11.29.2008

沃荷名言傳世:「在未來 每個人都能成名15分鐘」@People




很少有藝術家能像安迪.沃荷這樣,從勞動階級出生的捷克移民第二代,卅歲出頭就在紐約這個花花世紀飛上枝頭當鳳凰,生前就已名利雙收,去年還名列「全球死後十大最會賺錢的富人排行榜」第六名。他的名言很多,如「在未來,每個人都能成名十五分鐘」等,今日還經常被引述。

沃荷予外界的形象,多半是慘白的面容和瘦削的身形,神情害羞,一雙眼睛卻透露出神經質。一九二八年沃荷生於美國匹茲堡,父母都是捷克移民,父親是礦工和建築工人,母親是幫傭。沃荷幼年即身體孱弱,還罹患神經性舞蹈症,無法順利控制自己的肢體,大多時間臥病在床看漫畫、電影雜誌和畫畫。這些經驗,日後都變成為他的創作靈感。

沃荷在匹茲堡的卡內基理工學院繪圖設計系完成學業,一九五○年代到紐約闖天下,短短兩、三年便以廣告設計師、插畫家的身分嶄露頭角。一九六○年代他轉向藝術創作,開始創作絹印版畫,以時尚名流的肖像受到關注,不少人趨之若騖預約製作。一九六三年,他將曼哈頓東四十七街上的廠房改成名為「工廠」工作室,吸引一批年輕人進駐,性、藥物、扮裝、變性、同性戀在「工廠」都不是禁忌,其中幾位年輕人深受沃荷賞識,被稱為「超級巨星」,曾出現在沃荷主導的電影、雜誌當中。沃荷也曾擔任「地下絲絨」樂團的經紀人。

沃荷是工作狂,也曾被批評是冷酷無情的「吸血鬼」。一九六八年,曾與他合作的女演員威勒麗(Valerie Solanas)闖入「工廠」開槍射殺他,沃荷中彈所幸大難不死,沒想到一九八七年卻因膽囊手術,藥物過敏病逝。

@Source: 吳垠慧/台北報導

11.26.2008

把凡爾賽宮 戴頭上@Fashion

「施華利」使用不少時裝界秋冬服飾中常見的材質,像是皮革、皮草、絲絨與俏麗的圖騰設計。
香港崇盟興業/提供

把法國凡爾賽宮戴在頭上?髮飾界是個全新品牌「施華利」(Alexandre Zouari Paris)今年秋冬的設計,就是這麼想的。

就以凡爾賽宮庭院為靈感,髮飾設計上充滿羅馬柱、圓弧型欄杆、噴泉和水滴等,髮飾上還鑲滿施華洛世奇水晶(Swarovski)、高級珠寶與皮草、皮革等,表現奢華特色。

「施華利」是香港最大的生活精品家具公司崇盟興業與法國時尚界首席髮型師Alexandre Zouari合作推出的頂級髮飾品牌。訂價不斐,沒有任何鑲飾的髮箍就二、三千元起跳,高級訂製髮飾訂價從2萬元至10萬多元不等。

廣宣經理陳曉雯指出,該品牌是目前台灣髮飾市場中,品項與系列最完整的品牌,款型包括髮箍、髮夾、髮網、束髮圈及衍生性搭配商品,像是耳罩、圍巾、手環與太陽眼鏡等。

Zouari是該品牌的設計師,Zouari素有「金剪刀」之稱,曾為法國第一夫人卡拉布魯妮(Carla Bruni)、好萊塢知名藝人伊莉莎白泰勒(Elizabeth Taylor)等名人設計髮型,他在巴黎也擁有自己的美容髮型屋及高級珠寶品牌Zouari Diamond。

業者表示,仿蘭花形態的Zouari Orchid系列、The Fountain噴泉系列與限量版經典系列Bow Glam是訂製系列配飾。陳曉雯指出,Flamingo系列是當季高級訂製中的焦點設計,也是最貴的一組配飾,價格高達10.8萬元,其誇張、前衛的造型 與鑲滿Swarovski水晶的立體花朵,為整體的造型增添了強烈的優雅感覺。

造型師提醒配戴髮飾者,髮量少的人,不宜戴過大或過多的髮飾;臉型長的人,有圖騰的髮飾宜戴在側邊,臉型偏方或圓者,則適合將髮飾戴在頭髮正上方。


@Source: 2008/11/25 經濟日報 ╱陳翌函 http://udn.com/

11.24.2008

上海世界金融中心膺ctbuh全球年度最佳建築@Arch

一個由專業建築師和工程師組成的國際組織20日選出全球第二高、外形像一個開瓶器的上海世界金融中心,為本年度最佳建築物。總部設在美國芝加哥的高樓建築與城市住宅協會(CTBUH)對全球各地多幢新落成的建築物進行評審後,作出上述結論。該協會的負責人威利斯說:「這座建築物的體積龐大,但外形設計簡單,充分體現出摩天大樓的建築新概念。」

上海世界貿易中心由紐約著名建築公司Kohn Pederson Fox合夥人公司設計。該公司在世界各地都有辦事處。大樓高492米,共有101層,僅次於台北101大樓。整幢大廈有37.7萬平方米寫字樓、另有商 場、會議中心和酒店。評審委員會主席約翰遜接受記者訪問時稱,上海世貿中心的結構在設計上充滿創意,綑綁式鋼材可以令這座摩天大樓同時抵擋強風和地震,它 獨特的外形給人一種與高空融合在一起的感覺。自7年多前美國遭恐怖分子襲擊、紐約世界貿易中心兩座高樓倒塌後,很多人以為摩天大廈這個概念已死,但實際 上,在俄羅斯、中東和亞洲很多地區,近年不斷有新的摩天大廈建成及籌劃興建。

在杜拜、莫斯科和上海,設計新穎的摩天大廈一座又一座誕生,成為新地標和經濟向前發展的象徵。專家指出,「九一一」事件令人對摩天大廈所產生的恐懼,已逐 漸消失。根據專門搜集建築數據的Emporis公司提供的資料,全球各地今年全年共有24幢高244公尺(約800呎)或以上的摩天大廈落成,明年預計有 47幢。不過,受到全球性金融海嘯衝擊,少數工程項目可能會受到影響而被迫停工。另外,評審委員會也對另外3座建築物──紐約市的紐約時報大廈、倫敦萊姆 街51號和巴林首都麥納麥的巴林世界貿易中心,表示讚賞。

@Source: 新浪香港新聞 2008-11-23

漣漪世代的東京建築@Arch

發覺自己這兩年走訪日本的次數意外頻繁,其中包括近乎建築朝聖般的東京表參道之旅,以及京都與大阪的關西行,乃至於才歸來的九州福岡參訪等。比諸達人級的行旅,這大概一點也不算什麼,但對越來越覺得旅行累人的我而言,卻已經極為希罕與特殊了呢!

