ELITE Lifestyle Magazine - Issue 29 East Edition

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

重現你千年的記憶

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「這是人類能達到的 最高和最好的藝術境界。」 —

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「演出讓我沉醉不已！ 這是在復興 中華神傳文化，我鼓勵每個人來看， 我們都能從中學習。」 Donna Karan

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光辉礼献

目錄 CONTENTS

6

Editor’s Note 採編隨筆

10

Exclusive Cocktail Party 《時尚精英》雜誌獨家雞尾酒會

12

Gold Rush and Color Burst 時尚單品 點亮冬季

14

French Luxury Skin Care: Sisley-Paris

16

Holiday Beauty Gift Guide

法國頂級護膚品牌：希思黎 假日美妝護膚禮盒

22

A Coat Story 格紋印花 靚麗大衣

24

Party Time 禮服造型 細節配飾

26

Timeless Elegance 「永不過時的優雅」時尚大片

34

A Resurgence of Art 藝術的復興

42

Photographer Dodo Jin Ming 回到埃及

52

Ken Browar & Deborah Ory 捕捉舞者的光影

60 COVER

Stylist: Many Ngom Photographer: Daniel Ulrich / OURSTUDIO Model: Teresa Yolanda Cheung Makeup and Hair: Kevin Cheah Location: Baccarat Hotel & Residences New York Gown: Monique Lhuillier Earrings: DSF Antique Jewelry

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The Rich Heritage of Moreau-Paris 法國經典 百年積澱

64

If Dessert Were a Song 纏繞舌尖的香頌餘韻

70

A Home Born of Memories 柔軟且堅強的兒時夢想

76

Cozy Up in Your Home

82

A Big Little Nest in France

打造冬日暖居 小巢裡的大世界

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序 EDITOR’S NOTE

A Future Guided by the Past 通往未來的過去

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.

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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。

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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

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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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Information not verified or guaranteed. If your home is currently listed with a Broker, this is not intended as a solicitation.

(Clockwise): The Natura Bissé team.

Jo Yang (L), and Patricia Fisas, the daughter of Natura Bissé’s founder and senior VP of Research & Innovation.

Elite Club members on the scene.

NATURA BISSÉ AND ELITE LIFESTYLE MAGAZINE EXCLUSIVE COCKTAIL PARTY AT BERGDORF GOODMAN 《時尚精英》雜誌獨家雞尾酒會 Text by Lingling Wang | Photography by Xuehui Zhang

A

jewel of the luxury skin care world, Natura Bissé

《 時 尚 精 英 》雜 誌 和 西 班 牙 奢 侈 護 膚 品 牌 N a t u -

and Elite Lifestyle Magazine co-hosted an inti-

cardo Fisas, greeted friends and family from Elite Club and

r a B i s s é 聯 合 舉 辦 的 雞 尾 酒 會， 於 9 月 2 8 日 （週 四）晚 上 6 時 在 紐 約曼 哈 頓 第五 大 道 的 高 檔 百貨 公司 Bergdorf Goodman 舉行。 Natura Bissé 創 始 人 Ricardo Fisas 的 女 兒 Patricia Fisas蒞臨現場，分享了父親的創業經歷，公

shared her father's entrepreneurial experience, the compa-

司 的 經營理 念 以 及 廣 受 好萊塢名人喜愛的明星 產品。

ny's business philosophy, and their products that are used

來自紐約的華人精英參加了酒會，並體驗了來自皮膚專

widely even among Hollywood celebrities. Guests from

家的 「一對一」肌膚分析。

mate gathering with Elite Club members on Sep-

tember 28 at Bergdorf Goodman in Manhattan, New York.

Patricia Fisas, the daughter of Natura Bissé’s founder, Ri-

Elite Club attended the reception and enjoyed one-on-one skin consultations with Natura Bissé’s skin care experts.

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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

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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. / 充滿著新鮮感與童心玩轉五顏六色，編輯嚴選的 嬌俏單品將使您在接下來的假期裡煥然一新，搖曳生姿！

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1 VERDE FERN DROP EARRINGS, PAUL MORELLI, $90,000, MODAOPERANDI.COM | 2 LISMORE POPS HOT PINK TOASTING PAIR OF FLUTES, WATERFORD, $195, WATERFORD.COM | 3 WIDE LAPEL FUR COAT, ALBERTA FERRETTI, $4,990, FARFETCH.COM | 4 LARGE ELINA MATTE CLUTCH, JEFFREY LEVINSON, $1,450, MODAOPERANDI.COM 5 FAIRY TALE VASE, MOSER, $6,980, MOSERUSA.COM | 6 WILD FLOWER SANDALS 105, AQUAZZURA, $850, AQUAZZURA.COM | 7 MAÎTRE DE LA FORÊT SCARF, HERMÈS, $395, HERMES.COM

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FRENCH LUXURY SKIN CARE 法國頂級護膚品牌 希思黎 SISLEY-PARIS

By Pia-Maria Norris

W

ith headquarters in the heart of Paris, Sisley has long been synonymous with the most luxurious of skin care products, makeup, and fragrances. It was launched in 1976 by visionary entrepreneur Hubert d’Ornano, who conceived of the idea of relying on technological advancement to harness the essential oils and the best aspects of plants in beauty products. Four decades later, it remains a family-owned company.

Today, Sisley is distributed in more than 90 countries, and is widely recognized as one of the most prestigious brands in the world of high-end cosmetics..

At the heart of Sisley’s successful creations is the company’s expertise and use of phytocosmetology to create the perfect matches between powerful plant extracts and the skin. With this science, Sisley has achieved groundbreaking anti-aging results and found comprehensive solutions to a variety of skin concerns.

Through a comprehensive and rigorous process that can take up to several years, Sisley’s scientific team first researches the plants’ vital energy, their capacity for regeneration and adaptation, and their protection systems. Then the team not only selects the best plants and the most effective parts, but also finds the country or region where the quality of the plant is best.

Furthermore, the plant is harvested only at the precise time when it will provide the most efficient active properties. Only then is it finally put to use for the skin.

Needless to say, the results speak for themselves.

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長久以來，希思黎一直是頂級護膚的代名詞。 1976 年， 誕 生 於浪漫 美麗 的 法 國，創 始人 是 修 伯 特 • 多納 諾伯 爵（Count Hubert d'Ornano）與伊莎貝爾 • 多納諾伯 爵夫人（Isabelle d'Ornano），經 過 半世紀的歷練，該 品牌仍為家族所有。 作為一個高瞻遠矚的開拓者和企業 家，修伯特 • 多納諾伯爵堅信創新和品質，他帶領團隊 不斷研發高精尖技術，致力於為護膚美妝領域開發最好 的植物和精油產品。 今日，希思黎遠銷全球 90 多個國家，被廣泛認為是 全球高端化妝品牌中最為尊貴的品牌之一。通過高端的 個性化資訊服務，希思黎為客戶精心挑選產品。品牌產 品包括臉部到身體護膚的一整套產品。與此同時，希思 黎還有香水和化妝品系列。希思黎的護膚專家還研創出 一系列特供全球二十多個國際知名的水療中心的面部和 身體植物護膚品。每一款產品都有其特定的應用方法以 滿足不同肌膚的需要。 希思黎成功的核心在其植物美容學方面的專長。在 此基礎上，希思黎成功研發出植物性護膚品，以植物萃 取精華與植物香精油為主要成分，抗老同時可有效解決 諸多皮膚問題。 基於對植物和皮膚機制的深刻理解，希思黎只選取 植物種類中最優越的品種，最具活性效能的植物部位， 然後依據植物類型採取最適宜的科學萃取方法，打造了 一系列的經典產品。 希思黎每個產品的效能都經過專家 和皮膚科醫生評估。 每種活性成分都是按精準的比例調 配，從而加倍其效用，創造出它們最佳的協同效應。因此， Sisley 的每件產品都是專業知識及卓越功效的完美結合。 希思黎 Sisleÿa 活膚駐顏系列是該品牌首瓶全效抗 老的高效護膚品，自面世一直是抗老方面的最暢銷單品。

