NEW MEIZHOU
/湄/
/湄/
NEW MEIZHOU originates from field observations and travel records in Meizhou Island, where cultural symbols and everyday landscapes are extracted through embodied experience and translated into fashion language and structural design. It explores contemporary interpretations of traditional motifs, forming a process from field research to digital development and garment realization.The project integrates garments, accessories, and footwear through structural deconstruction, pattern transformation, material experimentation, and wearable technology testing, building a continuous design narrative that positions clothing as a carrier of cultural memory and sensory experience.The final outcome presents a unified collection, translating local culture and material research into a cohesive visual system.
《湄》以湄洲岛的田野观察与游记记录为起点，通过身体体验提取在地文化符号与日常景观，并转化为服装设计的视觉与结构语言。设计围绕传统意象的当代表达展开，建立从实地观察到数字化与成衣转化的完整路径。项目整合服装、配饰与鞋履系统，通过结构解构、纹样重组、材料实验与可穿戴技术测试，构建连续的设计叙事，使服装成为承载文化记忆与感知经验的媒介。最终形成统一的成衣与配饰系列，将在地文化与材料研究转译为完整的视觉体系。
PROJECT EVOLUTION
项目演进
项目演进
This stage began with the designer's personal travel journal from Meizhou Island, using field photography and on-site observation to identify key local visual elements—including Mazu headdresses, traditional hairstyles, Jiaobei forms, and fishermen's garments—as the foundation of the project's visual language.
Building on this research, handcrafted Mazu flower ornaments were visually deconstructed and recomposed, while the handwritten strokes of Spring Festival couplets were translated into abstract geometric forms. Through layered graphic refinement and digital reconstruction, traditional cultural symbols were reinterpreted into a contemporary visual vocabulary.The extracted elements were then integrated and re-encoded into a series of high-saturation textile print designs, establishing the visual foundation for subsequent material development and garment design.
本阶段研究基于个人在湄洲岛的游记记录，通过田野影像与实地观察提取妈祖头饰、发髻结构、珓杯形态及渔民服饰等在地视觉元素，并建立设计的初始视觉语言。在此基础上，对手工妈祖花的几何构成进行视觉解构与重组，同时将春联文字的手写笔画转译为抽象几何图形，通过多层级图形提炼与数字化重构，使传统文化符号获得新的视觉表达。最终，将提取的视觉元素整合并重新编码，发展出一系列高饱和度的现代纺织印花，为后续面料研发与服装设计建立完整的视觉基础。
本阶段围绕天然染色、材料实验与纺织品开发展开，以莆田在地植物为染料来源，系统开展植物染色、媒染及不同纤维材料的测试，建立具有地域文化特征的自然色彩体系。在此基础上，结合缝合扎染工艺对面料进行二次重构，使植物染色形成具有随机性的结构肌理，并进一步转化为数字化纺织纹样，应用于服装廓形实验与款式推演。最终，通过综合色彩、材料与纹样之间的关系，建立完整的纺织设计系统，为后续面料研发与系列服装设计提供设计基础。
This stage focused on composite silhouette development, drawing inspiration from the sea-eroded rock formations of Meizhou Island and the sculptural geometry of Jiaobei divination cups. Their layered forms, curved surfaces, and geometric structures were translated into the design language of garment silhouettes.Building on this research, draping experiments and structural framework development explored the relationship between rigid volume and soft textiles, validating the spatial expression and wearability of the proposed silhouettes.Finally, the previously developed textile and material system was integrated into a series of garment design explorations, establishing the structural direction for the subsequent collection.
本阶段围绕复合廓形展开，以湄洲岛海蚀岩石地貌与筊杯形态为灵感来源，提取其层叠、弧面与几何结构特征，并转化为服装廓形的设计语言。在此基础上，通过立裁实验与骨架结构搭建，探索刚性几何体量与柔性面料之间的平衡关系，验证复合廓形在人体上的空间表现与穿着可能性。最终，结合前期开发的印花与材料系统，完成系列服装款式推演，建立完整的廓形设计方向，为后续成衣开发奠定结构基础。
本阶段围绕鞋履设计展开，以湄洲岛渔民赶海时穿着的雨靴为研究对象，通过亲身穿着雨靴进入海浪环境，以身体体验记录海浪拍打鞋履形成的流体形态，提取包裹、层叠与运动轨迹等动态特征，并转化为鞋履的雕塑性设计语言。在此基础上，结合实体雕塑实验与数字建模，对流体形态进行三维重构与材质模拟，完成鞋履结构、体量与细节的设计开发。最终，将鞋履设计融入系列服装款式推演，建立服装与配饰之间的整体视觉关联，进一步完善系列设计语言。
This stage focuses on bag design, drawing visual language from Meizhou Island’s vernacular dress and Song Dynasty textile motifs. Decorative elements such as garment trims and silver accessories were abstracted alongside wave, dragon-phoenix, and flowing water patterns, and reconfigured into structural surfaces and design frameworks.Building on this, the spatial structure of the “Mazu bun” hairstyle was deconstructed and translated into a three-dimensional bag form, where volume, hairpin-like intersections, and ornamental components inform the structural logic and functional detailing, including magnetic closures and 3D-printed elements.
