如果時間是穿戴且折疊的
If Time Was Wearable and Foldable




陳翊羽.服裝設計師

從開始接觸天然染、手織到參與雷射染計畫,我對於設計的方法和想法也有很多改變。在接觸和執行了染色及初始材質處理的過程中,因為這些手工過程相對於直接使用大量生產的材料有更多在技術未臻熟練前不可掌握的因子,剛開始的成品總是難以達到預想中的效果或難以預測每個階段的產出品質。對比於過去使用熟悉的材料(工業生產的布料)和傳統服裝製作技術的設計過程,使用這些天然纖維、小量手工染色,會迫使我採取較開放的設計流程和對不可控成果的包容性。這當中包括從構想設計、打版和處理服裝縫製工序等等事前準備:因為可預期在後期染色會有意料之外的結果,從一開始的設計階段就需要考量到染色時可能的情況, 將款式設計成能夠平放的結構;或是在縫製時,需要因應接下來染色過程需求而避免例如膠襯、牽條、重疊過多布料等作法。也因此在服裝結構上受到限制,可能需要不同於一般服裝縫製流程的處理方式。

對比於先預想了成品外觀再反推製作方式,而最終得出接近想像中成品的設計過程,需要處理材料及染色的作品會因為製作方式 限制而影響最終設計,在製作過程中也會因為產生變數而僅能作出「盡可能接近預期」的選擇。雖然過去的作品也有許多手工刺繡或細節縫製,但在我的主觀感受裡,越是涉入更多材料開發,而增加流程上變數的同時,「從設計到產出」這個從思考到執行的結構,會解離成更片段卻相互緊密連結的經驗。同時身為設計者和製作者的我雖然包辦整個過程,但在過去是從設計到打版、進而 車縫樣品、檢驗成果並輸出成品:如同分離了我這個人的不同功能,在大量生產流水線的每個勞動工作職種上轉換。然而當變數增加、每個階段都必須做出調整時,我在各個流程中都沒有完整的掌控性,需要隨時和「發揮另外一個功能的我」進行協商。

在我過去的設計教育和產業知識裡,每個服裝製作過程都是切割開的,以方便不同功能的勞動者間能有明確的職掌分野和溝通流向,而這樣的角色分配也造就出了產業裡的階級結構⸺如設計師 / 工廠管理者普遍被認為比操作單純步驟的製造工人擁有更多 權力。之所以會有這樣的結構模板,是因為現行的成衣工業利用世界上不同地區的勞動條件和人力成本,將服裝製作的過程拆分為每個職位不同的職掌,以方便在生產過程中,以最低的成本生產出最大量的成品。在掌握全球化大眾主流審美的文化輸出國進行設計、土地成本低的地區生產原料、人力成本低的國家進行縫製-這樣的產業結構反映在提供勞動人才的設計教育單位中,就是將整個設計製造流程所需的功能拆散在不同的課堂裡。像我這樣在學校裡認識並學習服裝的人,也就不知不覺地將產業裡現有的生產結構帶入自己的思考方式裡了。確實以商業性考量來說,工作職掌的分割對於效率和人力資源的分配不可或缺,也是在考量任何成品商業化的可能時必須面對的問題;但如果針對設計方法來探討的話,我覺得認知到自身的設計思考被產業結構所制衡這點相當重要。個人認為也是當代設計師在面對產業結構變化時能夠努力的方向和破口。

從二千年初期開始認識服裝設計、進入學校並進而以設計為業,在這段同時也是網路由新興至普及的時間裡,理解到時尚的概念本身也在快速的流變。現今的服裝產業因應當代社會逐漸民主化、分眾化、多元性和對地區性文化越加重視的趨勢而開始有結構性上的改變。在強調奢華和精細工藝堆砌出極具戲劇張力的華服的時代,塑造時尚的核心概念建構於排外和有限制的觸及率;藉由造就神秘感、稀有性和權威性的方式將擁有特定服裝作為彰顯社會階級的符碼。然而在多元文化價值逐漸取代單一故事的趨勢下,大眾更傾向追尋以服裝凸顯個人選擇和族群認同(地域的、文化的或是價值認同的),過去以歐美白人文化為中心的主流審美逐漸被拆分為無數沒有高低之分的多角度敘事;在話語權分散的同時,時尚也逐漸失去其以排外本質造就的稀有性和威權性。