THE SISLEŸA COLLECTION HAS BEEN A WORLDWIDE ANTI-AGING BESTSELLER SINCE ITS LAUNCH. (Sisleÿa L’Intégral Anti-Age ($525), Sisleÿa L’Intégral Global Firming Serum ($525), Sisleÿa L’Intégral Essential Skin Care Lotion ($185), Sisleÿa L’Intégral Eye & Lip Contour Cream ($210), sisley-paris.com)

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H

OLIDAY BEAUTY GIFT GUIDE

By Pia-Maria Norris

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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)

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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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Diamond Ice Lift ($155), Diamond White Serum ($335), Diamond

強力護膚禮盒

回春抗老精品

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HOLIDAY BEAUTY GIFT GUIDE

4

4. Wrinkle Fighters

高效抗老 RÉVIVE

Wrinkle targeting problem solvers for face, eyes, and lips.

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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)

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HOLIDAY BEAUTY GIFT GUIDE

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6. Happiness in a Bottle

7. For Him

LANCÔME - LA VIE EST BELLE L’ÉCLAT

CREED - VIKING

A delightful, luminous, and fresh fragrance in notes of iris, orange

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blossom, and vanilla bean. ($90 for 1.7 fl. oz., lancome-usa.com)

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)

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雅士香氛

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10. Gift of Glow

HAIRMAX

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skin, and nails ($18), hairmax.com

color in sheer formulas for healthy, fresh and radiant skin. Available in

護髮精品

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light, medium, or deep. ($98, osmotics.com)

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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.

傳統的蘇格蘭格紋曾是貴族的標識，如今Burberry將這 經典織紋運用於軍裝，更顯華貴。在中性氣質的軍裝大 衣底下，適合搭配高雅的A字洋裝，輔以亮色飾品，便能 散發復古的時尚氣質。

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

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Winter Garden 奇花蔓草的

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Timeless

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藝術的復興

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、雕

家，更準確地說，是經 過工作室或學

院 訓 練 的 畫 師或 雕 塑 師。然而，在 大 博 物 館 或 大 畫 廊 裡，卻鮮少能看到他們的作品，因其作品或已被私人收 藏家搶購而去，或還在工作室裡等待著慧眼的發現。 這些藝術家看重質量勝過數量；看重誠懇勝過憤世嫉 俗；看重內在價值勝過營銷炒作；看重西方美術傳統勝 過前衛地不斷求新。在藝術機構普遍對「 美 」不屑一顧的 時代，他們勇於說出這個字，但藝術史的諷

之處在於，

這些傳統藝術家也許是當今最激進、最邊緣化的藝術家 群體。不過，這個群體的人數已增長中。 當這些藝術家被要求介紹自己的作品時，他們大多拙 於言辭或十分謙虛，這與人們對「 激進派 」的印象絲毫不 沾邊。他們質疑這個「 標籤 」（ 激進派），不知怎麼稱呼 自己，因為他們全然沉浸於視覺藝術創造，無暇考慮言 辭表達。但是他們儼然已決定承繼西方藝術傳統，這種 尊重手藝的傳統；也決意要習得這個已延續七百多年的 寫實語言。他們就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.

超越物質的力量 近年來，在美國及其他國家，傳統寫實藝術工作室的數量 不斷增長，有關素描、油畫和工作室創作的技法書也持續 湧 現， 如Juliette Aristides、Jon de Martin和Robert Zeller的書都相當受歡迎。 當代的寫實藝術家深入地體會這個世界，他們有意識 地進行創作，用視覺方式來呈現世界，而不是任由隨機的 衝動來駕馭自己；他們敏銳地觀察自然，鍛煉自己的想像 力，調整自己的視覺感受，以最美而真誠的方式來表達對 這個亂世的理解。從中，展現出幾十年都不見於畫壇的高 度技巧。 而這些藝術家不僅是因為技巧高超而令人印象深 ， 他們的作品中更注入了一種無法言喻的活力，讓人感到放 鬆、開心，感到震撼、驚歎而無法移開目光，這種感覺正 是人們期望從藝術中獲得的。這種藝術不會讓人心神散 亂，而是深心欣賞單純的生活，其價值不需要用言辭來證 明。他們抱持著嚴謹的心態創作出技藝如此高超的繪畫， 其中充滿著生命的尊嚴和尊重感，僅憑這一點就是時代 精神的體現。無論他們會多麼邊緣化，他們選擇的繪畫題 材及繪畫方式都詮釋了我們的時代。

21世紀的工作室 藝術教育及當代藝術潮流的「 去技巧化 」，在近幾十年 來的藝術創作中「 登峰造極 」，除了一些插圖學校之外， 許多高校的美術學院幾乎沒有開設教素描和繪畫的基礎 課——構成、透視、明暗表現等都被忽略了。但仍很多藝 術家仍然渴望找到一位明師，能像古代大師那樣嚴格教

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.

授他們繪畫和雕塑。 當前，寫實藝術繪畫教學較為著名的學校有紐約中央 車站畫室（Grand Central Atelier）、佛羅倫薩美術學院 （The Florence Academy of Art）、紐約布朗區NYK學 院（NYK Academy at Willow Avenue Atelier）等。 「 我在18歲時便覺得，沒有人可以教我真正想學的東 西，所以我 只 好相信，會畫 畫 的人在1913年之後 全消失 了，想要學習如何畫畫，就得靠自學了。我多次聽到過這 樣的說法。」紐約中央車站畫室的創辦人柯林斯（Jacob Collins）說。柯林 斯確實花了很長時間自學，臨摹達芬 奇、米開朗基羅和倫勃朗等大師的素描名作。最後，他在 紐約藝術學生聯盟（The Art Students League of New York）找到了他的兩位導師托尼‧萊德（Tony Ryder）和 泰德‧塞斯‧雅各布斯（Ted Seth Jacobs）。「 泰德和托 尼傳授素描和繪畫有很獨到之處。」柯林斯說： 「 不僅是 教你畫法，這種教學真的能讓擁有共同價值觀的人感到血 脈相連。他們如同繼承了一種血統，一條DNA鏈。」 佛 羅 倫 薩 美 術 學 院（The Florence Academy of Art）的創始人丹尼爾．格雷夫斯（Daniel Graves），與 柯林斯一樣，多年來一直在尋找明師。為了理想，他犧牲 了很多，靠著在佛羅倫薩售賣蝕

版畫和油畫掙扎求生，

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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.

