“后标签时代”自画像
—— 采访Self Portrait总监：韩冲
作者：杨荣彪
很多人其实并不知道Self Portrait这个品牌，更别说韩冲这个来自马来西亚的设计师，但是这个品牌的蕾丝裙代表作你绝对见过。创业两年间，Self Portrait飞速地成长，凭借着“高档蕾丝裙”的名号和亲民的价格，瞬间成为行业的奇迹。在instagram上，#selfportrait每时每刻被更新着。其中明星的面孔少不了，却不是PR的把戏——从她们频繁的回头率来看，是明星自愿的选择。
人们一直在谈：消费者在改变，其中很大一个变化是：人们已经不稀罕把LOGO挂在肩上了，于是我们找到了轻奢品牌Self Portrait的创意总监韩冲，谈谈他“后标签时代”般的成功。我们现在面对的“后标签”形容的是一种属于新一代年轻人的奢侈，它的特点首先是以有趣的设计直接跟消费者进行民主的互动，其次它出自不知名品牌，却因此取代LOGO象征的消费者虚荣心。这种“不知名”度是任何新生品牌自然要面对的现实，但是在“后标签时代”中，“不知名”造成的压力使创新成为一种自然的期望。那些真正懂消费者当下心情的年轻品牌似乎能够直接用产品说话，用年轻人懂的形式，如“个性化”、“多样化”、“潮流”和“求新”，与知名老品牌竞争，并且通过社交网络赢得大量民主的免费广告、转发量和阅读量。
主流时尚媒体一贯将韩冲比喻为“第二个Jason Wu”，却没有意识到Self
Portrait的成功也许打开了一扇我们还没意识到的门。我想听听韩冲自己的话：
你⼀般通过什么⽅式了解市场需求和动向？
市场并不是我的思考模式，女性客户才是我做设计时考虑的点。我为摩登女性创作她们的衣橱，所以每一季的设计过程中，我都会不断想她们目前最渴望的是什么？她们的心情如何？她们从哪来到哪去？以及我的服装能够给她们带来什么感觉？
通过你对中国服装市场的观察，与我们分享⼀下中国消费者对轻奢品牌的反应以及这种反应与⻄⽅市场的不同之处？
国际奢侈品品牌在中国市场有很深远很持久的影响，但是这个现象以及奢侈品本身在国际上的意义在变，潮牌和它们的轻奢市场最近越来越有影响力，订单和流水线都不断在增加，我觉得这象征着消费者的期望随着时代在变。但是能赢得市场的总是那些精美又能够让人愿意掏腰包的产品，这点无论在中国还是别的国家都成立。
你如何把握布料美感和价位的平衡？
我们一直在好布料上花很多心血，选布料时我们会考虑到最终成品的市场价，但是最终布料的质量和美感是我们最先考虑的。
为了创意牺牲⼀些利润空间是个怎样的过程？是否结果每次都令你满意？
我并不认为我有为了创意做出经济上的牺牲。创意对我来说有很多面，所以考虑全面时经济局面只是个副产品而已。
在你的成⻓过程中，身边的⼥性如何影响了你？
我在马来西亚的槟城长大，我的印象中那个地方并不是特别时尚；少有的几次，婚礼或者一些特别的场合，我妈妈和阿姨会拿出特别漂亮的衣服，然后她们的气质一下就变了，我记得当时惊喜地发现衣服居然能让她们感觉更自信更美丽。从此我一直相信服装改变人的力量。
你早先的艺术⽣涯如何影响了你对服装的理解？
对于我来说从艺术转⾏到服装的过程并不是条直线，但是艺术至今不断对我有直接的影响，我喜欢去美术馆看新的展览，至今我的灵感也来自自己艺术的一面。
你最喜欢在什么环境下⼯作？
我最喜欢在家做设计，我享受那种独处、没人打扰的空间，尤其设计新系列时，我喜欢把自己关在家里画草图。
作为⼀个把消费者需求放⾸位的设计师，设计婚纱系列的感受是什么？与设计成⾐之间有何不同？
我们的婚纱系列是与一家零售商合作的为期两季度的特别尝试。在那之前很多顾客尝试过在她们的婚礼上或者别人的婚礼上穿Self Portrait成衣系列，于是我们也受启发，想要专门设计一系列亲民又高端的婚纱，并且由于这些衣服会登上婚礼的殿堂，整个设计过程对于设计师们来说也充满了乐趣。
你的设计过程倾向于⾃我表现还是团队合作？
品牌刚建立时，幕后只有我一个人，品牌成长到现在有了一个团队后，我们之间的想法通常能引出意想不到的结果，团队合作让整个设计流程更加顺利有趣。
你会对刚进入圣⻢丁设计学院的⾃⼰说些什么？
“事情都会好起来的。”
你会给刚创办 Self Portrait的⾃⼰什么建议？
“好好珍惜休息的时间。”
刚创办品牌时的哪些回忆让你⾄今难以忘怀?
