12.20.2007

Fashion@在COACH,看見品牌新風潮

奢華,唾手可得


這是一個缺乏特色的中間品牌,如何躋身一線奢華精品的故事。

七年來,COACH營收從5億美元成長到26億美元,超過四倍。但在此之前,1999、2000年的COACH,營收成長率甚至在都還是負的。《BusinessWeek》曾報導,「COACH的確堅固耐用,但是保守死板,是一個正在退流行的品牌……。」

M型消費風大行其道,中產階級向右走,但頂級精品價位實在高不可攀,定位「唾手可得的奢華」的COACH趁勢而起,成為消費者奢華需求的「替代選擇」,還創造逾70%的毛利,居全球精品之冠。

繼2006年西班牙ZARA〈平價奢華風〉專題後,《遠見》直擊COACH紐約總部,不僅看到COACH升級品牌的企圖,更看到精品的大未來。

業績〉近八成毛利、逾20%營收成長
  
如果說這幾年來國際上哪一個精品品牌最讓人印象深刻,COACH絕對排在最前幾名。從1996年到2000年的五年間,COACH營業額一直在5億美元間徘迴,毫無進展。甚至1999、2000年的營收成長率都還是負的。然而從2001年起,這七年來,COACH幾乎沒有一天停止過成長,營收已從5億美元成長到26億美元,成長超過四倍。

今年美國景氣受次級房貸與高油價衝擊,美國零售工會已經預測今年會是五年來美國最冷清的一個聖誕節。然而就在這樣的蕭條氛圍中,COACH仍然在今年10月的季說明會上,宣布7、8、9月業績成長28%、每股盈餘成長32%的好消息,而且展望未來一整年,仍將持續維持過去幾年來,每年20%左右的高成長率。

除了營收成長驚人外,COACH的獲利能力也令人刮目相看。從2003年後,COACH毛利率就突破70%,近幾年來甚至都超過世界知名的精品集團,如LVMH、Tiffany、歷峰集團等,高居全球各精品之冠,每年獲利從6400萬美元暴增至4.94億美元。2000年10月COACH股票剛上市的時候,華爾街其實並不捧場,只以2美元開場。然而,這七年來她的股價年年成長,最高時一度衝高達到53.79美元。跟其他精品股價比起來,COACH是少數年年股價維持在兩位數成長的品牌。

變革〉全新定位、四大轉型策略
  
從1995到2000年,COACH業績是停滯不前的,但是這五年法蘭克福已經展開大刀闊斧變革。終於在2001後開始起飛。

翻開2000年10月COACH上市時面對華爾街投資界的計畫書上,詳細列出了COACH新品牌定位與變革的四大策略。這COACH在2000年提出來最鮮明而令人印象深刻的品牌定位是:「唾手可得的精品」(accessible luxury)。

「一直以來,我們品質很好,耐用實用,所以絕對是精品。但是我們價位不到歐洲精品的一半,2000年平均售價才200美元,後來內部討論出來『唾手可得的精品』這個定位,真是很好、太好了,」法蘭克福說,從那之後COACH很清楚自己在精品市場上的定位,是提供那些不想花很多倍價錢去買歐洲精品、卻又想擁有精品的消費者,另一個最佳選擇。  

形象策略〉削薄厚重感,妝點時尚粉彩
  
首先,當然是改變產品。首要之務是把經典、穩重,但嫌老氣的產品,轉變為更時尚、女性化。1996年,法蘭克福說服當年33歲的設計師瑞德.克拉可夫加入COACH,擔任負責產品設計與視覺的執行創意總監,展開一系列的產品變革。

這11年來,因為變化出新的COACH形象,克拉可夫連拿了兩屆有設計界奧斯卡之稱的美國服裝設計師協會(CFDA)年度最佳配件設計師獎。 瑞德一步步改造COACH產品,以往只有皮革製成、單色系的COACH,現在變化多端。

今天的COACH包包,完全皮製的只剩下30%,其他七成大多是混合不同紡織布、皮、帆布等材料。混合皮革與布料製成的手提包,擺脫過去完全皮製品的厚重感,輕快、也更時尚,大受歡迎。

