Fashion@Louis Vuitton魅惑旅情 90秒影音秀

LV新電視及電影形象廣告，利用動畫傳遞品牌的旅行精神。照片／LV提供

路易威登（Louis Vuitton）又有新創舉，在一系列由戈巴契夫、凱薩琳丹妮芙、阿格西與葛拉芙等旅行平面廣告之後，昨宣布將製作史上首支電視及電影廣告「Where Will Life Take You？」，長達90秒的影像魅力傳遞出LV對旅行與人本特質概念。

路易威登指出，雖然廣告內沒有名人、也沒有著名地景，甚至連商品都一閃即逝，但藉由數個不同地點旅程中的吉光片羽，以及不斷出現的字幕，如「What is a journey？」等，透過鏡頭氣氛營造，表達出旅行者的反思，以及旅行之後心靈的轉變。

台灣民眾最快今年可在電影院與電視上看到這支廣告，並且以中文版呈現。最近一系列的旅行平面廣告，未來將搭配上這支形象廣告，展現出LV打造除了時尚以外，另一種強調心靈與關懷的企業形象。

這支廣告片導演找來曾與王家衛執導Orange廣告系列的Bruno Aveillan，他曾經拍攝超過200齣廣告片。原創音樂則找來以斷背山、火線危機連續兩年奪下奧斯卡金像獎的Gustavo Santaolalla，為LV首支電影與電視廣告創作吉他旋律，貫穿全片。

@Source:2008/01/29 聯合報 ╱記者顏甫珉 http://udn.com/

Fashion@LV春夏較靚 6大名模比Sexy

六大名模為LV拍攝春夏新品，她們手上拎的是LV新款的Monogram Jokes系列包款，價格未定。照片／LV提供

克勞蒂亞雪佛、娜歐蜜坎貝兒、伊娃赫茲可娃、納塔莉亞芙迪諾娃、史蒂芬妮西摩、安琪拉琳芙兒，6大國際名模為LV擔任春夏新品代言人，6位美女搔首弄姿，爭奇鬥妍，其中俄羅斯名模納塔莉亞芙迪諾娃最神奇。


納塔莉亞 有娃娃特質

今年25歲的納塔莉亞芙迪諾娃，在17歲那一年，離開白俄羅斯，到巴黎為YSL走秀，她長得並不算很美，但有股獨特的可愛娃娃特質，那一場秀讓她一步登天，她的特質，在名模界帶動流行的娃娃風。納塔莉亞雖然生了3胎，但她每周固定運動、控制飲食，讓她看起來一點也不像媽媽。


伊娃 精通4國語言

捷克名模伊娃赫茲可娃精通捷克語、英語、法語、俄語，今年35歲的伊娃，從小嚮往伸展台生活，16歲參加Model選美比賽脫穎而出，就此開始她的圓夢之路。雖然剛開始Eva並非相當順利，但在她認真學習與熟悉在鎂光燈前表演後，她喜歡鏡頭前的感覺甚於走時裝秀，1992年，Eva在媒體炒作下，以及繼克勞蒂亞雪佛成為Guess代言人後，從此知名度水漲船高。


雪佛 世界最美的女人

享有「真人芭比」美譽的德國名模克勞蒂亞雪佛，1970年8月25日出生於德國杜塞爾多夫，父親是律師，從小接受很好的家教，她的愛好包括網球、繪畫和騎馬，曾與魔術師大衛訂婚，但6年後解除婚約；2002年5月與英國導演馬修弗恩結婚後，目前育有一對兒女。

克勞蒂亞雪佛曾於1995年被法國雜誌評為「世界上最美麗的女人」，且曾連續3年入選美國PEOPLE雜誌「50位最美的人」之一。雪佛的收入除位居全球超級名模前3名外，也是德國最富有的女性之一，富比世雜誌曾估計，其淨資產超過5千萬美元。

日前雪佛現身巴黎一場為 AIDS舉行的年度募款晚會SIDACTION Dinner，同時身為路易威登2008年春夏廣告代言之一的她，想當然耳又被LV給「包」了；全身穿戴路易威登「特別訂製」版本的晚宴造，風情萬種的克勞蒂亞雪佛魅力不減，為慈善晚會站台，預計募到750,000歐元（約台幣3,580萬元）。


娜歐蜜 掀時尚黑旋風

娜歐蜜坎貝兒於1970年出生在英國倫敦，15歲被人偶然發現，經過多年的奮鬥，現在不僅是全世界拍照最多的一位女明星，也是第一位出現在美國「時代週刊」、法文版及英文版「VOGUE」雜誌封面的黑人模特兒。

娜歐蜜打破了白人一統世界超級名模舞臺的局面，為時尚界帶來了一場「黑色風暴」。雙子座的娜歐蜜有著神秘莫測的個性和迷人的笑容，自信、熱情又充滿活力。


安琪拉 素食維持身材

1979年出生在美國奧克拉荷馬州的安琪拉琳芙兒，目前有兩個兒子，她跟俄羅斯的納塔莉亞一樣，擁有產後迅速瘦身的功力，安琪拉曾經跟「航越地平線」、「鐵達尼號」男星比利贊恩交往過，後來嫁給潛水家威廉艾德華，素食主義的她，吃得非常清淡，這也是她保持身材的招數之一。


史蒂芬妮 成熟嫵媚迷人

史蒂芬妮西摩曾為「維多莉亞的祕密」內衣代言而大紅，她曾經與「槍與玫瑰」的主唱艾克斯有過一段婚姻，今年40歲的史蒂芬妮西摩，有一股嫵媚的成熟韻味，相當迷人。

@Source: 2008/01/31 聯合報 ╱記者李韶明、袁青 http://udn.com/

People@Q&A with Ang Lee - Time

Tang Wei (L) and Tony Leung (R) star in Ang Lee's Lust, Caution.
Chan Kam Chuen / Focus Features



By REBECCA WINTERS KEEGAN

Ang Lee has made a habit of teaching Hollywood how little it knows about audiences, proving broad crowds would embrace a gay Western (Brokeback Mountain) and show up for a subtitled martial arts flick (Crouching Tiger, Hidden Dragon). With his new film, the NC-17-rated, Mandarin-language spy thriller Lust, Caution, the Oscar-winning director is once again ignoring the rules of commercial filmmaking.

TIME: You've said the three sex scenes in the film were harder to shoot than the martial arts scenes in Crouching Tiger. Why?

Lee: I'm a shy human being. I don't make pornos so I'd never done that before. To verbalize the feelings and lead the actors through those acts and witness how much they devote to it, it's very painful. Usually we don't go there. I don't intend to go there again. After half a day's shooting we had to stop, it was so exhausting. You're so hyper... emotionally, sexually, everything is so charged up.

