舒舒
舒舒(索托語:Shweshwe,IPA:/ˈʃwɛʃwɛ/[1])是一種廣泛用於南部非洲傳統服裝的印花染色棉織物[2][3]。舒舒最初僅染成靛藍,現可加工製成多種顏色和印花設計,以其複雜的幾何圖案為特色[4][5][6]。出於其受歡迎程度,舒舒被稱為南非的牛仔布[6]或花呢格布[7]。
名稱
編輯舒舒的當地語言名稱「Shweshwe」源自萊索托國王莫舒舒一世(「Moshoeshoe」又拼作「Moshweshwe」)與織品的關聯[8][9]。莫舒舒一世在1840年代獲法國傳教士贈予此種織品,隨後將其普及[8][10][11]。
19世紀德國和瑞士定居者進口藍印花(Blaudruck)織品以製作其服裝後,舒舒在南非與巴索托文化中的地位獲進一步鞏固,舒舒亦由此在塞索托語中被稱作「塞傑雷馬內」(Sejeremane)或「塞舒舒」(Seshoeshoe)、在科薩語中被稱作「泰蘭塔拉」(Terantala,源自南非語中指珠雞的詞語「Tarentaal」[10])與「烏賈馬尼」(Ujamani)。[6][8][11][12][13]
用途
編輯舒舒傳統上用於製作連衣裙、短裙、圍裙和圍裹式服裝。傳統上,新婚科薩人婦女(稱作「Makoti」)與已婚巴索托人婦女會穿舒舒[9][10][14][15]。科薩人婦女也將舒舒融入其傳統的赭色毛毯服裝中[7][16]。除傳統服裝外,舒舒亦為當代南非時尚設計所用,並適用於各族男女[5][9][12],且也可用於製作配飾與室內裝潢[17]。舒舒在美國也被用於絎縫織品[4][18]。
生產
編輯舒舒以在純棉印花布上採排酸與滾筒印花技術製造[4][5][9][19]。舒舒的印刷寬度為90厘米,採通體圖案與並排印刷的A字形裙板圖案樣式。舒舒織料可製成各種顏色,包括原始的靛藍、巧克力棕色與紅色,並有多種圖案設計,包括花卉、條紋與菱形、方形、圓形等幾何圖案[7][11]。異光彩斑點效果(Picotage)可用於在舒舒上印刷複雜的圖案。異光彩斑點效果是一種複雜與高成本而鮮為當代織料生產商所使用的針扎織料印刷技術(使用現代織料印刷技術可達到同樣的設計效果)[4]。
舒舒織料現已有商標認證。舒舒織料在以前經歐洲進口到南部非洲,而自1982年以來則一直由達伽馬紡織公司(Da Gama Textiles)在東開普省威廉王城外的茲韋利特沙鄉生產[8][9][10][11]。1992年,達伽馬收購曼徹斯特雲杉製造有限公司(Spruce Manufacturing Co. Ltd)所生產的最受歡迎的三貓織料的獨家經營權,並將原版雕刻銅輥運往南非[16][20]。達伽馬使用從辛巴威進口、在東開普省當地種植的棉花製作舒舒[14][18]。
包括達伽馬舒舒生產綫在內的南非當地紡織業受來自中國大陸與巴基斯坦進口的廉價劣質冒牌貨的競爭威脅[9][11][14][21]。舒舒真品可經由手感、氣味、味道、聲音、染色純度與織料反面的商標標識,小於平均90厘米的織料寬度,以及從傳統澱粉洗掉的新織料的挺度予以識別[4][5][6][12]。截至2013年11月,達伽馬的舒舒產量已降至每年500萬米[6]。
流行文化
編輯吉爾·史葛在電視劇《第一女子偵探社》中飾演主角姆瑪·普蕾舍絲·拉莫茨韋(Mma Precious Ramotswe),並身穿由舒舒製成的服裝進行拍攝。[2][22]
參見
編輯參考資料
編輯- ^ shwe-shwe or shweshwe. Collins English Dictionary. [2014-01-30]. (原始內容存檔於2021-05-01).
- ^ 2.0 2.1 Rochlin, Margy. Jo Katsaras: 'No. 1 Ladies' Detective Agency'. New York Times. 2009-06-05. (原始內容存檔於2014-01-24).
But Ms. Katsaras always keeps the series's central character, the private investigator Precious Ramotswe (Jill Scott, above), the focus of attention with colorful dresses and head scarves made of shweshwe, the traditional South African fabric known for its pulsating motifs.
- ^ Grange, Helen. Stylish isishweshwe? Check. The Star. 2011-05-04 [2014-01-24]. (原始內容存檔於2014-01-24).
- ^ 4.0 4.1 4.2 4.3 4.4 deVillemarette, Cynthia. Shweshwe: A True Blue Passion. The Country Register of Tennessee & Kentucky. July–August 2010.
The designs are created using a discharge process, unlike modern printed fabrics where color is added to the surface. With Shweshwe, the cotton cloth is first entirely dyed, thoroughly penetrating the fiber. Then, the cloth is passed through copper design rollers, which emit a mild acid solution, removing color with pinpoint accuracy. One of the characteristics of Shweshwe is the intense use of picotage, tiny pin dots that create not only the designs, but also texture and depth. It is because of the difficulty and expense in creating these designs that they fell out of favor with American and European manufacturers, who chose instead to move to printing processes. Da Gama Textiles of South Africa is the only known manufacturer of fabrics still using the discharge process ... The reverse side of the fabric will be a solid color because it was dyed. Da Gama also prints its seal on the back to help you identify it.