通路策略〉總管家打理,店面統一調性
  
2000年時,執行創意總監克拉可夫重新打造COACH店面,把原本以桃木色裝潢為主,改成以白色為底,更大、更明亮的時尚空間,全方面改變品牌在街頭的印象。

現在配合每月新貨上架,全球超過500家COACH專賣店的擺放方式,也會被要求改變,搭配和新款手提包風格相吻合的絲巾、皮夾,連店內音樂也同步更換。「為了維持全球一致形象,COACH各國的分公司或經銷商,都要按照每個月總部的陳列指南更新櫥窗,全球同步,」COACH台灣代理商采盟公司副總經理陳歆說。

北美零售通路總裁塔奇(Michael D. Tucci)也說,最近五年,COACH花很多時間在裝飾店面,總想增加更多顏色、更多層次、更多藝術感,把不同的元素層次化,在主要牆面漆上當季的顏色等,都是COACH店面的特色。

出貨策略〉每月換季,跟上消費者節奏
  
COACH的第三個策略則是增加出新貨頻率,以刺激消費量。過去的COACH,像其他時尚精品一樣,每季推出一次新產品,有時候還賣上一整年,消費者都看膩了,為了讓每三、四個星期就上門一次的忠實顧客永遠保有新鮮感,法蘭克福要求加快頻率,每個月就換季一次。

因應每個月推出新款式,COACH設計團隊已從10人增加到今天75人,而且還在徵人中。也為了說服消費者多買包包,COACH也是第一個提出在不同場合、季節、時間帶不同包包的精品品牌。「我們把包包定位為新的鞋子,」發言人瑞絲妮克說,過去美國女性每一年買六到八雙鞋,用鞋子搭配穿著、展現時尚。而COACH提出,消費者也可以用包包來展現時尚。

代工策略〉打開外包風氣,公司徹底轉型
  
COACH第四個策略,是為了搭配每月出貨的頻率與效率,以及降低成本,COACH開始走向產品外包代工。近幾年來COACH的毛利率年年突破70%,高居各精品名牌之冠,並沒有因為價格低許多,而落後其他名牌,關鍵就在於生產外包的大規模製造。

為了符合「令人夢寐以求的品牌、又買得起的奢侈品」的定位,他大膽改變生產邏輯,2002年關掉最後一間工廠後,COACH正式從製造業轉成行銷導向的公司。 「目前幾乎所有名牌都已經到母國以外的地方生產,只是程度不一樣,」不像其他名牌對於生產外包問題左閃右躲,法蘭克福直截了當地說。

有趣的是,代工後的COACH產品,在華爾街分析師與各精品時尚雜誌的報導分析中均紛紛指出,不但品質沒有下降,反而提升。甚至帶動其他精品也走向代工的策略。


@Source: 天下遠見出版 2007.11.29 採訪撰文∕楊瑪利、王一芝 ,攝影∕陳應欽

Innovative@破解! 日本暢銷商品的研發密碼

加、減、乘的三套創新公式

暢銷商品是否一定要順應顧客的需求?同業之間是否一定要強調大同小異的數字競爭?暢銷商品首先得突破這些迷思,追求新的研發密碼。


乘法加值:為了開闢另一個戰場,回歸到事物本質思考,才能與眾不同。
加法組合:結合不同且矛盾的兩種極端,開發連顧客都想像不到的商品。
減法聚焦:將複雜的事物變簡單,讓商品功能不複雜、更容易上手。

「X牌的液晶電視從開機到顯像只要十六毫秒,比Y牌二十一毫秒快了五毫秒。開機後顯影秒數愈短,就表示殘影愈少。」在日本家電量販店賣場中,每一樣商品旁邊,都豎著一塊立牌,寫著同類商品競爭品牌的性能比較一覽表。

一般來說,不同品牌的液晶電視,彼此之間會比較「開機後畫面顯示最快多少毫秒」,數位相機則比較「畫素多少」、「伸縮鏡頭幾倍」。

千萬不要陷在同一戰場上

由於各家業者過於強調性能的競爭,於是不知不覺當中,廠商之間都陷入了「在同一個戰場上」比較「相對價值」的迷思,各家廠商身陷「你有,我也有」大同小異的性能之戰,甚至只是斤斤計較,比較數字的大小。