但他與一群志同道合的藝術家一起，努力地發掘被忽略的 傳統，並將其整合為整體。他們還自創了根植於法蘭西美 術學院（Beaux Arts Academy）傳統的技法課程，更為 靈活地讓學生能自由走出一己的風格之路。 格雷夫斯的繪畫師承，可以直接回溯到法國學院派的 理查德‧F‧拉克（Richard F. Lack），拉克在美國名畫家 帕 克 斯 頓（William McGregor Paxton）門 下受訓，帕 克斯頓則受教於朗—萊昂‧熱羅姆。格雷夫斯從1991年開 始在佛羅倫薩的科西尼（Corsini）家族莊園花園裡帶幾 個學生畫畫。現在佛羅倫薩美術學院共有三個分校，分別 位 於 佛 羅倫 薩、瑞 典和美國，約 有 來自40個 國家 的200 名學生。 在佛 羅倫薩美術學 院、紐 約中央車 站 畫 室、佛 羅倫 薩 的 天 使 美 術 學 院（The Angel Academy） 和 意 大 利 卡 諾 瓦 畫 室（Atelier Canova） 等大 型 寫 實 畫 室 如 雨 後 春 筍 般 湧 現 之 前， 美 國 國 家 設 計 學 院（National Academy of Design）和藝術學生聯盟一直設有 「 畫室 」 形式的空間，讓這些技藝高超的寫實藝術家們在此授課。 朱 迪 思‧庫 德 洛（Judith Kudlow） 在 紐 約 布 朗 克 斯 區 主 持 著自己 的 畫 室NYK學 院（NYK Academy at Willow Avenue Atelier）。庫德洛解釋，畫室訓練從中 世紀就開始，簡單而高效，學生可以選老師（ 大師），反 之亦然，這很像學徒制，徒弟會幫老師調顏料、打掃工作 室或跑腿等。 庫德洛將自己的作畫區域置於畫室正中央。「 當我在 這裡（ 作畫）時，每個人都看得到我在做什麼。」她說。 比如，學生們可以親眼看到她為展覽做準備，與畫廊老闆 談話、商討價格、包裝畫作準備「 發貨」等。除了在課上學 習作畫，他們也學習怎樣賣畫，以及怎樣應對藝術家在創 作過程中通常會面臨的考驗和困苦。

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 38│

堅守真實 多數工作室不僅訓練學生成為藝術家，也教他們成為繪 畫老師——在補貼收入之外，更是為了確保古典傳統可 以得到延續。 跟 隨 雅 各布．柯林 斯（Jacob Collins）學 畫 的兩 位 藝 術 家托 尼‧庫 拉 納吉（Tony Curanaj）和 愛 德 華．米 諾 夫（Edward Minoff）， 在 他 們 的 播 客「 建 議 捐 助 」 （Suggested Donation）中，問所有藝術家嘉賓同一個 問題：你是如何找到真正心靈相通、能教你技法的老師 的？一般說來，越是老輩藝術家，當年就越難找到老師。 例 如88歲 的 伯 頓‧西 爾 弗 曼（Burton Silverman） 說， 他只能通過在美術館裡研究古代大師的繪畫自學。今天 的年輕藝術家們已經比較容易找到工作室了。 對於想接受工作室系統訓練的寫實藝術家們來說， 藝 術 復 興 中 心（Art Renewal Center， 簡 稱ARC） 也 是重要的資訊來源。ARC是一個致力於倡導視覺藝術高 標 準 的 非 營 利 性 傘 式 組 織，2000年 成 立 時 認 證了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， 今 天 則 已有70家 獲 得 認 證， 還 有40家 在 等 待 其認證。 然而，畫家也擔憂，雖然現在技巧高超的藝術家較以 往（比如說10年前）更多了，但願意代理他們的畫廊卻很 少，有關的報導也很有限。另一個問題是，公眾不了解這 種藝術，缺乏精緻的鑑賞眼光，也難以催生高質量的創作。 柯林斯認為責任主要還在藝術家自己。「 我覺得真正精於 此道的（ 古典寫實）藝術家還不夠多，我自己也還不夠好； 我會盡我所能的。」 「 每個人都會繼續努力，但是在想做出真東西的藝術 家和想要真東西的社會文化之間，必須得建立一種關聯，」 他說，「 在有藝術贊助人能架起這座橋梁之前，藝術家們 只能自娛自樂，東賣一件、西賣一件。在有需求表達出來 之前，我們很難看到奇妙的作品，這正是藝術贊助人要做 的事。」這群藝術家，正在這個看似混亂的世界中追尋著 出塵之美。

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不完整的時刻 The Incomplete Hour

早晨的顏色 Morning Color

42│

BACK TO EGYPT 回到埃及 English text by Irene Luo | Chinese text by Nicole Hao Photography by Dodo Jin Ming

我需要一個主題去開始一些事情， 一九九五年我選了埃及。 埃及是一個不可思議的地方，在沙漠的薄暮後， 它的神性與人性相互滲透著，散發一種奇妙的能量。 這裡地方像是存在，又像是不存在。 這種現象符合了我對事物的欲望。 我想是由於情緒上的振奮，最初的構想逐漸消失了， 我找到了一個開口。 然而，回到香港，發現了一些在當時 看似很迷人的事物， 在底片中卻消失了它原有的魅力， 而另外一些無心的影像，卻展現了更多的可能性， 於是我需要讓我的記憶再次回到埃及。 為避免我的照片直接抄錄我所看到的， 我把影像重新組合， 每一格的影像就像音樂的符號一樣， 在互相建立之中，找到了自己的位置， 同時影像之間的距離把照片的主題拉得更遠了。 在記憶中我常常接觸到另外的現實， 真正的影像是不能發現的， 無論我選擇睜開眼睛還是閉上眼睛。 金旻

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卡拉尼斯城 City Karanis

44│

金字塔之一 Pyramids I

│45

46│

法約伊之樹 Fayoum Tree

自然界的符號 Elemental Signs

│47

距離之眼 The Distant Eye

獨白 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

在我眼的背後 Behind My Eyes

ABOUT DODO JIN MING

關於金旻

“I want the dense fog of morning, the bright light of

金旻是美國紐 約知名的華裔攝影師，她 的作品細 膩真

midday, the heavy snow of nighttime, and a path that

實、不 失 大 氣，沒有

cannot be seen,” Dodo Jin Ming said to her friend, the

的 張 力，讓 人一 眼看 到 就 被 深 深 吸引，心 靈 產 生著巨

world-renowned photographer Robert Frank, when he

大震動.

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

激 人 眼 球 的 色 彩，卻 具有強 大

「 在我看來，她的作品非常有衝擊力但又有令人窒息 的美麗。」建築師William Pedersen稱讚，「 讓我看到 從沒見過的自然 」。

powerful and captivating photographs, from stormy

金旻談到： 「 我拍 攝山、海、樹、石，不僅僅是在找

seascapes to alluring images of Egypt. But at the same

尋圖像，同時也是在找尋音樂、詩歌、找尋更為久遠的

time, she remains an enigma—exuding an otherworld-

因素......1995年在我取題《回到埃及》時，心中有一種很

liness and a vision of the world seen as if from an alter-

深的感覺，藝術的遠景不在前面，而是在身后一一孕育

native reality.

我們的古老文化。」

MUSICAL SOLACE

契機，使其改變了風 格。「2011年走入法輪 大法修 煉，

Born in Beijing, Dodo grew up in a family of prominent

中國的五千年文化引導著我藝術創作的回歸。作為藝術

Chinese artists and musicians. In her youth, she watched

家是有使命和責任的，首先成為一個好人，才能成為更

many of her family members suffer years of brutal per-

好的藝術家。創作的過程也是淨化自身的過程。如何從

secution under the Chinese Communist Party for sup-

內心深處找到自己，從本質上守住真正的自己......『 純 』

porting intellectual freedom. Such circumstances—com-

就 顯 現在 眼前，距 離它又 那麼 遙 遠。修 煉 成 為 我的 唯

bined with the chronic fevers and ill health that plagued

一途徑。」

她曾經在「 大悲大慟的激情中創作」，一個偶然的

her since her youth—cloaked Dodo’s worldview in bleak-

正 是 這 種 對 藝 術 的 精 益 求 精，和 對 古典文化 的 熱

ness. “Since birth, my life seemed to carry lifetime after

愛，金旻的攝影作品，似如莫札特音樂的純真，又有源

lifetime of sorrow,” Dodo said.

