E L I TE 時 尚 精 英
藝術京都 盛夏時尚 夏日香氛 戶外廚房 品味雅宅 Creating Masterpieces That Transcend Time 「 飛驒之匠 」打造舒適座上時光 JULY-AUGUST 2019
Blending Classical Western Music with Asian Culture 飄洋過海 共造築夢舞台
Emphasizing Serenity and Simplicity 太平洋之畔 寧靜平和之家
A Japanese City Steeped in Culture and Good Eats 千年京都碗裡嘗 一飲一啜皆學問
Kyoto: Capital of Artistic Imagination 大都會博物館特展 千年古都風采回顧
Summer Chic ISSUE 39
7 Essential Tips for 2019 Resort Wear
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July-August 2019 $6.99
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我們的展示廳帶給您五大感官的饗宴。 如果算上成就感，那就是六大感官。
聽烤牛排的滋滋作響。品嘗大廚烹制的美味。觀看卓然超群的家用電器。 從烹飪演示到產品講解，我們邀請您來發現您廚房的潛力。
Roslyn Heights • 170 Mineola Avenue, Roslyn Heights, NY 11577 • 888.859.9376 • subzero-wolf.com/roslynheights Manhattan • 150 East 58th Street 5th Floor, New York, NY 10155 • 800-691-6122 • subzero-wolf.com/manhattan Pine Brook • 25 Riverside Drive Pine Brook, NJ 07058 • 888-671-9376 • subzero-wolf.com/pinebrook
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經典設計 目錄 CONTENTS 6
Editor’ s Note 採編隨筆
10
Editor’ s Pick: A Summer Sunset
12
Editor’ s Pick: Japanese Art Deco
14
Summer Chic: 7 Essential Tips for 2019 Resort Wear 時髦夏日--2019度假穿搭訣竅 Summer Looks 2019夏季妝容特輯 Fresh New Summer Scents
仲夏餘暉 和風美學
24 30
夏日香氣
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The Centuries-Old French Tradition of Making Pots with Clay, Rope, and Wood 「法國製陶人」 在新西蘭生根： 百年製陶法的過去與未來
40
Summer Kitchens: À La Mode 夏日廚房
48
1980s Retro with a Modern Twist
52
Emphasizing Serenity and Simplicity: Sunset Perch in California
復古與現代的相遇 別緻紐約住宅
太平洋之畔 寧靜平和之家
60
Hida Sangyo: Creating Masterpieces That Transcend Time 「飛驒之匠」打造舒適座上時光
66
Conde House: Timeless Furnishings Crafted with the Environment at Heart
70
Kyoto: Capital of Artistic Imagination
旭川木作 北海道頂級木家具 大都會博物館特展 千年古都風采回顧
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Enchanting Kyoto: A Japanese City Steeped in Culture and Good Eats 千年京都碗裡嘗 一飲一啜皆學問
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New Asia Chamber Music Society: Blending Classical Western Music with Asian Culture 飄洋過海 共造築夢舞台
COVER
Photographer: Ronald Ji Model: Tiana Zarlin at Fenton Model Management Stylist: Marisa Ellison Makeup: Elika Hilata Hair: Koji Ichikawa
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DR SEBAGH 世界著名的高级护肤品牌, 将悠久的法国制造业与英国企业家的精神, 精巧的融合在了一起。 DrSebagh品牌是由世界著名的整形医师 尚·路易·赛贝格(Jean-Louis Sebagh)， 和著名的企业家及慈善家梅丽莎·约翰 (MelissaJohn)共同创办及拥有。同时也 是世界上少数的私家护肤品牌公司之一， 能够可以独立的自己研发及生产产品。这 种独立性，使他们可以采用最先进的生 物技术成分，开发出独特且强有效的产品 配方。这些特殊生物成分，经过研制后， 可为不同肌肤，量身定做出不同的护肤程 序。同时达到不同的护肤功效。 DrSebagh品牌理念着重于关注肌肤的个 性化需求，使用正确的生物配方成分，用 以呵护不同种类的肌肤。这是缔造完美肌 肤的核心。同时，使用最新生物技术配方 法，也是获得最佳冻龄肌肤的关键。赛贝 格医师，目前也是第一位提倡混合不同 精华，同时呵护肌肤的方案创办人。赛 贝格医生说 “作为一名整形外科医生来 讲，我并不相信世界上有神奇的护肤 品。 但我相信优质配方的护肤产品 的确可以对肌肤产生真正的修护作 用。 如每天使用适合自己护肤成分 的产品，就可为肌肤提供足够营养 的呵护。这也是一个永保年轻肌肤 至关重要的环节。”
Dr Jean-Louis Sebagh
Dr Sebagh 25 Wimpole Street London W1G 8GL +44 (0)20 76370548 drsebagh.com
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DrSebagh品牌，凭借着卓越的成 就，赢得了无数奖项，获得了众多 美国好莱坞名流和全球最具影响者 们的喜爱，成为了名流们心目中 的“英雄”品牌。其中包括DrSebagh 微整形焕肤面膜，DrSebagh高效 保湿除纹精华，DrSebagh美白维 他命C粉霜及最近推出的DrSebagh Vitamin C Brightening Primer SPF15. 赛贝格医生认为该品牌的成功，主 要归功于 他 与 合 作 伙 伴 的 共 同 理 念，那就是对质量和诚信追求的同时， 合并了最好的悠久的法国制造业和独特的 创新理念。 除了研发优质的护肤产品之外，DrSebagh 品牌还拥有着慈善事业的历史，并曾为许
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‘Skin maintenance should start as early as possible to slow down the ageing process’
Dr Sebagh and Melissa John
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多慈善项目和事 业做出了大量的 捐 助 。其 中 包 括 西 伦敦儿童行动, 脑 肿瘤慈善机构, 全 国无家可归者 慈 善 机 构 ， 皇家航空强制 仁慈基金, 狗的信托, 宾利修道 院博物馆等，其他的一些慈善 捐助。2018年梅丽莎·约翰代 表该品牌成立了水星基金会 (The Mercury Foundation)，来 继续扩大他们在英国和海外的 慈善事业, “赛贝格医师和我， 对我们的工作充满了无比的 热忱，我们要更多的回馈于 社会。如果我们可以帮助我 们认同的理念或是慈善机 构，我们将会永远努力的做 下去。” DrSebagh品牌，不仅在全 球知名百货公司进行销售， 同时也会在该品牌的网站在 线销售。
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工作在紐約 生活在新州 新澤西資深地產專家
序 EDITOR’S NOTE
致匠心 科技高速發展、速度績效優先——這就是我們所生活的時代。它 推崇「 快 」、「 規模化生產 」和「 經濟效益 」，充斥著忙碌、急躁 和不安。 在這樣一個時代，「 匠心 」是「 熱詞 」，它背後卻是傳統工藝漸 失的冰冷現實。 「 別具匠心 」、「 匠心獨運 」、「 巧奪天工 」，這些耳熟能詳的成 語裡滿滿都是古人對工匠的讚美。或許人們對「 匠心 」的尊崇從 未消減，只是迫於壓力，更少選擇「 工匠 」之路，因為「 匠心 」 往往意味著「 慢 」、「 靜 」、「 少量 」和對名利的淡泊。
Maggie Huang和顏佳團隊以誠
信、 專業、 认真和負責為職業準 則，精通粤语、普通话和英文。 提供自住、投資、餐館、店面、 商業樓以及貸款的優質服務，免 費房屋估價。
黃鳳名（Maggie Raffael )
榮獲新澤西地產恊會最優秀經紀人卓越終生獎 2016-2018榮獲新澤西地產恊會最高獎─白金獎！ 連續20多年獲新澤西地產協會─銀獎、金獎！
顏佳（Jia Yan）
新澤西和紐約地產經紀 2015年獲新澤西地產協會金獎 2016 獲新澤西地產協會白金獎 2017年新澤西地產協會銀獎 2018 年新澤西地產協會白金獎
本期《時尚精英》採訪了「 法國製陶人 」福拜，他一天僅能完成 五、六個陶器的製作。但這就足以讓他開心，他每天最享受的時 刻就是， 「 一天將盡，端詳無形的時間化作一罈罈具體的陶器 」。 從小在木工坊裡耳濡目染傳統木藝的岡田明子，是日本高端木 作品牌「 飛驒產業 」的第三代傳人。她告訴我們，每一塊木料都 獨一無二，一個木工匠人對樹木要有透徹的了解，要懂得因材施 力。正是「 飛驒之匠 」這份「 因材施力 」的功力和技藝，吸引著 日本對木藝有興趣的年輕人，遠離大都市的繁華，鑽進僻靜的飛 驒木坊裡謹慎學習、琢磨精進。 從福拜到「 飛驒之匠 」，他們是匠人，是藝術家，更是生活中努 力工作的平凡人。超越工作之外，他們似乎和自己所持的工藝有 一種格外的親密。這種親密，讓他們的工作過程頗有詩意，讓他 們的作品閃耀著獨特的人性光輝。 本期《時尚精英》，致敬每一個認真工作的人，致敬每一顆閃閃 發光的匠心。
祝賀Maggie Huang和Jia Yan團隊獲 2018年Prominent Properties Sotheby's International Realty最佳團隊獎、 最高年銷售業績獎，銷售業績超過7千萬 457 Sylvan Avenue 2nd Floor, Englewood Cliffs, New Jersey, 07632 電話：201-286-2927 微信：MaggieHuang_116 電郵：myhrealtor@gmail.com
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PUBLISHER Ellen Wang EDITOR IN CHIEF Jennifer Zhang
華麗地毯 窗簾墻紙中心
VICE PUBLISHER SEATTLE Echo Liu EDITORIAL ADVISORY BOARD CHAIR Dana Cheng, Ph.D. SALES DIRECTOR Jo Yang
QUEENS CARPETONE CORP.
EVENT AND MARKETING DIRECTOR Joy Ye
全美最大的家庭裝飾連鎖公司 Carpet One Floor & Home 唯一華人成員
ART DIRECTOR Ruibo Kang PRODUCTION DIRECTOR Chen Fu SENIOR DESIGNERS Karen Tang, Hsinyu Lo, Ingrid Longauerová DESIGNERS Benson Xiao, Tan Zhao SPECIAL PHOTOGRAPHERS Ronald Ji, Banny Zhang CORRESPONDENTS Pia-Maria Norris, Angela Feng, Ada Tian, Yi-Chun Lin, Astrid Wang, Xiaofei Wang TRANSLATOR Jessica Lin COPY EDITORS Connie Phillips, Huixuan Yang FASHION EDITOR Joy Ye BEAUTY EDITOR Pia-Maria Norris
地毯 | 窗簾 | 牆紙 | 地板
PEOPLE EDITOR Irene Luo
華麗地毯窗簾牆紙中心 是您的最佳選擇
ART & CULTURE EDITOR Jennifer Zhang BUSINESS EDITOR Hong Wang
QUEENS CARPETONE CORP. for your perfect FLOOR & HOME
HOME EDITOR Fenzhi Zhang FOOD & DINING EDITOR Channaly Philipp
Address 229 W 28th Street, 6FL, New York, NY 10001 Phone 646-862-9930
Adeline
大量現貨 歡迎設計師洽談合作
電話：718-460-1161 Email: qcarpetone@gmail.com 地址： 18-13 128th Street College Point, NY 11356 （大口福附近）
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Email editor@elite-magazine.com advertising@elite-magazine.com subscription@elite-magazine.com www.elite-magazine.com
WeChat San Francisco Ke Bian 510-299-4392
San Francisco
Los Angeles Yan Lieser 818-836-2937
Boston Timothy Pi 617-388-1688
Boston
Seattle Echo Liu Ben Ruan 425-877-5121 425-449-3620
Seattle
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世界那麼大
蔚藍色的文明給了全人類一個藝術的鄉愁，那是達芬奇的智慧密碼 米開朗基羅的英雄天頂和拉斐爾的聖母眼睛。
意大利國 家旅 遊局 歡迎 您！
一生走過許多路、行過許多橋、喝過許多酒、看過許多的風景，卻只愛過你！
w w w.it a li a.it
文化的相遇都是生命的久別重逢，世界那麼大，鍾情意大利！
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EDITOR’S PICK ILLESTEVA, ISABELLA CAT-EYE ACETATE SUNGLASSES, $230, NET-A-PORTER.COM
CARRIE FORBES, SALON MISTE TWO-TONE WOVEN RAFFIA SLIDES, $325, NET-A-PORTER.COM
MELODY MAISON, ROUND NATURAL RATTAN FLOWER WALL MIRROR, $34.20, MELODYMAISON.CO.UK
仲夏餘暉
A SUMMER SUNSET By Lina May
Trending materials like rattan or raffia can freshen up your summer look and home. Pair it with a splash of warm orange for an eye-catching contrast.
A MU LAN
R ELLE
JACQUEMUS, LE BACI RAFFIA TOTE, $540, NET-A-PORTER.COM
MINK INTERIORS, NATURAL SEAGRASS BASKET OR PLANTER, $69.79, MINKINTERIORS.COM
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PHOTOS BY LOLA & MAWU, MELODY MAISON, MINK INTERIORS, GETTY IMAGES AND NET-A-PORTER
LOLA & MAWU, BOLGA FAN - ALIZE, $40.60, LOLAANDMAWU.COM
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在「西大峽谷」——
震撼體驗：大峽谷的億年史詩 ● ● ● ● ● ●
蝙蝠崖 Guano Point 落日奇觀 漂流中的峰峰景異 谷崖中的洞天瀑布
展翅佇立的老鷹岩 Eagle Point 懸空 U 型天空步道 Skywalk
天空步道
印地安久遠的文化
峽谷漂流
河大 科羅拉多
華萊派印第安
人文化
中文熱線：888-345-9886
中文頁面：www.edninfo.com/grandcanyon 更多信息請訪問：grandcanyonwest.com
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索
高空滑
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EDITOR’S PICK ORCHID FURNITURE, BEDSIDE CABINETS WITH FLORAL DESIGN, $1,263, ORCHIDFURNITURE. CO.UK
THE FRENCH BEDROOM COMPANY, PEACOCK ART DECO GOLD FIRE SCREEN, $177.76, FRENCHBEDROOM COMPANY.CO.UK
KENNETH JAY LANE, RHODIUM-PLATED CUBIC ZIRCONIA EARRINGS, $375, NET-A-PORTER.COM
和風美學
JAPANESE ART DECO By Lina May
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ARTISANTI, CARLTON ART DECO BLACK AND BRASS FLOOR LAMP, $796, ARTISANTI.COM
TADASHI SHOJ
RUG'SOCIETY, RUG | DECO, PRICE UPON REQUEST, RUGSOCIETY.EU
I
BIENEN-DAVIS, REGINE TASSELED PLEATED LUREX AND GOLD-DIPPED SHOULDER BAG, $3,195, NET-APORTER.COM
PHOTOS BY ARTISANTI, RUG’SOCIETY, ORCHIDFURNITURE, FRENCHBEDROOMCOMPANY, GETTY IMAGES, AND NET-A-PORTER
Striking details and rich colors channel the opulence of the 1920s, but with a Japanese twist! Take inspiration from the glamor of art deco, a current mid-century interior design trend.
