【簡(jiǎn)介：】本篇文章給大家談?wù)劇陡埤埡娇罩品?jiǎn)介》對(duì)應(yīng)的知識(shí)點(diǎn)，希望對(duì)各位有所幫助。本文目錄一覽：
1、全球航空公司中哪些公司的空乘服務(wù)最讓人覺(jué)得舒服？理由是什么？
2、港龍航空和國(guó)
本篇文章給大家談?wù)劇陡埤埡娇罩品?jiǎn)介》對(duì)應(yīng)的知識(shí)點(diǎn)，希望對(duì)各位有所幫助。
本文目錄一覽：
全球航空公司中哪些公司的空乘服務(wù)最讓人覺(jué)得舒服？理由是什么？
每一家都有各自的好處
著名航空消費(fèi)者網(wǎng)站斯卡特瑞克(Skytrax)評(píng)選出了2015年世界最佳航空公司，其中卡塔爾航空公司名列第一。卡塔爾航空位于海灣地區(qū)，在2015年的巴黎航展中，卡塔爾航空公司獲得年度最佳航空公司大獎(jiǎng)。
第1名：卡塔爾航空公司
入選原因：這已是卡塔爾航空公司第三次摘得頭籌，前兩次獲獎(jiǎng)分別是2011年與2012年。
位于多哈的卡塔爾航空公司因其座位的舒適度及機(jī)內(nèi)娛樂(lè)設(shè)施而飽受贊揚(yáng)。實(shí)際上，該公司還贏得了最佳商務(wù)艙的獎(jiǎng)項(xiàng)。經(jīng)濟(jì)艙的乘客也可以享受可以鏈接至其私人設(shè)備的手機(jī)及平板的服務(wù)。該公司的飛行城市達(dá)125個(gè)，從卡塔爾起飛的新航線增加了50條，其中包括卡塔爾直飛洛杉磯，邁阿密及達(dá)拉斯的線路。
第2名：新加坡航空公司
入選原因：該公司因其出色的服務(wù)而聞名，乘務(wù)人員會(huì)提供細(xì)心的服務(wù)，對(duì)客人十分尊重。該公司還會(huì)提供有多重娛樂(lè)選擇的私人電視，在起飛前還會(huì)提供熱毛巾。
新加坡樟宜國(guó)際機(jī)場(chǎng)是世界上最棒的機(jī)場(chǎng)之一，已連續(xù)三年內(nèi)評(píng)選為最佳機(jī)場(chǎng)。
第3名：香港國(guó)泰航空公司
入選原因：雖然香港國(guó)泰航空公司不再是第一，但是該公司仍舊是最佳跨太平洋航空公司。該公司運(yùn)營(yíng)有一系列長(zhǎng)距離播音777-300ER客機(jī)，其業(yè)務(wù)專(zhuān)注于高頻率的班次，是擁有亞洲最佳飛行體驗(yàn)的航空公司之一。
在座位舒適度，服務(wù)質(zhì)量及機(jī)內(nèi)娛樂(lè)設(shè)施方面，國(guó)泰航空都獲得了很高的分?jǐn)?shù)。
第4名：土耳其航空公司
入選原因：土耳其航空公司機(jī)場(chǎng)設(shè)在日益受歡迎的伊斯坦布爾。該公司的飛行城市多達(dá)100多個(gè)國(guó)家200多個(gè)城市，為所有航空公司之最。
該公司發(fā)展迅速，是星空聯(lián)盟的成員之一，已連續(xù)5年獲得斯卡特瑞克評(píng)選的最佳歐洲航空公司獎(jiǎng)。
第5名：阿聯(lián)酋航空公司
入選原因：在過(guò)去的10年內(nèi)，位于迪拜的阿聯(lián)酋航空公司發(fā)展成為了世界上最優(yōu)質(zhì)的運(yùn)營(yíng)長(zhǎng)距離航線的飛行公司。迪拜國(guó)際機(jī)場(chǎng)富麗堂皇，阿聯(lián)酋航空公司擁有世界上最多的空客A380巨型客機(jī)及播音777寬體客機(jī)。
阿聯(lián)酋航空公司的陷阱娛樂(lè)施舍包括各式影音設(shè)備，甚至有電視直播。實(shí)際上，該公司已連續(xù)5年獲得斯卡特瑞克評(píng)選最佳機(jī)內(nèi)娛樂(lè)實(shí)施獎(jiǎng)。
第6名：阿聯(lián)酋阿提哈德航空公司
入選原因：阿聯(lián)酋阿提哈德航空公司位于阿布扎比，運(yùn)營(yíng)有空客及播音客機(jī)，飛行城市多達(dá)96個(gè)。其特色包括降噪耳機(jī)，機(jī)艙內(nèi)可調(diào)節(jié)燈光等。
第7名：日本全日空航空公司