自巴赫的嚴謹，還有貝多芬般的澎湃。她的作品，如同

Dodo began her artistic journey not as a photogra-

一首首穿越心靈的交響樂，層層精妙渾然，自然昇華。

pher, but as a musician—a violinist. Through music, she

再一次回到埃及，金旻以一種隱喻的方式，在人與神相

expressed her emotions. “Music was my home,” she said.

遇的國度，捕捉著亦真亦幻的奇妙。

She joined the Hong Kong Philharmonic Orchestra in 1982, but after a few years, she chose to leave upon

50│

水與火 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.

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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。

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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、兩個、三個......世界舞台上的第一流舞者，一位 接一 位的走入了Deborah和Ken的鏡頭。他們中，有的 是出生在舞蹈世家的天生舞者，有的是打破傳統的黑天 鵝。在Deborah和Ken的鏡頭下，每個人都有自己獨 特 的靈魂。 「 我們選擇在工作室的布景前拍攝，而不是舞台或戶 外，」Deborah說，「 因為我們希望作品能夠突出舞蹈 者本身，不被場景細節干擾，」在拍攝時，他們會先讓演 員做幾個即興動作，拍出樣片，然後大家一起探討，修 飾細節，確定最終姿勢，「 我們通常並不預設想要達到的 情緒點，但是當抓到它時，就會意識到─ ─每次都不一 樣，有時，它會像魔術般讓人驚喜。」Deborah說。 沒有劇本、沒有設計，在拍攝現場，只有舞蹈演員、 Deborah、 Ken以及一名化妝師。 「 他們懂得如何表現，」 Ken說，作為舞蹈家，「 他們從不懼於展現自己的內在。 從舞蹈演員的一靜、一動，以及他們的著裝，你都可以看 到內在的閃現，不論是鏡頭前還是在拍攝準備時。」 攝影鏡頭下的舞蹈家，有時是萬眾矚目的名人，有時是故 事的一部分─ ─ 但Ken想要表達的不止於此，他試圖從 不同的角度抓住舞者的某一瞬間，在那一瞬間，光影定 格，「 你了解了一點點你所看到的這個人，他的內在，他 的弱點和長處。」Ken說。 2016年，Deborah和Ken將 他 們 的 攝 影 匯 集 出 版， 成為《The Art of Movement》，書中包含了七十多位來

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, 54│

自美國芭蕾舞劇院、紐約市芭蕾舞團、Martha Graham 舞蹈團等藝術團的舞蹈家，每一位主題人物都附有一小 段採訪，述說他們的拍攝情緒、舞蹈經歷，或是，生活中 最幸福的瞬間。 「 擁有舞蹈這種完全通過動作表達的語言，是一件美 好的事，」Deborah說。在這本書中，「 有人看到了完美 的身體，有人看到了漂亮的裙子，有人得到了情感的共 鳴。」「 而從未注意過舞蹈的人，」Ken補充道， 「 也許在 一瞬間愛上了她。」 「 出書會讓人上癮，」Deborah笑道，現在，他們的 第二本作品集正在醞釀之中。 攝影集裡，Daniil Simkin在他優雅而富有張力的舞 姿旁，留下了這樣的文字： 「 舞蹈是流動的藝術，舞台上 的每個瞬間都不可複製。而攝影，卻使轉瞬即逝的舞步 停留在時間中。這就是我為什麼如此喜愛攝影，因為，你 記住了時間。」 也 許 在 一 個 意 外 事 故 未 曾 發 生 的 平 行 世 界， Deborah依然選擇了攝影，在這裡，她將與自己鍾愛的 藝術以另一種方式連接。 在為上舞蹈課的女兒拍照時，Deborah彷彿看到了 從前的自己：聆聽著同樣的音樂，學習著同樣的動作。在 時間的某個節點，一樁意外使她中斷了舞步。然而轉了一 圈，她又回到了這裡。時間以一個奇妙的輪迴透露她的 美意，輾轉尋求，Deborah依然與舞蹈互相守望。

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

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法國 經 典 百年 積 澱

Crafted by Tradition The Rich Heritage of Moreau-Paris English text by Crystal Sh | Chinese text by Yi-Chun Lin Photography by Moreau-Paris

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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

