【簡介：】本篇文章給大家談?wù)劇断愀酆娇罩品穼?yīng)的知識點(diǎn)，希望對各位有所幫助。本文目錄一覽：
1、廣告語！要好多！急?。。。。。。。。?！


2、劉培基的人物生平


3、世界十大航空公司排名是怎樣的？


4、從

本篇文章給大家談?wù)劇断愀酆娇罩品穼?yīng)的知識點(diǎn)，希望對各位有所幫助。

本文目錄一覽：

• 1、廣告語！要好多！急?。。。。。。。。?！
• 2、劉培基的人物生平
• 3、世界十大航空公司排名是怎樣的？
• 4、從南京坐港龍航空到香港再轉(zhuǎn)國泰航空到布里斯班，請問隨身攜帶的行李可以帶多少斤呢？

劉培基的人物生平

劉培基是香港極具代表性及標(biāo)志性的時裝設(shè)計先驅(qū)。早于1970年代初已前往海外進(jìn)修時裝設(shè)計，1977年首次參與香港貿(mào)易發(fā)展局舉辦的成衣節(jié)，以個人品牌創(chuàng)作成為大會壓軸演出，同年更被邀到倫敦參與時裝節(jié)，往後每年均前往海外各地參展，奠定國際設(shè)計師的地位。在香港及日本均擁有以自己名字命名的「EDDIE LAU」時裝店，更與中藝（香港）有限公司合作推出時裝系列，深受海外及本地買家和顧客所愛戴。劉培基更是首位被邀前往中國內(nèi)地舉行個人時裝表演的香港設(shè)計師. 從1962年入行，於1999年榮休，直今，也從未離開設(shè)計這個行業(yè)。其間三度為國際級航空公司設(shè)計制服，為名人、藝人設(shè)計高級訂制服及舞臺服，50年來緊守崗位。

劉培基出生於1951年，在六歲前劉培基是一位深受母親疼愛的小孩，後因她改嫁的緣故，八歲開始寄人籬下。1962年，11歲的「他」被送到上海裁縫師傅奚鴻發(fā)先生在尖沙咀美麗都大廈的工廠當(dāng)學(xué)徒，小裁縫就在這刻誕生。從師傅手中得到了一生受用的技藝。

滿師後，16歲便開始創(chuàng)業(yè)生涯。他很努力,1973年終於可以踏上學(xué)習(xí)設(shè)計之路，負(fù)笈英國著名時裝學(xué)府英國倫敦圣馬丁藝術(shù)學(xué)校修讀高級服裝設(shè)計及衣料設(shè)計夜校課程。在倫敦的自由及藝術(shù)氣氛的撫育下，他開始瞭解什麼才是真正的時裝設(shè)計，并開始愛上自己已熟習(xí)多時的工作，學(xué)會了高貴的品味。經(jīng)過多年的磨練及奮斗，1975年學(xué)成歸來，帶著第一個創(chuàng)作系列回港，讓顧客見證從小裁縫蛻變成時裝設(shè)計師的劉培基，體現(xiàn)了「香港精神」，成就了「傳奇」的誕生。

劉培基是首位香港時裝設(shè)計師擁有自己的工廠及時裝店，出品「EDDIE LAU」和「姬」兩個系列，更於1970年代末開始，與香港貿(mào)易發(fā)展局東奔西走、南征北戰(zhàn)，努力為香港時裝在海外及國內(nèi)拓展市場，這等等都成為許多時裝設(shè)計師追求的夢想。

劉培基的設(shè)計領(lǐng)域除了時裝、高級訂制服、藝人形象，在制服設(shè)計方面也獲得國際企業(yè)的認(rèn)同。1999年，2011年,2013年劉培基三次為國泰航空港龍航空設(shè)計制服。

