E L I TE
A Resurgence of Art Dodo Jin Ming Ken Browar & Deborah Ory NOVEMBER-DECEMBER 2017
Timeless ISSUE 29
ELEGANCE
November-December 2017 $6.99
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6
由歐洲著名設計大師 l 打造
Editor’s Note 隨
Peter Ma y
10
Gold Rush and Color Burst
16
Holiday Beauty Gift Guide
冬 美
22
A Coat Story
24
Party Time
26
Timeless Elegance
大 造 「 不過
34
的
」
大
A Resurgence of Art 藝術的
歷史最悠久, 血統最純正的德國鋼琴
42
Photographer Dodo Jin Ming 回到埃及
52
Ken Browar & Deborah Ory
60
The Rich Heritage of Moreau-Paris
者的光影 年
64
If Dessert Were a Song 的
通過德國聯邦鋼琴協會BVK, 德國最高鋼琴品質認證
70
A Home Born of Memories
76
Cozy Up in Your Home
的 造冬
82
A Big Little Nest in France
86
Le Dessert Bar: A Taste of Art
的大世界 藝術 88
Sulwhasoo Party at Bloomingdale s 和 《
精
》
美
對
COVER
歡迎來我們的展廳參觀, 私人預約請聯系：
Northwest Pianos
4 (425)241-8835 13310 Bel-Red Road, Ste 100, Bellevue, WA 98005 www.northwestpianos.com Mon - Sat 10-6 Sun 12-5
Stylist: Many Ngom Photographer: Daniel Ulrich / OURSTUDIO Makeup and Hair: Kevin Cheah Model: Teresa Yolanda Cheung Location: Baccarat Hotel & Residences New York Gown: Monique Lhuillier Earrings: DSF Antique Jewelry
EDITOR’S NOTE
A Future Guided by the Past Traditional value systems, inherited across many generations, have dissipated into smoke and ash, supplanted by a new utilitarian creed. In the world of art today, traditional art forms have been cast aside to the periphery, and it becomes ever more difficult to answer the question “what is art?” The rapid development of science and technology shrouds the future in dazzling potential, but a spiritual deficiency seems to linger behind this semblance of prosperity.
世代 承 襲 的 價 值 觀，在質疑中灰 飛 煙 滅，功 利 主義 越 來 越 被 奉 為 信 條。 現代 藝 術風 潮 中， 定 義「 什 麼 是 藝 術 」愈來愈難，「 正常 」的藝術從主流成為邊緣。隨著 科技不斷高速發展，未來似乎豐富絢爛，未來也似乎匱 乏至極。 然而，在 繁 華 的 大 都會紐 約，有一 群 才 華 橫 溢 的 藝 術 家 卻 轉 過 身來， 把目光 投 向了「 過 去 」。 他 們 技 藝 高 超， 畫 工 精 湛。 在 這個 混 亂 的 世界 中， 他 們 沿 襲 寫 實 繪畫傳統，追尋藝術的「 出塵之美 」，他們的工作室內
In the bustling metropolis of New York City, however, a group of talented artists have chosen to turn their gaze toward the past. Their skill is transcendent, their art exquisite. In this turbulent world, they persist in the tradition of realistic painting, a wellspring of vibrant beauty. Tranquility permeates their studios.
有一種寧靜。
Safeguarding and embracing tradition in today’s society requires courage, rationality, and unwavering devotion. These realism artists may appear solitary on their path, but in their art, they offer clairvoyant insight.
當代攝影藝術家金旻說，藝術家有社會責任。其實，每
在現代社會，「 守望過去，擁抱傳統 」，需要勇氣、需要 理性、需要付出努力。這群寫實繪畫藝術家，或許稍顯 孤獨，但仍有許多「 慧眼 」，珍 惜他們的努力，搶購和 收藏他們的畫作。
個人都有社會責任，都是未來的塑造者。 面 對 未 來， 是 在 混 沌中 前 行， 還 是 在 歷 史 的 厚重 中 守 望？金旻選擇了守望過去。她來到古文明的發源地─ ─
According to photographer Dodo Jin Ming, artists have a responsibility toward society. Indeed, all of us have a duty—we are each a sculptor of the future. As we face the future, we can choose between aimlessly pressing forward or standing rooted in tradition. Dodo has chosen the latter. On her visit to Egypt, one of the birthplaces of ancient civilization, she immersed herself in light and shadow, recording history and culture within her images. Her reverence for the past imbues her photography series Back to Egypt with solemn serenity. In the wisdom of the ancients, one can find insight into the future. With the coming of winter, we invite you to join us on this endeavor—preserving memory and imparting tradition.
6
埃及，感受埃及的光和影，成為歷史和文化的紀錄者。 這種對歷史的尊重，讓她的攝影集 《回到埃及》充滿肅穆 的力量。 「 鑑 往 知 來 」，保 存 記 憶，傳承傳 統。 2017丁 酉 雞 年， 立冬，與您共勉。
PUBLISHER Ellen Wang EDITOR IN CHIEF Jennifer Zhang EDITORIAL ADVISORY BOARD CHAIR Dana Cheng, Ph.D. SALES DIRECTOR Jo Yang EVENT AND MARKETING DIRECTOR Lei Xi ART DIRECTOR Ruibo Kang PRODUCTION DIRECTOR Chen Fu Address 229 W 28th Street, 6FL, New York, NY 10001
SENIOR DESIGNERS Ingrid Longauerova, Justin Morgan, Hsinyu Lo
Phone 646-862-9930
DESIGNERS Tan Zhao, Rachel Lu, Tz-si Chen
Email editor@elite-magazine.com advertising@elite-magazine.com subscription@elite-magazine.com www.elite-magazine.com
SPECIAL PHOTOGRAPHERS Daniel Ulrich, Samira Bouaou, Xuehui Zhang
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8
CORRESPONDENTS Irene Luo, Pia Norris, Yi-Chun Lin, Qingyin Zhang, Xinyu Luo, Janet Ma, Ying Ha TRANSLATOR Yi Ming COPY EDITORS Connie Phillips, Huixuan Yang PHOTO RETOUCHER Randi Xu FASHION EDITOR Many Ngom BEAUTY EDITOR Pia-Maria Norris PEOPLE EDITOR Qiu Li ART&CULTURE EDITOR Dana Cheng, Ph.D. BUSINESS EDITOR Hong Wang HOME EDITOR Xinyu Lo FOOD & DINING EDITOR Xiaolian Wang
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Gold Rush Gold and white are effortlessly woven together for a lavish and luxurious combination. / 金與白的結合，輕易地交織出雍容的貴氣。
By Many Ngom
1
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Color Burst With a refreshing and playful mix of colors, these editor’s favorites will brighten your mood during the holiday season. / 充滿著 您在
來的
感與
轉
，
選的
然一 ，
2
3
1
6
5
4
7
1 WIDE LAPEL FUR COAT, ALBERTA FERRETTI, $4,990, FARFETCH.COM | 2 LISMORE POPS HOT PINK TOASTING PAIR OF FLUTES, WATERFORD, $195, WATERFORD.COM | 3 VERDE FERN DROP EARRINGS, PAUL MORELLI, $90,000, MODAOPERANDI.COM | 4 MAÎTRE DE LA FORÊT SCARF, HERMÈS, $395, HERMES.COM | 5 FAIRY TALE VASE, MOSER, $6,980, MOSERUSA.COM | 6 LARGE ELINA MATTE CLUTCH, JEFFREY LEVINSON, $1,450, MODAOPERANDI.COM | 7 WILD FLOWER SANDALS 105, AQUAZZURA, $850, AQUAZZURA.COM
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(Left) Christopher Guy Dining Set.
(Right) Bernhardt Chair.
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家風 們的
是個人 要任
的
是為您
現。在
室內
造
有您個人
家
。從
，
力與氣質的
。 擁有超過 人 造， 的
造出
美獨
們
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(Top) Wood Mode Kitchen. (Left) Theodore Alexander Sofa. (Right) Brizo Bath.
H
OLIDAY BEAUTY GIFT GUIDE By Pia-Maria Norris
1
1. The Ultimate Skin Care Gift
頂級護膚套裝
LA PRAIRIE - PLATINUM LUXURY HOLIDAY Superbly luxurious anti-aging skin care for the most discerning woman (and man). The set includes Platinum Rare Cellular Eye Cream (20 ml), Cream (30 ml), Serum (30 ml), and Eye Essence (15 ml). ($1,875, laprairie.com)
16│
2
3
2. Power Trio for the Skin
3. Anti-Aging Delights
DR. SEBAGH - GOLD BOX
NATURA BISSÉ
A super boost for the skin. The set includes three Dr. Sebagh best-sell-
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ers: Supreme Day Cream, Night Secret, and Eye Serum. ($395, Barneys
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Diamond Ice Lift ($155), Diamond White Serum ($335), Diamond
強力護膚禮盒
回春抗老精品
Extreme ($355), Diamond Extreme Eye ($210), naturabisse.com)
│17
HOLIDAY BEAUTY GIFT GUIDE
4
4. Wrinkle Fighters
高效抗老 RÉVIVE
Wrinkle targeting problem solvers for face, eyes, and lips. (Renewal Cream ($195), Intensité Volumizing Lip Serum ($115), Intensité Line Erasing Serum ($600), Intensité Line Erasing Eye Serum ($350), Intensité Les Yeux ($225), BlueMercury.com, reviveskincare.com)
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5
5. Brightening Skin Care Treats 亮膚優物 EVE LOM Innovative skincare brighteners that correct pigmentation and boost luminosity for an even-toned and radiant skin. (Brightening Lotion ($75), Brightening Mask ($90 for set of 4 masks), Advanced Brightening Serum ($150), Brightening Cream ($110), SpaceNK.com, Sephora.com)
│19
HOLIDAY BEAUTY GIFT GUIDE
7
6
8
6. Happiness in a Bottle
7. For Him
LANCÔME - LA VIE EST BELLE L’ÉCLAT
CREED - VIKING
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exploration for the modern man. ($350–$495, creedboutique.com)
瓶中的幸福
8. For Him and Her
假日的香氣（ 男女均適用） CREED - WHITE FLOWERS Sophisticated, delicate, and simply amazing unisex fragrance in fresh floral notes. ($545 for 75 ml, creedboutique.com)
20│
雅士香氛
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10 9. Hair Savers
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color in sheer formulas for healthy, fresh and radiant skin. Available in
護髮精品
煥膚系列禮盒
light, medium, or deep. ($98, osmotics.com)
│21
Coat Check Traditional tartans once distinguished familial lineages. This Burberry trench coat honors the famous tartan weaving technique beautifully. Pair it with an A-Line dress and bright-colored accessories for a stylish retro vibe.
