Source: 國藝會電子報（www.anb.org.tw）

I like the idea that the cosmetic company invites artists to design the package of their products and the company sponsors the artists' exhibition in fine art space (gallery or museum) in return. Fine arts, design and commercialism found a good way to work together. But the author oversimplifies the situation sometimes. For instance, one product package which was designed by an American artist, John Tremblay, did not sell and the author, who accepted the company's excuse for blaming the complicated package design, implied that the artist was responsible for the market. I think the author should further analyzed how strong the product is rather than favors the company, and she even slightly implies that female customers are not always smart enough to appreciate the design. This is absolutely a biased and impulsive conclusion.

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品牌定位決定策略──藝術‧彩妝‧植村秀

文│蘇怡如　　　圖│植村秀提供

　　不論是企業贊助藝術，或者企業尋求與藝術共同合作，似乎多數都離不開經營者、決策者的經營理念或喜好。從藝術家林明弘與企業合作的眾多例子之中，其與植村秀的合作經驗，也可以循溯出類似的背景脈絡。

品牌定位──彩妝是門藝術

　　已為世界第一大彩妝集團萊雅旗下的彩妝品牌之一的植村秀（shu uemura），其創辦人植村秀看待彩妝的態度，似乎成了植村秀作為一個彩妝品牌的定位，而此定位也決定了植村秀如何操作、規劃其產品的合作對象。

　　台灣萊雅化妝品香水事業部品牌經理張凡恬表示，如果談到與藝術家合作的源起與意向，要從創辦人植村秀談起，植村秀認為彩妝是一門藝術，每季植村 秀推出新的妝容，其本身是一件「作品」，他透過該作品傳達嶄新的彩妝藝術及其概念，並由此延伸出彩妝產品，也因此植村秀不找名人為彩妝代言，就是希望能單 純傳達妝容的理念。此與其他品牌以產品功能為主要訴求的方式並不相同。也因此植村秀推出的彩妝都以「風尚化妝」（Mode Make Up）為名進行編號，自1968年創辦人植村秀發表第一號「風尚化妝」至2008年春夏已至126號。植村秀視每次發表妝容的整體行動都為一舞台表演，他 在過程中並不說話，整個舞台的場景、音樂等元素，也完整搭配演出；這與我們一般在各個彩妝櫃上，看到彩妝師為模特兒化妝時，一邊使用彩妝品及工具，一邊講 解使用方法，僅僅是彩妝呈現或教授技巧截然不同。也因為植村秀將「彩妝」視為藝術，延續品牌定位及理念，植村秀在規劃各項行銷或品牌活動時，也以與藝文創 作者合作為緊扣的重心。而在評估與藝術家合作的方向時，主要著眼於產品視覺包裝的提升，以及植村秀的品牌形象、希冀傳達的意象為主。

植村秀vs.山口藍

　　2004、2005年兩年，植村秀與日本當代藝術家山口藍（Ai Yamaguchi）、2006年與紐約前衛藝術John Tremblay合作限量版潔顏油，其間各有不同的考量及成效。

　　山口藍是植村秀的忘年之交，作品融合日本江戶傳統情調，彩度及線條卻十分當代，不論是插畫式分明的線條，或是色彩運用豐富而予人可愛感，都十足 吸引年輕女性。而會選擇以植村秀的明星商品──四款潔顏油作為合作的商品，主要原因是植村秀認為，四款潔顏油分別具有四種不同功能和想法，但很多消費者並 不清楚應該如何選擇及使用，以產品面考量，植村秀希望告訴消費者，每一個人都應該擁有四罐潔顏油，依每天自己肌膚的狀況而選擇使用，像他一直以來強調的重 點──「傾聽肌膚的聲音」。植村秀同時進一步想像，如果產品在包裝上有不同的設計，那麼在早上洗臉或晚上卸妝使用時，就會有不同的感受。在考量了品牌精神 與山口藍作品的特色後，請來了山口藍創作四款潔顏油的包裝。而山口藍所創作的四罐瓶裝也各有不同涵意，分別代表四瓶潔顏油不同的用途及意涵。2005年山 口藍將四瓶潔顏油重新定義、包裝為春（喚醒）、夏（熱鬧）、秋（休憩）、冬（醞釀重生）。張凡恬分析，山口藍所繪製設計的圖案意義與產品意義及消費者喜好 等各方面都協調得很好，使產品與消費者的溝通不會產生很大懸殊，所面對的消費對象，不須具備很高的藝術知識，於是連著二年山口藍帶著可愛迷人的畫風，成功 擄獲年輕女性的心。