入選原因：全日空是日本最大的國(guó)際性航空公司，擁有世界上最多的播音787夢(mèng)想客機(jī)。全日空因其潔凈程度，服務(wù)水平及安全程度被斯卡特瑞克的用戶給予了接近滿分的分?jǐn)?shù)。全日空大部分機(jī)型配備向前滑動(dòng)式座椅，增加了用戶的隱私程度，甚至再經(jīng)濟(jì)艙也配有電源及USB插頭。
（摘自趣旅微信公眾號(hào)：iqtour）
第8名：印尼鷹航航空公司
入選原因：從2007至2009年，印尼鷹航被歐盟認(rèn)為是不安全的航空公司，也經(jīng)理了一系列的轉(zhuǎn)折。為了保住其聲譽(yù)，該公司最近客機(jī)有更新，服務(wù)也有所提升。
經(jīng)濟(jì)艙的乘客對(duì)其舒適的作為及一系列東南亞美食作為飛機(jī)餐而大加贊賞。今年3月，印尼鷹航成為天合聯(lián)盟中的一員。
第9名：臺(tái)灣長(zhǎng)榮航空公司
入選原因：臺(tái)灣長(zhǎng)榮航空公司成立于1989年，隸屬航運(yùn)界巨頭長(zhǎng)榮公司旗下。該航空公司位于臺(tái)北，在過(guò)去的20年內(nèi)發(fā)展迅速，現(xiàn)運(yùn)營(yíng)有一系列空客及播音寬體客機(jī)。該公司因其“豪華經(jīng)濟(jì)艙”而聞名。
第10名：澳洲航空公司
入選原因：雖然澳洲航空公司經(jīng)歷了一系列嚴(yán)重的財(cái)務(wù)問(wèn)題，但其服務(wù)質(zhì)量卻沒(méi)有下降。澳航引起出色的客戶服務(wù)及機(jī)內(nèi)娛樂(lè)設(shè)施而飽受贊揚(yáng)。該公司因0安全事故而聞名于世。
第11名：亞韓航空公司
入選原因：亞韓航空公司已連續(xù)第二年獲得最佳經(jīng)濟(jì)艙及最佳經(jīng)濟(jì)艙服務(wù)兩個(gè)獎(jiǎng)項(xiàng)了。斯卡特瑞克的用戶為這家航空公司的服務(wù)打了滿分?，F(xiàn)在改航空公司中運(yùn)營(yíng)的都是較新的空客及播音客機(jī)。
第12名：漢莎航空公司
入選原因：近年來(lái)，作為歐洲最大的航空公司，漢莎航空近期經(jīng)歷了幾次削減預(yù)算，但其服務(wù)及整體質(zhì)量卻依舊出色。實(shí)際上，漢莎航空因其出色而穩(wěn)定的表現(xiàn)而在本次調(diào)查中位居前列。
最重要的是，該公司的長(zhǎng)距離飛行服務(wù)非常周到，利用新的A380巨型客機(jī)和748-8洲際客機(jī)則是非常明智的選擇。
第13名：奧地利航空公司
入選原因：奧地利航空公司隸屬于德國(guó)漢莎公司，雖然該公司經(jīng)歷了一系列的勞務(wù)糾紛，但其高水平的服務(wù)似乎并沒(méi)有改變。位于維也納的奧地利航空公司現(xiàn)推出了全新長(zhǎng)距離播音767-300ER及777-200客機(jī)。
第14名：瑞士國(guó)際航空公司
入選原因：瑞士國(guó)際航空公司成立于2002年，前身是瑞士國(guó)家航空公司（Swissair），后者現(xiàn)為漢莎公司旗下一員。瑞士國(guó)際航空公司位于瑞士巴塞爾，該公司空客A330-300機(jī)型及寬體A340-300長(zhǎng)距離航線的機(jī)型乘務(wù)人員年齡都較為年輕。
雖然有些乘客認(rèn)為經(jīng)濟(jì)艙的舒適程度欠佳，其機(jī)組人員的服務(wù)態(tài)度及免費(fèi)成人飲料的服務(wù)卻令人大加贊賞。
第15名：法國(guó)航空公司
入選原因：法航因?yàn)樵?0處較上一年度有所提高而獲得了世界最進(jìn)步航空公司獎(jiǎng)項(xiàng)。雖然法航經(jīng)歷了一系列勞務(wù)及金融問(wèn)題，但是它發(fā)布了一系列令人印象深刻的新產(chǎn)品。這其中就包括了全新的頭等艙套間“La Premiere”。
第16名：維珍澳洲航空公司
入選原因：維珍澳洲航空公司是由億萬(wàn)富翁理查德·布蘭森（Richard Branson）設(shè)立的，自2000年成立以來(lái)，其在亞太地區(qū)的市場(chǎng)份額增長(zhǎng)迅速。
