象徵著纖細男女體舉手投足間宣洩而出的中性費洛蒙，不斷更迭的音樂結構也蘊含其中，不論是法式電子樂到搖滾樂甚或是新潮的衝浪搖滾音樂，透過雙眼所捕捉到的一切，則成了描繪生活與風格態度的黑白攝影作品，就這樣，有機且無法被定義的姿態， 在全球時尚界甚至設計、藝術界，一場名為 Hedi Slimane 的革命延燒了二十多年之久，不管是 Yves Saint Laurent 男裝、Dior Homme 男裝、還是 SAINT LAURENT 男女裝或者是今天的 CELINE 男女裝，從1997年開始，Hedi Slimane 歷經上述品牌創意總監的頭銜，把服裝當作起點的全面風格創造，讓 Hedi Slimane不管是在哪一個名牌頭銜下，都讓自己的名字成為一個品牌。

混雜著搖滾與包浩斯的極簡主義，一路建構出從男裝出發獨特且誘人的中性形象，加上後期往返遊走於加州與巴黎之間叛逆又優雅的青少年文化腔調，他的視野讓他的美學成了全新的代名詞，是對男女裝既定印象的叛逆，是不能被性別所歸類的雌雄莫辨，更是再多人仿效都無法超越 Hedi Slimane 本人親自塑造的風格魅力。

Hedi Slimane 曾經這樣說:「我的服裝是關於文化的。」事實上，他的所有創作都與文化有著根深蒂固的淵源，他擅長觀察文化， 特別是城市的文化，喜歡把自己當作實驗品，投入並且體驗一個又一 個城市，這讓他的創作不是停留於軀殼的空泛，更像是擁有思想與靈魂的個體。從巴黎與柏林的俱樂部觀察男孩們的衣著，傾聽倫敦地下音樂的搖滾吶喊，以影像紀錄洛杉磯的青少年運動，Hedi Slimane 不特別與文化靠攏，而是單純以一個旁觀者的角色，不帶任何策略與 計劃，把自己與這個城市之間所產生的脈動，融入個人的創作之中， 造就了一種有別於迎合商業且無法被定型的有機創作型態。

如同與生俱來，Hedi Slimane 的創作始終離不開音樂。Yves Saint Laurent 男裝時期巴黎的法式電子樂，Dior Homme 男裝時期柏林的後工業極限主義電音與倫敦的英式龐克搖滾， SAINT LAURENT 男女裝時期加州美式的青少年搖滾，到今天 CELINE 男女裝時期以80年代初期法式新浪潮電子樂來呼應延續他移居美國加州後對加州當代藝術的迷戀，這些音樂類型所展現出的城市(國家)特有文化，也一點一滴在他的創作中浮現，時而出現在伸展台上 Hedi Slimane 式抑鬱寡歡的男孩與女孩身上，時而伴隨著他們一派自若無所畏懼的步伐，時而在黑白攝影創作中曝光，在暫別時裝設計後，Hedi Slimane 更將這項元素大量轉移到自己的攝影作品上。

從2009年開始，Hedi Slimane 將美國加州洛杉磯作為自己新的城市實驗地，開始新的城市實驗計劃，於服裝系列之外，定期創作發表攝影作品， Hedi Slimane擁有自己的世界，在這個世界裡，時尚與音樂有著密不可分的關係，而音樂與文化、攝影、藝術也交錯影響著彼此，是很 Cool、很 Hedi Slimane 個人風格的所有。

2011年，在 Hedi Slimane 離開 Dior Homme 男裝創意總監頭銜與創造 SAINT LAURENT 男女裝系列之前的時期，當時暫離時尚圈的 Hedi Slimane 以藝術家身份接受我們的專訪，當時全世界都在猜測 Hedi Slimane 是否會重回時尚圈。專訪以email的方式進行，有別於一般簡略敷衍交代的 Q&A，Hedi Slimane親自一字一句仔細真誠地以英文回答每一個問題。為了保有 Hedi Slimane 珍貴的本人書寫，這個專訪以雙語的形式，保留了 Hedi Slimane 親筆回覆的英文，搭配中文翻譯，藉此我們更能夠貼近這位史上最酷的創意總監他內心深處的靈魂態度。

訪談
PPAPER
╳
Hedi Slimane

We know you only agree to do the interview on the condition to answer the questions by e-mail nowadays. So let's try to make this electronic exchange more conversation-like. Firstly, do you handle the e-mail interview more easily than face-to-face one? Does your way of speaking change in writing?

