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專訪老佛爺拉格菲爾德 Karl Lagerfeld King of couture

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Karl Lagerfeld doesn’t like to talk about the past. He refuses to discuss his 50-year career with Fendi, for whom he was made creative director, in charge of fur and women’s ready-to-wear, in 1965. Neither will he dwell on his 32-year stewardship ofChanel, where he has been the chief designer since 1983. He hasn’t even been to visit his vast “futurespective” in Bonn, Germany, the most complete exhibition of his oeuvre ever mounted, featuring everything from a reproduction of the coat for which he was awarded the Woolmark prize for design in 1954, to his first collections for Chloé (for whom he worked between 1964 and 1996), and from a regiment of mannequins dressed in Chanel tweeds, through Fendi furs to pieces from his own eponymous line.

卡爾拉格菲爾德(Karl Lagerfeld)不喜歡談論過去。他不願談及自己爲芬迪(Fendi)效力的50年。1965年,他出任芬迪創意總監,負責皮草及女性成衣設計;他也不願詳述自己自1983年以來擔任香奈兒(Chanel)首席設計師32年的陳年往事。他甚至沒有出席在德國波恩舉辦的自己全部時裝作品回顧展“futurespective”:從他1954年獲得Woolmark設計獎的那件外套的複製版到他爲蔻依(Chloé)設計的首個時裝系列(他從1964年至1996年爲其效力);從一大羣身穿香奈兒花呢套裝的人體模特、各式芬迪皮草時裝到他自己的同名品牌,可謂一應俱全。

Absolutely not! For Lagerfeld, nostalgia is a creative poison. “I’m very much against it,” he says from his studio in Paris. “I’m always into the next step. I’m interested in what’s going on, not what has happened. I never look at the archives. I hate archives!”

老佛爺完全不戀舊,他認爲懷舊是創意的毒藥。“我特反感懷舊,”他坐在自己巴黎的工作室對我這樣說道。“我總是超前一步。我對時下發生的、而不是往昔歷史感興趣。我從不看檔案,我討厭檔案!”

專訪老佛爺拉格菲爾德 Karl Lagerfeld King of couture

If Lagerfeld sounds impatient, he is. His career has been built on a light-speed forward momentum. It’s the same urgent energy that has enabled him to juggle the demands of three entirely separate and visually distinct houses at the same time (Fendi, Chanel and Karl Lagerfeld) and maintain alternative occupations as a photographer, occasional writer and keeper of Choupette, a snow white cat he was given in 2011 and who now commands an Instagram following of 64,000 followers. Even his unique German accent sounds impatient; like a man exasperated by a sentence’s formulation in his mouth.

說老佛爺是急性子,一點不假。他這一生總是風風火火、永往直前。正是這心急火燎的激情,讓他能夠遊刃有餘同時擔任設計風格與視覺感迥異的三大時尚品牌(芬迪、香奈兒以及卡爾拉格菲爾德)的設計師;此外,他還是攝影師、業餘作家以及雪白愛貓Choupette的主人。他2011年受贈此貓,如今它擁有的Instagram粉絲達6.4萬人。甚至他特有的德國口音聽起來也是心急火燎,好像有人被他的說話方式激怒了一樣。

His brisk focus brushes aside those things that displease him. He has already dismissed a publicist from our three-way phone conversation: “I don’t like it when someone listens when I talk to someone.” He also forgoes deep analysis of his creative ideas: “I don’t put that into words because then it would become marketing.” And too much talk of global trends is met with the immaculate: “You know, I’m not in the sales department.”

他做事既幹練又專注,對不爽的事毫不留情。因轉接我的電話,他解僱了公司的一位公關人員:“我不喜歡談正事時別人在旁邊聽。”他也不願深談自己的創意理念:“我不會用語言表述自己的設計理念,因爲那樣儼然成了營銷。”我侃侃而談全球時尚趨勢,他卻回答得天衣無縫:“你瞧,我並不是幹銷售這一行的。”

To begin with, he’s not too happy to talk about Fendi’s upcoming couture show either, which is a shame because that’s what we’re supposed to be doing. Fendi’s first foray on to the couture stage, next week’s Haute Fourrure (high fur) collection, is a debut for the house and the second of two couture shows that Lagerfeld will stage in Paris next week. (In fact, pedants could argue, it will be the third, as he will present Chanel couture twice so as to accommodate everyone who wants to see it). Mounting two collections, within as many days, which serve two different masters, is a superhuman undertaking, especially considering the designer is now 81, or thereabouts (discussion of Lagerfeld’s exact age is hotly discouraged).

