When Rihanna wore a fur-trimmed yellow satin gown by the Chinese-born designer Guo Pei to the MetGala on Monday night, it became the talk of Twitter,which erupted with jokey comparisons to omeletsand pizzas. Memes using cartoon characters like Sponge Bob Square Pants were rampant. “The fashion world pretty much came to a standstill,”Glamour magazine wrote of the “jaw-dropping” cloak,while Time magazine declared that the singer stolethe show.
Yet Ms. Guo isn’t the first Chinese-born designer to create a media meltdown with a spectacular design. The “X-Men” star Fan Bingbing wore a bright yellow dragon dress by Laurence Xu to the 2010 Cannes Film Festival, and The Hollywood Reporter wrote that it“launched her into the style stratosphere.” “Sensational!” the website Red Carpet Awards proclaimed.
不过，郭培不是第一位通过惊人设计引起媒体轰动的中国设计师。2010年，曾出演《X战警》(X-Men)的范冰冰身穿许建树设计的明黄色龙袍出席戛纳电影节。《好莱坞记者报》(The Hollywood Reporter)写道，这件衣服“让她一举成为顶级时尚明星”。红地毯颁奖网站赞扬说：“美极了!”
The dress got so much attention, in fact, that the actress Qin Hailu complained publicly that Ms.Fan was using the dress to cast herself as China’s leading lady (a charge that Ms. Fan denied),and London’s Victoria & Albert Museum ultimately snapped it up for its permanent collection. Now, that dress and two Guo Pei designs are part of the Metropolitan Museum of Art’s new Costume Institute exhibition, “China: Through the Looking Glass.”
范冰冰的龙袍引起强烈反响，以至于女演员秦海璐公开抱怨说，范是利用那条裙子塑造自己是中国影后的假象(范否认了这一指责)。伦敦的维多利亚与艾伯特博物馆(Victoria & Albert Museum)最终把它变成自己的永久收藏。如今，那件龙袍和郭培设计的两件服装都在大都会艺术博物馆时装学院的新展览“中国：镜花水月”(China:Through the Looking Glass)上展出。
Juxtaposed against a dragon dress made by Tom Ford for Yves Saint Laurent, Mr. Xu’s gown highlights the different ways contemporary Chinese designers interpret their aesthetichistory, and reflects the approach of a new wave of Asian creators who are drawing attention and acclaim for work that is defined by a modern balance between East and West.
许建树的龙袍与汤姆·福特(Tom Ford)为伊夫·圣罗兰(Yves Saint Laurent)设计的龙袍并列放置，突显出当代中国设计师对自己审美历史的不同阐释方法，展现了新一代亚洲设计师们的创作方式——他们通过创作展现东西方现代平衡的作品引起人们的注意和称赞。
Last year, for example, Yiqing Yin, the Chinese-born, Paris-based couturier who won the fashion designer of the year award at France’s prestigious Globes de Cristal in April, was named artistic director of the French fashion house Léonard. And in 2008, Qiu Hao won the International Woolmark Prize, thanks to the hand-woven fabrics he uses in his minimalist,architectural looks.
例如，去年4月，中国出生的巴黎女装设计师殷亦晴获得了法国著名的晶球奖(Globes de Cristal)年度最佳时装设计师奖，之后被任命为法国时装公司莱昂纳尔(Léonard)的艺术总监。2008年，邱昊凭借建筑风格的极简主义手工织物获得国际羊毛标志大奖(International Woolmark Prize)。
“With so many brands doing so many different things, and a country of 1.3 billion people, the Chinese designers don’t have to adapt to us in the West, and we’ll see this develop,” said Gemma A. Williams, the author of “Fashion China.” “They will learn from what we’ve done andput their own spin on it.”
“中国的品牌很多，做的事情也很不同，这个国家有13亿人，所以中国设计师们不必去适应西方，我们将看到这种发展，”《时尚中国》(Fashion China)的作者杰玛·A·威廉斯(Gemma A. Williams)说，“他们将从我们的经验中吸取营养，然后加入自己的想法。”
Witness Boundless, designed by Zhang Da, which gives classic padded, quilted agricultural coats a new spin by reimagining them in luxury cottons, soft pinks and modern geometrics. OrChictopia, designed by Christine Lau, whose pop prints are drawn by hand rather than computer. Dooling Jiang of Digest Design also uses a traditional approach, in her case ancient cutting techniques, to create conceptual pieces like a landscape-inspired shirt-and-cropped-trouser combo; minimalist, wrapped jackets; or crinoline-esque paper-thin dresses.