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PHOTOS BY ARTISANTI, RUG’SOCIETY, ORCHIDFURNITURE, FRENCHBEDROOMCOMPANY, GETTY IMAGES, AND NET-A-PORTER
ELITE FASHION
Summer Chic 7 Essential Tips for 2019 Resort Wear 時髦夏日——2019度假穿搭訣竅
Elegance is elimination. " — Cristobal Balenciaga 「高雅即精簡」 —— 克里斯托巴爾· 巴倫西亞加
Photographer: Ronald Ji Model: Tiana Zarlin at Fenton Model Management Makeup: Elika Hilata Hair: Koji Ichikawa Stylist: Marisa Ellison Location: King North, Daniel Gale Sotheby’s International Realty
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FULL LOOK BY CHLOE EARRINGS BY KIMBERLY MCDONALD
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Handsome 率性 2019 年夏季時尚女裝的關鍵詞為「 做自己 」和「 女人味 」。 歐美的夏天派對常見的著裝要求為「 白色 」。若想從中脫穎而出，燕尾服式的 白色套裝不失為一好選擇。背心的剪裁突出女性曲線美，高腰寬褲更顯高挑。
FULL LOOK BY ERMANNO SCERVINO NECKLACE AND EARRINGS BY WASHED ASHORE BAG BY SALVATORE FERRAGAMO SUNGLASSES BY SELIMA OPTIQUE
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Feminine 女人味
米色被認定為風格端莊的色系，如若 增添一些該季度的不可或缺的女性元 素——如亮眼的黃色緞面蝴蝶結，佐 以較大的垂式耳環，這件米色裙裝也 可變成「 公主風 」的派對晚裝。 DRESS BY PRABAL GURUNG SHOES BY RENE CAOVILLA EARRINGS BY ORRANA
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Elegant 高雅 「 淡粉 」是今年流行色之一。飄逸 長裙不僅適合海邊派對，也適合都 會晚宴 。露背的 V 型剪裁搭配天 使羽翼般的輕紗，夏風吹起，紗裙 隨風飄散彷彿有各種表情。 DRESS AND SHOES BY MAX MARA NECKLACE, BRACELET AND RINGS BY TAMARA COMOLLI
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Classic 經典 碎花夏裙是時尚巴黎女性度假必備款。 今夏必買的蛋糕裙，注入今年的流行元 素「 淺綠 」，簡單卻吸睛。高腰處的花 邊使整體視覺效果更加修長。 DRESS BY SELF-PORTRAIT
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Active 活潑 俏麗的膝上褲裙和白色運動鞋 都是今夏必備的流行搭配。
FULL LOOK BY ADEAM SNEAKERS BY SUPERGA NECKLACES BY A LITTLE TOO MUCH, MONICA COLUMBIA EARRINGS BY MONICA COLUMBIA
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DRESS BY NARCISO RODRIGUEZ SHOES BY SALVATORE FERRAGAMO HAT BY JANESSA LEONE
Relax 休閒 潔白高領長裙也是今夏流行趨勢之一。 配上木製的涼鞋漫步草地，清麗優雅， 留住周遭目光。
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Extraordinary 脫俗 今年必入手的比基尼泳裝為高腰款。色系簡約的泳衣配上質感多彩的絲巾，瞬間打造非凡的氣質。 SWIMSUIT BY ARABELLA SILK SCARF BY HERMES SUNGLASSES BY SELIMA OPTIQUE EARRINGS AND NECKLACE (WORN AS A BRACELET) BY TAMARA COMOLLI
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座上賓《時尚精英》雜誌 VIP 俱樂部 Elite Lifestyle Magazine’s VIP Club 您想第一時間品嘗高端名酒，體驗頂級護膚新品，參觀名流宅邸，鑒賞名家導覽的古玩藝術展嗎？ Would you like to be the first to taste fine wine, experience new skin care products, explore luxury homes, or receive guided exhibit tours of antiques or classical arts? 我們誠摯邀請您加入《時尚精英》雜誌 VIP 俱樂部。 在此您可結識志趣相投的精英人士，分享您的成功、睿智和生活情趣。 We cordially invite you to join Elite Lifestyle Magazine’s VIP Club, where you can attend exclusive events and meet like-minded people.
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ELITE BEAUTY
SUMMER LOOKS 2019夏季妝容特輯 By Pia-Maria Norris
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Natural Glow 自然光輝 1. Hourglass - Vanish Flash Highlighting Stick in Gold Flash ($42, hourglasscosmetics. 1
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Sophisticated 優雅氣息 DECORTÉ: 1. Sheer Brilliance ultra light complexion perfector ($95), 2. Soft Crème Foundation ($110), 3. Eye Glow Gem in BE388 ($27), 4. Crème Concealer in 01 Light Medium ($60), 5. Priming Essence ($65), 6. Loose Powder in 80 Glow Pink ($50), 7. Foundation Brush ($40), 8. The Rouge – High Gloss Lip Stick in RO650 ($35), 9. Powder Blush in PK 800 ($50), 10. Contouring Eyeshadow in 014 Warm Pink ($55) decortecosmetics.com
CLÉ DE PEAU: 11. Cream Eye Color Solo in 308 ($45), 12. Eye Color Quad in 313 ($80 including case), 13. Cle de Peau - Lip Glorifier tinted lip balm ($45), 14. Cream Blush in Cranberry ($60) cledepeaubeaute.com
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Playful 多彩活力 Nomad Cosmetics: 1. Marrakesh Medina Palette Inspired by the colorful treasures of the Marrakesh Medina, this intensely vibrant eyeshadow palette comes in 15 brilliant shades ranging from warm nudes & ambers to fresh blues & emeralds. ($37), 2. Around-the-World Palette Includes two highlighting blushes and two illuminators that combine ultra-fine, rich color pigments and multidimensional, prismatic pearls for a colorful glowing effect. ($27), 3. Antilles Palette Caribbean-inspired eyeshadow palette in 15 vibrant tropical shades. ($37) nomadcosmetics.com
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ELITE BEAUTY
Fresh New Summer Scents 夏日香氣 By Pia-Maria Norris
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art of a fun, fivepiece, limited edition collection that celebrates the raw ingredients in each scent, diptyque’s Eau de Sens yellow bottle celebrates the uplifting key ingredient: orange blossom. Available individually or together as part of a limited edition coffret. ($65 for 30 ml, diptyqueparis.com)
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Dolce & Gabbana - Light Blue Sun Pour Femme EDT A fresh, floral scent with notes of lemon essence, jasmine, and cedarwood essence. Limited edition. ($102 for 3.3 oz., macys.com) Dolce & Gabbana - Light Blue Sun Pour Homme EDT A fresh, citrusy, and woody scent for him in notes of bergamot, rosemary, and vanilla. Limited edition. ($88 for 4.2 oz., macys.com) Chanel-Paris-Riviera EDT Reflects the joyful and sunny spirit of the Côte d’Azur in fresh, floral notes of citrus and white flowers. ($130 for 4.2 oz., chanel.com) Diptyque - Essences Insensees Tiare Flower Smells like an island vacation with its sundrenched, airy and floral notes of tiare absolute, frangipani, vanilla, and pink peppercorn. Limited edition. ($250 for 100 ml, diptyque stores)
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ELITE PEOPLE
THE CENTURIES-OLD FRENCH TRADITION OF MAKING POTS WITH CLAY, ROPE, AND WOOD An interview with 'The French Potter' in New Zealand 「法國製陶人」在新西蘭生根 百年製陶法的過去與未來 English text by Lorraine Ferrier | Chinese text translated by Yi-Chun Lin Pictures courtesy of Rachael McKenna
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he photographs show an almost quintessential French landscape, where a vast expanse of green grass disappears into a distant mountain range. In the foreground, rows and rows of grapevines are all neatly covered in an ocean of white netting. There are even olive trees and what appears to be a traditional French country house, its browngray stone softened by roses, lavender, and bay trees, some of which are in pots. This is the home of Yannick Fourbet, his Kiwi wife Philippa, and their 3-year-old twins, Augustin and Mortimer. They live not in France, but in the foothills of the Pisa mountain range on the South Island of New Zealand, at their Domaine Rewa biodynamic vineyard and olive orchard. Biodynamic farming is an organic method that also takes into account environmental factors such as the rhythms and phases of the sun and moon. Incidentally, the French-style house was already there when Philippa bought the property. Maybe it was waiting for Fourbet. Fourbet first met Philippa in 2012 in the South of France, at his pottery studio Le Chêne Vert (The Green Oak), in Anduze. It was love at first sight: “Philippa fell in love with the pots before she fell
照片裡的風景很「 南法 」——綠茵連綿至遠處山脈，前 方是一列列的葡萄藤架，白茫茫的網架，整齊地覆蓋在 上。若干種植在陶器中的玫瑰、薰衣草和月桂樹，為棕 色與灰色石磚砌成的房舍增添了些許柔美，再加上幾株 橄欖樹，簡直一派法國鄉村風。 但這裡並非法國，而是新西蘭南島比薩山區的山 麓，是「 法國製陶人 」（The French Potter）的經營 者 雅 尼 克． 福 拜（Yanick Fourbet） 偕 妻 子 菲 利 帕 （Philippa）與三歲雙胞胎奧古斯丁（Augustin）、莫帝 默（Mortimer）的家，還有一處以生物動力農法為特色 的雷瓦酒莊（Domaine Rewa）與橄欖園，以有機方法 愛護環境，並依照日月運行法則耕植作物。 順帶一提，房子本身在購入時已經是南法風情，或 許這一切都是在等著福拜的到來。 2012 年，福拜在南法昂迪茲（Anduze）的陶器工 作室「 綠橡樹 」（Le Chêne Vert）初遇菲利帕，便一 見鐘情。「 菲利帕在愛上我這個陶藝家之前，先愛上我 做的陶器 」，福拜在電話中說。 2013 年，兩人在倫敦再次相遇。福拜邀請菲利帕 欣賞切爾西花展（ RHS Chelsea Flower Show），而 他在那裡有陶器展覽。
The traditional use for these Biot pots was to store grain. The teardrop design protects the grain from vermin.
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in love with me, the potter,” Fourbet said on the phone. Philippa and Fourbet met again in 2013, this time in London, when Fourbet invited her to the Royal Horticultural Society Chelsea Flower Show, where he was exhibiting his pots. From then on, they began a long-distance romance, traveling between France and the UK, where Philippa was working in investment banking. And then when Philippa moved to Domaine Rewa, both traveled between France and New Zealand. In 2016, Philippa joined Fourbet in France. Fourbet says he fell in love with Philippa first, and then he instantly fell in love with New Zealand when he visited Domaine Rewa for the first time. In 2018, the family settled in New Zealand. The primary reason for the move, Fourbet said, was for a good life for the twins: “We want them to grow up in a rural environment with people with good values, and we think New Zealand is a wonderful country for that.” “We’re both Catholic, and we really believe in achieving something on earth and something positive,” he said. Fourbet is starting afresh in New Zealand. His sister has recently bought his share of Le Chêne Vert. Now, he will import traditional Anduze pots from Le Chêne Vert, into New Zealand. Le Chêne Vert specializes in Anduze pots, a pot design that dates from 1610 and that was inspired by Italy’s Medici vase. Anduze pots are traditionally made from a mold and decorated by the maker’s medallion and a garland. Fourbet also makes pots by using an age-old traditional technique that uses clay, rope, and wood. The technique allows him to make huge pots; the largest he’s made has been 772 pounds. Fourbet is limited only by the size of his kiln. At Le Chêne Vert, Fourbet worked with customers such as Christian Dior and the city of Montpellier, to name a couple. The pottery workshop also supplied Anduze pots for the Trianon garden at the Palace of Versailles. In the 17th century, King
此後，他們開始「 英國—法國 」的遠距離戀愛，菲 利帕當時在英國從事投資銀行的工作。當菲利帕搬到雷 瓦酒莊，又成了法國與新西蘭兩地跑。 2016 年，菲利 帕飛到法國與福拜一起生活。福拜說，他先是喜歡菲利 帕，但在看過雷瓦酒莊後，也愛上了新西蘭。 2018 年，他們舉家遷移到新西蘭。福拜解釋，希望 雙胞胎有良好的生活是優先考量：「 我們希望孩子能在一 個有良好價值觀的鄉村環境長大，新西蘭是一個最適合 的國家。」 「 我們都是天主教徒，相當相信要多接觸地球的產 物，還有正向的事情 」，他說。 福拜在新西蘭從零開始。姊姊最近買下他持有的「 綠 橡樹 」經營權；如今，他從「 綠橡樹 」進口昂迪茲陶器到 新西蘭。 「 綠橡樹 」專門製造昂迪茲陶器，其設計靈感可追溯 自 1610 年的意大利美地奇花瓶（Medici’s vase）。這種 陶器一般用模具製作，並飾以代表製作者的圖徽與花環。 福拜也會使用這種僅需黏土、麻繩與木材的古老技術， 製作陶器。這種技術能讓他生產巨缸——最大的可重達 772 磅。簡而言之，窯有多大，福拜就能做出多大的器皿。 當福拜還在「 綠橡樹 」時，他的客戶有迪奧與蒙彼 利埃市。他的陶藝工作室還為凡爾賽宮裡的特里亞農 宮花園提供昂迪茲陶器。十六世紀時，法國國王路易 十 四 的 首 席 造 景 設 計 師 安 德 烈． 勒 諾 特（Andres Le Notre）規劃凡爾賽宮時，據悉就是起用了昂迪茲的製 陶師製甕，提供特里亞農宮的花園使用。 接著，福拜轉而透露，他是如何開始用黏土、麻繩 與木材製陶？在新西蘭的工作室，「 法國製陶人 」（The French Potter）又有什麼新鮮事？
問：您是怎麼學會製陶的麻繩技術？ 福拜：我剛開始都是跟著工作室的員工學習製陶，然後 慢慢地、踏實地跟著一位讓我了解繩索製陶的師傅， 學習技術。令人遺憾的是，他已經過世了。他的名字 是——迪爾伯特．賽赫斯（Dilbert Serrs）。 我是在昂迪茲的陶藝工作室附近舉辦的陶瓷藝術節 認識他的。當時是夏天，非常炎熱，他正在展示獨門製 陶技術。大家都看得津津有味，但沒人有閒暇關心這位 陶藝師傅是否口渴。於是，我遞水給他，而他也將這個 溫暖的舉動放在心裡。 因為我當時離他很近，所以就開始跟他聊天。我那 時在法國有九名員工，便說：「 我很想訓練員工學習您正 在保存的這項技巧，那是代代流傳的；您願意接下這個 傳承的工作嗎？」他說：「 樂意之至。」
"The French Potter," Yannick Fourbet, with a selection of his horticultural pots at his home on the Domaine Rewa vineyard on New Zealand's South Island.
這也是我們這一行代代流傳技術的傳統。過去的人 常常會接手朋友或是祖輩的生意，才有現在的「 世代傳 承的技術 」。 │35
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The rope technique for making pots is rumored to have been around since Neolithic times. Clay is applied directly to the rope in order to shape the pot. Fourbet embellishes each pot by hand. (Pictures courtesy of Yannick Fourbet)
Louis XIV’s landscape architect, André Le Nôtre, at Versailles was believed to have commissioned Anduze potters to make pots for the Trianon garden, according to Fourbet. Here, Fourbet tells us how he began making pottery with clay, rope, and wood and what’s in store for his new pottery venture in New Zealand: The French Potter.
我希望自己也盡可能在新西蘭繼續這樣的傳統。接 下來的日子，如果我能跟有心學習的年輕人分享賽赫斯 的技術，會感到非常開心。 居住在此的十八個月裡，我注意到一件事情，當我 在看新西蘭製造的器物時，感到少了一味：這個國家有 很棒的天然原料，但沒有升級轉換，以致他們並不懂這 些材料的價值。 對我而言，將粗胚轉變為成品，以及盡量在此參與 改變經濟現狀，即便只是個小生意，也很重要。我可以
Question: How did you learn the rope technique of
在新西蘭取得黏土，又能以繩索和三合板的技術——感
making pottery?
