【简介：】本篇文章给大家谈谈《港龙航空制服简介》对应的知识点，希望对各位有所帮助。本文目录一览：
1、全球航空公司中哪些公司的空乘服务最让人觉得舒服？理由是什么？
2、港龙航空和国
本篇文章给大家谈谈《港龙航空制服简介》对应的知识点，希望对各位有所帮助。
本文目录一览：
全球航空公司中哪些公司的空乘服务最让人觉得舒服？理由是什么？
每一家都有各自的好处
著名航空消费者网站斯卡特瑞克(Skytrax)评选出了2015年世界最佳航空公司，其中卡塔尔航空公司名列第一。卡塔尔航空位于海湾地区，在2015年的巴黎航展中，卡塔尔航空公司获得年度最佳航空公司大奖。
第1名：卡塔尔航空公司
入选原因：这已是卡塔尔航空公司第三次摘得头筹，前两次获奖分别是2011年与2012年。
位于多哈的卡塔尔航空公司因其座位的舒适度及机内娱乐设施而饱受赞扬。实际上，该公司还赢得了最佳商务舱的奖项。经济舱的乘客也可以享受可以链接至其私人设备的手机及平板的服务。该公司的飞行城市达125个，从卡塔尔起飞的新航线增加了50条，其中包括卡塔尔直飞洛杉矶，迈阿密及达拉斯的线路。
第2名：新加坡航空公司
入选原因：该公司因其出色的服务而闻名，乘务人员会提供细心的服务，对客人十分尊重。该公司还会提供有多重娱乐选择的私人电视，在起飞前还会提供热毛巾。
新加坡樟宜国际机场是世界上最棒的机场之一，已连续三年内评选为最佳机场。
第3名：香港国泰航空公司
入选原因：虽然香港国泰航空公司不再是第一，但是该公司仍旧是最佳跨太平洋航空公司。该公司运营有一系列长距离播音777-300ER客机，其业务专注于高频率的班次，是拥有亚洲最佳飞行体验的航空公司之一。
在座位舒适度，服务质量及机内娱乐设施方面，国泰航空都获得了很高的分数。
第4名：土耳其航空公司
入选原因：土耳其航空公司机场设在日益受欢迎的伊斯坦布尔。该公司的飞行城市多达100多个国家200多个城市，为所有航空公司之最。
该公司发展迅速，是星空联盟的成员之一，已连续5年获得斯卡特瑞克评选的最佳欧洲航空公司奖。
第5名：阿联酋航空公司
入选原因：在过去的10年内，位于迪拜的阿联酋航空公司发展成为了世界上最优质的运营长距离航线的飞行公司。迪拜国际机场富丽堂皇，阿联酋航空公司拥有世界上最多的空客A380巨型客机及播音777宽体客机。
阿联酋航空公司的陷阱娱乐施舍包括各式影音设备，甚至有电视直播。实际上，该公司已连续5年获得斯卡特瑞克评选最佳机内娱乐实施奖。
第6名：阿联酋阿提哈德航空公司
入选原因：阿联酋阿提哈德航空公司位于阿布扎比，运营有空客及播音客机，飞行城市多达96个。其特色包括降噪耳机，机舱内可调节灯光等。
第7名：日本全日空航空公司
入选原因：全日空是日本最大的国际性航空公司，拥有世界上最多的播音787梦想客机。全日空因其洁净程度，服务水平及安全程度被斯卡特瑞克的用户给予了接近满分的分数。全日空大部分机型配备向前滑动式座椅，增加了用户的隐私程度，甚至再经济舱也配有电源及USB插头。
（摘自趣旅微信公众号：iqtour）
第8名：印尼鹰航航空公司
入选原因：从2007至2009年，印尼鹰航被欧盟认为是不安全的航空公司，也经理了一系列的转折。为了保住其声誉，该公司最近客机有更新，服务也有所提升。
经济舱的乘客对其舒适的作为及一系列东南亚美食作为飞机餐而大加赞赏。今年3月，印尼鹰航成为天合联盟中的一员。
第9名：台湾长荣航空公司
入选原因：台湾长荣航空公司成立于1989年，隶属航运界巨头长荣公司旗下。该航空公司位于台北，在过去的20年内发展迅速，现运营有一系列空客及播音宽体客机。该公司因其“豪华经济舱”而闻名。
第10名：澳洲航空公司