例如，张达的品牌没边(Boundless)给经典夹棉农家棉衣注入新元素，用奢华棉花、柔和粉色和现代感几何图案加以改造。又如刘清扬的Chictopia，该品牌的流行印花是用手绘的，而不是用电脑设计的。消化设计(Digest Design)的设计师Dooling Jiang也是采用传统方式，具体说来，是用古代裁剪方法创造概念化的服装，比如以风景为灵感的衬衣和七分裤套装;极简主义的裹式上衣;或衬裙式超薄连衣裙。
As the Qingdao-born, London-based designer Huishan Zhang said, there’s more to Chinese design than dragons, phoenixes and the color red.
“There is a really interesting feeling of these designers working with a blank slate, and much more willing to take risks with their designs,” Angelica Cheung, the editor in chief of VogueChina, wrote in an email. When the magazine started, in 2005, she struggled to find localdesigners to fill her pages, but is now, according to her, completely overwhelmed.
The 32-year-old Ban Xiaoxue, for example, is one of China’s rising stars; he won the Asian finalof the 2012 International Woolmark Prize the same year he introduced his namesake label.Based in Guangzhou, he uses ancient embroidery techniques to create modern floral and grid patterns on signature floating, feminine pieces, and is known for his fabric experimentation.
Then there is the philosophical approach of Evening, designed by the Beijing-based YuWanning, whose last collection, full of sculpted wool jackets with fur sleeves, cropped chunkyknits, and long sheer skirts, was inspired by wu qin xi, a traditional form of exercise that uses the movement of animals to balance the body and mind. Not to mention the mix of classic Mandarin collars on sheer embroidered tops with cutout shoulders by Liu Min, 34, who trained at Viktor & Rolf; she also designs organza sweatshirts traced by rubber calligraphy.
北京设计师于惋宁的品牌Evening采用的是哲学方法。她的上一个系列充满了有雕塑感的皮毛袖羊毛外衣、宽松超短针织衫，以及长款透明衬衫。这个系列的灵感来自五禽戏，它是中国的一种传统锻炼方法，通过模仿五种动物的动作，实现身体和精神的平衡。还有34岁的刘旻，她把经典中式领与露肩透明刺绣上衣结合起来。她曾在维克托与罗尔夫时装公司(Viktor & Rolf)接受培训。她还设计过镶有橡胶汉字书法的透明硬纱长袖运动衫。
Chinese street-style stars like Leaf Greener, a stylist and former senior fashion editor of ElleChina, are helping bring these Chinese designers to a broader audience, whether on Facebook and Instagram or on Chinese microblogging sites like Weibo and WeChat.
“I mix and match,” Ms. Greener said. “At Giambattista Valli’s show in Paris this season, I wore a simple turtleneck sweater by new Chinese designer Chrisou by Dan with Calvin Klein skinnyj eans, Céline coat and brown Louis Vuitton patterned ankle boots. It showed that Chinese fashion is not about the past but it’s about what’s happening right now.”
“我做一些混搭，”叶子说，“比如本季的巴黎詹巴迪斯塔•瓦利(Giambattista Valli)秀上，我就穿了一件简单的高领衫，这是中国设计师欧阳丹(Chrisou by Dan)设计的，搭配卡尔文•克莱因(Calvin Klein)的瘦腿牛仔裤、赛琳(Céline)外套，以及棕色路易•威登(Louis Vuitton)图案的踝靴。这表明中国时装不仅仅是关于过去，也和当下发生的事件有关。”
Christopher Bu, a former stylist who became a designer in 2010, attributes the fast success ofhis label to Weibo feeds that have showcased celebrities in his clothes, like Xu Fan and FanBingbing, who modeled his gold gown and geometric cape at the Met.
Similarly, Qiaoran Huang and Josh Hupper, whose hip street wear label, Babyghost, has been shown at New York Fashion Week for the last two seasons (they split their time betweenManhattan and Shanghai), are using social media as a conduit for their brand.
“We’ve developed a sixth sense for customer reaction because of the immediacy of Qiaoran’sblog and Instagram,” Mr. Hupper said. “We are using the reaction to our products on Instagram to come up with product numbers so we are building a fan-based business.”
For Andrew Bolton, the curator of the Costume Institute show, this is a reflection of the future. “As the Chinese designers are so sophisticated in technology, and the future of fashion is technology, Chinese designers are well placed to take advantage of this, opening up the market and the parameters of fashion,” he said.
Or, as Ms. Guo, who created the 280 handmade theatrical designs for the 2008 Beijing Olympics opening ceremony, said via Skype from her cavernous Rose Studio in Beijing, “Everyone wants to learn about China, and fashion is the easiest way.”
“China: Through the Looking Glass” is at the Costume Institute at the Metropolitan Museum of Art through Aug. 16.