#: locale=zh
## Media
### Audio
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audiores_F8A3E666_A613_2E7C_41E0_1CB3E74D806B.mp3Url = media/audio_F0B044E6_A6F5_627C_41BA_5E26613169F3_zh.mp3
audiores_FAF7287E_A61D_224C_41E2_C4615A06F8E0.mp3Url = media/audio_FBC0610F_A617_23CC_4194_1933AF67BE74_zh.mp3
audiores_FBF6659F_A61D_E2CC_41BF_B2C19D59B5F0.mp3Url = media/audio_FC924F8E_A615_3ECC_41DA_5A61A7BAA425_zh.mp3
audiores_E7FD65EE_A613_624C_41AD_972F566BE56C.mp3Url = media/audio_FD7931BF_A617_22CC_41C2_495011C24A40_zh.mp3
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audiores_E7FB15B2_A61C_E2D4_41E2_648839E272A6.mp3Url = media/audio_FE297AA7_A6F4_E6FC_41D8_210483570D0D_zh.mp3
audiores_E5BB5794_A61D_EEDC_41E0_3BA1EC42848F.mp3Url = media/audio_FFBB3A83_A60D_26B4_41C0_F8D8304B9873_zh.mp3
audiores_E4705EDE_A61F_1E4D_41BA_57B9129B6C7F.mp3Url = media/audio_FFD1DACB_A60F_E6B4_41DA_1DC7ED77E313_zh.mp3
### Audio Subtitles
### Image
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### Video Subtitles
## Popup
### Body
htmlText_D58AA37B_946A_079D_41DB_6D1AC604E323.html = 《一個國家，一個身體 II》
2024
數碼印花布料、刺繡、物件
200 x 300 厘米
與Henricus共同創作
A Country, A Body II
2024
Embroidery, objects and digital print on fabric
200 x 300 cm
Created in collaboration with Henricus
1963年推出的Sindy娃娃，其服裝反映了當時的時尚理想與性別規範。這款娃娃曾於香港製造，約1970至80年代
Launched in 1963, the Sindy doll’s outfits reflected the era’s stylistic ideals and gender norms, and many of them were made in Hong Kong, about 1970s to 80s
1《玄關1》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
245 × 180 × 50 厘米
2025
1 Threshold 1
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
245 × 180 × 50 cm
2 《玄關2》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
245 × 180 × 50厘米
2 Threshold 2
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
245 × 180 × 50 cm
3 《身體》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
260 × 90 × 90厘米
3 Body
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
260 × 90 × 90 cm
4 《絲離塔1》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
160 × 60 × 60厘米
CHAT六廠委託作品
4 Stupa 1
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
160 × 60 × 60 cm
Commissioned by CHAT
5 《絲離塔2》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
175 × 65 × 65厘米
CHAT六廠委託作品
5 Stupa 2
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
175 × 65 × 65 cm
Commissioned by CHAT
6 《絲離塔3》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
137 × 30 × 30厘米
CHAT六廠委託作品
6 Stupa 3
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
137 × 30 × 30 cm
Commissioned by CHAT
7 《絲離塔4》
2025
墨水、棉布、縫線、填充棉、
不鏽鋼支架
110 × 50 × 50 厘米
CHAT六廠委託作品
7 Stupa 4
2025
Meok on cotton fabric, thread,
cotton stuffing, stainless steel frame
110 × 50 × 50 cm
Commissioned by CHAT
8 《聯繫1》
2025
墨水、棉布、縫線、填充棉、 鐵線
尺寸可變
8 Bond 1
2025
Meok on cotton fabric, thread, cotton stuffing, wire
Dimensions variable
2026年春季項目
歡迎來到CHAT六廠！這個春季，我們邀請你踏上一段探索之旅，重新發掘織物如何塑造我們的內在世界與文化記憶。
紡織自古以來便與人類的靈性緊密相連。群展「縷縷入心」邀請你放慢步伐，與自己及外界建立連繫，喚醒那股無形而平靜、持續引導人類的能量。展覽匯集14組亞洲藝術家的作品，探討紡織靜心、療癒與連結的力量，並溫柔地提醒我們關懷自身及周遭的世界。
陳廷驊基金會展廳的「飛越溫暖牌：香港童年布藝」透過織物回顧香港的童年記憶，帶你回到一個沒有螢幕，卻被各式材質和溫暖社群包圍的兒時。展覽同時設有遊戲元素，既喚起懷舊情感，也呈現感官探索與創意玩樂的逸趣。
在CHAT客廳，「『藍』的痕跡」深入探究全球首個人工合成的還原染料—— 陰丹士林藍。它的色彩於二十世紀風靡中國，開創了嶄新的摩登美學，留下深遠的文化印記。
除展覽外，CHAT六廠亦推出多項延伸活動，包括榮獲國際獎項的「共融導賞之旅」、《織光機》互動裝置，以及一系列工作坊與講座，拓展大家對博物館的想像。
Executive Director’s Greeting
Welcome to CHAT, a unique heritage museum in Hong Kong! Housed in the former factory of Nan Fung Textiles, CHAT celebrates the admirable spirit and far-sighted entrepreneurship found in Hong Kong’s past textile industry. Contemporary artists, like entrepreneurs, have a keen antenna for today’s urgencies while creating new values in society. This winter, you will see the newest ideas and forms of textile arts from Asian artists in ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024, which highlights the pioneers opening a new dimension of textile arts. The prize winner was selected by an international jury of five, but we eagerly invite you to vote for your favourite artwork for the Audience Prize during your visit.
The 2024 edition of Seed to Textile, CHAT’s flagship community programme, comes to its finale. Featuring the Guangzhou-based artist collective BOLOHO, the exhibition presents textile pieces and a video work created through community participation. The textile artworks are dyed naturally using plants lovingly grown over the past six months. In CHAT Lounge, Artefacts of Belonging bridges BOLOHO’s exhibition with CHAT’s collection of archival materials, taking a close look at the communities bonded by Hong Kong’s textile industry. Do not miss the last chance to see Misfitted: Unspoken Stories of Tailoring in The D. H. Chen Foundation Gallery. The special display explores various forms of tailoring and narrates stories of migration, friendship, resilience and progression in Hong Kong.
CHAT has also launched the Accessibility Tour in partnership with Centre for Sign Linguistics and Deaf Studies of the Chinese University of Hong Kong and SLCO Community Resources. A pair of deaf and hearing docents will introduce you to our permanent displays bilingually in signed and spoken languages. You will learn some basic Hong Kong Sign Language vocabulary while happily discovering about industrial cotton spinning processes!
We thank all the artists and community members who made the exhibitions possible. Our heartfelt appreciation goes to ANTEPRIMA and Mrs Izumi Ogino for collaborating with us to launch this significant contemporary textile art prize. The Robert H. N. Ho Family Foundation offered crucial support in the development of our Seed to Textile programme and Accessibility Tour. None of these could have happened without the generosity of our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. Last but not least, we are immensely grateful for the encouraging support from donors and patrons. With you, CHAT can continue to nurture new ideas and talents!
TAKAHASHI Mizuki
Executive Director and Chief Curator
CHAT (Centre for Heritage, Arts and Textile)
IKKIBAWIKRRR
《岩石與感覺》
2024
炭筆紙本
尺寸可變
Rock n’ Feel
2024
Charcoal on paper
Dimensions variable
《與垃圾共舞》
2024
單頻道錄像
3’20”
Dances with Trash
2024
Single-channel video
3’20”
《岩石與感覺 _ 過程》
2026
單頻道錄像
3’30”
Rock n’ Feel _ the Way
2026
Single-channel video
3’30”
《老家具們》
2026
廢棄報紙
尺寸可變
CHAT六廠委託作品
Well-worn Housewares
2026
Waste newspaper
Dimensions variable
Commissioned by CHAT
IKKIBAWIKRRR
眼前巨大而粗獷的手掌、面容與身軀，皆是用韓紙（韓國桑皮紙）覆蓋彌勒佛石像表面，再用炭筆拓印下來的。在藝術團體ikkibawiKrrr 的手中，紙如同織物一般，其密實的纖維被延展、擠壓，留下觸覺的記憶。彌勒佛又稱未來佛，在佛教與民間信仰交融的韓國，一直與日常精神生活緊密相連。然而隨着城市化和土地開發，許多佛像都被留於廢墟，逐漸淡出民眾的記憶。在韓國的鄉野間，ikkibawiKrrr 尋覓這些飽經風化和侵蝕的佛像，視它們為一種重歸大自然的景觀，並通過韓紙觸碰和留下這些景貌。
拓印旁邊，影像作品《與垃圾共舞》把你帶到人類消逝後的遙遠未來。彌勒佛不再以拯救眾生的姿態現身，而是化身成不同廢棄物的同伴，與它們共舞。當我們不再生活於這片土地，廢墟裏會否自行誕生出新的律動和節奏？
最後，在新作品《老家具們》中，ikkibawiKrrr 將陳舊的日用品堆疊成塔，用廢棄紙張製成的紙糊包裹固定住，然後拓印下來。這些伴隨人們生活的舊物，帶着甚麼樣的故事、情感，甚至是信仰？我們又可以如何親近、理解和保留它們呢？
支持機構
Yang Won Sun Foundation
IKKIBAWIKRRR
These rugged figures of hands, faces and bodies are charcoal rubbings created by laying hanji (Korean mulberry paper) over stone statues of Maitreya, the prophesied future Buddha. In the hands of art collective ikkibawiKrrr, paper behaves like textile: its fibres stretch, absorb pressure and record touch. Maitreya has long been tied to everyday spiritual life in Korea, where Buddhism and folk belief often overlap. Yet with urbanisation and redevelopment, many statues have been left in ruins, fading from communal memory. Across rural Korea, ikkibawiKrrr approaches these weathered bodies as a landscape rejoined to nature, with hanji as a means of contact.
Alongside the rubbings, the video Dances with Trash takes you far into the future – after humanity disappears from Earth. Maitreya appears not as a saviour, but as a companion dancing with debris. In our absence, would new gestures and rhythms emerge from the ruins themselves?
In the new installation Well-worn Housewares, ikkibawiKrrr stacks old household objects into a pagoda-like form, covers it in papier mâché made from recycled paper, and rubs the surface to capture its textures. What stories, emotions or beliefs might these once-familiar objects hold? How might we engage with, understand and preserve them today?
Supported by
Yang Won Sun Foundation
MOONI PERRY
《神諭》
2026
七姐盤、雙頻道錄像
錄像：19’46”；七姐盤：130 x 130 厘米；裝置：尺寸可變
CHAT六廠委託作品
AFSAR同行研究員：Christina Yuna Ko、Hye-in Park、Sun Park
進入展廳，迎面的是一組雙屏影像，內容由四幕組成。左側的影像如夢似幻，神祇、記憶與空白交替流轉着；右側則緊貼生活：城市的濕熱氣息、日常勞作，以及日復一日積澱的時光。附近擺放的紙紮「七姐盤」是七夕（亦稱七姐誕）祭祀七仙女時用的，盛放着七組紙紮祭品。在香港，曾經有很多女性紡織工人會於七夕時節集體祭拜七仙女，尤其向織女祈求巧藝與護佑。
在CHAT六廠駐留期間，Mooni Perry與她的藝術研究團體AFSAR（亞洲女性主義藝術研究工作室）成員共同進行田野調查和完成此作品。她穿梭於和七姊妹相關的故事、女性社群與廟宇之間，在持續生活、勞動與祈禱的人們身上，尋覓日常生活中的神聖。
隨着影像推進，詠唱聲開始迴盪在兩個螢幕間，似乎讓你融入到儀式之中。螢幕上，女神般的面容浮現出來，生者與逝者彷彿相聚在一起，而女性薩滿亦組成了圓陣。影片最終帶你步入盂蘭節，而你也似乎從旁觀者變成了參與者。
當織女的夢境滲入紡織工廠，我們又不妨想想：我們能為未來共同編織出怎樣的嶄新夢想？
支持機構
Yang Won Sun Foundation
MOONI PERRY
The Oracle
2026
Seven Fairies Plate, two-channel video
Video: 19’46”; Seven Fairies Plate: 130 x 130 cm; installation: dimensions variable
Commissioned by CHAT
AFSAR research companions: Christina Yuna Ko, Hye-in Park, Sun Park
As you enter, two screens play side by side in four chapters. The left feels dreamlike, where gods, memories and absence drift. The right stays close to the ground: the city’s heat, humidity and everyday labour. Nearby is a ceremonial plate holding paper offerings for Qixi, also known as the Seven Sisters Festival. In the past, women textile workers in Hong Kong would gather during Qixi and worship the Seven Fairies, praying especially to Zhinu (the Weaver Girl) for dexterity and protection.