維珍澳洲航空公司的播音777及空客A330航班內(nèi)部燈光舒適，配有先進(jìn)的9英寸觸屏娛樂(lè)系統(tǒng)。
第17名：新西蘭航空公司
入選原因：在2015世界航空公司大獎(jiǎng)新西蘭航空公司取得不錯(cuò)的成績(jī)，該公司斬獲了世界最佳豪華經(jīng)濟(jì)艙獎(jiǎng)，世界最佳豪華經(jīng)濟(jì)艙座位，世界最佳豪華經(jīng)濟(jì)艙服務(wù)三項(xiàng)大獎(jiǎng)。
這是新西蘭航空第四次獲得最佳豪華經(jīng)濟(jì)艙獎(jiǎng)。
第18名：香港港龍航空公司
入選原因：香港港龍航空公司是香港國(guó)泰航空公司的區(qū)域子公司，也是唯一入選前20名的子公司。實(shí)際上，斯卡特瑞克將港龍航空列為為世界上最佳區(qū)域航空公司，該公司在2010及2011年同樣獲得了這項(xiàng)殊榮。
第19名：泰國(guó)航空公司
入選原因：在服務(wù)質(zhì)量方面，泰航一直處于行業(yè)領(lǐng)先地位。所以泰航在這次調(diào)查中排名很靠前就不足為奇了。雖然泰航因其商務(wù)艙及頭等艙的服務(wù)而聞名，乘客覺(jué)得泰航的經(jīng)濟(jì)艙質(zhì)量也很高。
在調(diào)查中，經(jīng)濟(jì)艙的乘客覺(jué)得泰航的機(jī)組人員態(tài)度友好，飛機(jī)餐有眾多選擇。然而，也有一些乘客認(rèn)為某些舊的空客及播音機(jī)型中缺少座位后方的影音播放器，這一點(diǎn)不盡如人意。
第20名：英國(guó)航空公司
入選原因：雖然在頒獎(jiǎng)現(xiàn)場(chǎng)中，英國(guó)航空沒(méi)有什么驚人的表現(xiàn)，但它由于表現(xiàn)穩(wěn)定而入選前20強(qiáng)。根據(jù)性價(jià)比，機(jī)內(nèi)娛樂(lè)設(shè)施，員工服務(wù)態(tài)度，座椅舒適程度，參與斯卡特瑞克調(diào)查的用戶給了英國(guó)航空一個(gè)居中的排名。
港龍航空和國(guó)泰航空哪家更好？這兩家航空公司總體怎么樣？
港龍航空公司是國(guó)泰航空的全資附屬公司，總辦事處位于香港大嶼山香港國(guó)際機(jī)場(chǎng)東輝路11號(hào)于2000年6月26日落成的港龍大廈，具有一個(gè)設(shè)備完善的飛行訓(xùn)練中心。港龍航空是“亞洲萬(wàn)里通”和“日航飛行儲(chǔ)蓄計(jì)劃”（JMB，Japan Airlines Mileage Bank）的會(huì)員。排除已結(jié)束經(jīng)營(yíng)的香港航空，港龍航空是香港第二所提供民航服務(wù)的航空公司。
國(guó)泰航空公司1946年9月24日由美國(guó)籍的 Roy及澳大利亞籍的成立，是香港第一所提供民航服務(wù)的航空公司，以香港國(guó)際機(jī)場(chǎng)作為樞紐。旗下的子公司包括港龍航空及華民航空。
港龍專(zhuān)營(yíng)國(guó)內(nèi)航線而國(guó)泰專(zhuān)營(yíng)國(guó)際航線，相比之下國(guó)泰服務(wù)質(zhì)量會(huì)較好，機(jī)上餐飲也更好。
劉培基的人物生平
劉培基是香港極具代表性及標(biāo)志性的時(shí)裝設(shè)計(jì)先驅(qū)。早于1970年代初已前往海外進(jìn)修時(shí)裝設(shè)計(jì)，1977年首次參與香港貿(mào)易發(fā)展局舉辦的成衣節(jié)，以個(gè)人品牌創(chuàng)作成為大會(huì)壓軸演出，同年更被邀到倫敦參與時(shí)裝節(jié)，往後每年均前往海外各地參展，奠定國(guó)際設(shè)計(jì)師的地位。在香港及日本均擁有以自己名字命名的「EDDIE LAU」時(shí)裝店，更與中藝（香港）有限公司合作推出時(shí)裝系列，深受海外及本地買(mǎi)家和顧客所愛(ài)戴。劉培基更是首位被邀前往中國(guó)內(nèi)地舉行個(gè)人時(shí)裝表演的香港設(shè)計(jì)師. 從1962年入行，於1999年榮休，直今，也從未離開(kāi)設(shè)計(jì)這個(gè)行業(yè)。其間三度為國(guó)際級(jí)航空公司設(shè)計(jì)制服，為名人、藝人設(shè)計(jì)高級(jí)訂制服及舞臺(tái)服，50年來(lái)緊守崗位。
