討論度超高Netflix《璀璨帝國》看了嗎？6大亮點告訴你這秀多精彩！

討論度超高Netflix《璀璨帝國》看了嗎？6大亮點告訴你這秀多精彩！

躍升國際的三個必知臉孔！旅外超模張紘齊、許毓哲、施力仁，離鄉拼搏信念勢不可擋

「一張飛機票承載多少夢想。」這句話說來老套又彆扭，但是對他們來說卻有幾分真實。隨著多元化趨勢的發展，時尚界開始注重各色人種，無論秀場、形象照裡都能看見各國臉孔，這讓旅外的模特兒們有了嶄露頭角的機會。而台灣也有著幾位你不可不知的男模特兒，他們在陌生又熟悉的城市裡，努力耕耘著⋯⋯2020 讓原本的節奏亂了套，也給了他們不同的思考。而這段旅程，想必尚未結束…

在 2021 的一開始，我們有幸在他們返鄉的期間邀請他們來拍攝以及訪問，看看他們對於自己的行業與生活有什麼看法，想必這些故事也能帶給你們一些不同的視野！

（由左至右） 張紘齊著粉紫配色格紋大衣；粉紅色襯衫，都是Louis Vuitton。Bottega Veneta黃色寬褲。許毓哲著Burberry格紋西裝套裝。Bottega Veneta藍綠色網狀上衣。施力仁著Boss橘紅色西上裝。Louis Vuitton黃色襯衫。Gucci藍色Logo喇叭褲。

許毓哲 （Dolls Model）

只要是人生軌道，無分正反

從醫學院畢業後便以模特兒的身分前往紐約，以台灣視角來看，他放棄白領走往沒那麼循規蹈矩的職業，但他不並這樣認為「國外將模特兒視為與醫生、警察一樣的正當職業，與台灣大不相同，在工作上相對也比較尊重，工作環境也友善。」雖然在人生地疏的城市裡，什麼都得靠自己，也讓許毓哲變的獨立「工作上的夥伴大多來自四面八方、更飛往不同的國家，以有別於旅遊的角度去認識一個新的地方，自己的眼界會更寬廣，對於不同事物的包容和接納程度會更高。」

許毓哲著紅色長版大衣；小牛皮綁帶厚底長靴，都是Bottega Veneta。Off-White紅白格紋。Berluti黑色西裝寬褲。

模特兒工作的光鮮亮麗，其實背後藏著不確定跟未知，必須有強大的身心靈才能持之以恆，「前一天才試鏡，隔天就要上秀，或是最後一分鐘才知道自己拿到工作，這種 Last Minute 和充滿未知的節奏，雖然緊湊，但也因為這樣更吸引我！」要求完美的許毓哲，在前期也曾因為掉工作而感到灰心，但久而久之，他知道如何去調適那些種種「試著去將自己能做的做到最好，無法掌控的事便不去強求和過度苛責自己，模特兒如此人生亦然。」

（由左至右） 張紘齊著緊身上衣；皮質喇叭褲，都是Misbhv（初衣食午）Bottega Veneta小牛皮綁帶厚底踝靴。Balenciaga長方形框墨鏡（JEpoque）許毓哲著短版皮衣；圖樣襯衫；絨布窄管褲，都是Celine。Christian Louboutin亮面皮鞋。Native Sons Eyewear墨鏡（JEpoque）施力仁著Versace黑色長版大衣。Dior Men圖樣襯衫。Bottega Veneta藍綠色寬褲。Mykita x Maison Margiela金框墨鏡（JEpoque）

這些困難從未讓他裹足不前，秀場及拍攝經驗豐富的他，也上過各大國際版面，當然不會輕易為每次的機會鬆手「相信每個當模特兒的人，都希望能為自己喜歡的品牌工作，最近愛錶成痴，Rolex 是我下一個目標。」說起模特兒這條路上，跌跌撞撞都是養分，未來將繼續就讀紐約大學醫學院，也沒將工作放下，取得兩者的平衡點，相信許毓哲能在這天枰上擺盪出下一個高點。