傳統的
是貴
織 ， 發
， 合
古的
高
的
，
的A
，
氣質。
BURBERRY READY-TO-WEAR FALL 2017
By Many Ngom
BURBERRY, TARTAN COTTON GABARDINE TRENCH COAT $2,395, BURBERRY.COM GABRIELA HEARST, BETTY DRESS, $1,350, GABRIELAHEARST.COM MULBERRY, SMALL ZIPPED BAYSWATER SHOULDER BAG, $1,550, MULBERRY.COM AQUAZZURA, QUANT ANKLE BOOT, $775, NET-A-PORTER.COM CHOPARD, 18K ROSE GOLD HAPPY HEARTS EARRINGS, $6,840, AND HAPPY DIAMONDS 32 MM QUARTZ WATCH, $9,160, CHOPARD.COM
22
Burberry
顯華貴。在中性氣質的
這 大
，
Winter Garden 的
與
是
Dolce & Gabbana 但質感
的
不
流行的
氣襲人的大 ，
， 者
是 不
。
合 的美感。
DOLCE & GABBANA READY-TO-WEAR FALL 2017
Marvelous florals and classic accessories create a timeless look. Pair this blooming Dolce & Gabbana coat with an intricate lace dress to create a style that will never wilt.
DOLCE & GABBANA FLORAL BOUQUET EMBROIDERED DOUBLE BREASTED COAT, $9,495, FARFETCH.COM DOLCE & GABBANA CORDONETTO LACE TUBE DRESS, $2,895, US.DOLCEGABBANA.COM STEFERE JASMINE RING, $8,250, MODAOPERANDI.COM ANABELA CHAN RUBY CORALBELL EARRINGS, $2,000, MODAOPERANDI.COM JUDITH LEIBER NEW ROSE MINAUDIERE, $4,995, JUDITHLEIBER.COM CHRISTIAN LOUBOUTIN DOUCE DU DESERT SATIN CREPE PUMPS, $895, US.CHRISTIANLOUBOUTIN.COM ELIE SAAB HEART BUCKLE BELT, $500, MODAOPERANDI.COM
23
From Midi... ，
這襲
的 質。大 人的
的 的
光
目的
，成 為 顯
了您內在的
，身被
美感。
ALTUZARRA READY-TO-WEAR FALL 2017
Be the swan of the party with this ultra-feminine velour dress. Sparkly beaded flowers reveal the girlie side of you. Pair with polished accessories and break the rules with a men’s-style blazer.
ALTUZARRA, LISABETTA EMBELLISHED EMBROIDERED VELVET DRESS, $4,995, ALTUZARRA.COM ALEXANDRE BIRMAN, THREE-BOW SANDALS, $586, FARFETCH.COM STELLA McCARTNEY, BRYCE COAT, $1,690, STELLAMCCARTNEY.COM EDIE PARKER, ROSE QUARTZ WOLF ACRYLIC CLUTCH, $1,495, EDIEPARKER.COM CHOPARD, 18K ROSE GOLD AMETHYST AND DIAMOND IMPERIALE 40 MM WATCH, $61,890, 18K ROSE GOLD BLACK ONYX HAPPY HEARTS EARCLIPS, $17,450, AND 18K ROSE GOLD BLACK ONYX HAPPY HEARTS RING, $7,280, CHOPARD.COM
24
，
對 氣
To Maxi! 不 與高
成為
會
人
的 ，
人的 力
？ 地
為這身高 的光
疑
為您
的是 目。
OSCAR DE LA RENTA READY-TO-WEAR FALL 2017
You want to be the belle of the ball? A f loor-length sequined dress will ensure a showstopping entrance. Enhance this look with fur and high-heel sandals for a nod to Hollywood glam.
REEM ACRA, SEQUINED TULLE GOWN, $6,995, NET-A-PORTER.COM POLOGEORGIS, NAOMI NAVY-DYED CHINCHILLA SCARF, $3,000, POLOGEORGIS.COM DELPOZO, PATENT BOW CLUTCH, $650, MODAOPERANDI.COM SAINT LAURENT, EDIE 110 LEAF SLINGBACK SANDALS, $995, FARFETCH.COM LARKSPUR & HAWK, JANE SMALL POST EARRINGS, $500, LARKSPURANDHAWK.COM ANABELA CHAN, ROSE PEONY BUTTERFLY 18K ROSE AND WHITE GOLD VERMEIL MULTI-STONE RING, $2,310, MODAOPERANDI.COM
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COAT BY POLOGEORGIS TOP & SKIRT BY ALICE + OLIVIA BY STACEY BENDET RING & EARRINGS BY DSF ANTIQUE JEWELRY
Timeless
Elegance
There are moments in her life when everything is magnificent around her. She glows with poise and sophistication. Carried away by instinct, she slips into an elegant celebration of beauty and grace— like a dream shining with infinite light. 不
不
，
風 美
典，
，
Style Editor: Many Ngom Makeup and Hair: Kevin Cheah Model: Teresa Yolanda Cheung Pomeranian Dog: Cocolino Photographer: Daniel Ulrich / OURSTUDIO Location: Baccarat Hotel & Residences New York
27
COAT BY AKRIS TURTLENECK & PANTS BY BOSS BOOTS BY FRATELLI ROSSETTI EARRINGS, NECKLACE & BROOCH BY DSF ANTIQUE JEWELRY
28
TURTLENECK, COAT & PANTS BY BOSS BROOCH & EARRINGS BY DSF ANTIQUE JEWELRY
TOP & SKIRT BY ALICE + OLIVIA BY STACEY BENDET RING, EARRINGS & BRACELET BY DSF ANTIQUE JEWELRY
DRESS BY DOLCE & GABBANA RING, EARRINGS & BANGLE BY DSF ANTIQUE JEWELRY
31
FLOUNCE & PUMP BY GUCCI RING, EARRINGS & BRACELET BY DSF ANTIQUE JEWELRY
GOWN BY MONIQUE LHUILLIER RING, EARRINGS & BRACELET BY DSF ANTIQUE JEWELRY
A
RESURGENCE of ART
Ateliers lead the art world toward exalting excellence in beauty English text by Milene Fernandez | Chinese text by Lin Zhang Photography by Samira Bouaou
Academic Director Jordan Sokol (L) of The Florence Academy of Art-U.S. in Jersey City, New Jersey.
T
here’s a group of artists who most of the general public has yet to know exist. These are highly skilled painters, sculptors, and draftsmen trained in ateliers or academies who are not embarrassed to utter the word “beautiful” at a time when that word is generally scorned by the contemporary art establishment. You’ll hardly ever see their works in major museums or at major galleries for longer than a short stint. Most of their works are whisked away by private collectors or are sitting in their studios, waiting to be discovered. These artists value quality over quantity, sincerity over cynicism, intrinsic value over marketing hype, and the Western tradition of fine art over the avant garde fixation on newness. In an ironic twist of history, these traditional artists are perhaps the most radical and marginalized group of artists living today. And yet their numbers are growing. Mostly awkward or humble when they try to describe their own work, they don’t fit into any radical stereotype. Suspicious of labels, they don’t know what to call themselves because they are too immersed in creating 36
在大都會紐約，有一群不為人知的藝術家，他們是技藝 高超的畫家、 的畫
家， 或
，卻
地說，是
塑 。然而，在 大
到他們的作 ， 藝術家 重質量 重內在價值
過前
地不斷
代，他們勇 這
過
過
量
寫實
、
的人
為他們
的作
。他們
」
然
藝的傳統 也
世
美術傳統 之
一
的
在 ，
邊緣化的藝術家
中。
，這與人們對「
。但是他們 尊重
重
對「 美 」不
藝術家被要
或
人收
過
說出這個 ，但藝術史的
邊。他們質疑這個「
被
重
作
傳統藝術家也許是當
，
或
著慧眼的發現。
。在藝術
群 。不過，這個群 當這
或大畫
其作
藏家搶購而去，或還在工作室 這
過工作室或
定承 要
」的 ，不知
藝術 然
，他們大多 不 麼
造， 藝術傳統，這種
這個
多年的
是當代的寫實畫藝術家。
Judith Kudlow, artist and director of NYK Academy at Willow Avenue Atelier in the Bronx, N.Y.
visual art to be able to think about words. They have decided to continue the Western tradition of art that has a reverence for mastery and skill and to learn the fundamentals of a visual language that developed over 700 years. “I was looking at Titian and Velázquez because I was letting myself get pulled along by my own desire for excellence, for mastery, which is naturally a human thing,” said Jacob Collins, during an interview at his studio. He’s the founder of the Grand Central Atelier in New York. This resurgence is happening now after more than 100 years of deskilling that led to the deterioration of visual art standards, which started when all of the “-isms” arose, such as modernism, postmodernism, and so forth. Artists today who paint representationally, or realistically, are then put in the awkward position of having to distinguish themselves from those whose works need written explanations for people to understand them. They shouldn’t have to call themselves anything other than perhaps simply artists. “In Florence, one did not call oneself an artist, but a painter; and when one earned the respect of others, … one was given the title ‘maestro.’ These things made us feel that painting was a noble profession, deeply rooted in craft, culture, and community,” wrote Daniel Graves, founder of The Florence Academy of Art.
