Question 1

the new order magazineลงทุนแมน 在Facebook 的評價

Accepted Answer

จอร์จ ลูคัส ผู้กำกับภาพยนตร์ ที่รวยสุดในโลก ผู้สร้าง Star Wars /โดย ลงทุนแมน
ถ้าพูดถึงภาพยนตร์ที่ทำรายได้ทั่วโลกได้สูงสุดตลอดกาล
ก็ต้องมีชื่อ Avatar, Avengers: Endgame และ Titanic

แต่ถ้าเรารวมค่าเข้าชมภาพยนตร์กับยอดขายจากสินค้าและค่าลิขสิทธิ์ที่ต่อยอดจากภาพยนตร์เข้าไปด้วย
ภาพยนตร์ที่สามารถกวาดรายได้ไปได้มากที่สุดในโลกจะเป็น “Star Wars”

และนั่นก็ได้ทำให้ผู้สร้างจักรวาล Star Wars อย่าง “George Lucas”
กลายเป็นผู้กำกับภาพยนตร์ที่รวยที่สุดในโลก ด้วยทรัพย์สินมูลค่ากว่า 2.2 แสนล้านบาท
แล้วเบื้องหลังเรื่องราวชีวิตของ George Lucas เป็นอย่างไร ?
ลงทุนแมนจะเล่าให้ฟัง
╔═══════════╗
Blockdit เป็นแพลตฟอร์ม สำหรับนักอ่าน และนักเขียน
ที่มีผู้ใช้งาน 1 ล้านคน ลองใช้แพลตฟอร์มนี้เพื่อได้ไอเดียใหม่ๆ
แล้วอาจพบว่าสังคมนี้เหมาะกับคนเช่นคุณ
Blockdit. Ideas Happen. Blockdit.com/download
╚═══════════╝
George Lucas เกิดในปี 1944 และเติบโตที่รัฐแคลิฟอร์เนีย ประเทศสหรัฐอเมริกา

เมื่ออายุได้ 11 ปี Lucas ได้ไปเที่ยวกับครอบครัวที่ Disneyland ซึ่งเพิ่งเริ่มเปิดให้บริการเป็นครั้งแรก
และนั่นคือจุดเริ่มต้นที่ทำให้เขาหลงใหลในการ์ตูนภาพเคลื่อนไหวและนวนิยายแนววิทยาศาสตร์

แต่พอเข้าสู่ช่วงวัยรุ่น เขามีความสนใจอีกอย่างเพิ่มเข้ามานั่นก็คือ การแข่งรถ
Lucas จึงตั้งเป้าหมายที่จะเป็นนักแข่งรถ แต่ต่อมาแผนการนี้ก็ถูกล้มเลิก
เพราะในวัยเพียง 18 ปี Lucas ได้ประสบอุบัติเหตุรถพลิกคว่ำอย่างรุนแรงจนเขาต้องรักษาตัวอยู่นาน

อุบัติเหตุที่เกิดขึ้น ก็ได้ทำให้ความตั้งใจที่จะเป็นนักแข่งรถหมดลง
เขาจึงนำความหลงใหลในวัยเด็กหรือ “การ์ตูน” กลับมาเป็นเครื่องนำทาง

แม้ว่าพ่อของ Lucas ที่เปิดกิจการขายเครื่องเขียน อยากให้ลูกชายมาช่วยกิจการครอบครัว
แต่ Lucas ที่ตั้งใจแล้วว่าจะไปเรียนต่อในด้านศิลป์ จึงได้ตัดสินใจออกจากบ้าน
พร้อมกับบอกครอบครัวของเขาว่าจะมีเงิน 30 ล้านบาท ก่อนอายุ 30 ปีให้ได้

Lucas จึงเลิกเรียนมัธยมกลางคันทั้งที่ใกล้จะจบแล้ว
และไปสมัครเรียนที่ Modesto Junior College ซึ่งเป็นวิทยาลัยชุมชนแทน
ซึ่งในตอนแรก Lucas ได้ลงเรียนหลายแขนงวิชามาก เพราะยังไม่แน่ใจว่าตัวเองอยากทำอะไรกันแน่

ระหว่างเรียนอยู่ที่นี่ Lucas ก็เริ่มสนใจเกี่ยวกับการถ่ายภาพเคลื่อนไหวและการสร้างภาพยนตร์
เขาจึงตัดสินใจเรียนต่อระดับปริญญาตรีด้าน Cinematic Arts ที่มหาวิทยาลัย Southern California
ซึ่งหนึ่งในเพื่อนสนิทของ Lucas ที่มหาวิทยาลัยก็คือ Steven Spielberg ผู้กำกับระดับตำนานอีกคนหนึ่ง

หลังเรียนจบในปี 1967 Lucas เลือกเรียนต่อปริญญาโทด้าน Film Production ที่มหาวิทยาลัยเดิม
และได้ทำหนังสั้นประเภท Sci-Fi ที่ชื่อ Electronic Labyrinth: THX 1138 4EB โดยได้นำภาพยนตร์เรื่องนี้ไปแข่งขันในงาน National Student Film Festival และได้รับรางวัลชนะเลิศ

รางวัลที่ Lucas ได้รับ นอกจากทาง Warner Bros. จะให้ทุนการศึกษาแล้ว
บริษัทยังให้สิทธิ์กับเขาไปดูงานเบื้องหลังการถ่ายทำภาพยนตร์ได้หนึ่งครั้ง
ซึ่ง Lucas ได้เลือกภาพยนตร์ที่กำกับโดย Francis Ford Coppola

Coppola ประทับใจความสามารถของ Lucas จึงชักชวนเขามาร่วมกันเปิดสตูดิโอ
ที่ชื่อว่า American Zoetrope ในปี 1969 และแนะนำให้ Lucas ดัดแปลงภาพยนตร์สั้นที่ได้รับรางวัล
มาทำเป็นภาพยนตร์ยาว แต่ผลตอบรับของผลงานชิ้นนี้กลับไม่ดีเท่าที่ควร

ปี 1971 Lucas จึงตัดสินใจขอออกมาเปิดบริษัทของตัวเองโดยใช้ชื่อว่า “Lucasfilm”

ซึ่งหลังจากนั้น ปี 1972 Coppola ได้กลายเป็นผู้กำกับระดับตำนานจากภาพยนตร์เรื่อง The Godfather

และแม้ว่า Lucas จะออกมาแล้ว แต่ทาง Coppola ก็ยังคงคอยให้ความช่วยเหลือเขามาโดยตลอด
ตั้งแต่ภาพยนตร์เรื่องแรกของ Lucasfilm อย่าง American Graffiti ที่เข้าฉายในปี 1973
ซึ่งสามารถทำรายได้กว่า 4,500 ล้านบาทจากทุนสร้างเพียง 25 ล้านบาท
โดยถือเป็นหนึ่งในภาพยนตร์ ที่มีอัตรากำไรมากที่สุดในขณะนั้น

American Graffiti ได้กลายเป็นผลงานแจ้งเกิดในฐานะผู้กำกับดาวรุ่งของ Lucas
และทำให้เขามีเงินถึง 30 ล้านบาทได้ในวัย 29 ปี ตามที่เคยบอกกับครอบครัวก่อนออกจากบ้านมา

ในปีเดียวกันนี้เอง ช่วงระหว่างรอ American Graffiti เริ่มเข้าฉาย
Lucas ก็เดินหน้าเสนอบทภาพยนตร์แนวที่เขาอยากทำมากที่สุดมาโดยตลอด
โดยเป็นภาพยนตร์ Sci-Fi ที่มีเรื่องราวการต่อสู้ในอวกาศ นั่นก็คือเรื่อง “Star Wars”

แต่ด้วยความที่ภาพยนตร์ Sci-Fi ในสมัยนั้นยังไม่ค่อยเป็นที่นิยม บวกกับต้นทุนการถ่ายทำที่สูง

เพราะยังแทบไม่มีการใช้คอมพิวเตอร์กราฟิกหรือ CG จึงมีตัวอย่างภาพยนตร์แนวนี้ที่เจ๊งแทนที่จะแจ้งเกิดมาแล้วหลายเรื่อง จนไม่มีบริษัทไหนสนใจให้ทุนเขาเลย แม้แต่ Universal Pictures ที่เป็นผู้ให้ทุนสร้าง American Graffiti

จนกระทั่ง Lucas ได้มาเจอกับผู้บริหารของ 20th Century Fox ที่รู้สึกสนใจในไอเดียของเขา
จึงตอบตกลงเป็นผู้ให้ทุนสร้างและเป็นผู้จัดจำหน่ายภาพยนตร์ Star Wars ให้ Lucasfilm

หลังจาก Lucas เริ่มเจรจากับ 20th Century Fox ไปได้ 3 เดือน ภาพยนตร์เรื่อง American Graffiti ที่เพิ่งเริ่มเข้าฉายได้รับกระแสตอบรับดี จึงทำให้ 20th Century Fox เสนอเพิ่มทุนสร้างให้กับ Star Wars เข้าไปอีก

และเหตุการณ์ที่จะเล่าต่อจากนี้ ก็น่าจะเป็นการตัดสินใจครั้งสำคัญที่สุดในชีวิตของ Lucas เลยก็ว่าได้..

