日本首饰设计师岩泽洋子经常使用氨纶纱、尼龙、有机玻璃和聚丙烯等纤维材料来制作首饰。图4-25最初的设计灵感来自于古代日本人用来包裹食盒的裹布。通过这一灵感，有了将物件容纳、覆盖、包裹的想法。尼龙和氨纶纱都具有较强的弹性、质地轻、易染色、易成型等特性。通过编织机器将极细的氨纶纱和尼龙编织起来，使织物具有较强的拉伸性及透光度，这符合将物体包裹和覆盖起来的理念。再将较硬的透明有机玻璃和聚丙烯作为织物中间的填充物，既起到了固定的作用，又具有一定的透明度。将尼龙和氨纶纱染色后，包裹起透明的有机玻璃，使作品具有含蓄、朦胧、神秘的美感。

图4-24　小泽洋子，项饰
Figure 4-24　Yoko Lzawa，necklace

图4-25　Denise JuIia Reytan，项饰
Figure 4-25　Denise Julia Reytan，necklace

Japanese jewellery designer Yoko Lzawa often uses fiber materials such as spandex,nylon,plexiglass and polypropylene to make jewelry.The original design of Figure 15 was inspired by the wrapping of the ancient Japanese used to wrap the food box.Through this inspiration,the author has the idea of accommodating,covering,and wrapping objects.Nylon and spandex yarns have strong elasticity,light texture,easy dyeing and easy molding.The extremely fine spandex yarn and nylon are woven by a weaving machine to give the fabric a strong stretchability and transparency,which is in line with the idea of wrapping and covering the object.The hard transparent plexiglass and polypropylene are used as the filler in the middle of the fabric,which plays a fixed role and has a certain transparency.The nylon and spandex yarns are dyed and wrapped in transparent plexiglass to give the work a subtle,flawless and mysterious aesthetic.

德国首饰设计师丹尼斯-茱莉娅·雷坦的作品洋溢着青春和现代的美感。她的作品非常直观地将各种色彩鲜艳的纤维材料和硅胶、金属、塑料、半宝石等材料混搭在一起。她的首饰制作方法非常有趣，她将珠子、徽章和其他小珍宝放进硅胶中，通过硅胶翻模的方式来提取这些物件的形状，然后再与其他材料结合。她的作品中大部分是使用纤维材料，而纤维材料的易加工性，也给予设计师很多的发挥空间。作者通过此件作品将色彩鲜艳的材料搭配在一起，产生了丰富的趣味性，成功地将观赏者带入到了她的幻想世界中。

The work of Germany jewellery designer Denise Julia Reytan is full of youth and modern beauty.Her work is very intuitive to mix a variety of colorful fiber materials with silica gel,metal,plastic,semi-precious stones and other materials.Her method of making jewelry is very interesting.She puts beads,badges and other small treasures into the silica gel,and uses silicone to mold the shape of the objects and then combine them with other materials.Most of her works use fiber materials,and the ease of processing of fiber materials gives designers a lot of room to play.Through this piece of work,the authors combine colorful materials to create a rich and interesting taste that successfully brings viewers into her fantasy world.

中国台湾设计师李恒的作品（图4-26），灵感来源于服装上的刺绣图案。他将服装载体抽离后，把具象图案放大，形成失焦的马赛克图案。在金属板上利用镭射工艺，切割出马赛克边缘不规则的形状后，再将柔软的手工刺绣融入坚硬的金属框中。其作品综合运用了雕、绣、烧、编等技法，形成了“镂空风貌”，在打破作品整体沉闷感的同时增强了材料的艺术欣赏性。镂空工艺与刺绣技法相结合，使原材料焕然一新，给人留下奇妙的视觉印象。

The work of China Taiwanese designer Li Heng(Figure 4-26) is inspired by the embroidery pattern on the clothing.After he pulled the garment carrier away,he magnified the figurative pattern to form an out-of-focus mosaic pattern.After the laser process is used on the metal plate to cut the irregular shape of the mosaic edge,the soft hand embroidery is incorporated into the hard metal frame.His works use a combination of carving,embroidering,burning,and knitting techniques to form a “small-looking style”,which enhances the artistic appreciation of the material while breaking the overall dullness of the work.The combination of the hollowing process and the embroidery technique gives the raw materials a new look,leaving a wonderful visual impression.