廠商之間強調性能競爭的「數字割喉戰」,對於消費者來說,也不見得是好消息。

家電量販店或是3C賣場提供的型錄與功能一覽表令人眼花撩亂,不知從何選擇,最後比較得來的結果,也不見得是消費者真正想要的商品。

然而,有一群暢銷商品的研發人員,不跟大家一起打混戰,具有不當跟班的反骨性格。

他們追求「絕對價值」,而非「相對價值」,敢於「做自己」,拒絕將「顧客第一」作為口頭禪。

創新精神讓商品「做自己」

暢銷商品的創新精神一:追求「絕對價值」,而非「相對價值」。暢銷商品的研發秘訣,在於不要陷入和其他的競爭者站在同一個戰場上打仗的迷思,而是另闢前所未有的新戰場。

暢銷商品的創新精神二:勇於做自己。多數研發人員以為銷售時點系統(POS)的數值就等於「顧客心聲」,卻不知所謂的「顧客心聲」,只是希望改善的意見而已。如果過於相信這些資料數據,往往削弱商品開發力,反而成為研發人員的無形殺手。

但是日本的家電廠商發現一個殘酷的事實,那就是一味迎合消費者的結果,往往造成陷入功能的競爭當中,重複同樣的性能,廠商之間只是比數字大小而已。因此,研發人員想要創新,就要忘卻「迎合顧客需求」,勇於做自己。

暢銷商品的創新精神三:不當跟班的反骨性格。當競爭對手遵循業界的主流作法,形成一股「跟風」時,勇於找出另一種新的可能,找到完全不一樣的切入點,「反業界主流」反而有機會突圍,創造商品另一個新主流。堅持信念的研發人員,勝過顧客意見的統計數據。一味地跟進,反而會失去研發人員的創意與熱情。


@Source: 數位時代雜誌 2007.11.20 撰文/文及元

12.17.2007

Fashion@大師封筆之作》香奈兒 多明尼克與海蒂

多明尼克‧蒙克托瓦(左)是香奈兒的「捕光手」,以各種光澤變化令彩妝施展獨特魅力;海蒂‧莫哈維茲則對色彩敏銳。兩位大師即將在今年底退休。
圖片提供/香奈兒
香奈兒東方戀艷眼彩盤,在2005秋季推出。
圖片提供/香奈兒
最愛山茶花眼影盤,是香奈兒2008春季主打商品。
圖片提供/香奈兒


2007年彩妝界變化萬千,兩個化妝品牌的重量級人物,與眾多擁戴的消費者說再見。

香奈兒重量級的創意總監多明尼克‧蒙克托瓦與海蒂‧莫哈維茲歷經多年合作,今年底一起宣布退休,把棒子交給接班人PETER PHILIPS。另一位是克蘭詩的創辦人賈克古登‧克蘭詩先生,他於今年3月過世,人生最後參與的作品「28有氧拍拍霜」即將上市,讓愛美女人無限緬懷。

香奈兒→ 多明尼克與海蒂將退休
(Dominique Moncourtois & Heidi Morawetz)

香奈兒彩妝幕後最重要的靈魂人物多明尼克‧蒙克托瓦,以及海蒂‧莫哈維茲,今年底即將從工作30多年的香奈兒退休了。多年來,多明尼克與海蒂一直有默契的共事著,兩人的巧妙搭配,也令香奈兒彩妝集時尚、優雅與科技於一身。

早期,多明尼克曾從事電影製作助理,多才多藝的他曾擔任彩妝師,為碧姬芭杜、珍妮夢露化妝,1969年正式加入香奈兒。

多明尼克在片廠工作的經驗,讓他對光線掌握精準,開啟日後香奈兒彩妝融合光線科技,令彩妝不只玩顏色,而是與光影共舞。

1985年開始,香奈兒的底妝,就以添加色素修飾粒子聞名,有此新開發的光線粒子,粉底可反射光線,呈現3D的臉蛋。此一美麗科技至今不斷升級,且仍在沿用。

香奈兒最早推出金屬光彩妝,約莫8年前左右,香奈兒在口紅、眼影的基礎顏色之外,裹上一層耀眼的金屬光,且隨光影千變萬化,一時之間風靡整個市場。另外,以虹光技術製作的彩妝,令顏色輕透、和煦,且塑造各種難以定義卻變化萬千的色彩,也都來自多明尼克的發想。

