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在余奉祖的記憶中，香港設(shè)計界自60年代初至今已有四代人材：
第一代：王無邪、石漢瑞、靳埭強、施養(yǎng)德、高文安、周志波、張樹新、郭樂山……
第二代：韓秉華、陳幼堅、余奉祖、蔡啟仁、林衍堂、歐賢浩、何中強、鄧昭瑩、洪約瑟、馮永基、朱家鼎……
第三代：李永銓、陳超宏、劉小康、蔡楚圣、黃炳培、余志光、歐德誠、吳秋全、易達華、葉智榮、彭志江、陳瑞麟、施家禮、黃安、何宗憲、賴維鈞、盧永強、陳華雄、林席賢、陳耀堂、周素卿、劉紹增、KINSON CHAN……
第四代：林偉雄、JAVIN MO、麥雅端、高少康、古文裕、鄭永儀…… (人名眾多，不能盡錄)
香港設(shè)計界就是由這四代人材組成，而香港的設(shè)計事業(yè)，亦是由他們把著關(guān)，堅如鋼壁，不易沖破，無論前輩或后輩都是朝著同一方向勇往直前，永不停步，要讓本港與內(nèi)地的設(shè)計師一同攜手，發(fā)光、發(fā)亮、沖向世界�。�
香港設(shè)計的演變和力量
早在60與70年代初，由于香港旅游業(yè)的興起以及作為推廣本港貿(mào)易唯一官方機構(gòu)“香港貿(mào)易發(fā)展局”的成立，帶動了設(shè)計的需求及發(fā)展。然而當(dāng)時我們唯一具備國際視野的設(shè)計師便是HENRY STEINER(石漢瑞先生)。他畢業(yè)于美國耶魯大學(xué)，卻選擇香港作為他開創(chuàng)設(shè)計事業(yè)的基地，也成了我們?nèi)A人設(shè)計師的一個榜樣。他高超而近乎完美的設(shè)計水平亦漸漸成為我們追求的指標(biāo)。當(dāng)時本港差不多全部的高級酒店，英資或美資機構(gòu)，就連匯豐銀行都是他的客戶。在此期間成立的香港貿(mào)易發(fā)展局，其使命是面向世界推廣香港。因而局內(nèi)的設(shè)計，展覽及宣傳部漸形成另一股設(shè)計風(fēng)格，既有東方特色，亦有國際風(fēng)格，當(dāng)時領(lǐng)軍的是MR.MARSHALL CORAZZA 以及我們熟識的前設(shè)計師協(xié)會主席周志波先生及LANA CHAN小姐，他們的設(shè)計往往令我們眼前一亮。至于第三股的設(shè)計力量則來自我們的設(shè)計大師王無邪先生，他是香港藝術(shù)和設(shè)計的先驅(qū)，著有《點線面》一書。還有靳埭強、施養(yǎng)德、張樹新、張樹生，呂立勛以及鐘培正，他們代表著香港第一代的華人設(shè)計動力。至于第四股的設(shè)計力量則來自當(dāng)時本土以及海外的廣告公司。當(dāng)時的廣告與平面設(shè)計的關(guān)系十分微妙。從事廣告的常常有機會兼顧平面設(shè)計，相反，做平面的則很少會負責(zé)執(zhí)行廣告創(chuàng)作，因公司人手、制度、架構(gòu)不同，因此在廣告公司內(nèi)隱藏著不少平面設(shè)計高手(君不見現(xiàn)時大部份的著名平面設(shè)計師都是出身于廣告公司嗎？)。到了80至90年代，香港設(shè)計事業(yè)，突飛猛進，由于經(jīng)濟起飛，百業(yè)蓬勃，百貨及娛樂事業(yè)，工業(yè)及貿(mào)易的增長，令設(shè)計需求有增無減，設(shè)計水平被推高，本港設(shè)計師在國際比賽中屢獲殊榮，因而在國際設(shè)計舞臺上占一席位，尤其是靳隸強先生，石漢瑞先生。他們最先令到外國人知道什么是“香港設(shè)計”，就象李小龍令全球知道什么是“中國功夫”一樣！我們第二代的設(shè)計師陳幼堅先生更將“香港設(shè)計”的地位鞏固下來，建立了真正的香港風(fēng)格。我認為第一代與第二代的設(shè)計師對鞏固香港設(shè)計的根基作了很大的貢獻，雖然他們最能享受到經(jīng)濟蓬勃帶來的優(yōu)勢，但作為開荒者，所流的血汗亦是不少，他們開墾了水井和山路，后來的第三代第四代要行的路暢順了，也有了明確的大方向。當(dāng)然，由于金融風(fēng)暴的摧殘，令他們面對很多的限制，但隨著全球化、國際化，香港現(xiàn)在的設(shè)計風(fēng)格有了改變，變得更國際化，更簡約化，慢慢將東方或本地元素淡化。
也談到內(nèi)地的設(shè)計，隨著80～90年代的漸進開放，我們香港的設(shè)計師無論是平面產(chǎn)品，室內(nèi)設(shè)計師或建筑師，都很早已踏足內(nèi)地，參與建設(shè)項目，開辦設(shè)計講座，到大學(xué)演說，舉行香港產(chǎn)品及平面設(shè)計展。還記得在1994年我在廣州舉行設(shè)計展，那時真是十分熱鬧，內(nèi)地大部份設(shè)計師都以香港的設(shè)計作為借鑒，頻繁的交流，就像酒店的興建管理，營運等人材都是香港輸入，現(xiàn)在匆匆十?dāng)?shù)年已過去，內(nèi)地經(jīng)濟起飛，但最高檔次的酒店，仍然是外來的建筑師設(shè)計，室內(nèi)和燈光設(shè)計仍是香港來的。電視上播著的高檔次廣告仍然是香港創(chuàng)作人有份參與的，香港的影響力還存在著，很多人在訪問我時都問我怎樣比較兩地的設(shè)計，我則認為這問題本身亦有問題，硬將兩地比較是不合理的，就像是要將香港的設(shè)計與紐約或意大利比較，就算我們的設(shè)計師能夠在外國的D&AD，ART DRIECTORS CLUB, GRAPHIS或COMMUNICRTION拿到了100個獎，也不能夠說我們趕上了美國或歐洲，難道李安的“臥虎藏龍”拿了奧斯卡大獎便是趕上了美國嗎？由于歷史不同，兩地制度不同，起步時間與年代不同，硬要比較是太膚淺了。當(dāng)然，如果到有一天，內(nèi)地的設(shè)計師都來香港講學(xué)，開研討會，舉行平面，尤其是產(chǎn)品設(shè)計展，而香港的客戶也都聘用他們的設(shè)計，到了那一天我才會給你正確的答案！(文/余奉祖 作者系香港設(shè)計師)
FOUR GENERATIONS OF HONG KONG DESIGNERS
There are four generations of designers in Hong Kong since the sixties according to Michael Miller Yu. The first generation of designers includes names* like Henry Steiner, Wucius Wong, Kan Tai Keung, Kenneth Ko and Alan Zie Yongder. Among the second generation would be Hon Bing Wah, Alan Chan, Michael himself and Mike Chu. Next in line will be Tommy Li, Eric Chan, Eddy Yu, Freeman Lau, Stanley Wong, Dennis Chan, Kelly Sze and the fourth generation of upcoming stars are Hung Lam, Javin Mo and others of this period. These are the designers who make Hong Kong design what it is today. The legacy of local design continues as these individuals embark on a quest to take Hong Kong design to the next level not just in Hong Kong but also internationally.
*The names mentioned are a representative of their generation and are in no particular order.
A SLICE OF HONG KONG DESIGN HISTORY
