论文部分内容阅读
Montegrappa is the oldest Italian manufacturer of fine writing instruments. Their products are still manufactured in their original factory by the shores of the river Brenta, in one of the most charming parts of Bassano del Grappa. In the 1930s the company enjoyed its most magnificent phase. It was a period when the fountain pen became widespread and the products of the house of Bassano met the taste of the public with their sober design, the variety of their colours and materials, the perfect operation of their technical solutions, and the originality and precision of their manufacturing techniques.TheMontegrappa company is owned by Aquila's family and the Legendary ex F1 Ferrari driver, Jean Alesi is also a partner and a member of the board for P.R. and communication.
Montegrappa的家位于意大利历史名城巴萨诺-德尔格拉帕(Bassano del Grappa)。古城位于意大利繁华的东北部中心地带,坐落于风景秀美的布伦塔河畔,是意大利最美丽的城市之一。Montegrappa最初作为黄金笔尖和自来水笔的制造商而成立,很快因其品牌特征:高雅的设计和精湛的工艺,而广受欢迎。该特征自1912年成立以来传承至今,从未改变。
巴萨诺城曾在第一次世界大战中不幸成为主战区。对于Montegrappa这个年轻的公司而言,这却带来了意外的机遇。许多士兵喜欢用Montegrappa的自来水笔来写家书。其中也包括了两位具有传奇色彩的美国作家:海明威及多斯帕索斯,当时他们都是前线救护车驾驶员。他们对Montegrappa的青睐使其成为该品牌的形象大使。
Montegrappa品牌多年来的成就源于对传统的保护,对意大利精神和激情历史的推崇。其灵感取自美丽的田园风光,灵动的充满活力的色彩和难忘的芬芳。若想品味近一个世纪值得回味的经历,你只需仔细查看Montegrappa工匠们一丝不苟的作品,感受他们对最细节处的关注,触摸其珍贵材质,惊叹进一个世纪的古老传统与现代设计的完美结合。
Montegrappa限量款设计都是为了给其卓越的拥有者带来纯正的意大利式气息,感受杰出大师们激情打造出的具有生命力的不朽的佳作。每一款Montegrappa书写用具都体现了意大利人铸造和超越伟大历史时刻的创造才华。Montegrappa自来水笔是意大利激情的结晶,为爱美之心所向往。
Montegrappa于2009年重归旧主Aquila家族,纯正意大利书写用具的领先制造商。Montegrappa始终以严格的生产方法和精湛的制造工艺,以及蕴含意大利精髓的产品风格和设计而闻名。每款Montegrappa笔均是独一无二的杰作,简单的书写在字里行间传递出使用者独有的情绪。
对话Montegrappa品牌CEO GiusePpe Aquila
E=《首席ELITE》G= GiusePpe Aquila
E:Montegrappa的目标人群定位是高端阶层,未来针对品牌的消费人群会发生改变吗?
G:Montegrappa是行业的领军品牌,从销量上来说,它一直是遥遥领先的。每次发行的限量版都是数量很少的,不像一些大众品牌,Montegrappa比较注重品牌和收藏家之间的关系,有资格可以收藏和拥有的人也是极少数的;第二点的特殊性在于,Montegrappa产品采用的材质也是比较特殊的,一般会选用能够经得起时间考验,看起来比较古老的材质;此外,受众的品牌会更倾向于高端人群,也就是真正处于金字塔社会结构上层的人们才可以拥有,并会像其它品牌那样注重走国际化的路线,始终坚持保持品牌独有的气质。
E:如今的社会已经不算完整意义上的书写时代,作为一个高端的笔品牌,未来面临着什么样的挑战?
G:虽然现在用笔写字的机会越来越少,但是在一些特殊的场合,譬如,出席会议,笔还是必须携带的书写工具。这反而为我们的品牌提供一个很好的机遇,因为Montegrappa是个奢侈品,无论在材质、工艺还是设计上都是品质上乘的,符合正规场合的需要。
E:为什么意大利奢侈品可以经久不衰,其灵魂是什么?意大利的奢侈品精神和法国、德国、瑞士等其它欧洲国家有什么不同?
G:意大利从古到今出现了很多艺术家和设计师,因此整个城市也处处散发出艺术气息,每天出门就可以看到很多拥有悠久历史的教堂,能激发更多与众不同的设计灵感。意大利之所以造就了这么多杰出的设计师和设计作品,这座城市本身就是渊源。意大利的奢侈品精神和欧洲国家的差别主要是设计角度和视觉审美上的差别,意大利的设计和审美更带有激情。
E:怎样看待中国市场?下一步的销售注重本土化还是继续走全球化的路线?