劉培基出生於1951年，在六歲前劉培基是一位深受母親疼愛(ài)的小孩，後因她改嫁的緣故，八歲開(kāi)始寄人籬下。1962年，11歲的「他」被送到上海裁縫師傅奚鴻發(fā)先生在尖沙咀美麗都大廈的工廠當(dāng)學(xué)徒，小裁縫就在這刻誕生。從師傅手中得到了一生受用的技藝。
滿師後，16歲便開(kāi)始創(chuàng)業(yè)生涯。他很努力,1973年終於可以踏上學(xué)習(xí)設(shè)計(jì)之路，負(fù)笈英國(guó)著名時(shí)裝學(xué)府英國(guó)倫敦圣馬丁藝術(shù)學(xué)校修讀高級(jí)服裝設(shè)計(jì)及衣料設(shè)計(jì)夜校課程。在倫敦的自由及藝術(shù)氣氛的撫育下，他開(kāi)始瞭解什麼才是真正的時(shí)裝設(shè)計(jì)，并開(kāi)始愛(ài)上自己已熟習(xí)多時(shí)的工作，學(xué)會(huì)了高貴的品味。經(jīng)過(guò)多年的磨練及奮斗，1975年學(xué)成歸來(lái)，帶著第一個(gè)創(chuàng)作系列回港，讓顧客見(jiàn)證從小裁縫蛻變成時(shí)裝設(shè)計(jì)師的劉培基，體現(xiàn)了「香港精神」，成就了「?jìng)髌妗沟恼Q生。
劉培基是首位香港時(shí)裝設(shè)計(jì)師擁有自己的工廠及時(shí)裝店，出品「EDDIE LAU」和「姬」兩個(gè)系列，更於1970年代末開(kāi)始，與香港貿(mào)易發(fā)展局東奔西走、南征北戰(zhàn)，努力為香港時(shí)裝在海外及國(guó)內(nèi)拓展市場(chǎng)，這等等都成為許多時(shí)裝設(shè)計(jì)師追求的夢(mèng)想。
劉培基的設(shè)計(jì)領(lǐng)域除了時(shí)裝、高級(jí)訂制服、藝人形象，在制服設(shè)計(jì)方面也獲得國(guó)際企業(yè)的認(rèn)同。1999年，2011年,2013年劉培基三次為國(guó)泰航空港龍航空設(shè)計(jì)制服。
劉培基除了在時(shí)裝設(shè)計(jì)方面擁有驕人的成就外，還是本地樂(lè)壇首位的形象設(shè)計(jì)師。1982年7月，站在臺(tái)上的梅豔芳憑著出色的歌藝演繹《風(fēng)的季節(jié)》而奪得第一屆新秀歌唱大賽冠軍。當(dāng)時(shí)她在樂(lè)壇仍是在摸索的階段，沒(méi)有鮮明的形象，直至遇上了「他」劉培基。從參加?xùn)|京音樂(lè)節(jié)起，「他」為「她」設(shè)計(jì)服飾、專(zhuān)輯形象、演唱會(huì)的舞臺(tái)服等，二人合作無(wú)間，共同創(chuàng)造了「百變」的神話?！端扑髂辍?、《壞女孩》、《烈焰紅唇》、《妖女》、《淑女》…… 每一首耳熟能詳?shù)母枨歼B系著一個(gè)個(gè)鮮明且經(jīng)典的形象，她的舞臺(tái)服至今仍為人津津樂(lè)道。她的形象變化萬(wàn)千，每次踏上舞臺(tái)，便成為眾人的焦點(diǎn)，風(fēng)靡了整個(gè)八十年代，成為獨(dú)一無(wú)二的女歌手 —「百變梅豔芳」。
「百變梅豔芳」的出現(xiàn)，為觀眾送上精心設(shè)計(jì)且獨(dú)一無(wú)二的舞臺(tái)服，揮灑自如的舞步，充滿自信及自成一格的演繹，為觀眾帶來(lái)無(wú)限的視聽(tīng)震撼。他為梅豔芳設(shè)計(jì)的每一件舞臺(tái)服，塑造的每一個(gè)形象，都傾盡心思；體貼的設(shè)計(jì)，精巧的剪裁，都代表著劉培基在時(shí)裝和形象設(shè)計(jì)融會(huì)貫通的本領(lǐng)，以及藝術(shù)創(chuàng)作的造詣。一位時(shí)裝設(shè)計(jì)大師，一代樂(lè)壇天后，互相輝映。
