2013 Nov ISSUE 19
Look  Book
關 於「型錄」 ABOOK Magazine Issue 19
夏天結束了，秋天開始的這個月份有許多藝術攝影 的展覽，張照堂、姚瑞中等等，同樣是攝影，商業 攝影和藝術攝影到底差在哪裡。這完全是兩件事， 只是使用同一種媒介創作而已。 但我們希望能盡其所能的，用藝術攝影的思考方式 與論述，加上商業攝影的技巧、造型與美術的創 意，用攝影這件事情講一些故事。聽起來似乎有些 不可能，因為後者幾乎是憑空去「創造」一個時 空，但我相信兩者是不衝突的。 當保有商業攝影的技術與觀點，加上藝術攝影的思 考，那麼拍出來的作品應該要是淺顯易懂、美麗、 有賣點、有靈魂，而且是有故事的。
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ABOOK 意團隊有限公司
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Tel : (02)2657-1666
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Email : hello@abook.cc
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Website : www.abook.cc
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監製 Super visor :
翻譯編輯Tra n s l a t i o n E d i t o r s :
攝影總監P h o t o g ra p h y D i re c t o r :
色彩管理 :
張艾嘉
姜怡帆 A n n i e C h i a n g
林炳存 J o s h u a L i n
王振昇
攝影編輯P h o t o g ra p h y E d i t o r s :
行政管理 :
林特、張騰元、陳冠璋、L i n d a C o o p e r
張騰元
姜怡如 C o n n i e C h i a n g 營運長CEO : 林炳存 Joshua Lin
英國特駐O v e r s e a s E d i t o r : Linda Cooper
創意總監Creative D i re c t o r : 尹培袞 Sean Yin
採訪編輯As s i s t a n t E d i t o r : 小金
發行人Publisher : 賀錫敬 Leo Ho
執行公關 :
Book
星予公關 造型總監St y l i n g D i re c t o r : 林夢薇 M o n fi L i n
視覺主編D e s i g n D i re c t o r : Alex Chang
總編輯Editor in Chi e f :
後製編修 :
編輯策劃S p e c i a l P ro j e c t M a n a g e r s : 趙欣、桑科
林特 顧問團隊C o n s u l t a n t s
:
陽帆、廖鎮漢、詹仁雄、 林知佑、廖曉喬
觀點 / P e r s p e c t i v e
「我想要做一種沒有人嘗試過的超越所有人 想像的漢堡。」 --- Nella 那些讓人摸不著頭腦的事 - 商業？藝術？ --- Joshua Lin Commercial VS Artistic
新事物 / A b o o k E x p r e s s
今年比路跑更好玩的事 --- Red Bull Soapbox Race 造飛車大賽 超現實攝影大師 David LaChapelle 示範拍攝 TOD's Stella Bag
時尚攝影 / A b o o k F a s h i o n
Homonym -
Mikey Piliero
Urban Attitude -
Linda Cooper
The Rotten Core - Jessie Ho War and Game - A Yuan Chang Red and Blue - Joshua Lin After Party - Joshua Lin Collage - Joshua Lin Fairy Tale Formula - Joshua Lin Princess Leia Organa Solo - Joshua Lin
封面故事 / C o v e r S t o r y
觀察是表演前最重要的事 --- 昆凌 Observation Is The Most Important PreparationHannah Quinlivan
本土創意 / Ta i w a n Ta l e n t s
持之以恆 --- 攝影師專訪 胡世山 The Importance of Perseverance --- Photographer Sam Hu
概念時尚新種子 . The New Seed of Conceptual Fashion
服裝裡的哲學經驗與共鳴 --- 邱娉勻 Juby Chiu Studio
日常生活的立體思考 --- 江奕勳 Reflection of Everyday Life --- Jiang Yi Xun
視界 / A b o o k G a z e
用身體感覺一切 --- Dance Soul 大目 Body & Soul-By Dance Soul 大目
來稿登錄 / C a l l f o r S u b m i s s i o n s
Modern Day Titan Paper Cones -
Niccolus Johnson
Kelly Ng
Perspective
我想要做一種沒有人嘗試過的超越所有人想像的漢堡。裡 面依序是麵包、生菜、番茄、起司、肉片、麵包。如果 你覺得番茄應該在生菜上面，那麼你既沒有美感也沒有味 覺，我們最好不要繼續浪費彼此的生命了。我不需要一個 對漢堡沒有熱情的人來跟我談什麼合作。
TEX T / Nella
這是我們生命中每一個客戶給我們的感受。很諷刺的是，這往往也是我們給客戶的 感受。我們常常被要求看著蘭陵王的臉卻必須想像他是一個美過林志玲的神級美男 子。我們說球不是這樣踢的，對方說超人是不會死的。我們不願意跟錢過不去，最 終把番茄挪到了生菜上面，從那一刻開始一帆風順。我們笑著數錢，卻越來越少笑 著吃漢堡了。
然後鍾孟宏(Micheal)打了我一巴掌。
我們走進一個朋友的錄音室，他從包包裡抓起一把粗黑的電線。我看著他從嘴巴吐 出以下句子：「把喇叭的電源線換成這兩條，喇叭的聲音會變得比較厚實溫潤，分 層也會清晰許多。你試試看，絕對有感。」我看著對方似笑非笑的嘴角，以及要怒 不怒的眉心，心裡幾乎起了道歉的念頭。他又補了一句：「但是也要你有耳朵聽得 出差別啦!」 專職做吉他音箱與吉他效果器改裝的M i c h e a l 自1 0 年前開始生產電源線。這裡講的
電源線所指的就是家用電腦後面接的電源線，一
