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1950 年代末 — 簡樸平凡
第二次世界大戰後，大批內地移民湧入香港，當中不乏工業家。人口與資金的增長，為香港於1950 年代末轉型為工業城市奠下了基礎。
本地工業剛起飛時，成衣市場仍未普及，衣服多由婦女為家人製作。沒有特定制服的工廠女工，衣着與一般基層女性無異，以自家縫製、剪裁寬鬆又方便工作的中式衫褲為主。另外，她們亦會穿上圍裙，在袋子放入勾針、梭子和手帕等工具。上方是由CHAT六廠車衣團隊仿製的棉布衫褲及圍裙，樸素的設計反映戰後至60年代初的衣着依然傾向單調保守。
Late 1950s - Modest Outfits
After the Second World War, a wave of migrants from the mainland arrived in Hong Kong, among them many industrialists. With this increase in population and capital, Hong Kong was quickly set to become an industrial city in the 1950s.
At that time, ready-to-wear garments were not widely available, and clothes were usually sewn at home by women for their family. Most factories did not have a uniform, so female workers typically wore a simple saam fu – a Chinese-style ensemble of a matching top and bottom. Saam fu often had a boxy cut and were relatively loose, allowing ease of movement. An apron with pockets would often be worn for carrying tools such as hooks, shuttles and handkerchiefs. The above cotton saam fu is a replica produced by the CHAT Sewing Team. Its simplicity reflects the modesty of the post-war era until the early 1960s.
htmlText_A83BE8A5_869E_CBEF_41C2_7795AAF491E7.html =
1950 年代末 — 簡樸平凡
第二次世界大戰後，大批內地移民湧入香港，當中不乏工業家。人口與資金的增長，為香港於1950 年代末轉型為工業城市奠下了基礎。
本地工業剛起飛時，成衣市場仍未普及，衣服多由婦女為家人製作。沒有特定制服的工廠女工，衣着與一般基層女性無異，以自家縫製、剪裁寬鬆又方便工作的中式衫褲為主。另外，她們亦會穿上圍裙，在袋子放入勾針、梭子和手帕等工具。上方是由CHAT六廠車衣團隊仿製的棉布衫褲及圍裙，樸素的設計反映戰後至60年代初的衣着依然傾向單調保守。
Late 1950s - Modest Outfits
After the Second World War, a wave of migrants from the mainland arrived in Hong Kong, among them many industrialists. With this increase in population and capital, Hong Kong was quickly set to become an industrial city in the 1950s.
At that time, ready-to-wear garments were not widely available, and clothes were usually sewn at home by women for their family. Most factories did not have a uniform, so female workers typically wore a simple saam fu – a Chinese-style ensemble of a matching top and bottom. Saam fu often had a boxy cut and were relatively loose, allowing ease of movement. An apron with pockets would often be worn for carrying tools such as hooks, shuttles and handkerchiefs. The above cotton saam fu is a replica produced by the CHAT Sewing Team. Its simplicity reflects the modesty of the post-war era until the early 1960s.
htmlText_A803AD14_86A5_4AAD_41DC_6534061949C0.html =
1960 年代 — 人人愛美
1960 年代輕工業發展迅速，大部分基層女性年紀尚輕便投身工廠工作，分擔家庭開支。在按件計算薪酬的制度下，辛勤工作的女工開始經濟自主，也會基於不同工廠提供的福利自由選擇工作，女性在家庭和社會的地位有所提升。
隨着消費能力提高，女工對衣着也更為講究，會挑選不同樣式的衫褲上班。如果工作環境骯髒，她們甚至會在下班後換上另一套衣服社交。上方的印花衫褲由昂貴的絲綢做成，相信是為特別場合訂造。據女工所言，早期衫褲只有鈕扣，拉鏈設計是後期的特色，以增添時髦感。
1960s - Beauty for All
The booming light industries of the 1960s provided opportunities for young women to enter the workforce to support their families. As factory workers were paid on a piece-rate basis, women who worked the most productively became financially independent and gained the freedom to choose their employment based on the provided benefits, elevating the status of women in family and society.