Porn is plentiful, so why are scenes depicting sexuality with emotion so rare in films?

Most sex scenes are about covering things up, rather than exposing. It's very technical. It's a function you have to get over with so you can get on with the story. We give our best shot in digging into what the characters are going through. The sex scenes are pivotal parts of the story.

Did you ever consider altering your film to avoid the NC-17 rating?

When I was making it, I didn't really care. After the film was done, [Focus Features CEO] James Schamus explained to me what NC-17 means, the distribution, the advertisement, what you're gonna lose. He explained it and that was that. He never said anything else. Everybody at Focus got kind of excited about taking on the battle. They kept saying this year we have other films that will make money.

Is it possible people will go see this film because they're titillated by the rating?

There are people who know about me who will be curious. That's a plus, but the plus is 10 points and the minus is 80 points.

The film takes place in Shanghai during World War II. It's based on a short story by Eileen Chang which is much more subtle in describing the relationships between the characters. Why did you choose to be so explicit?

I'm not a translator of the author. I took a hint from her. To me the boldness of the story was unprecedented, particularly against the backdrop of the most macho, glorious, patriotic war against the Japanese. It was very daring.

This was your lead actress Tang Wei's first film. Were you concerned by the demands of the role?

Yes and no. The thrill actors get, the liberation, to reach the other side of themselves, it's very exciting, very liberating. They learn a lot about themselves. So often Tang Wei said to me when I asked her is she was OK, "What are you talking about?"

If making this movie was so emotionally taxing, why did you do it?

Because you're not supposed to. Truth can be painful and frightening. Lots of people, whether you're making a movie or doing a painting, you feel compelled to be honest. It's uncomfortable, but I feel compelled to communicate with other people.

@Source: http://www.time.com/time/arts/article/0,8599,1667513,00.html?iid=sphere-inline-bottom

People@Tyra Banks - Time

By HEIDI KLUM

Everyone knows Tyra as supermodel, as host and producer of America's Next Top Model and her own talk show, and as whip-smart business mogul. She is all those things. But I also know her as a close friend. When I started as an "Angel" for Victoria's Secret, Tyra was already an established pro there. During lunch, I'd grill her about the business: whom she would recommend as an accountant, an attorney, a business manager. Not everyone was, let's say, superfriendly, but Tyra was always nice. She shared her experience and knowledge with me. In this industry there are a lot of people who don't want to help each other, but I guess Tyra was and is secure because she was always willing to share what she had learned—and, trust me, I asked a lot of questions.

That open, warm side of her was more apparent as we became friends and spent a lot of time together at shoots. Tyra and I could always be goofy together and remind each other that, hey, this is fashion, not life or death. On the flip side, when situations got too crazy, we could always turn to each other for a reality check.

I'm not surprised that Tyra, 32, has achieved such phenomenal success. She's one of the most hardworking people I know—I've seen her go straight from a late night of press to an early-morning shoot with no complaints. Even more important, she is passionate about her projects and compassionate toward the people involved in them. Her appeal is obvious to anyone who knows her, whether personally or professionally or just from her shows. She is dynamic, positive and real, and we are only at the beginning of her special brand of global domination.

Klum is a supermodel, businesswoman and host of the reality show Project Runway

@Source: http://www.time.com/time/magazine/article/0,9171,1187401,00.html

People@Renzo Piano - Time

By RICHARD ROGERS

Renzo Piano is an absolute master of light and lightness. He has a fantastic understanding of construction and the scale of pieces. I don't think there is anybody like him. He's the son of a builder who was very close to his father and very proud that he was a builder; it gives him tremendous roots. The unusual thing about Piano, 68, is that he works from small to big. I had never met an architect like that before.

He doesn't approach a building from the point of an idea; it grows out of the ground. He's also one of the most elegant architects I know. He's elegant in person, but also his structures are very elegant, very humanistic. They aren't pieces of abstract sculpture. They grow out of understanding how buildings go together and how light comes through them; he designs roofs that pull light in. Piano has moved on from the massive machine—like the Pompidou Center in Paris, which we designed together and which is full of people, like a big climbing frame—to very beautiful museums and libraries. Each one is a bit more elegant. Piano has terrific range. I love the San Nicola football stadium in Bari, Italy, which is a massive statement—big petals of concrete that come out of the ground. Then there is the Beyeler building in Switzerland that is as light as anything. I won't say which of his buildings is my favorite. I will say he's my favorite architect. He's one of the supreme modern architects of his generation. He's also a fanatical sailor. He designs his own boats. When we were first friends, almost 40 years ago, he designed a concrete sailing boat. And actually it worked very well.

Rogers designed London's Lloyd's Building and the Millennium Dome

@Source: http://www.time.com/time/magazine/article/0,9171,1187238,00.html

People@Ang Lee - Time

By ZIYI ZHANG

Because of Ang Lee, so many more people know about Chinese filmmaking and about Chinese films. Crouching Tiger, Hidden Dragon, a Chinese-language movie, mesmerized Western audiences in 2000. And last year, with Brokeback Mountain, yet another unimaginable success, both with critics and audiences, he captivated the entire world and reached the pinnacle of moviemaking.

Lee's ability to be such a huge cross-cultural influence is, I think, unique. His Taiwanese upbringing, which kept him deeply rooted in the Chinese way of being and living, combined with his well-informed understanding of Western mores and filmmaking techniques have allowed him to speak to those two worlds in a way no other director has.

It's as if when Lee, 51, makes a film, he is able to erase the cultural lines and have its profundity understood at a universal level. He creates characters that draw in an audience no matter what language they speak. His insight into the human heart crosses all boundaries.

I know he is also making a huge influence in the lives of younger filmmakers and actors. I, for one, will be forever indebted to him for casting me in Crouching Tiger, Hidden Dragon. When I went to audition for him, I had made just one film (The Road Home) and had never done any martial arts. I was 20 and didn't feel up to any of it. He still gave me that chance. Why? He saw what I could be capable of and was willing to let me have a go at it. How great is he?

I love that he never limits himself either. He's a good role model for all of us. Director Ang Lee lives in the future.