我最想念的是当时相对不太忙碌的状态。当时我们的规模更小，不像今天，我每天要快速地做很多决定。
⽅便的话和我们分享⼀下品牌的下⼀件⼤事吗？
我们将在2018年春夏时开启伦敦第一家Self Portrait旗舰店。
在这次的采访中，我们能深刻地感受到这位年轻设计师跨过了LOGO一直以来被神化的地位，把聚光灯打到了时尚获得国际成功的原则上。LOGO的死亡和Self Portrait的成功也许意味着轻奢品牌甚至奢侈本身的新地位，但是我们对“轻奢”的误解太深、断言和预言太多。还记得几年前似乎每个人都在崇拜着H&M的成功，并预示消费者会在两个价位极端做选择，让轻奢品牌互相挤出市场。并且不知从何时开始，“轻奢”在中国成为一个非常时髦的“百姓社会学”话题，在知乎上搜一搜你就知道我的意思了。这个词形容的不仅仅是“高质量中等价位的时尚产品”，在中国后现代的流行文化中它暗示着购买这种产品的很具体的一种人，通常贬义地被称为“小资”一族。
“轻奢”容易被误解，因为它乍一看是个容易成功的商业模式：物美价廉，谁不喜欢？但是这种笼统的称呼也容易让人们忽略一个品牌除了LOGO和价格之外的多面性。Self Portrait代表着奢侈品牌、潮牌、设计师品牌的集合，在中国的大背景下，它预示着一种新的更复杂的全球性文化的到来。“融合”似乎是今后新品牌的关键词：它们什么都是，什么都像，并且由于网络，它们能无处不在。
Interview with the CEO of Self-Portrait, Han Chong
By Rongbiao Max Yang
1. Do you have a favorite place to work?
My favorite place to design and work is at my house. Each season when I am preparing the collection, I love to sketch at my house. I lock myself away and I’m completely alone with no distractions.
2. Do you consider your research personal or a team effort?
When I first launched the brand, it was just me, and now that we’ve grown to have a team it’s been inspiring to collaborate with everyone. Someone will have an idea that can lead to another idea. This brainstorming is what makes the process exciting.
3. What makes the kind of fabric you select work both economically and aesthetically? How do you evaluate?
We work extremely hard to find the best quality fabrics for our designs. We do keep in mind the target price point for our customers, but ultimately the quality and aesthetic is the number one priority.
4. Have you made financial sacrifices for creativity? Looking back, was it always worth it?
I don’t think I’ve had to make financial sacrifices for creativity. Creativity for me can come in so many different forms, and it does not have to be about finances.
5. How do you be in sync with the market’s need?
For me it’s not about the market as much as it is about the woman. I design for modern women, and with every season, I am thinking about what the needs of these women are. I try to tap into their moods, where they are going, and how they feel when wearing these clothes.
6. What is your general analysis of or hopes for China’s fashion market and its enthusiasm for mid-price brands? How do Chinese customers react differently to these brands than their western counterparts?
International luxury brands have had such a dominating presence in the China market for a really long time, and I think that globally the definition of luxury is changing. You see lines of streetwear brands that are mid-price with waiting lists and lines for their product, so I think times have changed. Customers, whether in China or anywhere else in the world, are looking for beautifully designed pieces that are worth their value.
7. Growing up, how have women influenced you?
Growing up in Penang, Malaysia, there wasn’t much of a fashion scene; the only times I ever saw my mum and aunts get dressed up was for weddings and special occasions. I saw how these clothes and dresses transformed them—the confidence and how beautiful they felt. I was definitely influenced by that growing up.
8. What have you brought from your practice in the art field to fashion? Is it a straight line or more of an indirect and abstract influence?
It’s not a direct influence, but art still inspires me today. I enjoy going to galleries to see new works and this continues to inform my creativity.
9. Emotionally, how is designing your bridal collection different from designing RTW?
The bridal collection was just a special capsule that we did for two seasons for a retailer. We had so many customers that were wearing our ready-to-wear dresses for their weddings, that we decided it would be fun to create the bridal capsule. Of course, when we designed the bridal, it was a fun experience because we knew we were creating something that someone would wear on their special day.
10. What would you say to your younger self who just started school in Central Saint Martins?
“Everything will be ok.”
11. What would you say to your younger self who just started Self Portrait?
“Enjoy your time off.”
12. Anything you miss about the earliest days of starting the new brand?
I think what I miss most about starting the new brand was having more time. The business was smaller and I didn’t have to make as many decisions as I do today.
13. What is you next big move?
We are opening our first flagship store in London in the Spring of 2018.
