GA Magazine

Art Director 美術指導 : Azai Lui (Simon)

一個創作者最幸福的事，莫過於遇到懂你作品的靈魂知己。當你傾注心血完成的物件，被另一個人溫柔地安置在某個空間裡，甚至在多年以後，以一種不期而遇的方式重新映入眼簾，那種時間帶來的驚喜，最是奇妙。

對我而言，底片印樣上那些留著手工裁切線、劃著紅圈與藍線的痕跡，往往比最終沖印出來的成品更令人心跳加速。因為那裡記錄了一場視覺在誕生初期、最私密也最赤裸的死磕過程。

在那個沒有數碼、沒有電腦修圖的1980年代末，攝影棚對我們來說不是拍照的工作室，而是一場純手工的視覺實驗室。

那時為《GA》雜誌主導這輯時裝專題時，我們根本不滿足於傳統的服裝拍攝。畫面中那些大膽的幾何線條、默片式的幽默感，以及當時風靡一時的「BOY」服飾，全都是我們對當代街頭文化最不拘一格的反叛實踐。如今回看這些保留著手工痕跡的底片，紅圈與藍線之間，定格的不僅是服裝，更是我們當時那種不拘一格、敢於打破常規的創作熱情。那份前衛，至今依然躍然紙上。

To me, the raw marks on a contact sheet—the manual crop lines, the greasy red circles, and the bold blue strokes—are often far more exhilarating than the final print. They preserve the most intimate, naked wrestling match of a visual concept in its very infancy.

In the late 1980s, an era entirely devoid of digital technology and retouching, the studio was never just a workplace for taking photographs; it was a purely handcrafted visual laboratory.

When leading this fashion feature for GA magazine, we refused to settle for conventional fashion photography. The bold geometric lines cutting through the frames, the silent-film humor, and the then-wildly popular "BOY" attire were all part of our rebellious manifestation of contemporary street culture. Looking back now at these negatives that still bear our physical, tactile marks, what was frozen between those red and blue lines was never just clothing. It was our uncompromising, boundary-breaking creative passion. That avant-garde spirit remains entirely alive on the page today.