this experience, I also learned that it is not necessary to ask everyone to agree with your point of view. If you can use your point of view, it makes sense that the seeds of a person who questions the world can inspire more people's imagination.


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WEN-TING, CHEN

D e s ig n s h o u l d b a s e d

4. 你覺得在歐洲做設計跟在臺灣做設計有什麼 不同嗎

其實臺灣在成衣製造的資源上遠大於歐洲 , 尤其 是與德國相比 最大的不同其實是“人”所帶來 不同面向思考的刺激 柏林給我帶來設計思考的震撼彈 面對設計老師 看著我的設計圖不斷的逼問我 設計概念是什 麼 設計過程是什麼 每個細節 每個線條 每 個輪廓都問我”為什麼“ 面對這十萬個為什麼 當時的我很挫折 突然覺得自己可能不懂設計是 什麼 才知道原來自己過去的設計方法用的只是 自己對於美感的直覺 而設計的基礎應該是大量 的研究 我在柏林做了一個佛教文化與佛教茶道 為出發點的服裝作品 除了做大量的服裝歷史與 宗教哲學的研究以外 我還聯絡了柏林佛光山住 持 請教佛教服飾每個細節的設計意義 觀察他 們穿著袈裟走路的姿態 布料的份量 與生活的 關係 最後將每一個體會 哲學 文化與精神轉

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化成一套極簡的服裝 極簡到一般人應該很難 想像這背後是多麼龐大的設計過程 透過這樣不同的教育訓練 與不同文化背景的 人交流與討論 也體會到一件衣服透過設計理 念的轉化是能傳遞許多知識與能量的

5. 你現在想要成立自己的時裝品牌嗎

未來一年希望成立自己的服裝品牌 其實這念 頭醞釀了很久 我一直覺得自己不夠好 希望 多一點累積工作經驗 希望能增加更多專業知 識 , 這兩個目標我都去努力了 而我發現 好 與不好都只是相對論 學無止盡 若是一直保 持著原先的念頭 以我的個性大概永遠也不會 給自己打合格分數


6. 身為新世代的設計師 麼看法嗎

Merciful,Frugal, not the first 陳玟廷透過在柏林受到不同思維的訓練 將 自己成就為一位新浪潮設計師中的佼佼者 並在時裝界被現代科技不斷受到衝擊時 出 身臺灣的陳玟廷挺身而出捍衛自己的理想和 堅持自己所愛 透過與身俱來的美感和不輕 易放棄的堅強韌性 陳玟廷已經可以看出將 成為新世代設計師中 來自東方島國並且閃 耀世界的鑽石

這是個市場導向的時代 銷售數字決定設計 而不再是設計師引領時尚 時尚就像是大量爆 炸的資訊充斥著我們的生活 濃縮成一條貼文 又或是幻化成大量生產的百元服飾 其中又有 多少人在乎一條車線背後的設計理念 這世界上有成千上萬極富才華的設計師 製造 著數不盡的衣服 這不只造成環境的傷害也是 對心靈的折磨 設計師的飽和 我不禁問自己 設計師的角色是什麼 為何還要生產過剩的衣 服 我認為身為新世代的設計師我們必須反覆的問 自己這個問題 並且回歸那份對創意與藝術熱 愛的純粹 同時了解自己為這個世界生產了什 麼 為自己的設計負責任

我認為永續時尚將會是我們的未來 從一 個完全不同的角度熱愛時尚 這對整個 產業鏈是個衝擊 是既得利益者的毒藥 但我期待著它能成為時尚產業的解藥

如今我認為自己準備好了 不是因為覺得自己夠 厲害了 而是我有獨立思考與分辨是非的能力 我有自信能堅強的面對質疑的聲音 我對這個世 界有很多想說的話 希望能透過服裝傳遞更多訊 息和故事給大家 也正在努力尋找與我志同道合 的夥伴

