Color pencils, Ecco Pigment, and PITT artist pen by Faber-Castell on paper.
Tuesday, June 30, 2009
Monday, June 15, 2009
。Forever Challenge。
除了缺乏「共襄盛舉」，多少人的熱情，就澆熄湮沒政治口水戰與金錢利益中。
幾年前，在知名美術指導美清的引薦下，開始與台灣的沙丁龐客劇團合作，讓原先從事主流服裝設計相關工作的我，給了一次解放的機會。雖說在服裝設計上，流行跟劇場這兩種領域的設計元素或技術經常相互影響，但是劇場界與一般主流流行市場的工作方式卻是大相逕庭。因此剛開始與劇團導演及團長馬照琪（馬馬）跟美清工作時，我總覺得格格不入，沒有辦法融入劇場服裝設計的工作模式。但接下來的幾年，或許開始抓到導演的需求，我也逐漸的放開自己，搬出與戲劇作品相關，而且我在大學時很喜歡的 Otto Dix、Marcel Duchamp、 Renè Magritte 等創作，或是因應導演針對不同作品的要求，找了非洲的圖像或藝術家作品、1920~1930 年代德國小酒館文化的老照片等。有時候，更會從知名服裝設計師的作品得到創作的靈感，像是 Martin Margiela、Yohji Yamamoto、Undercover 等等。
在創作、設計、材質搜尋、打版縫製、溝通協調這些必須的工作之外，看排、與演員和其他劇場相關專業人士的互動，是我從沙丁龐客劇團一同工作中最大的收穫。他們對於表演藝術的熱情，絕非其他工作領域的人能夠想像。除了工時漫長不穩，工作環境堪慮之外，酬勞也可能僅供裹腹，不然就重新投資用在表演裡。馬馬與劇團行政也常得開會，尋找預算內合宜的表演場地跟廣告方式，同時還要對外籌措資金。但抱怨許多現實狀況之餘，一回到關於戲劇本身的討論，他們熱情活力依舊不減。對於半路闖進這個領域的我，佩服尊敬他們之餘，卻有更多替他們抱冤的無言吶喊。
上個月，Terri 姐送了我「劇場追夢人－林璟如」一書。這個從開始觀賞雲門舞集演出就讓我記憶深刻的名字，是台灣表演藝術界劇場服裝設計令人尊敬的前輩。作者徐開塵以第一人稱的日記自述性文體，紀錄了林璟如過去參與劇場服裝設計的作品、工作甘苦，以及她對整個藝文大環境的憂慮與期許。在台灣表演藝術界這樣子的窘況，其實已經存在太多年。令人難過與憤慨的是，就算是過了這麼久之後，還是沒見改善。或許已經有人開始正視這個情形，而相繼提出解決的辦法，不過成效實在有限，完全不能符合所期待具有專業而國際化的工作環境。很多企業成立文教或創意相關的基金會，培養或投資許多新一代的藝術家或藝文界人士，讓他們的作品跟理念能被正視或推廣。但是，藝術形式難道就是只有繪畫、裝置、影像、音樂、戲劇跟舞蹈嗎？
台灣有許多企業，已經開始長期關注文創產業，像是台積電文教基金會、台新銀行文化藝術基金會、富邦文教基金會，跟國泰文教基金會等等。不過，投資意味著就是要得到報酬，因此當然都著眼在許多是目前主流市場能接受，或能夠成為話題的作品及團體，做選擇性的支持。事實上，整體環境上需要的專業分工、安全舒適工作環境，還有合理酬勞福利等，卻從未真正被改善。此外，還有許多沒被發現的個人或團隊，其實還在與欠缺基本需求的現實中搏鬥，或是需要有人能夠推他們一把。這樣傾斜的條件與應援，要如何跟國外專業的團體與環境互相匹配，提高競爭力？
而除了劇場服裝設計面臨這樣的問題之外，主流的服裝設計產業也仍有許多不足。台南企業在台灣服裝產業上的支持與拓展已成氣候，這樣有龐大資產及勢力的企業支持服裝產業在台灣卻不多見。但該企業許多旗下服裝品牌，近年其實都已經轉向中國，東南亞，中東等地代工生產，以求更低的成本開銷換取更多的利益，慢慢減少在台灣本地服裝產業的建設與扶持。在台灣逐漸轉型成外銷本土生產精緻高級商品（像是農業、工業設計、旅遊觀光業、3C產業等）的路線下，服裝產業似乎是遠遠拋在腦後。設計師品牌往往在國際舞台上無法立足，在國內發展的市場更是逐年萎縮，許多有才華的人因而放棄轉行，或移居認同自己創作的國外環境發展，這樣台灣不但留不住人才，更會讓期待在踏入這行的後輩失去信心。我們也只能巴望著像 Jason Wu 那樣從小沉浸國外教育的成功華裔設計師出現，大肆報導後再往自己臉上貼金，不然就是製作仿效 Project Runway 節目，娛樂大眾跟求收視率。只讓民眾看到成功與光鮮亮麗的外表，背後應該支撐的基礎卻慢慢被掏空。
我想許多產業，應該也面對相同的困境，不是只有服裝產業。那到底是哪裡出了問題？追根就底，便是台灣成天覆蓋在政治利益相關的話題裡。當政治人物只求利益時，許多政策形同虛設，只是保障或提供某些團體好處，卻沒為整體環境未來的成長而考慮。暫且不論歐美的發展，畢竟許多歐美國家已經建立起良善的制度，公民也培養至一定的意識跟水平。鄰近的亞洲國家，像是日本與韓國，都積極效法國外的做法，建立一套能共同讓國內所有產業均衡發展的機制。韓國的 Samsung 集團，就設立 SFDF（Samsung Fashion & Design Fund），來支持國內高級服裝產業，更透過競賽的方式，支持許多國內外韓籍或韓裔服裝設計師。除了支持設計師與本國品牌，Samsung 更將觸角延伸至歐洲服裝重鎮米蘭，與高檔複合精品店 10 Corso Como 合作，在韓國首都首爾開設了全世界第三間，也是全亞洲第二間的 10 Corso Como（另一間位於日本東京，與 Comme des Garçons 合作）。而 Samsung 集團更是把集團下生產的產品，跟服裝品牌做連結，因此也才有了 Giorgio Armani 手機（另一個例子便是 LG 集團與 Prada 合作生產的手機）。
