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时尚界最有争议的“挑衅先生”

更新时间:2016-6-10 9:47:36 来源:纽约时报中文网 作者:佚名

Mr. Provocative
时尚界最有争议的“挑衅先生”

Hedi Slimane could write a book on how to lose friends and still influence people.

艾迪·斯里曼(Hedi Slimane)可以写一本书,讲述如何在失去朋友之后仍能影响他人。

It has been a year since Mr. Slimane, who made his name designing skinny suits for skinny men more than a decade ago, took over as the creative director of Yves Saint Laurent, in what has proved to be the most contentious undertaking of a brand reinvention in recent memory. Every week there is a new uproar, from spats with critics to the relocation of his studio.

斯里曼10多年前以给瘦削男性设计修身西服而成名,一年前他开始担任伊夫圣罗兰(Yves Saint Laurent)的创意总监,结果证明这是最近的品牌重塑中最有争议的一次任命。他每周都会闹出新闻,从跟评论家发生口角,到更换工作室地点。

The latest, though hardly the biggest, is a series of advertisements in which Mr. Slimane has cast unwholesome rock stars like Courtney Love and Marilyn Manson to represent what was once the most revered fashion house in Paris, synonymous with Catherine Deneuve and Betty Catroux. One image shows Ms. Love, in a spotted fur coat, crawling on the floor. Another is a close-up of Mr. Manson’s brooding face opposite the new name Mr. Slimane has put on the label, “Saint Laurent Paris.”

最近的新闻——虽然算不上是最重大的新闻——是一系列广告,斯里曼选用了一些颓废的摇滚明星——比如考特妮·洛夫(Courtney Love)和玛丽莲·曼森(Marilyn Manson)——来代言这个在巴黎曾经最受尊敬的品牌,这个品牌曾经是和凯瑟琳·德纳芙(Catherine Deneuve)和贝蒂·卡特鲁(Betty Catroux)联系在一起的。广告中有一个画面是是洛夫穿着斑点皮毛外套在地板上爬。还有一个画面是对曼森阴郁脸庞的特写,背景是斯里曼给这个品牌起的新名字“巴黎圣罗兰”(Saint Laurent Paris)。

“Hedi wants to shock,” said Pierre Bergé, the former partner of Mr. Saint Laurent and Mr. Slimane’s biggest champion. Dismissing the criticism that has shadowed the designer’s every move, Mr. Bergé, who no longer has a financial stake in the company but has been front and center for both of Mr. Slimane’s women’s shows, described him as the one true heir to the legacy of Saint Laurent. It is a house, he noted, that has long thrived on creating great controversy, as well as great fashion.

“艾迪想要令人震惊的效果,”皮埃尔·贝尔热(Pierre Bergé)说。他是圣·罗兰从前的搭档,也是斯里曼最重要的支持者。贝尔热与该公司已经没有了经济上的利害关系,但是斯里曼的两次女装秀他都出席了。贝尔热不理会针对这位设计师每次行动的各种批评,说他真正继承了圣·罗兰的遗风。他指出,这家时装公司长久以来都善于制造巨大的争议和优秀的服装。

“When you are an artist,” Mr. Bergé said, “you are obliged to shock.”

“如果你是艺术家,”贝尔热说,“你就必须让人震惊。”

This, more than anything, Mr. Slimane has done well.

斯里曼做得最好的,也正是这一点。

Since he replaced the designer Stefano Pilati in a creative takeover that bordered on a coup, Mr. Slimane, 44, has introduced a vision for Saint Laurent that has been so divisive among critics and retailers that no one can quite be sure whether, in hindsight, it will be seen as brilliant or absurd. Reviews of his first two women’s collections, luxe boho and floppy hats for spring and baby-doll grunge dresses for fall, have ranged from the underwhelming to the scathing. Meanwhile, much of the news coverage about the designer, an elusive figure at best, has centered on his antagonistic relations with newspaper critics and magazine editors, banning some journalists from the shows and challenging the tone of coverage.