นั่นก็เพราะว่า Lucas เลือกปฏิเสธเงินทุนที่มากขึ้น แต่เขากลับเจรจาขอเป็นผู้ครอบครองลิขสิทธิ์และสิทธิ์ในสินค้าที่เกี่ยวกับ Star Wars ทั้งหมดแทน

ซึ่งทาง 20th Century Fox ก็ตอบตกลงแต่โดยดี เพราะแม้จะสนใจในเรื่องราวของ Star Wars
แต่ไม่มีใครคาดคิดว่าหลังจากนั้น Star Wars จะประสบความสำเร็จอย่างยิ่งใหญ่ในเวลาต่อมา

หลังจากซุ่มเขียนบทและเตรียมตัวอยู่ 3 ปี Star Wars ก็ได้เริ่มถ่ายทำในปี 1976
และผลจากการที่ Lucas ปฏิเสธข้อเสนอเพิ่มทุนสร้าง ทำให้เขาต้องเครียดจากการมีงบประมาณที่จำกัด

ด้วยเหตุผลที่ Star Wars คือเรื่องราวในโลกเสมือน ตัวละครที่ Lucas สร้างสรรค์มาจึงเต็มไปด้วยสิ่งมีชีวิตรูปร่างหน้าตาแปลกใหม่ อย่างเช่น โยดาและชิวแบคคา รวมไปถึงฉากหลักที่เป็นโลกอวกาศ อุปกรณ์ประกอบฉากอย่างยานอวกาศหรือแม้แต่ดาบไลท์เซเบอร์

การแปลงภาพจากจินตนาการที่มีเอกลักษณ์เฉพาะ ให้มาปรากฏในภาพยนตร์ ยังเป็นยุคที่ต้องให้คนสร้างของจริงขึ้นมาใหม่ทั้งหมด ส่งผลให้ต้องใช้งบประมาณมหาศาล ซึ่งจำเป็นต้องบริหารงบประมาณอย่างรอบคอบ

แต่ด้วยความประณีตและใส่ใจรายละเอียดของทั้ง Lucas และทีมงาน จึงทำให้ภาพยนตร์มีภาพออกมาสมจริงรวมถึงเนื้อเรื่องที่แปลกใหม่

และเมื่อ Star Wars: Episode IV - A New Hope ได้เข้าฉายในปลายปี 1977 ก็ไม่ต้องสงสัยเลยว่าภาพยนตร์เรื่องนี้ได้รับผลตอบรับดีแบบถล่มทลาย จนดังระเบิดไปทั่วทั้งสหรัฐอเมริกา ต่อเนื่องไปจนทั่วโลก

ทาง 20th Century Fox เลยให้ Lucas เริ่มถ่ายทำภาคต่อในทันที
แต่ Lucas ตระหนักดีว่าทุนสร้างภาพยนตร์ที่ได้รับ จะทำให้มีข้อจำกัดในการผลิตมากมายจากผู้ให้เงิน

เขาจึงขอใช้เงินทุนตัวเองในการสร้างภาคต่อที่เหลือ
โดยยังมี 20th Century Fox เป็นผู้จัดจำหน่ายภาพยนตร์ให้อยู่

ภาพยนตร์ไตรภาคชุดแรกของ Star Wars ก็จบลงอย่างสวยงามในปี 1983 และได้ทำให้ Lucas กลายเป็นผู้กำกับและโปรดิวเซอร์ภาพยนตร์ชั้นนำของโลก ที่กวาดรางวัลใหญ่ไปมากมาย

นอกจากบทบาทการเป็นผู้สร้างภาพยนตร์ที่ครองใจผู้ชมไปทั่วโลกแล้ว
ในด้านของการผลิตภาพยนตร์ Lucas ยังเป็นผู้นำด้านเทคโนโลยี ซึ่งเขามุ่งมั่นและทุ่มงบประมาณให้ Lucasfilm วิจัยพัฒนา โดยได้แบ่งออกเป็นบริษัทย่อยที่เน้นโฟกัสคนละอย่าง
จนสามารถเป็นผู้นำในด้านนั้น ๆ ได้มาจนถึงปัจจุบัน ยกตัวอย่างเช่น

- ILM ที่ก่อตั้งในปี 1975 เน้นพัฒนาการสร้างภาพเคลื่อนไหวเสมือนจริงด้วยคอมพิวเตอร์
- Skywalker Sound ที่ก่อตั้งในปีเดียวกัน เน้นพัฒนาการใส่เสียงประกอบภาพยนตร์
- Pixar ที่ก่อตั้งในปี 1979 เน้นพัฒนาเทคโนโลยีด้านการสร้างแอนิเมชัน 3 มิติ

อย่างไรก็ตาม ธุรกิจทั้งหมดนี้ต้องใช้เงินลงทุนสูงโดยเฉพาะในช่วงเริ่มต้น
ส่งผลให้ Lucasfilm ประสบปัญหาทางการเงินจนได้ตัดสินใจขาย Pixar
ให้กับ Steve Jobs ในปี 1986 ซึ่งเป็นช่วงที่ Steve Jobs เพิ่งโดนไล่ออกจาก Apple

ในตอนนั้น George Lucas ผู้เป็นเจ้าของ ได้ขาย Pixar ให้กับ Steve Jobs ด้วยราคา 10 ล้านดอลลาร์สหรัฐ

โดย 5 ล้านดอลลาร์สหรัฐ จ่ายให้กับ George Lucas
และอีก 5 ล้านดอลลาร์สหรัฐ ใช้เป็นเงินทุนของ Pixar

ก่อนที่ Disney จะขอซื้อ Pixar ต่อจาก Steve Jobs อีกทีในปี 2006

และทั้ง 2 บริษัทที่มีผู้ก่อตั้งคนเดียวกันอย่าง Pixar กับ Lucasfilm ก็ได้กลับมาเจอกันอีกครั้ง
เมื่อทาง Disney เจรจาขอซื้อ Lucasfilm จาก Lucas ในปี 2012
ด้วยมูลค่า 4.05 พันล้านดอลลาร์สหรัฐ หรือมากถึง 1.31 แสนล้านบาท

แต่รู้หรือไม่ว่าสิ่งที่สร้างมูลค่าให้กับ Lucasfilm และความมั่งคั่งของ Lucas อย่างมหาศาล
กลับไม่ได้มาจากรายได้ของภาพยนตร์ Star Wars ที่ทำเงินได้กว่า 10,000 ล้านดอลลาร์สหรัฐ ทุกภาครวมกันในโรงภาพยนตร์ทั่วโลก

นั่นก็เพราะว่าความนิยมของจักรวาล Star Wars ไม่ได้จบลงที่จอภาพยนตร์เท่านั้น
แต่ยังถูกต่อยอดไปเป็นผลิตภัณฑ์นานาชนิด ไม่ว่าจะเป็นสินค้าจากภาพยนตร์ อย่างเช่น หุ่นจำลองของตัวละครหรือดาบไลท์เซเบอร์ หรือจะเป็นในสื่อชนิดอื่น อย่างซีรีส์ที่ฉายในโทรทัศน์ วิดีโอเกม หรือหนังสือ
โดยสินค้าทั้งหมดนี้ทำรายได้ให้ Star Wars มากกว่าค่าเข้าชมภาพยนตร์เกือบ 6 เท่า

ซึ่งเราก็ต้องกลับไปดูการตัดสินใจครั้งสำคัญของ Lucas ที่ได้เลือกเจรจาขอเป็นผู้ครอบครองลิขสิทธิ์และสิทธิ์ในสินค้าที่เกี่ยวกับ Star Wars ทั้งหมด มันส่งผลให้ Lucas มีช่องทางรายได้ที่มั่นคงกว่ามากในเวลาต่อมา

ปัจจุบัน Forbes ได้จัดอันดับให้ Lucas เป็นเซเลบริตีที่รวยสุดในโลกในปี 2018 และครองตำแหน่งผู้กำกับที่รวยสุดในโลกได้อย่างยาวนาน ด้วยมูลค่าทรัพย์สินในปัจจุบันกว่า 7 พันล้านดอลลาร์สหรัฐ หรือราว 2.2 แสนล้านบาท

นึกย้อนกลับไปถึง Lucas ในวัย 11 ปี
ที่เริ่มหลงใหลในตัวละครโลกเสมือนจากการไป Disneyland เป็นครั้งแรก
มาถึงวันนี้ Disneyland แห่งเดิม ได้มีโซนใหม่ที่ชื่อว่า “Star Wars: Galaxy's Edge”
ซึ่งมันก็เป็นผลงานของ Lucas ที่เกิดขึ้นได้เพราะการเลือกเส้นทางชีวิตของตัวเขาเอง ที่สถานที่แห่งนี้ในวันนั้น