文章並非以批評為旨，而是像「劇場追夢人－林璟如」一書之前輩所言，單純希望與提醒可以讓台灣的文創產業更完整健全，更全方位。努力向外打響台灣這塊招牌時，應該對內也做好向下紮根的動作。不然全球化的颶風一掃，台灣許多產業便應聲而倒。以往台灣以出口紡織品跟服裝代工聞名全球，握有非常好的條件及優勢與國外競爭。期待在位者能夠更完整全面的照顧各行各業，而不是一味的發展利潤較高的產業。 有些名聲與利益，並不能以金錢衡量。讓無形及內在的文化深植、發展延續並保存，才是競爭的最大利器。
幾年前，在知名美術指導美清的引薦下，開始與台灣的沙丁龐客劇團合作，讓原先從事主流服裝設計相關工作的我，給了一次解放的機會。雖說在服裝設計上，流行跟劇場這兩種領域的設計元素或技術經常相互影響，但是劇場界與一般主流流行市場的工作方式卻是大相逕庭。因此剛開始與劇團導演及團長馬照琪（馬馬）跟美清工作時，我總覺得格格不入，沒有辦法融入劇場服裝設計的工作模式。但接下來的幾年，或許開始抓到導演的需求，我也逐漸的放開自己，搬出與戲劇作品相關，而且我在大學時很喜歡的 Otto Dix、Marcel Duchamp、 Renè Magritte 等創作，或是因應導演針對不同作品的要求，找了非洲的圖像或藝術家作品、1920~1930 年代德國小酒館文化的老照片等。有時候，更會從知名服裝設計師的作品得到創作的靈感，像是 Martin Margiela、Yohji Yamamoto、Undercover 等等。
在創作、設計、材質搜尋、打版縫製、溝通協調這些必須的工作之外，看排、與演員和其他劇場相關專業人士的互動，是我從沙丁龐客劇團一同工作中最大的收穫。他們對於表演藝術的熱情，絕非其他工作領域的人能夠想像。除了工時漫長不穩，工作環境堪慮之外，酬勞也可能僅供裹腹，不然就重新投資用在表演裡。馬馬與劇團行政也常得開會，尋找預算內合宜的表演場地跟廣告方式，同時還要對外籌措資金。但抱怨許多現實狀況之餘，一回到關於戲劇本身的討論，他們熱情活力依舊不減。對於半路闖進這個領域的我，佩服尊敬他們之餘，卻有更多替他們抱冤的無言吶喊。
上個月，Terri 姐送了我「劇場追夢人－林璟如」一書。這個從開始觀賞雲門舞集演出就讓我記憶深刻的名字，是台灣表演藝術界劇場服裝設計令人尊敬的前輩。作者徐開塵以第一人稱的日記自述性文體，紀錄了林璟如過去參與劇場服裝設計的作品、工作甘苦，以及她對整個藝文大環境的憂慮與期許。在台灣表演藝術界這樣子的窘況，其實已經存在太多年。令人難過與憤慨的是，就算是過了這麼久之後，還是沒見改善。或許已經有人開始正視這個情形，而相繼提出解決的辦法，不過成效實在有限，完全不能符合所期待具有專業而國際化的工作環境。很多企業成立文教或創意相關的基金會，培養或投資許多新一代的藝術家或藝文界人士，讓他們的作品跟理念能被正視或推廣。但是，藝術形式難道就是只有繪畫、裝置、影像、音樂、戲劇跟舞蹈嗎？
台灣有許多企業，已經開始長期關注文創產業，像是台積電文教基金會、台新銀行文化藝術基金會、富邦文教基金會，跟國泰文教基金會等等。不過，投資意味著就是要得到報酬，因此當然都著眼在許多是目前主流市場能接受，或能夠成為話題的作品及團體，做選擇性的支持。事實上，整體環境上需要的專業分工、安全舒適工作環境，還有合理酬勞福利等，卻從未真正被改善。此外，還有許多沒被發現的個人或團隊，其實還在與欠缺基本需求的現實中搏鬥，或是需要有人能夠推他們一把。這樣傾斜的條件與應援，要如何跟國外專業的團體與環境互相匹配，提高競爭力？
而除了劇場服裝設計面臨這樣的問題之外，主流的服裝設計產業也仍有許多不足。台南企業在台灣服裝產業上的支持與拓展已成氣候，這樣有龐大資產及勢力的企業支持服裝產業在台灣卻不多見。但該企業許多旗下服裝品牌，近年其實都已經轉向中國，東南亞，中東等地代工生產，以求更低的成本開銷換取更多的利益，慢慢減少在台灣本地服裝產業的建設與扶持。在台灣逐漸轉型成外銷本土生產精緻高級商品（像是農業、工業設計、旅遊觀光業、3C產業等）的路線下，服裝產業似乎是遠遠拋在腦後。設計師品牌往往在國際舞台上無法立足，在國內發展的市場更是逐年萎縮，許多有才華的人因而放棄轉行，或移居認同自己創作的國外環境發展，這樣台灣不但留不住人才，更會讓期待在踏入這行的後輩失去信心。我們也只能巴望著像 Jason Wu 那樣從小沉浸國外教育的成功華裔設計師出現，大肆報導後再往自己臉上貼金，不然就是製作仿效 Project Runway 節目，娛樂大眾跟求收視率。只讓民眾看到成功與光鮮亮麗的外表，背後應該支撐的基礎卻慢慢被掏空。
