People@Dolce & Gabbana interview

Domenico Dolce and Stefano Gabbana

Having just opened a store in New York and re-launched their London boutique, we caught up with the powerhouse of a design duo, Dolce & Gabbana, to discover the impetus behind the brand’s recent face-lift and the philosophy behind their renewed aesthetic.

How do your redesigned stores reflect the way the Dolce & Gabbana brand has developed in recent times?
Stefano Gabbana:The boutique is the place where you can experience the collections and the Dolce & Gabbana world; which is in constant transformation and evolution. For this reason, it’s essential the boutiques also reflects the same evolution and growth.
Domenico Dolce: From a technical point of view, the concept of the stores has changed because, for instance, accessories have become staples of the collections, so we have created a dedicated space.

Do you think the design of a retail space is more important nowadays to the customer than it was in previous decades?
SG: The stores’ concept has always been very important. What has changed is the way customers live the shopping experience. If they choose a luxury brand, they don’t look only for high quality, innovation and attention to details, but they also want to enter a dream world and feel like superstars.

Why did you choose to work with Studio +Arch and Ferruccio Laviani?
DD: We decided to work with them because we feel in tune with both of them. They are able to interpret our ideas and to merge our aesthetical needs to the functionality of a boutique.

How does the design process operate between yourselves, an architect and an interior designer to get a consistent interior and exterior design?
DD: We provide them with the concept, which is then studied and developed in a continuous dialogue which helps them to interpret our desires.
SG: Our aim is to achieve perfect solutions that match our vision to its actual feasibility.

Aside from your own stores, what are your favourite retail concept stores around the world and why?
SG: We think that the concept store was a wonderful idea of the past; the future is the mono-brand store that allows the consumer to dip in to a designer’s mind.

Do you think the way customers buy clothes and understand the concept of fashion retail as a whole has changed since you first launched your label?
SG: Definitely, the last few years have witnessed a change in the buying processes. Customers have become more conscious of their desires and are very demanding about what a boutique or a product must have in order to satisfy them.

Sum up the Dolce & Gabbana brand concept in three words.
DD: Refined, sensual and luxurious.

Your brand is spreading into a wider range of lifestyle experiences beyond fashion design. Do you ever feel concerned the more projects you take on there may be a danger of diluting rather than strengthening the core brand principles?
SG: We are designers but we also like to explore other worlds that we love.
DD: It doesn’t delude the message we would like to convey to our customers. Moreover, the restaurant, the books and the mobile are all projects that help to strengthen and enrich our brand with new and different details.

What’s next on the Dolce & Gabbana agenda?
DD: The objective of the company is to keep growing in a rational way, coherent to the principles that have guided us since the beginning. Men’s fashion has still an interesting growth potential, as well as accessories.
SG: From a territorial point of view, the next step would be to consolidate our presence in the markets where we are already present and, at the same time, we would like to explore new markets.

What excites and terrifies you on a daily basis?
DD: We love things that inspire us such as culture, cinema, music and anything that gives us new ideas.
SG: We are always afraid of not having enough time to dedicate those we love even if we do our best to spend some time with our families and friends.

@Source: 13 December 2007 http://www.wallpaper.com/fashion/dolce--gabbana-interview/1995

村上隆談成功行銷 故事與包裝都重要@News

日本當代藝術家村上隆日前訪台，掀起一陣「村上熱」，在小巨蛋的演講更是吸引1萬多名觀眾。藝文界人士多認為，在藝術文創產業中，行銷想要成功，故事性很重要，誰來包裝也很重要，村上隆自己就是成功的案例。

村上隆表示，藝術是未開發的產業，若能找出產業模式，將有很大的發展空間。對此，畫廊協會理事長蕭耀頗為認同，他說，台灣藝術文創產業發展了這麼多年，已脫離嬰兒期，下一個階段最需要有組織的推廣；例如此次村上隆訪台的系列活動，明眼人都能看出背後經過縝密的規劃。

還沒出道前，村上隆一直期待出道後能一舉成名，因此他積極與畫廊打交道，並在第一次辦展時找了很多媒體以求曝光。目前台灣有不少藝術家，也開始效法村上隆努力行銷自己。

但蕭耀認為，藝術家還是應該專心創作；行銷、推廣的工作，就交給畫廊等媒介機構，不同於村上隆有Kaikai Kiki的支援，一般藝術家是無法分心的。想要成功，創作成果如何仍是最基本、核心的。畫廊解決藝術家的經濟問題，並規劃出行銷、推廣方案，藝術家全心創作，是台灣藝術市場未來必然的趨勢。

村上隆認為藝術是要訴求大眾的，這15年來，藝術市場成長不少，而且充滿機會，任何作品都有可能受買家關注、創下天價。

但並非每個人都買得起原作，蕭耀說，越來越多人渴求藝術時，藝術家的周邊產品就會應運而生，例如村上隆的小花吊飾，近來就引起瘋狂搶購；週邊產品可以活化藝術，也有助於拓展消費族群，首都畫廊代理的台灣前輩畫家劉其偉，就推出百餘種週邊產品，未來勢必有越來越多類似案例。

@http://udn.com/ 2007/12/08 經濟日報 ╱黃啟菱

Lifestyle@Lighting the Rockefeller Center Tree 2007

he 84-foot-tall Christmas tree at Rockefeller Center in New York City was lit on Wednesday night.

Photo: Josh Haner/The New York Times

A man swept the stage before the start of the ceremony.

Photo: Justin Lane/European Pressphoto Agency

Onlookers gazed out of nearby windows to see the tree-lighting ceremony.