(我們知道你現在只接受郵件往來的專訪，所以，我們儘量讓這種電子方式更像談話式的訪問。首先，你是否認為郵件式的專訪，比面對面的訪談來的容易?你表達的方式是否會因為文字的書寫而有所改變?)

Hedi: No, it is just that I don't have much time, and I usually write interviews during the night. I don't sleep much, and I am more focused and quiet. I cannot commit to meetings, my schedule changes all the time.

( Hedi: 不見得，主要是因為我並沒有太多的時間，而且我通常在半夜的時間回覆這些訪問信件。我睡很少，這讓我的注意力更集中， 更平靜。由於我的行程表始終在變，所以我無法承諾任何面對面的訪談。)

You do the photos and fashion editorials for your diary web site. It shows your ideas and the fragments of your life. It's almost a high-end digital magazine. You operate your web site directly just like many other bloggers today. What will be the future format for magazines according you? What will be the achievement that the digital magazine never overcomes the print version?

(你非常用心經營涵蓋自己的照片與時尚社論的日記式網站，它呈現出你的想法與日常生活片段，幾乎已經是一個非常high-end的數位雜誌。你經營的方式就如同現今大部分時尚部落客的經營模式。你認為未來雜誌的樣式會是如何?什麼樣的成效是數位雜誌永遠無法取代印刷雜誌?)

Hedi: I believe magazines need to focus on their website and give it as much thought, in terms of art direction, and innovation that they do on the print version. They usually see their website as a blog, for information only, news.

Besides, building a high-end magazine online, printed versions will be collectible, an object to keep. Magazines will become books.

( Hedi: 我認為雜誌應該要用心經營它們的網站，儘可能傳達最多他們在印刷雜誌上所想要呈現的思想與藝術方面的傾向與革新。通常雜誌將自己的網站視為一個僅僅提供訊息與新聞的部落格。此外， 建構一個High-end的網站，讓印刷雜誌本身更有保存價值，久而久之，它就變成一個可以收藏的書籍。)

And books. For exemple, you just come out a book <Anthology of a Decade>. It is still a print version. Could it be in digital format?


(就書本而論，例如，你剛出版一本書《 Anthology of a Decade 》。 它依然是印刷版本，未來是否會有電子版本?)

Hedi:  This is what I mean. At some point, from Internet, one has to edit down and keep the creative substance to archive and put the work on record through paper and book.

( Hedi: 這就是我所說的。有些時候，我們必須透過網路上的編排與歸檔這些創意的內容，再藉由雜誌與書本來記錄我們的工作。)

Alongside the photography, your devotion to music has been widely known. Can you envisage a different tool like video combining music and photo?

(透過你的攝影我們已經非常熟悉你對於音樂的熱忱。你是否可以設想一個不一樣的媒介來表達，例如結合音樂與照片的影像? )

Hedi: I do this sometimes. With this California short film called "I love USA", or the little film I did with Giorgia May Jagger, giving a tribune to upcoming band Egyptian Hip Hop. Any medium is of course a possible tool, and the interpenetration of disciplines and interests is what matters today.

(Hedi:我有時候會這樣做，例如曾經以加州為主題的小短片〈Ilove USA〉，或者我與Giorgia May Jagger 合作，為一個埃及Hip Hop 團體論壇所做小影片。任何形式的媒介都是一種可能的工具， 而規範與興趣之間的相互滲透才是現今最重要的原則。)

On a design perspective, what will be your idea to make your very simple, purest form of works and layouts in motion? A minimalism-black-and-white motion?


(以設計的角度來看，什麼樣的動態構想是你會用來呈現你最簡單、 最純粹的作品與版面?一個極簡黑白相間的動態形式 ?)

Hedi: Certainly. My work is always rhythmic, or more precisely arythmic, and pure geometry is usually combined with the photography, and a subject that comes out quite human and vulnerable. It is always about this discrepancy.