Commissioned during Mooni Perry’s residency at CHAT, the work grew from research and travel with her collective, AFSAR (Asian Feminist Studio for Art and Research). Moving between stories, female communities and shrines connected to the Seven Sisters, she discovers sacredness from ordinary life – people who keep living, working and praying.
As the videos continue, ritualistic chanting runs through both screens. Goddess-like faces appear; the living and the dead seem to gather; circles of female shamans form. You eventually arrive at the Hungry Ghost Festival, gently shifting from observer to participant.
With Zhinu’s dream leaking into the textile factory, the work asks: what new dreams might we begin to weave together?
Supported by
Yang Won Sun Foundation
SNUGGLE AND STITCH: CHILDHOOD TEXTILES OF HONG KONG
In 1950s Hong Kong, nearly one in every two people you’d meet was a teenager or child – swaddled in a baby sling, dressed in home-sewn clothes, or clutching a toy worn from love. While lacking the convenience of today’s screen-based world, children were surrounded by textiles and textures that unfolded as moments of care, communal play and creative problem-solving.
This special display brings together childhood textiles of Hong Kong from the 1930s to the 2020s – from heirloom garments and ready-made fashion to mass-produced toys and artisanal dolls. Together, they serve not only as a reminder of fading social values but invite imagination and action on nurturing human connection, resourceful thinking and care for the materials we pass on.
Snuggle and Stitch is for both grown-ups’ eyes and young hands. We invite you to enjoy together hands-on activities in the gallery that spark dialogue across generations. Play, touch and let a ruffle of fabric, like an unexpected scent, bring you back to a moment you didn’t know you missed.
Bruce Li
Curator of the Special Display
Spring Programme 2026
Welcome to CHAT! This spring season, we invite you on a journey to rediscover how textiles shape our inner worlds and cultural memories.
Textiles have long been intertwined with human spirituality. The group exhibition Threading Inwards encourages you to slow down and connect with yourself and others, and to recall the invisible and calming energy that has guided humanity. Here, the works of 14 Asian artists explore the meditative, healing and bonding powers of textiles, gently reminding us to care for ourselves and the world around us.
In The D. H. Chen Foundation Gallery, Snuggle and Stitch presents Hong Kong's childhood textiles, transporting you back to a time when the warmth of material touch and a close-knit community accompanied children instead of screens and pixels. You will also find games that not only evoke nostalgia but also celebrate the joy of sensory and creative play.
In CHAT Lounge, Artefacts of ‘Blue’ delves into Indanthrene Blue, the world's first synthetic vat dye. It swept across 20th-century China and pioneered a modern aesthetic, leaving behind an enduring legacy.
Enjoy our other programmes too! From the award-winning Accessibility Tour and Illumin-Loom to a wide range of workshops and talks, CHAT's offerings will take you beyond your usual museum experience.
THANK YOU TO OUR COLLABORATORS!
The making of this exhibition brought together the knowledge, stories and resources of many generous specialists and enthusiasts of Hong Kong and beyond.
Our deepest gratitude goes to
Founding Donor: The D. H. Chen Foundation
Main Donor: Nan Fung Group
Donors to CHAT’s Asia Textile Heritage Fund
Contributors: (In alphabetical order by surname)
Asia Art Archive
Bring Me A Book Hong Kong
British Pathé
Capable Toys Ltd.
Caritas Lung Yeuk Tau Community Development Project
Dawn Soft Toy Restoration
Ha Bik Chuen's Family
Hong Kong Arts Centre
Information Services Department
Jiksap
Keepkeepcompany
Kvadrat
Max Media Asia
Public Records Office, Government Records Service
Special Collections, TheUniversity of Hong Kong Libraries
The Lai Mah Collection
The Toys Manufacturers' Association Hong Kong
The Xi Xi Foundation
Tarlan AMIGH
Edith CHEUNG
CHONG Hing Fai
Anne CHOW
CHU Tat Ching
Joel CHUNG
KUME Miyuki
LAM Suk Wah
Sasa LEE
Scarlett LEE
Annes LEUNG
LEUNG Fung Yee
lrene Ll
LO Shuk Ying
Bonny NG
NG Sai Mui
Kary SAU
Popy SAU
Ray SAU
SIN Chung Fun
TAM Wai chi
TANG Leung Siu Ha
TANG Suk Kuen
YEUNG Chi Kong
YAU Lai
Susan YU
Researchers: Elsie SO
Visual ldentity: Annie CHUI
「藍」的 痕 跡
在一則20世纪初流行的經典廣告畫中，稱為「快樂小姐」的女郎典雅高貴，笑容明媚，彷彿在說，只要身穿陰丹士林190號藍色旗袍，就可以如她一般動人。
本期專題展示將從海報中讓人愉悅的藍色出發，呈現化學史上第一個還原染料——陰丹士林藍在近代中國風靡一時的印跡。這種在當時象徵着進步和速度的工業染料，以異於平常的明度、高飽和，以及高度固色的「艷亮」特性備受歡迎，更在動盪的30至40年代引起強烈共鳴，開崗了嶄新的摩登美學。這個分子结構穩定又代表着某種標準的「藍」也廣泛應用於校服和其他制服的生產，我們至今仍看到它留下的影響。
在英文語境中，藍色常常與低落的精神狀態有關；而「『藍』的痕跡」邀請大家暢想一個不再憂鬱的「藍」，看看這個號稱永不褪色的染料如何在時間中穿行。
ARTEFACTS of ‘BLUE’
In a classic advertisement from the early 20th century, a lady clad in cheongsam dyed with Indanthrene Blue No. 190 stands at the centre,her smile luminous and her poise elegant. Dubbed 'Miss Happiness’, she seems to promise that wearing this colour is all one needs to exude the same radiance.
This thematic display begins with the joyful blue in the poster, tracing the vibrant legacy of Indanthrene Blue - the world's first synthetic vat dye. Symbolising progress and speed in its time, this industrial dye swept across modern China with its exceptional brightness, saturation and colour fastness. Throughout the turbulent 1930s and 1940s, it stirred intense emotion and pioneered a fresh modern aesthetic.This chemically stable and standardised shade of blue was soon widely adopted for school uniforms and other institutional attire. This legacy of 'blue' is still visible today.
Artefacts of 'Blue' invites you to picture a blue that defies mclancholy and to track its journey through time.
一種成分穩定的「藍」
陰丹士林藍是史上首個合成還原染料，由德國化學家René Bohn於1901年從靛藍衍生物中發展而成。最初合成的陰丹士林藍RS是種略帶暖調的深藍，随後發展出多種顏色。它色澤鮮豔、耐洗且耐日曬，迅速取代了不穩定、容易褪色的天然染料，成為象徵進步的工業色彩。
陰丹士林自清末傳入中國，但其風靡和大量應用與洋行壟斷的規模和行銷手法不無關係。1920年代中期，德孚洋行在上海成立，專營德國染料，以「陰丹士林」品牌結合中文音譯與「晴雨商標」成功打開中國市場。廣告畫、時尚女郎月曆以及影星代言等宣傳手法，使其成為備受追捧的時尚風潮，其中以190號藍布最為著名，廣泛流行於勞動階級、學生與市民之間。
在20世紀初民族主義高漲的背景下，陰丹士林藍布因在中國織染而被塑造成「愛國布」，成為多次國貨運動的象徵。1934年發起的「新生活運動」提倡整潔、樸素與統一，陰丹士林藍布亦被推廣為「實用時尚」。宋美齡曾身穿陰丹士林布旗袍出席婦女會活動，影星王人美亦以藍色旗袍完婚，以倡導節儉，一度引領潮流。
除部份版權持有者經多番嘗試後仍無法追尋，本展覽內容及配圖均經授權刊載。
倘有合法申索，當會遵照現行償例辦理。
A Stable Blue
Indanthrene Blue is the world's first synthetic vat dye, developed in 1901 by German chemist René Bohn from an indigo derivative. The earliest shade, Indanthrene Blue RS, was a deep blue with a warm undertone, and the range later expanded into a broader palette of colors. With vivid hue and superior resistance to washing and sunlight, it quickly replaced natural dyes and became an industrial colour synonymous with progress.
Introduced to China in the late Qing dynasty, its popularity was fuelled by the monopolistic presence and marketing of foreign trading companies. In the mid-1920s, the German firm Defag established operations in Shanghai, promoting German dyes under the brand ‘Indanthrene’ and combining a Chinese transliteration with the iconic ‘Sun and Rain' trademark. Posters, calendar girls and celebrity endorsements made the colour a coveted fashion style, with the No. 190 blue cloth especially favoured by workers, students and urban dwellers.
Amid rising nationalism, indanthrene blue cloth woven and dyed in China was celebrated as ‘patriotic fabric’ in national goods movements across the early 20th century. In 1934, the New Life Movement advocated neatness, simplicity and uniformity, and indanthrene blue cloth was promoted as ‘practical fashion’. Politician and socialite Soong Mei-ling wore a cheongsam made of Indanthrene fabric at Women’s League events, while lm star Wang Renmei married in a blue cheongsam to promote thrift, setting a trend.
Despite intensive research, it is not always possible to trace the rights on exhibits.
Legitimate claims will be honoured in compliance with current practice.
出口童年
玩具因常被視為童稚之物而受到輕視，但其功能早已超越玩樂層面，長期影響着商業、文化、教育甚至國家發展方向。這些「香港製造」、色彩繽紛的布偶及洋娃娃背後，到底蘊藏甚麼故事 ?
香港玩具業的歷史可追溯至十九世紀的中外貿易時期，當時西方市場對價廉物美的產品需求殷切，尤其是廣州、上海等大城市的產品，而玩具亦包括其中。工業製造的玩具亦於1900年代初期首次在香港出現，多為百貨公司的進口貨。
到了1930年代，本地工廠陸續於中環一帶設立，標誌着香港正式踏入玩具生產的領域。戰後香港的塑膠工業興起，玩具產業亦隨之迅速發展，至1972年香港已成為全球最大的玩具出口地，社會上亦逐漸把「擁有玩具」視為「擁有童年」的象徵。
Exporting Childhood
Often overlooked because of their unassuming simplicity, toys have long served purposes beyond play, shaping commerce, culture, education and even national agendas. What stories might these colourful 'Made in Hong Kong’ dolls and soft toys hold?
The roots of Hong Kong's toy industry trace back to the nineteenth-century China Trade, when Western markets sought affordable and well-crafted products, including toys, from major cities like Guangzhou and Shanghai. In Hong Kong, manufactured toys first appeared in the early 1900s as imported goods sold at department stores.
By the 1930s, local factories began operating around Central, marking the city's entry into toy production. In post-war Hong Kong, the toy industry flourished with the rise of plastics. By 1972, Hong Kong had become the world's top toy exporter, contributing to the popular idea that a childhood without toys is no childhood at all.
劉璇
《神在遊戲》
2025
不鏽鋼、 樹脂、 石膏、 牛⻆、 木頭、 油棕、 腰果漆
320 x 220 x 330 厘米
王泳懿收藏
這件巨大的裝置結合了兩種截然不同的材料：棕櫚這種古老植物的外皮， 以及鐵鏈、鐵鉤、鋼板等工業文明的產物。如此一來，彷彿兩個世界交疊 融合於作品之中。
棕櫚長久以來與人們的日常生活和精 神世界緊密相連，它的葉、皮被廣泛用作編織材料，根莖、果實、樹幹也都各有用途；而在不同的宗教文化中， 棕櫚都被視為生命延續、再生和神聖庇護的象徵。當這種粗糙而充滿生命質感的有機物， 遇上堅硬的人造材料，一個彷彿帶着成長痕跡，甚至如同嬉戲孩童般的「生命體」隨之誕生——這正是劉璇想像中當代神祇的樣子。
對於劉璇而言，遊戲是孩童體驗生命本真的方式，包括體驗它的重量、限制與循環。裝置中的鐵鏈可以帶來約束，也可以提供支撐。 收放之間的張力引發我們思考：我們如何背負重擔，度過人生？自由與拘束、傳統與工業、脆弱與力量，又如何共存於一個身體之中？
LIU XUAN
Lilayati
2025
Stainless steel, resin, plaster, horn, wood, oil palm, cashew lacquer
320 x 220 x 330 cm
Collection of Katrina Wang
This large installation brings together two different worlds through its materials. Liu Xuan uses palm tree bark – the fibrous outer layer of an ancient plant – alongside heavy industrial parts like iron chains, hooks and steel plates.
Palm trees have long been part of both everyday life and spiritual practice. People have used their leaves and bark for weaving. Their roots, fruits and trunks are also used in a wide range of applications. In many religions and cultures, the palm tree symbolises continuity, rebirth and protection. Here, the rough-textured and organic meet the rigid and manufactured. What emerges is a ‘life form’ that seems to carry traces of growth and even resembles a child at play. This is how Liu imagines a contemporary deity might appear.