劉培基除了在時裝設(shè)計方面擁有驕人的成就外，還是本地樂壇首位的形象設(shè)計師。1982年7月，站在臺上的梅豔芳憑著出色的歌藝演繹《風(fēng)的季節(jié)》而奪得第一屆新秀歌唱大賽冠軍。當(dāng)時她在樂壇仍是在摸索的階段，沒有鮮明的形象，直至遇上了「他」劉培基。從參加?xùn)|京音樂節(jié)起，「他」為「她」設(shè)計服飾、專輯形象、演唱會的舞臺服等，二人合作無間，共同創(chuàng)造了「百變」的神話?！端扑髂辍贰ⅰ秹呐ⅰ?、《烈焰紅唇》、《妖女》、《淑女》…… 每一首耳熟能詳?shù)母枨歼B系著一個個鮮明且經(jīng)典的形象，她的舞臺服至今仍為人津津樂道。她的形象變化萬千，每次踏上舞臺，便成為眾人的焦點(diǎn)，風(fēng)靡了整個八十年代，成為獨(dú)一無二的女歌手 —「百變梅豔芳」。

「百變梅豔芳」的出現(xiàn)，為觀眾送上精心設(shè)計且獨(dú)一無二的舞臺服，揮灑自如的舞步，充滿自信及自成一格的演繹，為觀眾帶來無限的視聽震撼。他為梅豔芳設(shè)計的每一件舞臺服，塑造的每一個形象，都傾盡心思；體貼的設(shè)計，精巧的剪裁，都代表著劉培基在時裝和形象設(shè)計融會貫通的本領(lǐng)，以及藝術(shù)創(chuàng)作的造詣。一位時裝設(shè)計大師，一代樂壇天后，互相輝映。

由專輯封套、演唱會以至出席各大頒獎典禮及宣傳場合，劉培基均為梅豔芳塑造不同的形象。成功的形象創(chuàng)造，是將歌者、歌曲和形象融為一體，使觀眾對每一首經(jīng)典金曲都擁有一個獨(dú)有的深刻影像，并不是單單將潮流服飾加於歌者身上。女穿男裝的《似水流年》；華麗、型格及瀟灑集於一身的《壞女孩》；阿拉伯女神的《妖女》；冶豔的《烈焰紅唇》，相信曾見證1980年代香港樂壇的觀眾都不會忘記。每次的形象均令人期待，成為城中話題。從1985年的「梅豔芳盡顯光華」演唱會開始，劉培基均傾盡他的愛，以多角度考慮曲風(fēng)的編排、大會的主題、「臺、燈、音」三者的關(guān)系，歌者的舞步等等，以出神入化的立體剪裁，為她設(shè)計經(jīng)典舞臺服及形象，打造獨(dú)一無二的舞臺女皇。 在舞臺下，他為她悉心整裝；舞臺升上的一刻，她令人萬眾期待；在臺上，她揮灑自如震懾全場。西方有Hubert de Givenchy與Audrey Hepburn，東方則有劉培基與梅豔芳。同是設(shè)計師與明星的關(guān)系，同樣彼此尊重和珍惜。梅豔芳跟劉培基由相知、相識，合作整整20年，工作上是極有默契的夥伴。在2003年梅豔芳舉行人生最後的演唱會，他特別為她設(shè)計華麗的紅金西式裙褂和簡單而隆重的純白婚紗，讓她完成最後的心愿，嫁給舞臺。20年來，「他」開創(chuàng)先河為本地歌手設(shè)計形象，與「她」共同創(chuàng)造了「百變梅豔芳」，成就了香港樂壇的一個傳奇。

除了創(chuàng)造百變梅豔芳外，劉培基也為其他歌手設(shè)計了不少令人印象難忘的形象及舞臺服。無論是女歌手還是男歌手，劉氏都能發(fā)掘歌手的優(yōu)點(diǎn)，把他們的氣質(zhì)和可塑性盡情表現(xiàn)出來。1983年，他為首位於香港體育館舉行個人演唱會的許冠杰擔(dān)任形象及服裝設(shè)計，以型格皮革服飾來表現(xiàn)歌手的勁度。1984年答應(yīng)摯友羅文擔(dān)任中國戲曲「柳毅傳書」的服裝設(shè)計及指導(dǎo)，更是挑戰(zhàn)跨領(lǐng)域的創(chuàng)作。其後更為羅文設(shè)計經(jīng)典舞臺服和專輯的形象設(shè)計，為他塑造一個摒棄花巧閃爍衣飾的清新成熟形象。另一令人難以忘懷的是打造夢中情人張國榮，青春活力中帶點(diǎn)不羈，成熟中散發(fā)著憂郁，迷倒不少歌迷。劉培基除了為天皇巨星擔(dān)任形象及服裝設(shè)計外，早年亦為華星娛樂唱片公司旗下新進(jìn)歌手設(shè)計形象，當(dāng)年的年青歌手好些已成為樂壇的中堅(jiān)分子。劉氏對後輩的愛護(hù)，見於2006年為梅豔芳的愛徒何韻詩以愛的延續(xù)為題設(shè)計的舞臺服飾，以表達(dá)對梅豔芳永恒的愛及向她致敬。蘇永康亦是其中一位得到劉氏設(shè)計演唱會出場服的後輩歌手，服裝同樣手工精巧，足見設(shè)計師的設(shè)計功力以及對舞臺效果的瞭解。