( Hedi: 當然可以。我的作品總是具有節奏感，或者更正確來說，是 沒有節奏的。純粹的幾何概念通常結合在我的攝影作品裡，而作品 呈現出來的卻是具有人性與柔性的。關鍵在於這種差異性的結合。 )

Do you like the other colors? Is there any colorful thing that you are interested in?


(你有任何其他喜愛的顏色嗎?是否有任何五顏六色的事物是你所感興趣的?)

Hedi: I like wood. The colors of wood, not color per se. I like flesh tones. So I like textures more than colors. Even of my photograph, or fashion design, textures are what matters.

( Hedi: 我喜歡木頭。木頭的顏色質感，而不是顏色本身。我也喜歡膚色。因此，應該說我喜歡物質本身所呈現的紋理勝過顏色。甚至是我的攝影作品，或者時裝設計，材質對我來說才是最重要的。)

In a famous 2003 conversation with Ingrid Sischy (Interview magazine), you said you didn’t start with clothes until you were 16, but you had your first camera when you were 11......You really went from fashion design to photography after resigning from Dior Homme. Do you try to use photos (without making clothes) to inherit the school of your signature fashion that you established?

(在2003年，一段你與《Interview Magazine》的Ingrid Sischy 的著名訪談中，你提及一直到16歲時，才開始接觸服裝設計，但是 你在11歲時就有了自己的第一台相機。從退出Dior Homme後，你 成功由時裝設計師轉型為攝影師。你是否試著利用攝影形式(而不是 以服裝形式)來承續你在時尚界所建立的識別符號?)

Hedi: Yes of course, I never stopped portraying the same subject. Nothing has changed since my fashion years; I still describe the same precise character, or generation. I never cared about the medium, but the idea, my idea. Idea, one idea, becomes eventually a defined style and aesthetic. This aesthetic applies to everything.

( Hedi: 當然，我從來沒有停止過描繪同一個主題。從時尚到攝影我並沒有改變太多。我依然在描繪同樣明確的角色與世代。我從來不會去在乎使用什麼媒介，而總是我的想法、構想。這個想法最終會奠定我的風格與美學。而這個美學適用於一切。)

——

“ Pure geometry is usually combined with the photography,

and a subject that comes out quite human and vulnerable. “

純粹的幾何概念通常結合在我的攝影作品裡，而作品呈現出來的卻是具有人性與柔性的。

Hedi Slimane

——

Do you really stop designing clothes since these years? Do you do the sketch now and again?

(這些年來，你是否真的停止設計衣服呢?你現在還是會隨時繪製設計草圖嗎? )

Hedi: No, I don't sketch if I'm not in a studio. Designing comes naturally to me, but within a context.

(Hedi: 是，但是我不在工作室以外的地方畫草圖。設計對我來說是 很自然而然的，但是必須要有內容。)

Your signature design and style are still seen around on the street, furthermore on the runways. Dior Homme somehow is still the same as when you started there in 2000. You started the movement toward skinny clothes in fashion. You also said you started this silhouette because it was the only thing that would fit you. If you designed clothes today, would you change this skinny silhouette or quite the contrary? We remembered some silhouettes of your last collection for Dior Homme were quite loose......

(你當年在時尚界所建立的風格與設計，至今依然可以在街頭個處看 到，甚至是伸展台上。自你在2000年加入Dior Homme後，現今依然存在著你的設計影子。你在時尚界掀起緊身設計的風潮，你也說過唯有這種緊身輪廓的設計，才適合你自己。如果現在你再次設計服裝，你會改變這種輪廓或者完全相反?我還記得，你在 Dior Homme最後一季的設計輪廓是有點寬鬆的⋯⋯)

Hedi: It is hard to say, because the truth is the proportions of the body is what matters really. When I did those wide pleated pants on my final season, those proportions were actually enhancing the skinny figures of my subject. So the result and my point is actually the same than showing slim pants.

If now you put skinny jeans on a muscular body, you just change my perspective on fashion. I will not do this, as my style is already really defined. I also believe a muscular body only works for a classic suit, a pair of jeans, a Speedo, or naked in a bed. Forget any sense of fashion, or designer clothes if you are not skinny. It will always look tacky, and cheap. Life is unfair.

