2026“真皮真自我”全球?qū)W生設(shè)計(jì)大賽

中國(guó)大陸賽區(qū)啟動(dòng)

This is not only a competition, but also a global dialogue opportunity with genuine leather as the medium and sustainability as the core — allowing the elegance of Eastern aesthetics to collide with cutting-edge international design thinking, nurturing sustainable fashion power belonging to the world.

這不僅是賽事競(jìng)技，更是以真皮為媒介、以可持續(xù)為內(nèi)核的全球?qū)υ?huà)契機(jī) —— 讓東方美學(xué)的雅致與國(guó)際設(shè)計(jì)的前沿思維碰撞，孕育屬于世界的可持續(xù)時(shí)尚力量。

Now celebrating its sixth year, the International Real Leather. Stay Different. Student Design Competition is now part of the global fashion calendar – and an essential springboard for those wanting to make their mark in the fashion industry.

如今已舉辦至第六屆的“國(guó)際真皮學(xué)生設(shè)計(jì)大賽”已成為全球時(shí)尚界的重要盛事，也是那些渴望在時(shí)尚界嶄露頭角的年輕人的重要跳板。

The Real Leather. Stay Different. China Mainland Student Design Competition is now in its seventh consecutive year, having expanded its reach to 29 institutions across 24 cities. Award winners have progressed to pursue advanced studies internationally or secured positions at leading domestic companies, reflecting the competition’s role in launching promising design careers.

真皮設(shè)計(jì)，與眾不同。中國(guó)大陸大學(xué)生設(shè)計(jì)大賽已連續(xù)舉辦七年，參賽院校遍布24個(gè)城市，涵蓋29所高校。獲獎(jiǎng)?wù)哂械母昂Ｍ馍钤?，有的則在國(guó)內(nèi)知名企業(yè)就職，充分體現(xiàn)了大賽在助力優(yōu)秀設(shè)計(jì)人才開(kāi)啟職業(yè)生涯方面的重要作用。

The Question: Have you got what it takes to stand on the international stage, to change the fashion dialogue and accelerate your career in fashion?

問(wèn)題：你是否具備站在國(guó)際舞臺(tái)上、改變時(shí)尚對(duì)話(huà)、加速你的時(shí)尚事業(yè)發(fā)展的條件？

Our planet is facing a crisis which we can help address. According to Greenpeace 60% of garments are now oil-based synthetics with the average item being worn just five times. Discarded clothes pile up in waste dumps from Ghana to Chile and are visible from space. Leather, made from hides which are a by-product of the meat and dairy industries, offers an alternative to supporting the oil industry; it lasts a lifetime, biodegrades and displaces petrochemical-derived materials. Yet every year, millions of hides are thrown away.

我們的星球正面臨一場(chǎng)危機(jī)，而我們可以為此貢獻(xiàn)一份力量。據(jù)綠色和平組織稱(chēng)，目前60%的服裝都是石油基合成材料，平均每件衣服只穿五次。從加納到智利，廢棄的衣物堆積在垃圾場(chǎng)，甚至從太空都能看到。皮革由肉類(lèi)和乳制品行業(yè)的副產(chǎn)品——獸皮制成，為人們提供了一種替代石油行業(yè)的選擇；它經(jīng)久耐用，可生物降解，并能取代石油化工衍生材料。然而，每年都有數(shù)百萬(wàn)張獸皮被丟棄。

The world is reacting, for example with the French banning fast fashion promotion, but it is all too slow. We need to get back to natural, durable products that break the fast fashion cycle. Now.

世界正在做出反應(yīng)，例如法國(guó)禁止推廣快時(shí)尚，但這速度太慢了。我們需要回歸天然、耐用的產(chǎn)品，打破快時(shí)尚的惡性循環(huán)。刻不容緩。

he competition opens for profile registration on 1 March 2026, and closes on 16 June, 2026, 23:59 CST. Any entries submitted after that date will not be accepted. Entrants may re-enter the competition, provided they have not been selected as a judge. However, the same design may not be re-submitted.

本次大賽將于2026年3月1日開(kāi)放參賽者注冊(cè)，并于2026年6月16日23:59（美國(guó)中部時(shí)間）截止。逾期提交的作品將不予受理。參賽者如未被選為評(píng)委，則可再次參賽。但同一設(shè)計(jì)作品不得重復(fù)提交。

簡(jiǎn) 報(bào)

Why must genuine leather be used?

