品牌秀_Brand Show[ Seivson ]
疫情的衝擊,顛覆人們既有的生活習慣,寄生於室內的人類,居家裝飾成了人們生活的主軸。
本季Seivson將室內生活轉化成設計,開發獨家的面料花紋,將家飾布料、牆紙印花、家具廓形等,應用在本季設計上,如:地毯織紋印花的套裝、枕頭包裹的提包、壁紙印刷的浴袍等。
整場走秀從居家生活延伸到戶外生存,室外的一切成為原始且蠻荒。
無階級的人們搭建帳篷、茅屋等,Seivson 將此一幻想運用在洋裝上,裙面上加上帳篷骨架,局部撐起創造出異常的輪廓,彷彿是受到輻射,皮膚下產生的病變組織。鬆開骨架後服裝自然垂墜,展現版型效果,變回的 One-piece 洋裝。
打破美醜的定義、尺寸的設定將重新洗牌定義;街上的流浪漢、無家可歸的小孩 能撿現成、不合身的衣服蔽體取暖,Seivson 重新定義既有的美感,超出正常尺寸的外套,過小的服裝都將成為未來時尚的一部分。
Seivson 將運用環境友善的原料與素材,翻玩環保布料、植物染印花等等,透過品牌 一向擅長的印花開發與版型結構,融合設計和藝術的能量,創造生活化的服裝,混 搭且實穿。將對環境的反思、永續經營的概念,傳達在本季的設計中。
The impact of pandemic subverted people's living habits. People keep living indoors for safety reasons; the indoor decoration became the main axis of people's lives.
SS21 Seivson transforms indoor life into the design, develops exclusive fabric patterns, and applies furnishing fabrics, wallpaper printing, furniture silhouettes. Such as carpet texture printing suits, pillow-wrapped bags, wallpaper printing bathrobes, etc.
The runway show extends from indoor life to outdoor survival; everything outside became primitive and wild.
Classless people build tents and huts. Seivson applies this fantasy to western dresses. A tent skeleton is added to the skirt, which is partially propped up to create an abnormal contour as if it is a diseased tissue under the skin that has been irradiated. After loosening the skeleton, the garment draped naturally, showing the shape effect and turning back into a one-piece dress.
Breaking the definition of beauty and ugliness, the size setting will reshuffle the definition; the homeless and homeless children on the street can pick up ready-made, unsuitable clothes to cover the body for warmth, Seivson redefines the existing beauty, beyond the normal size Outerwear and undersized clothing will become part of the future fashion.
Seivson uses environmentally friendly raw materials, fabrics, and plant-dyed printing. Through the printing development and pattern structure, integrating the energy of design and art, creating lifestyle clothing, mix and match, and wear it. The reflection on the environment and the concept of sustainable management are conveyed in the design of this season.
#Seivson
#2020臺北時裝週 #臺北時裝週 #TaipeiFashionWeek #TPEFW #RECONNEXT #去_你的時尚
#dailyoutfit #fashion #fashionworld #fashionstyle #fashionista #Influencer #kol #lookoftheday
#model #newstyle #ootd #outfitoftheday #picoftheday #photooftheday #photographyislifee #photogram #photographylovers #snap #stylish
#เสื้อผ้าแฟชั่น #ファッション #นางแบบ #モデル
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definition of shape in art 在 CHuCkLe Facebook 的最佳貼文
品牌秀_Brand Show[ Seivson ]
疫情的衝擊,顛覆人們既有的生活習慣,寄生於室內的人類,居家裝飾成了人們生活的主軸。
本季Seivson將室內生活轉化成設計,開發獨家的面料花紋,將家飾布料、牆紙印花、家具廓形等,應用在本季設計上,如:地毯織紋印花的套裝、枕頭包裹的提包、壁紙印刷的浴袍等。
整場走秀從居家生活延伸到戶外生存,室外的一切成為原始且蠻荒。
無階級的人們搭建帳篷、茅屋等,Seivson 將此一幻想運用在洋裝上,裙面上加上帳篷骨架,局部撐起創造出異常的輪廓,彷彿是受到輻射,皮膚下產生的病變組織。鬆開骨架後服裝自然垂墜,展現版型效果,變回的 One-piece 洋裝。
打破美醜的定義、尺寸的設定將重新洗牌定義;街上的流浪漢、無家可歸的小孩 能撿現成、不合身的衣服蔽體取暖,Seivson 重新定義既有的美感,超出正常尺寸的外套,過小的服裝都將成為未來時尚的一部分。
Seivson 將運用環境友善的原料與素材,翻玩環保布料、植物染印花等等,透過品牌 一向擅長的印花開發與版型結構,融合設計和藝術的能量,創造生活化的服裝,混 搭且實穿。將對環境的反思、永續經營的概念,傳達在本季的設計中。
The impact of pandemic subverted people's living habits. People keep living indoors for safety reasons; the indoor decoration became the main axis of people's lives.
SS21 Seivson transforms indoor life into the design, develops exclusive fabric patterns, and applies furnishing fabrics, wallpaper printing, furniture silhouettes. Such as carpet texture printing suits, pillow-wrapped bags, wallpaper printing bathrobes, etc.
The runway show extends from indoor life to outdoor survival; everything outside became primitive and wild.
Classless people build tents and huts. Seivson applies this fantasy to western dresses. A tent skeleton is added to the skirt, which is partially propped up to create an abnormal contour as if it is a diseased tissue under the skin that has been irradiated. After loosening the skeleton, the garment draped naturally, showing the shape effect and turning back into a one-piece dress.
Breaking the definition of beauty and ugliness, the size setting will reshuffle the definition; the homeless and homeless children on the street can pick up ready-made, unsuitable clothes to cover the body for warmth, Seivson redefines the existing beauty, beyond the normal size Outerwear and undersized clothing will become part of the future fashion.
Seivson uses environmentally friendly raw materials, fabrics, and plant-dyed printing. Through the printing development and pattern structure, integrating the energy of design and art, creating lifestyle clothing, mix and match, and wear it. The reflection on the environment and the concept of sustainable management are conveyed in the design of this season.
#Seivson
#2020臺北時裝週 #臺北時裝週 #TaipeiFashionWeek #TPEFW #RECONNEXT #去_你的時尚
#dailyoutfit #fashion #fashionworld #fashionstyle #fashionista #Influencer #kol #lookoftheday
#model #newstyle #ootd #outfitoftheday #picoftheday #photooftheday #photographyislifee #photogram #photographylovers #snap #stylish
#เสื้อผ้าแฟชั่น #ファッション #นางแบบ #モデル
definition of shape in art 在 VOP Facebook 的最讚貼文
Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
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在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
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Voices of Photography 攝影之聲
www.vopmagazine.com
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