Dior首推嬰兒車！搭上迪奧經典老花Oblique圖案超時髦

Dior首推嬰兒車！搭上迪奧經典老花Oblique圖案超時髦

今年六月，迪奧Dior剛與義大利品牌Vespa偉士牌聯手打造獨特摩托車造成轟動，這次再度攜手義大利嬰兒車品牌Inglesina推出充滿標誌性花Oblique圖案的嬰兒推車，時髦度升級！

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從遮陽篷、保護層到車子底部的置物籃，都注入了經典Oblique印花，車中軟墊採用天然竹纖維打造，讓寶寶躺在上面舒適又透風。車身和輪子除了有Dior品牌log，也印有Inglesina標誌，媽媽們想必對義大利嬰兒車品牌Inglesina不陌生，擁有50年歷史的權威地位，是歐洲貴族、名人愛用的嬰兒車品牌。

Dior x Inglesina聯名嬰兒推車於九月在歐洲、中東、新加坡和香港地區販售，而中國及日本預計於12 月販售，訂價約為11萬台幣。

而Dior並不是第一個推出嬰兒推車的精品品牌，2018年，Kylie Jenner和Chiara Ferragni就曾經推著Fendi嬰兒車亮相，FF Logo十分搶眼。

嬰兒界年度夢幻逸品！Baby Dior x Inglesina Baby打造最拉風「老花嬰兒車」

手上包包還不夠，連小寶貝的堆車也不放過！Dior正式聯手「歐洲嬰兒推車界的勞斯萊斯」Inglesina Baby，打造最時髦嬰兒車：

by Wei Hsu

圖片來源 / Dior

倘若你是Dior的忠實粉絲，一定知道1967年創辦的Baby Dior副牌。設計上不但秉持著成衣精湛的做工技藝，迪奧先生熱愛的花卉也在天馬行空的創意下，成了一件件甜美浪漫服飾。另外像是從女士鞋履J’Adior 延伸出的蝴蝶結娃娃平底鞋，則是女孩兒心中的夢幻TOP1。

然而就在先前，Dior無預警在官方平台上發布了Baby Dior最新聯名款，那便是與義大利嬰兒車品牌Inglesina Baby攜手打造的Oblique老花刺繡推車！不但採用標幟海軍藍作為娃娃推車的主色彩，細節上如手把到輪子，皆可看見品牌字樣，處處可見品牌用心。

使用上，除了能作為躺平的嬰兒推車，也可輕鬆透過按鈕組裝，轉化為座椅式推車，可說是兼具時髦與實用性的聯名商品。（目前預計將於歐洲、中東、新加坡以及香港發售，12月則將在中國以及日本上市，有興趣的讀者可以上官網查詢最新資訊。）

