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“A large part of our mis­sion is to sup­port age-old tech­niques and what peo­ple would con­sider dy­ing arts, like Can­tonese ceramic work, or the work that The Fabrick Lab does with vil­lages in Guizhou, China,” says Young. Run by de­signer Elaine Yan Ling Ng, The Fabrick Lab cre­ates hand-wo­ven fab­rics and other home ac­ces­sories de­signed and pro­duced in col­lab­o­ra­tion with craftswomen in Guizhou. The prod­ucts in­cor­po­rate tra­di­tional and com­plex hand-weav­ing tech­niques that pro­duce fab­rics char­ac­terised by small, re­peat­ing miao di­a­mond pat­terns, and batik work, which uses lo­cally-har­vested in­digo plant leaves for dye which is then ap­plied in pat­terns de­lin­eated us­ing liq­uid beeswax or black bean paste. With only 10 per cent of women in these vil­lages hav­ing in­her­ited the know-how to main­tain these tex­tile tra­di­tions, The Fabrick Lab strives to cre­ate com­mer­cial op­por­tu­ni­ties to keep the craft alive.

「設計公司的主要方向是致力保存古老工藝技術,我們同時希望發揚廣東陶瓷等碩果僅存的作品,而The Fabrick Lab的貴州項目則與公司理念完全符合。」The Fabrick Lab創辦人吳燕玲(Elaine Yan Ling Ng)與當地紡織女工合作,設計手造的布料和家品。作品有著獨有的製作方法:藍靛染料原材料來自在農村收割的板藍根,再溶掉蜂蠟或黑豆醬,布面上就出現各色各樣的花紋。過程糅合傳統工藝和手編技術,以蠟染方式打造細密種複的苗繡圖案。由於僅有少數的村民傳承染布的傳統訣竅,品牌實踐將農婦手藝走入市場的念頭。

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