對於時裝界的未來有什


4. Do you think designing in Europe is different from designing in Taiwan? In fact, Taiwan is far more resource-rich in making clothing than in Europe. In particular, the biggest difference compared with Germany is actually the different thinking-provoking stimulus brought about by "people." Berlin brings me the shock of design like an exploding bomb. I remember when my teacher looked at my sketching and constantly asked me what the concept was, what design process was, details, the idea of this line, and why this profile in particular? These questions made me frustrated and I suddenly felt that perhaps I don’t understand the design, and I realised that my past design method used only my own

TIE-ROPE STRUCTURE. COMPLEX DRESSING. TAIWAN'S GOD. aesthetic intuition, but design should be based on lots of research. In Berlin, I made a costume work based on Buddhist culture and Buddhist tea ceremony. In addition to doing a lot of research on the history of garments and religious philosophy, I also contacted Persian Buddhist Hill in Berlin for advice on the design significance of every detail of Buddhist costumes. They are dressed in walking posture, fabric weight, and the relationship between life, and finally each experience, philosophy, culture and spirit into a minimalist clothing. Minimalism to the average person should be hard to imagine because the process behind this design is rather complicated. Through such different education and training, exchanges and discussions with people of

different cultural backgrounds also realise that the transformation of a piece of clothing through the design concept can convey a lot of knowledge and energy.

5. Do you want to launch your own label right now? I hope to launch my own clothing brand in the coming year. In fact, this idea has been in my mind for a long time. I always felt I was not good enough. I hoped to accumulate more work experience and hoped to increase more professional knowledge. Both of these goals have been tried hard, I found that good and bad are just relativity, and learning is endless. Now I think I am ready, not because I feel aware, but I think I have the ability to think independently and distinguish right from wrong. I have the confidence to be strong in the face of the voices of questioning. I have a lot to say about this world, I hope to send more messages and stories to everyone through clothes, and I am also working hard to find my like-minded partners.

TAOIST & SUSTAINABLE FASHION.


6. As a new generation of designers, what do you think about the future of the fashion industry?

This is a market-oriented era, sales number decided to design, rather than designers lead fashion. Fashion is like an explosion of information filling our lives, condensed into a post, or turned into a large number of productions. How many people care about the design concept behind a sewing line? There are thousands of talented designers in the world who make countless clothes that not only cause environmental damage but also torment the mind and designers. I can not help but ask myself what is the designer's role? Why produce excess clothes? I think as a new generation of designers we have to ask ourselves this question repeatedly and return to the pure love of creativity and art while understanding what we have produced for this world and be responsible for our own designs. I think sustainable fashion will be our future. We love fashion from a completely different perspective. This is an impact on the entire industrial chain. It is a poison for vested interests. However, I expect it to become an antidote to the fashion industry.

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Through her different experiences in Berlin, Wen Ting Chen made herself become a leader among the new generation. When the fashion industry was constantly challenged by modern technology, Wen Ting came forward to defend her ideals and fought for her passion. Based on her unique aesthetic and her passionate personality, Wen Ting, has shone brightly in the face of her generation as an emerging designer.


Paul Taylor # Franglais 用自己的語言和世界溝通

Written & Interviewed by Dylan Tang Edited by Hayden Lee Photographed by Annier Jiang

Paul Taylor 他 的 頻 道 What The Fuck France 在 2016 年推出之後 他的名字像野火 一樣迅速蔓延在英法兩地的社群媒體上 從 那個時候開始 他在節目裡的幽默表現便開始 深植人心 並且因為他喜劇演員的身份以及他 在節目中獨特的表演方式 使得青年們的網路 文化開始產生了改變 雖 然 在 What the Fuck France 裡 獲 得 了 巨 大 的 成 功 但 是 到 了 2017 後 半 年 他 卻 將 他 的 節 目 從 What The Fuck France 改 成 為 What’s Up France 不過儘管節目的名稱不 同 但是他在影片中的角色特質卻一貫地繼續 影響著網路文化 所謂人如其名 他在影片中的角色特質就跟他 節目的標題如出一徹 Paul Taylor 在影片中 總是生氣 總是批評對於法國人來說再正常不 過的事 而他所提出的觀點不僅對法國人 甚 至對世界上所有人而言只要看完影片後都會會 心一笑的恍然大悟 你可以不喜歡他的視頻 但你不可以否認他的 #Franglais 在現在的世界裡獲得了巨大的成 功 作為一個喜劇演員 他成功的抓住通往功 成名就的鑰匙 也因為他勇於批判 因此他人 生的故事才正要開始 透過與 Paul Taylor 的獨家訪問 我們能夠從 他的回答檢視他做這個節目的初衷 和他內心 世界裡真正不為人知的一切 1. 是 什 麼 機 緣 讓 你 開 始 你 開 始 錄 製 What The Fuck France 呢