2000年時,多明尼克曾預測:「未來的指甲油不再沒有光澤,會像汽車烤漆」果然,過了2~3年,香奈兒就推出了震撼市場的銀色烤漆般的指甲油,且深得女生喜歡。

他還說,「未來的粉底,會以人造肌膚為概念。」意即,厚重粉底將被淘汰,各種光線粒子融合的粉末,呈現出宛如「第二層肌 膚」般的觸感,這個心願也在今年10月剛推出的柔焦完美粉底呈現。

他也曾說:「未來的唇膏,不只是唇膏,會隨著情緒轉變顏色。」這真令女人興趣盎然。「情緒口紅」尚未轟動上市,因為研發的過程永遠是漫長與煎熬的,或許真有那麼一天,女人塗抹著情緒口紅,喜怒哀樂也赤裸裸呈現眾人眼前了。

多明尼克‧蒙克托瓦擁有一雙神奇「捕光手」,海蒂則對顏色擁有極高敏銳度。近來香奈兒推出的限量彩盒,無論靈感來自中國屏風的「東方戀艷眼彩盤」,巧思來自晚宴的「亮片小禮服眼盤」,或者最新推出的「最愛山茶花眼影盤」,所運用的獨特顏色,都來自於海蒂的想法。

海蒂與多明尼克謝幕之後,接下來,便會把舞台交給接班人PETER PHILIPS。新人的創作大戲,即將在2008年秋季登場。

@Source : 2007 /12/17 聯合報 http://udn.com/ ╱記者徐文玲

黑珍珠LV包 打破白色時尚魔咒@Fashion

名模Natalia Vodianova風情萬種,手上的Galliera包款延續neverfull的設計概念,細肩帶拉開即可撐開包包的容量,包面上還有LV 101標牌。
照片/LV提供
名模Eva Herzigova手拎日落大道sunset包款,以亮皮面營造夜晚派對感。
照片/LV提供
娜歐蜜坎貝兒擔任LV廣告代言人,每個LV字母細看都有潑墨般的漸層色紋。
照片/LV提供

時尚圈向來是白種人的天下,有「黑珍珠」之稱的娜歐蜜坎貝兒(Naomi Cambell)就多次私下抱怨,「黑美人」、「黃美人」的工作機會不如「白美人」。昨天搶先曝光的LV 2008年春夏廣告邀請6位國際名模代言,娜歐蜜坎貝兒即是其中之一,LV高舉族群融合的大旗,打破「白色時尚」的魔咒。

LV的2006年秋冬廣告就邀娜歐蜜入鏡,大陸名模杜鵑還同時出現在YSL、LV等一線精品的廣告上。近日剛登場的香奈兒2008早春廣告也出現東方臉孔,由菊地凜子(Rinko Kikuchi)擔綱代言。

不過娜歐蜜坎貝兒並不滿意,她曾抱怨英國Vogue雜誌的封面,已有半年未出現有色人種,還指出她曾登上法國Vogue雜誌封面,不過那是因為聖羅蘭先生堅持一定要用她當封面,否則就「抽廣告」的結果!不過這一季,「黑珍珠」可風光了,她不但獲選為這一季LV廣告的主打名模,還推出自己的內衣品牌,據說愛馬仕(Hermes)還有意以她之名,繼Birkin、Kelly包後,推出一款帶有民俗風格的「Naomi」包呢!

LV這一季力邀美國現代藝術家Richard Prince攜手合作,推出一系列充滿藝術氣質的新包款,並邀請時下最紅的名模代言廣告,包括克勞蒂亞雪佛、Stephanie Seymour、Eva Herzigova、Natalia Vodianova、Angela Lindvall及娜歐蜜坎貝兒等,躺在色彩鮮豔的汽車引擎蓋上,拎著本季最in的主打包款入鏡。

其中娜歐蜜坎貝兒拎的「Mono aquarelle」包最具有代表性,「髒汙」效果的Monogram圖案,必須經歷十幾道繁複手續才能完工,極具珍藏價值。

@Source: 2007 /12/15 聯合報 http://udn.com/ ╱記者陶福媛

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

12.08.2007

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

12.07.2007

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

12.05.2007

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

12.04.2007

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

12.03.2007

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

12.02.2007

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

11.30.2007

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

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