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Happy Massee: Diary of a Set Designer

為了解決gucci videos的問題，作者Massee, Happy/ Venville, Malcolm (FRW) 這樣論述：

Diary of a Set Designer is a book of Polaroids taken over 25 years by Happy Massee while traveling the world as a production designer. The photographic journal is a journey through time, with a collection of images taken with the now-defunct Polaroid camera--which, at the time, was essential to the

art of designing for film. One of the industry's top production designers, Massee has enjoyed a career spanning the realms of theater, film, commercials and fashion. He has worked with established directors such as Wes Anderson, David Lynch, David Fincher, Michel Gondry and more, while in the world

of fashion he has collaborated with the likes of Inez and Vinoodh, Peter Lindbergh and Craig McDean, and worked for brands such as Gucci, Valentino, Armani, Bulgari and Swarovski. His film credits include, among others, Broken English, directed by Zoe Cassavetes, and Two Lovers, directed by James Gr

ay, and he has designed sets for music videos such as Jay Z's "99 Problems" and Madonna's "Take a Bow." In this volume, "the images of personalities, sets, locations and encounters," Massee explains, "all tell a story related to my work and travels, and the people I met while on them. The images, ra

w and unretouched, are candid, and capture my art as well as my life as I like to travel through it." After growing up in France, and receiving his MFA from the School of Applied Arts in Paris, American born Happy Massee moved to New York to establish himself as one of the top production designers

. In the past 25 years his career has spanned theatre, films, Commercials, and fashion. He has worked with some of the world’s most established directors, including Wes Anderson, David Lynch, Nicolas Winding Refn, Rob Marshall, David Fincher, Michel Gondry, Michael Haussman, and Mark Romanek. His fi

lm credits include amongst others Broken English directed by Zoe Cassavetes, Welcome to the Rileys directed by Jake Scott, Two Lovers and The Immigrant Directed by James Gray. In the world of fashion, Happy has worked with the likes of acclaimed photographers Mert and Marcus, Inez and Vinoodh, Peter

Lindbergh, and Craig McDean as well as for such brands as Gucci, Valentino, Armani, Bulgari, Swarovski. Recently, Happy marked his Broadway debut, by joining Fisher Stevens and John Leguizamo on his new one man show Ghetto Klown.

gucci videos進入發燒排行的影片

機器人擬人化程度對於消費者購買意願之影響：以產品類型為調節效果

為了解決gucci videos的問題，作者林俐萱 這樣論述：

日新月異的科技，越來越方便的生活是未來的趨勢，機器人取代人力的趨勢是必然的。在疫情之下，需避免人與人之間的接觸，為了使原本的工作正常運作之下，各個產業購買機器人的市場成長幅度迅速上升。從大家都習以為常的真人服務要轉變成機器人服務，機器人的擬人化程度的高低與消費者的接受度是本研究所探討的範疇，藉由三種擬人化程度不一樣的機器人，在一分鐘的短片內呈現機器人的樣貌、聲音、活動情形及互動反應，供消費者比較差異，接著再比較產品差異。產品的部分使用包包及水，在這兩種產品之中各找出奢侈品與便利品的代表，包包代表品分別為GUCCI包包及H&M包包，而水的產品則由沛綠雅和多喝水作為代表。以這四種產品與三種機器人

搭配圖片詢問消費者的購買意願。研究的方法使用迴歸分析探討擬人化機器人與購買意願的關聯，單因子變異數分析比較三種機器人的差異，用相依樣本T檢定判斷兩種產品的區隔，最後以雙因子變異數重複試驗了解購買意願與包包和水的交互作用。研究結果指出機器人擬人化與消費者購買意願有正向影響，包包的奢侈品會正向調節機器人擬人化程度與消費者購買意願，水的部分沒有成立，此外便利品不會調節機器人擬人化程度與消費者購買意願。本研究貢獻可供企業評估自身產品，若想販售奢侈品可使用類人型機器人，單純販售便利品之企業可以使用非類人型機器人即可。若想延伸本研究建議可再搭配MR理論、腦波、依附關係等因素探討人與機器人之間的關係對於最終

購買意願的影響。

MASTERS OF FASHION Vol 34 Italians: Italian Fashion Legends

為了解決gucci videos的問題，作者Roberts, Paul G. 這樣論述：

FASHION INDUSTRY BROADCAST Masters of Fashion Vol 34 Italians ITALIAN FASHION. A DIVINE OPERA OF BEAUTY, DESIRE, FAME, POWER, AND EVEN MURDER. There is fashion, and then there is the truly sublime. To fully appreciate Italian fashion one needs to walk the Quadrilatero, the handful of sacred cobblest

oned Milanese streets where a new pantheon of deities are worshipped, the houses of Gucci, Fendi Dolce & Gabbana, Cavalli, Tod's et al. On these hallowed boulevards the fashion faithful from all over the world make their Haj. In just a handful of streets one can be awestruck by the temples of Italia

n luxury fashion. This is not some run of the mill suburban mall this is transcendence. One time skilled artisans and humble shop keepers have exploded into globalised corporate powerhouses equipped with formidable engines of growth. Sophisticated multinational conglomerates who have mastered the ar