東京依舊是我關注的重點,其他城市則輔助與支撐了我的日本觀察。百年來作為亞洲都市現代性先鋒的東京,時尚與奢華自是最大的表徵所在,單看表參道競相爭豔的各名牌旗艦店,能再度成功引領風騷,就知道東京在時尚與現代性的實力上,是如何厚植與不可低估。

但這幾趟東瀛之旅,我發覺我的目光並不流連在這樣的奢華競逐上,反而我會被其他微不足道、極為平常的事物吸引。譬如在走逛東京那些令人瞠目結舌的視覺景點 後,我常不自覺就鑽入其後小巷,迂迴漫走,並發覺我其實愛極了這些有真實生活、尺度也顯得極為人性的平常巷弄。這在其他日本城市也是一樣的,從繁華高樓大 街一個轉身,立刻入到了植花弄草、被細微照護的小住宅巷弄裡,巨大與微小、繁華與謐靜、人造與自然、快速與緩慢,和諧地共生共存。

於我而言,這種對立與共存,就是極為神奇且迷人的城市風貌。但這種巷弄裡的細碎特質,是怎樣出現來的呢?

日本中生代建築師團紀彥,在由他匯集的書籍「東京論」裡(田園城市出版),與大野秀敏對談東京的都市史與現象,其中談到東京目前的貧富混居現象,大野說:「東京社會階層的空間構造是比較曖昧的。

東京並沒有一個只有富裕階級集中的住宅區。」他表示東京在發展過程中,因為土地不斷被碎化,而「成為一種粒子化構成的狀態,可以說是一種非常奇特的都市。」

這種階級混居、建築碎化的發展過程,也呈現在年輕世代的建築樣貌上。大師級的伊東豐雄就曾以揶揄的語氣,形容這世代為「無風日本的漣漪建築世代」。他這樣說除了批判年輕世代無法引領大風潮外,似乎也哀悼著曾經存有偉大大師世代的消亡。

對此,大野先說:「『漣漪』是一個很棒的形容。」並接續對這現象提出正面觀點,認為日本都市本是由細微顆粒構成,而且每個顆粒又有其明顯個性,建築師正是透過對細小建築的單一處理與慢慢累積,終於形塑出日本都市的整體風貌。

這觀點指出日本都市的特質,存在於注重個別差異的「顆粒」,不崇尚由少數英雄主導的特殊樣板性,「漣漪」蔚為多樣的團塊,與一般慣於依賴政府強勢主導、強調單一大系統的都市規劃,是大異其趣的。

台灣許多城市(譬如台北)的基本性格,其實是非常接近日本都市風貌的。但在急速發展的近世代,與日本都市開始岔途而行,譬如住宅土地不斷被集中作商業大型 開發,同質與量產成為標準答案,階級間的區劃不斷加大,建築大師則被繼續歌頌與神話,幾乎已成了解救都市發展的必要明燈。這樣的時代氣氛下,「漣漪」世代 的年輕建築人,在大師現象與量化商品市場的雙重排斥下,自然是漣漪與波瀾皆難生。

這是令人相當遺憾的,因為台北本也可藉由「粒子化」,以顯現碎化的多樣風貌,並提供新世代成長的空間,目前卻似乎逆道而行。大野秀敏的一段敘述,也許可以 給台灣城市發展作思考:「大致上來說,日本戰後都市計畫史的發展方向,可說是朝著政府慢慢退出扮演掌控都市的角色而發展。也就是說,從大有為政府轉變到小 而美政府的世界潮流,在都市計畫領域也同樣在發生。」

或許,我們的政府高官們,也都該讀讀這本書吧!

(本文作者為元智大學藝創系系主任兼藝管所所長)

@Source: 2008/11/24 聯合報 ╱阮慶岳 http://udn.com/

林懷民 獲歐頒終身成就獎@News

林懷民應德國知名編舞家碧娜‧鮑許(左)之邀,率雲門舞集參加「北萊茵國際舞蹈節」,在德國巡演,謝幕時碧娜‧鮑許親自上台獻花。
照片/雲門提供

率團在德國巡演的雲門舞集創辦人林懷民,獲得歐洲Movimentos國際舞蹈大獎「終身成就獎」,是繼法國編舞大師莫里斯‧貝嘉之後,第二位獲獎的編舞家。

應德國編舞家碧娜‧鮑許主持的「北萊茵國際舞蹈節」之邀,本月十六日起,林懷民率領雲門在德國杜塞朵夫、烏帕塔、埃森三地巡演。

巡演之際,林懷民也正式接獲通知,由歐洲文化電視台ARTE、德國國營電視台ZDF、福斯汽車共同主辦的Movimentos國際舞蹈大獎,評選林懷民為第二屆終身成就獎得主。

評審團指出,林懷民汲取中國傳統文化精髓,編創現代感強烈的舞作,開展台灣文化新局。這個獎二○○四年頒給法國編舞大師莫里斯‧貝嘉,第二屆評審團由英、法、德、義、瑞典等藝術節總監組成。

頒獎典禮預計明年五月在福斯汽車大本營伍爾斯堡舉辦的Movimentos國際舞蹈節舉行,林懷民可獲得二萬歐元獎金,雲門也將應邀演出「白」。

配合這項終身成就獎頒發,歐洲文化電視台ARTE十月就曾派遣攝影小組來台攝製「林懷民專輯」,明年春天將在歐陸首播。

德國時間廿二日,雲門舞集在碧娜‧鮑許舞團大本營烏帕塔劇院演出林懷民與大陸爆破藝術家蔡國強合作的「風‧影」,這也是這支舞作海外首演,演出結束,不但觀眾掌聲不斷,碧娜‧鮑許也親自上台獻花致意。

雲門廿四日在埃森還有一場表演,由舞者黃珮華表演「水月」獨舞,同台的還有芭蕾巨星巴瑞辛尼可夫等國際知名舞者,德國演出結束,雲門隨即轉往雅典繼續歐洲巡演行程。


@Source: 2008/11/24 聯合報 ╱記者李玉玲 http://udn.com/

日本無印良品新概念店 自然初體驗@Food

日本無印良品的餐廳,以原木家具為主體,裝潢會隨季節而更改,裡頭總是客滿,人氣滿檔。

這是東京無印良品有樂町店內的餐廳,瞧!門口好多袋正是客人的戰利品,大家都乖乖巴望著要進去啦!

日本無印良品的餐點美味又健康,套餐以主食搭配3種菜和飲料,餐具當然都是無印的。

台灣的無印良品還未引進餐廳,但販售各式餐具和料理包,無法體驗到無印的餐廳,只好先買料理包自己在家做來吃吧!

不少人認識無印良品的第一件商品,正是這由日本當紅設計師深澤直人匿名設計的壁掛式CD Player,如風扇般設計,沒有任何按鍵,輕拉就流瀉出美妙音樂。3,960元

身為MUJI迷,總希望能到日本親身感受原汁原味的無印良品,終於這個夢想在一次旅行中達成,途中造訪了位於Midtown的新概念店,還品嘗到台灣還無緣得見的無印良品餐飲。 要吃無印良品餐點,一種是到去年於日比谷開的Cafe & Meal MUJI ,這間獨立餐廳沒有賣場可逛,但有更多餐點可選,能從早餐一路吃到晚餐;不過,想將購物和美食一網打盡的粉絲,要到附有MUJI Meal的有樂町總店才能圓夢。(近期開幕的新宿店也有餐廳了喔!)

位於賣場2樓左側的餐廳,挑高寬敞,原木桌椅搭配基本的黑、灰、白裝潢,即便人滿為患,仍舊不減質感。家具、餐盤、杯子等都是MUJI開發設計或在賣場就能買到,部分食材甚至是店裡賣的食物料理包調製而成。 所有餐點嚴選日本當地當令食材,以低油、少糖方式料理,發揮素材本質美味,呼應著MUJI一貫原味風格,整個都是無印FU啊!