在我的第一部視頻 “ La Bise ” 在網路上獲 得迴響之後 Canal+ 聯絡我並且跟我說有意 願跟我一起創造了一個同樣概念的電視迷你節

目 我一直很喜歡錄影片 所以當電視公司 為您提供的機會 你很難去拒絕 而這也是為 什麼 What The Fuck France 如何誕生的 2. 你有沒有擔心法國人可能不喜歡它 在發布第 一個影片之後 你有擔心過任何可能引發的後果 嗎

是的 我有想過這件事情 但是再發布影片之 後 我發現法國人是可以自嘲的 所以我覺得 這個系列其實是可行的 再加上我從來沒有 這樣的意思 對我來說 我很喜歡法國和法國 人 否則我不會在這裡住上 8 年 也不會跟一 個法國女人結婚 可能就像法國人說的吧‘qui aime bien châtie bien!’ 你越喜歡就會會 陷下去 3. 什麼原因讓你將 What The Fuck France 改變 成 What’s Up France 呢

其 實 從 一 開 始 我 就 知 道 What the Fuck France 這個節目特質是有時間性的 一段時 間後 他會開始變得很無聊 因為你不可能永 遠一直用這種形態做節目 相反的 新聞不斷 得發生而且在改變 所以我想我可以轉而對法 國新聞或有關法國的新聞用同樣的手法製作節 目 4. 請問你是如何決定主題的

對 What’s Up France 而言 我只是從新聞 裡面試圖找到一些點子 並且透過那些法想延 伸 製作出人們看完節目後會會新一笑的主 題


# Franglais 用自己的語言和世界溝通 Paul Taylor

Introducing Paul Taylor, an English man in France. His YouTube channel What The Fuck France launched in 2016. Since then his name has spread like wild fire, and his sense of humour has deeply rooted itself in people’s heart. This comedian has changed the way people consume videos. After nearly eight months, Paul renamed his channel from What The Fuck France to What’s Up France. Despite the obvious name change, his persona remains the same as it always has. As seen from the title of his videos, his character has a standout personality, and adopts the portrayal as an angry man. Paul Taylor criticises almost everything about France but refrains from talking about other cultures. You can dislike his videos, but you can’t deny that his #Frangalais has had a huge impact upon online culture. As a comedian, he caught the wind to the path of triumph and his story is only just beginning. Through our little chat with Paul Taylor, we’ve been able to examine his world and get an insight of what really goes on in his mind.


1. What motivated you to launch What The Fuck France? After the success of my first video “La Bise”, Canal+ got in touch with me to create a mini-series for TV based on the same concept. I always loved making videos, so when a TV company offers you the opportunity, it’s hard to say no! That’s how What The Fuck France was born.

2. Have you ever worried about how French people may not like it? Did you think bout any consequences after publishingyour first video? Yes I thought about it but, through doing stand-up, I discovered that French people can laugh at themselves, so I figured it could work. Plus I am never that mean, and deep down, I love France and French people, otherwise I would not be living here for 8 years and I would not have married a French woman. They say in French “qui aime bien châtie bien!”

3. What caused you to change What The Fuck France to What's Up France? From the beginning, I knew that making fun of the French stereotypes would be ok for a limited time: after a while, it gets boring, there isn’t an unlimited amount of stereotypes you can make fun of. On the contrary, news is constantly changing and I thought I could make jokes about French news or news related to France.

4. How did you choose the topic for your video? For What’s Up France, I just read the news and tried to find something that inspired me and that I thought could make people laugh.