For Liu, play is how the child encounters life’s realities: its weight, its limits, and its cycles. The iron chains may suggest restraint, but they also offer support. This tension between holding back and holding up raises questions about what it means to move through life while carrying burdens. How do freedom and constraint, tradition and industry, fragility and strength live together in one body?
參展藝術家
陳子雯
陳哲
韓相雅
胡尹萍
ikkibawiKrrr
阿齊扎·卡迪里
金沙織
郭晟邦
劉璇
米類．瑪法琉
Mooni Perry
西特拉·薩斯米塔
希瑪利·辛格·索恩
渡邊志櫻里
Participating Artists
IV CHAN
CHEN Zhe
HAN Sang A
HU Yinping
ikkibawiKrrr
Aziza KADYRI
KIM Sajik
Marcos KUEH
LIU Xuan
Milay MAVALIW
Mooni Perry
Citra SASMITA
Himali Singh SOIN
WATANABE Shiori
執行董事歡迎辭
歡迎來到CHAT六廠這個香港獨一無二的紡織文化藝術館！CHAT六廠位於前南豐紡織的廠房內，以不同形式頌揚昔日香港紡織業令人敬佩的精神和高瞻遠矚的企業家本色。當代藝術家和企業家一樣，對當今社會的迫切議題具有敏銳的觸覺，也為社會創造新的價值。今個冬季，「ANTEPRIMA x CHAT六廠當代紡織藝術獎2024」呈現來自亞洲藝術家最新的紡織藝術意念和形式，表揚開拓紡織藝術新領域的先驅者。大獎得主已由五人國際評審團選出，而我們亦誠邀你在參觀期間投選「觀眾最喜愛大獎」的得獎作品。
CHAT六廠旗艦社群計劃「種學織文」的2024年項目即將迎來尾聲。來自廣州的藝術家團體「菠蘿核」展示他們與社區成員共同創作的紡織和錄像作品，展覽中的 紡織藝術品以過去六個月來精心種植的植物進行天然染色。在CHAT客廳，「歸屬的痕跡」將菠蘿核的展覽與 CHAT六廠收藏的檔案資料聯繫起來，細看透過香港紡織業形成的不同社群。千萬不要錯過欣賞「別出心裁：不 為人知的裁縫故事」的最後機會，這個在陳廷驊基金會展廳的特別展示探討不同形式的服裝剪裁，從中敘述在香港有關移民、友誼、對抗逆境和進步的故事。
CHAT六廠亦與香港中文大學手語及聾人研究中心和語橋社資合作推出「共融導賞之旅」，導賞團由一對聾人和健聽導賞員合作帶領，透過手語和口語雙語設計介紹我們的常設展覽。在輕鬆了解棉紡工序的同時，你將學習到一些基本的香港手語詞彙，一舉兩得！
我們向所有促成展覽的藝術家和社區成員表達謝意， 也衷心感謝ANTEPRIMA和荻野泉女士與我們合作設立這個重要的當代紡織藝術獎項。何鴻毅家族香港基金在「種學織文」計劃及「共融導賞之旅」的發展過程中提供了不可或缺的貢獻。倘若沒有我們的創始捐助機構陳廷驊基金會和主要捐助機構南豐集團的慷慨支持， 這一切都不可能成事。最後，我們感激捐助者和贊助人的鼓勵與支持。全賴你們，CHAT六廠才能繼續培育創意和人才！
高橋瑞木
CHAT六廠（六廠紡織文化藝術館）
執行董事及首席策展人
小小大使
仔細欣賞下方展台中央的「中國男孩」玩偶:從衣物內襯、面部刺繡，到手工縫線及稻草填充每個細節都充分展現出精湛的手工技藝。這裏大部分佈偶由已故的李名煬先生親手製作，他於1949年從上海南來香港，以外來者的視角，觀察英國殖民時期的各種社區風貌，從中汲取創作靈感，題材遍及都市與鄉村。
他在九龍的工作室曾聘請多達二十人，更常開放給縫工和她們的孩子作庇護之所。雖然終身未婚無子，但他常說自己在救急扶危之中找到人生意義，其作品後來更成為遊客爭相購買的熱門紀念品。
李名煬於1996年逝世，數代相傳的「中國娃娃」工藝傳統亦隨之告終。有人認為他以異國眼光來描繪不同社群面貌，亦有人認為他的布偶注入了靈魂。無論如何，老香港的碎片也隨着這些臉頰通紅的布偶，流通至世界各地--溫厚、俏皮永遠年輕。
Tiny Ambassadors
Look closely at the 'Chinese boy' doll in the centre of the plinth below. Every detail, from the garment's lining and embroidered facial features to the hand-stitched seams and straw filling, reveals the craftsmanship behind its making. Most of the dolls here were handmade by the late Michael Lee. who arrived from Shanghai to Hong Kong in 1949. As a newcomer, he drew inspiration for his work from the British Colonies diverse communities, from city to village.
His Kowloon studio employed up to 20 workers and often doubled as a refuge for seamstresses and their children. Although he never married or had children of his own, he frequently said that he found purpose in helping those in need. His creations eventually became sought-after souvenirs for tourists in Hong Kong.
Lee's passing in 1996 marked the close of a tradition of ‘Chinese dolls' crafted by generations of makers. Some view his representations of communities as exoticising, while others see dolls imbued with soul. Whatever the perspective fragments of old Hong Kong endure worldwide through his rosy-cheeked figures: benevolent, playful and forever young.
工人周報》節選，1970-1971（複製品）
Clippings from Workers Weekly, 1970-1971 (Reproductions)
© 香港基督教工業委員會 The Hong Kong Christian Industrial Committee
布頭布尾
這個展櫃的民間玩具、即興玩物及日常用品，均展現了民眾如何巧妙運用紡織材料。1950至60年代戰後物資匱乏，當時的人卻能將布碎拼成傳家的被毯，把閒暇時光化作有趣的遊戲。
當時的香港近半人口年齡低於20歲，孩子沒有經濟能力購買「正式」玩具，於是以簡單的材料製成隨興的遊戲：一條幼繩在雙掌間化成網，一條粗繩便能開啟一場拔河遊戲。在玩耍的過程中，孩子不但能認識周遭的世界，更能學習與人相處、彼此協商，從而達到共識的本領。
現在，你亦可邀請家人朋友甚至身邊訪客，一起到後方體驗區親身試玩，重拾童年回憶，甚至創造新的遊戲體驗。
Odds and Mends
This shelf presents folk and improvised toys, along with household objects born out of ingenuity and a resourceful use of textiles. In the 1950 and 60s, post-war scarcity transformed fabric scraps into heirloom blankets and leisure time into opportunities to invent.
At the time, nearly half of Hong Kong's population was under the age of 20. With limited means to buy ‘proper' toys, children turned simple materials into ephemeral games: apiece of string became a cradle between palms; a length of rope, a tug-of-war. These games became a way for children to learn about the physical world. Crucially, they also nurtured interaction, negotiation and shared imagination with others from an early age.
With a friend, family member, or fellow visitor, revisit childhood memories-or create new ones- using the playthings at the station behind you.
希瑪利．辛格．索恩
《肯定》
2022
單頻道錄像
15’00”
循環聲頻
由David Soin Tappeser 製作
錄像字幕稿本由本事藝術翻譯
《環礁寓言》
2024
靛藍、 薑黃、 茜草、 鐵、 哈博泰絲綢、
每幅 17.8 x 22.9 厘米
請對比牆上的六幅絲綢畫作和旁邊的小屏幕。小屏幕上播放着馬紹爾群島的熱成像與紅外線掃描影像，精準但冰冷。另一邊，絲綢畫的構圖雖來自這些科技影像，卻用天然草藥染劑染色而成，讓人聯想到緩慢、深入、帶着手溫的過程。這組作品《環礁寓言》將太平洋的核歷史與當下的氣候危機視覺化地呈現出來，但同時提示我們，回歸自然和祖先的智慧或將帶來療癒的可能。
在大屏幕的影像中，你會看到來自英國湖區塞拉菲爾德核設施附近的風貌。暗示化學污染的色調流淌於鬱鬱蔥蔥的地景上，自然之美與工業傷害並置其間。希瑪利．辛格．索恩朗讀着一封由「山脈」寄給「原子」的信函，詩意地反思土地與核歷史的糾纏。一位療癒者將雙手放在索恩身上，彷彿將她的身體化作傳送的媒介，傳遞超越人類時空的訊息。
注：《肯定》與《環礁寓言》來自於索恩的長期創作系列《靜態山域》， 該系列持續探索曾經或依然被視作聖地，卻深受核工業侵擾的地方。在這些山川土地上， 核試驗場與廢棄區所帶來的環境傷害與當地的靈性記憶交織在一起。
HIMALI SINGH SOIN
An Affirmation
2022
Single-channel video 15’00”
Loop soundscape by David Soin Tappeser
Script translation by Solid Art
Allegory of the Atoll
2024
Indigo, turmeric, madder and iron on habotai silk
17.8 x 22.9 cm each
Compare the six silk paintings on the wall and the images shown on the small monitor. The monitor shows thermal and infrared scans from the Marshall Islands. The silk paintings, however, turn these precise yet cold scientific readings into colourful compositions dyed with medicinal herbs, evoking a slow and deep process imbued with the warmth of human touch. While visualising the Pacific’s nuclear past and unfolding climate crisis, the work Allegory of the Atoll points to the possibilities of finding healing in nature and ancestral wisdom.
On the bigger screen showing the work An Affirmation, you will see landscapes near the Sellafield nuclear site in England’s Lake District. Colours suggesting chemical contamination flow through the lush terrain, where natural beauty and industrial harm sit side by side. Himali Singh Soin reads aloud a letter from ‘mountain’ to ‘atom’, poetically reflecting on the land’s entanglement with nuclear history. A healer places her hands on Soin, turning her body into a channel to send messages across time beyond the scale of human experience.
Note: An Affirmation and Allegory of the Atoll are part of Himali Singh Soin’s ongoing project Static Range, which explores sacred landscapes disturbed by the nuclear industry – test sites and waste zones marked by both environmental damage and spiritual memory.
感謝我們的合作夥伴！
此展覽結集了許多熱愛香港的人士和願意分享知識、故事和資源的專家。
我們衷心感謝
創始贊助機構：陳廷華基金會
主要贊助機構：南豐集團
CHAT六廠 亞洲紡織文化基金贊助人
捐助者（以英文姓氏順序）
亞洲藝術文獻庫
書伴我行(香港)基金會
British Pathé
奇才玩具有限公司
明愛龍躍頭社區發展計劃
童恩公仔修復
夏碧泉家人
香港藝術中心
政府新聞處
夕抬
Keepkeepcompany
Kvadrat
密思傳媒亞洲
政府檔案處歷史檔案館
香港大學圖書館特藏
黎馬氏家族收藏
香港玩具廠商會
西西基金會
Tarlan AMIGH
張西美
莊慶輝
周曉華
朱達湞
鍾燕齊
久米美由紀
林淑華
李溢
李洛汶
梁佩珊
梁鳳儀
李淑姫
盧淑櫻
吳寶之
吳細妺
仇映喬
仇嘉寳
仇耀偉
單松歡
譚慧慈
鄧梁少霞
鄧淑娟
楊子江
丘麗
余翠鳳
研究員：蘇佩儀
視覺設計：徐曉恩
渡邊志櫻里
《地鳴（土蜘蛛）》
2025
陶甕、音頻、襪子、印刷、單頻道錄像
錄像：15’31”；裝置：尺寸可變
CHAT六廠委託作品
一個大屏幕、兩個巨大陶甕，以及散落地上的分趾襪，構成了一個另類的劇場。
屏幕播放的影像改編自日本經典能劇劇目《土蜘蛛》，但鏡頭只對準了表演者穿上分趾襪的雙腳。在古代的日本，「土蜘蛛」是當權者對邊緣族群或異己的貶稱；而在能劇中，牠被重塑為幽靈般的存在。渡邊志櫻里的影像聚焦於土蜘蛛，卻讓我們只能透過表演者的雙腳看見和聽見牠。分趾襪是能劇中非常重要卻常常被忽略的物件：表演者必須穿上分趾襪才能踏上神聖的舞台，然而在表演結束後，這些襪子即被扔在一旁。
觀看影像的同時，請靠近兩個陶甕。在能劇中，這些不起眼的陶甕被放置在舞台下方的泥土裏，用來共鳴和放大表演者的跺腳聲。長久以來，人們認為這些陶甕可以收藏哭聲、靈魂或大地的記憶。在這裏，你可以聽到甕中迴盪着各種田野錄音：祭典上的詠唱、山間的蟲鳴、儀式的聲音。它們都採集自古代日本邊緣族群曾經生活過的自然與傳統環境。
讓我們靜靜地、深入地聆聽：那些被埋藏的歷史、被遺忘的個體，它們的聲音依然在我們的腳下迴響……
WATANABE SHIORI
Jinari (Earth Spider)
2025
Ceramic jars, audio, socks, prints, single-channel video
Video: 15’31”; installation: dimensions variable
Commissioned by CHAT
A big screen, two large earthenware jars and a scattering of split-toe socks – together, they form an unconventional theatre.