2000年，劉培基先生捐贈珍藏給香港文化博物館，成為首位重點(diǎn)收藏殿堂級的時裝設(shè)計師。當(dāng)中有他自孩童至今的個人珍貴照片，也有多年來從事時裝設(shè)計的草圖、剪報和時裝表演記錄片段等，資料相當(dāng)完整，觀眾不但能欣賞其百變的舞臺服，還有專輯封套造型、音樂錄影帶、演唱會及樂壇頒獎禮的片段，加上他與我們親述每一個「百變梅艷芳」造型背後鮮為人知的故事，及他的創(chuàng)作歷程，圓滿地紀(jì)錄了香港樂壇及「形象設(shè)計」光輝的一頁。也讓我們能從中窺探香港時裝從1970年代至今的發(fā)展及潮流的演變.

他說：“月亮陪著我長大，不敢忘記月亮的溫柔”， 2013年他推出了《舉頭望明月》。自傳中，劉培基首次打開內(nèi)心屏障，談?wù)撍纳硎馈⒏星樯?、與摯友們很多不為人知的往事。劉培基重情義，一生中真正的朋友不算多。常掛在口邊的一句話是“不怕你對我不好，只怕你對我好。”他與他的摯友都是“性格巨星”，都有脾氣，意見相左時，吵個不亦樂乎，氣消了，記得的，只是對方的好，其中包括著名作家金庸、粵劇名伶白雪仙、多才多藝的黃沾、才女林燕妮、一代名模柴文意等；香港樂壇舉足輕重的巨星羅文、張國榮與梅豔芳，均與他識於微時，巨星們罕有表達(dá)於人前的脆弱一面，在他面前卻是毫不掩飾。他與這些名人相交的故事，也一一記錄在自傳中。

An iconic pioneer in fashion design, Eddie Lau embodies the Hong Kong spirit. He started out as a tailor's apprentice in Hong Kong, before going to London in the early 1970s to study fashion design. In 1977, he was invited to take part for the first time in the Ready-to-Wear Festival organised by the Hong Kong Trade Development Council, where his designs, branded under his own name, were paraded as the grand finale. In the same year, he returned to London to showcase his creations there, and he subsequently presented his work at overseas fashion shows every year, consolidating his status as an international designer. He went on to open 'EDDIE LAU' fashion boutiques in Hong Kong and Japan, to launch a series of fashion collections in collaboration with Chinese Arts and Crafts (H.K.) Ltd., which proved popular with buyers and customers alike, and to become one of the first designers to go to China to have solo fashion shows. Since 1962 he started to work in the fashion industry till his retirement in 1999, and up to now, Eddie never leaves his profession. For 50 years he has been persistently professional at work that he has been three times invited to design worldwide airline uniforms, and has also been invited to design haute couture and stage costumes for various celebrities and singers.

Lau, was born in Hong Kong in 1951 ，Until the age of six, Eddie had a happy childhood, growing up safe in the love of his mother. After she remarried, however, Eddie began to live under other people’s roofs at the age of eight, shunted from house to house. In 1962, the 11-year-old Eddie was sent to serve as an apprentice under Shanghai tailor Hai Hung-fat at his workshop in Mirador Mansion in Tsim Sha Tsui. Learning from his master the craftsmanship that was to prove so enduringly useful throughout his life, the abandoned boy of our story now emerges as a skilful junior tailor.