5. Do you think your video has educated your audiences? Potentially, but that was never the goal. English teachers often tell me that they are using my videos in class which is absolutely crazy to me considering the amount of swearing in each video.


Paul Taylor # Franglais Comedian


5. 你認為你的影片影響了你的觀眾嗎 有可能 但那不是我最初的目標 許多 英語教師經常告訴我 他們在課堂上使用 我的影片當教材 這對我來說是非常不可 思議的 因為我在影片中真的太經常在罵 人了 6. 作為影片的製作者 注意的地方嗎

什麼是你最需要

對我來說每一個環節非常重要 但我想說 的是 如果內容不好笑那麼也不管他的製 作團隊多麽優秀 那麼結果就不會是好 的 7. 你是如何跟你的觀眾建立溝通橋樑呢

9. 你有沒有想過再一次改變的節目的名 稱呢 這一切都取決於將來想要做的是什麼 我已經花了 18 個月與觀眾建立關係 所 以無論我未來做什麼 我都會確保我的節 目名稱跟我的節目內容是如出一徹 10. 你未來的計劃是什麼 他領域發展嗎

你有想要往其

現在我只想專注於我的現場表演 仍然在研究壹些新的主題

不過我

11. 你 認 為 哪 一 個 名 稱 最 適 合 你 呢 YouTuber 還是喜劇演員

我跟他們之間沒有橋量 因為中間沒有水 8. 你認為溝通有多重要 片與觀眾溝通

你如何通過影

這取決於風格 我的節目算是電視節目 跟部落客比起來 比較少有機會跟觀眾溝 通 不過我都是直接對著鏡頭說話 可 能觀眾也會覺得比較有參與感吧 但是當 我站在舞台上的時候 我比誰都更接近我 的觀眾

絕對是一個喜劇演員 在“What The Fuck France”推出之前 我正在開發我 想做的喜劇 和 我將近一小時的現場表演 而且 我主持的節目是在在電視上播出 也通過電視公司製作的 所以跟真正的 YouTuber 還是非常得不同 基本上就像 是 Jimmy Fallon, John Oliver Comdey Central 一樣 在電視上播出之後才上傳 到 Youtuber 上而已


6. As a video maker, what's the most important aspect that requires the most attention? Everything is important, but I would say that if the writing is not funny then it does not matter how well it is produced, it won’t be good.

7. How did you build a bridge between you and your audience? There is no bridge, because there is no water.

8. How important would you say communication is? How do you communicate to your audiences through your video? It depends on the style. My show is a TV show so there is less need to communicate to the audience compared to a vlogger, but I’ve been close to my audience from the beginning when I got on stage. I speak directly to the camera so people feel included too.


“ There is no bridge, because there is no water.

Paul Taylor

9. Have you ever thought about changing the name to your channel again? It all depends what the next project will be. I’ve spent 18 months building an audience so whatever I do next, I’ll make sure that the channel reflects the project.

10. What's your future plan? Do you have any aspirations to branch out into other areas? For now, I’d like to focus on my stand-up show, even if I’m still working on new tv projects.

11. Which title do you think relates more to yourself: a YouTuber or a Comedian? Definitely a Comedian. I was doing stand up comedy and developing my one hour stand up show way before the program What The Fuck France was launched. And also the videos are broadcast on TV initially and they are produced by a TV company, so it’s very different from a real YouTuber who makes videos only for YouTube. Basically I make a TV show that is re-broadcast onto YouTube, like Jimmy Fallon, John Oliver, Comedy Central etc.


