Chu Yan & the Sight of Tang: Talking to the World by New Tang Style

On October 30, 2018, Chu Yan, who was honored as “Womenswear Designer of China”, launched her works of the new season named “Chu Yan’s Scent & the Sight of Tang” in the China International Fashion Week. In her works, Chu Yan introduces the “Phoenix” image of Tang creatively, combines the traditional handicraft, the Silk Road and the Tang culture with the contemporary life perfectly, and atttempts to find a design language to communicate with the world.

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All the things, including the exciting opening video, the novel “Phoenix” image, the humorous and elegant ancient costumes, and the classic and modern dresses, make the conference an attraction.

This time, Chu Yan, the chief designer of the global leaders’ garments in 2014 APEC, the costume designer of the “8 Minutes in Beijing” at 2018 Pyeongchang Winter Olympics, and the “Womenwear Designer” of 2017, not only continues her years of exploration and practice on the Tang clothing culture, the Silk Road culture, and the clothing structure technologies and traditional dyeing and weaving techniques of China but also applies and transforms the contemporary fashion and creative design with consistent focus and openness.

And this time, Chu Yan leads fashion topics not only to deeper time tunnel and broader Silk Road aesthetics but also to the inmost nostalgia of every Chinese.

In more than a decade, Chu Yan and her “Chu Yan’s Scent” team have trodden the Silk Road on foot, including Xi’an, Dunhuang, Xinjiang, Japan, India, Uzbekistan, Turkey, and Italy, to explore the prosperous Tang and the Silk Road aesthetics.

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This time, Chu Yan inherits the design clues of the former “Scent”, “Nature”, “Blue”, “Color”, “Mind”, and “Trace” and chooses “Tang” and “Phoenix” to show her years of accumulation in natural dyeing, textile innovation, and fashion styling.

And this time, Chu Yan seems to willfuly release all her feelings about “Tang” by presenting the aesthetics and humantistic spirit of the Tang clothing art, carrying forward the classic, making innovative designs from all aspects of weaving, dyeing, and embroidering, and recaling the confident and gorgeous era.

It is introduced that Chu Yan, who grew up in Xi’an, has been deeply influnced by the Tang culture and the Silk Road culture. For the works of the season, she and her “Chu Yan’s Scent” team have reproduced and recovered the clothes of the earthen maid of Tang at Xi’an Museum, the female provider in Dunhuang Frescoes, and the wooden maid of Tang at Xinjiang Museum and then renewed and transformed the summarized and concluded classic patterns of Tang with new weaving techniques, such as computer jacquard and velvet garland.

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“In the process, the clothing techniques which were commonly used in Tang, such as complex gauze, jacquard brocade, tie dyeing, roe dyeing, indigo dyeing, and gold drawing, inspired me a lot. I have tried my best to demonstrate them in my works of the season and hope to show the beauty of the fabrics of Tang in contemporary.” Chu Yan says.

In her works, Chu Yan used different needling methods to reflect the phoenix design, peony design, and composite flower design on the fabric of the clothes in the forms of embroidery, dyeing, and picture-weaving in silk.

One of the design highlights in all “Chu Yan’s Scent” works is the focus on the unique color aesthetics and aesthetic spirit of Tang: In order to repeoduce the color, Chu Yan and her “Chu Yan’s Scent” team picked red flowers in Xinjiang and dyed a good-looking silk chiffon dress with red flower cakes. The diversified and surprising design has broken the framework of the color system in the western dress aesthetics and enriched the color system of the Chinese fashion design.

Meantime, Chu Yan has improved the traditional clothing structure after years of exploration and applied it to the language suitable for the dresses of Chinese women, such as the new Han clothes and Chinses clothes. Moreover, she also has searched more international and fashinable modern dresses, in hope of giving Chinese women more choices bettwen the traditonal clothes with more Chinese cultural properties and the fashion clothes with more international styles.

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In Chu Yan’s view, “Tang” does not merely mean Tang Dynasty in a narrow sense. “The more outside worlds I see, the more I understand the power, complexity, and diversity of Tang. The sight of Tang is not a return to Tang Dynasty, but a concept beyond history and a design language to talk to the world.” Maybe, it can be called a “New Tang Style”.



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