As their spending power increased, women became more particular about the way they dressed, beginning with the saam fu they wore to work. If clothes were made dirty at work, they would change into another outfit before leaving the factory. The above saam fu made of expensive silk was probably worn on special occasions. Saam fu were usually fastened with snap buttons; zippers were later introduced for style.
htmlText_27717A7A_148D_4506_4195_A3D56B94F463.html =
1960 年代 — 人人愛美
1960 年代輕工業發展迅速，大部分基層女性年紀尚輕便投身工廠工作，分擔家庭開支。在按件計算薪酬的制度下，辛勤工作的女工開始經濟自主，也會基於不同工廠提供的福利自由選擇工作，女性在家庭和社會的地位有所提升。
隨着消費能力提高，女工對衣着也更為講究，會挑選不同樣式的衫褲上班。如果工作環境骯髒，她們甚至會在下班後換上另一套衣服社交。上方的印花衫褲由昂貴的絲綢做成，相信是為特別場合訂造。據女工所言，早期衫褲只有鈕扣，拉鏈設計是後期的特色，以增添時髦感。
1960s - Beauty for All
The booming light industries of the 1960s provided opportunities for young women to enter the workforce to support their families. As factory workers were paid on a piece-rate basis, women who worked the most productively became financially independent and gained the freedom to choose their employment based on the provided benefits, elevating the status of women in family and society.
As their spending power increased, women became more particular about the way they dressed, beginning with the saam fu they wore to work. If clothes were made dirty at work, they would change into another outfit before leaving the factory. The above saam fu made of expensive silk was probably worn on special occasions. Saam fu were usually fastened with snap buttons; zippers were later introduced for style.
htmlText_21ACE987_148D_470E_41AE_60A166691F65.html =
1970 年代初 — 西服潮流
戰後的新生代長期接觸歐美流行文化，並將西式服裝與年輕活力掛勾，在1970 年代掀起了一陣西服潮流，「永安」、「先施」等百貨公司便有多款西式成衣可供選擇，中式衫褲自此式微。在追求效率的城市中，購買成衣比訂製衣服省時，加上政府的大型推廣，西式成衣自然成為大眾首選。
女工也不例外，迷你裙、夏威夷裇衫和牛仔褲均是不少女工上班和工餘時的選擇，喇叭褲更是風行一時。值得一提的是，雖然當時的女工追求西式打扮，但卻並未忽視傳統的倫理道德，這亦反映在當時流行的工廠生涯電影中。
Early 1970s - Western Trends
The post-war boomers grew up with Western popular culture and associated Western fashion with youth and vitality. The 1970s saw the rise of Western fashion and the decline of saam fu, as department stores like Wing On and Sincere stocked up on a variety of Western ready-to-wear garments. In a city increasingly focused on efficiency, and along with the government's large-scale promotion, ready-to-wear items had largely replaced tailor-made clothing.
Female workers began to wear miniskirts, Hawaiian shirts, denim jeans and flared pants – both at work and in their personal lives. While adopting a Western appearance, they did not forget the traditional feminine virtues of their own culture, as demonstrated by films depicting factory life at the time.
htmlText_A83EFDBC_86A5_45DD_41CC_603D1E85123E.html =
1970 年代初 — 西服潮流
戰後的新生代長期接觸歐美流行文化，並將西式服裝與年輕活力掛勾，在1970 年代掀起了一陣西服潮流，「永安」、「先施」等百貨公司便有多款西式成衣可供選擇，中式衫褲自此式微。在追求效率的城市中，購買成衣比訂製衣服省時，加上政府的大型推廣，西式成衣自然成為大眾首選。
女工也不例外，迷你裙、夏威夷裇衫和牛仔褲均是不少女工上班和工餘時的選擇，喇叭褲更是風行一時。值得一提的是，雖然當時的女工追求西式打扮，但卻並未忽視傳統的倫理道德，這亦反映在當時流行的工廠生涯電影中。
Early 1970s - Western Trends
The post-war boomers grew up with Western popular culture and associated Western fashion with youth and vitality. The 1970s saw the rise of Western fashion and the decline of saam fu, as department stores like Wing On and Sincere stocked up on a variety of Western ready-to-wear garments. In a city increasingly focused on efficiency, and along with the government's large-scale promotion, ready-to-wear items had largely replaced tailor-made clothing.