Having completed his apprenticeship, Eddie Lau opened his own shop at the age of just 16. He worked hard, in 1973, embarked on a journey to study design: enrolling in the renowned fashion design institute Saint Martins School of Art in London, he left Hong Kong for the United Kingdom to take an evening programme in advanced clothing and material design.In London he was stimulated by the freedom and artistic environment there, and began to understand better what fashion design really was.He fell in love with the work had been used to for so long. After several years of hard work and then his diligent studies, Eddie Lau returned to Hong Kong in 1975 in triumph with his first collection. His customers witnessed how a junior tailor had been transformed into a fashion designer. He exemplified the ‘Hong Kong spirit’. A legend was born.

Eddie Lau was the first fashion designer from Hong Kong to have his own workshop and boutique that were established to house his own creations, the ‘EDDIE LAU’ and ‘KAI’ collections. In the late 1970s, Eddie began to work closely with the Hong Kong Trade Development Council in a collaboration that sought to open up new markets in mainlandChinaand overseas for Hong Kong’s fashion industry and thus stretched across continents and oceans. These achievements are the dreams pursued by all fashion designers.

Eddie Lau is best known for his work in the fields of fashion design, haute couture and image design for pop stars, but he also gained recognition among international businesses for his uniform designs. Eddie designed uniforms for Cathay Pacific Airways Limited (Cathay Pacific) 、Hong Kong Dragon Airlines Limited (Dragonair)in 1999，2011 and 2013。

Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry.It was July 1982. Anita stood on stage and sang the song Season of Wind beautifully, so impressing the judges with her vocal talent that she won the first ever New Talent Singing Awards by Television Broadcasts Limited. But in her early career, when she simply imitated other styles, she did not have an image of her own. Then she met him, Eddie Lau. From their earliest collaboration at the Tokyo Music Festival, he designed her outfits, her image on album covers and her stage costumes for concerts. They worked together in perfect harmony and together they created the ‘ever-changing’ legend. As Years Go By, Bad Girl, Fiery Red Lips, Evil Girl, Fair Lady all became classic pop songs, and each one was associated with a unique, eye-catching image. The stage costumes still fascinate today. Her image was so versatile and adaptable that every time she stepped on stage, everybody’s eyes were focused on her, and she stayed in the spotlight throughout the 80s. She is the one and only Hong Kong pop diva, the ‘ever-changing Anita Mui’.

Anita Mui’s continually evolving appearance was presented to the audience in unique, carefully designed costumes. Her interpretation of the songs, expressed in her smooth dance moves, her ample confidence and personal style, offered the viewing public endless excitement and constant

stimulant of the audio and visual senses. Eddie Lau had already achieved great reputation in fashion design before he met Anita, but thanks to their collaboration he is now also known as a pioneer of image design in the local music industry. Each stage costume he designed for Anita, every image he created, was the result of dedicated love. His thoughtful designs, fine tailoring and craftsmanship all demonstrated his mastery of fashion and image design as well as his artistic creativity. The talents of an expert fashion designer and a genuine diva of our times shed light on each other.

Eddie Lau designed a huge variety of different images for Anita Mui – for album covers, concerts and her appearances at award ceremonies and publicity events. A successful image involves much more than simply dressing the singer in trendy clothes. It combines their personality and the theme and feeling of the song into an integrated whole that projects a unique concept, leaving the audience with a lasting impression of the song and consolidating the singer’s appeal. Visitors who are familiar with the Hong Kong pop scene of the 1980s will still remember some of the images associated with Anita: the besuited masculinity of As Years Go By; the unconventional, but stylish Bad Girl; the Arabian goddess of Evil Girl; and the femme fatale of Fiery Red Lips. Feverish anticipation greeted the prospect of each new style, which quickly became the talk of the town when it finally appeared. From the ‘Anita Mui in Concert’ in 1985, Eddie injected all of his passion into creating images that reflected Anita’s status as the undoubted queen of the stage and that took all the different perspectives into consideration – the theme of the concert, the rundown of the songs, the interplay between the stage, the lighting and the sound effects, as well as Anita’s choreography. Every stage costume and every image he created for Anita was a classic in its own right, thanks in particular to his exceptional three-dimensional cutting skills that were embodied in his creations.