為什么要用真皮？

Create a beautiful, durable design using at least50% cattle leatherby surface area that in design, execution and application, counters the fast fashion cycle and celebrates individual style. Other leathers, made from hides that are by-products of the food and dairy industries, may also be used as supplementary materials.

打造一款美觀耐用的設(shè)計(jì)，至少使用50%表面積的牛皮，其設(shè)計(jì)、制作和應(yīng)用均應(yīng)對(duì)抗快時(shí)尚的潮流，彰顯個(gè)性風(fēng)格。其他由食品和乳制品行業(yè)的副產(chǎn)品制成的皮革也可作為輔助材料。

Our judges ask you to think about our planet’s future and how to combat fashion’s waste. They challenge you to create an original, innovative, durable and visually stunning design in one of three categories – apparel, accessories and footwear – made from real cattle leather.

我們的評(píng)委們希望您思考地球的未來(lái)以及如何應(yīng)對(duì)時(shí)尚產(chǎn)業(yè)的浪費(fèi)問(wèn)題。他們挑戰(zhàn)您用真正的牛皮，在服裝、配飾和鞋履這三個(gè)類(lèi)別中選擇一個(gè)，創(chuàng)作出原創(chuàng)、創(chuàng)新、耐用且視覺(jué)效果驚艷的設(shè)計(jì)作品。

They want to see how entrants approach the creation of garments that can be commercially produced, will last, and be loved, for a lifetime. And that can then be repurposed or recycled at the end of the period.

他們想看看參賽者如何設(shè)計(jì)出可以商業(yè)化生產(chǎn)、經(jīng)久耐用、并且能伴隨人們一生的服裝。而且這些服裝在活動(dòng)結(jié)束后還可以被重新利用或回收。

We are looking for designers who will start new brands, fashion movements or slow-style trends. People who will make a difference.

我們正在尋找能夠創(chuàng)立新品牌、引領(lǐng)時(shí)尚潮流或開(kāi)創(chuàng)慢時(shí)尚風(fēng)潮的設(shè)計(jì)師。我們尋找的是能夠帶來(lái)改變的人。

WHAT YOU NEED TO DO & CONSIDER你需要做什么？和考慮什么？

Entries are invited in one of three categories: Apparel, Footwear or Accessories. Footwear and accessories entrants must submit one (1) item, for example a pair of shoes or handbag. Apparel entrants may submit one (1) item or one (1) look. A look comprises of two or more items intended to be worn together and excluding footwear and accessories, for example a jacket or top and skirt or trousers. Whether you choose to submit a single garment, accessory or look, all entries will be judged equally using the same criteria.

參賽作品分為服裝、鞋履和配飾三個(gè)類(lèi)別。鞋履和配飾類(lèi)別的參賽者必須提交一件作品，例如一雙鞋或一個(gè)手提包。服裝類(lèi)別的參賽者可以提交一件單品或一套搭配。一套搭配包含兩件或兩件以上可搭配穿著的單品，但不包括鞋履和配飾，例如外套或上衣搭配裙子或褲子。無(wú)論您選擇提交單件服裝、配飾還是搭配，所有參賽作品都將按照相同的評(píng)判標(biāo)準(zhǔn)進(jìn)行評(píng)判。

Entries must be at least 50% cattle leather by surface area and use natural materials wherever possible. Other leathers, made from hides that are by-products of the food and dairy industries, may also be used in addition to the required 50% cattle leather. Exceptions are made for items such as zippers or snap fasteners. The use of fur or exotic skins is strictly prohibited and will result in automatic exclusion from the competition.

參賽作品表面積中牛皮占比必須至少達(dá)到50%，并盡可能使用天然材料。除50%的牛皮占比要求外，也可使用其他由食品和乳制品行業(yè)副產(chǎn)品制成的皮革。拉鏈或按扣等配件除外。嚴(yán)禁使用毛皮或珍稀動(dòng)物皮，違者將被自動(dòng)取消參賽資格。

Digital tools and AI may be used in the design process. Entrants must be able to physically produce their design and must have an appropriate methodology to create a prototype. Entries should include the following:

設(shè)計(jì)過(guò)程中可以使用數(shù)字工具和人工智能。參賽者必須能夠?qū)⒃O(shè)計(jì)作品實(shí)際制作出來(lái)，并且必須具備制作原型所需的適當(dāng)方法。參賽作品應(yīng)包含以下內(nèi)容：

