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推薦人: 來源: 時間: 2017-03-11 閱讀: 3.17W 次

Karl Lagerfeld, arguably the most recognizable fashion designer in the world, is in a back office at Fendi’s headquarters on the Via Solari, receiving from an assistant a gift someone has sent for his Birman, Choupette.

卡爾·拉格菲爾德(Karl Lagerfeld)可以說是世界上辨識度最高的時裝設計師。在索拉里街芬迪(Fendi)總部後面一個辦公室裏,助手把別人送給他的伯曼貓舒佩特(Choupette)的禮物交給他。

“I have a famous cat,” said Mr. Lagerfeld, glancing over the cat-printed notepads offered to him and Choupette. (She has more than 46,000 fans on the Twitter account invented in her honor, turns up frequently in the pages of fashion magazines and has inspired a line of makeup by Shu Uemura.) Mr. Lagerfeld said he hoped the cat would become more famous than him. “Then I can disappear behind Choupette,” he said.



Few things could be less likely. Mr. Lagerfeld is an object of public fascination in the Selfie Age, too recognizable to walk the streets or attend a party without incident.


Now in his 70s (or 80s, depending on the source) — and more éminence blanc, thanks to his powdered ponytail, than éminence grise — the German-born designer remains as prolific as he is tenacious, with a terse wit and a predilection for Delphic pronouncements.


“There are not too many people with an opinion I care for,” he said. His own he dispenses liberally, and from them, nothing is safe.


One assistant at Fendi years ago even found himself rechristened when Mr. Lagerfeld deemed his actual surname, Peugnet, cumbersome and provincial. “I said, ‘Hervé, this name is not possible, it’s too heavy,’ ” Mr. Lagerfeld said. The assistant eventually left to found his own line, and the world came to know him, as Mr. Lagerfeld did, as Hervé Léger, from the French word for “light.”

多年前,芬迪公司的一名助理甚至發現自己有了新名字,因爲拉格菲爾德覺得他的本姓珀涅(Peugnet)又拗口又土氣。“我對他說,‘埃爾韋,這個姓太難唸了,太沉重了,’”拉格菲爾德說。這位助理最終離開,創立了自己的服裝品牌,以埃爾韋·萊熱(Hervé Léger)爲世人所知 ,萊熱這個姓是拉格菲爾德給他取的,在法語中的意思是“光”。

During an interview last week, Mr. Lagerfeld opined on a range of subjects, including his preference for working with women (“I’m not crazy to discuss fashion with men. I couldn’t care less about their opinion.”); his desire to die the way Coco Chanel did, while in the middle of creating a collection; and his aversion to stress. (“I don’t believe in it. It’s a job, one should not become hysterical.”)

在上週的採訪中,拉格菲爾德對各種事情發表了意見,包括他更喜歡跟女人一起工作(“我不太喜歡跟男人討論時裝。我根本不在乎他們的看法”);他渴望像可可·香奈兒(Coco Chanel)那樣,在設計一個服裝系列的過程中死去;他厭惡壓力(“我不相信壓力能帶來益處。這只是工作,不應該把人變得歇斯底里”)。

It’s hard to envision Mr. Lagerfeld hysterical. He delivers even the most pointed of his gravelly barbs with a composure unlikely to ruffle his starched collar or muss his Dior Homme suit.

很難想像拉格菲爾德歇斯底里的樣子。哪怕是聲音沙啞地說出最尖刻的冷嘲熱諷,他依然沉着鎮定,絕不會弄皺上過漿的衣領或身上的迪奧桀傲(Dior Homme)西服。

But, in his case, a little stress may be understandable. In addition to designing several collections a year each for Fendi, Chanel and his own Karl Lagerfeld line, he announced last week that he would add a show of haute fourrure, or “couture fur,” for fur-centric Fendi during the Paris couture collections in July.


The occasion will signify his 50th anniversary as designer for the Roman label, the longest-ever partnership between a designer and a luxury maison, as well as the first time in the history of the Fédération Française de la Couture that a single designer has staged both an haute couture and an haute fourrure show in a single season. (This conversation was condensed and edited.)

這場時裝秀將標誌着他擔任該羅馬品牌設計師50週年,這是設計師與奢侈品公司之間爲時最長的合作,也是法國時裝協會(Fédération Française de la Couture)歷史上首次出現單個設計師在一季同時舉辦高級定製時裝秀和高級皮草秀(以下對話經過剪輯和濃縮)。

Q. The haute fourrure collection will mark your 50th year at Fendi, but I’m told you don’t like the word “anniversary” — you don’t like looking back.


A. No, no, no, no. This is one of the sicknesses of our period, to look back. No, forget about it. Fashion is now and tomorrow. Who cares about the past? But at Fendi, they like to tour the past.


So maybe call it a celebration, rather than an anniversary?


It’s not a celebration. It’s a new start. In the past, Fendi did only fur. Then they started to do ready-to-wear and funny fur [i.e., faux fur], but this was 40 years ago. Now, it’s time to do the highest level of couture fourrure. But better to do it during haute couture because it’s the right place to show it to the right people. That’s a very simple idea. It’s nothing going back to any roots. It’s planting new trees.


Fifty years is a very long time to be with a company. Do you ever reflect over the long term of your career at Fendi?


No. Never.


Is that the secret to longevity?


