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NEW STORE NOW OPEN City 841 George St Store ShopA 841 George St, Haymarket NSW (Between UTS and Central TAFE) City George St Store Shop181 569 George St, Sydney NSW (Summit Arcade Opposite World Square)

City Haymarket Store Shop4 209 Thomas St, Haymarket NSW (Between Insearch and Market City)

Chatswood Chase Store Top Ryde City Store Shop K22 Chatswood Chase ShoppingCentre Shop LG2-108A Top Ryde City (Down in the Food Court) (Level LG2 in front of ALDI)

Macquarie Centre Store Shop 90A Macquarie Shopping Centre (Down in the Food Court) Hurstville Westfield Store Shop K27 Westfield Shopping Centre, Hurstville NSW (Coles Level Opposite ALDI)

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vie. magazine

PUBLISHER CREATIVE DIRECTOR EDITOR IN CHIEF BUSINESS DIRECTOR

Vie Media Pty Ltd Darren Kong Sheila Liew Alexandra Luo

GRAPHIC DESIGN

Sid @ SYM design

PHOTOGRAPHER

Blanc on Black Photography Dip Photography SydneyWalker

FOOD AMBASSADOR

FASHION AMBASSADOR

HIGH LIFE EDITOR EDITORS

Constance Taing Luke Nguyen Akira Isogawa Silence is Golden Andrew Ou Bigheadlam C.K. Luo Emily Cheung Jaclyn K. Janet Lim Kenneth Chang Patrick Chan Wendy Suen

Vie Magazine Studio 15, 77-83 Parramatta Road, Annandale 2038 NSW Australia 1300 670 474 info@viemedia.com.au sales@viemedia.com.au www.viemedia.com.au

Disclaimer The content of this magazine is provided for information purposes only and neither the authors nor any of the authors’ agent or consultants warrant the accuracy or reliability of any of the content of the magazine and no responsibility is assumed by the authors, the authors’ agent or any of the authors’ consultants in respect of the content of or omissions from the content.

vie. magazine 5 今期我們將歡迎五十川明加入我們的團隊成為其中一個時裝大使。大家是否覺得他的名字很熟 識？以精美的設計及理念在國際享附盛名，他將會從今期開始為Vie的讀者分享他本人對時裝的 意見。他將會為Vie提供其本人親手撰寫的信件及相片，大家萬勿錯過以後任何一期Vie雜誌！ 在第3期，Vie有幸能訪問數位身在悉尼的企業家及成功人仕。當我看過這些故事主人翁的辛酸 故事之後，意識到其實我的童年是多麼的幸運。時至今日，我也不曾經歷過像受訪者般，為事業 與家庭如此艱辛拚博地奮鬥。我從來不曾為生活為居所而擔憂，他們的經歷啟發了我，為我努力 實踐自己的理想和夢想注入原動力。人必須為自己的未來作出最大的努力，儘管到最後還是失敗 也可以問心無愧。在面對逆境的時候，無論看到未來的路有多難走，也應該咬緊牙關繼續向前。 我希望各位Vie的讀者都能在看過這些故事之後能跟編者產生共鳴。 令人驚喜的是，vie第二期的雜誌相當的受歡迎，如果不想錯過任何一期，而且比任何人都更快 得到我們未來的雜誌，可以選擇在雜誌的最後一頁填妥表格訂閱我們的雜誌。我們絶對不會讓我 們的讀者失望，而且將會不遺餘力地在未來做出更好的成績。 讀者的意見對於一本成功的雜誌相當重要，我隨時歡迎讀者給我發電郵提供意見或查詢。

編者的話 THE EDITOR SPEAKS… This issue, we would like to welcome Akira Isogawa into our team as one of our fashion ambassadors. Does his name ring a bell? Armed with international recognition, exquisite design and ideas, he will be sharing his inner thoughts with vie readers from this issue on.

Get ready to receive letters and photos from Akira himself to vie and be sure not to miss any of our upcoming issues!

In Issue 03, vie had the opportunity to interview several business entrepreneurs and business successors from Sydney. After reading their poignant stories, I realised how lucky I used to be when I was a kid. Even up to today, I did not have to go through such bitter lives which they had gone through just to make a living for themselves and their families. I never had to worry about wearing torn clothes and living under bridges or sleeping under carton boxes on the street. Their stories have inspired and motivated me to strive even further to achieve my own goals and dreams. One should work their way to their own future. If you do fail one day, you can then say to yourself: “At least, I have tried and I have given it my utmost best”. We should not stop in the face of adversity, no matter how hard the journey, we should continue to work towards that dream. I hope vie readers will feel the same way I did after reading their stories.

Surprisingly, Issue 02 has been very popular. Be the first to receive our magazine from Issue 4 onwards by subscribing to vie. Refer to the subscription information at the end of the page. vie will definitely not let our readers down and will continue to work our way to generate better issues coming along the way.

Feel free to drop me a line if you have any comment or enquiry as we always love to hear from you.

Sheila Liew sheila@viemedia.com.au

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08 五十川明

AKIRA ISOGAWA

12 潮流提示

KWIK TIPS [Night Out]

14 VIE. BEAUTY FEATURE

vie. magazine 7

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時裝大使

vie FASHION AMBASSADOR 五十川明

AKIRA ISOGAWA

WORDS Sheila L PHOTOS Akira

SydneyWalker

今期，vie熱烈歡迎五十川明加入成為我們的時裝大使。五十川明是澳洲其 中一個國際知名的現代時裝設計師，其精美的設計是世界主要時裝城市的 時尚。在未來的時日子，他將會在vie和各位讀者分享他在本地及海外的經 驗，介紹時裝的潮流及趨勢。 在日本京都出生的他在很小的時候就開始繪畫一些物件，這份熱誠成就了 今天的他。他相信一個人需要對其所做的事充滿熱情才可以保持清醒及創 意，而他就在女性時裝中找到這份熱誠。當他在1986年移民澳洲之後，他 發覺澳洲對比起世界其他地方相對缺少流行的時裝。本能告訢他對這情況 應該做一些事，在完全不知該從何做起的情況之下，他開始設計自己的時 裝品牌。在這段時間他意識要達到前衛先鋒地位必需擁有基本技術的重要 性，從而驅使他在悉尼修讀時裝設計。

In this issue, vie welcomes Akira aboard as one of our Fashion Ambassadors.

Akira Isogawa is one of Australia’s internationally acclaimed contemporary designers whose exquisite designs are in vogue worldwide at major fashion cities. In future issues, he will be sharing his local and overseas experiences, introducing current fashion trends in the market.

Born in Kyoto, Japan, he started drawing objects at a very young age and this passion has driven him to where he is today. He believes that one has to be passionate in what they do to keep the mind and creativity going and he found his in “woman’s clothing”. After moving to Australia in 1986, he saw a lack of trendy fashion wear here compared to the rest of the world.

Instinct told him that’s what he should do but without any hint on where to start, he began designing his own line of apparels. Over time he realised the importance of fundamental skills vital to attaining the avant-garde status.

This led him to study fashion design in Sydney.

Akira at The Japanese Foundation, Sydney

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因為他的文化背景，他可以從他所熱愛的日本時尚設計中得到啟發及靈感。1993 年當五十川明的第一家時裝店在Woollahra開幕的時候，所有細節幾乎都要他自已 跟進，從購買布料到剪裁，從縫紉到賣出完成品都是他自已一手一腳成完。在往 後的17年直至今天，他已塑造了超過30個系列，平均每年生產2至3個系列。 五十川明先生相當享受工作帶給他的樂趣，但他遇然也會詢問那些設計工作的伙 伴或其他專業人仕一些創新的意見，從而刺激他思維獲得最好的構思。很多人都 會很有興趣知道他是從哪裏獲得設計每年不同季節時裝的靈感，作為一個真情流 露的藝術家，他的設計是很受他當時情緒的影響，所以有時也可以很天馬行空地 創作。不過，他比較喜歡保持他固有的藝術感，而不願創造出一些不符他風格的 作品。 每一季的系列都會帶出一個不同的氣息－有稚氣的；男性化的；女性化的或有些 較複雜的，代表著他在人生舞台每一個階段不斷的轉變。在1998年10月他開展了 他的世界時裝舞台，從那時起他面對的是更大的市場。他所保持的獨特見解使他 在其他走較大眾的商業化的時裝設計師中突圍而出，他每件設計都是獨特的藝術 品，而且也不會大量生產，因為他也自覺其設計是很難突破成為主流市場。 Due to his cultural background, he has drawn inspirations from contemporary Japanese design which he has always loved. When Akira’s first store was opened in Woollahra in 1993, he was very much hands-on from beginning till the end – from acquiring fabric, cutting, sewing to selling the finished products. Over the next 17 years, he has had to date fashioned over 30 collections, producing 2 (now 3) collections each year.

He enjoys working on his own but at times he would solicit innovations from colleagues in the designing arena as well as other professions to give an extra boost to even his best ideas. Many would be interested to know how Akira derives his inspiration for the different seasons of the year. As a spontaneous artist, his designs are very much influenced by his spur-of-the-moment sentiment, which could be occasionally whimsical. Nonetheless, he prefers to maintain his intrinsic artistry rather than creating something that is essentially not Akira.

Each seasonal collection evokes a different flavour – naïve; masculine; feminine and some complex - representing the various stages of his life. In October 1998, Akira started showcasing his works overseas and since then has been exposed to a bigger market. To this end he maintains his vision which sets him apart from the other designers whose designs are far more commercial, catering for a mass market. Akira’s design is distinctively a work of art intended for a boutique environment as he realised his ideas are harder to transcend into the conventional market.

Akira’s latest Automne/ Hiver 2010 collection was exhibited at The Japan Foundation, Sydney at Chifley Plaza in June and is available in store now. His dresses range from long skirts to knee-length and slimline clothing.

vie. magazine 11

五十川明的最新一季Automne/Hiver系列於6月期間在Chifley Plaza的日本 協會展示，而且該系列現已公開發售。他在這個系列的設計分别從長裙 到及膝長度以至緊身剪裁，如果你想在特別的宴會上成為超級巨星閃閃發 亮，而又同時有自信能穿起五十川明獨一無二的系列，大家可到其店鋪參 觀。 為了能夠滿足不斷增加的需要，五十川明從去年開始設計緍禮的服飾。這 個系列從修身的設計到層疊的，亦有不同剪裁的全身裙以至及膝長裙，所 有的緍禮系列將於今年8月開始發售。其他最新系列包括如圍布、項鍊、 手裝及胸針等配件。 感受與別不同的現代日本設計，可瀏覽以下網頁www.akira.com.au或親臨 旗下任何一間時裝店。 If you want to be a star and shine at an important event, at the same time confident that you’re wearing an exclusive one-and-only Akira creation, it is well worth visiting his stores.

To meet increasing demand, Akira moved to alternative bridal wear last year. This collection varies from slimline, organic, full-length to knee-length dresses in different shades, all available in his stores August this year. Other recent items also include accessories like scarves, necklaces, bags and brooches. Check out his full collection on www.akira.com.au or visit any of his stores for a different contemporary Japanese design experience.

Akira Boutique Locations

12A Queen Street Woollahra NSW T/F: +61 2 9361 5221 Strand Arcade Level 2 412–414 George Street Sydney T/F: 02 9232 1078 GPO Melbourne Level 1 350 Bourke Street Melbourne VIC T/F: 03 9663 5003 705 Ann Street Fortitude Valley QLD T: 07 3252 4919

12 vie. magazine

潮流提示 KWIK TIPS [Night Out]

WORDS Sheila L PHOTOS SydneyWalker / Blanc on Black Photography STYLIST Ai K MODEL Jianne H

步驟：

一個完美的晚上絶對需要一個好的髮型，特別是女仕們都很著重

1.

將耳後的頭髮分成2份，只留下小部份放耳前。

衣服與鞋的搭配，還有適當的化妝，當然理想的髮型也是很重

2.

將耳後的髮段再細分為3個部份，以直髮夾將頭髮向 外拉出一半然後將直髮夾轉向內。保持同一位置兩秒 後直接拉到髮尾再鬆開，美觀的曲髮即時形成。

3.

拿起一小撮後頂的頭髮以直髮夾拉出並以90度角拉直 以營造出頭頂的髮量感。

4.

兩邊的頭髮以直髮夾以部驟2的方法微曲向面拉下， 直拉至兩額位置以凸出面部的曲線。

5.

以定型噴霧噴在整個髮型以減少散髮及凌亂感。

6.

將餘下頭髮撥在一邊肩上，用兩個髮夾去保持形態。

7.

最後再用小量噴霧去固定髮型。

要。在黑夜中帶曲髮的女性加強髮型的曲線及將一邊夾起會顯得 更性感。今Kippo的Ai K會為大家分享如何在15分鐘完成適合晚間 的發型。 A night out will never be perfect with a bad hairdo. Girls especially, are very mindful of which clothes to wear, a nice pair of shoes to match, the right makeup for the occasion and lastly, not to forget the ideal hairstyle to complement a perfect look for the night. Those with curly hair can look even sexier in the dark with enhanced curls and have it tied up to one side. This issue, Ai K from Kippo will share some hot tips on how to complete a quick 15-minutes styling before heading out for the night!

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a

b

c

e

g

d

f

h

i

j

STEPS: 1.

Part hair in 2 sections from behind the ear and leave smaller strand in the front of the ear.

2.

Further part the rear section in 3 parts. With a hot flatiron, straighten hair out halfway from the end and turn the flat-iron inward. Hold that position for 2 seconds then pulling it right to the end and release. Viola! A beautiful curl is instantly formed! Repeat for the other 2 parts.

3.

Grab a small handful of hair on the rear top part. Pull out and straighten hair in 90 degrees to create volume on the top of the head.

Kippo Hair and Colour Bar

4.

For the small strands on the sides, use the iron and curl towards face as in Step 2. Pull the strands over the cheeks to highlight the curve of the face.

5.

Add a little hair spray to the whole head to reduce straying hair strands and frizziness.

6.

Collect the remaining hair and rest it over one shoulder.

Use 2 hair clips to hold it in shape.

7.

A final few sprays to hold the hair in place.

