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  移布亦景
  “移布亦景”以精妙的雙關(guān)語義，構(gòu)建時(shí)裝與室內(nèi)設(shè)計(jì)的跨維度對話。“移布”諧音“衣物”直指服裝設(shè)計(jì)的核心載體--織物，暗示“移動(dòng)的布料”，呼應(yīng)立體裁剪中的動(dòng)態(tài)；“亦景”則指向室內(nèi)設(shè)計(jì)的空間敘事與場景構(gòu)建，同時(shí)涵蓋物理場景與詩意意境。
  服裝的立體語言，亦是墻面與家具的構(gòu)成語法，展覽通過“移”與“亦”的辯證關(guān)系，揭示設(shè)計(jì)學(xué)科共享的形式法則--以柔性材料重構(gòu)剛性空間，以流動(dòng)形態(tài)凝固瞬時(shí)感知。
  靜態(tài)展現(xiàn)場
  2025屆畢業(yè)生特色作品展示
  劉秋可Ida
  以婚紗廓形糅合擊劍鋒芒，通過鉚釘、頭盔包袋等元素尋找“潔白”的新定義。
  Combining the silhouette of wedding dresses with the sharpness of fencing,it explores a new definition of"pure white"through elements like studs and helmet-inspired handbags.
  權(quán)音銘Silicon
  心理學(xué)中的退行（Regression）是弗洛伊德提出的防御機(jī)制，指個(gè)體在壓力下退回早期心理階段以尋求安全感，表現(xiàn)為躲藏、逃避社交等。受此啟發(fā)，設(shè)計(jì)師以“包裹自我”為概念，通過立裁實(shí)驗(yàn)探索服裝廓形，運(yùn)用褶皺、捆扎和柔軟面料，并提取實(shí)驗(yàn)中的紋理與色彩（淺卡其、米白、粉、黑）作為裝飾。
  Regression,a Freudian defense mechanism,describes retreating to an earlier developmental stage under stress—seen in behaviors like hiding under blankets or avoiding social contact.Inspired by this,the designer experimented with wrapped silhouettes,using pleats,ties,and soft fabrics.Patterns emerged from wrapping tests,with a muted palette of khaki,white,pink,and black.
  劉茗語Chloe Liu
  現(xiàn)代女性不再局限于單一的社會角色。她們游刃有余地平衡工作、個(gè)人與家庭身份，多重身份的融合每時(shí)每刻都在上演。服裝作為身份表達(dá)的重要媒介，映射著當(dāng)代女性多元的社會經(jīng)歷與文化價(jià)值觀。為助力女性自信展現(xiàn)真我、突破傳統(tǒng)束縛、追求自我認(rèn)同，《千靨》（Kaleidoscope）系列應(yīng)運(yùn)而生。
  Modern women are no longer confined to a single social role.They skillfully balance their professional,personal,and family identities,with the integration of multiple roles unfolding every moment.As a vital medium for identity expression,clothing reflects contemporary women's diverse social experiences and cultural values.To empower women to confidently reveal their authentic selves,break free from traditional constraints,and pursue self-identity,the"Kaleidoscope"collection was born.
  杜曉穎Miku
  我通過解構(gòu)女仆裝對其進(jìn)行了再次設(shè)計(jì)，讓女仆裝元素以一種新的姿態(tài)進(jìn)入時(shí)尚圈。我喜歡傳統(tǒng)女仆裝和現(xiàn)代女仆裝，因?yàn)樗麄冇兄潭ǖ拇钆浜秃喖s的設(shè)計(jì)，并且有很強(qiáng)的辨識度。因此我想研究在時(shí)尚設(shè)計(jì)中是否能融入女仆裝，讓他換一種形式來表現(xiàn)。
  I redesigned the maid dress by deconstructing it,allowing the maid dress elements to enter the fashion circle in a new form.I like traditional maid dresses and modern maid dresses because they have fixed combinations and simple designs,and are highly recognizable.Therefore,I want to study whether maid dresses can be integrated into fashion design to present them in a different form.
  明嘉婕Vicky
  我的外公在我很小的時(shí)候死于一場事故。為了安慰我，父母告訴我，外公已經(jīng)成為天上的一顆星，會永遠(yuǎn)守護(hù)著我們。這段話成為我童年對死亡的理解，也引發(fā)了我對生與死的思考。在這個(gè)項(xiàng)目中，我希望探索生命的周期性。死亡不是終點(diǎn)，而是生命過程中能量轉(zhuǎn)換的一種形式。當(dāng)生命結(jié)束時(shí)，身體會分解成DNA和原子等基本元素，這些元素會重新融入大自然，為新生命提供營養(yǎng)。
  My grandfather died in an accident when I was very young.To comfort me,my parents told me that Grandpa had become a star in the sky and would always guard us.This passage became the way I understood death in my childhood,and it also triggered my thinking about life and death.In this project,I hope to explore the cyclical nature of life.Death is not an end,but a form of energy transformation in the course of life.When a life ends,the body breaks down into basic elements,such as DNA and atoms,which are reintegrated into nature to provide nutrients for new life.