G:一些系列仍然是全球发售,当然也包括中国。中国的奢侈品消费潜力是巨大的,我们非常重视Montegrappa的中国市场。之前我们曾推出以龙和凤凰等传统文化主题的设计,未来针对中国市场,我们会在设计中融入更多的中国元素。
E:之所以加入Montegrappa的原因?
G:这是一个拥有特殊个性和深刻艺术内涵的品牌,我本人非常喜爱,自己也亲身收藏了一些。是Montegrappa选择了我,也是一种机缘巧合。
Although there are several encyclopedias and dictionaries of historical writing, and numerous compendia, there is no full-coverage scholarly survey of the history of historical writing across the globe. There are two recent encyclopedic works (Boyd Encyclopedia of Historians and Historical Writing , Fitzroy Dearborn, 1999; and Woolf, A Global Encyclopedia of Historical Writing, Garland/Taylor and Francis, 1998) that go beyond the conventional Anglo-European accounts of historiography. Both however are low-circulation library reference books, and the scope and quality of the major essays are limited by the need to spend a significant amount of space on very short biographical entries. Other survey works tend to be highly Eurocentric. Exceptions include the now forty-year old series of collections of essays on various oriental and Asian area historiographies, published by OUP (SOAS 'Historical Writing on the Peoples of Asia' series, eg. Historians of China and Japan, eds. W. Beasley and E. Pulleyblank , 1961) and by Cornell University Press (eg Indonesian Historiography , ed. Soedjatmoko, 1965). These are useful but of course somewhat dated now, as are the more recent collections Southeast Asian History and Historiography: Essays presented to D.G.E. Hall (ed. C. Cowan and O. Wolters, 1976) and Perceptions of the Past in Southeast Asia (ed. A. Reid and D. Marr, 1979). There have also been recent suggestive efforts at cross-cultural historiographic comparison, most notably Turning Points in Historiography: a Cross-Cultural Perspective (ed. G. Iggers and Q.E. Wang, 2002); Across Cultural Borders: Historiography in Global Perspective (ed. E. Fuchs and B. Stuchtey, 2002); Western Historical Thinking: an Intercultural Debate (ed. J. Rüsen, 2002); and most recently, Historical Truth, Historical Criticism and Ideology: Chinese Historiography and Historical Culture from a New Comparative Perspective (ed. H. Schmidt-Glintzer, A Mittag and J. Rüsen, 2005). With considerably greater attention now being paid to non-Western traditions and their points of comparison with Western historiography, the time has come for a collaborative global history of historical writing.
Montegrappa的家位于意大利历史名城巴萨诺-德尔格拉帕(Bassano del Grappa)。古城位于意大利繁华的东北部中心地带,坐落于风景秀美的布伦塔河畔,是意大利最美丽的城市之一。Montegrappa最初作为黄金笔尖和自来水笔的制造商而成立,很快因其品牌特征:高雅的设计和精湛的工艺,而广受欢迎。该特征自1912年成立以来传承至今,从未改变。
巴萨诺城曾在第一次世界大战中不幸成为主战区。对于Montegrappa这个年轻的公司而言,这却带来了意外的机遇。许多士兵喜欢用Montegrappa的自来水笔来写家书。其中也包括了两位具有传奇色彩的美国作家:海明威及多斯帕索斯,当时他们都是前线救护车驾驶员。他们对Montegrappa的青睐使其成为该品牌的形象大使。
Montegrappa品牌多年来的成就源于对传统的保护,对意大利精神和激情历史的推崇。其灵感取自美丽的田园风光,灵动的充满活力的色彩和难忘的芬芳。若想品味近一个世纪值得回味的经历,你只需仔细查看Montegrappa工匠们一丝不苟的作品,感受他们对最细节处的关注,触摸其珍贵材质,惊叹进一个世纪的古老传统与现代设计的完美结合。
Montegrappa限量款设计都是为了给其卓越的拥有者带来纯正的意大利式气息,感受杰出大师们激情打造出的具有生命力的不朽的佳作。每一款Montegrappa书写用具都体现了意大利人铸造和超越伟大历史时刻的创造才华。Montegrappa自来水笔是意大利激情的结晶,为爱美之心所向往。
Montegrappa于2009年重归旧主Aquila家族,纯正意大利书写用具的领先制造商。Montegrappa始终以严格的生产方法和精湛的制造工艺,以及蕴含意大利精髓的产品风格和设计而闻名。每款Montegrappa笔均是独一无二的杰作,简单的书写在字里行间传递出使用者独有的情绪。
对话Montegrappa品牌CEO GiusePpe Aquila
E=《首席ELITE》G= GiusePpe Aquila
E:Montegrappa的目标人群定位是高端阶层,未来针对品牌的消费人群会发生改变吗?