套餐有白飯、糙米飯或麵包主食,搭配3或4樣菜,價位從700、800日圓起跳,飲料另購,看來都十分美味,好難下決定點菜喔,最後幸好友人協議分食,才結束我飢腸轆轆之天人交戰。


Source: 聯合報/記者陳若齡/報導,圖片提供/無印良品

茶丼趣 茶泡飯變主餐 吃八分飽@Food

什錦刺身丼
漁師風醬漬鮪魚茶泡飯
炙燒明太子茶泡飯
炸蝦天婦羅丼
整牆的飯匙說明白飯是店內的精神所在,飯匙上所寫的就是目前或未來將要使用在丼飯或茶泡飯內的食材。

位於百貨公司附近的「茶丼趣」,讓人覺得現在餐廳真是心機重,看得出來又是女人票的吸票機。

在這裡用餐讓我有種「終於有人做到了」的感覺。一般中餐館賣的便當,明明就吃不完,也不能買小點、丟掉又可惜。

「百貨公司的專櫃小姐下班不想吃太多,有些女人逛完街也只想吃點清淡的…」,老闆說,於是就有了這家縮小版的丼飯、茶泡飯專賣店。由於女性是當初設定的主要客層,產品研發前會讓公司的女性員工先試菜,好不好吃得這群娘子軍說了才算。

「茶丼趣」是「麻布茶房」台灣代理商創立的新品牌,把日本居酒屋的宵夜「茶泡飯」當成主餐,是台北第一家茶泡飯專賣店。飯當然是重點,全程選用宜蘭越光 米。茶則結合柴魚高湯與靜岡煎茶,搭配香脆的日本進口米果、海苔與紫蘇葉,簡潔也很清爽。再來杯與「麻布茶房」同等級的抹茶奶酪,八分飽,剛剛好。

推薦料理

●漁師風醬漬鮪魚茶泡飯:使用鮪魚下腹肉,熱湯一淋,肉片瞬間就熟了。單點110元、套餐150元

●炙燒明太子茶泡飯:稍微烤過的明太子,軟硬口感更有層次。單點110元、套餐150元

●炸蝦天婦羅丼:炸蝦、香菇、茄子、青椒、地瓜,份量小但種類很多樣。145元

●什錦刺身丼:有鮭魚、鮪魚、旗魚等魚肉丁,還有玉子燒,口感豐富又清淡。單點120元、套餐180元

店家小檔案.地址:台北市忠孝東路四段17巷4號1樓

.電話:02-2711-5022

.營業時間:11:30~22:30

.消費:不可刷卡,不加成


@Source: 聯合報/記者陳靜宜 記者陳立凱/攝影

11.23.2008

Rei Kawakubo@People


Rei Kawakubo (川久保 玲 born 1942-10-11 in Tokyo) is a Japanese fashion designer, founder of Comme des Garçons.

the designer behind the 'comme des garcons' label,
kawakubo, studied philosophy at keio university in her
native tokyo.
untrained as a fashion designer, but having studied
fine arts and literature, she conveys her ideas verbally to
her patternmakers.
after graduation kawakubo worked in a textile company
and began working as a freelance stylist in 1967.
she started this japanese label in 1969 and founded the
comme des garcons company in 1973.
starting out with women's clothes, kawakubo added a men's
line in 1978.
for many, kawakubo's arrival in the west, with the first paris
presentation of her collection in 1981, was something of a shock.
she presented clothes the challenged accepted conventions.
the collection was dubbed 'hiroshima chic' for its use of dark
colors, in particular black, which was not popular at the time.

kawakubo's clothes are architectonic or sculptural,
concentrating on structure rather than surface.
this style refused to obey accepted notions of silhouette
and bodyline to create dramatic and innovative designs :
upside-down pockets, de-emphasized shoulders
and extra-long sleeves...
holes in sweaters become gashes in the bodices of
evening dresses. jackets are dismantled and turned
inside-out or put together in new ways.
the inside of a cardigan becomes the outside with the
bumpy texture of knitted roses close to the body.

kawakubo won the mainichi fashion grand prize in 1983
and was honored by the fashion institute of technology
in 1987 as one of the leading women in 20th-century design.

while kawakubo is best known for her fashion design,
or 'clothes-making' as she would probably prefer to call it,
her artistic vision encompasses many other areas of design,
from graphics to packaging,
to costume and exhibition design, to furniture,
and to the architecture of her retail spaces.
her designs have inspired many new designers like e.g.the
belgian martin margiela and ann demeulemeester,
as well as austrian designer helmut lang.

Comme des Garcons x Louis Vuitton Pop-up Shop Opens@Fashion

September 3rd, 2008 marked the opening of the highly anticipated Comme des Garcons x Louis Vuitton Pop-up Store in Tokyo, Japan where Japanese fashion editors and local celebrities were the first to purchase Rei Kawakubo’s designs for Louis Vuitton. The new Pop-up shop is situated in the fashion district of Aoyama and according to WWD, the interiors are true to Comme des Garçons’ spare aesthetic, with gray concrete walls and an exposed metal staircase. Steel boxes coated in LV-logo gold flock are mounted on the walls of the lower level. Prices range from 78,750 YEN to 194,250 YEN depending on the item. The store will be open to the public on September 4th, 2008 and will be around for three months.

Yves Carcelle with Rei Kawakubo


Yves Carcelle with Junya Watanabe and Tao Kurihara


Ai Tominaga

Alexander Wang榮獲CFDA新人獎@Fashion

莎莉賽隆(左)穿Dior禮服展現健美身材,與Dior設計總監一同現身CFDA頒獎晚會。
美聯社

美國服裝設計師協會與Vogue雜誌合辦的「CFDA基金會大賞」頒獎晚會,女星莎 莉賽隆、網球明星莎拉波娃和龐克名模阿吉妮絲迪恩盛裝前來捧場,支持自己欣賞的服裝設計師。今年榮獲大獎的是新銳設計師亞歷山卓王(Alexander Wang),今年24歲,出身自美國舊金山的台灣移民家庭,算是為台灣爭光。

亞歷山卓王是這場時尚大賽的最大贏家,不但獲得20萬美金的獎金,還獲邀擔任顧問。亞歷山卓王18歲赴紐約就讀Parsons設計學院,2005年自創品牌時,當時他才就讀大二,如今不到24歲就拿下設計大獎,真可謂英雄出少年。

亞歷山卓王的設計風格纖瘦有形,擅長以緊身窄版褲詮釋女人曼妙纖細的身材,他也曾為日本的Uniqlo平價服飾擔任客座設計師,在全球掀起搶購風潮,證明他受歡迎的程度。

當天與會的女星莎莉賽隆是Dior香水廣告代言人,才剛在中國北京參加Dior派對,就與Dior女裝設計師John Galliano一同飛到紐約,參加CFDA頒獎派對,難怪睡眼惺忪,一付沒睡飽的模樣。當天她身穿Dior黑色亮片無肩小禮服,手挽著John Galliano一同與會,飾演「女魔頭」拿下奧斯卡獎的她,叉腰擺Pose露出強壯的手臂,與網球選手莎拉波娃一樣粗壯,果然是健美型美女!