The video on screen draws from Tsuchigumo (‘Earth Spider’), a classic play in Japanese Noh theatre. In ancient Japan, ‘earth spider’ was a derogatory term used by those in power to label communities seen as outsiders or threats; in Noh, it is reimagined as a spectral presence. Watanabe Shiori’s video centres on the earth spider – seen and heard only through the performer’s sock-clad feet. The white split-toe socks are vital but often overlooked in Noh: strictly required on the sacred stage, yet cast aside as soon as the performance ends.
As you watch the performance, move closer to the jars. In Noh, such vessels are embedded in the ground beneath the stage to resonate with and amplify the performers’ stomps. They are also believed to hold cries, spirits or the land’s memory. Here, festival chants, insect calls and ritual sounds echo through the clay. These recordings are captured from the natural and traditional environments once inhabited by marginalised communities in ancient Japan.
Take a moment and listen: the voices of buried histories and forgotten people still resonate beneath our feet…
生命之形
「毛公仔」布偶被攬抱過無數次後，內裹會變成甚麼樣子？這裹展出了一批舊布偶的填充物，形狀與質感各異，均由布偶修復師實姐在修補過程中回收保存。
對許多人而言，一隻布偶的價值並非來自用料或產地，而是布偶本身承載的記憶——有機會是孩子首次為自己挑選的東西，可能是某位已故親人所贈，或是與兄弟姐妹一人一隻。當布偶破爛至無法修補時，更可能是孩子人生首次面對「失去」的時刻。
除了填充物，這個展櫃亦同時展出一些由公開徵集所得的布偶和照片，全都別具個人意義。透過展出布偶的不同形熊，我們希望讓大家反思布偶對形塑個人性格方面有多重要，亦提醒我們需要好好保存這種物質與記憶互相交織之物。
由童恩公仔修復提供
追蹤 @dawn toy_restoration 了解更多
The Shape of Life
What does the inside of a plush toy look like after enduring countless cuddles? Presented here is an archive of old doll stuffing of unique shapes and textures, salvaged through the restoration work of Ah Bo, a soft toy restorer.
For many, the value of a cuddly toy lies not in its materials or origin, but in the memories it holds. lt may have been the first object a child chose for themselves, a gift from a relative now gone, or one half of a pair shared with a sibling. As dolls become worn and tattered beyond repair, they can mark a child's earliest encounter with loss.
The shelf also features soft toys and photographs of personal significance, collected through an open call. Together with the old stuffing, their distinctive forms remind us of the profound role a doll can play in shaping an individual and the need for preserving both material and memory as an interwoven medium.
Courtesy of Dawn Soft Toy Restoration
Follow @dawn toy restoration to learn more
生產線上的工藝
此處展示的工序材料，用於裁剪玩偶衣飾與製作玩偶頭髪，現由一間香港玩具公司於中國內地製造。這些材料揭示了當代玩具生產一個耐人尋味的事實：即使在高度機械化的時代，若要將人造纖維頭髪，一東束固定到塑膠頭部的步驟，至今仍需以人手逐針完成。
1980年代，香港的玩具廠開始陸續北移；與此同時，針對玩具生產的國際標準亦愈來愈嚴格。時至今日，每隻玩偶在出廠之前，均須通過多項嚴格的安全檢驗，廠房內部亦設有繁複的作業程序，確保縫針等潛在危險物不會遺留在玩偶之中。這令產品變得受規管、更完善，但亦往往令人忽略了製作背後的工藝與人手。
近年，毛公仔以鎖匙扣和收藏品的形式再度於全球流行，不少產品在內地工廠生產並由港人管理，讓我們再一次看到玩具製造業在香港文化傳承中的重要地位。
由奇才玩具有限公司提供
Craft in the Line
These process materials for making dolls' clothes and hair-courtesy of a Hong Kong toy company now manufacturing in mainland China-reveal a surprising truth about modern toy production. Even today, the process of threading synthetic hair into plastic doll heads remains a manual craft carried out by skilled hands.
In the 1980s, toy factories in the city began relocating to the mainland. In the same decade, increasingly stringent requirements and international standards were introduced for toy manufacturing. Today, every soft toy must pass rigorous safety checks before leaving the factory. Inside these factories, complex protocols ensure hazards such as stray! sewing needles are never left inside a toy. The result is a product so refined and regulated that we often overlook the craft and human labour still embedded in its making.
As new waves of soft toys emerge as keychains and collectibles worldwide, many of which are produced in mainland factories but managed by Hong Kong producers, we are invited to recognise toy manufacturing as part of Hong Kong's cultural legacy.
Courtesy of Capable Toys Limited
當先進不再
彼時，中國成为了全球最大的陰丹士林染料消費市場。據本地染行工作人員憶述，常時的染料是以「兩」為計量單位，足見其矜貴。在物資貧乏的年代，擁有一件明亮的陰丹布衣物，無疑是一件讓人愉快的事情。在香港，女校逐漸以藍色旗袍作為校服，取代早期月白布衫配黑綢裙的裝扮。
至1980年代，随着成衣生產規管完善，陰丹士林因含有大量重金及對環境與人體有害的成分而逐漸退出市場，這種號稱「永不褪色」的染料最終淡出人們的視野。今天，透過前人珍而重之的舊物，我們或許能重新檢視「進步」和「快樂」的概念是如何被科技和社會政治環境塑造，並在這抹鮮豔的藍色中找到新的意義和共鳴。
When Momentum Fades
China was the world's largest consumer market for Indanthrene dyes According to former local dyers, these dyes were measured and sold in liang (taels), a traditional unit typically used for precious materials. In a time of scarcity, owning a garment made of Indanthrene fabric was a source of joy. In Hong Kong, girls' schools gradually adopted blue cheongsams as uniforms, replacing the earlier style of pale blue blouse with black silk skirts.
By the 1980s, as garment regulations tightened, Indanthrene had been gradually phased out due to its heavy metal content and harmful effects on health and the environment. The ‘never-fading’ dye ultimately faded from view. Today, through heirlooms carefully preserved by earlier generations, we may reflect on how notions of 'progress’ and ‘happiness’ are shaped by technology and socio-political landscapes, and rediscover the meanings carried by this vivid shade of blue.
碧秀穿藍、金秀穿紅、如素穿綠
眼前織有西式装飾藝術圖案的中式織錦，以及合身剪裁的長衫，都反映着二十世紀初的中國現代時装潮流。這些小衣裳誕生於文化蓬勃卻又時局動盪的時期，映照出大時代的轉型。
這些童装出自馬張笑珊之手，她既是裁縫和工廠經理，亦身兼妻子與母親的角色，為她的12名子女及親人親手製衣。時值1920至1930年代，馬家在香港生活優裕：擁有私人泳池，亦不時到戲院觀看最新的美國電影，並在途中品管法式泡芙。
但在1938年，戰火迫使他們遷往美國加州，往昔的生活随之告終，衣物亦被封箱運往他鄉。直至2004年，這批舊衣才重見天日，部分更首次公開展出，留下一份以針線寄情的早年香港見證。
由黎馬氏家族收藏提供
Blue for Helen, Red for Gerry, Green for Lois
The Chinese brocades featuring Western Art Deco motifs and the tailored cheongsam before you embody some of the modern fashion trends of early twentieth-century China. Crafted at a time of cultural prosperity and wartime upheaval, these little garments reflect a mighty world in transition.
Susan Mah - a seamstress, factory manager, wife and mother - handmade these garments for her 12 children and relatives in 1920s and 30s Hong Kong. For the Mah family, life was comfortable: hours spent in their private swimming pool, outings to the theatre for the latest American films, and French éclairs enjoyed along the way.
When war forced their move to California in 1938, that lifestyle ended - and these garments were boxed up and shipped away. Rediscovered only in 2004 and now partially displayed for the first time, this archive offers an early account of care expressed through dressmaking in Hong Kong.
Courtesy of The Lai Mah Collection
童真之衣
這件印有彩條的藍裙，連同小小的「和尚袍」和灰色套裝，都是林淑華於1970年代為四位女兒親手縫製的。對她而言，這些衣服象徵了整潔與純真，讓女兒在外人眼中顯得端莊得體。
戰後香港工業興盛，成衣工廠的剩餘物料會流出市面，在商舗與攤檔轉售。有些懂得善用資源的家庭，會將各式布料收集拼接，創作出獨一無二的服裝，寄託他們心目中理想的兒童形象。
這個展櫃的其他物件和照片，也記錄了相似的家庭故事，大多來自我們的公開徵集。穿着者在憶述過去時，幾乎都將這些手製衣物連結到自己對家庭和自我的早期記憶。
Innocence Worn
The blue dress printed with colourful stripes, together with the small robe and grey outfit ensemble, were handmade by Lam Suk Wah for her four daughters in the 1970s. For Ms Lam these garments once conveyed neatness and innocence, making her daughters presentable before others.
During Hong Kong's post-war industrial boom, surplus materials from garment factories were resold across the city, from shops to stalls. Resourceful guardians collected and pieced together eclectic materials to create one-of-a-kind outfits that reflected their vision of an ideal child.
Stories like Ms Lam's echo through the objects and photographs on this shelf, mostly shared by the public through our open call. In nearly every recollection, wearers associate their homemade clothes with some of their earliest memories of family and of self.
米類．瑪法琉
《16族圖騰（印記）》
2013–2019
塑膠彩、 油彩、 帆布
每件 60 × 60 厘米
《花朵的氣味》
2025–2026
金屬網格、 彈性布條、 紗線
尺寸可變
身為台灣卑南族人，米類．瑪法琉追溯着她家族的故事，也探尋更廣大的原住民記憶。
細看牆上的畫作，你會發現代表農耕與儀式節奏的元素、女性的溫柔力量，以及山海的意象。在《16族圖騰》中，瑪法琉將傳統服飾、物件與故事的色彩與圖案轉化為畫布上的圖像，分別代表着台灣16個原住民族，這些都是世代流傳的文化印記。
另一邊，懸掛作品《花朵的氣味》源自於卑南族以花朵迎接賓客的傳統，喚起那些無須語言的相遇與關懷時刻。
你可以到互動區，用來自瑪法琉畫作的印章圖案，創作屬於自己的圖騰。 旁邊附有藝術家的筆記，讓你深入了解她的創作歷程， 以及她如何從家族、社群與傳統中汲取靈感。
MILAY MAVALIW
Totems of the 16 Indigenous Peoples (Imprints)
2013–2019
Acrylic and oil on canvas
60 × 60 cm each
The Scent of Flowers
2025–2026
Metal mesh, elastic fabric strips, yarn
Dimensions variable
As a member of the Puyuma people in Taiwan, Milay Mavaliw traces her own family stories alongside a wider Indigenous memory.
Look closely at the paintings on the wall, and you may notice elements representing the rhythm of farming and ritual, the gentle strength of women, or the presence of mountains and seas. In Totems of the 16 Indigenous Peoples, Mavaliw transforms the colours and motifs from traditional clothing, objects and stories into painted totems - one for each of Taiwan’s 16 Indigenous groups.These are quiet traces of culture passed down through generations.
The hanging piece titled The Scent of Flowers draws from the Puyuma tradition of welcoming guests with flowers. The work evokes those moments of connection and care -even without words.
At the interactive station, you can create your own totem using stamp motifs extracted from Mavaliw’s paintings. An accompanying artist’s note offers a glimpse into her creative process and the ways she finds inspiration in family, community and traditions.
縷縷入心
我們如何學習重建感知？我們又如何維繋連結，共同化解傷痛療癒自己，修復世界？在高速化的當下，我們邀請你放慢腳步讓 14組亞洲藝術家的作品伴随着你，靜靜地思考和聆聽内在的聲音。
織物從未在人類的精神生活中缺席。它們現身於各式祭祀和儀典，陪伴人們的生老病死與悲歡離合，並在日復一日之問，輕柔地連繋着我們的內心世界和外部環境·編織、染色與縫紉的技藝世代流轉，化作觸覺的語言，訴說着人類個體與集體的記憶、情感信仰與想像。常現今世界的碎片化和不確定性带來焦慮與惶恐織物的柔軟、緩慢與恆久，也許可以讓我們重新找到慰藉、意義和連結。
在本次展覽中，我們将織物視為充滿生命力的神聖通道。這些通道交織成靈性的地圖，勾勒出人與土地、祖先與生熊、可見與不可見、柔韌與剛毅之間的線索，同時開啟未來，引領我們探索生活、連結和關懐世界的新方式。
策展人
王慰慰、朴宥真、黑澤聖霸、王歡
Threading Inwards
How can we learn to nurture sensibility? How do we care for each other and bear sorrow together? How might we begin to heal ourselves and the world around us? In a time of rapid change, this exhibition invites you to slow down, engage with the work of 14 artists from across Asia, and turn inwards.