—— 采访Self Portrait总监：韩冲
作者：杨荣彪
很多人其实并不知道Self Portrait这个品牌，更别说韩冲这个来自马来西亚的设计师，但是这个品牌的蕾丝裙代表作你绝对见过。创业两年间，Self Portrait飞速地成长，凭借着“高档蕾丝裙”的名号和亲民的价格，瞬间成为行业的奇迹。在instagram上，#selfportrait每时每刻被更新着。其中明星的面孔少不了，却不是PR的把戏——从她们频繁的回头率来看，是明星自愿的选择。
人们一直在谈：消费者在改变，其中很大一个变化是：人们已经不稀罕把LOGO挂在肩上了，于是我们找到了轻奢品牌Self Portrait的创意总监韩冲，谈谈他“后标签时代”般的成功。我们现在面对的“后标签”形容的是一种属于新一代年轻人的奢侈，它的特点首先是以有趣的设计直接跟消费者进行民主的互动，其次它出自不知名品牌，却因此取代LOGO象征的消费者虚荣心。这种“不知名”度是任何新生品牌自然要面对的现实，但是在“后标签时代”中，“不知名”造成的压力使创新成为一种自然的期望。那些真正懂消费者当下心情的年轻品牌似乎能够直接用产品说话，用年轻人懂的形式，如“个性化”、“多样化”、“潮流”和“求新”，与知名老品牌竞争，并且通过社交网络赢得大量民主的免费广告、转发量和阅读量。
主流时尚媒体一贯将韩冲比喻为“第二个Jason Wu”，却没有意识到Self
Portrait的成功也许打开了一扇我们还没意识到的门。我想听听韩冲自己的话：
你⼀般通过什么⽅式了解市场需求和动向？
市场并不是我的思考模式，女性客户才是我做设计时考虑的点。我为摩登女性创作她们的衣橱，所以每一季的设计过程中，我都会不断想她们目前最渴望的是什么？她们的心情如何？她们从哪来到哪去？以及我的服装能够给她们带来什么感觉？
通过你对中国服装市场的观察，与我们分享⼀下中国消费者对轻奢品牌的反应以及这种反应与⻄⽅市场的不同之处？
国际奢侈品品牌在中国市场有很深远很持久的影响，但是这个现象以及奢侈品本身在国际上的意义在变，潮牌和它们的轻奢市场最近越来越有影响力，订单和流水线都不断在增加，我觉得这象征着消费者的期望随着时代在变。但是能赢得市场的总是那些精美又能够让人愿意掏腰包的产品，这点无论在中国还是别的国家都成立。
你如何把握布料美感和价位的平衡？
我们一直在好布料上花很多心血，选布料时我们会考虑到最终成品的市场价，但是最终布料的质量和美感是我们最先考虑的。
为了创意牺牲⼀些利润空间是个怎样的过程？是否结果每次都令你满意？
我并不认为我有为了创意做出经济上的牺牲。创意对我来说有很多面，所以考虑全面时经济局面只是个副产品而已。
在你的成⻓过程中，身边的⼥性如何影响了你？
我在马来西亚的槟城长大，我的印象中那个地方并不是特别时尚；少有的几次，婚礼或者一些特别的场合，我妈妈和阿姨会拿出特别漂亮的衣服，然后她们的气质一下就变了，我记得当时惊喜地发现衣服居然能让她们感觉更自信更美丽。从此我一直相信服装改变人的力量。
你早先的艺术⽣涯如何影响了你对服装的理解？
对于我来说从艺术转⾏到服装的过程并不是条直线，但是艺术至今不断对我有直接的影响，我喜欢去美术馆看新的展览，至今我的灵感也来自自己艺术的一面。
你最喜欢在什么环境下⼯作？
我最喜欢在家做设计，我享受那种独处、没人打扰的空间，尤其设计新系列时，我喜欢把自己关在家里画草图。
作为⼀个把消费者需求放⾸位的设计师，设计婚纱系列的感受是什么？与设计成⾐之间有何不同？
我们的婚纱系列是与一家零售商合作的为期两季度的特别尝试。在那之前很多顾客尝试过在她们的婚礼上或者别人的婚礼上穿Self Portrait成衣系列，于是我们也受启发，想要专门设计一系列亲民又高端的婚纱，并且由于这些衣服会登上婚礼的殿堂，整个设计过程对于设计师们来说也充满了乐趣。
你的设计过程倾向于⾃我表现还是团队合作？
品牌刚建立时，幕后只有我一个人，品牌成长到现在有了一个团队后，我们之间的想法通常能引出意想不到的结果，团队合作让整个设计流程更加顺利有趣。
你会对刚进入圣⻢丁设计学院的⾃⼰说些什么？
“事情都会好起来的。”
你会给刚创办 Self Portrait的⾃⼰什么建议？
“好好珍惜休息的时间。”
刚创办品牌时的哪些回忆让你⾄今难以忘怀?
