#: locale=zh
## Media
### Image
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htmlText_CB23BA65_8BAE_CF6F_41C0_3B3FBC55E0D5.html = 保留工藝
在1990年代初，梁月慧成為一家獨立中國古裝設計工作室的聯合創辦人，專為電視劇、電影和粵劇製作服裝。工作室現在由四名女裁縫組成，有些是前工廠女工，服裝流轉速度快，製作完畢的服裝鮮少堆集；但工作室的作品和創意仍可見於其大量的紙樣、「車花」（機械刺繡）草圖、圖錄和立體帽子模型等，讓工作室成為了一個古裝製作技術的另類檔案庫。
PRESERVING THE CRAFT
In the early 1990s, Leung co-founded an independent Chinese costume design studio for television, film and Cantonese opera. Today, the studio of four seamstresses – some of which are former factory workers – is in full operation with a turnover so fast that completed garments rarely linger around. The studio’s work and ingenuity are instead recorded through stacks of paper patterns, mechanical embroidery sketches, catalogues, three-dimensional models of hats and more. The studio now acts as an alternative repository of Chinese costume-making techniques.
保留工藝
在1990年代初，梁月慧成為一家獨立中國古裝設計工作室的聯合創辦人，專為電視劇、電影和粵劇製作服裝。工作室現在由四名女裁縫組成，有些是前工廠女工，服裝流轉速度快，製作完畢的服裝鮮少堆集；但工作室的作品和創意仍可見於其大量的紙樣、「車花」（機械刺繡）草圖、圖錄和立體帽子模型等，讓工作室成為了一個古裝製作技術的另類檔案庫。
PRESERVING THE CRAFT
In the early 1990s, Leung co-founded an independent Chinese costume design studio for television, film and Cantonese opera. Today, the studio of four seamstresses – some of which are former factory workers – is in full operation with a turnover so fast that completed garments rarely linger around. The studio’s work and ingenuity are instead recorded through stacks of paper patterns, mechanical embroidery sketches, catalogues, three-dimensional models of hats and more. The studio now acts as an alternative repository of Chinese costume-making techniques.
別出心裁：不為人知的裁縫故事
何謂優秀的裁縫？是對剪裁駕輕就熟的大師、製作紙樣的能手，還是為顧客度身訂造矚目造型的造型師？「別出心裁」將服裝剪裁視為製衣者與穿衣者之間一種獨特的社交互動，而非單單一門技藝，試圖在如今成衣當道的城市中，以嶄新視角細看裁縫的歷史角色和地位。
此特別展示通過服裝、物件及檔案資料，呈現五個香港在1950 年代至千禧年代被主流歷史忽略的服裝裁剪案例研究。由家庭傭工「媽姐」的針線活到當代舞蹈團的演出服裝，每個案例中的製衣者所面對的要求各異，他們採用的設計決策及製衣方法也因此超越傳統的美學和實用概念。這些製衣者有時還兼任了其他各式各樣的角色，包括調解員、設計師、朋友、家人以至香港的宣傳大使。
為了表現紡織文化遺產的創造潛力，我們委託製作了一系列作為展示及社交媒體內容的錄像影片，由製衣者親自分享他們各自的實踐。透過串連不同媒介與素材，「別出心裁」希望提供歷史的參照，並留下探索的空間：裁縫工作的本質是甚麼？是面料、技法、社交關係，抑或以上皆是？
李勺言
展覽策展人
MISFITTED: UNSPOKEN STORIES OF TAILORING
What is a good tailor – a master of cut and fit, an engineer of paper patterns, or a bespoke stylist saving you from a wardrobe clash? A shift away from viewing tailoring as a craft, and instead as a unique set of social interactions between maker and wearer, Misfitted offers new perspectives on the tailor’s role within a city reliant on readymade goods.
Through clothes, objects and archival materials, this special display presents five case studies of historically overlooked forms of tailoring in Hong Kong from the 1950s to the 2000s. From an amah’s domestic needlework to a wardrobe mistress’s contemporary dance costumes, each case study is centred around a maker faced with specific requirements that led to methodologies and design decisions transcending conventional concepts of beauty and utility. More importantly, each tailor has also assumed unrecognised and sometimes unlikely roles, such as mediator, designer, friend, family and even ambassador of Hong Kong.
To capture the generative potential of textile heritage, a series of videos have been newly commissioned for display and as social media content, where we ask the tailors to speak on their work. Through its constellation of materials, this special display hopes to offer both historical fact and room for enquiry: what is the essence of a tailor’s labour – the materials, the techniques, the social relationships,
or all?
Bruce Li
Curator
刺繡紀念品
休假水兵會在袖口縫上精美的刺繡布章，又稱為「休假袖口」（liberty cuffs），其起源可以追溯至上海。裁縫王文虎在他的設計中加入龍、美人魚等圖案及「香港」一詞，好讓這些外國訪客紀念他們在這座城市的美好時光。
裁縫店「福興父子」現由第三代傳人王文虎打理。他的外公於 1890 年代在上海創辦洋服店「老合興」，根據左方的登船許可證顯示，這個家族百多年前已擔任美國海軍指定的船上裁縫。
EMBROIDERED MEMORABILIA
Servicemen on liberty were distinguished by their ‘liberty cuffs’ – intricately embroidered patches sewn on the cuffs. While the origins of liberty cuffs can be traced back to Shanghai, tailor Tony Wong added dragons, mermaids and even the phrase ‘Hong Kong’ to his designs to help the foreigners commemorate their time in the city.
Fu Shing & Sons is a third-generation tailor shop managed by Tony Wong with origins in 1890s Shanghai as the label H. K. Loa Hai Shing, founded by Wong’s maternal grandfather. More than a century ago, the family was already engaged with the US Navy as a designated tailor on board, as shown in these license cards.