我想許多產業，應該也面對相同的困境，不是只有服裝產業。那到底是哪裡出了問題？追根就底，便是台灣成天覆蓋在政治利益相關的話題裡。當政治人物只求利益時，許多政策形同虛設，只是保障或提供某些團體好處，卻沒為整體環境未來的成長而考慮。暫且不論歐美的發展，畢竟許多歐美國家已經建立起良善的制度，公民也培養至一定的意識跟水平。鄰近的亞洲國家，像是日本與韓國，都積極效法國外的做法，建立一套能共同讓國內所有產業均衡發展的機制。韓國的 Samsung 集團，就設立 SFDF（Samsung Fashion & Design Fund），來支持國內高級服裝產業，更透過競賽的方式，支持許多國內外韓籍或韓裔服裝設計師。除了支持設計師與本國品牌，Samsung 更將觸角延伸至歐洲服裝重鎮米蘭，與高檔複合精品店 10 Corso Como 合作，在韓國首都首爾開設了全世界第三間，也是全亞洲第二間的 10 Corso Como（另一間位於日本東京，與 Comme des Garçons 合作）。而 Samsung 集團更是把集團下生產的產品，跟服裝品牌做連結，因此也才有了 Giorgio Armani 手機（另一個例子便是 LG 集團與 Prada 合作生產的手機）。
文章並非以批評為旨，而是像「劇場追夢人－林璟如」一書之前輩所言，單純希望與提醒可以讓台灣的文創產業更完整健全，更全方位。努力向外打響台灣這塊招牌時，應該對內也做好向下紮根的動作。不然全球化的颶風一掃，台灣許多產業便應聲而倒。以往台灣以出口紡織品跟服裝代工聞名全球，握有非常好的條件及優勢與國外競爭。期待在位者能夠更完整全面的照顧各行各業，而不是一味的發展利潤較高的產業。 有些名聲與利益，並不能以金錢衡量。讓無形及內在的文化深植、發展延續並保存，才是競爭的最大利器。
Reality Check -- or Last Resort?
By SUZY MENKES
Published: June 15, 2009
PARIS — Last week, the designer Phoebe Philo showed her much-anticipated first collection for Céline. Not since she left her creative role at Chloé three years ago had the British designer offered her vision of brisk, modern sportswear with a feminine soul.
So which supermodel walked the runway? Which of Ms. Philo’s celebrity supporters sat front row? What hip mood music did she choose?
The answer to all three questions is none. Because Céline inaugurated its new image with the Resort line — the practical, early-delivery collection that is creating the buzz in fashion now.
This week, Donatella Versace and Alber Elbaz of Lanvin will take their respective Resort collections to New York, where Christopher Bailey of Burberry and Miuccia Prada — along with most American designers — have already made their offerings to buyers and the press.
“But there is no television — it is not media driven,” says Sidney Toledano, president and CEO of Christian Dior Couture, explaining that these collections have taken over 60 to 70 percent of annual sales and offer a reality check for the Dior designer John Galliano’s flamboyant runway shows.
For Ms. Philo, who wanted her first collection to be blocks on which to build a wardrobe, the idea of Resort came naturally.