  張喆Andrea
  本課題致力于設(shè)計(jì)融合傳統(tǒng)漢服美學(xué)與現(xiàn)代審美的當(dāng)代時(shí)裝，旨在激發(fā)現(xiàn)代女性的力量與自我表達(dá)。通過結(jié)合明朝女將軍的形象、解構(gòu)明制漢服元素和非遺金箔工藝，探索在尊重歷史的同時(shí)，創(chuàng)造出符合現(xiàn)代需求的漢服。
  This project aims to design contemporary fashion that combines traditional Chinese clothing aesthetics with modern sensibilities,empowering modern women and encouraging self-expression.It draws on the imagery of Ming dynasty female generals,deconstructs elements of Ming-dynasty-style hanfu,and incorporates the intangible cultural heritage of gold-foil craftsmanship.The goal is to create hanfu that meets modern needs while respecting history.
  顧珂瑩Bestow
  在當(dāng)下的時(shí)尚的背景下，對傳統(tǒng)服飾文化的繼承與創(chuàng)新已成為設(shè)計(jì)領(lǐng)域的重要話題。本系列以長江以南逐漸式微的傳統(tǒng)裙裝為研究對象，通過創(chuàng)新設(shè)計(jì)手法將其重新融入現(xiàn)代衣櫥體系。設(shè)計(jì)靈感來源于街頭文化的自由精神和酷炫風(fēng)格。在解構(gòu)主義的框架下，裙裝的形狀、工藝和裝飾被現(xiàn)代化和轉(zhuǎn)化，使其不僅保留了傳統(tǒng)魅力，還滿足了當(dāng)代的審美需求。
  In the context of contemporary fashion,the inheritance and innovation of traditional clothing culture has become an important topic in the field of design.This series takes the gradually declining traditional skirts in the south of the Yangtze River as the research object,and reincorporates them into the modern wardrobe system through innovative design techniques.The design is based on the free spirit and cool style of street culture.Under the framework of deconstructivism,the shape,craft and decoration of skirts are modernized and translated,so that it not only retains the traditional charm,but also meets the contemporary aesthetic needs.
  楊嘯杰Robert
  本系列設(shè)計(jì)融合人體生理學(xué)與盔甲美學(xué)，采用特殊剪裁和杜邦紙面料，體現(xiàn)了盔甲元素與未來科技感的融合。雖受限于能力，未能使用到運(yùn)動(dòng)防護(hù)科技，但作為概念性設(shè)計(jì)，意在提醒人們在追求健康時(shí)量力而行，減少運(yùn)動(dòng)損傷，感受人體與運(yùn)動(dòng)的共鳴。
  This series of designs integrates human physiology and the aesthetics of armor,using special cutting techniques and DuPont paper fabric.It embodies the integration of armor elements and futuristic technological sense.Although limited by capabilities,we were unable to incorporate motion protection technology.However,as a conceptual design,it aims to remind people to exercise prudence when pursuing health,reduce sports injuries,and feel the resonance between the human body and sports.
  Helen Jovita（印度尼西亞）
  MERAKI-(v.)to do something with soul,creativity,or love;to put something of yourself into your work.This collection is a journey of healing,woven from the sacred threads of Nature,Art,and Culture.Inspired by the serene landscapes that brought me peace,the graceful silhouette of swans symbolizing elegance and renewal,and the rich weaving traditions in Asia,each piece tells a story of connection and restoration.Crafted from natural,earth-friendly materials,this collection is more than just clothing—it is a tribute to harmony,a bridge between past and present,and a reminder that fashion can be a force for healing.It nurtures not only the wearer and the designer but also the world we share.
  丁佳寧Chloe Ding
  通過比較兩類典型繪畫流派：吳門畫派和浙江畫派，研究其在山水畫上的不同特征，將其應(yīng)用于服裝設(shè)計(jì)。了解江南山水畫的繪畫手法，調(diào)研山水圖式在現(xiàn)代設(shè)計(jì)中的應(yīng)用與再設(shè)計(jì)。學(xué)習(xí)江南山水畫中的線面結(jié)合手法和留白手法，將其與現(xiàn)代解構(gòu)藝術(shù)相結(jié)合，同時(shí)使用噴漆的方式來表現(xiàn)潑墨的效果，并用植物染進(jìn)行吊染工藝的實(shí)驗(yàn)，通過多種方式的面料改造，來展現(xiàn)出多層次的效果。
  This study compares the Wu School and Zhe School,analyzing their distinct landscape painting styles for application in fashion design.It explores Jiangnan landscape techniques,particularly line-plane integration and"liubai",merging them with modern deconstruction.Spray paint mimics ink-splashing effects,while plant-based dyes achieve gradient dip-dyeing.Through layered fabric manipulations—such as texture distortion,pleating,and mixed-media overlays—the research creates multidimensional designs that reinterpret traditional ink aesthetics with contemporary craftsmanship.The fusion of Eastern artistic philosophy and Western structural experimentation results in innovative,culturally rich textiles that balance fluidity and fragmentation.