謝「 綠橡樹 」，將它變成一個「 新西蘭陶器 」。
Yannick Fourbet: I learned to make pots with most of my employees at first, and then slowly but surely, I learned from a man I got to meet who actually showed me how to use the rope technique to make pots. Unfortunately, he is dead now, but his name was Dilbert Serrs. I met him at a ceramic arts festival in a town near where we were making pots in our workshop
問：用繩索製陶器已經有多久的歷史？ 福拜：這種技術可能在新石器時代就有了，但不確定。 我曾問過教我製陶的師傅，這種技術可能源自何處？他 告訴我，普羅旺斯的比奧小鎮（Biot）有位對陶器作法 很感興趣的細木工，他利用三合板與繩索為陶器塑形： 將麻繩一圈圈地繞在三合板框架上，然後將黏土敷塗在 麻繩。
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in Anduze. It was summertime and it was really hot. He was demonstrating how to make his pots. Everybody was willing to watch, but they never really bothered to find out if he was thirsty or not, so I went and got him some water. He was really touched by that. I started talking to him, because I was physically closer to him. At the time, I had nine employees in France. I said, “I would like to train my staff in this technique that you’re preserving, which is obviously ancestral. Would you be amenable to do that?” And he said, “Yes, definitely.” This is traditionally how our skills were transmitted from one generation to another. In the past, oftentimes people took on the jobs that their friends were doing, or that their grandfathers were doing, and this is how you get a generational buildup of techniques. I would like to be able to do that here in New Zealand if I can. In years to come, if I can share what Serrs has shared with me, with a young man or young woman who is interested, I will gladly do it. One of the things that I have noticed from living here now for 18 months or so is that there’s one thing that is missing when looking at New Zealand-made crafts: The country has got wonderful natural resources, but they do not add value to their resources because they do not transform them. I think what is very important to me is this idea of being able to transform a raw material into a finished product and having an opportunity here to sort of participate in a change and a shift in the New Zealand economy at my level, which is only a small business. I can get clay here in New Zealand, and I can transform it with my skills, thanks to Le Chêne Vert, to actually make a Kiwi pot with rope and plywood.
以前人們以為，這種水滴型的陶器是用來儲存油，但 我最近發現並非如此。它們本來是用於儲存糧食，水滴的 外型是用來防老鼠，或是其他昆蟲爬進糧食裡。老祖宗製 作器物時，實用與美觀缺一不可。所以若要我定義現在做 的事，我會說自己是一半藝術家，一半工匠。
問：這聽起來像是一個傳統的工匠，肩負一定的責任？ 福拜：的確是這樣的。這是一種天賦。你需要多一點勇 氣，同時在這個世代，事事都仰賴科技，從經濟層面來 看，你可能會認為手工製作並不討好。人人都只想賺更多 的錢，但我們從未學會一件事：「 渴望金錢 」這個概念的 本身是沒有止盡的。 聽似狂妄，但一天能夠完成五、六個陶器，將工作室 打掃得乾乾淨淨，就足以令我開心。其中，我最喜歡的部 分是：一天將盡， 我端詳無形的時間化作一罈具體的陶器。
問：您如何運用繩索的技術製作陶器？ 福拜：我會先在紙上畫出幾個陶器，這樣我就有基礎形 狀，對於成品也心裡有底。接著，我會剪裁一組12~25塊 的三合板，將它們與兩個圓盤垂直接合，一個在頂，一個 在底，這樣基本就能成為一個滾輪。然後在三合板外面纏 上瓊麻繩，這樣可以增加硬挺度。在結構的外邊，加上一 個符合纏繩後陶器寬度的可移動平台。 再來就是塑形：將黏土敷上繩索，慢慢轉動三合板 與繩索結合而成的框架，刮除眼前多餘的黏土，向前轉 動時繼續敷上。而後在乾燥的過程中，慢慢地移除木繩 結構。這通常需要一週時間才能悉數完工。如果太快移 除繩索，陶器會崩潰。這也是工作中有趣的地方，都需 要反省與沉思。 陶器接下來需要乾燥一個月至一個半月，在這期間 得處理綠鏽與上釉。之後，陶器要在窯裡，逐漸加溫至 華氏 2,012 度——烘烤 72 小時，絕不能貪快。這時候， 得非常小心控制溫度緩慢攀升；否則，窯裡的陶器會崩 裂炸開。
問：您希望別人怎麼理解你的工作？ 福拜：我們有自營的生物動力技術葡萄酒品牌，我的事業 在葡萄酒產業有很好的機會，因為如此一來，我可以製作
Question: How long has the rope technique for making
雙耳瓶或是陶瓶。喬治亞人兩千年來都是用這種瓶子製
pots been around?
酒。最完美的是，我們用自家生物動力耕種的葡萄園裡的
Mr. Fourbet: This technique may have existed in the Neolithic era, but it’s not proven. I asked the man who taught me where the technique might have come from. He said there used to be a cabinetmaker in a village called Biot in Provence, who showed an interest in making pottery. He used plywood and ropes to shape the pots
黏土，製作雙耳瓶釀酒。 很多釀酒人知道我在這裡後，會與我聯繫，問我是否 也能替他們製作雙耳瓶。 我想要將「 法國製陶人 」維持在一人，至多兩人的工 作室，不想擴大經營。我並不是來這裡發大財的。我來這 裡只是傳授我所知道的技術，也給家人一個好的生活，衣 食無缺足矣。 │37
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ward making more and more money, and we still never learn: The money in itself is not an end. I don’t want to sound presumptuous, but it’s such a satisfaction to realize five or six pots a day and just to clean up my workshop—and this is probably my favorite part: when I look at what I’ve accomplished at the end of the day, and it has materialized as a pot. Question: How do you make a pot using this rope technique?
by coiling the rope around a plywood frame and then by applying clay onto the rope. Most people think that these pots were used to store oil due to its water-drop shape. I found out recently that this is not true; they were originally made to store grain, and the reason they have this water-drop shape was to prevent mice, rats, and all kinds of pests from getting into the grain. This is the way the ancestors used to make things. Everything they made had a function as well as an aesthetic purpose. If I had to define my work today, I would say it’s halfway between art and craftsmanship.
Mr. Fourbet: I start by drawing the pot on several sheets of paper so I have the basic shape and an idea of what it’s going to look like in real life. Then, I cut a whole set of 12 to 25 pieces of plywood that I fix between two discs, along a vertical axis, with one disc on the top and one disc on the bottom, which basically makes a wheel. I then coil several lengths of sisal rope around this plywood structure, which gives it rigidity, and on the side of the structure I fix a movable board which adjusts the thickness of the pot against the rope. Then I shape the pot: I apply clay onto the rope itself and slowly turn the plywood and rope frame, scrubbing off any surplus clay and putting it back on the rope as I go. I then slowly take out the wooden structure and the ropes during the drying process; it usually takes a week to remove all the ropes. If the rope is taken out too early, the pot will collapse. So that’s an interesting part of my work, and one that allows for reflection and meditation as well. Then, the pot has to dry for about a month to a month and a half. And then I apply either a patina or a glaze. The pot then goes under fire for 72 hours, up to 2,012 degrees Fahrenheit, but in several phases; you can’t go to 2,012 degrees Fahrenheit straight away. Here, I have to be really careful and make that temperature transition very slow because, otherwise, everything breaks down and explodes in the kiln.
Question: It sounds like being a traditional craftsman
Question: What would you like people to know about your
holds a certain responsibility.
work?
Mr. Fourbet: Definitely. It’s some kind of a talent. You’ve got to have a little bit of courage as well because in this day and age, where everything is geared toward technology, you may be led into thinking that doing something with your hands is not necessarily interesting from a financial perspective. The only interest seems to be going to-
Mr. Fourbet: We have our own brand of biodynamic wine, and there are wonderful opportunities for my trade in the wine industry, or so it seems, and that is to be able to make amphoras, clay vessels, in which the Georgians have been making wine for 2,000 years. Where it ticks the box for us is that we’re on a biodynamic vineyard and we will be using clay from the vineyard to make the amphoras for our wine.
Fourbet’s 3-year-old twins, Mortimer (L) and Augustin, hide behind one of his olive jars.
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I’m here to maybe transmit something that I know and also make a good living, sufficient enough so I can provide for my family, and that’s all really. Yannick Fourbet at home with his family—wife Philippa and 3-year-old twins, Mortimer (L) and Augustin—in their Domaine Rewa vineyard on New Zealand’s South Island.
THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.
A lot of vintners have approached me, since they know that I’m settling here, and they’ve asked me if I will be available to make amphoras for them. I would like to keep The French Potter a oneman workshop, maybe two people, but I don’t want to grow big. I’m not here to make millions.
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ELITE HOME
Summer Kitchens
À LA MODE By Faithe Lo
The kitchen is the heart of every home. It’s where loved ones come together at the end of a day to laugh and bond over a savory meal. With summer rolling around, take a look at some of the top design trends to make your kitchen as stylish and welcoming as possible.
DINING IN THE SUMMER BREEZE Summer is all about outdoor living. The warm and breezy nights are perfect for al fresco dining, made easy by these airy, sleek designs. Many top furniture brands and designers, such as Boffi, Cane-line, and Patricia Urquiola, have released outdoor kitchen collections.
中國人常說「 民以食為天 」，廚房是許多家庭的重心， 無數歡笑與甜蜜的記憶，都發生在這裡。隨著夏季的到 來，看看有哪些設計潮流，提供布置的靈感，打造耳目一 新的室外廚房。
說到夏季，就不能不提到戶外生活。延續幾年的戶外風 潮，將室內廚房的設計也帶往戶外，輕盈、簡潔、具現 代感的室外廚房，越來越風行。同時，許多歐系的戶外 家居品牌，如比利時的Cane-line和奧地利的Viteo， 也將簡潔設計的戶外廚房帶入美國家庭。
CANE-LINE, DROP KITCHEN, 3550AL, $4,395; STAINLESS STEEL TOP WITH SINK, $7,590; JUNIPERHOUSE.COM
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PICTURES COURTESY OF CANE-LINE
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PICTURES COURTESY OF VITEO
VITEO, ADAPT OUTDOOR KITCHEN, TEPPAN YAKI MODULE, GRILL MODULE, SINK 1 DRAWER, OUTDOOR KITCHEN TABLE, PRICE UPON REQUEST, 100MILENY.COM
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BLENDING INDOOR AND OUTDOOR SPACES On some days, the summer air might just be too stifling to cook outside. A current trend is to blur the line between indoor and outdoor living by connecting the two spaces with large glass doors. This way, one can escape the heat without sacrificing the view of the lively backyard greenery.
室內廚房在這個夏季戶外風潮中也不遑多讓。由於近 年來，無縫連接室內室外的設計趨勢，使得室內外的 分野逐漸模糊，因此，在設計廚房時，便將牆改造為 大片落地門，打開後直接連接到室外空間的做法，也 非常流行。
POGGENPOHL, SEGMENTO KITCHEN, PRICE UPON REQUEST, POGGENPOHL.COM
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PICTURES COURTESY OF POGGENPOHL
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PICTURES COURTESY OF VIPP
LEFT PAGE AND TOP LEFT: VIPP, VIPP KITCHEN, ISLAND WITH SEATING MODULE, PRICE UPON REQUEST; PENDENT, $500; PEDAL BIN 30 L / 8 GAL, $499; VIPP.COM TOP RIGHT: VIPP, TABLE, MEDIUM, $3,150; SALT AND PEPPER, $229; GLASS 5 OZ, 2 PCS. $29; TEA CUP 2 PCS, $49; PLACEMAT 4 PCS. $88; VIPP.COM BOTTOM LEFT: VIPP, PLATE 2 PIECES, $59; BOWL 2 PIECES, $49; VIPP.COM BOTTOM RIGHT: VIPP, SHELF, LARGE, $299, VIPP.COM
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ELITE HOME
1980 S RETRO WITH A MODERN TWIST
Blending vintage-style interiors with contemporary furniture 復古與現代的相遇 別緻紐約住宅 English text by Fenzhi Zhang | Chinese text by Ada Tian Pictures courtesy of COVET HOUSE
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his chic New York City residence is reminiscent of the late 1980s, full of retro appeal but with a modern twist. It was designed by N&G Ananiev Interiors, an international design firm founded in Russia in 2002 by Nadezhda and George Ananyev. Bursting with bold colors—from avocado green and mustard yellow to tropical turquoise—it is
這座別緻的紐約住宅，使人自然地回想起美國20世紀 80年代末的家居風 格。它充滿復古氣息，又洋 溢著現 代主義風格。住宅設計使用了非常豐富的色彩，如鱷梨 綠、芥末黃和熱帶綠等，整體配色大膽而熱情。與此同 時，設計師使用了大量生動的圖案和獨特的紋理，讓室 內空間更具趣 味性。這一切讓 這個位在 紐 約的私人住 宅充滿活力。
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Top left: The family room features an L-shaped couch, a cozy swivel chair, and a chaise lounge chair. Top right: The kitchen and dining room features a beautifully designed and intricately crafted chandelier, which makes a dramatic focal statement while filling the rooms with elegance and warmth. Left page: The drawing room is the perfect combination of bright colors, modern pieces, and classic style.
the perfect home for the creative soul. Throughout the living space, lively textures and unique patterns add a sense of refined fun. Crushed velvet, checkered prints, and elaborate motifs come together to form a harmonious yet eclectic medley. Nadezhda and George had known the homeowners for over ten years. The family bought the house in the mid-1980s but recently decided to renovate it and make it their permanent address. They hoped to keep the home’s retro ’80s essence while giving the overall aesthetics a modern upgrade. Nadezhda and George certainly accomplished this goal, putting together a stunning vintage-style interior that is offset by contemporary furnishings. The shapelessness and fluidity of the modern furniture contrast smoothly with the harsh and strict lines of the vintage design elements, resulting in a showstopping home that is lavish yet cozy. On the first f loor, a suite of rooms arranged in a circle forms a large public area. The drawing room is the perfect combination of bright colors, modern pieces, and classic style. A broad tan sofa
設計師與房主已相識十餘年。房主於 20 世紀 80 年代中期購買了此住宅，但直到近期才決定翻修它，計 劃使其成為永久家庭住宅。他們對設計師說，希望保留 住宅現有的 80 年代「 復古」特點，同時使空間整體升 級為帶有現代風格的住宅。 設計師幫客戶達成了這一夢 想——完美地 結合令 人驚歎的復古風格室內裝飾，與現在風格的家具。簡潔 利落的現代家具與濃墨重彩的復古元素，形成了鮮明對 比，營造奢華且舒適的居家氛圍。 在住宅的一層，一組連續而通暢的空間，建構出寬 敞的公共區域。沙龍待客廳的色彩明亮，廳內現代藝術 品和經典風格完美結合。棕褐色沙發和紅粉色躺椅，一 暗一亮，相互平衡中和。來自 Brabbu 的芥末黃扶手椅， 為客廳提供了更多的座位；地毯上豐富且抽象的圖案， 為整個空間帶來了豐富的視覺體驗。 受拉斯維加 斯裝飾風 格的啟發，設計師於復古氣 息中，增添了更多活力。走廊盡頭，一盞明亮的燈飾—— 大大的字母「D」給空間帶來朝氣。在這些公共空間，色 調鮮明的壁紙、獨特的裝飾和富有表現力的藝術品，均 具有其獨特、鮮明的特點。 在與廚房相接的用餐區域，餐桌上方一盞精心製作 的吊燈，顯得優雅而溫暖。地板使用了菱形的瓷磚，圖 │49
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balances the bright reds and pinks of the lounge. Mustard-yellow armchairs by Brabbu provide additional seating for guests; the rug is an absolute conversation starter, with its abstract design and mixed colors. In the hallway, the large light-up letter “D” was inspired by the vibrant, heady rhythm of Las Vegas. At the other end, the letter “R” gives the space a rustic warmth. The designers and homeowners sought to make a statement, which they achieved through the animated walls. Bright wallpapers, unique decor, and expressive pieces of art help ensure that the home is truly one of a kind. In the kitchen and the connected dining room, an intricately crafted chandelier fills the rooms with elegance and warmth. A bold mix of tiles placed in a diamond pattern adds an eye-catching twist without overwhelming the space. The bedrooms are all on the second floor: a master suite, a children’s bedroom, and a guest room. The retro accents in the wallpaper and rugs have a dramatic effect, and make each room unique and distinctly nostalgic. 案大膽而醒目，和用餐家具互相襯托，形成了醒目且獨 特的空間風格。 臥室位於二層，包括一間主套房、一間兒童臥室和 一間客房。臥室內壁紙和地毯中的復古元素，具有戲劇 性的效果，使每個房間擁有明顯且獨特的懷舊風格。 該住宅由Nadezhda Ananyev 和 George Ananyev 兩位非常受歡迎的設計師共同完成。兩位設計師的設計 向來以充滿趣味性著稱，他們總能在客戶設定的主題上 創造出新的變化，把房主的夢想轉化為富有活力的生活 空間。
Top: All the public spaces are on the first floor of the house. Bottom: In this retro yet modern bedroom, the vintage red wallpaper adds a touch of Oriental charm. Left page: Top: Complementing the vintage look are the unique light fixtures from DelightFULL. Bottom left: The unique base of the console table gives the decor a lift. It features an eagle perched atop rocks, with a stunning wingspan and fabulously detailed feathers and claws. Bottom right: This blue bedroom starts with a vintage blue wallpaper and builds on it with layers of turquoise. The bed frame and bench are upholstered in smooth velvet for a chic yet luxurious look.