1. A short summary of your project both in English & Chinese
   

   請(qǐng)用英文和中文簡(jiǎn)要概述您的項(xiàng)目。

2. Mood board and design storytelling

   情緒板和設(shè)計(jì)故事敘述

3. Sketches, technical flats and specifications

   草圖、技術(shù)圖紙和規(guī)格說(shuō)明

4. A full list of materials
   

   材料全清單

5. A 2-minute video introducing yourself and your entry (optional but encouraged). 2. Below are examples of previously successful submissions.一段 2分鐘的視頻，介紹你自己和你的參賽作品（可選，但鼓勵(lì)）。 下面為之前成功投稿的示例：

Form and Substance: The Duality of Human and Material Expressions

形式與實(shí)質(zhì)：人類(lèi)與物質(zhì)表達(dá)的二元性 Category: Apparel 類(lèi)別：服裝

My project deals with the relationship between man and matter, between the object and the subject. My inspiration for the project is the series of works "Fleeting Parts" by Milena Neaf, a Dutch visual artist. In the series of works you can see marble slabs with openings which the artist carefully carved in certain places, thus allowing parts of her body to perfectly emerge through the openings creating a feeling that the body and the material are one.

我的項(xiàng)目探討人與物質(zhì)、客體與主體之間的關(guān)系。我的靈感來(lái)源于荷蘭視覺(jué)藝術(shù)家米萊娜·尼夫（Milena Neaf）的系列作品《轉(zhuǎn)瞬即逝的片段》（Fleeting Parts）。在這一系列作品中，藝術(shù)家精心雕刻了一些帶有開(kāi)口的大理石板，使她身體的某些部分能夠完美地從這些開(kāi)口中顯露出來(lái)，營(yíng)造出一種身體與材料融為一體的感覺(jué)。

Her series of works focuses on human softness. It reveals the strength and fragility of the human condition. The body in her series of works functions as the material itself and questions the duality between subject and object. It is important to say that there is also power in the moment of the performance and as Milena said: "the presence and absence of the body is an essential aspect of the work itself." The marble slabs are timeless and will have to function as autonomous objects."The curved lines in the model and the fringes that come out at the edges give a sense of movement created as a result of the interaction of the body with the garment.

她的系列作品聚焦于人類(lèi)的柔美，揭示了人類(lèi)生存狀態(tài)的力量與脆弱。在她的作品中，身體本身就如同材料一般，質(zhì)疑著主體與客體之間的二元性。值得一提的是，表演的瞬間也蘊(yùn)含著力量，正如米萊娜所說(shuō)：“身體的存在與缺席是作品本身的一個(gè)本質(zhì)特征?！边@些大理石板經(jīng)久不衰，必須作為獨(dú)立的物件發(fā)揮作用。” 模型中的曲線和邊緣的流蘇營(yíng)造出一種動(dòng)感，這是身體與服裝互動(dòng)的結(jié)果。

In addition, in the series of works Naf presents the idea that our body is in a constant "choreography" with its environment. Due to the inescapable presence of our bodies, she believes we define ourselves through the constant interaction we are forced to have with our environment. It was important for me in the collection to create clothes that focus on contrasts of exposure versus concealment, softness versus strength, and sharp lines as a pose too rounded and amorphous lines. Similar to Milena Neaf`s work process, the production process of my fabric was very carefully planned.During the initial phase, my father who works as a carpenter helped me cut the beef sheet into thin strips on a CNC machine.

此外，在這一系列作品中，納夫提出了我們的身體與環(huán)境之間持續(xù)“編舞”的理念。由于我們身體的存在無(wú)法回避，她認(rèn)為我們通過(guò)與環(huán)境的持續(xù)互動(dòng)來(lái)定義自身。對(duì)我而言，在這個(gè)系列中，重要的是創(chuàng)作出強(qiáng)調(diào)暴露與隱藏、柔和與力量、以及銳利線條與圓潤(rùn)模糊線條對(duì)比的服裝。與米萊娜·納夫的創(chuàng)作過(guò)程類(lèi)似，我的面料生產(chǎn)過(guò)程也經(jīng)過(guò)了精心策劃。在初期階段，我的父親——一位木匠——幫我用數(shù)控機(jī)床將牛肉片切割成細(xì)條。

I knitted the strips using a weaving-knitting technique on a home knitting machine - a careful process in which I planned in advance the areas I want to leave exposed. My desire for the garment was to create a mirage for the viewer. Since knitted garments are associated as soft, by using leather (known for its strength and longevity) to knit I emphasized the contrast between soft and strong.

