High Life

品 22 #11 2017 年 8 月 “英国设计要急起直追” 他指出说，“自1870年代的艺术与工艺运动以后，英国一直 缺乏包含本国特色的室内设计。”话虽如此，迪克森认为英国 仍是一个“充满创意的国家”，其对制造业的兴趣日渐消褪， 而设计又成为了出口服务。 他认为灵感来自哪里并不重要，重点是能够将其转化为实 物。 他解释说，“要反映英式风格，设计师大可从维多利亚时 代、朋克风格或国际主义，甚至音乐及烹饪等学科汲取灵感。 “将看似互不相干的意念糅合起来，即是创造新事物的开 端。我在音乐中获得了大量灵感——不止是美学方面，更在于 如何创作属于自己的作品。” 早期迪克森还只是为自己设计产品时，音乐是其创作的重 要灵感泉源。 他补充说，“我并不在意别人在做什么——不止是美学方 面，更多在于如何创作属于自己的作品。” 与此同时，迪克森似乎也不在乎别人对他是否认同。 他称，“我不会总是以目标为重，取得成就也不是我的真 正动力。有机会进行尝试、创新并引起人们的积极回应，我感 到很幸运。这来之不易，是辛勤付出的成果。” “British design has a lot of catching up to do” “There haven’t been many specifically British styles in interior design since the Arts and Crafts Movement in the 1870s,” Dixon observes. Having said that, he considers Britain a “very creative kind of nation” that has become less interested in manufacturing while design has become something of a service export. He believes it doesn’tmatterwhere one’s inspirations come from as long as they can be translated into the physical world. “You can draw on Victorian, punk or cosmopolitan attitudes and on other disciplines like music and cooking, to reflect British behaviors and attitudes,” he says. “Putting unrelated ideas together creates a newbeginning. I brought a lot ofwhat I learnt from themusic – it’s not somuch about aesthetics as about howyou can make your own things.” In the early days, when he was just making things for himself, music had a significant influence on his design work. “I don’t really carewhat others do –myperspective comes directly fromwhat we do in the music industry,” he adds. Dixon isn’t concerned about wide recognition for his achievements. “I am not always goaloriented,” he says. “It’s not really my motivation to achieve. I’m very lucky to be in the position to experiment, create things and get people to react positively. This is quite rare and it takes a lot of hardwork to get to there.” 自1870年代的艺术 与工艺运动以后，英 国一直缺乏包含本国 特色的室内设计