Shop 1, 397 Pitt St, Sydney

9261 1818

BEAUTY FEATURE

vie. magazine 15

我們相信每一套Aesop旅行組合都含有保護皮膚，頭髮和身 體的作用，適合旅行時使用。 所有旅行組合都被設計成能夠容納大支裝的Aesop產品，還 有能補充所有你需要的產品。 “當出外旅行時，大部份人都很容易忽略日常肌膚保養，又 或者很難找到合適的產品。自從知道很多Aesop的顧客都是 經常出外旅行後，我們就推出旅行組合 – 兩款都是輕盈而耐 用的 – 令用家在外國亦可以有效地打理和清潔。” Dennis Paphitis, Director

男士旅行簡約組 - 絕妙平衡潔面露15mL - 苦橙收斂調理液15mL - 無油保濕精華露15mL - 純淨滋潤去角質霜15mL - 溫和頭 皮潔淨液50mL - 賦活潤髮乳50mL - 天竺葵身體潔膚露50mL - 橙香身體乳霜50mL

2010年6月澳洲開始有售，而亞洲和歐洲分別在7月和8月開始發售。

Aesop Chatswood Aesop Chatswood

Shop 1-026, Chatswood Chase Aesop位於悉尼Chatswood Chase的慨念店經己隆重開幕。 345 Victoria Avenue

這間店是由墨爾本建築師Ryan Russell和Aesop的總裁Dennis Chatswood NSW 2067, Australia +61 2 9410 3113 Paphitis共同合作的成果。這裏有Aesop全線系列，包括護膚及 chatswoodchase@aesop.com 護髮產品供顧客選購, 並為他們提供專業意見。 Aesop has opened a signature store in Chatswood Chase.

Russell表示由於悉尼屬於沿海城市, 所以設計的靈感來自是水和 The store has been designed by Melbourne architect Ryan Russell in 土地之間的微妙互動。整間商店設計簡約低調,並沒有花巧複雜 collaboration with Aesop Director Dennis Paphitis. Here, we offer 的視覺效果, 目的是希望顧客把注意力集中於Aesop的產品上。 Aesop’s complete range of skin, hair and body products and expert consultations to our clientele in Sydney’s North Shore.

店內其中一面牆有一幅由圓點勾畫成的世界地圖，其作用是將一 Russell explains that the design was inspired by the subtle interplay between water and land that is so germane to Sydney. The store is 些受歡迎的產品和相宜季節的產品“懸掛”在地圖上。例如：三 understated in tone, calm, with space allowed to explore the Aesop 倍C肌膚調理凝露現在坐於香港附近的壁架上，因為它是最合夏 range free from excessive visual interruptions. 季使用的保濕露; 而香芹籽潔面油則放在倫敦附近。 One wall of the store is a wood panel world map on which consultants can display the Aesop products that are most sought-after or

產品試用區中長長洗手檯跟櫃檯連接一起。它是由一塊舊銅片摺 seasonally pertinent. Right now, B Triple C Facial Balancing Gel sits on a ledge near Hong Kong, since it is the ideal light moisturiser for 疊而成, 並配有三個常用於花園的水龍頭。 summer weather, while Parsley Seed Cleansing Masque perches near London.

跟Aesop所有分店一樣，Chatswood Chase用了最高質素的材 The product demonstration area contains a wash-plane made of a 料和專業的技術，打造了一個讓顧客可以諮詢和嘗試各產品種類 single piece of folded, aged brass that slopes back into the main counter, combined with a garden tap. 的零售環境。 As with all Aesop stores, Chatswood Chase uses the highest-quality materials and expert craftsmanship to create a retail environment in which our clients can survey and sample our range.

Aesop has opened a signature store in Chatswood Chase.

The store has been designed by Melbourne architect Ryan Russell Paphitis. Here, we offer Aesop’s complete range of skin, hair and body products and expert INTERNATIONAL consultations to our clientele in Sydney’s North Shore.

Caitlin Bant For further information, contact: in collaboration with Aesop Director Dennis Pour de plus amples informations, veuillez contacter:

caitlin.bant@aesop.com

+61 (0) 3 9412 8910

Russell explains that the design was inspired by the subtle EUROPE Indi Davis between water and land that is so germane to Sydney. interplay indi.davis@aesop.com +44 (0) 207 739 4527

The store is understated in tone, calm, with space allowed to free from excessive visual interruptions.

ASIA Corredina exploreTodaro the Aesop range corredina.todaro@aesop.com

+61 (0) 3 9412 8914

One wall of the store is a wood panel world map on which don’t have to have faith, I have experience.’ Joseph Campbell consultants can display the Aesop products that are‘I most soughtafter or seasonally pertinent. Right now, B Triple C Facial Balancing Gel sits on a ledge near Hong Kong, since it is the ideal light moisturiser for summer weather, while Parsley Seed Cleansing Masque perches near London.

The product demonstration area contains a wash-plane made of a single piece of folded, aged brass that slopes back into the main counter, combined with a garden tap.

As with all Aesop stores, Chatswood Chase uses the highest-quality materials and expert craftsmanship to create a retail environment in which our clients can survey and sample our range.

Address: Shop 1-026, 345 Victoria Avenue, Chatswood Chase Shopping Centre Phone: (02) 9410 3113

18 vie. magazine

20 有求必應 AT YOUR REQUEST… 24 大廚出馬 LITTLE BIG RECIPE 28 YALUMBA: THE SIGNATURE

vie. magazine 19

HOMEMADE “LOVE IN THE RAINBOW” ROLL

戀 。 雨 後 彩 虹

悉 尼 華 埠 獨 家 自 創 彩 虹 一 口 卷

凱 倫 餅 店 回 歸 唐 人 街 後 又 一 浪 漫 呈 獻 :

Tel: (02) 9212 3818

Add: 45 Dixon St, Haymarket, Sydney NSW 2000.

20 vie. magazine

有求必應 AT YOUR REQUEST… FOOD REVIEW PHOTOS

Constance Taing SydneyWalker

唐人街市中心是一直以來亞洲美食的聚集點，當中Neil Perry更是其中 一個焦點，他在這裏彷照了中國地道飲食口味，創造出令人回味無窮 的飲食經驗。由隱蔽的大門進入一個被一排垂直百葉薕所包圍的幽暗 地下室，再通過餐廳大堂，這裏放置了紅色地毯，一張張全黑的餐桌 座落其中，旁邊圍著多張包有座墊的木椅，從擺設來看似乎是希望能 勾劃出東方的神秘色彩。

Spice Temple 10 Bligh Street

Sydney New South Wales 2000 (02) 8078 1888 Open Weekdays Noon - 3pm, 6pm - 11pm

Downtown is where Asian flavours belong in the Chinatown precinct and has always belong there until now.

Neil Perry turns up the heat to steal focus on an evocative adventure of imitating regional Chinese culinary flavours. The secrecy entrance to the low-lit basement room surrounded by edgy vertical venetian blinds, leads to the central room, where padded timber chairs surround bare black tables on red carpet, strives to evoke oriental mystique.

Open Saturday 6pm - 11pm

食評 / Review: June 2010 食物 / Food: Modern Asian 主廚 / Chefs: Neil Perry and Andy Evans

vie. magazine 21 有趣的特飲是根據中國十二生肖及十二種上好茶葉調較而成，充 分表現出中國的文化。而在酒的選擇方面，有多逹一百種不同類 型，為顧客提供極大的樂趣。 值得一提的是顏色鮮明及重口味的紅辣椒，以及一盤豐富的甜酸 帶麻口味的拼盤。 我們特別為Perry的卓越成就致敬，他是其中一個為中國菜注入澳 洲本土元素的先軀，這其實是相當冒險的嘗試，為了實現他的雄 心壯志的夢想他做到了其他西方廚師所不敢攝足的亞洲菜。 悉尼的中國風貌因Spice Temple而變得更具特色。 你還在等甚麼，快來品嘗一下吧！ The fun cocktail list is based on the 12 signs of the Chinese zodiac and a menu of 12 fabulous teas does justice to China’s reputation. The wine list, capped at 100 bins, provides plenty of interesting drinking.

Recommended are the intensely colored and flavoured red chillis, and a platter of rich, sweet and sour and the numbing effect.

We salute Perry for his remarkable achievement , one of the pioneers of working Asian flavours in an Australian context. This is an incredible gamble and his ambitious dream to expedite where no western chef has dare journey into Asian frontier.

And the Sydney Chinese scene gets better for it has Spice Temple.

What are you waiting for? Go and check it out!

22 vie. magazine

Strange flavour white cut chicken

Special Crispy Skin Duck

Leatherjacket SICHUAN STYLE

Cocktail Menu

Guangxi style roast pork belly

Fried squid with whole five spice & dark chilli paste

Pickles

Cock and Dragon Cocktail

特調飲品：

COCKTAIL:

被安排座位後可點選其中一款中國十二生肖的特調 飲品，相當特別。

You’re asked to sit down and choose from the selection of Chinese horoscope cocktails. FABULOUS.

前排：鷄年特飲—酸橙、阿貝擾比特酒(Aperol) 、Limoncello檸檬酒及百香果 $16

Front: Cock cocktail - bitter orange with aperol, limoncello and passionfruit $16

後排：龍年特飲—香茅及玫瑰花蘇打，tanqueray 杜松子酒及鮮橙

$16

Back: Dragon cocktail – lemongrass & rose petal soda and tanqueray and fresh citrus $16

vie. magazine 23 食物方面是從中國不同省份的地道菜混合而成。當 中包括四川、雲南、湖南、江西，廣西及新疆等 地。材料上運用了乾貨、新鮮的、鹽製的、醃製 的、加工及發酵的材料，用意是可以刺激胃口。

The food is a unique mix of the cuisine found in the Chinese provinces of Sichuan, Yunnan, Hunan, Jiangxi, Guangxi and Xinjiang.

A mix of dried, fresh, salted, pickled, preserved and fermented ingredients are designed to excite the palette.

特別推薦：

RECOMMENDATIONS:

菜牌就好像一本中國時尚雜誌，菜牌前頁印上一個 漂亮的歐亞模特兒噘著嘴的相片。

The menus are like “Chinese vogue” with a beautiful, almost Eurasian, model pouting on the front menu.

熱葷菜

Hot Entrée

辣椒醬五味炸魷魚

$26

vie：相當出色的一道菜，調味料的特殊調配增加胃 口，會更期待下一道菜式。

$26

vie: Absolutely superb, a really unusual blend of flavours and spices which leaves you eagerly awaiting the next dish.

Salads & Cold cuts

沙律及冷盤 怪味鷄

Fried squid with whole five spice & dark chilli paste

$18

Strange flavour white cut chicken

$18

vie：麻辣鷄相當吸引視線及增加胃口。厚切的水煮 鷄肉使肉質充滿彈性，冰凍後加入芝麻及幼滑的芝

麻醬，相當配合菜名，口感獨特。

vie: “Hot and numbing chicken” grabs the eye, and the palette. Its thick slices of cold chicken, poached in Chinese-style so the flesh has a dense, almost jellied texture, and it sits dressed in sesame seeds in a slick of nutty sauce which lives up to the name admirably. The mouth feels extraordinary.

豬肉

Pork

廣西燒豬腩肉

$32

Guangxi style roast pork belly

$32

vie：配以香茜菜、花生、紅洋蔥及芝麻 — 豬腩肉的 脂肪及鹽度適中，非常出色。

vie: With coriander, peanuts, red onions & sesame seeds- the pork belly superbly done with just the right amount of fat and salt!

特別菜式 – 燒鴨

Special Crispy Skin Duck

這道菜不在菜牌之上，所以要提前預訂

$39

vie：脆皮的鴨胸配以特別的辣醬汁，絶對精彩，口 味濃郁而帶有一點辣、酦甜及麻口的感覺，但又不 會蓋過應有的口味。烹調方法一流。 海鮮 四川胡椒指天椒水煮魚

$32

This is not on the menu and must be requested

$39

vie: Crisp-skinned duck breast with a hot sauce this is an absolute sensation, hugely flavorsome and quite spicy, sweet and sour and the numbing effect, but not in a way which overwhelmed the palette. Culinary awesomeness.

Seafood

vie：最後一道菜，可說得上是必嘗的一道菜，色香 味俱全的紅辣椒，並加入烤四川胡椒、油及香料混 合的醬汁之中。這道菜口感相當刺激，是辣椒愛好 者的心水之選。喜歡麻辣的人絕對值得去嘗試。

Fish drowned in heaven facing chillies & Sichuan peppercorns Leatherjacket SICHUAN STYLE

服務舒適及專業，總括來說是我近期覺得最出色的 午餐之一。

Service was relaxed but very professional, overall it was one of the best lunches we’ve had in a long time.

特別是為我們服務的侍應Adam。他相當熱情有禮 貌，而且不時向我們交待進度，相當專業。

I was particularly impressed with our host for that day, Adam. He was so accommodating and friendly and kept us well informed of where we were at timing of the dishes.