Female workers began to wear miniskirts, Hawaiian shirts, denim jeans and flared pants – both at work and in their personal lives. While adopting a Western appearance, they did not forget the traditional feminine virtues of their own culture, as demonstrated by films depicting factory life at the time.
htmlText_265359BF_14F4_C77E_41B4_C4FCCC36F751.html =
勞動的痕跡
對香港而言，1960 年代是一個充滿變化的時期：香港正經歷第一次經濟轉型，新生一代亦開始擁抱西方文化。與此同時，輕工業蓬勃發展，女性紛紛投身工廠工作，並在香港經濟起飛的過程中扮演功不可沒的角色。
「勞動的痕跡」由CHAT 六廠藏品中的女工衣着出發，連結口述歷史，回溯1950年代末至70年代初工廠女工的日常裝扮。女工時尙潮流的演變，反映出怎樣的思想和經濟及社會發展歷程？又可以為當代藝術作品的詮釋帶來甚麼思考？
CHAT六廠的藏品集結當代藝術品及香港紡織業遺產的物件，展現藝術館跨學科的特質。此專題展示重新演繹這些藏品，並為季度展提供歷史背景，試圖拓闊觀眾對展出作品的理解。
ARTEFACTS OF LABOUR
The 1960s was a decade of change for Hong Kong – the city experienced its first economic shift, and a generation of youths began to embrace Western culture. As light industries flourished, women flocked into the workforce and became a cornerstone of Hong Kong's economy.
Artefacts of Labour combines garments from the CHAT Collection and oral history to recall the daily outfits of female workers from the late 1950s to the early 1970s. What does their clothing tell us about their lifestyle and values? What about the broader economic and societal changes? How can these everyday matters bring about new perspectives for contemporary art?
The transdisciplinary CHAT Collection consists of contemporary artworks and textile heritage objects. This thematic display provides multiple interpretations of the collection and historical context for understanding the artworks on view in our seasonal exhibition.
htmlText_AD0467A6_869B_45ED_41E0_B4B5EA14B0BC.html =
勞動的痕跡
對香港而言，1960 年代是一個充滿變化的時期：香港正經歷第一次經濟轉型，新生一代亦開始擁抱西方文化。與此同時，輕工業蓬勃發展，女性紛紛投身工廠工作，並在香港經濟起飛的過程中扮演功不可沒的角色。
「勞動的痕跡」由CHAT 六廠藏品中的女工衣着出發，連結口述歷史，回溯1950年代末至70年代初工廠女工的日常裝扮。女工時尙潮流的演變，反映出怎樣的思想和經濟及社會發展歷程？又可以為當代藝術作品的詮釋帶來甚麼思考？
CHAT六廠的藏品集結當代藝術品及香港紡織業遺產的物件，展現藝術館跨學科的特質。此專題展示重新演繹這些藏品，並為季度展提供歷史背景，試圖拓闊觀眾對展出作品的理解。
ARTEFACTS OF LABOUR
The 1960s was a decade of change for Hong Kong – the city experienced its first economic shift, and a generation of youths began to embrace Western culture. As light industries flourished, women flocked into the workforce and became a cornerstone of Hong Kong's economy.
Artefacts of Labour combines garments from the CHAT Collection and oral history to recall the daily outfits of female workers from the late 1950s to the early 1970s. What does their clothing tell us about their lifestyle and values? What about the broader economic and societal changes? How can these everyday matters bring about new perspectives for contemporary art?