張紘齊著黑灰格紋大衣；黑灰格紋長褲；白襯衫；色塊運動鞋，都是Louis Vuitton。Versace紅色內搭上衣。

張紘齊（Public Image Management）

文化的揉和，造就多元化

鑑於實踐服裝系開始接觸模特兒工作，一股衝勁便整裝待發往國外去，過程中的艱辛張紘齊輕描淡寫，並非恬不為意「挫折是必經的，拿出台灣人刻苦耐勞的精神，但也得去學習外國人如何活在當下，吃到苦頭也就如此，為了目標便甘之如飴。」他試著去感知西方與東方文化的不同，並內化成自己獨有的生存模式，去運用在自己的生活上，讓自己在國外更快活一些。

（由左至右） 許毓哲著花卉寬版上衣；白色寬褲，都是Valentino。張紘齊著綠色毛衣；黑色寬短褲，都是Bottega Veneta。施力仁著Berluti圖樣襯衫。Gucci丹寧喇叭褲。

對於產業上的不同，他比喻「就像食物一樣，台灣的義式料理，也是台灣的口味。過度的想要成為某個樣子，反而失去了真正的味道。」也是他在接觸過無數不同國家不同語言的人而理出的頭緒，更是國外給他最大的心理收穫。用多元包容的心，小小的事物都能感到滿足「就像某次到蒙特內哥羅拍攝品牌形象，牧羊人的起司是當地的唯一食物，卻也顯得彌足珍貴，更是在心頭裡最特別的一次拍攝回憶。」拍攝讓他成為空中飛人，可能一個禮拜六天都在飛機上度過，但也因為有這些工作機會，才能讓自己視野更開闊。

（由左至右） 許毓哲著花卉寬版上衣；白色寬褲，都是Valentino。張紘齊著綠色毛衣；黑色寬短褲，都是Bottega Veneta。

經常出現在品牌大秀或形象的他，提到第一次的大秀，讓張紘齊欣喜若狂的絕對是看見知名藝人坐在前排直盯著你走出來，那一刻便能完全感受到自己對於這份工作的愛「但也因為時尚產業的快速，讓自己很容易卡住，時常冷靜下來回頭看，會忘了自己的初衷。每天做一樣的事情，得到的多消耗也多。」2020因為疫情更促使他慢下來，做完他想做的，再持續衝刺，也為之後的目標做足準備，受到爺爺的影響，他最想要的就是開間畫室，教小朋友畫畫。

（由左至右） 許毓哲著短版皮衣；圖樣襯衫；絨布窄管褲，都是Celine。Christian Louboutin亮面皮鞋。Native Sons Eyewear墨鏡（JEpoque）張紘齊著緊身上衣；皮質喇叭褲，都是Misbhv（初衣食午）Bottega Veneta小牛皮綁帶厚底踝靴。Balenciaga長方形框墨鏡（JEpoque）施力仁著Versace黑色長版大衣。Dior Men圖樣襯衫。Bottega Veneta藍綠色寬褲。Mykita x Maison Margiela金框墨鏡（JEpoque）

施力仁（Catwalk）

偶然的路上，不經意會得到更多

大二決定到英國念書，爾後到倫敦工作，因為攝影師的鼓勵毅然決然踏上模特兒之路，用不同的視角去瞭解時尚領域，「其實模特兒一直是我的副業，主業無論是服裝設計到創意總監，服裝品牌到高訂品牌甚至是商業品牌都待過，雖然並非主業，但也因如此能用不同的心態去面對國外的生活。」受到這些職業的影響，讓他看見的與他人都不盡相同，作為第一位 Lanvin 華人模特兒，深感光榮之外，也樂見品牌願意欣賞更多元的美。

（由上至下） 許毓哲著Celine麂皮外套。Bottega Veneta白色網狀上衣。Off-White破洞黑色長褲。Christian Louboutin銀扣皮鞋。施力仁著Logo休閒外套；藍色麂皮長褲，都是Gucci。Dior Men字母襯衫。Bottega Veneta小牛皮綁帶厚底踝靴。張紘齊著Dior Men紫色絨布外套。Valentino白色寬褲。