$32

vie: The last dish, this is a VIE must try before you die dish, the intensely coloured and flavoured red chilies, floating on a rich platter of roasted Sichuan peppercorns, oils and exotic spices. The dish brings great splendors to your palette and has lots of chilli for chilli fans. Numbing if you can handle some tingling sensations to your tongue.

vie. magazine 25

Little Big Recipe

大廚出馬 材料：

牛肉大頭菜沙律

BEEF AND KOHLRABI SALAD

•

500克大頭菜，去外皮及切條

•

1個紅蘿蔔，去皮切條

Luke Nguyen

•

100毫升白醋

of Red Lantern

•

100克砂糖

•

2茶匙菜油

•

2小粒蒜頭，切碎

•

350克牛肉眼扒，去肥切條狀

•

越南薄荷葉、亞洲羅勒、紫蘇葉各少量

•

1茶匙乾蒜泥

•

2茶匙烤花生切碎

•

2茶匙炸紅蔥

•

4茶匙“Aunty Nine”沙律醬，製法如下： •4茶匙檸檬汁 •2茶匙幼糖 •1茶匙魚露

•2瓣蒜頭壓碎

•1隻鳥眼辣椒(Bird’s eye Chilli)，切碎 •把所有材料混合再加入半茶匙鮮磨黑胡椒 粉。放入量杯內可在雪櫃存放最多2天時間 •份量大約為125毫升 What we need: •

500g kohlrabi, peeled and julienned

•

1 carrot, peeled and julienned

•

100ml white vinegar

•

100g caster (superfine) sugar

•

2 tablespoons vegetable oil

•

2 garlic cloves, finely chopped

•

350g beef eye fillet, trimmed and sliced into strips

•

1 handful Vietnamese mint leaves

•

1 handful Asian basil leaves

•

1 handful perilla leaves

•

1 tablespoon fried garlic

•

2 tablespoons roasted peanuts, chopped

•

2 tablespoons fried red Asian shallots

•

4 tablespoons Aunty Nine’s salad dressing (recipe as following) • 4 tablespoons lemon juice • 2 tablespoons caster (superfine) sugar • 1 tablespoon fish sauce • 2 garlic cloves, crushed • 1 bird’s eye chilli, finely chopped • Combine all the ingredients and ½ teaspoon freshly ground black pepper in a bowl and mix well. Store in a jar in the fridge for up to 2 days • Makes about 125ml

“

Restaurateur / Chef / Author / Television Host / Gastronomic Traveller

SUZE和我在越南沙垻時曾到過一個燒烤市場的攤檔。當時旁邊的食客邀請我們加入， 他們是地道的河內人，他們點的菜都是傳統的沙垻菜式，其中一道是鑊炒牛肉配以一 種不常見的蔬菜－「大頭菜」。 大頭菜，意思是蘿蔔捲心菜，是捲心菜及椰菜的同種，當我回到悉尼時，我到市場嘗 試找這種蔬菜，我找到的是紫色的品種。我用了它做了幾款菜式給我的家人，他們都 說從未試過，但都很喜歡。

Suze and I were sitting at a stall in the barbecue market in SaPa. We were invited by the table next to us to join them; they were locals from Hanoi, feasting on traditional SaPa dishes. One of the dishes was wok-tossed beef with a strange pale green vegetable called kohlrabi.

”

Kohlrabi, meaning ‘cabbage turnip’, is in the same family as cabbage and broccoli. When I returned to Sydney, I went to the markets and found a lovely purple variety. I made a few dishes with it and served it to my parents. They too had never eaten it, but loved it.

- Luke Nguyen. Recipe from the book - “The songs of Sapa”.

在一個大碗內，混合大頭菜、紅蘿蔔、醋及糖。拌混後封存並放入 雪櫃醃一個小時。取出隔走水份備用。 以猛火燒熱平底煎鍋，加入油爆香蒜頭，加入牛肉及半茶匙鮮磨黑 椒炒少於3分鐘上碟備用。 在一個碗內，放入早前醃放的大頭菜及紅蘿蔔，並加入越南薄荷 葉、亞洲羅勒、紫蘇葉、乾蒜及炒好的牛肉。再拌以“Aunty Nine” 沙律醬，最後以花生及乾蔥拌碟。 份量︰4至6人(共餐的其中一道菜) In a large bowl, combine the kohlrabi, carrot, vinegar and sugar.

Mix well, then cover and place in the fridge to marinate for 1 hour.

Remove from the fridge and drain.

Place a frying pan over high heat, add the oil and fry the garlic until fragrant. Add the beef, season with 1/2 teaspoon freshly ground black pepper, and stir-fry for no longer than 3 minutes. Remove the beef from the pan and set aside.

In a serving bowl, combine the kohlrabi, carrot, Vietnamese mint, Asian basil, perilla, fried garlic and beef. Dress with Aunty Nine’s salad dressing and garnish with the peanuts and fried shallots.

Serves 4–6 as part of a shared meal.

26 vie. magazine

a

b

c

d

黑芝麻湯丸豆奶 BLACK SESAME DUMPLINGS IN SOYMILK

e

f

g

h

vie. magazine 27

Constance Taing of Passionflower

Entrepreneur / Restaurateur / Food Scientist / Dessert Lover / Hello Kitty Collector WHAT WE NEED:

材料需要: - 黑芝麻餡 - 500克粘米粉 - 熱水

- 50克木薯粉 - 200毫升牛奶 - 冷水

- Black sesame powder mix

- 50g of tapioca starch

- hot water

- 500g of glutinous rice flour

- 200ml milk

- cold water

黑 芝 麻 餡 料 可 於 任 何 中 式 超 級 市 場 購 買 。 50克黑芝麻粉加入清水拌勻成糊。

Black sesame paste can be purchased from any Chinese supermarket.

Mixed 50g of the black sesame powder mix with cold water until it becomes a crumble texture.

煮法:

HOW WE MAKE:

1.

在大的不锈鋼碗加入50克木薯粉

1.

50g of tapioca starch in a large stainless steel bowl

2.

加入500克粘米粉

2.

500g of glutinous rice flour

3.

加入約攝氏60度的熱牛奶

3.

200ml of hot milk (approx 60oC)

4.

以塑料鏟拌勻

4.

Fold and combine the mix with a plastic spatula

5.

加入200毫升熱水拌勻

5.

200ml of hot water, fold and combine the mix

6.

加入100毫升冷水拌勻

6.

100ml of cold water, fold and combine the mix

7.

用手在乾淨的枱上搓揉成糰狀

7.

Use your hand to knead and work the mix onto a clean table

8.

當粉糰能搓成球狀而又不易散開， 而且不拈手的時候就可以開始搓成多 個細小球狀

8.

When the mix forms easily into a ball without breaking apart or sticking between your fingers you can begin shaping the balls

9.

把細小球狀的粉糰搓成長條狀

9.

Grab a handful of the mixture and roll into a thin tube shape

10. 把長條切成多個2厘米長度的粉糰 11. 將每個2厘米的粉糰搓成球狀 12. 把小球狀的粉糰壓平並加入少匙量黑 芝麻馅料放在中間 13. 將邊沿連合並搓成球狀 14. 將黑芝麻湯丸放入沸水煮5分鐘 15. 拌以熱荳奶及花生碎即可享用

10. Cut into 2cm pieces 11. Roll a piece between your palms into a ball 12. Flatten the ball and spoon a small amount of the black sesame mix in the centre 13. Fold the edges and roll the mix between your palms to form a ball 14. Cook the black sesame glutinous balls in boiling water for 5 mins 15. Serve with hot soy milk and crushed peanuts. 數量 ／ Makes: approx 50 balls

vie小秘訣 / vie tips 如粉糰太乾或太易碎可加入適量水份繼續搓揉 / add small amount of water if the mix is too dry and crumbly 相反如果粉糰太拈可加入適量粘米粉 / add small amount of the glutinous rice flour if the mixture is too sticky

28 vie. magazine

相信自己的味覺…用內在的嘗 酒本能來表達自己的真正感受 TRUST YOUR PALETTE…EXPRESS YOUR TRUE FEELINGS USING YOUR INNER WINE INSTINCT WORDS Andrew Ou PHOTOS Sydneywalker 曾經有個明智的紅酒專家說過:“好多人都為擁有一個公認為好牌子的紅酒而自豪，他 們會吹噓那支酒的價錢，又或者自己擁有多少支值得喝的酒，但是有多少人真正了解他 們喝的是甚麼酒？” 這是我21歲時聽到的，直到今天還是記憶猶新；對沒有經驗但熱愛紅酒的人，我都會向 他們提議“相信自己的味覺,因為感覺是不會欺騙你的。每個人對紅酒的品嘗都不一樣, 不需要害怕用內在的嘗酒本能來表達自己的真正感受”。 賞酒是一種經歷，酒需要被鑒賞，那麼你才可以有信心地向其他人闡明一支酒的最高境 界。大家不應該用雜誌上的文章，或者用品酒鑒賞家的評語，又或者用瓶子的標簽上能 找到的信息，作為自己的觀點。然而，這些資料信息能幫助您尋找優質的紅酒。當使用 這些信息作為指導時，注意不要被誤導。 對酒經過色，香，味的嘗試，你可以判斷這支酒的質量和它本身的價值是否成正比，還 有可以測試到這支酒是否有潛力在成熟的時候會有更好的質量。如果你有計劃地收集有 個性的和儲存時間長的酒，唯一的方法就是親自品嘗這支酒。 與身邊喜歡品酒的人一起喝紅酒，如果他們所描述的和你自己的想法與感覺一致，這當 然是最好的。然而，當大家的感覺不一致時，那就要根據自己的味覺來提出問題、互相 交流，這樣能提高你的品酒能力。要相信自己，別人所說的其實只是一個意見，不要因 為別人的話而迷失方向。酒的香味、酒底和個性的細節將取決於你自己的判斷。 A wine mentor once said “many people are proud of the brand of wines they have, they boast about the expense of the wine or the number of bottles of good value wine they have purchased but, how many really know what they are drinking”.

This was imbedded into my memories at the young age of 21, seven years on; to inexperienced wine enthusiast I emphasise “trust your palette, your palette don’t lie to you, each person’s appreciation for wine is different, don’t be afraid to express your true feelings using you inner wine instinct.”

Wine is an experience, wine needs to be appreciated then you can vocally illustrate the stature of the wine with confidence to others. It should not be an item that you read from a wine magazine or from famous critics or funny enough the label on the back of a bottle and then express the information as your own views. However, reading wine materials can assist you to search for quality wines. Use the information as guidance, more importantly don’t be mislead by the information.

The taste test is sight, smell and palette. From this you can determine whether the quality of the wine equates the monetary value and will demonstrate if the wine has potential to mature with greater qualities. If you have plans to collect quality wine with character and longevity the only way is to open a bottle to experience the wine.

Surround yourself with wine appreciators, remember the times you spend drinking with them.

If what they describe about the wine matches to your thoughts and feelings, great! However, be your own judge in what you taste; if you cannot taste what they have expressed, raise questions. Interactions will simulate your inner wine instincts and improve your drinking skills by developing a bond between you and your palette. This is the trust you should rely on, what others say is only an opinion. The aroma, the body and the character of the wine along with finer details will be determined by you.

vie. magazine 29

vie舉辦了品酒晚餐聚會。我們用美味的食物配合著紅酒，但是我們不是按著傳統的方 法:紅肉配紅酒，海鮮配白酒。這晚我們故意制造一個“組合晚宴”來配這支紅酒，例如 蝦，魚，雞，排骨，牛肉，青菜和炒飯。還有我們為這晚餐加入了一個主題，我們要求 某部分的菜式用上鹹蛋。 我們故意這樣安排，是因為我想向嘉賓們示範怎樣用白肉來配紅酒。作為葡萄酒的爱好 者，當我在安排紅酒和食物配合時，我常常會記著每款酒的特性和菜式本身的風味，因 此，不論甚麼類型的肉都能和紅酒配合一起的。 當單獨品嘗紅酒的時候，紅酒自身的口感是比較乾，但當它是配以正確食物的時候，你 就會有一個難忘的時刻。因此在晚餐完結的時候，所有人口裡都充滿著柔軟酒底、典雅 和清香濃郁成熟的乾梅味，這就是Barossa的特性。 Vie hosted an evening of fine wine and food appreciation. The night was a success with delicious food complementing the wine. We shifted away from tradition rather than red meat goes well with red wine and seafood complements white wine. The banquet was deliberately put together with a combination white and red meat such as prawns, fish, chicken, pork ribs, beef, vegetable and fried rice and adding a theme to the banquet we requested as part of the ingredient to use an ancient Chinese delicacy salted duck eggs.

This deliberate act as the host was to demonstrate to our special guest of the evening on how white meat can complement red wine. As a wine enthusiast when I am matching wine and food I always bare in mind the characteristic of the wine and the taste of the dish therefore, regardless of the type on meat it has ways of puzzling together.

The wine is a rather dry red wine when consumed on its’ own however, when it is complemented with the right food it will unmistakably display an unforgettable moment. Therefore, by the end of the evening all friends and special guest complemented on the wine about the silky body, the elegance and the intense sweetness of the dried ripe plum flavor followed by long after taste of the Barossa characteristics.

30 vie. magazine

YALUMBA THE SIGNATURE

產地：Barossa和Coonawarra地區。Shiraz來自Barossa; Cabernet Sauvignon來自Barossa 和 Coonawarra. 年份：1990 試飲時間：2010年5月25日。最佳的飲用時間由2010年到2013年。 存酒方法：不平坦地儲存在地下酒窖，沒有放入酒櫃，讓酒自然 成熟。 品酒方法：蓋著蓋子透氣，沒有用分酒器。蓋子透氣的目的是控 制紅酒的氧化程度，這樣才能品嘗到酒裡每一層的細 節。 顏色：成熟棗紅色 氣味：具有Barossa酒區的特性，就是富有成熟梅子味和帶有濃郁 的土壤味。 味覺：在喝酒的整個過程，表露這是一支簡單的酒，然而它是 用心平衡這支酒和給人的印象是這支酒先有cabernet sauvignon 繼而之後就有shiraz味道。這揭露了Barossa酒 區的特性，就是富有成熟的乾梅味和帶有濃郁的土壤味。 这個Barossa的特性會給人餘韻悠長的口感。 雖然這支酒的平衡度很均勻，但是它不明顯地表露著 Coonawarra酒區最好的cabernet sauvignon的個性。這也許 能增加酒本身的平衡度，然而在整個品嘗的過程中Barossa的特性 更趨於明顯，由酒的香味到嘗酒時，最后還有逗留不去的酒味留 存在口裡。

vie. magazine 31

Region: Barossa and Coonawarra regions. Shiraz from Barossa; Cabernet Sauvignon from both Barossa and Coonawarra.

Vintage: 1990 Consumption Date: 25th May 2010. Best consumed between 2010 to 2013.

Storage Method: Cellared in an underground cellar undisturbed flat on the body of the wine bottle to allow the wine to mature naturally, the wine is not stored in any refrigerator system.

Drinking Method: Closed breathing; decanter not required. The purpose of closed breathing is to control the exposure of oxygen to wine, this control allow the wine to unfold every fine details as it is consumed.

Sight: Aged maroon.

Smell: Aromatic ripe plum with earthy rich soil characteristics of Barossa wine region.

Palate: It tends to present a rather simple stature throughout the wine; however, it is thoughtfully balance with an impression of Cabernet Sauvignon follow by Shiraz as the wine unfolds. Reveal sweetness of dried ripe plum with rich earthiness and soil characteristics of Barossa wine region.

The Barossa characteristics carry through to a long after taste.