位 於 舊 金 山 聯 合 廣 場 西 北 側 的Moreau-Paris是 一 個

姓名縮寫、皇冠圖徽等客製設計。

古老 又 嶄 新 的 品 牌。 它 始 於19世 紀 初 期 的 法 國， 復 興

Moreau-Paris的官網上有三款收藏者喜愛的經典包

於2011年 的 巴 黎。 皮 革 家 族House of Rovnoff獨 具

款：The Brégançon、The Miromesnil、The Diligence。

慧 眼， 與 設 計 總 監Fedor Georges Savchenko攜 手，

The Brégançon是為了向南法布列岡崧 碉堡（Fort

重拾其傳統工藝技術，賦予百年經典新生，再令世人驚豔。

de Brégançon） 的 主 人， 同 時 也 是 品 牌 擁 戴 者 ——

Moreau-Paris的 獨 特之 處 在 於 高 貴 的 品質 和 實用

Robert Bellanger致敬，是當年the House of Moreau

性，以 及 歷 經 百年 積 澱 的 歷 史 感。傳 統 的 手工 製 作工

生產的第一個時尚大型托特包，包身為手縫蠟線，款式

藝，是成就其經典之作的關鍵之一。 Moreau第一代匠

選擇上另有雙重皮革（ 素面與MOREAU-PARIS經典花

師Martin-Guillaume Biennais曾 立下傳奇——征 服了

紋）、以及經典皇家藍羊皮款。

品味極高的拿破崙一世，成為其麾下御用品牌。一百多

The Miromesnil則 細 緻 精 巧， 有 著 全 手工 縫 製 的

年以後，即使這個低調的百年老牌還未充分為人所知，

斜面外 觀，特別 的 是 金 屬 鏈 條 的 設 計來自十九世 紀古

但是一只要價兩萬美金的鱷魚托特包，以及終年堅持不

珠寶的樣式，附有一把鑰匙的鎖頭設計，開闔處可客製

打折的硬底子工夫，其品牌價值不言而喻。

品牌圖徽於其上。

Moreau-Paris皮 件 上 的 條 紋 圖 樣， 靈 感 來 自 於

The Diligence是當年旗幟款式，在十九世紀末引領

藤 籃 優 雅 的 編 織 造 型， 透 過 獨 家 傳 統 的 網 版 印 刷，

風騷。這系列的皮件沿用了當年旅行箱用皮革的高標準，

將半衰顯影顏料轉印至頂級牛皮，能確保更深

以及高規格的裁縫技術，以保品質不二。The Diligence

耐用的

印製效果，在無微不至的品管中，造就每一寸都閃耀著

的包身還配有取法古典旅行箱所用的造型鎖鑰。

神 祕光澤 的 印刷 皮革。Moreau-Paris堅 持 使 用最 好 的

除舊金山聯合廣場的旗艦店外，Moreau-Paris亦在

小牛皮，輕軟而能負重，印製效果良好，完美呈現色條、

頂級百貨巴尼斯紐約精品店（Barneys New York） 有售。

62│

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 纏繞舌尖的香頌餘韻

Song

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

米 其 林 常 勝 軍 的 主 廚Rory Macdonald出 身 倫 敦， 是 英 國 名 廚Gordon Ramsay餐 廳 的 甜 點 行 政 副 主 廚， 也 是 米 其 林 星 級 的Hakkasan餐 廳 集 團 於 美 國 的 甜 點 執 行 主 廚。 Macdonald自 立 門 戶 後， 選 擇 曼 哈 頓 熨 斗 區 的Patisserie Chanson做 為 初 試 啼 聲 的 腳 地。 該 店 秉 持 初 衷， 提 供 經 典 的 法 式 烘 焙， 如 馬卡 龍、 蛋 糕、 可 頌 等 各 式 麵 包 以 及 美 味 的 輕 食、 飲 品。 而 今 年 秋 天 開 幕 的The Dessert Bar， 給 顧 客 的 是 與 Chanson全然不同的用餐氛圍與甜品體驗。 The Dessert Bar， 顧 名 思 義 是 間「 甜 點 吧 」， 但 這 裡 可 不是 僅 將可口的 甜 點 放 在 櫥 窗裡，任 憑 顧 客點 選 外 帶 的 尋 常 點 心 坊。Chanson以 上 選 品 質 製 出 歐 式 傳 統 味 道， 若 想 一 窺The Dessert Bar的 真 面 目， 需 要 在 夜 幕 降 臨 時 拜 訪。 循 著 店 裡 牛 油 與 砂 糖 交 織 的 香 氣， 向Chanson地 下 室 探 去， 便 是The Dessert Bar所在。這處前身為美國禁酒令時期地下酒吧的神祕 空間，正好整以暇地等著您品味獨家定製的甜點饗宴。

│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.

選擇一處幽靜隱蔽的空間大展身手，並非是譁眾取 寵，而這與Rory Macdonald一 點也沾不上 邊。「 如 果 不是抱著追求完美的心態從事甜點烘焙，那簡直是浪費 時間 」，主廚如是說。Rory Macdonald希冀的是透 過 手中的 塊 塊 芳香美 點，帶 領 饕 客 神 遊千面巴黎。Rory Macdonald了解，越來越多人好奇甜點的製作過程，索 性在為時兩小時左右的互動中，伴隨著饕客的笑聲及服 務人員的熱忱，將廚房裡的精準套路與一絲不苟展現在 老饕面前。 The Dessert Bar時常更換套餐內六道餐點的內容， 善於問津者並不計較，反而甘心Macdonald帶來的處處 驚喜——當您以為店裡有的只是甜點，多層次口感的松露 爆米花會令您不禁為自己的失算呀然而笑。或者如開胃菜 起司拼盤，綴有黑松露的薄片Moliterno起司，覆蓋在燃 著乾草的小盒上，目的是帶你走訪瀰漫乾草香的農場。眾

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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│

所期盼的餐酒亦是隨機變化。在這次採訪中，首席調酒師 Manuel Zuluaga為筆者遞上一杯口感圓潤的Taylor二十 年茶色波特酒，堅果、葡萄果乾、煮過的莓果香氣在口齒 間迴盪不已。 Rory Macdonald如同所有用心的頂尖廚師，亦擅長 在古典中變化新意，如其將法國國民甜點蘋果塔，以「 翻 轉」模樣再現：酥鬆而焦糖色的千層塔皮覆蓋甜軟的「 粉 紅淑女」蘋果之上，香氣撲鼻。翻轉蘋果塔相當考驗廚師 對於火侯的掌握，因為在拉開烤箱之前，成功與否全是未 知數。口啖美食之餘，看著Manuel Zuluaga點燃蘋果白 蘭地，傾瀉如瀑布般的藍色火焰，又是大飽眼福，讓人不 禁輕歎低調又神祕的The Dessert Bar，如何能帶來這樣 瑰麗生動的用餐體驗。

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

柔軟且堅強的兒時夢想 English text by Crystal Shi | Chinese text by Yi-Chun Lin Photography by Rafael Gamo

70│時尚精英 ELITE

時尚精英 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│

這幢有著幾何外型、大型玻璃帷幕，面對高爾夫球場、 泳池、花園的大房子，來自屋主腦海深處的孩提記憶， 它像 是 一方 指 南 針，在 遊 子 迷 茫 時 引其還 鄉。屋 主 的 鄉 愁 同 時 也帶 領 設 計 團 隊，重 新反 思舊屋 的可 塑 性， 以 及設 計出真正 適 宜 屋 主一家 五口從老地方孵育新 夢 想的「 家 」。 舊邸的新生 兒時的舊宅至今已有三十年，因此設計師僅依憑舊址，將 屋梁結構全部翻新，充分利用舊屋得天獨厚且面對高爾 夫球場的景觀優勢。原先的二層樓，全打通為一樓挑高 設計，再以剔透的落地玻璃搭載放大兩倍的起居室，面向 花園與游泳池，明亮舒爽。設計團隊本身十分重視採光 效果，為了盡可能發揮自然光的美，客廳以內嵌的崁燈為 主，接往二樓休息間、樓梯依附的牆面頂端，則開了道長 形玻璃窗，引入柔和的光線。

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.

新屋的趣味 從大 廳 上下環視，二樓休息間與一樓餐廳，分別展示了 不同的質感，饒富趣 味。前者熱 情好客：壁 爐、裸色石 面、意 大利Henge環 狀燈飾、紅地毯，上有酒吧，木質 裝潢橫亙此間。後者儼然如一座深藏大廳的高冷藝廊： 藝術作品陳列於牆、賽茵那石面的邊櫃，盥洗室隱於木 牆之後。待客室一樣是兩樓挑高的空間，內部猶如手風 琴起伏的風箱，同廚房延續了入口的大量木質裝潢的特 質，連接著花園與其他休憩空間。 自在的隱密空間 此次設計中，木材、燈飾、溫暖暗色調 的裝潢 料面，是 不斷重複的元素，在上述各個空間反覆出現，三間兒童

PRIVATE LUXURY The sumptuous master bedroom, 1,615 square feet bigger than the original, includes a comfortable sleep-

房、主臥室也不例外。 150平方米的豪華主臥室內，有辦 公桌、咖啡區、閱讀角落，柔軟的裸色裝潢料面，夢幻般 輕覆在室內的木製階梯、石料處。主臥室的照明設計亦

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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.

十分講究，以反射式照明暈亮天花板，並輔以崁燈補充 光源。另外，主臥室與穿衣間皆以意大利阿拉伯白大理 石為主要石材，兩室之間的浴室相對而建，各自配有蒸 汽衛浴與獨立的梳妝台。 門面靚樣之講究 為了使 建 築 物 主體 與戶外景 色相 互增 益，其周圍 輔 以 簡潔優 雅 的 橙 色方形 拱 廊、多量寬 闊 的 開放 式 玻璃 帷 幕 設 計、牆 面 橙 色 與 乳白的 肌 理質感，倘 若屋 主 在 大 花 園 享用露天 烤 肉，或 者 跳 入 泳 池 消暑，都 能 感 到 這 一切設計讓新舊宅邸之間的聯結變得饒富興味。

Previous spread (L-R): Living room and family room.

Left page (clockwise): Lateral facade, kitchen, dining room, and master bathroom.

This page: Entrance.

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COZY UP in Your Home 打造冬日暖居 English text by Erin Wang Chinese text by Yi-Chun Lin

PHOTOS BY BLOOMINGVILLE, AMARA, B&B ITALIA

All About Materials

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2

3

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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.