植村秀vs. John Tremblay

　　2006年植村秀首度進軍 美國，且在美國市場創下佳績，在此背景下，植村秀興起以產品與美國消費者進行交流的念頭，才找來了紐約前衛藝術家John Tremblay共同合作。張凡恬說，John Tremblay的作品以線條和圖形為主要表現，理念與設計雖與山口藍截然不同，但他以西方人的角度並以自己的概念及觀點詮釋四罐潔顏油，也賦予了潔顏油 新的趣味和意義，張凡恬也認為，此合作的背後也象徵植村秀不只在亞洲市場，更邁向全球彩妝市場。

植村秀vs.林明弘

　　山口藍和John Tremblay是由日本植村秀總部所主導、合作的藝術家，台灣植村秀並無參與其過程；與林明弘的合作則是為了2007年植村秀在台灣二十週年的慶祝活 動，台灣植村秀希望以台灣藝術家為主要合作對象，也是由台灣植村秀自行針對當地市場所主導、規劃推出的台灣限量彩盤產品，張凡恬說，對於台灣植村秀而言， 能夠自行規劃產品壓力大卻也相當興奮，除了希望產品整體能延續亮麗豐富的色彩，符合植村秀一直以來的品牌形象，也尋求廣為認識，且不曲高和寡的藝術家，在 此前提下找到了藝術家林明弘作為合作對象。

　　林明弘最為人所熟知的作品皆以花樣為主角，與植村秀合作的《綻放的軌跡》眼影盤，同時意謂著林明弘的創作風格及植村秀在台二十週年，一路走來不斷累積而至絢麗綻放的意涵。對於台灣植村秀而言，與林明弘的合作十分愉快， 張凡恬說，以往林明弘的作品多數尺幅較大，要創作手掌大小的作品，又是與彩妝品牌的合作，對林明弘而言可能也是一種挑戰。由於這也是台灣植村秀第一次自行 製作產品包裝，在選擇合作廠商及往來的過程也力求謹慎，作為專業彩妝品牌以及藝術家，植村秀與林明弘同樣對色彩有所要求，雙方合作過程愉快且順利，若要說 有什麼較需花時間溝通的部份，就是林明弘在設計過程中交付的作品圖稿，並不使用顏色色碼，如此一來，植村秀與廠商或林明弘在確認色彩的溝通上，就要花費較 多時間。「林明弘在設計過程選擇顏色，他要的不是號碼，他要的可能就是他在某台電腦上看到的顏色，所以這部份很難轉述給廠商或印刷商。」張凡恬說，最簡單 的解決方法是，三方同時約來一起確認顏色。「這也是我們第一次把最下游的廠商一起找進來參與整個過程。」張凡恬坦言，合作之前也不無擔心藝術家主觀較強而 與市場面不一定相符的問題，但在溝通的過程，一些不動到創作本身，單純消費者使用上的建議微調，林明弘也都欣然接受並進行調整。「比如說打開後鏡子應該如 何移動，噴霧應該如何設計……花紋不要遮到鏡子，可能會影響到使用的方便性的部份我們會加以提醒。」也因為與林明弘合作愉快，延續此次經驗，台灣植村秀也 提供經費贊助2007年底林明弘於日本的展出。

三件作品的市場接受度與合作成果

　　若 要論市場接受度，成績較不理想的應是與John Tremblay合作的限量潔顏油。對此結果，張凡恬認為有兩種可能，一是這是第三年限量版潔顏油系列的推出，對消費者及媒體而言，新鮮度不如以往高，第 二是John Tremblay的設計真的太前衛，需要專櫃小姐花許多時間告訴消費者設計的意義在哪？「比方綠茶的包裝上John Tremblay設計很多圈圈，因為綠茶搖過後會產生氣泡，氣泡即代表圈圈，而圈圈又有其涵意等……，這些設計背後的意涵如果期待消費者能完全理解，就要 在第一線銷售時，花費時間告訴消費者，但實際在櫃點要操作是有困難的，消費者也要有慧根。」John Tremblay的作品無法直接傳達意念，似乎是John Tremblay在市場上的反應未若以往限量包裝潔顏油銷售熱絡的原因。

