斯提芬·勞森 英國設計師，畢業於倫敦金士頓大學，作為一名擁有十年經驗的牛仔時尚設計師， 擁有自己的牛仔時尚品牌Zodiac Active，並從事時尚設計和市場營銷教學，現居上海。
Stephanie Lawson British designer who resides in Shanghai, has her own design label Zodiac Active. Stephanie graduated from Kingston University in London and worked as denim designer during most of her design career. She is now teaching in Shanghai. 品牌網站：www.zodiac-active.com
Outline
1. What do you think the school education is missing?
I think that fashion education needs to address the changing landscape - the why - of fashion. There are so many new technologies that affect not just the way we wear clothes but also the way we live - the way we move, the way we think. Also what is the role of fashion in society? To me, fashion can play an important role in society, a more supportive and less destructive role - i.e. not fast fashion.
Q:我們現在時尚教育有哪些缺失？
A.時尚教育應該更加強調時尚產業格局的變化-原因。技術發展不但影響了我們穿著的方式，也影響了我們生活的方式-我們的行為方式和我們的思考方式，還有就是時尚在生存環境中的扮演的角色是什麼。對於我來說時尚在環境中可以扮演更正向的角色，更有利於社會發展而不是破壞生態環境，比如說減少快時尚產品的流通。
2. What are the things which you need to know the most when you got a job?
There are certain fast tracks to learning, you can see this in the form of condensed books. In the end what you learn in school is all theoretical and once you put that theory to work then you start learning. For me the day I started my internship I started to understand why I was being taught those things at school. It depends where you want to end up. If you want to be a business owner then fashion design is the least important skill, besides having a good eye for design and taste level because you will be hiring people. It’s better to focus on analytical skills, also leadership skills. If you want to be an upcyclist then your technical and fabric skills + any specialisation (like for me denim) becomes important.
Q.你覺得面向職場你最需要瞭解哪些事情？
A.有一些竅門可以學習，你可以快速入門指南書里找到。說到底學校不過就是教會你理論知識，等到你開始工作，你會在那裡實踐這些理論。就我來說，到我開始工作的第一天，我才明白學校為什麼教我這些東西。看你最終想要做的是什麼。如果你想要做生意，那麼設計可能不是最重要的，感覺和品味相對來說更重要，因為你需要挑選好的僱員就夠了。作為生意人你更應該專注於分析能力和領導力。加入你希望成為再生產品設計師，那麼技術，紡織品專業知識，和任何特殊技能都是非常重要的（比如我，專長是牛仔設計）。
3. What is the difference between learning from school and learning from the industry?
I think I answer this above. Theory vs. experience
Q.學校教育和工作實踐有何不同？
A.理論和實踐，如上。
4. What are the differences between western education and Chinese education in terms of creativity?
Wow, I think this needs to be addressed in a book. Often there is this argument that China does not produce such creative people. For me the key time is probably under the age of 10 when you are exploring your senses, play time is when we are creative. From what I see of the Chinese education system this is missing. Therefore we teach creativity as we would to a group of executives - in the form of design thinking. That said I’ve met some of my new students who have insanely creative concepts, just as ‘crazy’ as anybody I met in London. I myself am curious to look into the nature vs. nurture of this. Lastly, I think many Chinese people I know are incredibly pragmatic, they don’t see a need to work obsessively on things, just ‘enough’ and this leads to complacency in design and creation. We need to be obsessed with our creation.
Q. 東西方創意教育有哪些不同？
A.這可以寫本書了，一直以來中國不能培養具有創意的設計師都極具爭議。我認為關鍵在於十歲之前還在感知能力的培養，我們通過玩耍來創作。就我觀察看來，這塊在中國教育中明顯缺失。就像我們對企業家傳授創意-創意思維。我有一些學生其實很有創意，就像我在倫敦碰到的孩子一樣“瘋狂”。當然我遇到的大多數中國人都是程式化思維的，他們沒有瘋狂投入工作的需要，就混日子，對自己的所謂設計和創意自我感覺良好。我們需要的是對我們的創作更多的投入。
5. Tell us a bit about the internship experiences which you have had in the UK.
I did my internships in the UK with a subsidiary of Next Plc (a well-known men/women/children’s clothing store) and also in New Zealand with Karen Walker, a Ready-To-Wear womenswear brand. The first gave me huge insight into how commercial fashion businesses work and also a good understanding of the far-reaching impact of my designs. I travelled to Istanbul, Colombo and worked with different designers on different product areas, also designing my own ranges for the company pretty quickly. KW was very different, a much smaller more intimately-run business and it was this experience that lead me to realize I would learn more and be supported more within the context of a larger company in those initial years of my career. All of us fashion students did short-term placements in London during fashion week and every experience teaches you something valuable! I can’t recommend work experience enough to young designers.
Q.談談你在英國的實習經歷。
A.我在英國Next公司下屬的一個公司實習，然後我在新西蘭品牌Karen Walker的女裝成衣品牌實習。英國的實習讓我對商業品牌的工作方式大開眼界，並對我的設計生涯產生了深遠影響。我曾經在伊斯坦布爾和科隆坡根不同的設計師工作，設計過不同的產品，並且快速的為公司獨立設計產品線。KW完全不同，規模很小，任何事多要親力親為，這段經歷讓我明白我需要更多的學習，這對我開始創業有很大的幫助。我們英國學生都會在時裝周的時候短期實習，每一段經歷都會讓我們有不同的學習體驗。實習經驗多多益善。
7. How do we contribute to the planet as fashion designer?
It’s nice to think that design can solve all the world’s problems but mostly design is controlled by share-holders/stake-holders. I have first-hand tried to change the fast fashion design system within a big brand and it doesn’t work unless the share-holders want to do it. H&M has share-holders that push it through. etc.
Q.作為設計師對於這個星球的責任感是什麼？
A.想像設計師可以解決所有問題當然是美好的，但現實是設計師股東和生意操控的。我曾經嘗試改變快時尚體系，除非是股東們同意，否則根本沒有可能。比如H& M他們有股東們來促成環保項目。
8. What is your life like in China being a designer and an educator?
Another big Q, designer in China is often very fast paced, even more so than other countries. Smaller brands may have a little less pressure. I was able to travel for work and inspiration which is very fortunate so I got to see lots of different places. I quit being a fast fashion designer because I didn’t feel there was any meaning in all the clothes we were producing. In a smaller brand I think there should be more creativity (not copies) and more artisanal approach. Educator is fascinating, from a societal, pedagogical perspective, a sociological perspective, a physiological perspective too!
Q. 談談你在中國創業和教書的經驗。
又是一個好問題，在中國做設計節奏很快，比其他國家更快。小品牌相對壓力較小，我很幸運能有機會工作旅行並獲得靈感，同時也有機會看到不同的地方。我不在做快時尚設計是的原因是我覺得自己設計的那些衣服沒有任何意義。我想小品牌應該會有更多創意而不僅僅是製作件數，並且可以更有藝術性。做老師很有意思，從社會學，教學和生理的角度來說。
Curator|採訪者：
陸民，設計師，投資人，教育工作者，寫作者。 第二代中國獨立設計師「後現代工坊」及「立特方典」創始人，曾任職於Oscar de la Renta, Donna Karan, Givenchy 和Hugo Boss等國際品牌，職業經歷遍及紐約，巴黎北京和上海。
Lu Min, fashion designer, entrepreneur, fashion educator, writer. Founder of Studio P.I. and LittleDesignSolution. Worked for Oscar de la Renta, Donna Karan, Givenchy & Hugo Boss in New York, Paris and Shanghai. She is the second generation of independent Chinese fashion designer.
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