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ELITE HOME
Emphasizing
&
SERENITY SER SIMPLICITY Sunset Perch in California 太平洋之畔 寧靜平和之家 English text by Fenzhi Zhang | Chinese text by Ada Tian Pictures courtesy of Rios Clementi Hale Studios
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This Sunset Perch residence in Bel Air, California, was designed as a series of ledges, all of which open out to porches that overlook the Santa Monica Mountains and the Pacific Ocean. │53
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his 8,500-square-foot Sunset Perch residence in Bel Air, California, is the ideal balance of simplicity, elegance, and refinement. Designed as a series of ledges, the home opens out onto porches that overlook the majestic Santa Monica Mountains and the sparkling Pacific Ocean. Rios Clementi Hale Studios, a Los Angeles-based architecture firm, designed this home. It took more than 50 iterations before the designers were able to arrive at the ideal combination of scale and detail that gives this home its signature minimal, substantive, and calming characteristics. The designers were influenced by their many trips to Japan, where they were inspired by the simplicity of Japanese architecture. The library’s aesthetic and heavy beams were inspired by a temple in Kyoto, while the spa
這座位於加州貝萊爾（Bel Air）的住宅，建築面積8,500 平方英尺，它完美地詮釋了簡潔、優雅及精緻。住宅呈階 梯狀通向室外平台，俯瞰雄偉的聖莫尼卡山脈和波光粼 粼的太平洋。 位 於 洛 杉 磯 的 建 築 公 司 Rios Clementi Hale Studio，設計了這座住宅。在經過前後 50 多次的修改 後，設計師們賦予了這個家簡潔、豐富和平靜的特徵，完 美呈現了大尺度與局部細節的理想組合。設計師曾多次 到日本旅行，他們受到日本建築簡潔和精緻風格的啟發， 在這座住宅的室內風格上均有所體現。圖書館及內部粗 重的橫梁，其美學靈感來自京都的寺廟，而水療中心和 主套房裡的日式浸泡浴缸，讓人聯想起一種傳統的日式旅 館體驗。 一進入住宅，便由一個流暢的大空間迎接客人，這 裡包含了餐廳和娛樂空間。這個空間讓主人和來賓之間 享用美食、相互交流更加方便和流暢，使房間充滿了活
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Top left and center: The large garden contains 85 different plants, from vibrant yellow-hued flowers and exotic foliage to lush fruit. It was designed to be experienced during the sunset, when all is bathed in a warm and energizing glow. Top right: The japanese panel makes the house visually soothing. Bottom: The powder room sink and wall are complete with serene Japanese details. Left page: The main rooms on the first floor open seamlessly onto an infinity pool and outdoor dining pavilion. The color palette remains consistent from the interior to the exterior, contributing to a feeling of continuity.
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Top: When choosing the art, the owners selected pieces that emphasized the serenity and simplicity of the home. Moments of color and personality are shown through a carefully curated display of pottery, glass, and objects that the owners have gathered throughout their travels.
and Japanese soaking tub in the master suite evoke a traditional ryokan experience. Upon stepping into the home, guests are greeted by two large spaces meant for cooking, dining, and entertaining. The design of these spaces allows people, food, and conversation to flow harmoniously, animating the house. Details such as a lacquered, raised ceiling emphasize the sweeping views and allow the warm hues of the sunset to filter inside. These main rooms open seamlessly onto the infinity pool and outdoor dining pavilion. Bedrooms are perched along the second floor, each with its own vista of the serene surroundings. This home can be celebrated for both its dramatic moments and thoroughly considered details. The statuesque 11-foot doors have a substantive 2-¼ inch
力。室內高高的天花板和連續的縱向、開放式的落地窗，將 室外美景一覽無餘，並在落日十分將暖色的夕陽引入室內。 位於一層的主要空間與室外的大游泳池和開放式餐廳相連。 臥室均位於二樓，面向開闊的自然景觀，每一個房間都擁有 自己寧靜的環境。 這個充滿活力與寧靜的家，同樣滿足為特別時刻而慶祝 的聚會所需空間，並充分考慮到各個細節。室內硬體家具均 為訂製；11 英尺的大門，為室內帶來堅實以及豪華的視覺效 果；18 英寸的厚重牆壁為室內帶來一種寧靜。室內外的材質 及色彩保持了統一、連貫的風格，使住宅保持整體的連續性。 住宅設計充分考慮建築場地的特點，發掘了自然景觀的 優勢，為使用者提供了獨特的視覺體驗。玻璃門加強了陽台 寬敞、開放的視覺體驗，弱化了室內外分界的同時，增加了 房間的通透感。模糊了室內和室外之間的界限，同時營造寧 靜的氛圍。
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Top center and right: The library is located at the top of the staircase on the second floor. Its overall aesthetic and heavy beams were inspired by a temple in Kyoto, Japan. Bottom: The open and airy yoga room is the perfect place to meditate and unwind after a long day.
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thickness, making the home feel solid as well as luxurious. The 18-inch-thick walls are clad in two layers of drywall to give the home a restful calm. All of the hardware was custom-designed to represent the owners. The design of this residence celebrates its expansive views, while the materials inside borrow from the views and strengthen the visual experience. The pocketing glass doors emphasize the expanse of the balconies and lend a feeling of transparency, even when they are closed. The materials and color palette remain consistent from the interior to the exterior, giving the home a sense of continuity. The goal is to make one feel connected to the site, blurring the lines between indoors and out, while creating an overall feeling of calmness. Top and center: Bedrooms are perched along the second level, each with their own vista of the serene surroundings. Bottom: The spa and Japanese soaking tub in the master suite evoke a traditional ryokan experience. The inspiration from Japanese culture is evident in the design of this home, both indoors and out. Right page: On the topmost floor, the screening room opens onto a large terrace that serves as a party deck. A detached, lower-level guest house contains a gym and spa.
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ELITE HOME
HIDA SANGYO Creating masterpieces that transcend time 「飛驒之匠」 打造舒適座上時光 English text by Angela Feng | Chinese text by Fenzhi Zhang Pictures courtesy of Hida Sangyo
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estled near the Northern Japanese Alps of Gifu prefecture, Hida Takayama (known locally as Hida) is one of the greenest cities in Japan. Roughly 93 percent of the city is made up of forest, with 20 percent of that being cedar. Hida has a cultural tradition of woodworking that spans all the way back to the 7th century Nara period. Its craftsmen are legendary, with their artistry being passed down through the generations for over 1,30o years. In Japan, “Craftsmen of Hida” is synonymous with woodwork of the utmost quality. These highly skilled artisans have made their mark on Japanese history, constructing the magnificent wooden temples of Kyoto and Nara. This includes Japan’s first World Heritage Site, Horyu-ji temple, one of the world’s oldest surviving wooden structures. WHERE TRADITION CREATES INNOVATION Hida Sangyo Co. was founded in August 1920, when two travelers arrived in Hida and taught locals the art of making Western bentwood furniture.
日本中部的飛驒高山（ 當地人簡稱為「 飛驒 」），就如歐 洲阿爾卑斯山般美麗。這裡百分之90以上的土地都被 森林所覆蓋，樹木中多是高大的杉木。 自 7 世紀奈良時期， 飛驒匠人就有木作的手工傳 統。傳統木工手藝在飛驒世代相傳 ，迄今已有 1,300 年 的歷史。 歷史上，很多飛驒匠人前往京都、奈良建造宮殿和 寺院等，其中包括世界上最古老的木製建築之一、世界 文化遺產——法隆寺。在日本，「 飛驒之匠 」留下了很 多著名建築遺產，其本身就是高質木藝的代名詞。 傳統和創新的結合 1920年，兩位 旅人行至飛 驒，教 授當地人如何使用曲 木技術，打造西式家具。隨後，幾個當地人合夥開辦了 一家結合日本傳統木工手作技藝和西方製作工藝的家 具製造公司。於是，「 飛驒產業株式會社 」（ 英文Hida Sangyo，簡稱飛驒產業）誕生了。 Hida Sangyo furniture is low-profile with an emphasis on clean, minimalistic lines. In the Ryokan Beniayu Hotel situated in Shiga, Japan, Hida Sangyo furniture creates a relaxing, natural, and harmonious atmosphere, effectively bringing the outside in. (Photography by Kenta Kawamura/Tametoma)
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Top Right: This bedroom is adorned with a screen that exemplifies symmetry and balance.
Top: At Hida Sangyo, each piece of furniture is meticulously handcrafted with the utmost attention to detail. Bottom: Wood-bending techniques are the starting point of Hida Sangyo as a company.
Afterward, several townspeople decided to stake shares and launched a furniture manufacturer that combined both traditional Japanese and Western woodworking techniques. Before the establishment of Hida Sangyo, craftsmen in the Hida area specialized mostly in architecture and woodcarving. Therefore, when Hida Sangyo brought furniture making to the forefront, it was initially difficult for some to adapt. Many of the craftsmen had never even seen a chair before. (Traditionally, the Japanese sit at short-legged “chabudai” tables on cushions called “zabuton.”) Nevertheless, this didn’t stop them. Though it took nearly two years of trials and errors, the Hida craftsmen—aided by their decades of knowledge and experience, as well as their unrelenting patience and ingenuity—were eventually able to produce the perfect chair using local, traditional techniques. Hida Sangyo was one of the first Japanese companies to export furniture, sending products to China and Korea as early as the 1920s, and to the United States in 1937. After World War II, the brand saw an increase in popularity domestically and was able to establish a firm place in Japanese society.
創業近百年的「 飛驒產業 」是全日本歷史最久遠的 家具品牌之一。「 飛驒產業 」桌椅有著全日本家具最美的 線條，這主要功歸於其 100 年前引入的曲木技術——用 蒸氣讓木材變得柔韌，既可以保留木紋的原貌，又通過 溫度與模具，將木材適度扭曲，打造出美麗的線條。 在「 飛驒產業 」誕生之初，飛驒匠人很難適應，一 方面，飛驒匠人原本主要專精建築和木刻工藝，不太熟悉 家具製作；另一方面，當時的日本人並不熟悉西式桌椅， 日常就是坐在榻榻米的圓墊之上，吃飯則使用小小的「 矮 桌 」。日本人特有的耐心和努力，再加上飛驒匠人的深 厚功底，逐漸掌握了西方木作工藝，並成功將其和日本 傳統的木作工藝相融合，從而造就了「 飛驒產業 」。 在日本，「 飛驒產業 」是最早經營出口家具生意的 品牌之一，從早期出口到中國和韓國，到後來出口到美 國、歐洲等地，其產品深受日本國民和海外顧客的愛戴， 享有「 高質量 」的美譽。 飛驒產業新一代傳人岡田明子說，「 對我們而言， 最重要使命是打造出舒適和愜意的高質量家具單品 」。 匠心職人精神 代代相傳 由於每塊木材都不一樣，尤其是軟的杉木容易斷裂， 「飛 驒產業 」工匠要懂得因材施力，決定蒸煮溫度、時間及 施壓力度。「 飛驒產業 」對樹木的透澈了解，廣為為業 內同仁所認同和尊重。
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No matter how much the company expands, the goal of Hida Sangyo remains simple: to provide its customers with comfortable, high-quality furniture. “We’ve collaborated with many famous designers, such as Enzo Mari, atelier oi, and Yanagi Sori,” said Akiko Okada, head of the Corporate Planning Division of Hida Sangyo. “However, to us, the most important thing is to supply people with comfortable items to relieve them of the daily stresses of modern times.” SETTING NEW STANDARDS Hida Sangyo played a major role in spreading the use of cedar wood in furniture. Cedar is one of Japan’s most common trees; the country was planted with an influx of them during reforestation projects following World War II. Its wood was previously considered undesirable, as it is very ductile and prone to dents and scratches. With the discovery of wood-compression technology, this was no longer an issue. Hida Sangyo was able to enhance Austrian wood-compression technology and develop its own state-of-the-art method of bending and strengthening the tender material. Thus, furniture that makes good use of cedar’s beautiful straight grain was born.
憑藉百年的曲木工藝、產品優良的設計和成品的舒 適質感， 「 飛驒產業 」對日本匠人有著非凡的魅力。很多 年輕的日本人為了來「 飛驒產業 」做學徒，心甘情願從 大都市搬遷到較為偏僻的飛驒來生活。岡田明子說， 「無 論男生、女生都有，非常開心看到日本的年輕人對傳統 的木作工藝這麼有興趣。」 在「 飛驒產業 」，代代相傳的不僅僅是木工技藝和 匠心職人精神，更含有對樹木和本地資源的深深情意和 保護意識。 琢磨至精 愛木及「 節 」 第二次世界大戰之後，為了盡快恢復綠化、優化環境， 日本人大力種 植容易生長和 繁 殖 的杉木。飛 驒 亦是如 此，因而盛產杉木。 杉木雖擁有美麗的木紋，但其材質過於鬆軟，一 直以來被認為不適於家具製作。如何能夠利用飛驒當地 豐富的杉木資源呢？「 飛驒產業 」在原有的曲木技術基 礎上，成功研發出杉木壓縮技術，使壓縮杉木成為堅硬 耐用的最優秀的家具木材之一。通過「 飛驒產業 」的曲 木和壓縮技術，飛驒當地的衫木材資源得到了最大化利 用，從而讓世界認識了日本杉木的美好價值。 所謂「 曲木技術 」，簡單而言，就是將實木塊先澈 底浸泡溼透，放進真空爐過百度高溫蒸煮，令實木軟化， 之後以機械壓縮，多塊黏合起來，再以機械及人手放進 馬蹄型的模具內施壓定型，木塊厚度大大減少，密度卻 增加，堅固耐用。
Product highlights 「 飛驒產業 」精品採擷 The Kinoe chair was designed by Ibuki Kaiyama. Enchanted by the potential of working with the tree branch, Kaiyama creates freeform furniture designs and works of art that showcase the true beauty of wood. Though the material is uneven and difficult to handle, applying wood-bending techniques to the unprocessed branch makes it possible to create a comfortable back that gently cradles the body.
「木節」。帶 「木節」的 這款Kinoe系列的木製座椅上有著天然的 「飛驒產業」這裡，變 木枝本是很多木匠會捨棄的 「殘次品」，在 成了木頭的天然表情和細語，成為家具單品上的獨特裝飾和性 格。由於木節凹凸不平且銳利，工匠處理這些木料較為不易，也 容易割傷手。通過 「飛驒產業」的曲木古法，以及匠人優秀的製作 工藝，這些帶木節的木料轉身成為舒適、有質感的家具。每一款 Kinoe系列的桌椅，因為天然木節的存在，都獨具特色和個性。
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The process involves steaming and heating the wood to soften it before bending it into shape. Following that, pressure is put on the wood with a press, increasing its density and removing excess space from its cellular structure. This increases the cedar’s strength and prevents it from changing shape in the future. In 2000, Sanzo Okada, father of Akiko Okada, became the president of Hida Sangyo. Under his leadership, the company was able to popularize the appearance of “knots” in furniture, which in the past was seen as unappealing. Sanzo maintained that knots are a part of the wood’s natural beauty; in creating furniture with knots, each piece is unique.
area, young people from all over Japan have moved to the region to learn more about woodworking. “It is very interesting to see a traditional skill being passed down to the next generation,” Akiko said. Hida Sangyo is dedicated to being an environmentally sustainable brand. It holds a deep reverence for the forest’s resources, and strives to treat its surroundings with as much respect as possible. This involves reducing waste by utilizing every part of the trees that are cut—even the leaves and branches, which are used to produce essential oils. 承繼「 飛驒產業 」創業創新的精神，現任社長岡 田贊三先生（ 岡田明子的父親 ）於 2000 年打破常規， 生產帶有木節的家具。岡田贊三認為，木節是樹木成
INTERTWINING MODERNITY WITH TRADITION The company seeks to adapt to modern times while retaining its traditional roots. Though woodworking is often thought of as an elderly gentleman’s craft, members of the younger generation—both male and female—have begun expressing interest. According to A kiko, many younger members have joined the Hida Sangyo team. Despite the factory’s being located in a remote, mountainous
長的見證，也是大自然的紋理，值得保留。於是他大 膽鼓勵「 飛驒產業 」的工匠使用帶木節的實木材，打造 一系列家具。在這些家具上，木節沒有被隱藏起來， 反而成為桌面和椅背的天然點綴。這一系列得到了消 費者的認可，取得了很大的成功，使木材資源進一步 得到利用。 This dining area is furnished with Yanagi Collection armchairs and table. Each piece has been reproduced by Hida Sangyo using wood-bending techniques to create stylish pieces from white oak.