我用家用針織機(jī)，采用編織技術(shù)將這些細(xì)條編織在一起——這是一個(gè)細(xì)致的過(guò)程，我事先規(guī)劃好了想要留白的區(qū)域。這件衣服的創(chuàng)作意圖在于為觀者營(yíng)造一種幻象。由于針織服裝通常給人以柔軟的印象，我便選用皮革（以其強(qiáng)度和耐用性著稱(chēng)）進(jìn)行編織，以此強(qiáng)調(diào)柔軟與堅(jiān)韌之間的對(duì)比。

In addition, it was important for me to utilize the entire sheet of cowhide (65 feet), so I left the strips that were left in the process of making the lattice-weave, transforming them into fringes that gave movement and liveliness to the garment as well as creating an interesting interaction between the body and the garment They correspond with the idea of "non finito", (unfinished), a technique in the world of art, in which the artist does not finish the sculpture and often leaves it un polished. The artist uses an amount of material beyond what is needed to complete the work, and leaves unfinished blocks of fragmented material on the sculpture, while presenting the figure as "stuck" inside a block of material, something reminiscent of Milena's works.

此外，充分利用整張牛皮（65英尺）對(duì)我來(lái)說(shuō)至關(guān)重要，因此我保留了編織過(guò)程中剩余的皮條，并將它們轉(zhuǎn)化為流蘇，賦予服裝動(dòng)感和活力，同時(shí)也創(chuàng)造了一種有趣的身體與服裝之間的互動(dòng)。這與“未完成”（non finito）的概念相呼應(yīng)，這是一種藝術(shù)技法，藝術(shù)家在創(chuàng)作雕塑時(shí)不會(huì)完成作品，通常保留其未經(jīng)修飾的原始狀態(tài)。藝術(shù)家會(huì)使用超出完成作品所需的材料，并在雕塑上留下未完成的碎片狀材料塊。作品中人物被呈現(xiàn)為“困”在一塊物質(zhì)之中，這與米萊娜的作品有異曲同工之妙。

In my collection I raise the questions when does the body become an object? And what is the result of the fact that our body always fills space and matter? This question is connected to the idea of Aristotle who said that "nature abhors emptiness. The empty space will always strive to be filled with gas or liquid to avoid being empty.' This project gave me a unique opportunity to delve into the body and its shell and the complex relationship between humans and the material world. It allowed me to focus on the body and its limits and the fact that the body functions as material. Thank you for your consideration.

在我的系列作品中，我提出了這樣的問(wèn)題：身體何時(shí)成為物體？我們的身體總是占據(jù)空間和物質(zhì)，這又會(huì)帶來(lái)怎樣的結(jié)果？這個(gè)問(wèn)題與亞里士多德的觀點(diǎn)相呼應(yīng)，他認(rèn)為“自然厭惡空虛。

空虛的空間總是會(huì)努力被氣體或液體填充，以避免空虛?！边@個(gè)項(xiàng)目為我提供了一個(gè)獨(dú)特的契機(jī)，讓我得以深入探索身體及其外殼，以及人類(lèi)與物質(zhì)世界之間錯(cuò)綜復(fù)雜的關(guān)系。

它讓我得以關(guān)注身體及其局限性，以及身體作為物質(zhì)發(fā)揮作用這一事實(shí)。感謝您的關(guān)注。

HOW ENTRIES WILL BE ASSESSED

參賽作品的評(píng)估方式

Each qualifying entry will be evaluated using five equally weighted criteria,

每份符合條件的參賽作品將根據(jù)五個(gè)權(quán)重相同的標(biāo)準(zhǔn)進(jìn)行評(píng)估。

• Individuality: Does the work demonstrate a distinct point of view or creative identity?

個(gè)性：作品是否展現(xiàn)出獨(dú)特的觀點(diǎn)或創(chuàng)作風(fēng)格？

• Conceptualisation: Does the work clearly articulate a strong concept and underlying idea? How effectively is the research and idea development communicated?

概念化：作品是否清晰闡述了強(qiáng)有力的概念和潛在思想？研究和思想發(fā)展過(guò)程的溝通效果如何？

• Relevance: Does the design align with contemporary ideas, while offering something progressive or visionary?