Photo: Josh Haner/The New York Times

Mayor Michael R. Bloomberg and the Radio City Rockettes lit the tree.

Photo: Seth Wenig/Associated Press

Crowds started gathering early in the day in order to get a good view of the festivities.

Photo: Seth Wenig/Associated Press

Lighting the Rockefeller Center Tree

Photo: James Estrin/The New York Times

@Source: http://www.nytimes.com/

Arch@The New York Times Building

The New York Times Building

Nicolai Ouroussoff calls Renzo Piano’s new 52-story home for The New York Times “a towering composition of glass and steel clad in a veil of ceramic rods” that “delivers on Modernism’s age-old promise to drag us — in this case, The Times — out of the Dark Ages.”

Photo: Richard Perry/The New York Times

Mr. Ouroussoff writes, “The last decade has been a time of major upheaval in newspaper journalism, with editors and reporters fretting about how they should adapt to the global digital age. In New York that anxiety has been compounded by the terrorist attacks of 2001, which prompted many corporations to barricade themselves inside gilded fortresses.”

Photo: Richard Perry/The New York Times

“Mr. Piano’s building is rooted in a more comforting time: the era of corporate Modernism that reached its apogee in New York in the 1950s and 60s. If he has gently updated that ethos for the Internet age, the building is still more a paean to the past than to the future.”

Photo: Fred R. Conrad/ The New York Times

“Internal staircases link the various newsroom floors to encourage interaction. The work cubicles are flanked by rows of glass-enclosed offices, many of which are unassigned so that they can be used for private phone conversations or spontaneous meetings. Informal groupings of tables and chairs are also scattered about, creating a variety of social spaces.”

Photo: Fred R. Conrad/ The New York Times

“By the time you reach the 14th-floor cafeteria, the entire city begins to come into focus, with dazzling views to the north, south, east and west. A long, narrow balcony is suspended within the cafeteria’s double-height space, reinforcing the impression that you’re floating in the Midtown skyline.”

Photo: Fred R. Conrad/The New York Times

“The building’s most original feature is a scrim of horizontal ceramic rods that diffuses sunlight and lends the exterior a clean, uniform appearance. For The Times, Mr. Piano spent months adjusting the rods’ color and scale.”

Photo: Fred R. Conrad/The New York Times

“People entering the building from Eighth Avenue can glance past rows of elevator banks all the way to the fairy tale atrium garden and beyond, to the plush red interior of TheTimesCenter auditorium. From the auditorium, you gaze back through the trees to the majestic lobby space. In effect, the lobby itself is a continuous public performance. The sense of transparency is reinforced by the people streaming through the lobby.”

Photo: Fred R. Conrad/The New York Times

“The architect’s goal is to blur the boundary between inside and out, between the life of the newspaper and the life of the street. The lobby is encased entirely in glass, and its transparency plays delightfully against the muscular steel beams and spandrels that support the soaring tower.”

Photo: Fred R. Conrad/ The New York Times

“Pierced by a double-height skylight well on the third and fourth floors, the newsroom has a cool, insular feel even as the facades of the surrounding buildings press in from the north and south. The well functions as a center of gravity, focusing attention on the paper’s nerve center. From many of the desks you also enjoy a view of the delicate branches of the atrium’s birch trees.”

Photo: Fred R. Conrad/ The New York Times

“Depending on your point of view, the Times Building can thus be read as a poignant expression of nostalgia or a reassertion of the paper’s highest values as it faces an uncertain future. Or, more likely, a bit of both.”

Photo: Fred R. Conrad/ The New York Times

@Source: http://www.nytimes.com/slideshow/2007/11/21/arts/20071121_TIMESBUILDING_SLIDESHOW_10.html

Photo: Fred R. Conrad/ The New York Times

LV 配件 by Richard Prince@Fashion

LV春夏配件邀Richard Prince的畫作為繆思，馬毛包面繡著漫畫圖案，是全球限量包款。
圖／LV提供

繼日本藝術家村上隆後，路易威登在2008年春夏邀請美國現代藝術家Richard Prince擔綱設計配件。昨天LV在吉隆坡發表2008年春夏新裝，就出現Richard Prince畫作中的護士裝，皮包配件也融入他最著名的髒汙塗鴉、壓印渲染和漫畫等手法。由於須歷經17道手續，且數量少，售價更貴。

LV設計總監Marc Jacobs愛好藝術，收藏不少當代藝術家的作品，Richard Prince也是其一。昨天秀場從巴黎運來六幅Richard Prince為LV Monogram設計的畫作，搭配他為LV設計的六大配件系列。

名為「Watercolor」的皮包是村上隆彩色Monogram的改良版，Monogram被壓印、渲染、不經意的汙漬，保留手工鑿斧的痕跡。但製作過程繁複，失敗率高。

Richard Prince的「笑話包」（Jokes）系列則以70年代的通俗笑話為文案，每只包包都印有一兩則笑話，包面經過潑漆褪染處理。「卡通」（Cartoons）系列以漫畫的繽紛色塊來詮釋，其中一款限量馬毛包包面上精繡Ricahrd Prince的漫畫手稿，詮釋大師的幽默品味。

@ http://udn.com/ 2007/12/06 聯合報 ╱記者陶福媛

Arch@the New Museum of Contemporary Art, New York

New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)
Interior view of the New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)

Interior view of the New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)

Interior view of the New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)

Interior view (bathroom) of the New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)

Exterior view (balcony) of the New Museum of Contemporary Art, New York, by Riyue Nishizawa and Kazuyo Sejima (SANAA)

It isn't often that an art museum has anything in common with a trash can. In fact, the new New Museum of Contemporary Art, which opened last Saturday in downtown Manhattan, just might be the only museum to be clad in the same wire mesh as its home city's refuse receptacles. And that, oddly enough, happens to be a great thing.
When the design for the New Museum was unveiled three years ago, its structure - a series of what looked like pushed-together matchboxes clad in what looked then like an impossible-to-get silver mesh - looked delightful, but completely impossible (not to mention improbable, given its location on the historically gritty Bowery).