天鵝絨、針織、棉質與羊毛皆是今年冬季最流行的纖維， 躺椅上僅需添置一對抱枕或一張質料好的毯子，這些驅 走冬寒的輕軟面料將為您帶來一室和氣煦人。如果您愛 新鮮，不妨大膽地配色：粉紅、鮮黃、正藍色。覺得這樣 太活潑？那就挑選經典的「 無色彩」：黑、灰、白。一年之 末，嘗試為家中寢具換上這些細緻柔嫩的面料，同家人在 愉悅的氛圍裡期待新年的到來！

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PHOTOS BY FERM LIVING, DFS FURNITURE, GARDEN TRADING, B&B ITALIA, MATER DESIGN

A Rustic Look

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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.

鄉村風的設計往往伴隨木材、霧面處理、皮革以及樸實 的傢俱，揉和出悠閒、迷人的空間，令人感到賓至如歸， 雙腳能自在大膽地放在咖啡桌，或者在地板任意臥坐。 帶有皮革溫潤與天然質感的傢俱，例如沙發，相當適合 搭載木頭屋樑、原色木梯的空間之中。在一片原始素材 中，添加些許鮮豔的地毯或抱枕，亦是增添生活情趣的 設計祕方。

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PHOTOS BY BLOOMINGVILLE, FERM LIVING, B&B ITALIA, DESIGN HOUSE STOCKHOLM

Nature Inside

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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.

凜 冽 的冬 季 裡，建 議 您不 妨 尋幾 個 有 設 計感 的花 瓶， 蒔 花 弄草，或 是 擺 進 鮮 豔 芬 芳 的水 果，填 補 空洞 的桌 面與 櫥 櫃 隔 板，頓 時 便 能 轉 化 家中氣 氛，增 添 蓬 勃 生 機。如 想 保 留 更多有用 的 空 間，可以 順 沿 牆 面吊 掛 幾 花 盆。倘 若您想 讓 家中佈景能有社群 媒體 上 的美照 效 果，可搜集一些特殊設計的容器，安插花束，與香氛蠟 燭、古董書籍以及您鍾情的裝飾配件隨興擺放。

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小巢裡的大世界

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│

陶淵明 《桃花源記》： 「 初極狹，纔通人；復行數十步，豁然 開朗 」，寓示人類視覺隨著空間的切割與分配而有廣狹的 體會。位於法國波爾多省的兩層小屋，因設計師利用大面 積的玻璃採光以及高明的收納設計，創造了更多可應用的 空間，體現了陶氏文中望之且小，即之卻廣的神奇空間感。 設計師為了營造溫馨的家居感，規劃了十片窗牖，從 四方引入大量的光線，經由白色的牆面反射，頓時通室明 亮，撐開空間廣度；落在平滑堅實的黃金色栗木板上，則 散發柔和色澤，賦予一室和煦溫暖。一日之中，光線在室 內推移的效果，有如舞臺藝術般精采。 一樓的空間設計以頂天的多格壁櫥為準，其下設有一 長型平台，延伸至屋內角落處，便是可坐可臥的閱讀室。 拉開閱讀室的木平台，底下藏著辦公桌椅，可讓屋主在 自然光中專心工作，有如繭居。書櫃對面的木牆隔出了廚 房、洗衣間以及依附在木牆本體上，具有儲藏間功能的樓 梯。廚房為半島造型，開放式的設計有利主客隨時能使用 之。設計師有意將廚房設備最大程度簡化，令廚房這角色 在非用餐時刻能有「 低調 」的存在感。 二樓幾乎全為主臥室的空間，一堵小小的木製衣櫃默 默地立在角落。同一層樓，兩扇白門後面分別藏著盥洗室 與淋浴間，後者主體為灰白花紋大理石，既展現俐落感， 光潔的質地還有空間視覺膨脹的附加價值。 這間迷你別緻的二樓住宅，處處體現設計者細心安置 每一空間的巧思，每一處空間的規劃皆得其所歸，不互相 干涉，實現舒適宜人的居住氛圍。

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│

曼哈頓地產專家

吳 梅 Mei Wu Stanton Licensed RE Salesperson

Mei 是位獨居風格的曼哈頓地產專家。成功的 藝術生涯和多年對建築設計的喜愛，練就出她 對品質和細節的完美追求，以及如何幫助客戶 挑選最佳物業的獨到品鑑力。 「值得信賴」和 「豐 富的專業知識」是 Mei 贏得客戶滿意的秘訣。 出生自北京，Mei 如今已在曼哈頓上東城生活 了二十多年。她擅長英語和普通話，精悉美國 主流社會，對紐約地產擁有豐富經驗。在曼哈 頓 這個 風 雲 變 幻 的 城 市，Mei 是幫助 您 尋找 最具價值和成長潛力地產物業的最佳人選。

如果您有地產買、賣、租賃需求， 歡迎來電諮詢。 直線：646.320.8808 郵箱：mstanton@compass.com

10 E 53rd St., 15th Fl, New York, NY 10022 微信：meiw8808

INVESTMENT | 投 資

稅改方案正式出爐 聯邦遺產稅廢黜?所得稅率調降陷阱多?