刺繡紀念品
休假水兵會在袖口縫上精美的刺繡布章，又稱為「休假袖口」（liberty cuffs），其起源可以追溯至上海。裁縫王文虎在他的設計中加入龍、美人魚等圖案及「香港」一詞，好讓這些外國訪客紀念他們在這座城市的美好時光。
裁縫店「福興父子」現由第三代傳人王文虎打理。他的外公於 1890 年代在上海創辦洋服店「老合興」，根據左方的登船許可證顯示，這個家族百多年前已擔任美國海軍指定的船上裁縫。
EMBROIDERED MEMORABILIA
Servicemen on liberty were distinguished by their ‘liberty cuffs’ – intricately embroidered patches sewn on the cuffs. While the origins of liberty cuffs can be traced back to Shanghai, tailor Tony Wong added dragons, mermaids and even the phrase ‘Hong Kong’ to his designs to help the foreigners commemorate their time in the city.
Fu Shing & Sons is a third-generation tailor shop managed by Tony Wong with origins in 1890s Shanghai as the label H. K. Loa Hai Shing, founded by Wong’s maternal grandfather. More than a century ago, the family was already engaged with the US Navy as a designated tailor on board, as shown in these license cards.
回憶裏的群體
「媽姐」泛指來自中國順德及周邊地區的住家女傭，大部分是自梳女；她們梳長辮，穿襟衫，經濟獨立，終生不嫁，並與其他媽姐姊妹情長。由於珠三角蠶絲業沒落，從 1930年代起，大量在當地從事此行業的自梳女另謀生計，南下香港或出發前往南洋當媽姐。及至 1970 年代後，香港引入大量外籍傭工，香港的媽姐行業才開始式微。
四姐在 1980 年代去世，其僱主家庭亦移居美國。就如許多媽姐與僱主情誼深厚，四姐亦獲僱主一家銘記於心，然而自梳女這個女性群體的故事仍尚待詳細記錄。
COMMUNITIES OF MEMORY
'Self-comb' women, loosely referred to as amahs in English, are a group of domestic workers characterised by a predominantly Shunde ancestry, sisterhood pride, long braided hair, light-coloured tunic, economic independence and commitment to a life without marriage. In the 1930s, the demise of the silk industry in the Pearl River Delta caused self-comb women to migrate to Hong Kong and Southeast Asia as domestic workers. Their population in Hong Kong dwindled in the 1970s when the number of foreign domestic workers increased.
Sze Tse passed on in the 1980s as her family of service relocated to the United States. Like most amahs, she is remembered fondly for her dedication; however, the larger community of women to which she belonged remains overlooked and under-documented by society.
回憶裏的群體
「媽姐」泛指來自中國順德及周邊地區的住家女傭，大部分是自梳女；她們梳長辮，穿襟衫，經濟獨立，終生不嫁，並與其他媽姐姊妹情長。由於珠三角蠶絲業沒落，從 1930年代起，大量在當地從事此行業的自梳女另謀生計，南下香港或出發前往南洋當媽姐。及至 1970 年代後，香港引入大量外籍傭工，香港的媽姐行業才開始式微。
四姐在 1980 年代去世，其僱主家庭亦移居美國。就如許多媽姐與僱主情誼深厚，四姐亦獲僱主一家銘記於心，然而自梳女這個女性群體的故事仍尚待詳細記錄。
COMMUNITIES OF MEMORY
'Self-comb' women, loosely referred to as amahs in English, are a group of domestic workers characterised by a predominantly Shunde ancestry, sisterhood pride, long braided hair, light-coloured tunic, economic independence and commitment to a life without marriage. In the 1930s, the demise of the silk industry in the Pearl River Delta caused self-comb women to migrate to Hong Kong and Southeast Asia as domestic workers. Their population in Hong Kong dwindled in the 1970s when the number of foreign domestic workers increased.
Sze Tse passed on in the 1980s as her family of service relocated to the United States. Like most amahs, she is remembered fondly for her dedication; however, the larger community of women to which she belonged remains overlooked and under-documented by society.
專屬的舞蹈服裝部
城市當代舞蹈團於 1979 年正式成立，並於幾年內建立了自己的服裝部門，製作原創舞台服裝，時至今日仍是香港唯一自製舞台服裝的當代舞團。傳統製衣標準並不適用於當代舞團 —— 舞衣是舞蹈的延伸，是一種意象的載體，講求與舞者身體的協調之餘，也要具備幫助他們投入角色、便於場景之間快速更換等實用功能。
城市當代舞蹈團的服裝部門設有縫紉機、染布工具、布料庫存、洗衣機和落地衣櫃，負責監督舞團所有原創服裝的製作和使用程序，包括縫製、試身、買布，以及於後台待命等。服裝部門除了是一個生產空間，亦充當歷史檔案庫，有系統地保存了舞團 40 多年間的舞蹈服裝。
A DANCE WARDROBE OF ITS OWN
The City Contemporary Dance Company (CCDC) was established in 1979 and formed its own wardrobe of original costume designs within a few years. To this day, CCDC remains the only contemporary dance company in Hong Kong to boast a wardrobe that produces its own costumes. Conventional standards of good tailoring do not apply to contemporary dance costumes, where clothes are seen as an extension and expression of choreography, facilitating a dancer’s movement, immersion in the role and quick changes between scenes.
Equipped with sewing machines, dyeing facilities, fabric stock, washing machines and floor-to-ceiling closets, the CCDC wardrobe oversees the production and use of original costumes, from sewing and fitting to buying fabrics and providing backstage support. In addition to being a space of production, the wardrobe is also an archive consisting of garments kept throughout the company’s four-decade history.