The Beijing-born Zhang starred most recently in Memoirs of a Geisha

@Source: http://www.time.com/time/magazine/article/0,9171,1187225,00.html

Fashion@土耳其首家LV 新舊文化擦火花

LV在土耳其伊斯坦堡的第一家全球概念店，在伊斯坦堡最有歷史意義的Sisli區。
照片／LV提供
LV廣告部副總裁安東阿諾（左起）、名模伊娃赫茲可娃、LV總裁伊夫斯卡塞爾，三人一起剪綵。
照片／LV提供

LV在土耳其伊斯坦堡的第一家全球概念店上周末開幕，捷克名模伊娃赫茲可娃，穿著LV全新春夏的毛呢外套，搭配透明雪紡紗與絲緞合身裙，手提新款Vernis Sunset手拿包，配戴新款的蜂蜜色Gina太陽眼鏡與monogram幸運手鍊，十足春風洋溢的LV女郎。

土耳其的LV全新專賣店，位於伊斯坦堡最具歷史意義的Sisli區，坐落繁華先進的Abdi Ipekci街道上，搭配迎接新年與情人節的全新櫥窗設計與LV新款系列，交織出新舊時代衝突的文化色彩。
LV總裁伊夫斯卡塞爾、伊娃赫茲可娃及LV廣告部副總裁安東阿諾，一起亮相，為伊斯坦堡全球概念店開幕剪綵，安東阿諾是LVMH總裁柏納阿諾的兒子，外型有他老爸的影子。

伊娃赫茲可娃拍過最有名的廣告是「Victoria secret wonderbra」，身材惹火的伊娃，也曾在97年到99年，上過泳衣雜誌，從1993年到今年，伊娃走遍全球精品大秀，上過歐美各大時尚雜誌封面，走紅程度持續15年之久，而且目前仍是當紅的top model。

@Source: 2008/01/18 聯合報 ╱記者李韶明 http://udn.com/

Fashion@黑灰格紋+五金配件 LV性感壞男人

短夾克和直筒褲，側背的Damier方格圖案背包，是全新的黑灰配。
照片／LV提供
戴著LV頭盔的男模，一身酷樣。
照片／LV提供

由一台包覆Damier材質的鋼琴，拉開巴黎男裝周LV秀序幕，明顯地點出了LV 08秋冬又是Damier格紋的天下。紀念第二代傳人Georges Vuitton設計的Damier格紋逢120周年，LV秋冬推出全新的Damier，最大的賣點是「黑、灰格紋配」，搭配銀色五金風格的男性配件。

60年代法國男星亞蘭德倫（Alain Delon），及在30年代大紅的尚嘉賓（Jean Gabin）在電影中創造出放蕩不羈與神祕感，是08秋冬LV「壞男人形象」的翻版。似是而非的「使壞」性感，來自LV秋冬男裝細節和圖案。雙面穿的大衣、偽裝效果的細節、衣服的暗袋、多層效果的透明感，Marc Jacobs秋冬展現的是優雅的神秘感。

古老的俄羅斯、希臘、以色列、布達佩斯建築上的寶石、菱形建築裝飾風格在暖灰色西裝、夾克和白襯衫間形成重點。最酷的是採用鈔票的細線條版畫風格的服飾上裝飾細節，或者乾脆LV自己把「鈔票圖案作為裝飾依據」。

暗喻金錢萬能的鈔票圖騰，是玩弄奢華的使壞武器。縫上亮片的領帶與絲巾、彷如手表機芯金屬片結合出LOUIS字樣的項鍊墜飾。而多層襯衫、雙滾邊細節和拉鍊開岔的直筒長褲，或正反面呈現不同款式的雙面夾克，和一雙「尖頭皮鞋」，是08秋冬男性主力配件。

再怎麼玩，也玩不過頂著LV安全帽出場的男模，簡直是酷呆了。

@Source: 2008/01/19 聯合報 ╱記者袁青 http://udn.com/

Design@琉璃創意蛻變 繽紛到澄澈

「框景」是中國園林建築中常運用的設計，猶如以門窗為風景畫框，把山水美景或人文景觀包含其中。Liuli Living借用「框景」的概念，把牡丹妝點入畫，將裝飾與功能融為一體，金屬方框是一層抽屜，由切割的金屬把手構成。琉璃工房

當色彩全部抽去，琉璃會剩下什麼顏色？當繁華完全落盡，人生還留下什麼相貌？正在台北展出的「澄明之悟—楊惠姍現代琉璃藝術展」，呈現楊惠姍與琉璃工房團隊20年來不同階段的成果，透過創作不斷挑戰自我，充滿對生命的感悟。

走進SOGO百貨公司「澄明之悟」的展場，一朵朵盛開的透明無色巨型花卉，有的是牡丹，有的是荷花，栩栩如生的綻放花瓣以易碎的玻璃材質做成，透露出一種顏色盡落後的透明澄澈，巨大的尺寸與細膩的造型，不只吸引目光，更震撼人心。



楊惠姍藝術展，朵朵盛開無色花卉，透露出顏色盡落後的感悟，吸引目光震撼人心。



楊惠姍曾經是知名的女明星，1987年起投身琉璃藝術創作，苦心學習研究琉璃脫蠟鑄造法，20年來楊惠姍帶領琉璃工房創作團隊建立技術，藝術家與品牌的結合，使琉璃工房成為華人文化創意產業的知名品牌之一。

走過20年的琉璃工房，不只持續從事藝術品的創作，也將琉璃藝術產業化，例如成立透明思考（TMSK）餐廳及Liuli Living居家品牌，推動琉璃藝術與生活美學的結合。

為了展現琉璃工房20年來具階段性意義的創作，這次展覽有許多前所未見的作品，除了楊惠姍最新創作「澄明之悟」系列外，還展出「花好月圓」系列、「無相無無相」系列、千手千眼觀音及Liuli Living系列家具及飲食器皿。

「花的創作，其實是我展現生命的方式。」楊惠珊表示，她選擇以易碎的琉璃材質來表現生命，正是呼應生命的無常。佛法所說的人生七苦，包括生、老、病、死、怨憎會、愛別離及求不得，都在提醒人們生命的多變化與無法掌握。而一切的苦都是因為無常的存在，所以更應該去體會「空」與「無」的概念，並且對生命的苦產生更慈悲深切的觀照。

楊惠姍不同階段的花創作，展現的是她對生命的體悟歷程。例如她在第一階段創作的「花好月圓」系列中，賦予每一件作品明媚色彩，洋溢豐富的生命力，表現出世人喜愛與追求的美滿幸福。

到了第二階段的「澄明之悟」系列，她則把所有的色彩全部抽出，從繁花似錦到剎那透明，留給每一件作品澄澈透明的原本樣貌。對楊惠姍來說，「澄明之悟」系列巨大的花朵以透明澄澈的型態展現，正是她思考生命及創作歷程的另一個階段。

「無相無無相」系列作品，也不容錯過。楊惠姍在此系列作品中，以各式技法在靜定的佛像周圍空間，形成流態或氣泡，讓原本靜止的作品，展現了呼吸般的生命力與流動感，也揭示了「諸法無常」的變幻莫測。讓人對金剛經所言：「一切有為法，如夢幻泡影。如露亦如電，應作如是觀」有著更深層體會。