  張怡媛Iris
  該設(shè)計(jì)源自對適應(yīng)力不足現(xiàn)象的觀察，靈感源自苔蘚在極端環(huán)境中的適應(yīng)特性。設(shè)計(jì)師用Grasshopper模擬苔蘚生長，提取形態(tài)并結(jié)合氣候數(shù)據(jù)生成圖案，通過激光切割與立裁實(shí)驗(yàn)探索廓形，以苔蘚化石為靈感，進(jìn)行植物染與數(shù)碼印花，展現(xiàn)仿生與參數(shù)化設(shè)計(jì)的融合。
  This design originates from observations of insufficient adaptability,drawing inspiration from moss's ability to survive in extreme environments.The designer used Grasshopper to simulate moss growth,extract its forms,and integrate climate data to generate patterns.Silhouettes were explored through laser cutting and draping experiments.Inspired by moss fossils,the designer conducted plant dyeing and digital printing,showcasing the fusion of biomimetic and parametric design.
  曾芊瑜Kristen
  我將古董潮汕抽紗和高級定制中常用的精致刺繡融入各種款式的工裝中，以一種有趣的方式將休閑和奢華結(jié)合起來。
  The designer integrates the exquisite embroidery commonly used in Haute Couture and vintage Chaoshan drawnworks into different kinds of workwears,combining leisure and luxury in an interesting way.
  王嘉禾Laura
  當(dāng)目睹奈良神鹿因誤食塑料奄奄一息，生物與現(xiàn)代文明的荒誕碰撞催生了我的畢業(yè)設(shè)計(jì)《迷失的注蓮繩》。通過轉(zhuǎn)化紙垂的折紙?jiān)氐饺S廓形，將其閃電狀剪影與亞洲原始棕櫚蓑衣的大廓形相結(jié)合，并運(yùn)用現(xiàn)代漁網(wǎng)藍(lán)曬留下的印花來探討人類與周邊自然環(huán)境之間的共存關(guān)系。
  Witnessing Nara's sacred deer languishing from plastic ingestion,this grotesque collision between life and modern civilization gave birth to my graduation project'The Lost Shimenawa'.By transforming the origami elements of paper drapes into three-dimensional silhouettes,combining their lightening silhouettes with the large silhouettes of the original Asian palm rain cape,and using the prints left by modern fishing nets after indigo drying,the coexistence relationship between humans and the surrounding natural environment is explored.
  陳魚Lydia
  舊織如新以廢棄布料為基礎(chǔ)，結(jié)合刺子繡的縫補(bǔ)技藝與街頭服飾的結(jié)構(gòu)語言，探索織物與身份的當(dāng)代表達(dá)。每一處拼接、每一道線跡，都是對時(shí)間痕跡的回應(yīng)，也是女性力量的縫合與釋放?？p合，不是修復(fù)破損，而是賦予舊物新的生命。
  Worn Legacy builds upon discarded fabrics,combining the hand-stitching techniques of Sashiko with the structural language of streetwear to explore contemporary expressions of fabric and identity.Every patch and stitch responds to the marks of time and becomes a weaving and release of female strength.Mending is not about repairing what is broken,but about breathing new life into what was once worn.
  潘祉祺Maggie
  OFFICELAND（職場樂園）以兒童視角重構(gòu)職業(yè)裝美學(xué)，構(gòu)建出獨(dú)特的童裝設(shè)計(jì)哲學(xué)。系列靈感源于設(shè)計(jì)師童年對母親職業(yè)生活的向往記憶，通過立體剪裁再現(xiàn)兒童眼中"大人工作服"的夸張比例，打造出充滿游戲感的兒童職業(yè)裝系列。
  OFFICELAND reconstructs the aesthetics of professional wear from the perspective of children,and constructs a unique philosophy of children's clothing design.The series is inspired by the designer's childhood memories of his mother's professional life.Through three-dimensional cutting,it recreates the exaggerated proportions of"adult work clothes"in children's eyes,creating a children's professional wear series full of playfulness.
  Théo Sersté（比利時(shí)）
  Mabruk is a collection born from the designer’s reflection on cultural duality and the beauty of blended identities.Inspired by the Belgian-Moroccan wedding,it transforms traditions into symbolic design elements,celebrating harmony across cultures.It also pays tribute to Moroccan migration to Belgium in the 1960s,when families built new lives between two worlds.Drawing from Moroccan artisanal heritage,the collection explores wide silhouettes,metalwork-inspired details,and traditional wedding practices.These are paired with Belgian influences such as precise tailoring,lacework,and floral motifs.Mabruk—meaning"congratulations"in Arabic—becomes a tribute to love,identity,and cultural fusion.

  合影留念

作品展示詳見（復(fù)制以下鏈接進(jìn)瀏覽器查看）：

https://mp.weixin.qq.com/s/CuQYVcynGjHml41nhrSlHA