專屬的舞蹈服裝部
城市當代舞蹈團於 1979 年正式成立，並於幾年內建立了自己的服裝部門，製作原創舞台服裝，時至今日仍是香港唯一自製舞台服裝的當代舞團。傳統製衣標準並不適用於當代舞團 —— 舞衣是舞蹈的延伸，是一種意象的載體，講求與舞者身體的協調之餘，也要具備幫助他們投入角色、便於場景之間快速更換等實用功能。
城市當代舞蹈團的服裝部門設有縫紉機、染布工具、布料庫存、洗衣機和落地衣櫃，負責監督舞團所有原創服裝的製作和使用程序，包括縫製、試身、買布，以及於後台待命等。服裝部門除了是一個生產空間，亦充當歷史檔案庫，有系統地保存了舞團 40 多年間的舞蹈服裝。
A DANCE WARDROBE OF ITS OWN
The City Contemporary Dance Company (CCDC) was established in 1979 and formed its own wardrobe of original costume designs within a few years. To this day, CCDC remains the only contemporary dance company in Hong Kong to boast a wardrobe that produces its own costumes. Conventional standards of good tailoring do not apply to contemporary dance costumes, where clothes are seen as an extension and expression of choreography, facilitating a dancer’s movement, immersion in the role and quick changes between scenes.
Equipped with sewing machines, dyeing facilities, fabric stock, washing machines and floor-to-ceiling closets, the CCDC wardrobe oversees the production and use of original costumes, from sewing and fitting to buying fabrics and providing backstage support. In addition to being a space of production, the wardrobe is also an archive consisting of garments kept throughout the company’s four-decade history.
李慧娥
裁縫兼調解員
李慧娥曾於城市當代舞蹈團擔任服裝主管長達30 載。由於每套演出服裝均獨一無二，並因應個別服裝設計師、編舞家和舞者的需要而生，作為服裝主管的她經常周旋於三方之間，滿足各式各樣甚至互相衝突的需求，有時亦會偷偷進行具創造性的細節調整，確保一場舞蹈表演能夠順利進行。
舞團以往着重貼身、富彈性的舞衣，到了1980年代則開始改變方針，製作更具概念性和故事性的服裝。李氏與設計師緊密合作，詮釋並執行時而具體、時而抽象的指示。左面及此展櫃分別呈現兩部由李氏負責服裝製作、風格及創作過程迥異的舞蹈作品，包括由奧斯卡最佳美術指導葉錦添擔任服裝設計的《創世記》（1999），以及由香港時裝設計先驅唐書琨擔任服裝設計的《蘭陵王》（2007）。
LINDA LEE
FULL-TIME TAILOR, PART-TIME MEDIATOR
Linda Lee was the CCDC wardrobe mistress for over three decades. Each costume is a unique product answering to the demands of three parties: the costume designer, the choreographer and the dancer. As someone who had to satisfy various and often conflicting demands, Lee admits that creative adjustments were sometimes made unbeknownst to others, in order to ensure a successful dance performance.
In the 1980s, the dance company shifted from producing merely form-fitting costumes to designing more conceptual and narrative-driven stage wear. Lee worked closely with designers to interpret and execute their instructions, which were at times specific and other times abstract. According to Lee, the two sets of costumes to the left and here are distinct from each other in style and creative process. They are, respectively, the costumes of In the Beginning (1999) designed by Oscar-winning artistic director Yip Kam Tim and Warrior Lanling (2007) designed by Hong Kong’s fashion pioneer David Sheekwan Tong.
李慧娥
裁縫兼調解員
李慧娥曾於城市當代舞蹈團擔任服裝主管長達30 載。由於每套演出服裝均獨一無二，並因應個別服裝設計師、編舞家和舞者的需要而生，作為服裝主管的她經常周旋於三方之間，滿足各式各樣甚至互相衝突的需求，有時亦會偷偷進行具創造性的細節調整，確保一場舞蹈表演能夠順利進行。
舞團以往着重貼身、富彈性的舞衣，到了1980年代則開始改變方針，製作更具概念性和故事性的服裝。李氏與設計師緊密合作，詮釋並執行時而具體、時而抽象的指示。左面及此展櫃分別呈現兩部由李氏負責服裝製作、風格及創作過程迥異的舞蹈作品，包括由奧斯卡最佳美術指導葉錦添擔任服裝設計的《創世記》（1999），以及由香港時裝設計先驅唐書琨擔任服裝設計的《蘭陵王》（2007）。
LINDA LEE
FULL-TIME TAILOR, PART-TIME MEDIATOR
Linda Lee was the CCDC wardrobe mistress for over three decades. Each costume is a unique product answering to the demands of three parties: the costume designer, the choreographer and the dancer. As someone who had to satisfy various and often conflicting demands, Lee admits that creative adjustments were sometimes made unbeknownst to others, in order to ensure a successful dance performance.
In the 1980s, the dance company shifted from producing merely form-fitting costumes to designing more conceptual and narrative-driven stage wear. Lee worked closely with designers to interpret and execute their instructions, which were at times specific and other times abstract. According to Lee, the two sets of costumes to the left and here are distinct from each other in style and creative process. They are, respectively, the costumes of In the Beginning (1999) designed by Oscar-winning artistic director Yip Kam Tim and Warrior Lanling (2007) designed by Hong Kong’s fashion pioneer David Sheekwan Tong.
梁月慧
邊學邊做
香港到了1980年代才開始有舞台和服裝設計的大專學位課程，在此之前只能透過時裝夜校、自學或在商業機構實習來學習服裝設計。梁月慧於1980年代初加入電視廣播有限公司(TVB)，擔任戲劇服裝設計學徒，雜誌中的她正在服裝部的辦公桌前工作。有別於其他同行，她自幼熱愛中國古裝，並專攻明代或更早朝代的服飾，不但進行了廣泛的歷史研究，更希望以當代視角呈現自己的作品，就如手繪草圖所示。
LEUNG YUET WAI
LEARNING WHILE WORKING
Stage and costume design was only offered as a tertiary degree in Hong Kong in the 1980s, prior to which most aspiring designers had learned through fashion night schools, self-study, or apprenticeships at commercial institutions. Leung Yuet Wai, who joined Television Broadcasts Limited (TVB) as a costume design apprentice in the early 1980s, is seen at her work desk in the costume department in the magazine. Unlike her peers, Leung specialised in Chinese costumes (Ming dynasty or earlier), a passion of hers since childhood. Leung conducts extensive historical research on Chinese costume design and prefers to manifest her costumes under a contemporary lens, as seen from her original sketches.