I don’t take ideas from my own past. Sometimes I see things [and say], “Oh, it’s not that bad.” And people tell me, “You did that 20 or 30 years ago.” Maybe — I forgot. As long as you’re in the business, you must not think about your own work. In Germany, they made a huge exhibition of everything I did, Fendi, Chanel, Lagerfeld, Chloé and all that. I’m not even going to the show. I don’t care.


You don’t feel the weight of all that history behind you?


There’s no history. I don’t even have archives, myself. I keep nothing. What I like is to do — not the fact that I did. It doesn’t excite me at all. When people start to think that what they did in the past is perhaps even better than what they do now, they should stop. Lots of my colleagues, they have archives, they look at their dresses like they were Rembrandts! Please, forget about it.


How did the idea come about to do haute fourrure?


I don’t remember where the idea comes from. Maybe it’s me. I think the idea is right. The problem with fur. … For me, as long as people eat meat and wear leather, I don’t get the message. It’s very easy to say no fur, no fur, no fur, but it’s an industry. Who will pay for all the unemployment of the people if you suppress the industry of the fur? The hunters in the north for the sable, they have no other job, there is nothing else to do. Those organizations who are much against it, they are not Bill Gates.

答:我不記得這個想法是從哪兒來的。也許是我想出來的。我覺得這是個好主意。皮草的問題……在我看來,只要人們吃肉、穿皮革,我就不能理解爲什麼要反對皮草。聲稱反對皮草太容易了,但它是一個產業。如果你壓制皮草業,那麼誰來賠償因此失業的人呢?北方狩獵黑貂的獵人沒別的工作,沒別的事可做。那些強烈反對皮草的組織,他們不是比爾·蓋茨(Bill Gates)。

So you’re not very sympathetic to the anti-fur cause?


I’m very sympathetic. I hate the idea of killing animals in a horrible way, but I think all that improved a lot. I think a butcher shop is even worse. It’s like visiting a murder. It’s horrible, no? So I prefer not to know it.


Does fur ever feel like a limitation?


No. You have to find new ways to use something that could be considered limited in the way you could use it. That’s part of the job. I know the technique, I know the materials. I haven’t used some of them for quite a long time. So it’s fun to use it again to do something I haven’t done with them before. I hope I have enough ideas that I can make something new out of that.


Do you worry about not having enough ideas? I wouldn’t expect so.


No, no, no. I don’t believe in waiting for inspiration. The French say, l’appétit vient en mangeant, the ideas come when you work. I work a lot for the garbage can. I have huge bins next [to me], for whatever I do, 95 percent goes to the bin.


It’s like Einstein apparently said: 99 percent perspiration, 1 percent inspiration.


He was very funny and very clever, even if my brain is not exactly his. He was pretty right. You know, Einstein had a huge sense of humor.


Do you have a good sense of humor?


I hope so.


Is there a place for humor in fashion?


I don’t think that most of the designers have a very quick sense of humor. They take themselves very seriously because they want to be taken as artists. I think we are artisans. It’s an applied art. There’s nothing bad about that. If you want to do art, then show it in a gallery.


So you don’t consider yourself an artist?


No, no, no, no. I’m a designer, I do photos, I do books, I’m a publisher, but I don’t have the self-proclaimed label “artist.” I hate that. Very pretentious. If other people say it, it’s very flattering, but if you start to say it yourself, you better forget about it.


Speaking of photography: You shoot the Fendi campaigns, the Chanel campaigns, even some Dior Homme campaigns, and for magazines. Why? Is it a pleasure, or just a different type of work?


If it was not a pleasure, I wouldn’t do it. Second, it’s quite important. If you do only collections, you end up in an ivory tower. You finish the collection and you are isolated until the time to get to the next one. That would be very boring. It’s very bad and unhealthy to get isolated. Already I don’t walk in the street, so I have to do something, somewhere.


You don’t walk in the street because you’re too famous now? People stop you?


Exactly, all over the world. We live in the world of selfies.


Do you like selfies?


I don’t do selfies. But other people do, and they all want to do selfies with me. No, no, no. Thank God, Sébastien, my assistant, he’s mean to the people in the street, mean and rude. I’m a nice person.


Do you keep an eye on the work of other designers, your competitors?


Yes, I look at many things. I don’t see it like competition. I like when there are many people who do good things, because you work better if there is competition than if there are only third-rate people. Paris cannot be Paris only with one. But from me to you, there are very few who have, in terms of craftsmanship, the craftsmanship of high-quality couture. For me, the best — I won’t talk about Chanel, because they have the biggest operation, with 250 workers for the whole couture — is Dior and Givenchy. The others, I prefer not to comment. I am not a fashion journalist.


Have you begun to work on the haute fourrure?


It’s working in my mind, but now I have to get rid of the season of the ready-to-wear, so I have to do Fendi, then Chanel, then we have to do the cruise, then we have to do this. ...


Is it difficult to design for so many labels?


When I’m at Fendi, I don’t even remember what I am doing somewhere else, and if I am somewhere else, I forgot what I did here. What I do for Chanel never looks like Fendi. I have no personality. Perhaps I have three.


Do you foresee a time when you might stop?


No. I would die on the spot. Chanel died in the middle of a collection when she was in her nearly 90s. I have time! In fashion, you think about six months, six months, six months. Now it’s even three months, three months, three months. The world is different. There’s no faraway future, it’s no futuristic thing. Fashion is something people are supposed to consume immediately, not in 10 years.