“I wanted to start with a pre-collection to give myself a dummy run — and I think it’s very important because of wardrobe value, ” Ms. Philo said as she presented jackets in a mélange of materials, wool capes, sleek knitwear, dresses with drapes and a tuxedo coat — all based on fabric research and with an industrial edge.
As Marco Gobbetti, CEO of Céline, puts it: “We agreed that Phoebe should start with a real foundation of product — it felt natural.”
Is this generalized move toward practicality a new attitude in the industry toward serving customers — or a last resort in a tumbling market?
The future of the fantastic runway show, designed to create an image and often aimed at the red carpet, is being challenged. Companies now realize that instead of providing fodder for fast fashion, their designers can focus on clothes to sell.
“And in terms of the ‘pre-coll’ what is interesting is the timing,” says Mr. Toledano. “It allows us to sell Resort at the end of May, then it is delivered October/November — a long period when sales are strong, and the stores want new things. I think the current system, when the spring runway collection is shown in October, is very late — when three quarters of the buying has already been done.”
The current Resort shows are more than a commercial collection of greatest hits. Mr. Elbaz at Lanvin has developed an intimate presentation, when he talks through the Resort line with a handful of buyers or editors — and that changes his own attitude.
“Pre-coll started because of America needing more merchandise — then designers started to present it,” says Mr. Elbaz. “Yet the moment a journalist gets into the picture we designers immediately become frantic — we turn into producers, and it is a different format when you get in supermodels.”
This season, Mr. Elbaz is focused on categories based on needs, including “men’s tailoring for women, capsules for traveling and weekend.”
“But it is all about the codes of Lanvin,” the designer says.
At Gucci, Frida Giannini says that she is “a big proponent of Cruise” (as Resort is also known) in order to refresh products and woo customers.