國外給他的種種無可量化，因為脫離台灣這個舒適圈就是一個挑戰，「問題跟困難真的太多，所有事情的優先順序，思考空間變小，出國就是訓練自己獨立。」無論失敗成功，他都當作經歷。高壓的 Casting、Fitting，時裝周時期，甚至一個半月都睡不到三個小時。施力仁從未想過放棄，再累都在所不辭，「人長期活在一個既定的領域裡，沒有不好，但為什麼不再多做一點。」這樣的觀念促使他成長，更豐富了他的國外履歷，全靠寬廣的想像力跟多元的好奇心，也是他一再強調他最重視的。

（由上至下） 張紘齊著黑灰格紋大衣；黑灰格紋長褲；白襯衫；色塊運動鞋，都是Louis Vuitton。Versace紅色內搭上衣。許毓哲著紅色長版大衣；小牛皮綁帶厚底長靴，都是Bottega Veneta。Off-White紅白格紋。Berluti黑色西裝寬褲。施力仁著Vivienne Westwood紅色條紋西裝套裝。Versace圖樣襯衫。Berluti皮鞋。

「讓家人驕傲，聽起來很蠢。」這是施力仁給自己的一個目標，無論是為一線大品牌工作，抑或是用自己的專業興趣為品牌發聲，他願意做的更多，秉持著這種百折不撓的敬業心態，他選擇去挑戰自己每一個年齡的每一個面向，不會放棄模特兒這個職業，也不會因為挫折駐足。與其說施力仁計畫周全，應該更為他對於想像力與好奇心的執著感到新奇，想必這也是促使他面對每次關卡能夠迎刃而解的一大原因。

（由左至右）全為台灣品牌。 張紘齊著圖樣縫線西上裝；圖樣襯衫，都是JUST IN XX。shen yao米色寬版西裝褲。Bottega Veneta小牛皮綁帶厚底踝靴。施力仁著米色西裝背心；米色襯衫；上衣紫色，都是shen yao。JUST IN XX黑色西裝褲。Christian Louboutin銀扣皮鞋。許毓哲著JUNEYEN白色黑領西上裝。WEAVISM灰色襯衫。DYCTEAM藍色條紋長褲。Bottega Veneta小牛皮綁帶厚底短靴。

不斷出走、回鄉，來去之間也許造就了一些不確定與擺盪，但這就是他們的生活。也許，當仔細了解之後，你會發現，那些在螢光幕前的種種都有點過於夢幻，如果沒有抓緊每個脫穎而出的機會，那就得繼續埋頭苦幹，一個瞬間，可能就錯失了機會。因此，下次當你再看見這些模特兒，試著用不同的視角看他們，請為他們鼓勵，也為他們的努力給予肯定吧！

旅外模特兒－張紘齊（Public Image Management）、許毓哲（Dolls Model）、施力仁（Catwalk）

攝影－Cheng Po Ou Yang

編輯、服裝造型－OR Huang

化妝－Stanley su

髮型－Weic Lin

動態攝影－GuoZhong

攝影助理－Tzuyin Chiu、Argo Tseng、Eugene Tang

助理編輯－Maggie Chiang、Prairie Hsu

商品提供－初衣食午、Berluti、Boss、Bottega Veneta、Burberry、Celine、Christian Louboutin、Dior Men、Dycteam、Gucci、JEpoque、JUST IN XX、Off-White、shen yao、Valentino、Versace、Vivienne Westwood、Weavism

更多精彩時尚風格內容，也請追蹤GQ Taiwan以下平台

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Louis Vuitton Expands in Tokyo With New Tower, Café — and Chocolate Shop

Louis Vuitton’s long, close and fruitful relationship with Japan will reach another zenith in March with an exhibition chronicling its extensive collaborations there, plus a new glass tower in Ginza incorporating a boutique, LV Café, and Vuitton’s latest surprising brand extension: chocolates.

Slated to open March 17, the new seven-story Ginza Namiki building rises from a site Vuitton has occupied for 40 years, while the “Louis Vuitton &” exhibition — drawing on 160 years of cultural exchange and highlighting high-profile collaborations with the likes of Rei Kawakubo and Takashi Murakami — opens March 19 for a two-month run.