@Source: 2008/11/19 聯合報 ╱記者陶福媛 http://udn.com/

11.22.2008

深町 天婦羅摘星 東京第一@Food

天丼
天茶
天BaLa

在日本想吃天婦羅,梁旅珠說絕不能錯過東京第一名的「深町」。

「深町」也是2007年米其林評鑑中,「唯二」進入一星的天婦羅餐廳。老闆深町正男「就是個老實人,他不太說話,但樣子很可愛,很讓人喜歡。」有一次,梁旅珠與家人甚至把只能坐11個人的「深町」包下來過年。

天婦羅是日本極受歡迎的揚物(油炸食物),廚師面對一鍋炸油,捏起滾沾了蛋黃麵粉的蝦尾,熟練地在油鍋裡來回拖個兩圈,再俐落撈起炸得恰到好處的食物,排列在食客前。

「深町」的套餐吃到最後一道,可以選天丼、天茶或特殊的天BaLa,其中天丼是東京票選的常勝軍。若套餐的負擔較重,可單點一道日幣2,100多元(約合台幣706元)的特製天丼當午餐,也能感受東京第一的名店滋味。

推薦料理

●天丼:東京票選第一名的丼飯,是日本人的夢幻排隊餐廳。

●天茶:把天婦羅泡入茶湯裡。

●天BaLa:把天丼的料剁碎後,混在飯裡面,是最有天婦羅味道的食物。

店家小檔案

.地址:日本東京都中央區京橋2-5-2

.電話:03-5250-8777

.營業時間:11:30~14:00(周六、日12:00~15:00)、17:00~21:00、周一公休

@Source: 聯合報/記者吳雨潔/報導,記者盧振昇/攝影,圖/梁旅珠、各業者提供

京都花吉兆 美味京料理 講究排場@Food

花吉兆是京都吉兆中,最讓人愉悅又不至於太高貴的選擇。

為京料理展開驚艷開端的「先付」,講究食材的鮮度。

京都吉兆最有名的「嵐山吉兆」最受日本人與觀光客的憧憬,是地位崇高的夢幻名店。

共有6家分店的「京都吉兆」,以京料理、懷石在日本中部聞名。每月依季節更換最新鮮的食材,菜單也會跟著改變,讓客人可以吃到最美味的「旬之味」。

「京料理」就是京都料理,排場精緻、嚴謹,令人歎為觀止。京都吉兆的京料理由先付(生魚片)、煮物揭開序幕,最後奉上飯、漬物(醬菜)和水果、果子、茶,約10道菜,完整了一餐典型的京料理。

梁旅珠最喜歡京都吉兆的「花吉兆」,恰到好處的服務與價位,讓一般人也可以享受,是最愉快的料理經驗。而京都吉兆最有名的「嵐山吉兆」,走高級講究路線,她認為「味道太純粹、清高,不是庶民的食物」,反而讓人與食物產生了距離。

店家小檔案

.地址:日本京都府京都市東山區大和大路四條下

.電話:075-531-1500

.營業時間:11:30~14:00、17:00~20:00(需預約)

.公休:每周三(4、12月除外)、12月29~31日

@Source: 聯合報/記者吳雨潔/報導,記者盧振昇/攝影,圖/梁旅珠

法國名牌北京競藝 Dior贏在一個葉錦添@Fashion

法國名牌香奈兒和Dior是世仇,前者Mobile Art藝術展還在全球巡迴,後者已經與中國藝術家合作大型藝術展,並於北京上周開展,較勁意味相當濃厚。

 在北京看展時,最常被問到看完香奈兒和Dior展覽有何不同?較顯而易見是硬體方面,女建築師Zaha Hadid替香奈兒設計的流線建物有如太空船,可以拆卸移動到各地,是Dior很難超越的部分,但是展場內部規劃,Dior顯然略勝一籌。

 以中國庭園為靈感

 而贏,就是贏在一個葉錦添。這位曾以電影《臥虎藏龍》等片享譽國際的美學大師,以中國庭園為靈感,竹製的蜿蜒小徑,串起有如一間間涼亭般20個獨立藝術空間,到處可見的鏡面折射延伸了空間,加上他最招牌的鬱鬱竹林點綴,成為這展覽最大的亮點。

 「原本想讓參觀者有曲徑通幽,月光下走路的感覺,但是燈光打得有點太亮了。」葉錦添笑著說出心中小小遺憾。記者們也不禁幻想,月光下摸黑逛庭園看展是浪漫呢?還是準備等著摔跤?

 葉錦添說,原本法國Dior希望空間是「a French garden with Chinese touch(帶有中國味的法國庭園)」,最後卻被他玩成了「a Chinese garden with French touch(帶有法國味的中國庭園),Dior總公司相當滿意最後成果。

 Galliano驚見神奇魔境

 開展前一日,Dior女裝設計師John Galliano首度造訪庭園,記者觀察到他邁入開闊中庭的一瞬間,Galliano原本禮貌微笑突然變成開心的笑容,眼睛晶晶閃閃宛若看見神奇魔境,直向旁邊人員讚場地美,這或許也是所有剛踏進這展場觀眾都會有的直覺反應。

 這次展覽焦點是一隻被暱稱為「背後靈脫皮鬼娃」(Dior公關不太喜歡LVMH總裁阿諾的收藏被這樣稱呼,不過…滿貼切的),這件中國藝術大師張洹作品由數十張動物皮組合,皮上還連結蹄子及尾巴,女記者近看都慘叫噁心,但在葉錦添清朗庭園中,被放在潺潺水池旁,變成了焦點集中的「造景」,恐怖感大減。

 北京藝展觀察 Dior給個舞台 中國藝術家展大氣

 Dior和香奈兒展覽另一大不同,是在於Mobile Art展覽中,華人藝術家只有兩位,但Dior一次找來張曉剛、張洹等20位來創作,倒不是說Dior人海戰術取勝,而是說香奈兒給了國際藝術的觀點,Dior則讓中國藝術家有發揮的舞台。

 強烈自信 推銷自我

 在訪問藝術家時,不免感到中國藝術家對自己的強烈自信。像是李松松就有點酷酷的跩味,他作品是以戴妃包為靈感,以燈管做成「光包」。這之前知道這包嗎?「以前不知道。」創作後對它感覺呢?「以後街上有人拿這包,我就認識了,不便宜。」

 許仲敏的作品叫「U-走」,一群機器人們穿著Dior六○經典A字裙不斷的轉動,以視覺暫留讓大家看到女人穿衣變男人,男人再變成骷髏的過程。他說自己是在探討衣服和人的關係,因為「衣服現在已成為人們的皮膚了。」

 很會推銷自己是許仲敏給人的印象,他在會場展現自己的企圖心,「Dior包我當然知道,之前也看過Galliano秀,他作品識別很強,有power,打破傳統,開始想和他合作,但他太忙了,很遺憾。」

 偏要不吉利 天生愛懷疑

 攝影師王慶松是另一種典型,他趁台灣媒體工作時站在一旁觀察,大家還在想哪來的禿頭猥瑣男,但攀談後,大家都立刻愛上他。他作品「營養液」自己也入鏡,直言作品是以最後晚餐為靈感,「13個人本來就不吉利,加我一個還是不吉利。(因為4的諧音)」

 怎麼有人偏要不吉利?王慶松開始講自己8年考大學沒上,後來攝影成名媽媽還不相信,以是為弄錯人,自己作品從農民出發,天生就愛懷疑。

 之前LV、三宅一生找王慶松合作都因為他不拍時尚而推掉,這次首度接觸對時尚感覺是?「就像女生要變美割雙眼皮加強或化個臉,這肯定有欺騙行為,不過會和詐欺有區別。」哇…真的很敢講。