　　而與山口藍合作則是較為精準掌握亞洲女性購物傾向的例子，至於與林明弘合作的《綻放的軌跡》眼彩盤，張凡恬從產品面來看，彩盤產品本身就比較能 吸引消費者，加上《綻放的軌跡》也是植村秀第一次推出彩盤，而它不只有外殼，連包裝盒、鏡面都經過整體設計，傳達的訊息又簡單明瞭，這也是植村秀考量與藝 術家合作的重點。

　　整體而言，植村秀與藝術家合作的出發點在於品牌形象的操作，植村秀與山口藍的合作，使得植村秀成為第一個與藝術家合作的彩妝品牌。張凡恬說，如 果單只講求銷售數字，推出新產品的銷售數字才會漂亮，但與藝術家合作大多是選擇原有的產品，合作的形象效益雖不會馬上就得見具體數字，但從植村秀的品牌定 位出發，即便是與娛樂圈結合的公關性活動，選擇方向也都以形象清新、新崛起以創作為主的樂團或歌手為主。張凡恬認為，一路走來，植村秀之所以能在每年度彩 妝形象調查中，於業界排名數一數二，似乎可說明品牌形象的經營也精準地傳達至消費者。

延伸性贊助活動

　　台灣植村秀在藝文的參與上較少單純金錢上的贊助，但在創辦人植村秀提攜後進，認為藝術要從小即開始發生影響的理念下，與山口藍、John Tremblay合作限量潔顏油並於各地市場推出時，每個地區的植村秀，都與當地兒童藝術或者兒童公益相關的團體合 作或者捐款。2004、2005年與山口藍合作時，植村秀與「如果兒童劇團」連二年共同推動「兒童藝術扶植計畫」。2004年包含系列講座、活動劇場巡 演，以及台北、台中三場「植村秀潔顏油限量版義賣會」；2005年則是以兒童舞台劇的方式展演出04年「兒童藝術扶植計畫」的成果，植村秀並邀及名人進行 義賣，將植村秀提供之精裝限量版潔顏油及刷具等套組，以義賣組數乘以十萬元的金額捐贈「如果兒童劇團」。

　　除此之外，植村秀也以贊助彩妝產品及彩妝師支援的方式，贊助學生舞團的演出或服裝設計系所相關的時裝秀，由於行之有年，張凡恬說，每到公演或畢 業季節來臨，學生就會自行來電，這部份主要是針對學生族群的服務，與品牌行銷沒有直接相關。其他像是金曲獎、《愛上卡門》歌舞劇等，也都有產品相關贊助， 但張凡恬仍強調，贊助或合作的對象，一定要與藝文創作相關，這是植村秀一直以來鎖定的重點。

後續合作計畫

　　其他與藝術及時尚為主軸所展開的合作也都已陸續展開。除了林 明弘，2007年植村秀同時找來了華裔建築師Calvin Tsao重新設計「無色限唇膏」的包裝；今年7月下旬植村秀也推出與荷蘭籍前衛設計師Viktor & Rolf合作，以高級訂製服概念打造三款「限量訂製睫毛」，同時也已展開與攝影師蜷川實花的合作，而與蜷川實花的合作，也將延伸至台灣，台灣植村秀欲將與 蜷川實花合作的計畫，與台灣服裝設計師作一有趣的結合。張凡恬表示，台灣植村秀是植村秀海外市場中成績最好的，日本對台灣市場相當重視，也給予台灣極高的 主導性，未來植村秀鎖定與藝術、時尚合作的行銷主軸，仍然會繼續延續下去。

Monet? Gauguin? Using art to make better doctors: New courses improve powers of observation
From The Boston Globe

On one Friday this spring, 24 of the country's most promising future physicians circled the limestone Bodhisattva as art instructor Alexa Miller posed a question: "What's happening here?" The students initially observed that the figure was made of stone and appeared peaceful. But she pushed them further. "What do you see that makes you say that?" she asked.

After an hour at the museum, the class walked back to Harvard Medical School to apply what they had learned about examining art to diagnosing breathing problems, skin rashes, and neurological disorders, and to reading lung X-rays.

Katz's class is one of a growing number of art courses offered to medical students nationwide and aimed at improving their observation and diagnostic skills at a time when doctors are increasingly relying on CT scans, Maris, biopsies, and other technology to do their work, even though it is far more expensive - and sometimes unnecessary to pinpoint illnesses.

