哲學家亞里斯多德曾以:「給我一個孩子，直到他七歲，我會給你看這個男人。」來説明三歲定八十的理論；如果人生是一塊布，或許我們的童年經歷就如染料般塑造了我們的性格色彩。
記得那天到訪香港時裝設計師林健仁 (Kinyan Lam) 的工作室，他翻開風琴頁紙的目錄冊，開首是數十種以不同植物混合起來染的色調和標記，聽著他娓娓道來他與植物染及貴州結緣的旅程—— 從讀設計時到廣州中大布料市場的某店角落，發現了一塊侗布開始，認識了布店老闆，後來到英國倫敦時裝學院深造又認識了一位研究植物染的中國留學生，一路穿針引線到了貴州的大利侗寨，遇上説起傳統工藝將失傳而熱淚盈眶的市集檔販。在探究是途中的某人還是某事觸發了他的念頭，最後發現原點是紹興雲浮 —— 他14歲前成長的農村，常被大自然包圍，與農作物結伴，後來移居到城市，不知不覺的對天然的東西仍有著莫名的好感。
Aristotle once said, “Give me a child until he is seven, and I will show you the man.” Our childhood experiences influence our character and development; much like how dyes permeate and define the colors of fabric.
I recall the day I visited fashion designer Kinyan Lam at his studio in Hong Kong, where he shared his journey into the world of plant dyeing. As he flipped through a catalog with accordion pages, showcasing an array of shades created through the art of plant dyeing, Kinyan recounted how his path became intertwined with the craft. It all began during his time as a design student when a chance encounter with Dong fabric at the Zhongda Fabric Market in Guangzhou sparked his curiosity. This led him to establish a friendship with the fabric shop owners, opening his eyes to the possibilities of plant dyeing. Later, while studying fashion in London College of Fashion, Kinyan crossed paths with a fellow student who specialized in this unique dyeing technique. This connection ignited a passion within Kinyan, leading him to embark on a journey to Dali Dong Village in Guizhou. It was there that he encountered a local market vendor who shared heartfelt stories about the endangered traditions of their craft. Along the way, he discovered a deep connection to his childhood in Yunfu, Shaoxing, where his upbringing amidst nature and agricultural surroundings fostered a lasting affinity for natural elements.
侗布，是貴州的手工布，由當地少數民族（侗族）創製而成，是族群傳統的布藝及非物質文化遺產。布料用織好的兩種布經藍靛，加上用白酒、牛皮汁、雞蛋清等混合成的染液，反覆浸染、槌打及蒸曬而成。一塊侗布，從製作布料到完成，需時幾近三個月，當中更牽涉了數十多道工序。侗錦，凝聚著侗族婦女的智慧和手藝，本來是族裡每個女孩都懂得製作的，但如今女孩都變成老人了，之後誰來傳承呢？Kinyan便以他2020年第一個秋冬系列提出這個疑問。
Dong cloth is a handmade fabric, crafted meticulously by the ethnic minority group called the Dong people residing in the region of Guizhou. Being an intangible cultural heritage of the community, the traditional Dong fabric is made by dyeing woven pieces of cloth using a unique mixture of indigo, rice wine, cowhide juice, and egg white. The cloth undergoes a series of immersion, beating, and steaming, which lasts for nearly three months. Each step is a testament to the wisdom and craftsmanship of Dong women. Once, the knowledge of creating Dong fabric was a skill carried by every young girl in the community. However, as time passed, the younger generation has grown older, leaving a poignant question: Who will continue this precious tradition? In his inaugural Autumn/Winter collection in 2020, Kinyan Lam brought forth this crucial inquiry to the spotlight.
就是這樣，Kinyan的設計路向和理念便一步一步地和貴州連繫起來，他不介意慢，也不介意等，因為他認為這是作為時裝設計師邁向永續未來的責任和使命，同時也盡力教育顧客享受衣物隨護理和時間的色調變化。
Kinyan’s design direction and philosophy have organically intertwined with the essence of Guizhou. He embraces the slow production of the Dong fabric, recognizing that, as a fashion designer, it is his duty and calling to contribute to a sustainable future. He values the importance of educating customers about the art of cherishing garments and appreciating their evolving colors over time.
之後相約到他的色彩學實驗室，他就在這裡研發他的染色設計，一大堆中草藥名詞，這些植物可以是食材、藥材，經過磨粉、混合、烹調、隔渣⋯⋯成為顏料。提起他的法國植物染老師Michel Garcia的理論，令我想起幾年前在京都tezomeya學習時，老師也有同樣的説法 :「我是化學系出身的，我研究植物染是因為我很喜歡這些顔色，雖然當中會涉及少量化學成份來令固色更有效，但對我來説是物質之間的化學作用，再者即使是100%天然，如果過度使用，也會出現問題，所以最重要是平衡。」而為了節約用水和不浪費顔料，Kinyan有時會用揉掃的方式代替浸染，並透過鮮艷的色調為植物染只限泥土色調的誤解作平反。
Our subsequent encounter took place in Kinyan’s color laboratory, where he experiments and develops his dyeing designs. Within this creative space, an assortment of plants, ranging from culinary ingredients to medicinal herbs, are ground, blended, cooked, and filtered into exquisite pigments. As Kinyan spoke of his plant dyeing mentor, Michel Garcia from France, it reminded me of my own time studying at Tezomeya, a natural dye studio in Kyoto. I recalled how my teacher there shared a similar perspective. “I come from a background in chemistry, and I practice plant dyeing because of my love for the colors it offers. While the dyeing process may involve a small amount of chemical components to enhance color fastness, what truly intrigues me is the chemical interaction that occurs between these substances. Even for natural dying, it’s essential to maintain a sense of balance, as excessive use of natural dye can also lead to complications.” To reduce water consumption and pigment waste, Kinyan sometimes utilizes a painting technique instead of traditional immersion dyeing. He also challenges the common misconception that plant dyeing is confined to earth tones and muted shades and embraces the full spectrum of colors in his designs.
蘇木枝點綴鹼水糉的中心，可以活血通經，也能把天然布料染成紫紅色。
Sappanwood offers not only medicinal properties of promoting blood circulation, but also the ability to impart stunning purple-red hues to natural fabrics.
剛從巴黎時裝周回來，Kinyan正忙著處理訂單和網上訂購的操作，還有客訂染色服務，也要預備搬遷到面積較大的工作室，並希望舉辦更多工作坊等推廣活動。獨立設計師，一人分飾多角，路難行，還要肩負永續信念。幸好他的另一身份是設計學院老師，可以找學生來幫忙，同時讓他們體現未來慢時尚的實踐。
Having recently returned from Paris Fashion Week, Kinyan finds himself immersed in a flurry of activities. Alongside managing orders and running his online store, he is also engaged in fulfilling custom dyeing requests and making preparations for the relocation to a larger studio. He also plans to organize more workshops and other promotional activities. Despite the multitude of responsibilities that come with being an independent designer, Kinyan remains steadfast in his commitment to sustainability. As an educator at a design school, he also has the opportunity to involve students, allowing them to embrace the principles of slow fashion and become advocates for sustainable practices in the future.
