1990
International Documentary Filmfestival Amster
長片競賽單元提名
Directed by 文・溫德斯
長片競賽單元提名
在紀錄片的山本耀司是與大眾衝突的，他喜愛著能認出身份的18世紀衣裳；認為不對稱才是正常；是日本來的設計師但說著自己不能代表日本，並以歐美女性身材設計衣服。其實像文溫德斯做的結語：「當你穿上衣服，看到自己表現於衣服的樣子，是對於自身的導演過程」，也許對於山本耀司而言，他確實是執導著一場永不止息的電影拍攝，一遍又一遍的讓人物重現他的理想精神世紀以及對世界的理念。
「服裝就是考慮到穿著者，無論交談或見面，我總是想著別人。」服裝作為載體，連結起山本耀司站在一個創作人與他者之間的甬道。 伸手觸碰的好奇、對外在事物的詮釋與轉譯，這些作爲驅動創作的基礎，使山本的創作不僅回應內心聲音，更考慮接受者，考慮其習性、環境，從身體到心，任何創造物的思想如同片中所指涉，不只透過外在細節，更是如絎縫夾層般，深深疊起的親密共感性。
【Giloo Podcast】 本集來賓：PROJECTbyH. 設計師 Henry 片單主題：生命的每一刻，都是創作的源頭 ▍Podcast 收聽連結 ☞ http://bit.ly/3xOMINp ▍前往片單 ☞ https://bit.ly/3UWXz14 對於自己， 大多創作的脈絡都來自於過去生命的體驗， 有的是對於城市的感受， 有的是議題的興趣， 這些都建構出當下屬於我自己思緒的脈絡。 紀錄片最吸引我的， 就是跟著導演獨有的視角， 像是走向一個時光隧道， 感受當下人事物的發生， 然後再將這些感動， 轉化成新的創作動力。 🎬 本集聊到的作品通通整理給你 《城市時裝速記》Notebooks on Cities and Clothes 《奇異馬戲團 》Strange Circus 《時尚鬼才：McQueen》McQueen 《神秘塗鴉客：誰是Banksy？》 《我們的青春，在台灣》Our Youth in Taiwan 《異星入境》Arrival 《我們的辦公室》The Office 《爆笑悲劇王：笑著笑著就哭了》Last One Standing
【生命的每一刻，都是創作的源頭：PROJECTbyH. 設計師 Henry 線上影展】線上影展 - Giloo紀實影音｜電影線上看紀錄片的敘述方式，導演文溫德斯與服裝設計師山本耀司的對談，像是一場優美的現代舞，看似沒有誇張的起伏與感官的刺激，但每段細節、頓點，甚至包含到轉折的地方，都是這麼優雅且富有哲學意涵，經歷三十多年，本片依然有著歷久彌新的老茶感。
片中山本耀司有提到從小生長環境對於他日後創作的影響極大，在許多訪談以及書籍中，山本耀司也有提及同樣的概念，因從小看見城市中女性的樣貌，進而勵志想要做「保護」女性的服裝，而所謂的保護，某種程度上，就是去包覆著身體，讓服裝回歸到最本質的樣貌。
「無論交談或見面，我總是想著別人」山本耀司這句話，十足展現日本人的文化與個性的底蘊，「最近我開始欣賞人的缺陷，而且越來越喜歡」，這句則帶出日本文化中獨有「侘寂」的概念。
再細說這些對比，片中提到「服裝所蘊含的情緒」（肌膚上的感受），是一種很抽象且常被人忽略的想像，但如果去想像每個城市所讓人感受到的不同能量（甚至情緒），那服裝，也可以被視為一個更小單位的城市？
紀錄片中有許多有趣且充滿意涵的對比，像是城市、人、服裝、文化、攝影器材，當然，最重要的，就是導演文溫德斯與山本耀司在片中，從對談的過程中，逐漸互相認識與理解。
文・溫德斯出手，果然拍成屬於他模樣的紀錄片。這不是一部只甘於「陪襯」山本耀司的作品，這是充滿導演個人觀點的影像，開場呢喃式的私自提問，精彩的將「身份」、「時尚」、「城市」等符號拉出，立刻替本紀錄片定義。 順著紀錄片往下探索，發現文・溫德斯有興趣的就是「認同」議題，山本耀司徘徊於東京、巴黎，如何在二戰後於重建的城市、破敗的國家之間，找尋那曖昧不明的創造力以及可能的安身之處？這個提問是此紀錄片隱約透出的真實核心。 然而，反身回看文・溫德斯過往的劇情長片，從《守門員的焦慮》起步，無數作品不也正是在討論德國民族（或各地人）的認同／身份而產生出的焦慮？因此，為什麼文・溫德斯會對山本耀司產生興趣？或許可以大膽解釋，除了山本耀司的設計天賦之外，那夾雜在黑色間混屯不明的「人與家與國」，恐怕是這部紀錄片最令人著迷的影像質地。
《城市時裝速記》（Notebook on Cities and Clothes, 1989）是德國新浪潮大將溫德斯（Wim Wenders）受法國龐畢度中心所託，以時尚設計師山本耀司為主題的紀錄片作品。而《山本耀司時裝哲學》（Yohji Yamamoto│Dressmaker, 2016）⋯⋯
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