และเมื่อ 3 สิ่งนี้มาบรรจบกัน ก็ดูเหมือนว่าจะทำให้เรื่องราวที่เกิดขึ้นในโลกจริง ดูน่าตื่นเต้นไม่แพ้โลกในภาพยนตร์เช่นกัน..
Lucas | Star Wars | Disney
╔═══════════╗
Blockdit เป็นแพลตฟอร์ม สำหรับนักอ่าน และนักเขียน
ที่มีผู้ใช้งาน 1 ล้านคน ลองใช้แพลตฟอร์มนี้เพื่อได้ไอเดียใหม่ๆ
แล้วอาจพบว่าสังคมนี้เหมาะกับคนเช่นคุณ
Blockdit. Ideas Happen. Blockdit.com/download
╚═══════════╝
ติดตามลงทุนแมนได้ที่
Website - longtunman.com
Blockdit - blockdit.com/longtunman
Facebook - facebook.com/longtunman
Twitter - twitter.com/longtunman
Instagram - instagram.com/longtunman
Line - page.line.me/longtunman
YouTube - youtube.com/longtunman
Spotify - open.spotify.com/show/4jz0qVn1AL7tRMHiTvMbZH
Apple Podcasts - podcasts.apple.com/th/podcast/ลงท-นแมน/id1543162829
Soundcloud - soundcloud.com/longtunman
References
-https://www.businessinsider.com/how-star-wars-made-george-lucas-a-billionaire-2015-12
-https://www.businessinsider.com/star-wars-george-lucas-net-worth-movies-house-spending-2019-7
-https://www.theatlantic.com/magazine/archive/1979/03/the-man-who-made-star-wars/306228
-https://www.radiotimes.com/movies/how-to-watch-the-star-wars-movies-in-the-right-order/
-https://clubjade.net/nine-ways-george-lucas-changed-movies-forever/
-https://en.wikipedia.org/wiki/George_Lucas
-https://en.wikipedia.org/wiki/List_of_highest-grossing_media_franchises
-https://www.forbes.com/profile/george-lucas/?sh=35340de56e63

