在全球化與數位媒體快速發展的背景下，流行服飾已不再只是審美變化的結果，而是涉及文化認同、媒體傳播、產業機制與身體實踐的複合場域。臺灣女性流行服飾長期受到西方與亞洲流行文化影響，在快速更迭與復刻（revival）機制作用下，呈現高度混融與流動的特徵。然而，當代臺灣女性流行服飾風格究竟是否存在具辨識性且可被命名的樣貌，至今仍缺乏明確共識。
本研究以「重縫時代：1960、1980、2000年臺灣女性流行服飾風格的再編碼」為題，選取1960、1980與2000年代作為研究節點，透過歷史文獻分析、風格語彙整理與新媒體創作，探討臺灣女性流行服飾風格的形成脈絡、文化轉譯機制及其當代表現。內容從服飾造型、媒體再現、產業制度與社會文化背景等面向進行分析，結合錄像創作與觀眾參與機制，建構「歷史分析—影像轉譯—觀者命名」之研究架構。
研究顯示，臺灣女性流行服飾風格並非單向接受外來文化，而是在不同歷史條件下，透過媒體傳播、產業發展與消費實踐持續進行選擇性吸收、轉譯與再編碼。1960年代反映現代化與保守規範之間的張力；1980年代呈現解嚴前後社會開放、品牌制度建立與個體表達擴張的特徵；2000年代則在全球化與數位媒介影響下，展現高度混融、多元且快速流動的風格樣貌。同時，復刻現象已成為當代流行服飾的重要生成機制，歷史風格不斷透過媒體與市場被重新詮釋與再利用，使當代服飾風格呈現多重並存而非單一主流的發展狀態。
創作實踐部分以錄像作品作為研究方法之一，透過第一人稱視角、跨年代敘事與服飾風格再現，將歷史資料轉化為可被感知的視覺經驗。作品以腳踏車作為串聯不同年代的媒介，並透過綠色、紅色與藍色頭巾分別象徵1960、1980與2000年代的文化特徵。三原色最終融合為白色，象徵當代臺灣女性流行服飾風格仍處於持續生成與重新定義的狀態。展覽現場結合底片攝影、小卡設計與QR Code互動機制，原規劃引導觀眾對當代臺灣女性流行服飾風格進行命名與回饋，展覽期間雖已完成互動系統之建置與執行，惟未取得有效表單回覆，因此本研究未進一步進行觀眾命名資料分析，相關分類架構則保留作為後續研究之基礎。
本研究將女性流行服飾視為歷史、媒體、產業與身體實踐交織而成的動態文化場域，並透過跨年代比較、新媒體創作與參與式設計，提出一種結合學術分析、藝術創作與觀眾參與的複合研究方法。研究成果除補充臺灣服飾文化研究之相關討論外，亦可作為科技藝術創作、文化策展與服飾設計研究之參考。

In the context of globalization and the accelerated circulation of digital media, fashion has evolved beyond mere aesthetic variation into a complex field involving cultural identity, production mechanisms, and embodied practices. Taiwanese women’s fashion, long influenced by Western and Asian popular cultures, demonstrates characteristics of hybridity, rapid transformation, and revival. However, within this context, what constitutes a recognizable and distinctive “contemporary Taiwanese women’s fashion style” remains unresolved. Existing studies have systematically examined the development of Taiwanese fashion from the perspectives of historical context, media influence, and industrial structures; however, relatively less attention has been given to how fashion can be reinterpreted through creative practice and how audience perception contributes to the naming and construction of contemporary fashion identity.
This study, titled “Stitching Through Time: Re-coding Taiwanese Women's Fashion in the 1960s, the 1980s, and the 2000s,” adopts a practice-based research approach that integrates historical investigation, stylistic analysis, and new media art creation. By selecting three key decades—1960s, 1980s, and 2000s—as comparative temporal nodes, this research explores the formation, transformation, and re-encoding mechanisms of Taiwanese women’s fashion styles. The analytical framework encompasses multiple dimensions, including style vocabulary (silhouettes, materials, ornamentation, accessories, hairstyles, and dressing practices), media representation (film, beauty pageants, fashion magazines, television, and digital platforms), institutional systems (department stores, brand agencies, and the garment industry), and cultural politics (moral regulations, post-martial law liberalization, and global cultural flows). The study draws upon diverse sources, including historical images (family photographs), media texts, and industrial archives, and employs visual cultural analysis and contextual interpretation to reconstruct everyday fashion practices across different periods.
The findings suggest that Taiwanese women’s fashion is not merely a passive adoption of foreign trends, but rather the result of selective appropriation, translation, and re-encoding within local socio-cultural contexts. In the 1960s, under the influence of economic development and the rise of the garment industry, fashion was shaped by beauty pageants and visual media, resulting in styles such as modified qipao, A-line skirts, and short hairstyles, alongside the introduction of miniskirts and hippie culture, which created tension between modernization and conservative norms. In the 1980s, with the expansion of department store systems, fashion media, and brand institutions, as well as socio-political transformations surrounding the lifting of martial law, fashion became increasingly diversified, standardized, and internationalized. By the 2000s, driven by the internet and globalization, Taiwanese fashion exhibited highly hybrid characteristics, including Y2K aesthetics, low-rise jeans, midriff-baring styles, Japanese street fashion, and athleisure, while local designers gradually gained international visibility, enabling the reinterpretation and global circulation of Taiwanese cultural elements.