( Hedi: 這很難說，因為事實上身體的比例才是我最在乎的。在最 後一季我所設計的寬鬆褲子，其實只是更強調我所要表達的纖 細質感。所以呈現出來的其實與我利用緊身褲呈現的效果是一致的。 如果你將緊身褲套用在一個肌肉鮮明的人身上，那將會改變我對於時尚的視野。我不會這樣做，因為我的風格已經被鮮明的定義 了。我也相信一個肌肉發達的胴體只會適合於典型的西裝，一件牛仔褲，一件泳褲，或者僅僅是裸體在床上。如果你不是個瘦子，那就不必去在乎任何時尚感，或者設計師服裝。因會那會讓你看來庸俗，以及廉價。人生本來就是不公平的。)

We have never talked enough about your Yves Saint Laurent years. Every time I watch your Yves Saint Laurent men's fall winter 2000/2001 show on Youtube, I’m deeply touched by the music of Alex Gopher and Catherine Deneuve, by the efficiency and lighting on the runways, by the model casting, by the modernity of style, by its strength......Ten years pass, how do you look at your Yves Saint Laurent years? What do you think of the work of "new" Yves Saint Laurent today?

(我們很少談論你在 Yves Saint Laurent的那幾年。每一次我看 著Youtube上播放著 Yves Saint Laurent 2000年秋冬的男裝秀，不管是結合Alex Gopher與Catherine Deneuve背景音 樂，伸展台上的燈光與工效，模特兒的選角，現代感的風格，以及整場秀所帶來的張力⋯⋯都深深地感動著我。十年過去了，你是如何看待自己在 Yves Saint Laurent 的那幾年?你又是如何看待現在 「新」的Yves Saint Laurent?
)

Hedi: This is actually the only YSL collection that was my own really, as the previous one were still under the influence of the house, and the taste of the house, above all for casting. This collection is still somehow what is happening in men's fashion today. It was a specific moment and turn.

( Hedi: 事實上當年這一場 Yves Saint Laurent 的秀，是唯一的一場真正屬於我自己的秀。之前的秀所呈現的概念，還是隸屬於工作室的風格與影響，最重要的是選角。這場秀所帶來的影響，至今還是可以在很多品牌的男裝秀上看到。這場秀代表著一個很重要的時刻與轉機。 )

If you did a fashion show today, which band you would invite to play live for your fashion show?

(如果今天你要舉辦一場時裝秀，你會邀請哪個樂團為你現場演奏? )

Hedi: I am very spontaneous about this, and you have to understand things happen very organically around me. I'll be going to a concert, and in the crowd will fall for a fan, that will the next day become my fitting model for the season. Then I will randomly hear or receive a demo on my website, and it will develop into a project. This is all very free, and instinctive. It's about the time precisely I’m living in. no strategy, no agenda, no plan. It is random and raw.

(Hedi: 我不會去設限自己的選擇，而且你必須了解，發生在我身邊的事情都是自然而然的。我會去一場演唱會，在人群中我會深深地被這些歌迷吸引住，隔天，他們就會成為我當季的試衣模特兒。然後，我會隨機地在我的網站上聽到、或者接收到一些試唱帶，接著演變成一個音樂企劃。這沒有策略，也沒有既定行程與計畫。它是非常隨意，未經加工的。)

Do you think electro music like「French Touch」will come back?


(你認為電子音樂如「French Touch」會再回來嗎? )

Hedi: It could, possibly, but in a different form. When I was working with Alex, the Daft Punk etc. at the time, it was a sub culture, a new sound. It was raw and real. The success came, just like for anything else, and suddenly we all felt we needed to forget about the machines and go back to an acoustic sound.

The good artists never go though. The daft punk is still on top of the game. A new generation will come and eventually create this movement that will take over the world of music. Paris would need something like this to happen, as it lost it in the early 2000, after the golden age of French Touch.

(Hedi: 可以，且可能是以一種不一樣的形式。當時我與Alex合作時，Daft Punk是一種次文化，一種新的聲音，很粗糙但是很真實。但是成效卻是很成功的，就像接踵而來的事情一樣，於是，忽然之間，我們覺得必須拋棄機器所製造出來的音樂，回到原始聽覺感受的聲音。

好的藝術家不會消失，Daft Punk也依然是主流。新的世代會來臨，且最終這些新世代所創造的新革命也會取代這個世界的音樂。2000年「French Touch」顛峰時代後，這種效應已經失去很久了，巴黎現在正是需要這種革命的事情發生。)

I heard that you also listen to old Rock & Roll, soul music from the 50's and the 60's. Do you try to find kinds of the roots of music for inspiring your creation? Do you collect vinyl records?