首先,他不願談及芬迪即將舉辦的高級定製女裝展,這實在讓我羞愧不已,因爲這正是我此行的目的。芬迪首次進軍高級定製女裝——不久後舉行的高級定製皮草(Haute Fourrure)系列展將是芬迪首個高定皮草時裝,也是老佛爺在巴黎舉行的第二場高級定製時裝展。事實上,固執的較勁者會說這將是他的第三場高級定製時裝展,因爲他會舉辦兩次香奈兒高級定製女裝展,以饗希望一飽眼福的時尚擁躉。就在這麼短的時間裏先後推出兩場不同時尚品牌的高定時尚秀,實屬“超人之舉”,尤其是老佛爺如今已屆81歲高齡,坊間說大致就是這個年齡(探討老佛爺的真實年齡極不受他待見)。

“It was their idea,” he says, when I ask about the Fendi show’s genesis. “I thought it was interesting because there’s the market for that [couture], so I thought it could not be a bad idea to show the top of the craftsmanship in that business. But I didn’t propose to do two collections at couture. I have more jobs and more work than I need...”

“這完全是公司的主意。”當我問他芬迪皮草女裝秀的由來時,他這樣辯解道。“我覺得想法不錯,因爲市場有此需求,因此我覺得展示業界頂級工藝是個不錯的主意。但我並未提議接連舉辦兩場高級定製女裝展。我身兼數職、業務繁忙、實在是分身乏術。”

For the inaugural show on Wednesday, Lagerfeld will deliver about 30 looks in a collection that will shine a renewed focus on the brand’s heritage as a specialist fur house and clothing line. The Italian luxury house was founded as a fur and leather brand by Edoardo and Adele Fendi in 1925. The couple then passed on the reins to their five daughters and, today, granddaughter Silvia Venturini Fendi oversees the men’s and accessories lines alongside Lagerfeld (it was she who introduced the cult “Baguette” handbag in 1997). The house still manifests as a family business, even though LVMH bought a majority stake in 2001 and has since installed a chief executive, Pietro Beccari, who has been instrumental in creating a vision for the brand.

芬迪高定首秀,老佛爺將會推出約30種款式,以全新方式集中展現芬迪作爲皮草專家以及時裝方面的悠久歷史。意大利皮草品牌芬迪由愛德華多芬迪 (Edoardo Fendi)和阿黛勒芬迪 (Adele Fendi)夫婦於1925年創辦。夫婦倆而後把衣鉢傳給五個女兒,如今孫女西爾維亞芬迪(Silvia Fendi)與老佛爺一起,掌管男裝與配飾系列(正是她於1997年首推風靡世界的Baguette手袋)。芬迪至今仍屬家族企業,即便路威酩軒(LVMH)於2001年收購了其大部分股份,而且任命皮埃特羅貝卡利(Pietro Beccari)出任公司CEO,他爲芬迪打造的美好未來可謂居功至偉。

For Fendi, already fabled for its novel treatment in a highly technical field, Haute Fourrure will be the ultimate expression of “fantasy fur”, as represented by the house’s double “f” logo. Fendi has always innovated with its manufacturing methods: In 1989 the house developed a “grained leather” technique, that combined fur and leather to create a lighter take of the traditional brown coat. More recently, Lagerfeld has played with texture: for SS15, he used shaved mink, inlaid with vivid geometric designs, to create a “fur that doesn’t even look like fur”. Meanwhile, the house’s “bugs” — neon-bright clip-on handbag accessories with cartoon faces that retail for about 500 a piece — have become an essential feature of the street-style uniform.

芬迪在做工要求高的行當以新奇著稱,它推出的高級定製皮草時裝(Haute Fourrure)將是展示終極版的“夢幻皮草”——如同芬迪的雙F標識一樣。芬迪一直在創新自己的製作工藝:1989年,它首推“粒麪皮革”工藝(“grained leather” technique)——把皮裘與皮革合二爲一,使傳統棕色真皮外套更加輕盈。最近,老佛爺又玩弄了一把面料:他在設計2015年春夏季時裝時,採用鑲飾鮮豔幾何圖案的去毛貂皮,從而打造出“不似皮草的皮草”。與此同時,芬迪的“bugs”系列(每件售價500英鎊)——霓虹色卡通式夾子款手包配飾,也成爲年輕人時尚手袋不可缺少的配飾。

The couture show will allow him to experiment even further. “Typically, the old furs hardly exist any more,” he says of the heavier material that he used to work with. “So it’s all in the craftsmanship. And at this level, you can push it to a level of craftsmanship that would be too expensive for ready-to-wear: mixing things, design, pattern, fur mixed with feathers, all kinds of things. For me, this is what’s interesting.”