In the early sixties, tourism in Hong Kong started to boom as more and more people became interested in visiting this earl of the orient? It was in this same period that design guru Henry Steinertook the opportunity to start his design business in Hong Kong. His designs became extremely popular and had a major influence on local Hong Kong designers. Henry list of clients consists of international hotels, large British and US Corporations and banking giants such as HSBC.
With the establishment of the Hong Kong Trade & Development Council to promote Hong Kong to the world, design and advertising went into high gear under the leadership of Mr. Marshall Corazza. Other big names began to surface. These include Ex-HKDA Chairman Chow Chi Bor and designers Lana Chan, Kan Tai Keung and Alan Zie Yonder, to name just a few.
As the local economy blossomed, there was a dramatic increase in the establishment of local and international advertising agencies. Lurking inside these agencies was a new breed of designers and illustrators. Many of these individuals started to make a name for themselves by winning prestigious design and advertising awards around the world and a new generation of designers is born. Many people hold the view that Henry Steiner and Kan Tai Keung let the world know about Hong Kong design much the same way that Bruce Lee introduced Kung Fu to the world. This just goes to show the impact of Hong Kong design at that period.
As with all economies, there are good days and bad days. Many will remember the financial crisis and the uncertainties after 1997 when the advertising and design industry saw a decline in business. Fortunately many designers persisted through this difficult period and with the gradual uptrend in the economy, the need for quality design and advertising services surfaced once again.
What makes Hong Kong designers unique from designers in the mainland is their international viewpoints and training. It is no surprise that between the eighties and nineties, many local graphic designers, interior designers and architects from Hong Kong were invited to give talks and seminars on design and advertising in major cities in the mainland such as Guangzhou. The knowledge and expertise are still evident in many of China designs today.
Some like to compare Hong Kong designs with those of Italy and New York. A fair comparison is hard considering the different cultural, social and historic backgrounds of these countries. Even if Hong Kong designers win hundreds of awards abroad, this does not mean that Hong Kong designers are etter?than designers from other countries. It is like saying Chinese film directors are 詁etter?than their US counterpart because Ang Lee won an Oscar for the movie 訡rouching Tiger, Hidden Dragon? A claim like that would be too superficial! On the other hand, some are asking if designers from the mainland are 詁etter?than Hong Kong designers. There may be an answer to this question if one sees a dramatic increase of invitations for mainland designers to give talks and seminars in Hong Kong.
Hong Kong designers have achieved excellent results on the international design arena winning many awards between themselves including D&AD, Art Directors Club, Graphis and Communication Arts. This only goes to show that Hong Kong design are recognized for its exceptionally high international standard.
Looking ahead, there are many Hong Kong designers who have a deep passion for design and one can expect to see even more exciting work from Hong Kong.(by MICHAEL MILLER YU)