(我知道你也會聽復古搖滾樂，以及來自50'年代與60'年代的靈魂音樂。你會嘗試探索音樂的根，來做為你的創作靈感嗎?你會收集唱片嗎?)

Hedi:  I just love the sound of it, and the texture of it. I also live in California and listen to music in the car, and it is sunny outside. I listen to surf music also, and a new idea of surf music, coming out through new LA bands ( wavves for instance)

(Hedi: 我喜歡音樂本身的聲音，它的質地。我住在加州時，也會在車上聽音樂，感受著車窗外的豔陽。我也會聽衝浪音樂，來自洛杉磯的新潮衝浪音樂 ( 例如 wavves )。 )

You talked a lot about a sub-culture movement「Jerking」 in Long Beach, Los Angeles. As an observer of youth culture, is「Jerking」going to last strongly? Will it go through this cycle of decade? What is going to emerge soon?

(你很常談論來自L.A.長灘的次文化「Jerking」。身為年輕文化的敏銳觀察者，「Jerking」會持續茁壯嗎?它是否會延續經歷這十年的週期呢?下一個即將崛起的是什麼? )

Hedi: What happened with「Jerking」is that the movement started in long beach, in ghettos area. It started with fashion, and specifically with the fashion I created, the skinny movements, and skinny jeans movement in the early 2000. The movement was against what they called

「Baggy Daddy」, and a statement against the violence in the street. So obviously there was this connection with my work, and I decided to document it, and give it a tribune. Some of the bands are actually quite known here.

( Hedi:「Jerking」的潮流起源於長灘附近的貧民窟。剛開始，它是與時尚有關的，特別是我在 2000 年時掀起的緊身風格。這個風格主要是為了與「Baggy Daddy」做為一種區隔，以及一種反抗街頭暴力的主張。很明顯的這與我的作品有所連接，所以我決定記錄這一切，做為一種收藏。有些樂團在這裡是頗出名的。)

You said that your life is about experimenting with the energy of the city at its certain moment of evolution. You did it with Paris in the late 90's, Berlin, in the early 2000, London, in the mid 2000, and L.A. in the late 2000. You have a house in L.A. today. What is the values that you endorse in L.A.? What is warming up in this city?

(你曾經說過，你的生活是對於一個城市在特定的革命階段所產生的能量進行實驗。90’年代後期的巴黎，2000年前期的柏林，以及 2000 年中期的倫敦，然後是 2000 年後期的洛杉磯，你都進行著這樣的實驗。現在你在洛杉磯有一棟房子。洛杉磯對你來說存在著 什麼吸引你的價值? 這城市有什麼正在醞釀著? )

Hedi:  I'm very sensitive to the vibration of the city, and I understand it might sound weird. Ok, I'm maybe a freak, but each time was a specific time creatively, in Paris, Berlin, London, or L.A. now.

I feel like always interacting with a scene that is about to emerge, and of course I have now more leverage if I believe something is about to happen, and can try to give it more of an audience.

L.A. is just at its best. The 90's were not good at all, and the city started to emerge in the early decade, but only for a couple of years, has been really vibrant. The art scene is incredible and new great artists, such as Sterling

Ruby the last couple of years, or lately Mark Hagen, and dozens of others are now of great interest. The music scene is equally strong, with Local natives, Warpaint, No age, Wavves etc. Besides L.A., California is of course the center of the digital world, and of entertainment.

It is just now a truly inspiring place; I believe the most interesting right now.