This armchair from the Yanagi Collection is the work of Sori Yanagi, who passed away in 2011 at the age of 96. Yanagi laid the foundation for product design in Japan following World War II; his works are recognized internationally. Through the use of sophisticated woodbending techniques for the armrests, this armchair was completed without destroying the original form. In 2017, this armchair was selected to go on display as part of the permanent collection at the Victoria & Albert Museum in London.
這是 「飛驒產業」柳宗理 （Sori Yanagi）桌椅系列的一款帶扶 手的座椅，其扶手與椅背一體成形，製作難度很高。柳宗理是 一位作品豐沛、倍受國際推崇的日本工藝設計巨匠。他於2011 年以96歲高齡去世，為日本和世界留下了豐富的設計作品。 他的作品純淨、極簡且具實用性。 2017年，這款座椅被位於 英國倫敦的工藝美術、裝置及應用藝術的博物館——維多利亞 和阿爾伯特博物館 （Victoria and Albert Museum，簡稱 V&A）——收錄為永久展品。
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The TATAMIZA chair was designed by Kenya Hara, one of Japan’s leading graphic designers. With all his works, Hara aspires to create “an experience” rather than a mere object. He was in perusal of the ideal chair for daily use in his den; this rendition of the Japanese “zaisu” was his answer. The chair’s simple form was born out of a belief in “minimizing the form down to its primary function.” Hara prefers pairing this chair with a zabuton—a Japanese floor cushion—for additional comfort. This piece is also currently displayed as part of the permanent collection at the Victoria & Albert Museum in London.
（疊蓆）是日本國際設計 這款線條圓潤柔和、一體成形的 「 座」 大師原研哉 （Kenya Hara）的設計作品，可放在榻榻米或地板 上作為腰部靠椅使用。為兼顧線條的流暢與使用上的牢固，這把 座由六截小段曲木榫接而成。其紋理的拼接嚴絲合縫，每一段 的弧度都打磨得圓潤光滑。這款座椅亦被維多利亞和阿爾伯特博 物館收錄為永久展品。
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ELITE HOME
CONDE HOUSE Timeless furnishings crafted with the environment at heart 旭川木作 北海道頂級木家具
Text by Fenzhi Zhang Pictures courtesy of Conde House
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sahikawa, one of the major rail hubs of Hokkaido, Japan, has been coexisting with nature for centuries. Surrounded by rolling hills and mountains, it has been the ideal city and a leading center for woodworking and furniture production. In 1963, the city of Asahikawa sponsored a young man named Minoru Nagahara to study design and woodworking in West Germany. Five years later, Nagahara opened Conde House, a furniture design and production company, back in Asahikawa. With its traditional Japanese roots and international perspectives brought by Nagahara, Conde House has gone on to become a sturdy presence in the industry, and one of the biggest furniture manufacturers in Asahikawa. “While we take pride in our craftsmanship and make furniture pieces that are simple and functional, I think we also have an obligation to maintain the environment, as we depend on the resources and services it provides,” said Yuki Watanabe, president
北海道自古迄今與大自然共存，層峰疊疊、綿延不盡的 大雪山山脈，從史前時代便守護這塊廣大土地，境內有 70%為天然林區，得天獨厚的地理條件，孕育以北海道 旭川市為中心的眾多家具公司。 1963 年，旭川市資助一名年輕人到德國學習木作 設計和製作。 5 年後，這位年輕人在旭川市建立了一家 結合日本木作傳統和西方創新設計的家具公司——旭川 木作（Conde House）。 依託於北海道豐厚的自然資 源，旭川木作逐步成為世界知名的木作品牌，也成為旭 川市最大的家具生產商之一。 旭川木作主要使用來自北海道的優質木材，從而保 證它們生產的家具，可以留存彌久。此外，在製作家具 的過程中，他們會盡最大可能，使用已經砍伐下來的木 材，以減少浪費。「 取之於林，用之於林 」，每年，旭川 木作總廠的全體員工都會在北海道森林植樹，以致敬並 補充因他們製作家具而砍伐下來的樹木。 Top left: Once a year, the entire Conde House factory team plants new trees in the Hokkaido forests to give back to the earth what they have taken to make their furniture. Bottom left and right: In Conde House factories, cutting-edge processing tools are used alongside elaborate handcrafting.
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While we take pride in our craftsmanship and make furniture pieces that are simple and functional, I think we also have an obligation to maintain our environment as we depend on the resources and services it provides.” Yuki Watanabe, president of Conde House USA and chairman of Conde House Japan
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(From left to right) WING Side Chair, TEN Armchair White, and SPLINTER Armchair Shell Type.
of Conde House USA and chairman of Conde House Japan, according to a press release. Once a year, the entire factory team plants new trees in the Hokkaido forests to give back to the earth what they have taken. The beautiful forests of Hokkaido are the starting point for everything that Conde House is. The company uses high-quality Hokkaido wood for as much of its products as possible, to ensure that the items will last a long time. Additionally, it makes sure to utilize every piece of wood that is cut, so as to minimize waste. Thus, the design philosophy at Conde House is centered around the efficient use of natural materials, sophisticated yet minimal designs, and precise structures. Nagahara has been partnering with international— especially European—designers since the beginning of the company in the 1960s. At that time, it was a rare occurrence and seen as quite exceptional. This approach, coupled with traditional Japanese
craftsmanship, has resulted in modern furniture that is designed to be comfortable and practical, and to transcend trends. With Japanese-inspired gentle curves and European-inspired clean lines, at Conde House, furniture is made to last a lifetime and be handed down through the generations.
高效率使用自然木材的同時，旭川木作的家具強調 優雅的設計——簡練、細緻、意味深長。 旭川木作的創始人自 20 世紀 60 年代就已經開始 和西方設計師，尤其是歐洲設計師，緊密合作。這在當 時的日本是極具創新意識的舉措。 在日本的家具品牌中，旭川木作以擅長將現代感 和日本氣質完美結合而著稱。他們設計生產的每一件家 具，都有一種簡明優雅之美，讓人一見傾心。比如這款 BARCA 小舟椅，設計精簡獨特，一條條長木板自由排 列在一起，組成一葉小舟的形狀，自成空間。
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Simple, elegant, yet unique, the BARCA Lounge Chair is a convertible piece made from Japanese oak.
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ELITE CULTURE
KYOTO
CAPITAL OF ARTISTIC IMAGINATION A journey through the cultural history of the ancient city 京都：藝術想像之都 大都會博物館特展 千年古都風采回顧
English text by Angela Feng | Chinese text translated by Yi-Chun Lin Pictures courtesy of The Metropolitan Museum of Art
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ich with culture and brimming with history, Kyoto is often considered the heart of Japan. A stroll through the picturesque streets can almost feel like a walk back in time, as one is surrounded by traditional Japanese-style architecture, blossoming foliage, and venerable temples and shrines. Founded as Heian-kyo in 794, Kyoto was the capital and home to the imperial court for over 1,000 years. Its vibrant artistic scene was profoundly shaped by the presence of the emperor and aristocrats, as well as high-ranking warriors, varied groups of artists, and literati working in the palace. It is also a city dense with sacrality; its deep reverence for the Shinto and Buddhist religions was paramount to the development of its abundant cultural heritage. The Metropolitan Museum of Art’s exhibition titled Kyoto: Capital of Artistic Imagination is a celebration of the city’s profound cultural history. It places special emphasis on the decorative arts, with over 80 masterpieces of lacquers, ceramics, metalworks, and textiles. A meticulously curated collection of over 50 paintings by masters of various schools is also on display, along with a number of recently acquired contemporary works. The exhibition is arranged in chronological order, with a different theme for each time period. A walk
「 京都 」因其深厚的文化底蘊與歷史涵養，而被視為日 本的心臟。漫步在圖畫般的街道，四周皆是傳統日式建 築，夾道綠蔭扶疏。諸多廟宇和神社，靜穆而神聖，彷 彿闖進了一條時光流轉的小巷。 西元 794 年，平安京設立在此，其後，京都便成為 日本王室的首都與發祥地長達一千多年。天皇、貴族、武 士、風格各異的藝術家以及文學家聚集於此活動，皆對 形塑京都豐富的藝術環境，有著深刻的影響。這裡也是 一個信仰虔誠的城市，誠敬對待神道教和佛教的風俗， 也對此地豐富的文化遺產之發展有至關重要的影響力。 大都會博物館的「 京都：藝術想像之都 」展覽， 為了慶祝這座城市深厚的文化歷史，特別強調裝飾性藝 術，預計展出逾 80 件精采絕倫的漆器、陶瓷、金屬製 品和紡織品。此外，還有由各個學派的大師精心策劃 的 50 多幅畫作，以及最近收藏的一些當代作品。展覽 根據時間順序，規劃各時期有不同的主題。漫步在展覽 中，就像穿越城市歷史的旅程：從古老的神道教和佛教 藝術開始，然後穿越中世紀和近現代，直抵現代京都。
Armor (Yoroi) of Ashikaga Takauji, late Kamakura (1185– 1333) to Nanbokucho period (1336–92), early to mid–14th century. This is a rare example of a medieval “yoroi,” an early Japanese armor worn by warriors on horseback. The yoroi is characterized by a cuirass that wraps around the body and is closed by a separate panel (“waidate”) on the right side and by a deep four-sided skirt.
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Surcoat (jinbaori), Momoyama period (1573–1615), late 16th century. Battle surcoats were produced from the Age of Civil War (ca. 1467–1603) through the end of the Edo period (1615–1867). This luxurious and elegant Momoyama period jinbaori is of a very rare type; only three similar examples are known.
through the exhibition will feel like a journey through the history of the city; visitors may start with ancient Shinto and Buddhist art, before traveling through medieval and early-modern times, until they finally arrive in modern-day Kyoto. The presence of the imperial court played a major role in sculpting Kyoto’s artistic trends. It is also what ensured the survival and preservation of so many artworks. Because most works were created for the court and the imperial family, they were made from materials of the highest quality. Additionally, most Shinto and Buddhist institutions from this time were established for the same purpose: to protect the capital and imperial family. As a result, many trends and parallels can be seen in their art production. The influence of the court and Shintoism can be seen in pieces such as Fujiwara no Kamatari as a
王室的存在，對於塑造京都藝術潮流起到了重要作 用，這也是諸多藝術品產生與留存的原因：大多數作品 都是為宮廷和王親貴族所製作，所以都是用最高質量的 材料製成。此外，當時神道教和佛教機構多是為了同一 目的而建立：守護首都和王室。因此，從其藝術作品中 也可以看到許多共同的創作趨勢和相似處。 以昔日中央豪族，曾出任神祇伯，並參與籌劃「 大 化革新」的藤原鎌足為主題的作品為例，從中便能看出 王室和神道教對藝術的影響。藤原鎌足原是政治家、朝 臣，一手打造了從 10 世紀到 12 世紀，專擅日本王室生 活的藤原氏族。作為神道教的堅定支持者，他是死後神 化的幾位歷史人物之一，身上的金色鏡子象徵著神性。 日本文化中，鏡子是最有力的權力象徵之一，被視為代 表神靈的神聖物體。 如欲深入了解強韌武士的艱苦生活，便可透過一系 列罕見的盔甲略知一二，例如足利尊氏的盔甲是中世紀
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Shinto Deity. Kamatari was a statesman, courtier, and the founder of the powerful Fujiwara clan that dominated Japanese court life from the 10th to the 12th century. As a strong supporter of Shinto, he was one of several historical figures who were deified following their deaths. His divinity is symbolized by the golden mirrors that hang above his figure. In Japanese culture, mirrors are one of the most potent symbols of power, revered as sacred objects representing the gods. Gain insight into the grueling lives of the fierce samurai through the collection’s rare pieces of armor or “yoroi.” The Armor of Ashikaga Takauji is an exceptional example of medieval yoroi. In use from around the 10th to the 14th century, yoroi was generally worn by warriors on horseback. The breastplate is covered with stenciled leather bearing the image of the pow-
The Rebellions of the Hogen and Heiji Eras, Edo period (1615– 1868), 17th century. Progressing from right to left, the screen illustrates a number of legendary fighting scenes as narrated in The Tale of the Hogen Rebellion. The rebellion, which occurred in central Kyoto in the summer of 1156, involved a dispute over succession between Emperor Go-Shirakawa and former Emperor Sutoku.
「 大鎧 」的一個特例。 10 世紀至 14 世紀左右，「 大鎧 」 一般是騎在馬背上的戰士所使用，胸牌上覆蓋著鋼印皮 革，上面印著強大的佛教神祇「 不動明王 」的形象，其 剽悍的風采、沉著特質與內在力量等特徵，深受武士的 珍視。 該展覽還包含一件豪華且優雅，桃山時期的武士甲 冑工藝——「 陣羽織 」。這種鎧甲罩袍通常穿在盔甲上， 用以防雨擋風和禦寒，其立領和沿著袖口的白、紅真絲 縐綢褶邊等特徵，暗示了西方服飾文化的影響。 而其獨 特的罕見進口高級面料組合，則說明這件外套當是軍閥 送給忠誠武士的貴重禮物。 │73
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Top left: Incense Box (Kogo) with Pines and Plovers, Nanbokucho period (1336–92), early 14th century. Like many other tea ceremony incense boxes, this piece could have originally been part of a 12-piece cosmetic set (“junitebako”), where it served as a container for tooth-blackening material. Top right: Tea Caddy (Seitaka), Edo period (1615–1868), dated 1650. This small jar was used in tea ceremonies to hold matcha. It was created by Nonomura Ninsei, one of the first Japanese potters to sign his name to his work. This piece is more subdued and less ornate than his usual style; however, even a less showy piece such as this one reveals the sophistication of Ninsei's eye.