In addition to theoretical analysis, this study incorporates new media art as a methodological approach. The creative work reconstructs representative fashion styles of the three selected decades through a first-person narrative video. A bicycle is used as a recurring motif that connects different temporal moments, symbolizing continuity and the everyday mobility of fashion across time. Rather than presenting history through a grand narrative, the work emphasizes incidental encounters, allowing fashion to be perceived as part of lived experience. Through bodily movement, gaze interaction, symbolic objects, and media transitions, the narrative ultimately leads viewers to reflect on the central question: “After revisiting these three decades, how would you name contemporary Taiwanese women’s fashion?”
To strengthen temporal identification within the video, different visual textures and color symbols are employed. The 1960s sequence adopts a film-inspired aesthetic, the 1980s sequence references DV videotape imagery, and the 2000s sequence utilizes a digital visual style. Characters from each decade wear headscarves based on the RGB color model. Green represents the emergence of modernization in the 1960s, red symbolizes the expansion of individuality and cultural vitality in the 1980s, and blue signifies globalization and digital media culture in the 2000s. The convergence of these three colors into white at the end of the work symbolizes the unfinished and continuously evolving nature of contemporary Taiwanese women’s fashion, suggesting a style that has yet to be collectively defined or named.
The exhibition also includes twelve framed analog photographs derived from the three historical periods. Different film stocks were selected to correspond with the visual atmosphere of each decade: Glow 400 for the 1960s, Fujifilm 200 for the 1980s, and Kodak Gold 200 for the 2000s. Four representative photographs from each period were selected and exhibited alongside the video installation, creating a dialogue between moving images and still photography. Through the coexistence of motion and stillness, historical fashion styles are presented not only as visual records but also as cultural memories reconstructed through artistic practice.
As part of the exhibition design, postcard-style cards featuring selected images from the project were provided as participatory exhibition materials. The reverse side adopted a traditional postcard layout, with a QR code positioned in the stamp area. This design metaphorically suggested that viewers "send" their responses through the QR code to an online platform. Visitors were invited to propose and explain their own naming of contemporary Taiwanese women's fashion styles.
Although the exhibition and participatory mechanism were fully implemented, no valid questionnaire responses were collected during the exhibition period. Consequently, audience naming data could not be analyzed as originally planned. Nevertheless, the participatory framework demonstrated the feasibility of integrating historical reconstruction, artistic creation, and audience interaction within a practice-based research methodology, while also revealing the challenges of encouraging active audience participation in exhibition contexts.
This study argues that the difficulty in establishing a stable and recognizable Taiwanese fashion style is closely related to the mechanisms of revival-driven fashion systems. The acceleration of supply chains, platform-based media dissemination, and nostalgic cultural narratives enable the continuous reproduction of historical styles. While these mechanisms facilitate the rapid circulation of trends, they may also constrain local innovation. In contrast, the development of a sustainable and identifiable “Taiwanese style” requires the integration of cultural narratives, industrial support systems, and long-term design development. Furthermore, this research proposes that fashion identity should not be understood solely as the product of designers or industrial systems, but may also be shaped through audience perception and naming practices. Although no audience responses were collected in the present study, the participatory mechanism provides a methodological framework for future investigations into the collective construction of fashion identity.
In conclusion, this study positions women’s fashion as a dynamic field where history, media, industry, and embodied practices intersect. Through the integration of comparative historical analysis and new media art practice, it extends existing fashion research and proposes a hybrid methodology that bridges academic inquiry, artistic creation, and audience participation, serving as a practice-based research model within the field of technological art.

葉立誠（2002）。二十世紀臺灣服飾變遷因素之探討。臺灣文獻，53(2)。
葉立誠（2005）。台灣服飾流行地圖。商鼎數位出版。
葉立誠（2014）。台灣服裝史。商鼎數位出版。
文化部國家文化記憶庫（無日期）。世界小姐亞軍李秀英（第二屆中國小姐）。文化部國家文化記憶庫。https://tcmb.culture.tw/zh-tw/detail?id=703993&indexCode=Culture_Media 瀏覽日期：2026年4月27日
文化部國家文化記憶庫（無日期）。學生髮禁的解除。文化部國家文化記憶庫。https://curation.culture.tw/curation/public?id=285 瀏覽日期：2026年4月27日
國家發展委員會檔案管理局（2026）。孤女的願望？臺灣製造MIT：紡織業生產與成衣的誕生。國家檔案館網站。https://www.archives.gov.tw/tw/arctw/69.html?stage=cp&dataId=c76882a58c1513e9f9da83aaaba3717d 瀏覽日期：2026年4月27日
國立臺灣歷史博物館（無日期）。髮禁。臺灣女人。https://women.nmth.gov.tw/?p=1988 瀏覽日期：2026年4月27日
TC Scope科技觀察（2023）。臺灣時尚雜誌的黃金年代。TC Scope科技觀察。https://tcscope.com/knowledge/11302-fashion-magazines-taiwan/ 瀏覽日期：2026年4月29日