“I believe that the Cruise collection should be based on wearable clothes, with an emphasis on print and color,” Ms. Giannini says. “And yes, I am just as involved creatively in Cruise as I am with the seasonal collections.”
Whereas designers might once have left the commercial collections to their studios — much as couturiers gave licensees a free hand — now Resort has a creative focus. For example, Karl Lagerfeld brings his fertile imagination to interseason collections at Chanel and this season took Coco to Venice, after a previous trip to London and a peek at her Russian lover’s world.
Miuccia Prada, famous for her provocative runway shows, says that she sees Resort as a challenge and found it “very, very interesting to do.”
“I am personally involved, of course,” the designer says, “and it is very interesting and productive to do a more ‘real’ show, which also has a vision. So far the main show is more extreme, less linked to a ‘real’ necessity and pushed more to better understand the vision of the moment. Both are necessary in their differences.”
At Burberry, Mr. Bailey takes a slightly different view, believing that the Resort collection (which is currently in the showrooms both in the company’s London headquarters and in its newly opened New York building) is a pre-cursor of the main line.
“The pre-collections are incredibly important for us from both an aesthetic and commercial perspective — they are very much the indicator for the tone and mood of the season and serve as a preview for our runway shows,” Mr. Bailey says.
Yet there remains a nagging question: if the Resort collections are practical, stylish and have vital customer appeal, why would they not all be shown on the runway — either in addition or instead of the big international show?
Donatella Versace, who is currently presenting a streamlined Resort collection, lighted with print and color, does not envisage it on the runway.
“It’s a commercial collection and having a full blown runway show can be confusing as it ruins the ‘commercialized’ moment,” Ms. Versace says.
Ms. Giannini is also doubtful about a catwalk show for Gucci.
“Although I have shown the Cruise collection on the runway on a couple of special occasions in the past, I feel that these pre-collections for both men and women, which are ultimately more commercially driven, are more appropriately presented to buyers and press in the showroom,” the designer says. “I want to let the runway speak for my major, twice-yearly messages.”
With the cost of a big-brand show well over a half-million dollars, it is hard for companies to justify the expense of yet more catwalks, especially for those houses that will be doing menswear presentations starting next week, at the same time as the pre-collection (and, in the case of Dior, as haute couture). But, as Mr. Toledano points out, all the existing systems are constantly re-assessed, with the Cannes Film Festival, for example, serving as a celebrity runway, while the Internet has made the mini-film another branding tool.
Since Baz Luhrmann directed Nicole Kidman in a mini-movie for Chanel four years ago, Mr. Lagerfeld has directed his own vision of Coco, while Dior produced this spring an action movie with the French star Marion Cotillard.
Could the cyberscreen be the next fashion step, with a “virtual” presentation? That would raise the possibility of zooming in on details or creating interactive “conversations” with potential clients.
A surprising enthusiast is Ms. Versace, who says: “I’ve been thinking about doing a virtual runway show for over a year — we need to find a new formula for runway shows.”
Mr. Bailey, who has tapped into high-tech for many of the functions in the new Burberry headquarters, can also imagine a virtual experience.
“I feel that digital is a huge part of the future of shows and will be used more and more innovatively,” he says. “But at the same time, I don’t feel it will ever completely take over because there is something unique about the excitement and the theater of putting on a show.
“It’s so much more than just a parade of models — it allows us to amplify and display our creativity and express our point of view. Everything is heightened in that moment and the momentum that it creates is so important for us because those ‘15 minutes’ will live on with buyers, press and consumers globally and leave a lasting impression.”
Photo :: 2010 Resort pre-collection from Lanvin.
By SUZY MENKES
Published: June 15, 2009
PARIS — Last week, the designer Phoebe Philo showed her much-anticipated first collection for Céline. Not since she left her creative role at Chloé three years ago had the British designer offered her vision of brisk, modern sportswear with a feminine soul.
So which supermodel walked the runway? Which of Ms. Philo’s celebrity supporters sat front row? What hip mood music did she choose?The answer to all three questions is none. Because Céline inaugurated its new image with the Resort line — the practical, early-delivery collection that is creating the buzz in fashion now.