New York changes fast, though, and what seemed so unlikely so recently - a fine art museum on a street known for its homeless shelters - now makes sense. It doesn't hurt that a hip boutique hotel has opened down the street, or that the gentrifier's kiss of finality, a Whole Foods, has opened down the block, but it also doesn't hurt that, architecturally, the New Museum just works.

The building, designed by Riyue Nishizawa and Kazuyo Sejima (SANAA) starts at a small enough scale that even the biggest of the floating boxes, the ground floor atrium, keeps a visitor feeling like this is just small enough of a museum to see on a spin through downtown.

It's not a gigantic commitment, like uptown's MoMA and Met, but there's enough change as you go up to keep it interesting. And, if by chance the art doesn't satisfy (the opening show is a mix), there's always the glass house of a top floor overlooking downtown Manhattan, a perfect vantage point from which to see the next big thing.

For now, though, the New Museum is it.
NFORMATION

Website
http://www.newmuseum.org/

Telephone
1.212 219 1222

Address
New Museum
235 Bowery
New York
NY 10002

@Source: 3 December 2007 http://www.wallpaper.com/architecture/new-museum-new-york/1935 / All photos by Dean Kaufman

Design@Tea travel kit, by Leaf

Tea travel kit, by Leaf

日本 泡湯看飛機@Lifestyle

站在「Sky Deck」展望層，機場風光一覽無遺。記者古鎮榮／攝影

日本中部國際機場甚至設有邊泡湯邊看飛機的「展望風呂」，台灣航空迷想要有此待遇，可能要等哪天機場旁挖到溫泉吧！ 記者古鎮榮／攝影

由於台灣各大機場普遍未設瞭望台，航空迷看飛機只得自行尋覓地點，或民營咖啡館或餐廳，桃園機場航空科學館的模擬塔台雖堪稱官方唯一瞭望台，但距離遙遠，加上隔著玻璃，就是少了一份臨場感。

近幾年才完成的日本中部國際機場，是名古屋等中部大城的門戶，特地將航廈屋頂闢建為「展望層」（Sky Deck ），長達數百公尺的寬闊露天走廊，機場跑道、停機坪都近在咫尺，真的是不怕你來看飛機，就怕你走到腳痠。

機場還貼心地在欄杆上貼上貼紙，標明所有航空公司尾翼塗裝，讓旅客可以按圖索驥，仔細一看，台灣的長榮、華航標幟都在上面呢！

@Source: 2007/12/03 快活周報╱記者古鎮榮

Fashion@Dolce&Gabbana 紐約旗艦店改頭換面

設計師Stefano Gabbana(左起)、好萊塢女星凱特哈德森、伊娃曼德絲、設計師Domenico Dolce。
照片／美聯社提供

Dolce&Gabbana的女裝旗艦店內裝充滿低調且奢華的設計，帶給紐約客全新的購物體驗。
照片／美聯社提供

義大利品牌Dolce&Gabbana前天在紐約麥迪遜大道的女裝旗艦店重新開幕，好萊塢女星凱特哈德森、伊娃曼德絲等人應邀出席開幕典禮，設計師雙人組也親至現場剪綵。

位於紐約麥迪遜大道825號的Dolce&Gabbana女裝旗艦店，經過重新整修之後，以全新的面貌展現在紐約客面前。為了慶祝開幕， Dolce&Gabbana特別獨家秀出明年春天的兩只限量手提包，以古董水晶、鱷魚皮與蟒蛇皮拼接而成，要價4萬元美金，合台幣近130萬元。

因為電影「絕配冤家」、「毒鑰」而成為新生代甜心女星的凱特哈德森指出，她是該品牌的愛好者，對於Dolce&Gabbana的包包愛不釋手。美國時尚媒體認為，Dolce&Gabbana具有創意性的設計，將會給傳統且保守的麥迪遜大道帶來全新的氣候。

緊鄰在女裝旗艦店旁邊，Dolce&Gabbana在紐約首間男裝旗艦店也在昨天開幕，設計師Stefano Gabbana表示，近年來Dolce&Gabbana的男裝每年都有兩位數的成長，且男裝的銷售占總業績約四成。「我們將改變紐約男性的穿著」 Stefano Gabbana笑著說。

@Source: 2007/12/05 聯合報╱記者顏甫珉

Arch@Next to MoMA, a Tower Will Reach for the Stars

A rendering of the Jean Nouvel-designed tower to be built adjacent to the Museum of Modern Art.
The interior of Jean Nouvel’s building, which is to include a hotel and luxury apartments.

Cass Gilbert’s Woolworth Building, William Van Alen’s Chrysler Building, Mies van der Rohe’s Seagram Building.

If New Yorkers once saw their skyline as the great citadel of capitalism, who could blame them? We had the best toys of all.

But for the last few decades or so, that honor has shifted to places like Singapore, Beijing and Dubai, while Manhattan settled for the predictable.

Perhaps that’s about to change.

