Final Year Projec

Graduation Project

项目灵感
时装设计
2024

Time Pass

Project Inspiration
Fashion Design
Chinese/English

In this project, I want to explore the passage of time. I want to study the flow of time and memories from childhood to the present and the impact of the past twenty years on us. I searched through many old photographs, seeking the influence of time on people and events, and what we have lost in the passage of time, looking for answers in the present and in memories. I began to focus on the impact and changes that time has on things, perhaps the process of a young person becoming old, the process of a photograph turning into an old photograph, or the process of an object becoming old due to time. Time can preserve its fragmented power and silent luster, used to mark the traces left by things over time.

本项目旨在探讨“时间的流逝”这一主题。我希望通过回溯童年到当下的记忆，研究这二十年来时间对我们产生的影响。在翻阅大量旧照片的过程中，我试图寻找时间对人和事件留下的印记，以及我们在时间流动中所失去的部分，在当下与记忆之间寻求答案，我逐渐开始关注时间对事物所产生的影响与变化——从一个人变老的过程、一张照片逐渐泛黄老化的痕迹，到物件在岁月中被磨损、褪色、风化的状态。时间以一种碎片化而沉默的方式保留着其力量与光泽，用来记录事物的存在痕迹。

In order to explore how to create a connection between fashion and time, I began research and methodological exploration. I discovered that in contemporary art, painters captured fleeting moments of modern urban life on canvas, giving rise to an awakening of time consciousness in modern art. However, this time consciousness still remains at the level of "representation," using static visual images to create an illusion of time. As a result, the passage of time and the movement of the modern world are merely metaphorical themes, lacking both imagery and generative forms.

This approach fails to transform abstract time into a concrete artistic theme or turn time consciousness into a creative medium.Time can only be "suggested" through techniques, and thus remains vague and fragmented.Contemporary art concepts are still stuck at the level of "repre-senting time" rather than truly "embodying time." The goal of my project is to design fashion that can embody time concretely, creating interactive connections and resonance with people, allowing time to automatically complete a narrative process on the garment.

为了探索时尚与时间之间的关联，我展开了一系列研究与方法论的实验。我注意到，在当代艺术中，不少画家试图在画布上捕捉现代都市生活中转瞬即逝的瞬间，由此唤起人们对时间的意识。然而，这种时意识多停留在“再现”层面——以静态的视觉图像来制造“时间”的幻觉。因此，时间的流逝与现代社会的动态仅作为隐喻性主题存在，缺乏图像上的延展性与生成性形式。这种表达方式未能将“抽象的时间”真正转化为一个具象的艺术主题，也未能将“时间意识”本身作为一种创作媒介。时间往往只能通过某些技术手段“被暗示”，因此始终显得模糊、破碎。

当代艺术中的时间观念仍然停留在“表现时间”的阶段，而非“体现时间”。我的项目目标，是通过设计能“具象化时间”的时尚作品，使衣物成为时间流动的载体。通过材质的变化、痕迹的累积与人衣互动，我希望让时间在服装上“自动完成叙事”，与观者产生情感共鸣与互动，从而真正实现时尚与时间的融合。

Conceptual Development 概念延伸

In the later stages of the project, I focused my research on the concept of "Performance Art," which became the inspiration for my first look. The artwork Time Clock Piece by Tehching Hsieh is one of the most representative interpretations of the "materialization of time." Through the repetitive act of punching a time clock every hour, he divided time into distinct and tangible segments. As this act continued for an entire year, time not only became a record of his personal life but was also transformed into an art medium that could be "manufactured."

在项目的后期，我将研究方向聚焦于“行为艺术”（Performance Art）的概念，并由此获得了第一个造型（look）的灵感来源。艺术家谢德庆（Tehching Hsieh）的作品《打卡计时》（Time Clock Piece）是对“时间具象化”最具代表性的诠释之一。他通过每小时打一次卡的重复行为，将时间划分为一个个具体而清晰的片段。随着这一行为持续一年之久，时间不仅成为了他个人生活的记录，更转化为一种可被“制造”的艺术媒介。

This piece abandons other content and focuses solely on presenting the "materiality" of time. In terms of thematic intensity, the extremity of artistic practice, and the minimalism of its content, it surpasses previous avant-garde explorations of time. By repeating the same action day after day, time naturally reveals itself in silence, ultimately forming an artwork entirely about "time."This led me to reflect on how, through the practice of fashion design, I could achieve the embodiment of time rather than merely its representation.

这件作品摒弃其他内容，专注展现时间本身的“物质性”，在主题强度、艺术实践的极端性、内容的极简性等方面，均超越了以往先锋艺术对时间的探索。它通过日复一日地重复同一动作，让时间在无言之中自然显现，最终形成了一件完全关于“时间”的艺术作品。由此，我思考如何通过服装创作实践，实现“时间的体现”而非仅仅是“时间的表现”

Fabric craft Lacquer craft 面料工艺大漆工艺

Chinese lacquer art, known as "Da Qi," is a unique intangible cultural heritage of China, representing a traditional art and decoration technique. Traditional lacquer craftsmanship skillfully employs various techniques to form smooth and durable coatings on substrates such as wood and paper, showcasing a rich and diverse artistic expression through various processes and methods.

