香蕉絲工藝的當代轉譯 Contemporary Reinterpretation of Banana Fiber Craft
嚴玉英×陳劭彥 Aing banday × Shao Yen Chen
「只有新社噶瑪蘭，保有這獨一無二的香蕉絲工藝。」
——噶瑪蘭族藝師 嚴玉英
嚴玉英長年投入噶瑪蘭族香蕉絲工藝的復振，香蕉絲的製程繁複，且受季節與氣候限制，纖維也極易斷裂。面對傳統族服形制已佚失的現況，她轉而凸顯香蕉絲硬挺的質地與天然染色的溫潤色澤。陳劭彥則以「解構香蕉樹」為概念，將從採集到編織的過程，轉化為服裝上的線條、織帶與立體結構，讓香蕉絲在當代時裝中發展出新的工藝語彙。
"Only the Xinshe Kavalan preserve this unique banana fiber craftsmanship."
— Aing Banday, Kavalan artisan
Aing Banday has dedicated years to revitalizing the Kavalan people's banana fiber craft, preserving a textile technique unique to Xinshe, Hualien. The process—spanning fiber extraction, drying, dyeing, and weaving—is constrained by seasonal and climatic conditions, and the fibers themselves are highly prone to breakage. Faced with the loss of traditional garment patterns, she shifted her focus to highlighting the material's inherent stiffness and the soft, warm hues achieved through natural dyeing.
Meanwhile, Shao Yen Chen adopted the concept of "deconstructing the banana tree," translating the stages from harvesting to weaving into the lines, webbing, and three-dimensional structures of his garments, thereby establishing a new craft vocabulary for banana fiber within contemporary fashion.
