“我想成為那個(gè)真正向世界展示貴州苗繡的人?！弊谧约何挥谫F州凱里的工作室里，王雨楠這樣說(shuō)。

 

出生于北京、成長(zhǎng)于海外，王雨楠先后在美國(guó)、墨西哥等地學(xué)習(xí)與工作。她曾就讀于美國(guó)帕森斯設(shè)計(jì)學(xué)院，獲得CFDA美國(guó)時(shí)裝設(shè)計(jì)師協(xié)會(huì)獎(jiǎng)學(xué)金，并在亞歷山大·王（Alexander Wang）、菲利·林（Phillip Lim）等知名品牌實(shí)習(xí)，是典型的“精英路徑”。但在表面光鮮的國(guó)際時(shí)尚圈之外，她始終在尋找內(nèi)心真正的歸屬。

 

2016年，一次前往中國(guó)西南的旅行讓她與苗繡相遇。一針一線里蘊(yùn)藏的匠心技藝與文化密碼，令她深受觸動(dòng)?！皬牟剂系目椩?、紗線的紡制，到染色與制衣，這種‘慢工出細(xì)活’的生活方式，是我感受到的苗族文化的精髓?！彼f(shuō)。

 

畢業(yè)后，王雨楠前往墨西哥文化名城瓦哈卡工作。在與當(dāng)?shù)卦∶袷止に嚾斯餐瑒?chuàng)作、走村串戶的過(guò)程中，她意識(shí)到：真正打動(dòng)人心的設(shè)計(jì)，源于與土地、生活和文化的深度連接。瓦哈卡的豐富手工藝傳統(tǒng)也讓她聯(lián)想起貴州的多民族文化，堅(jiān)定了回國(guó)創(chuàng)業(yè)的想法。

 

2020年，王雨楠回到貴州，選擇在黔東南苗族侗族自治州凱里市落地。這里不僅地處苗繡核心區(qū)，也匯聚了苗繡、蠟染、苗銀等多種傳統(tǒng)工藝資源。她創(chuàng)辦了“Hilo藝絡(luò)工作室”，希望以“線”為媒，將苗繡與世界連結(jié)。

 

“苗繡并不是孤立的文化遺產(chǎn)，它是鮮活的語(yǔ)言?！蓖跤觊f(shuō)。在她看來(lái)，苗繡圖案不只是裝飾，更是一代代女性傳遞情感與智慧的方式。每一個(gè)圖案背后，都凝聚著家庭記憶與地域身份。

 

在創(chuàng)作中，她將傳統(tǒng)技法與現(xiàn)代設(shè)計(jì)相融合，打造出風(fēng)格獨(dú)特的服裝和藝術(shù)作品：用苗族的鎖繡與打籽繡制作的現(xiàn)代牛仔夾克、融合革家人蠟染元素的設(shè)計(jì)款上衣……她的目標(biāo)，是讓苗繡以更具當(dāng)代感的方式走進(jìn)日常生活。

 

與此同時(shí)，Hilo工作室也承擔(dān)起苗繡系統(tǒng)梳理與整理工作。由于苗繡分布廣泛，圖案與針?lè)L(fēng)格多樣，王雨楠與繡娘正努力建立完整的針?lè)颖編?kù)，并開(kāi)發(fā)中英雙語(yǔ)教程，幫助外界更系統(tǒng)地理解苗繡文化?！拔覀兿Ｍ欢形牡脑O(shè)計(jì)師或研究者，也能從中找到進(jìn)入苗繡世界的路徑?！?/p>

 

更值得一提的是，她的工作室也收藏整理了墨西哥、日本、歐洲等多國(guó)刺繡技法樣本，嘗試將苗繡放置在全球紡織藝術(shù)的語(yǔ)境下進(jìn)行比較與創(chuàng)新?！笆澜绺鞯氐拇汤C，盡管技法不同，但都承載著女性的情感與歷史。我們希望通過(guò)多文化對(duì)話，激活傳統(tǒng)手工藝的當(dāng)代表達(dá)。”

 

如今，王雨楠的苗繡之路仍在繼續(xù)。在她看來(lái)，小城凱里并不偏遠(yuǎn)，它正如當(dāng)年的瓦哈卡，充滿可能與活力。她希望自己的努力，能讓更多人看到苗繡之美，讓這一源于山野田間的藝術(shù)，走向更廣闊的世界。

 

 

“I want to be the person to really show the world Miao embroidery,” said Wang Yunan, seated in her studio in Kaili, Guizhou Province.

