SIGN of the TIMES 時代 的 印記
In fleeting glimpses, we swim through the currents of time. 浮光掠影 時間裏暢泳
This fashion design collection draws inspiration from the developmental memories of Hong Kong from the 1950s to the 1970s. During the 40s and 50s, many mainlanders migrated to Hong Kong, becoming the backbone of our society in the last century; their efforts and sacrifices are beyond doubt. With economic development, Hong Kong evolved from a small fishing village to a city with a hub of light industry and manufacturing; and it connected with the world, giving rise to the prosperity since the 1980s, leading to the high-tech development after the millennium, and the opportunity for integration with the mainland China following the return of sovereignty.
In the 1950s, due to the influx of immigrants into Hong Kong, housing development was very important. From the 1950s to the 1970s, from resettlement areas to public housing estates, and the planning of new towns to accommodate the growing population, this laid the groundwork for urban planning in Hong Kong. Hong Kong's distinctive feature is its limited land with dense population, leading to densely packed buildings and tight-knit communities where neighbours often had opportunities to interact, fostering a spirit of caring and helping each other.
此服裝設計系列靈感來源於對香港50至70年代的發展記憶。 在4、50年代，不少內地人移居香港，成為我們香港上個世紀的社會棟樑；他們的努力、付出，不容置疑。因着經濟發展，香港由一個小小的漁港、 逐漸轉為輕工業、製造業為主的城市；以及與世界接軌，金融及服務業興起，造就了我們香港80年代以後的繁華盛世，到了千禧年之後的高科技發展以及主權回歸，這也帶來了內地融合的契機。
50年代，由於大量移民湧入香港，房屋發展是重中之重。 從50至70年代，從徙置區到屋邨，以及籌劃發展新市鎮容納新增的人口，這是香港城市規劃的雛形。香港的特色是地小人多，所以樓宇是密集式的，而當時人口也是非常密集，家家戶戶、街坊鄰里在當時候常有機會碰面，人也較為簡樸，所以多發揮關愛互助精神。
We drank a toast to innocence. We drank a toast to now 我們為純真乾杯 如今我們仍乾杯
Back then, the flood of immigrants brings to mind the “red, white, and blue” bags: people carrying their belongings in these bags as they moved to and from Hong Kong, symbolizing the hard work of Hong Kong people in the past century: resilience and determination. The tall buildings and busy streets gave birth to bright neon signs, lighting up the city at night and showing its liveliness.
In the 1950s, our local clothing brand, "Chicks," brought affordable fine-knitted garments to the public. By that time, many couldn't afford expensive imported clothes, but with our local brand, it helped what they needed. This also conveys a message of compassion, responsibility, and mutual assistance.
Since the 1950s, a man known as the "King of Kowloon," Mr. Tsang Tsou Choi, had been painting graffiti across Hong Kong streets. From the 1950s to the millennium, his handwriting could be found all over Hong Kong and Kowloon, symbolizing his persistence and resilience. Whether it's considered street art or public vandalism is another issue, but it illustrates an intriguing phenomenon amidst Hong Kong's rapid development.
那時候，移民人潮讓人想起紅白藍袋: 當時候往來香港的人攜帶隨身的紅白藍大袋裝上生活用品遷居， 這也象徵了上世紀的香港人勞動力量的代表：拼搏及努力。
密集的高樓大廈，也孕育了商業霓虹燈的出現，讓香港在密密麻麻的街道上，呈現不同的招牌。在晚上，霓虹燈亮起，表現出繁盛的一片景象， 也表達出這城市的生命力。 50年代，我們也孕育出本地的服裝品牌雞仔嘜， 帶來了大眾化的線衫系列，讓一般大眾也能穿上。 當時候，一般大眾不能負擔買貴價的舶來品線衫，適逢期會，香港孕育出的本地品牌，讓貧苦大眾帶來衣物上的需要。這也帶出一個關於關愛、承擔與互助的訊息。
另外，從50年代開始，香港的一位小人物 ，被稱為 “九龍皇帝” 的曾灶財先生在街頭上不斷以他的手筆塗鴉， 從50年到千禧年代，他在香港、九龍各處地方都有他的筆跡，代表了他的堅持與不屈。是空間藝術還是公共破壞是題外話，這也印證了香港急速發展以來的一種有趣現象。
This collection pays homage to the generations of the 1950s to the 1970s, drawing inspiration from dense patterns, signage fonts, the calligraphy of the "King of Kowloon," the local clothing brand "Chicks,” the dressing styles of the labour force, and vibrant color combinations. The designs are rooted in grassroots characters and public housing estates; the direction is guided by indigenous and street culture; the target market is the high-end crowd with a sense of cultural appreciation. This reflects a part of my childhood memories and a nostalgic experience for those who had lived through the 50s to the 70s, hoping that the new generation can understand Hong Kong's past development better.
此系列以密集的圖案鋪排、招牌的字體靈感、 九龍皇帝的字體藝術、服裝品牌 “雞仔嘜” 、當時勞動人口的穿衣狀態以及色彩鮮明的顏色配搭向我們上一代50至70年代致敬。 衣服構思以草根人物、屋邨作為藍本；設計以本土文化、街頭文化作為方向；市場以高端、對文化有愛惜的群眾為對象。這是我某部份的童年回憶，也是對生活於50至70年代的群眾的一種懷緬經驗，也期望新一代可多了解香港過去的發展。
Keep your eyes and ears open, and cherish the memories you gather 願你可不將耳目收藏、多聽多看
Acknowledgement 致謝
This project is intended solely for educational purposes, targeting students, designers, or any individuals interested in indigenous design and culture developed in Hong Kong. The use of photo images online does not serve any commercial value or purpose. I would like to acknowledge the following parties, among others: Keith Macgregor, Fan Ho, Francesco Scavullo, Locationscout.net, Hong Kong Jockey Club-Walk Project/Hulu,Boaz Rottem/alamy, Peter Stewart, braslavcbs.by/Sic Leung Medium, Willie Chung Yin Choi, and more. If you find that your image was included in my visual presentation without acknowledgment, please let me know so that I can add proper credit. Thank you for your understanding.
Music: Royalty Free Music – No Copyright Music – One Day in Hong Kong Background Instrumental
The project also aims to pay respect to those who contributed their effort and hard work in the years between 1950s – 1970s, as well as to Mr Tsang Tsou Choi and the brand ‘Chicks’.
The video explores how ideas are translated from 2D to 3D design.
To be continued.