延伸閱讀：

Dior is releasing its first Baby Dior stroller in Singapore

The Wrap

It’s the director’s best film since his “Dawn of the Dead,” but like so many Snyder movies, it’s both too much and not enough “Army of the Dead” is that rare film that will unite two disparate audiences — both the hardcore fans of director Zack Snyder (and they, it has been clearly established, will eagerly consume anything he makes) and the viewers who can’t stand his superhero movies but wish he would make another film like his 2004 remake of “Dawn of the Dead.” Granted, this latest saga has no direct narrative connection with that earlier film, telling a brand-new and totally discrete tale of the undead. It also overextends its welcome at nearly two-and-a-half hours, but after the bloated excess of Snyder’s extended “Justice League” cut, “Army” feels lean and brisk. It’s not that Snyder can’t be an economical storyteller when he wants to be; “Army of the Dead” opens with a prologue and credits sequence that’s an effective mini-movie about the onset and ensuing combat of the Zombie War. A car accident dislodges a container being hauled out of Area 51, and the alien inside bites his military captors and turns them into zombie-like creatures. Soon, they’ve spread throughout Las Vegas, with a hearty band of human survivors facing massive loss and trauma before the military walls in Sin City. Post-credits, we jump ahead a few years. War hero Scott Ward (Dave Bautista) is flipping burgers in a Nevada greasy spoon when billionaire casino owner Bly Tanaka (Hiroyuki Sanada, “Mortal Kombat”) shows up with an offer Scott can’t refuse — breach the wall, get to Tanaka’s casino, crack the safe, snag the $200 million in the vault, escape in the medevac helicopter on the roof, divide up $50 million with his team. It all seems easy enough; fellow Zombie War vets like mechanic Cruz (Ana de la Reguera, Comedy Central’s “Ana”), buzzsaw-wielder Vanderohe (Omari Hardwick), and helicopter pilot Peters (Tig Notaro) are eager to join in, as is safecracker Ludwig (Matthias Schweighöfer, “Resistance”), who’s beside himself over the opportunity to open an impenetrable safe. (The name of the manufacturer? Götterdämmerung, prompting Snyder’s notoriously on-the-nose musical needle-drops to go full Wagnerian.) Nothing is quite as simple as it seems, from the company man (played by Garrett Dillahunt) placed in the mission by Tanaka for reasons not immediately explained, to Scott’s daughter Kate (Ella Purnell, “Belgravia”) who insists on tagging along to rescue Geeta (Huma Qureshi), a refugee who snuck into the walled city. Geeta had hoped to get the money she needs to buy herself and her kids a ticket out of the camps that the government set up post-war, ostensibly to deal with the zombie outbreak but mainly as an excuse to crack down on abortion-rights proponents, LGBT activists, and undocumented people of color. Snyder and co-writers Shay Hatten (“John Wick Chapter 3”) and Joby Harold (“King Arthur: Legend of the Sword”) play around with the zombie mythos, introducing the notion of “alphas” (smarter, faster creatures with the ability to strategize) and “shamblers” (the staggering undead we’re used to seeing in movies like this). It may be, however, that they brought too many ideas to the table; “Army of the Dead” feints toward the idea of characterization — we’re meant to understand that Scott’s PTSD fueled an emotional shutdown that left him estranged from both Kate and Cruz — but too many of the players here feel like cut-outs with one or two personality traits, even by heist-movie standards. The talented ensemble makes the most of the fleeting moments that the film throws them, from the banter between tough-guy Vanderohe and nerdy Ludwig, to Notaro chewing the scenery (and a series of Hav-a-Tampa cigars) with gusto. (You’d never guess the lattnotaro was digitally inserted into the film to take over for another actor whose name doesn’t need to be mentioned.) But while the supporting players get what they can out of the film, Bautista has been stranded with an underdeveloped backstory and barely-there motivations. Editor Dody Dorn (“Power Rangers”) doesn’t assemble the heist with much suspense, even as it goes completely awry, and even with the added ticking-clock of the Army’s impending nuking of Vegas. We’re left with a somewhat sluggishly paced film that doesn’t make use of its running time to go deeply into either story (the reveal of Tanaka’s true agenda zips by in two lines of dialogue) or characterization, much less chills or thrills. What “Army of the Dead” does have, however, is the glorious excess of Las Vegas itself, left to rot and inhabited with unsettlingly capable alpha-zombies dressed in all manner of showgirl and high-roller regalia. When Scott goes mano-a-mano with some of the alphas, they elude his punches with a balletic grace that implies that before they were zombies, they were performers in one of the town’s various Cirque du Soleil productions. (There’s also a four-legged alpha who’s definitely a vet of one of the Strip’s most venerable attractions.) There’s enough gore, mayhem, and decay in “Army of the Dead” to make for a satisfying zombie-movie experience, and while it’s the best film Snyder has made since his last “of the Dead,” it’s also one that continually hints at the more satisfying work it might have been. The director goes all-in on spectacle, but his script is a pair of threes. “Army of the Dead” opens in US theaters May 14 and premieres on Netflix May 21. Read original story ‘Army of the Dead’ Film Review: Zack Snyder Returns to His Zombie Roots, So There’s That At TheWrap