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Shanghai 2009
Wednesday, 15 July 2009 05:07 Written by Xinlei Wang Shanghai design star Ji Ji attributes the originality of his Shirtflag designs to early childhood experiences among the dazibao (large street posters) of the Cultural Revolution (1966-76). Everybody shown in the images, whether Mao Zedong himself or workers, peasants and soldiers, wore the same green military uniforms, inspiration for a local version of the ‘army surplus’ look that has been perennially fashionable in other countries. Ji Ji’s designs attempt to capture the ambiguity of the era, with its mix of tragedy and utopian idealism, by combining cynicism – even ‘sarcasm’ – with romance. He places great emphasis on the personal integrity of designers, which extends to a deliberate indifference to the latest trends. “When I first decided to design graphics for T-shirts, I didn't expect any great financial return,” he says. “It was just an outlet to allow myself to exorcise some childhood memories. But within six months, the sales of his Shirtflag label had shot sky high and the T-shirt has emerged as one of the hottest trends to hit the streets.” His “unlimited design” takes freely from whatever is around (he rejects the half-hearted notion of ‘borrowing’). What matters is that elements of whatever kind and source are fully appropriated by the new design idea. Although concerned by a persistent absence of discrimination in the current Shanghai design industry, he thinks the environment, popular thinking about design and the market are all improving. His evaluation of design education is much harsher. “It’s crap,” he says. To waste four years on irrelevant theorizing makes no sense when a year of practical design experience would teach far more. Shirtflag’s target market consists of young fashionable people, especially students and professionals. Prices range from RMB 70-200, which certainly isn’t cheap by Shanghai standards, but is nevertheless low enough to keep thoughtfully designed clothing within the reach of people on modest incomes.
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