由專(zhuān)輯封套、演唱會(huì)以至出席各大頒獎(jiǎng)典禮及宣傳場(chǎng)合，劉培基均為梅豔芳塑造不同的形象。成功的形象創(chuàng)造，是將歌者、歌曲和形象融為一體，使觀眾對(duì)每一首經(jīng)典金曲都擁有一個(gè)獨(dú)有的深刻影像，并不是單單將潮流服飾加於歌者身上。女穿男裝的《似水流年》；華麗、型格及瀟灑集於一身的《壞女孩》；阿拉伯女神的《妖女》；冶豔的《烈焰紅唇》，相信曾見(jiàn)證1980年代香港樂(lè)壇的觀眾都不會(huì)忘記。每次的形象均令人期待，成為城中話題。從1985年的「梅豔芳盡顯光華」演唱會(huì)開(kāi)始，劉培基均傾盡他的愛(ài)，以多角度考慮曲風(fēng)的編排、大會(huì)的主題、「臺(tái)、燈、音」三者的關(guān)系，歌者的舞步等等，以出神入化的立體剪裁，為她設(shè)計(jì)經(jīng)典舞臺(tái)服及形象，打造獨(dú)一無(wú)二的舞臺(tái)女皇。 在舞臺(tái)下，他為她悉心整裝；舞臺(tái)升上的一刻，她令人萬(wàn)眾期待；在臺(tái)上，她揮灑自如震懾全場(chǎng)。西方有Hubert de Givenchy與Audrey Hepburn，東方則有劉培基與梅豔芳。同是設(shè)計(jì)師與明星的關(guān)系，同樣彼此尊重和珍惜。梅豔芳跟劉培基由相知、相識(shí)，合作整整20年，工作上是極有默契的夥伴。在2003年梅豔芳舉行人生最後的演唱會(huì)，他特別為她設(shè)計(jì)華麗的紅金西式裙褂和簡(jiǎn)單而隆重的純白婚紗，讓她完成最後的心愿，嫁給舞臺(tái)。20年來(lái)，「他」開(kāi)創(chuàng)先河為本地歌手設(shè)計(jì)形象，與「她」共同創(chuàng)造了「百變梅豔芳」，成就了香港樂(lè)壇的一個(gè)傳奇。
除了創(chuàng)造百變梅豔芳外，劉培基也為其他歌手設(shè)計(jì)了不少令人印象難忘的形象及舞臺(tái)服。無(wú)論是女歌手還是男歌手，劉氏都能發(fā)掘歌手的優(yōu)點(diǎn)，把他們的氣質(zhì)和可塑性盡情表現(xiàn)出來(lái)。1983年，他為首位於香港體育館舉行個(gè)人演唱會(huì)的許冠杰擔(dān)任形象及服裝設(shè)計(jì)，以型格皮革服飾來(lái)表現(xiàn)歌手的勁度。1984年答應(yīng)摯友羅文擔(dān)任中國(guó)戲曲「柳毅傳書(shū)」的服裝設(shè)計(jì)及指導(dǎo)，更是挑戰(zhàn)跨領(lǐng)域的創(chuàng)作。其後更為羅文設(shè)計(jì)經(jīng)典舞臺(tái)服和專(zhuān)輯的形象設(shè)計(jì)，為他塑造一個(gè)摒棄花巧閃爍衣飾的清新成熟形象。另一令人難以忘懷的是打造夢(mèng)中情人張國(guó)榮，青春活力中帶點(diǎn)不羈，成熟中散發(fā)著憂郁，迷倒不少歌迷。劉培基除了為天皇巨星擔(dān)任形象及服裝設(shè)計(jì)外，早年亦為華星娛樂(lè)唱片公司旗下新進(jìn)歌手設(shè)計(jì)形象，當(dāng)年的年青歌手好些已成為樂(lè)壇的中堅(jiān)分子。劉氏對(duì)後輩的愛(ài)護(hù)，見(jiàn)於2006年為梅豔芳的愛(ài)徒何韻詩(shī)以愛(ài)的延續(xù)為題設(shè)計(jì)的舞臺(tái)服飾，以表達(dá)對(duì)梅豔芳永恒的愛(ài)及向她致敬。蘇永康亦是其中一位得到劉氏設(shè)計(jì)演唱會(huì)出場(chǎng)服的後輩歌手，服裝同樣手工精巧，足見(jiàn)設(shè)計(jì)師的設(shè)計(jì)功力以及對(duì)舞臺(tái)效果的瞭解。
2000年，劉培基先生捐贈(zèng)珍藏給香港文化博物館，成為首位重點(diǎn)收藏殿堂級(jí)的時(shí)裝設(shè)計(jì)師。當(dāng)中有他自孩童至今的個(gè)人珍貴照片，也有多年來(lái)從事時(shí)裝設(shè)計(jì)的草圖、剪報(bào)和時(shí)裝表演記錄片段等，資料相當(dāng)完整，觀眾不但能欣賞其百變的舞臺(tái)服，還有專(zhuān)輯封套造型、音樂(lè)錄影帶、演唱會(huì)及樂(lè)壇頒獎(jiǎng)禮的片段，加上他與我們親述每一個(gè)「百變梅艷芳」造型背後鮮為人知的故事，及他的創(chuàng)作歷程，圓滿地紀(jì)錄了香港樂(lè)壇及「形象設(shè)計(jì)」光輝的一頁(yè)。也讓我們能從中窺探香港時(shí)裝從1970年代至今的發(fā)展及潮流的演變.