梁月慧
邊學邊做
香港到了1980年代才開始有舞台和服裝設計的大專學位課程，在此之前只能透過時裝夜校、自學或在商業機構實習來學習服裝設計。梁月慧於1980年代初加入電視廣播有限公司(TVB)，擔任戲劇服裝設計學徒，雜誌中的她正在服裝部的辦公桌前工作。有別於其他同行，她自幼熱愛中國古裝，並專攻明代或更早朝代的服飾，不但進行了廣泛的歷史研究，更希望以當代視角呈現自己的作品，就如手繪草圖所示。
LEUNG YUET WAI
LEARNING WHILE WORKING
Stage and costume design was only offered as a tertiary degree in Hong Kong in the 1980s, prior to which most aspiring designers had learned through fashion night schools, self-study, or apprenticeships at commercial institutions. Leung Yuet Wai, who joined Television Broadcasts Limited (TVB) as a costume design apprentice in the early 1980s, is seen at her work desk in the costume department in the magazine. Unlike her peers, Leung specialised in Chinese costumes (Ming dynasty or earlier), a passion of hers since childhood. Leung conducts extensive historical research on Chinese costume design and prefers to manifest her costumes under a contemporary lens, as seen from her original sketches.
王文虎
為外國訪客裁剪衣裳
在20世紀冷戰鐵幕下，尤其1950 至60年代韓戰與越戰期間， 美國戰艦經常停泊在香港港口，展示軍事實力之餘，亦讓水兵上岸享受數天休假，體驗城市的休閒設施。他們登陸的第一站，通常是現已停運的灣仔分域碼頭海軍商場，水兵會給家人打電話，喝廉價啤酒，並找裁縫度身訂造制服或西裝。
1949 年，大量上海裁縫南下來港，王文虎之父亦一同移居香港，開設了福興裁縫店，後來店舖搬遷至分域碼頭，長年為美國水兵與軍官訂造制服和洋服。許多香港裁縫會為不同的軍事組織提供服務，但福興卻是少數被正式認可為「美國海軍承包商」的裁縫店之一，確保水兵得到消費保障。
TONY WONG
TAILORING FOR A FOREIGN CLIENTELE
During the Cold War in the 20th century, and especially during the Korean and Vietnam Wars from the 1950s to 60s, the United States Navy moored in the harbours of Hong Kong to demonstrate military prowess and for its servicemen to go ‘on liberty’ and enjoy the city’s amenities for a few days. The servicemen’s first stop on land was often the Fleet Arcade in the now-defunct Fenwick Pier, Wan Chai, where they rang their families, enjoyed cheap beer and stopped by a tailor for a custom uniform or suit.
In 1949, Wong’s father – along with many other Shanghainese tailors – relocated to Hong Kong and established the Fu Shing tailoring label. Subsequently and for much of its history, the business was situated within Fenwick Pier to serve the sartorial needs of American navy officers and admirals. While many tailors served various military parties in Hong Kong, Fu Shing & Sons was one of few formally accredited as a ‘US Navy Contractor’, which provided consumer protection for the visitors.
王文虎
為外國訪客裁剪衣裳
在20世紀冷戰鐵幕下，尤其1950 至60年代韓戰與越戰期間， 美國戰艦經常停泊在香港港口，展示軍事實力之餘，亦讓水兵上岸享受數天休假，體驗城市的休閒設施。他們登陸的第一站，通常是現已停運的灣仔分域碼頭海軍商場，水兵會給家人打電話，喝廉價啤酒，並找裁縫度身訂造制服或西裝。
1949 年，大量上海裁縫南下來港，王文虎之父亦一同移居香港，開設了福興裁縫店，後來店舖搬遷至分域碼頭，長年為美國水兵與軍官訂造制服和洋服。許多香港裁縫會為不同的軍事組織提供服務，但福興卻是少數被正式認可為「美國海軍承包商」的裁縫店之一，確保水兵得到消費保障。
TONY WONG
TAILORING FOR A FOREIGN CLIENTELE
During the Cold War in the 20th century, and especially during the Korean and Vietnam Wars from the 1950s to 60s, the United States Navy moored in the harbours of Hong Kong to demonstrate military prowess and for its servicemen to go ‘on liberty’ and enjoy the city’s amenities for a few days. The servicemen’s first stop on land was often the Fleet Arcade in the now-defunct Fenwick Pier, Wan Chai, where they rang their families, enjoyed cheap beer and stopped by a tailor for a custom uniform or suit.
In 1949, Wong’s father – along with many other Shanghainese tailors – relocated to Hong Kong and established the Fu Shing tailoring label. Subsequently and for much of its history, the business was situated within Fenwick Pier to serve the sartorial needs of American navy officers and admirals. While many tailors served various military parties in Hong Kong, Fu Shing & Sons was one of few formally accredited as a ‘US Navy Contractor’, which provided consumer protection for the visitors.
環球視野，終身友誼
1999 年 5月，北約轟炸貝爾格勒中國大使館，中國政府因而開始禁止美國軍艦停泊香港。此前美國海軍每年於香港停泊 60 艘船、帶來45,000名水兵和5,000萬港元收入。
福興父子至今仍在灣仔分域碼頭外營業，顧客一踏進裁縫店，迎面就是堆積如山的布料、紙樣和舊物收藏。王文虎坦言捨不得丟棄布料和客人的尺寸紀錄，因為老朋友和舊客戶不時會透過社交媒體聯絡他，將來或會回來找他做衣服。
COSMOPOLITAN PERSPECTIVES AND LIFELONG FRIENDSHIPS
In May of 1999, in retaliation for NATO’s bombing of the Chinese embassy in Belgrade, the Chinese government began to ban US Navy ships from anchoring in Hong Kong. Prior to that, the US Navy had brought in 60 ships, 45,000 crew members and HK$50 million per year.