@Source: 中國時報 徐亦橋/北京報導 2008/11/22

MOSCHINO蓋旅館 時尚打造童話世界@Arch

這個房間由一大片棉花做的飄浮白雲所覆蓋,雪白小綿羊乖巧站立在房中,完全符合「童話故事」的設計主軸。
圖/MOSCHINO提供

日前在義大利Rimini舉辦的第45屆國際旅展TTG Incontri中,首度曝光了預計2009年開幕的MAISON MOSCHINO,這是MOSCHINO時尚集團主導設計的精品旅館,當場吸引了不少時尚人士的目光。

旅館原址是1840年米蘭Monza路線通車時啟用的新古典主義車站。外觀保留車站原始結構,內部則完全落實MOSCHINO幽默、玩心的風格。全館共4層,54間客房和15間套房,風格各自表述。一樓包括大廳及迎賓吧台,餐廳則從大廳延伸至花園。

MOSCHINO以「童話故事」為設計主軸打造的精品旅館,想讓房客藉由夢境的體驗,創造出奇幻神話的世界。MOSCHINO表示,這是他們量身訂做,自 編自導自演的另一種時尚生活。整體設計與裝潢由Rossella Jardini和Moschino創意團隊主導,他們企圖「以超現實主義,彩繪這個平凡的世界」。

@Source: 2008/11/20 聯合報 ╱記者袁青 http://udn.com/

11.14.2008

Dior也吹中國熱 北京激盪火花@Fashion

法國精品Dior以「高級訂製服」為題,將在北京和多位中國當代藝術家展開一場藝術和時尚的對話。
照片/Dior提供

「中國熱」擋都擋不住。趁北京奧運餘波蕩漾,Dior把今年年度最大一攤的活動指定在北京知名尤倫斯當代藝術中心(Ullens Center for Contemporary Art)上演。

11月15日起,一場名為「Dior與中國藝術家」的大型藝術展,預料再掀國際時尚和當代藝術對話。Dior甚至以香氛在會展中渲染出品牌的過去、現在與未來。從Dior具有歷史精選草圖、服裝和這些中國藝術家,一次看足Dior的內涵。

Dior以「高級訂製服」為題和中國當代藝術家們互動激出火花。參與展覽的藝術家包括:王度、張洹、黃銳、李鬆鬆、張大力、許仲敏、葉錦添等藝術家的創作,作品超過二十件;現場也將展示出自Dior先生親手設計的服裝、創意總監John Galliano的高級訂製服、男裝設計師Kris Van Assche的Dior Homme男裝,和珠寶設計師Victoire de Castellane的Dior高級珠寶作品。

@Source: 2008/11/14 聯合報 ╱記者袁青 http://udn.com/
娜姊正式加入LV代言人的行列。
(美聯社資料照片)
LV秋冬廣告找名模 Laetitia Casta代言,營造007電影女間諜的緊張神秘氛圍。
照片/LV提供
龐德女郎伊娃葛琳穿戴萬寶龍的珠寶,展現柔中帶剛的氣質,風格冶豔神秘。
照片萬寶龍/提供

瑪丹娜繼珍妮佛洛佩茲、鄔瑪舒嫚、史嘉蕾喬韓森之後,正式加入路易威登(Louis Vuitton)代言人的行列!根據國際時尚圈權威刊物WWD昨天報導,LV邀請娜姊擔任明年春季新品的代言人,目前正在拍攝宣傳照。

負責掌鏡的Steven Meisel曾與娜姊在1992年合作過惡名昭彰的寫真集「Sex」,今年5月號「浮華世界」的娜姊封面也是他的傑作。LV發言人不願證實報導。娜姊婚變鬧得滿城風雨,找她代言是否能增加銷量,業界都在看。

而全球金融風暴,在冬季新登場的精品廣告發生效應,為了鼓勵女人勇於消費,LV、萬寶龍、Dior新一季廣告中,女主角猶如特務情報人員,為了珠寶、名牌包和華服冒險犯難,營造懸疑刺激的緊張氣氛,鼓勵女人要勇於追求時尚,不計一切代價。

LV這一季廣告邀名模娜蒂西亞克斯塔(Laetitia Casta)代言,秋季廣告以仰角拍攝女主角,營造正向光明的氛圍,不過新登場的LV冬季廣告,刻意營造「諜對諜」的緊張氣氛,女主角懷裡抱著LV皮包在廣場上奔跑,神情緊張地環顧四周,背後還有尾隨的人影,猶如007的劇情翻版。

冬季LV廣告是在巴黎新橋附近拍攝,主打LV Monogram系列包款。據悉該系列廣告早在三、四個月前就拍好了,但一直壓著沒上,直到最近才在網路曝光,未來可能會先在日本登場。

萬寶龍的珠寶鐘表廣告這一季找龐德女郎伊娃葛林代言,伊娃葛林在廣告中扮演神祕女郎的角色,與她在「皇家夜總會」中的龐德女郎造型如出一轍。她在廣告中穿戴La Dame Blanche系列、4810系列的珠寶鐘表,風格柔中帶剛。Dior選上法國女星瑪莉詠柯提亞擔任Lady Dior 包的廣告代言人,外表嬌小甜美的她,竟然跳脫外型上的限制,成功詮釋法國傳奇歌星皮雅芙敢愛敢恨的一生,她在Dior的新一季廣告中,拎著Lady Dior包冒險登上巴黎鐵塔,瘦弱的她屹立在強風中,眼神雖然有些驚慌,但有著勇者無懼的果敢英勇,十足是個嬌小但強悍的小辣椒。

@Source: 2008/11/14 聯合報 ╱記者陶福媛 http://udn.com/

11.11.2008

Maya Lin's "Wave Field"@Videos

The artist discusses her new projects, including her new installation at the Storm King Art Center.

Once Inspired by a War, Now by the Land - Maya Lin@People

Maya Lin at her studio in SoHo. Her current projects include an installation at the Storm King Art Center.

Published: November 7, 2008
Mountainville, N.Y.

ON a gray, unusually muggy October day the artist and architect Maya Lin was showing a visitor around “Wave Field,” her new earthwork project at the Storm King Art Center here. The 11-acre installation, which will open to the public next spring, consists of seven rows of undulating hills cradled in a gently sloping valley. Ms. Lin clambered nimbly up and down them, regarding each nook, cranny and blade of grass with something of a proprietary air.

“It’s part of a study that started with looking at a simple water wave,” she explained en route, “and how does the wave begin or end.” Given that she was working with land,not water, she added, “I was almost afraid to start it.”

From a neighboring hill came the delighted screams of children at play: Ms. Lin’s daughters, India, 11, and Rachel, 9, and one of Rachel’s friends.

Seen from afar the piece does suggest an expanse of ocean waves that have been frozen in place, as well as many other things: snowdrifts, a Zen moss garden, perhaps a cluster of the American Indian burial mounds that can be found in the hills of southeastern Ohio, where Ms. Lin grew up.

With its sense of having arisen naturally from the earth, the earthwork also recalls Ms. Lin’s Vietnam Veterans Memorial, the design for which catapulted her to stardom and notoriety in 1981, when she was a 21-year-old senior at Yale.

