關於 weird art magazines ，我們在網路上蒐集到這些相關的討論、資訊與評價

在「廣告人」的身份之前，別忘了「人」的身份(引述自 小魚廣告網 )。

這個年頭的廣告人，當中有不知多少已為了做所謂打獎的廣告，埋沒了不知多少的良心、說了不知多少遍的謊話。昔日廣告業的光環失色，死因不在於保守的客戶，或者是壞品味的社會氣氛，卻在於做打獎廣告僥倖拿了獎然後以為自己真的是創意大爺的不務正業的廣告人，更壞的是，他們往往能夠繼續在那些大型機構內平步青雲，讓這癌細胞，代代相傳。

The Malala ad from Ogilvy we posted a few days ago is now everywhere on the internet:
http://j.mp/1mvSOHq
http://j.mp/1mvT2yi
http://j.mp/1mvTbBR

I pulled the Malala ad from Ads of the World on request from the creatives. The other two ads with Jobs and Gandhi are still there:
http://adsoftheworld.com/…/…/kurlon_spring_mattresses_gandhi
http://adsoftheworld.com/…/pr…/kurlon_spring_mattresses_jobs

Here is what I personally think about the ad.

Advertising is the art of the 21st century. We use and reuse symbols of good and evil. Advertising, just like art, is always pushing the boundaries of the benign and commonplace. But, people don't like change. They don't like modern art. That doesn't mean art or advertising is bad. It means people are uncomfortable with something they haven't seen before. It takes time.

The fact is campaigns like this one are not made for the general public. They won't be on billboards or in magazines. They are made exclusively for award shows and advertising blogs. If they appear in a magazine that's only for the purpose to qualify for the award show. This is a well known secret in the advertising world. They are demonstrations of creativity, like weird concept cars and unwearable dresses at fashion shows.

The brand sold is secondary here. Creatives find a client that fits their artistic idea. This is how this work should be judged. Any criticism that it's exploitation of Malala to sell beds is invalid because the ads were not created to sell the mattresses in the first place.

Even if you don't buy the argument that the campaign is not primarily created to sell, what's wrong with a brand standing behind a positive message? That's not exploitation. It's support. Did Benetton exploit people of color or did they stand for racial equality? Did Benetton contribute to a positive change in society on this issue? I would argue they did.

The artists chose these three people for the campaign not because they wanted to exploit them. It's because they represented something inspirational in the world. Malala was made into an icon next to people like Gandhi and Jobs. She became a symbol of being able to come back from the worst of life events and give inspiration to us all. Malala is portrayed as the ultimate fighter.

The ad would be offending if her achievement was somehow distorted, ridiculed or belittled.

What's offending is the reality that she was shot. The regime that makes it possible. The regime that prosecutes the victim. By all means let's fight that!

We could ask Malala herself if she is offended or if she's happy people learn about her life and cause.

Ivan Raszl

有人稱從事美髮行業的人為髮型師、造型師、設計師... 但, 當一種技術走到極致時, 他們已經晉升為名符其實的藝術家了! 小編今天分享給大家萊雅專業沙龍美髮 « 髮藝師 Odile Gilbert » 帶來的2012的春夏最新潮流趨勢【極致髮藝極致奢華 - 巴黎' 繡髮雙色】

今年的春夏趨勢融入法國文化的代表 - 高級訂製服以及華服背後的推手, 他們以無比精準與細緻的手工匠藝,對流行趨勢帶來巨大的影響，並讓服裝成為一們藝術。我們希望能就由本次的趨勢推廣極致匠藝, 他們是隱身於時尚華服背後的無名英雄。我們同時也向表現極致匠藝的髮型師致敬，他們打造如同精緻布料的髮絲，展現其獨特才華。

髮絲猶如最精美的織物，充滿了無限可能，仰賴專業設計師的巧手，打造出如同藝術品一般的髮型。

今年夏天，優雅質感的浪潮將再一次席捲流行前線!

She started her career in 1975, first as an assistant to the famous hairstylist Bruno Pittini, in his salon and studio. Working along with Pittini allowed her to meet celebrities and work on fashion shows and advertising photo shoots.

In 1982, she moved to New York and started working for fashion and beauty editorials in famous fashion magazines with big photographers such as Richard Avedon, Helmut Newton, Herb Ritts, Irving Penn, Steven Klein, Peter Lindbergh, Jean-Baptiste Mondino and Paolo Roversi, among others. Renowned fashion and perfume houses, such as Calvin Klein, Lancôme, Giorgio Armani and Jean-Paul Gaultier, entrusted her with styling the hair of models in their advertising campaigns. Her best known work was on fashion shows, on which she worked in tight co-operation with the designers, in some cases for many years.

In 2000, she opened her own agency in Paris, l‘Atelier (68), to manage her career and also represent new talents in the beauty industry.

In 2003, she published Her Style, Hair by Odile Gilbert, prefaced by Karl Lagerfeld. In 2005, Sofia Coppola called upon her to do the art direction of the main character of her movie, Marie-Antoinette, played by Kirsten Dunst.

In 2006 she received from Renaud Donnedieu de Vabres, the French Minister of Culture and Communications, the honorable insignia of Chevalier des Arts et des Lettres. To date, she is the only female hairstylist with this honour.

In 2007, the Costume Institute of the Metropolitan Museum of New York bought for their permanent collection one of the top hats made of natural hair she created for Jean Paul Gaultier's Haute-Couture AW 2006 show.

In France , the government has awarded the Chevalier des arts et des lettres distinction to visionaries including writer William S. Borroughs , composer Philip Glass, director Tim Burton, dancer Randolph Nureyev .. and hairstylist Odile Gilbert. If you haven’t heard her name before, you probably don’t work in beauty or fashion, but there’s a reason she’s the only of two hairstylists to have received this honor. Gilbert’s fanciful creations have made her a favorite of fashion powerhouses( including Karl Lagerfeld and JP Gaultier) , photographers ( Richard Avedon and Irving Penn were family) , and the coolest young designers (Jason Wu and the Mulleavy sisters of Rodarte). But weather she’s painting hair with 24 karat gold, sculpting it with mud and clay, or attaching feathers so practically every strand on a model’s head, her styles are still flattering. “You never want someone to look or feel weird”, says Gilbert. “I’m able to see this because it’s my job ,and because I’m a girl” .

That last bit is more novel than you might think. Gilbert is the only top female hairdresser backstage at the fashion shows. In a world were most of the big names are boys, Odile is a legendary presence that has opened many doors for other women hairstylists.

Away from the runways, she’s styled some of the biggest beauty ads for the likes of Lancôme and Chanel, as well as Kirsten Dunst elaborate looks in Marie Antoinette (Gilbert meant for them to resemble pastries, and worked in a diamond-and-roby necklace, which she says it’s the most over-the-top materials she’s used to date.) Her avant-garde style has even been displayed in museums. The Metropolitan Museum of Art’s Costume Institute in NYC bought a hat that Gilbert made out of hair for Gaultier’s runway, and she fashioned 50 hadpieces out of butterflies, flowers, and shells for the designer’s retrospective. (THE EXHIBIT WILL TRAVEL TO THE Dallas museum of Art in November.)