Fu Shing & Sons remains in operation outside Fenwick Pier today, where customers are greeted by piles of fabrics, paper patterns and ephemera from days past. Worried that old friends and clients will return for his service, as they often do through social media now, Wong confesses his difficulty in discarding fabrics and customers’ measurements.
環球視野，終身友誼
1999 年 5月，北約轟炸貝爾格勒中國大使館，中國政府因而開始禁止美國軍艦停泊香港。此前美國海軍每年於香港停泊 60 艘船、帶來45,000名水兵和5,000萬港元收入。
福興父子至今仍在灣仔分域碼頭外營業，顧客一踏進裁縫店，迎面就是堆積如山的布料、紙樣和舊物收藏。王文虎坦言捨不得丟棄布料和客人的尺寸紀錄，因為老朋友和舊客戶不時會透過社交媒體聯絡他，將來或會回來找他做衣服。
COSMOPOLITAN PERSPECTIVES AND LIFELONG FRIENDSHIPS
In May of 1999, in retaliation for NATO’s bombing of the Chinese embassy in Belgrade, the Chinese government began to ban US Navy ships from anchoring in Hong Kong. Prior to that, the US Navy had brought in 60 ships, 45,000 crew members and HK$50 million per year.
Fu Shing & Sons remains in operation outside Fenwick Pier today, where customers are greeted by piles of fabrics, paper patterns and ephemera from days past. Worried that old friends and clients will return for his service, as they often do through social media now, Wong confesses his difficulty in discarding fabrics and customers’ measurements.
裁剪標準化
紙樣製作是正規縫紉教育的關鍵，成衣業能夠以此進行複製和調整尺寸。除了基本技術，裁剪課程亦會教授裁縫的崗位與專業操守。及至 1970 年代，裁剪課程內容更不僅限於基礎技巧，而是擴展至更為複雜的時裝設計。專科學校提供大量學額，其標準教學及考核制度也逐步取代了早年的師徒制度。
隨著成衣市場成熟，自行縫製衣服的熱潮消退，專科學校亦於 1990 年代開始式微，教授內容被理工大學等高等院校取代，教育重心亦逐漸由實踐轉向理論。
STANDARDISATION OF TAILORING
Paper patterns are key to the formal education in tailoring, as they allow for reproduction and sizing in the ready-to-wear industry. In addition to technical know-how, students were taught the role and professional conduct of a tailor. Later in the 1970s, tailoring courses also covered fashion design. Technical schools educated and assessed large numbers of students under standardised curricula, gradually replacing apprenticeships popular in earlier years.
As the ready-to-wear industry matured, the interest to create clothes by oneself dropped. Technical schools were replaced by tertiary institutions like the Polytechnic University by the 1990s, which shifted focus from practice to theory.
裁剪標準化
紙樣製作是正規縫紉教育的關鍵，成衣業能夠以此進行複製和調整尺寸。除了基本技術，裁剪課程亦會教授裁縫的崗位與專業操守。及至 1970 年代，裁剪課程內容更不僅限於基礎技巧，而是擴展至更為複雜的時裝設計。專科學校提供大量學額，其標準教學及考核制度也逐步取代了早年的師徒制度。
隨著成衣市場成熟，自行縫製衣服的熱潮消退，專科學校亦於 1990 年代開始式微，教授內容被理工大學等高等院校取代，教育重心亦逐漸由實踐轉向理論。
STANDARDISATION OF TAILORING
Paper patterns are key to the formal education in tailoring, as they allow for reproduction and sizing in the ready-to-wear industry. In addition to technical know-how, students were taught the role and professional conduct of a tailor. Later in the 1970s, tailoring courses also covered fashion design. Technical schools educated and assessed large numbers of students under standardised curricula, gradually replacing apprenticeships popular in earlier years.
As the ready-to-wear industry matured, the interest to create clothes by oneself dropped. Technical schools were replaced by tertiary institutions like the Polytechnic University by the 1990s, which shifted focus from practice to theory.
針黹培訓
針黹工藝以往被視為家中消閒活動，到 1950年代才由英國殖民政府引入香港小學課程中，它於 1975 年納入「家政」這門正式科目，到了1980 年代成為中學課程的核心學科，製衣和針黹更被分拆成兩門獨立科目，教育漸趨專業化。在 1993年的一次課程修訂中，家政學被重新定位為術科、實用科目和工藝科目，並再次被排除在核心課程之外。
這個縫紉袋及繡框由另一展覽參與者、電視服裝設計師梁月慧提供，前者於 1970 年代製作，以家政課上教授的各種刺繡針法製作而成。當時《姊妹畫報》及《摩登時裝》等女性刊物盛行，内容不但包含最新西方時尚潮流，更附有現成紙樣供讀者自己製作衣服，促進了裁衣技術的廣泛傳播。
NEEDLEWORK AS EDUCATION
Needlecraft was introduced by the British colonial government into Hong Kong’s primary school curriculum in the 1950s, prior to which the activity had been perceived as domestic leisure. The skill was then subsumed under the official subject of ‘home economics’ in 1975. By the 1980s, the subject was moved into the secondary school curriculum and became a core area of study; dressmaking and needlework had also become two separate branches, indicating the increased specialisation of the field. In 1993, however, home economics was classified as a cultural, practical and technical subject and once again excluded from the core curriculum.
The sewing pouch and embroidery hoop here are courtesy of television costume designer Leung Yuet Wai, who is featured elsewhere in this special display. The pouch was made in the 1970s using various embroidery stitches taught in a home economics class. At that time, women’s magazines such as Sisters’ Pictorial contained the latest Western fashion trends, including premade paper patterns for readers to make their own clothes, contributing to the wide dissemination of tailoring techniques.