erful Buddhist deity Fudo Myo-o, whose fierce mien and attributes of calmness and inner strength were highly prized by the samurai. The exhibition also contains a luxurious and elegant Momoyama period surcoat, or “jinbaori.” Surcoats were typically worn over armor as protection from rain, wind, and cold. Several features of this garment hint toward Western inf luence, including the standing collar and the white and red silk crepe ruffles along the sleeve openings. Its unique combination of rare imported luxury fabrics suggests that this surcoat was a gift from a warlord to his loyal samurai. Tea ceremonies, introduced to Kyoto by Zen Buddhism, aided the city in its spiritual development and inspired numerous art forms. A look at the Edo period tea caddy by Nonomura Ninsei reveals more about this sacred tradition. The small, thin jar was used during ceremonies to hold green tea powder, or matcha. As one of the most revered Japanese potters of all time, Ninsei is known for being the first potter to sign his name to his work. His style, which is typically ornate and refined, set a standard that would define the appearance of Kyoto ceramics from his time on. Most paintings from ancient Kyoto take the form of hanging scrolls, handscrolls, and folding screens. Their themes vary, from tranquil landscapes to riveting battles, and from glimpses of everyday life to
物質之外，通過禪宗引入京都的茶道儀式，則增進 了城市的精神發展，同時也「 激活」不同藝術臻至純熟。 江戶時代，日本陶瓷一代宗師——野野村仁清，特地為 茶道製作器皿，如彩繪茶葉陶罐這種小而薄的精緻陶 器，用以盛放綠茶粉或抹茶，流露著藝術家對高貴傳統 的重視。 作為日本最令人推崇的陶藝家之一，野野村仁 清也是首位為自己作品簽名的陶藝家。他的製陶風格華 麗而精緻，作品更是「 京都陶瓷 」的鑑賞標準。 古京都的多數畫作採用懸掛卷軸，手卷和屏風的形 式，主題各不相同，從寧靜的風景到兵刃相接的戰鬥； 從日常生活的驚鴻一瞥到迷人的鄉野傳說。其中成於 17 世紀，具有代表性的屏風繪面上，描繪了 12 世紀「 保元 之亂 」6 個錯綜複雜的戰鬥畫面。這場王室之間爭權的 內亂，發生在 12 世紀，平亂之後，新任天皇重用的武士 平清盛，地位崛起，繼而權傾天下，開啟了武士掌政的 先河，標誌了日本史中古世紀的開始。 無論多年來席捲全球的變革潮流如何，古代傳統 和 藝 術風 格在現代 京都仍 然非常活躍。為了證明這一 點，展覽包 括 當代 藝 術 家 的幾 件作品，包 括中 村卓夫 （Nakamura Takuo）、鈴木治（Suzuki Osamu）和 八木明（ Yagi Akira）的陶瓷作品，杉本博司（Hiroshi Sugimoto）和名和晃平（Kohei Nawa）的玻璃雕塑。 佛教和神道教，至今仍在日本人的日常生活中，扮 演重要角色，時時前往祈禱。大多數寺廟對遊客開放， 運作 一如往昔；神 社 重 要 的 節日慶典，如 著名的 祗 園 祭，更是令在地人與外來客趨之若鶩。儘管明治天皇於 1869年遷都東京後，京都便在地理上失去首都的地位，
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A Nenbutsu Gathering at Ichiya, Kyoto, from the Illustrated Biography of the Monk Ippen and His Disciple Ta'a, late 14th century. In this scene, people from all walks of life have gathered to hear the charismatic monk Ippen (1239–1289) perform a recitation of the Nenbutsu prayer invoking Amitabha.
gripping scenes of fabled legends. One particularly significant folding screen depicts battles from the Hogen rebellion across six intricately painted panels. It was made in the 17th century, although the rebellion took place in the 12th. Though it lasted only a few hours, the Hogen rebellion had far-reaching political and social consequences, and marked the beginning of the medieval period. Regardless of the tides of change that have swept through the world over the years, ancient traditions and art styles are still very much alive in modern-day Kyoto. To demonstrate this, the exhibition includes several works by contemporary artists. Buddhism and Shinto remain an important part of the everyday lives of Japanese people. Most temples, despite being open to tourists, still function regularly and are often frequented by citizens to pray. Shrines are widely visited for important festivals, such as the famous Gion Matsuri, a month-long festival that takes place in July.
Despite losing the position of the capital to Tokyo in 1869, Kyoto still bears a name meaning “Capital City,” and remains the best place to explore traditional Japanese arts. Currently, Kyoto has around 1,600 Buddhist temples and 400 Shinto shrines, making it one of the most well-preserved and historically significant cities in Japan. “Kyoto functions as a living museum of Japanese culture,” said curator Monika Bincsik. “The essence of Japanese culture is preserved here.” The exhibition will be on display at The Met starting July 24, 2019. 但其名稱仍保有「 首都」的內涵，也依然是探索日本傳統 藝術的最佳地點。目前，京都有大約 1,600 座佛教寺廟 和 400 座神道神社，使其成為保存日本歷史最完整且 最悠久的城市之一。 「 京都是 『 活的』日本文化博物館 」， 策 展 人 莫 尼卡．賓 西 克（Monika Bincsik）說，「 這 裡 保留了日本文化的精髓。」 2019 年 7 月 24 日起，「 京都：藝術想像之都」展 覽將於大都會博物館展出。 │75
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The gates at Fushimi Inari shrine in Kyoto, Japan.
ELITE TRAVEL
Enchanting Kyoto A Japanese City Steeped in Culture and Good Eats 千年京都碗裡嘗 一飲一啜皆學問 English text by Annie Wu Chinese text translated by Yi-Chun Lin Photography by Annie Wu 76│
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THIS ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES.
he paper screen doors slid open, revealing a garden of neatly arranged rocks amid vibrant green trees and a small pathway lined with stone lanterns. A breeze entered the room, cool but comforting. Natural materials are employed throughout, including Indonesian suar wood, which is used for table and bar tops; leather seating; patinated copper for wall paneling; chiseled granite tiles that wrap the kitchen area; and matte polished concrete floors. A small, outside, covered patio will expand the space during seasonable weather. Roman shades along the exterior window walls visually reference sliding screens and functionally help control light in the restaurant. On the table was a spread of dishes crafted according to centuries of tradition and made entirely from vegetables. Ikkyu, a restaurant that has been catering vegetarian meals to the nearby Daitokuji temple since the 1400s, has honed cooking into something beyond just preparing a dish. A herbaceous fragrance enveloped my nose as I took a sip, the soup as delicate as the tree leaves rustling gently outside. Floating on top was a small bundle of yuba, made from the thin layer that forms on boiling soy milk, with faint earthy notes that added to the clean, refreshing aftertaste. On my lacquer tray were other delightful bites made from plants and vegetables: purple yam stems marinated in miso and vinegar, piquant and inviting; bits of sweet chestnut—unadorned and unseasoned—embedded in rice; and lily root mashed and formed into a savory dumpling, with a fermented black bean inside. TEMPLE CUISINE This type of cooking, commonly found in temples across Japan, was a precursor to kaiseki, the highly refined, multicourse meal that is the epitome of Japanese food culture. Temple cuisine, known as shojin ryori, along with the foods of aristocrats and feudal lords, formed the foundation for what is now considered traditional Japanese cuisine. Kyoto was the ancient capital of the country; temples flourished there, and shojin ryori became part of the city’s fabric. Ikkyu’s owner and chef, Yoshiaki Tsuda, said the restaurant was named after a monk who often entertained important visitors to the Daitokuji temple. When it came time to prepare meals for the grand ceremonies held within the temple’s walls, locals decided to help the monk. One of those townspeople later founded the restaurant.
紙糊的障子（しょうじ）緩緩拉開，花園小徑兀自蜿蜒， 沿路是布局整齊的岩石與蓊鬱綠樹，幾盞石燈籠點綴其 間。微風在屋內流淌，清涼而舒暢。 視線回到餐桌上，一碟碟盛好的蔬食已星羅四布， 每一道菜肴都承載了數世紀的文化底蘊。「 一久 」自15 世紀起，便為附近的大德寺提供素食餐點，然而日本職 人的精進精神，讓「 一久 」提供的不再只是適口充腸的 飽腹料理。淺嘗湯品，草葉的芳香先行為氣味開啟旅 行，彷彿遊走戶外，一片綠樹繞廊。湯上有一小束的 「 湯葉 」，是豆漿煮沸後，表層遇冷凝結的精華，亦即華 人熟知的腐皮，輕柔的自然滋味，餘韻潔淨而清新。 漆器托盤裡，還有許多根莖蔬菜製成的美點：浸泡 味噌與醋汁的紫地瓜，辛辣開胃；白飯摻和幾顆天然無 調味的甘栗；糯白的百合球根磨成泥，塑成福袋，裡頭 包進風味獨特的大德寺納豆。 精進料理的真諦 一般認為，眼前的佳肴其實源自日本寺廟的料理方式，也 被視為另一種經典和食的前身，即食不厭精、程序繁複 的懷石料理。寺廟料理也叫做「 精進料理 」 （しょうじんり
ょうり），原為貴族與封建君王才能享用，輾轉成為了傳 統日本料理的基礎。 京都是日本舊時的首善之都，曾經「 南朝四百八十 寺 」，「 精進料理 」自然成為這座古都不能磨滅的文化 經緯。「 一久 」的持有者與主廚津田義明先生，提到餐 廳是以大德寺一位名僧命名。君主等貴賓時常拜訪大德 寺。名僧負責接待。每逢重要典禮，當地人就來幫忙準 備膳食，其中一位村民隨後就開始經營這間餐廳。 精進料理原本簡樸易做，但「 一久 」招待的對象是 君主，料理的手法便不能馬虎。以往只用鹽巴調味， 「一 久 」卻另外以醋、醬油以及辛香料入菜。但是萬變不離 其宗，這種寺廟料理的核心精神相當簡單：「 精進料理 表示打從心底好好做菜，而且精益求精 」，津田先生如 是說。 祖上流傳的食譜，也鑄就了「 一久 」的獨樹一格。 煎、煮、炒、炸，需要用不同油量調理，部分特定的食 材或者「 五味 」的運用，都需要按照流傳百年的規矩才 能成章。「 我們必須保留傳統 」，津田先生說。
「 京都製造 」就是品牌 原本只在寺院中出現的精進料理，風行草偃下，其烹 調方式也逐漸走進京都庶民家中。「WAK Japan」是 專門帶領外地遊客體驗京都文化的女性組織，我在這 裡體驗烹飪課程，學習京都傳統家常料理「おばんざい」 （Obanzai，お番菜、お晚菜、お万菜 ），簡單調味四季 時蔬。 料 理 老 師Machiko Kimura告 訴 我，「Obanzai」 幾乎都是素食，通常由豆腐以及只有在京都當地才有的 │77
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A Kyoto-style home-cooked meal, at the WAK Japan office in Kyoto.
Shojin ryori is typically much simpler fare, but because Ikkyu served feudal lords, the meals prepared there are more elaborate. Instead of using just salt for seasoning, Ikkyu also employs vinegar, soy sauce, and spicy ingredients. But the core of all temple cooking comes from a simple principle: “Shojin ryori means to cook from the bottom of the heart, to always be improving,” Tsuda said. The recipes, passed down from Tsuda’s ancestors, helped to define Ikkyu’s unique style. Rules about what amounts of oil can be used for different kinds of frying—specific to certain ingredients—or requiring all five f lavor components to be in each dish, have been followed for centuries. “We must preserve the tradition,” he said.
新鮮蔬菜製成。照燒豆腐使用的青色辣椒，口感溫和不 辣，來自Kimura老師連襟的菜圃，而姬菇正值旬味， Kimura老師將它與米飯一起炊煮。 四 周 盡 是 山 河 環 繞， 京 都 距 離 日 本 最 大 的 淡 水 湖——琵琶湖不遠，古都生產的豆腐品質因而高踞全
國 之 冠。 當 地 有 間 知 名 的 豆 腐 店「 とようけ 屋 山 本 」
（Toyoukeya），特地選用中性的自來水製作豆腐，目前
由第三代山本久仁佳先生經營。山本先生是位和藹的長 者，閒暇時練習空手道，帶我四處參觀店鋪以及員工製 作豆腐的日常。裡頭滿是成袋裝箱的黃豆，產地來自美 國、日本、中國等。他用心挑選世界各地品質上等的黃 豆來源，也希望因此不會造成土地負擔。 山本先生說，好的豆腐味道自然清甜，於是給了 我一些豆乳剛凝結、尚未重壓前，口感更為柔軟的朧豆 腐——令人愉悅的甘甜味，濃厚的豆香，比我之前吃過 的豆腐都要味道豐富。他希望不只日本人，有更多人了
KYOTO’S SPECIALTIES Over time, the vegetarian aspect of temple cooking has made its way into the homes of Kyoto residents as well. While taking part in a cooking class by WAK Japan, a women-run organization that introduces
解豆腐的烹飪方式與營養健康。因此，他和妻子在豆腐 店的旁邊，另開一間餐館，提供別出心裁的豆腐食品， 如濃厚肉汁湯葉飯、豆腐布丁佐水果糖漿。 專門提供豆腐懷石料理的「 豆水樓 」（Tousuiro）， 也是能將豆腐滋味發揮淋漓盡致的佼佼者。宴席上，豆
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The storefront of Toyoukeya tofu shop in Kyoto, which uses tap water to make tofu because it is neutral—not too acidic or alkaline.
Tofu dessert with fruit syrups at the Toyoukeya tofu shop.
A worker making tofu at the Toyoukeya tofu shop.
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A Zen garden inside the Koto-in temple within the Daitokuji temple complex.
foreign visitors to local experiences in Kyoto, I learned about a type of home cooking unique to the city, called obanzai. My instructor, Machiko Kimura, told me that obanzai is mostly vegetarian. The dishes are made with tofu and fresh local vegetables that can only be found growing in the Kyoto region. The green peppers in a teriyaki tofu dish we cooked were a mild variety grown in Kimura’s brother-in-law’s garden. As shimeji mushrooms were at their peak, Kimura cooked them with rice. Surrounded on all sides by mountains and rivers, Kyoto is a short distance from Lake Biwa, Japan’s largest freshwater lake. The water is said to be the reason why Kyoto’s tofu is the best in the country. Kuniyoshi Yamamoto, the third-generation owner of the Toyoukeya tofu shop in Kyoto, uses tap water to make his tofu because it is neutral—not too acidic or alkaline. Yamamoto, a cheery elderly gentleman who practices karate in his spare time, showed me around the shop where he and his staff make tofu every day. Bins and bags of soybeans lay everywhere; they came from the United States, Japan, China, and other countries. He sources them from different places in a continual search for the best quality, and so as not to overburden the soil. Yamamoto said good tofu should have a natural sweetness. He gave me some soft oboro tofu, the curds formed before tofu coagulates. It had a pleasant sweetness, but also a rich bean taste—much more flavorful than any tofu I’d had before.
Yamamoto wants more people, not just Japanese, to realize tofu’s culinary and health properties. At the restaurant adjacent to his shop, he and his wife experiment with recipes featuring tofu products, from yuba mixed with a thick, gravy-like sauce and served with rice, to a tofu dessert—like a goopy pudding—drizzled with fruit syrups. The ultimate expression of tofu, though, is at Tousuiro, a restaurant that specializes in serving tofu 腐面貌各殊，一道一道伴著果物送上，宛如遊行。菊花拌 豆腐、煨朧豆腐與菠菜海帶盛、甜味噌烤豆腐串、香炸豆 腐球，內有地瓜泥、蓮花根與木耳。 你若能走一趟京都著名的戶外食物市場——錦市場 （Nishiki market），將會對裡頭店鋪販售的眾多醃漬蔬菜 感到驚奇，而這些漬物亦是千年文化的璀璨結晶。試吃時 的爽脆口感，別有生趣；我從未想過嗆口的酸味有這麼多 變化。深受九州君主厚愛的「 村上重本店 」（Murakamiju Honten）是錦市場中最富盛名的漬物專賣店，經營者 的女兒Eri Murakami向我們解釋，京都漬物何以如此聞 名。由於離海遙遠，難有新鮮海產，先民就需要用醃漬的 方式保存食物。傳統的保存法發展蓬勃，鹽漬方法的時間 與醃漬食材也跟著轉趨精細。「 村上重本店 」最受歡迎的 是「 千枚漬 」（senmai-zuke），一種將蘿蔔切成薄片用甜 醋、昆布和辣椒醃漬的漬物。「 這種調味和蔬菜配合在一 起，能帶出天然的風味與口感 」，Murakami女士說道。 京都美麗的歷史名勝，難以一時看盡。我卻想在最後 一天，再多去一個景點。來到慈照寺（ 銀閣寺 ）的庭院， 只見觀葉植物沿著假山生長茂密。眼前風景，讓我無法離 去。流連寺中庭園，我不禁想向前人致謝，他們竟有如此 智慧創造與保護千年古都的典雅；他日，我必將再至。
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The elegant landscape at Ginkakuji Temple.
kaiseki. Tofu in various guises was paraded to the table, one after another, accompanied by the fruits of autumn: herbaceous chrysanthemum petals mixed with tofu; oboro tofu simmered in a wooden pot with spinach and kelp; grilled tofu skewers glazed with sweetened miso; and a deep-fried ball of tofu mixed with grated yam, lotus root, and wood ear mushroom. If you stroll through Kyoto’s famed outdoor food market, Nishiki, you’ll notice many shops selling an astounding variety of pickled vegetables, the city’s other prized jewel. Sampling the crispy, crunchy bits is a delightful experiment; I’d never imagined that tartness could have so many iterations. Murakami-ju Honten is one of the city’s most well-regarded shops, having been granted the use of the family crest of a feudal lord in Kyushu who took a great liking to its pickles. Eri Murakami, the daughter of the owning family, explained why Kyoto became known for pickling. Owing to the city’s distance from the sea,
people in the old days did not have access to fresh seafood and had to rely on pickling to preserve their foods. The tradition blossomed, with a complex array of ingredients for the brine and different aging times. Murakami-ju’s most popular one is senmai-zuke, sliced turnips in a brine of rice vinegar, kelp, and red pepper. “The seasoning and vegetables work together to bring out [the vegetables’] natural flavor and texture,” she said. It may seem impossible to cover all of Kyoto’s many beautiful historical sights while visiting. But on my last day, I set out to visit just one more. I arrived at Ginkakuji Temple, where the garden foliage blended seamlessly with the mountains overhead. It was a scene I didn’t want to part with. Strolling through the temple garden one more time, I thanked the people before me who had the wisdom to create and preserve such elegance—and vowed to return someday.