A new 75-story tower designed by the architect Jean Nouvel for a site next to the Museum of Modern Art in Midtown promises to be the most exhilarating addition to the skyline in a generation. Its faceted exterior, tapering to a series of crystalline peaks, suggests an atavistic preoccupation with celestial heights. It brings to mind John Ruskin’s praise for the irrationality of Gothic architecture: “It not only dared, but delighted in, the infringement of every servile principle.”

Commissioned by Hines, an international real estate developer, the tower will house a hotel, luxury apartments and three floors that will be used by MoMA to expand its exhibition space. The melding of cultural and commercial worlds offers further proof, if any were needed, that Mr. Nouvel is a master at balancing conflicting urban forces.

Yet the building raises a question: How did a profit-driven developer become more adventurous architecturally than MoMA, which has tended to make cautious choices in recent years?

Like many of Manhattan’s major architectural accomplishments, the tower is the result of a Byzantine real estate deal. Although MoMA completed an $858 million expansion three years ago, it sold the Midtown lot to Hines for $125 million earlier this year as part of an elaborate plan to grow still further.

Hines would benefit from the museum’s prestige; MoMA would get roughly 40,000 square feet of additional gallery space in the new tower, which will connect to its second-, fourth- and fifth-floor galleries just to the east. The $125 million would go toward its endowment.

To its credit the Modern pressed for a talented architect, insisting on veto power over the selection. Still, the sale seems shortsighted on the museum’s part. A 17,000-square-foot vacant lot next door to a renowned institution and tourist draw in Midtown is a rarity. And who knows what expansion needs MoMA may have in the distant future?

By contrast the developer seems remarkably astute. Hines asked Mr. Nouvel to come up with two possible designs for the site. A decade ago anyone who was about to invest hundreds of millions on a building would inevitably have chosen the more conservative of the two. But times have changed. Architecture is a form of marketing now, and Hines made the bolder choice.

Set on a narrow lot where the old City Athletic Club and some brownstones once stood, the soaring tower is rooted in the mythology of New York, in particular the work of Hugh Ferriss, whose dark, haunting renderings of an imaginary Manhattan helped define its dreamlike image as the early-20th-century metropolis.

But if Ferriss’s designs were expressionistic, Mr. Nouvel’s contorted forms are driven by their own peculiar logic. By pushing the structural frame to the exterior, for example, he was able to create big open floor plates for the museum’s second-, fourth- and fifth-floor galleries. The tower’s form slopes back on one side to yield views past the residential Museum Tower; its northeast corner is cut away to conform to zoning regulations.

The irregular structural pattern is intended to bear the strains of the tower’s contortions. Mr. Nouvel echoes the pattern of crisscrossing beams on the building’s facade, giving the skin a taut, muscular look. A secondary system of mullions housing the ventilation system adds richness to the facade.

Mr. Nouvel anchors these soaring forms in Manhattan bedrock. The restaurant and lounge are submerged one level below ground, with the top sheathed entirely in glass so that pedestrians can peer downward into the belly of the building. A bridge on one side of the lobby links the 53rd and 54th Street entrances. Big concrete columns crisscross the spaces, their tilted forms rooting the structure deep into the ground.

As you ascend through the building, the floor plates shrink in size, which should give the upper stories an increasingly precarious feel. The top-floor apartment is arranged around such a massive elevator core that its inhabitants will feel pressed up against the glass exterior walls. (Mr. Nouvel compared the apartment to the pied-à-terre at the top of the Eiffel Tower from which Gustave Eiffel used to survey his handiwork below.)

The building’s brash forms are a sly commentary on the rationalist geometries of Edward Durell Stone and Philip L. Goodwin’s 1939 building for the Museum of Modern Art and Yoshio Taniguchi’s 2004 addition. Like many contemporary architects Mr. Nouvel sees the modern grid as confining and dogmatic. His tower’s contorted forms are a scream for freedom.

And what of the Modern? For some, the appearance of yet another luxury tower stamped with the museum’s imprimatur will induce wincing. But the more immediate issue is how it will affect the organization of the Modern’s vast collections.

The museum is only now beginning to come to grips with the strengths and weaknesses of Mr. Taniguchi’s addition. Many feel that the arrangement of the fourth- and fifth-floor galleries housing the permanent collection is confusing, and that the double-height second-floor galleries for contemporary art are too unwieldy. The architecture galleries, by comparison, are small and inflexible. There is no room for the medium-size exhibitions that were a staple of the architecture and design department in its heyday.

The additional gallery space is a chance for MoMA to rethink many of these spaces, by reordering the sequence of its permanent collection, for example, or considering how it might resituate the contemporary galleries in the new tower and gain more space for architecture shows in the old.

But to embark on such an ambitious undertaking the museum would first have to acknowledge that its Taniguchi-designed complex has posed new challenges. In short, it would have to embrace a fearlessness that it hasn’t shown in decades.

MoMA would do well to take a cue from Ruskin, who wrote that great art, whether expressed in “words, colors or stones, does not say the same thing over and over again.”