傳。講完這句話的接下來5 0 分鐘他差點把自己的
般也用在專業錄音室監聽喇叭上的那種。他認為
一生描述給我聽。
電源線會影響喇叭的聲音，並用不屑的眼角回瞪 所有懷疑的目光。他依照不同的作業模式與預算
退伍後在唱片行打工的M i c h e a l 對音樂充滿熱誠，
需求打造了M i c h e a l A u d i o 電源線1 ~ 7 號以及電源
希望藉由白天唱片行的工作增加自己對各種類型
分配器。經常背著裝滿線材的包包走訪各地的錄
音樂的吸收，打工的錢又可以支持自己下班後去
音室的他，會根據對方的配置去選擇電源線型號
音樂教室精進技巧，一石二鳥。不料當時張惠妹
讓對方現場更換試聽。試聽之後對方必須聽得出
以姊妹一曲一戰成名，一箱一百張的唱片進貨每
哪裡不同，並同意此改變對整體音響品質有正面
次都是以1 0 箱為單位。M i c h e a l 的工作除了每天
的改善，他才會請對方掏錢購買。他強調: 改變與
開箱補貨之外，也連續不間斷聽了好幾個星期的
改善有所不同，不是改善，就不賣。
姊妹。他上學的音樂教室為當時在台灣只經營了 4 ~ 5 年的日系血統學院機構。雖然開始了M i c h e a l
我們在朋友的錄音室外對坐，他說關於這次採訪
的吉他生涯，但他體內組裝模型與焊接電路板的
他也不知道要講些什麼。商業機密不能講，理論
宅男魂沒有讓他在充滿指法與曲式的殿堂內朝聖
概念聽了會想睡覺，又不希望一直講自己的自
太久。輾轉當了一陣子樂團經濟的M i c h e a l 最後進
入白金錄音室擔任錄音助理，體內的熱情於是發
用，而技師的作用體現在線材及電源的選擇、設
洩在這些凡人無法碰觸的昂貴器材之維修與保養
備的保養維修與客製化上面。然而這一塊專業卻
上。專業錄音室的隔音空間提供了方便比對各種
往往被想要成為吉他大師的樂手們忽略。反觀所
實驗結果的環境，M i c h e a l 之後的各種理論基礎逐
謂的音響迷，反而比樂手們更懂得在烹飪技術的
漸在這裡得到印證。在學吉他期間就已經時常經
背後，食材本身的選擇也是一道菜優劣的關鍵。
手吉他效果器改裝的M i c h e a l 在結束錄音室生涯之
屏除了演奏技術高低這層變數的影響，音響迷更
後開始販售自己手工製造的效果器，以在樂器行
能把所有心思放在音質上。潛藏在風格之下的氣
寄賣的方式達到了人生第一次一百台完售。在吉
質，覆蓋在穿搭之下的胴體，某方面來說更大於
他的戰場上殺出漂亮的戰績後，M i c h e a l 將觸手延
布料所展現的流行與風尚。有很多似是而非的想
伸至喇叭音箱的維修與改裝。並發現跟技術本位
法在M i c h e a l 腦中萌發，於是他暫時放下了賽亞
的音樂工作者比起來，音響迷頭頂上的知識領域
人的驕傲，丟下吉他手的身分去向音響的國度取
是另一片截然不同的天空。
經，他焊著自己製作的第一條電源線，像是闖入 了一片沒有人知道的果園。
吉他手引以自豪的除了那把吉他之外，就是自己 的效果器箱。用不同效果器串接組合出自己獨有
一度我也拿出賽亞人的驕傲，認為只懂享樂的音
的吉他t o n e 調是當時歐美吉他手成名的關鍵，
響世界豈能存在什麼我們實戰派不懂的把戲?於是
也是學習吉他的過程中最引人入勝的一環。但歐
他提出了幾個概念，讓我了解到自己的無知：1 . 電
美的市場提供職業吉他手能夠負擔私人技師的費
源線會影響喇叭的聲音。2.音響擴大機
(Ampli -
fier) 放在桌子上、椅子上、地上會造成與其連接
圖。他必須熱愛音樂，卻同時願意將8 0 % 的時間
之喇叭有聲音上的改變。3 . 白天聽音樂跟晚上聽
運用在焊接與測試上。
音樂聲音會不一樣。 俗話說顧客永遠是對的，但是M i c h e a l 不同意。 聽到第三點我用盡全身每一寸肌肉才把「你放
他拿出一條我們連特地跑去燦坤購買都會嫌麻
屁」三個字壓回喉嚨裡。M i c h e a l 的解釋是，電
煩的黑色電源線，跨過喇叭、跨過擴大機與錄音
源線的金屬純度與截面積會影響傳導效能，進而
卡，插在了電腦的屁股上，請對方聽聽看聲音會
影響電子零件的反應速度，這是解答理論一。其
有甚麼改善。對方一邊開機一邊捲著電源線多餘
二，電子零件作動時產生的震動或與環境的共振
的部分。M i c h e a l 說不要捲，捲起來聲音又會不
會影響電子器材的表現。最後，溫度不同會造成
一樣。我猜想他腦袋裡應該裝著另外5 0 分鐘長的
空氣密度不同，會影響器材發出音波後的傳導，
經驗來解釋為什麼…
進而造成聽覺上聲音有所改變。 M i c h e a l 用特立獨行的行事風格成功合理化他本 身矛盾的存在。我形容他所做的事情是技術的 前端，藝術的後端。他必須了解藝術工作者最令 人不解的個人堅持與眼光角度，同時必須精通電 路板上密密麻麻的電容電阻，與令人頭痛的電路
Perspective
那些讓人摸不著頭腦的事 商業？藝術？
TEX T / Joshua Li n
影像的工作既是一種創作， 也是一種服務。
全部的人都要膩出汁了、梗也用爛了，纔會有另一 個「傳奇」出現，然而這個現象正是讓台灣的商業 創作風格一直無法多元化的原因。
完全可依自己意念創作的時候，可以很粗略的算是 「藝術」；受人之託而創作，要在客戶給予的有限 的空間內發揮想像，並且在許多的「協調」與「妥 協」之間掙扎，最後儘可能的達成雙贏局面，就被 稱為「商業」，但商業與藝術，兩個東西一碰到「 市場」一詞，就出現了一種奇妙的物競天擇，你會 開始在意有誰喜歡、有多少人願意買單，接著進入 了另一個困境：到底要依照自己的意念去創作並猜 測市場的心意，賭上那麼一把，還是要迎合當下的 趨勢去做事，得到快速的利益？
低俗搞笑、小情小愛、流俗濫情都好，娛樂之餘， 如果有任何令人省思的餘韻，這些小小感動都仍是 有意義的，只是大部份的創意產物看來都是慾望、 扭曲價值觀的堆疊。作創作的人，都要有個回饋的 使命感，我們從社會得到夠多的時候，就要開始思 考能為這個社會作些什麼，當價值觀開始盲目的時 候，我們能不能以己之力作一些提醒？ 一樣的想法放入現在正在進行的Abook Magazine，我 們也曾很掙扎，想要做出很不一樣、很藝術感、很
在這一行打滾的幾些年裡，看了許多光怪陸離的現 象。在台灣，無論是音樂或是電影的生態似乎都是 如此，如果沒有票房，就會變成毒藥，所以一旦猜 中大眾口味，作出成功的商業作品而大賣，被市場 接受以後，投資者就會捧著現金來拜託你讓他參與 下一個企劃，然後這一個所謂的「梗」就會被接二 連三的模仿、抄襲，一窩蜂延續了好一陣子，等到
表達自我的創作，卻同時又擔心太過曲高和寡，起 不了太大的影響力，因此我們小心翼翼走著自己的 路，不去迎合奉承，堅持在這塊領域中繼續一邊作 自己、一邊發掘養分並分享給喜歡我們的朋友，這 樣的小心翼翼是踏實的，也讓那些總是令人摸不著 頭腦的「藝術」、「商業」字眼，可以暫時放在一 旁。
Something you just can’t wrap your head aroundIs it commercial? Artistic?