蘊含禪意與對生命體會的作品，彰顯出個人創作語言，也看見東方文化的深刻影響。



琉璃工房指出，楊惠姍蘊含禪意與對生命體會的作品，已在歐美獲得矚目。2007年「澄明之悟」在紐約Leo Kaplan藝廊第一次展出時，這個造型為一朵盛開的透明無色巨型牡丹的作品，吸引了美國康寧玻璃博物館館長歐諾（Tina Oldknow），立刻以美國康寧玻璃博物館的名義收藏。西方琉璃藝術界人士並認為，楊惠姍的作品建立了屬於她的創作語言，也看見東方文化在她身上的深刻影響。

琉璃工房今年起並推出「Liuli Living」這個新 系列，為東方文化創意與產業的結合更跨一步。

琉璃工房指出，Liuli Living有些商品原本就在「透明思考」餐廳使用，因為琉璃工房對生活美學的整體思考，從2001 年起就開始將酒杯、陶瓷等材質的飲食器皿與琉璃結合，今年起飲食器皿及家具等全部納入Liuli Living這個新品牌。

琉璃工房指出，相較於「澄明之悟」把色彩抽出，首度在台灣亮相的Liuli Living的產品則充滿綠、紅、金等鮮活明亮色彩，並以中國園林建築中常用的「框景」設計手法，將一朵朵盛開的金色富貴牡丹，框在如鏡的鋼琴烤漆般的原木料上，成為兼具觀賞與實用功能的現代家具。

@Source: 2008/01/12 經濟日報 文／鄭秋霜 http://udn.com/

Fashion@三宅一生結合Dyson 以風打造時尚創意

Dyson吸塵器與三宅一生跨界合作，以風打造時裝秀元素。記者陳俊吉／攝影

時裝與吸塵器的結合，聽起來匪夷所思，但三宅一生和Dyson以「風」做為主題，為兩個不相干的商品打造完美組合，並成功延伸三宅一生上個月在巴黎時尚周伸展台的創意概念。

三宅一生創意總監藤原太以「風」做為春夏新裝設計主題，並根據Dyson吸塵器的構圖線條設計服裝，藤原太和他的設計團隊拆解並分析Dyson吸塵器的內部構造，從中獲得靈感，設計出Dyson A-POC系列新裝，將吸塵管變成了袖子，圓錐筒變成了裙子，集塵筒則變身成外套。

Dyson吸塵器創辦人James Dyson則是利用「風」的力量，發明了不用集塵袋等耗材的吸塵器，用獨有的氣旋科技（cyclone technology）創造出強大吸力，吸力不會因集塵袋阻塞而衰退，這款吸塵器去年剛來台上市就造成熱銷。

在去年巴黎時尚周春夏新裝發表的伸展台上，James Dyson設計了一個巨大的通風管，做為模特兒走秀出入的通道，另外在空中高懸五支管子，將氣流導向伸展台，利用「風」結合吸塵器與時裝的創新概念設計舞台，別具巧思。為了紀念這場跨界邂逅，Dyson推出一款三宅一生限量版吸塵器，僅在歐美日本上市，結果被搶購一空，為吸塵器與時尚華服的相遇寫下完美的註腳。

@Source 2008/01/16 聯合報 ╱記者古鎮榮 http://udn.com/

Arch@Morimoto New York

Photo © Richard Pare
Drawing
Virtual Tour
Floor plan
Deatil of main bottle wall

Left to right: Ando associate Masataka Yano, architect Tadao Ando, Iron Chef Masaharu Morimoto, project creative director Stephanie Goto.
Photo © Sarah Amelar

Tadao Ando

New York City
Tadao Ando Architects and Associates

Tadao Ando serves up rich visual fare with silky concrete and glowing water bottles at New York’s Morimoto restaurant

By Sarah Amelar


Flaps of persimmon-red cloth over the entrance of Manhattan’s Morimoto restaurant flicker wildly in the breeze, animating the industrial brick-and-blackened-steel facade. A curiosity to passersby, the flame-bright scrims turn out to be a playful twist on a traditional noren, the curtain that hangs outside shops in Japan, signifying “open for business.” Unlike a typical noren, this one is not of cotton, but of woven PVC weighted at the bottom, and it spans not a modest commercial doorway, but an almost theatrical 50-foot-wide arch. This supersize gesture offers a first taste of the space’s inventive and, in many cases, oblique allusions to Japanese culture. Just as chef Masaharu Morimoto—a star of TV’s Iron Chef—fuses Japanese sushi with such flourishes as fois gras and crème fraîche, the restaurant design borrows seasonings from eclectic sources.

Right behind the noren, automatic doors glide open, revealing that this is not your classically sober, ultraserene Tadao Ando project. Certainly, concrete, his signature material, is present—notably in the stair descending from the 160-seat dining area, at grade, to the bar and lounge below. But beyond that cool, quiet gray, the 13,000-square-foot interior conveys a sense of spectacle in its dynamic convergence of angles, multiple contrasting surfaces, and overhead ripples coursing across a luminous, tentlike ceiling.

A nearly two-story-high water wall, angled off of the plan’s orthogonal lines, plunges down the center of the space alongside the stair. Not the gently trickling waterfall of Japanese gardens nor the country’s almost glacially still fountains, this freestanding wall is composed of 17,400 half-liter plastic bottles, filled with mineral water and screwed into electric-socketlike couplers. While vertical stainless-steel rods hold the couplers, horizontal bracing carries LED point lighting, producing a backlit shimmery effect.

But is this whimsical (though literally splashless) exuberance really the work of the typically rather subdued Ando? “Restaurants are different from more ‘serious,’ architecture,” he explains. “I recognize them as places for entertainment.” His client, Stephen Starr, a self-described “longtime fan of Ando’s” and “design-driven restaurateur,” who had commissioned Karim Rashid for his Morimoto restaurant in Philadelphia [record, November 2002, page 164], convinced the Japanese architect to take on this $6.5 million project in what was once the Nabisco Baking Company’s gritty loading dock and basement. The space now borders Manhattan’s Chelsea Market, a hip, quasi-industrial food arcade. Starr was initially concerned, he confesses, that the project might turn out “museumlike and all concrete,” so he “respectfully let Ando know early on that the restaurant would need warmth.” And, it seems, a lively spark.

information

Owner:
Starr Restaurant Organization

Architect:
Tadao Ando Architects and Associates5-23 Toyosaki 2 ChomeKita KuOsaka 5310072T +81 6 6375 1148F +81 6 6374 6240www.tadaoando.com
Tadao Ando, Masataka Yano

