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Được thiết kế và sản xuất riêng cho triển lãm, tà áo dài này đánh dấu một bước tiến mới trong tư duy sáng tạo của Thuỷ. Sử dụng đa dạng các kỹ thuật khâu tay khác nhau, trang phục được thực hiện hoàn toàn thủ công. Mỗi hạt cườm được người nghệ nhân lành nghề tỉ mỉ đính kết vào nhau, tạo thành lớp nền có cấu trúc của lưới hay mạng chăng tơ. Nổi bật trên lớp nền là mô-típ ‘long tường phượng vũ’. Đóng vai trò là hoạ tiết trung tâm, hình ảnh rồng bay phượng múa - vừa uy nghiêm, vừa phóng khoáng - là biểu tượng cho sự hòa thuận, hạnh phúc, thành đạt và viên mãn.

Song song thực hành nghệ thuật thị giác và thiết kế thời trang, với tà áo dài này, Thuỷ khám phá miền giao thoa giữa nghệ thuật, trình diễn, thời trang và bàn tay khéo léo của con người. Trong hành trình vượt qua những ranh giới kể trên, cô đồng thời cũng đưa ra chất vấn, ‘Liệu quần áo có thể được coi là nghệ phẩm?’ Nổi lên vào những năm 1930, phong trào ‘Wearable Art’ (tạm dịch: ‘Nghệ y’) như ta biết ngày hôm nay đã tìm được tiếng nói riêng vào thập kỷ 60 ở Mỹ - những tháng năm với đầy biến động mang tính xã hội, chính trị và văn hoá. Sử dụng cơ thể người như tấm toan để sáng tác, nghệ y đề cao phong cách cá nhân, được làm thủ công, mang tính biểu cảm cao, và thường là những tác phẩm độc nhất vô nhị. Khác biệt, nhưng cùng lúc vẫn kết nối với thời trang dòng chính, nghệ y xoá nhoà ranh giới giữa ý niệm và chức năng của trang phục. Đa dạng cả về phom dáng (khi ôm gọn, áp phẳng vào cơ thể; khi gồ ghề, mang tính điêu khắc) lẫn phong cách, chất liệu và kỹ thuật (sử dụng phương pháp đắp khối, lắp ráp; thậm chí cả vật thể tìm thấy trong đời sống thường nhật), đặc tính của nghệ y nằm ở tinh thần thử nghiệm dồi dào, trí tưởng tượng phong phú, và cam kết với tầm nhìn sáng tạo độc nhất của cá nhân người nghệ sĩ/nhà thiết kế.

Sản phẩm hiện đang được trưng bày tại "Ở trọ trần gian", triển lãm Mộng Bình thường ❤️
Chất liệu: Cườm kết thủ công
Thương hiệu: Thủy Design House
____________________________________

This áo dài, commissioned specifically for the exhibition, marks another step in Thủy’s creative thinking. Made entirely by hand, this áo dài has been constructed with beaded mesh and different hand stitching techniques. Working closely with skilled artisans each bead was stuck together to create a web-like layer underneath, with the central motif of the garment being ‘dragon dancing with phoenix’. The image of the dragon and the phoenix embracing each other and rising up high is both solemn and liberal, which is a symbol for harmony, happiness, success and contentment.

Practising as both a visual artist and a designer, this garment explores the intersection of art, performance, fashion and craftsmanship. In crossing these boundaries, Thủy is asking us ‘can clothing be art? The ‘Wearable Art’ movement as it is understood today emerged in the 1930s, and in particular, found expression in the American counterculture movement of the 1960s reflecting the social, political, and cultural upheavals of that decade. Using the body as armature, wearable art is individual, hand-made, expressive, and generally one-of-a-kind. It is distinct from mainstream fashion for its blurring the lines between conceptual and functional, yet remains connected to it. Although wearable art takes varied clothing related forms (sculptural or flat), employing diverse techniques, styles and materials (such as assemblages and found objects), it is characterised by a spirit of experimentation, fantasy, creative expression, and commitment to an idiosyncratic personal vision.

The artwork is displayed at An Everyday Dream exhibition:
Material: 3D beading
Brand: Thuy Design House

Tags: 1960s counterculture movement

Tia-Thuy Nguyen

About author

Fanpage chính thức, chuyên cập nhật những tin tức mới nhất về hoạt động nghệ thuật của Tia-Thủy Nguyễn, người sáng lập thương hiệu Thuy Design House và Trung tâm Nghệ thuật Đương đại The Factory.

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