香港设计师林建仁（Kinyan Lam）2026秋冬系列“Grounded”不仅仅是一个季度新品发布。它为其同名品牌的未来确立了清晰愿景：放慢脚步，方能致远。
Hong Kong designer Kinyan Lam’s autumn/winter 2026 collection, Grounded, is more than a seasonal drop. It sets a clear vision for the future of his eponymous brand: that slowing down is the only way forward.
“听过一句话，植物生长有两种方式：它们向世界爆发生长，但根系却持续深扎土壤，”今年三十出头的林建仁说。“此刻我只是一棵小树，我想让根系扎得更深，以便长成大树。这是我们品牌真正扎根的时刻。”毕业于香港知专设计学院（HKDI）后，林建仁于2019至2020年在伦敦时装学院攻读硕士学位。随后他返回香港在母校任教，期间对纺织品和天然染色产生了浓厚兴趣。2021年，他创立了Genau Studio，提供成衣染色服务及专注于天然染料的工作坊。
“I heard a saying that plants and trees have two ways of growing: they explode into the world, but their roots continue to dig deep into the soil,” says Lam, who is in his thirties. “Right now, I am just a small tree, and I want to grow my roots deeper so I can grow into a big tree. This is a moment for our brand to become really grounded.”After studying at the Hong Kong Design Institute (HKDI), Lam went on to earn a master’s degree at the London College of Fashion from 2019 to 2020. He later returned to Hong Kong to teach at his alma mater, where he developed a passion for textiles and natural dyeing. In 2021, he founded Genau Studio, which offers garment-dyeing services and workshops focused on natural dyes.
林建仁将其对自然的热爱归功于童年在广东省一个小村庄度过的经历，10岁时他随家人移居香港。
Lam credits his love for nature to his childhood growing up in a small village in China’s Guangdong province, before he moved to Hong Kong aged 10.
2023年，他推出个人时装品牌Kinyan Lam，专注于天然材质、传统染色技艺，并与中国贵州省侗族工匠合作制作刺绣。
In 2023, he launched his fashion brand Kinyan Lam, focusing on natural materials, traditional dyeing techniques and embroidery produced in collaboration with artisans from the Dong ethnic minority group in China’s Guizhou province.
自2024年起，林建仁在包括巴黎时装周在内的国际平台展示作品。今年，他入选“时尚亚洲香港”评选的“十大值得关注的亚洲设计师”。9月3日，他在该计划首场时装大秀上发布了“Grounded”系列，秀场设于香港瑰丽酒店。
Since 2024, Lam has showcased his work on international platforms, including Paris Fashion Week. This year, he was named one of Fashion Asia Hong Kong’s 10 Asian Designers to Watch. On September 3, he presented “Grounded” at the initiative’s inaugural fashion show, held at Rosewood Hong Kong.
林建仁还入围了享誉盛名的2026年LVMH奖半决赛，为其作品带来了更多国际关注。
Lam was also named a semi-finalist for the prestigious 2026 LVMH Prize, bringing further international attention to his work.
尽管备受赞誉，林依然敏锐地意识到时尚行业的关注度转瞬即逝。“如果你看一个品牌的生命周期，其实非常短，”他说，“大多数品牌在撑过五年关口后就开始走下坡路，这让我很担忧。”对林而言，销售放缓的威胁不仅关乎品牌的长久生存，更可能影响他合作的那些匠人的生计。
Despite the accolades, Lam is acutely aware of the fashion industry’s short attention span. “If you look at the life cycle of a brand, it’s really short,” he says. “Most brands start to fail after hitting the five-year mark, and that’s a concern for me.”For Lam, the threat of slowing sales is not only a question of his label’s longevity; it could also affect the livelihoods of the artisans he works with.
他在求学期间首次了解到贵州丰富的手工技艺。他前往贵州，与跳蚤市场上售卖手工制品的摊贩交谈，随后深入周边村寨，寻找最终与其品牌合作的匠人。
He first learned of Guizhou’s rich craftsmanship during his studies. He travelled to the province, speaking with vendors who sold handmade pieces at flea markets, before venturing into nearby villages to seek out the artisans who would eventually collaborate with his label.
林和他的小团队——妹妹和一名兼职助手——定期前往贵州，与60多位女性匠人合作。
Lam and his small team – his sister and a part-time assistant – travel regularly to Guizhou to work with more than 60 female artisans.