Textiles have always been inseparable from our spiritual life. They appear in rituals and ceremonies, accompanying people through the cycles of life and death, joy and sorrow, parting and reunion. They also move with us every day, gently connecting our inner world and the spaces we inhabit. Passed from generation to generation, the acts of weaving, dyeing and stitching form a tactile language of memory, emotion, belief and imagination – both personal and collective. In a world where fragmentation and uncertainty stir deep anxiety and unease, the soft, slow and enduring presence of textiles may offer us renewed solace, meaning and connection.
Here, we explore textiles as living pathways that intertwine into spiritual maps. They weave threads between people and place, ancestors and ecologies, the visible and the unseen, softness and strength, while opening up futures and possibilities of living, relating, and caring for the world.
Curators
WANG Weiwei, Eugene Hannah PARK, KUROSAWA Seiha, WANG Huan
織浪地圖
此地圖追溯了是次項目在多個沿海地區的駐場計劃與合作過程，它將相互連結的地點、旅途和關係形象化，展現對話、地區性及共同實踐如何塑造「織浪者」不斷演變的結構。
Weavers’ Map
This map traces the flow of residencies and collaborative processes across multiple coastal regions. It visualises the project’s interconnected sites, movements and relationships – revealing how dialogue, locality and shared practice shape the evolving fabric of Tidal Weavers.
繫於初時
一面主布延伸出四條布帶，構成華南地區常見、用法靈活的嬰兒背兒帶(亦稱「孭帶」)。直到數十年前，眼前的這種布帶仍是措嬰兒的主要方式--既穩固地承托嬰兒，亦以刺繡圖案與文字寄託祝福。
如黑白照片所示，背兒帶能讓照顧者騰出雙手工作:媽媽可下田耕作、媽姐可外出買菜,年長的兄姊則可在家幫忙做工廠計件勞動。這類背兒帶傳統多為手工製作，後期才有現成品，每條背兒帶的幾何結構、款式和用料，也能反映出製作者與使用者的文化身份。
傳統背兒帶較易磨損撕裂，而留存至今的背兒帶多為兄弟姊妹共用、世代相傳，均已邊角破爛補痕累累，成為既獨特又普遍的家傳紡織品。
Beginning Bonds
Four fabric straps unfurl from a central panel to form the versatile and humble baby carrier common in southern China. Just decades ago, these carriers before you were the primary way to carry children - cradling them physically while capturing blessings in embroidered motifs and inscriptions.
As the black and white photographs suggest, the baby carrier allowed caregivers to work: mothers in rice fields, amahs shopping and older children assisting with factory piece work at home. Historically handmade and only later sold premade, each carrier also expressed the cultural identity of its makers and users through geometry, style and materials.
Traditional baby carriers were susceptible to wear and tear. Many survive today, passed between siblings and generations, frayed and patched, as heirloom textiles both unique and universal.
胡尹萍
《魂瓶》
2026
羊毛、 棉線、 鐵線
尺寸可變
CHAT六廠委託作品
熱水瓶、保溫杯、醃菜缸……在這裏，日常生活中隨處可見的瓶子，經一群普通鄉村婦女的想像和巧手，變成了用毛線織成的藝術品。
2015年，胡尹萍開始了「小芳」項目，召集中國各地超過兩百位從未接受過藝術訓練的「阿姨」，鼓勵她們用編織的方式共同參與藝術創作。這裏展出的正是該項目中一部分名為《魂瓶》的作品。在東亞文化語境中，「魂瓶」是收集意識的容器—當肉體消失後，人們寄望於一個有安全感的方式將意識儲存起來。胡尹萍先收集了亞洲各地有關天堂的神話和傳說分享給參與的女性，接着邀請她們以自己的方式去想像天堂的模樣，再讓她們選擇日常喜歡的瓶子為模型，充分發揮想像力和織造技能，創造出屬於她們自己的魂瓶。
如果我們的生命像身邊的瓶子般平平無奇，我們是否可以做些甚麼，為自己創造一個充滿無限可能性的天堂呢？
HU YINPING
Soul Bottles
2026
Wool, cotton yarn, wire
Dimensions variable
Commissioned by CHAT
Vacuum flasks, travel mugs, pickle jars… these seemingly unremarkable objects are anything but in the hands of a group of women from rural communities. Through imagination and skill, they are transformed into textile artworks.
In 2015, Hu Yinping began the ‘Xiaofang’ project. She invited more than two hundred women from across China-none of whom had received formal art training-to create artworks together through knitting or crochet. The pieces on view here, titled Soul Bottles, are created under the project. In East Asian cultures, ‘soul bottles’ (or ‘soul jars’) are believed to hold a person’s spirit, keeping the soul safe after the body has passed. Hu collected myths and legends about heaven from different parts of Asia and shared them with the participants, asking each woman to imagine what heaven might look like. The women then chose bottles they enjoyed using and refashioned them into unique soul bottles.
If our lives feel as ordinary as the bottles we keep at home, is there something we can do to shape our own heaven-one filled with endless possibilities?
致謝
關於陰丹士林染料的研究，已經有諸多學術生產，但是從文本回到現實是整個項目中最為有趣的部分。感謝台灣學者張小虹的著作《陰丹士林藍——質量體戰爭與微分子運動》帶來的啟發，以及巴斯夫官方網站上的歷史紀錄，讓我們得以看見此染料在中國逾百年前的發展歷程。
特別致謝在本次研究過程中所有學者、收藏家、從業者和親友對這個染料的經驗分享。期望這次展示可以作為一顆微小的沙子，與觀眾一起撥開歷史縫隙，以及提醒遺忘的輕易。
潘思明
專題展示策展人
Acknowledgements
While there is considerable scholarship on Indanthrene, the most engaging aspect of this project lies in the transition from textual analysis back to material reality, I am indebted for the inspiration provided by Taiwanese scholar Chang Hsiao-Hung's article 'Indanthrene Blue: Molar Wars and the Molecular Movement’, as well as to the records preserved on BASF's official website, which help us trace more than a century of the dye's history in China.
I wish to express my gratitude to the scholars, collectors, practitioners and friends who generously shared their experiences with this dye during the research. I hope this display serves as a modest intervention - like a grain of sand - working with its audience to prise open the fissures of historical perception and to reflect on the fleeting nature of memory.
Cathleen PAN
Curator of the Thematic Display
西特拉．薩斯米塔
《天河直落杏仁核的噴泉》
2025
印尼Tumanggal手工編織、刺繡、
柯根紗、香料
130 × 730厘米
與印尼Tumanggal編織社群合作
CHAT六廠委託作品
在這件作品中，西特拉．薩斯米塔邀請你重新認識峇里島的故事、儀式與傳統，在現今的生活環境中重新想像這些世代相傳的記憶。
在峇里島的喪葬儀式中，人們會以布料包裹遺體，引領靈魂踏上歸途。一條長布自高處垂下，象徵庇護，也喻示着生者與祖先之間的連結。作品中央的意象源自峇里島神話中承載世界的巨龜 Bedawang Nala：當牠移動時，地震與自然異變隨之發生，提醒我們人類世界與無形的自然力量之間有着深切聯繫。
再看看布上兩位女性形象：她們分別代表賜予生命的海洋女神與孕育萬物的大地之母，引導着生死與重生的循環，也映照峇里島女性在日常儀式中傳承與分享靈性智慧的角色。
在數碼時代，當我們接觸這些世代流傳的原住民符號與儀式時，會有甚麼聯想？是人與土地的連結，是對自然 之聲的覺察，還是更廣闊的想像？
支持機構
印尼駐港總領事館
CITRA SASMITA
Sky River in Fountain of Amygdala
2025
Embroidery on Tumanggal weaving, organza, spices
130 × 730 cm
Collaboration with the Tumanggal weaving community
Commissioned by CHAT
Citra Sasmita’s installation invites you to look anew at Bali’s stories, rituals and traditions–passed down through generations and reimagined for life today.
The work draws from Balinese funerary rites, where textiles are used to wrap the body and guide the soul on its journey. A long cloth drapes from above, suggesting both protection and the connection between the living and their ancestors. At its centre is the Balinese legend of Bedawang Nala-the giant turtle that carries the world on its back. When Bedawang Nala moves, it causes earthquakes and natural shifts, reminding us of the deep ties between human life and unseen forces of nature.
Look closely at the two female figures on the cloth. They represent a cycle of birth, death and rebirth - guided by the life-giving sea goddess and the grounding, nurturing Earth Mother. These figures also reflect the role of Balinese women, who carry and share spiritual knowledge through everyday rituals.
In this digital age, what do we imagine when learning about Indigenous symbols and rituals that have been passed down through generations? The connection between human and land, a sensitivity to the voice of nature, or something more?
Supported by
Consulate General of the Republic of Indonesia in Hong Kong
認真地玩
隱藏在層層「毛海」絨毛之下，時而細緻嚴謹，時而略顯踉蹌的縫線，記錄了一名藝術家的復康之旅。1989年，已故作家兼詩人西西（1937-2022）確診乳癌，右手活動能力開始受限。為了復健，她機緣巧合下於1999年開始製作毛熊，及後更涉獵其他類型的布偶。
西西跟隨香港導師學習縫製毛熊，第一隻做的毛熊只有掌心大小，曾陪伴她四處旅行，又參照中國歷史和神話故事，為毛熊量身設計角色服裝，寫成《縫熊志》。除了毛熊，西西亦深入研究猿猴，並將研究筆記轉化成既有趣又時而符合解剖結構的布偶，又寫成《猿猴志》。
西西到了62歲，除寫作之外展開這段創造旅程，讓大家看到即使是成年人，「玩」亦可有深刻意義--既有療癒力量，亦能反思生命，成為終生學習的方式。
展品由西西基金會提供
追蹤「西西空間」@thexixispace 了解更多
Serious Play
Within the soft layers of mohair fur, stitches both careful and faltering reveal an artist's journey of recovery. Diagnosed with breast cancer in 1989, the late writer and poet Xi Xi [1937-2022] experienced a loss of mobility in her right hand. For rehabilitation, she began her unexpected practice of making artist bears in 1999. Later, she began making other types of plushies.
Learning under a local maker, she produced her first artist bear that was palm-sized and accompanied her travels. Over time, her bears became dressed in costumes inspired by Chinese history and myths, culminating in her book The Teddy Bear Chronicles. Beyond bears, Xi Xi studied monkeys and apes and fashioned her research notes into playful and sometimes anatomically accurate dolls, which culminated as The Monkey Chronicles.
Embarking on this creative journey at 62, along with writing she reminds us that even grown-ups can engage with ‘play’ meaningfully, for healing, as a reflection on life and as a tool for lifelong learning.