針黹培訓
針黹工藝以往被視為家中消閒活動，到 1950年代才由英國殖民政府引入香港小學課程中，它於 1975 年納入「家政」這門正式科目，到了1980 年代成為中學課程的核心學科，製衣和針黹更被分拆成兩門獨立科目，教育漸趨專業化。在 1993年的一次課程修訂中，家政學被重新定位為術科、實用科目和工藝科目，並再次被排除在核心課程之外。
這個縫紉袋及繡框由另一展覽參與者、電視服裝設計師梁月慧提供，前者於 1970 年代製作，以家政課上教授的各種刺繡針法製作而成。當時《姊妹畫報》及《摩登時裝》等女性刊物盛行，内容不但包含最新西方時尚潮流，更附有現成紙樣供讀者自己製作衣服，促進了裁衣技術的廣泛傳播。
NEEDLEWORK AS EDUCATION
Needlecraft was introduced by the British colonial government into Hong Kong’s primary school curriculum in the 1950s, prior to which the activity had been perceived as domestic leisure. The skill was then subsumed under the official subject of ‘home economics’ in 1975. By the 1980s, the subject was moved into the secondary school curriculum and became a core area of study; dressmaking and needlework had also become two separate branches, indicating the increased specialisation of the field. In 1993, however, home economics was classified as a cultural, practical and technical subject and once again excluded from the core curriculum.
The sewing pouch and embroidery hoop here are courtesy of television costume designer Leung Yuet Wai, who is featured elsewhere in this special display. The pouch was made in the 1970s using various embroidery stitches taught in a home economics class. At that time, women’s magazines such as Sisters’ Pictorial contained the latest Western fashion trends, including premade paper patterns for readers to make their own clothes, contributing to the wide dissemination of tailoring techniques.
電影時尚
四姐製作的服裝大多源於僱主女兒的簡單草圖甚至口頭描述，而她們的構思常常受到 1950 年代電影明星及流行刊物的最新潮流啟發。上方這些舞會禮服是為了當時正於美國留學的僱主女兒縫製，並越洋寄送到她的手上。
《南國電影》是邵氏的官方電影雜誌，內容圍繞旗下影星的八卦、訪談和時尚潮流，推動電影產業走向大眾化。上方播放的電影選段來自《雲裳艷后》（1959）及《香港之星》（1962），分別呈現了在早期香港的手作製衣及媽姐的畫面。
FILM IN VOGUE
Many garments produced by Sze Tse were conceived as simple sketches or even verbal descriptions by the daughters of the family, who were themselves inspired by the latest fashion donned by film stars of the 1950s. The garments above were made and shipped to the daughters studying in the United States to wear as prom dresses.
Southern Screen, a magazine by Shaw Studios, helped to transform film into popular entertainment through its columns on gossip, interviews and fashion trends surrounding the studio’s stars. The film excerpts above, taken from Cinderella and Her Little Angels (1959) and Star of Hong Kong (1962), are early representations of domestic dressmaking and self-comb women in Hong Kong.
電影時尚
四姐製作的服裝大多源於僱主女兒的簡單草圖甚至口頭描述，而她們的構思常常受到 1950 年代電影明星及流行刊物的最新潮流啟發。上方這些舞會禮服是為了當時正於美國留學的僱主女兒縫製，並越洋寄送到她的手上。
《南國電影》是邵氏的官方電影雜誌，內容圍繞旗下影星的八卦、訪談和時尚潮流，推動電影產業走向大眾化。上方播放的電影選段來自《雲裳艷后》（1959）及《香港之星》（1962），分別呈現了在早期香港的手作製衣及媽姐的畫面。
FILM IN VOGUE
Many garments produced by Sze Tse were conceived as simple sketches or even verbal descriptions by the daughters of the family, who were themselves inspired by the latest fashion donned by film stars of the 1950s. The garments above were made and shipped to the daughters studying in the United States to wear as prom dresses.
Southern Screen, a magazine by Shaw Studios, helped to transform film into popular entertainment through its columns on gossip, interviews and fashion trends surrounding the studio’s stars. The film excerpts above, taken from Cinderella and Her Little Angels (1959) and Star of Hong Kong (1962), are early representations of domestic dressmaking and self-comb women in Hong Kong.
馮四妹
家庭裁縫
以往現成服裝在香港並不流行，直至 1960 年代後期，社會經濟因素使大眾對西式服裝的需求上升，加速了成衣的普及化。在此之前，基層女性的衣服以中式為主，大多由親人朋友製作、在家庭中傳承或在小商戶之間買賣交易。
上方這件棉襖屬於 1950 年代一個富裕家庭的女兒，它出自其家中一位「媽姐」之手。馮四妹又被暱稱為「四姐」，她 1950年代至 1980 年代擔任這戶家庭的女傭，並會在農曆新年前為僱主家中的七個孩子度身製作棉襖。僱主家庭的母親買入各式布料，包括絲綢、蠟染布、人造纖維和蕾絲，供四姐製衣之用。據說四姐無需起草紙樣，單憑直覺就能從布匹裁製出任何風格的衣裳，甚至玩偶，幾天即可完工。
FUNG SZE MUI
A FAMILY’S TAILOR
Hong Kong did not enjoy widespread availability of ready-to-wear garments until the late 1960s, when socio-economic circumstances led to an increased demand for Western dress. Before then, clothes of the common woman were typically in Chinese style and made by friends or family, inherited, or at most traded among small businesses.
The above wadded jacket was once worn by a daughter of a well-to-do family in the 1950s. It was produced by the family’s amah, Fung Sze Mui, who served as their housemaid from the 1950s to the 1980s. Lovingly referred to as Sze Tse (‘sister four’), she made bespoke jackets for each of the family’s seven children in time for the Lunar New Year. An eclectic selection of fabrics ranging from silk and batik to polyester and lace were purchased by the mother of the family and provided to Sze Tse for her use. She is said to be able to intuitively cut and sew a garment or even a doll out of fabric, in any style and within days, without having to draft paper patterns.
