Ying Chun (Welcome Spring)

The enterprising nature of the Chinese is probably considered one of those cliché Asian traits that is oh so true and in many Asian countries, it is actually fairly common for sole proprietorships or small businesses to work through the year without taking any significant breaks at all save for the traditional Spring break during Chinese New Year.

Chinese New Year marks the onset of Spring and it is a Chinese belief that Spring is a most important season to welcome as it signifies new beginnings and sets the tone for the year to come. Thus in the lead up to the occasion, homes must be thoroughly cleaned, accounts all squared off and vacations to be taken to signify a better year ahead.

It is fitting therefore that when Prada commissioned Chinese artist Yang Fu Dong for a short film as part of the advertising campaign for Prada Men spring summer 2010, he chose the theme of spring and conceptualized and directed the short film, "First Spring", inspired by the chinese belief that the whole year's work depends on a good start in spring.

The film itself is a stylish affair; moody, languid, lensed in black and white with film noir flavour. In a seemingly timeless yet distinctly pre-war Shanghai, men and women clad in Prada wander through the city searching. Like a dream they appear to walk through different time periods and encounter men and women from eras long past like the Tang and Qing dynasties. Juxteposed with scenes of men carrying mesh umbrellas floating through the city and it makes for a compelling dreamscape.

The young wanderers are hesitant, uncertain and on the move. The figures from the days past in contrast appear to be placid, comfortable and in command. The irony of course is that their reality has been swept up by the onslaught of time and China's rapid modernization and it is the present day youth, confused as they may be, who are thrust forward. Perhaps not in control of their fate but certainly not unwilling participants, no matter how much nostalgia there is for the past.
This is a film that bears repeated viewings; for its beauty and perspectives.

As an aside, the growing art scene in China and the increasing attention paid by the luxury labels have lead to some wonderful and provocative pieces being produced. While the golden standard would still be the "Dior and Chinese Artists" exhibition in 2008, one hopes for even more examples of such seamless collaboration between art and fashion down the road and that this is hopefully the advent of a spring of sorts of such artistic collaborations.

While I do regret not having had the opportunity to catch the Dior exhibit, I was luckily able to view another exhibition of one artist's works from the series - Quentin Shih's The Stranger in the Glass Box. In the juxtoposition between Dior haute couture and the bleak industrial landscape of China, Shih serves us his own interpretation of the price and tension of modernity. See rest of series here.