傳統產業發展與轉變-以神斧創意精品刺繡為例

臺灣在1959年開始引進刺繡產業，臺灣刺繡工藝是早期人民生活智慧的累積，也是珍貴之無形文化遺產：除呈現工藝匠師的巧思妙藝，也保存庶民生活的文化與歷史軌跡；其豐富之文化元素，更可運用於文化創意產業之開發與研究。嘉義縣朴子市早期為臺灣刺繡重鎮之一，舉凡廟宇的八仙彩、布幔到嫁娶的門簾、繡枕等，都是採用手工刺繡，由於需求量多，周國欽眼看這是一門生意，他自己擅長繪圖、太太龔燕春則精通刺繡，於是在1966年成立「國欽工藝社」，1979年第二代周至雲將事業改名「鑫得行」並擴大為工廠，以大盤批發為主。但後來中國工廠以低於臺灣製品一半的價格進攻市場，手工精良繡品抵抗不了對岸低價衝擊，加上傳統產業的沒落，當務之急就是開創新的行銷管道，以因應社會變遷，這讓同屬七年級生的周家三兄弟，決定幫助家族企業轉型，創造品牌價值與競爭力，他們感念到品牌經營的重要性，如果一直不改變，臺灣市場勢必被中國低價品取代，遂參與了「縮減產業數位落差計畫」，開始邁向企業轉型的第一步。成立了「神斧創意精品刺繡」。根據資料顯示臺灣在1987年以後經歷過一連串的經濟改革措施之後，經貿發展更加迅速，因成衣業興盛，刺繡業也隨之擴大，在1990後達到鼎盛時期，但國民生活水平日漸提高，隨之而來勞工階級開始短缺，連帶著工資上漲導致生產成本提高，但此時臺灣的業者卻又早已投入大量資金在生產設備上，造成產能過剩，相關產業外流到印尼及泰國等勞工薪資較低的東南亞等地的影響，臺灣刺繡業的前景已出現狀況。因應社會變遷，臺灣刺繡產業為了永續經營，應尋求良好的經營方式及繡花商品和行銷管道的改進，以彌補中國低價市場及技術人員的不足。過去的文獻沒有針對刺繡業經營發展與轉變有任何的探討。本研究以成功轉型的傳統繡花業者的經營者為對象，進行深度訪談及查看相關文獻資料，藉以了解產業發展，並擬出三個結構面:[刺繡產業面臨問題][刺繡產業的發展研究][刺繡產業的轉變]希望從中發現優缺點，將這些重要資訊保存，以利往後相關產業做一個重要依據及參考。

關鍵字

刺繡；電腦刺繡；文化創意產業；傳統產業；神斧創意精品刺繡

並列摘要

Taiwan began introducing embroidery in 1959, and the craft was an accumulation of experience and lifestyle of early Taiwanese people. Embroidery is thus a highly prized intangible cultural heritage. Embroidery depicts not just the craftsmanship and skill of the embroiderer, it is also a media that preserves the cultural and historical traces of the common people. These cultural elements can also be applied in the research and development of Cultural and Creative Industries. Puzi Township of Chiayi County used to be an important center of embroidery in early Taiwan. Embroideries such as the Tapestry of Eight Deities, stage curtains, and door curtains and pillows used during marriage ceremonies were all hand-made. Zhou Guo-qin (周國欽) recognized the high demand and knew he founded a business in this field. Zhou was an accomplished illustrator, while his wife Gong Yan-chun (龔燕春) was a professional embroiderer. Zhou thus established Guoqin’s Workshop (國欽工藝社) in 1966. In 1979, the second generation business owner Zhou Zhi-yun (周至雲) renamed the business as ’TOP YAJIH CO (鑫得行) and expanded the workshop into a factory that focused on wholesale markets. Later on, however, Chinese factories offering prices at only half of that in Taiwan invaded the market. Fine embroidery was no match for the low costs of Mainland Chinese products. As traditional industries started to decline, there was an urgent need to create new sales channels. In response to these social changes, the three Zhou brothers, all born during the 1980s, decided to transform the family business through generating brand value and competitiveness. They understood the importance of brand management and knew that Taiwan's market would be completely dominated by cheap Chinese goods if no changes were made to their situation. Hence, they decided to participate in the Digital Inclusion for Small and Medium Enterprises Project and took their first step towards business transformation and established Shen Fu Creative Embroidery (神斧創意精品刺繡). Data showed that Taiwan underwent rapid commercial developments after a series of revolutionary economic changes after 1987. The embroidery industry expanded with the rise of the garment industry, achieving a height during the 1990s. However, as living qualities improved, many companies began to lose workers. Increase in wages led to higher production costs. Yet Taiwanese business owners had already invested large quantities of capital in production equipment which led to an over-abundance of production capacities. Numerous businesses moved to Southeast Asian countries such as Indonesia or Thailand where labor was cheaper, placing the future of Taiwanese embroidery in jeopardy. In response to these social changes, Taiwanese embroidery searched for better management models to identify improvements for their products and sales channels in order to fight against the market for cheap Chinese goods and compensate for the lack of skilled and technical personnel. Little research has been done investigating the business development and transformation of the embroidery industry. Hence, this paper focused on a traditional embroiderer that successfully underwent business transformation. In-depth interviews as well as relevant literature were reviewed in order to understand the development of this industry. Three structural aspects were identified: problems faced by the embroidery industry, investigating the development of the embroidery industry, and transformation of the embroidery industry. This paper aimed to identify advantages and weaknesses and to preserve these critical information in order to provide other industries with an important source of reference.