艺术家：侯若祎

Artist：Hou Ruoyi

作品名称：《折水》

Title of work：Folded Water

作品材质：综合材料

Material(s)：Composite materials

作品阐释：

Concept statement：

本系列以“折水”为题，描绘情绪与身体在流动中的转向与重构。折，不是停顿，而是在行进中悄然转向；水，不是无形，而是在柔软中孕育坚韧。衣物如情绪的皮肤，褶裥、缠绕、断续、回旋——皆为心绪之流的沉默回应。如水绕石，不争而行，隐忍而深；如身处世，于柔中见骨，于静处生潮。“折水”关乎柔与张、静与动之间的平衡，也关乎如何在变中持形，于无声中自洽。

Folded Water traces the turning and reshaping of emotion and form in a state of flow. A fold is not a pause, but a quiet redirection; water is not formless, but strength cultivated in softness. Clothing becomes a second skin of emotion—pleated, wrapped, fragmented, and rippled—echoing the silent currents beneath the surface. Like water around stone, it yields without surrender, deep and deliberate; like the self in the world, it holds its shape in softness, and stirs beneath stillness. Folded Water explores the balance between tension and release, stillness and motion—how, in the midst of change, one remains composed, and finds coherence in quiet.

艺术家：兰天

Artist：Lan Tian

作品名称：《无题》

Title of work：No Title

作品材质：综合材料

Material(s)：Composite materials

作品阐释：

Concept statement：

《无题》以“留白”为创作核心，用无定义的表达承载多元解读。作品摒弃繁复装饰，以极简廓形为骨架，选用雾灰与米白的低饱和色调，在面料碰撞中寻找平衡——挺括的有机棉与垂坠的再生丝交织，形成刚柔并济的视觉张力。

"Untitled" centers on the concept of "negative space," using undefined expressions to carry multiple interpretations. The work discards complex decorations, relying on a minimalist silhouette as its framework, and chooses low-saturation tones of misty gray and off-white, seeking balance in the collision of fabrics—stiff organic cotton interwoven with draping recycled silk, creating a visual tension of strength and softness.

艺术家：孙文婧

Artist：Sun Wenjing

作品名称：《未来巫傩》

Title of work：Futuristic Witchcraft-Nuo

作品材质：皮革、针织  

Material(s)：Leather, knitwear

作品阐释：

Concept statement：

该作品以中国巫傩文化为灵感原点，通过数字技术重新诠释这一古老祭祀传统。运用交互软件TouchDesigner对傩乐进行声音可视化处理，将声波频率转化为动态参数化线条纹样，通过针织提花工艺实现肌理表现，同时采用激光切割皮革技术塑造渐变效果的镂空图案，形成原始巫术与未来科技的美学对话。

在色彩上，选取了具有仪式感的朱砂红与神秘深邃的玄黑作为主色调，通过渐变效果强化色彩的层次感。廓形设计上对传统傩戏袍服进行解构重组，融入模块化设计语言。

本系列通过数字技术手段重新演绎巫傩文化符号，不仅探索了传统工艺与现代技术的融合可能，更旨在以当代设计语言唤醒这一濒危非物质文化遗产，为古老的神秘主义注入新的时代内涵。

This work is inspired by the Chinese ‘Nuo’ culture and reinterprets this ancient sacrificial tradition through digital technology. The interactive software TouchDesigner is used to visualize the sound of ‘Nuo’ music, convert the sound wave frequency into a dynamic parametric line pattern, and realize the texture expression through knitting jacquard technology. At the same time, laser cutting leather technology is used to shape the hollow pattern with a gradient effect, forming an aesthetic dialogue between primitive witchcraft and future technology.

In terms of color, the ritualistic cinnabar red and the mysterious and deep black are selected as the main colors, and the gradient effect is used to enhance the layering of colors. In terms of silhouette design, the traditional ‘Nuo’ opera robes are deconstructed and reorganized, and modular design language is incorporated.

This work reinterprets the ‘Nuo’ cultural symbols through digital technology, which not only explores the possibility of integrating traditional craftsmanship with modern technology, but also aims to awaken this endangered intangible cultural heritage with contemporary design language, and inject new contemporary connotations into ancient mysticism.

艺术家：王欣源

Artist：Wang Xinyuan

作品名称：《仙草生处》

Title of work：Where Immortal Herbs are Born

作品材质：针织，绒花（丝线、金属）

Material(s)：Knit、Velvet Flower （Silk Threads、Metal）

作品阐释：

Concept statement：

《仙草生处》以《山海经》中记载的奇幻植物为灵感，将古籍中“食之不饥”“佩之无惑”“见则天下安宁”等神异花草的传说，转化为兼具东方美学与现代功能的时装语言，结合江苏省非物质文化遗产传统技艺——绒花，作品意在通过针织、运动面料与非遗绒花的碰撞，构建一场跨越时空的“轻户外”漫游，寄托当代青年对自然的向往与对理想生活的诗意追寻。当Z世代在钢筋森林中寻找“诗与远方”，本系列以服饰为载体，将古籍中的浪漫想象转化为可穿戴的“自然护身符”，是对“久在樊笼里，复得返自然”的当代诠释——愿穿着者如山海旅人般，带着好奇与敬畏，走向自然书写传奇。

Inspired by the fantastical plants recorded in the Classic of Mountains and Seas, Where Immortal Herbs are Born translates the legendary functions of immortal herbs such as “not hungry when eaten,” “no confusion when worn,” and “peace in the world when seen” into the language of fashion with both oriental aesthetics and modern functionality, combined with the traditional technique of “Velvet Flower”, an intangible cultural heritage of Jiangsu Province. The work is intended to build a “light outdoor” roaming across time and space through the collision of knitting, sports fabrics and intangible heritage pompoms, sending The work is intended to build a “light outdoor” wander through the collision of knitting, athletic fabrics and traditional handicrafts.

艺术家：余沁璇

Artist：YuQinxuan

作品名称：《鸢》

Title of work：lris

作品材质：3D打印、薄纱

Material(s)：3D printing、Tulle

作品阐释：

Concept statement：

在《人工编辑与自然生长》课程中，我探索了柔性树脂作为3D打印材料。我的图案设计灵感源自鸢尾花，鸢尾花的名字源于希腊神话中的彩虹女神伊里斯。作为搭建彩虹桥传递神谕的神使，伊里斯赋予鸢尾花“希望”的花语——它们象征着希望的使者，传递美好祝愿与期盼，蕴含着“光的重塑”这一意义。我将传统刺绣纹样进行解构与重塑，并运用参数化建模为设计稿填充，实现了具有纹理起伏感的粒子效果；最终，通过3D打印制作出立体化织物。本研究旨在将可持续的3D打印材料与解构后的传统纹样相结合，利用参数化设计的粒子，通过3D打印实现对图腾的重塑。

For the "Artificial Editing and Natural Growth" course, I explored flexible resin as the 3D printing material. My pattern design takes inspiration from irises, which originate from Iris, the Greek rainbow goddess in mythology. As the gods’ messenger who built rainbow bridges to deliver divine messages, Iris endows irises with the flower language "hope"—they symbolize messengers of hope, bringing good wishes and expectations, embodying the meaning "reshaping of light". I deconstructed and reshaped traditional embroidery patterns, then applied parametric modeling to fill the design draft, achieving a textured, undulating particle effect. Finally, 3D printing was used to create three-dimensional fabrics. The study aims to combine sustainable 3D printing materials with deconstructed traditional patterns, using parametrically designed particles to reshape totems through 3D printing.