The photography industry is innately creative, but is also essentially a service. When you can create images freely and without restraint it is regarded as “art”; when you are commissioned by a client to photograph for a specific purpose, it is deemed “commercial”. In the latter sense, the client usually gives the photographer set parameters in which to deliver and after deep struggles involving communication and compromise, a middle ground is achieved, and final images produced. However, when the artistic and the commercial has to deal with the “market”, a selection process is inevitable and cannot be ignored. You start to care about the numbers, and the who, and the what. Who likes it? Who will buy it? How will it sell? These questions manifest into another dilemma. Do you go with your gut and aim for originality while testing out the market, or do you follow trends and play it safe, in order to gain fast rewards and benefits? Having been in the industry for all these years, I’ve seen several strange phenomenon; in Taiwan, no matter if it is music or film, if it doesn’t sell it becomes garbage. But if it does sell, meaning somehow adhering to the tastes of the general public, investors will then come flocking in wanting to hand you loads of cash in order to get in on your next project. The success will then be emulated and copied over and over again, until it is drained dry and people starting getting sick of it. Then another suc-
cess story will appear and the imitation cycle goes on and on. This is truly why the Taiwanese commercial and art industry is not multifaceted and tolerant of diversity. Cheap humour, sappy love stories, melodramatic plot lines…besides its’ entertainment value, if it has any mention at all of social thought and meaningful reflection, then it deserves at least some viewership. But sadly, many of the choices we have out there are plain superficial and contains twisted social values. I believe all artists need to have a philanthropist mission; society gives us so much, we need to think about how we can give back to the community and how we can make a difference. When social values are starting to deviate from the positive, what can we do to help it back on track? With Abook Magazine, we’re always faced with the same dilemmas and industry constraints as well. We’re always hoping to do something different, something creative and unique, however we’re also afraid of being too presuming and thus insignificant. So we walk carefully but persistently down our own chosen road. We’re always hoping to bring something new and interesting to our supporters, and with this fundamental goal in mind, we can at least put aside the commercial and artistic debate, and just focus on being ourselves. In our conforming industry, I think this is the most practical way of staying true to our beliefs.
今年比路跑更好玩的事Red Bull Soapbox Race 造飛車大賽
A b o o k E xp re s s
千萬不能小看台灣人的創意！ 今年夏天出現了以各式花招為梗的路跑比賽，但無論是速度、認真 度，或是爆笑度，都比不過R e d B u l l 在台北的S o a p b o x R a c e 造飛車 大賽，這個已經在歐美各國舉辦過幾次的比賽，今年是第一次在台灣 出現，參賽者從設計、製作、比賽全都自己來，而飛車造型也從太子 元帥、檳榔西施到黑白郎君都有，完全在這個世界性的趣味競賽裡 展現了專屬於台灣的創意！台灣樂團糯米團也設計了他們的蝦頭炒菜 車，而其他參賽隊伍則是學生、玩車族、老師、工程師、設計師、醫 師、廣告、科技等不同領域，可說是一個無差別的創意趣味競賽！
糯米團_皂飛車試車活動照
Never underestimate the Taiwanese creativity! This past summer was filled with numerous marathons held throughout Taiwan. However none could compare to the “Redbull Soapbox Race” in speed, creativity, and humour. The Redbull Soapbox Derby is a national race held throughout the U.S and Europe, and this year was its first time in Taiwan. In this race, amateur and professional racers have to design and build outrageous, human-powered soapbox machines and compete against the clock in a downhill race. The Taiwanese spirit was seen in several designs where beetle nut girls, Taoist figures, and famous Taiwanese puppet characters were used. Rock band “Sticky Rice (糯米團)” also entered the race with their Chinese cuisine inspired design, and they join other competitors from all walks of life, from all over Taiwan, in this innovative and wildly entertaining race.
A b o o k E xp re s s 台灣首屆 R e d B ull 皂飛車大賽活動日_冠軍 筆咧
台灣首屆 R e d B ull 皂飛車大賽活動日_得獎隊伍
台灣首屆 R e d B u l l 皂飛車大賽活動日_參賽者成功挑戰碗公彎
台灣首屆 R e d B u l l 皂飛車大賽活動日_最佳造型獎_今秋檳榔攤
超現實攝影鬼才 David LaChapelle 示範拍攝TOD’s Sella Bag
A b o o k E xp re s s
曾經來台舉辦大型攝影展的超現實攝影鬼才D a v i d L a C h a p e l l e ， 其作品揉和了古典與街頭文化，總是以極具舞台感、鮮艷華麗的 色調詮釋他腦海中充滿想像力的超現實畫面。D a v i d L a C h a p e l l e 本季與TO D ’ s 全新包款S e l l a B a g 合作形象拍攝，S e l l a B a g 以馬 具的經典工藝著稱，因此L a C h a p e l l e 便以馬作為商品拍攝的主要 元素。
這系列的形象除了與T O D ’ s S e l l a B a g 的發表同時舉辦” P O P To u c h ” 攝影展之外，也同時釋出拍攝現場的道具擺設、佈燈，與 拍攝進行方式，數位攝影發達的現在，畫面中所有的元素也不一 定是後製完成！
Hyper-Realist Photographer: David LaChapelle’s Sella Dream Internationally renowned photographer David LaChapelle was once in Taiwan for a largescale exhibit. His work is often inspired by art history and street culture, and often extravagantly portrays the surreal imaginations of his mind. David LaChapelle recently teamed up with TOD’s for the new Sella Bag campaign. To fully express the world of saddlery, LaChapelle creates an equestrian dream in which the Sella Bag is the object of desire, and the horses represent a recurring dream. Recently, TOD’s POP Touch exhibit was featured at Taipei 101 and many behind-the-scenes photos were on display.
Photography / Mikey Piliero Make-Up & Hair / 劉人瑋 Wardrobe / Chiehms
Homo
onym
同義詞
The environmen fects our mood as much as it a is perceived by where you choo ible, allows for a interpretation o
我們周遭的環境影響我們的情緒與 外表，如同環境本身被感知的狀態一 樣，無論你想不想讓自己被看見，環 境都讓我們對外型，有完全不同的詮 釋方式。
ent that surrounds us afd and appearance just affects the way one’s self others. Depending on ose to let yourself be visa completely different of our look.