44岁的斯里曼出人意料地接替斯特凡诺·皮拉提(Stefano Pilati)担任创意总监之后,给圣罗兰提出了新的愿景,对此评论家和零售商的反应截然相反,没人知道未来回头看他的这种愿景时,是会觉得精彩还是荒谬。他的前两个女装系列中,春季那个系列展示的是奢华波西米亚风和松软的帽子,秋季那个展示的是颓废风娃娃连衣裙。对这两个系列,有人感到失望,也有人提出了尖锐的批评。与此同时,很多关于这位设计师的新闻报道都重点讲述他与报纸批评家和杂志编辑的敌对关系——他禁止某些记者到秀场观看,还对报道的态度提出了质疑。起码可以说,他是个难以捉摸的人。

Yet store buyers have fallen all over themselves to be the first to stock Mr. Slimane’s designs, which they say have been selling briskly this spring, despite some problems with deliveries.

但是零售商们争先恐后地购进斯里曼设计的服装,他们说这些服装今年春天卖得很好,尽管在物流上出现了一些问题。

“We would have liked to have had it sooner,” said one retail chief, who declined to be named because Saint Laurent is a potentially lucrative business.

“要是能更早拿到货就更好了,”一个零售总监说。他不想公开自己的名字,因为他要靠圣罗兰赚钱。

In assessing whether his first year has been a success, there is little doubt that people are talking about Saint Laurent, even without the participation of Mr. Slimane in the conversation. Since joining the company, he has taken a provocative stance against the fashion system. He has made few comments to reporters, only to acknowledge that his ideas are indeed rooted in music and to rebut criticism that he was being disrespectful when he dropped the word “Yves” from the label, one of his first moves that gave offense.

在评价他的第一年是否成功时,有一点毋庸置疑:人们一直在谈论圣罗兰,尽管斯里曼并没有加入讨论。自从加入该公司,他就对时装体制采取一种挑衅的姿态。他极少对记者们发言,只是承认他的想法真的植根于音乐,当有人对他提出批评,说他把“伊夫”从商标上删去是一种不敬——那是他最早的一些挑衅行为之一——他对此进行了反驳。

The new logo and its modified Helvetica font were inspired by the storefront of Mr. Saint Laurent’s ready-to-wear business in the 1960s, called Saint Laurent Rive Gauche. But mostly, his intentions have been anyone’s guess, resulting in passionate debates both for and against Mr. Slimane’s rock-chic sensibility. He declined to be interviewed for this article.

新商标以及其采用的赫维提卡字体的灵感来源于20世纪60年代圣·罗兰先生的成衣店,名叫“左岸圣罗兰”(Saint Laurent Rive Gauche)。但最重要的是,他的用意大家都猜到了,也引发了人们对斯里曼摇滚时尚风格的热烈争论。他本人拒绝就本文接受采访。

“What is interesting to me is how extreme the reactions are,” said Dirk Standen, the editor in chief of Style.com, which has monitored its readers’ reactions to the show through their online comments. “They are fairly evenly split,” he said, “though possibly slightly more negative than positive. At the end of the day, they are clothes. People could just shrug.”

“我觉得有趣的是,人们的反应非常极端,”Style.com网站的主编德克·斯坦顿(Dirk Standen)说。他通过他们网站上的评论监测读者对这次时装秀的反应。“赞成和反对他的读者差不多各占一半,”他说,“不过反对的人可能稍微多一点。说到底,也不过是衣服罢了。人们可以一笑置之。”

In a sign of the interest in Mr. Slimane’s shows, Saint Laurent ranked second among the most viewed collections on the site for both the fall and spring seasons, with more than 2.2 million page views for fall, right after Chanel. Before Mr. Slimane, the collection had not previously been in the top 10.

至于人们对斯里曼时装秀的兴趣,可以从该网站的浏览情况看出来:在被浏览得最多的时装品牌中,圣罗兰排名第二,秋季和春季的服装秀皆是如此,其中秋季那场共有超过220万的访问次数,仅次于香奈儿。在斯里曼任职之前,该品牌的点击量从未进入前十名。

Barneys New York had sold 60 percent of its spring order at full price as of last week, including a $14,000 dress. Jeffrey New York also sold out of several key looks.