Disclosing the twin developments in an exclusive interview, Michael Burke, chairman and chief executive officer of Vuitton, said it’s all about engagement with one of the most advanced and sophisticated luxury markets in the world.

Moreover, he said the twin projects are emblematic of a new era of bespoke stores, events and content.

“It’s not about taking what we did in Paris and replicating that in Tokyo,” he said. “You don’t come to Japan, do a store opening and then come back 10 years later. It’s about engagement that is daily, weekly, monthly. There’s always something going on.

“It’s not about buzz, or image or advertising campaigns or a store opening — the usual suspects,” he continued, calling the readiness of the building now — almost five years in the making — “fortuitous,” and yet another example of cultural exchange, noting its undulating facade evokes the waves of Tokyo Bay, and that the eatery was conceived by famed Japanese chef Yosuke Suga, who also developed the flavors for Le Chocolat V.

View Gallery Related Gallery Couture Spring 2021 Fashion Trend: Capes

“Proper engagement is not just about store openings — that’s a commercial activity. But what we have to be involved with goes way beyond commercial, it’s cultural,” he stressed.

Cue the exhibitions, whose 10 rooms unfurl an impressive array of creative exchanges and artistic collaborations, with a particular focus on Japan, given that the likes of Kawakubo, Fragment’s Hiroshi Fujiwara and the late Kansai Yamamoto have all co-created products or done special projects for Vuitton, as have the artists Yayoi Kusama and Murakami, whose colorful interpretation of Vuitton’s famous monogram —scattered with a few eyeballs — were a blockbuster and had a 12-year run.

Kawakubo, the fashion maverick behind Comme des Garçons, gets her own room at the exhibition, which reminds visitors that her first fling with Vuitton was designing six “party bags” in 2008, which were showcased at a temporary concept store in Tokyo’s trendy Aoyama district.

Asked by WWD at the time if she viewed Vuitton as a peer, or her antithesis, Kawakubo replied: “I think the keeping up of the tradition of making bags from so long ago is wonderful.”

For the new exhibition, Vuitton reproduced Kawakubo’s Bag With Holes — from a 2014 collaboration to mark the 160th anniversary of the brand — in a giant scale. The unusual tote employs the protective cloth sack in which Vuitton leather goods are sold as a liner — to keep the contents from spilling out of the giant openings.

While impressed with the durability and finesse of its monogram canvas, designed to resist everything and never unravel, Kawakubo told Burke, “I want Vuitton to struggle with imperfect” and demonstrated to craftsmen how to fray the edges of the holes punched out of the bags with pliers.

The late Karl Lagerfeld, Helmut Lang, Vivienne Westood, Cindy Sherman, Frank Gehry, Christian Louboutin and Marc Newson are among the varied creative figures who have reinterpreted the monogram over the last 25 years.

It’s well documented that George Vuitton, the only son of founder Louis, winked to a craze for all things Japanese in France around the turn of the century when he created the brand’s brown-and-gold monogram canvas, some of the flower shapes reminiscent of cherry blossoms. A 2016 Vuitton exhibition in Tokyo also documented the monogram’s likeness to Japanese family crests, which hold strong emotional sway and helped fan the island nation’s affection for Vuitton’s leather goods. Meanwhile, Japan-inspired Vuitton with its extreme attention to detail, and obsession with quality products and impeccable service.

The new exhibition at Jing, a glass building in Harajuku, opens with a bespoke multimedia installation by visual and sound artist Ryoji Ikeda, cuing up a dialogue between the historic trunk-maker, founded in 1854, and its dalliances with a range of Japanese and international creatives.

Among interesting historical tidbits highlighted in the show are Japanese Emperor Hirohito’s 1921 visit to Paris, for which Vuitton redesigned the facade of its Avenue des Champs-Élysées store to depict the Land of the Rising Sun. Visitors can gawk at a reproduction of Gaston-Louis Vuitton’s famous window display, depicting a rustic garden with a stone lantern.