他說(shuō)：“月亮陪著我長(zhǎng)大，不敢忘記月亮的溫柔”， 2013年他推出了《舉頭望明月》。自傳中，劉培基首次打開(kāi)內(nèi)心屏障，談?wù)撍纳硎?、感情生活、與摯友們很多不為人知的往事。劉培基重情義，一生中真正的朋友不算多。常掛在口邊的一句話是“不怕你對(duì)我不好，只怕你對(duì)我好?！彼c他的摯友都是“性格巨星”，都有脾氣，意見(jiàn)相左時(shí)，吵個(gè)不亦樂(lè)乎，氣消了，記得的，只是對(duì)方的好，其中包括著名作家金庸、粵劇名伶白雪仙、多才多藝的黃沾、才女林燕妮、一代名模柴文意等；香港樂(lè)壇舉足輕重的巨星羅文、張國(guó)榮與梅豔芳，均與他識(shí)於微時(shí)，巨星們罕有表達(dá)於人前的脆弱一面，在他面前卻是毫不掩飾。他與這些名人相交的故事，也一一記錄在自傳中。
An iconic pioneer in fashion design, Eddie Lau embodies the Hong Kong spirit. He started out as a tailor's apprentice in Hong Kong, before going to London in the early 1970s to study fashion design. In 1977, he was invited to take part for the first time in the Ready-to-Wear Festival organised by the Hong Kong Trade Development Council, where his designs, branded under his own name, were paraded as the grand finale. In the same year, he returned to London to showcase his creations there, and he subsequently presented his work at overseas fashion shows every year, consolidating his status as an international designer. He went on to open 'EDDIE LAU' fashion boutiques in Hong Kong and Japan, to launch a series of fashion collections in collaboration with Chinese Arts and Crafts (H.K.) Ltd., which proved popular with buyers and customers alike, and to become one of the first designers to go to China to have solo fashion shows. Since 1962 he started to work in the fashion industry till his retirement in 1999, and up to now, Eddie never leaves his profession. For 50 years he has been persistently professional at work that he has been three times invited to design worldwide airline uniforms, and has also been invited to design haute couture and stage costumes for various celebrities and singers.