馮四妹
家庭裁縫
以往現成服裝在香港並不流行，直至 1960 年代後期，社會經濟因素使大眾對西式服裝的需求上升，加速了成衣的普及化。在此之前，基層女性的衣服以中式為主，大多由親人朋友製作、在家庭中傳承或在小商戶之間買賣交易。
上方這件棉襖屬於 1950 年代一個富裕家庭的女兒，它出自其家中一位「媽姐」之手。馮四妹又被暱稱為「四姐」，她 1950年代至 1980 年代擔任這戶家庭的女傭，並會在農曆新年前為僱主家中的七個孩子度身製作棉襖。僱主家庭的母親買入各式布料，包括絲綢、蠟染布、人造纖維和蕾絲，供四姐製衣之用。據說四姐無需起草紙樣，單憑直覺就能從布匹裁製出任何風格的衣裳，甚至玩偶，幾天即可完工。
FUNG SZE MUI
A FAMILY’S TAILOR
Hong Kong did not enjoy widespread availability of ready-to-wear garments until the late 1960s, when socio-economic circumstances led to an increased demand for Western dress. Before then, clothes of the common woman were typically in Chinese style and made by friends or family, inherited, or at most traded among small businesses.
The above wadded jacket was once worn by a daughter of a well-to-do family in the 1950s. It was produced by the family’s amah, Fung Sze Mui, who served as their housemaid from the 1950s to the 1980s. Lovingly referred to as Sze Tse (‘sister four’), she made bespoke jackets for each of the family’s seven children in time for the Lunar New Year. An eclectic selection of fabrics ranging from silk and batik to polyester and lace were purchased by the mother of the family and provided to Sze Tse for her use. She is said to be able to intuitively cut and sew a garment or even a doll out of fabric, in any style and within days, without having to draft paper patterns.
黃桃園
既是女工亦是裁縫
隨着城市工業化，市民生活水平和期望相應提高，家政科亦逐漸走向正規化、專業化和大眾化。到了1960 年代末，香港大量專科學校林立，吸引一眾希望提升社會地位的廠工和想自製最新西方流行服裝的人就讀。
上方的裁剪科畢業證書屬於前製衣工人黃桃園，證明了當時專科學校普及的現象。黃氏的期末功課是一件便服和一件晚裝，由她自己設計和製作，並於類似現在時裝畢業展的場合中親身展示。除了裁剪，黃氏亦曾經修讀簿記和急救課程。對於當時的女工來說，專科學校除了提供更多工作機會，也能讓自己於其他工友之間脫穎而出。
WONG TO YUEN
A DRESSMAKER AMONG WORKERS
Home economics was gradually formalised, specialised and popularised in parallel with the city’s industrialisation and the rise of living standards and expectations of the people. By the late 1960s, an abundance of technical schools were established and attended by factory workers seeking upward mobility and those who wanted to produce the latest Western fashion for themselves.
The above dressmaking graduation certificate from former garment worker Wong To Yuen is a testimony to the widespread popularity of technical schools. Her final coursework consisted of a casual outfit and a night gown, which she designed, made and modelled in a ceremony similar to a fashion student’s thesis show today. In addition to dressmaking, Wong also studied bookkeeping and first aid. For many female workers, technical schools not only provided job opportunities, but also allowed them to stand out from fellow workers.
黃桃園
既是女工亦是裁縫
隨着城市工業化，市民生活水平和期望相應提高，家政科亦逐漸走向正規化、專業化和大眾化。到了1960 年代末，香港大量專科學校林立，吸引一眾希望提升社會地位的廠工和想自製最新西方流行服裝的人就讀。
上方的裁剪科畢業證書屬於前製衣工人黃桃園，證明了當時專科學校普及的現象。黃氏的期末功課是一件便服和一件晚裝，由她自己設計和製作，並於類似現在時裝畢業展的場合中親身展示。除了裁剪，黃氏亦曾經修讀簿記和急救課程。對於當時的女工來說，專科學校除了提供更多工作機會，也能讓自己於其他工友之間脫穎而出。
WONG TO YUEN
A DRESSMAKER AMONG WORKERS
Home economics was gradually formalised, specialised and popularised in parallel with the city’s industrialisation and the rise of living standards and expectations of the people. By the late 1960s, an abundance of technical schools were established and attended by factory workers seeking upward mobility and those who wanted to produce the latest Western fashion for themselves.
The above dressmaking graduation certificate from former garment worker Wong To Yuen is a testimony to the widespread popularity of technical schools. Her final coursework consisted of a casual outfit and a night gown, which she designed, made and modelled in a ceremony similar to a fashion student’s thesis show today. In addition to dressmaking, Wong also studied bookkeeping and first aid. For many female workers, technical schools not only provided job opportunities, but also allowed them to stand out from fellow workers.
別出心裁
Misfitted
不為人知的裁縫故事
何謂優秀的裁縫？是對 剪裁駕輕就熟的大師、製作紙樣的能手，還是為顧客度身訂造矚目造型的造型師？「別出心裁」將服裝剪裁視為製衣者與穿衣者之間一種獨特的社交互動，而非單單一門技藝，試圖在如今成衣當道的城市中，以嶄新視角細看裁縫的歷史角色和地位。
此特別展示通過服裝、物件及檔案資料，呈現五個香港在1950 年代至千禧年代被主流歷史忽略的服裝裁剪案例研究。由家庭傭工「媽姐」的針線活到當代舞蹈團的演出服裝，每個案例中的製衣者所面對的要求各異，他們採用的設計決策及製衣方法也因此超越傳統的美學和實用概念。這些製衣者有時還兼任了其他各式各樣的角色，包括調解員、設計師、朋友、家人以至香港的宣傳大使。
為了表現紡織文化遺產的創造潛力，我們委託製作了一系列作為展示及社交媒體內容的錄像影片，由製衣者親自分享他們各自的實踐。透過串連不同媒介與素材，「別出心裁」希望提供歷史的參照，並留下探索的空間：裁縫工作的本質是甚麼？是面料、技法、社交關係，抑或以上皆是？
李勺言
展覽策展人
UNSPOKEN STORIES OF TAILORING
What is a good tailor – a master of cut and fit, an engineer of paper patterns, or a bespoke stylist saving you from a wardrobe clash? A shift away from viewing tailoring as a craft, and instead as a unique set of social interactions between maker and wearer, Misfitted offers new perspectives on the tailor’s role within a city reliant on readymade goods.