當大眾更希望服裝符碼能彰顯個人思考和價值選擇時,能夠體現出多重故事性或能和個人產生經驗連結的產品比起大量生產的成衣更吸引人。將金錢投資在購買無論是旅遊、學習、感受或人際交流的「經驗」成為新的消費趨勢,服裝價值也逐漸從體現經濟能力 、權力掌控轉變為展現獨立思考和與其擁有者間的私密連結。在這樣的趨勢下,手工藝(crafting,同時可以是由工匠實現的作品或如DIY等手工製作的作品)因其生產過程為產品價值的一部分,能夠在經驗體驗上比起消費型產品更為深刻;無論是由親手學習製 作的作品、投入時間了解其文化價值的工藝品、或代表特定族群連結的共作成品-將單純的金錢交易行為轉變為體現個人價值觀的消費選擇,能使擁有者和物品間的關係脫離單純的物質佔有層面⸺對於追求和產品間的情感認同經驗的當代消費者而言也會是更有意義的選擇。

體認到產業正在轉型的徬徨感促使我尋求和服裝的本質更為貼近的途徑和立足點。如同大環境的時尚權力核心由單一軸線轉化為多重敘述而未定型的多層次結構,我也試圖重新審視自身對於服裝設計、對於自己身為服裝設計師這身份的認知框架:在這個生產過度、資訊過量而空虛感滿溢的時代裡,未來的服裝應該要往哪個方向走呢?在創造慾望、刺激消費之外,時尚作為個體間的溝通途徑和映照社會狀態的顯像,能不能在「服裝」這個實質產品外,為人們、歷史或環境創造別的循環?期待能夠看到這些未知逐漸變化,對我而言,就是繼續在這裡的原因。

Since the beginning of my exposure to natural dyeing and hand-knitting until my participation in the laser dyeing project, there has been great changes in my design methods and ideas. In the process of performing the dyeing and handling the initial material processing, due to the involvement of more unpredictable factors in these manual processes in comparison to the direct use of mass-produced materials, it is often more difficult to achieve the expected effect in the finished product from the beginning, or it may be difficult to predict the output quality from each stage.

Compared to past design process using familiar materials (industrially produced textiles) and traditional clothing manufacturing techniques, using these natural fibers and a small amount of hand dyeing forces me to adopt a more open design process and to be more tolerant for uncontrollable results. This includes preparations in concept design, pattern-making, and handling of sewing processes, among others. Because of the likelihood that the dyeing will have unexpected results in the later stage, it is necessary to consider the possible circumstances that will appear during dyeing since the beginning of the design stage, and design the style in a structure for it to be able to lay flat. Or when sewing, it is necessary to consider the requirements for the dyeing process in order to avoid practices such as rubber lining, strips stretching, and excessive fabric overlapping, etc. Therefore, the struc- ture of the garment becomes limited or it requires a different treatment method from the general garment sewing process.

In contrast to the design process that first anticipates the appearance of the finished product and then reverses the production method, and then finally comes close to the imagined finished product, the kind of work that needs its materials to be processed and dyed has its final design affected due to the limitation of the production method. During its production, I can only make choices that are "as close to expectations as possible" due to the variables during the production process. Although my past works also involved a good amount of hand embroidery or details to sew, in my subjective experience, the more involvement in the development of materials and the more variables in the process, 'from design to output', the structure from thinking to execution will dissociate into more fragmented but closely connected experiences.


As a designer and producer, although I arranged the whole process, in the past, from design to pattern making, sewing samples, inspecting results up until the output of finished products, it was as though I was separating different functions from myself, own and mass production lines. Each type of job in the mass production line is converted; however, when the variables increase and adjustments must be made at each stage, I do not have com- plete control in each process, and I need to negotiate with "my other self who plays another function" at any moment.

In my past design education and industrial knowledge, each garment production process is cut to facilitate clear job division and communication flow among workers with different functions. Such role allocation also creates class structure in the industry (such as designers / factory managers are generally considered to have more power than manufacturing workers who operate simple steps). The reason for such a structural template is that the current garment industry uses labor conditions and labor costs in different regions of the world to split the garment production process into different positions in order to achieve the lowest production costs while produc- ing the largest amount of finished products.

Design in a cultural exporting country that masters the mainstream aesthetics of the globalized masses, produce raw materials in areas with low land costs, and sew in countries with low labor costs-such an industrial structure is reflected in the provision of labor talent is designed amidst an education unit, where the functions required for the entire design and manufacturing process are dismantled in different classrooms. People like me who get to know and learn clothing in school will unconsciously bring the existing production structure in the industry into my own way of thinking.

Indeed, in terms of commercial considerations, the division of job functions is indispensable for efficiency and the allocation of human resources. It is also a problem that must be faced when considering the commercializa- tion of any finished product; but if we discuss the design method, I think It is very important to recognize that one's own design thinking is restricted by the industrial fashion structure. Personally, I think it is also the direc- tion and breach that allows contemporary designers to work hard towards to in the face of changes in the industri- al structure.


服裝設計/文 陳翊羽
Fashion designer / written by Chen Yiyu