入选原因：虽然澳洲航空公司经历了一系列严重的财务问题，但其服务质量却没有下降。澳航引起出色的客户服务及机内娱乐设施而饱受赞扬。该公司因0安全事故而闻名于世。
第11名：亚韩航空公司
入选原因：亚韩航空公司已连续第二年获得最佳经济舱及最佳经济舱服务两个奖项了。斯卡特瑞克的用户为这家航空公司的服务打了满分。现在改航空公司中运营的都是较新的空客及播音客机。
第12名：汉莎航空公司
入选原因：近年来，作为欧洲最大的航空公司，汉莎航空近期经历了几次削减预算，但其服务及整体质量却依旧出色。实际上，汉莎航空因其出色而稳定的表现而在本次调查中位居前列。
最重要的是，该公司的长距离飞行服务非常周到，利用新的A380巨型客机和748-8洲际客机则是非常明智的选择。
第13名：奥地利航空公司
入选原因：奥地利航空公司隶属于德国汉莎公司，虽然该公司经历了一系列的劳务纠纷，但其高水平的服务似乎并没有改变。位于维也纳的奥地利航空公司现推出了全新长距离播音767-300ER及777-200客机。
第14名：瑞士国际航空公司
入选原因：瑞士国际航空公司成立于2002年，前身是瑞士国家航空公司（Swissair），后者现为汉莎公司旗下一员。瑞士国际航空公司位于瑞士巴塞尔，该公司空客A330-300机型及宽体A340-300长距离航线的机型乘务人员年龄都较为年轻。
虽然有些乘客认为经济舱的舒适程度欠佳，其机组人员的服务态度及免费成人饮料的服务却令人大加赞赏。
第15名：法国航空公司
入选原因：法航因为在10处较上一年度有所提高而获得了世界最进步航空公司奖项。虽然法航经历了一系列劳务及金融问题，但是它发布了一系列令人印象深刻的新产品。这其中就包括了全新的头等舱套间“La Premiere”。
第16名：维珍澳洲航空公司
入选原因：维珍澳洲航空公司是由亿万富翁理查德·布兰森（Richard Branson）设立的，自2000年成立以来，其在亚太地区的市场份额增长迅速。
维珍澳洲航空公司的播音777及空客A330航班内部灯光舒适，配有先进的9英寸触屏娱乐系统。
第17名：新西兰航空公司
入选原因：在2015世界航空公司大奖新西兰航空公司取得不错的成绩，该公司斩获了世界最佳豪华经济舱奖，世界最佳豪华经济舱座位，世界最佳豪华经济舱服务三项大奖。
这是新西兰航空第四次获得最佳豪华经济舱奖。
第18名：香港港龙航空公司
入选原因：香港港龙航空公司是香港国泰航空公司的区域子公司，也是唯一入选前20名的子公司。实际上，斯卡特瑞克将港龙航空列为为世界上最佳区域航空公司，该公司在2010及2011年同样获得了这项殊荣。
第19名：泰国航空公司
入选原因：在服务质量方面，泰航一直处于行业领先地位。所以泰航在这次调查中排名很靠前就不足为奇了。虽然泰航因其商务舱及头等舱的服务而闻名，乘客觉得泰航的经济舱质量也很高。
在调查中，经济舱的乘客觉得泰航的机组人员态度友好，飞机餐有众多选择。然而，也有一些乘客认为某些旧的空客及播音机型中缺少座位后方的影音播放器，这一点不尽如人意。
第20名：英国航空公司
入选原因：虽然在颁奖现场中，英国航空没有什么惊人的表现，但它由于表现稳定而入选前20强。根据性价比，机内娱乐设施，员工服务态度，座椅舒适程度，参与斯卡特瑞克调查的用户给了英国航空一个居中的排名。
港龙航空和国泰航空哪家更好？这两家航空公司总体怎么样？
港龙航空公司是国泰航空的全资附属公司，总办事处位于香港大屿山香港国际机场东辉路11号于2000年6月26日落成的港龙大厦，具有一个设备完善的飞行训练中心。港龙航空是“亚洲万里通”和“日航飞行储蓄计划”（JMB，Japan Airlines Mileage Bank）的会员。排除已结束经营的香港航空，港龙航空是香港第二所提供民航服务的航空公司。