Photography / Â Linda Cooper Styling / Karlmond Tang Make-up / Nataxa Model / Victoria Middleton Photography Assistant / Andrew Huang/Lei Pan
U
Urban
Coat: Edwin Jacket: Gabicci Belt: Topman Pocket Square: Scotch & Soda Trousers: Stills Glasses: Cazal Shoes: Oliver Sweeney
Cardigan: Stills Shirt: Duchamp Belt: Schott Trousers: Gabicci Shoes: Sand Glasses: Ralph Lauren Ring: Bill Skinner Umbrella: Muji altered by stylist
Shirt: Urban Outfitters Trousers: Uniforms for the Dedicated Bracers: Topman Pocket Square: Scotch & Soda Shoes: Oliver Sweeney
Scarf: Duchamp Waistcoat: Topman Shirt: Maison Scotch Bracers: Stylist’s Own/River Island Bag: River Island Shoes: Steve Madden Glasses: Marc Jacobs
Scarf: Duchamp Waistcoat: Topman Shirt: Maison Scotch Bracers: Stylist’s Own/River Island Bag: River Island Shoes: Steve Madden Glasses: Marc Jacobs
Jacket: Scotch & Soda Pocket Square: Alexander Boyd Rollneck: Topman Necklace and Ring: Bill Skinner Trousers and Belt: Stills Bracelet: Shimla Jewellery Belt-bag: Flybird Design Shoes: Oliver Sweeney
Photography / Jessie Ho Styling / Monfi Lin Model / Lena @ Halo
The Rotten Core 敗 絮
「型」，是要從靈魂裡滲透出來 的態度，自然、反骨、一點點 憤怒、一點點焦慮，再一點點不 在乎，因為誰在乎，誰就輸了。
Style seeps attitude that it should be and even a t
from the soul. Style is an t should come naturally; rebellious, a little angry, tiny bit more apathetic.
Photography / A yuan Chang Styling / Monfi Lin Hair / Noreen Wu Model / Paula @ Fmi Eyewear / JEpoque
WAR AND GAME 生存 與 遊戲
pq eyewear “Oxford Circus”
Parasite“The Crown” 年度限量款
Tom Ford “Olga”
在條件嚴苛、沒有後備救援的社會 下生活，就讓我們學習用鴕鳥的心 態，預備好華麗的姿勢，把生存視為 一種遊戲，在戰場裡盡情地遊玩吧。
Our society is a battlefield, but to survive it should be seen as a game, and we should all play the game with the utmost grace and beauty.
pq eyewear “Ealing Broadway” Tom Ford “Liane” pq eyewear “Notting Hill Gate”
Photography / Joshua Lin Styling/ Monfi Lin Model / Gosia 金鈴 Shoes / DAPHNE
R
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B 紅與藍
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Photographer / Joshua Lin Shoes / DAPHNE
After Party 宴會之後
O L L A G
Photography / Joshua Lin Styling / Monfi Lin Model / Anya @ Feliz Shoes / DAPHNE Eyewear / KDX
照玩 拼貼
Photography / Joshua Lin Styling / Monfi Lin Model / Gosia 金鈴 Shoes / AEE
Fairy Tale Formula 成為童話主角的方程式
Photography / Joshua Lin Styling / Connie Chiang Model / Vivien @ Halo, Jagoda@Feliz Shoes / AEE Dress / Linli
Princess Leia Organa Solo
Shoes / Passhion Top / Alexander King Chen Bag / Daphne
Skirt / Jacket / Alexander King Chen Bag / Daphne Shoes / Daphne
Dress / Linli
Photography / Joshua Lin Styling / Monfi Lin Make-up / 劉人瑋 Wardrobe / Giuliano Fujiwara
Observation Is The Most Important PreparationHannah Quinlivan 觀察是表演前 最重要的事 - 昆凌
昆凌，洋娃娃般的混血女孩，在幾次與 Abook的拍攝合作
中，感覺上是樂觀、認真且樂於工作的。這次擔任 Abook 封面人物，昆凌一穿上男裝就興奮的不得了，頻頻皺起眉 頭耍酷說「當男模真好！不用一直笑，只要耍帥就好。」 她的認真從許多工作上的小地方可以發現，無論是主拍或 是側拍的攝影師，只要有鏡頭靠近，她就會意識到，並讓 自己在鏡頭前的表情是好看的，卻又自然不做作。
Mixed model and actress Hannah sweetheart inside and out. Abook S with her on numerous photoshoots exudes this vibrant demeanour tha all those around her. For our cove we put Hannah in Men’s wear whi opposite of her usual girly style. To male model is great because you do all the time. A natural at what she ways seem to know where the came the camera seems to love her as we
Quinlivan is a Studio has worked s, and she always at tends to captivate er shoot this time, ich is completely o Hannah, being a on’t need to smile does, Hannah alera is, and similarly ell.
身為一個時尚代言人，你心目中真正的 「時尚」是什麼樣子？你的fashion icon 是誰？平時喜歡的style是什麼？ 我覺得真正的時尚是來自於態度，而不是昂貴單品的堆疊，通 常帥氣、俐落，有點中性的style會很吸引我。心目中最欣賞的 是Kate Moss，無論什麼樣的裝扮都可以詮釋得很好，她的照片 裡常常透露一些些不可一世，刁著煙的樣子很有「態度」，可 惜我自己平常的工作無法嘗試到這樣子的東西。 平常的style還是喜歡偏中性的元素，喜歡皮衣、皮件，帶有卯 釘、有點龐克感覺的打扮，就算是在夏天，也會往「帥氣」的 方向前進。
很年輕就出道，是否曾經想過未來的自 己會是什麼樣的？除了表演以外有沒有 想學習或是想從事的事情？ 未來希望自己的表演能以更專業的戲劇方向發展，想成為實 力演員。 除了表演以外，會想嘗試飾品設計。我常覺得自己有飾品 控，非常喜歡蒐集各種飾品，也對配件很有自己的意見，經 常覺得物色到的飾品在設計上差了臨門一腳，很想自己改 造、設計。不過我在認真研究飾品的設計生產過程之後，發 現要開模製作飾品要花的成本滿大的，所以應該會多存一點 錢，希望未來有機會可以成立自己的飾品品牌。
一整天的生活大概是什麼樣 子？不工作的時候喜歡作什 麼？ 我似乎是個閒不下來的人，就算不工作 的休假日，也無法一整天窩在家，無論 如何都會想要出去走走看看，見見朋友 家人，或是帶小狗散步吧（笑）
經常有拍攝的工作，你會如何揣 摩攝影師的指示與自己的表演？ 有沒有印象深刻的拍攝經驗？
我想我是幸運的，工作上合作的攝影師或是導演都很親切，在指示上 對我來說也都很清楚、很容易想像。在演戲的時候，對於角色的揣 摩，我會在看過劇本之後，從朋友中找到與劇中人物個性相似的，然 後一直跟著他、觀察他的反應。 印象深刻的經驗，某次我出演一個大姐頭身邊的小嘍囉，是一個跟自 己個性差異滿大的角色，卻又沒有與角色特質相仿的朋友可以揣摩， 後來發現自己的狗其實就是這樣子的個性，仔細觀察牠的各種反應和 愛吃醋的個性和劇中角色很像，就把狗狗的反應套用在表演上了，意 外的滿管用的！
因為工作而四處旅行的機會應該 很多，目前為止最喜歡的城市是 哪裡？一個城市最吸引你的地方 是哪個部份？ 法國！ 曾經去過，但是還沒有機會在當地工作過，我非常喜歡法國，對我來 說那是一個很豐富、很想深入瞭解文化的地方，無論是在城市裡或是 鄉間，都有很多不同種的風情，光是沒有目的的到處亂走、迷路也沒 關係，非常舒服。有機會也想學法文，法國人似乎都有種驕傲感，把 不懂他們文化的人排除在外，所以學好法文才更容易深入瞭解她們的 世界吧！
What does fashion mean to you? Who is your fashion icon? What’s your daily style?