Off stage, he devoted all of his attention to getting her ready, so that, as she rose up into the auditorium, all eyes were focused on her entrance. On stage, his designs allowed her to captivate everyone with her unrestrained performance. If Hubert de Givenchy and Audrey Hepburn were perfect partners in the West, then Eddie and Anita are their Eastern counterparts, forming a relationship between a designer and a superstar that was based on mutual respect and love. From the time they met, Anita and Eddie worked closely together for a full 20 years, developing a mutual understanding that encompassed every aspect of their relationship. When Anita held her very last concert in 2003, Eddie designed an exquisite red and gold Chinese wedding gown and a simple but resplendent Western-style white wedding gown for Anita as an expression of her final wish – to be married to the stage. Hand in hand with ‘the ever-changing Anita Mui’, the legendary diva of Cantopop, Eddie Lau pioneered the concept of image design for local singers.

In addition to creating ‘the ever-changing Anita Mui’, Eddie Lau has also designed many memorable styles and stage costumes for other singers. Whether they are male or female, the designer has always been able to uncover the special edge that the performers have, allowing them to express their unique qualities and fulfil their potential. In 1983, he helped with the image and costume design for Sam Hui when he became the first local singer to hold a solo concert at the Hong Kong Coliseum, choosing leather jackets and accessories to highlight the singer’s muscular strength and energy. In a creative cross-over experiment, Eddie honoured his promise to his close friend Roman Tam and took on the role of costume design and direction for Roman’s Chinese musical ‘Liu Yi Chuan Shu’ in 1984. He later designed a number of timeless stage costumes and album images for Roman, bringing out the unadorned, mature and sophisticated artist that lay beneath the lavishly sequined performer of his earlier years. Another unforgettable project was the transformation of Leslie Cheung into a dream lover. The young side of Leslie’s image was energetic with a slightly rebellious streak; the mature side, in contrast, expressed a hint of melancholy. Neither failed to mesmerise Leslie’s fans. Eddie Lau not only provided image and fashion direction for Hong Kong’s superstars, he also designed images for emerging singers at Capital Artists Limited in the company’s early days, several of whom went on to establish themselves as pillars of the local pop scene. Eddie cherished the up-and-coming generation of artistes. In 2006, he designed a stage costume for Denise Ho, a protégé of Anita Mui, that was based on the theme of the ‘continuation of love’ and paid tribute to and expressed his everlasting affection for the late musician. William So is another second-generation Capital Artists singer whose concert costume for the opening section of his concert has been designed by Eddie; as exquisitely crafted as ever, these stage outfits demonstrate the designer’s talent, flair and thorough understanding of the impact that image and costumes can have on stage.

Mr Lau donated his valuable collection to HongKong Heritage Museum in 2000,becoming the first fashion designer collects notable belongings from superstars.The complete collection includes his photos from childhood to the present,drafts for his past designs,news papers,video taps for his fashion shows, etc.Not only do visitors find his ever-changing costumes for on-stage performances,they can also find out fits for CD cover,music videos,concerts and videos from different awards presentations.Besides, with Eddie Lau's introductions one very single story behind Anita's outfits,and also his journey on garment design,it thoroughly records the prosperity of the music industry and image design in HongKong.More importantly, we can also discover the development and evolution of the fashion trend from the 70s until the present in HongKong.

世界十大航空公司排名是怎樣的？

第1名：卡塔爾航空、第2名：新加坡航空、第3名：全日航空、第4名：阿聯(lián)酋航空、第5名：國泰航空、第6名：長榮航空、第7名：漢莎航空、第8名：阿提哈德航空、第9名：海南航空、第10名印尼鷹航。

卡塔爾仍舊再次榮登全球最佳航空公司寶座，自2007年起成為五星級航空公司之后，連年獲得“全球最佳商務(wù)艙”稱號。航線遍布?xì)W洲、中東、非洲、亞太、北美和南美地區(qū)。