More recent artifacts on display are to include ready-to-wear from Vuitton’s 2018 cruise collection by Nicolas Ghesquière, unveiled at the Miho Museum in Kyoto and featuring motifs by Kansai Yamamoto, who paved the way for Japanese designers in Europe. There are men’s looks, too, including Nigo’s Mount Fuji bomber jacket from 2020 and the opening look from Virgil Abloh’s spring 2021 men’s collection for Vuitton, presented in Tokyo.

The seven-story Ginza Namiki tower itself represents a mammoth example of cultural dialogue between two star architects: Japan’s Jun Aoki and American Peter Marino.

“We think that architecture and luxury work hand in hand, and our clients expect us to make an architectural statement today when we open in a location as iconic as Ginza,” Burke explained over Zoom. “Again, it’s not just about ringing the till. It’s about engaging with a Japanese architect, engaging with the urban planning of Ginza, engaging with the origins and the providence of Ginza.”

To wit: Its mesmerizing, color-shifting outer shell recalls that the Ginza neighborhood was once a sandbar peninsula before Tokyo reclaimed more land, and its blue tint evokes the morning sun shimmering on Tokyo Bay.

Water metaphors recur throughout the store interior: A four-story “feature wall” in plaster reinterprets Kimiko Fujimura’s 1977 painting “Wave Blue Line,” while rounded counters, ceiling panels and furniture by Isamu Noguchi contribute to a “sense of flow,” according to Vuitton.

Vibrant color can be found throughout: in the furniture by Pierre Paulin and Stefan Leo; in artworks by Ed Moses and Vik Muniz, and in carpets and design objects. A scheme of pink and orange plays out on the women’s floor; red, turquoise and lime on the men’s.

Marino has cited “fun” and “happiness” as new watchwords in luxury retail. But according to Burke, “even before fun, what we wanted to do is the opposite of replication,” convinced that Japan is leading the return of luxury to its bespoke ways after a long period when “luxury had more to do with exquisite replication.”

“It’s a much more interesting time in Japan because Japan is reconnecting with its past, which is all about uniqueness and bespoke. And that’s what we’re doing with our stores. Every single store is a very unique exercise,” he said.

The store boasts VIP and VIC salons on the sixth floor, a smattering of its travel-inspired design objects, known as Objets Nomades, and a host of exclusive products, including a re-edition of Kawakubo’s Bag With Holes, the men’s LV Ollie sneaker and a slim Tambour with blue and purple sequins.

Le Café LV and Le Chocolat V, located on the uppermost floor, represent a further push into hospitality for Vuitton, which has indicated that eateries and even hotels could be a future expansion avenue for the megabrand.

In January 2020, Vuitton opened its first restaurant within its new flagship boutique in Osaka, Japan, also helmed by Suga.

Burke noted the Tokyo café is a more casual eatery than the “very exclusive” Sugalabo V in Osaka, which gets booked up months, if not years, in advance.

“A store is not just about objects and purchasing objects. The latter is a beneficial consequence of creating engagement, but it’s not the objective. The objective is engaging with your clients in every single city,” Burke said. “They’re demanding a Vuitton point of view on their city.”

The chocolates, to be sold in boxes of four, nine, 16 and 125 pieces, come in squares or molded into the shapes within the famous LV monogram. Given travel restrictions, Burke had not yet had the chance to taste them, though he hinted the packaging is a feat.

“Most importantly, it’s about creating an experience,” Burke said. “How do you translate Vuitton into food? You know, we successfully translated trunks into fashion. So it’s a creative exercise.”

Likewise its fleet of collaborations with various creative figures — from architects and designers to artists — which Burke said are highly appreciated in Japan and seen as an emblem of mutual respect.

Indeed, one unique feature of powerful luxury brands like Vuitton is an ability to bring together creative realms that rarely meet.

“It’s going to be a little bit of an alumni gathering of Japanese artists, and it’s never happened before,” Burke said of the small cocktail planned ahead of the opening, health conditions allowing. “These people have never been together in the same room. So I think it would be a very emotional moment.”

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