I think fashion is an attitude and not a compilation of really expensive things.
Usually pieces that are more clean-cut and boyish tend to attract me most. My fashion icon is Kate Moss because she can wear anything and look amazing in it. She looks so confident, even arrogant, in most of her pictures. Even
smoking a cigarette looks so fierce on her; that is what I mean by attitude. Unfortuantely in my work so far, I haven’t been able to try anything like that. My daily style is usually leaning towards a punk style. I like leather jackets, spikes, and clothes that are more unisex.
You stepped into this industry at a very young age. Have you wondered what the future has in store for you? Besides acting, is there anything you would like to learn or do? In the future I hope I can keep on pursuing my acting career and become a professional actor that is taken seriously. Besides acting, I want to try jewel-
lery design. I think I’m a jewellery fanatic. I love collecting different types of accessories but often I cannot find exactly what I want in stores. I’ve
actually looked into the whole jewellery production process, but to create
your own mould actually costs quite a bit of money. My goal is to save more money and hopefully be able to create my own brand one day.
What does your day look like? What do you do when you’re not working? I’m a pretty restless person; I have to have something to do all the time. Even when I’m not working I usually can’t stay home all day, so I’ll go and see friends and family, or take my dog out for a walk.
You’ve done many photo shoots; how are you able to deliver what the photographer wants? Was any shoot particularly memorable? I think I’m very lucky. All the photographers I’ve worked with are extremely friendly and their directions are all quite clear and easy to understand. In acting though, when I get a script I like to find real life friends that I know who resemble the characters, and just follow them to observe their every move. My most memorable experience was when I had to play a tag-along. The character’s personality was quite the opposite from mine, and I really didn’t have any friends around me who are like that either. But then I realized that my dog is actually quite the tag-along and so I started studying his every move. It was actually surprisingly quite helpful.
You travel a lot for work. What is your favourite city so far? France! I’ve vacationed there before but haven’t had the chance to work there yet. I love France because to me, it is full of history and culture. Doesn’t matter if you are in the city or in the countryside, there are so many things to see. I really want to learn French. The French people seem to have this arrogance so maybe if I spoke French I can better understand their way of thinking and understand their world!
Taiwan Talents
I NTERV IEW / Linter 林特 PHOTOGRAPHY / Kuan
持之以恆 攝影師 胡世山 The Importance of PerseverancePhotographer Sam Hu
從平面攝影轉拍動態廣告，最近也開始拍長 片的攝影師胡世山，行事有些低調，從網路 上是找不到太多相關訊息的，所以一直好奇 這位攝影師是怎麼樣的人。當我們抵達他在 台北的工作室，窗外的陽光撒在堆滿的攝影 書牆上，空氣裡有些咖啡香，行程似乎很忙 碌的攝影師胡世山，卻握著咖啡杯，神情輕 鬆地跟我們分享他在攝影路上的一些故事。
Sam Hu started of the realm of video evidently a low-key on the internet, so As we stepped into coffee aroma float us warmly and we a
ff as a photographer but has recently stepped into o production; directing commercials and film. Hu is y person; there isn't a lot of information about him we've always wondered what kind of a person he is. o his Taipei studio, we right away noticed the rich ting in the air. The calm and welcoming Hu greeted all sat down to chat about his journey in photography.
開始攝影的契機？
Leica M6。 小時候真的不管走到哪身上都背著相機，連在拍
十幾歲的時候，因為朋友在報社擔任攝影記者跑
片現場當助理的時候，搬東西也還是背著一個相
新聞，常常有照片可以看，可以聊一些有關攝影
機包包，現在想起來覺得滿好笑的。
的故事，就開始對攝影產生興趣，退伍之後便想 開始尋找攝影相關的工作。當時與攝影相關的工
第一個攝影工作是？
作其實是找不到的，不像其他工作可以在報紙的 分類廣告上刊登，一時也不得其門而入，索性就
忘了！
到當時最大的底片沖印公司爵士工作，過著每天
但應該是有人給我機會拍雜誌的內容。
沖正片的生活。
數位或底片？ 大型的沖印公司分工是很細的，每個人都作著一 小部份的動作，我當時的工作是掛底片，所以就
開 始 當 攝 影 助 理 之 後， 每 天 都 要 沖 很 多 黑 白 底
像是在工廠裡工作一樣，一邊聽著收音機，一邊
片，當時工作的攝影棚設備很好，還有自己改裝
作重複的動作，說實在的有些無聊，但那也是我
的放大機，水槽也是定做的，但黑白底片的沖片
當時僅有的工作了，所以也想盡量認真。
罐很小，每天收工沖底片都要花很多時間，後來 自己 DIY 用粗的水管作沖片罐，變得很有效率，
後來爵士的業務主任把我介紹給林炳存，要到他
回想起來那些很手工很實驗的底片時光真的很有
的工作室當助理，這才開始真的接觸到攝影的工
趣。
作，不過其實當時是想當攝影記者的（笑）。 以前看的底片的顏色，和現在數位的顏色就是不
第一台相機是？
一樣，哪一個好或不好也不一定，不過久久看到
一 下 類 比 的 照 片， 還 是 會 覺 得 很 感 動。 每 個 時 代總是有不同的產物，像是有很多人很愛 Kodak
我其實到很後來才開始對攝影有自己的看法，有
Chrome 這支底片，我自己也覺得顏色實在很美，
一些小時候覺得很棒的作品，現在就不這麼覺得
但它的沖洗過程要經過 19 道藥水，太麻煩又不
了，也有些作品是確定自己作不來的。以前有同
環保，所以才被淘汰。
事很喜歡 Terry Richardson 的作品，很想拍的像 他一樣，但是根本無法做到像他一樣的生活，就
現 在 拍 照 的 工 作， 只 有 拍 陳 綺 貞 的 時 候 會 用 底
算 用 同 一 種 相 機 和 手 法 去 拍， 也 不 可 能 拍 得 出
片，她很喜歡底片，也喜歡照片一張張拿在手上
來。
的感覺，除此之外的拍攝工作都是數位，因為數 位太快太方便，也比較能拍到底片捕捉不到的東
要作到有風格的這件事，就必須花很多時間自我
西，但數位的問題就是會不小心拍太多，現在按
瞭解。
快門的次數大概會有以前的一倍，大約是快 100 捲底片的數量了。
如果再選一次還是會當攝影師嗎？
如何培養自己拍照的感覺？
當攝影師很不錯，再選一次還是會想當攝影師！ 作這行很容易經歷到一般人經歷不到的事，去很
任何人一開始一定都是從模仿中學習，我也是，
多地方、認識很多人，一般正常上班族比較不會
什麼都看，也看的很雜，任何人只要拍成我不會
去經驗到的人事物。另外無論拍的對象是誰，是
的樣子，我都覺得他們很厲害。拍雜誌是很好的
不是有名望的人、或是不認識的人，都會考驗攝
練習，因為雜誌下架速度快，拍得不滿意也頂多
影師去把特質找出來的能力，而這也是一個攝影
是一兩個月的事，雜誌的攝影不太在意模仿，同
很有趣、很吸引我的地方，也很愛拍採訪的照片。
時也可以一直嘗試新的方式。
拍攝有名望的人物的溝通技巧？
拍攝平面和拍攝動態的不同？
通常都是自己比較緊張！
動態跟平面是完全不一樣的兩件事。
無論如何這都是一個工作，會有時間限制，所以
平面要切片、截取瞬間，而動態攝影是有一段完
在時間內要拍成什麼樣子，大概會有個底，但是
整的時間，尤其是動態廣告，要在現有的秒數裡