Although the wine is meticulously balanced with proportions of Coonawarra’s finest cabernet sauvignon it is rather subtle in displaying its characteristics. This maybe purposely conducted to enhance balance of the wine; nonetheless, the distinct characteristics of Barossa tend to be more obvious throughout the consumption of the wine from the aroma to the drink and ending with the lingering aftertaste.

To take part in our next wine function or any comments and questions please email:

想參與我們的嘗酒活動，或者有任何意見和問題，歡迎電郵到以下郵箱： alexandra@viemedia.com.au or andrew@viemedia.com.au.

32 vie. magazine

33 奮鬥的足印

MY PURSUIT OF HAPPINESS

46 經典探戈 TANGO WITH CONTINENTAL

vie. magazine 33

奮鬥的足印 MY PURSUIT OF HAPPINESS WORDS Alexandra PHOTOS Sydneywalker

成功，是每個人的夢想。 有些人無論歷盡多少次風浪和多少次掙扎，最終都只能是：他們無憾地曾經擁有過努力奮 鬥，或說我是淘盡多少豪傑的一個。又有些人似乎是天驕之子，如果，他們早晨起床，繼 而回頭去睡，追尋黃粱美夢，那他們連失敗兩個字都沒有資格說；但他們起來去追逐理 想，避過大浪淘沙，抵達黃金海岸，對著大海狂呼：我是笑到最後的一個。有失敗者，理 所當然就有成功者，但兩者都不能離開--奮鬥。切記，名人都會三起三落時，常人應有姜 尚下山日。 人，不要等明天，因為，沒有人知道自己有沒有明天。只有那只猴子：等明天。 今期我們會刊登對幾位奮鬥成功人士的採訪，以飧讀者，希望他們的故事能給你們帶來某 些的啟迪和借鑒。 Success is everyone’s dream.

Some people have encountered stormy weather while struggling through life and in the end, have had no regrets having worked hard for it. He can then say, “I am one who had braved all to achieve”. Of course, there are those who are born lucky and success always comes easy to them. In the pursuit of their dreams, if they wake up in the morning and go straight back to sleep, they are not even qualified to say that they have tried but failed. If they wake up and get out of bed; work for their dreams through bittersweet struggle and arrive at the shore of success, then they can proudly exclaim, “I am the last one standing, laughing still.”

There are failures and there are achievers, but to be successful, both can never escape from the inevitable path of struggle. Remember, even the most successful people need to go through the unavoidable rise and fall, so commoners like us must not expect anything different.

No one should wait for tomorrow – because tomorrow may never come. The man who waits for tomorrow can only be as wise as the ape.

This issue vie will be interviewing several successful people who had strived through life to be who they are today. We hope their moving stories would serve to be a source of inspiration and motivation to our readers.

34 vie. magazine

悉尼的“鹹蛋超人” SYDNEY’S ULTRAMAN – THE STORY OF THE SALTED EGG v - vie A - Anthony

成

功非僥幸，不是每一個人都那麼幸運；成功不一定是轟轟烈烈 地幹一番大業，如果你夠努力，相信在生活的點滴中也能找到 成功。鹹蛋，幾乎每一個廣東人都食過，而食鹹蛋在以前更是代表了 草根階層，因為在無錢大魚大肉的情況下，鹹蛋是一款耐存美味的佐 菜。現在最簡單的美食已經不再是窮人的代表，一顆簡單的鹹蛋背後 不止是一盤鹽水，而是一段不斷奮鬥的辛酸史。

S

UCCESS is not due to luck, and certainly not everyone is lucky. Success not necessarily means owning a colossal enterprise either. With hard work, you’ll find success even in the frivolities of daily life. Almost every Cantonese has tasted salted egg. In the early days salted eggs symbolised the grassroots of the society because without the financial freedom to enjoy gourmet food, the preserved salted egg was a good substitute. Today, the simplest of food is no longer an icon of the poor. A simple salted egg does not embody just salty brine but essentially the bitter journey of one’s life struggle.

v：游老闆您是個很低調的人，但您的鹹蛋在悉尼好受歡迎，其實我好奇， 究竟是甚麼原因令您覺得這顆小小鹹蛋會變成大有可為的生意?

A：以前我在餐館做經理的時候（我是從雜工開始做起，直到升至經理）， 因為餐館的食物採購都是我負責的。當時我就發現在悉尼的肉菜市場很 難找到鹹蛋這個品種，就算找到了，也是非常貴的，而且質量還沒有香 港的好，所以我就有這個念頭了。 v: Uncle Anthony, your salted egg business is very well known to the Sydneysiders, but you have been very low-key and not many people know about you as a successful entrepreneur in this business. I am just curious, what made you think that these little eggs could be a thriving business?

A: I used to work in a restaurant, starting from a kitchen-hand and later became the restaurant’s manager, responsible for the day-to-day purchasing. It was then, I realised that salted eggs were very hard to find in Sydney. Even if it was available, it was very expensive to buy with no guarantee of freshness and quality compared to those in Hong Kong. I then planned to start the salted egg business.

vie. magazine 35

v：所以，您在那個時候就覺得鹹蛋這個品種是有潛力的。當您做鹹蛋的時候應該是 獨市生意，發展會是很好的，會賺大錢，對吧？ A：唉，不是這麼回事！大概是1991年吧，那時我的工作不是很順利，心情糟糕透 了。就在這個時候，經友人的介紹，我租了一間水果鋪。在鋪子裡可以一邊賣水 果，一邊腌制鹹蛋。但其實我信錯人了。這鋪子位置原來是人流不多的，水果的 生意越做越淡。幸好以前我做餐館的時候，認識了不少人，我就給他們的餐館送 蔬菜。那段時間對我來說是艱難歲月，天沒亮就去進貨，大白天東奔西走地送鹹 蛋，晚上在店鋪腌製鹹蛋。加上那時我剛好買了房子，而且利息很高。無辦法之 下，唯有賣了那間屋。雖然的確很累很辛苦，那也是沒辦法，為了生活，無論如 何都要撐下去。 v：哇！當時的您居然選擇了賣屋，而不是放棄那間水果店？真是令人意想不到！如 果是我，我會選擇賣鋪，您這個決定證明您做鹹蛋的決心從未動搖。除了剛開始 時的經濟困難外，在之後的發展路上遇到最困難的時候，您有沒有想過放棄？ A：困難是一定有的，但我從沒有想過放棄。印象最深刻的那一次是鴨蛋進貨進多 了，腌制好的鹹蛋餐館都要不了這麼多。眼睜睜地看著這麼一大堆的鹹蛋就快要 過期而浪費掉了，心疼呀！怎麼辦呢？急得我好像熱鍋上的螞蟻一樣，在鋪子裡 走來走去。苦思冥想就是沒辦法，唯有破釜沉舟地將所有鹹蛋全部打破，只要回 那些鹹蛋黃，全部放進雪柜的速凍箱，接下來就只向餐館提供鹹蛋黃。想不到現 在悉尼的餐館之所以有鹹蛋黃，就是因為我那時一個無可奈何的決定而造成的。 但我都堅持我的信念：我的鹹蛋一定會在市場上佔有一席的位置。 v: So, at that time this was what made you think that the salted egg would be a potential business to bring to the Sydney market? When you first started, you were the first to produce salted eggs - it must be a very good opportunity to make tons of cash, wasn’t it?

“

...我的信念：我的鹹蛋 一定會在市場上佔有一 席的位置。 ... I believed that one day this salted egg business will own its place in Sydney market place.

”

A: Oh…it was not that easy! In 1991, I was experiencing the lowest point in my career and not many can understand the tough time I was facing. I was fist recommended by a friend to rent a fruit stall and started selling fruits, at the same time selling salted eggs at the fruit stall. Unfortunately I trusted the wrong person! Soon I realized that the location was not the best in Sydney, and bad traffic-flow gradually degraded the business and things started to go downhill. I was lucky to know quite a few people from the previous restaurant I work for and I started supplying vegetables and fruits to the restaurant. I had to shop for vegetables and get them delivered before sunrise, running around during the day, delivering salted eggs and making salted eggs at night. Plus, I just bought a house at that time and was unable to cope with the high bank interest, I decided to sell that house. What else could I do? Even though it was hard, I still had to keep going. v: Wow! It was amazing that you actually sold your house but did not give up the fruit stall. If I were you, I would have sold the fruit stall. You must be very determined and did not waver about the salted egg business when you made this decision then. In addition to the financial difficulties that you were in, I believe you must have encountered more obstacles. Have you thought of giving up then?

A: There were always obstacles ahead, but I never gave up. I remember there was once I was very upset because the restaurants were not able to take on too much stock and the eggs were about to expire and gone to waste. I was at my wit’s end, not knowing what to do. I finally had the idea of breaking all the eggs and keeping only the egg yolks and keep them refrigerated. From then on, I started to deliver salted egg yolks. Today, all the restaurants in Sydney can have constant supply of salted egg yolks is the result of my decision to hang on. I believed that one day this salted egg business will own its place in Sydney market place.

36 vie. magazine

v：真是塞翁失馬焉知非福呀！現在鹹蛋的銷量已經在市 場有了它的“地位”了，這是否意味著完了您當初的 夢，我管叫它是“鹹蛋”夢吧？

v: That was indeed a blessing in disguise! I think your salted eggs have established a very well known status in the market. Does it mean that this is the end of your dream - the salted egg dream, I would say?

A：還遠啊，小女孩！其實鴨蛋的供貨是很不穩定的，尤 其是冬天的時候。因為鴨子要到了6個月大的時候， 所生的蛋才適合做鹹蛋。再過大約一年吧，鴨就停止 下蛋了。就一般來說，春天的時候鴨蛋最多。所以我 現在要找鴨蛋供應商來洽談鴨蛋包銷的計劃，以確保 鴨蛋的供應量。還有就是我想搞一些是和鹹蛋有關的 新菜式。

A: Oh...Still a long way to go, my dear! In fact, the supply of duck eggs is also irregular especially during winter. Duck eggs produced by ducks that are 6 months old are only suitable to make salted eggs.

After a year, ducks stop laying eggs. The productive period is springtime.

So, I have been looking for different duck egg suppliers to ensure that I always have enough stocks. My other vision is to come up with new ideas of using duck eggs in food menus and recipes.

v：非常感謝您讓我知道了鴨蛋雖小，鹹蛋卻是來之不 易。其實我好想知道，如果給您選擇多一次，您還會 做同樣的決定嗎？還是其實現在的您會有少少后悔當 初的決定？畢竟您當時可以做一個餐館經理，應該不 會那麼辛苦，還有可能存下更多的錢。

v: Thank you for sharing with me the stories of the ducklings and now I know that producing salted egg is absolutely not an overnight affair. Now, if you were given a chance to turn back time, will you still make the same decision as you did? After all, you were a manager in a restaurant with stable income and didn’t have to face all the uncertainties and hardship.

A：人應該要向前看的，但我真的沒有後悔，哪怕是一 點點。因為現在的我生活得很開心，哪為甚麼還要去 想過去呢？還有人應該要知足，生活不能只用錢財來 衡量。沒有壓力的生活是很寫意的，人也不會感到疲 累，在空餘的時間，我最喜歡就打乒乓球和攝影，我 的兒子也很喜歡打乒乓球的。如果要問我還求甚麼的 話，應該就是希望每個兒子都讀上大學，生活開心， 那我就更開心了。

A: We should always look forward in whatever we do. I have never regretted, not even one bit. I am now living a very happy life and why should I look back into the past? I am contented because money is not everything in life. It is important to live a stress-free life. I would go for my favourite table-tennis games during my spare times; or even take a few shots of photographs. My son loves to play table tennis as well. If you ask me what else would I expect at this point in life, I hope that all my children could make it to universities, live a happy life and I will be a happier man.

vie. magazine 37 後記：Uncle Anthony在奮鬥的日子裡一直都表現很堅強，但當他提到自己家人的時候， 我強烈地感受到他感性的一面。其實uncle說得對，人應該向前看，人應該有信念，應該向 前看，我敬佩他對事業的執著和對鹹蛋有著獨到的眼光。令到餐飲業多了些菜式供食客品嘗 之餘，又印證了對理想的追求---有志者事竟成，當然這個“成”在我眼中是一個實實在在的 成功。Uncle Anthony不但和藹可親，而且隨和健談。在訪談後，他還親自到廚房點了幾 款平時不列在菜單上的獨家菜給我品嘗。其中一款叫“黃金炒飯”的，至今想起都令我垂涎 三尺、回味無窮。它的賣相非常好看，整碟炒飯都是呈金黃色的---顧名思義是“黃金炒飯” 嘛。一飯上桌噴鼻香，我迫不及待（因為飯熱才有鹹蛋的香味出）地用勺子把飯往口一送， 嘩！有“入口即融”的感覺，鹹淡適中的口感，鹹蛋黃吃起來是我們平常所說“起沙”的那 種，飯後也不覺得肥膩與飽滯。Uncle Anthony還向我透露：他不打算收徒弟，想這家族 生意一代一代傳下去。 Postscript: Uncle Anthony had struggled hard in his early life. When he starts talking about his family, I could feel him getting noticeably emotional. I agree with Uncle Anthony, we should all look forward and have faith in ourselves. I really admire his devotion to his career in the pursuit of his dream. With a very unique perspective on salted eggs that none other has thought of, he has successfully created a niche in the food business.

Very much a friendly, talkative and easygoing person, Uncle Anthony even went to the kitchen and personally ordered me some exclusive dishes that were normally not listed on the menu.

One of which was the Golden Fried Rice which still makes me drool every time I recall this delicious dish.

The fried rice had a very unique golden colour, befitting its name “Golden Fried Rice”. As soon as the rice was served, I could smell the fragrance (which was released by the heat of the rice) and could hardly wait to dig in. Wow! In a perfect balance of saltiness, it virtually melted in my mouth. The egg yolk had a “sandy” feel to it without suggesting any sensation of “greasiness”, even after a bloating meal. Sadly, Uncle Anthony reveals that he does not have the desire to enlist a protégé but he wishes that this family business will be handed down to future generations.