高級定製女裝秀賦予了老佛爺大膽創新的機會。“通常說來,老款皮草如今已基本棄用。”他指的是自己過去曾用過的厚質皮料。“因此,一切取決於製作工藝。在當前的製作工藝下,打造出來的成衣價格會非常高:把面料、設計風格以及款式合而爲一,把皮裘與皮革結合起來,應有盡有。而這正是我最感興趣的東西。”

To put a dedicated fur show within the couture schedule is not without controversy. But Lagerfeld doesn’t do much soul-searching over the use of this most morally complex material. “It’s changed since in the 1990s and that’s a good thing,” he says of the legislation that has seen the industry become more rigorously regulated. Nevertheless, there will always be people who see fur as wrong. Lagerfeld, who doesn’t wear fur himself, says. “As long as people eat meat and wear leather...I don’t see the thing...” he sighs. “It’s a little too easy, you know — there are enough unemployed people in the world that you cannot suppress a whole industry that would have nothing else to do.” Besides, he adds: “The sales are good.”

在高級定製時裝週期間,舉辦皮草專場不乏爭議。但對於使用這種最富爭議的真皮料,老佛爺並未顯得太過內疚。“自上世紀90年代以來,一切早已今非昔比,但這是好事。”他說的是對該行業的立法,正是這讓皮草業的監管越來越規範。然而,總有人認爲穿皮草裝是不對的。自己從不穿皮草的老佛爺說:“只要有人吃肉穿皮草……我就不覺得情況會有多大改觀……”他嘆着氣說道。“取材實在太過容易,你知道——全球失業者那麼多,所以很難禁絕整個皮草行業。一旦禁絕,皮草業會無所事事。”此外,他補充道:“皮草銷售行情一直很旺。”

The sales are indeed good. According to Mark Oaten, chief executive of the International Fur Federation, the global mink industry alone is worth 3.7bn, while fox fur is worth a further 880m. Even in the UK, one of the most squeamish nations when it comes to the subject (and where exotic fur is not featured in many British fashion monthlies) the sales figures are steadily increasingly. “We saw a 20 per cent rise in London last year,” says Oaten. “And we don’t think this was all down to tourism. Sales in cities like Manchester and Leeds are also seeing an increase.”

銷售業績的確不錯。據國際皮毛協會CEO馬克攠滕(Mark Oaten)介紹:光全球貂皮業的年銷售額就達到了37億歐元,狐皮的銷售額也有8.8億歐元。甚至在英國這個全球對狐皮最爲挑剔的國家(英國諸多時尚月刊都不刊登狐皮特輯),其銷售額也在逐年上升。“倫敦去年的狐皮服裝銷售增長了20%。”奧滕說,“我們並不認爲這完全拜旅遊所賜。曼徹斯特與利茲等城市的銷售同樣穩步增長。”

Only time will tell if Fourrure is a commercial success, but placing the house on this rarefied stage is a neat bit of brand extension, all part of Beccari’s desire “to promote and promote and promote,” according to Lagerfeld. The house will hope also to lure a small but significant clientele, whose numbers have been swelled by the new markets in Russia, Asia and the Middle East.

Haute Fourrure系列高級女裝上市後是否會一炮打響,一切留待時間去檢驗,但進軍曲高和寡的皮草時裝業,實屬芬迪正常的業務拓展,在老佛爺看來,這一切都是實現公司CEO貝卡利“開拓、開拓、再開拓”的意圖內容。芬迪還希望籍此吸引一小撮重要客戶,其人數因俄羅斯、亞洲以及中東等新興市場的需求而出現大幅飈升。

“Couture is doing very well” says Lagerfeld. “I have no idea how it works at other houses but at Chanel, it’s kind of a miracle.” Why does he think that is? “People want something that is worth spending their money on. “Today, very basic classic things don’t sell, or they have to be in a new material. They have to be from a new world.”