Exhibits courtesy of The Xi Xi Foundation
Follow 'The Xi Xi Space' @thexixispace to learn more
郭晟邦
《遺棄》
2025
工業紡織、聚酯纖維、人造絲、木頭、 繩索、沙包
尺寸可變
《愛、勞動、孤獨》
2025
工業刺繡機、聚酯纖維、人造絲、 布料、木頭
尺寸可變
機器由Annabel Leung 提供
《希望與恐懼》
2025
刺繡、廢棄布料
尺寸可變
由CHAT六廠與esea contemporary 共同委託
由Mondriaan Fund 及亨利．摩爾基金會支持
於海澤的EE Exclusives製作
由阿姆斯特丹Galerie Ron Mandos提供
Abandonment
2025
Industrial weaving, polyester, viscose, wood, rope, sandbags
Dimensions variable
Love, Labour, Loneliness
2025
Industrial embroidery machine, polyester, viscose, fabric, wood
Dimensions variable
Machine courtesy of Annabel Leung
Hope and Fear
2025
Embroidery, waste fabric
Dimensions variable
Co-commissioned by CHAT and esea contemporary
Supported by Mondriaan Fund and Henry Moore Foundation
Produced in EE Exclusives, Heeze
Courtesy of Galerie Ron Mandos, Amsterdam
郭晟邦
《勞動的精神》
2026
工業紡織、聚酯纖維、人造絲、紙、馬海毛
中央：350 x 1000 厘米
左及右：每件170 x 600 厘米
CHAT六廠委託作品
由Mondriaan Fund支持
於荷蘭蒂爾堡的TextielLab和海澤的EE Exclusives製作
走進南豐紗廠的大廳，迎接你的是一組色彩鮮豔的巨幅織物：傳統圖樣、紡織女工的文獻照片、祝福的語句等層層疊疊，編織在一起。郭晟邦將這組作品命名為《勞動的精神：織女》，並將它們懸掛於這個昔日香港紡織業重地的舊棉紡廠內。許多紡織女工曾經在此辛勤勞動，為本地紡織業奠定基石，而這組作品正是向她們的堅韌與貢獻致敬。
織物上那些鮮明的圖案、口號，都取材於工業革命時期的公會旗幟和證書，並混合了鼓勵勞動的俗語。對於在艱辛甚至危險環境中工作的工人來說，它們不只是裝飾物，而是像護身符一般，帶來心靈的慰藉、支持與希望。在這些巨大的織物面前，請停下你的腳步，想像這些圖像所承載的情感和意義：那些跨越不同世代女工之間的情誼、關懷與集體力量；那些傳承下來的創造精神；還有那些在當下默默支持我們生活的勤勞雙手。
MARCOS KUEH
The Spirit of Labour
2026
Industrial weaving, polyester, viscose, paper, mohair
Centre: 350 x 1000 cm
Left and right: 170 x 600 cm each
Commissioned by CHAT
Supported by Mondriaan Fund
Produced in TextielLab, Tilburg and EE Exclusives, Heeze
As you walk into The Hall, you are immediately greeted by a monumental collage woven with traditional motifs, documentary photographs and auspicious phrases. Titled The Spirit of Labour: ZhiNü, this installation by Marcos Kueh speaks to its venue – a former cotton-spinning mill where generations of women once worked diligently, laying the foundation for Hong Kong’s textile industry. Here, Kueh honours their resilience and contributions.
The slogans and images on the work are drawn from union banners and membership certicates during the Industrial Revolution, blended with slang expressions encouraging hard work. For workers facing tough and often dangerous conditions, these pictures and words were never mere decoration – they carried emotional and spiritual weight, offering protection, solidarity and hope. You are invited to pause and imagine the emotions and meanings they hold: the friendship, care and collective strength of female workers; the innovative spirit passed down across time; and the many hands that quietly sustain our everyday lives.
郭晟邦
這裏的三件裝置作品以遷徙、勞動與文化傳承為主題， 相互連結，每件都邀請你放慢腳步，思考個人歷史與身邊的世界如何彼此交織。
《遺棄》
一幅巨大的帆布懸掛在斷裂的桅杆狀結構上，布上描繪着神祇之間的戰爭，暗示着超越個人掌控的強大力量。 作品靈感源自郭晟邦祖父的經歷：他在日本佔領馬來亞期間逃往婆羅洲， 從此未歸。這件作品彷彿在輕聲地發問：當大船已然沉沒，你要如何繼續前行？
《愛、勞動、孤獨》
一台刺繡機獨自運轉着， 似乎永不停歇， 那平穩的節奏呼應着工廠勞動的重複步調， 以及量產背後的無形之手。它重複的動作中蘊含着關懷、愛意與疲憊，也隱隱透露出被忽視的勞動者的孤獨。
《希望與恐懼》
這裏有燒灼與縫補的布料殘片，上面展示着商業標誌、寺廟神祇與祝福的文字。這些遺留物映照着勞動的後續：布料雖被丟棄，信仰與記憶的痕跡卻成為靜默的存續，拒絕被遺忘。
支持機構
荷蘭駐香港總領事館
MARCOS KUEH
The three installations here all circle around migration, labour and cultural inheritance. Each one invites you to pause and consider how personal histories are woven into the world around us.
Abandonment
A large sail hangs from a broken, mast-like structure and is woven with mythic deities locked in battle, suggesting powerful forces beyond any individual’s control. Kueh conceived this work from the story of his grandfather, who fled to Borneo during the Japanese occupation of Malaya and never returned. The work quietly asks: if the ship has already sunk, how do you carry on?
Love, Labour, Loneliness
In this work, a single embroidery machine keeps moving on its own, repeating the same motion again and again. Its steady rhythm echoes the pace of factory work and the unseen hands behind mass-produced textiles. There’s care, love and exhaustion in that repetition, along with a hint of the loneliness that often comes with invisible labour.
Hope and Fear
Here you see burned and stitched scraps of cloth – bits of business logos, temple gods and good-luck phrases. These leftovers suggest an ‘afterlife’ of labour: even when the fabric is thrown away, traces of belief and memory still quietly cling on, refusing to be forgotten.
Supported by
The Consulate General of the Kingdom of the Netherlands in Hong Kong
金沙織
《與織機一起，身體就在此》
2024–2025
噴墨印刷、 音頻、 單頻道錄像
錄像 ：9’05” ；裝置：尺寸可變
合作機構
Asian Art Roundtable organised by the Agency for Cultural Affairs, Government of Japan
在這個沈靜的空間裏，一系列人像攝影圍繞着兩件用芭蕉纖維製成的和服。 照片中有老人，有青年，每個人都做着不同的動作，臉上有着不同的表情，有的好像在跳舞，有的則像在回憶織布的模樣。他們的共通之處在於身上的芭蕉布和服。
芭蕉布是沖繩的傳統織物，曾在日常和節慶中被廣泛使用，卻在二戰後幾乎消失。如今，芭蕉布的製作傳統依靠小村落喜如嘉的少數居民保存下來， 不過懂得這門手藝的人也在逐漸減少。
金沙織拜訪喜如嘉的當地人，聊起他們對製作和穿着芭蕉布的回憶，也請他們透過肢體和手勢表達這些往昔點滴，然後將其拍攝下來。傳統布料、身體動作、記憶、情感、過去與現在，都在作品中串聯在一起。
支持機構
Yang Won Sun Foundation
KIM SAJIK
Together with HATAMUN, the body is there now
2024–2025
Inkjet prints, audio, single-channel video
Video: 9’05”; installation: dimensions variable
In collaboration with
Asian Art Roundtable organised by the Agency for Cultural Affairs, Government of Japan
In this quiet space, a series of portraits surround two kimonos made from banana plant fibres. In the portraits, you can see both elderly and young sitters, each captured in a different pose and expression. Some appear to be dancing, while others seem to be recalling the movements of weaving. What they have in common is that all of them wear bashōfu.
Bashōfu is a traditional Okinawan textile. Once part of everyday life and festival wear, the
banana-fibre fabric nearly disappeared after the Second World War. Today, it survives thanks to the dedication of a few weavers in the small village of Kijoka, though the number of people who know how to make it continues to shrink.
During her visit to Kijoka, Kim Sajik spoke with local residents about their memories of bashōfu. She invited each of them to express the memory through a gesture, which she then photographed. In Kim’s installation, the traditional textile, embodied movements, memories, emotions, the past and the present all come together.
Supported by
Yang Won Sun Foundation
阿齊扎．卡迪里
《她的舞台（四）》
2026
雙頻道錄像、軟雕塑（人造皮革、天鵝絨、棉、絲綢、人造絲、聚酯纖維、鋼、銅、熱塑性塑膠）
錄像：6’30’’；裝置：尺寸可變
在阿齊扎·卡迪里想像的舞蹈室裏，最先映入眼簾的或許是模仿舞蹈動作的紡織雕塑。
此作品源自卡迪里祖母的故事:她生於蘇聯時期的烏兹別克斯坦，曾經萝想成為一名舞蹈家，奈何當時的女性雖已被鼓勵展現現代風貌，卻仍受制於傳統性別角色的束縛。卡迪里利用人工智慧，把傳統鳥兹別克舞步的數據和她祖母在其公寓内的日常舉止結合，編成一段舞蹈。這支舞從未在現實中出現過，而是一段虚構的記憶並由眼前的軟雕塑赋予實體形態。
在其中一個螢幕上，你會看見這系列人工智慧生成的舞步，以及關於卡迪里祖母的影像檔案和回憶。另一個螢幕則呈現四種舞蹈，包括讓人想起紡紗勞動的「蠶舞」、映照女性美容養護等日常儀式的「畫眉舞」、表達悲慟與蛻變的「嘆息舞」，以及最後的「辮子舞」。這些身體動作都映射出社會文化規範與個人期盼之間的張力。
你可以把自己的身體嵌入雕塑之中模仿這些舞步，同時想像一個未竟的夢想在你身上繼續延伸。
AZIZA KADYRI
Her Stage (IV)
2026
Two-channel video, soft sculptures (faux leather, velvet, cotton, silk, viscose, polyester, steel, copper, thermoplastics)
Video: 6’30’’; installation: dimensions variable
When you step into Aziza Kadyri’s dance studio, perhaps what immediately meets the eye are the textile sculptures mimicking dance movements.
This installation is inspired by Kadyri’s grandmother, who once dreamed of becoming a dancer in Soviet Uzbekistan, where women were encouraged to appear modern, yet still bound by traditional gender roles. Blending datasets of traditional Uzbek dances and gestures extracted from her grandmother’s daily routines in her apartment, Kadyri uses artficial intelligence (AI) to synthesise a choreography. The dance has never actually occurred but exists as a constructed memory, and the soft sculptures here give it physical form.
On one of the screens, you’ll see the AI-generated choreography, along with the visual archive and recollections of Kadyri’s grandmother. Another screen shows four dances: the silkworm dance, evoking the labour of silk spinning; the eyebrow painting dance, reflecting rituals of beauty and care; the lamentation dance, expressing grief and transformation; and, at last, the hair braiding dance. Together, they help us see the push and pull between cultural expectations and personal aspirations.
You can fit yourself into the sculptures to try out the dance moves, and imagine an unfulfilled dream living on through your own embodied experience.
陳哲
《相遇 I》
2026
石塑黏土、礦物粉末、塑膠彩、蜂蠟、腸衣、金屬絲、紗布、紙漿、軟墊、磁鐵、磁粉、染色矽膠
240 x 80 x 70 厘米
CHAT六廠委託作品
這裏是一組模擬人類顱骨的雕塑作品：頂部的顱骨殘片垂落着，輕輕接觸着下方的另一個顱骨，整組雕塑靜臥在貌似柔軟的材料上。陳哲實驗性地將堅硬和柔軟的材料結合在一起，暗示着身體與心靈之間的細膩關係，並啟發我們想像人類顱骨的精神意義。
只要湊近一點觀察，你會發現兩個顱骨通過柔軟的開口（天靈蓋）相連，象徵着精神的相遇。相遇既可以發生在人與人之間，也可以是聯通被遺忘的自我，乃至超越我們認識的存在。「打開的顱骨」代表着一種開放的身心狀態：敞開自我，接納日常中的種種相遇，承受其所帶來的穿刺、擠壓，甚至重組，而生命的真實亦在此刻降臨。
與此同時，我們也可以進一步思考：身體能幫助我們理解這個世界嗎？身體連結着我們所處的物理環境，它是否也可以貫通情感和精神，以連結塑造我們生命的無形力量？
CHEN ZHE
Meeting I
2026
Stone-based clay, mineral powder, acrylic paint, beeswax, natural casings, metal wire, gauze, paper pulp, padding, magnet, magnetic powder, pigmented silicone
240 x 80 x 70 cm
Commissioned by CHAT
Before you is a sculptural work shaped like two human skulls, resting lightly on what appears to be a cushion of soft material. A fragment of the top skull hangs down, gently touching the skull below. While inviting us to imagine the skull’s spiritual meaning, Chen Zhe brings hard and soft materials together to reflect the delicate relationship between body and mind.
Look closely at the skulls: they are joined through a soft opening resembling a fontanelle – a gap on a baby’s head that remains open after birth. This point of contact suggests a meeting of two spirits. Such an encounter can happen between people, but it can also take the form of a connection with one’s forgotten self, or even with something beyond our knowledge. This ‘open skull’ suggests an open state of being – one that embraces all kinds of encounters in the everyday world, learning about life through pain, pressure and transformation along the way.
We may also ask ourselves: can our bodies help us understand the world? They connect us to our physical surroundings, but can they also move through emotion and spirit to help us reach the unseen forces shaping our lives?