Vie讀者有口福了！“游記小 廚”決定將我最喜歡的“黃金 炒飯”限量售賣給vie的讀者， 只需$19.80（請提前預訂，原價 $26.80）， 售完即止。 Good news for VIE readers! “Beverly Hills Chinese Restaurant” has decided to give out limited quantities of Golden Fried Rice at a discounted price of $19.80 upon presentation of Vie Magazine Issue 3, while stock last.

(Pre-order only, Original Price : $26.80)

游記小廚 Beverly Hills Chinese Restaurant

地址/Add: 32 Tooronga TCE.

Beverly Hills NSW 2209

電話/Tel: 02 9554 4641

香港默劇祖師 － 霍達昭 HONG KONG MIME ART - PHILIP FOK

一

個出生在烽火歲月的上世紀四十年代、成長在貧困家庭，曾經是“邊緣青年”，祗有小學學歷的他，令 人難以置信地取得了英國文化協會和亞洲文化協會的資助，到倫敦及紐約遊學；後來卻在香港中文大學 開班授課；白天是政府司機，晚上是默劇藝人的兩面人。他，最開始是從二度空間的繪畫藝術，進入三度空 間的舞臺藝術，現時沉溺于無限空間的電臺廣播。一九九二年以特殊技術---默劇藝術家移居澳洲悉尼，經歷靠 福利金、鏟草、油漆、小修理、郵件速遞等等，到今天有自己的兒童畫室，桃李滿園。一生充滿傳奇的他對我 說：“真實的東西就是最好的故事題材，沒有其他人像我的故事那麼真實。”他就是大名鼎鼎的默劇大師---霍 達昭。他的傳奇經歷也能給我們演奏出令人深省的“命運”樂章。

H

e was born in the late forties and grew up in an impoverished family after the war. With merely primary school education, he received funding from the British Council and the Asian Cultural Council to subsidise his study tours in London and New York. Once a “marginal youth”, he later became a lecturer in The Chinese University of Hong Kong. He had a day job as a chauffeur in the government drivers’ pool, while moonlighting as a mime artist by night. From the two-dimensional art of painting he ventured into the three-dimensional theatrical stage art, eventually indulging in the infinite space of the radio broadcasting in the present day.

In 1992 he migrated to Sydney, Australia in the capacity of a mime artist. Living on social welfares, he did odd jobs as gardener, painter, handyman, deliveryman … etc. Today he is the owner of a children arts studio packed with students.

His life stories are as colorful as a pictorial collection and his life experiences may be transposed onto the silver screen in an enlightening movie. He once told me: “The best storyline comes from real life, and none has a story as real as mine”. He is the legendary Master of Mime --- Philip Fok.

v - vie F - Philip Fok v：每個人都說霍sir是香港的默劇大師，但我覺得您簡直就是香港默劇祖師，同時 您也是一名畫家。聽說您年輕時學習藝術的歷程比較特別的，其實您是怎樣走 上這條藝術的道路？ F：大概在1966年，當時我是一個“邊緣青年”，小學之後因各種原因就再也沒有 繼續讀書了。我學畫畫的目的是非常簡單---不是為了藝術，而是為了生活。那 時我在象牙舖做伙計，希望學識畫畫做象牙師傅好賺錢。一次機緣巧合之下， 我就跟了徐榕生老師學畫畫。他是我啟蒙老師。徐老師對所有學生都很好，在 他的世界裡甚麼都是美好的。“邊緣人”在社會是沒有地位的，在別人眼裡我 就是垃圾。但他不像其他人那樣低看我，反而耐心地教會了我很多東西，我就 是在畫畫這個世界裡尋回了自信，尋回了自尊。在他引導之下，我開始邁向現 代藝術的道路。而我不只是學會了畫畫，更重要的是改變了我的人生觀和對生 活的態度。 v: Master Fok, everyone knows you are the Master of Mime of Hong Kong but I feel the title “The Patriarch of Mime” should more aptly befit your status. And as far as I know, you are also a painter. What led you to embark on this journey of art?

Were you trained as an artist at a young age? I heard that in your youth you had a rather unusual learning process.

F: About 1966, I was considered a “marginal youth”. I stopped schooling after primary education. I didn’t learn art for art’s sake, it was for survival. I was then an assistant at an ivory shop, learnt drawing and hoping to become an ivory master one day. It was by a twist of fate that I became a student of painter Master Xu Rong-sheng. He was my mentor. Master Xu treated all his students very well; to him the world is a picture perfect. Back then a “marginal youth” had no social status, I was treated like trash. But he did not despise me like the rest and taught me a lot instead. It was from painting that I found self-respect and self-esteem.

Under his guidance I began my journey in art. It benefited not just my ability to paint but also changed my entire outlook and perception towards life.

vie. magazine 39

v：您是推動香港默劇發展的第一人，尤其是您創立的“藝穗默劇實驗室”，培養了不 少香港默劇人才，如：香港現時從事默劇和演藝工作的詹瑞文、黃國忠（香港第一 屆默劇節發起人）。徐老師除了教您畫畫之外，對您在默劇上的發展有幫助嗎？ F：他是第一個認可和尊重我的人，所以我對他是非常敬重。他提議我看些什麽書或看 些甚麼藝術表演，我會言聽計從的。直至我碰上了“默劇”（大概是1972年）， 我看完後十分興奮，覺得很有趣，簡直是一見鍾情。那時看默劇的人幾乎全是外國 的。我喜歡默劇的原因：每一次看都有令我驚喜的，因你是永遠不知道接著下來的 情節將會發生甚麼，尤其是肢體動作。我不喜歡話劇，在印象中，它除了靠什麼名 著劇本，特別是強調外國劇本的最令我反感外，它就是一堆會發聲的移動木頭。 1977年至1982年，在這5年的時間內我沒有畫畫了，我把所有的畫和書都全部燒 掉，一件不留。主要是當年香港畫壇虛假的風氣，那些所謂的名家名畫派系在追逐 商業名與利之爭比商場更為甚。對於名與利，我概歎唯浮雲，這又受益于我老師徐 榕生先生影響，鑒此我決定離開畫壇，離開那虛偽之術的圈子。經過五年來對藝術 正反的深思熟慮，于1982年我又重新拾筆丹青，三年之後，我出奇地開始了我的默 劇人生。 v: So this teacher actually changed your entire way of life at a time when nobody saw the prospect of your artistic success today. You were the primary force behind the promotion of mime art in Hong Kong; in particular, the Fringe Mime and Movement Laboratory (Mime Lab) founded by you have produced many talented mime artists, many of whom now performing in Hong Kong. Apart from being your teacher in painting, how did Maste Xu help your progress in mime art?

F: Yes, Master Xu had a profound impact on me. He was the first person to show appreciation and respect for me. I would read whatever books he recommended, I would watch whatever performances he suggested. One of them was a mime show (around 1972).

I found it interesting and it was “love at first sight”. Back then the mime audiences were mostly foreigners. The reason I loved mime was because each show was a pleasant surprise, you’d never know what would happen next, especially in the limb movements.

Personally I don’t like drama. I found it distasteful that it is mostly adopted from some classical plays, particularly foreign ones; the whole thing is just a pile of wooden blocks that move and talk.

For 5 years from 1977 to 1982 I stopped painting. I burnt all my paintings and art books – not a single one left. It was due to the deceitful trend in Hong Kong during that time - those so-called ‘artists’ were more interested in competing for recognition, worse than commercial rivalry. To me, fame and fortune are not all that important - a virtue Master Xu had taught me. So I decided to give up painting and refrain from the hypocrisy of the art circle. Only after five years of reflection did I start to paint again in 1982. Three years later by sheer chance I started my mime career.

“

...每一次看都有令我驚 喜的，因你是永遠不知 道接著下來的情節將會 發生甚麼... ...each show was a pleasant surprise, you’d never know what would happen next...

”

40 vie. magazine

v：因您在默劇有出色的表現，在1985年獲得英國文化協會助學 金（British Council study grant）資助，前赴倫敦Desmond Jones School of Mime 進修默劇。而當年是沒有多少香港人認識 默劇的，為何您從畫畫轉到去演默劇？我很好奇地想知道您第一 次演出默劇的情況？ F：我做默劇的原因很簡單，因為我認為默劇不是外國人的專利，我 想中國人也能做的，但苦於前無古人，那就由我做後來者吧。我 曾經和做話劇的朋友提到默劇，但沒有一個認識它，而且還覺得 它很奧秘。我卻認為默劇對話劇會有很大的幫助，尤其是在肢體 語言運用方面。1982年是我第一次做默劇，是表演給我的話劇朋 友看。在香港藝術中心的小劇場，利用他們中場的15分鐘休息時 間作倉促演出。那時我對默劇的認識實在不多，幸好我這個畫畫 人的臨摹功力還算好，模仿曾經觀看過的默劇，惟妙惟肖的表演 起來。 「魚池無魚蝦為大」，正因為當時香港沒有人了解和認識默劇， 所以那次的表演為我的人生帶出另外一個奇跡。那一年（1982 年）香港電臺找我在皇后像廣場做街頭默劇表演。1984年的第二 屆藝穗節（Fringe Festival）我主動參加街頭默劇SHOW，在藝穗 節之後就有了藝穗會（Fringe Club）的出現。從此藝術工作者有 了一個聚集地方。藝穗會的朋友在看我的表演後，不斷給我有益 的意見，使我的“自創式默劇” 有了很大的飛躍。1985年英國文 化協會給了我一個遠赴英國正式學習默劇的機會，跟隨英國最出 名的默劇大師Desmond Jones老師學習。當時我的留學生活範圍 就是學校，圖書館和科芬花園(Covent Garden街頭表演的焦點) 三個地方。我不知道倫敦是個什麼樣的世界，但我祇知道要在短 短的3個月時間內，竭盡所能地把所有默劇知識帶回香港。 v：相當有意思，您就是這樣表演您“自創式默劇”處女作的，誠如 您曾經講過“沒人知道，就我最叻”的境況，哈哈。霍sir您如一 朵綻放的鮮花，需要陽光的沐浴和雨露的滋潤，所以您在英國努 力地吸收新的知識和去體現默劇的精粹。但當年的香港還沒有默 劇，您又是怎樣去推廣它，使人們知道有一種藝術叫默劇和令他 們樂意接受默劇呢？是“藝穗默劇實驗室”（Fringe Mime and Movement Laboratory (Mime Lab)）的使然嗎?

F：當時默劇在香港是不存在的，主要是沒有它的市場（沒有門票帶 來的名和利）。路是人走出來的，就由我來走還沒有中國人走的 這條路吧，我是很傻，對不？我先在藝穗會教默劇，隨後就應邀 在香港中文大學和香港藝術中心開班授課。但我將中文大學的課 室搬到藝穗會去，因兩個小時的課程可伸延到三個小時，這樣就 多了點時間來學習（香港默劇得到發展，藝穗會的支持是分不開 的）。每年有兩個班，每一個畢業班都會獨立組成一個默劇團， 所以每年就有兩個默劇團，每個團特點各異。由於每個學期只有 24課，為加強加深學員對默劇認識和實踐，在1987年我就創辦了 一個不收取費用的“藝穗默劇實驗室”，挑選班上的表表者，作 為開拓香港默劇的精英。

“

默劇不是外國人的專 利，我想中國人也能做 的，但苦於前無古人， 那就由我做後來者吧。 Mime is not an art just for the foreigners, the Chinese can do just as well. Since no one wanted to do it, I had to take the lead.

”

vie. magazine 41

v: So that’s how you accidentally come upon miming. I’m still shocked that you burnt all your paintings! After those 5 years of inactivity, I believe your comeback was a result of a new insight, but why the switch from drawing to mime? Mime was unknown in Hong Kong then - I’m curious what happened at your first mime performance.

F: I perform mime for a very simple reason, because I think mime is not an art just for the foreigners, the Chinese can do just as well. Since no one wanted to do it, I had to take the lead. I discussed with a friend who was doing drama, but he didn’t know much about mime, or think it was too profound. But I found mime would be of great help to drama, particularly in the mobility of the limbs. My first performance in 1982 was a 15-minute intermission slot between dramas to a group of friends at the Hong Kong Arts Centre.

At the time my knowledge about mime was still minimal, fortunately painters are good imitators and so I performed based on memory of previous mime shows I had watched.

There is a Chinese saying, “In a fishless fish pond, the prawn becomes the greatest”.

It was precisely so because in those days no one in Hong Kong knew anything about mime, my performance brought another miracle into my life. In the same year (1982), the Hong Kong radio station invited me to perform at a street mime performance at Statue Square. In 1984 at the Second Fringe Festival I actively participate in street mime.

After the Fringe Festival, the Fringe Club was formed and since then provided a venue for meeting of all the local artists. My Fringe Club friends would critique me after watching my shows and my self-created performances saw a lot of improvement.

In 1985 The British Council offered me a chance to study mime in Britain under the tutorship of the most famous British Mime Master, Desmond Jones. My student days revolved around the school, the library and Covent Garden (where street artists performed). I had no idea what London was really like – I only knew I must gather all there was to learn about mime in 3 months’ time and bring the knowledge back to Hong Kong. v: So that’s how you did your first mime performance - like you said – since no one knew anything about mime, they thought you were the greatest”, ha ha! That explains the birth of the Mime Lab. It has been in existence for more than 23 years now. In 2009 you even led the troupe to participate at the Korea Chuncheon Drama Festival and the Taipei Fringe Festival. Master Fok, I understand that mime is the Art of Silent where the artist expresses emotion, plot and story through the use of body language instead of verbal words. Actually I still don’t know much about this art form. Can you please elaborate briefly on it?

F: Simply put, human beings had been using mime to communicate before the invention of spoken and written words. The word “mime” means “mimic”, so a mime show should be named a ‘mimic’ show. Mime originated from ancient Greece. The modern mime we see today is the progression of an art form transcended through the Renaissance Age of the Roman Empire in the thirties of the twentieth century. Its popularity owes greatly to the great Mime Master Marcel Marceau during the late fifties in the last century. Michael Jackson’s Moonwalk is one of the basic steps of Marcel Marceau.

Expression through body language is an important element of mime, often adopted by dancers - just like the dancers mimicking swans in the classical ballet “Swan Lake”.

Modern Dance, physical dance and modern or post-modern mime are now almost inseparable.