年來，在美 不斷
家，傳統寫實藝術工作室的
、
畫和工作室
都
當受
量
也
。
當代的寫實藝術家 地
作的技
Juliette Aristides、Jon de Martin和Robert
現， Zeller的 行
地
作，
來
來
他們
力，
的
會這個世界，他們有 現世界，而不是任
地觀
感受，
隨
然，
美而
這個亂世的理 。從中，展現出
的
的
的
來
對
年都不
畫
的高
技 。 而這
藝術家不
他們的作 、
是
中
、
著
的尊
現。
及繪畫
，
力，讓人感到
目光，這種感
正
的。這種藝術不會讓人 ，其價值不需要
的
其中充滿著 的
的
的
明。他們抱
高超而 人
而
望從藝術中
亂，而是
精
為技
了一種
，感到
是人們
作出技藝 和尊重感，
來
高超的繪畫， 這一
是
代
他們會多麼邊緣化，他們選擇的繪畫 都
了 們的
代。
21 藝術
及當代藝術潮流的「 去技
來的藝術 許多高
作中「
成、
乎 、明
望
年 之 ，
有 現
到一
他們繪畫和
化 」，在
造極 」， 了一
的美術
術家仍然
BEYOND THE MATERIAL “Much of contemporary culture has become very exploitative. Our culture has almost become embarrassed by the idea of the sacred—not in a religious sense, but in the sense that something can be meaningful, that the experiences we represent in works of art can be meaningful in a real way,” said Jordan Sokol, the artist and director of The Florence Academy of Art-U.S. in Jersey City, New Jersey. These artists experience the world deeply. When they represent the world visually, instead of allowing random impulses to overtake them, they create consciously. They observe nature acutely, exercise their imaginations, and fine-tune their visual perceptions. They represent their way of understanding our chaotic world in the most beautiful and sincere way they can— with a level of skill that we have not seen in decades. You know you are looking at one of their pieces when you can’t take your eyes away from it. You are left feeling uplifted and awestruck. You are relieved and delighted because this feeling is what you expect to gain from art.
及其他
，有
和繪畫的 都被
明 ，
了。但仍
多藝
古代大
塑。
當前，寫實藝術繪畫
為著
的
有紐約中
畫室 Grand Central Atelier 、
美術
The Florence Academy of Art 、紐約
NYK
NYK Academy at Willow Avenue Atelier 「
在18
，
，
有人
。
正
的
信，會畫 畫 的人在1913年之
了，
要
畫畫，
了。
的說 。」紐約中
畫室的
Collins 說。
實
、
和
， 的
作。
，他在
The Art Students League of New
紐約藝術 York
到過這 Jacob
人
了 大
多
Tony Ryder 和
到了他的
Ted Seth Jacobs 。「 傳
和繪畫有
畫 ，這種 。他們
獨到之 。」 的
了 多，
著在
是
統，一條DNA 。」
The Florence Academy of Daniel Graves ，與
人
一 ，多年來一
說 「不
讓擁有共 價值觀的人感到
承了一種 美術
Art 的
和
在尋
明 。為了理 ，他 畫和
畫
，
37
This art is not a distraction, but deepens our appreciation for simply being alive. These artists are not only impressive because of their technical skill but because they are infused with a vitality that defies words. It’s the kind of art that does not need words to justify it. “Ideally, if the artist invented a world and inhabited it, then the person looking at the painting might be able to go into that world and feel something. If there was a reverie in its invention, then conceivably there would be a reverie in your appreciation of it,” Collins said. This is a radical approach to art today, expressing a yearning for beauty at a time when apparently anything—including extremely ugly things—can pass for contemporary art, once it is propped up and marketed as such. Just by the sheer fact that these artists are creating such highly skilled paintings with such rigor, infusing it with a sanctity and respect for life, says something about our time. No matter how marginalized they may be, what they choose to paint and how they paint it says something about our time. The increasing number of ateliers around the country and abroad, and the increasing number of technical books on drawing, painting, and studio practice being published in recent years (for example, by Juliette Aristides, Jon de Martin, and Robert Zeller), says something about our time.
但他與一群 傳統，
合的藝術家一 ，努力地發
其
合為
38
被
地讓 的繪畫 F
理
美
出一 的風
之 。
承，
回
， 為
到
Richard F. Lack ，
的 在美
William McGregor Paxton 受
畫家
受 ，
。
在
從1991年
Corsini 家
的科
個
的
了
Beaux Arts Academy 傳統的技
術
畫畫。現在
美術
、
共有 個
，
40個
和美 ，約 有 來
家 的200
。 在
美術
的
、紐 約中
畫 室、
The Angel Academy
美術
畫 室 Atelier Canova
利
現 之 前， 美
大
的
，讓這 著
一
之
，畫室
而高 ，
然，這
，
。
在紐約
NYK Academy at
的 畫 室NYK
，
室或
有 「 畫室 」
技藝高超的寫實藝術家們在
Willow Avenue Atelier 。 世紀
大
National
Judith Kudlow 主
和
寫實畫室
家
Academy of Design 和藝術
選 會
從中
大
，
、
工作
。 的作畫
這
作畫
畫室正中 。「 當
，每個人都
，
們
眼
、
價 、
作畫，他們也
多
工作室不
畫
在 到
到
在
的
，與畫
「發
」 。 了在
畫，
及
和
。
對藝術家在
成為藝術家，也 收
之 ，
是為了
Jacob Collins
隨
Tony Curanaj
傳統
Suggested Donation 中， 是
到
說來，越是
88 他
的年輕藝術家們 對 藝術
藝術家，當年
統
一個
技 越難
的 。
Burton Silverman
說，
的繪畫
。
到工作室了。 的寫實藝術家們來說，
Art Renewal Center， 來源。ARC是一個 利性
」
到
古代大 容易
受工作室 中
是重要的
、
的
華
「
有藝術家
正
過在美術
畫的 和
Edward Minoff ， 在 他 們 的
的
他們成為繪 保古
。
藝術家
的？一
在
什麼。」她說。
到她為展
畫作
作過 中 常會面
21ST-CENTURY ATELIERS Certain people have always felt the need to visually represent what they see realistically. This has remained true, since even before the Lascaux cave paintings were made 17,000 years ago. Despite the deskilling in art education and the contemporary art trends exalted by the art establishment in recent decades, some artists have longed to find someone who could teach them how to draw, paint, and sculpt as rigorously as the old masters did. Apart from some illustration schools, many fine art schools in colleges barely teach the fundamentals of drawing and painting—neglecting composition, perspective, rendering of lights and darks, and so forth. “When I was 18, as far as I knew there wasn’t anywhere I could go where anyone could teach me what I really wanted to learn. So I had accepted a pretty widespread myth, which was that anyone who knew
。他們還
力
織，2000年 成 立
ARC
也
藝術高 了14家
how to do this had evaporated at the same moment right after 1913, and that anyone who wanted to learn how to do it again was going to have to teach themselves. I had heard that a lot,” Collins said. Collins did spend a long time teaching himself, copying drawings by the greats, like Leonardo da Vinci, Michelangelo, and Rembrandt. Eventually, he found two of his main teachers, Tony Ryder and Ted Seth Jacobs, who taught at The Art Students League of New York. “There was a specific something that Ted and Tony were talking about in drawing and painting in a certain way. More than a method, it really became a lifeline in the sense of connecting with other people who were sharing those values,” Collins said. He had connected with a lineage, like a DNA chain. “I started to find a couple of people and then even more people. Then in one way and another it led to the world that I’m in now, where I’m surrounded by a lot of different friends and fellow artists and peers and students who are in the process of constituting an alternative art scene. It’s very small. It doesn’t have a lot of patronage, and it doesn’t have a lot of press, but it is something,” Collins said. In parallel, in a somewhat similar fashion but on a larger scale, the founder of The Florence Academy of Art, Daniel Graves, went for many years searching for teachers, making many sacrifices, and scratching a living out of selling his etchings and paintings in Florence, Italy. Along with like-minded artists, he worked hard uncovering and piecing together a neglected tradition. They also created an ever-evolving curriculum rooted in the academic Beaux Arts Academy, but with a flexibility that gives students the freedom to find their own stylistic path. Graves started teaching a handful of students in the gardens of the Corsini family estate in 1991 in Florence. Now The Florence Academy of Art has three campuses (in Florence, Sweden, and the United States) with about 200 students from 40 countries. Before ateliers like The Florence Academy, Grand Central Atelier, The Angel Academy, Atelier Canova, and all of the others that mushroomed mostly in the United States and Europe, places like the National Academy of Design and The Art Students League had always provided an avenue for representational artists, including highly skilled artists, to teach a wide variety of styles in an atelier-type setting. “I went to a pretty good school, they taught some drawing. It wasn’t completely lacking, but it certainly 40
wasn’t to the degree that The Florence Academy teaches,” said Judith Kudlow, an artist who runs the N YK Academy at Willow Avenue Atelier in the Bronx, New York. She studied with prominent teachers at most of the major art schools in the city, including The Art Students League of New York, the National Academy of Design, and the New York Academy of Art. “Jacob Collins was the first teacher who taught me a step-by-step procedure. It was mind-blowing. I thought: ‘Why didn’t we have this before? Every other discipline has a procedure,’” Kudlow said. “Jacob Collins and Daniel Graves are like the founding fathers [of the atelier resurgence]. More than anyone else I can think about, I would give those two most of the credit because they did the work.” Kudlow explained the simplicity of how the ateliers worked so effectively, which started as far back as the Middle Ages. A student would either select or be selected by a teacher, a maestro. It is like an apprenticeship in which the student would assist the teacher, for example, mixing paint, cleaning the studio, or running errands, and so on. STAYING TRUE Ateliers also commonly train their students not only to become artists but also to teach—not only to supplement income, but also to ensure the tradition will continue. Two artists who studied with Collins, Tony Curanaj and Edward Minoff, ask all their guest artists a standard question in their podcast “Suggested Donation” that goes something like: How did you find a teacher with whom you could really connect, and who could really teach you skills? The story repeats itself, with variations to a similar theme. Generally, the older the artist, the harder it was for them to find a teacher. For example, Burton Silverman, 88, said he essentially had to teach himself by studying old master paintings in museums. Younger artists today have a relatively easier journey to finding an atelier. The Art Renewal Center (ARC), an umbrella nonprofit organization dedicated to promoting standards of excellence in the visual arts, has also been a great resource for representational artists seeking atelier training. When it was founded in 2000, ARC had approved 14 ateliers, which has risen to 70 today, with 40 more waiting approval. There’s a general concern that while there are more highly skilled artists around now than, say, about 10
ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES
years ago, there are fewer galleries representing them and not much press writing about them. Another concern is that the public is unaware of this art or lacks the sense of fine connoisseurship needed to demand high-quality work. Collins places responsibility mostly on artists themselves. “I don’t think there are enough artists doing this art really well, including myself; I’m not doing it well enough. I will do what I think is my best. “Everybody will keep on trying, but there has to be a nexus between artists who want to do something real and a large culture that wants something real,” he said, “and until that patronage makes that bridge, it’s artists kind of just entertaining themselves selling a picture here and there. We are not going to get something marvelous until there is an expression of demand, and that’s what patronage does.” “We talk about it and ask ourselves how far would we go, how close to that edge, and none of us comes up with any real answers. But if you just listen to the conversation, you hear a group of people who are making sacrifices to do something beautiful, and they don’t want to turn it into something ugly,” said Kudlow, speaking for a group of artists who exalt the beauty in this seemingly chaotic world.