Question 2

the new order magazine國立臺灣大學 National Taiwan University 在Facebook 的評價

Accepted Answer

【國立臺灣大學 109學年度畢業典禮 貴賓致詞】Commencement Address, National Taiwan University Commencement 2021    .巨大集團 羅祥安前執行長Giant Group Former CEO Anthony Lo管校長，羅副校長，各位貴賓，畢業生的家長跟朋友們，還有今天最重要的2021年臺大的畢業生，大家早安、大家好！首先恭喜你們，今天從全世界最優秀大學之一的臺灣大學畢業了！在過去幾年，在管校長，以「大學教改」和「國際化」的理念，率領全體師生的努力之下，臺大在全世界的能見度，和各項排名，都有顯著的進步，也讓身為校友的我們倍感光榮。是不是我們大家一起鼓掌，給自己鼓勵一下好不好！你們今天剛剛畢業，但是你們已經創造了臺大一項新的紀錄：第一次，沒有傳統畢業典禮的畢業生。這將是你們人生一個非常特別的回憶，也預表了你們未來將會有與眾不同的表現，和非凡的成就。現在的世界，局勢是在東方跟西方的勢力，彼此對抗而動盪不安。而全世界的經濟活動，也因為科技的突破性創新，而受到很大的影響。不盡理想的、不盡公平的全球化，也將逐漸地變成 全球在地化。而COVID-19肆虐全球的結果，使得臺灣跟全世界，大家的生活型態、社會的結構、經濟活動的節奏都被打亂了，而必須要加以全面的整理跟重新的架構。這當然是一個危機，但是更是一個絕好的機會。所以，將你們迎面而來的，是無數的創新的機會，以及冒險卻令人興奮的全新挑戰。因為臺灣，這是第一次跟全世界各個國家，同步的站在一個嶄新的共同起跑點上面。所以我要恭喜你們，你們躬逢其會，將要進入一個充滿希望、嶄新的時代。我是1969年從臺大畢業的，所以我想今天就以我畢業之後的50多年，人生的一些學習和體會，來跟諸位分享，給諸位作個參考。當我大學畢業的時候，我滿懷抱負，迫不及待地想要大展身手，我當時進入臺灣最大的貿易公司工作，但是我發現我所學的很多東西，只有一些國際貿易的實務跟英文有用，至於其他我所學習到的經營管理的很多知識，恐怕都要等到10年、20年之後，如果我有幸當上高級主管才能派上用場。更諷刺的是，我是商學系畢業的，但是工作兩年後，我發現我真的不喜歡做商人，我也不喜歡做生意，我有興趣的是做事業。後來，幸好我有聆聽我心裡面的微弱的聲音，決定踏進自行車業，放棄掉台北最好的貿易公司的金飯碗，而去參加在大甲一個只有38個人的小公司，來追求我的夢想。那時候許多人認為我腦筋有問題，頭殼壞去，但現在回顧回來，我當時是做了人生一個非常好的決定。創業的過程飽受艱辛，但是我也學到了很多寶貴的經驗：我首先學到的，是在做事之前，必須要先學做人。人必須要誠信踏實，不能自私自利，而要利他共好。要隨時心存感恩，尊重、關切別人。要熱愛這個世界，並且要了解到一個人的能力是有限的，而必須要去建立互信、互助的人際關係；要融入群體、要發揮團隊的精神。在做事方面，一定要以正面積極的態度，認真努力去工作。 而且不要怕失敗，要勇於接受新的挑戰。因為如果有失敗了，那只是代表說你又更靠近成功一步了。要作中學，學中作，要虛心好奇的終身學習，開拓挑戰、追求卓越。在這裡，我想要送給大家一個很特別的畢業禮物，就是兩個「成功的錦囊」。第一個錦囊：不管你做什麼工作，不論你職務的高低，永遠都要站在顧客的立場，來為他們設想，還能做什麼，讓他們能夠得到更多的創新價值。第二個錦囊：無論作什麼工作，不管你職務的高低，永遠都要站在經營者的角度來為公司設想，要做什麼，才能讓公司更健康，永續經營跟發展。既使你們把我後面講的很多東西都忘記了，沒關係，但是這個畢業禮物你們一定要記得帶回去，因為這些「同理心」的兩個錦囊，在未來會給你們帶來意想不到的祝福！其次我體會到，名跟利都是副產品。正產品是你成為什麼樣的人，成就什麼樣的事。當正產品是對的時候，名跟利都自然會來。所以我鼓勵大家在找工作的時候，不要太計較開始的薪水和待遇。因為事實上，一個新人，在前面三年是很難有大的貢獻的，反過來只是公司發薪水來給你培訓而已。所以選擇一個有意義的行業，找一家你可以學習進步的好公司，這才是重要的。第三，我學習到 知識不等於智慧。諸位都學有專精，有很多寶貴的知識，但這些知識必須要實際去做才能夠產生經驗，而累積的時候會有不同經驗的反省、學習、跟體會，尤其是從那些失敗的經 驗，才能夠漸漸地凝結成有用的智慧。我的成長過程分成三段，開始我是一個「I」型的人，我擁有一些經營管理的基本的能力。後來因為工作的需要和我的好奇心，我漸漸地學習到技術開發、製造生產、品牌推廣、全球經營、以及行銷、服務等等寶貴的經驗，這樣漸漸地，我就形成一個「T」型的一個跨界的人才。但是到了我真正找到公司未來的使命跟方向，並且把它跟我的人生目標結合在一起，熱情的、積極去推動的時候，那時候我終於成為一個「十字架」型的一個領導者。當公司發展得比較穩定之後，我就面臨要如何來替公司規劃願景、使命、定位，跟長期策略。在這個階段，我有一些新的體會：首先，你必須要能夠畫出一個「黃金正三角形」，正三角形是最穩定的，上面是戰略，中間是戰術，下面是戰鬥。先要有正確的戰略，才能衍伸出有效的戰術，再根據這個戰術去貫徹戰鬥的執行。換言之，戰略就是做對的事情，戰術就是對的方法，戰鬥就是用對的方法去把事情做對做好，並且不斷地去持續改善。想要能夠思考出長期的戰略，就必須要有洞察力。我很喜歡看地球儀，就是那種在一個架子上面，有一個可以轉動的地球模型。當你把地球轉動的時候，你看到上面每一個地方、每一個國家，它的地理位置、它的自然生態，以及你思考它的歷史的演變跟它的發展，這樣子你就能夠得出一個整體的，跟全方位的一個概念。在思考長期戰略的時候，很不容易得出一個有突破性的一個創見，它的原因往往是因為「當局者迷」的關係。所以當我考慮長期戰略的時候，我會把自己設想，好像從一個人造衛星上面，來觀看一個轉動的地球。以宇宙格局的高度，以全球視野的廣度，以歷史演進的長度，這樣子你就能夠以一個「旁觀者清」的姿態和角度，來正面、反面深入思考，這樣子你就可能得到一個突破性的一個解答。「世界的捷安特」跟「全球在地化」的品牌經營—這樣子的策略、願景就是這樣產生的。另外一種洞察力，是如何推出給人們有創新價值的產品跟服務。這就要時時地站在人文跟科技的十字路口，仔細觀察它們的變化，然後活用科技的進步，為人文潛在的需求，適時地提供最佳的解決方案。捷安特的Cycling世界，就是用這種方法，不斷的推出創新價值的產品。我們在經營上也有發展出一個特別的理念，那就是「不求第一，要作惟一」。全世界的人這麼多，但沒有兩個人的指紋是一樣的， 所以每一個人都是獨一無二、都是惟一的。可見當上帝造每一個人的時候，祂都有衪特別的計劃，而且也把成功所需要的能力跟要素，已經放在你的心中，等待你取用。所以每一個人不應該只是模仿別人，或者是按照別人的期望來生活，而應該要找出並且發揮自己的天賦，真正做自己，成為惟一，才能夠活出精采的生命。企業也是一樣，不能隨波逐流，必須要找出什麼才是對的，什麼是合適你的，什麼才是有意義、對這個世界有貢獻的，這個才是惟一。當你精益求精，努力的想要成為惟一的時侯，你才能夠找到真正正確的目標，以及永續生存的價值。如果事事都想為第一，那麼你可能去追求很多不切實際的目標，而被你無法承受的巨大壓力所摧毀。或者，因為不擇手段，最後走上一些錯誤的道路。在長期追求惟一的過程當中，我也得到兩個重要的體會：當你決心做一件對的事情，而且不屈不撓，勇敢堅持奮鬥的時候，全宇宙的力量都會起來幫助你。另外，把一件有意義的事情，用生命的力量把它作好，你就有可能改變這個世界！我鼓勵你們，聆聽你們內心深處的微小的聲音，讓它引導你們，去尋找到你們的天賦，了解你們的命定。不求第一，要作惟一。做你真正的自己，成為惟一。活出你精彩的生命，享受你幸福的人生！很多人說，生長在臺灣的人，一輩子裡面一定要完成三項挑戰：登玉山、泳渡日月潭、還有騎自行車環島。我覺得這非常有道理。所以我建議大家在畢業以後，在去當兵、就業之前，不妨參加一個自行車環島的旅行團，用九天的時間，仔細的去體會、欣賞寶島臺灣的美好，用自行車的輪胎去親吻，這塊生你長你的美麗大地，就當作是送給你自己的一個畢業禮物吧！那教授們跟家長們，可能會想說，啊！太可惜了，我畢業的時候沒有騎自行車環島，我現在已經五六十歲了。沒關係，你這個年紀正好來從事人生的壯遊。我們臺大的校長－管校長，在今年的一月份，就勇敢的完成他夢寐以求的自行車環島的壯遊。我們給管爺一個掌聲好不好？有人認為臺灣很小、沒有前途，真的是這樣嗎？世界經濟論壇每年都要把全世界的國家的實力做一個調查跟排名。讓我們來看一下臺灣的排名。全世界有235個國家，就面積來講，我們排名第137；就人口來講，第57；就經濟體來講，第21；就整體競爭力來講，排名第11；而創新力，臺灣排名第4。沒錯，臺灣的確不大，但是我們很強，我們可以很有前途！可預見的，未來的世界將會成為美、歐、亞三區鼎力的這個新局面。就像三個圓圈，各自都以自己的利益為優先，並且彼此長期的競爭、對抗和抵制，但是同時又不得不相互的維持一些必要的連結。而在每一個圈裡面，它將持續的有很多劇烈的改變，就像一個暴風圈一樣。而這三個暴風圈連結在一起，就形成一個所謂完全風暴PERFECT STORM。最近經濟學人雜誌，把臺灣當作封面，稱臺灣為地球上最危險的地方，但同時又是科技業最關鍵的地方。我個人倒認為，未來臺灣可能是處在一個最有利的地位，就在那三個暴風圈中間的那個颱風眼，也就是這三個圈圈彼此連結交會的中心點。這個地方看起來好像危險，其實是最安全、最有利、又是最關鍵的地方。當三個暴風圈無可避免的，參與在一個長期的競爭、對抗、跟抵制－這樣一個零和的賽局裡面。那臺灣並不屬於任何一個圈圈，也不需要去參與這些競爭、對抗跟抵制。而可以去想說，我可以在這個關鍵的中心點，替這個世界來提供什麼樣子的創新價值的貢獻。臺灣過去50年的努力累積了很多技術開發、製造管理、金融資本，社會資源，以及民主法治體制，這些稀有而寶貴的實力。而且如果以全世界作為舞台，那麼，能夠精通中文跟英文、能夠深切的了解東方西方的文化；有專業，又能跨界，謙卑而不自卑，自信而不自大的臺灣人，可能是全世界最優秀的人才。未來無法被預測，但是可以被創造！30年前，有誰能夠預測到說臺灣會產生世界級的台積電跟捷安特？台積電秉持著作惟一的理念，以全球晶圓代工的戰略，厚植實力，打造了優質高效的供應鏈，把臺灣變成一個科技島。以臺灣為核心，轉動引領全世界的半導體市場。捷安特也秉持著作惟一的理念，以世界的捷安特，全球在地化的品牌戰略，帶領A-Team把臺灣變成全世界高級車的中心，又積極的推動Cycling的新文化，把臺灣發展成一個自行車島，以臺灣為核心，轉動引領全世界自行車的市場。在這裡我也期許我們臺大，也能夠以作惟一這樣子的理念，轉動引領世界，變成全世界最優秀人才培養的最佳搖籃。未來的50年，臺灣將迎來前所未有最大的機運！所以臺灣是不是應該要脫離過去單純競爭的心態，而來積極的謀求長期的未來生存之道，或者更進一步要問自己：臺灣可以為世界貢獻些什麼？臺灣不應該只是消極的「根留臺灣」，而應該更主動積極的「放眼全球、立足亞太、深根臺灣」。臺灣過去的50年，那是一個非常艱辛跟特別的階段。很慶幸的，臺灣在那個階段裡面，是屬於勝利的這一組。現在是應該到了必須要了解過去、深入現在、策劃未來，這個重要關鍵的時刻。要如何的以宇宙格局的高度、以全球視野的廣度、以及歷史演進的長度，衡外情，量己力，來為臺灣重新的定位，重新畫一個正確的戰略、戰術、戰鬥的黃金三角形。讓臺灣能夠真正發揮自己的長處，能夠打造創新價值的優勢，成為惟一、做Only One！要能夠創造一個更安全、更廣闊、更興盛－全新的藍海。臺灣必須要成為世界的好公民，繼續的為全世界做更多、更好的貢獻！2021的畢業生們，在你們當中有未來國家的領導人、有全球企業的創造者、有在社會各行各業、方方面面的核心人才，所以臺灣未來50年的未來，就掌握在你們手中了。最後，我想用一位著名科學家的名言來作結尾： Life is like riding a bicycle.  To keep your balance, you must keep moving. 人生就像騎自行車，要保持你平衡最好的方法，就是繼續不斷地向前進。你知道這是誰的名言嗎？ 沒錯，就是愛因斯坦！2021的畢業生們，請你騎上你人生的自行車，勇敢的向前邁進，去開創你獨一無二、精彩無比的新生命跟未來。再一次，恭喜你們，並且祝福你們每一位，將來都能夠有健康、幸福、精彩跟有意義的人生！謝謝！    .==============================    .President Kuan, Executive Vice President Luo, Distinguished guests, family, friends, and most importantly, the graduating class of 2021, good morning!First of all, congratulations! Today, you are graduating from one of the best universities in the world – National Taiwan University! Over the last few years, President Kuan led the university forward with his vision of “educational reform” and internationalization”. Together with all the faculty and students, NTU has made significant progress in both ranking and global visibility, making us, alumni, extremely proud.I think we deserve to give ourselves a round of applause!You are the graduating class of 2021 and already, you have set a new record for NTU: For the first time, there will not be a traditional graduation ceremony. Let this be a very special memory of your life and a sign of the difference you will make in your future with extraordinary achievements.The world is now in a volatile state where the East and the West are confronting each other. The world’s economic activities are also greatly affected by the breakthrough and innovations in technology. The less-than-ideal and less-than fair globalization will gradually become global localization. And as a result of COVID-19, Taiwan and the rest of the world’s lifestyle, social structure, and economy have been disrupted, and must be comprehensively reorganized and restructured. This is certainly a crisis, but in the midst of every crisis, lies great opportunity. So, what lies before you are countless opportunities for innovation, and exciting new challenges.Because, for the first time, Taiwan is standing with the rest of the world on a new race-track. Therefore, I would like to congratulate you, you are entering a new era full of hope.I graduated from NTU in 1969. It has been more than 50 years and today, I would like to share some of my life experiences and insights.When I graduated from college, I was filled with ambition. I couldn’t wait to make my mark. I joined one of the largest trading companies in Taiwan, where I quickly realized the only materials I learned in school that came in handy are a little bit of international trade practices and English.  Much of what I had learned about business management would only be relevant 10 or 20 years down the road, if I was lucky enough to become a senior executive.What’s even more ironic is that I graduated with a degree in business, but after working for 2 years, I realize I really don’t like being a businessman, and I don’t like doing business. What I am actually interested in is building an enterprise.Fortunately, I chose to listen to the faint voice in my heart and decided to enter the bicycle industry. I left my position at the best trading company in Taipei to join a small company with only 38 employees in Dajia to pursue my dream.At the time, many people thought I must’ve broken my skull and gone crazy, but looking back, I have made a great decision in my life.The process of starting my own enterprise has been very difficult, but I have learned many valuable lessons. The first thing I learned is that before you can do anything else, you have to learn to be a person of good character.We must be honest, down to earth, selfless, self-serving, and altruistic for the common good.Be grateful, respectful and caring at all times. To love the world and to understand that one person’s ability is limited and that is necessary to build interpersonal relationships of mutual trust and support; to be part of a group and to play as a team.When it comes to work, you must work hard with a positive attitude.  And don’t be afraid to fail, be brave enough to accept new challenges. Because every time you fail, it just means you are one step closer to success. Learning is an active process. We learn by doing. We must stay open-minded and curious, aspiring to lifelong learning; to explore challenges and pursue excellence.Here I would like to give everyone a special graduation gift, which are my two tips for success: First, always put yourself in the customer’s shoes, regardless of what you’re doing or what kind of job title you hold. Think for them, think about what else you can do to create more value for the customers.Second, regardless of what you’re doing or what kind of job title you hold, always think about the company from the proprietor’s point of view; what can we do to build a healthier company that’s sustainable.Even if you are going to forget everything I say later, that’ ok. Just remember to take your graduation gift at heart, because these two tips on “empathy “are sure to bring you unexpected blessings in the future!Later on, I realized that fame and money are merely byproducts. The real product is you, what kind of person you have become and what have you achieved. When the real product is identified, fame and money will come naturally.So I encourage you, when you look for a job, don’t be too concerned about the starting salary and benefits. Because as a matter of fact, as a newcomer, it is very difficult to make a big contribution in the first three years, so really the company is paying to give you training instead. So choose a meaningful industry and find a good company where you can improve and grow, that’s what’s important.Thirdly, I learned that knowledge is not the same as wisdom. All of you have learned a lot and have a lot of valuable knowledge, but this knowledge must be practiced in order to produce experience, and in