Through clothes, objects and archival materials, this special display presents five case studies of historically overlooked forms of tailoring in Hong Kong from the 1950s to the 2000s. From an amah’s domestic needlework to a wardrobe mistress’s contemporary dance costumes, each case study is centred around a maker faced with specific requirements that led to methodologies and design decisions transcending conventional concepts of beauty and utility. More importantly, each tailor has also assumed unrecognised and sometimes unlikely roles, such as mediator, designer, friend, family and even ambassador of Hong Kong.
To capture the generative potential of textile heritage, a series of videos have been newly commissioned for display and as social media content, where we ask the tailors to speak on their work. Through its constellation of materials, this special display hopes to offer both historical fact and room for enquiry: what is the essence of a tailor’s labour – the materials, the techniques, the social relationships,
or all?
Bruce Li
Curator
THANK YOU TO OUR COLLABORATORS!
The making of this exhibition brought together the knowledge, stories and resources of many generous specialists and enthusiasts of Hong Kong and beyond.
Our deepest gratitude goes to
Founding Donor: The D. H. Chen Foundation
Main Donor: Nan Fung Group
Acknowledgments: (In alphabetical order by surname)
Caritas Social Centre – Kowloon
Cathay-Keris Films Pte. Ltd
City Contemporary Dance Company
ELCHK, Sheen Hok Charitable Foundation Kwan Shon Hing Yu Chui Neighbourhood Elderly Centre
Grand Ma Limited
Graphic Archive, Centre for Communication Design, Hong Kong Design Institute
Hong Kong Film Archive
Hong Kong Heritage Museum
Information Services Department
Jockey Club ARTISTRY Creative Aging Project
Chan Chiu Ming
Priscilla Chan
Cheng Po Hung
Edith Cheung
Dong Yan
Fung Sze Mui
Hung Po Jam
Master Kwong
Linda Lee
Leung Yuet Wai
Michael Rogge
David Sheekwan Tong
Donna Tsui and sisters
Wong To Yuen
Tony Wong
Yip Kam Tim
Researchers:
Cheung Pak Sum
Choi Chit Hang
Lam Cheuk Yiu
Pang Wing Cheong
Eilly Li
Megan Mak
Su Xiaohui
Daisy Zhang
Videography: Tong Kim Ho
Visual Identity: Silas Chen
感謝我們的合作夥伴 !
此展覽結集了許多熱愛香港的人士和願意分享知識、故事和資源的專家。
我們衷心感謝
創始贊助機構：陳廷驊基金會
主要贊助機構：南豐集團
鳴謝： （以英文姓氏順序）
明愛九龍社區中心
Cathay-Keris Films Pte. Ltd
城市當代舞蹈團
基督教香港信義會善學慈善基金關宣卿愉翠長者鄰舍中心臨敢珍有限公司
香港知專設計學院傳意設計研究中心視覺傳意資料館
香港電影資料館
香港文化博物館
政府新聞處
賽馬會「學藝再玩」創齡藝術計劃
陳釗明
陳彩玉
鄭寶鴻
張西美
董言
馮四妹
孔寶湛
鄺師傅
李慧娥
梁月慧
Michael Rogge
唐書琨
崔葆涓及姐妹
黃桃園
王文虎
葉錦添
研究員：
張栢深
蔡哲珩
林卓瑤
彭穎鏘
李鎧而
麥巧琳
蘇曉慧
張彩燁
影像設計：湯劍豪
視覺設計：Silas Chen
為了表現紡織文化遺產的創造潛力，我們委託製作了一系列錄像影片，由製衣者親自分享他們的實踐。透過串連不同媒介與素材，「別出心裁」希望提供歷史的參照，並留下探索的空間：裁縫工作的本質是甚麼？是面料、技法、社交關係，抑或以上皆是？
歡迎閲讀書籍及文獻檔案複本，加深對於香港裁剪文化的認識。只供展廳內閱讀。
To capture the generative potential of textile heritage, a series of videos have been newly commissioned, where we ask the tailors to speak on their work. Through its constellation of materials, this special display hopes to offer both historical fact and room for enquiry: what is the essence of a tailor’s labour – the materials, the techniques, the social relationships, or all?
Please browse through the books and archival document reproductions to learn more about tailoring in Hong Kong. For reading inside the gallery only.
為了表現紡織文化遺產的創造潛力，我們委託製作了一系列錄像影片，由製衣者親自分享他們的實踐。透過串連不同媒介與素材，「別出心裁」希望提供歷史的參照，並留下探索的空間：裁縫工作的本質是甚麼？是面料、技法、社交關係，抑或以上皆是？
歡迎閲讀書籍及文獻檔案複本，加深對於香港裁剪文化的認識。只供展廳內閱讀。
To capture the generative potential of textile heritage, a series of videos have been newly commissioned, where we ask the tailors to speak on their work. Through its constellation of materials, this special display hopes to offer both historical fact and room for enquiry: what is the essence of a tailor’s labour – the materials, the techniques, the social relationships, or all?
Please browse through the books and archival document reproductions to learn more about tailoring in Hong Kong. For reading inside the gallery only.