Do I look like I give a damn?" so responds Daniel Craig, the new 007 in Casino Royale, the 21st James Bond film, with a don't-mess-with-me ice cool when a barman politely asks him the obvious question: "Shaken or stirred?" Cue the realisation that this isn't your usual Bond. Despite the repartee, this is 007 at his most vulnerable and, for the first time, falling head over the heels of his John Lobbs for one of his conquests: Vesper Lynd, the British Treasury official played by Eva Green and adorned by one of the most fashion-forward wardrobes ever to hit the big screen.

Indeed, the "costumes" draped on Bond's female sidekicks - including Vesper and raven-haired Solange (Caterina Murino), the errant wife of Bond's nemesis, crime kingpin Dimitrios (Simon Abkarian) - are so of the moment that Casino Royale demands to be seen purely for its style pointers.

How to look chic on the beach, at the baccarat table and in the bedroom - such is the sartorial tutorial of Casino Royale, courtesy of Lindy Hemming, its gifted costume designer. To date, Hemming has worked on four Bonds, as well as an array of iconic British films including Mike Leigh's 1999 opera biopic, Topsy-Turvy (for which she won a Bafta and an Oscar), and expensive Hollywood popcorn such as 2005's Batman Begins.

Hemming began her Bond stint on 1995's GoldenEye with the radical move of easing Pierce Brosnan out of his predecessors' fusty Savile Row wardrobe and into bespoke by Brioni. Though occasionally Hemming dresses Bond's women in her own designs she always gleans their stand-out pieces straight off the pages of Vogue.

Ian Fleming himself would have demanded no less: while he usually portrayed 007's "birds" (as they were referred to in his day) wearing not much more than a rumpled white Egyptian cotton bed sheet and Chanel No 5, when he did clothe them it was in the very best high fashion. "Her dress was of black velvet, simple yet with the touch of splendour that only half a dozen couturiers in the world can achieve," wrote Fleming of Vesper's evening gown in Casino Royale.

The costume designers charged with bringing his words to the screen have always taken such descriptions to heart. Jacques Fonteray, for example, the French costumer assigned to 1979's Moonraker, enlisted Hubert de Givenchy to dress Bond's object of desire, Dr Holly Goodhead (Lois Chiles).

Emma Porteous, who worked on the 1985 film A View to a Kill, agreed to the sartorial requests of model/chanteuse Grace Jones, who, she recalls, "had a great liking for Azzedine Alaia. So Alaia designed some of her clothes". Why argue with Jones, after all? She went down in film history as the only Bond girl strong enough to heave 007 over her shoulders (she threw him off an Eiffel Tower balcony).

Now, says Hemming, the coveted clothes are "Roberto Cavalli eveningwear, Giorgio Armani suits and bespoke shoes by Gina. Bond films have always been about aspiration. You are dressing the characters in clothes people really want to wear. It is important to push the fashion - to deliver a feeling of luxury and excitement. So the viewer will want to go out and get the look. Or go to Topshop to buy rip-offs, because, you know, that's exactly what happens."

The villainess Solange delivers Casino Royale's first fashion masterstroke, and women bound for the tropics come New Year, or St-Tropez next summer, should take note. Astride a speckled stallion, she arrests Bond's attention by cantering along a stretch of white, sandy Bahamas coastline in shimmering, sea-green beachwear. But her swimsuit is not the eensy-weensy-teeny-weeny type of bikini that served as the second skin of Bond babes circa Roger Moore. Rather, a sequined, embroidered cover-up clings to Solange's frame while, beneath, a chiffon mini swathes her thighs and taut derriere. The ensemble is far more elegant than the bulky sarong adopted by too many female holidaymakers these days.

Then there's the navy trench coat Vesper sports while reclining next to Bond in the back seat of an armoured sedan. Its pretty, peaked shoulders are the hallmarks of Gucci designer Frida Giannini, and communicate as succinctly as any advertisement the fact that there's a new, non-classic, trench in town.

Finally, two fabulous evening gowns upstage all the action in a couple of the film's gambling scenes. In one, Solange appears awash in Jenny Packham coral satin; in the other, Vesper so effectively works the rhinestone-studded plunging neckline of an aubergine silk jersey Roberto Cavalli dress that, as she nuzzles up to Bond and wishes him luck, even his opponent - Russian card sharp Le Chiffre - can't tear his beady grey eyes away.

As the party season approaches, there's a lesson there for all of us

"我看起来像在骂人吗？"当酒吧招待员礼貌地问詹姆斯·邦德（James Bond）"你要摇的还是搅的？"这个显而易见的问题时，这位在第21部007电影《皇家赌场》（Casino Royale）中饰演邦德的丹尼尔·克雷格（Daniel Craiq）这样回答道，语气中带着一种别和我胡搅蛮缠的冷酷，暗示着这次的邦德不同于为人们所熟悉的那个邦德形象。尽管这位007巧于应答，但他在人生最为脆弱的时刻，第一次将头低到了所穿的约翰·洛布斯（John Lobbs）定制鞋上，向他的又一个爱情俘虏--伊娃·格林（Eva Green）扮演的英国财政部官员薇斯帕·林德（Vesper Lynd）--俯首称臣。后者浑身用最时髦的时装所装扮，在荧幕上耀眼生辉。