纽约巴尼斯(Barneys)百货上周以全价售出了其春季订单的60%,包括其中一件售价为1.4万美元的连衣裙。纽约杰弗里(Jeffrey)百货订购的几款主打服装也已售罄。

“When we were buying the collection,” said Jeffrey Kalinsky, the store’s founder, “I felt like I was seeing dollar signs.”

“我们买入这个系列的时候,”该公司的创立人杰弗里·卡林斯基(Jeffrey Kalinsky)说,“我感觉我看到了大把的钞票。”

Bergdorf Goodman is building special departments for Saint Laurent in its men’s and women’s stores, which are expected to be completed this month.

波道夫·古德曼(Bergdorf Goodman)百货公司正在其男装和女装店里设立圣罗兰专柜,预计本月可以完工。

“We’re very eager for the business to be as big as the perception of the brand,” said Joshua Schulman, the president of Bergdorf Goodman.

“我们非常希望这些专柜的生意能像那个品牌那样红火,”波道夫·古德曼的总裁约书亚·舒尔曼(Joshua Schulman)说。

As is PPR, the luxury conglomerate that owns Saint Laurent and wants to make it as big as its Gucci business. The company, which will be renamed Kering in June, releases its quarterly earnings next week. Mr. Slimane’s fans and detractors alike will be paying close attention to the performance of Saint Laurent, given what is clearly a big investment in the label. They will also be judging the strategy of François-Henri Pinault, the chief executive of PPR, to recruit designers who will not only be involved in thecreative side of a label, but in its commercial aspects as well.

圣罗兰所在的奢侈品集团巴黎春天(PPR)希望该品牌能像古驰(Gucci)那样强大。该集团将于今年6月更名为“开云”(Kering)。它将于下周公布其第一季度的利润情况。斯里曼的支持者和反对者都将密切关注圣罗兰的表现,因为该集团明显在该品牌上投资了很多。他们也会借此评判巴黎春天集团首席执行官弗朗索瓦-昂利·皮诺尔(François-Henri Pinault)的战略是否正确,他总是聘用既参与品牌创意又兼顾商业效益的设计师。

To that end, the company plans to open new flagships designed by Mr. Slimane next month in Paris, on the Avenue Montaigne, and in New York, at 80 Greene Street, once the Helmut Lang store, with a sleek amalgam of white-streaked black marble and black-streaked white marble.

为此,该公司计划下月在巴黎蒙田大道和纽约格林(Greene)大街80号开设由斯里曼设计的新旗舰店,后者曾是海尔姆特·朗(Helmut Lang)品牌的店铺。旗舰店的外观将带有白色条纹的黑色大理石和带有黑色条纹的白色大理石混搭在一起,非常时尚。

FIVE YEARS can be a lifetime in fashion.

在时装界,五年就像一辈子那么长。

Mr. Slimane became known shortly after Mr. Bergé hired him in 1996 to revamp Saint Laurent’s men’s wear. His skinny suits were so successful, they foreshadowed an era of “slim-fit” fashion. But after Saint Laurent was sold to Gucci in 1999 and Tom Ford came into the picture he jumped to Dior Homme. Mr. Slimane went on to become a star there. At the same time, Saint Laurent, with more than 100 licenses, was losing tens of millions of dollars a year. It was not until 2010, six years into the tenure of Mr. Pilati (a former assistant to Mr. Ford who took over in 2004 after Mr. Ford resigned in a creative dispute), that the house again made a substantial profit.

1996年,贝尔热聘用斯里曼来改进圣罗兰的男装,之后不久,斯里曼就成名了。他设计的修身西服非常成功,拉开了“修身”服装时代的序幕。但1999年圣罗兰被卖给了古驰,由汤姆·福特(Tom Ford)担任总监,斯里曼就跳槽去了迪奥男装。在那里,他成了明星设计师。与此同时,圣罗兰虽然拥有100多项专利,却每年亏损上亿美元。直到2010年,也就是皮拉蒂先生(Pilati,他曾是福特的助手,2004年福特因创意分歧辞职之后他开始接任)接任六年之后,该公司终于再次获得可观的利润。

After several years of expanding Dior’s men’s wear, however, Mr. Slimane asked for his own label and demanded too much control. In 2007, he was rebuked by Bernard Arnault, the chairman of LVMH, who told him to come back to reality.