“她们都是在照顾家庭的母亲，”李华娜说，她曾是林在香港知专设计学院的学生，现兼职为Kinyan Lam担任匠人。“我们会去村里看望她们，展示想要她们制作的设计图。通常需要几周时间完成，她们会在照顾家庭的间隙进行制作。”由于天然染料和手工刺绣的特性，没有两件Kinyan Lam的作品是完全相同的。林将每一件作品都描述为制作它的匠人的“指纹”。
“They’re all mothers who are taking care of their families,” says Hana Li, a former student of Lam’s at HKDI who now works part time as an artisan for Kinyan Lam. “We go to the villages to visit them and show them the designs we want them to produce. It usually takes them a few weeks to create the pieces, which they work on between taking care of their families.”Because of the nature of natural dyes and handmade embroidery, no two Kinyan Lam pieces are alike. Lam describes each one as a “fingerprint” of the artisan who worked on it.
在一个常因挪用文化图腾与叙事却未妥善致谢来源而受诟病的行业中，林刻意将匠人及其技艺置于前台，而非将他们的文化作为“营销策略”加以利用。
In an industry often criticised for extracting motifs and narratives from cultures without properly acknowledging their origins, Lam is deliberate about foregrounding the artisans and their craftsmanship rather than using their culture as a “marketing strategy”.
“外界总认为我们品牌以可持续为先。但我们从未用‘可持续’一词来推广品牌，”林说。“对我们而言，这不是策略——而是责任。文化亦然；它不是我们博取关注的营销手段。”
“People always think our brand is sustainability-first. But we never use the word ‘sustainability’ to market our brand,” Lam says. “To us, it’s not a strategy – it’s our responsibility. And it’s the same for culture; it’s not our marketing strategy to get attention.
“作为品牌想要获得关注，能做的就是发挥自身的创造力。创造力不仅关乎服装本身，也可以体现在品牌与工匠合作的结构模式上。”林的作品还打破了“西方工艺天然优越”的固有偏见——这种偏见反映在时尚界对“意大利制造”标签的偏爱，远胜于“中国制造”。
“What you can do as a brand to get attention is use your own creativity. Creativity is not just about clothes – it can also be the structure of how a brand works with artisans.”Lam’s work also challenges the assumption that Western craftsmanship is inherently superior – a bias reflected in the fashion industry’s preference for labels that read “Made in Italy” over “Made in China”.
“贵州的工艺美得令人惊叹，”林说，“他们拥有技艺，但可能缺乏将其转化为当代时尚的能力。这正是我们存在的意义。”自创立品牌以来，林帮助复兴了贵州濒临失传的工艺，这似乎是他工作中最能获得成就感的部分。
“The craftsmanship in Guizhou is gorgeous,” Lam says. “They have the techniques, but maybe what they don’t have is the ability to adapt it into contemporary fashion. That’s why we’re important.”Since launching his brand, Lam has helped revive Guizhou’s dying craftsmanship, an aspect of his work that appears to give him the greatest sense of purpose.
然而，在快节奏的行业中坚持缓慢、手工的生产模式，本身也面临挑战。由于每件作品都存在细微差异，质量控制变得困难，这让教育客户理解这种差异的价值显得愈发重要。
However, running a label rooted in slow, handmade production within a fast-moving industry presents its own challenges. Quality control can be difficult when every piece varies slightly, making it increasingly important to educate clients about the value of such differences.
“我们合作的工匠过去为自己的孩子做衣服，现在我们请他们为我们、为我们的品牌做衣服，”林说，“这也是为什么我们希望客户和受众真正去思考制作他们衣服的那个人，从而更珍惜这些衣物。”目前，林依然专注于脚踏实地——此处双关“grounded”既指务实也指贴近土地。最近一次尼泊尔之行，他考察当地工艺、结识一位从事亚麻纤维与钩针编织的设计师，让他重新记起了踏上这段旅程的初衷。
“The artisans we work with used to make clothes for their children, and now we ask them to make clothes for us, for our brand,” Lam says. “That’s why we want our customers and audience to really think about the person who worked on their clothes, so they treat the clothes well.”For now, Lam remains focused on staying grounded – pun intended. A recent trip to Nepal, where he explored local crafts and met a designer working with linen fibre and crochet, served as a reminder of why he started this journey in the first place.
“去尼泊尔这样的国家旅行、发掘新工艺，是我放松的方式之一，”他说，“这是让我平静下来的方法之一。”文／Sumnima Kandangwa
“Travelling to countries like Nepal and discovering new crafts is one of the ways I can relax,” he says. “It’s one of the methods that let me calm down.”