Project Architect New York:
Stephanie Goto, Stephanie Goto Design Group
Architect of recordGuggenheimer Architects www.g-arch.com

Furniture Design:
Ross Lovegrove

@Source: By Sarah Amelar
http://archrecord.construction.com/projects/interiors/archives/0609_1morimoto-1.asp

Arch@安藤打造 亞大藝術館像積木

安藤忠雄介紹自己設計的亞洲大學藝術館，是一棟三角型的建築。記者周文郁／攝影

安藤忠雄。記者周文郁／攝影

日本建築師安藤忠雄設計、一棟擁有不規則三角形、如積木般錯落堆積而成的藝術館，可望於兩年後在台中縣霧峰的亞洲大學揭幕。

這是安藤繼為交大設計美術館後，再度為台灣的大學設計建築。經由亞洲大學創辦人蔡長海邀請、亞洲大學副校長劉育東居中牽線，安藤將為該校設計藝術館，並由國家文藝獎得主、姚仁喜擔任在地執行建築師，總工程造價約二點一億台幣，預計二○一○年一月底完工。

劉育東說，安藤平均每三天接獲一個國際建築案邀約，但其中只有百分之三獲安藤青睞、設計建造。

安藤說，亞洲大學藝術館的基地擁有很大的廣場，他決定採舉世少見的三角形設計，他認為三角形較正方形更有發揮空間，但他坦承這樣「工程執行單位會很辛苦」。

亞大藝術館分三層樓、共一○三○坪，依安藤的設計，將正三角形的平面分割成三層，再錯落堆疊成不規則的無數個三角形。藉由平面分割而成的立體戶外平台，將變身為露天咖啡座、雕刻台、展望台等。顛覆一般直立式的柱子，館內的柱子全是「歪」的，由Ｖ形鋼架構造而成的空間及玻璃窗也都呈現三角形。Ｖ形鋼架支撐突出的懸臂下部空間，則形成如騎樓般可庇蔭的空間，此處並是入口通道及面臨廣場前的休憩園地。

螺旋狀重疊的三角形迴廊，或隱密或開放，讓人、藝術與大自然在此相遇、對話。

將與安藤合作打造藝術館的姚仁喜昨天笑說，這回他的角色如同「副導演」。他說此一建築最大的挑戰就是「它很簡單」，而看似簡單的建築其實最困難。

@Source: 2008/01/10 聯合報 ╱記者周美惠 http://udn.com/

Food@Big Fish in a Big Pond

Wonderland for the sushi set: Morimoto spreads high-concept design over 12,000 square feet.

By FRANK BRUNI

Published: March 22, 2006

AT the sushi bar, not far from our table, a handsome man takes a seat beside two attractive women, who expertly pivot in his direction, as if practiced at this kind of maneuver. He talks a lot. They laugh a lot. As the night moves along, both women hand him their cards. Their friendship had better be strong. It may soon face an awkward test.

One of the cast members of "Queer Eye for the Straight Guy" arrives, a pretty and chattering posse around him, and claims a prime piece of real estate in the main dining room. The designer David Rockwell passes the group as he leaves. He didn't contrive the cool, clean, white-on-white look of Morimoto (an architect named Tadao Ando did), but he probably feels compelled to check it out.

It's a stunning piece of work: a sparkly wonderland for glittery people, who always get the word and always hop onboard. They drink their bright cocktails, fiddle with their chopsticks, survey their compatriots and tap-tap into their cellphones and other devices, presumably checking on the whereabouts of less fortunate friends, perhaps informing them that the place to be is right here, right now. It's Morimoto's moment.

Stephen Starr's, too. He's a Philadelphia restaurateur in the midst of an ambitious Manhattan transfer. In late January he opened this 12,000-square-foot restaurant, which is named for, and modeled after, a sibling in the City of Brotherly Love. It was followed this month by Buddakan, another Philadelphia import, another visually bedazzling behemoth, just a few hundred feet away.

Both restaurants bet on a proven formula of Asian-inflected food, thoroughly tricked-out digs, theatrical presentations and pure buzz, although Morimoto has an additional ace up its sleeve. Masaharu Morimoto, a Nobu alumnus familiar to viewers of "Iron Chef," put together the menu, supervises the cooking and, at least for now, can be seen caroming around the open kitchen and into the dining rooms to greet guests.

He never stands still, and neither does his menu, which zooms across national and continental borders. It presents the culinary equivalent of a round-the-world ticket. It also sets up the possibility of gastronomic jet lag.

A vast selection of very fine sushi and sashimi roots the restaurant in Japan, which also asserts itself in preparations of Kobe-style beef, in tofu and noodle dishes, and in the recurrence of shiso, miso, wasabi and sudachi.

But other dishes and ingredients branch out to other parts of Asia, and even to Europe and Latin America. Among the best appetizers I tried was a "tuna pizza" with raw bluefin tuna, jalapeño, red onion, olives and an anchovy aioli atop a crisp, thin tortilla. I also liked silky slices of "lamb carpaccio," dressed with Japanese green onions, grated ginger and garlic oil. But I was confounded by a vegetable tempura that was clobbered by a Gorgonzola dip.

From Italy it was off to China and France, mingled in an entree called "duck, duck, duck." Why, why, why? Because it was a multifaceted fowl, roasted Peking style. The crisp-skinned, moist leg was served whole, while carved breast meat went into an unpleasantly soggy sandwich made with slices of cucumber and a foie gras-infused croissant. A gooey duck egg, placed between a patch of red miso sauce and a pool of port wine-flavored duck jus, completed the excessively busy composition.

The appeal of the dishes at Morimoto, like their ethnic associations, was all over the place, due in part to their frantic nature and in part to the kitchen's uneven performance.

Rock shrimp tempura, half of the shrimp bathed in a wasabi aioli, half in a Korean red pepper sauce, were light and sweet. Black cod with a ginger and soy reduction and a spicy half chicken with roasted red and green finger peppers had tender flesh, and a delicate touch had been applied to the poached lobster in a wonderful salad with yellow beets, cauliflower and a soy beurre blanc.

But a roasted lobster was overcooked, as was just about all of the shellfish, including shrimp and crab, in a Japanese bouillabaisse with a red miso broth that turned out, by default, to be the highlight of the dish. And limp ribbons of beef in a soy and mirin broth tasted as if they had been adrift in hot water three times longer than they should have been.