Yet as soon as you walk into the piece, whose earthen swells range in height from 12 to 18 feet, your experience of it changes remarkably. At first, standing at the bottom of a slope, it may look craggy and insurmountable. But in scaling it — which turns out to be relatively easy because of the rough surface — you become keenly aware of the earth itself, currently a patchy mix of topsoil, short grass, clover, white daisies and yellow-flowered partridge pea, which attracts swarms of monarch butterflies.

“This stuff was just rock-laden soil,” Ms. Lin said, stooping to finger the plants, which were seeded by hand. “It will all end up being field. You don’t want it to turn into a golf course. You basically want whatever is around here naturally to take root. You’re after something that doesn’t look premeditated and too cultivated.”

Then she happened across a large tunnel burrowed into the side of a wave. “Oh my God!” she cried. “A groundhog hole!”

India suddenly scrambled into view, shouting, “Mommy, we counted five of them!”

Ms. Lin laughed and then paused, reflecting, “I think we’ll cover it up?” But within moments she had changed her mind. “I think you have to let it be what it’s going to be,” she said.

In a sense that has been her mantra throughout the project.

Eight years ago, when she was first invited to visit Storm King to start thinking about making a piece, she found herself strangely attracted to an overlooked area known around the art center as the gravel pit. Located on the property’s southwestern edge, about 100 feet beyond Andy Goldsworthy’s “Storm King Wall” (1997-98), it was a reminder of what Storm King looked like in 1960, the year it opened.

Back then much of Storm King’s landscape consisted of acres of gravel that had been mined from the surrounding fields in the 1950s in connection with the construction of the New York State Thruway. Over the years the art center used this rocky material to shape its grounds, creating the seemingly natural hills and valleys that now are dotted with sculptures and site-specific works by artists like David Smith, Isamu Noguchi and Mr. Goldsworthy.

“It’s a man-made landscape, bringing gravel in and reshaping it,” said David R. Collens, the director of Storm King. “That’s the untold story about the art center.” And as soon as Ms. Lin saw the pit, he said, “her eyes lit up, and that was it for her.”

Ms. Lin said: “I’ve tended to create works on the edges and boundaries of places, so the work becomes less of a centerpiece. I’m very interested in exploring works that begin to own the environment.”

By the time she finally proposed the piece to Storm King’s board in 2006, she had already completed two smaller-scale “Wave Field” earthworks, the first at the University of Michigan in Ann Arbor, the second for the courtyard of the Wilkie D. Ferguson Jr. federal courthouse in Miami. “I always knew that I wanted to culminate the series with a field that literally, when you were in it, you became lost inside it,” she said, “so the waves had to become much larger than you.” To her the gravel pit seemed perfect for this concluding piece, which will also be Storm King’s first earthwork.

Because the site was officially a mine, Mr. Collens had to secure permission from the state Environmental Conservation Department to reclaim it as an artwork. The department has strongly supported the project. Because Ms. Lin is “a committed environmentalist,” as she put it, she was intent on using minimal intervention to turn it into an artwork and making the most of what was already there.That meant gently grading the site and using its largest rocks to create an underlying structure that would provide the piece with natural drainage, a project she accomplished with the aid of the landscape architect Edwina von Gal. The waves and the bowl-like valley in which they rest were largely built from the gravel and earth in the pit itself as well as a berm that had shielded the site from view. Here Ms. Lin relied heavily on Frank Tantillo, a local landscaper. “You need to find a contractor who’s sympathetic and really supportive,” she said, “because they’re basically sculpting the landscape with a bulldozer.”

By the time the piece opens to the public next spring, it will be shielded from the Thruway by about 270 young trees — a mix of maple, oak, sycamore and other local natives. That’s how many trees Ms. Lin’s studio staff has calculated it will take to offset the fuel and energy consumed in making the piece, including the artist’s own frequent car trips from New York. “I might actually look for more trees that can take hotter weather and make them more predominant,” Ms. Lin said. “I’m a firm believer that global warming is happening.”

And then there are the grasses. Chosen by Darrel Morrison, a landscape restoration expert who consults on all the tall grasses planted at Storm King, they area native mix that should require little maintenance or watering. By spring tall plants like deertongue and Canada bluegrass will have taken over from the ground cover that now holds the topsoil in place. At that point, Ms. Lin said: “The grass will flow in the wind and feel more like water. Although of course you’re not trying to recreate water. It begins to be its own formal play.”

In a sense Ms. Lin’s entire career has been interplay among what she regards as three separate strands: she is an architect and an artist, and she also designs memorials (she likes to call them anti-monuments) that fall somewhere between the two. She has been pursuing all three directions since she finished the Vietnam memorial in 1982. That project transformed her into something of an instant celebrity, and she was offered a number of architectural commissions as a result. But Ms. Lin, who in person is strikingly friendly and unassuming, does not seem to have let the experience turn her head.

“There’s a part of me that’s oddly shy,” she said. “And I tend to take my time. I didn’t want to produce work that wasn’t quite ready.” So she decided to “maintain course” by earning a master’s degree in architecture at Yale.

While studying the art of building design in graduate school, Ms. Lin found herself spending more and more time in the sculpture studios of the Yale art department, working with her hands. “I was called an architect, and I loved building,” she said, “but at the same time there was this other side of me that was beginning to differentiate itself.”

Soon after graduating, she designed her second monument, the Civil Rights Memorial at the Southern Poverty Law Center in Montgomery, Ala., which was dedicated in 1989. By 1993 she had completed her first major building, for the Museum of African Art in SoHo, which is now defunct.

Since then she has worked consistently in all three areas, often developing ideas for one sort of project while working on another. In 1993 she created her first site-specific sculpture for the Wexner Center for the Arts in Columbus, Ohio. Called “Groundswell,” it consisted of 40 tons of broken tempered glass poured into snowdriftlike piles around the museum’s exterior walls. From this came the idea for her first earthwork, “Wave Field,” in Michigan, which she completed in 1995. That in turn led her back to the studio, where for a time she focused on making sculpture.

Making sculpture as well as drawings and maquettes is at the heart of everything Ms. Lin does, as becomes clear when you enter her studio, a 2,600-square-foot loft in the heart of SoHo. Much of the space is occupied by her assistants, who carry out the mathematical and topographical data collection, analysis and computer modeling that are crucial to her work. But by the doorway there is a small area where, she said, “I literally get to disappear and make the sculptures.”

The room is full of small artworks, most of which suggest the earth in some form or another. There is also a group of colorful asteroidlike objects made from discarded (and nonrecyclable) plastic toys and bottle caps. “It’s really important that I get to make things by hand,” Ms. Lin said. “I think when you’re working with bulldozers, when everything you’re doing is translated through a fairly large-scale machined operation, just to be able to come back here is really crucial to my creativity.” She also makes some work at home, an apartment on the Upper East Side that she shares with her children and her husband, Daniel Wolf, a photography dealer. “I’ve always made work in my bedroom, basically,” she said.Many of her larger sculptures and installations can be seen in “Systematic Landscapes,” an exhibition that opened at the Henry Art Gallery in Seattle in April 2006 and is now at the de Young Museum in San Francisco. It includesthree focal installations, all made in 2006. “2 x 4 Landscape” is an earthworklike mound with a pixelated appearance that was built from two-by-fours.