Amaya Gurpide draws in her studio at The Florence Academy of Art–U.S. branch. (Previous page) Untitled, 2015, by Will St. John. Oil on canvas, 14 inches by 17 inches. (Courtesy of Will St. John)
工 作 室， 其
有70家
， 還 有40家 在
。 然而，畫家也
往
，
說10年前
，有
的
然現在技
多了，但
也
有 。
高超的藝術家 代理他們的畫
一個
是，
種藝術， 乏精 的鑑 眼光，也難 為責任主要還在藝術家 的 古 寫實 藝術家還不 會 要
。「
正精
多，
努力，但是在
的社會文化之 ，
他說，「 在有藝術 ， 之前，
這
高質量的 作。 也還不
的。」
「 每個人都會 家和
卻
不了
們
難
人
這
一 、 到
出
的藝術 立一種
一 。在有需
的作 ，這正是藝術
的 。」這群藝術家，正在這個
，」
之前，藝術家們 出來 人要
似混亂的世界中追尋著
出塵之美。
41
� The Incomplete Hour
Morning Color
42
BACK TO EGYPT 及 English text by Irene Luo | Chinese text by Nicole Hao Photography by Dodo Jin Ming
需要一個主 一
年
去
一
選了埃及。
埃及是一個不 的
的地 ，在
性與人性
這
，
的
著， 發一種
地
是存在，
是不存在。
這種現
合了 對
的
望。
的
，
的
是 到了一個 然而，回到 似
，發現了一 在當
人的
， 了
而
一
的影 ，卻展現了 多的
是 需要讓
有的
的記憶
的 把影
重
之
到的，
合， 的
一 ， 的
，
的
把
的主
在記憶中 常常
到
的現實，
正的影 是不 選擇
性，
回到埃及。
立之中， 到了 影
力，
錄
的影
在
量。
了，
中卻
每一
的
。
在
為
，
了。
發現的， 眼
還是
眼 。
金旻
43
City Karanis
44
Pyramids I
45
46
Fayoum Tree
Elemental Signs
47
The Distant Eye
Soliloquy
48
To begin my work, I need a theme. In 1995, I found Egypt. Egypt is a place beyond the imagination. Behind the veil of the desert, gods and human beings pass into one another, producing a marvelous energy. Such a place just exists and then again, it seems not to exist. It is more or less like a mirror of my desire. In this mood, I take pictures almost with a clean slate. My original preoccupations fade away. I have found an opening. But after returning, many of the sights that felt so alluring at the moment that I shot them, lose, in the negatives, their original fascination. Whereas some other pictures, taken without clear intention, now hold out more possibilities. I need to draw on memory to go back to Egypt again. I never think of my photographs as a direct transcript of what I saw. This allows me to take my images in hand and organize them in a new way. I treat each image like a musical note which finds its proper position in the relationships it establishes with other images. But it is still the distance that opens up between images that enables the theme of my work to be taken farther. As for memory, I feel it is always in touch with another order of reality. The true image cannot be found whether I choose to look or to close my eyes. By Dodo Jin Ming
Dodo Jin Ming. Photography by Ulirich Tillman.
49
Behind My Eyes
ABOUT DODO JIN MING “I want the dense fog of morning, the bright light of
金旻是美
midday, the heavy snow of nighttime, and a path that
實、不
cannot be seen,” Dodo Jin Ming said to her friend, the
的
world-renowned photographer Robert Frank, when he
大
asked her what she sought in life. “To a lot of people, I’m a strange person,” Dodo admits. As a photographer, she is recognized for her
從
金旻 尋
到「
，
也是在
的感 ，藝術的 她
在「 大
，
其
Born in Beijing, Dodo grew up in a family of prominent
中
Chinese artists and musicians. In her youth, she watched
家是有
的
、
的 著
有 人
，「 讓
中
到
是在
尋
為
質
的
中有一種 一一
作」，一個
然的
大
，
作的回 。作為藝術
成為一個 也是
顯 現在 眼前， 一
、
藝術
和責任的， ，從
人，才
成為
化 身的過 。
守
正的
麼
。
從
...... 成為
的
。」 正是這種對藝術的精
精，和 對 古
，金旻的攝影作 ，似 的 一
越 一 的
50
大
到
expressed her emotions. “Music was my home,” she said. in 1982, but after a few years, she chose to leave upon
力但
了風 。「2011年
作的過
pher, but as a musician—a violinist. Through music, she She joined the Hong Kong Philharmonic Orchestra
常有
尋
的藝術家。
lifetime of sorrow,” Dodo said. Dodo began her artistic journey not as a photogra-
著
不在前面，而是在身
年文化
內
her since her youth—cloaked Dodo’s worldview in bleak-
大
，
《回到埃及》 ，
們的古 文化。」
ness. “Since birth, my life seemed to carry lifetime after
被
有
攝 、 、 、 ，不
native reality.
porting intellectual freedom. Such circumstances—com-
，卻
William Pedersen
......1995年在
many of her family members suffer years of brutal per-
的
過的 然 」。
liness and a vision of the world seen as if from an alter-
bined with the chronic fevers and ill health that plagued
到
來，她的作
的美 。」
MUSICAL SOLACE
攝影 ，她 的作
人眼
.
time, she remains an enigma—exuding an otherworld-
secution under the Chinese Communist Party for sup-
的華
有
力，讓 人一 眼 「在
powerful and captivating photographs, from stormy seascapes to alluring images of Egypt. But at the same
紐 約知
大 氣，
，還有 的交
回到埃及，金旻 ，
著
的
多
的
， 一種 的
文化 的 ，
有源
。她的作 ，
精
然， 然 的
。
華。
，在人與
Free Element
realizing that music—a profoundly intimate form of
a Mozart piece. She described a sensation of spinning, and
self-expression—had become merely a job.
as her room rotated around her, one door after another
Instead of playing for an audience, what Dodo loved most
seemed to open. “Within the music, I found a starting
was private expression. She would enter a practice room,
point,” she said. “A lot of times, we have to find this point,
close the lights, and within the embrace of darkness, her mu-
but to find it, we have to make our hearts empty.”
sic became a tender conversation with herself. As she ended her career in music, Dodo found she could
“To me, this project on Egypt is like music. Each image is like a musical note,” Dodo said.
channel her emotions into a new medium—photography. LOOKING TO THE PAST BECOMING EMPTY
Even though Dodo had never before been to Egypt, she
Dodo’s first work as a photographer was a series on sun-
titled the collection Back to Egypt. For Dodo, her visit
flowers, which she chanced during her travels in a rural
to Egypt seemed to transport her to a more ancient
area of France. “Most people, when they create works
world, one that resonated deeply with her.
with sunflowers, they’re always welcoming the sunlight.
“I think artistic prospects do not lie in the future but,
But in my work, the sunflowers are in the darkness of
instead, can be found in the past,” she said. Dodo now
night. Amidst this vast earth and surrounded by dark-
looks to the ancients for artistic inspiration, searching
ness, they must rely on their inner light to not topple
from one Chinese dynasty to another.
over,” Dodo said.
In the classical arts, one finds a spirit and resolve in
“My work with sunflowers reflected how I felt about
not only the grand but also the minuscule, in carvings
life,” Dodo explained. Although her sunflower series was
the size of a fingernail. “Even in something tiny, there
filled with intention, she decided to approach her next
lies a grand worldview,” Dodo said.
project—an invitation by the Egyptian government to photograph the sights of Egypt—with an empty mind.