在溝通過程中，其實會經由談話互動中，發現一
精確交代故事，畫面就要很清楚。拍攝電影的話，
些細微的事情，或許是神情、或許是角度。
又跟拍廣告是不同的動態攝影了。
有沒有搞砸過的經驗？
照片不太作數位後製？
工作的當時其實都會覺得沒有搞砸，但過了一陣
也不是不太作，是不知道怎麼作。
子再拿出來看會覺得有的還滿慘的。因為拍攝的
而且某一個程度上的真實也很有吸引力，我很喜
過程常常很快，在一張照片中其實也沒辦法看到
歡自然的感覺，所以打燈也越來越簡單，甚至喜
太多的過程，有沒有搞砸其實單看照片是看不出
歡用自然光來拍。
來的，只是會覺得自己拍得不好、不夠滿意。 旅行對攝影師是重要的，喜歡的城市是？
拍不到滿意的東西時會不會執著？ 在一次拍攝中，如果一直拍不到好的東西，我會
我大部份的旅行幾乎都是工作。
相信它「一定有」，只是我還沒有拍到，會一直
一個城市喜歡與否，要看從什麼方式去欣賞。一
想要拍下去，花很多時間拍到想要的照片；不過
開始我覺得歐洲很漂亮，但看久了會覺得歐洲有
也有另一種方式，當拍攝的對象與要拍出的感覺
一種無聊，因為城市發展的中心幾乎都是教堂，
有明顯落差時，我會相信這「一定沒有」。
景物也都差不多，看更久了以後，就開始覺得歐 洲怎麼美，好像都跟我們沒關係。去了那麼多地
方，到後來還是覺得台灣最好，很方便、很親切，
很好。商業與藝術兼具的攝影師 Nadav，我很喜
一個小時之內可以上山下海。
歡他有一本拍攝中國長江的攝影集，他用很細緻 的方式呈現很日常感的長江，呈現一般人看不到
有 次 工 作 的 時 候 去 了 美 國， 這 個 國 家 的 先 天 條
的風景。另外有一位台灣攝影師陳順築，也是我
件、土地資源很好，所以人們也很天真，很富正
很有興趣的對象，他在主題規劃上作的很好，也
義感，尤其是加州，在美麗的風景裡聽著嘻哈音
感覺得出他一直持之以恆的創作。
樂，是我很喜歡的事。
攝影最重要的是什麼？ 靈感來源？ 就是持之以恆。 很愛到書店去大把大把地購入國外雜誌和攝影
像是森山大道和荒木經惟，他們的創作形式中很
集，大量地看書。不過最近看跟自己工作相關的
重要的因素就是持之以恆，如果可以不間斷的一
書籍變少了，反而會看這個領域之外的東西，或
直拍下去，一定會走到一個意想不到的境地。
者一樣是攝影，但是其他創作形式的，比如說藝 術或是報導紀實攝影。在工作開始覺得痲痹或是 迷惘的時候，適時的離開一下，看看別的東西， 其實是很有幫助的。
喜歡的攝影師？ Steven Meisel 在某種程度來說把時尚攝影變成一 種藝術創作，他把義大利 Vogue 這個平台使用的
How did it all begin?
Your first photography job?
When I was still in school a friend of mine worked as a photo journalist and we used to have many interesting conversations about his work. It was then I developed an interest in photography. After serving in the army, I tried looking for jobs in photography related fields but it was quite difficult. I finally got a job at Jazz Images but it seemed like I was working in a factory, on an assembly line; my job was to hang up the film negatives and that’s really all I did everyday. It was quite a boring job to be honest, but I was thankful that at least I had a job.
I don’t remember! But I think it was when somebody gave me the chance to shoot for a magazine.
I really began my journey as a photographer when the sales director at Jazz Images introduced me to Joshua lin (林炳存）and I went to work for him as an assistant.
Your first camera? Leica M6. I used to carry a camera with me everywhere I went. When I was still an assistant, I’d carry my camera with me even on set. When I think about it now, it’s actually quite funny.
Digital or film? When I was an assistant I had to develop a lot of black and white film. The studio I was working at had its own custom-made sink and really great equipment. Back then we made a lot of tools and props by hand. It was a really experimental but fulfilling time. Looking at colour when using film is very different than the digital era. A lot of people liked to use Kodachrome and me too thought the colours were just beautiful, but the developing process takes a very long time. In the end it phased out because it was just too time consuming and not very environmentally friendly. In my work now, I use digital most of the time, except when I am shooting Chen Chi Chen (Cheer Chen) because she actually likes the feeling of holding a picture in her hand. Digital is just too convenient and it can actually capture things that traditional film can not. However when we use digital we tend to take more
photos than we actually need; we usually shoot double the amount we’d take if we were using film (equivalent to about 100 rolls of film).
How do you prepare for a shoot? I think everyone learns through imitation. I look at everything and anything. I think shooting for magazines is great practice because it’s a monthly thing; if you do something you’re not 100% proud of, at least it’s off the shelves in a month or two. I started having my own ideas about photography quite late in my career. Things I used to think were amazing, now don’t seem so interesting any more. I had a colleague who really liked Terry Richardson’s work and wanted to imitate him, but everyone has their own life experiences and techniques, so imitation was really difficult. I think if you want to have your own so-called “style” , you have to spend a lot of time learning about yourself as a person first.
If you could choose a new career, would you still be a photographer? It’s great being a photographer; I think I would!
In this industry you get to experience things others can not. You get to go to many different places, meet different people; it’s something an office job can’t give you. Doesn’t matter if you’re shooting a famous person or someone unknown, a photographer’s job is to bring forth those specific traits that make that person special. It’s what’s so captivating to me about photography. I really like news photography or photo journalism as well.
Any techniques for communicating with someone famous on set? I think nerves are self created. No matter what, this is a job; it has time restrictions, so you have to finish the given task in a set amount of time. When communicating with a famous subject, I try to use chit chat or light conversations to bring out their various emotions, angles, and attitudes.
Any terrible experiences to share?
When you’re working in the moment you don’t really have time to think about how terrible it’s
going. Usually it’s afterwards when I see the finished product or photo, do I regret not doing it a certain way or doing it well enough.