42 vie. magazine v：默劇在西方世界很受重視，但在1992年你來到悉尼之後，反而創辦了“兒童美 術創意工作室”，到現在已經16年了，這令到我覺得很意外。為甚麼會有這個想 法？ F：默劇需要的體能超過芭蕾舞，我老了，哈哈哈。很多人都說外國小朋友比較聰 明，我覺得中國小朋友也很聰明，只不過有很多家長沉迷於所謂傳統教育（功利 目的）方法，抹殺了小朋友的創意吧。所以抵達悉尼後，我決定利用西方自由活 潑學習型式配合中國人深藏體內的創意DNA，把視覺藝術與藝術治療結合，設 計這所特殊兒童畫室。這個畫室是經過深思的設計，可以說我的畫室不是教兒童 畫畫，而是以視覺藝術概念引導他們怎樣去思考。用講故事，寫生，勞作，來培 養他們的眼、腦、手創作能力，當然通過藝術治療的部份方法也可輔導一些在心 理和行為上可能有問題的小朋友，但聲明：實在有問題的小朋友就要求教於專家 了。 v：作為一個藝術工作者，您已經很成功了，相信您不會後悔選擇走上藝術這條路，但 您會否還有些自覺未完成的夢想呢？ F：當然有，我是一個夢的追尋者。我很想創辦一個“中國文化兒童教室”，用現代的 思維方式以中國成語故事、神話、筆墨遊戲，象形文字等，帶引小朋友們進入中 國文化的領域，享受文化的樂趣。 v: Mime is now greatly appreciated in the Western world, but since you come to Sydney in 1992 you founded the “Children’s Creative Art Studio” instead. It has been 16 years now, I’m rather surprised. What gives you this idea?

F: Physically mime is more demanding than ballet – and I’m old now, ha ha ha! Many people say that foreign kids are smarter, but I think Chinese children are just as smart. Their creativity has been denied by parents who believe in the so-called traditional education (utilitarian) method. That’s why after arriving in Sydney I decided to combine the Western proactive learning style with the Chinese intrinsic creative DNA; I blended visual art with art therapy, with this design I opened a special children arts studio.

The studio is a design of careful deliberation. In my studio I’m not teaching children how to draw or paint, but to guide them towards thinking with the help of visual arts and concepts. Storytelling, sketching, crafts can foster creativity with their eyes, brain and hands. In addition, art therapy can also be applied to children who need psychological and behavioral correction. But I must stress this: highly problematic children should seek professional counseling and help from an expert. v: You are now a successful artist and I believe you don’t regret choosing taking this career path. Do you have any unrealized dream?

F: Of course I have. I am a dream chaser. I would like to set up a “Chinese Culture Workshop For Children”. Using modern teaching methods to convey Chinese idiom stories, myths, words games, hieroglyphics, etc., I hope to bring to the kids fun and enjoyment in learning the Chinese culture.

後記：

Postscript:

愉快的採訪令我不覺時光飛逝，霍sir的談笑風生、天賦秉性真 的令人難以忘懷。劉邦、項羽同樣橫空出世，成為一代梟雄， 但“劉項原來不讀書”。他的經歷告訴我：沒有永遠的失敗 者，成功和勤力奮鬥是成正比；一個人出生在甚麼家庭，這只 是個標識，正如他的名字是個稱謂一樣。人生如戲，但試問又 有多少人能恰如其分地演繹，而且瀟灑脫俗！我真的很期待能 親自目睹霍sir在舞臺上的風采。

The lively interview was so interesting that I didn’t realized how fast the hours flew by. Master Fok is unforgettably humorous, intelligent and sincere. His life story tells us that there is no permanent failure; and success is only proportionate to hard work. The family we born into is only a label, much like the name given to us is just a description. Life is but a stage, and who among us can play our part in perfect precision and in style? I am really looking forward to catch Master Fok brilliant mime show on stage.

vie. magazine 43

悉尼觀音菩薩的化身-周梁淑儀 THE BIRTH OF SYDNEY’S GUANYIN BODHISATTVA – FLORENCE CHAU

很

多人都明白到“施比受更有福”這個道理，但不是每一個人都能真真正正做到。就如理想與實際 一樣，因為說和想永遠都比做更加容易。加入了慧賢會已經十幾年的周梁淑儀, 一直就是憑 著助 人為快樂之本的信念連任多年該會的主席。她為了兒子和女兒的成長奮鬥了大半生，為做善事更是從 不間斷地奮鬥，她希望在有生之年不為余力地去幫助有困難的人。

M

any may understand the saying, “It is more blessed to give than to receive” but not everyone can do it.

Just as ideology versus reality - it is always easier to dream and say than actually putting it into action.

Maintaining the basis of happiness is by helping others, Florence Chau joined the Way In Network more than ten years ago and has served as President for many years. She has spent half of her life bringing up her son and daughter; at the same time strive to do charitable works. She will continue with all her effort to help those in need.

v：我知道年輕時的您在香港有一份穩定的工作，而且和先生過著中上舒適的生 活，為甚麼會選擇移民來悉尼呢？在當年的情況下，選擇移民出國對於您來說 是比較冒險。 F：和普通新移民一樣，完全是為著下一代的生活。其實當年移民來到悉尼，對我 來說絕對是一個挑戰。妳說得對，當年我在香港的生活是不算差的，所以當我 來到悉尼的時候，我的確很難適應這裏的生活。記得1975年我和先生剛來到悉 尼，身上就只有700塊澳幣, 正所謂人離鄉賤。所有的一切都要從頭開始，不論 我以前在香港工作時的多年經驗。手上就只有數百圓，為了生活，每天一早我 就逐間工廠地去敲門自薦應徵，因為我知道工廠的要求是最低，終於在一間制 衣工廠找到第一份工，我是做驗貨的。當時我是住Parramatta，每天早上６ 點就要出門，天還是黑的，感覺還是蠻凄涼的，因為在香港是從未經歷過的。 還有就是制衣廠的老闆和老闆娘的意見不一，我自然成了一個“夾心人”， 我按老闆的要求做了，但老板娘不滿意的話就會罵我。當時我每天都感到很委 屈，回家之後，一個人躲在房間哭，我不敢和家人說，免得他們擔心。還有， 移民的路是我選擇的，我不會那麼容易就放棄。結果我在制衣廠做了一年。 v: I know in your younger days, you had a very stable job and were living a upper middleclass cozy lifestyle in Hong Kong with your husband. Why did you choose to migrate to Sydney? In those days, the choice to migrate is a rather risky move.

F: Just like other regular migrants, it was entirely for the future of the next generation. In fact, migrating to Sydney at that time was a huge challenge for me. You are right, back then our lifestyle in Hong Kong was not bad at all, which is why when we first moved to Sydney, I found it difficult to adapt to the lifestyle here. I remember in 1975, when my husband and I arrived at Sydney, we only had 700 AUD on us. Despite my skills from years of work in Hong Kong before, I had to start from zero. With only a couple of hundred dollars, I started looking for jobs in different factories every day and finally landed a job in a garment factory, as Product Inspector. I was living in Parramatta and I had to wake up at 6am each day before sunrise. It was very depressing, as I never had experienced this in Hong Kong. The factory owner and his wife always had different views and I became “sandwiched” in between them. If I did what the boss requested, I would be scolded by his wife if she didn’t fancy it. Aggrieved, I would cry alone when I went home each night, not daring to tell my family so they wouldn’t have to worry about me. After all, it was my decision to migrate and I would not give up so easily.

So, I ended up working in this factory for a year.

44 vie. magazine v：其實當年您來悉尼的時候，還算是年輕，而且有工作經驗的您，很難想像到在工廠打工的情 況。香港對您來說應該是一個充滿溫暖快樂的地方，但悉尼就剛好相反。在工廠的際遇反而沒 有令您退縮，一個人躲在房間哭的您也沒有怨天尤人，我覺得您好堅強。 F：因為當時我只是想著令我的兒女在最好的環境下成長。我曾經在同一時間做3份工作，白天在旅 行社做，晚上就在戲院清潔，到了周末就在餐館打工。目的就是在盡我的能力去創造一個美好 的生活環境給我的兒子，因為當時我第一個兒子Terence已經出世了。當他3個月大的時候， 我媽媽就把他帶回香港照顧，因為我沒有時間照顧Terence。但當我媽媽抱著Terence走進候 機室的時候，我就已經後悔了，看著他們的背影，我的眼淚不斷流下來。我一直都覺得自己是 很堅強的人，但當我做了媽媽的時候，原來我不是想像中的那麼堅強。結果半年後我就接Terence回到身邊，我寧願辛苦點，睡少幾個小時，我也要親眼看著他長大。當時我在一間戲院賣 票，我就把9個月大的Terence放在旁邊。看著Terence的樣子，再辛苦也是值得！我不算是一 個偉大的媽媽，因為我相信每個家長的想法都會和我一樣。 v：我一直都覺得母愛很偉大，但不代表爸爸不偉大，是因為作為女性，我更明白媽媽的想法，更 清楚作為理性媽媽面對現實生活那感性的一面。為了Terence和Jennifer，您曾經做過很多工 作，我相信有人幫您，亦有人對您不好，就如欺騙您和只是想拿好處的人。您會覺得不開心 嗎？這些事情有沒有令您沮喪，您是怎樣去對待？ F：想拿好處的人一定有，不願意幫我的人也有，但一百個人裏有一個人在我困難的時候願意幫 我，我就已經很滿足，但如果沒有人願意幫我，我也並不會因此沮喪而拒絕幫助他人，因為雪 中送炭固然好，但身邊的人不會對我落井下石，我覺得他們就已經是在幫我。面對著這個現實 的社會，我試過幫助了別人之後，得不到道謝之餘反而得到責罵的，就是因為我幫得不夠好。 但我問心無愧，盡我能力幫人之後我覺得很開心，其實這已經是賺了，所以我不會計較衡量這 個人以後會報答我還是利用我，才有選擇的去幫助別人。 V: You were very young when you first came to Sydney and with your previous work experience it is hard to imagine you working in a factory. In contrast to Sydney, Hong Kong must have been a place of warmth and happiness. Yet you never flinched after being treated that way at the factory; crying by yourself instead of blaming anyone - I think you are a strong person and I respect you for that.

F: What I had in mind at the time was just to bring up my kids in the best environment and provide them with a good lifestyle. There were times when I had 3 jobs at one time - working in a travel agency during the day; cleaning a theatre at night and working in a restaurant during the weekends. My first son, Terence, was born then and I wanted to provide the best for him. When he was only 3 months old, my mum brought Terence back to Hong Kong to look after him, as I did not have the time to. I started to regret when my mum carried Terence into the departure hall. Watching their backs, I could not control my tears. I had always thought that I was strong, but after becoming a mum, I was not as strong as I expected. I finally brought Terence back after 6 months. I was willing to suffer more and have sleepless nights, just to be able to see him grow. When I was working in the theatre selling tickets, I brought Terence along and sat him next to me. When I looked at Terence, all the hard work was worth it. I don’t consider myself a heroin as I think every parent will share my sentiment.

V: I’ve always thought that being a mum is great but that doesn’t mean that being a dad is any less. Being a woman myself, I could understand a mother’s point of view and I can share your emotional struggle in the face of realities of life. I believe you have done many jobs to bring up Terence and your daughter Jennifer; there must be people supporting you and those who took advantage of you. How do you feel about this?

It must be very depressing and frustrating dealing with these people?

F: There were people who took advantage of me and those who refused to help. However, if there was one single person in a hundred willing to help me during my hardest times, I would be more than grateful. I would not deny those in need of my help just because I was not offered help. It is wonderful if someone extends you a helping hand, and I would think they have already done me a favour by not adding salt into my wound. In this material world, very often I have helped many people and in return received reprimand instead of praises - perhaps I have not helped enough. As long as I have a clear conscience and feel that I have given my best to help, I am happy. I choose to offer my help without worrying whether people would return my favor or are taking advantage of me.

vie. magazine 45 v：因為這個信念，您就加入了慧賢會，籍著這個慈善組織，通過更多渠道去幫助 和關心社會上需要幫助的人。在您不斷地幫助別人的這段日子裏，甚麼事情令 您最有滿足感呢？ F：加入慧賢會之後，我覺得我的日子過得很有意義，令到我充滿活力。就如上年 的“光明之行”，我們會的人一起去順德探訪有眼疾的病人，為四川地震的 籌款，每年的慈善活動。所有的會員都毫無私心地懷著同一個目標地去做善 事，能和他們一起共事我覺得很開心。還有最開心當然是在我這個媽媽眼中看 到Terence和Jennifer的成功，我覺得很欣慰。我先不評論他們的事業是否成 功，在我的眼中，他們在創業奮鬥的時候都能記著我做人的宗旨，而且經常和 我一起做善事，我就覺得他們真的長大了，成功了。當年在悉尼只有700圓的 我，到現在，有一個很幸福的家庭，我的人生真的是賺了。不過還未完，我的 孫子Oscar就是我新的挑戰，還有就是繼續全心全意地為慧賢會服務。 V: Based on this belief, you have joined the Way In Network and through various channels you are able to help and care for more people. In the process of helping people, what is your most satisfying moment?

“

...但當我做了媽媽的時 候，原來我不是想像中的 那麼堅強。 ... but after becoming a mum, I was not as strong as I expected.

後記：

”

她的故事有開心和不開心，但由於 auntie始終帶著微笑，她那從心而發 的正能量令我覺得她的一生似乎是沒有 波折的。但試問誰會沒有波折呢？她樂 觀的面對生活和困難，無私地幫助他人 的精神，是時下年輕人面對壓力和社會 的一個好榜樣。本來一心為了下一代發 展的偉大媽媽，現在看到兒子Terence 和女兒Jennifer就會很滿足，因為過去 別人是這樣介紹的：Terence是周太的 兒子,現在已經變成：Terence的媽媽 是周太；而Jennifer就像她一樣，樂觀 而懷著一顆善良的心，每天笑臉迎人。 auntie幫助人的心，帶動著vie的心， 我們連續兩期的“每月捐款”將會幫助 慧賢會籌款，希望有你們的支持，世界 會變得更美好！

F: After joining this organisation, life seems more meaningful and it invigorates me. Way In Network joined-hand with a charitable organisation “China Vision” to visit Shunde City of China, to provide free eye surgery to the poor and underprivileged local residents who had lost sight due to inadequate medical facilities. We also raised fund for victims of the Szechuan earthquake and other disaster regions. I feel very happy working with the members of the network with the same goal of doing good deeds to the society each year.