Nana Aqua Judah, who graduated from Harvard in June and is now an obstetrics and gynecology resident in Toronto, said the art class taught her to look more carefully at patients for clues. For example, if a young mother looks run down, it might indicate she's too stressed to take a medication that requires five doses a day, leading Judah to prescribe a once- or twice-a-day drug. Besides, said Judah, who was taking six or seven classes at the time, "to me it seemed like a relief. We were going to an art gallery for a class."

At tradition-minded Harvard, many faculty were skeptical about the idea of using art to make better doctors when Katz proposed the class five years ago, especially since the first- and second-year students who enroll are already overwhelmed with work. But Katz's belief that physicians can improve their diagnostic skills by observing art was bolstered this month when he and his colleagues published a study in the Journal of General Internal Medicine showing that after completing the class, students' ability to make accurate observations increased 38 percent. When shown artwork and photos of patients, students were more likely to notice features such as a patient's eyes being asymmetrical or a tiny, healed sore on an index finger. Observations by a control group of students who did not take the class did not change."We're trying to train students to not make assumptions about what they're going to see, but to do deep looking. Our hope is that they will be able to do this when they look at patients," said Katz, an internist at Brigham and Women's Hospital and a former graphic designer. He said several studies show that doctors' physical exam skills, which include observation and taking a medical history, as well as the hands-on examination, are declining he most difficult part of the class for the high-achieving Harvard students, Miller said, seems to be letting go of their urge to find the one right answer. The Bodhisattva, for example, can spark a wide range of emotions, as the statue is towering and imposing when seen from the front but then "almost disappears into space" when looked at from the side, Miller said. As she pushes students to look harder at the sculpture, using a technique called visual thinking strategies, students' observations become more complex, and they notice that the Bodhisattva is powerful, but also small and poignant.

While diagnosing a medical condition involves reaching the right answer, often, to get there, doctors have to open their minds to myriad possibilities.

"When we get fixated on getting the right answer, we miss the diagnosis because it blocks the ability to think flexibly," Miller said. "We want them to puzzle through things."

Educators at other medical schools that offer art classes have similar goals. Weill Medical College of Cornell University has offered a noncredit art course in collaboration with the Frick Collection in New York City for eight years, while Yale Medical School runs an art observation course for medical students that is now a required class.

Students in the Harvard class study a wide range of original art, including oil paintings by Paul Gauguin, Claude Monet, and John Singer Sargent, and sculptures from Iran and India. Students have the option of drawing a nude model as well. Instructors draw exact parallels between some artworks and diagnosing illness; students, for example, study texture and pattern in Jackson Pollack's abstract Number 10, and then return to the medical school to study how patterns in patients' rashes can indicate specific conditions. But the course primarily trains students to look at what they're seeing more carefully.

Dr. Robert Brown, a pulmonologist at Massachusetts General Hospital and a course instructor, gets undressed above the waist to give his lecture on breathing muscles. Three patients enter the classroom, including a quadriplegic man who also is shirtless, a woman with muscular dystrophy, and a woman with a deformed spine. Afterward, students list what they saw. Brown wants them to notice that his upper rib cage moves outward while the paralyzed patient's upper rib cage moves inward. Paralysis of the diaphragm is a diagnosis doctors often miss, he said, but inward movement of the belly while breathing is one sign.

If they look carefully "during the physical exam they can begin to put the pieces together," he said.

While research into doctors' physical exam skills is sparse, there is a consensus in medicine that those skills are waning. Some doctors believe medical schools are giving short shrift to the physical exam, but others believe these skills atrophy once doctors graduate and start practicing their specialty.

"When I've been to Africa and the Amazon and there are no CT scans and X-rays and it's just you and a flashlight and a stethoscope and something to look into the patients' ears, you have nothing to fall back on other than your clinical skills," said Dr. Ronald Silvestri, a pulmonologist at Beth Israel Deaconess Medical Center who runs Harvard's doctor-patient course, which teaches the physical exam.

In the United States, he said, doctors turn more quickly to these widely available tests and tend to be very rushed when seeing patients. "If you have a 10-minute visit, how good an observer can you be?" While Silvestri believes the quality of care doesn't suffer from the widespread use of diagnostic tests, he thinks the overall healthcare system does.

"It's one reason that American medical care is so expensive," he said.

But whether art classes will have a lasting impact remains an open question.

Students in the course run by Katz and Brigham neurologist Dr. Shahram Khoshbin were evaluated immediately after they took the course, not as practicing doctors, when they will face the threat of malpractice lawsuits for wrong diagnosis.