动漫世界的内与外:Cosplay服饰文化发展创新刍议  

Inside and Outside of the Animation World:On the Development and Innovation of Cosplay Clothing Culture

作　　者：姜旭[1] JIANG Xu(Academy of Intangible Cultural Heritage,Sichuan Vocational College of Cultural Industries,Chengdu,Sichuan 610213,China)

机构地区：[1]四川文化产业职业学院非物质文化遗产学院,四川成都610213

出　　处：《浙江纺织服装职业技术学院学报》2020年第4期26-31,共6页Journal of Zhejiang Fashion Institute of Technology

基　　金：四川省社会科学重点研究基地美学与美育研究中心资助科研项目[编号:18C038]。

摘　　要：中国西南部四川省会城市成都市民兴起的"豆芽花"发卡一时间曾引发社会的关注与讨论,"豆芽花"造型作为头饰最早兴起于Cosplay,并自下而上流行与传播开来,Cosplay从动漫中来到生活中去,其受众、形式、题材、内涵,不断得以融合、发展、创新,Cosplay服饰文化随着时代的发展呈现出多样化、商业化、数字化的多重交融,跨越动漫世界的内与外,游离在虚拟和现实之间,并走向个性化时代,解读其中的内涵联系、传播途径和发展创新,对动漫和服装两种文化的融合与发展具有积极意义。The"bean sprout"hairpin once triggered social attention and discussion which originated from Chengdu,the capital city of Sichuan Province in southwest China.As a headdress,it originated from Cosplay and became popular and spread from bottom to top class.Cosplay came to life from animation.Its audience,form,theme and connotation are constantly integrated,developed and innovated.Cosplay costume culture presents the multiple blend of diversification,commercialization and digitalization with the times.It crosses the inside and outside of the animation world,dissociates between the virtual and the real world,and moves towards the personalized era.It is of positive significance for the integration and development of animation and costume culture by interpreting their connotation,communication ways and development innovation.

关 键 词：COSPLAY 服饰文化 动漫 

分 类 号：TS941.12[轻工技术与工程—服装设计与工程]