@Source: http://www.nytimes.com/ By NICOLAI OUROUSSOFF Published: November 15, 2007

News@全球旅館進入「小型化」時代

日本率先推出微型房間旅館，這一新事物已走向世界，並且正在發展和完善。

從上個世紀八十年代以來，日本就出現了設置微型房間的「太空艙旅館」。這種旅館的房間象櫥櫃，價格便宜，最低的2,000 日元（18美元）一夜。這種旅館在別的地方沒有流行起來。不過，它們幫助國外的一種新的、便宜的、較簡易的旅館獲得了靈感。這種旅館不一定象日本的「太空艙旅館」那樣小和那樣便宜。
2005年，英國易捷航空公司（easyJet）的母公司易捷集團（easyGroup）在匈牙利、瑞士和英國開設了易捷旅館（easyHotels）。這種旅館的房間22美元一夜（電視和其他設施另外收費）。這種旅館的最新例子，在今年出現。它們採取進一步的措施：將低價小房間與先進的設計和技術結合起來。

英國的「今晚旅館公司」（tonightYotel）於7月份在倫敦的蓋特威克機場開設了它的第一個旅館。它的小房間或所謂「船艙」，不僅從日本的「太空艙旅館」吸取靈感，也從英國航空公司的頭等艙得到啟發。它的「高檔小房間」包括一個全尺寸的折疊式床；梳洗和淋浴設備；電插頭；一個書桌；無線因特網入口和平面電視。

它的「標準小房間」有一個稍稍小點的床。房間的起價為4小時25英鎊（52美元）或每夜55英鎊。12月1日，這家公司將在希思羅機場開設另一家旅館，並且在2008年早期，在阿姆斯特丹史基輔機場開設第三家旅館。這個旅館將設在安全警戒線之內，它將吸引轉乘飛機的旅客。

阿姆斯特丹還有一家名叫「奎比克」（Qbic）首個「微型旅館」連鎖店。它的房間起價為39歐元（57美元）。這種旅館有可調節成黃、紅、藍等顏色的燈光和一台平面彩電，有因特網入口和由著名設計師菲利普‧斯塔克設計的洗浴設備。像廉價航空公司一樣，「奎比克」用在線預訂房間和自助登記的辦法，保持價格低廉。

在美國，今年在紐約曼哈頓開張的「豆莢旅館」（Pod Hotel），提供帶浴室的價格為109美元的雙人房間和價格為89美元的單人房間。它的成功表明，在優越的位置，消費者不介意小的房間。在美國，一般旅館的房間的面積是這種小房間的3倍。

市場研究機構「木星調查公司」（Jupiter Research）的分析家詹尼弗‧菲奧倫蒂諾說，所有這些事例，說明旅館業正外在一個新的探索時代。雖然在世界上還沒有大量的象「太空艙」一樣的旅館，「奎比克」旅館和「今晚旅館公司」的微型旅館將進一步發展，這表明小房間旅館將有光明的前途。

@Source: ABBS獨家編譯自英國《經濟學家》

Fashion@巴黎時尚老街 名牌最想進駐的4公里路！

1920年代HERMÈS首先於聖多諾黑區街上建立總店後，與鄰近康朋路（Rue Cambon）上CHANEL總店、「歐洲珠寶箱」芳登廣場（Place Vendôme）連成一氣，吸引其他高級時裝品牌紛紛進駐，終於形成今日名牌雲集的時尚殿堂模樣。

聖多諾黑街（Rue Saint-Honoré）至聖多諾黑區街（Rue du Faubourg Saint-Honoré），這條蔓延4公里的時尚大道，擠進超過300個名牌林立，是現今巴黎最火紅的時尚地段。

巴黎時尚老街在哪裡？

聖多諾黑街屬於巴黎眾多古老街道之一，昔日為貴族居住之地，於19世紀正式定名。同樣一條路上，卻有著聖多諾黑街（Rue Saint-Honoré）和聖多諾黑「區」街（Rue du Faubourg Saint-Honoré）的命名差異，是由於今日為聖多諾黑區街的地方，昔日是巴黎城郊外，故加上一個區字作分別。1920年代HERMÈS首先於聖多諾黑區街上建立總店後，與鄰近康朋路（Rue Cambon）上CHANEL總店、「歐洲珠寶箱」芳登廣場（Place Vendôme）連成一氣，吸引其他高級時裝品牌紛紛進駐，終於形成今日名牌雲集的時尚殿堂模樣。法國總統府愛麗榭宮（Palais de l’Élysée）、皇宮（Palais Royale）亦位於此路上，重要景點羅浮宮（Le Louvre）、杜樂麗花園（Jardin Tuileries）也並立於此，難怪各家品牌無不希望能搶得一個此地址上的號碼，以抬高在時尚圈中的地位。

法國女人的夢想內衣Chantal Thomass

堪稱內衣教母的Chantal Thomass，她是70年代第一位將內衣定位為高級時裝的設計師，並舉行內衣的時裝秀。位於聖多諾黑街的店面有著拿破崙三世的裝潢風格，並以其喜愛的粉紅色搭配黑色為為主要視覺，建構出浪漫輕鬆的氣氛。她擅長運用蕾絲和花邊製造浪漫的氛圍，不論是內衣、馬甲、丁字褲、吊襪帶、絲襪，每件都如手工打造的精品，因此價格不菲。此外同名香水及相關飾品也深獲好評。
地址：Rue du Saint-Honoré No.211

優雅高貴的白襯衫皇后ANNE FONTAINE

「White, white, and more white」，以設計白襯衫起家的Anne Fontaine是歐美知名設計師，巴西出生的Anne Fontaine表示，白色在巴西被認為能帶來好運，也是她採用的原因。總是帶有淡淡花香而質感絕佳、法國製造的白襯衫，以花邊褶皺設計聞名，已成為新時代獨立女性的首選。位於Saint-Honoré的店內還包括一間SPA，採用純天然的產品是其最大的特色。
地址：Rue du Saint-Honoré No.370