陳子雯
《綠窩》
2026
多媒體紡織裝置
尺寸可變
CHAT六廠委託作品
陳子雯創造了一個柔和而沉浸的空間， 其靈感源自劇場中的「綠室」，即一個 讓演員休息和準備化身成舞台角色的地方。來到這裏，你可以放慢節奏，深呼吸，感受身體與情緒的細微變化。
空間中央直立着一件圓潤的大型軟雕塑，其形態模仿和自然、生育與護 佑相關的女神形象。多個小型軟雕塑 從她身上延展開去，它們取材自古老的象徵符號，如夢境或記憶片段般彼此相連，也像遊樂場裏的玩具般散落一地。
請細細觀察圍繞着你的綠色布料：拼布、縫線與簾幕層層交疊，隨着你的移動折射着光影。製作電腦影像時所用的「綠幕」，是能夠轉化為任何場景的空白背景；而這個佈滿綠色織物的空間，也是一個可以容納各種情感與 想像的場所。
空間中的所有元素皆可觸摸。當你倚靠、坐下，或輕輕玩弄這些柔軟的雕塑時，作品也就成為一個庇護之所， 布料承載着你的重量，甚至是你的故事。
IV CHAN
Chloronest
2026
Mixed media textile installation
Dimensions variable
Commissioned by CHAT
IV Chan creates a soft, immersive space inspired by the ‘green room’ of a theatre, where actors relax and prepare to become someone else. Here, the installation invites you to slow down, breathe and notice how your body and mood might shift.
In the middle stands a large rounded figure modelled after a goddess of nature, fertility and protection. Around her, smaller stuffed shapes drawing from ancient symbols spill outwards. They are connected to each other like fragments of dreams or memories, and lie around like toys in a playground.
Look closely at all the green fabrics here: patches, seams and curtains layer over one another, catching light and shadow as you move. The green tone also draws from the green screens used in producing computer-generated imagery – blank backdrops that can turn into anything. This space, too, is a stage where anything goes, whether it’s feelings or imagination.
Everything here is meant to be touched. As you lean, sit or gently play with the soft forms, the installation becomes a temporary shelter where cloth holds your weight and, perhaps, a story you bring to it.
韓相雅
沿着迴廊前行，一片由黑白水墨形成的立體風景便呈現在你的眼前。你可以穿過一個拱門般的巨大軟雕塑，進入由韓相雅用水墨與棉布創造出的寧靜空間。這件軟雕塑和迴廊盡頭的作品，皆出自她的《玄關》系列。在佛教語境中，玄關象徵通往真理或另一種理解方式的門扉。我們出生時，就好像跨越一道門檻走入世界；在此，韓相雅亦重新想像了一處人人皆可跨過的界限，邀請觀眾走進作品，走進一個「不一樣的世界」。
韓相雅利用社交媒體公開徵集舊布偶， 然後把 48 位參與者捐贈的玩偶拆解開來，收集其中的棉花作為填充物，創作了這個空間內形似佛塔的軟雕塑。 它們並非供奉舍利的神聖佛塔，而是韓相雅所稱的「絲離塔」，聚合着離散的線索， 默默保存着日常生活的痕跡。這些柔軟的雕塑將眾人的情感與記憶匯聚到一起，它們彼此依偎，帶來超越個人記憶的歸屬感。
支持機構
Yang Won Sun Foundation
駐香港韓國文化院
HAN SANG A
As you walk along the corridor, a three-dimensional ink wash landscape unfolds before you. You can pass through a large, arch-like soft sculpture to enter the tranquil space created by Han Sang A using meok (traditional Korean ink) and cotton fabric. Both this sculpture and the one at the far end belong to Han’s Threshold series. In Buddhism, a ‘threshold’ can mean an entry point to truth or another way of seeing. Just as we pass through a doorway into the world at birth, Han reimagines a threshold that anyone can cross into an alternative world.
Within the space, you will find soft sculptures shaped like stupas. They are filled with cotton stuffing from dolls donated by 48 people who answered Han’s open call on social media. Rather than structures holding relics, they are what Han calls Sil-i-tap return to unity. Soft and gentle, they quietly – places where scattered threads gather the traces of everyday life and emotion, evoking a sense of belonging that stretches beyond personal memory.
Supported by
Yang Won Sun Foundation
Korean Cultural Center in Hong Kong
飛越溫暖牌：香港童年布藝
在1950年代左右的香港，幾乎每兩人當中就有一位是青年或小孩。你會看到有的小孩睡在背兒帶裏，有的穿着媽媽手縫的衣裳，有的抱着珍愛的布偶——在那沒有螢幕的年代，孩子自小被各式布料和材質包圍，這些織品亦反映出當時社會互助的溫馨時刻、孩子的集體遊戲， 以及創意無限的解難思維。
此特別展示匯集了1930年代至2020年代的香港童年紡織品，包括世代相傳的衣物、成衣製品、量產玩具與手工布偶。這些物件不僅令人回想一些逐漸消逝的社會價值，亦引領我們開闊想像，思考如何在培養人際關係、善用資源及保存歷史材料方面，為未來世代帶來啟示。
我們歡迎大小朋友用眼睛觀察、用雙手探索。展廳內設有多個互動區,誠邀大家一同參與這些有趣體驗，一邊遊玩，一邊分享跨代故事。在觸摸和遊戲的過程中，或許某片布料能勾起一段久違的溫馨回憶，令你會心微笑。
李勺言
特別展示策展人
《岩石與感覺》的製作過程，3’ 30”
Working process of Rock n’ Feel, 3’ 30”
《魂瓶》的製作過程，11’ 43”
Working process of Soul Bottles, 11’ 43”
「中國娃娃」常於這家「福利工藝社」銷售，該店致力為內地來港工匠維護權益，1959年（複製品）
‘Chinese dolls’ were often sold at the Welfare Handicraft Shop, which advocated for migrant craftspeople from the mainland, 1959 (reproductions)
由政府檔案處歷史檔案館提供
Courtesy of Public Records Office, Government Records Service
「喜如嘉祭」與芭蕉布記錄短片，9’ 05”
Video documentation of the Kijoka Festival and bashōfu, 9’ 05”
「新生活運動」影響下的陰丹士林廣告畫，1935年。
Poster after the ‘New Life Movement’, 1935.
「香港製造」的玩偶樣本，配有服裝及植入毛髮，約1950及1980年代
Samples of ‘Made in Hong Kong’ dolls featuring garments and implanted hair, about 1950s and 1980s
以前現成玩具對大多孩子來說仍屬奢侈品，因此 《 兒童樂園 》等畫報便深受廣大兒童愛戴，約1950至60年代（部分為複製品）
Printed comics were popular among children at a time when store-bought toys were a luxury for most children, about 1950s to 60s (partial reproductions)
部分由政府檔案處歷史檔案館提供
Partial courtesy of Public Records Office, Government Records Service
前往身後的「閱讀圈」，從書本了解香港製造的玩具
Read more about toys made in Hong Kong at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，從書本認識傳統中式圖樣
Read more about traditional Chinese motifs at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，從書本認識香港的玩具製造業
Read more about Hong Kong's toy manufacturing industry at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，從書本認識香港童年玩具
Read more about childhood toys in Hong Kong at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，探索昔日香港景象與人物的描繪
Explore depictions of the sights and people of old Hong Kong at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，深入認識黎馬氏家族收藏
Read more about the Lai Mah Collection at the ‘Reading Circle’ behind
前往身後的「閱讀圈」，細讀西西的《猿猴志》
Read Xi Xi’s The Monkey Chronicles at the ‘Reading Circle’ behind you
吹氣玩偶與布偶雖然材質不一，但製作方法如出一轍，均由裁好的組件以黏貼或縫紉方式接合而成，約1960至70年代
Though different in material, inflatables and plushes share a similar construction, each assembled from cut out components joined by adhesives or stitching, about 1960s to 70s
因為她所穿的陰丹士林色布是：
一、顏色最顯眼
二、炎日曝曬不褪色
三、經久皂洗不褪色
四、顏色永不消減不致枉費金錢
For the Indanthrene fabric she wears boasts:
1. A most lustrous hue to meet the eye;
2. Resistance to fading under the sun's harsh rays;
3. Colour that endures through every wash;
4. A truly lasting shade - your coin it will not betray.
由陳幼堅先生提供
Courtesy of Mr Alan Chan
在一幅陰丹士林廣告畫中，一名穿着自然染長袍的男士在抱怨衣服的固色度很差。20世紀初期。
In an advertising poster, a man dressed in a naturally dyed indigo robe complains about its poor colour fastness. Early 20th century.
在嬰兒夭折率高的年代，民間相信把孩子裝扮成猛獸可瞞騙惡靈；童鞋與領圍亦繡有祝福圖樣，約1930年代
Amid high infant mortality, superstition led to children dressed as fierce animals to ward off harmful spirits; shoes and collars also feature auspicious embroideries, about 1930s
由黎馬氏家族收藏提供
Courtesy of the Lai Mah Collection
大的「線轆」(線軸)可以用來放風；小的鋸出齒狀，再配合棍子與橡皮筋，便可變成一輛迷你「坦克車」，約1960年代
A large thread spool could fly a kite, while a smaller one, notched and fitted with sticks and rubber bands, could be transformed into a mini ‘tank', about 1960s
由鍾燕齊提供
Courtesy of Joel Chung
天星小輪水手，由李名煬創作及親筆簽名，約1990年代
A Star Ferry sailor depicted and signed by Michael Lee, about 1990s
孩子的書本與玩偶，反映一個富裕的美國華僑家庭在教育與娛樂方面的生活樣貌，約1930年代
Children’s books and dolls reveal the education and entertainment of a well-to-do Chinese American family, about 1930s
家庭合照中，儀姐的父親梁木(右二)身穿藍色長衫。
In a family portrait, Auntie Yee’s father Leung Muk (second from right) sports a blue cheongsam.
由梁鳳儀女士提供
Courtesy of Ms Leung Fung Yee
布偶修復示範影片，以及工具展示，包括梳髪毛髮的刷子、調整填充物的木棒，以及用來補植新毛髮的針具
Soft toy restoration demonstration video and a display of tools, including brushes to fluff up the fur, sticks to adjust the stuffing and latch needles to implant new hairs
由童思公仔修復提供
Courtesy of Dawn Soft Toy Restoration
幼兒用膠藤椅子，約1960至70年代
Plastic rattan chair for toddlers, about 1960s to 70s
由夕拾提供、富怡廣告公司修復
Courtesy of Jik Sap; Restoration by Fully Advertising Company
從這些1960至80年代的展品可以看到，西式童裝在戰後逐漸流行，既受家庭裁縫青睞，亦在商店販售
Western-style children's clothing became increasingly popular after the war-embraced by home seamstresses and sold in shops, as seen in these exhibits of the 1960s to 80s
部分由丘麗提供
Partial courtesy of Yau Lai
性情溫和的帝髭獠狨因鬍子酷似德皇威廉二世而得名，由西西縫製
The gentle emperor tamarin was named for its long moustache, which resembles that of Kaiser Wilhelm II; made by Xi Xi
打造屬於自己的圓騰！
這裡的印章圖案源自於米類．瑪法琉圖騰畫作中的視覺元素。你可以閱讀藝術家的筆記，了解這些元素代表的含義和不同圖騰背後的故事。
發揮你的想像力，創作一個屬於自己的圖騰吧！
Stamp your own totem!
These stamps are inspired by the visual elements in Milay Mavaliw's totem paintings. Read the artist's notes to discover the meanings behind these symbols and the stories woven into each totem.
Now it's your turn! Use the stamps to create your very own totem.
擁有大眼大耳的喉迴旋曲叢猴，能如螳螂般俯衝捕捉昆蟲，由西西縫製及繪畫（圖為複製品）
The bush baby, with its large eyes and ears, can swoop down like a mantis to catch insects, made and illustrated by Xi Xi (image reproduction)
繪圖由何福仁提供
Illustration courtesy of Ho Fuk Yan
本地工廠曾推出多種以女孩為模型、面向女孩市場的娃娃；芭比娃娃於1959年推出後風靡全球，令這種娃娃更受歡迎，約1960至80年代
Hong Kong factories likewise produced many dolls modelled on and marketed to young girls; after Barbie’s debut in 1959, these dolls gained further popularity, about 1960s to 80s
部分由keepkeepcompany提供
Partial courtesy of keepkeepcompany
李名煬專題展覽宣傳單張，1983年（複製品）
Leaflet of an exhibition dedicated to Michael Lee, 1983 (reproduction)
由夏碧泉檔案、夏碧泉家人、亞洲藝術文獻庫、 香港藝術中心提供
Courtesy of Ha Bik Chuen Archive, the Ha Family, Asia Art Archive and Hong Kong Arts Centre
李名煬工作室海報，約1980至90年代
Promotional poster of Michael Lee’s studio, about 1980s and 90s
李名煬電視訪問，1996年
Television interview with Michael Lee, 1996
由密思傳媒亞洲、余翠鳳提供
Courtesy of Max Media Asia, Susan Yu
正常尺碼的女童鞋子，標誌紮腳習俗的消失；以紙層為底的繡花布鞋，亦開始被皮鞋取代，約1930年代
Regular-sized shoes for girls signal the end of foot binding; leather shoes began to replace embroidered cloth shoes with paper soles, about 1930s
每隻「Rice Paddy Baby」娃娃均獨一無二，附有自己的身份證明；此概念或許來自「椰菜娃娃」等玩偶，約1980年代
Each ‘Rice Paddy Baby’ was unique, complete with its own proof of identity; this idea was likely inspired by dolls such as the ‘Cabbage Patch Kid’, about 1980s
漢聲出版社出版的《老月份牌廣告畫》廣泛收錄了20世紀初具有代表性的作品。封面選用上海著名月份牌畫家杭穉英所繪的陰丹士林廣告，由香港知名影星陳雲裳代言，她也因此獲得「快樂小姐」的美稱，一時傳為佳話。畫集初版於1994年，至2019年已出至第五版。
Published by Hansheng Publishing, Collection of Old Calendar Posters brings together representative works from the early 20th century. The cover features an Indanthrene advertisement painted by the renowned Shanghai calendar artist Hang Zhiying, with Hong Kong actress Nancy Chan as endorser, who came to be fondly known as ‘Miss Happiness’. The book was first published in 1994; this fifth edition was released in 2019.