- ^ 5.0 5.1 5.2 5.3 Rovine, Victoria L. Dudley, Sandra H. , 編. Handmade textiles: global markets and authenticity. Oxon: Routledge. 2012: 276–277 [2022-05-16]. ISBN 9781135721473. (原始內容存檔於2022-03-17).
- ^ 6.0 6.1 6.2 6.3 6.4 Davie, Lucille. Shweshwe, the denim of South Africa. Media Club South Africa. 2013-11-18 [2014-01-20]. (原始內容存檔於2014-01-20).
- ^ 7.0 7.1 7.2 A stylish ode to Mama Afrika. The Star. 2011-09-27 [2014-01-21]. (原始內容存檔於2011-12-30).
- ^ 8.0 8.1 8.2 8.3 Kuper, Jeremy. London shows material interest in Africa's old clothes. Mail & Guardian. 2013-04-19 [2014-01-20]. (原始內容存檔於2013-05-25).
- ^ 9.0 9.1 9.2 9.3 9.4 9.5 Holmes, Thalia. The fabric of society needs underpinning. Mail & Guardian. 2013-11-22 [2014-01-20]. (原始內容存檔於2014-01-20).
- ^ 10.0 10.1 10.2 10.3 Futhwa, Fezekile. Setho: Afrikan Thought and Belief System. Nalane ka Fezekile Futhwa. 2012: 107–115 [2022-05-16]. ISBN 9780620503952. (原始內容存檔於2022-05-02).
- ^ 11.0 11.1 11.2 11.3 11.4 Joyce, Liam. Swish shweshwe!. Daily News. 2013-10-14 [2014-01-20]. (原始內容存檔於2013-11-05).
- ^ 12.0 12.1 12.2 The Isishweshwe Story: Material Women?. Iziko Museums. 2013-02-23 [2014-01-22]. (原始內容存檔於2013-03-29).
- ^ Pheto-Moeti, B; Riekert, D.M.; Pelser, A.J. Perceptions of Seshoeshoe fabric, naming and meanings of motifs on fabric. Journal of Consumer Sciences. 2017,. 2 (2017): 24–39 [2022-05-16]. (原始內容存檔於2022-05-16) –透過African Journals Online.
- ^ 14.0 14.1 14.2 Miti, Siya. Textile sector threat to fabric of society. Daily Dispatch. 2013-05-11 [2014-01-20]. (原始內容存檔於2013-12-17).
- ^ Event – Material women? The shweshwe story. Iziko Museums. [2014-01-20]. (原始內容存檔於2014-01-20).
- ^ 16.0 16.1 Bryant, Judy. Transplanted Culture Through Trade (PDF). Cape Crafts & Design Institute. June 2012: 21–22 [2014-01-20]. (原始內容存檔 (PDF)於2014-01-21).
- ^ Lewis, Esther. IsiShweshwe: cut from a different cloth. Cape Argus. 2013-03-28 [2014-01-22]. (原始內容存檔於2014-02-02).
- ^ 18.0 18.1 Fulton, Claire. Cottoning on to Shweshwe chic. South Africa.info. 2006-11-23 [2014-01-23]. (原始內容存檔於2012-01-14).
- ^ Home Sewing. Da Gama Textiles. [2014-01-22]. (原始內容存檔於2016-03-05).
Some of our recognised brands include ... The Original Shweshwe ethnic printed 3 CATS, 3 LEOPARDS, TOTO and FANCY PRINTS, which are acid discharge prints on cotton calico.
- ^ History of Shweshwe. Da Gama Textiles. [2014-01-21]. (原始內容存檔於2013-08-09).
- ^ Sparg, Linda. Fabric firm wins with a focus on local flair. Business Report. 2012-01-15 [2014-01-21]. (原始內容存檔於2014-01-21).
- ^ Barbieri, Annalisa. All shapes and sizes. New Statesman. 2008-04-03 [2014-01-24]. (原始內容存檔於2008-12-04).
延伸閲讀
編輯- Ralfe, Liz. Love Affair with my Isishweshwe. Weber, Sandra; Mitchell, Claudia (編). Not Just Any Dress: Narratives of Memory, Body, and Identity. New York: Peter Lang. 2004: 211–218 [2022-05-16]. ISBN 978-0-8204-6118-2. (原始內容存檔於2022-05-16).
- Pheto-Moeti, Mabokang Baatshwana. An Assessment of Seshoeshoe Dress as a Cultural Identity for Basotho Women of Lesotho (M.Sc.論文). University of the Free State. 2005. (原始內容存檔於2014-01-22).
- Maphangwa, Shonisani. From Colonial to Post-Colonial: Shifts in Cultural Meanings in Dutch Lace and Shweshwe Fabric (M.A.論文). University of Johannesburg. 2010. (原始內容存檔於2014-01-22).
- Moletsane, Relebohile; Mitchell, Claudia; Smith, Ann (編). Was it Something I Wore?: Dress, Identity, Materiality. Dress Identity Materiality (Cape Town: HSRC Press). 2012 [2022-05-16]. ISBN 978-0-7969-2362-2. (原始內容存檔於2022-05-16).
- Rossouw, Mandy. Londen oorrompel deur SA se modes. Beeld. 2006-09-23 [2014-01-22]. (原始內容存檔於2014-01-22) (南非荷蘭語).
- Lamprecht, Bettie. Ikoniese materiaal wat geen grense ken. Beeld. 2013-03-05 [2014-01-22]. (原始內容存檔於2014-01-22) (南非荷蘭語).
- Leeb-Du Toit, Juliette. isiShweshwe: A History of the Indigenisation of Blueprint in South Africa. Pietermaritzburg: University of KwaZulu-Natal Press. 2017. ISBN 9781869143145.
外部連結
編輯- 大英博物館藏品中的舒舒 (頁面存檔備份,存於網際網路檔案館)