Of course, the happiest moment as a mum is to see both my children succeed in their life. I will not predict future prospects of their careers. I am happy to see them taking my moral principles to their work; doing charitable deeds alongside me. To me, they have proved that they had really grown up and become successful. Looking back when I only had 700 dollars on me, to where I am today with a happy family, I am contented and could not ask for more. But, this is not the end yet, my grandson Oscar is my new challenge and also my continuous dedication and service to the Way In Network.

Postscript: There are indeed happy and unhappy times in her life, but throughout our conversation, her constant smile and the positive energy that she radiated made us feel that her whole life was smooth sailing. Well, who among us is free from stormy weather at one time or another? Auntie Florence’s plausible optimism in dealing with a life filled with adversity and her selfless spirit to charitable work makes her a role model for the younger generations.

A mother whose entire existence is for the betterment of her next generation, her life is now filled with joyous gratification when Auntie Florence is in the company of her son Terence and daughter Jennifer. In the past, a proper introduction was: “Terence, son of Auntie Florence”; Today it’s “Auntie Florence, Terence’s mum”. Jennifer, like her mother, is an optimistic, kindhearted person who greets everyone with a smile every day.

Auntie Florence’s kindness and her compassion in charity has deeply moved us and hence Vie will be helping the Way In network in our monthly fund raising activity in the next two issues. Vie hopes that we get your support and make this a better world for everyone!

46 vie. magazine

經典探戈

TANGO WITH CONTINENTAL 汽缸容量：5998cc/ 變速：6前速自動/ 0-100公里：5.1秒 馬力：412KW/ 扭距：650NM/ 顏色：經典白色/ 極速：314公里 Engine: 5998cc / Transmission: 6 speed automatic / 0-100km/hr: 5.1sec Power 412kW Torque 650Nm / Colour: Classic White / Max Speed: 314 km/hr

vie. magazine 47

WORDS Patrick Chan PHOTOS SydneyWalker HAIR Kippo Hair and Colour Bar MODEL Kira P

48 vie. magazine 小時候我常在酒店的門外看到停泊著一部賓利，當我有能 力買車的時候仍然在想何時才可擁有一部賓利，但到現在 還未實現。很榮幸vie及Terry Hogan Prestige Cars今天 給我一個機會去感受這款豪華的轎跑車－壹部2007年賓利 Continental GTC車系。

As a child I often came across Bentleys at hotel lobbies, years later when the time came to buy my first car I often think when would I own one, and this date is still hatching. Well, Vie and Terry Hogan Prestige Cars today gave me the pleasure to have a taste of this piece of luxury, the 2007 Bentley Continental GTC.

我以往曾經駕駛過多款開蓬車，我必須說作為一個汽車愛 好者來說，一輛開蓬車是很難取得各方面的平衡；汽車性 能、舒適度及豪華的設計通常都與外形不能共存。但這部 GTC卻完美無瑕地在外型與性能上拿滿分；由時速0至100 公里只需5.1秒。

I have driven many convertibles and I must say as a car enthusiast it is very hard to get them totally right; performance, comfort and luxury are often being compromised for the look. But the GTC has scored ten out of ten for its flawless attention to details and exceptional performance; 0-100kmh for a mere 5.1 seconds.

在City West Link駕駛著這款開蓬版Continental GT使我十 分享受，只需按一下按鈕軟頂就在數秒的時間消失，豪華 的內觀配襯桃木製細節及真皮座椅，在四隻車窗打開的狀 況下車內仍然平靜，還有最先進的Naim音響系統，是真正 享受的開蓬駕駛經驗。

Cruising in this drop-top version of the well known Continental GT along City West Link is enjoyable, works like magic the soft top disappeared in seconds with one touch of the button, the extravagant interior with wood grain details everywhere and leather seats remains very calm even with the four windows down, not to mention its state of the art Naim audio system, a truly open-air motoring experience.

需然這款車有超過15個顏色作選擇，但我卻最喜歡白色的 賓利，是代表着永恆和品味。試幻想在這款經典汽車裏享 受陽光浴，要擁有這部2007年的車款，可往Terry Hogan Prestige Cars查詢，二手售價為$329,990。

With over 15 exterior colours available I still like my Bentley to be in white; tasteful and timeless. If you fancy to soak up Vitamin D in this classic vehicle, this 2007 model will set you back for just under $400,000, available exclusively at Terry Hogan Prestige Cars.

This very limited prestige vehicle is available for sale at Terry Hogan Prestige Cars.

vie. magazine 49

STUDIO 2 / 77-83 PARRAMATTA ROAD ANNANDALE NSW 2038 [T] 1300 670 474 [E] SALES@VIEMEDIA.COM.AU

52 vie. magazine

53 THE TOOTH 54 雲山流影 56 水屋與設計

IN PURSUIT OF THE ELUSIVE SHOT MIZUYA + DESIGN

vie. magazine 53

WORDS Emily PHOTOS S.L. 生產商: xO Design

MANUFACTURER: xO Design

設計師: 菲利普·帕特里克·斯塔克 (Philippe Starck)

DESIGNER: Philippe Starck

年份: 2002

YEAR: 2002

大家可能很難想像坐在一隻巨型牙齒上會有甚麼感覺， 不過鬼才設計師Philippe Starck卻以牙齒作為設計靈感， 利用其流線型輪廓的特徵，設計成充滿趣味性的矮凳系 列。The Tooth本來是為倫敦Saint Martin’s Lane酒店 設計，但後來卻成為很多地方的陳設和傢俱。這矮凳用 塑膠(聚丙烯)灌模而成，分別有銅色，金色和銀色可供選 擇。它獨特的造型具有審美趣味的感染力，跟xO系列傢 俱的一貫宗旨“ CROSS THE LINE”不謀而合”。

The idea of sitting in a large scale tooth comfortably may be hard to grasp, but the quirky stool mimics the contours of a tooth in such a way that one unfamiliar to the xO range will always be pleasantly surprised.

xO，意指兩條交錯的線和一個圈。這品牌於1984年由 Gérard Mialet和Philippe Starck一同創立，每個系列每 一件傢俱都很有玩味，總令人覺得驚喜。 (xO design迷你版系列一套八款小傢俱供愛好者收藏。 其中Tooth 迷你版，只是原版的六分一)。

The whimsical nature and aesthetic appeal of the stool channels the slogan ‘cross the line’ of the xO design furniture company launched by creative mastermind Philippe Starck and Gerard Mialet in 1984.

The tooth was originally designed for the lobby of Saint Martin’s Lane Hotel in London but has since become a popular accessory for any environment. Completely plastic, the tooth is made by molding polypropylene, lacquered in copper, silver or gold. The stool’s unique character transcends conventional design and offers a fun, humorous seductive bite.

(The xO mini eight piece range also features the tooth at one sixth of the original scale for serious xO lovers)

www.xo-design.com

54 vie. magazine

雲山流影

IN PURSUIT OF THE ELUSIVE SHOT

PHOTOS & TEXT SydneyWalker sydneywalker@gmail.com 0413118008 張雲山Kenneth Chang，香港人，1987年移民澳洲，於上世紀九十年代初開始為電腦公司 作商品攝影，2006年度悉尼華裔小姐大會指定攝影，2007年以自由記者的身份採訪拍攝 「亞太經濟合作會議 APEC」，2008年和一羣好友攜手舉辨攝影展覧會，名為「非法聚會 聯展」。2009年周杰倫悉尼演唱會指定攝影，2010年“vie”時尚月刊指定攝影。 醉心攝影藝術，最喜愛拍攝黑白，對比度高的寫實作品。熱愛生活，美食，和一切美好的 事物， 會帶著相機上山下海 四處遊玩為本業的攝影人。

全民攝影：數碼照相機技術日新月異，攝影器材普及已無處不在。頓時令任何人瞬間都 可以成為攝影人，拍照多了自然對技術和後期處理的過程有所思巧。身邊的朋友向我取經 和交流的頻數也高了。當下綜合整理，分門別類編寫成文，在此板位簡短兩三段願和您們 分享。 攝影師之眼：入門級的攝影風格可分兩大類，唯美的畫意攝影和純粹記實的記錄攝影，

雖然理念不一樣，但同樣需要攝影人對圖像挑選的眼光，擁有能透過觀景器，在照片的平 面視覺上去捕捉值得被拍攝的主題。我年青時常看日本雜誌，就是愛它圖片豐富，主題鮮 明，而八十年代日本書刊上的漢字比近代日語的漢字少，只能看圖識字對雜誌上的作品作 出反向想像，研究品味一番。對商品和人像的基本構圖和透視力，攝影師之眼也是不經已 的從萬千影像中練就出來。

影像字貼：現在要看高質數的照片大可以從網絡，圖書店或攝影展覧等等，多參看人家 的作品，像小學生臨摹字貼寫大字般，把您看過認為好的作品再翻拍重現，同一時間再以 該主體，用不同的觀點與角度再多拍數張，之後和原作對比，從而找出人家的長處來，加 以改良超越。 看多了，拍多了自然功多藝熟， 為未來拍出自我風格的作品定下奠基石。 再見，「鬆郁矇」：這三個字相信是香港攝影人原創的吧！意謂照片上的影像「鬆散」，

「抖動」，「朦朧」。踏入高清數碼時代，就談談如何能簡單地拍一張銳利的照片吧！ 也正因為這是基本法第一課，所以先不談「安全快門」，「器材先決」，「最銳利的光圈 值」和太過長篇的理論。 1.

要銳利一定要使用三腳架拍攝。沒有三腳架時可試試找一個隱定的平台，例如把照 相機放在椅背上，放在桌子上，靠樹杆或靠樯壁來作臨時腳架，提升穩定程度，理 應比手持相機拍攝銳利。

2.

最好使用快門線或遙控器來按快門，減少指頭按下的外來力對相機的輕微移動。 如 果手上沒有快門線的話，可活用照相機的自拍功能，對準焦點後等五到十秒，讓相 機自動為您按下快門。

3.

巧妙使用相機的銳利化設定，但不要太貪心，令到圖片應有的細節盡失。

4.

數碼單鏡反光機(DSLR)可使用反光鏡鎖來拍攝，把反光鏡的震動減到最低，缺點就 是要按下快門兩次才能拍到一張照片，第一次是把反光鏡翻上，第二次才是真正的 拍照曝光。

5.

使用三腳架拍攝時，切記要關閉所有防手震功能。

6.

最後是運用電腦軟件作後期的銳利化製作，例如買照相機時，內附光碟裏的圖像修 正功具，Google的免費圖像編輯軟件Picisa或是Adobe Photoshop內的Unsharp Mask 功能來獲得更清晰的影像。

練習對構圖的基本眼光，多看別人的作品，多臨摹，多構思。靈活運用上文的小技 巧，一同來拍攝更加Sharp，更加銳利的照片吧！下期再和大家分享更多拍攝的樂趣。

vie. magazine 55

Kenneth Chang was born in Hong Kong and migrated to Australia in 1987. First commercially shot for computer components wholesaler in the early nineties. He was the official photographer for Miss Sydney Chinese Pageant in 2006. His experience of photo journalism began during the Asia-Pacific Economic Cooperation (APEC) of 2007. He exhibited with other photographers at his first major photography exhibition “Gather Haram 2008”. He was the official photographer for Jay Chou’s World Tour in 2009 at the Sydney Concert. Currently Kenneth is a freelance photographer for “vie Lifestyle Magazine”.

Kenneth is devoted to the art of Black and White Photography. He is extremely hard working, and always carries his cameras to grab that elusive shot.

With modern technology, cameras have become ubiquitous. Almost every device, be it an mp3 player, or a phone with a in built in camera. But it still takes skill to take good photos. In this column I will share my knowledge with you so you too can get the best out of your photography equipment.

I will show you the different techniques required for both pictorial photography and documentary photography. I have spent years learning the various different techniques for these different styles and will show you where and when you should use a particular technique to obtain the best photo, be it a dreamy photo of your children, or a record of your holiday destination. I think it is important that the photocomposition and style tells the story of your experience and that your eyes should be open to seeing the photo possibilities in a scene.

Composition is very important in photography. When you are first learning, it is important to know what photos are good and why they are good. Learning should begin with the photos you like. I will show you why the photos you like are well composed and resources such as Internet and local libraries to further your learning by seeing the photos taken by others. Once you know the basics, then you can begin to experiment and determine your own photographic style.

The first topic is how to avoid taking blurry photos. We will not go into the technical theory of photography, but give simples rules of thumb you can follow to take good photos.

In some cases it is not desirable to use a flash. If you have a camera with a tripod mount then a tripod is a good solution. If you do not or it is not appropriate to use tripod, you need to use a stable surface, such as a tabletop or a pole to brace the camera or yourself.

With all cameras the action of taking the photo causes camera to shake. If your camera has a remote function then you can use the remote shutter to overcome this problem. If you do not, you can use the timer function to have the photo taken some seconds after you operated the shutter.

Most cameras have a sharpness function. You need to be careful with using this function as a little is good, but over sharpening will cause halos and other unwanted effects on your photography.

If you have a DSLR camera, there is another feature you can use to minimise camera shake.

There is a mirror lock-up feature. This allows you to compose the photo and then lock up the mirror by pressing the shutter release. Now you press the shutter release a second time, only the shutter needs to operate to take the photo.

If you are using a tripod try turning off any stabilisation features to see if this gives your camera a better picture.

After you have taken your photos, use the software supplied with your camera, or one of many free software packages such a Picasa or a professional package such as Photoshop. This allows you to file your photos, select the good ones and make simple improvements. Many of these tools have sharpening functions such as the un-sharp mask to improve the crispness of the photo.

So by learning these basic concepts, looking at the work of others and experimenting with your own photos you can quickly start to take crisper and clearer photos. Do not be afraid to experiment, in these days of digital cameras you can easily take more photos and then just delete the ones that did not work.