"FREE ME, PROTECT ME" ERICHAOLIC x INF Interviewed by Dylan Tang Edited by Samuel Balkin

Photographed Front 黃朝斌 Photographed Back Yoshiko Fan

我覺得臺灣有很多獨立品牌 並且都創造了很多很美的作品 但是在這個資訊爆炸又迅速被 掩蓋的世代 有多少個能夠真的被看到 對獨立品牌而言 我們比起大品牌更接近純粹的藝術創造 不完全的商業市場化一直是獨立 品牌肩負的使命與特色 我希望能為這麼辛苦的大家提供一個可以好好說話的平台 假使一 個人的力量不夠打破社會框架 那麼就把大家湊在一起 一起用力 這個聯展辦第二屆了 不只是針對品牌主而言 我也希望能夠提供給受眾更多的機會去接觸這些很棒的創作 不再 只是有百貨公司 或是買手店或網路 而是你可以到一個地方就看完所有的臺灣獨立品牌 對於臺灣的文化教育價值也希望能提供重要的範本 希望讓這個展覽可以提供一個平台 不 再只是大品牌或是平價流行市場 而是由很多努力做自己 在臺灣角落裡吶喊的臺灣獨立品 牌們而組成

There are many independent brands in Taiwan and they have created many beautiful works. However, how many of these generations can really be seen in the rapidly eradicated information explosion? For independent brands, we are closer to pure art creation than big brands. Incomplete commercialisation has always been an independent brand's mission and characteristics. I hope to provide such a hard-working platform for people to speak well. If one's strength is not enough to break the social framework, then put everyone together and work hard together. For this second joint conference. I hope to provide more opportunities for audiences to come into contact with these great creations having to no longer go to a shop to purchase items or surf the Internet. Instead have the chance to go to one location to read all the independent brands in Taiwan, it’s cultural and educational value which in turn is providing an important model. It is hoped that this exhibition will provide a platform that is no longer just a big brand or a cheap market but is made up of a lot of Taiwanese independent brands who are trying to be themselves and be heard from the corners of Taiwan.


Q: 請問關於這一次最新一季的設計理念是什麼呢 ERICHAOLIC 一直以來都是著重在人文思考的方向 挖掘著身而為人的內心探索 而這次新一季的主題定 為 Imperfection Ego 主要就是談論每個人都 是獨特的個體 不完美但完整 在這個新興媒體充斥人人都可以是名人的時代 人人 都渴望著被認同自我存在價值 成功的定義漸漸顯得 單一 所以我想要回到人本價值對於“完美”提出疑 問 並且探討其他可能性 而新一季發想過程中 身 邊常常聽到或是發生類似的故事 不管是自己或是朋 友面對各種對於自身評論 人性往往給我們第一個直 覺就是逞強 透過捍衛來重新定義自己並不是個失敗 者 但我們從來都不完美 對於很多事情的挫敗與失 落 有時不代表你就是個失敗的人 往往只是不適合 我們罷了 但成為不完美所帶來的恐懼感如影隨形 面對著眾人的期望 我們捍衛自己成為身旁所認為的 美好 但我們心裡都明白 又讓誰真的滿意了 其實 人從來都不完美 就因為如此 這一切才顯的完整 Q: 最新一季服裝主要使用了哪些面料呢 新一季在面料選擇上有兩個重點 第一點是挺度不同 的結合 將硬挺和垂墜感強烈的布料做搭配 第二點 是面料虛實的結合 透過面料透視程度的差異勾勒服 裝本身的層次 而這兩點面料選擇上都影響著服裝表 現的意象 呈現真實內心被自我束縛在無形牢籠的概 念

Q: ‘束縛’ 這個虛華的概念轉化在實質的服裝上 有什麼困難的地方嗎 新一季在束縛概念上是一個比較內化的方式 也就是 “自我”束縛這樣的呈現 所以如何把束縛的形式從 原本常見的外在給予轉化為由內而外成為這次的挑 戰 而束縛這個概念我相信有很多服裝品牌都有做過 最 常出現便是以綁帶這樣的形象去表達 但我認為單純 以綁帶呈現是一個簡單但有點直接的呈現 甚至是一 個比較沒有深度轉化的做法 所以他難在於成衣如何 可以呈現束縛卻不會變成劇服這件事 新一季我嘗試在服裝製程裡不同版片進行不同圍度的 堆疊或是將人體骨骼融入版型轉化為自我束縛的意 象 讓束縛這個概念可以是實穿且感受得出設計的巧 思 在服裝的創意概念和成衣的市場性間取得平衡 Q: Erichaolic 的秋冬男裝系列為什麼會以紅色為主 要視覺的傳達呢 新一季中可以明顯感受到主要有三個顏色 粉膚 黑 色和紅色 這次有個很重要的概念就是許多的牢籠枷 鎖都是自己給予自己 在害怕成為不完美的情緒中 我們常常選擇成為眾人所認為的美好 但我們內心都 知道那樣並不真實 進而引申出由內而外自我束縛這 樣的概念 所以如果以人體做舉例的話 粉膚是一個 比較表層的視覺 紅色自然就比較可以呈現深層自我 的情緒與慾望 我們常常活在自我矛盾中 不自覺把 真實的自己關入無形的牢籠中 即使我們已經做自己 了 卻依舊存在著解不開的結


