嘻哈文化语境下的潮牌设计审美探议
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清华大学美术学院,北京 100084

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刘朔(1989—),女,北京人,博士,清华大学美术学院博士后,主要从事现当代艺术博物馆策展研究。

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Aesthetics Discussion on F ashion Brand Design in Hip-hop Culture Context
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Academy of Arts & Design, Tsinghua University, Beijing 100084, China

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    摘要:

    20世纪 70年代的美国纽约布朗克斯区,出现了一种街头文化属性的街区派对文化,这便是嘻哈(Hip-Hop)。狭义的嘻哈指代说唱风格( Rap)的音乐,广义的嘻哈泛指嘻哈文化,包括说唱、街舞以及涂鸦等元素,在 20世纪 80年代和 90年代颇为盛行。在这股文化风潮的洗礼之下,涂鸦元素、暗黑风格、超大码等服饰特征逐渐凸显,欧美时尚界孕育出 Supreme(1994)、 Stussy(1980)等倡导街头文化的顶级流量潮牌。另一方面在亚洲的日本, MatermindJAPAN(1997)、 Roar(2001)、Roen等三大暗黑潮牌,以及 Neighborhood(1994)、 ABathingApe(1993)、 Evisu(1991)等备受追捧的街头潮牌应运而生,直接刺激了中国的时尚潮流以及服饰品牌。 2000年后,在日本潮牌的影响趋于式微之际,美国潮牌随着嘻哈文化在中国的势头渐长而卷土重来,另一方面,本土潮牌 Clot(2003)、HiPanda(2010)、NPC(2009)等的诞生,以及近几年间李宁等老牌服饰的成功转型,引领了中国时尚界的“国潮”风尚。这些设计不仅传达出嘻哈文化的精神,也蕴含着传统文化的理念。一直被国内时尚界所审视和边缘化的潮牌设计,开始重获新生。本文立足于设计审美与设计批评的客观视角,旨在探究嘻哈精神与流行文化在潮牌设计中的呈现,并力求揭示“国潮”设计的审美动向与时尚精神。

    Abstract:

    There is a kind of street culture related to block party culture, showing up in the 1970s in the Bronx of New York, which is the hip-hop. In a narrow scense, hip-hop refers to rap, but it can be also broadly defined as hip-hop culture, with elements such as rap, b-boying, and garfti prevailing in the 1980s to the 1990s. Under this culture trend, gafiti elements, dark style, over size and other fashion characters emerge gradually, which faciliates the devclopment of leading brands of street culture, such as Supreme (1994), Stussy (1980), etc. in European and American fashion circle. On the other hand, Matermind JAPAN (1997), Roar (2001) and Roen, the top-three dark style brands of Japan, and other streetwear brands such as Neighborhood (1994), A Bathing Ape (1993),Evisu (1991), etc. rise in response to the proper time and conditions and directly stimulate the trend and fashion design of China.When the influence of Japanese streetwear began to decline after 2000, those fashion brands from the USA made a comeback with the hip- bop. Under such infuence, the emergence of domcstic Clot (2003), Hi Panda (2010), NPC (2009), etc. and the sccessful transformation of old brands, like LiNing, lead the trend of“National Tide'”. These designs not only express the spirit of hip-hop culture, but also embody traditional Chinese culture. Thus, those streetwear brands which have always been marginalized get a new lease of life. Based on the objective perspective of design aesthetics and design citicism, the work ains t explore the expression of hip-hop spirit and popular culture in the design of sretwear brands, and to reveal the acsthetic trends and fashion spinit of "National Tde" .

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引用本文

刘朔.嘻哈文化语境下的潮牌设计审美探议[J].工业 工程 设计,2020,2(4):65-72. 复制

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  • 收稿日期:2020-07-01
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  • 在线发布日期: 2020-08-24
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