遺產稅廢或留，引發高度爭議

困難很多（ 只能仰賴人單純的善心），

2017年九月底，美國川普總統（Donald

讓諸多需要經費的慈善事業無法展開或

J. Trump）正式宣布稅務改革，其中一

繼續。

個引發高度爭議的提案是廢黜聯邦遺產 稅（Federal estate tax）和隔代移轉稅

所得稅調降，但須注意細節陷阱

（Generation skipping tax）。 現 行 法

本來川普 總 統 說要大 幅 調 降公司所得

之下，2017年的聯邦遺產稅免稅額和隔

稅 到15%， 但 斟 酌 後 的 正 式 方 案 較 保

代移轉稅免稅額都是549萬美元，稅率

守：股 份有 限 公司 所 得 稅（corporate

40%，這個稅種只影響到極少數人，統

tax）率調 降到20%，小型 企業（small

計顯示1,000人中還不到2人會富有到需

business income tax, 包 括S型 公司）

要繳交遺產稅，但是廢黜的話，國稅局

則是25%。專家認為這個調降方案實質

每年收入會減少170億美金。

意義不大，因為目前大型股份有限公司

分析家指出廢黜遺產稅給多數民眾

都有節稅策略讓它們繳不到20%的稅。

的觀感不佳，因為形同讓富有家庭更富

也有預測，方案部分細節可能使不少上

筆者王劭文出生於台灣台北，

裕，讓已經貧富差距過大的美國社會階

市公司的股價下滑。

台灣大學法律學院及哥倫比亞

級流動靜止、族群更加分裂。有人則主

個 人 的 所得 稅 最高 稅率 從 39.5%

大學法學院畢業，並獲領紐約

張課徵遺產稅會讓人不敢努力致富，不

降 到 35%，但 是 最 低 稅 率倒 是從 10%

大學 華 格 納 公 共 服 務 研 究 所

過目前研究沒有證據顯示真的會如此，

改成 12%，對於中低收入戶影響較大。

最高等獎學金，主攻美國醫保

而超 級富 豪巴 菲 特（Warren Buffett）

川普總統方案下的州稅抵扣額比現行法

政策。領有紐約州律師執照，

就是需要繳遺產稅的人，他便也表示廢

嚴苛，對於州所得稅率高的民眾（ 如紐

從 事耆 老 保 健 及 資 產 規 劃 服

黜遺產稅對美國整體社會是不好的。

約州和加州居民）是不好的消息。新方

務，聯絡請洽 718-844-8560或

kneal@nealgrouplaw.com。

以川普總統為例，這個提案一旦通

案下，雖然標準扣除額表面看來是差不

過，其將來的遺產將免於繳稅，( 一般估

多增加一倍，但其他調整讓子女多的家

算川普總 統若留 10 億美元 給孩子，依

庭要繳較多的稅。

現行法的話，需繳 4 億美元的遺產稅 )。

整體而言，紐約大學法學教授 Lily

諸多服務高淨 值人士 的專 家也 表

Batchelder 表示逾三分之一的民眾無法

示，多數可望要繳遺產稅的人其實都懂

享受到稅改中的優惠，而美國國家公共

得 聘 僱 律 師、會 計 師 和 財務 顧 問 來做

電台（National Public Radio）報導表

節稅規劃，常常就可以大幅降低遺產稅

示實際被減稅的是少數高淨值的民眾，

負，也有高資產分子雇用專業人士隨時

稅務政策中心（Tax Policy Center）分

幫他們服務到可以完全免除遺產稅。

析指出這個稅改方案如果實行，未來十

廢黜遺產稅對社會凝聚力似乎也造

86│ELITE

年內美國國債會增加 7 兆美金。

成了威脅：現行法下，捐助特定類型慈

在這些顧慮下，川普總統的稅改方

善機構可以抵減遺產稅，許多公益團體

案是否會通過國會的審查、通過後對於

估計如果遺產稅被廢黜，不少富翁會少

社會和經濟的衝擊會多大，值得民眾注

了捐款的動力，公益機構募款會比以前

意觀察。

PHOTOGRAPHY BY XUEHUI ZHANG

優質投資機會 回報豐厚

PROMOTION（ 本文內容不代表本刊立場、觀點 ）

投資專家崔聖洛領銜基金介紹 SanRock Holdings Group投 資 咨 詢 和 基 金 管 理 公

SanRock Holdings Group 具 有優 質 的 項目資

司，現有絕佳投資機會，既返還本金又能保證年獲利

源，幫助資本選擇正確標的公司，投資短期內可高速增

7%以上。投資額50萬美金起，小額另洽談。

長的項目，年投資回報率在 7%~10%，甚至更高。依據

該公司由投資高手崔聖洛領銜，和紐約當地的行

多年運作資金的經驗，以崔聖洛為首的投資專家團隊，

業專門公司 OSKAR Consulting 聯手，專注並擅長於

注重「 產融 」結合，投資專注於選擇資產豐實和業務能

特殊醫院、老年公寓等項目的投資，還有其他醫療和地

力紮實的公司，從而保證投資人的投資穩健度。除了具

產等項目。當前，該公司正在接洽一項非常穩健的投資

有回報豐厚的項目資源，SanRock Holdings Group

項目——老年公寓。

給予投資人靈活的退出機制，投資人可隨時退出，並拿

崔 聖 洛 2015 年 曾 參 加 韓 國 投 資 公 司 Taurus

回本金。

Investment & Securities Co., Ltd. 主 辦 的 韓 國 投

除了優質的項目投資，SanRock Holdings Group

資 大 會，榮 膺 頭 等大 獎，並 被 納 入 麾 下成 為 基 金 經

擁有實業經驗豐富的專家團隊，可協助項目實現快速發

理。之 前，他 亦 在 韓 國 著名 的 證 券 公司—— 教保 證

展，從而最大限度地幫助投資人實現更高的投資回報。

券（KYOBO） —— 任 職， 成 功 運 營了 1 兆 2 千 億 韓

詳情請咨詢 SanRock Holdings Group，英文和

元 的 資 本， 在 韓 國 創 造了多 個 投 資 傳 奇。OSKAR

韓 文 熱 線：1(347) 622 3423，中 文 熱 線：646-552-

Consulting 在紐約成功運營過大型醫療結構，熟悉醫

3777（ 李 ）， 電 郵：elkim678@gmail.com， 地 址：

療健康行業的法律法規，對美國醫療行業的融資和資

法拉盛北方大道 35-02 150th Pl. 2FL, Flushing NY

金運作具有多年的實戰經驗。

11354。

ELITE│87

KD Navien慶東納碧安水暖床墊 健康舒適無電子波 省電安全的養生佳品 Text by Yu Song | Photography by KD Navien

現代人疏於運動，壓力過多，體溫過低，利用睡覺時間活

成所謂的「 輻射毯 」，長期使用對身體有害，而且經常使

絡身體氣血是最簡單、最輕鬆、最方便、最經濟，也最容

用電熱毯還會口乾舌燥、上火、皮膚掉皮、出鼻血，同時

易做到的養生方法。韓國頂尖的節能和生活電器開發公

還有火災隱患。

司KD Navien公司生產的新型納碧安水暖床墊是助您達 到健康養生目標的最理想床墊。

電磁波輻射和乾燥除了對皮膚的傷害很大，還能引 起頭痛、頭暈、記憶力減退、注意力不集中、抑鬱、煩躁、 婦女月經紊亂、乳癌、皮膚老化、呼吸困難、腰背酸痛等

電熱毯的弊端

等，嚴重的還會誘發白血病等，會給健康帶來很多危害。

市面上出售的許多電熱毯，雖然普遍用來買給長者與小孩 保暖使用，但卻不是最好的禮物，因為電毯內部的電熱元

健康舒適無電子波 省電安全

件，在電流通過時會產生電磁波，有些甚至輻射超高，形

KD Navien慶東納碧安，是韓國代表品牌，其明星產品水

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暖床墊是同類產品中最值得信賴的品牌。 床墊分為暖寶和墊子兩部分，墊子採用綠色的舒適環保有機材質，健 康耐用，不同於電熱毯的乾燥、有安全隱患，使用納碧安水暖床墊，晚上 睡覺皮膚不再乾燥，通過低溫熱水散熱，而非電散熱，更加健康，對人體 十分有益，全水管結構，使用百分百安全。健康的生活要通過舒適的睡眠 來維持，而本產品能自動設定經各種研究發現的適合睡眠的最佳溫度。您

Yulin (Peggy) Peng

睡過之後，每天早晨將開始愉快的一天。KD Navien 水暖床墊現已成為 很多韓國藝人的護膚新寵，既有利於健康還可維護肌膚。 即使家裡有兒童，這款床墊也是放心安全的首選，無需擔心有害物 質排出，軟管採用嬰兒奶瓶等嬰兒產品中使用的硅膠材料；水暖床墊配有 瞬間加熱功能，通過瞬間高溫殺死水中細菌和微生物，無需擔心有害物質

Corcoran地產集團經紀師 直撥：+1 917-755-3628 微信：peggypeng003 地址：888 7th Ave, New York, NY

繁殖；暖寶和墊子連接處還設有防護器，連接處包裹緊致，即使直接接觸 身體也不會燙傷用戶，十分安全。另外還有兒童鎖功能，可以防止兒童失 誤與事故的發生。水暖床墊還有自動斷電的便利功能，萬一您出門時忘了 關掉床墊，也不用著急，因為過了 13 個小時以後它會自動停止工作。 床墊的各項安全設計都非常到位：MTC 系統，利用適當溫度的熱水 來實現溫暖，無需擔心燙傷；RTC 系統，精密調節床墊溫度，即使是睡眠 模式也可以保持使用舒適度；ETC 系統實現均勻供熱，另外採用的 DTC 系統，可以全自動獨立供暖，如果是雙人床墊，可根據個人需求，自由調 節左右床墊的溫度，享受舒適睡眠。