Q: What is the design concept about this latest season? ERICHAOLIC has always focused on the direction of humanistic thinking, tapping the inner self and inner exploration, and the theme of this new season as "Imperfection Ego�. The main point is to talk about each individual are unique, not perfect but complete. In the era of an emerging media where everyone can be celebrities. Everyone is eager to be recognised as the value of self-existence, the definition of success gradually become single. So I want to return to the value of human beings for the "perfect" question and explore other possibilities. In the new season, people often hear of similar stories about themselves. Regardless of whether they are themselves or their friends, commenting on their own opinions. Humanity often gives us the first intuition that we are trying to be brave and that redefining ourselves by defending is not a loser, but we are never perfect, frustration and loss for many things. Sometimes do not mean that you are a failure. It is often that it just does not fit us, but the fear of becoming imperfect go hand in hand. The face of the expectations of all, we defend ourselves to be beautiful, but we all know in our hearts who are really satisfied. In fact, people are never perfect. Because of this, all are manifestly complete.


Q: What is the main fabric used in the latest season? The new season in the fabric selection has two key points. The first point is the combination of different stiffness, stiffness and drape the fabric to do a strong match. The second point is the combination of fabric actual situation, through the difference between the degree of fabric perspective outline clothing Its own level, and these two fabric choices affect the image of clothing performance, showing the true inner selfbound invisible invisible concept. Q: Is it any difficult place to translate the concept of 'shackles' to the real clothes? The new season is a more internalised concept of bondage, the "self" bondage, so how to transform the bondage form from its usual external giving into a challenge from the inside to the outside. The concept of binding I believe there are many clothing brands have done, the most common is to show such a strap to the image, but I think that simply to show the strap is a simple but somewhat direct presentation, or even a comparison There is no deep transformation of the practice, so he is difficult is how clothing can be restrained but will not become a play dress this matter.

The new season I try in the garment process in different sections of the plate or the integration of the human skeleton into a version of the self-restraint of the image, so that the concept of restraint can be real wear and feel the design ingenuity, The concept of creative clothing and clothing market to strike a balance between. Q: Erichaolic's autumn and winter men's series why the main visual red to convey it? In the new season, you can clearly feel that there are three main colors - pink, black and red. The very important concept this time is that many of the prison chains give themselves up. In the fear of being imperfect, we often choose to become What people think of as good, but we all know that it is not true in the heart, and then leads to the concept of self-restraint from the inside to the outside, so if the human body to do for example, the skin is a relatively superficial visual, red nature is more We can express deep emotions and desires in our own self. We often live in self-contradictions, and we unconsciously shut our true self into the invisible prison. Even if we have done ourselves, we still have an inextricable knot.