女皇也為之瘋狂的夢幻鞋品Roger Vivier

是什麼讓女星凱薩琳丹妮芙、妮可基嫚、名模Twiggy、甚至英國女王伊莉莎白二世都甘願追隨？只有一代鞋王之稱的「Roger Vivier」能辦得到。曾替YSL、Dior設計鞋子，以創新前衛聞名的Roger Vivier，最經典的鞋款莫過於曾賣出超過12萬雙的「Belle Jour」，方形銀釦（Buckle）釦在鞋頭的款式，在60年代大為流行，也成了品牌經典。而他同時是細跟高跟鞋的發明者，至今在紐約、倫敦與巴黎博物館均有作品收藏。
地址：Rue du Faubourg Saint-Honoré No.29

法式奢華香水量身訂作CARON

在香水歷史上佔有一席之地的CARON，是當今少數仍保有調香師的品牌。由Ernest Dal Troff創立於1904年，至今已超過百年歷史。CARON堅持使用天然成分手工調配，使其香水、蜜粉、香粉等產品保有如高級訂製服的崇高地位。位在聖多諾黑區街90號有如皇宮般華麗的店鋪中，可以一面品嚐香檳，一面跟首席調香師Richard Fraysse討論如何量身訂做妳的專屬香水。
地址：Rue du Faubourg Saint-Honoré No.90

@Source : BRAND名牌誌2007年11月號 / 文．攝影／Isa Yao

創意店 衣服變美味了》prefer market@Design

prefer market店內一角，設計有如市場的豬肉攤，十分有趣。

prefer market用曬魚網陳列球鞋，有別於一般的服飾店。

havaianas夾腳拖是prefermarket的熱銷商品。750元

蔣文慈的作品，天藍和白色條紋，不規則設計，每件都是獨一無二。3,880元

你喜歡什麼？菜市場嗎？如果你從來就不是個「洗手做羹湯」的料，依然可以實現對菜市場的購物想像！選個寧靜的下午，忽略喝咖啡的習慣，到公館溫州街原挪威森林咖啡館舊址，踏上熟悉的階梯，選擇來到「prefer market」，先吃支冰棒，在曬衣架上恣意挑選服飾，最後用以「紅、藍、綠」橫條排列的菜市場袋打包帶走。


台灣自創品牌i-prefer，向來以舒服異國風情，吸引同樣具備人文氣息的人們，副牌prefer market新店開張，以平民美學為主調延伸，形象包裝貼近本土居民真實生活，豬肉攤在這成了收銀台，曬魚網陳列鞋款也能很好看，可以平價買到i-prefer過季產品及prefer market商品，但若以Outlet統稱之，未免太過平凡。

DATA

地址：台北市溫州街82號

電話：02-3365-3477

營業時間：12:00～22:00

@Source:2007/11/24 聯合報 / 李思嫻

Fashion@英國時尚獎 女人出頭天

史黛拉麥卡尼（左）榮獲英國時尚獎最佳年度設計師獎，與榮獲「傑出成就獎」的薇薇安薇絲伍德一同展示獎座。
圖／路透社

英國時尚獎（British Fashion Awards）獲獎名單揭曉！史黛拉麥卡尼（Stella McCartney）榮獲最佳年度設計師獎，她是英國時尚獎20年以來，第5位獲獎的女性設計師。薇薇安薇絲伍德（Vivienne Westwood）拿下傑出成就獎。

英國位居國際時尚圈的邊陲，但以風格前衛、另類著稱，獨樹一幟。從今年的獲獎名單來看，多項大獎都被女人抱走，也可瞧出英國時尚的眼界與宏觀。

英國每日電訊報時尚主編希拉蕊亞歷山卓（Hilary Alexander）榮獲時尚媒體獎，她說：「20年來竟然只有5位女性設計師得獎！」看來她認為英國時尚圈對女人的肯定還不夠。

年度名模獎的得主是英國酷名模安吉妮絲迪安（Agyness Deyn），她外型冷豔，慘白的臉龐搭配一頭漂白短髮，渾身散發英國龐克的酷帥勁兒，曾任Burberry、Mulberry等英國精品廣告代言人。

@2007/11/29 聯合報 ╱記者陶福媛

Food@米其林美食評鑑》東京191顆星 超越巴黎

權威美食評鑑米其林首次發行亞洲美食評鑑。

根據19日發表的評鑑結果，150家入選的東京餐廳中有8家餐廳得到三顆星殊榮。東京並以總星數的191顆超越巴黎和紐約，成為新的美食之都。 米其林評鑑派出3位法國人及2位日本人組成評鑑小組，費時一年半不具名地造訪東京地區1500家餐廳後完成評鑑。 獲得3星殊榮的8家東京餐廳中，有2家壽司店、3家日本餐廳及3家法國餐廳。米其林指南選出82歲高齡的壽司師傅小野次郎為全球最年長的3星主廚，小野次郎經營的「數寄屋橋次郎」位於銀座鬧區，店裡只有10個座位，每人享用一餐高檔食材捏製成的握壽司約需花費2萬日圓（約台幣5,870元）。餐廳評鑑部分另有2星級25 家及1星級117家，上榜的餐廳中超過6成為日本餐廳，4成是中國、義大利、法國及西班牙菜。

小野次郎對於自己的壽司店入選米其林3星驚訝不已：「我從來沒想過這事會發生，我一心只想著如何用最新鮮的魚貨做出最棒的壽司。」小野也對溫室效應對海洋造成的衝擊感到憂心，「我們的漁獲因此減少了，只能從現有的資源想辦法做出好壽司。」 另一家3星日本餐廳「小十」負責人奧田徹也表示與有榮焉，「該是時候讓世界了解東京美食的魅力了！米其林應該早點來的。」 米其林指南負責人尚．路克．納黑盛讚東京是餐飲界閃耀的一顆星，「東京是世界美食之都」。巴黎總星數為92顆，美食之都寶座必須拱手讓人，紐約只得到49顆。米其林指南於廿日正式發售。