新加坡航空是業(yè)內(nèi)最為年輕的機(jī)隊(duì)之一，機(jī)隊(duì)擁有104 架飛機(jī)，是業(yè)內(nèi)年輕的機(jī)隊(duì)之一，平均機(jī)齡僅為 7 年 8 個月。而且新航空姐的制服相比于其他航司來說非常特別?？战銈兌忌碇鴺?biāo)志性沙籠可芭雅制服，被全世界視為亞洲熱情好客的象征。沙籠可芭雅制服由法國服裝大師Pierre Balmain設(shè)計，以傳統(tǒng)亞洲蠟染布料精制而成，已成為新航空姐的代名詞。

作為日本最大的國際航空公司，全日空航空已經(jīng)連續(xù)五年獲得5星級航空的榮譽(yù)，較去年的第5名，今年上升了2個名次。全日空機(jī)隊(duì)約有240架飛機(jī)，作為日本地區(qū)唯一上榜的五星航空，全日空的服務(wù)絕對是超細(xì)致。

阿聯(lián)酋航空成立于1985年，到目前一共擁有超過230架飛機(jī)，遍布世界80多個國家，超過140個目的地。阿聯(lián)酋航空的頭等艙甚至可以在飛行途中享受淋浴，也可以留在自己的私人套間中，你可以在機(jī)上貴賓室舒展筋骨，也可以在平躺式座椅上充分放松。

在頭等艙私人套間，甚至還有雙人床。在商務(wù)艙，只需輕觸按鈕即可將座椅放平。各個機(jī)艙均提供電話、短信和電子郵件服務(wù)。

國泰航空在2014年前一直是世界最佳航空公司，是寰宇一家的聯(lián)盟成員。國泰航空，包括國泰港龍航空服務(wù)地區(qū)涵蓋全球130多個目的地。國泰航空的客機(jī)平均機(jī)隊(duì)年齡大概也就8年左右，也屬于航空界機(jī)隊(duì)中的小鮮肉啦。作為同樣是五星航空的國泰航空，他們家的服務(wù)主要還是以細(xì)心體貼為主，特別是經(jīng)濟(jì)艙的服務(wù)，從座椅到餐食都很棒！

從南京坐港龍航空到香港再轉(zhuǎn)國泰航空到布里斯班，請問隨身攜帶的行李可以帶多少斤呢？

現(xiàn)在申請學(xué)生機(jī)票，最多就是40KG，一定要問好，申請好，否則到時候你在機(jī)場要手忙腳亂的都拿出來。

如果你是第一次出國，托運(yùn)裝不完，最好帶個電腦包，因?yàn)殡娔X包不算重量?？梢酝娔X包里狂裝，，當(dāng)時我一個朋友在里面整整塞了10斤的東西。

隨身攜帶以7KG為準(zhǔn)，但千萬別超，這個確實(shí)會查。

小包可以，你可以把護(hù)照，機(jī)票，錢包都放里面，坐飛機(jī)也放在身邊。我第一次去的時候，就是手里一個電腦包，一個小包。這樣又方便又安全。

還有提醒你一下，你隨身行李在國內(nèi)要被查，中間轉(zhuǎn)機(jī)被查，到了布里斯班出機(jī)場還要被查，超級麻煩，所以行李好好給自己安排一下，隨身攜帶的東西一定要安全，超過100ml的液體，指甲刀一類金屬的東西，都要托運(yùn)，千萬別隨身帶！否則到時候都給你扔了。而且澳洲海關(guān)一看你簽證是第一次去，對你檢查格外的嚴(yán)（不過以后幾次就好多了，還會和你聊天什么的）

我當(dāng)時不懂，在香港轉(zhuǎn)機(jī)給我扔了不少，到了布里斯班機(jī)場，我的行李被從頭翻到尾。當(dāng)時真是欲哭無淚。不過以后每年從國內(nèi)再回去，有經(jīng)驗(yàn)了，就再也沒有被翻過，已經(jīng)4年了，機(jī)器掃描完，問了我?guī)讉€問題，直接拿著行李就走了。

嘿嘿，希望我羅里羅嗦的回答有幫到你，有問題可以再問我~愿一切順利！

關(guān)于《香港航空制服》的介紹到此就結(jié)束了。