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“老佛爷”的最后一场香奈儿秀

更新时间:2019/3/20 21:43:12 来源:纽约时报中文网 作者:佚名

Karl Lagerfeld's Final Chanel Show
“老佛爷”的最后一场香奈儿秀

PARIS — They came for Karl Lagerfeld’s final Chanel show — his final grand act — in tweeds and pearls, camellias and diamanté double Cs. They came wearing Chanel sneakers and sci-fi silver Chanel bootees, Chanel belts and Chanel bags. Anna Wintour came in a long blush pink Chanel suit, and Janelle Monáe came in Egyptian-inspired multicolored sparkling kalasiri from the Temple of Dendur collection.

巴黎——她们穿戴着粗花呢和珍珠、山茶花和亮闪闪的双C标志,来参加卡尔·拉格斐(Karl Lagerfeld)的最后一场香奈儿(Chanel)秀——他的最后一场盛大演出。她们穿着香奈儿运动鞋和科幻感十足的银色香奈儿小靴子,香奈儿的腰带和香奈儿手袋。安娜·温图尔(Anna Wintour)一身粉红色的香奈儿长套装,贾妮尔·莫纳(Janelle Monae)则穿着五颜六色、闪闪发亮的裙子,来自香奈尔的丹铎神庙(Temple of Dendur)系列。

Chanel has always attracted more customers than perhaps any other show in the entire fashion season, and those loyalists and dedicated shoppers have always gloried in displaying their finery. But never has the space under the luminous glass dome of the Grand Palais seemed such a sea of bouclé.

在整个时装季,香奈儿总是比其他的秀能吸引更多的顾客,那些忠实的粉丝和坚定的购买者总是为能展现出自己的优雅而自豪。但在巴黎大皇宫明亮的玻璃穹顶下,这个空间从来没有像现在这样,化作结子绒的海洋。

And when they came, almost an hour before the 10:30 a.m. show was scheduled to start, they found a dozen Swiss wood chalets set high against a backdrop of towering mountains, some chimneys emitting puffs of smoke, all surrounded by drifts of snow burying the runway beneath. Chanel skis and poles jutted from little hillocks amid 50 gray/green firs and lampposts dusted in white. According to reports from inside the house, Mr. Lagerfeld knew he was dying when he planned this show along with Virginie Viard, his former right hand, now the heir to his mantle.

离上午10点30分的时装秀开场还有将近一个小时,她们就来到了这里,只见现场立着十多座瑞士木屋,背景是高耸的群山,还有烟囱冒着烟,周围满是积雪,埋过了T台。香奈尔的滑雪板和滑雪杖从50棵灰色/绿色的冷杉和白色灯柱之间的小丘上伸出。据来自该品牌内部的消息,在和曾经的得力助手维吉尼·维亚德(Virginie Viard)一起策划这场时装秀时,拉格斐知道自己来日无多了。维亚德现在是他在香奈儿的衣钵传人。

Together, they created a genuine moment of peace.

他们一起创造了一个真正的和平时刻。

Then wind chimes began to play. After came a minute of silence, broken by the sounds of Mr. Lagerfeld’s voice over the sound system — his familiar staccato fast-forward torrent speech — whereupon down the steps of the Chalet Gardenia the models came. They were led by Cara Delevingne, one of Mr. Lagerfeld’s favorites.

然后,风铃声声。默哀一分钟后,音响系统传出拉格斐的声音——还是那断断续续又如连珠炮般令人熟悉的说话方式——模特们随之走下栀子花小屋的台阶。领头的是拉格斐最喜欢的模特之一卡拉·德莱文涅(Cara Delevingne)。

They were wearing?

她们穿的是什么?

Voluminous soft tweed coats in black and white, and high-waisted pleated pants with room to stride, hands in pockets. Short legging-like knickers under skinny minidresses and matching cropped jackets for a narrower silhouette. Sweater dresses knit in three-dimensional Nordic patterns, No. 5s winked at within. Zip-up ski tops with crystalline patterns composed of actual crystals. Puffer jackets in primary shades (including bright purple). Shearling double-C fanny packs and snow boots. Snowflake hair jewelry. Mist-like chiffon dresses were printed with tiny figures of skiers and CC chair lifts; tuxedos came in white duchess satin with an icy shine; and “snow-ball dresses” (so-named by the brand) of marabou and chiffon, the bodices embroidered in gold snowflakes. The actress Penélope Cruz walked in one, a white rose clutched in her hand. For the finale, David Bowie’s “Heroes” played.

