Chu Yan: Turning China Into Intangible Elements

In 1988, Chu Yan first saw the "ELLE world fashion court" priced at 8 yuan. At that time, when the fashion magazine was almost zero, she saw that the international version of the graphic version was breathtaking, and decided to become a fashion designer. She was only a teenager.

Chu Yan Rong, a student in 2000, was awarded the gold medal of the UNESCO "elegant China" costume design competition, and was invited to go to Paris, the dream city of the designer, to receive the award. "This is my first time to go abroad. When the plane landed quickly, I saw many small buildings below the porthole, which had a kind of unreal feeling. The journey experienced the inheritance and innovation of French culture, and the impact on me was enormous. Chu Yan said.

After graduating from graduate school in 2001, Chu Yan started the cross career between teachers and designers. At that time, the first order of Chu Yan design studio completed the dream of going to school: let his design go on the stage of the Great Hall of the people.

Yamamoto Teruji, a famous Japanese designer, once said, "I never deliberately use Japanese elements in design. I am Japanese, and my design is Japanese design." A classmate in a school used to quote this sentence to explain that the design did not need to add Chinese elements, but Chu Yan believed that the Japanese Cultural inheritance Unlike China, today's traditional Chinese culture still seeks to come back and relax until it becomes invisible.

Chu and listen to incense in the China International Fashion Week, the first "listen to incense" conference was appraised as a clear spring at that time, and the second "sky objects" conference was the first time that the traditional but few people knew about the grass dyeing technology in fashion week. A recent press conference was called "blue".

"Today's active selection of national brand circles extends from cultural circles to business, finance and even IT circles. More and more people want to show Chinese elements and culture on some occasions"; Chu Yan reveals that he hopes to set up a future. Oriental Aesthetics The theme of life style integrates space to create an experience Chinese aesthetic scene where people can rest and meditate.

At the invitation of APEC leaders' costume design, Chu Yan led the team to launch 4 series of designs in just a few months. Finally, the "standing collar for the cardigan" scheme was won from more than 1000 design works of 136 top domestic clothing enterprises and brand designers, and was identified as the 2014 leader of the APEC banquet etiquette dress scheme. APEC leaders and spouses are made of traditional Chinese weaving boutique, song brocade and Zhang satin, which are both suitable for Chinese traditional costume and traditional fine patterns.

In 2011, the studio's original intention was to participate in the China International Fashion week. Chu and Xiang heard the harmony of Chu and Yi, while "listening to incense" borrowed the "ten elements of the Chinese Academy of art", "the wind in the courtyard:" the first of Zhu Liangzhi's book is to listen to incense. This book systematically combs Chinese art theory and aesthetic spirit.

　　 Chu Yan I hope to excavate and sort out traditional handicrafts and show them in innovative ways. While paying attention to the details of clothing, we should also pay close attention to people's hearts. In a fast-paced society, people can find relaxation through dressing. "Chu Hehei Xiang" hopes to convey the brand idea: Inheriting Chinese traditional culture, giving the spirit of innovation and international vision.

In terms of business operation, a designer from pure customization to making brand means a very big change. When customization is made, customers will be more satisfied, and the brand will attract customers who truly agree with the brand idea and take the initiative to choose. They will follow the design and even become fans. Of course, the operation of the brand needs capital support.