56 vie. magazine

水屋 與

設計 MIZUYA 新開的“水屋”就像一件高貴精美的吊墜，掛在長 長的佐治大街上，散發着浪漫的紫色情調。在繁華 的悉尼市中心，佔有1200平方米的水屋，門前有 一盞高雅的大吊燈，接待台後的墻上有長流不斷的 水簾，慢慢流落在一個石水池裏，給人感覺優雅而 不俗氣。這個日式Izakaya餐廳內有600座位，另 外有24間附有卡啦ok設備的私人房間。室內設計 公司（Cyberlab Design) 的靈感來自於日本傳統 的元素，但設計師巧妙地用一個現代的手法演繹出 一間與眾不同的“水屋”：LED燈發光的櫻花樹， 配搭上高雅紫色的竹林，和其它燈色的組合出來的 環境，形成一間時尚現代日本料理的餐廳。 房間除了給人私隱的感覺外，還可以給人世外桃源 的感覺。因為房內設計獨特，除了有舒適的沙發， 有激光板組成的牆，天花墻角發亮的LED燈還會隨 著時間而變色。其實整個設計利用了聲學加強了房 間與房間之間的隔音功能，令到每一個客人更加儘 情享受唱卡啦ok的樂趣

DESIGN A grand pendant light followed by a water feature at the reception marks the entrance of this 1200sqm sub terrain entertainment venue located in the heart of George Street Sydney. Mizuya is a 600 seating Japanese “Izakaya” restaurant with 24 private dining rooms equipped with karaoke facilities. The interior by Cyberlab Design was inspired by traditional Japanese elements but reinterpreted in a contemporary way; the LED lit sakura trees, neon purple bamboo forest, and a collection of modernist light fittings, to set the ambient of chic modern Japanese dining experience.

Individual dining rooms provide tranquillity and total privacy as an alternative dining experience for groups, against the booths in the main dining area. These rooms provide comfortable furnishing, and laser cut wall panels to diffuse edge lit LED lights as well as to improve the acoustic separation between rooms, should one wish to engage with the tempting professional karaoke facilities.

Basement 614 George St Sydney, Australia, 2000 http://www.mizuya.com.au info@mizuya.com.au

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58 vie. magazine

59 直擊你的感官神經！ NEVER ATTACKED!!

62 雪山隨影

WHEREVER YOU SHOOT

64 中英大詞典 CHINGLISH

vie. magazine 59

直擊你的感官神經！ NERVE ATTACKED!!

WORDS Bigheadlam 8月12日開始，大銀幕上將有兩套電影不斷衝擊觀眾的感官神經系統，令大家的腎上腺素指數迅速 飆升！由動作巨星史泰龍自編自導自演，領軍打造的火爆動作片《The Expendables》，是被譽為 擁有史上最強的動作夢幻組合，陣容包括：本片靈魂人物 Sylvester Stallone《Rambos》、Arnold Schwarzenegger《Terminator》、Bruce Willis《Die Hard》、Mickey Rourke《Iron Man 2》、Jason Statham《Transporter》及中國代表－李連杰《霍元甲》，單看名字已令人充滿期待，熱血沸騰！ 片中各大猛男訓身演出，向八／九十年代，曾經瘋魔全球的荷里活動作片致敬，相信會帶給我們無 限的官能及視覺刺激。Sylvester Stallone、Arnold Schwarzenegger 及 Bruce Willis 三大銀幕超級英 雄在戲內將會同台演出，雖僅有五分鐘戲份，但面對這絕無僅有的場面，相信一定值回票價。 而波蘭斯基（Roman Polanski）最新作政治驚慄片《The Ghost Writer》，相反地沒有槍戰火爆場 面，也一樣令人心跳加速。片中利用偏遠的小島、以暗灰為主調顏色，與世隔絕的大屋、故事人物 陰霾慘白的臉孔、Alexandre Desplat 緊張逼迫的配樂和冷嗖嗖濕乎乎的天氣，令一切像被籠罩在的 霧氣中，怎也看不清真相。波蘭斯基大師級的鏡頭運用及希治閣式的心理描寫與緊張懸疑的氛圍， 令戲中一場追逐戲不見血不見子彈便讓人緊握拳頭，血脈沸騰。弔詭的是，《The Ghost Writer》 的後期製作是波蘭斯基在蘇黎世的監獄內完成，他利用電話及視屏幕來指導在工作室的音效及剪 輯人員，以完成整部電影。波蘭斯基便像電影中主角 Ewan McGrego 一樣，體驗了一回做“Ghost Writer”的滋味！ Commencing August 12, the big silver screen will ram the audience’s sensory antennae with two films simultaneously to jack up everyone’s adrenaline rush!

Written and directed by action superstar Sylvester Stallone, who also plays the leading role, ‘The Expendables’ is an action-packed powerhouse regarded by far as the most potent in the history of action movies. The dynamic cast has an impressive line-up of superstars namely: Sylvester Stallone of ‘Rambos’ as the heart and soul of this movie; Arnold Schwarzenegger ‘Terminator’; Bruce Willis ‘Die Hard’; Mickey Rourke ‘Iron Man 2’; Jason Statham ‘Transporter’ and Jet Li ‘Fearless’.

A mere glance at the list of superstars here is enough to thrill one with anticipation and exhilarating excitement!

All the macho stars underwent strenuous physical training prior to filming as a show of accolade which sent the world into a frenzied craze over action movies in the 1980s and 1990s. With this film the audience will certainly be delighted with infinite visual as well as sensual stimulation. The fact that three of the most celebrated onscreen superheroes - Stallone, Schwarzenegger and Willis will share the stage, albeit in a brief five minutes role-play, is a first in Hollywood history and undeniably worthy of every cent of your ticket!

‘The Ghost Writer’, a recent thriller with political undertone directed by Roman Polanski, is equally electrifying, minus the explosive gunfire. The Director cleverly uses special effects to portray an oblique sense of mystery and obscurity. Some examples are: the remote and desolate island; the focal dark-grey colour tone; the isolated large mansion; the obscure and pale-tone faces of the characters; Alexandre Desplat’s intense music score; the damp cold weather.…..which add on the murky effect.

In line with Hitchcock-style psychological suspense, Polanski’s masterful exploit of the camera has successfully depicted the tense atmosphere on screen. In one particular chase scene, the audience is kept sitting on edge while not a drop of blood nor a single bullet is seen. The paradox is that, postproduction of ‘The Ghost Writer’ was done entirely during Polanski’s confinement within the prison walls in Zurich. Through telephone and video screen, he guided the studio’s sound and editing staff to complete the movie. Like Ewan McGregor, the leading star in the movie, Polanski for once got to taste being a “Ghost Writer” himself.

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浴血任務(台譯) THE EXPENDABLES 導演： 席維斯史特龍 主演：席維斯史特龍，米基洛克，李連杰，傑森史戴森，布魯斯威利，阿諾史瓦辛格，布蘭妮莫菲 日期: 2010.8.12 (悉尼) 劇情：一群各懷頂尖戰鬥絕技的流浪傭兵，被號召長驅直入中南美洲危險叢林，加入一場秘密的臥底任務以推翻殺 人如麻的拉丁獨裁暴君，表面上看來單純的刺殺任務，卻因美國情報單位的暗中搞鬼，而出現意外的危機變數。 Director: Sylvester Stallone Main Casts: Sylvester Stallone, Mickey Rourke, Jet Li, Jason Statham, Bruce Willis, Arnold Schwarzenegger, Brittany Murphy Release Date: 2010.8.12 (Sydney) Synopsis: The film is about a group of mercenaries hired to infiltrate a South American country and overthrow its ruthless dictator. Once the mission begins, the men realize things aren’t quite as they appear, finding themselves caught in a dangerous web of deceit and betrayal. With their mission thwarted and an innocent life in danger, the men struggle with an even tougher challenge – one that threatens to destroy this band of brothers.

http://expendablesthemovie.com

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影子滅殺令(港譯)／獵殺幽靈寫手(台譯) THE GHOST WRITER 導演：波蘭斯基 主演：伊雲麥葵格，皮雅布士南 日期： 2010.8.12 (悉尼) 劇情：專業傳記作者鬼手 (伊雲麥葵格 飾)，獲英國前首相凌阿當(皮雅布士南 飾)聘請擔任其自傳的代筆寫手。 鬼手的經理人見機不可失，安排他搬到凌阿當位於美國東岸海邊的豪宅，專心撰寫自傳的工作。鬼手在整理材 料時發現，之前的寫 手遇意外身亡；凌阿當被指控在任首相期間牽涉戰爭罪行。種種線索令鬼手懷疑一切並非 意外，未完成的手稿藏著一頁又一頁驚心動魄的奪命陰謀。 Director: Roman Polanski Main Casts: Ewan McGregor, Pierce Brosnan Release Date: 2010.8.12 (Sydney) Synopsis: When a successful British ghostwriter, ‘The Ghost,’ agrees to complete the memoirs of former British Prime Minister Adam Lang, his agent assures him it’s the opportunity of a lifetime. But the project seems doomed from the start--not least because his predecessor on the project, Lang’s long-term aide, died in an unfortunate accident. http://www.theghostwriter-movie.com/

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雪山隨影 Wherever You Shoot PHOTOS & WORDS Jaclyn K.

“Let’s go Snowies!” 是我每年冬天都必定會跟朋友說的一句話，說得很起勁的那種。 對！寒冷的冬天叫人只想躲在被窩裡，沒地方想去。對筆者而言，不去滑雪，感覺就像頹頹廢廢，浪 費了一個好季節。所以某個週末便跟朋友到了Thredbo和Perisher這兩座著名的雪山滑雪和玩雪板。 禦寒衣物、防風防水的雪褸雪褲、滑雪鏡、溫暖的毛線帽子和圍巾都是標準的裝備。到達雪山後，再 視乎個人興趣，選擇租用雪屐(ski)或雪板(snowboard)。如兩種都不懂，不要緊，雪場有很多滑雪課 程給不同級別的人授課。 最初以為兩天假期不夠玩，但對於運動不足的我來說，足夠讓我腰酸背痛，差點上不了班。所以奉勸 各位去滑雪前，請先好好鍛練一下身體。

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“Let’s go Snowies” is what I would enthusiastically say to my friends every winter.

When it comes to winter, it is always nice to cuddle up under a heated blanket and you wouldn’t feel like going anywhere. To me, not going to the ski field in winter is a total waste in such a beautiful season. That’s why I picked one weekend and headed on down to the famous Thredbo and Perisher Snow Fields for some skiing and snow-boarding fun with my friends.

Before heading for the fields, some essentials ski gears one should possess include: warm clothing, windbreaker and waterproof snow jacket and pant, ski goggles, warm wool hat and scarf. Upon arrival at the ski field, you can choose according to fancy, to ski or snowboard. If you are green in both games, there are many ski courses available for people of different level skiing proficiency.

Before the trip, I thought two days would be barely enough for all the skiing fun. As it turned out, for someone who doesn’t exercise much, I ended up with backaches and sores which almost deterred me from going to work the next day. Hence, a piece of advice for anyone who is contemplating to try a hand at skiing - perk up your physique with some physical workouts first before heading for that ski field may be a good idea.

64 vie. magazine

中英大詞典

CHINGLISH WORDS PHOTOS

Sheila

“Chinglish - Speaking in Tongues”

Oliver Lutz Radtke — 壹個在北京工作的德國漢語學家、多 媒體創作人及作家，繼續地在他的另一本出版書籍—More Chinglish Speaking in Tongues裏吸引其讀者。他已經在中國 收集了超過1,500個關於Chinglish的標誌。現在他更幽默地對 讀者分享了他在商業貨品、標誌、餐廳、旅客目錄等收集到 的「中國式英語」珍藏。 中國式英語究竟從何而來﹖現今在網上很容易就可以找到免 費的翻譯軟件。中國有很多人都過於依賴這些詞不逹意的翻 譯網站，因此這些令人擔憂的低劣翻譯軟件已經成為中國式 英語的罪魁禍首。中國人已良久察覺到英語這種主要國際語 言對市場開放所吸引到的外籍人仕相當重要；他們認為有需 要在標誌和餐牌上加上英語。儘管他們注意到英語的重要 性，他們展示這些標誌時卻並沒正確使用英語。

Oliver Lutz Radtke (a German Sinologist, multimedia producer and editor in Beijing) continues to fascinate his readers with another publication, More Chinglish: Speaking in Tongues. He has collected over 1500 examples of Chinglish signs from China. Today he has humorously shared with us his collection of Chinglish found on commercial products, signs, restaurants, tourism directories, etc, and the list goes on.

Where do these Chinglish signs come from? Nowadays, translation softwares are easily available at no cost from the internet. Many people rely on inferior translation websites far too often and these dreadful softwares have become the main culprit in producing Chinglish signs. China has long perceived English as the international language essential for today’s open market to foreigners; they feel obliged to display English on signs and menus. Despite their awareness of the importance of English, they have flaunted their signages without any conscientious effort for the propriety of the language used.

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The objectives of Way In Network aims to help women migrants to develop self-esteem and to cultivate self-confidence, to promote mutual understanding and to increase communication 慧賢會的宗旨一貫以來都是以提高婦女社會地位﹐培養獨立 across communities, and to integrate into the mainstream society and to support community services. 能力，增強自信，促進聯繫，以及融入主流社會，服務人群 These universal goals and missions are realized by a dedicated 回饋社會為原則。 team of committee members and members, who have devoted 所有的會員都認識到這個國際性的目標和任務，並投入大量 so much of their time and hard work, their love and spirit of Way 的時間和努力，發揮我們慧賢的慈愛精神﹐盡我們每個人自 In and contribute to the community abroad. 己的一份力量﹐服務社群。

The annual charity ball is the major event to raise funds for 歷年以來,替社會上有需要的團體籌款,為災區籌款，為社會上 various charitable needs during the year. Way In Network also actively involves in participating charity events in the past; the 需要幫助的人伸出緩手已經成為慧賢會的優良傳統。慧賢會 members of Way In Network had joined with the team of China 在過去曾參與多項慈善活動，慧賢會會員還組成光明之行慈 Vision to visit Shunde city of China, to provide free eye surgery to 善醫療隊，前往中國順德探訪患眼疾的貧苦大眾﹐免費為他 the poor and underprivileged local residents who had lost sight 們提供良好的手術﹐切除白內障﹐讓受益人能夠重見光明。 due to inadequate medical facilities.