国泰航空公司1946年9月24日由美国籍的 Roy及澳大利亚籍的成立，是香港第一所提供民航服务的航空公司，以香港国际机场作为枢纽。旗下的子公司包括港龙航空及华民航空。
港龙专营国内航线而国泰专营国际航线，相比之下国泰服务质量会较好，机上餐饮也更好。
刘培基的人物生平
刘培基是香港极具代表性及标志性的时装设计先驱。早于1970年代初已前往海外进修时装设计，1977年首次参与香港贸易发展局举办的成衣节，以个人品牌创作成为大会压轴演出，同年更被邀到伦敦参与时装节，往後每年均前往海外各地参展，奠定国际设计师的地位。在香港及日本均拥有以自己名字命名的「EDDIE LAU」时装店，更与中艺（香港）有限公司合作推出时装系列，深受海外及本地买家和顾客所爱戴。刘培基更是首位被邀前往中国内地举行个人时装表演的香港设计师. 从1962年入行，於1999年荣休，直今，也从未离开设计这个行业。其间三度为国际级航空公司设计制服，为名人、艺人设计高级订制服及舞台服，50年来紧守岗位。
刘培基出生於1951年，在六岁前刘培基是一位深受母亲疼爱的小孩，後因她改嫁的缘故，八岁开始寄人篱下。1962年，11岁的「他」被送到上海裁缝师傅奚鸿发先生在尖沙咀美丽都大厦的工厂当学徒，小裁缝就在这刻诞生。从师傅手中得到了一生受用的技艺。
满师後，16岁便开始创业生涯。他很努力,1973年终於可以踏上学习设计之路，负笈英国著名时装学府英国伦敦圣马丁艺术学校修读高级服装设计及衣料设计夜校课程。在伦敦的自由及艺术气氛的抚育下，他开始瞭解什麼才是真正的时装设计，并开始爱上自己已熟习多时的工作，学会了高贵的品味。经过多年的磨练及奋斗，1975年学成归来，带著第一个创作系列回港，让顾客见证从小裁缝蜕变成时装设计师的刘培基，体现了「香港精神」，成就了「传奇」的诞生。
刘培基是首位香港时装设计师拥有自己的工厂及时装店，出品「EDDIE LAU」和「姬」两个系列，更於1970年代末开始，与香港贸易发展局东奔西走、南征北战，努力为香港时装在海外及国内拓展市场，这等等都成为许多时装设计师追求的梦想。
刘培基的设计领域除了时装、高级订制服、艺人形象，在制服设计方面也获得国际企业的认同。1999年，2011年,2013年刘培基三次为国泰航空港龙航空设计制服。
刘培基除了在时装设计方面拥有骄人的成就外，还是本地乐坛首位的形象设计师。1982年7月，站在台上的梅豔芳凭著出色的歌艺演绎《风的季节》而夺得第一届新秀歌唱大赛冠军。当时她在乐坛仍是在摸索的阶段，没有鲜明的形象，直至遇上了「他」刘培基。从参加东京音乐节起，「他」为「她」设计服饰、专辑形象、演唱会的舞台服等，二人合作无间，共同创造了「百变」的神话。《似水流年》、《坏女孩》、《烈焰红唇》、《妖女》、《淑女》…… 每一首耳熟能详的歌曲，都连系著一个个鲜明且经典的形象，她的舞台服至今仍为人津津乐道。她的形象变化万千，每次踏上舞台，便成为众人的焦点，风靡了整个八十年代，成为独一无二的女歌手 —「百变梅豔芳」。
「百变梅豔芳」的出现，为观众送上精心设计且独一无二的舞台服，挥洒自如的舞步，充满自信及自成一格的演绎，为观众带来无限的视听震撼。他为梅豔芳设计的每一件舞台服，塑造的每一个形象，都倾尽心思；体贴的设计，精巧的剪裁，都代表著刘培基在时装和形象设计融会贯通的本领，以及艺术创作的造诣。一位时装设计大师，一代乐坛天后，互相辉映。
