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苹果被指控将iPhone在韩国的销售成本转嫁出去，而法律代表则回应说，这是一种正常的市场行为。_我的网站

一 | Costume designer Smriti Chauhan is one of the creative forces behind Ranveer Singh’s look in Dhurandhar. She says the film’s now-viral bearded avatar was born from months of iterative work, collaboration and a deep integration of costume with hair, makeup, lighting and performance. In an exclusive conversation with Filmfare, Chauhan breaks down the meticulous process, from conceptual sketches to 40-metre salwars and silicon jewellery designed to survive high-octane action. Region, story and technical precisionChauhan reveals that the idea of a full beard was rooted in the character’s geography and cultural background. “We knew there was going to be a beard because of the region he comes from, what he’s performing and who he is,” she says. The hair and makeup team played a decisive role as well. They dictated the skin tone, lens colour and texture choices that needed to sync with her costume palette. “Costume and hair and makeup cannot be separated,” Chauhan emphasises. “The look comes alive only when all three, costume, HMU and lighting - work in harmony.”Ranveer’s inputs and a sharp eye for detailChauhan was nervous as she met Ranveer Singh for the first time while working on the movie. However, she says that the actor immediately put her at ease. But Singh was far from a passive participant. He dissected materials, cuts and accessories with precision. He’d ask, ‘Why linen? Why not silk? Why this jewellery? Why this structure?’ According to the designer, his questions pushed her to have solid answers.Smriti also shares, “And when you have the answers, it gives you more clarity. So with Ranveer, he ensured that he helps the two of us get clarity on the character. He also added some technical bits. He asked me to add a wire on the collar so that it stays like that when he is moving around.” Ranveer’s physical transformationOne of the biggest challenges for Chauhan’s team was designing for a body that kept changing. Ranveer bulked up for a portion of the film and then shed weight rapidly for another. “We had to ensure that with every change in his body, the clothes didn’t show that change... The look had to stay consistent,” she shares.The character evolves from a street nobody to someone big. The costumes had to mirror his transformation. Initially, his look is rooted in ruggedness. “So all of this came together working very closely with him. We understood which materials are working the best and which is looking rugged. His entire journey in this film is like that of a nobody becoming somebody, like really big. So that journey itself was grand.” The nightmare of action-friendly jewelleryLater, as the character rises in stature, accessories become key. Ironically, Chauhan had laughed off Ranveer’s early questions about accessories because of the heavy action sequences. But he persisted. “Cut to the first sequence in the teaser - he is loaded in accessories. I can tell you this, I’ll throw a rug on him and he’ll carry it with perfection. The next thing you know is that we have added so many accessories on him,” she adds.As the film is packed with lengthy action sequences, some shot over 10 to 12 days, Chauhan’s team had to create silicon jewellery that looked real but wouldn’t injure the actor or break under impact. “It was a nightmare but became necessary.” The Balochi salwar challengeOne of the film’s most technically challenging pieces was the traditional Balochi salwar. The authentic garment uses 30 to 40 metres of fabric, which is impossible for action scenes. Instead, Chauhan’s team created prototypes using 17 to 20 metres. They experimented with fabric weight, fall, pleats and movement. “We kept making so many prototypes. When he wore it, it looked less; when we spread it out, it was huge. Overall, it was a massive learning experience,” she recalls.Months of prep, presentations and look testsThe team spent two to three months preparing Ranveer’s looks. They went through six different presentation decks and multiple iterations for each phase of his journey. Three comprehensive look tests were done even before shooting. Moreover, sudden scheduling changes accelerated everything. “We thought we’d shoot in October, but suddenly the shoot got pulled to July. We were like, ‘What?’ But luckily we had done early homework,” she recalls.The moment Ranveer called her a ‘Rockstar’Chauhan recalls one of her most overwhelming moments when Ranveer looked at the first major look test and told her he’d “never seen this level of detailing.” “Coming from someone who’s worked with the greatest designers worldwide, it meant the world. It pushed me to raise my own bar,” she says.Despite the scale, the pressure and the physicality of the film, Chauhan says Ranveer’s collaborative nature made the process smooth. “He is the best team player I could have asked for. His encouragement, his curiosity, his involvement - everything helped build the character’s world,” she quips.Also Read: Sara Arjun gives Dhurandhar co-star Ranveer Singh a moving tribute as she shares BTS photos。北京时间1月14日，苹果韩国法定代表人今天表示，韩国最高反垄断机构不应干预苹果与当地移动运营商之间的商业交易，而应遵守市场规则。

二 | 苹果在汉城BKL律师事务所的法定代表人兼合伙人Ok Keum Seok表示：“苹果与韩国电信（SKT、KT和LG Uplus）之间的商业交易已经谈判了很长时间，是市场机制下的合法交易。韩国公平贸易委员会（FTC）不应在这方面浪费资源。如果苹果面临联邦贸易委员会的处罚，它将为外国公司在韩国做生意树立一个坏的先例。这项宣布是在联邦贸易委员会即将举行第二次协商会议的时候发布的。在周三的磋商中，苹果将为联邦贸易委员会的指控辩护。FTC怀疑苹果韩国不公平地将iPhone销售给当地移动运营商的成本，包括广告成本、会议成本和维护成本。联邦贸易委员会在2016年和2017年对苹果韩国办事处进行了两次突击检查，并在去年4月向苹果发送了一份审查报告，要求苹果解释其不公平行为。

三 | ”苹果和电信之间的所有业务都是基于十多年前苹果进入韩国市场时签订的合同。当时，苹果无法签署有利于苹果的合同，因为当地的手机市场被韩国公司占据了主导地位。苹果的iPhone于2008年首次通过本土运营商KT进入韩国市场。随后，韩国运营商skt和lg uplus在2011年和2014年与苹果签订了销售合同。

四 | 苹果表示，自那以后，合同条款没有改变，但随着iPhone在韩国市场份额的增加，苹果的广告成本也随之增加。

五 | Oh Keum Seok声称，由于合同保密，具体金额无法披露。

六 | 联邦贸易委员会主席金桑乔（Kim Sang-jo）表示，他将在第二次协商会议上从经济角度审视苹果的问题。联邦贸易委员会和苹果都将邀请经济学教授参加。第三次和最后一次协商会议将在下个月底举行，届时将作出罚款决定。如果苹果被判有罪，该公司将面临高达其销售额2%的罚款。除罚款外，联邦贸易委员会还可能要求苹果对交易条款进行修改。