我最想念的是当时相对不太忙碌的状态。当时我们的规模更小，不像今天，我每天要快速地做很多决定。
⽅便的话和我们分享⼀下品牌的下⼀件⼤事吗？
我们将在2018年春夏时开启伦敦第一家Self Portrait旗舰店。
在这次的采访中，我们能深刻地感受到这位年轻设计师跨过了LOGO一直以来被神化的地位，把聚光灯打到了时尚获得国际成功的原则上。LOGO的死亡和Self Portrait的成功也许意味着轻奢品牌甚至奢侈本身的新地位，但是我们对“轻奢”的误解太深、断言和预言太多。还记得几年前似乎每个人都在崇拜着H&M的成功，并预示消费者会在两个价位极端做选择，让轻奢品牌互相挤出市场。并且不知从何时开始，“轻奢”在中国成为一个非常时髦的“百姓社会学”话题，在知乎上搜一搜你就知道我的意思了。这个词形容的不仅仅是“高质量中等价位的时尚产品”，在中国后现代的流行文化中它暗示着购买这种产品的很具体的一种人，通常贬义地被称为“小资”一族。
“轻奢”容易被误解，因为它乍一看是个容易成功的商业模式：物美价廉，谁不喜欢？但是这种笼统的称呼也容易让人们忽略一个品牌除了LOGO和价格之外的多面性。Self Portrait代表着奢侈品牌、潮牌、设计师品牌的集合，在中国的大背景下，它预示着一种新的更复杂的全球性文化的到来。“融合”似乎是今后新品牌的关键词：它们什么都是，什么都像，并且由于网络，它们能无处不在。
Interview with the CEO of Self-Portrait, Han Chong
By Rongbiao Max Yang
1. Do you have a favorite place to work?
My favorite place to design and work is at my house. Each season when I am preparing the collection, I love to sketch at my house. I lock myself away and I’m completely alone with no distractions.
2. Do you consider your research personal or a team effort?
When I first launched the brand, it was just me, and now that we’ve grown to have a team it’s been inspiring to collaborate with everyone. Someone will have an idea that can lead to another idea. This brainstorming is what makes the process exciting.
3. What makes the kind of fabric you select work both economically and aesthetically? How do you evaluate?
We work extremely hard to find the best quality fabrics for our designs. We do keep in mind the target price point for our customers, but ultimately the quality and aesthetic is the number one priority.
4. Have you made financial sacrifices for creativity? Looking back, was it always worth it?
I don’t think I’ve had to make financial sacrifices for creativity. Creativity for me can come in so many different forms, and it does not have to be about finances.
5. How do you be in sync with the market’s need?
For me it’s not about the market as much as it is about the woman. I design for modern women, and with every season, I am thinking about what the needs of these women are. I try to tap into their moods, where they are going, and how they feel when wearing these clothes.
6. What is your general analysis of or hopes for China’s fashion market and its enthusiasm for mid-price brands? How do Chinese customers react differently to these brands than their western counterparts?
International luxury brands have had such a dominating presence in the China market for a really long time, and I think that globally the definition of luxury is changing. You see lines of streetwear brands that are mid-price with waiting lists and lines for their product, so I think times have changed. Customers, whether in China or anywhere else in the world, are looking for beautifully designed pieces that are worth their value.
7. Growing up, how have women influenced you?
Growing up in Penang, Malaysia, there wasn’t much of a fashion scene; the only times I ever saw my mum and aunts get dressed up was for weddings and special occasions. I saw how these clothes and dresses transformed them—the confidence and how beautiful they felt. I was definitely influenced by that growing up.
8. What have you brought from your practice in the art field to fashion? Is it a straight line or more of an indirect and abstract influence?
It’s not a direct influence, but art still inspires me today. I enjoy going to galleries to see new works and this continues to inform my creativity.
9. Emotionally, how is designing your bridal collection different from designing RTW?
The bridal collection was just a special capsule that we did for two seasons for a retailer. We had so many customers that were wearing our ready-to-wear dresses for their weddings, that we decided it would be fun to create the bridal capsule. Of course, when we designed the bridal, it was a fun experience because we knew we were creating something that someone would wear on their special day.
10. What would you say to your younger self who just started school in Central Saint Martins?
“Everything will be ok.”
11. What would you say to your younger self who just started Self Portrait?
“Enjoy your time off.”
12. Anything you miss about the earliest days of starting the new brand?
I think what I miss most about starting the new brand was having more time. The business was smaller and I didn’t have to make as many decisions as I do today.
13. What is you next big move?
We are opening our first flagship store in London in the Spring of 2018.