Even more troubling than the unevenness was the way high concept repeatedly supplanted sound judgment, resulting in dishes more amusing to behold than to ingest. The utensils provided for appetizers of toro and hamachi tartare were wood sticks not unlike tongue depressors in their feel and lingering taste. The tartare was accompanied by a beautiful but exasperating spectrum of colorful condiments and herbs (an avocado purée, crème fraîche, micro radish sprouts, wasabi and so on) arranged in contiguous bands so slender that it was nearly impossible to isolate any one from another.

The "Morimoto sashimi," terrine-like cubes made from layers of hamachi, smoked salmon, barbecued eel and seared toro, was luscious and hugely flavorful, but which of five colorful liquids in five gimmicky pipettes should be used to anoint it? There wasn't enough fish to make it possible to try all of the sauces and then circle back to a favorite one.

Although plenty expensive, Morimoto is an often undisciplined restaurant, prone to silliness and crammed with servers whose extraordinary friendliness didn't mask their mistakes.

One night I arrived just a few minutes after three companions. When I checked in with the host station, I wasn't told they had been seated, and I went to wait in the spare, sleek lounge downstairs. I kept asking servers if they had arrived, and my companions kept asking about me. For 35 minutes Morimoto never managed to connect us.

But it has its luxe pleasures, including a serious array of not only sake but also shochu. It has its courtesies, like tables with ample space between them and a noise level kept somewhat in check by translucent partitions and by wavy white sheets of canvas and fiberglass on the ceiling and along the walls.

And it has its amusements, some of them related to the paces apparently required of large-scale Japanese restaurants making a run at a fickle downtown crowd.

There must be a signature design element. Morimoto's is a two-story internal wall, which is made from water bottles and resembles a gargantuan sheet of illuminated Bubble Wrap. There should be arresting restrooms, and Morimoto's take automation beyond the function of mere flushing. Step into a stall and the lid on the toilet rises to greet you.

A sense of humor, a sense of style and definite sex appeal: Morimoto has all of these, along with the crowd they bring. If only more of the food lived up to the frisson.

Morimoto

*

88 10th Avenue (15th Street), Chelsea; (212) 989-8883.

@Source: http://events.nytimes.com/2006/03/22/dining/reviews/22rest.html

Arch@ Tadao Ando’s New York Debut - Morimoto

Courtesy of Starr Restaurant Organization

Tadao Ando’s design for Morimoto includes a white fiberglass-canvas ceiling draped throughout the dining room.

In the works for over two years, Morimoto, designed by Osaka-based Tadao Ando and the architect’s first project in New York, opens today, January 31. Located in the building that contains Chelsea Market, between 15th and 16th Streets, Morimoto is located on the Tenth Avenue side of the market, and is on the same block as Buddakan, an Asian fusion restaurant that will open on February 22nd. Both are the brainchild of Philadelphia-based restaurateur Stephen Starr.

“Ando works primarily in concrete and I knew it would be a challenge,” said Starr, who owns more than a dozen restaurants in Philadelphia that have been designed by the likes of India Mahdavi, Karim Rashid, and David Rockwell. “I knew that could be a problem. An all-concrete restaurant is not a place people would want to go. So we sat down and figured out how to make that work,” he said. Morimoto is named after its chef Masaharu Morimoto, known on television as the Iron Chef, from the eponymous series.

Located directly underneath a stretch of the High Line, the exterior of Morimoto is a dark galvanized steel façade, with a gentle rising archway, which frames an orange curtain that leads to the entrance. Budgeted at $12 million, the interior of Morimoto features Ando’s trademark use of concrete, but with softer touches. Inside, he has draped the interior space in swaths of white fiberglass-reinforced canvas, which flows across every inch of the ceiling. Upon entry, dining areas and sushi bar surround a central staircase that leads diners to the bar downstairs. In the floor-opening of the staircase, a dramatic installation of 17,400 water-filled glass bottles are each hung horizontally from the ceiling down to the below-grade level. Each glass bottle is fitted with an LED light that renders the simple installation into a multi-media show.

Since Morimoto was a conversion of a space formerly used as a loading dock, the space required a larger upgrade, architecturally. “At the beginning, it was really hard to see the big picture,” said Stephanie Goto of Manhattan-based Goto Design Group, the local architects. “If you see the space from before now, [Morimoto] looks effortless but there were many things that had to go into putting a kitchen in the basement, and creating openings.” However, “Great architecture goes into making things look effortless.” ANDREW YANG

Morimoto, 88 10th Ave, at 15th Street; (212) 989-8883

@Source:http://www.archpaper.com/news/01_31_06_tadao.html

從生活文化 汲取創作靈感@Thinking

創新，是企業前進的動力，但創新泉源何處尋？不妨探頭望望生活周遭的美麗風景，或從生活文化裡挖寶，你會發現創新元素，原來就「藏」在裡頭。

每年4月，日本京都的櫻花祭，總吸引來大批觀光客，帶來可觀商機。

為了抓住這股商機，京都人把「賞櫻」的生活文化，注入商品，製作出代表櫻花、樹木、土壤的粉紅、綠、咖啡三種顏色漸層的和果子，成為旅人的最佳伴手禮。

猶如仙女棒一揮，原本平淡無奇的商品，「變成一個有故事的商品，感動消費者的五感，也提升商品的價值。」政大科技管理所教授李仁芳說。

風土條件 企業的軟實力

日前，李仁芳應台灣廣告主協會之邀，以「加值型行銷（value up marketing）」為題發表演講。

「風土條件是企業的軟實力！」李仁芳指出，日本人善於運用在地風土文化，從中找到感動消費者的創新元素，用商品說故事給消費大眾聽，藉此為商品價值加值。

日本動畫大師宮崎駿，就是個例子。李仁芳點出一張張日本神社、木造房屋的照片，接著跳到宮崎駿動畫電影「神隱少女」的畫面，聽眾豁然開朗，「原來動畫大師就是從生活周遭的環境，找尋創作靈感。」