Years after Robert Frank first asked her what she sought in life, Dodo says she has found the path she had been seek-
“I did not bring any notions,” she said. “I simply felt it
ing. “It is the path of cultivation,” she says. A few years ago,
directly.” As she traveled in Egypt, her immediate im-
she took up the ancient Chinese spiritual discipline of Falun
pression was simply “light and shadow,” she said.
Dafa. Its worldview and moral philosophy—rooted in the
After returning home, she arranged the numerous
universal principles of truthfulness, compassion, and toler-
photographs she had taken atop her piano and pondered
ance—gave her clarity and inner purity. Whereas her older
for a long time how to approach the project. One day, in-
works, like the Sunflower series, were rooted in sorrow, she
spiration came to her suddenly while she was listening to
now explores a transcendent tranquility.
51
捕捉舞者的光影
THE ART of MOVEMENT Celebrating Timeless Beauty Through Creative Collaboration English text by Catherine Yang | Chinese text by Janet Ma Photography by Ken Browar, Deborah Ory and Samira Bouaou
W
hat does it take to capture the split-second moment in a dancer’s performance that sums up the beauty of the dance and allows the dancer’s personality to shine through? Four to five hours of photography, a lifetime of passion for dance, and two skilled and supportive photographers who want to show only the very best. The Art of Movement, by Ken Browar and Deborah Ory, is an art book that pays tribute to a lifetime of passion. Over 70 world-class dancers are captured— whether in midair, taking a breath, or holding a simple pose—in beautiful, frozen moments that exude life and personality. Between the stunning images, we get glimpses into these dancers’ lives: quotes about how they started dancing, their challenges and successes, surprising moments in their careers, and what dance means to them. What started as a decorating project turned into an incredible documentation of some of the best dancers of our time. The book that resulted showcases not only the expressive power of these dancers but also the creative collaboration that went into capturing it. “There’s not a lot of money in dance, and people really are doing it because they love it. No one becomes a professional dancer for anything but passion,” said Deborah Ory, who has long had a passion for dance. Ory studied ballet until her teens and later the Martha Graham technique, before turning to photography in order to stay connected to dance after an injury prevented her from dancing.
「 如果大學時的那次意外沒有發生，你沒有受傷，那麼， 現在的你在做什麼？是繼續跳舞，還是選擇攝影？」我們 這樣問Deborah。 「 我相信任何事情都有它發生的原因。受傷後，我有 機會探索很多其他藝術種類。最終，攝影將我帶回了舞 蹈。即使不是一名舞者，我仍然十分高興是這個領域裡 的一員。」 Deborah Ory和Ken Browar，是NYC dance project 的創始人。這間工作室以舞蹈攝影為主，迄今為止，已與近 百位當代最優秀的舞蹈家合作。在灰白幕布背景上，如精靈 般的舞者靜止在光影的定格中，以完美的姿勢詮釋著舞蹈 的極致。現今，這樣的作品並不多見。三年前，女兒的一個 願望，讓Deborah和Ken開始了這間工作室。 那 時， 正 在 學 習 舞 蹈 的 女 兒 想 用 一 張 芭 蕾 舞 蹈 家 的 照 片 裝 飾 她 的 臥 室， 但在 網 路上 搜 索了一 圈 之後， Deborah和Ken發現，在當今攝影界，當代舞蹈家的照 片幾乎難覓其跡。於是，他們決定自己實現這個願望。 通過Facebook，Deborah和Ken向一直鍾愛的美國 芭蕾舞劇院領舞Daniil Simkin發出了邀請，並很快收到 回覆，Simkin很高興與他們合作。 初 試 身 手， 女 兒 有 了 滿 意 的 裝 飾 畫， 而Deborah 和Ken的 拍 攝 卻 沒 有 到 此 停止。Simkin將 照 片上 傳 到 了自己 的 社 交 網 站， 立 即 受 到 粉 絲 追 捧。 熱 潮 蔓 延， Deborah和Ken收到了來自全世界的反饋和詢問，對這 樣從沒見過的作品，人們也表達了前所未有的好奇。 「 這些舞者好似漂浮在空氣裡，在飛翔，在空無一物 中平衡。」《華盛頓郵報》這樣寫道。舞蹈家似乎隨時會 掙脫束縛，從頁面上舞過。他們以輕鬆的姿態完成不可 思 議 的 動 作，技 術、力度、情感、優 雅，在Deborah和 Ken的捕捉中，達到一種奇妙的平衡。
│53
Both of her daughters dance as well. About three years ago, Sarah, Ory’s older daughter, wanted images of ballet dancers to decorate the walls of her room. As Ory and her husband, Ken Browar, started searching for images, they soon realized that the great dancers of today have rarely been photographed. All the images they found were of the previous generation. So the couple decided they would take on this project themselves, and reached out via Facebook to a dancer they’d long been fans of—American Ballet Theatre dancer Daniil Simkin. He responded that he’d love to do a shoot with Browar and Ory. One photoshoot turned into dozens, and the passion project—NYC Dance Project—became an ongoing endeavor to showcase the dancers of our time. The couple branched out to multiple companies and dance styles, with no specific intention aside from wanting to work with the very best. In the foreword of the book, Simkin wrote that “dance as an art form is bittersweet.” It lives for an instant on stage and then it is gone. That every show is unique is both a feature of its beauty and a loss. This book, he wrote, enables us “to remember these fleeting moments.”
一個、
個、
個......世界
的
一
的
了Deborah和Ken的
是出
在
世家的
者，有的是
。在Deborah和Ken的 的
54
者，一
傳統的
，每個人都有
獨
。 「
們選擇在工作室的
，」Deborah說，「 者
前
為
身，不被 作，
出
定
，但是當
到
、
到內在的
現，不
攝影
的
的一 不
是
了
的
、 現，」
展現
的內在。
者的
一
都
攝
。」
目的
人，有
的不
是
，他
，在
了一
和
有
。 「 他們
是 要
到的
都不一
及他們的著 ，
─ ─ 但Ken
的
，「
攝現 ，
前還是在
家，有
要
到─ ─每
家，「 他們從不
的一靜、一 ，
，
。」Deborah說。
，在
從
讓
大家一
會
及一 化
Ken說，作為
出
攝 ，他們會
常 不
讓人
有
Deborah、 Ken
們
，
術
或
望作
，然
，「
，有 ， 會 有
們
，」在
個 ，
攝，而不是
一
從
，光影定
到的這個人，他的內在，他
。」Ken說。
2016年，Deborah和Ken
他們 的攝影
成為《The Art of Movement》，
VISUAL COLLABORATION Browar, a renowned fashion and beauty photographer whose work has appeared in Vogue, Elle, and many European fashion magazines, has always been a visual person. His Greenpoint loft—where the living room doubles as a studio—is filled with art. He started collecting paintings early on, he said, but found that photographs spoke to him more. A single image can tell a story or convey an emotion, a point of view that speaks to you— that stuck with him. “Art needs to move you,” he said. Browar said he’d been handed a camera early in life and took to it immediately. Capturing images was a language that complemented him. At 19, he left for Paris. Before returning to the States, he was photographing glossy spreads with A-list celebrities and models for luxury brands. Photographing a dancer is totally different, he said. You are working with someone who is an artist and a performer; dancers are completely committed to demonstrating their craft to the best of their abilities. It becomes a complete collaboration between artist and artist. “They know how to perform, they’re not afraid to give you something,” Browar said. He begins by observing the dancers—how they hold themselves, how they move,
一流
。他們中，有的
美
中
藝術
的
家，每一
說他們的
的
多
來
、Martha Graham
、紐約 ，
集出 ，
了
攝
主
、
人
都
有一
歷，或是，
中
的
美
。
「 擁有
這種
過
作
的 ，」Deborah說。在這 的身 ，有人
到了
。」「 而從未 一
的
過
，是一
中，「 有人 ，有人
到了 美
到了
的人，」Ken
感的共
充 ， 「 也許在
了她。」 「出
會讓人
作
，」Deborah
集正在
，現在，他們的
之中。
攝影集 ，Daniil Simkin在他 ，
了這
的每個
的文
都不
在
是
Deborah 在為
美 ，
的
攝影，
為，
的
行 世 界，
與
的
，Deborah
到了
。 著
個
發
然選擇了攝影，在這 ，她 的
從前的 ，她
轉
為什麼 未
一種
的
力的
的藝術，
。」
也許在一個 藝術
而富有
是流
。而攝影，卻
中。這
記 了
「
的
，一
，
著
她中斷了
回到了這 。
一個
轉尋 ，Deborah
然與
的
作。在
。然而轉了一 的
她的 守望。
how they’re dressed—gleaning information about their personalities before they step onto the set. The dancer warms up, and then starts by improvising a bit. Ory says she and Browar bring a couple of ideas and the dancer brings a few ideas as well, but they don’t go in with anything too preconceived. “The magic happens on set,” she said. “Every image is a little different,” Ory said. “I don’t think we know when we’re getting into it what we want to capture, but we know when we capture it. Sometimes it’s something that surprises us.” Browar has a lot he tries to do with the pictures. He tries to capture the artists and show them as celebrities. Sometimes the image tells a story, but that isn’t necessarily the idea behind it. “It’s not just the movement, but I want you to understand a little bit of the weaknesses and strengths within the subject we’re looking at,” Browar said. The dancer will try a couple of things, the photographers will make some suggestions, and together the artists are fine-tuning the performance until they get three or four shots that everyone is happy with. “They are as tough as we are on precision of what they want,” Browar said. “You are shooting lines, and in dance, it’s very precise. They’re very conscious of where the hand is, where the foot is. … It can be quite intense with dancers, in a good way.” It was also a process of learning to work together for Browar and Ory. “I didn’t understand that collaboration between certain photographers, when you see two names on a photo,” Browar said. “Being a photographer, you’re really by yourself,” he said. There may be assistants and others on set, but the work is usually really done by just one person. So they started out with two cameras, and eventually moved to just one camera, getting past working around each other to using each other’s strengths to their advantage and supporting each other. It became a pleasurable and special process, Browar said. BUILDING RELATIONSHIPS On set, it was often just Ory, Browar, the dancer, and maybe a hair and makeup artist. The duo started out with a costume stylist as well, but they quickly realized that trying on multiple outfits, some suited for dance and others not at all, was not what they wanted for the process. Ory soon took over all the costuming. Ory had previously worked in commercial photography, including portraits, lifestyle, and food, plus
58