Q: 請問主題 ‘ I Protect U,' 的意義是什麼 什麼樣立場的保護呢

是關於

由於智慧型手機和資訊的普及 我認為比起小時候人 與人的相處顯得更加困難了 世代的價值差異變換快 速 行為或言語都得小心翼翼 才不會傷害他人或是 自己 如何不讓自己捲進這些傷害 讓我有了探討保 護這個議題的想法 說起來其實是孤僻邊緣人的一廂 情願吧 笑 關於如何定義保護這件事我思考了很多 例如 盔甲 , 家 , 雨傘 , 保險套 , 鎖頭 甚至是消炎藥 然後我發 現了一件很有趣的事 所謂的保護用象形的方式來說 明就是將某一物體或對象隔絕或包覆在一個獨立的空 間裡 如同前面提到的 多數人因為外在的眼光無法 恣意的活出自己 我認為是很遺憾的 我想告訴這些 人 你們並不孤單 我的作品就像盔甲 包覆 , 保護 他們 由我來做盾隔絕傷害 而你們只管恣意的活出 自我 關於為什麼標題之後加了逗點 是為了表現未完成的 意思 就像當初鄭南榕為了捍衛言綸自由而自焚 他 說 ”剩下的就是你們的事了 “; 開創道路之後交予 這也是我期許自己能做到的 我想為他們開創道路隔 絕傷害 但是剩下的就得交給他們自己了 至於立場的話沒有特定 我希望所有對這段話有共鳴 的人都能來這裡看看 然後拿走你們想要的需要的情 緒或勇氣

Q: 為什麼這一季在顏色的選用上會以 黑 主呢

灰為

其實每一季都是黑灰白作為主色調 一方面我想是因 為強迫症的關係 自己對單一或單純的俐落色調有一 種偏執 再來就是一種自我鞭策吧 我不斷嘗試在色 調單一的條件下如何以結構或層次去創造單一下的多 元 雖然一路走來都是黑白灰等基色 但我們每一季 都黑的很不一樣 ; 另外我不會用暗黑系這樣的潮流詞 彙來解釋自己 對我而言 對顏色的執著更像是一種 精神寄託的信仰形式 Q: 在最新一季的服裝剪裁上有什麼特別的地方嗎 剪裁與設計上我使用了很多擁有具象保護這個概念的 結構 如同護具或是棉被的防水表層 , 交錯扭轉的布 條 , 甚至像骨折使用的三角巾結構 這些分別交錯在 服裝的表面 包覆著內層那件簡單的素色長版上衣 象徵赤裸真實的自己 內外層則多用綁繩互相結合 在機能以及多變性上 可以透過不同的綁帶方式呈現 出不同的服裝樣貌 希望大家能多多把玩 Q: INF 的秋冬男裝並不是每一件都看起來像是冬裝 請問是為什麼呢 有時候設計上為了能夠表達心中的概念與想法 不得 不使用一些看似不符合時令的版型或是結構 即使無 袖但其實我都還是有好好考慮身體保暖度的 笑


Q: What is the meaning of the topic 'I Protect U,'? What is the protection of the position? Due to the popularisation of smart phones and information, I think it is more difficult for people to get along with them than when they were young. The value difference between generations is changing rapidly, and behaviors or words are cautious. It will not hurt others or themselves. Involved in these injuries themselves, let me have the idea of exploring the protection of this issue, speaking of fact it is the wish of the lonely marginalized it (laughs). I think a lot about how to define protection, such as armor, home, umbrella, condom, lock, and even antiinflammatory drugs. Then I found a very interesting thing. The so-called protection is pictured. The explanation is to isolate or enclose an object or object in a separate space, as mentioned earlier: Most people can not live outside their own eyes because of external vision, and I think it is very regrettable that I would like to tell them “Man: You are not alone, my work is like armor: wrapping, protecting them, doing shields against me, and you're doing what you want to do. Why did you add a comma after the title? It's to show the unfinished meaning, just as Zheng Namur in order to defend the freedom of speech and set off by himself, he said: "The rest is your business"; to give way after the road, which I expected myself to be able to do, I want to create a road injury for them, but the rest has to be handed over to them. As for the position, it is not specific. I hope all those who have a resonance with this passage can come here to see and take the emotion or courage of the needs you want. Q: Why in this season the use of colour will be black, white, grey mainly? In fact, each season is dark grey as the main colour, on the one hand, I think it is because of the relationship between obsessive-compulsive disorder on their own, or a simple neat colour paranoid, and then it is a self-spur it, I continue to try a single tone How to create a single under the conditions of the structure or level under the multivariate, although all the way along the black and white ash and other primary colours, but each season is very different black; the other I will not use diablo 3 To me, the attachment to colour is more of a spiritual form of faith.