由专辑封套、演唱会以至出席各大颁奖典礼及宣传场合，刘培基均为梅豔芳塑造不同的形象。成功的形象创造，是将歌者、歌曲和形象融为一体，使观众对每一首经典金曲都拥有一个独有的深刻影像，并不是单单将潮流服饰加於歌者身上。女穿男装的《似水流年》；华丽、型格及潇洒集於一身的《坏女孩》；阿拉伯女神的《妖女》；冶豔的《烈焰红唇》，相信曾见证1980年代香港乐坛的观众都不会忘记。每次的形象均令人期待，成为城中话题。从1985年的「梅豔芳尽显光华」演唱会开始，刘培基均倾尽他的爱，以多角度考虑曲风的编排、大会的主题、「台、灯、音」三者的关系，歌者的舞步等等，以出神入化的立体剪裁，为她设计经典舞台服及形象，打造独一无二的舞台女皇。 在舞台下，他为她悉心整装；舞台升上的一刻，她令人万众期待；在台上，她挥洒自如震慑全场。西方有Hubert de Givenchy与Audrey Hepburn，东方则有刘培基与梅豔芳。同是设计师与明星的关系，同样彼此尊重和珍惜。梅豔芳跟刘培基由相知、相识，合作整整20年，工作上是极有默契的夥伴。在2003年梅豔芳举行人生最後的演唱会，他特别为她设计华丽的红金西式裙褂和简单而隆重的纯白婚纱，让她完成最後的心愿，嫁给舞台。20年来，「他」开创先河为本地歌手设计形象，与「她」共同创造了「百变梅豔芳」，成就了香港乐坛的一个传奇。
除了创造百变梅豔芳外，刘培基也为其他歌手设计了不少令人印象难忘的形象及舞台服。无论是女歌手还是男歌手，刘氏都能发掘歌手的优点，把他们的气质和可塑性尽情表现出来。1983年，他为首位於香港体育馆举行个人演唱会的许冠杰担任形象及服装设计，以型格皮革服饰来表现歌手的劲度。1984年答应挚友罗文担任中国戏曲「柳毅传书」的服装设计及指导，更是挑战跨领域的创作。其後更为罗文设计经典舞台服和专辑的形象设计，为他塑造一个摒弃花巧闪烁衣饰的清新成熟形象。另一令人难以忘怀的是打造梦中情人张国荣，青春活力中带点不羁，成熟中散发著忧郁，迷倒不少歌迷。刘培基除了为天皇巨星担任形象及服装设计外，早年亦为华星娱乐唱片公司旗下新进歌手设计形象，当年的年青歌手好些已成为乐坛的中坚分子。刘氏对後辈的爱护，见於2006年为梅豔芳的爱徒何韵诗以爱的延续为题设计的舞台服饰，以表达对梅豔芳永恒的爱及向她致敬。蘇永康亦是其中一位得到刘氏设计演唱会出场服的後辈歌手，服装同样手工精巧，足见设计师的设计功力以及对舞台效果的瞭解。
2000年，刘培基先生捐赠珍藏给香港文化博物馆，成为首位重点收藏殿堂级的时装设计师。当中有他自孩童至今的个人珍贵照片，也有多年来从事时装设计的草图、剪报和时装表演记录片段等，资料相当完整，观众不但能欣赏其百变的舞台服，还有专辑封套造型、音乐录影带、演唱会及乐坛颁奖礼的片段，加上他与我们亲述每一个「百变梅艳芳」造型背後鲜为人知的故事，及他的创作历程，圆满地纪录了香港乐坛及「形象设计」光辉的一页。也让我们能从中窥探香港时装从1970年代至今的发展及潮流的演变.
他说：“月亮陪著我长大，不敢忘记月亮的温柔”， 2013年他推出了《举头望明月》。自传中，刘培基首次打开内心屏障，谈论他的身世、感情生活、与挚友们很多不为人知的往事。刘培基重情义，一生中真正的朋友不算多。常挂在口边的一句话是“不怕你对我不好，只怕你对我好。”他与他的挚友都是“性格巨星”，都有脾气，意见相左时，吵个不亦乐乎，气消了，记得的，只是对方的好，其中包括著名作家金庸、粤剧名伶白雪仙、多才多艺的黄沾、才女林燕妮、一代名模柴文意等；香港乐坛举足轻重的巨星罗文、张国荣与梅豔芳，均与他识於微时，巨星们罕有表达於人前的脆弱一面，在他面前却是毫不掩饰。他与这些名人相交的故事，也一一记录在自传中。
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.
关于《港龙航空制服简介》的介绍到此就结束了。