You don’t use a lot of postediting in your photos?
When you can’t get a perfect shot, do you obsess over it?
It’s not that I don’t use it, it’s because I don’t know why I should. On a certain level, I like the genuine and natural side of things and people. Even the lighting I use are becoming more and more simple. I use natural lighting a lot.
Sometimes when I can’t get the right shot, I’ll say to myself, there has to be a right shot, I just haven’t captured it yet. But there are other times when I realize that the subject and the shot we are going for is completely different, and thus I realistically accept that the right shot isn’t going to happen.
What’s the difference between print and video? It’s completely two different things. In still pictures, you have to capture the right moment, a cropped segment in time. But with moving video you have to capture a length of time. Especially in TV ads, you have to showcase a story and specific message within a set amount of time. The images have to be clear and easy to understand. TV ads are also different from film.
Travelling is important to photographers. What’s your favourite city? When I travel it’s mostly for work. Whether or not you like a city depends on how you look at it. At first I thought Europe was extremely beautiful, but the longer I looked at it, I began to find it quite boring. The city centres are mostly churches and cathedrals. The architecture of most cities are quite the same. Now I find that no matter how beautiful Europe is, it really doesn’t have anything to do with me. Having been to so many places, I still think Taiwan is my favourite place. It’s convenient, people are friendly, you can get to the ocean or the mountains within an hours time. One time I went to the U.S for work. The States has everything to be proud of; great land, great resources, and the people are thus care-free and
has this sense of justice or patriotism. Listening to hip-hop music within a beautiful scenery, especially in California, is something I really enjoy.
There’s another Taiwanese photographer that I really admire- Chen Shun-Chu. His themes are always planned very well, and he seems to be very persistent about what he does.
Where does your inspiration come from?
What’s the most important thing about photography?
I love going to bookstores and just buying all the international magazines and photography books they have. But recently I’ve started looking at other books that aren’t related to photography, for example, art or documentary books. When I start feeling numb or lost at work, I tend to leave for a while and look at other things. It really helps to shift my focus away from my writer’s block, or photographer’s block.
Perseverance. Just like Daido Moriyama and Nobuyoshi Araki, their success is perseverance and not stopping what they do. They keep shooting. If you keep at it, you’ll eventually master it, and come to a place you are proud of.
Favourite
photographer?
Steven Meisel in a way has turned fashion photography into an art. He utilizes Italian Vogue very well. Nadav grasps the balance between commercial and art photography very well. I really like his photos of the Yangtze River. He captures it in the most detailed way, giving us a side of the Yangtze that we’ve never seen.
Taiwan Talents
概念時尚新種子 The New Seed of Conceptual Fashion
「概念時尚」是一種把經驗與概念表達在服裝 設計上的創作形式，這些服裝已經超脫了原本 以實用、美觀為起點的意義，在設計上投入更 多原創的概念，成為藝術創作的一環， Hussein Chalayan、 Alexander McQueen 和 Gareth Pugh 等設計師都是這種類型的創作者，在台灣也逐 漸興起這樣以概念為創作原點的服裝設計。
[Conceptual Fash new ideas become become more than of artwork filled McQueen, and Ga more and more d fashion to another
hion] is when experiences and the interpretation of e the main purpose during fashion design. Clothes n just being practical and pretty, they become pieces with originality. Hussein Chalayan, Alexander areth Pugh are all designers within this genre and designers in Taiwan are following suit in taking r level of creativity.
INTERV IEW / Linter 林特 PHOTOGRAPHY / Kuan ST YLING / Juby Chiu HAIR / Stone @ Flux MAKE - UP / Po Tsang Ho MODEL / Lolita @ISIS ACCESSORIES / Agaric Garden FA SHION DESIGN & LOCATION / Juby Chiu Studio
服裝裡的哲學 經驗與共鳴 邱娉勻 Juby Chiu Studio
在台灣新銳裡已經小有名氣的 Juby，在台北新設了一處工作室，新的空間讓她能夠更專心在創 作上。總是有各式各樣想法，也馬上會付諸實行的 Juby，最近與許多藝術家們合作，新媒體、 劇場、聲音藝術等等，甚至製作了一件兩層樓高的裙子，要做成行動劇場；一直持續進行的「人 體實驗室」企劃，也把服裝當做靈魂的延伸、身體的一部分，想盡辦法把「服裝」這一個很具 象的概念，轉化得不那麼表象 。Juby 覺得自己不太像服裝設計師，一直想要把「穿起來好不好 看」這件事，加上一些創作的意義。
「和不同領域的人合作，從生活當中不斷接觸知識與感受，創作 才會變大，如果只是一直從雜誌上找參考，就會越來越侷限。」 邱娉勻稱自己是一個學習者，跨領域地讓想法與外界衝撞出各種可能，每當有人提出跨界合作 時，她都會覺得很開心，「在創作的路上，知道有人正在支持並欣賞著的時候，就可以認定這 個方向應該不太是錯的，也平復了一些迷惘的感覺。」
除了與藝術家的交流，Juby 同時也大量閱讀非圖像的書籍，從建築、哲學到文學，「總是會在 書裡發現與自己人生經驗相仿的片段，我會把這些感受放進服裝裡，當人們透過服裝產生共鳴， 買到服裝也同時買到我的想法和概念。」 把服裝設計走到接近藝術創作的這一步，Juby 也會擔心是否能餵飽肚子這樣實際的問題，「和 有商業頭腦的人做朋友吧！我們總是可以和朋友學習到一些事。」今後品牌也會朝創作與商業 兩個清楚的支線繼續進行。
Up and coming new designer Juby has set up her own studio in Taipei with a space that generates a creative vibe. Always full of ideas and a go-getter, Juby is now organizing a movingtheater that combines new-media, theater, musical art, and fashion. Her “Human-Body Experiment” creates clothing that becomes an extension of a person’s soul and an integrated part of the human body. She devotes her time in turning clothes into more than just an appearance. Juby thinks she’s more than a fashion designer with only beauty in mind, but an artist who sees the potential of innovation in fashion.
“Working with people from different industries and learning continuously from every-day life will allow creativity to blossom. If I only look at magazines for references, I’ll become limited.” Juby calls herself a life-long learner and loves it when people from all walk of life work together to create something. “When people support and admire my work it gives me a lot of support to keep going down this creative path.” In addition to exchanging ideas with different artists, Juby also reads abundant amounts of books on architecture, philosophy, and literature. “I find a lot of relatable experiences in the books I read and I use these emotions in my designs. People can then relate to my ideas and concepts through my clothing.” Turning fashion design into an art-form does worry Juby, due to the realistic consideration of whether or not the clothes will sell well. “Become friends with people with a business sense! We can always learn something from our friends,” says Juby.
