次第花开视角下的苗族蜡染服饰设计刍议

On Miao Batik Dress Design from the Perspective of Second Blossom

在众多植根于中国南方地区的少数民族中,服饰最为多姿多彩的就属苗族了。苗族有众多的支系,每个分支都有自己的服装,且类型样式各不相同。本文选取聚居于贵州黔东南部丹寨和雷山的一支苗族支系进行研究;从服装的款式结构、图案纹样和工艺技术与现代结合创新等方面,探索苗族服饰生成的内外因素和文化差异。具体通过“次第花开服装秀”系列创新作品的设计实践,总结出他们用苗族蜡染结合当代社会元素创新设计的思维模式,从大自然中汲取生命的能量,同时将苗族传统蜡染与汉服、旗袍和中国现代礼服相结合,通过服饰的造型结构、选用的材料、色彩与图案等方面进行创新设计研究,继承苗族蜡染之美。蜡染作为我国的非物质文化遗产,具有传承性。蕴藏着具体的有历史文化内涵的图腾纹样,具有自己的独特性,所以一直被国内外设计师们关注着。苗族蜡染丰富的美学图腾和技艺资源不仅将美丽的苗族蜡染服饰文化元素进行合理的开发和创新,也为今后的服饰原创设计提供了很多重要的设计想法和参考依据。

Among the many ethnic minorities rooted in southern China,the most colorful costumes is the Miao nationality.The Miao people have many branches,each with its own clothing,and have different types and styles.This paper selects a Miao branch living in Danzhai and Leishan in southeastern Guizhou,and explores the internal and external factors and cultural differences of the style structure,pattern and technology and modern innovation.Specific through the“second flower clothing show”series of innovative design practice,summed up them with contemporary social elements innovative design mode of thinking,draw from the nature of the energy of life,the miao traditional batik and hanfu,cheongsam and the modern Chinese dress,through the modeling structure of clothing,choose materials,color and patterns,innovative design research,inherit the beauty of miao batik.As an intangible cultural heritage of China,batik has inheritance.It contains a specific totem pattern with historical and cultural connotation,and has its own uniqueness,so it has always been paid attention to by designers at home and abroad.The rich aesthetic totem and technical resources of Miao batik not only reasonably develop and innovate the beautiful cultural elements of Miao batik clothing,but also provide many important design ideas and reference basis for the original costume design in the future.