“高級定製女裝銷售十分喜人。”老佛爺說。“我不清楚其它同行品牌是如何運作的,但香奈兒的銷售業績實屬奇蹟。”我問他何出此言。“客戶都想要物有所值的高檔時裝。如今,經典款時裝根本賣不動,要不就得啓用新面料。所以必須另闢蹊徑。”

Many creative directors describe couture as being a crucible, in the sense that it allows them to distil a vision that will ultimately inform all of their ready-to-wear. No surprise, Lagerfeld is appalled by the notion.

很多創意總監稱設計高級定製女裝是個大坎,從某種意義說,它可以讓設計師的想象力得以昇華,從而最終影響到所有成衣的設計風格。老佛爺對其看法頗爲震驚,這完全是預料之中的事。

“It’s a completely different spirit,” he says. “If it was in the same spirit, I just wouldn’t do it because I would be bored to death. I would just say no. No, no, no!” For him, couture is about “the craftsmanship, the proportions. It has nothing to do with the ready-to-wear. It should not have anything to do with ready-to-wear.”

“與成衣相比,高級定製女裝秉持完全不同的設計理念。”他說,“如果兩者設計理念如出一轍,我就不會去做,因爲這會讓我覺得膩煩透頂。我只會說自己拒絕這樣做。絕不會這樣做!”在他看來,高級定製女裝就是“做工與比例關係。它與成衣風馬牛不相及,也不應相關。”

Instead, Lagerfeld starts every collection in the same way. With a blank piece of paper and a pencil. “I sketch things, because I sketch everything,” he says. “I don’t work with artists. I sketch everything myself. I wanted to be an illustrator and a potter before I was in fashion, and I was in fashion nearly by accident. So when I do a sketch that I keep — because 99 per cent goes to the garbage can — it is hardly changed. And the collection is made in exactly the way I made the sketch. Look at the boards, at Fendi and Chanel. You’ll see the sketch and you’ll see the final dress and they are the same. I’m not there draping for hours and asking myself a hundred questions. Those questions I ask myself before I draw the sketch.”

相反,老佛爺動手設計每個系列時,方法完全一樣:僅用一張白紙與一支鉛筆。“我手繪設計草圖,因爲我所有的設計都是如此。”他說,“我無需畫家幫助,我親手繪製所有設計草圖。幹設計這行前,我本想當名插圖畫家與陶藝家,我入這一行純屬偶然。因此一旦定稿(99%的草圖都成了廢紙,扔進了垃圾筒),我就基本不再做改動。每個時裝系列的設計完全參照手繪圖樣。在芬迪與香奈兒的董事會議室,你可以看到手繪草圖與最後定型的女裝,它們一模一樣。設計期間,我不會再費長時間去左思右想怎麼做,那些問題早在手繪草圖前就已解決。”

Lagerfeld’s process, then, is to “propose” the final garment and then task others with conjuring it to his satisfaction. “Exactly, exactly. But I like to see it done in material, in another dimension. It’s very exciting and very interesting. Sometimes you’re disappointed, sometimes you are not. It’s a very strange job. But that’s what I like about it.”

因此,老佛爺的整個設計過程就是“醞釀構思”好定型的款式,然後指揮手下,像變戲法一樣做出自己滿意的時裝。“完全如此!但我喜歡使用不同的面料、嘗試不同的尺寸。這既有趣又刺激。當然有時會感到失望沮喪,但有時成就感十足。設計是個非常奇怪行當,但這正是我喜歡它的原因。”

If Lagerfeld likes to play with new manufacturing techniques, it’s because his sketches challenge the limits of what can be done. Only here does he admit to the advantage of a career’s worth of experience. “For once, I must say, I have done it for such a long time that, for me, they can do things that are supposed to be unexpected or impossible.”

老佛爺之所以喜歡嘗試新制作手法,是因爲他的手繪設計草圖已臻極致。至此他才承認經驗對設計的巨大裨益。“這一次,我得承認自己從事這個行當幾十年的好處;就本人而言,經驗能幫助我設計出出奇不意的時裝佳作。”

Music is playing in the background: it’s a song Lagerfeld can’t identify, part of an ever updating playlist he absorbs to keep abreast of cultural developments. He loves the act of discovery, be it a person, place, artist or book. It was he who first took the fashion show on the road, staging Chanel’s Métiers d’Art (the pre-fall collection) in a unique location every year, and inspiring a dozen other houses to do likewise. He was one of the first people to possess an iPod (he once told journalists he owned 300), and he’s very proud of his new Apple Watch: a bespoke version that was made in rose gold with a matching bracelet. “I think I’m the only one who has one entirely in gold,” he says. “It’s very, very beautiful.”

他的工作室一直播放着

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