INTERVIEW BY WU JIBING 3

从建筑设计到木制手包，寻回遗失的暖唐记忆。

一段文化诞生于一段历史，古老的巧妙地进入未来。包罗东方情韵和稀有木材，凝练暖唐古典的雍容风雅，那是被忽略千年的美。从建筑设计到高端藏品的包装设计，端木良锦创始人祁天思考着包装作为一个产品所具有的独特生命意义。再从精妙的包装到定制类木制手包，在坚实的设计和工艺积淀上，不断进行大胆尝试。融合了当代创新的科技和带着体感的手工，以崭新面貌打破传统材料应用的认知，带你重新回到奢侈的起源地，站成私宴中心那一道无双的风景。

盛唐风范

盛唐的美常常带着一丝似曾相识的陌生感，似乎是穿越时间和距离而来，置身现代毫无违和。斜格纹的密布方式复古而具西洋感，细看纹样，却有悠静的东方韵味。正如唐代东渡到日本，被日本皇室供奉千年，现收藏在日本正仓院的国宝中国大唐琵琶。

汉唐的花纹，明代的线条，清宫的缂丝，历代器物传承下来的、中华文明的独特审美，就藏在每一道打磨的线条，每一朵镶嵌的花纹里，一起以现代简约的面貌呈现。

九种天然木色，临摹出周昉的名作簪花仕女图。古夷苏木瘿的朵朵漩涡，如牡丹盛放在深红长袍上，随衣袂摇动。纱袍上半身采用荧光涌动的红影木，营造出曼妙的半透明感。而袍下露出水色衬裙，则以精心裁切的水曲柳影木，借木纹天然走势，模拟裙裾随步摇动之态。

原创工艺

凡成器的木材，树龄至少百岁以上。一圈圈氤氲旖旎的年轮铭刻着岁月变迁，一场数小时的风暴或三年五载的干旱，都会改变木纹的走向。如果从皮料的纹理中能看出生命定帧在终点的状态，那么，一掌宽的木纹，即可将生命的全部，一并呈现。

尝试了世界各地的优良木材，组合成前所未有的样式，反复推敲：

将包体的厚度减到木材所能承受的极限，并以碳纤维加固。

将韧质的木材顺丝切成长条，按序排列在布或皮上，做成薄而韧的卷帘。

找来木质最细腻的黄杨，制作顺畅耐磨的滑轨。

将最细小的磁石藏在木质里面，用看不见的方式完美吸合，再用文火将硬木一点点烤弯塑形。

细心描摹唐代琵琶上的镶嵌，找来日本京都作坊里出产的锦缎做内衬。

风吹日晒，会让皮革褪色老化，却让木材愈加沉稳。经久触摸，会使皮革枯燥无光，却令木材生出油润的包浆。木材成物之后，就开始了另一种生命。它跟随你，历经岁月，被缓缓注入能量。一只精细打造的木制手包，或许如同那些名贵的古典家具，在伴随一辈甚至几辈人之后，变成别有灵性的物件。DMLJ: From architecture to wooden bags, retrieving the lost memories of the Tang Dynasty

Editor Note: A culture is born in a period of history, ancient and ingenious. Combining oriental charm with Western woods, forming a classical elegance of Tang. The beauty had been ignored for thousands of years. From the architecture design to the packaging design of precious collections, Qi, the founder of DMLJ, values the unique lifespan of packaging as a product. From the exquisite packaging to customized wooden bags, Qi continues to make bold attempts based on his solid experiences and knowledges. He combines the contemporary technology with the handicraft, and breaks the cognition of the application of traditional materials. The bag takes you back to the origin of luxury and stands as a unique signature in the banquet.

Distinctive Looks

The beauty of China Tang Dynasty (618-907) is with a familiar feeling of strangeness, which is through time and distance without violation in the modern era. The Oblique lines on the bag are in retro and Western style but with tranquil Oriental charm. The patterns origin from the lute cherished by the Royal Family of Japan,which is the gift from Chinese Emperor of Tang Dynasty. It is the national treasure of cultural exchange thousands years ago.

All the unique aesthetic inherited from ancient artifacts are hidden in every grinding line and flower mosaic pattern of our products, together with modern minimalist look.

A small exquisite hand-made bag decorated with the imperial Tang lady. The central badge with 9 different types of wood mosaic, represented the famous painter Zhou Fang’s masterpiece ‘Tang Lady’ in the Tang Dynasty.

The blossoming whirlpool Bubinga looks like the peony bloom on the lady’s crimson robe. The upper part is made of the shining Red wood, creating a graceful translucent sense. The lower part is carefully made of Ashtree wood with the natural wooden trend of the image of jogging gesture

Innovative Processes

All the wood that made into use, are at least more than hundred years old. Their rings stand for the change of time. A few hours storm or three or five years of drought, will change the grain’s pattern. If the leather texture presents the end of life, then, the piece of grain, carries the full meaning of life.

We’ve tried different fine wood around the world, to combine into a brand-new style. We reduced the thickness of the bag to the limit of the wood material and reinforced with the carbon fiber, and cut the hard wood into stripes and place in order on the cloth, in order to make the thin and stable shutter, to depict the Pipa mosaic pattern from Tang Dynasty…

Exposed to the sun and wind, the leather will fade, but the wood will be more calm. After the wood is made into some-thing, it begins its new life. It follows you, through the years, with slowly injected energy. A fine hand-made wooden bag will turn to a spiritual object passing down by generations.

Text：DMLJ，Cathy Wu

Photo：Huang Yu

Edit：Cathy Wu