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 )。 )