she worked as a photo editor for magazines like House & Garden and Mirabella. She had done everything from hiring photographers to producing shoots, from communications to budgeting, and that became useful knowledge for this project. She would call up designers and ask to borrow clothing; dancewear companies sent pieces, and sometimes the dance companies could lend their costumes for the shoots as well. One time, they received a couture swan-inspired gown worth thousands of dollars from Denmark, stuffed in a FedEx box. It was for a shoot with ballerina Misty Copeland, incidentally capturing the historic event of when Copeland became the first African-American dancer promoted to principal dancer at the American Ballet Theatre and cast in the leading role for Swan Lake. They were not able to borrow the costume, so Ory did some research and found a woman in Denmark who made incredible feathered dresses. She sent her a message on Facebook, and the designer wrote back asking for her address. “She’s an amazing designer, and to this day, she’s still posting pictures of our book and our images, saying how much she admires our work, and it’s been this mutual admiration,” Ory said. “When we got married, she made my wedding dress, from a distance.” They eventually met in New York. Many relationships have been like this, Ory added. The most important part of the shoot is to capture the images that everyone is happy with. It is a labor of love for all of the artists involved, and the photographers want the dancers to be able to use these images for self-promotion as well. After the photo sessions, the photographers do a question-and-answer session with the dancers to capture their stories and background. Through the project, they become friends and supporters of each other’s work. When the project first began, Simkin posted the images on his social media accounts to the delight of his tens of thousands of followers. There was not much out there quite like Browar and Ory’s photographs, and almost immediately people were reaching out to the couple from around the globe, curious and full of questions. Throughout the project, they have continued to post images on social media and have gained many supporters and fans. Even after getting a book deal, they fought to be able to continue to share the images online (which are cropped differently from the images in the book). After last year’s jarring election week, when many
ARTICLE ORIGINALLY APPEARED IN THE EPOCH TIMES
were feeling the backlash from the incredibly polarized atmosphere, people were reaching out and thanking them and asking them to keep posting their images “because we need a lot more beauty in this world,” Ory said. “Everyone will take something different from it,” Ory said. “Some people are just going to like the beautiful bodies, and some people are going to love the beautiful dresses, and some people are going to respond emotionally.” “And some people who are not interested in dance all of a sudden discover it,” Browar added. BECOMING A BOOK The idea of creating a book had always been there, but it was also sort of a dream. For so long, the project was purely digital, Ory said, so it was an exciting moment when she finally had the book in her hands. “It was like, this is the real deal,” she said. It also wasn’t easy getting the book deal; publisher after publisher told them dance books just don’t sell well. Browar said they realized afterward that for dancers, it is all about the performance, all their hard work culminating in the moment on stage. And for photographers, that ultimate experience is creating a book. They’ve progressed to creating short videos as well, which follows a different creative process and form but is just as fulfilling, and they have plans to move out of the studio and perhaps photograph more dancers on location. Through the project, Browar says he learned about dance, and Ory was able to once again connect with the art form she feels so passionate about. Dance and photography both feel universal and timeless to Ory. A photo is a moment frozen in time, but people can still relate to the image and moment years later. She remembers photographing her daughters at dance class, listening to the same music she heard in classes and performing the same movements she had learned. These are music and steps that have been performed by people for years and years, and that will continue to be heard and performed for years and years to come. “It’s beautiful that you can have a language that is completely through movement that is so universal to everyone,” Ory said. “Pretty much every culture worldwide has some form of dance and some form of communication through movement.” Three years later, the photographers say they’ve only just cracked the surface of capturing what the dance world has to offer.
Photographers Ken Browar and Deborah Ory, creators of the NYC Dance Project, at their home in Brooklyn, New York. Dancers appeared on previous spreads: Masha Dashkina Maddux, Principal dancer, Martha Graham Dance Company. Miriam Miller, New York City Ballet Charlotte Landreau, Martha Graham Dance Company; Xander Parish, Principal dancer, Mariinsky Ballet
59
國 經 典 百年
Crafted by Tradition The Rich Heritage of Moreau-Paris English text by Crystal Sh | Chinese text by Yi-Chun Lin Photography by Moreau-Paris
60
I
n the world of luxury leather goods, MoreauParis has established itself as a modern-day guardian of a historical French tradition. Paris boasts a rich heritage of leather craftsmanship, renowned for trunk-making since the 19th century. Today, Moreau-Paris is dedicated to the mission of preserving that timeless heritage and sharing it with the world. Moreau-Paris is set apart by an obsessive dedication to quality, inspired and driven by the tradition and expertise of one of France’s oldest crafts. Its elegant handbags and luggage pieces have been reimagined for modern living, featuring details like hand-sewn stitches and buffed, antiqued leather combined with contemporary comfort and practicality. All of its products are designed and manufactured with the same attention to quality and detail as the Parisian treasures of centuries ago. ROOTED IN TRADITION The legacy of the brand stretches back to the late 19th century. In 1882, Moreau-Paris, a specialist in leather goods and luxury travel articles, opened on Paris’s prestigious Rue Saint-Honoré. There, expert ateliers crafted exquisite leather and canvas trunks, inspired by the natural patterns of woven wicker baskets. Maison Moreau continued to produce top-quality leather products until its closure a century later. In 2011, the celebrated brand was reborn as Moreau-Paris. Under the guidance of its new artistic director, Fedor Georges Savchenko, Moreau-Paris launched a new line of luxury handbags and luggage, reviving its iconic wicker trunk pattern and drawing on its rich heritage of French craftsmanship and care to cater to a modern audience. Its products are made in France by the most experienced ateliers, using top-quality materials and techniques and processes passed down for generations. Each product starts with high-quality, natural calfskin leather, individually selected from exclusive tanneries. Some of these tanneries have been using the same time-tested techniques since the 16th century, set apart by the very dedication to tradition that defines Moreau-Paris. The leather is then printed with Moreau-Paris’s woven pattern, using a traditional screen printing t echnique t hat includes a sem i-ma nua l pa int application. The process creates a deep impression that 61
金
合
古 2011年 的
19世 紀
。 。
家
重 其傳統工藝技術， 及歷
藝，是成
之
年
其
， 在
極高的 這個 要價
的
的
工 ，其 的
轉
，在 的
，輕
62
。一 ，
價值不 ，
年
不
的
，
，
保
風 。這 及高
的
每一 ，
身為
，
。 精 ，有著 條的
有一把
工
來
的
The Diligence是當年
感來
過獨家傳統的 中，造
，
的是金
，
者
面與MOREAU-PARIS 家
觀，
擁
的 世 紀古
，
其 。
，
至
大
The Miromesnil 面
也是
，是當年the House of Moreau
重
及
而 。
不至的 重，
有
、
多 知，
及
的 Fort
的 主 人，
一個
選擇
為人
都
。Moreau-Paris 而
的
作工 了
還未充
收藏者
The Brégançon是為了向 de Brégançon
Robert Bellanger
一代
傳
的條
織造
顯影
年
美金的
Moreau-Paris
光
立
一世，成為其
，
但是一
工
之一。 Moreau
Martin-Guillaume Biennais
。
質和實
的 歷 史 感。傳 統 的
之作的
有
The Brégançon、The Miromesnil、The Diligence。 ，
世人
高貴 的
。
Moreau-Paris的
，
House of Rovnoff獨
年
Moreau-Paris的 獨
年
的
Fedor Georges Savchenko
慧 眼， 與
性，
寫、
的Moreau-Paris是 一 個
的
著 的
美
現
條、
的
身還 金
的 的
技術，
有
古 合
，在
沿 了當年 行 的
紐約精
保
行
世紀 的高
，
質不 。The Diligence 的造
。
，Moreau-Paris
在
Barneys New York 有 。
ensures lasting quality. Once printed, the skins are treated to become ultra-resistant. Each piece ages with a unique patina, lending it its own, authentic charm and ensuring that no two products are the exact same. For an extra special touch, Moreau-Paris bags are easily customizable, ready to be embossed with initials, crowns, or even strips of color. Designs are stamped by hand and guaranteed to last for years. AESTHETICS AND PRACTICALITY Moreau-Paris handbags are distinguished by a combination of beauty and practicality. They f launt classic, functional styles with simple designs and pleasing proportions, letting their quality speak for itself. The everyday elegance of Moreau-Paris products makes them suitable for any situation. According to Savchenko’s philosophy, aesthetics and practicality should go hand in hand. Comfort and durability were thus also key considerations in the
designing process. Moreau-Paris uses a special leather that is thin but incredibly durable, making its bags lightweight and comfortable but still able to withstand the test of time. Bag handles replicate the sturdy, hand-stitched ones of their 19th century predecessors, designed to last forever. The result is a timeless piece, by virtue of both style and longevity. Moreau-Paris embodies the marriage of tradition and modernity—age-old craftsmanship and expertise reinterpreted for contemporary tastes and practicality. The company aims to craf t products that w ill themselves become part of the heritage that inspires them. Each piece can continue to be passed down from generation to generation, as a treasured carrier of the French tradition and culture evident in every stitch. Besides their flagship U.S. store in San Francisco’s Union Square, Moreau-Paris’s exquisite handbags can also be found at the luxury specialty retailer Barneys New York. 63
Chef Rory Macdonald adds liquid nitrogen to release the scent of eucalyptus surrounding olive oil gelato.