This week, Donatella Versace and Alber Elbaz of Lanvin will take their respective Resort collections to New York, where Christopher Bailey of Burberry and Miuccia Prada — along with most American designers — have already made their offerings to buyers and the press.
“But there is no television — it is not media driven,” says Sidney Toledano, president and CEO of Christian Dior Couture, explaining that these collections have taken over 60 to 70 percent of annual sales and offer a reality check for the Dior designer John Galliano’s flamboyant runway shows.
For Ms. Philo, who wanted her first collection to be blocks on which to build a wardrobe, the idea of Resort came naturally.
“I wanted to start with a pre-collection to give myself a dummy run — and I think it’s very important because of wardrobe value, ” Ms. Philo said as she presented jackets in a mélange of materials, wool capes, sleek knitwear, dresses with drapes and a tuxedo coat — all based on fabric research and with an industrial edge.
As Marco Gobbetti, CEO of Céline, puts it: “We agreed that Phoebe should start with a real foundation of product — it felt natural.”
Is this generalized move toward practicality a new attitude in the industry toward serving customers — or a last resort in a tumbling market?
The future of the fantastic runway show, designed to create an image and often aimed at the red carpet, is being challenged. Companies now realize that instead of providing fodder for fast fashion, their designers can focus on clothes to sell.
“And in terms of the ‘pre-coll’ what is interesting is the timing,” says Mr. Toledano. “It allows us to sell Resort at the end of May, then it is delivered October/November — a long period when sales are strong, and the stores want new things. I think the current system, when the spring runway collection is shown in October, is very late — when three quarters of the buying has already been done.”
The current Resort shows are more than a commercial collection of greatest hits. Mr. Elbaz at Lanvin has developed an intimate presentation, when he talks through the Resort line with a handful of buyers or editors — and that changes his own attitude.
“Pre-coll started because of America needing more merchandise — then designers started to present it,” says Mr. Elbaz. “Yet the moment a journalist gets into the picture we designers immediately become frantic — we turn into producers, and it is a different format when you get in supermodels.”
This season, Mr. Elbaz is focused on categories based on needs, including “men’s tailoring for women, capsules for traveling and weekend.”
“But it is all about the codes of Lanvin,” the designer says.
At Gucci, Frida Giannini says that she is “a big proponent of Cruise” (as Resort is also known) in order to refresh products and woo customers.
“I believe that the Cruise collection should be based on wearable clothes, with an emphasis on print and color,” Ms. Giannini says. “And yes, I am just as involved creatively in Cruise as I am with the seasonal collections.”
Whereas designers might once have left the commercial collections to their studios — much as couturiers gave licensees a free hand — now Resort has a creative focus. For example, Karl Lagerfeld brings his fertile imagination to interseason collections at Chanel and this season took Coco to Venice, after a previous trip to London and a peek at her Russian lover’s world.
Miuccia Prada, famous for her provocative runway shows, says that she sees Resort as a challenge and found it “very, very interesting to do.”
“I am personally involved, of course,” the designer says, “and it is very interesting and productive to do a more ‘real’ show, which also has a vision. So far the main show is more extreme, less linked to a ‘real’ necessity and pushed more to better understand the vision of the moment. Both are necessary in their differences.”
At Burberry, Mr. Bailey takes a slightly different view, believing that the Resort collection (which is currently in the showrooms both in the company’s London headquarters and in its newly opened New York building) is a pre-cursor of the main line.
“The pre-collections are incredibly important for us from both an aesthetic and commercial perspective — they are very much the indicator for the tone and mood of the season and serve as a preview for our runway shows,” Mr. Bailey says.
Yet there remains a nagging question: if the Resort collections are practical, stylish and have vital customer appeal, why would they not all be shown on the runway — either in addition or instead of the big international show?
Donatella Versace, who is currently presenting a streamlined Resort collection, lighted with print and color, does not envisage it on the runway.
“It’s a commercial collection and having a full blown runway show can be confusing as it ruins the ‘commercialized’ moment,” Ms. Versace says.
Ms. Giannini is also doubtful about a catwalk show for Gucci.