然而,斯里曼在扩张迪奥男装几年之后,要求建立自己的品牌,并要求掌握很大的控制权。2007年,他遭到了路威酩轩(LVMH)集团主席贝尔纳·阿尔诺(Bernard Arnault)的指责,说让他现实一点。

Instead, Mr. Slimane moved to Los Angeles to pursue his interest in photography. And with little explanation he broke ties (some would say he burned bridges) with many of the people who had supported him at the start of his career. Friends who had known him for years were suddenly shut out, or shut him out. Karl Lagerfeld, who included Mr. Slimane in his entourage in Paris, stopped wearing his clothes. Jean-Jacques Picart, the consultant who encouraged Mr. Slimane to become a designer in the first place, said in an e-mail message, “I can’t say anything about Mr. Slimane, and to be very honest, I don’t want to.”

斯里曼没有照做,而是搬到洛杉矶追求自己在摄影方面的兴趣。他几乎没做什么解释就与很多在他事业初期支持他的人断了联系(有人会说他这是自绝后路)。他突然不再理会那些相识多年的朋友,或者说那些人不理他了。卡尔·拉格菲尔德(Karl Lagerfeld)在巴黎时曾让斯里曼追随在他身边,后来却不再穿他设计的衣服了。最早鼓励斯里曼做设计师的顾问让-雅克·皮卡尔(Jean-Jacques Picart)在邮件里说:“对斯里曼先生我无话可说,坦白地说,我不想说。”

Still, Mr. Slimane coveted the job at Saint Laurent, and, according to those familiar with the negotiations, he encouraged rumors that he would eventually replace Mr. Pilati. Those reports haunted Mr. Pilati for years. Mr. Bergé also became more vocal about his displeasure with its direction after the death of Mr. Saint Laurent in 2008. Mr. Bergé said he never actively campaigned for Mr. Slimane, but when Mr. Pinault finally told him he was giving the job to Mr. Slimane, he was, of course, “very, very happy.”

斯里曼仍然渴望得到圣罗兰的职位,据这场谈判的知情人说,他一直鼓励自己终将取代皮拉蒂的传言散播。那些传言多年来一直困扰着皮拉蒂。2008年圣·罗兰先生去世后,贝尔热更是直言不讳地表达对该品牌发展方向的不满。贝尔热说他从未积极帮助斯里曼当选,但当皮诺尔最终告诉他会让斯里曼担任这个职位时,他当然是“非常、非常高兴”。

But when Mr. Slimane returned to Paris, he faced a frosty reception from an industry that has devalued the role of the star designer. Many editors resisted what they saw as diva behavior, like giving only standing tickets to some esteemed guests, from a designer who was still untested in women’s wear. Few could claim to understand his approach when he showed a debut collection at the Grand Palais that looked merely like Mr. Saint Laurent’s greatest hits. Lisa Armstrong, in The Telegraph, wrote that “what was most surprising was that it was so unsurprising.”

不过,斯里曼回到巴黎后,时装界对他的态度很冷淡,这位昔日的明星设计师已不那么被看重了。很多编辑认为斯里曼在女装设计方面的能力尚有待考验,但他却耍起了大牌,比如给一些颇受尊敬的客人的票也只是站票。他在大皇宫博物馆举行的首秀看起来就像是圣·罗兰先生杰作的简单堆积,很少有人声称能理解他的做法。《每日电讯报》的莉莎·阿姆斯特朗(Lisa Armstrong)写道,“最让人意外的是,它一点都不令人感到意外。”

At his second women’s show last month, a fall collection that closely resembled Courtney Love’s “kinderwhore” style of baby-doll dresses from the ’90s, some guests openly laughed, dismissing the grunge-era looks as worthy of Topshop, not Saint Laurent.