64
If Dessert Were a
Song
餘
English text by Channaly Philipp | Chinese text by Yi-Chun Lin Photography by Xuehui Zhang, Ivan Halpern, and Jade Young
T
he Dessert Bar at Chanson, in Manhattan’s Flatiron District, is one of those places you leave feeling exhilarated. It may partly be the sugar rush, but much of it comes from the novel and exciting experience offered by London-born pastry chef Rory Macdonald and his staff. Chanson, which means “song” in French, this past spring opened an immaculate, elegant bakery of spacious dimensions, with macarons and petits gâteaux beckoning under glass domes. This fa ll, Ma cdona ld debuted a desser t ba r downstairs, which in some ways is the polar opposite of his bakery—mysterious, dark, hidden. Dur ing the constr uc tion of Cha nson, the construction team chanced upon a vault the size of a small room. It turned out that in the early 20th century, the room was an illicit gambling school and
其
常
Rory Macdonald出 身
的主
Gordon Ramsay
是 ，也是 的
其
的
。 Macdonald ，
、
、
Chanson 然不 的 不是
選
的 ，
及美
的輕 、
一
在
氣， 向Chanson地 在。這 ，正
選
室
著
質
著您
出 面 目，
與 去，
前身為美 地
」， 但 ，任
The Dessert Bar的 。
。
的是與 。
。Chanson
，
需要在 Bar
為
義是 「
的
的尋常 傳統
的
，選擇
的
與
The Dessert Bar， 這
美
的The Dessert Bar，
年
主
集
立
的Patisserie Chanson 地。 而
行
的Hakkasan
行主
，
是The Dessert 地
獨家定
交織
的
的 。
65
Clockwise: In the early 20th century, the space that the dessert bar now occupies was an illicit gambling school and speakeasy. Vanilla panna cotta wrapped in poached rhubarb, strawberry and finger lime compote, Champagne foam, finished with Espelette pepper. Refined afternoon tea is served every day from 3 p.m. to 6 p.m. in Chanson. Apple JalapeĂąo takes you from savory to sweet to sour, with a spicy kick.
66
speakeasy. It was all too perfect for the dessert bar concept—a hidden spot, where you have to be escorted to, from the bakery’s airier environs. Unexpectedly, it does not feel gimmicky at all. Gimmick s wou ld not jive w ith Ma cdona ld’s personality or ethos. With his pastries and breads upstairs, he aims for perfect consistency every time, with a level of quality that transports guests to bakeries in Paris. “What's the point of doing it if it's not perfect? It's a waste of time,” Macdonald said. The dessert bar, with only 16 seats, feels like a privileged and intimate look at what a pastry chef does. Macdonald, who opened Gordon Ramsay’s London Hotel venture in Manhattan, and was the U.S.
選擇一
靜
的
大展身 ，
，而這與Rory Macdonald一 不是抱著追
美的
」，主 中的
也
從
，
是 的是
美 ，
性在為
面
的 的
是 邊。「
是說。Rory Macdonald
Macdonald了 ，越來越多人 人
不
的
中，
，
的精
隨著 與一
過
。Rory 作過 ， 的
及
不
展現在
面前。 The Dessert Bar 者
不
當您 會 ， 著
的
為
您不 有
常
，
有的 為
的 的
，目的是
內
而 是
的內容，
Macdonald
來的
，多
感的
然而 。或者 Moliterno
，
在
的
。
67
executive pastry chef for the Hakkasan Group, is bringing the dessert experience to the fore by letting guests in on how desserts are put together. “A lot of people are interested in seeing how things are made; they like seeing the process from start to finish,” Macdonald said. His trade may be primarily in sugar and flour, but the variety of tools Macdonald wielded during the course of two hours-plus of tasting was bewildering: a torch to set hay on fire, a jug of liquid nitrogen, a spritz bottle of olive oil, a fine grater, a spinning cake stand. Every movement is calm, measured, precise, and methodical. And while the pastries and breads upstairs may belong to the world of the quotidian, at the dessert bar Macdonald lets loose in ways that have the guests exclaim with surprise, delight, and laughter. It’s almost as if, in the warm atmosphere of the dessert bar, with the friendly, attentive staff, there’s a happy bit of regression to childhood going on. The space has a sleek aesthetic, but with that much laughter and conversation all around, it feels very much like someone’s home—something like Macdonald’s home away from home. With his new concept, he is now running on a quite demanding schedule, coming in around 8 a.m. and staying through till midnight or 1 a.m. If inspiration comes at 3 a.m.—and it does—well, so be it. Guests have no idea ahead of time as to what will be on the six-course tasting menu, and it would be a pity to reveal all of Macdonald’s surprises, even though he will be changing items on the menu every so often, so here are just a couple to give you an idea. First, though at the mention of a dessert bar, you might expect a series of variations of sweet after sweet, it is not the case. Some of the dishes are quite savory—truffle popcorn is one of the amuse-bouches, for example. There is also an optional cheese course, to start things off: slices of a Moliterno cheese with black truffle set atop a box filled with hay that he sets on fire to release the aroma—a way of transporting you to a farm—stacked on top of another box filled with oat crackers and whole wheat buns. The beverage pairing is optional and, in the hands of head mixologist Manuel Zuluaga, worth it; the complement of dishes and drinks is a fascinating additional dimension to savor. In this case, Zuluaga served a glass of silky Taylor 20-year-old Tawny Port. There is so much to ooh and aah over in the subsequent courses—combinations of flavors and smells 68
的
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Manuel Zuluaga為 年
，
化。在這 者
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、
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是大
的The Dessert Bar，
輕 的
。
是未 白
眼 ，讓人不 來這
Left: The dessert bar, with only 16 seats, feels like a privileged and intimate look at what a pastry chef does. Top: Olive oil/ Eucalyptus consists of olive oil gelato, garnished with lemon, olive oil, and sea salt.
that I would have never thought of (eucalyptus, lemon, olive oil, salt, gin, and Strega, for example, or grapefruit, miso, and salt). The whole experience is a delightful exercise in discovery. Play ing on nostalg ia is something that good pastry chefs know how to do; and Macdonald is no exception, with the final course being an apple Tatin, with Pink Lady apples baked upside down to the point of caramelization and puff pastry, but with a spectacular boozy twist. It’s captivating to watch as Zuluaga heats up Calvados and lights it up into a f lowing, cascading ribbon of blue f lame. A grand ending fitting a grand experience.
If you go: The Dessert Bar at Chanson 20 W. 23rd St. Manhattan, New York 929-423-8880 PatisserieChanson.com Reservations are required, 21+ only Wednesday–Saturday, 6 p.m. and 9 p.m. Reserve.com/r/chanson $68/tasting menu, $52/drink pairings A la carte cocktails also available 69
HOME Born of MEMORIES A
想 English text by Crystal Shi | Chinese text by Yi-Chun Lin Photography by Rafael Gamo
70
ELITE
ELITE 71
B
reathing new life into the ower’s 30-year-old childhood home, the designers refurbished it into a modern space characterized by warm wooden features, expansive glass windows, bright and spacious entertaining areas, and a fun but elegant exterior. The designers initially planned to build a brand new home, but inspired by the owner’s nostalgia, they decided to redesign the existing home instead, adapting it to suit his new family of five. To take full advantage of the space and location next to a golf course, the designers stripped the original two-story structure bare. They demolished the dividing f loor and opened up the living room into a grand, high-ceilinged space and lined it with large glass windows facing the garden and swimming pool. 72
這
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、大
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COMFORT AND STYLE The bold facade of the family room marks the entrance. The warm space is framed by custom-made, accordion-like wooden panels. Past the family room lies the spacious living room, the center of entertainment and hospitality, which features a plush lounge and fireplace, large walls with beige stone slab veneers, sleek ringshaped pendant lamps by Henge, and a red carpet. The living room sits adjacent to the dining room, a cozy nook that seems nestled into the wall. The upper-floor bar area sits in a similar recess above the dining room, framed by wooden panels and floors.
從大 不
， 的質感，
面、
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者
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、
之 。
，
。前者
大利Henge 橫
不斷重
PRIVATE LUXURY The sumptuous master bedroom, 1,615 square feet bigger than the original, includes a comfortable sleep-
與一
富
、
面，是
出現， 的
華主
的 。主
室內，有 面，
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73
74
ing area, a work desk, an elevated reading area next to floor-to-ceiling windows, and a seating area with a coffee table. In addition to abundant natural light, the room features warm, halo-like ceiling lights supplemented by separate perimetral lights. Throughout the space, selections of walnut joinery and natural stone are complemented by upholstery in neutral shades. The master bathroom and dressing room are accentuated by large areas of Italian arabescato marble, and consist of two symmetrical bathrooms opposite each other, joined by a steam shower and two identical dressing tables. A VIBRANT FACADE The main facade of the house was also redesigned, connecting the house’s separate sections. The main body, comprising simple, squared arches around large glass windows, is dressed in an elegant, subdued orange. The color plays with the vivid green of the garden and deep blue of the swimming pool, painting a vibrant backdrop for outdoor barbecues or summer swims. The refurbished house seamlessly connects the old and the new, preserving all the memories of a childhood home in a new, refreshed presentation.
， 光源。
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，主
室與
，
室之
為主要
與獨立的
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的
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的 、
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讓
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的
的
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充
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主在大 ，都
結
富
感到這 。
Previous spread (L-R): Living room and family room. Left page (clockwise): Lateral facade, kitchen, dining room, and master bathroom. This page: Entrance.