INTERV IEW / Linter 林特 PHOTOGRAPHY / Linter 林特 HAIR & MAKE-UP / Monfi Lin MODEL / Soni @ ISIS FA SHION DESIGN / 江奕勳
ST YLING / 江奕勳
日常生活的獨立體思考 – 江奕勳 Reflection of Everyday Life – Jiang Yi Xun 在實踐大學畢業展覽中以令人驚艷的 ”Sailing
空，守護世界人類的和平。」 他在創作概念
to the Moon” 系列獲得關注，同一系列並在英
裡這樣說。
國倫敦畢業時裝周獲得國際新銳設計首獎， 22 歲的江奕勳以黑馬之姿躍上國際舞台，但
或許閱讀、看電影、聽音樂是很好獲得靈感
採訪間在他身上感覺到的卻是沈穩、細膩，
的方式，但江奕勳喜歡道路上到處走走晃晃，
對於自己的想法也能夠娓娓道來。
用自己的感官親自去體驗周遭的事物，從生 活中不經意地找到靈感。除了最新的這一個
”Sailing to the Moon” 的 靈 感 來 自 永 樂 市 場 附
系列之外，以往江奕勳在學校的創作也用這
近的廟會活動，螢光色系的牌樓和旗幟，結
樣的方式發展概念，大二的仙人掌與大三的
合太空人的充氣與科技感，江奕勳將傳統與
黑人建築，都是從日常發想，結合兩種完全
未來的元素結合得淋漓盡致，並以包浩斯短
不同風格的主題碰撞出新的可能，「我喜歡
片「三人芭蕾」作為系列服裝的形體，在袖
效果很立體、很大的設計，服裝的工作對我
子裡加入填充物，「想像著廟會慶典祈求台
來說很複雜，但每次創作也總是令我興奮又
灣國泰民安，希望以同樣的理念把太空人為
期待。」
媒介，將繽紛色彩的廟會慶典，航向宇宙太
At Shih Chien University’s graduation exhibit, Jiang Yi Xun’s “Sailing to the Moon” series generated a lot of attention. The series also won 22 year old Jiang Yi Xun the grand prize for New Cutting-Edge Design at London, England’s graduation fashion week. Jiang has leapt on to the world stage as an underdog, yet when being interviewed he still exhibits the calm, delicate and opinionated persona he is known for. “Sailing to the Moon” was inspired by the temples near YongLe Market. The idea of the neon signs at the market was combined with the idea of space, which allowed for an innovative cohesion of tradition and the future. Jiang took an idea from Bauhaus’s [Triadic Ballet] and stuffed the sleeves with
fillers, creating the image of an astronaut’s suit, but allowing the colorfulness to represent the celebrations at the temple. Perhaps inspiration can be acquired through books, movies, or music, but Jiang likes to take a stroll on the street to allow his senses to look for inspiration. His past creations such as [The Cactus] and [Black Infrastructure] have used the same concept of reflecting everyday life. “I like to use very real, very large designs, which makes designing clothes very complicated for me, but it is also why I look forward to and get excited to create something new each time”.
Abook Gaze
用身體感覺一切 Dance Soul 大目 I NTERV IEW / Linter 林特 PHOTOGRAPHY / Kuan V IDEO / 豆豆
因為模仿電視上國外歌手的動作，而開始的舞蹈之路，一 轉眼就十來年，從喜歡的嘻哈到電子樂風，大目說，雖然 工作有時候被指定的任務也會有不喜歡，那是難免的，但 跳舞是一件很快樂的事。以跳舞為正式的職業，大目覺得 自己很幸運，第一個正式編舞工作之後，便接二連三的得 以與許多藝人合作。這次與陽婆婆的 MV 合作很有趣，直 覺上和這首歌很合，編舞過程也很快。 當年紀漸長，跳舞這項需要大量體力的工作，也需要相應 的體能狀態，「其實該練的基礎都練得差不多了，之後要 作的比較屬於創造方面，創作時不太需要大量練習，所以 目前感覺都還好。」大目除了工作之外的興趣都是「動」， 跑步、衝浪、滑板、單車等等，不知不覺中就已經在維持 體力的狀態。 跳舞的技巧，就像一金字塔型，在最基礎的底端是許多簡 單動作的練習，越往上則是這些基礎的累積，「一首舞是 從很多基礎技巧去組合或是變化而來，所以這些都學會了 之後，就可以很快分析出來，也可以很快學會去跳。」 至於是不是每個人都適合跳舞？大目說：「都是看喜不喜 歡而已。」跳舞這件事，對大目來說已經是生活的一部份， 「無論我作什麼事，都與跳舞有關，它已經是生命中不可 缺少的一部份了。」
Body & Soul – By Dance Soul 大目
I've been in this industry for over a decade. Beginning with hip hop and electronic music, I started dancing by imitating the moves of foreign singers I'd see on TV. Dancing is a really important thing to me and I'm really passionate about it, even though sometimes I'm forced to do some projects that I don’t really like. I feel myself really lucky to work as a professional dancer. I've been given many opportunities to work with famous artists especially after I started choreographing. It was really fun to work with " 陽婆婆 " on her music video. I had a real connection with this song and so choreographing the dance was quite fast and smooth for me. Dancing requires a lot of effort to make it "work" and by that I mean the literal meaning of being physically able to put in the time and to not let age defeat you. I think I've mastered all the basic elements of dance, and from here on forward, it's really about the accumulation of experience and a focus on your creativity as a choreographer. When I'm not working I like to run, surf, skateboard, etc. I like to move around a lot and that helps to maintain my energy level and maintain my body at the most optimal state. The fundamentals of dance is like a pyramid. At the bottom you need to build your skill by repeating simple exercises; at the top it is the accumulation of these simple exercises and experiences that allow you to really perfect your foundation. Any dance choreography is a combination of these basic skills, so once your basics are down, you can analyze and learn a choreography very quickly. Is anyone suitable to be a dancer? It all depends on whether you like it or not. For me, dancing is a big part of my life. All my decisions now revolve around dance, and it's all I do and think about. Dancing is really something I can't live without.
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Abook Magazine Issue
19
L o o k   B o o k
型錄，把「樣子」集結成冊、能讓人一目了然的商業用目錄。
商業攝影中最令人又愛又恨的一個環節， 要有技術、要有美感，卻不能太有創意。 無須太多思考，卻要有拍到天荒地老的超人耐心。
在型錄裡，模特兒就像是紙玩偶，一動也不動，只消商品們在身上流動。 在型錄裡，一切都是安分的、安靜的、真實的。 當你翻頁的時候，你會發現這些影像間有著奇妙的關聯，卻又說不上是什麼。
Team business name / fashion league Creative director / niccolus johnson of niccolus creations Makeup artist / aisha daly Hairstylist / ebonee shelton of naturally you salon Wardrobe stylist / sherene johnson Retoucher / brandon cline-jones Photographer / christos van nathan of christos van nathan photography Model / Matthew hendrith@Advantage talent agency
Modern Day Titan
Photography / Kelly Ng Hair / Eros Liu Make-up / Tommy Chiang Model / Kelsey & Jordan @Lizbell Fashion design / Rachel Ching & Wynn Zhou
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