HONG KONG FASHION DESIGNERS AS CULTURAL INTERMEDIARIES: OUT OF GLOBAL GARMENT PRODUCTION
HONG KONG FASHION DESIGNERS AS CULTURAL INTERMEDIARIES: OUT OF GLOBAL GARMENT PRODUCTION
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香港时装设计师作为文化中介：脱离全球服装生产
DOI：
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发表时间：
2002
期刊：
影响因子：
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通讯作者：
L. Skov
中科院分区：
文献类型：
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作者：
L. Skov
本文通过对香港时装界的民族志研究，描绘了香港时装设计师的工作经历和职业轨迹。它追溯了他们的个人主义的生活方式，以项目为基础的教学方法在设计学校，并继续研究他们的相对孤立的组织结构中的出口导向型服装行业。它讨论了时装设计作为“一个年轻的职业”的矛盾心理，既表明了活力和创造力，但也随着设计师年龄的增长逐渐关闭的机会。时装设计师在行业中经历了许多与老板和商人的冲突，他们理解为“想法”和“金钱”之间的冲突。借鉴阿多诺，这是分析作为一个基本的冲突在文化产业。然而，与许多西方同行不同的是，香港设计师自觉地接受市场作为传播其作品的基本社会机制。最后，文章跟随时装设计师，因为他们建立自己的标签和精品店。有人认为，他们代表了一种新的企业家类型，与香港的老企业家不同，他们拒绝短期利润导向和工具主义，而这些都被认为是香港企业家精神的支柱。即使如此，一个小规模的名牌设计师要在香港竞争激烈的零售市场中生存并不容易，而大规模的出口业对支持香港的设计师时装兴趣不大。本文分析了非西方文化中介在文化产业中的矛盾作用，尽管它们已经全球化，但仍然以欧洲为中心。全球文化和经济的流动是如此的脱节，以至于它们在某些方面赋予香港时装设计师权力，但在其他方面却削弱了他们的权力
Based on an ethnographic study of Hong Kong's fashion world, the article maps the working experiences and career trajectories of Hong Kong fashion designers. It traces their individualistic lifestyle to the project-based teaching methods in design schools, and goes on to examine their relative isolation in the organization structure in the export-oriented garment industry. It discusses the ambivalence of fashion design as 'a young profession', indicating both dynamism and creativity, but also a gradual closure of opportunities as designers grow older. Fashion designers experience many conflicts with bosses and businesspeople in the industry, which they understand in terms of conflicts between 'ideas' and 'money'. Drawing on Adorno, this is analysed as a basic conflictuality in the culture industries. However, unlike many of their Western counterparts, Hong Kong designers self consciously embrace the market as a basic social mechanism for the diffusion of their work. Finally, the article follows fashion designers as they set up their own labels and boutiques. It is argued that they represent a new type of entrepreneur that is distinguished from Hong Kong's old entrepreneurs by their rejection of short-term profit orientation and instrumentalism - which have otherwise been considered to be the mainstays in Hong Kong's entrepreneurial ethos. Even so, it is not easy for a small-scale name designer to stay in business in Hong Kong's competitive retail market, and the large-scale export industry shows little interest in supporting Hong Kong designer fashion. The article contributes to an analysis of the ambivalent role of non-Western cultural intermediaries in culture industries, which although they are globalized are still Euro-centric. The global flows of culture and economy are so disjunctive that while they empower Hong Kong fashion designers in some ways, they disempower them in other ways