相關(guān)性：該設(shè)計(jì)是否符合當(dāng)代理念，同時(shí)又具有前瞻性或遠(yuǎn)見(jiàn)卓識(shí)？

• Sustainability: To what extent does the project consider material efficiency, circularity and environmental compatibility? Is the sustainable approach transparent and well-communicated?

可持續(xù)性：該項(xiàng)目在多大程度上考慮了材料效率、循環(huán)性和環(huán)境友好性？其可持續(xù)發(fā)展方法是否透明且溝通良好？

• Commerciality: Does the work demonstrate potential development for market success, whether mass-market or luxury niche? This includes functionality, desirability, usability, and durability.

商業(yè)性：該作品是否展現(xiàn)出市場(chǎng)成功的潛力，無(wú)論是大眾市場(chǎng)還是高端小眾市場(chǎng)？這包括功能性、吸引力、易用性和耐用性。

Shortlisted entries will be reviewed by the judging panel based on the criteria as set out. Scores and individual feedback will remain confidential and will not be disclosed. Only selected winners will be notified. All judging decisions are final.

入圍作品將由評(píng)審團(tuán)根據(jù)既定標(biāo)準(zhǔn)進(jìn)行評(píng)審。評(píng)分和個(gè)人反饋意見(jiàn)將嚴(yán)格保密，不會(huì)對(duì)外公布。僅通知最終獲獎(jiǎng)?wù)?。所有評(píng)審決定均為最終決定。

THE PRIZE獎(jiǎng)項(xiàng)

The prizes shall consist of the following, which are non-transferable and non-exchangeable:

獎(jiǎng)品包括以下內(nèi)容，這些獎(jiǎng)品不可轉(zhuǎn)讓?zhuān)膊豢蓛稉Q：

i) Shortlist works can have their work sampled and photographed by professional photography team.;

入圍作品可由專(zhuān)業(yè)攝影團(tuán)隊(duì)進(jìn)行取樣和拍攝。

ii) The Overall Winner, will be invited to attend the final judging event and selection of the International Design Competition’s Overall Winner. Travel and accommodation expenses will be covered by the Organisers. Organisers reserve the right to host a digital event in the case of travel restrictions being in place;

總冠軍將受邀參加國(guó)際設(shè)計(jì)大賽最終評(píng)審活動(dòng)，并選出最終總冠軍。差旅和住宿費(fèi)用將由主辦方承擔(dān)。如遇旅行限制，主辦方保留舉辦線上活動(dòng)的權(quán)利；

iii) All shortlisted designers will be invited to attend the award ceremony of the China Mainland Finals, and the overall winner will be invited to the international award ceremony. The organizers will cover transportation and accommodation expenses. In the event of travel restrictions, the organizers reserve the right to host an online event.;

所有入圍設(shè)計(jì)師將受邀參加中國(guó)大陸總決賽頒獎(jiǎng)典禮，總冠軍將受邀參加國(guó)際頒獎(jiǎng)典禮。主辦方將承擔(dān)交通和住宿費(fèi)用。如遇旅行限制，主辦方保留舉辦線上活動(dòng)的權(quán)利。

iv)winners will receive a certificate and trophy according to their category; organisers reserve the right to host a digital event in the case of travel restrictions being in place;

獲獎(jiǎng)?wù)邔⒏鶕?jù)其類(lèi)別獲得證書(shū)和獎(jiǎng)杯；如遇旅行限制，主辦方保留舉辦線上活動(dòng)的權(quán)利；

v) Winners will receive a certificate and trophy according to their category;

獲獎(jiǎng)?wù)邔⒏鶕?jù)其類(lèi)別獲得證書(shū)和獎(jiǎng)杯；

vi) The winners will be included in publicity including, but not limited to, social media promotion, website promotion and print and digital collateral.

獲獎(jiǎng)?wù)邔@得包括但不限于社交媒體推廣、網(wǎng)站推廣以及印刷和數(shù)字宣傳材料在內(nèi)的宣傳機(jī)會(huì)。

Additional prizes may be announced by the organizer at a later date.

主辦方可能會(huì)在稍后公布其他獎(jiǎng)項(xiàng)。

Follow the WeChat official account of the Fashion Design Competition to get the latest event updates. Click "Read More" at the end of the article to go directly to the competition registration portal.

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