“Although I have shown the Cruise collection on the runway on a couple of special occasions in the past, I feel that these pre-collections for both men and women, which are ultimately more commercially driven, are more appropriately presented to buyers and press in the showroom,” the designer says. “I want to let the runway speak for my major, twice-yearly messages.”
With the cost of a big-brand show well over a half-million dollars, it is hard for companies to justify the expense of yet more catwalks, especially for those houses that will be doing menswear presentations starting next week, at the same time as the pre-collection (and, in the case of Dior, as haute couture). But, as Mr. Toledano points out, all the existing systems are constantly re-assessed, with the Cannes Film Festival, for example, serving as a celebrity runway, while the Internet has made the mini-film another branding tool.
Since Baz Luhrmann directed Nicole Kidman in a mini-movie for Chanel four years ago, Mr. Lagerfeld has directed his own vision of Coco, while Dior produced this spring an action movie with the French star Marion Cotillard.
Could the cyberscreen be the next fashion step, with a “virtual” presentation? That would raise the possibility of zooming in on details or creating interactive “conversations” with potential clients.
A surprising enthusiast is Ms. Versace, who says: “I’ve been thinking about doing a virtual runway show for over a year — we need to find a new formula for runway shows.”
Mr. Bailey, who has tapped into high-tech for many of the functions in the new Burberry headquarters, can also imagine a virtual experience.
“I feel that digital is a huge part of the future of shows and will be used more and more innovatively,” he says. “But at the same time, I don’t feel it will ever completely take over because there is something unique about the excitement and the theater of putting on a show.
“It’s so much more than just a parade of models — it allows us to amplify and display our creativity and express our point of view. Everything is heightened in that moment and the momentum that it creates is so important for us because those ‘15 minutes’ will live on with buyers, press and consumers globally and leave a lasting impression.”
Photo :: 2010 Resort pre-collection from Lanvin.
Thursday, June 11, 2009
'09SSHomme009
This's Inspired by the book,"Chinese Porcelain - An export to the world," written by Shirley Ganse. Joint Publishing(H.K.) CO.,LTD.
