High Life

26 品 其中甚至有一组照片因为夏永康忘了打开自动模式而全部失焦。当他惴惴不 安的拿着这组照片给王家卫和美术指导张叔平看得时候，亦没想到他们会从中选 出一些照片来用。 “我其实真是乱拍的。”很多年之后夏永康提起这一段仍是很感慨，“没想 到大家过了这么多年还拿出来说，‘哇，好美。’我搞不清楚为什么自己这么幸 运，一定是冥冥之中有人在帮我。” 随着《春光乍泄》陆续席卷香港金像奖、台湾金马奖和戛纳电影节，夏永康 为电影所拍的剧照和海报，也随之得到大幅度曝光，受到人们瞩目。再后来他继 续与王家卫合作了《花样年华》《爱神》《2046》等影片的剧照工作。 此外，在与王家卫的合作中，夏永康还获得了时尚封面摄影方式的启发。 “其实就是像拍电影一样拍时尚。这样的话，照片不仅仅是照片，会令人去 想，背后是不是还有故事。”他解释道。这个方法令他的很多作品兼具表演性的 戏剧张力和叙事感。 凭借独树一帜的风格，夏永康开始为众多包括英国《i-D》、意大利 《Vogue》等在内的时尚艺术杂志拍照，客户还包括路易威登、卡地亚等国际知 名品牌。 然而夏永康并不满足。 “Sweet Sorrow 对我来说是一个转折” “大概是八年前，我开始想要做一个完全是自己创作的项目。”当被问到 《Sweet Sorrow》系列的缘起时，夏永康如是答道。 “以前拍的东西大部分都是有人找我，我所有的想法都是为对方服务的。但 《Sweet Sorrow》完全是我们自己创作出来的，甚至服装都是自己做的。这套 之后我开始变了很多，开始拍照时不再假设场景。这个系列对我来说是一个转 折。” “That did inspire me,” he says with obvious emotion all these years later, noting that such fortunate mistakes have been crucial to his style and stratospheric rise. “I was very lucky.” When Happy Together swept the Hong Kong AcademyAwards, the Taiwan Golden Horse Awards and the Cannes Film Festival, the photos Shya took were also greatly exposed on the film’s promotional materials. As a result, he continued to work with Wong on stills for many of his ensuing classics including In the Mood For Love, 2046 and Eros . Shyawas also inspired byWongwhen it came to fashionmagazine cover shoots. “To shoot a fashion cover is like making a film,” Shya explains. “When I shoot, I always carry a character and a script [in my head]. The models were part of my story. I tried to find that moment where I can see the character.” This method has gradually seen his work take on the characteristics of a drama via the use of tension and clever narrative. Shya now frequently contributes to numerous fashion and art magazines, including i-D (UK), Vogue Italia , 32c (Berlin), Numèro (France) and TIME Style and Design (US). His clientele includes Louis Vuitton, Maison Martin Margiela and many more. But Shya is not satisfied.