时装与007电影

事实上，"时装"一直与邦德的女性伙伴们--包括薇斯帕以及一头乌黑秀发的索兰戈（Solange），后者是邦德死对头迪米特里奥斯（Dimitrios，西蒙·爱柏凯利安[Simon Abkarian]饰）误入歧途的妻子（克特里娜·穆里诺[Caterina Murino]）饰）--须臾不离，它们是如此的抢眼，以至于很多人纯粹只为了这些流行风向标而去观赏《皇家赌场》。

如何在海滩上、纸牌赌桌上以及卧室里看起来衣着时尚，是《皇家赌场》的服装指导、天才设计师琳迪·海明（Lindy Hemming）所费心考虑的。到目前为止，海明已经为4部邦德影片设计过服装，还为一大批英国经典影片提供服装指导，包括迈克·李（Mike Leigh）1999年的传记歌剧《酣歌畅戏》（Topsy-Turvy）（她因为这部影片获得了英国电影和电视艺术学院奖[Bafta]和一项奥斯卡奖[Oscar]），以及昂贵的好莱坞商业电影，如2005年的《蝙蝠侠前传》（Batman Begins）。

从1995年的《黄金眼》（GoldenEye）开始，海明把皮尔斯·布鲁斯南（Pierce Brosnan）从他先前装满古板的萨维尔街高级西服的大衣柜里解放出来，转而采用布里翁尼（Brioni）的定制服对他进行装扮。尽管偶尔会给邦德女郎们穿上自己设计的服装，但海明大多时候总是直接从《Vogue》杂志上为她们搜集引人注目的衣着。

007创始人的时装理念

伊恩·弗莱明（lan Fleming，007小说系列作家）通常用这样的方式描绘007的"鸟儿们"（那时人们这样称呼她们）：她们穿得不过是白色褶皱埃及棉床单，喷着香奈尔（Chanel）5号香水。但当他真的这样打扮她们时，这种打扮一度成为绝对的时尚。"她穿着黑色天鹅绒，非常朴素，但却有一种华丽的光彩，世界上只有半打女装设计师能够创造出这样的效果。"弗莱明这样评价薇斯帕在《皇家赌场》中的晚装。

被要求实践他的理念的戏服设计师们总是谨记这样的描述。例如，参与1979年《太空城》（Moonraker）戏服设计的法国时装设计师雅克·方特瑞（Jacques Fonteray），就采用休伯特·德·纪梵希（Hubert de Givenchy）的时装打扮片中的"妙算博士"（Dr Holly Goodhead，路易丝·智丽[Lois Chiles]饰）。

参与了1985年《雷霆杀机》（A View to a Kill）一片的艾玛·波蒂厄斯（Emma Porteous），曾经同意了模特兼民谣女歌手格雷斯·琼斯（Grace Jones）的服装要求。她回忆说，格雷斯"非常喜欢阿瑟丁·阿拉亚（Azzedine Alaia）的服装，所以阿拉亚为她设计了一些衣服。"何必要与琼斯争执呢？毕竟，她是电影史上唯一一位强壮得可以用肩膀扛起007的女孩子（她把他从艾菲尔铁塔上扔了出去）。

海明说，现在人们所向往的服装是"罗伯特·卡沃利（Roberto Cavali）的晚装，乔治·阿玛尼（Giorgio Armani）的套装和吉娜的定做鞋。邦德电影总是与渴望有关，你得给角色们穿上人们真正想穿的衣服。我们必须推动时尚--传达奢华和激动人心的感觉，这样观众就会想要出门去看这部电影，或者去一流的商店购买这些奢侈品，因为，你知道，事实就是这样。"

007新片《皇家赌场》的亮点

在《皇家赌场》中，女反派索兰戈第一个展示了耀眼时装，要在新年到来时前往热带地区或者明年夏天前往圣托佩斯（St-Tropez）的女士们应该留意一下。她骑着一匹斑点种马，沿着白色沙质的巴哈马群岛海岸线一路溜达，一身微微发光的海绿色沙滩装吸引了邦德的注意力。但是她的泳装不是那种纤小类型的、被罗杰·摩尔（Roger Moore）那一代邦德女孩当作第二皮肤的比基尼，而是上身着镶着金属片饰物的绣花贴身抹胸，下面是薄纱迷你带子裹着大腿和翘臀。这个搭配比当下大多女性在度假时穿的宽大布裙要优雅得多。

接下来是薇斯帕在防弹车上斜靠着邦德时所穿的海军防水短上衣。它漂亮的尖肩是古奇（Gucci）设计师弗里达·贾尼尼（Frida Giannini）的特点，像很多广告一样简洁地传达这样一个事实：城里有一道新的非传统的战壕。

最后，两件令人惊艳的女式晚礼服在一组赌博场景里抢尽了风头。一件是索兰戈所穿的詹妮·佩卡姆 （Jenny Peckham）珊瑚缎纹装；另一件是薇斯帕所穿的罗伯特·卡沃利紫红色丝绸装，她在镶满人造钻石的立领的衬托下显得楚楚动人，以至于当她轻轻抚摸邦德并祝他好运的时候，即使他的对手--俄罗斯纸牌高手勒·希福（Le Chiffre）也无法从她身上移走他睁得圆圆的灰色眼睛。

随着派对季节临近，这部影片对我们所有人都会有所启发。
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