宽松柔软的黑白粗花呢外套,宽大的高腰百褶裤,双手插在口袋里。紧身短裙下如同紧身短裤般的短衬裤,搭配短款夹克,更显身材。针织衫连衣裙采用立体感的北欧图案,香奈儿五号若隐若现。拉链滑雪衫带水晶图案,是用真正的水晶拼出。羽绒服采用原色(包括亮紫色)。剪毛绵羊革双C腰包。雪花款发饰珠宝。云雾雪纺连衣裙,上面印有滑雪小人图案以及CC升降椅;小礼服采用白色的公爵夫人缎,闪烁着冷冷的光芒;还有白生丝和雪纺面料的“雪球裙”(品牌用的就是这个名字),也就是绣有金色雪花图案的马甲。女演员佩内洛普·克鲁兹(Penelope Cruz)走了进来,手里拿着一朵白玫瑰。最后,是大卫·鲍伊(David Bowie)的《英雄》(Heroes)奏起。

There were tears, in the audience and from many models. But it was not funeral. Nor was it retrospective. It was classic Chanel, the Lagerfeld way: merchandised, tongue-in-chic, replete with ideas, alternately delicate and clumpy, forward-looking and connected to the past. Almost cinematic in scale. Free of angst.

许多观众和模特都流下了热泪。但这不是葬礼。它也不是回顾展。这是经典的香奈儿,充满拉格斐的风格:商品化、戏虐时尚风、充满创意、时而精致时而笨拙、具有前瞻性又有着历史渊源。几近电影般的尺度。没有疑虑。

But, despite the standing ovation, no one came out to take a bow.

但是,尽管全场起立鼓掌,却已无人出来鞠躬谢幕。

Nothing had changed — Chanel has been adamant that nothing will change; the team and Ms. Viard, who was given equal credit for the collection with Mr. Lagerfeld in the show notes, will work as always — and yet something had. On every chair was a packet (there was always a packet) with assorted photographs of looks in the collection and a reproduction of a sketch Mr. Lagerfeld had done once upon a time of himself, walking side by side with Coco Chanel. He was wearing black shades, ponytail and stiff white collar; she was in a camellia-trimmed hat and quilted bag. Over their heads was a scrawl reading, “The beat goes on.”

一切都没有改变——香奈儿坚持一切都不改变;团队和维亚德(在这个系列的说明中,她与拉格斐获得了并列署名权)将一如既往地工作——但有些东西确实变了。每张椅子上都放着一个小包(总会有一个小包),里面有各种各样的该系列造型照片,还有一幅拉格斐创作的素描的复制品,上面是他和可可·香奈儿(Coco Chanel)并肩散步。他戴着黑色墨镜,扎着马尾辫,衣领雪白笔挺。她戴着一顶装饰着山茶花的帽子,提着一个绗缝包。他们头顶上有一行潦草的字迹:“节拍不止。”

Just inevitably to a different tune.

只是不可避免地换了调子。

How you preserve the guiding spirit of the house without the individual who defined it for so many years is the struggle for any brand that has lost its champion while still in situ (not after the designer decided to step down, or sell up). There are precedents for Chanel’s plan, however, and they are positive.

对于任何失去了领军人物(不是设计师主动辞职或决定出售),却又在运行上保持原状的品牌来说,在多年来一直在定义它的那个人不在的情况下,保持自己的方向何其困难。然而,香奈儿的计划是有先例的,而且有好的结果。

When Azzedine Alaïa died unexpectedly in November 2017, his company chose not to name any replacement designer (the general feeling being he was irreplaceable), but instead to mine his archives and sketches to keep the brand going in his image and with his vision.

阿瑟丁·阿拉亚(Azzedine Alaïa)于2017年11月意外去世后,公司没有选择任何设计师替代他(人们普遍认为他是不可替代的),而是开发他的档案和草图,让这个品牌按照他的形象和愿景继续发展下去。

Three seasons later and it has devolved an approach that takes the fabrics and forms of the past and iterates them forward: a butterfly print Mr. Alaïa created in 1991 (he used to love to watch the National Geographic channel while he worked into the night) transformed into a long, sheer lace gown; a double-breasted wool riding jacket from 1986 with a wide collar and a twisted peplum at the waist, almost as if a cardigan were tied behind, still uncompromising in its combination of rigor and sensuality; a python print melded seamlessly with a floral design in one of his classic knit dresses with wide funnel neck. A sweatshirt covered in hand-beaded swirls of blue and violet like the aurora borealis, inspired by a pattern once created in leather on a coat, still utterly current. Or maybe timeless.