ts of manufacturing desire with their use of marketing and image in addition to that of design and craftsmanship. They mastered the art of branding, line extensions, retail experiences, and product licensing strategies. Italian designers have sailed forth from their native shores like the explorers

of old to conquer much of the new world with their coveted treasures and shiny retail palazzos. They have infiltrated the dream factories of Hollywood and now their names are as ubiquitous on the red carpets as they are on the runways. In the last 50 years Italian fashion has given us fame, scandal,

murder and it appears there is nothing that can sate our appetite for more. -CAVALLI -DOLCE & GABBANA -FENDI -FIORUCCI -GUCCI -DIESEL -TOD'S Fashion Industry Broadcast's "MASTERS OF FASHION" is an 12 title series: Masters of Fashion - Vol 31 Americans Masters of Fashion - Vol 32 Americans Masters o

f Fashion - Vol 33 Italians Masters of Fashion - Vol 34 Italians Masters of Fashion - Vol 35 Heels Part 1 Masters of Fashion - Vol 35 Heels Part 2 Masters of Fashion - Vol 36 Bags Masters of Fashion - Vol 37 Paris Part 1 Masters of Fashion - Vol 38 Paris Part 2 Masters of Fashion - Vol 39 Renegades

Masters of Fashion - Vol 40 Lingerie Masters of Fashion - Vol 41 Music in Fashion Fashion Industry Broadcast is the number one destination on the web for the latest in fashion, style, music, creative arts, creative media, models, celebrity biographies and much more. Our site is available globally in

13 languages and is updated daily. Not a minute goes by without our passionate team scouring the globe for the latest breaking news and insider gossip. www.fashionindustrybroadcast.com Fashion Industry Broadcast publishes on a vast array of media platforms art books, eBooks, apps for mobiles and te

levision documentaries. We cover all the key areas of popular culture, style and media arts. Our products are sold globally in over 100 countries through our partnerships with people like Amazon, Apple, Google and many more. You can purchase all of our products directly from the FIB site, please hav

e a browse. A very special video rich multimedia App version with hundreds of original videos, interviews, behind the scenes at fashion shoots and advertisements, is available through Apple's iTunes App store for just ＄4.99 per edition. Look for "FASHION INDUSTRY BROADCAST" on the Apple App store. C

ontact [email protected] ABOUT THE AUTHOR Paul G Roberts is also considered an authority on prestige fashion and brands. He is the author of the 8 edition Style Icons series and also the 12 edition Masters of Fashion book series for Fashion Industry Broadcast. Paul G Roberts is als

o a serial entrepreneur, internationally published author, publisher, futurist, branding expert and creative director. For more than 25 years he has worked around the world with many of the planet’s most iconic brands. He is founder and owner of the DESIRE Groupe, which celebrated 20 years of operat

ion in 2013. The DESIRE Groupe is now a diversified Content & Communications group. He is also a futurist and the author of the book Trilogy on Technology and the Future titled ＂NOW＂, ＂NEXT＂ and ＂HOW＂. His most recent global book, published in September 2014 was ＂CONTENT And it’s Rise in a Connected

World＂ All his titles are available globally on Amazon Books and better book sellers, and Amazon Kindle and Apple iBooks as a eBooks.

後疫情時代奢侈品牌線上時裝秀探究—以情境類型為例

為了解決gucci videos的問題，作者張育瑄 這樣論述：

隨著後疫情時代的居家隔離、封城與鎖國等措施，眾多時尚部落客、媒體和明星無法出席實體時裝秀，因此數位時裝秀應運而生。時裝秀線上展演的呈現方式與實體時裝秀截然不同，疫情帶來的震撼不但沒有侷限設計師的創意，反而顛覆時尚產業看待時裝秀的角度。 本研究以Liu & Kwon(2020)歸納出的六種情境表達類型為分析架構，以時裝及配件為主要商品的奢侈品牌：Louis Vuitton、Chanel、Hermes、Gucci、Dior、Prada、Buberry為研究對象，探討後疫情時代奢侈品牌轉為線上展演之情境類型，討論其表現形式之使用，分析其情境類型與服裝設計理念是否融合。研究範圍為疫情爆發後的一

年(2020年6月至2021年6月)之間，7個品牌於官方YouTube頻道發布，總計33支的線上時裝秀影片。 研究發現：一、線上時裝秀可分為微電影呈現、蒙太奇影像、3D場景、秀後設計師座談等四種常使用的表現形式。二、微電影呈現較常與「思想的情境表達」、「溝通的情境表達」結合；3D場景則常與「溝通的情境表達」結合。三、品牌設計師所運用的情境類型以「聯想的情境表達」為最多數。四、奢侈品牌最常運用的情境類型各有不同。五、「空間的情境表達」從實體時裝秀與觀眾緊密扣連的目的，在線上時裝秀轉變為自由概念的呈現。六、由於許多品牌都是採錄播的方式，因此在一場秀中可以運用多種情境類型。七、即便在相同場景展

演，情境類型的意義卻隨著設計師欲傳達的理念而有所不同。八、「聯想的情境表達」結合蒙太奇影像的表現形式，使觀眾對情境的領會、印象更為深刻。九、在某些情況下，設計師的情感和思維比系列本身更能引起共鳴，足以對群眾產生巨大的影響。十、使用與主題關聯不明的呈現方式，或是容納過多元素會導致觀眾混淆焦點。