玩具植髮與編髮所需的纖維材料、半成品，以及示範影片，中山，2025年
Fibre materials and process materials for implanting and braiding hair for toys, Zhongshan, 2025
由奇才玩具有限公司提供
Courtesy of Capable Toys Limited
珍愛存藏
故事源於CHAT六廠最近接收的一件藍色長衫，由我們的摯友，也是前紗廠女工梁鳳儀(儀姐)捐贈。這件單衫由樸實的平紋織布製造，採用了男式長衫的大裁手法剪裁而成。儀姐告訴我們，這是父親特意保存下來的衣物，已有至少70年歷史了。
這件長衫背面有一個看起來隱晦但又似是刻意保留的標記：以金色顏料印上的「陰丹」二字與中間夾着英文字母 I 的橢圓形商標。由此，我們看見對上世紀影響深遠的合成染料——陰丹士林藍。
A Treasure to Behold
The story begins with a recent acquisition of CHAT-a blue cheongsam donated by our dear friend Leung Fung Yee (Auntie Yee), who used to work at spinning factories. The simple garment is made from plain woven fabric and features the typical cut of a men's cheongsam. According to Auntie Yee, it had been carefully preserved by her father and has a history of at least 70 years.
On the back of the robe, there is a subtle yet deliberately retained mark-Chinese characters 陰丹(yin dan) alongside an oval logo with an ‘I’ at its centre, both in gold, This indicates the use of a synthetic dye that left an indelible mark on the last century: Indanthrene Blue.
現今在內地進行的工序，包括縫製玩偶服飾、植入毛髮與塑造面部細節，於1950年代的香港亦曾廣泛出現
Processes that are widespread in the mainland today, including sewing toy garments, implanting hair and crafting facial features for dolls, were likewise practiced in Hong Kong during the 1950s
由政府檔案處歷史檔案館、政府新聞處提供
Courtesy of Public Records Office, Government Records Service, Information Services Department
由布碎拼凑而成的「百家被」，往往反映出製作者的品味、獲得布料的途徑，以及善用資源的巧思，約1970年代
‘One hundred families’ quilts that repurpose fabric scarps often reflect the taste, access to materials and resourcefulness of its makers, about 1970s
由盧淑櫻提供
Courtesy of Lo Shuk Ying
由西西手繪的巴諾布；西西手抱自己縫製的巴諾布與黑猩猩玩偶（複製品）
Bonobo illustration by Xi Xi; Xi Xi holding the bonobo and chimpanzee dolls she made (reproductions)
由何福仁提供
Courtesy of Ho Fuk Yan
米妮老鼠與主人，約1990年代
Minnie Mouse and her owner, about 1990s
由蘇佩儀提供
Courtesy of Elsie So
繫上繩子，一根木棍可以用來懸掛燈籠、讓木製蟋蟀旋轉，亦可成為訓練手眼協調的玩具，約1960年代
When attached with string, a wooden stick can suspend a lantern, twirl around a wooden cricket and become a toy for testing hand eye coordination, about 1960s
由明愛龍躍頭社區發展計劃、鍾燕齊提供
Courtesy of Caritas Lung Yeuk Tau Community Development Project, Joel Chung
繫上繩子，兩個鐵罐成為高蹺、壓平的瓶蓋成為旋轉小玩意，約1960年代
When tied with string, two tin cans become stilts and flattened bottle caps become a spinning plaything, about 1960s
由鍾燕齊提供
Courtesy of Joel Chung
背兒帶的應用示範，約1950至60年代
Depictions of baby carriers in use, about 1950s to 60s
膠藤大概是草藤的現代改良版，常用來編織小玩具及日用品，約1960至70年代
Plastic rattan is likely a modern adaptation of natural rattan, commonly used to interlace small toys and everyday objects, about 1960s to 70s
由鍾燕齊提供
Courtesy of Joel Chung
芭蕉布睡袍，1954
Bashōfu sleeping robe, 1954
私人收藏
Private collection
製作玩具服裝用的金屬模板及縫製樣本， 以及示範影片，中山，2025年
Metal stencil moulds and sewing process materials for creating garments for toys, Zhongshan, 2025
由奇才玩具有限公司提供
Courtesy of Capable Toys Limited
西西縫製的毛熊，以及待組裝的毛熊配件
Artist bear and bear parts made by Xi Xi
西西與她親手縫製的第一隻熊出遊（複製品）
Xi Xi traveling with her first artist bear (reproduction)
由何福仁提供
Courtesy of Ho Fuk Yan
記錄運用紡織材料的童年遊戲照片，約1960至70年代（複製品）
Photographs of childhood games using textile materials, about 1960s to 70s (reproductions)
由政府檔案處歷史檔案館提供
Courtesy of Public Records Office, Government Records Service
輕輕一拉繩子，紙片便會快速旋轉，將兩面的圖像融合成一場「獵者與獵物」的動畫，約1960年代
A quick tug of the string sets the paper spinning, blending the images printed on both sides into an animation of ‘hunter and prey’, about the 1960s.
由鍾燕齊提供
Courtesy of Joel Chung
迪士尼角色是香港最早大量生產的布偶之一，最初為仿製品，後來獲得正式授權，約1950至70年代
Disney characters were among the earliest soft toys mass produced in Hong Kong—first as knockoffs and later as officially licensed products, about 1950s to 70s
這套配成一對的睡衣由一名前製衣工人為兩名女兒（圖中示）親手縫製，自1980年代起經過多次修補
These matching pajamas were handmade by a former factory worker for her two daughters (pictured) and they have been mended time and again since the 1980s
由周曉華提供
Courtesy of Anne Chow
這組以木糠為内芯的動物玩偶為出口批發品，或受日本設計影響，約1960年代
This sawdust stuffed animal set was exported wholesale and possibly modelled after Japanese designs, about 1960s
這組布偶備受主人愛惜，歷經多番修補，更配有手寫的「出世紙」、訂製服裝及主人家庭照片，約1970至80年代
A set of well loved and mended soft toys accompanied by handwritten ‘birth certificates’, custom made clothing and family photographs of their owners, about 1970s to 80s
由莫善琦、仇嘉寶、仇映喬、仇耀偉提供
Courtesy of SK Mok, Popy Sau, Kary Sau, Ray Sau
金屬鐵線可以扭成益智玩具；加上橡皮筋後，更可變成一支彈弓槍，約1960年代
Metal wire can be twisted into a puzzle toy, or into a slingshot gun when rubber bands are attached, about 1960s
由鍾燕齊提供
Courtesy of Joel Chung
關於李名煬的雜誌專欄報道，2013年
A magazine article on Michael Lee, 2013
由Tarlan Amigh提供
Courtesy of Tarlan Amigh
除了毛熊和猿猴外，西西也曾縫製「外星族」玩偶
In addition to artist bears and monkeys, Xi Xi also created alien dolls
由羅樂敏提供
Courtesy of Louise Law
陰丹士林190號藍布，1930年代。
Fabric dyed with Indanthrene Blue No.190, 1930s.
陰丹士林染料的金色「晴雨商標」。
The golden ‘Sun and Rain’ trademark of Indanthrene dyes.
陰丹士林的蝴蝶形宣傳單張，20世紀初期。
Buttery-shaped poster, early 20th century.
雙向伊卡芭蕉布和服，約1910年代
Bashōfu kimono, double ikat, about 1910s
私人收藏
Private collection
黑猩猩與西西，攝於上海野生動物園 （複製品）
A chimpanzee and Xi Xi, photographed at Shanghai Wild Animal Park (reproduction)
由何福仁提供
Courtesy of Ho Fuk Yan
（上及左）由其他布偶創作人如 Ada Lum 及 Betty Clemo 製作的「中國娃娃」及服飾, 約1980年代
(Above and left) Dolls and clothing by other renowned makers such as Ada Lum and Betty Clemo, about 1980s
（上）西西熟悉不同猿猴的習性，縫製了（左）喜歡日光浴的環尾狐猴和（右）喜歡浸溫泉的日本雪猴
(Above) Familiar with the habits of different monkeys, Xi Xi made (left) a ring tailed lemur that enjoys sunbathing and (right) a Japanese macaque that loves soaking in hot springs
（上）這條背兒帶飾有緞面刺繡與亮片，傳統認為反光物件有辟邪之用，約1970年代
(Above) This baby carrier is adorned with satin stitches and sequins traditionally believed to ward off evil through reflection, about 1970s
由明愛龍躍頭社區發展計劃、鄧梁少霞提供
Courtesy of Caritas Lung Yeuk Tau Community Development Project, Tang Leung Siu Ha
（下）這條粉紅色背兒帶屬廣東或客家款式，設有一塊三角形布片，象徵五福：「壽、富、康寧、攸好德、考終命」，約1930年代
(Below) This pink Cantonese or Hakka-style baby carrier features a triangular fabric tab that promises the auspices of longevity, wealth, health, happiness and a natural course of life, about 1930s
由譚慧慈提供
Courtesy of Tam Wai Chi
（左及上）這兩條背兒帶屬鶴佬或蜑家族群，其中一條以十字繡縫製出祝福字樣，延伸的布料可承托嬰兒頭部，約1950年代
(Left and above) ‘Long and prosperous life’ is cross-stitched on one of these Hoklo- or Tanka-style baby carriers; a fabric extension supports the baby’s head, about 1950s
由梁鳳儀提供
Courtesy of Leung Fung Yee
（左至右）客家和蜑家婦女、頭戴中式帽的男童，以及背著小孩的媽媽──由李名煬創作及親筆簽名,約1970至90年代
(Left to right) Hakka and Tanka women, boys in Chinese caps and mothers with their child— depicted and signed by Michael Lee, about 1970s to 90s
（左）來自「 World Wide Doll Club 」的香港娃娃，這個郵購服務會定期向會員寄送一隻來自世界不同地方的娃娃，約1950年代
(Left) A Hong Kong doll from the World Wide Doll Club—a mail-order service that sent members a doll from a different part of the world regularly, about 1950s
（左）修復玩偶用的塑膠鼻子與眼睛；（上）盛載新舊填充物的膠袋，交予玩偶主人留為紀念
(Left) Plastic noses and eyes used for doll restoration; (Above) plastic bags containing old and new stuffing presented as souvenirs for soft toy owners
由童恩公仔修復提供
Courtesy of Dawn Soft Toy Restoration
（左）印花布布偶套裝；（右）「Monkenoo」布偶與服裝，約1970至80年代
(Left) Printed fabric doll set; (right) ‘Monkenoo’ doll and additional outfit, about 1970s to 80s
（左）林淑華每年都會把她為四名女兒（圖中示）親手縫製的衣服取出來通風透氣，以保持良好狀 態，約1970年代
(Left) Once a year, Lam Suk Wah airs out the outfits she sewed for her four daughters (pictured) to keep them in good condition, about 1970s
由林淑華、李溢提供
Courtesy of Lam Suk Wah, Sasa Lee
（左）縫上「中山織造出品」徽標的西式棉質線衫，出自馬氏家族的香港針織工廠，約1930年代
Labeled with ‘Chung Shan Manufacturing,’ this Western-style cotton T-shirt was produced by the Mah family’s knitting factory in Hong Kong, about 1930s (Left)
（左）腳間具蹼的長鼻猴，棲息於紅樹林邊緣；（右）相比大猩猩更為溫和的巴諾布，皆由西西縫製
(Left) The proboscis monkey, with its webbed feet, lives along mangrove forests; and (right) the bonobo, known to be gentler than the chimpanzee—both made by Xi Xi
（最上）這些冬季外套結合了傳統與現代圖紋，而一套兩件的設計，亦反映「好事成雙」的傳統觀念，約1930年代
(Topmost) Traditional and modern prints are combined in these winter jackets; garments in pairs also express the traditional Chinese value of doubling up, about 1930s