( Hedi: 我對於城市的律動非常敏感，我知道這聽起來很詭異。或許，我真的是個怪胎，但是每一段城市旅居都產生一種很特別的創造力，不管是在巴黎，柏林，倫敦或者現在的洛杉磯。 我總是可以與即將發生事物有所互動，當然，我現在有比較多 的影響力。如果我相信這是一個即將會引領的潮流，我會試著去製 造更多的觀眾。洛杉磯剛好處於這最佳的狀態。90’年代的洛杉磯並沒有很好，但是這十幾年來，洛杉磯開始崛起。才幾年的光景，它已經非常活躍了。藝術領域的發展出奇地好，這幾年新的藝術家如 Sterling ruby 或者 Mark Hagen，以及更多的藝術家都具備著極 高的詢問度。音樂領域也非常地茁壯，例如本地的Warpaint，No age，Wavves⋯⋯等。除了洛杉磯，加州無庸置疑的是數位與娛樂世界的中心。 它現在的確是一個鼓舞人心的地方，我相信是現在全世界最有趣的地方。 )

How do you face Asia? From Made In Japan to Made In China, what is your point of view?


(你如何面對亞洲?從日本製到中國製，你的看法是如何? )

Hedi: I am actually facing Asia now, which is another strong point of L.A. Asia is right in front of us. Asia for me is just like Europe. I don't see it as one thing, but a variety of cultures, point of view. I am of course more knowledgeable of Japan, because Japan and I have a common history in fashion. But China seems to have absorbed my style organically, and proportions. I feel this will be an interesting relationship to pursue creatively.

(Hedi: 我現在正在面對亞洲所帶來的衝擊。而這也是洛杉磯具備的 另一個有利的特色。亞洲正在我們面前，然而亞洲對我來說就像是 歐洲。我不把它看成一件事情，而是充滿著多樣化的文化與觀點。 對於日本，我是比較熟悉的，因為日本曾經與我擁有著共同的時尚合作經驗。但是中國似乎很有機地、有比例地吸收我的風格。我認為這將會是一段追求創造力的有趣關係。 )

If IKEA made design more accessible, could the same situation happen to high fashion?


( IKEA 使設計更加地容易入門，同樣的情況有可能發生在高級時裝嗎? )

Hedi: I'm personally not interested. I never wanted to do all this capsules for all those chain stores, from H&M to Uniqlo. I believe you belong somewhere. I like to do clothes that are well done, with good fabrics. I like high end and luxury, that is my chapel, and I don't intend to indulge. Of course, I could also start to do a brand of jeans sometimes, because I always see jeans as a really noble thing, just like a hand made tux jacket.

( Hedi: 我個人不感興趣。我從來沒有想過為連鎖時裝店設計系列衣服，如H&M或UNIQLO。我相信人是屬於一個地方的。我喜歡時裝是被好好地製造，使用很好的布料。我喜歡高級時裝以及奢華， 這是我的殿堂，我不想要企圖去玷污它。當然，我也許會計畫設計新的牛仔褲品牌，因為牛仔褲對我來說是很神聖的，就像一套手工縫製的晚禮服夾克。)

What do you wear today?

(你今天穿什麼? )

Hedi: A tweed jacket, skinny black jeans, doc martens, and a 70's gold Pateck.

( Hedi: 花呢夾克、黑色緊身牛仔褲、馬汀大夫鞋以及70’年代的復古金色Pateck錶。)

You are always doing many photographs of musicians, actors, boys and youth, but also many female celebrities like Lindsay Lohan, Georgia May Jagger, Freja Beha......What is your criteria choosing the girls to work with ? Why did you accept to shoot for Lady Gaga's album cover?

(你總是在攝影作品裡捕捉許多音樂家、演員、男孩、以及年輕特質， 你也會拍攝許多女藝人，例如Lindsay Lohan、Georgia May Jagger、Freja Beha⋯⋯你挑選合作的女孩的準則是什麼?為何 你會接受為 Lady Gaga 拍攝專輯封面? )

Hedi: I like very natural girls, freckles, and very lean figures. I like feminity, almost like a 70's archetype. Freja is a good example of course. Gaga, on a different note, was a commission from the record label. It was a job, like I would do an ad for PRADA. It is not my world in music, but on a flip side, I'm friend with Gaga, she is a sweetheart.

(Hedi: 我喜歡很自然的女孩，帶有雀斑的，以及身形非常瘦弱身形的。我喜歡的女性特質，幾乎像是來自70’年代的女性原型。Freja 就是個很好的例子。Lady Gaga另一方面來看，是來自唱片公司的委任工作，它是工作，就像我為PRADA拍攝的廣告一樣。這不是我喜愛的音樂領域，但是另一方面來說，因為Lady Gaga是我的朋友，她是個甜心女孩。)

We are almost sure that you will get back to fashion design in the future. I know it's been asked a million times but would you design for women? How do you look at the trend of very sexual (more than sexy) femininity nowadays?