the process of accumulation, there will be different experiences of reflection, learning and empathy, especially from failure, slowly and surely all these experiences will be condensed into useful wisdom.My personal development can be divided into three stages. I began as a I-shaped person with some basic skills in business management. Later on, due to my job and curiosity, I gained respected experience in technology development, manufacturing, branding, global marketing, and service and thus gradually becoming a T-shape multidisciplinary professional. However, when I combined the future mission and direction of the company with my life goals, promoting it enthusiastically and actively, that is when I finally became a X-shape transdisciplinary leader.Once the company became more stable, I was faced with the challenge of planning the vision, mission, positioning, and long-term strategy for the company. At this stage, I had some new insights.First, you must be able to draw a “golden triangle”, an equilateral triangle is the most stable shape with strategy on top, tactics in the middle, and operations at the bottom. In other words, the strategy is to do the right thing, the tactics is the using the right methods, and operations is using the right methods to excel on doing the right things while constantly improving them.To develop long-term strategies, it is necessary to have insight.I enjoy looking at the globe, yes, the spherical model of Earth that sits on a stand and can be rotated. When you rotate the globe, you can see every place and country on it, its geographical location, its natural ecology, and you can think about its historical evolution and development, so that you can come up with an overall comprehensive concept.When thinking about long-term strategy, it is not easy to come up with a groundbreaking idea, because “men are often blind in their own cause”Therefore, when I think about long-term strategy, I imagine myself as if I were looking at a rotating Earth from a man-made satellite. With the height of the universe, the breadth of global vision and the length of historical evolution, you will be able think about it from the perspective of an observer, and then you may have a breakthrough. This is how the strategy and vision of “GIANT for the World” and “glocalization” brand management came about.Another kind of insight is how to introduce the products and services to create additional value to people. This requires standing at the crossroads of humanity and technology, observing their changes carefully, and then using technological advances to provide the best solutions for the potential needs of humanity in a timely manner. This is how GIANT’s Cycling World continues to introduce innovative values to its products.We have also developed a special philosophy in our business, which is “don’t be the first one, be the only one”. There are so many people in the world, but no two people share the same fingerprints, making each person unique and one of a kind. God created each person with purpose and has gifted us with the abilities and elements needed for success. All of which is in your heart, waiting for you to take them. Therefore, we should not just follow each other’s footstep or live under the expectations of someone else. Instead, we should find and give reigns to our talents, to truly be ourselves, to become the only one and live a brilliant life.The same applies to businesses, you can’t just go with the flow, we must find what is right and suitable and what is meaningful and contributive to the world, this is what it means to be the only one. When you strive for excellence and strive to be the only one, you will find the right goals and the value of sustainability. If you try to be first in everything, you may pursue many unrealistic goals and either be destroyed by unbearable pressure or resort to doing whatever it takes, and end up on the wrong path.I have learned two important lessons in my long quest to be the “only one”. When you are determined to do the right thing and you are unyielding and persistent in your struggle, the power of the universe will rise up and help you. In addition, if you do something meaningful and do it well with the power of life, you may change the world.I urge you to listen to the small voice deep within you and let it guide you to find your talents and understand your destiny.Do not seek to be the first but to be the only. Be true to yourself and be the only one. Live your life to the fullest and enjoy your life to the fullest!Many people say that growing up in Taiwan, you must complete three challenges in your lifetime: climb to the top of Jade Mountain, swim across Sun Moon Lake, and ride a bike around the island. I think this is very true. Therefore, I suggest that after graduation, before you go to the military or get a job, you might as well join a bicycle tour around the island and spend nine days to carefully experience and appreciate the beauty of Taiwan. As a graduation gift to yourself, let the tires kiss the beautiful land where you were born and raised.All the professors and parents must be thinking in regret, “Ah! Too bad! I didn’t ride my bike around the island when I graduated and now I’m already in my 50s and 60s…” But that’s okay! You are actually at the perfect age to start your adventurous life.Our President of NTU, President Kuan bravely completed his dream bike tour around the island in January this year. Let’s give President Kuan a round of applause!Some people think that Taiwan is small and has no future. Every year, the World Economic Forum conducts a survey and ranking of the strength of countries around the world. Let’s take a look at Taiwan’s ranking. There are 235 countries in the world and we rank 137th in terms of landmass, 57th in terms of population, 21st in terms of economy, 11th in terms of overall competitiveness, and 4th in terms of innovation. It’s true that Taiwan is not big, but we are strong and we have a promising future.In the foreseeable future there will become a new situation in which the United States, Europe and Asia will be the three focal regions. Just like three circles, each of which prioritizes its own interests and is in long-term competition, confrontation and resistance, but at the same time has to maintain some necessary links with each other. And in each circle, drastic changes will be endless, just like a storm circle. These three storm circles are linked together to form a so-called PERFECT STORM.The Economist magazine recently featured Taiwan on its cover, calling it the most dangerous place on earth, but at the same time the most critical place for the technology industry. Personally, I think that Taiwan may be in the most favorable position in the future, right in the middle of the three storm circles, the eye of the typhoon, which is the center point where these three circles are connected. This place seems dangerous, but in fact it is the safest, most favorable, and most critical place.When the three storm circles are inevitably involved in a long-term competition, confrontation, and boycott - a zero-sum game. Taiwan does not belong to any of these circles, nor does it need to participate in these competitions, confrontations, and boycotts. Instead, situated in this critical position, I should begin to think about what kind of innovative value I can provide to the world.Taiwans efforts over the past 50 years have accumulated many rare and valuable strengths in technology development, manufacturing management, financial capital, social resources, and the democratic rule of law system. If the world is our stage, Taiwanese people who are proficient in Chinese and English, who have a deep understanding of Eastern and Western cultures, who are professional, who can cross borders, who are humble but not inferior, and who are confident but not arrogant, may be the best talents in the world.The future cannot be predicted, but it can be created! 30 years ago, who could have predicted that Taiwan would produce globally renowned TSMC and GIANT?TSMC is committed to the concept of being the only one, and has built up its strengths with its global foundry strategy, creating a high-quality and efficient supply chain and turning Taiwan into a technology island. With Taiwan as the core, TSMC is leading the worldwide semiconductor market.GIANT also upholds the concept of Be the only one and leads the A-Team to turn Taiwan into the center of the worlds premium bikes with the brand strategy of globalization and localization, and actively promotes the new culture of cycling, developing Taiwan into a cycling island and leading the worlds cycling market with Taiwan as the core.Here I also hope that we, NTU, can also lead the world with the concept of being the only one, and become the best cradle for the cultivation of the best talents in the world.In the next 50 years, Taiwan will have the greatest opportunity ever! Therefore, Taiwan should get rid of the simple competitive mentality of the past and actively seek the long-term survival of the future, or go even further and ask itself: What can Taiwan contribute to the world? Taiwan should not just secure Taiwan in a conservative way, but should be more proactive with global outlook and establish a foothold in the Asia Pacific.The last 50 years, for Taiwan, has been very difficult and significant. Fortunately, Taiwan pulled through and came out as one of the winners.Now is the crucial moment to understand the past, delve into the present, and plan for the future. We must take the height of the universe, the breadth of our global vision, and the length of historical evolution, weigh the external situation, and measure our own strengths to reposition Taiwan and draw the golden triangle of strategy, tactics, and operations. Taiwan should be able to give full play to its strengths, create innovative value, and become the only one! Taiwan must become a good citizen of the world and continue to make more and better contributions to the world!Graduates of 2021, among you are the future leaders of the country, the creators of global enterprises, and the core talents in all walks of life, the future is in your hands.Finally, I would like to conclude with a quote from a famous scientist: Life is like riding a bicycle.  To keep your balance, you must keep moving.Do you know who this quote belongs to? Thats right, Einstein!Graduates of 2021, please get ready for your life adventure, get on your bikes and peddle courageously forward to create your own unique and exciting future. Again, congratulations and best wishes to each and every one of you for a healthy, happy, and meaningful life!Thank you!詳見：https://www.facebook.com/NTUCommencement/posts/2718162161807541    .#臺灣大學 #畢業典禮 #NTUCommencement2021 #貴賓致詞 #羅祥安