The transdisciplinary CHAT Collection consists of contemporary artworks and textile heritage objects. This thematic display provides multiple interpretations of the collection and historical context for understanding the artworks on view in our seasonal exhibition.
htmlText_AAA3F2C4_869B_DFAD_41DE_294B09074E71.html =
女工眼中的長衫
長衫（亦稱旗袍）在1950及60 年代備受香港女性愛戴，直至相對便宜的本地製西式成衣流行，加上六七左派運動後大批富戶移民海外，本地裁縫因生意低迷轉行，才導致長衫潮流的消退。
但對於不少女工而言，長衫價錢一向比較昂貴，而且較為拘束，並不方便工作，所以只會於婚禮等隆重場合穿着，展現成熟大方的形象。據女工分享，在她們眼中會穿着長衫的人大致可分為幾類：一身簡樸素淨的知識分子，如老師、學生等；選用上乘布料的富裕人家；以及穿着美艷的交際花。
Cheongsam in the Eyes of Female Workers
Cheongsam (also known as qipao) were popular among Hong Kong women in the 1950s and 60s until the widespread availability of affordable ready-to-wear garments. As many well-to-do families left the city following the civil commotion in 1967, tailors saw a decline in orders and ultimately the fading away of cheongsam.
At the time, many female workers saw cheongsam as expensive, unsuitable for work, formal and reserved for special occasions, such as wedding parties. Some female workers associated the dress with educated families of society, like teachers and students; affluent members who made use of expensive fabrics; and socialites who had a penchant for more revealing clothes.
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女工眼中的長衫
長衫（亦稱旗袍）在1950及60 年代備受香港女性愛戴，直至相對便宜的本地製西式成衣流行，加上六七左派運動後大批富戶移民海外，本地裁縫因生意低迷轉行，才導致長衫潮流的消退。
但對於不少女工而言，長衫價錢一向比較昂貴，而且較為拘束，並不方便工作，所以只會於婚禮等隆重場合穿着，展現成熟大方的形象。據女工分享，在她們眼中會穿着長衫的人大致可分為幾類：一身簡樸素淨的知識分子，如老師、學生等；選用上乘布料的富裕人家；以及穿着美艷的交際花。
Cheongsam in the Eyes of Female Workers
Cheongsam (also known as qipao) were popular among Hong Kong women in the 1950s and 60s until the widespread availability of affordable ready-to-wear garments. As many well-to-do families left the city following the civil commotion in 1967, tailors saw a decline in orders and ultimately the fading away of cheongsam.
At the time, many female workers saw cheongsam as expensive, unsuitable for work, formal and reserved for special occasions, such as wedding parties. Some female workers associated the dress with educated families of society, like teachers and students; affluent members who made use of expensive fabrics; and socialites who had a penchant for more revealing clothes.
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從衫褲到西服
這裏的照片捕捉了從中式衫褲過渡到西式成衣的過程。由女工宿舍的照片可見，到了1960年代末、70年代初，穿着中式衫褲的多是上了年紀的女工，年輕女工則緊貼時尚潮流，換上一襲西式裝束。
From Saam Fu to Western-Style Clothing
The images here illustrate the transition from saam fu to Western-style clothing as daily wear. In the image of female workers in their dormitory, one can see that by the late 1960s and early 70s, the majority of those dressed in saam fu were older female workers, while the younger women closely followed fashion trends by wearing Western attire.
htmlText_AB7654F2_869B_5B65_41E0_A1C3C4034C48.html =
從衫褲到西服
這裏的照片捕捉了從中式衫褲過渡到西式成衣的過程。由女工宿舍的照片可見，到了1960年代末、70年代初，穿着中式衫褲的多是上了年紀的女工，年輕女工則緊貼時尚潮流，換上一襲西式裝束。
From Saam Fu to Western-Style Clothing
The images here illustrate the transition from saam fu to Western-style clothing as daily wear. In the image of female workers in their dormitory, one can see that by the late 1960s and early 70s, the majority of those dressed in saam fu were older female workers, while the younger women closely followed fashion trends by wearing Western attire.
## Tour ### Description ### Title tour.name = Artefacts of Labour