(我們可以確定的是你未來會回到時裝界。我知道這個問題已經被詢問過數百次，你是否會設計女裝?你是如何看待現代這種非常性感 (超過性感)的女性設計? )

Hedi: My taste is actually very girly. I like any attribute of feminity to be enhanced. I also maybe have a hedonistic view on it. And yes, of course I will design again.

(Hedi: 我的品味其實是非常女性化。我喜歡任何被加強女性特質的屬性，也許也有些許享樂主義的觀點。是的，我將會重回時裝設計。)

——

"I'm maybe a freak, but each time was a specific time creatively."

或許，我真的是個怪胎，但是每一段城市旅居都產生一種很特別的創造力。

Hedi Slimane

——

You are going to have a big photography show in Brussels. What do you try to say in this show?

(你將在布魯塞爾舉辦一場大型的攝影展覽，這次你想要表達的主題是什麼?)

Hedi: I don't show often. I don't like to print my photographs and make editions out of it. I like to keep them quite rare. The show is an American show, and connected to the Anthology, and the US book in particular.

I also invited my friend Gus van Sant and the Texan artist Oscar Tuazon to participate. Will be an idea of Americana.

( Hedi:我不常舉辦攝影展，因為我不喜歡我的作品被印製，並集結 成冊。我喜歡讓我的作品顯得非常稀有。這次的展覽主題是美國， 特別連結美國的文選與書本。

我也邀請了我的好友 Gus van Sant 與德克薩斯藝術家Oscar Tuazon參與這次的展覽，是一個非常具有美國文物觀點的攝影作品展。)

There will be another group show in Paris at the same time. Alongside your solo show in Brussels, why do you want to have another show in different perspective and city? How do you enjoy the curator job?

(同一時間除了布魯塞爾以外，巴黎也會有一場你的攝影展，為何同 一時間要在另外一個具有不同觀點的城市策展?你如何從身為策展 人這個工作中得到樂趣? )

Hedi: Those 2 shows are of course a single project. On one hand a solo show of photographs relating to my perspective, foreigner, of Americana. On the other hand I curate a show on California art. This time 20 artists are giving their own perspective, sometimes historical (Ruscha, Baldessari, Burden etc) on California. It is a「Double Entendre」, and holistic view.

(Hedi: 這兩個展覽當然是同一個企劃。一個所要呈現的是連結我的 觀點、美國人、美國文物的獨立展。另一個是呈現加州的藝術文化 觀點。這次，二十個藝術家分別展現他們自己的觀點，也包含加州的 歷史(例如 Ruscha, Baldessari, Burden ⋯⋯等)這是一個「雙關語」， 一個全面的看法。 )

When was the last time you saw Gus Van Sant ?

(你最後一次見到 Gus Van Sant 是何時? )

Hedi: Yesterday at home, he showed up with a new haircut, and this morning on the phone. I cannot think of someone more gentle and pure, and of course talented in the most unassuming way.

(Hedi: 昨天，他帶著他的新髮型來我家。以及今天早上我和他通過電話。我無法想像有誰可以像他這樣如此溫和、純粹，以最謙遜的方式表達他的才華。)

What is the movie you see lately?

(你最近看的一部電影是什麼?)

Hedi: I see movies all the time on netflix. I'm obsessed with netflix. I see everything, and lately a lot of old Clint Eastwood 70's movies.

( Hedi: 我一直在NetFlix上收看電影。我對於Netflix非常著迷，我幾乎收看所有節目，最近則是 Clint Eastwood 70'年代的老電影。)

If Hedi Slimane were a label, which typography it would be?

(如果Hedi Silmane是一個品牌，它的印刷設計會是如何? ) 

Hedi:  I only use one typography since I started to design. I'm not going to change now.

(Hedi:從我開始設計以來，我始終如一於一種格式，而現在我也不想改變。)  ■  ( interview & text 文字與訪談 by Gene Ku 簡兢谷 )

——

"My taste is actually very girly.
I like any attribute of feminity to be enhanced."

我的品味其實是非常女性化。 我喜歡任何被加強女性特質的屬性。

Hedi Slimane

——