Lau, was born in Hong Kong in 1951 ，Until the age of six, Eddie had a happy childhood, growing up safe in the love of his mother. After she remarried, however, Eddie began to live under other people’s roofs at the age of eight, shunted from house to house. In 1962, the 11-year-old Eddie was sent to serve as an apprentice under Shanghai tailor Hai Hung-fat at his workshop in Mirador Mansion in Tsim Sha Tsui. Learning from his master the craftsmanship that was to prove so enduringly useful throughout his life, the abandoned boy of our story now emerges as a skilful junior tailor.
Having completed his apprenticeship, Eddie Lau opened his own shop at the age of just 16. He worked hard, in 1973, embarked on a journey to study design: enrolling in the renowned fashion design institute Saint Martins School of Art in London, he left Hong Kong for the United Kingdom to take an evening programme in advanced clothing and material design.In London he was stimulated by the freedom and artistic environment there, and began to understand better what fashion design really was.He fell in love with the work had been used to for so long. After several years of hard work and then his diligent studies, Eddie Lau returned to Hong Kong in 1975 in triumph with his first collection. His customers witnessed how a junior tailor had been transformed into a fashion designer. He exemplified the ‘Hong Kong spirit’. A legend was born.
Eddie Lau was the first fashion designer from Hong Kong to have his own workshop and boutique that were established to house his own creations, the ‘EDDIE LAU’ and ‘KAI’ collections. In the late 1970s, Eddie began to work closely with the Hong Kong Trade Development Council in a collaboration that sought to open up new markets in mainlandChinaand overseas for Hong Kong’s fashion industry and thus stretched across continents and oceans. These achievements are the dreams pursued by all fashion designers.
Eddie Lau is best known for his work in the fields of fashion design, haute couture and image design for pop stars, but he also gained recognition among international businesses for his uniform designs. Eddie designed uniforms for Cathay Pacific Airways Limited (Cathay Pacific) 、Hong Kong Dragon Airlines Limited (Dragonair)in 1999，2011 and 2013。
Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry.It was July 1982. Anita stood on stage and sang the song Season of Wind beautifully, so impressing the judges with her vocal talent that she won the first ever New Talent Singing Awards by Television Broadcasts Limited. But in her early career, when she simply imitated other styles, she did not have an image of her own. Then she met him, Eddie Lau. From their earliest collaboration at the Tokyo Music Festival, he designed her outfits, her image on album covers and her stage costumes for concerts. They worked together in perfect harmony and together they created the ‘ever-changing’ legend. As Years Go By, Bad Girl, Fiery Red Lips, Evil Girl, Fair Lady all became classic pop songs, and each one was associated with a unique, eye-catching image. The stage costumes still fascinate today. Her image was so versatile and adaptable that every time she stepped on stage, everybody’s eyes were focused on her, and she stayed in the spotlight throughout the 80s. She is the one and only Hong Kong pop diva, the ‘ever-changing Anita Mui’.
Anita Mui’s continually evolving appearance was presented to the audience in unique, carefully designed costumes. Her interpretation of the songs, expressed in her smooth dance moves, her ample confidence and personal style, offered the viewing public endless excitement and constant
stimulant of the audio and visual senses. Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry. Each stage costume he designed for Anita, every image he created, was the result of dedicated love. His thoughtful designs, fine tailoring and craftsmanship all demonstrated his mastery of fashion and image design as well as his artistic creativity. The talents of an expert fashion designer and a genuine diva of our times shed light on each other.