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ELITE PEOPLE
The New Asia Chamber Music Society Blending classical Western music with Asian culture 飄洋過海 共造築夢舞台 專訪新亞室內樂協會創辦人 English text by Angela Feng｜Chinese text by Astrid Wang Picture courtesy of the New Asia Chamber Music Society
Over the years, NACMS has grown from a small group of friends with a shared passion into a world-class organization that has performed at Carnegie Hall, Lincoln Center, and more.
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Wei-Yang “Andy” Lin, one of the founders of the New Asia Chamber Music Society, was a member of the renowned string quartet Amphion. He is a master of the viola, as well as the traditional Chinese erhu.
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he performance has come to an end; the musicians’ bows remain fixed in the air as their last note rings into the awed silence of the chamber hall. Then, all at once, the trance is broken as the audience snaps out of its dazzled stupor and breaks into spirited applause. The New Asia Chamber Music Society, or NACMS, has hosted dozens of concerts over the years, bringing together top musicians from all over the world. Among the talented artists are Wei-Yang “Andy” Lin and Nan-Cheng Chen, the association’s co-founders. Andy currently holds the position of artistic director, while Nan-Cheng is the executive director. Together, they have set the stage for a new generation of young and gifted virtuosi. Twenty-two years ago, Andy left his home in Taiwan to come to the United States and study music at the Idyllwild Arts Academy in California. At the time, he was only 13 years old. He went on to pursue
Nan-Cheng Chen, co-founder of the New Asia Chamber Music Society, graduated from The Juilliard School of Music in New York.
演奏結束的剎那，樂手們的琴弓定格在空中，彷彿凝結 了空氣，人們未作一響，領略「 無聲勝有聲 」的意境， 沉浸在樂音構築的世界，為樂曲劃上完美句點。隨後， 飽滿的掌聲與喝采湧現。 新亞室內樂協會近年來舉辦了大大小小的音樂會， 聚集了數十位頂尖樂手，這一群優秀的音樂家之中，也 包含了協會的合夥創辦人——藝術總監林維洋及執行總 監陳南呈。他們正在為一群才華洋溢的演奏家搭建舞 台，一個讓音樂人共享熱忱的舞台。 透過古典樂「 讀 」懂音樂 22年前，林維洋從台灣來到美國學習音樂，當時的他只 有13歲。來到美國後他主修中提琴，還會中國樂器二胡， 接著陸續在美國拿到碩、博學位。同樣來自台灣的大提琴 手陳南呈，與林維洋同樣畢業於紐約茱莉亞音樂學院，兩 人早在美國中學時期結識，擁有近乎20年的交情。 他們獲獎無數，擁有豐富的演奏經歷，皆為業內公 認的頂尖音樂家。他們看待音樂與一般人的差異，或許 │83
In addition to classical Western music, NACMS has released pieces that combine traditional Asian and Western instruments.
his undergraduate and master’s degrees at the prestigious Juilliard School, where he majored in viola. Afterward, he received his doctorate degree in musical arts from SUNY Stony Brook. Nan-Cheng also received his undergraduate degree from Juilliard. He and Andy met back when they were in high school. The two were quick to bond over their shared experience as Taiwanese immigrants and their passion for music, striking up a friendship that has lasted nearly 20 years (and counting). Together, they have accumulated numerous awards and are widely recognized as top musicians in the industry. In 2010, Andy and Nan-Cheng founded the New Asia Chamber Music Society together. They started out with two additional co-founders; however, one ended up returning to Taiwan, while the other got married and quickly became busy with other responsibilities. All four of the original members happened to be from Taiwan, but they didn’t want to limit the organization to just Taiwanese musicians. Therefore, 84│
就在其擁有古典樂的訓練。有別於現今的流行樂，林維 洋認為古典樂的創作是一種功夫的積澱，他說： 「 因為它 （ 古典樂 ）除了樂句之外，還有和聲，還有節奏，還有很 多不同的元素融在裡面，導致大家並不是都可以理解。」 陳南呈則談到，音樂是一種特殊語言，古典樂的訓 練讓他能真正讀懂音樂，不單是沉醉於旋律，還能領略 背後的樂境。「 我覺得自己很幸運！」他說，因為並非所 有人都有此學習機會。古典樂的薰陶與培養，有助於理 解音樂這門藝術，並能在此基礎上更好地運用發揮。 與音樂共生的新旅程 同時會中西樂器的林維洋表示，中提琴與二胡都是他喜 愛的樂器，但二胡於他而言更加親切。「 我覺得我在拉 二胡時，是跟自己在對話，那我在拉中提琴時，是在表 現藝術。」他說，這是一份根植於內心的文化認同。 林維洋與陳南呈兩人皆受西方古典樂培養，但東方 身分讓他們在音樂路上，開創了嶄新的可能。 2010年兩 人抱著嘗試的心態，與另外兩位合夥人創辦了「 新亞室 內樂協會 」。林維洋表示：「 我們叫新亞，因為我們希 望可以創造出『 新的亞洲文化 』，新的亞洲文化可以跟 西方文化融合在一起。」這裡聚集了一群對亞洲文化懷 有情感的音樂家，透過音樂與各種藝術形式，呈現現代
the name “New Asia” was conceived. “We came up with the phrase ‘New Asia’ because we want to showcase a new generation of Asian musicians, as well as the integration of Asian and Western culture,” Andy explained. Andy and Nan-Cheng founded the organization with relatively low expectations. In the beginning, they were mainly looking to have fun and meet other musicians. In the first few years, they would do three or four concerts a year at most, with a few smaller, local performances in between. The reason for the initial lull was Andy’s involvement in the award-winning Amphion String Quartet, which took up most of his time. The group was very successful, and it had contracts with various record companies as well as a three-year contract with Lincoln Center. However, due to personal issues, the group ended up disbanding. Following the disbandment, Andy decided to focus all his energy on NACMS. He and Nan-Cheng began by holding a fundraising dinner for the organization. It was massively successful and raised over $80,000, thus kickstarting NACMS’s subsequent success. To Nan-Cheng, “music is a special language.” Classical music training has not only taught him to truly understand music but also to appreciate all the behindthe-scenes workings. “I feel very grateful that I was given this opportunity to pursue my passion,” he said. Both Andy and Nan-Cheng were trained in Western classical music, but their Eastern identity remains an important part of their career. In addition to recording classical Western music, NACMS has invited composers to create melodies that use traditional Asian instruments, as well as combinations of Chinese and Western instruments. Over the years, NACMS has faced many challenges. Its status as a nonprofit makes it reliant on volunteers, which often makes things difficult. However, both Andy and Nan-Cheng are grateful to have the opportunity to build community and bring people together. The organization has grown from a small group of friends with a shared passion into a world-class association that has performed at Carnegie Hall, Lincoln Center, and more. Looking back, Andy definitely recognizes the positive impact that music has made on his life. “Musicians dedicate countless hours to practicing an instrument or learning a new song. When you play an instrument,
you aren’t just mindlessly repeating the same motion over and over—you have to have coordination and concentration,” Andy said. “There are so many little details you must pay attention to.” He believes that through playing music, one can cultivate self-discipline, concentration, and endurance. Over the years, Andy and Nan-Cheng have grown from passionate teenagers to esteemed artists at the top of their field. Through establishing NACMS, they have created a platform for young musicians all over the world to come together and share their talent and passion. While being a musician is often demanding and challenging, the two have never regretted their choice. “For me, work is my life because I love what I do,” Andy said.
的亞洲文化，這讓新亞顯得與眾不同。 近幾年來，新亞除了錄製經典西方古典樂，還會 邀請作曲家譜寫新曲，結合傳統亞洲樂器或形式各異的 中西文化組合，帶來耳目一新的曲目。然而，新亞作為 非營利組織，當前仍是倚靠一群有夢想、熱忱的音樂家 們志願投入心血。林維洋坦言，希望協會經營能走入良 性循環、提升演奏會品質，去年他們決定開始舉辦募款 活動。 這些年來，他們從一名單純的演奏家到身兼協會經 營者，遭逢許多困難與挑戰。但是林維洋說：「 我很喜 歡把大家聚在一起！」能和一群對音樂懷有同樣熱忱的 夥伴創造新亞這個平台，這是他真正想做的事。 接受不完美 無悔的音樂路 漫長的音樂之路並未消磨他們的熱忱，兩人對於音樂有 志一同：無論未來境遇如何，他們都不願離開音樂。 回首過往，林維洋肯定學習音樂為其人生帶來的正 向影響，他相信音樂能改變人生。「 你練琴要有辦法把 一首曲子學好，要花時間，要專心，同時又不只是死板 地在拉琴，你要去想左右手的協調，很多小細節��」 他認為無論是自我約束力、頭腦運用方式、專注力、耐 力以至人文素養，都可以在音樂學習中陶冶培養。 陳南呈還談到，即使身為頂尖樂手，卻仍未有過一 場自認為完美的演出。他說，「 你永遠都沒有完美的一 天，所以要一直可以接受這個不完美。」維持這種心態 是一種挑戰，他很清楚音樂是門學無止境的藝術，承認 那份不完美，正面迎擊考驗，才能抵達更完美的境界。 兩人從純粹喜歡音樂的少年，到成為獨當一面的音 樂家與協會創辦人，為更多喜愛音樂的專業樂手們搭建 一個充滿可能的舞台。他們用歲月積澱的出色技巧，演 繹無數美麗的樂章，專屬他們的交響盛宴才正要開始。 │85
SENREVE Redefining luxury for modern women 創新高級手袋 專為現代職業女性設計 English text by Angela Feng | Chinese text by Julia Jia Pictures courtesy of Senreve
The Senreve Maestra convertible bag is available in three sizes, three leather finishes, and nearly 20 colors.
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n 2016, Coral Chung and Wendy Wen revolutionized the luxury handbag industry with the launch of their brand, Senreve. Unlike traditional luxury brands that typically target the leisurely gentlewoman of a bygone era, Senreve handbags are designed precisely for the modern career woman. Functional, versatile, yet still exceedingly elegant, Senreve has become an emblem of the globetrotting female professional. Among Senreve’s loyal clientele is former Snapchat and Instagram executive Emily White, NYX founder Toni Ko, Charlotte Russe’s CEO Jenny
2016年，Coral Chung和Wendy Wen通過推出其品牌 Senreve，給高級手袋行業帶來了新鮮的氣息。與傳統 高級品牌不同的是，Senreve手袋專為現代職業女性而 設計，兼具實用與多功能性，又不失優雅。 Senreve的忠實客戶包括前Snapchat和Instagram 執行官Emily White、NYX創始人Toni Ko、Charlotte Russe首席執行官Jenny Ming和印度著名女星Priyanka Chopra。融合傳統與現代、美觀與實用、現代創新與傳 統工藝，Senreve受到了眾多職業女性的青睞。 隨著Senreve人氣飆升和產品範圍增加，越來越多 消費者開始希望親眼看看這些手袋。因此，除了創業初 始的線上銷售，譬如大型百貨公司Nordstrom正在與
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ADVERTORIAL
The Midi Maestra is a medium-sized version of the Senreve Maestra Bag. It is the perfect size to hold an iPad or Surface Pro. Like its big sister the Maestra, the Midi has eight interior compartments, including an iPad sleeve, and can be worn as a satchel, tote, crossbody, or backpack.
Ming, and actress Priyanka Chopra. Through harmonizing dichotomies—tradition with modernity, beauty with performance, and modern innovation with old-world craftsmanship—Senreve has captivated professional women. Senreve started as an online-only and direct-to-consumer brand; however, as the brand’s popularity surged, more consumers began demanding to see the products in person first. Nordstrom reached out, and soon Senreve bags could be found at stores in Chicago, Boston, Los Angeles, Toronto, and Vancouver. This year, Senreve also launched with Neiman Marcus at its pioneering Hudson Yards, New York location, as well as with the iconic Fred Segal in Los Angeles. The process of creating a new product is a combination of “art meets science.” Coral works very closely with the Senreve team in Italy to bring her visions and inspirations to life. “The company is very technology-enabled, meaning that we use a lot of data in the entire product development process,” she says. This involves extensive interviews and surveys
The model is holding a yellow Senreve Crossbody, which comes with a swappable chain and leather straps, a paneled medium clutch, and the removable Bracelet Pouch. It’s perfect for either a casual day out or a glamorous evening to remember.
Senreve合作，很快人們就可以在芝加哥、波士頓、洛杉 磯、多倫多和溫哥華的Nordstrom店找到Senreve手袋。 新產品的創造過程是「 藝術與科學 」的結合。Coral 與意大利的Senreve團隊密切合作，將她的願景和靈感 變為現實。她說，「 公司非常注重運用科技手段，這意 味著，我們在整個產品開發過程中，使用大量的數據資 料 」。這匯集了對數百名女性的大量採訪和問卷調查，以 及來自不斷增加的客戶群的反饋。 「 胯帶包 」已成為近年來的一大趨勢，Senreve迅速 響應客戶的需求，推出了兩款腰包系列：Aria和Coda。 這些別緻的腰包，既成為了極佳的流行時尚品，也繼續保 留了Senreve經典與多變的特性。 Aria和Coda系列都可有4種不同的用途：腰包、吊 帶包、斜胯包和手包。如果去吃早午餐，可以穿上牛仔褲 和襯衫，將包搭在肩上；或者卸下皮帶，晚上外出時做手 包。這種多功能性是所有Senreve產品的一個精華所在。 Senreve手 提 包 採 用 純 意 大 利 皮 革 手 工 製 作。 不 過， 該 品 牌 目 前 正 在 開 發 純 素 材 料 產 品， 他 們 希 望 在 今 年 底 前 可 以 推 出 這 一 系 列。 這 些 產 品 將 使 用 聚 氨 酯 （polyurethane）和竹纖維襯裡，使其具有與Senreve標 準手袋相同的柔軟質地和精緻結構。原料採購和製作工藝 都將照常在意大利進行。「 我們不想失去產品的外觀和質
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of hundreds of women, as well as feedback from Senreve’s ever-increasing customer base. Belt bags have arisen as a major trend in recent years, and Senreve was prompt to respond to customer demand by coming out with not only one, but two different styles—the Aria and Coda. While these chic bags make great trend pieces, they remain—true to Senreve’s nature—classic and easily convertible. Both the Aria and Coda can be worn four different ways: as a belt bag, a sling, a crossbody, and a clutch. Fling it over your shoulder and wear it with jeans and a blouse to brunch, or take off the strap and use it as a clutch on a night out—this versatility is part of the essence of all Senreve products. Senreve handbags are handcrafted out of genuine Italian leather; however, the brand is currently developing a vegan line, which it hopes to launch by the end of the year. The products will use polyurethane and have a bamboo backing, giving them the same supple texture and luxurious construction as Senreve’s regular handbags. Both sourcing and craftsmanship will take place in Italy as usual. “We don’t want to sacrifice the look and feel, but we want to constantly push the edge and find innovative new materials,” Coral says. Over the past two years, Senreve’s rapid growth has exceeded Coral’s expectations. While the experience has been exciting and rewarding, she feels in equal parts cautious. “One thing I constantly think about is, how do we keep the brand authentic, and continue to communicate our story and stick to our values,” she explains. In an effort to maintain the brand’s authenticity, Coral has been committed to keeping the company culture tight-knit and robust, even as the Senreve team expanded from its initial six to now over twenty-five members. She believes that culture translates into the brand and products, and subsequently, is perceived by their audience. “The difference between us and big traditional luxury brands is that with them, there’s not that storytelling anymore,” Coral says. “They’re just a big commercial entity. Whereas, there’s a reason we created this company—it’s really to empower women and complement their modern, busy lifestyles. So we need to constantly focus on who we’re serving and what we’re doing.”
