Latest news with #AMIParis
Hypebeast
3 days ago
- Entertainment
- Hypebeast
Sunflower 2026 春夏系列：把辦公正裝變成漫遊制服
重點摘要： 近季男裝趨勢愈發自然、接地氣又真實 —— 回想 Jonathan Anderson 今年 6 月為 Dior 帶來的 2026 春夏男裝首秀，那份謙遜與張揚拿捏得恰到好處；另一邊廂，AMI Paris 亦把傳統膠囊衣櫥升級為 smart-casual 版本。古典嚴謹與率性鬆弛並行，已成業界主旋律。 總部位於哥本哈根的 Sunflower 亦於 Copenhagen Fashion Week 發表 2026 春夏系列，並把秀場選在自家辦公樓的小庭院。品牌今季帶來 25 套造型，透過低調實穿與經典剪裁講述「business abandoned for escape」的故事。 整個系列就像『剛從行李箱裡抽出來隨手披上』的制服：摺痕與破損丹寧、草草套上的灰色兩件式西裝配未扣的條紋襯衫，都是信手為之的不經意；無論是俐落黑色大衣配做舊牛仔褲，抑或寬鬆細條紋西裝疊穿粉藍襯衫與波點領帶，均完美詮釋當代鬆弛美學。 從精湛工藝到高級布料，每件單品都為陪伴日常而生；石灰白、煙草棕、暴風灰與小麥色等內斂色調，進一步呈現品牌對現代男裝的清新而踏實的視角。 滑動上方圖集，率先欣賞 Sunflower 2026 春夏系列全貌。
Time Out
22-05-2025
- Entertainment
- Time Out
A Useful Ghost takes Grand Prize AMI Paris at 2025 Cannes International Film Festival
feature debut by Ratchapoom Boonbunchachoke, emerged from the Critics' Week sidebar with the Grand Prize AMI Paris in hand. It's the sort of win that quietly shifts things. Not only for the filmmaker, or for 185 Films, the Thai production house behind it, but for an entire region still largely overlooked in the palmares of European festivals. Only once before has an ASEAN film claimed this prize – Malaysia's Tiger Stripes in 2023 – which makes A Useful Ghost the second, and possibly the strangest. The story opens with March, grieving the sudden death of his wife, Nat, who succumbed to dust pollution. Soon, he discovers her spirit has returned – in the body of a vacuum cleaner. As he navigates this surreal reunion, his mother's factory is beset by another ghost, this time a disgruntled labourer who brings operations to a halt. The family, already unsettled, rejects Nat's lingering presence. But she, determined and oddly practical, offers to exorcise the workplace in exchange for being acknowledged – not just as a ghost, but as a partner. It's part satire, part seance, and entirely sincere in its portrayal of loss and cohabitation. Critics' Week, dedicated to first and second-time directors, has always been where oddball gems surface. Yet Thai cinema's presence here has been sporadic. It's been a decade since Apichatpong Weerasethakul's Cemetery of Splendour was selected. That absence has made Boonbunchachoke's entry feel not only like a revival, but a gentle rebellion – one that pairs the domestic with the spectral, the absurd with the intimate, and still walks away with one of the section's top honours. For Thai audiences, and indeed Southeast Asian ones, this win is more than a trophy – it's a quiet reclamation. At a festival often preoccupied with Euro-American prestige, A Useful Ghost serves as a reminder that our stories, however eccentric or dust-choked, carry weight. Boonbunchachoke's film doesn't pander or explain – it simply arrives, with all its cultural specificity intact, and dares to be taken seriously. It is a ghost story, yes, but also a love letter to what Thai cinema has long done best: blending the surreal with the political, the personal with the haunted, without ever losing its sense of humour or its soul.