“Water Line,” based on remote Bouvet Island in the South Atlantic, is a topographical rendering built with aluminum tubing and suspended from the walls — a kind of three-dimensional drawing — so that visitors can walk beneath it. Then there is “Blue Lake Pass,” a model of the Colorado mountain range where Ms. Lin and her family spend summers. Made from particle board, it is cut into cross-sections that visitors can walk among. While making these works, Ms. Lin said, her overall impulse was “to take the aesthetic of ‘Wave Field’ and bring it indoors.”

In the past Ms. Lin has always conceived of her different career strands as separate. “I think it may be the only way I can keep myself balanced,” she said. Although she is also working on a commission for the Museum of Chinese in America in Chinatown in Manhattan, she is reluctant to talk about such projects and her artwork in the same breath. “It kind of confuses people,” she said.

Yet recently she has been coming around to the idea that the strands may be intertwined. “My greatest fear 15 years ago is that the different parts weren’t in dialogue with each other,” she said. “But whether it’s art, architecture or memorials, I realize now that all my work is intrinsically tied to the natural landscape around us.”


@Source: http://www.nytimes.com/2008/11/09/arts/design/09kino.html?pagewanted=1&_r=1

11.06.2008

故宮邀方文山當講師@News


和音樂才子周杰倫合作無間的作詞達人方文山,昨天在故宮為他的新作「蘭亭序」MV舉行首映。為了讓故宮「年輕化」,故宮院長周功鑫昨天不但力邀方文山擔任故宮籌建中的「文化創意產業育成中心」講師,還希望方文山能和「周董」在故宮對談。

方文山以創作「中國風」歌詞聞名,從最早的「娘子」、「東風破」、「髮如雪」、「青花瓷」到新作「蘭亭序」,跟唐詩宋詞及傳統文化借了不少創作元素。靈感得自書法藝術的「蘭亭序」,也與故宮現正展出的王羲之「蘭亭序」相呼應。

方文山在執導「蘭亭序」MV時,邀名書法家董陽孜揮毫,透過她牽線,方文山成了進入故宮首映流行音樂MV的第一人,昨天在故宮副研究員朱惠良導覽下,參觀「晉唐法書名蹟展」,親炙「蘭亭序」、「快雪時晴帖」等王羲之名帖,他不禁讚嘆「這是與一千五百年歷史的邂逅」。

由方文山執導的「蘭亭序」MV,將場景設定為演員習藝的過程,運用舞台劇概念化的符號,邀「屏風表演班」創辦人李國修、王月夫婦無酬跨刀演出,還融入了董 陽孜揮毫寫就的「情」、「無關風月」等墨寶的立體浮雕。他說,很多人不了解書法,他想藉由流行音樂,讓更多人體驗書法藝術之美。

@Source: 2008/11/05 聯合報 ╱記者周美惠 http://udn.com/

法國》KENZO花香水 秋冬新版本更添夢幻@Fashion

Flower by KENZO冬季限量版,2,700元/50ml。
圖/KENZO提供

全球銷售火熱的KENZO「Flower by KENZO」香水,8年來不斷推出各種藝術限量版香水,包括2005年後的藝術家新外盒版、小頑石版、夏日無酒精清新版等,堪稱最會炒作議題來衝高人氣的香水。

Flower by KENZO香水,從2000年推出以來,回購率相當高,2005~2007年衝到世界排名第二,銷售量僅次於CHANEL旗下的Chance。

今年冬天,KENZO又將玩什麼議題?答案是夢幻限量版,在基礎氣味不變之下,加入當令的耶誕薔薇及山茶花等,推出粉味且充滿層次感的新香味。

這支新版本,前味揉合蜜柑及紫羅蘭葉;中調為合歡花、山茶花、耶誕薔薇等材料,融合蜜糖、綠香與粉香氣息,架構溫暖豐富的層次感;後味則是廣藿香、琥珀的餘韻繚繞。

外盒設計也增添更多溫暖的色彩,由深紅色的山茶花、金黃色的合歡花及銀白色的耶誕薔薇等冬季特有花朵,將KENZO最經典的罌粟花襯托得更加嬌豔。


@Source: 2008/11/06 聯合報 ╱記者徐文玲 http://udn.com/

美國》潮牌投入選戰 大家都來收藏歐巴馬@Fashion

UNFFTD向來支持藝術家,提供平台予人發表作品,這是以歐巴馬肖像硬幣鼓勵投票的廣告看板。
摘自網路
品牌RVCA的T恤要喚醒冷漠人們參與投票的熱情,期望大家保有年輕男女的活力。
摘自網路

美國總統選戰期間,政治明星歐巴馬的肖像儼然成為潮牌最愛,巨型看板、T恤,甚至宛如歐巴馬上身的外套,隨著選情明朗化,商品推出的樣式愈來愈有趣。

加州的La Brea地區的廣告看板,出現歐巴馬肖像硬幣圖案,鼓勵人民投他一票,但這不是政黨的宣傳工具,而是服飾品牌UNDFTD支持藝術家的「UNDFTD Billboard Project」活動。UNDFTD提供平台給藝術家發表作品,這次找來McFetridge合作,用最直截了當的圖案支持心目中的候選人。

以拍政治畫面聞名的攝影師The Cobra Snake,提供作品給品牌RVCA,想喚醒冷漠人們參與投票的熱情,圖案是象徵民主黨的驢子和共和黨的大象,象鼻和驢臉換成政治人物漫畫肖像。

DADA設計師Lantz則將歐巴馬肖像及美國國旗印在鞋款、連帽外套,外套拉鍊全部拉上後,歐巴馬肖像清晰可見,讓歐巴馬迷過足了收藏癮。


@Source: 2008/11/06 聯合報 ╱記者李思嫻 http://udn.com/

美國》最夯設計師 歐巴馬夫人得道她升天@Fashion

美國準總統夫人蜜雪兒歐巴馬(右)喜歡瑪麗亞品投設計的衣服,圖為她和歐巴馬出席最後 一次總統大選辯論會時的畫面。
(法新社)

龐克女王的輝煌紀錄、保養品創辦人的自信丰采、時裝設計師因歐巴馬而聲名鵲起…讓我們看到:認真的女人最美麗,專業的女人必閃亮!

美國總統大選結果揭曉,歐巴馬贏得勝利,最高興的莫過於設計師瑪麗亞品投(Maria Pinto),因為她設計的時裝是準總統夫人蜜雪兒歐巴馬的愛牌,這下品投可名正言順成為「御用設計師」,身價不可同日而語。

瑪麗亞品投表示,蜜雪兒歐巴馬在5年前經朋友介紹,開始接觸她設計的衣服,之後每季都會向她買幾件新衣。在美國總統選戰開跑前,瑪麗亞品投的知名度不出芝加哥,如今已成家喻戶曉、設計界最閃亮的一顆星,這一切要拜蜜雪兒歐巴馬這位全美走透透的活廣告。

品投日前受訪時坦承,過去一年她的服飾業績已成長45%,且專賣店一家接一家開張,到明年春天將會有16家,店數比原來多一倍。若要選出美國過去一年來最 夯的設計師,品投當之無愧。連紐約最頂尖的百貨公司Barneys和Saks Fifth Avenue,都和她洽談設櫃事宜。

歐巴馬夫婦出席最後一次大選辯論會當天,蜜雪兒穿了一件藍色連身洋裝,被時尚圈評為予人溫暖及信任感。「那是我設計的一件基本款,」品投表示,「如果有人來參觀我的工作室,我絕不會拿這件衣服出來展示,但被蜜雪兒一穿竟是那麼亮眼,讓我設計的其他衣服都相形失色。」

至於蜜雪兒參加總統就職典禮那天要穿什麼,品投也在腦海中勾勒形象:色彩明亮、能襯托出曲線動人的禮服,「蜜雪兒就是適合配色簡單但造型引人注目的衣服。」


@Source: 2008/11/06 聯合報 ╱記者祁玲 http://udn.com/

11.05.2008

Miuccia's Artists@Art


From left: The artists John Baldessari, Carsten Holler, Nathalie Djurberg and Thomas Demand; Prada’s Patrizio Bertelli and Miuccia Prada; the curator Germano Celant; the artist Francesco Vezzoli.