中国漆艺，又称“大漆”，是中国独特的非物质文化遗产，代表着一种传统的艺术与装饰技艺。传统漆艺工法讲究技法多样，能在木材、纸张等基材上形成光滑且坚固的漆面，展现出丰富多元的艺术表现力与工艺美感。

Currently, there are few attempts to combine lacquer art with fabric technology. Therefore, I hope to conduct in-depth research in this field by applying lacquer techniques to fabrics, creating unique and artistic fashion designs.

目前，将漆艺与织物科技相结合的探索仍较为罕见。因此，我希望在这一领域开展深入研究，尝试将传统漆艺技法应用于织物之上，创作出独具艺术性的时尚设计作品。

Ceramic button craft 陶瓷纽扣工艺

Handmade ceramic buttons are made from clay and go through firing and decorating processes. These buttons can be sewn onto clothing. During the production process, hand tools such as knives and brushes are used to shape the clay into the desired forms, such as round or square shapes.

手工陶瓷纽扣由黏土制成，经过烧制和装饰工序。这些纽扣可以缝制在服装上，在制作过程中，使用刀具和刷子等手工工具将黏土塑造成所需的形状，例如圆形、方形等等。

Overlock stitching Overlock 缝线

Fashion adopts a unique Overlock stitching technique, where the stitching lines are intentionally exposed on the surface, creating a rugged and highly distinctive visual effect while significantly enhancing the structure and durability of the garment. This technique not only reflects practical functionality but also embodies an expression of deconstructionist artistry.

该系列采用独特的包缝工艺，将缝线刻意显露于面料表面，营造出粗犷而极具辨识度的视觉效果，同时显著提升了服装的结构感和耐用性。这项工艺不仅体现了实用的功能性，更体现了解构主义的艺术表达。

After completing the Overlock stitching process, the garment undergoes an additional taping technique to seal and reinforce the stitched areas. This taping process not only significantly improves the garment's waterproof and durable properties but also imparts a unique texture and tactile quality to the product. The combination of these two techniques perfectly integrates functionality with avant-garde design.

完成包缝工序后，服装会进行额外的压胶工艺，以密封和加固缝线区域。这项压胶工艺不仅显著提升了服装的防水耐用性，更赋予产品独特的质感和触感。两种工艺的结合，将功能性与前卫设计完美融合。

Emotional Medium: Keys 情感媒介：钥匙

I chose the "key" as the core symbol for my first look. A key is an object imbued with emotional significance, leaving a deep impression on me since childhood. Whenever I heard the sound of keys jangling at the door, I knew my parents had returned home. A key is not only a symbol of home but also a silent witness to the passage of time.However, with the rise of smart locks, keys and their familiar sounds are gradually disappearing, and the emotional connection they once carried is fading as well.

我选择以“钥匙”作为第一个造型的核心符号。钥匙是承载情感的物件，它在童年时期就已留下深刻印象。每当我听到门口钥匙碰撞的声音，便知道父母回来了。钥匙不仅是家的象征，更是时间流动的见证者，然而，随着智能门锁的普及，钥匙及其声音正在逐渐消失，曾经那种情感联结也随之变得稀薄。

Therefore, I aim to use the "key" as a trigger in fashion design, turning it into a symbol of "time." The wear and tear left on keys through countless uses serve as records of time. In this way, the key becomes an object that "materializes time," where the changes in its material and the traces of use imbue the work with a sense of time. This invites viewers to reflect on the relationship between humans and objects, as well as how we perceive and understand time.

因此，我希望通过将“钥匙”作为时尚设计中的媒介，使其成为“时间”的象征，钥匙在无数次的开合中留下磨损痕迹，这些痕迹本身就是时间的记录。钥匙由此成为一种“具象化时间”的物件，其材质的变化与使用痕迹能使作品本身具备时间意识，引导观者反思人与物之间的关系，以及我们如何感知与理解时间

Time and Space 时间空间

Apart from the first set, which looks at time from a more personal and subjective perspective, the second set is designed to explore time in a conceptual manner. Inspired by Einstein's theory of "relativity of simultaneity," which suggests that time and space are intercon-nected, I have created a collection of fashion pieces that embody my interpretation of spatial and temporal contours on the human body.

除了第一组作品以更个人化、主观的视角探讨时间外，第二组则旨在以概念性的方式探索时间。灵感来源于爱因斯坦提出的“同时性的相对性”理论，该理论指出时间与空间是相互关联的,基于这一理念，我创作了一系列时尚作品，试图在人体这一载体上呈现我对时空轮廓的理解与诠释。这些设计不仅体现了空间与时间的交织关系，也在形式与结构中探索身体与时空之间的互动与边界。

CHEUNG CHEUK NAM

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