Shorts - '09SSHomme010
Sandals - Model's own.
Shorts - '09SSHomme010
Sandals - Model's own.
Tuesday, June 9, 2009
Les Lucioles in 1933 Creative Hub, Shanghai.
“設計師們和藝術家們的概念店。“
這是由兩位親切的巴黎女生：Sandra Richefort 與 Nathalie Guihaume，在目前上海最具話題性的“1933老場坊“ （http://www.shanghai-1933.com）裡，所創立的一間 homey boutique。
稱她為 homey boutique，是因為走進這間小店，商品的擺飾與裝潢不會讓人有距離感。那是一種帶有家庭擺飾的風格，純粹是兩位店主，將她們過去養成的美學態度，用很理所當然的方式，自然而不矯情的呈現在顧客面前。偏好中西融和風格的她們，採用中式的古董傢飾為擺飾或收納，重新整理並局部漆上柔和色彩，搭配上管線與水泥牆外露的後現代風格，剛柔並濟。
由於位處在從前是牛隻屠宰場改造的文創中心內，詭魅繚繞的氣氛，與超現實般的建築風格，更與這間小店相互輝映。如之前提到，Sandra 與 Nathalie 當初設定這間小店的概念，是一個讓設計師與藝術家們展示自己作品的窗口與交流平台。她們精心挑選來自丹麥、西班牙、荷蘭、法國、台灣等地的設計師作品，以服裝、首飾、皮件、影像等表現方式，散見在這間溫馨的小店。其中也有以店名 Les Lucioles 為品牌的自創服飾與手工配件。Sandra 與 Nathalie 熱愛文學、藝術與戲劇，因此在商品的選擇上，她們偏好帶有詩意、強烈個人特色與手工質感的限量獨特商品。無論是異材質的拼接，或是新舊布品與多樣印花的融合，都是饒富趣味及品味的作品。
"Les Lucioles" 在法文裡為“螢火蟲“的意思，我想這也是如同讓每位設計師的作品，不分國界，都在這間小店，努力的散發出個人耀眼的閃光。而 Sandra 與 Nathalie 正集合這些零星卻燦爛的光芒，聚焦在此，期待吸引更多人的目光！
Monday, June 8, 2009
Ming，明日風尚。
最近在上海的書報攤發現了這本清爽的生活美學雜誌。
恰好我在裁縫師傅的工作室，發現了一本未改版前的版本（左方一）。這才分辨出不同之處。
就內容而言，我想這是一本文學性很高的潮流雜誌。除了用一般報導的文題之外，許多特輯也會以散文或詩的形態，來描述設計產品、書籍、音樂、影像、人，以及城市。每期都以 Features / Lifestyle / Intellectual 三大框架，來發展其中的各式主題。Features 的部份, 會固定介紹一個城市或國家，用不同角度的影像及文字，帶領讀者旅行。
隨書附贈的別冊，則會深入分析當前最具話題性的事件（event）；像是四月份介紹了張愛玲的新書《小團圓》、五月份的 2009 巴黎紐約米蘭時裝節特集，以及六月份介紹瑞士 Basel 世界鐘錶珠寶展等，主題橫跨了不同領域。而我個人最喜歡的章節，便是每期最後的 Now and Then：採用 Time line 跟文章並進的方式，介紹許多我們熟悉的兩岸三地知名藝人，像是周潤發、舒淇，張曼玉等。文章裡還嵌入這些藝人們的許多影像，是很值得回味跟懷舊的小單元。
當然，串聯整個文體與影像風格的，便是功不可沒的美編。
從排版、顏色、字距字級、用紙到印刷，都賦予這本雜誌清新明快的新形象。以米白與象牙白色為基礎，配上俐落的影像與文字，說這是一本雜誌，不如說像是一本書。編排不會過度擁擠或紊亂，適當的留白反而讓人在閱讀時有喘息的時刻。
（尤其是像我看書都習慣作記號或塗鴉，這本雜誌給了我許多發揮的地方(:P)）。憑心而論，這不是一本會讓你想看完就丟的雜誌，也不是擺滿衣服或商品圖片並附上標價的時尚購物指南雜誌，而是會讓人想靜心閱讀，想好好收藏，那怕只是想放在書架上當擺飾的好書。而如果你覺得這樣的雜誌或許價格不斐的話，那麼答案絕對會讓你跌破眼鏡！
恰好我在裁縫師傅的工作室，發現了一本未改版前的版本（左方一）。這才分辨出不同之處。
就內容而言，我想這是一本文學性很高的潮流雜誌。除了用一般報導的文題之外，許多特輯也會以散文或詩的形態，來描述設計產品、書籍、音樂、影像、人，以及城市。每期都以 Features / Lifestyle / Intellectual 三大框架，來發展其中的各式主題。Features 的部份, 會固定介紹一個城市或國家，用不同角度的影像及文字，帶領讀者旅行。
隨書附贈的別冊，則會深入分析當前最具話題性的事件（event）；像是四月份介紹了張愛玲的新書《小團圓》、五月份的 2009 巴黎紐約米蘭時裝節特集，以及六月份介紹瑞士 Basel 世界鐘錶珠寶展等，主題橫跨了不同領域。而我個人最喜歡的章節，便是每期最後的 Now and Then：採用 Time line 跟文章並進的方式，介紹許多我們熟悉的兩岸三地知名藝人，像是周潤發、舒淇，張曼玉等。文章裡還嵌入這些藝人們的許多影像，是很值得回味跟懷舊的小單元。 當然，串聯整個文體與影像風格的，便是功不可沒的美編。
從排版、顏色、字距字級、用紙到印刷，都賦予這本雜誌清新明快的新形象。以米白與象牙白色為基礎，配上俐落的影像與文字，說這是一本雜誌，不如說像是一本書。編排不會過度擁擠或紊亂，適當的留白反而讓人在閱讀時有喘息的時刻。
（尤其是像我看書都習慣作記號或塗鴉，這本雜誌給了我許多發揮的地方(:P)）。憑心而論，這不是一本會讓你想看完就丟的雜誌，也不是擺滿衣服或商品圖片並附上標價的時尚購物指南雜誌，而是會讓人想靜心閱讀，想好好收藏，那怕只是想放在書架上當擺飾的好書。而如果你覺得這樣的雜誌或許價格不斐的話，那麼答案絕對會讓你跌破眼鏡！
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