三季之后,品牌采用这样一种做法,既采纳过去的面料与形式,又让它们不断前进:阿拉亚于1991年创造的蝴蝶印花(他喜欢工作到深夜,然后看国家地理频道的节目)来到一条轻薄的蕾丝长礼服上;一件1986年的双排扣羊毛呢骑马装有了宽大的领子,腰部加上了扭曲的褶裥,几乎像一件后部收紧的开襟羊毛衫,依然坚决地将严谨与性感结合在一起;在他经典的宽漏斗领针织连衣裙上,蟒蛇印花与花卉造型天衣无缝地融合在一起。一件运动衫上覆盖着蓝色和紫色的手工串珠漩涡,就像北极光一样,灵感来自以前皮夹克上的图案,现在仍然十分流行。或者会一直流行下去。

Then there is Alexander McQueen. The brand’s founder committed suicide in 2010, and, as at Chanel, his longtime No. 2 was named to the helm. Almost 10 years later, Sarah Burton has slowly, subtly made the brand her own and moved it forward without ever repudiating or losing its connection to its founder. Instead she has sanded the edges, lightened the darkness, let some untamed romance in.

还有亚历山大·麦昆(Alexander McQueen)。品牌创始人于2010年自杀身亡,与香奈儿一样,品牌长期以来的二号人物也被任命为它的掌门人。近10年后,莎拉·伯顿(Sarah Burton)慢慢地、巧妙地把这个品牌打造成她自己的,在从未否认或失去与创始人联系的情况下,推动了它的发展。相反,她打磨它的棱角,照亮它的黑暗,加入了一些野性的浪漫。

Used it to comment on the world with kindness.

带着善意,用它来发表对这个世界的观点。

This season she did so with special finesse. Working with the mills of her childhood communities in the north of England (her audience sat on enormous rolls of fabric brought in for the occasion and surprisingly comfortable; all the producers were credited in the show notes) — the kinds of businesses that could be under threat if and when Britain leaves the European Union — she celebrated their vocation and gave it transcendent form, demonstrating just how relevant these traditions and savoir-faire can be, and how much would be lost if they were left adrift.

这一季,她以特别的技巧做到了这一点。她与童年所在的英格兰北部社区中的工厂合作(观众坐在为这个场合定制的巨大织物卷上,它们惊人地舒适;所有生产者的名字都被收入发布会说明里)——就是一旦英国离开欧盟可能会受到威胁的那种企业——她歌颂他们的职业,以卓越的形式展示它们,表明这些传统和才干有多么重要,如果对它们坐视不理,将会带来多大损失。

Exacting gray jackets with squared-off (but not exaggerated) shoulders — it is possible to convey power through cut, not pads — flowed down on one side like a waterfall to the knee, trimmed with “Made in England” selvage. Brontë heroine tea dresses in blurred watercolor rose prints on duchess satin were caught at the waist with a double-wrapped studded leather belt. Leather and satin were whorled into roses — the White Rose of York, the Red Rose of Lancaster — at the waist and upper arm.

肩部呈方形(但不夸张)的细致灰色夹克表明,可以通过剪裁来传达力量,而不是通过垫肩,它的侧面像瀑布一样垂到膝盖,装饰着写有“英格兰制造”的织边。勃朗特小说女主角式的茶会裙用公爵夫人缎制成,上面是模糊的水彩玫瑰印花,腰部用双包钉皮带扣住。皮料和缎子在腰部和上臂上被旋转成玫瑰——约克的白玫瑰,兰开斯特的红玫瑰。

A sheath was made of strips of knit studded with silver dressmaker snaps. Lace had within it an entire moor’s worth of wildlife: owls and cormorants, sea gulls and worker bees. The machinery of industry with its metallic gleams became a sheer tulle dress glinting with tiny silver chains and found treasures. Every choice had meaning.

一件紧身衣由缀有银色裁缝扣的编织带制成。蕾丝映衬着各种各样的野生动物:猫头鹰和鸬鹚、海鸥与工蜂。带着金属光泽的工业机器变成了一件薄纱连衣裙,上面有细小的银链和珍宝在闪烁。每一个选择都有意义。

It was a paean (a wearable one) to the England that was, an England of the mind and myth, an England that maybe could be, or perhaps will never be, again.

这是对英国的一曲(可以穿在身上的)赞歌,一个充满思想与神话的英国,一个也许本可以有的英国,或一个也许永远不会有的英国。

An acknowledgment that in this case, as in all these cases, we must bide our time in anticipation, waiting to find out what happens next.

这是在承认,在这种情况下,就像在所有情况下一样,我们必须期待未来时机成熟的那天,观望接下来将会发生什么事情。

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