中国美术学院教师段燕俪的作品《云和山的彼端》（图4-27），表达了作者在西藏游历中被当地纯净雄浑的自然风景、质朴的人文生活、神圣的宗教文化所震撼的情感。在西藏服饰中天然面料、穿戴方式及浓艳的色彩、富含寓意的图腾纹样等都是其历代文化传承的标志象征。设计师对藏服进行解构和重组，用西藏独有的动物牦牛、藏羚羊等的塑料模型作为视觉主体，结合日常用品如自行车上的LED灯、塑料玩具等作品“集合”，看似毫不相关的材料聚集在一起，实则是通过和谐而有内涵的逻辑，来表达对西藏的赞叹、崇拜和敬仰之情。作者打破民俗和国际、传统和当代之间的界限，给少数民族文化新的诠释。

图4-26　李恒，胸针
Figure 4-26　Li Heng，brooch(www.daowen.com)

图4-27　段燕俪，项饰
Figure 4-27　Duan Yanli，necklace

首饰设计师维克·梅森的创作灵感来源于澳大利亚园林中带有异国情调并极具装饰意味的植物形象。首饰作为一种便携式工具，不仅可以打开人与人之间的对话，也可以用于思想之间的交流。她的作品（图4-28、图4-29）成功地激发了佩戴者和观众之间的互动反应。作者通过该作品表达对植物的热爱、探索地方归属和生命周期的概念。

Duan Yanli’s work “The Other Side of Cloud and Mountain” (Figure 4-27) of the Chinese Academy of Fine Arts expresses the emotions that the author was shocked by the natural and pure natural scenery,the pristine human life and the sacred religious culture.Natural fabrics,wearing methods,rich colors and rich totem patterns in Tibetan costumes are all symbols of their cultural heritage.The designer deconstructed and reorganized the Tibetan clothes,using the plastic models of the unique animal yak and Tibetan antelope in Tibet as the visual subject,and combining the daily collections such as LED lights and plastic toys on bicycles to “integrate”.The related materials are gathered together,but in reality,through the logic of harmony and connotation,to express the admiration,worship and admiration of Tibet.The author breaks the boundaries between folklore and international,traditional and contemporary,and gives a new interpretation of minority culture.

Jewelry designer Vicki Mason’s creations are inspired by the exotic and highly decorative botanical image of Australian gardens.As a portable tool,jewelry enables the dialogue between people,in addition,the communication between ideas.Her work(Figure 4-28、Figure 4-29) successfully stimulated the interaction between the wearer and the audience.Through this work,the author expresses the concept of love for plants,exploring local ownership and life cycle.

英国设计师霍娜拉，将首饰设计与编织技术结合运用在她具有科学和数学灵感的可穿戴艺术作品中。在其作品中经纬线通过穿插、交叉、重叠、缠绕等方式在长短、间距、方位之间做变化调整，形成具有不同疏密关系的、节奏感的编织纹样。不同编织针法的组合可形成千变万化的艺术效果，图4-30中的项饰作品体现出了轻盈、浪漫的柔美风格。

British designer Nora Fok combines jewellery design and weaving techniques in her science and math-inspired wearable art.In her works,the latitude and longitude lines are adjusted in length,spacing and orientation by interspersing,intersecting,overlapping,winding,etc.,forming a woven pattern with different senses of density and rhythm.The combination of different knitting methods can create an ever-changing artistic effect.The item in Figure 4-30 reflects a light,romantic and feminine style.

图4-28　维克·梅森，胸针
Figure 4-28　Vicki Mason，brooch

图4-29　霍纳拉，项饰
Figure 4-29　Nora Fok，necklace

图4-30　维克·梅森，项链
Figure 4-30　Vicki Mason，necklace