此外，不同於一般卡通畫家，每秒只用九張畫稿，宮碕駿每秒用15張畫稿，表現出動畫的細膩度，「這就是在創造所謂的『深度經濟』。」李仁芳說。

然而，這也是長年走代工路線的台灣產業，最不擅長的部分。李仁芳指出，企業的創新可分為降低成本（cost down）及加值（value up）兩種。

加值創新 開發行銷元素

過去，台灣企業著墨於降低成本型創新，擅於重新研發、再包裝既有商品，進行低價競爭，加上少有自發性創新商品，隨著市場競爭日益激烈，只得靠不斷降低成本爭取訂單。

「透過加值型創新生產出來的商品，是不需要競爭的。」李仁芳再舉凌志汽車（LEXUS）為例，說明企業如何從生活文化中尋找創新因子。

「LEXUS最值得注意的地方，是極高速下的穩定與寧靜。」這是美國Road & Track雜誌對LEXUS的評語。「安靜」，也是LEXUS一直強調的商品特色。

LEXUS的最大競爭對手是德國的雙B，但德國的工藝技術舉世聞名，來自日本的LEXUS為何要特別強調「安靜」這個元素？又有何能耐推銷這個賣點？

李仁芳分析，LEXUS的母公司豐田汽車，總部所在地的關西，歷史文化豐饒。「什麼是關西情調？」常去日本的他指出，「安靜」就是當地的生活形態。

李仁芳說，LEXUS從公司的發源地找到「安靜」的創新元素，融入汽車的研發中，並以此做為行銷訴求，當消費者購車時聯想到它的原產地，會打從心裡信任這款車的安靜特色。

回頭看看台灣的情形。李仁芳說：「以台灣人的生活條件，是很有機會從生活文化中，發展加值型創新。」台灣服務業已有不少成功的例子。

有日本友人來訪時，李仁芳總愛招待他們到「食養山房」用餐。優雅的用餐環境、精緻的餐點，讓喜愛精緻餐飲的日本人，也讚不絕口。

他指出，食養山房不以連鎖形態經營大眾市場，堅持在陽明山上，打造獨一無二的品牌，精緻的美食結合山上的美景，讓消費者願意多花一點錢，也是另一種的加值行銷策略。

李仁芳強調，「加值創新不見得要走高貴路線，」例如本土咖啡品牌85度C，主打「平價」即可享受五星級飯店師傅烘培的蛋糕。

近幾年，台灣製造業摩拳擦掌，打算從代工轉型自有品牌，但是「創新」這一課，仍有待學習。

勇於造物 多聽多看多學

「創新的根源，得有『造物』的勇氣。」李仁芳說，台灣的製造業主，有多少人有勇氣，做個不同市場主流的「創新異類」，用自己的眼光設計、研發商品，再推銷到國際舞台？宏達電便是值得學習的對象。

李仁芳形容，1997年成立至今，「宏達電一直在走一條下雪的路」。十年前，當所有的PDA製造商，都採用PALM為PDA內建系統，宏達電選擇微軟的 WINCE系統；當大家都在走代工路線時，宏達電選擇以「創新力」打市場。歷經十年奮鬥，宏達電 如今有「一天賺1億元」的堅強實力。

日本京瓷公司創辦人稻盛和夫提出，「發想力 x 熱情 x 生活方式＝經營者評價」的加值型創新經營公式，就是提醒經營者除了要有發想力、實踐創新的熱情外，還要懂得生活，才會成功。

宏達電執行長周永明，早就以這樣的態度經營企業。李仁芳說，周永明常鼓勵員工「走出去」，多聽、多看、多被外面的世界感動，從中找到創新的靈感，企業才能不斷進步。

台灣的企業經營者，別再把自己困在辦公室裡，試著走出去戶外細細欣賞台灣的美麗風景，從中尋找為商品、也為企業加值的創新力量吧！

@Source: 2008/01/09 經濟日報 ╱林婉翎 http://udn.com/

Fashion@時尚秀場座位學

永遠坐在第一排的名人（像上圖左二的貝嫂就是）、明星、名流、VIP和重要媒體，當然都是秀上另一種重要風景。
圖片提供／LV
Dior在巴黎凡爾賽宮舉行的高級訂製服秀，氣氛奢華，只能容下不超過200個座位，誰坐哪兒，費盡心思都有一定的安排。
圖片提供／Dior
時尚秀超級贏家LV的秀，每一季都吸引全球媒體和VIP專程飛到巴黎觀看。
圖片提供／LV
PRADA別出心裁的秀場布置，以同心圓的環狀設計座次表，引人入勝。
圖片提供／PRADA
開秀之前，忙碌的工作人員正小心「喬」大位，LV簡約的秀場座位，絕非想像中那麼「陽春」。
圖片提供／LV
YSL在巴黎的秀場，布置得一如私人沙龍會所，氣氛優雅。
圖片提供／YSL
料峭春寒的巴黎羅浮宮花園，枯枝打寒顫的2月天，斗大的、雪白的山茶花，漫天蓋地印滿了透明雨棚搭出的秀場。

我怯生生地擠在一堆穿著各式雜色花軟呢香奈兒套裝的貴婦群裡，看著魚貫出場的名模，和大師卡爾拉格斐一塊兒謝幕。

那情景歷歷在目。記不清楚那天我是坐在秀場哪個角落，但那分打心底的涼意，卻不斷提醒自己：有一天，非得坐定那第一排的時尚「寶座」。

入口之後 是天才和偏執迷的異想世界也許此刻，你正坐在巴黎小皇宮、羅浮宮杜樂麗花園的露天棚內、米蘭PRADA的Show room、GUCCI的私人劇院、洛杉磯的停機坪、東京惠比壽公園、柏林美術館、上海影城、北京長城、台北的故宮長廊，還是紐約第五大道Ralph Lauren席設私人別墅的秀場，正坐在某個用考究的古羅馬數字，書寫上你的名字的座位上……但你不會忘記，這是飛了幾十個鐘頭的航程後，才開始的序幕。你一頭栽進倫敦某個超市、東方快車車廂內，或是陰暗淒涼的廢車場裡，就為了等待大秀開鑼。沒錯，這只是一個開始，一個也許擠都擠不進去，看起來五光十色；但背後卻暗藏偏執、阿諛、世故、排擠、卡位和權力爭鬥的時尚世界入口。

TOP 10 中國VOUGE總編在列

「第一排」座上賓，也會風水輪流轉，不過，唯一可以確認的是，中國版VOGUE總編輯安潔莉卡，已自動被所有名牌列入TOP 10秀場大牌的名單上。這是可以「理解」的，誰市場大，誰就擁有敬意。

即使如此，身為時尚公務員的記者，矢志躋身秀場第一排寶座的志願，從來沒有改變過。

秀場座次 決定時尚人怎麼看你這場明爭暗鬥，從秀場「座次」就已經決定了一切。這種糾結著人情、勢利和實力的圈內文化，從來沒有改變過，也不會停止。

每次收到燙金邀請卡的那一剎那起，緊繃、焦慮的氣氛，更助長了一窺秀場的好奇和好勝心。

我的秀場經歷，勉強還算完整。身經不下數百場國內外大小秀，嘗過被拱上夢幻「第一排」的甜頭，也吃過千里迢迢飛了半個地球但仍被拒於門外的排頭。更慘的是，在人生地不熟的秀場外被當成菜鳥，人高馬大的「紅領帶」（多半繫著一條紅領帶的秀場保全人員），一個箭步搶下我的相機，硬要抽掉底片！更別提在又溼又冷的雪地裡，等待在開場前被恩准入場的機會，這一站，就是個把小時。

