Oude Waag上海2027春夏：利落剪裁对上流动垂坠，水墨泼墨印花里藏着从紧绷到松开的过程

Oude Waag Shanghai Spring 2027

AI 导读

这是Vogue对中国设计师尹经纬（Jingwei Yin）品牌Oude Waag在上海2027春夏季的一篇秀评。设计师把自己一段困难时期的心境放进了这一季：从像盔甲一样紧绷的状态，慢慢走向更敞开、更接受的状态，但秀评写得很克制——衣服打动人的地方不是给出一个走出来的结论，而是让两种相反的冲动并存、不强行和解。具体手法上，一边是利落的剪裁与干净的轮廓，一边是流动的垂坠、飘逸的雪纺和做旧水洗的表面，面料在身体上打结、扭转、抽褶。尹经纬此前曾与Haider Ackermann共事、从中学习剪裁与立体裁剪，他在文中说自己看到立体裁剪与东方、日本平面剪裁之间的联系，想把两者以现代方式结合，并把立体裁剪比作绘画乃至雕塑——需要眼、脑、手合一。印花用了中国水墨画的泼墨技法，给原本精确的构成里添了一点偶然性。色彩从大地棕与灰调走，最后突然出现一道猩红，秀评的读法是这更像重新有了对生活的兴致，而不是宣告式的复原。需要说明：本文是单篇秀评，属记者的现场观察与设计师自述，没有销售数据或第三方评价可核验，读者把它当作认识一位中国设计师当季思路的窗口即可，不要把秀评的解读当作品牌经营结论。

正文

Some losses refuse the tidy narrative arc of adversity overcome. How to keep moving without pretending to have left them behind? Drawing on a difficult period in his own life, Oude Waag designer Jingwei Yin traced a gradual shift from emotional armor toward a more open, accepting state of mind. The idea could easily have tipped into solemnity, but it was persuasive when opposing impulses played off each other without being forced into reconciliation.

Sharp tailoring and neat contours met liquid draping, floating chiffon, and washed, timeworn surfaces. The contrast between them lent the clothes a sensuality that was intriguing when construction gave it substance and allure. A thoughtful, sophisticated designer, Yin previously worked with Haider Ackermann, from whom he learned much about tailoring and draping. “I see a connection between draping and the flat-cutting techniques of Eastern and Japanese design, and I try to bring these approaches together in a modern way,” he explained. “Draping is a form of drawing, even sculpture, requiring the eye, mind, and hands to work as one.”

That elaborate yet fluid hands-on approach came through in fabrics knotted, twisted, and gathered around the body. Ink-splash prints, inspired by the pomo technique of Chinese ink painting, introduced an element of chance into an otherwise calibrated composition. Earthy browns and muted grays eventually gave way to a sudden slash of crimson, suggesting a renewed appetite for life rather than making a grand declaration of recovery.

The concept was compelling, not because it promised healing, but because it acknowledged that life rarely proceeds in a straight line. The clothes were most convincing when they gave form to that idea, allowing for contradictions and unexpected turns without feeling obliged to spell everything out. Said Jingwei Yin: “I love women’s complexities. But above all, I’m drawn to their mystery.”