他在上月的第二场女装秀上展示的秋季系列特别像考特妮·洛夫的90年代“kinderwhore”风格的娃娃连衣裙。有些客人当场笑了出来,认为这种邋遢颓废风格的造型只适合Topshop这样的品牌,可配不上圣罗兰。

Those in Mr. Slimane’s camp, however, argue that he is less interested in critical opinion than what is happening with styles among the youth culture of Los Angeles.

不过斯里曼阵营的人辩称,他不在乎评论家的观点,而是更看重洛杉矶年轻人中正在流行什么风格。

“Hedi has a very specific thing he does and that’s why they brought him in,” said the singer Sky Ferreira, who met Mr. Slimane on a photo shoot a few years ago. “When people talk about him changing Saint Laurent, I don’t really see the problem. Because you can actually wear it?”

“艾迪做事很务实,这也是他们请他去的原因,”歌手斯基·费雷拉(Sky Ferreira)说。她是几年前拍照时碰到斯里曼的。“有人说他改变了圣罗兰,我不觉得这是个问题。因为那些衣服真的能穿上身。”

That is the crux of the argument. In the Saint Laurent showroom, the runway clothes appear well made and priced for a luxury customer. A tartan dress has individually sewn panels of black mesh between what on the runway looked to be simple pleats, and a band of embroidered crystals at the waist. A mohair cardigan is lined with silk. And leather minidresses that looked like nothing in the show are actually made of panels sewn together with seams that trace the Mondrian-inspired lines of a Saint Laurent dress from the ’60s. The sweaters will cost from $1,500 to $2,000; dresses from the spring collection have ranged from $1,990 to $3,990.

这是争论的关键。在圣罗兰的展厅里,秀台上的衣服看起来很精致,而且价格是面向奢侈品消费者制订的。其中一件格子呢连衣裙在褶皱之间单独缝上了几块黑色网眼,而在秀场你只能看清那些简单的褶皱,连衣裙的腰部还绣上了一圈珍珠。一件海马毛羊绒衫镶着丝边。在秀台上毫不起眼的皮质迷你连衣裙实际上是用几块布料缝制而成的,接缝的线条让人想起了60年代圣·罗兰设计的一条连衣裙,它的灵感来自蒙德里安(Mondrian)的几何抽象画。这些毛衣的售价将在1500至2000美元之间;而春季系列的连衣裙售价在1990至3990美元之间。

FROM PPR’S PERSPECTIVE, Mr. Slimane is doing exactly what the company wants, engaging in the commercial side of the business, including store design, and communicating directly with younger customers online.

从巴黎春天集团的角度看,斯里曼做的事正是该集团想要的——参与该品牌商业方面的事务,包括店铺设计以及在网上与更年轻的顾客直接交流。

Paul Deneve, the chief executive of Saint Laurent, described the change as a “complete overhaul,” from store concepts to shelving.

圣罗兰的首席执行官保罗·丹尼弗(Paul Deneve)称这种变化是“彻底的革新”——从店铺概念到衣物摆放。

The remaining question is whether customers will see things differently than the critics.

最后一个问题就是顾客的看法是否会与评论家不同。

So what if the reviews were dreadful? This was more or less what Mr. Slimane had expected. Mr. Bergé said that the two had discussed the reactions and compared them to those faced by Mr. Saint Laurent with his famously scandalous 1971 collection, which took inspiration from 1940s flea-market fashion. The groundbreaking fashion critic Eugenia Sheppard described it as “frankly, definitely and completely hideous.”

如果评论家的反应很糟糕呢?这多少都在斯里曼的意料之中。贝尔热说他们两个讨论过这些反应,把它们与圣·罗兰先生1971年那个著名的、令人震惊的系列所受到的评价进行了比较,后者的灵感来自于20世纪40年代跳蚤市场的服装。开创性的时装评论家尤金妮亚 ·谢珀德(Eugenia Sheppard)说那个系列是“真正的、绝对的、彻底的丑陋”。

If Mr. Saint Laurent could survive that, there is hope for Mr. Slimane.

如果圣·罗兰先生能度过那一关,那斯里曼先生也还是有希望的。

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