Photo: Matthias Vriens


JOHN BALDESSARI

‘‘For Miuccia Prada.’’ The Los Angeles-based artist has been a friend of Germano Celant, the curator of the Prada Foundation, since the early ’70s. ‘‘I was showing a lot in Europe, and he would stay with me out in Santa Monica,’’ Baldessari recalls. ‘‘He was a well-known critic even then.’’ And having recently visited the Prada space in Milan, he is now working on a potential project for the foundation. ‘‘I’m interested in the gradual fusion of high and low culture, and fashion and art,’’ Baldessari says. ‘‘The project I have in mind will address that.’’

FRANCESCO VEZZOLI

‘‘The Kinsey International,’’ a conceptual remake of the Kinsey Reports on human sexual behavior, produced by the Prada Foundation. The prototype for a cabinet designed for this project by Ettore Sottsass is installed in the Pinacoteca di Brera in Milan, a museum in Northern Italy recognized for its collection of Italian paintings. According to Vezzoli’s plan, additional cabinets will be installed in similar museums around the world, and visitors will be invited to enter and take a sex test. Vezzoli has been granted a residency at the Hammer Museum in Los Angeles to further research this aspect of the project at U.C.L.A. ‘‘My hope,’’ says the artist, who is known throughout the art world for the stellar casting of his video performances, ‘‘is to get Gloria Steinem on board.’’

Photo: Matthias Vriens


CARSTEN HOLLER

‘‘One Night in Paris’’ was part of the research done in preparation for ‘‘Prada Congo Club,’’ an installation by Holler, a Stockholm-based artist, scheduled to open in fall 2008 in London.

Photo: Photographs by Bellou Luvuadio Bengo, Carsten Holler, Josué, Miriam Backstrom, Edouard Merino and Patrik Stromdahl


NATHALIE DJURBERG

Still image with crayon from ‘‘Johnny’’ (2008), a claymation film for the Prada Foundation.

REM KOOLHAAS

Concept for Prada Epicenter Shanghai Store. Rather than designing a new building, or moving into a fashionable east-side colonial, the idea is to invade a found space, in this case a parking structure and pedestrian boardwalk near the Huang Pu River. Shallow miniboutiques, connected by a back corridor, will be embedded within the existing strip of shops, not only providing the brand with ample display frontage but also creating what the architect calls a ‘‘populist’’ Prada model, where even those who are not inside the store are invited to participate in its retail and cultural programming.

QUENTIN TARANTINO

In 2004, with the sponsorship of the Prada Foundation, the Venice Film Festival set up a retrospective of Italian genre films of the ’60s and ’70s that the director Quentin Tarantino was asked to help curate. ‘‘It was called ’The Italian King of the B’s,’ ’’ Tarantino says. ‘‘It gave respect and long-overdue recognition to many Italian genre film maestros — Sergio Martino, Umberto Lenzi and Ruggero Deodato among them. However, if the retrospective had one goal above all others, it was to give the writer and director Fernando Di Leo his proper place as the king of Italian crime films. In this regard, the festival was a huge success. The Prada Foundation followed this up with the beautiful DVD releases of his pictures. But I wasn’t aware just how successful Prada, Marco Mueller, the Venice Film Festival and I had been in promoting Maestro Di Leo’s career until last year, when on a trip to Japan I found this gorgeous Japanese DVD box set of Fernando Di Leo’s films. It made my heart swell with pride.’’

Photo: Jens Mortensen


THOMAS DEMAND

‘‘Redo’’ of the backstage scene at a Prada fashion show. In 2007, the Prada Foundation presented two Demand installations, ‘‘Yellowcake’’ and ‘‘Processo Grottesco,’’ on the Isola S.G. Maggiore during the Venice Biennale.

@Source: http://www.nytimes.com/slideshow/2008/03/23/magazine/0323-PRADA_index.html

The Chanel Pavilion in Central Park@Art

Nicolai Ouroussoff writes: "The wild, delirious ride that architecture has been on for the last decade looks as if it’s finally coming to an end. And after a visit to the Chanel Pavilion that opened Monday in Central Park, you may think it hasn’t come soon enough."

Photo: Michael Falco for The New York Times

"Designed to display artworks that were inspired by Chanel’s 2.55, a quilted chain-strap handbag, the pavilion certainly oozes glamour. Its mysterious nautiluslike form, which can be easily dismantled and shipped to the next city on its global tour, reflects the keen architectural intelligence we have come to expect from its creator, Zaha Hadid, the Iraqi-born architect who lives in London."

Photo: Michael Falco for The New York Times

"Yet if devoting so much intellectual effort to such a dubious undertaking might have seemed indulgent a year ago, today it looks delusional."

Photo: Michael Falco for The New York Times

The interior of the pavilion.

"It’s not just the economic turmoil, although the timing could hardly be worse. It’s that the pavilion sets out to drape an aura of refinement over a cynical marketing gimmick. Surveying its self-important exhibits, you can’t help but hope that the era of exploiting the so-called intersection of architecture, art and fashion is finally over."

Photo: Michael Falco for The New York Times


A video project by the Japanese artist Tabaimo.

"The pavilion was first shown in Hong Kong and Tokyo. It will be on view in New York through Nov. 9. Chanel is paying a $400,000 fee to rent space in the park and has made a gift of an undisclosed amount to the Central Park Conservancy as part of the deal."

Photo: Michael Falco for The New York Times


The entrance.

"It’s not that hard to see why Ms. Hadid accepted the commission. One of architecture’s most magical aspects is the range of subjects it allows you to engage, from the complex social relationships embodied in a single-family house to the intense communal focus of a concert hall. Great talents want to explore them all."

Photo: Michael Falco for The New York Times


"The company’s money couldn’t have bought a prettier site. The pavilion stands on Rumsey Playfield, near Fifth Avenue and 69th Street. Groves of elm and linden trees frame the pavilion to the north and south; a long trellis draped in wisteria flanks it to the west. The area is carpeted in colorful fall leaves."

Photo: Michael Falco for The New York Times

An installation by Lee Bul.

"Opening the pavilion in Central Park only aggravates the wince factor. Frederick Law Olmsted planned the park as a great democratic experiment, an immense social mixing place as well as an instrument of psychological healing for the weary. The Chanel project reminds us how far we have traveled from those ideals by dismantling the boundary between the civic realm and corporate interests."

Photo: Michael Falco for The New York Times

@Source:http://www.nytimes.com/slideshow/2008/10/20/arts/20081021_ZAHA_SLIDESHOW_index.html

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