Eddie Lau designed a huge variety of different images for Anita Mui – for album covers, concerts and her appearances at award ceremonies and publicity events. A successful image involves much more than simply dressing the singer in trendy clothes. It combines their personality and the theme and feeling of the song into an integrated whole that projects a unique concept, leaving the audience with a lasting impression of the song and consolidating the singer’s appeal. Visitors who are familiar with the Hong Kong pop scene of the 1980s will still remember some of the images associated with Anita: the besuited masculinity of As Years Go By; the unconventional, but stylish Bad Girl; the Arabian goddess of Evil Girl; and the femme fatale of Fiery Red Lips. Feverish anticipation greeted the prospect of each new style, which quickly became the talk of the town when it finally appeared. From the ‘Anita Mui in Concert’ in 1985, Eddie injected all of his passion into creating images that reflected Anita’s status as the undoubted queen of the stage and that took all the different perspectives into consideration – the theme of the concert, the rundown of the songs, the interplay between the stage, the lighting and the sound effects, as well as Anita’s choreography. Every stage costume and every image he created for Anita was a classic in its own right, thanks in particular to his exceptional three-dimensional cutting skills that were embodied in his creations.
Off stage, he devoted all of his attention to getting her ready, so that, as she rose up into the auditorium, all eyes were focused on her entrance. On stage, his designs allowed her to captivate everyone with her unrestrained performance. If Hubert de Givenchy and Audrey Hepburn were perfect partners in the West, then Eddie and Anita are their Eastern counterparts, forming a relationship between a designer and a superstar that was based on mutual respect and love. From the time they met, Anita and Eddie worked closely together for a full 20 years, developing a mutual understanding that encompassed every aspect of their relationship. When Anita held her very last concert in 2003, Eddie designed an exquisite red and gold Chinese wedding gown and a simple but resplendent Western-style white wedding gown for Anita as an expression of her final wish – to be married to the stage. Hand in hand with ‘the ever-changing Anita Mui’, the legendary diva of Cantopop, Eddie Lau pioneered the concept of image design for local singers.
In addition to creating ‘the ever-changing Anita Mui’, Eddie Lau has also designed many memorable styles and stage costumes for other singers. Whether they are male or female, the designer has always been able to uncover the special edge that the performers have, allowing them to express their unique qualities and fulfil their potential. In 1983, he helped with the image and costume design for Sam Hui when he became the first local singer to hold a solo concert at the Hong Kong Coliseum, choosing leather jackets and accessories to highlight the singer’s muscular strength and energy. In a creative cross-over experiment, Eddie honoured his promise to his close friend Roman Tam and took on the role of costume design and direction for Roman’s Chinese musical ‘Liu Yi Chuan Shu’ in 1984. He later designed a number of timeless stage costumes and album images for Roman, bringing out the unadorned, mature and sophisticated artist that lay beneath the lavishly sequined performer of his earlier years. Another unforgettable project was the transformation of Leslie Cheung into a dream lover. The young side of Leslie’s image was energetic with a slightly rebellious streak; the mature side, in contrast, expressed a hint of melancholy. Neither failed to mesmerise Leslie’s fans. Eddie Lau not only provided image and fashion direction for Hong Kong’s superstars, he also designed images for emerging singers at Capital Artists Limited in the company’s early days, several of whom went on to establish themselves as pillars of the local pop scene. Eddie cherished the up-and-coming generation of artistes. In 2006, he designed a stage costume for Denise Ho, a protégé of Anita Mui, that was based on the theme of the ‘continuation of love’ and paid tribute to and expressed his everlasting affection for the late musician. William So is another second-generation Capital Artists singer whose concert costume for the opening section of his concert has been designed by Eddie; as exquisitely crafted as ever, these stage outfits demonstrate the designer’s talent, flair and thorough understanding of the impact that image and costumes can have on stage.
Mr Lau donated his valuable collection to HongKong Heritage Museum in 2000,becoming the first fashion designer collects notable belongings from superstars.The complete collection includes his photos from childhood to the present,drafts for his past designs,news papers,video taps for his fashion shows, etc.Not only do visitors find his ever-changing costumes for on-stage performances,they can also find out fits for CD cover,music videos,concerts and videos from different awards presentations.Besides, with Eddie Lau's introductions one very single story behind Anita's outfits,and also his journey on garment design,it thoroughly records the prosperity of the music industry and image design in HongKong.More importantly, we can also discover the development and evolution of the fashion trend from the 70s until the present in HongKong.
關(guān)于《港龍航空制服簡(jiǎn)介》的介紹到此就結(jié)束了。