@Source: 2007/11/21 聯合報 http://udn.com/

Food@東歐料理飄香 政要名流捧場

拉脫維亞Vincents餐廳，內部裝璜既不豪華，服務水準更稱不上一流，但光靠主廚芮廷斯的招牌，就成為首都里加最著名的觀光景點。（彭博資訊）

國際金融炒家索羅斯、荷蘭女王碧翠絲與英國流行歌手艾爾頓強有何共同之處？答案是他們都非常喜愛拉脫維亞名廚芮廷斯（Martins Ritins）的手藝，經常造訪他主持的Vincents餐廳。

Vincents位於拉國首都里加的舊城區，在一棟高雅建築物的地下室。這家餐廳的服務並不好，訂位紀錄可能不見，你可能要等上20分鐘才會有位子，好不容易坐定，也可能找不到服務生來幫你倒水。

不過，差勁的服務水準可阻止不了全球慕名而來的饕客，Vincents餐廳整片牆都貼滿食客的相片，其中包括美國總統布希、美國前國務卿歐布萊特、義大利總理普羅迪、德國前總理施洛德等各國政要名流。

芮廷斯的歐式料理贏過不少獎，但Vincents不走高價位路線，一般消費者花68拉堤（133美元）就可享用七道菜，還有搭配的紅酒。

傳統拉脫維亞料理到底是些什麼菜式？菜單上依序是點綴滷葡萄乾的Eleja起司烤布丁、蒔羅燻鮭魚、甜菜根滷鯡魚、培根薄肉片、清蒸野生梭鱸魚片、淋上糖蜜與酒的油封乳豬等。

另一家里加非去不可的餐廳是工廠（Fabrikas），位在奇婆莎拉島（Kipsala Island）上，俯瞰優美的多加瓦河景。餐廳看起來像是一間精巧的停車場，停在外面的禮車之多可以想見餐廳非常受歡迎。

Fabrikas老闆是前總理格里斯（Maris Gailis），他是熱愛航海的旅遊家。Fabrikas的菜單可以說包羅萬象，前菜有墨西哥豆湯、泰式沙拉、主餐有炸土雞片沾芹菜鳳梨山葵醬，以及五顆星推薦的紅鹿薄肉片、藍起司蝦歐鰈魚捲。

相較前兩家餐廳的豪華氣氛，里加新戲院餐廳（Theatra Bara）就幽僻得多。它位在一條小巷子裡，被好些建物遮住，是一家庭園餐廳。

新戲院餐廳的菜式也很簡樸，有多種沙拉、湯和義大利通心粉。另有一些創意料理，像是芝麻煎鯧魚以及滷鮭魚、酒漬嫩煎茴香、蘆筍與松露油馬鈴薯泥搭在在一起的串烤。

點心包括點酸甜燉葡萄乾的開心果法式烤布丁和新鮮懸鉤子醬純巧克力蛋糕等。兩人份午餐花費37拉堤。

里加精品酒店Bergs飯店附屬餐廳也非常值得一試。里加的時髦建築物都有一種工業化外觀，而且一律漆成灰色，Bergs飯店也不例外。不過，飯店房間非常棒，餐廳也超酷。

午餐套餐是12拉堤，或者你可以自己點菜。推薦裝飾田園植物、淋上芥茉蜂蜜醬的乳鴨胸，白酒燉梨加清燉石榴小牛肉湯，價格9.6拉堤。

如果是咖哩愛好者，可以試試印度王公（Indian Raja），位在一條巷子深處的地下室。菜單包括經典的印式燒雞（chicken tik-ka masala）及馬德拉斯咖哩等。特別的是，每道菜都有獨特的調味，咖哩肉味道也很精緻，辣椒味出現之前另有多種風味。

@Source: http://udn.com/ 2007/11/18 經濟日報 文／謝璦竹

Culture@愛丁堡藝穗節 城市與創意雙嬴

圖／小丑默劇團

位在英國北方蘇格蘭地區的愛丁堡，是舉世聞名的藝術節之都，全年大約有20個藝術節輪番上演，每年為愛丁堡帶進超過新台幣百億元的經濟效益，使得愛丁堡這個二次世界大戰後，被選為肩負以文化整合歐洲使命的城市，如今已成為全球的藝術重鎮，不只為文化創意產業帶來難以漠視的成果，也成了全球表演團體最佳曝光的國際平台。

日前來台、甫卸任的愛丁堡藝穗節前執行長保羅‧古晉（Paul Gudgin）指出，愛丁堡市議會及蘇格蘭政府曾做過一個正式研究，發現2004/2005年愛丁堡所有藝術節，共為愛丁堡帶來1.7億英鎊的經濟效益，而為整個蘇格蘭地區帶來的經濟效益更高達1億8,400萬英鎊，創造了約3,200個全職工作。

據指出，愛丁堡地區一年舉辦的所有藝術節估計約20個，光是8月就有近十個，包括愛丁堡藝穗節、愛丁堡國際藝術節等，其中最易被外界混為一談，就是愛丁堡國際藝術節（The Edinburgh International Festival）及愛丁堡藝穗節（The Edinburgh Festival Fringe）。