Color illustrations and prototyping studies were developed in parallel, establishing the overall visual system while testing volume and structure through physical cardboard mock-ups to validate spatial feasibility.In addition, an experimental approach was introduced by recycling discarded fishing nets into 3D-printable filament, applied to bag handles and structural components, reinforcing a sustainable material exploration within the design process.
本阶段以包袋设计为核心，从湄洲岛在地民俗服饰与宋代纹样中提取视觉语言，将日常服饰中的镶边、银饰结构与水浪纹、龙凤纹及如意流水纹进行抽象重组，转化为包袋表面的结构肌理与设计框架。在此基础上，进一步解构“妈祖髻”发型的空间结构，将其发髻体量、发簪穿插与装饰构件转译为包袋的三维形态逻辑，并通过技术草图推演其结构关系与功能细节，如磁吸搭扣与3D打印部件等。同时完成包袋的色彩效果图与原型验证，通过手绘效果图建立整体视觉体系，并结合硬纸板模型进行体量与结构测试，确认设计的空间可行性。此外，实验性引入回收渔网再生3D打印材料，将废弃渔网重构为可打印线材，用于包袋手柄与结构部件开发，以强化可持续设计的材料实践。
This stage focuses on sustainable material experimentation, transforming discarded plastic bottle caps collected from Meizhou Island’s coastline into recycled composite panels through sorting, shredding, and thermal fusion. The resulting marble-like material is further developed into earrings, headpieces, and garment embellishments, achieving a material transition from marine waste to high-end wearable design.Building on this, a unified visual system is established by integrating previously developed textiles and a defined colour palette. Key tones of charcoal black, deep ocean blue, Chinese red, and grey scale form a coherent chromatic language, reflecting a conceptual balance between water and fire.
The final outcome presents the NEW MEIZHOU collection line-up, where explorations of form, textile, and material are consolidated into a complete garment system. The silhouettes combine geometric structures with fluid deconstruction, integrating footwear, bags, and illuminated accessories into a cohesive cross-media design language, completing a full cycle from field research to finished collection.
本阶段以可持续材料实验为核心，将湄洲岛海岸收集的废弃塑料瓶盖按颜色分类、粉碎并重组，通过热压与熔融工艺转化为具有大理石肌理的再生材料板材，并进一步加工为耳饰、头饰及服装装饰构件，实现从海洋废弃物到高定配饰的材料转译。在此基础上，整合前期开发的面料体系与标准色卡，建立包含数码印花、植物染色与再生材质在内的完整视觉控制系统，以炭黑、深海蓝、中国红与灰阶为核心构成整体色彩语言，并呼应“水与火”之间的对立与平衡关系。最终呈现《NEW MEIZHOU》系列成衣矩阵，将前期关于形态、纹样与材料的实验成果统一转化为完整服装系统。系列廓形融合几何结构与流体解构语言，并整合鞋履、包袋及发光配饰等跨媒介设计成果，完成从田野研究到成衣体系的整体闭环。
This stage finalises the collection by integrating garments and accessories into a unified system, translating earlier explorations in structure, textiles, and pattern into a cohesive design language. Through pattern development and toile testing, deconstructed silhouettes were resolved into wearable forms with a consistent logic of volume and proportion.Digital prints, botanical dyes, and textured fabrics were applied across garments to reinforce visual continuity. In parallel, accessories and bags were developed using recycled materials and 3D printing, transforming sustainable experiments into structured design elements, completing a cohesive visual system for the collection.
本阶段完成系列成衣与配饰系统的整合与最终呈现，将前期在结构、面料与纹样上的实验转化为统一的服装语言。通过纸样开发与立裁验证，实现多种解构廓形的结构成立，并在体量与比例中建立整体设计逻辑。同时，将数码印花、植物染色及肌理面料应用于成衣表面，强化视觉一致性与叙事延续性。配饰与手袋系统同步完成开发，通过再生材料与3D打印技术，将可持续实验转化为结构化设计表达，最终形成完整的系列视觉体系。
FINAL PRESENTATION
成片展示
成片展示
10/2024-12/2025