Peggy是紐約高端地產投資諮詢顧問和經紀人。在 剛剛過去的 6月份，Peggy 榮獲紐約頂尖地產經紀 公司柯克蘭集團的銷售前 25 獎項，排名第十位。她 近期的交易包括曼哈頓連排別墅、曼哈頓及周邊各 區新開發投資公寓和長島新建豪華別墅。

KD Navien公司簡介 KD Navien成立於1978年，是韓國頂尖的節能和生活電器開發公司，韓 國熱水器行業25年連續銷量第一、韓國技術專利第一、韓國消費者well-

面的地產經紀，她對紐約地產動向以及各區十分熟

being滿意度（KS-WCI）第一，還連續榮獲了韓國first brand大獎，是名

悉。Peggy 持有商業房地產投資執照（CIREC）並擁

副其實的韓國鍋爐行業中的龍頭企業。其明星產品KD NAVIEN水暖床墊 是同類產品中最值得信賴的品牌。 科技方面，KD Navien 的研發能力超強，1988 年開發亞洲首款高能

有大量off-market 商業地產資源，適合各類尋求高 回報率的投資客。Peggy具有廣泛的人脈，她和最資 深的國際貸款專家、紐約頂尖地產律師有良好合作關

效、綠色環保冷凝鍋爐後，又顛覆傳統的銅熱交換器和鋁熱交換器，開發

係，可幫助客戶應對交易過程中的各類問題。Peggy

出世界首個不銹鋼熱交換器。不鏽鋼良好的耐蝕性，增強了鍋爐的安全性

同時也和紐約一流的建築師、施工團隊合作，可為客

和耐久性。

戶提供購買物業後的高端定制服務，如聯排別墅的物

在排氣量大、能源匱乏的韓國，家用電器的節能功效就至關重要。而 家電節能，不得不提韓國的王牌企業 KD Navien。其開發的冷凝式鍋爐， 不僅改變了鍋爐、熱水器高耗能困局，而且韓國銷量 26 年第一。超優的 燃氣熱水器，不僅在韓國市場，甚至在北美市場連續 6 年占有率居首位。 冷凝技術高效、低費用、環保。與一般鍋爐不同，冷凝鍋爐將燃料排 出的潛熱再利用，吸收了排煙中自然流失與水蒸氣凝結時產生的熱量，將 其用於採暖和燒熱水。相比中型鍋爐，冷凝燃氣熱水器可省下大約 22% 燃 氣費用，熱效率高達 98%。此外，燃氣熱水器採用不鏽鋼熱交換器，抗白 化、腐蝕、水垢，產品壽命長久。韓國冷凝技術授予的 284 件專利中， KD Navien 獨占五成。

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Peggy 擅 長幫 助 客戶購買已 上市和 未 上市（offmarket）的住宅/商業類投資物業。作為一位十分全

地址：20 Goodyear, Irvine CA 92618 網站：comfort-mate.com 電話：1-877- 689 -1541

業管理、整修、翻新和重建。 她的公司 Corcoran 集團在曼哈頓高端地 產中居王者領先交易地位，每年交易額占曼 哈頓地產市場一半以上。公司旗下代理包括

15 號哈德遜、35 號哈德遜、53W53、中央 57th St在內近40座曼哈頓頂級高 端新樓盤（New Development）。 Peggy 也是紐約地產協會會員和紐約亞洲

公園111

地產協會會員。

真韓 正國 體 原頂 驗 汁級 原御 朝 味廚 鮮 的李 韓善 王 國圭 朝 宮親 廷自 的 料主 理理 寫

意 生 活

樂當貴族 御膳嘗鮮 品出風味 吃出健康 新年新意新祝福

文w王曉蓮

圖w張學慧

誘人神仙爐 「 神仙爐 」是在中間可放入炭火的煙囪式銅火鍋中，放

一國之君的膳食，是從全國各地進貢而來的特產中，嚴

進牛肉與各種蔬菜烹調食用的韓國高級宮廷料理之一。

選出最好的物品或是富含當令新鮮美味香氣的優 質食

因其入口口感痛快愉悅，因此又被稱為「 悅口子湯」。

材，以代代相傳的料理技術精製而成。

missKOREA 出品的這道「 神仙爐 」，食材非常豐富，包

韓國宮廷御膳自「 李式王朝 」時代奠定根基，料理依

括牛肉片、魚片、明蝦、魷魚、豬肉丸、板栗、甜椒、銀杏、

據五行配置，講究白、青、黃、黑、赤五色，以及鹹、甜、酸、

胡蘿蔔、蘑菇、西葫蘆等。佳餚匯聚一處，即有山珍，又

辣、苦五味的色味均衡。從食材、烹調到上菜，每一道料

有海味，讓人頓生帝王嘗遍人間百味的至尊愉悅。v

理都要求對人體有益，東方「 醫食同源 」的概念是烹飪菜 餚的最高準則。

大紐約品味「 王的御膳 」 位於曼哈頓的 missKOREA 韓餐廳，特別聘請被譽為 「韓 國膳食專家 」的李善圭女士擔任主廚，為大紐約民眾帶 來了難得一見的宮廷料理。作為韓國頂級傳統宴食院家

地址：10 W 32 ND ST, NEW YORK, NY 10001 電話：212-594 - 4963 網址：WWW.MISSKOREABBQ.COM 7 天 24 小時營業

禮院（Ga Rye Won）創辦人的李女士，將她近 40 年的 烹飪經驗和對美食的全部熱忱都匯聚到她製作的美味中。

瓷器醃牛排 韓式烤肉一直是大紐約的人氣餐，用特製瓷器醃製牛排 是 missKOREA 的一大特色。醬油、梨汁、糖等美味調 料醃製的上等牛排放在特製的瓷器裡釀製 48 小時，醬

瓷器醃牛排

料充分入味，牛肉質地變得很軟，口感香醇濃郁，甜味也 深深進入排骨內。

瓷器醃牛排

黑豬五花肉 有韓國「 夏威夷 」之稱的濟州島特產黑豬。黑豬肉比一 般豬肉油脂少，肉質富有韌性，營養價值也較高。miss ADVERTORIAL

Korea 的香辣黑豬肉和五花肉不經過醃製，保持黑豬肉 本身的原味。肥而不膩的豬五花厚度剛好，在親切的服 務員煎烤的時候香氣四溢，這時候要在生菜包上加上泡 菜和大蒜，與豬肉混合後更美味！

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至微關懷 值得信賴 失禁護理 #1 品牌 給家人最體貼的關愛

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長輩的常見現象。

陪維爾的系列失禁護理產品共使用多達二十種的先進技

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氣，並且比棉布還要柔軟，使皮膚保持舒適健康。

時帶他們去就醫治療，也許更多要做的是平時送上一份

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Prevail陪維爾 美國醫護領域失禁護理 #1 品牌

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陪 維爾 的系列產品包括尿失禁 護 墊（bladder control

陪維爾最大特點是具有超強大的吸收能力，經實驗測試

pads, 適 合 輕 度 失 禁 ）， 防 護 內 褲（protective

在保持皮膚環境乾爽上的功能上比其它品牌高五倍。很

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維爾紙尿布後無論是出門、運動還是夜間睡覺，都不擔 心尿液洩漏或異味問題。而且對於長期使用者，還可以 防止出現皮膚過敏等反應。

Prevail陪維爾 細節創新 高品質為家人而打造 優秀的產品來自於優秀的理念。至優集團的理念是將每 位失禁患者都視為自己的「 家人 」，所有產品均為家人貼 心打造。 「細節體現關懷」 （care is in the detail）， 在 過 去 的 二十五年裡，通過不斷聽取尿失禁人群和專業護理人員

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