G:Montegrappa是行业的领军品牌,从销量上来说,它一直是遥遥领先的。每次发行的限量版都是数量很少的,不像一些大众品牌,Montegrappa比较注重品牌和收藏家之间的关系,有资格可以收藏和拥有的人也是极少数的;第二点的特殊性在于,Montegrappa产品采用的材质也是比较特殊的,一般会选用能够经得起时间考验,看起来比较古老的材质;此外,受众的品牌会更倾向于高端人群,也就是真正处于金字塔社会结构上层的人们才可以拥有,并会像其它品牌那样注重走国际化的路线,始终坚持保持品牌独有的气质。
E:如今的社会已经不算完整意义上的书写时代,作为一个高端的笔品牌,未来面临着什么样的挑战?
G:虽然现在用笔写字的机会越来越少,但是在一些特殊的场合,譬如,出席会议,笔还是必须携带的书写工具。这反而为我们的品牌提供一个很好的机遇,因为Montegrappa是个奢侈品,无论在材质、工艺还是设计上都是品质上乘的,符合正规场合的需要。
E:为什么意大利奢侈品可以经久不衰,其灵魂是什么?意大利的奢侈品精神和法国、德国、瑞士等其它欧洲国家有什么不同?
G:意大利从古到今出现了很多艺术家和设计师,因此整个城市也处处散发出艺术气息,每天出门就可以看到很多拥有悠久历史的教堂,能激发更多与众不同的设计灵感。意大利之所以造就了这么多杰出的设计师和设计作品,这座城市本身就是渊源。意大利的奢侈品精神和欧洲国家的差别主要是设计角度和视觉审美上的差别,意大利的设计和审美更带有激情。
E:怎样看待中国市场?下一步的销售注重本土化还是继续走全球化的路线?
G:一些系列仍然是全球发售,当然也包括中国。中国的奢侈品消费潜力是巨大的,我们非常重视Montegrappa的中国市场。之前我们曾推出以龙和凤凰等传统文化主题的设计,未来针对中国市场,我们会在设计中融入更多的中国元素。
E:之所以加入Montegrappa的原因?
G:这是一个拥有特殊个性和深刻艺术内涵的品牌,我本人非常喜爱,自己也亲身收藏了一些。是Montegrappa选择了我,也是一种机缘巧合。
Although there are several encyclopedias and dictionaries of historical writing, and numerous compendia, there is no full-coverage scholarly survey of the history of historical writing across the globe. There are two recent encyclopedic works (Boyd Encyclopedia of Historians and Historical Writing , Fitzroy Dearborn, 1999; and Woolf, A Global Encyclopedia of Historical Writing, Garland/Taylor and Francis, 1998) that go beyond the conventional Anglo-European accounts of historiography. Both however are low-circulation library reference books, and the scope and quality of the major essays are limited by the need to spend a significant amount of space on very short biographical entries. Other survey works tend to be highly Eurocentric. Exceptions include the now forty-year old series of collections of essays on various oriental and Asian area historiographies, published by OUP (SOAS 'Historical Writing on the Peoples of Asia' series, eg. Historians of China and Japan, eds. W. Beasley and E. Pulleyblank , 1961) and by Cornell University Press (eg Indonesian Historiography , ed. Soedjatmoko, 1965). These are useful but of course somewhat dated now, as are the more recent collections Southeast Asian History and Historiography: Essays presented to D.G.E. Hall (ed. C. Cowan and O. Wolters, 1976) and Perceptions of the Past in Southeast Asia (ed. A. Reid and D. Marr, 1979). There have also been recent suggestive efforts at cross-cultural historiographic comparison, most notably Turning Points in Historiography: a Cross-Cultural Perspective (ed. G. Iggers and Q.E. Wang, 2002); Across Cultural Borders: Historiography in Global Perspective (ed. E. Fuchs and B. Stuchtey, 2002); Western Historical Thinking: an Intercultural Debate (ed. J. Rüsen, 2002); and most recently, Historical Truth, Historical Criticism and Ideology: Chinese Historiography and Historical Culture from a New Comparative Perspective (ed. H. Schmidt-Glintzer, A Mittag and J. Rüsen, 2005). With considerably greater attention now being paid to non-Western traditions and their points of comparison with Western historiography, the time has come for a collaborative global history of historical writing.