Question 3

the new order magazineDaoonclouds 在Facebook 的評價

Accepted Answer

NGHỆ THUẬT VÀ THỜI TRANG – MỘT THẾ KỈ VỚI NHIỀU DUYÊN NỢ

“Nghệ thuật, thời trang, âm nhạc – những thứ đó kết nối và hỗ trợ lẫn nhau. Người ta chia sẻ, vay mượn và ảnh hưởng qua lại. Tôi không cho rằng thời trang có thể tồn tại mà thiếu vắng bóng dáng của nghệ thuật và ngược lại. Chúng cần nhau.” – Gucci Ghost / Trouble Andrew, Nghệ sĩ đường phố, “The Unpopular-pop-artist”.

“Thời trang không phải là nghệ thuật, nhưng nó cần một người nghệ sĩ sáng tạo ra nó.” – Pierre Bergé, Đồng sáng lập thương hiệu Saint Laurent.

“Cả hai thứ (nghệ thuật và thời trang) đều là những loại hình có khả năng biểu đạt sự phức tạp của văn hoá hiện đại và chia sẻ gốc rễ của nó. Chúng ta có thể nhìn thấy điều này trong các triển lãm thời trang và nghệ thuật – những triển lãm mà giờ đây được tổ chức và trình bày dựa trên cùng tiêu chí về thẩm mỹ và chất lượng – với những bộ trang phục được chọn lựa như thể chúng chính là những tác phẩm nghệ thuật, còn nghệ thuật được chọn lựa và trưng bày với tất cả sự hào nhoáng vốn thuộc về thế giới thời trang.” – Giorgio Armani.

Hãy thử đặt một câu hỏi. “Cái gì nâng tầm một thương hiệu thời trang lên vị trí cao nhất?”
Thiết kế? Chất liệu? Kỹ thuật? Sự tỉ mỉ của những nghệ nhân thủ công? Những show diễn đình đám? Những chiến dịch quảng bá rầm rộ?
Không, dường như là chưa đủ.
Tôi từng đọc được một bài phân tích mà tác giả của nó đã đưa ra yếu tố cuối cùng làm tôi thoả mãn: “Một thương hiệu được đưa lên tầm cao nhất khi nó gắn liền với nghệ thuật.”

Chúng ta đang chứng kiến một kỷ nguyên rực rỡ của ngành thời trang, khi mà những màn collaboration đẳng cấp giữa các nhà mốt với giới nghệ sĩ đã giúp thế giới phù phiếm này chính thức sánh bước cùng nghệ thuật - một địa hạt vốn được coi là cái nôi của những tư tưởng lớn. Sức ảnh hưởng của các trường phái như Chủ nghĩa Biểu hiện (Expressionism), Chủ nghĩa Ấn tượng (Impressionism), Chủ nghĩa Siêu thực (Surrealism), Chủ nghĩa Tối giản (Minimalism), Chủ nghĩa Lập thể (Cubism), Nghệ thuật Quang học – thị giác (Opt Art), Nghệ thuật Đại chúng (Pop Art) lên thời trang thể hiện rõ qua các thiết kế, trong concept của các show catwalk, các campaign quảng cáo hay triển lãm thời trang danh tiếng. Và rồi, những cụm hashtag như #artmeetsfashion, #wewearculture, #wearableart lần lượt ra đời. “Wearable art” – những “tác phẩm có thể mặc lên người” - hẳn là định nghĩa xa xỉ nhất mà người ta có thể nghĩ ra cho áo quần.

Trong khuôn khổ có hạn, bài viết này sẽ không đi vào việc phân tích mổ xẻ chiến lược của các nhà marketing thời trang lão luyện, cũng sẽ không tổng kết cho bạn xem mỗi thương vụ hợp tác giữa các nhà thiết kế với các nghệ sĩ mang lại doanh thu gấp bao nhiêu lần so với những bộ sưu tập thông thường. Tôi cũng không cố gắng phân tích quá nhiều về những sự kết hợp đó, bởi điều quan trọng nhất là cảm nhận của chính bạn khi nhìn thấy một “tác phẩm có thể mặc lên người”. Tôi sẽ chỉ đơn giản đóng vai một chứng nhân lịch sử, chiếu cho bạn xem một cuộn phim flash back lại những cột mốc rực rỡ nhất, và cùng nhìn nhận thành quả chung của hai lĩnh vực, với một con mắt ít nhiều mang theo rung cảm và lãng mạn.

Những dấu son huyền thoại

Mặc dù chỉ được nhắc đến nhiều vào khoảng một thập kỉ trở lại đây, nhưng “mối tình” giữa nghệ thuật và thời trang đã được nhen nhóm và nuôi dưỡng từ lâu. Trải qua lịch sử gần một trăm năm kể từ những “phi vụ” hợp tác sớm nhất của các nhà thiết kế với các nghệ sĩ,
một sợi dây liên kết bền chặt đã dần được hình thành. Kết quả tất yếu là, lằn ranh giữa hai thế giới dần bị xoá nhoà, và những cuộc cách mạng của các thủ lĩnh sáng tạo được thúc đẩy mạnh mẽ.

Vào những năm 1920, người ta nhìn thấy huyền thoại của làng thời trang Coco Chanel ngồi cùng một trong những danh hoạ vĩ đại nhất lịch sử - Pablo Picasso, trên hàng ghế rehearsal của đoàn ballet trứ danh Ballet Russes. Khi đó Coco phụ trách phục trang và Picasso phụ trách thiết kế mỹ thuật cho sân khấu. Đó được cho là một trong những cột mốc đầu tiên đánh dấu sự kết hợp giữa thời trang và nghệ thuật, giữa một nhà thiết kế phục trang với một hoạ sĩ và một nhà biên đạo.

Năm 1937-1938, Elsa Schiaparelli và Salvador Dalí cùng nhau tạo ra chiếc váy Lobster Dress, chiếc mũ Shoe Hat và sau đó là chiếc váy Tears Dress. (Nếu bạn chưa biết, thì nhà thiết kế người Ý Elsa Schiaparelli là một nhân vật nổi bật của làng thời trang trong suốt khoảng thời gian giữa hai cuộc Thế Chiến, và là đối thủ nặng ký của Coco Chanel). Tính khí có đôi chút lập dị của Elsa có một sự đồng điệu hoàn hảo với hoạ sĩ thiên tài của trường phái siêu thực Dalí. Kết quả của cuộc gặp gỡ giữa hai tư tưởng lớn đó, là chiếc váy lụa trắng được thế kế bởi Elsa có hình một con tôm hùm khổng lồ - hình ảnh gợi nhớ về một bức vẽ ra đời năm 1934 được đặt tên “New York Dream – Man Finds Lobster in Place of Phone” của danh hoạ. Cùng với đó, chiếc mũ được thiết kế dưới hình dáng một chiếc hài cao gót (được đội bởi chính vợ của Dalí), cũng là một tác phẩm mang dấu ấn của trường phái siêu thực xuất hiện trong bộ sưu tập Thu Đông 1937-1938 của Schiaparelli.

Cũng trong thập kỷ đó, nhà thiết kế Lola Prusac của nhà mốt Hermès đã sản xuất ra một dòng túi xách với những mảng ô vuông màu đỏ, vàng và xanh dương, được lấy cảm hứng từ những tác phẩm nổi tiếng sử dụng background trắng, hệ thống các đường thẳng ngang dọc màu đen và các ô màu với ba màu sắc cơ bản là đỏ, vàng, xanh dương của Piet Mondrian – cha đẻ của nghệ thuật Tân tạo hình (Neoplasticism).