最沒好氣的是，好不容易進了場，卻被滿坑滿谷的人牆擋住視線，連衣角都沒看清楚，秀就散場了。

中韓請上座 台灣媒體往後退秀場座位，決定了坐在這個位置上的人的「人氣」和媒體影響力。

隨著席次愈來愈多、愈坐愈前排的變化，也反映了名牌對媒體的「西瓜效應」。中國和韓國在精品圈崛起，不過是這幾年的事；而我的座位節節敗退，也成了台灣市場實力消長最好的證明。

每一季的時尚大秀，每場全球幾千人次申請登記，搶不到兩三百個座位。而有了入場票，也不代表你很重要。通常第一排絕對是大人物的專區，愈後排就愈遞減。

對一般人來說，秀場中段位置最理想，靠近攝影師區的前段次之。若是緊挨著秀場出口的位置，模特兒一出場，多半時間看到的都是背影，你覺得會好看嗎？

有的邀請卡上就註明是站票，你也不必太抱怨，想想那些不得其門而入的，不論是邀請卡在寄到旅館中途已被偷了，或是根本沒被放在秀場名單上，第一步，當然還是想法子先擠進場再說！

名模穿幫、名人調情，台上台下加味好料多

「秀」真有那麼好看嗎？

受凍、悶熱的天候下人擠人，15分鐘，屁股還沒坐熱、眼睛瞳孔也還來得及適應秀場強大的投射燈光，還分不清這季衣服重點……如果這樣看，那麼答案當然是「No!」

但從某些角度來看，卻很值得。當黑珍珠娜歐蜜就在你眼前穿幫，琳達在你面上摔了一跤，中田英壽和莎朗史東就在你鄰座眉來眼去；或是美國版VOGUE和法國版ELLE總編緝「后不見后」，都是沒親臨秀場無法體驗的「加演戲碼」。

@ Source: 2008/01/08 聯合報 ╱記者袁青 http://udn.com/

Fashion@T型袖搭短褲 Versace春夏幻影

奧圖曼圖像全以電腦繪成，產生一種奇幻感。
圖／Versace提供


Versace春夏女裝以輕盈柔軟的T型袖搭配線條落在大腿處的短褲，企圖在理性和性感之間取得新的平衡。

不再強調80年代誇大的肩墊，外套也不再是過度顯示權勢的代表。水洗和酵素處理的緞布或輕盈的亞麻布、苧麻布，營造輕柔感。大口袋和逆褶的狩獵外套，薄如紙的袋鼠皮有一種特殊光澤。

T型袖設計的裙或褲裝成為日裝主角。襯衫式外套以小皺褶取代繫帶的緊身褲；翻領襯衫式外套，有凸顯胸型的剪裁效果。卡其、軍綠、橙、桃紅，以及巧克力的棕（不同層次的黑）等。招牌奧圖曼圖像（Ottoman iconography），包括鬱金香、半月形和樹枝和來自Iznik陶器的圖案全以電腦繪成，產生一種奇幻感。

Versace春夏手袋特點是增大容量；除了鱷魚皮、駝鳥皮和蟒蛇皮，選用拉菲亞樹葉纖維等物料結合而成，加上皺摺處理和獨特扣環的細節設計，增添摩登感。鞋款上的流蘇晃動，多少有印度風的影子。

@Source: 2008/01/09 聯合報 http://udn.com/ ╱記者袁青

Fashion@印度時尚 自在性感做衣服的主人

斜肩、披掛是印度風服飾的特色，圖為Dior早春禮服。
圖片提供／Dior
印度風服裝充滿哲理，以圍裹、披掛的穿衣方式，絕不會有「不合身」的問題。
圖片提供／Hermes


金磚四國崛起，印度風迅速在全球延燒，不僅印度菜、瑜伽、印度舞孃的肚皮舞已蔚為時尚，就連服飾也吹起印度風，披披掛掛、圍裹纏繞，還要搭配叮叮咚咚的珠寶配件，讓女人搖曳生姿，舉手投足盡是冶豔風情。

印度服裝，饒富禪意

印度是哲人的孕育地，就連印度風服飾也是饒富哲理。

印度風服裝的特色，不外是披掛、垂墜和圍裹，如此才能利用最簡單的布材、以最少的剪裁呈現印度華服之美。

在印度的穿衣哲學裡，人是衣服的主人，衣服可以隨著主人的身材凹凸曲線而改變，如此就不會有「衣服不合身」的問題。

亞曼尼2008年春夏以南歐的休閒風情與東方調詮釋新裝，就融入不少披掛、圍裹的元素，不對稱的斜肩與裙襬，穿起來寬鬆舒適，但又不減奢華貴氣，正是印度風服飾的特點。

喧鬧，也能優雅

印度風服飾色彩濃豔炫麗，常予人過分喧鬧之感，若搭配不當，容易流於俗氣。想穿出「印度風」的高貴，不妨參考2008年春夏高堤耶 (Jean Paul Gaultier)詮釋的愛馬仕女裝，模特兒頂著穆斯林頭巾優雅走秀，雖是披金戴銀，但以單一色系如粉紅、橘金、亮銀等凸顯尊貴感，斜肩披掛的純絲絲巾隨風飄逸，搭配閃亮炫目的金白，詮釋印度貴族的尊貴優雅。

印度風的嬉皮趣味

印度是宗教哲學起源地之一，靈修興盛，70年代的嬉皮文化就與印度關係密切，寬鬆舒適的Pajama罩衫上精繡金銀絲線，帶有濃郁的中東風情，正是嬉皮族群的最愛，只要搭配牛仔褲或七分褲、頭上再繫上頭巾，就非常時尚。

印度，就是粉紅

印度，就是粉紅！猶記得60年代美國第一夫人賈姬陪同夫婿甘迺迪訪問印度時，就選擇穿上炫麗亮眼的粉紅色套裝，因為印度的色彩濃郁，粉紅、鮮黃、豔桃色都是印度的代表色彩。

本季如Versace、Jil SANDER、Marc Jacobs等，都可見到粉紅色系的禮服，整件披掛身上隨風搖曳生姿，更添異國風情。

此外，印度的刺繡和珠繡也是風格獨具，圖案多以花草居多，構圖一致、有視覺延展的秩序美感，不像中國刺繡是以寫實畫風居多。

知名華裔設計師Andrew Gn就大量運用印度風刺繡，讓服飾更添華麗。浪凡 (LANVIN)也以印度風格的亮片珠繡，詮釋帶濃郁東方風情的奢華。

@Source: 2008/01/09 聯合報 @ http://udn.com/ ╱記者陶福媛