Q: In the latest quarter, there is any special clothing tailoring it? I use a lot of tailoring and design structure with the concept of concrete protection: as a protective jacket or quilt waterproof surface, staggered strips, or even the use of fracture scarf structure, which were staggered in the clothing surface, including the package Cover with a simple plain long version of the inner shirt: a symbol of the real naked inside and outside their layers are more tied with tied rope, in the function and variability, you can show different clothing styles through different straps, I hope everyone can play a lot. Q: INF autumn and winter men do not each look like winter clothes, excuse me, why? Sometimes, in order to be able to express their ideas and ideas, they have to use some version or structure that does not seem to meet the requirements of the time. Even sleeveless but in fact, I still have a good body warm degree of consideration. (laugh)


BELSTAFF Autumn/Winter 2018 Made in UK ; 英國製造


B


Belstaff


BETHANY WILLIAMS


BETHANY WILLIAMS Autumn/Winter 2018 Women for change 女性的轉變


Wood Wood Autumn/Winter 2018 Before And After 過去和未來


BELSTAFF PARIS to DAKAR, the epic adventure.


BELSTAFF


“ PARIS to DAKAR, the epic adventure.” PARIS to DAKAR,史詩級的冒險


Autumn/Winter 2018

A-COLD-WALL*

英式建築 Brititan Architecuture


Autumn/Winter 2018

Alex Mullins

左與右的思維 The right and left fuctions


Crossing Veils


SONGZIO


The relationship between the right and left function of your brain 右腦與左腦功能間的關係


Autumn/Winter 2018

Berthold

Endless Imagination 無限想像


Autumn/Winter 2018

Astrid Andersen

沒有規則

沒有限制

Without rules and organisation


Autumn/Winter 2018

John Lawrence Sullivan

瘋狂

極端的設計

Psychopath and Psycho Killer


JOHN LAWRENCE SULLIVAN


Autumn/Winter 2018

Blood Brother

這可能就是你 It Could Be You


Autumn/Winter 2018

Edward Crutchley

溝通間的探險 An Exploration of Communication


Autumn/Winter 2018

Matthew Miller

實用的功利主義 Utiliarian


Autumn/Winter 2018

Nicholas Daley

紅土 Red Clay


Autumn/Winter 2018

Paria Farzaneh

我們都曾在這 We Were All Here At Once


Autumn/Winter 2018

Phoebe English

專注在男裝的形式 Menswear Is Grounded On A Focus To Form


Autumn/Winter 2018

PRONOUNCE

無限 Infinity


Autumn/Winter 2018

Qasimi

旅行和冒險 Well-travelled and Adventurous


Autumn/Winter 2018

XANDER ZHOU

時空旅行者 Time Traveller


Autumn/Winter 2018

TOURNE DE TRANSMISSION

虛擬的旅行形式 Rituel Touristique Virtuel


Autumn/Winter 2018

D. GNAK

過去就像場春夢

不留下痕跡

...the past, like a spring dream, leave no trace...


Profile for Dylan SY Tang

INSURGENT |TAIKER Magazine 臺客雜誌 issue04  

這一期的臺客雜誌滿溢著時尚元素,因為我們相信時尚是一種生活美學更是一種生活態度; ‘INSURGENT’ 一字並非貶義,而是正面的形容詞,並且合適合宜的形容著正在用自己力量對抗世界體制的時裝設計師們;旅居德國的臺灣設計師 陳玟廷、Kent & Curwen 創意總監 Danie...

INSURGENT |TAIKER Magazine 臺客雜誌 issue04  

這一期的臺客雜誌滿溢著時尚元素,因為我們相信時尚是一種生活美學更是一種生活態度; ‘INSURGENT’ 一字並非貶義,而是正面的形容詞,並且合適合宜的形容著正在用自己力量對抗世界體制的時裝設計師們;旅居德國的臺灣設計師 陳玟廷、Kent & Curwen 創意總監 Danie...

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