Gần 30 năm sau, dấu ấn của Piet Mondrian một lần nữa khắc sâu hơn vào thế giới thời trang, mặc dù ông đã qua đời từ năm 1944. Năm 1965, huyền thoại thiết kế người Pháp Yves Saint Laurent cho ra mắt một bộ sưu tập bao gồm sáu chiếc váy A-line mà chỉ cần liếc qua thôi là người ta có thể nhận ra chúng được lấy cảm hứng từ Mondrian. Fall Mondrian Collection 1965 – đó mãi là một trong những thành công lớn nhất của Saint Laurent. Saint Laurent cũng được coi là một nhà thiết kế thường xuyên tìm đến nguồn cảm hứng từ nghệ thuật trong suốt sự nghiệp của mình (một thành công khác của ông là bộ sưu tập Haute Couture 1980 được lấy cảm hứng từ các tác phẩm của nghệ sĩ người Pháp Henri Matisse).

Bên cạnh Dalí và Piet Mondrian, có một hoạ sĩ người Mỹ không xa lạ gì với những người dõi theo “mối tình” giữa thời trang và nghệ thuật, đó là Andy Warhol. Warhol, cái tên đình đám của trào lưu Pop Art, dường như là một nghệ sĩ có duyên nợ với thế giới phù hoa của các nhà thiết kế. Ông là người từng vẽ bức chân dung Yves Saint Laurent thời trẻ rất nổi tiếng, cũng là người mang lại cảm hứng và thành công cho bộ sưu tập Pop art của Versace năm 1991. Những trang phục có in chân dung của Marilyn Monroe và James Dean được vẽ bởi Warhol đã gây tiếng vang lớn và trở thành một trong những bộ sưu tập đáng nhớ nhất trong lịch sử của nhà Versace.

Tuy nhiên, những người khơi dậy nguồn cảm hứng sáng tạo cho các nhà thiết kế thời trang không chỉ có các hoạ sĩ. Kiến trúc và điêu khắc cũng là hai lĩnh vực đã được chứng minh là có những ảnh hưởng quan trọng lên ngành công nghiệp hào nhoáng này. “Thời trang chính là kiến trúc. Đó là vấn đề của tỷ lệ.” ( - Coco Chanel). Và một trong số những bộ sưu tập trứ danh được lấy cảm hứng từ nghệ thuật kiến trúc chính là runway show năm 1966 của nhà mốt Paco Rabanne mang tên “Unwearable Dresses in Contemporary Materials - Những chiếc váy không thể mặc lên người bằng chất liệu đương đại”. Những chiếc váy của Paco được làm từ các mảnh kim loại, plastic và cao su, bằng một kỹ thuật dựng form điêu luyện nhằm đưa mọi thứ vào một khung tỷ lệ chuẩn xác, mặc cho những loại chất liệu này không hề dễ bị thuần phục.

Thời trang avant-garde cũng không trượt khỏi “tình yêu định mệnh” này. Chỉ có điều, những kẻ đi tiên phong trong nghệ thuật avant-garde sẽ tìm đến nhau, thay vì những tên tuổi kinh điển kia. Như Alexander McQueen và Bjork (một ca sĩ, nhà sáng tác, nhà sản xuất âm nhạc và DJ người Iceland), như John Galiano (giám đốc sáng tạo của Maison Margiela) tìm đến Benjamin Shine, như Rei Kawakubo (nhà thiết kế, người sáng lập thương hiệu Comme des Garcons) tìm đến nhiếp ảnh gia Cindy Sherman hay biên đạo kiêm nghệ sĩ múa người Mỹ Merce Cunningham.

(Xin phép nói thêm một chút về màn kết hợp xứng đáng được gọi là huyền thoại của Rei và Merce Cunningham, một dự án mang tên “Scenario” vào năm 1997. Merce đã mời Rei thiết kế trang phục, chỉ đạo mỹ thuật sân khấu và ánh sáng cho tác phẩm của ông. Ban đầu Rei từ chối, nhưng sau đó bà đã đổi ý trong quá trình tạo ra bộ sưu tập Xuân Hè 1997 “khét tiếng” mang tên “Body meets Dress, Dress meets Body”, hay còn được nhớ đến với một cái tên khác là “Lumps and Bumps” (Những cục u bướu). Rei bảo rằng, “Thời trang quá nhàm chán, và tôi thấy bực bội vì điều đó. Tôi muốn làm một cái gì đó thực sự mạnh mẽ. Và đó là một phản ứng.” Rei và Merce có cùng chung triết lý sáng tạo, bao gồm việc kéo những khuôn thước nghệ thuật khác biệt lại gần nhau, phá bỏ những ranh giới và thách thức những chuẩn mực về thẩm mỹ. Điều đó đã khiến họ sát cánh với nhau để tạo ra một sự kết hợp lừng lẫy, một minh chứng cho việc “collaboration” không phải lúc nào cũng là một từ bắt tai mà dân làm marketing trong ngành thời trang thích sử dụng như một chiêu trò thương mại.)

Hai tâm hồn đồng điệu

Công chúng hẳn đã quá mệt mỏi với những tranh cãi xung quanh việc “Thời trang có phải là một ngành nghệ thuật?”.

Alice Rawsthorn – một nhà phê bình thiết kế uy tín, cưụ giám đốc Design Museum, đồng thời là thành viên Hội đồng Thiết kế Anh quốc - trong một bài phỏng vấn đã thừa nhận rằng, thời trang rất giỏi trong việc giúp hoàn thiện một chức năng truyền thống của nghệ thuật: phản ánh những sự dịch chuyển của văn hoá đương đại, nhưng chỉ có thể ở một mức độ nhất định. Bà cũng chỉ ra rằng xuất phát điểm của thời trang là phục vụ mục đích ứng dụng, trong khi nghệ thuật thì không như vậy. Nghệ thuật không bị giới hạn bởi bất cứ thứ gì, còn thời trang lại bị ràng buộc bởi nhu cầu của một ngành công nghiệp có tốc độ chóng mặt. Nghệ thuật thường diễn đạt một tư tưởng, trong khi thời trang thường bị coi là một thứ phù phiếm.

Thế nhưng, chuyện gì sẽ xảy ra nếu một nhà thiết kế thoát khỏi những ràng buộc đó trong quá trình tạo ra sản phẩm của mình?

Hãy để Giorgio Armani trả lời câu hỏi ấy: “Nó (thời trang) chính là một phương thức biểu đạt đầy tính nghệ thuật khi nó được nâng cấp và vượt lên trên việc đáp ứng nhu cầu ăn mặc.”

Dù thế nào thì cũng chẳng ai phủ nhận được sự tương đồng trong quá trình lao động sáng tạo của các nhà thiết kế với các nghệ sĩ. Cũng như Alice dù không công nhận thời trang là một ngành nghệ thuật nhưng cũng không phủ nhận việc nó vẫn mang một số thuộc tính của nghệ thuật, và khi thời trang đạt đến hình thái xuất sắc nhất thì các thiết kế ấy hiển nhiên là những đối tượng hoàn toàn xứng đáng được trưng bày trong bảo tàng. Mà bảo tàng, chính là thánh địa của các tác phẩm nghệ thuật.

Bởi vậy, chuyện tranh cãi này, trên quan điểm của những người như tôi, quả thực là không cần thiết. Hay nói theo cách của Pierre Bergé, “Thời trang không phải là nghệ thuật, nhưng nó cần một nghệ sĩ sáng tạo ra nó”. Phải, như cái cách mà Cristóbal Balenciaga đã “định hình” thời trang và trở thành người mà Dior gọi là “Bậc thầy của tất cả chúng ta” (The Master of us all). Như cái cách mà huyền thoại người Tây Ban Nha này đã tạo ra những phom dáng gây shock đẹp như một bức tranh hay một tác phẩm điêu khắc vào những năm 1950 – thời kỳ đỉnh cao sự nghiệp của ông.

Quay trở lại với Rei Kawakubo, cái tên không cần phải bàn về tầm ảnh hưởng, và bộ sưu tập “Body meets Dress, Dress meets Body” 1997. Tôi muốn nhắc bạn nhớ rằng yếu tố cốt lõi của bộ sự tập này nằm ở một ý tưởng mà tôi cho là (xin thứ lỗi nếu quá lời) thiên tài: Quần áo có thể là cơ thể, và cơ thể cũng có thể là quần áo (hay nói cách khác: quần áo có thể “mặc” chúng ta, thay vì chúng ta mặc quần áo). Và thế là, Rei bắt đầu thiết kế những “cơ thể” với hình dáng méo mó và những “cục bướu” lớn ở trước ngực, sau lưng, phần hông và phần “đuôi”. Đây là những gì bà chia sẻ: “Tôi không mong đợi rằng đây sẽ là những trang phục dễ ứng dụng để có thể mặc hàng ngày. Nhưng các thiết kế của Comme des Garcons sẽ luôn là những gì mới lạ và truyền cảm hứng với thế giới. Tôi nghĩ việc diễn dịch các suy nghĩ thành hành động quan trọng hơn việc lo lắng xem thiết kế của mình cuối cùng có được mặc hay không.”

Bingo! Câu hỏi phía trên đã được trả lời một lần nữa, và quan điểm của Giorgio Armani cũng trở nên sáng tỏ hơn nhờ vào minh chứng này.