On May 6, Coral Chung was in attendance at the 2019 Met Gala celebrating Camp: Notes on Fashion, at The Metropolitan Museum of Art in New York City. She was holding a Senreve Bracelet Pouch from the Red Carpet Collection.
感，但我們希望不斷突破創新，尋找新的原始材料，以 適應人們日益增長的動物保護意識。」Coral說。 在 過 去 的 兩 年 裡，Senreve的 快 速 增 長， 超 過 了 Coral的預期。在體驗令人興奮並富有收益的同時，她也 意識到需小心謹慎。「 我經常想到的一件事，就是如何 保持品牌的純正性，並繼續傳播我們的故事，堅持我們 的價值觀。」她解釋說。 Senreve團隊從最初的6名成員，發展到超過25個 成員，為了保持品牌的純正性，Coral致力於保持公司 文化的緊密和牢固。她認為，文化可以轉化成品牌和產 品，之後，也會被我們的客人所感知。 「 我們和那些大型傳統高級品牌之間的區別在於， 他們已不再是傳播故事，而只是一個大的商業實體。」 Coral說，「 而我們創建這家公司的原因，是真正賦予女 性輕鬆駕馭現代繁忙生活的能力。所以我們需要不斷關 注我們所服務的人群，以及我們正在做的事情。」
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Plastic Surgeon Dr. William Lao Over a decade of experience in enhancing beauty 用慧眼發現美 用妙手塑造美 English text translated by Angela Feng｜Chinese text by Christina Wang Photography by Banny Zhang
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Dr. Lao (left) with a fellow doctor from Italy in the operating room.
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osmetic surgery has transformed the lives of many people and made countless dreams come true. However, it also comes with immense risks. Many medical students have attempted to become plastic surgeons without success, due to the difficult process and strict requirements. Dr. William Lao is one of the few who have succeeded; his journey is one marked with determination, perseverance, and tenacity. Dr. Lao grew up in Taipei, Taiwan. His high school years were spent in Vancouver, Canada, where he was first in his class. Upon graduating, he enrolled in Johns Hopkins University. There, he double majored in biomedical engineering and computer science before subsequently earning his M.D. from the university’s prestigious medical school. That was just the beginning. Next came six grueling years of integrated residency training in plastic and reconstructive surgery at the Medical College
提起整形外科，人們往往聯想到一種能讓醜小鴨變成 白天鵝的神奇魔法。它讓無數人獲得夢寐以求的理想 形象，卻也可能蘊藏著極大的風險。很多醫學生在職 業規劃當中，想要從事整形外科，卻又常因難度太高 而止步。要成為優秀的整形醫生，需要堅定不移的決 心和持之以恆的耐心。來自紐約的駱瑋凱博士，為《時 尚精英》讀者分享他成為一名整形醫生的從業經歷和心 路歷程。 勤學苦練十四載 精湛醫術功自成 整形醫生的訓練，要經過嚴格而漫長的學習過程，除了 4年的本科和4年的醫學博士，還需要再進行6年的整形 外科專科培訓。從小學習勤奮的駱瑋凱醫師，喜歡替自 己制定目標並積極迎接挑戰，即使過程艱難也不放棄。 「 整形外科是一個非常廣泛的領域，關係到解剖學 等各個方面，從塑形、整形到功能重建，都需要強大解 決問題的能力。這也是整形外科非常吸引我的地方。雖 然道路艱辛，但如果讓我重新選擇一次，我依然會選擇 做一名整形醫生。」
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ADVERTORIAL
of Wisconsin. Throughout those years, Dr. Lao frequently worked up to a hundred hours a week. The process was extremely demanding, and there were times where he considered quitting. Nevertheless, he pushed through and refused to give up, working resolutely toward his goal. Upon finishing residency, Dr. Lao came to New York University, where he completed the most sought-out aesthetic surgery fellowship with the world-renowned Dr. Sherrell J. Aston. Under the guidance of Dr. Aston, Dr. Lao was able to further train his “aesthetic eye” and learn to appreciate the beauty of the human body to the utmost degree. This involved not just medical training but also training in the arts. Through sculpting classes, Dr. Lao was able to better master the art of human proportions. It is Dr. Lao’s belief that the best cosmetic surgery results should not have an “operated look.” With all his patients, he strives to achieve a final appearance that looks as natural as possible. This can been seen in the “before” and “after” pictures on Dr. Lao’s website, all of which use standardized photography to honestly assess surgical results without exaggerated makeup or camera angle manipulation. Dr. Lao specializes in rhinoplasty, eyelid blepharoplasty, transaxillary breast augmentation, and abdominoplasty, as well as nonsurgical procedures such as fillers, laser resurfacing, skin tightening, and reconstruction for skin and breast cancer. His upper eyelid and rhinoplasty services are particularly popular among Chinese clients, who often need more careful suturing and post-op scar care, as it is easier for Asian skin to develop dark scars. Above all, Dr. Lao’s goal is to ensure that patients come out of his care feeling happier and more confident. “When patients come back and are happy with their results,” he says, “that is also when I am the happiest.” Dr. Lao is licensed in the United States and Taiwan, and board-certified in plastic surgery in both countries. After years of practicing as an attending physician in the Department of Plastic Surgery at the Chang Gung Memorial Hospital in Taipei, he recently returned to Manhattan to open his own private practice. In his free time, he enjoys staying physically fit through hobbies such as basketball, badminton, billiards, and cycling.
With his thorough understanding of the aesthetic ideals of both the East and West, Dr. Lao is able to combine techniques and concepts from both worlds and customize procedures, providing clients with the best results possible. To learn more about Dr. Lao, visit his website doctorlao.com.
駱瑋凱出生於臺北，自小獨自留學加拿大溫哥華。 剛剛來到新環境的時候，他對這裡的文化感到不適應， 但是在家人和老師的幫助下，駱瑋凱始終努力在自己的 專業領域，不斷精進，憑借頑強的毅力，順利完成了全 部學習。 6年的專科培訓期間，作為一名住院醫，他平 均每周都要工作80~100小時，也曾因此萌生過放棄的 想法。但是駱瑋凱始終相信，每多一分付出就多一分收 穫。他的父親曾經鼓勵他，「 努力學習有回報就是幸運 的，這遠遠好過白白付出卻一無所獲。」 科學與藝術相連 技能與審美相依 駱瑋凱最喜歡達芬奇的一句名言： 「 研究藝術中的科學， 感受科學中的藝術。發展妳的感官——特別是學習如何 去看。意識到萬物之間的連結。」駱瑋凱多年的工作習 慣，使他非常善於觀察，甚至是在地鐵上，也會下意識 地悄悄觀察周圍人的面部特點。 讓駱瑋凱最難忘的是在紐約大學學習的那段時光， 「 我跟隨Aston博士學習了審美的重要性，真正具有能 夠發現美的眼睛。」他還專門去學習雕塑課程來精確地 了解人體的比例結構。駱瑋凱對自己的審美眼光非常自 信，這一點從他的客戶手術前後對比照片中就能體現出 來。他認為，手術的最佳效果就是要自然——看起來更 美，卻又看不出調整的痕跡。 駱瑋凱尤其擅長眼瞼、鼻部、胸部和腹壁的整形手 術，追求自然逼真的效果，特別是華人客戶經常選擇的 上眼瞼手術和隆鼻手術。華人的皮膚在術後容易形成明 顯的疤痕，這方面駱醫師有特殊的心得和經驗能解決。 除了整形項目之外，駱瑋凱還擅長注射、雷射、緊膚等 非手術類的業務，以及皮膚癌和乳腺癌的術後重塑。 駱瑋凱的父親曾對他說：「 志向要遠大，腳步要踏 實。」駱瑋凱牢記這句話，每天都踏踏實實地完成工作， 對每一位客戶都盡心盡力地負責。他喜歡傾聽客戶的想 法，及時溝通。他最開心的時刻就是看到客人對整形手 術的結果心滿意足。 繁忙的工作之餘，精力充沛的駱瑋凱依然保持了很 多業餘愛好。籃球、羽毛球、桌球、單車，陪伴他度過 周末的休閒時光，以補充體能和良好的精神狀態，面對 新的挑戰。
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體驗朝鮮王朝的寫意生活
韓國頂級御廚李善圭親自主理
真正原汁原味的韓國宮廷料理
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珍羞異饌 王室品味 missKOREA 精心研製 色味非凡
文 王曉蓮│圖 張學慧
誘人神仙爐 「 神仙爐 」是一煙囪式的銅火鍋，是韓國高級宮廷料理之
一國之君的膳食，是嚴選自全國各地進貢而來的特
一。鍋爐正中可放入炭火，一旁則放進牛肉與各種蔬菜 進行烹煮。因能於一鍋盡嘗美味，因此又有「 悅口子湯」
產，無疑都是最頂級的，或是富含當令新鮮香氣的優
之美名。missKOREA的這道「 神仙爐 」，食材多樣，包
質食材，以代代相傳的料理技術精製而成。韓國宮廷
含牛肉片、魚片、明蝦、魷魚、豬肉丸、板栗、甜椒、銀
御膳自「李氏王朝」時代奠定根基，料理依據五行配
杏、胡蘿蔔、蘑菇、西葫蘆等。既有山珍，又有海味，佳
置，講究白、青、黃、黑、赤五色，以及鹹、甜、
餚匯聚一處，讓人頓生帝王嘗遍人間百味的至尊愉悅。
酸、辣、苦五味以求色味均衡。東方 「醫食同源」的概 念是烹飪菜餚的最高準則，從食材、烹調到上菜，每 一道料理都講究對人體有益。
大紐約品味「 王的御膳 」
7天24小時營業 地址：10 W 32ND ST, NEW YORK, NY 10001 電話：212-594-4963 網址：www.misskoreabbq.com
位於曼哈頓的missKOREA餐廳，特別聘請被譽為「 韓國 膳食專家 」的李善圭女士擔任主廚，為大紐約民眾帶來 了難得一見的韓國宮廷料理。作為韓國頂級傳統宴食院 家禮院（Ga Rye Won）創辦人的李女士，將她近40 年 的烹飪經驗和對美食的熱忱都融進了她研製的美味之中。 瓷器醃牛排 韓式烤肉一直是大紐約的人氣餐，用特製瓷器醃製牛排 是missKOREA的一大特色。醬油、梨汁、糖等美味調 料醃製的上等牛排放在特製的瓷罐裡醃製48 小時，醬 料充分入味，肉質變得軟嫩，口感香醇濃郁，甜味也深浸 於排骨內。 黑豬五花肉 有 韓 國「 夏 威 夷 」之稱 的濟 州島 特產 黑豬。黑豬肉比 一 般 豬 肉 油 脂 少， 肉 質 有 彈 性， 營 養 價 值 也 較 高。
ADVERTORIAL
missKOREA的香辣黑豬肉和五花肉不經過醃製，保留 黑豬肉原味。肥而不膩的豬五花厚度適中，在親切的服 務員煎烤時香氣四溢，這時候要在生菜包上泡菜和大蒜 等配料，與豬肉搭配一併入口，帶來絕妙風味！ │93
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長島「春之丘」坐擁臨水絕景 凡爾賽式優雅豪邸 K I N G S P O I N T, N E W Y O R K
SD #7 | MLS# 3135842 | $35,000,000
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座落於長島大頸區的「春之丘」 （Spring Knoll） ，有件大師級的傑出建
和柱頭皆為手工雕刻。挑高的天花板上綴以金箔繪製的樹葉圖案，高貴
隱於聲望顯赫的「Kings Point」富人村莊中。該豪邸佔地�英畝，建於風
凡爾賽宮以及其他法國城堡的古董模具訂製而成，從大型裝潢以至細節
築，完美結合了凡爾賽宮的奢華與現代高品質生活格調。這幢美麗建築 景如畫的幽靜水岸旁，岸邊修整完好，並帶有私人深水泊船位。
當氣派的鍛造大門開啟的那一刻，便能感受遍藏宅院各處的精湛工藝。
前廳的地磚由意大利佛羅倫薩馬賽克鋪成，一旁大氣的石灰岩柱的柱基
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優雅。媲美歌劇院等級的聲學設計以及與天花板等高的落地窗，皆比照 裝飾，無不透出高雅與經典。
若您對此房產感興趣，請聯繫我們，我們將親自替您安排私人導覽。
Jason Friedman
Sarah (Rudi) Friedman
Real Estate Salesperson Global Real Estate Advisor Gold Circle of Excellence
Real Estate Salesperson Global Real Estate Advisor Gold Circle of Excellence
516.466.4036, c.516.236.6226
516.466.4036, c.516.643.0630
jasonfriedman@danielgale.com thefriedmanteam.com
sarahfriedman@danielgale.com thefriedmanteam.com
2019/7/5 上午10:46
ELITE EVENTS
William Barthman Housewarming Party to Celebrate New Location 紐約百年名錶珠寶店 慶賀喬遷新址 Text by Xiaofei Wang Photography by Devon Golde
Top left: Guests at the housewarming party celebrating the opening of William Barthman’s new location at 20 Broad Street, Manhattan, New York. Bottom left: DeCeglie from William Barthman (left) and Lauren McCarthy from Hearts on Fire (right). Top: Steven Natkin (left) and Jerry Natkin (right), the owners of William Barthman.
William Barthman has been a respected retailer of fine watches and jewelry in the Financial District since 1884. On June 19, it co-hosted a housewarming party with global diamond jewelry brand Hearts on Fire and Sophisticated Weddings Magazine to celebrate its new location at 20 Broad Street. Jerry Natkin, one of William Barthman’s owners, is very satisfied with the new location. It is located right next to the New York Stock Exchange, making it very convenient for both Wall Street bankers and travelers to visit.
6月19日，紐約著名的老字號名錶珠寶店「 威廉．巴瑟曼 」 （William Barthman）聯袂鑽石珠寶品牌Hearts on Fire 以及《婚禮》雜誌，在其華爾街新店舉辦了派對、慶祝喬遷 之喜。 這家品味時尚的珠寶店創立於 1884 年，是一家見證 美國和紐約歷史的百年老店。一直以來，它都是紐約曼哈 頓下城的著名地標之一。隨著發展擴容需求，「 威廉．巴瑟 曼 」現搬遷至下城金融區 Broad 街 20 號，毗鄰紐約股票 交易所。 店主 Jerry Natkin 對新址十分滿意。它一方面方便華 爾街的投資銀行家們光顧，同時對遊客而言也十分便利。
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Bridging
East &West
兼容東西，發現美好
《時尚精英》是中英雙語的高端生活風格雜誌，致力於發掘根植於東西方文明的傳統價值、智慧與漫布其中的美。 在您追求美好人生的路上，盼《時尚精英》能成為您獲得啟發和激勵的好夥伴。
Elite Lifestyle Magazine is a leading luxury magazine, published in Chinese and English. At Elite, we celebrate the beauty, wisdom, and values of Eastern and Western traditions. We seek to uplift and inspire our readers in their pursuit of a life of fulfillment. 訂閱者資料 Subscriber Info
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