10英鎊門檻 創造7500萬英鎊經濟效益

明天事務所劇團藝術總監李立亨指出，愛丁堡是在二次世界大戰後被選為藝術節舉辦的城市，愛丁堡國際藝術節應運而生。但當時有八個民間團體，卻未被排入愛丁堡國際藝術節中，他們便在外圍演出，並被媒體形容為藝術節邊緣（fringe）的精彩演出，後來他們便決定以Fringe為名，成為今日的愛丁堡藝穗節。

古晉指出，愛丁堡藝穗節已有60年歷史，一開始沒有籌備委員會，1948年起以「Fringe」命名，直到1955年才成立統一票務中心，而到了1958 年則成立藝穗節協會，目前是全球最大藝術節之一，去年在愛丁堡區域250個場地上演約2,000場秀，售出超過150萬張票，每年估計為愛丁堡帶來超過 7,500萬英鎊經濟效益。

直到現在，愛丁堡國際藝術節與愛丁堡藝穗節都在每年8月登場。李立亨說，兩者最大不同在於，前者的表演者通常必須受到邀請，但後者是一個「開放式」的藝術節，任何人都可來此表演，沒有正式邀請、限制、也沒有篩選過程。

想到藝穗節表演，必須先到藝穗節的官方網站，付10英鎊左右會費，就能得到藝穗節所有訊息。接著，必須自己找到表演場地，每年藝穗節期間，愛丁堡很多場所都會改為表演場地，網站上提供名單，可供參考挑選。第三是讓你的表演進入藝穗節的節目中，最後則是自己做行銷，以便你的表演節目能為人所知、所見。

匯聚全球藝術表演能量 處處是舞台

我國已有一些表演團體曾到愛丁堡藝穗節演出。小丑默劇團團長黃浩洸表示，小丑默劇團今年在完全沒有政府贊助、全憑自費前進愛丁堡藝穗節，雖然花費很貴，且必須練就15分鐘就要裝好表演台、收台的功力，但一切都是為了「表演」，很值得；也曾前進藝穗節的劇場工作者林欣怡說，藝穗節因為很大，有很多充滿熱情、但被淹沒的人，必須很努力，才能在人群中被看到。

古晉也表示，愛丁堡藝穗節開放、沒有限制、民間主導的方式，全由表演者及藝術家發動，在藝穗節期間愛丁堡表演場地、住宿都一位難求，有些來此表演的藝術團體是虧錢做戲，「志在參與」的精神造就了愛丁堡藝穗節的影響力，很多演藝名人甚至都在藝穗節得到第一次的演出機會。

藝穗節更是一個提升國際能見度最佳場地。古晉指出，藝穗節協會本身不提供任何獎項，但會協助很多公司或團體提供各式表揚表演或音樂的獎項，韓國已積極善用此場地，宣揚韓國藝文表演。

分析愛丁堡藝穗節成功的因素，古晉認為，愛丁堡本身的城市魅力，不容忽視，因為愛丁堡是座迷人的小城，使得8月藝術節「旺季」期間，走在城市的任何角落，絕對不可能錯過藝術節的訊息，因為街上到處是表演者，發送表演傳單，這在全世界很多舉辦藝術節的城市中是很罕見的。

其次是愛丁堡市中心有許多表演場地，隨著藝穗節的發展，很多場地經理人愈來愈懂得把任何空間變成表演場地，且讓表演場地成為吸引人的地方，像是兒童樂園、車子、巴士、甚至電梯、公廁，都可舉辦表演。

「當然所有藝術節成功的主因，莫過於有投入的人及一些主要團體。」古晉說，每年來到愛丁堡的表演者約有1.7萬人，吸引上千個各國記者，而本地觀眾願意參與，更成為藝術節的最大支持，藝穗節30%的觀眾是愛丁堡居民，他們買了超過五成的票，這些都是促成此藝術節成功的原因。

@Souce: http://udn.com/ 2007/11/17 經濟日報 / 文／鄭秋霜/

Design@Best escalator - Louis Vuitton and US architects Peter Marino and Eric Carlson

Wallpaper* Design Awards 2006: Louis Vuitton, Pari

Louis Vuitton and US architects Peter Marino and Eric Carlson have created a string of sparkling Louis Vuitton stores around the world. But the shiniest star in the Louis Vuitton universe is the newly reopened flagship on the Champs-Elysées.

The original store, which opened on this site in 1998, has been expanded and reconfigured. Now seven storeys tall and encompassing 15,000 sq m, it is arranged over a series of art deco terraces with a 20m-high atrium hung with stainless steel rods.

The store also features a light sculpture by US artist James Turrell and a sensory deprivation lift by Danish artist Olafur Eliasson. Occupants of the lift, which travels from the ground floor to the top floor (a space used for ‘artistic and cultural expression’), are kept in total darkness — not even the up and down buttons are illuminated. The lift is also lined with black ‘sound-negating’ material and, to further ensure total aural blackout, a sound system uses a carefully engineered sonic swipe to wipe out any additional noise. Eliasson considers this to be a kind of consumer decompression chamber, cleansing the experiential palate and allowing the customer to better appreciate the goodies around them when they exit the lift. We consider our shopping palettes to be clean and refined enough, thank you, but it’s a nice thought.

Indeed, the architects have thought long and hard to make navigating this huge emporium as uplifting and enlightening as possible. Our favourite passage is via a 20m-long ‘travelling staircase’, which runs alongside a fibre optic wall showing a cutting-edge video installation by US artist Tim White-Sobieski.

Information:

Louis Vuitton
101 Avenue des Champs-Elysées
Paris 8e
tel: 33.1 53 57 24 00

Website http://www.louisvuitton.com

@Source:http://www.wallpaper.com/interiors/best-escalator/800