75
COZY UP in Your Home 打造
居
English text by Erin Wang Chinese text by Yi-Chun Lin
PHOTOS BY BLOOMINGVILLE, AMARA, B&B ITALIA
All About Materials
1
2
3
4
1 THROWS, TOM DIXON, US.AMARA.COM | 2 BEEKMAN SHEEPSKIN RUG - LIGHT GRAY, A BY AMARA, US.AMARA.COM | 3 ARMCHAIR J.J., B&B ITALIA, BEBITALIA.COM 4 LAMB FUR PILLOWS AND VELVET PILLOW, BLOOMINGVILLE, BLOOMINGVILLE.US
Velvet, knits, cotton, and sheepskin are the most popular fabrics of the season. These winter textiles will warm up your home with welcoming charm. Simply add a chaise longue or a couple of accessories, like cushions or a nice throw. For more fun, go for bold colors like pink, yellow, or blue. If those feel too intimidating, reach for neutral colors like black, white, and gray instead. Meanwhile, don’t be afraid to layer these fabrics. They could turn a bed or an entire living room into a haven of cozy textures.
、
織、 質與 需
冬
的輕
，不
面
大
？ ，
為家中 的
是
一對抱
或一
為您
地 選
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來一室和氣 、
的「 這
、正 」
，
，這 人。
您
。
這
、灰、白。一年之 的面 ， 家人在
年的到來
77
PHOTOS BY FERM LIVING, DFS FURNITURE, GARDEN TRADING, B&B ITALIA, MATER DESIGN
A Rustic Look
3
2
1
4
1 HAMBLEDON RAW OAK SHELF LADDER, GARDEN TRADING, US.AMARA.COM 2 THE ORIGINAL WIRE BASKET AND WIRE BASKET TOP, FERM LIVING, FERMLIVING.COM 3 MAIJA PUOSKAR TERHO LAMP, MATER, MATERDESIGN.COM 4 CORONADO LEATHER SOFA, B&B ITALIA, BEBITALIA.COM
Rustic design incorporates wood, matte, leather, and other humble pieces that build a cozy, welcoming space. The warm, essential nature of leather creates inviting furniture that complements raw wooden beams and unpainted wooden f loors. Embracing natural colors, wooden pieces are central to a rustic look. In the midst of all things earthy, a colorful rug and throw pillows can spice up the design.
風的 的
，
往往 和出
在大 有
、 地
與
隨
許
人的
在 的
的地
面
理、
及
， 人感到 ，或者在地
然質感的
、 中，
、
，
至
任 發，
實 ， 。
當
合
之中。在一
或抱 ，
是
的
。
79
PHOTOS BY BLOOMINGVILLE, FERM LIVING, B&B ITALIA, DESIGN HOUSE STOCKHOLM
Nature Inside
1
2
3
4
1 GREY GLASS VASE, BLOOMINGVILLE, BLOOMINGVILLE.US 2 JOKER, B&B ITALIA, BEBITALIA.COM | 3 VASE LILLA, BLOOMINGVILLE, BLOOMINGVILLE.US 4 GROW GREENHOUSE, DESIGN HOUSE STOCKHOLM, SCANDINAVIANDESIGNCENTER.COM
A simple vase of f lowers or plants can add an extra touch to your home, especially in winter. For more privacy, you can try hanging baskets to make the most of vertical spaces. To decorate an empty shelf or desk, try glass vases filled with fruit, flowers, or plants. To create a bold and chic space, choose a collection of uniquely designed vases to mix flowers with candles, some antique books, or your favorite decor pieces. With a bit of embellishment, this cozy space might just become the room’s center of gravity.
的冬
，
您不
尋
，或 是 面與 。
， 保
。 ， 、古
感的
，
， 的
轉 化 家中氣 ， 多有
您
個有 的
的
讓 家中
集一
，
沿
有社群 的容 ，
及您
的
面 的美 ，與
隨
。
81
OPTIMIZING SPACE The Big Little Nest in France English text by Crystal Shi | Chinese text by Yi-Chun Lin Photography by Mickaël Martins Afonso
T
his cozy, two-level apartment is located in a stone building in the heart of the historical center of Bordeaux, France. Its design presented a unique challenge: creating a small space with all the functionality of a large one. The designs cleverly employ multipurpose surfaces for sitting, reclining, eating, and working, on different levels. The lower level is broadly defined by two parallel sections, extending along opposite walls of the apartment. The living room falls in the middle. The first section consists of an expansive library—a ceiling-high, checkerboard-like collection of bookshelves on top of a podium that’s perfect for sitting on or climbing on to access the library. A sleek, rotating dining table also rests on the podium, ready to be swung out for use and slid back into place after a meal. Underneath the podium, a hidden row of drawers on casters provides easily accessible storage. At the far end of the podium, a hidden reading room beckons. The second section runs along the opposite wall, consisting of a laundry room, kitchen, and stairs. A tall, white partition separates the kitchen from the stairs, which hide still more storage compartments underneath. The partition continues upstairs, extending to delineate the space of the bedroom. All aspects of the space were meticulously considered and designed to minimize clutter and maximize functionality. The result is a true haven of relaxation, where one is free to play, unwind, and take full advantage of every space as one pleases.
82
明 《
源記》「
」，
極 ，
人
會。
多
的
光
造
發 一
和
，
的
，有
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。
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與
，
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化，
室。 主在 出了
藏
的
者主
，一
，
白
為灰白
功
的
隨 這
的 面
藏著
大理 ， 的
的
，
的
，每一
的
，實現
人的
每一
讓
對面的 ， 有
室的
一
的質地還有 這
有一
」的存在感。
為主 。
在室
的 ，
。
造 ，
在
是
在
有
，
為 ，其
，
然光中
室明
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、
，從
，
。一 之中，光
藝術
室的
的 感。
金
的多
，
大面
了 面
實的
的
利 造了 多
感，
白
在
內
的
， 之卻 的
的家
，
， 然 而有
， ，
文中望之
為了
與
的
大量的光 ，
行
的
及高明的收
， 現了
光
人
隨著
展現
室 感，
價值。 現
者 其
，不
。
Right page: Rotating dining table is ready to be swung out for use and slid back into place after a meal.
This spread (clockwise): The stairs with storage separated from the kitchen by a tall partition. A hidden row of drawers on casters underneath the podium. The kitchen in the form of a peninsula, accessible from all sides. The bathroom with sand marble details.
84
Le Dessert Bar
A
Taste of Art
English text by Irene Luo | Chinese text by Lingling Wang Photography by Leclaireur
C
hris Ford, known for pushing boundaries in the pastry kitchen to create delectable and enchanting confections, is now curating a private
dessert experience with Leclaireur, an art gallery located in the heart of West Hollywood, California. Chef Ford currently serves as the in-house executive pastry chef of THE Blvd at Beverly Wilshire, A Four Seasons Hotel. “Bridging the parallels of art and food is something
藝術，藝術是 「 把藝術和 的源 獨一
brates imagination with a 360-degree sensory journey.”
作的
ing him a treasured friend to a few lucky stars searching for custom-made, too-beautiful-to-eat indulgences. Among his frequent clients are Chrissy Teigen, Selena Gomez, Kris Jenner, Lisa and Pandora Vanderpump, Christy Romano, and Jessica Alba.
86
到 12
力的 360
造
感
之
在 Leclaireur
受
的
人，Leclaireur 展
地
。人
內獨
的藝術
會是主
感來源。 不斷 的
。他的美 ，
的
，人們
Chris Ford 獨家
過豐富多
claireur prepared on-site by Chef Ford. Groups of up to
for mesmerizing desserts has not gone unnoticed, mak-
行主
與 Leclaireur 合作，
，一個充滿
Chris Ford
enjoy an all-dessert three-course experience in Le-
explore colorful designs and sublime textures. His talent
高
的
的
Leclaireur 是一家藝術畫 ， 大
In creating his pastries, Chef Ford never ceases to
的
。從 2017 年 10 多
creations, inspired by Leclaireur’s unique art selection.
發
」。
ner with Leclaireur on this exclusive experience that cele-
four people will be able to relish in the chef’s innovative
來，是每
」。Beverly Wilshire
Chris Ford 說 「
that inspires me every day,” he says. “I am thrilled to part-
From October through December 2017, guests can
作的源 。
多明
Kris Jenner
是金
都是他的
有 ，
作的極 和高
而著 ，他
，
造獨一
一
在
，對他「 美到不
的 大 」的
Chrissy Teigen，Selena Gomez 和
都是他的常 。
(Above) Chef Chris Ford, in-house executive pastry chef of THE Blvd at Beverly Wilshire, A Four Seasons Hotel. Desserts created by Chef Ford, who is known for his colorful designs and artistic approach.
87
EVENTS | 人 物 掠 影
上
Sulwhasoo and Elite Lifestyle Magazine Exclusive Cocktail Party at Bloomingdale’s 美 Text by Annie Wang | Photography by Linda Jiang
10 14 ，《
精
》
和
合
的美
Century City的Bloomingdale's 多
美的
性，前來了
理，
的 24K
行，
其是眼
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的
理 Laura Chen 「 這
美行
對在
金
傳統 理 Shawn McLoughlin 「
高 乎
，也是 「
多 化成 「 ，
88 ELITE
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人會 化的
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上 經理 Shawn McLoughlin
24K
經理Shawn McLoughlin
Cindy Chu
Kara Wang
上 美
經理Laura Chen
ELITE 89
90
KD Navien慶東納碧安水暖床墊 適
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KD Navien 地址：20 Goodyear, Irvine CA 92618 . 網站：comfort-mate.com 電話：1-877- 689 -1541
91
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是出 、
還是
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共
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，
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的
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術和 和「
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