Suy cho cùng, thời trang hay nghệ thuật, đều tôn sùng những giá trị về thẩm mỹ, về cái đẹp, về khả năng chạm đến cảm xúc hay tư tưởng (mặc dù “cái đẹp” trong khái niệm của mỹ thuật ngày nay cũng chỉ còn là một khái niệm tương đối). Các nhà thiết kế hay các nghệ sĩ thì cũng đều có chung niềm đam mê với các hình khối, màu sắc, đều trăn trở với những sự kiện xã hội, lịch sử, văn hoá. Sự đồng điệu đó cho phép thời trang sử dụng nghệ thuật như một hình mẫu trực quan cho những diễn dịch đương đại của mình. Nói một cách dễ hiểu hơn, thời trang vay mượn cảm hứng, triết lý, tư tưởng, thủ pháp của nghệ thuật. Thời trang vay mượn luôn cả địa vị của nghệ thuật trong văn hoá nhân loại để nuôi dưỡng “kinh đô văn hoá” của chính nó và những thứ mà nó tạo ra, thông qua việc mời các nghệ sĩ tham gia vào quá trình sáng tạo của nó. Kết quả là, họ tạo ra các tác phẩm chung, họ nâng thời trang lên một đẳng cấp mới, họ đưa các nghệ sĩ đến gần công chúng hơn – và, cuối cùng, họ tạo ra lợi nhuận cho cả hai.

Một tình yêu vĩnh cửu?

Cho đến giờ phút này, mối liên hệ giữa thời trang và nghệ thuật đã trở nên quá khăng khít. Một dấu hiệu điển hình chính là việc sàn diễn Thu Đông 2016 đã gợi nhớ mọi thứ về những tượng đài của các ngành nghệ thuật, từ các tác phẩm theo trường phái siêu thực của Savador Dalí, cho tới các tác phẩm điêu khắc khổng lồ theo trường phái tối giản của Richard Serra hay các tác phẩm theo trường phái Pop Art đầy sinh động và màu sắc của Andy Warhol.

Thời trang và nghệ thuật có một khả năng hợp nhất và hoà quyện tuyệt vời. Trên thực tế, đó là hình thức kết hợp mang lại thành công vang dội đến mức, trong vòng hơn một thập kỉ trở lại đây những thủ lĩnh của hai địa hạt này không ngừng tìm đến nhau, ồ ạt đến nỗi có thể bạn sẽ cảm thấy choáng ngợp nếu như tôi kiên nhẫn liệt kê hết những cái tên nghệ sĩ được xếp cạnh tên của các hãng thời trang danh tiếng hàng đầu thế giới. Bởi vậy, có lẽ tôi chỉ nên mời bạn thử lướt qua bảng danh sách các nghệ sĩ hợp tác với Louis Vuitton trong vòng một thập kỉ: Takashi Murakami (2007), Richard Prince (2008), Yayoi Kusama (2012), Jake & Dinos Chapman (2013), Daniel Buren (2013), Jeff Koons (2017).

Điều tôi muốn nói ở đây là: Nếu một thứ tồn tại qua thử thách một trăm năm, nó không thể là một trào lưu nhất thời. Nghệ thuật và thời trang – đó chắc chắn không phải một mối tình chớp nhoáng.

Về cơ bản, thời trang sẽ luôn hoà quyện với nghệ thuật theo năm hình thức:

(1) Nghệ sĩ trở thành nhà thiết kế thời trang (fashion designer, not custome designer);

(2) Nhà thiết kế thuê các nghệ sĩ tạo ra các chi tiết trang trí cho trang phục của mình (ví dụ điển hình là chiếc áo khoác trắng có đính bức chân dung làm bằng vải tulle của Maison Margiela trong bộ sưu tập Haute Couture Xuân Hè 2017, được thiết kế bởi John Galliano và tác phẩm gắn trên áo được thực hiện bởi Benjamin Shine);

(3) Thời trang áp dụng một phong cách đương đại nào đó vào việc vẽ ra một motif trang trí lên trang phục (ví dụ như bộ sưu tập Thu Đông 1966 của Saint Laurent với cảm hứng từ Pop Art);

(4) Màn trình diễn một bộ sưu tập trở thành một hoạt cảnh mang tính lịch sử nghệ thuật (art-historical tableaux vivant, ví dụ như show catwalk của Vivienne Westwood năm 1994, “trích dẫn” các tác phẩm của Franz Xaver Winterhalter và các nghệ sĩ khác dưới thời Đế quốc thứ hai – tức vương triều Bonaparte được cai trị bởi Napoléon III);

(5) Phương thức diễn đạt của thời trang trên các tạp chí hoặc các phương tiện quảng bá truyền thông khác đặt các thiết kế vào một môi trường nghệ thuật (ví dụ như một fashion film dài 1 phút 44 giây của Gentle Monster được thực hiện bởi Erik Madigan Heck, với diễn xuất của Tilda Swinton và được lấy cảm hứng từ bộ phim kinh điển “The Seventh Seal” của một trong những đạo diễn vĩ đại nhất thế kỷ 20 Ingmar Bergman).

Ngày nay, thời trang đã tiến những bước đầu tiên vào các bảo tàng nghệ thuật. Ngành công nghiệp mang lại lợi nhuận khổng lồ này, thậm chí còn xây dựng nên những bảo tàng thời trang riêng (Christian Dior, Gucci, Balenciaga… đều có các bảo tàng của riêng mình), và trở thành nhà đầu tư cho các dự án nghệ thuật, đặc biệt là nghệ thuật đương đại. Một lần nữa thời trang lại đến gần hơn với “người tình trăm năm” của mình thông qua những campaign quảng cáo được đầu tư mạnh mẽ về yếu tố nghệ thuật (Gucci là một điển hình), các concept store được xây dựng như những gallery thu nhỏ, và các sự kiện triển lãm thời trang.

Trong bối cảnh mà nghệ thuật đương đại đang phát triển rực rỡ, phá vỡ các quy chuẩn truyền thống và thách thức nghệ thuật hàn lâm, thì tương lai cho mối tình giữa nghệ thuật và thời trang sẽ còn rộng mở, những sự kết hợp sẽ còn nở rộ hơn nữa. Sau tất cả, tôi tin rằng những người đi tiên phong trong việc gìn giữ ngọn lửa sáng tạo của cả hai sẽ biến mối tình này trở thành một tình yêu vĩnh cửu.

(Người viết có tham khảo thông tin từ một số bài báo và tài liệu nghiên cứu của nước ngoài, trong đó có theguardian.com và encyclopedia.com)

P.S:

Đây là bài viết mình thực hiện cho chuyên mục Fashion Discovery trên J.O.Y số thứ 2. Mình để nguyên layout cho dễ đọc nhưng vẫn để full bài viết phía dưới caption (bài khá dài, chứa rất nhiều thông tin và ngốn khá nhiều thời gian của mình cho công đoạn nghiên cứu cũng như lựa chọn hướng tiếp cận, cấu trúc bài viết và chắt lọc thông tin, sự kiện).
Mọi người có thể tìm mua J.O.Y Issue 2 tại các hiệu sách lớn trên toàn quốc, phố sách Đinh Lễ - Nguyễn Xí (HN) hoặc đặt mua online trên các kênh phân phối như Tiki, Shopee, Fahasa. Cảm giác cầm một ấn phẩm trên tay để đọc nhâm nhi thích lắm <3.
Đây có thể là một bài không dễ đọc nhưng với những người đam mê tìm hiểu thì mình hy vọng có thể chia sẻ được nhiều dữ liệu hay ho với các bạn. Cheers <3)

**Nội dung này được tạo ra bởi Daoonclouds theo order của J.O.Y Magazine-Book Issue 2 và đã được mua bản quyền bởi thương hiệu Bloombooks. Việc đăng lại trên page Daoonclouds đã được xin phép. Bất kì bên thứ ba nào có thể chia sẻ post nhưng không có quyền copy để đăng lại nội dung này.

關於 the new order magazine ，我們在網路上蒐集到這些相關的討論、資訊與評價

「the new order magazine」的推薦目錄：

the new order magazine 在 ลงทุนแมน Facebook 的最佳解答

About author

the new order magazine 在 國立臺灣大學 National Taiwan University Facebook 的精選貼文

About author

the new order magazine 在 Daoonclouds Facebook 的最讚貼文

About author

the new order magazine 在 唱跳藥師奶酪糕Nanoak Youtube 的精選貼文

About author

the new order magazine 在 一二三渡辺 Youtube 的最佳解答

About author

the new order magazine 在 一二三渡辺 Youtube 的最佳解答

About author

你可能也想看看

搜尋相關連結

the new order magazine 在國立臺灣大學 National Taiwan University Facebook 的精選貼文

the new order magazine 在唱跳藥師奶酪糕Nanoak Youtube 的精選貼文

the new order magazine 在一二三渡辺 Youtube 的最佳解答

the new order magazine 在一二三渡辺 Youtube 的最佳解答