 

Born in Beijing and raised overseas, Wang studied and worked in the United States and Mexico. She graduated from Parsons, the New School in New York, received the CFDA Scholarship from the Council of Fashion Designers of America, and interned at top fashion houses such as Alexander Wang and Phillip Lim — a classic “elite path.” Yet beyond the glamorous surface of the international fashion scene, she was always searching for a deeper sense of belonging.

 

In 2016, a trip to southwest China brought her into contact with Miao embroidery. The exquisite craftsmanship and cultural symbols embedded in every stitch left a deep impression on her. “From weaving the fabric, spinning the yarn, to dyeing and garment-making — this slow, deliberate process is what I came to recognize as the essence of Miao culture,” she recalled.

 

After graduation, Wang worked in Oaxaca, a cultural hub in Mexico. Collaborating with indigenous artisans and visiting remote villages, she realized that truly moving design comes from a deep connection to land, life, and tradition. The rich artisanal heritage of Oaxaca reminded her of Guizhou’s multi-ethnic culture and ultimately strengthened her resolve to return to China and start her own studio.

 

In 2020, Wang settled in Kaili, a city in Qiandongnan Miao and Dong Autonomous Prefecture in Guizhou. Known as a center of Miao embroidery, Kaili also gathers other traditional crafts such as batik and silverwork. There, she founded Hilo Studio — “Hilo” means “thread” in Spanish — hoping to use this metaphorical thread to connect Miao embroidery with the wider world.

 

“Miao embroidery is not an isolated heritage — it is a living language,” Wang said. In her view, Miao patterns are not merely decorative; they serve as vessels for the emotions and wisdom passed down by generations of women. Each motif carries memories of family and a strong sense of place.

 

In her creative work, Wang combines traditional techniques with contemporary design, producing garments and art pieces with distinctive style: a modern denim jacket stitched with traditional chain and knot embroidery; a designer top inspired by Gejia batik elements. Her goal is to bring Miao embroidery into everyday life through a modern lens.

 

At the same time, Hilo Studio has taken on the task of systematically documenting Miao embroidery. Due to its widespread regional variations in pattern and technique, Wang and her team are building a complete stitch sample library and developing bilingual learning materials to help a broader audience understand this cultural art. “We hope that even designers and researchers who don’t speak Chinese can find a way into the world of Miao embroidery,” she said.

 

Notably, the studio also collects and organizes embroidery samples from Mexico, Japan, and Europe, placing Miao embroidery in a global textile art context to foster comparative learning and innovation. “Though the techniques differ, embroidery around the world shares a common thread: the emotions, history, and creative spirit of women. Through cross-cultural dialogue, we hope to give traditional crafts new contemporary expression.”

 

In 2023, Wang held a special wedding ceremony in Kaili, inviting embroiderers from various ethnic groups to attend in full festival attire. “One of them told me, ‘You’re from Beijing, but you chose to stay here and share our embroidery with the world.’ I was deeply moved. At that moment, I knew I had truly done something meaningful,” she said.

 

Wang’s journey with Miao embroidery is still unfolding. To her, Kaili is not a remote town, but a place full of potential and vitality — much like Oaxaca once was. She hopes her work will help more people appreciate the beauty of Miao embroidery and bring this centuries-old art from the mountains of Guizhou to the global stage.

  

貴州日?qǐng)?bào)天眼新聞?dòng)浾?王旗

拍攝 潘先萬(wàn)

部分素材來(lái)源 劍河縣融媒體中心 苗繡萬(wàn)事屋

編輯 高鑫

二審 張瀚文

三審 許邵庭