A Comparison Of Design Thinking Between Chinese And British Modern Contemporary Fashion

This paper hierarchically gradually discusses their fashion design from three perspective ofmodeling, decoration and design way and sums up design differences between Chinese and Britishmodern fashion through longitudinal combing and transverse comparison and summarizesthinking differences of two countries from the surface to the centre, step by step on the basis ofthree aspects reflected design thinking In order to unlock the reasons of the difference betweentwo country‘s fashion design.Chinese and British modern fashion design have successively entered into vigorousdevelopment period after sprout and stagnation thus two countries fashion appearance and designway are clearly different by briefly learning fashion history and current situation of China andBritain.Second chapter explores the Chinese and British modern fashion design thinking from themodeling perspective. Chinese and British fashion modeling have their own styling habits resultedfrom explicit and implicit reasons by analysis on classic and creative fashion modeling examplesand backtracking traditional fashion modeling, traditional painting appearance. Chinese fashionmodeling with simple external shape and more lines on interior surface because they usuallychange line in plane, wide and closed shape framework when they make modeling contrasts toBritish fashion modeling with complex modeling and rigorous structure because they usuallychange segmentation in three-dimensional, real tight, open exposed and curve shape framework.This modeling mode differences also reflect differences in the fashion design thinking of twocountries that Chinese modern fashion styling often change lines under the plane closure of theexternal shape which emphasize dynamic lines but British modern fashion styling always changeblock segmentation under the three-dimensional shape which pay attention on precise structure.China and Britain Design thinking difference results in art style difference so that China fashioncan be said to be line art but British fashion can be said to structure art. Third Chapter discusses Chinese and British modern fashion design thinking fromdecorative point of view. Two countries modern fashion decoration features are drew by theanalysis of the classical and creative fashion case that Chinese fashion prefers to graphicsdecoration but British fashion prefers to physical ones. Two countries‘traditional costumedecoration features are concluded by backtracking decorative means and motivation of traditionalones that Chinese embroidery image graphics euphemistically express the heart yearning butBritish traditional clothing generally link to all kinds of tangible objects adornment for attractingsight which means they have dominant effect on modern fashion decoration. The following viewwas drew by analyzing traditional painting art image shape that Chinese painting focuses on"meaning" with concerned about the spirit but British focuses on "thing" with concerned aboutmaterial which means traditional paintings produced some recessive effects to modern fashiondecoration. Two countries‘fashion decoration preferences are concluded, which reflects theirdesign thinking differences that Chinese designers focus on "meanings" to express their innerfeelings but British designers focus on "objects" to emphasize visual stimulation by discussingtheir fashion decoration dominant reason and hidden reason.Fourth chapter explores design thinking of Chinese and British modern fashion. Twocountries‘characteristics of Modern fashion design way are gained that Chinese designerscommonly used to "imagine" and "paint" but British designers commonly used to "experiment"and "do" by the analysis of their design process and expression. Design teachings of two countrieshave direct influence respectively on their modern fashion design approach that Chinese designteaching aims to impart knowledge and skills which helps to "imagine‖and "paint" but Britishdesign teaching focuses on cultivation of research ability and design method which is liable to"experiment" and "do" by discussing design education concept and process. By brief descriptionof the traditional ideas and thinking ways it is obtained that Chinese modern fashion design wayfully embodies its characteristics of "integration","feel" and "image" but British ones embodies itscharacteristics of "segmentation","research" and "object". two countries design thinking areconcluded that Chinese designers is "Integrate Images to Feel"----links a large number of dynamics impressive phenomenon together to feel but British designers is "Separate Object toResearch"----step by step, progressively research on logical classification basis through a numberof tangible physical objects. Finally, this paper argues that Chinese and British traditional cultural difference create theirmodern fashion design differences as "spirit" and "vision" on which their design thinkingdifference is summed up as "meaning Activity" and "object improvement" because fashion designdifferences reflect design thinking ones by the deduction on respectively linking two countries‘shape, decoration and design ways together and the comparison to their modern fashion designand influence factors.