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爱马仕如何变废为宝

更新时间:2014-6-4 12:07:29 来源:华尔街日报中文网 作者:佚名

Hermes Spins Castoffs Into Quirky Line
爱马仕如何变废为宝

It is an awfully strange recycling program. Here in this working-class Paris suburb, rejected leather pelts, broken bits of porcelain, decapitated crystal goblets and strips of silk scarves are being assembled into pricey objets d'art.

这是一个极其奇特的废物再利用项目。在这个工薪阶层聚居的巴黎郊区,废弃的毛皮、破损的瓷片、没有了杯身的水晶高脚杯以及一条条丝巾被组配成了价格昂贵的艺术品。

Each shard, strip and skin comes from an Hermes product that failed to make it through the company's famously persnickety design scrutiny. A felt-and-leather file folder came from the handles of a never-finished Birkin bag. A horse sculpture is covered in purple crocodile in a discontinued shade. Cockamamie candleholders are assembled from porcelain Fil d'Argent-pattern tea cups and coffee mugs that have been attached to crystal wine stems.

每一片碎瓷片、每一块布料、每一张皮料都出自未能通过爱马仕(Hermes)出了名地挑剔的设计审查的产品。一个毛毡与真皮材质文件夹的原料出自一只未能最终完工的柏金包(Birkin bag)的提手。一件马匹雕塑表面覆裹的是色彩不连贯的紫色鳄鱼皮。至于那些造型奇异的烛台,它们是由银链图案的陶瓷茶杯与咖啡杯安在水晶酒杯的杯脚上组合而成的。

The concept is the brainchild of Pascale Mussard, a member of the often eccentric Hermes clan. A bit of a magpie with a distaste for waste, the 57-year-old collected flotsam and jetsam while working at her family's factories in various jobs, including co-creative director. She started Petit h, a collection of artful objects made from castoffs, four years ago.

这些设计理念是爱马仕家族成员帕斯卡莱·米萨尔(Pascale Mussard)的创意。今年57岁的米萨尔是爱马仕创始人蒂埃里·爱马仕(Thierry Hermes)的曾曾曾外孙女,常会做出一些特立独行之举。她喜欢收藏零碎之物、讨厌浪费,在其家族旗下的作坊担任过不同职位(包括联席创意总监一职),期间她收集了一些零碎什物。四年前创立了Petit h——一个以废弃物打造艺术品的产品系列。(“h”这个字母的发音为“ahsh”。)

At the factory in March, Ms. Mussard -- great-great-great-granddaughter of company founder Thierry Hermes -- grasped a soft brown-dyed mink skin produced for the company's ready-to-wear clothing line. 'This didn't do well and they took it out of the collection,' she said. 'But it's beautiful.'

今年3月,米萨尔在工坊里拿起一块质地柔软的棕色貂皮,这块貂皮原本是要用于爱马仕成衣系列的。她说:“这块皮不大合适,他们把它剔除出来了,但是它很美。”

Behind her hung dozens of crocodile skins and leathers in a rainbow of colors. A nearby storage room was filled with boxes of belt buckles, zippers, luggage tags, rope and other materials that would no longer be used as originally intended. A tub of lace, labeled 'Gaultier,' came from the first clothing collection that Jean Paul Gaultier designed for Hermes in 2003. Artists are set loose amid this waste stream to conceive of ideas for the small atelier to develop.

在她的身后,悬挂着数十件色彩绚丽的鳄鱼皮和其他皮料。附近的一间储藏室放满了一盒盒皮带扣、拉链、行李标牌、绳索以及其他不会再用于原先意向用途的材料。其中有一批蕾丝贴着“Gaultier”的标签,它们原本是要用于让·保罗·高缇耶(Jean Paul Gaultier)2003年为爱马仕设计的首个时装系列的。艺术家们不受拘束地置身于这些废弃物中,构思创意让这间小小的作坊将它们生产出来。

'This is a laboratory,' Ms. Mussard said. Nearby, a half-dozen artisans clustered around a work table discussing how to assemble a new design for Petit h. (The 'h' is pronounced 'ahsh,' the way the French say the letter.)

米萨尔说:“这是一个实验室。”在不远处,五六名工匠簇拥在一个工作台旁,讨论着如何组配一件新设计品。

The designs can be kooky, but to anyone familiar with Hermes designs, they feel oddly familiar. For instance, a large orange bookcase, shaped like an angular squirrel from one angle, is made of steel encased in Togo calfskin once destined for Hermes leather goods.

这些设计可能会非常奇特,但是对于熟悉爱马仕设计的人而言,它们又有一种奇怪的熟悉感。例如,有一件橙色的大书架,它的形状从某个角度看上去像一只棱角分明的松鼠,它是以钢材覆裹原本要用于制作爱马仕皮具的多哥小牛皮制成的。

Petit h objects are as expensive as they are rare. Each item is either unique or produced in very limited quantities. The bookcase, titled 'Origami Squirrel Sculpture,' is priced at $112,400. An alligator and calfskin tablet case costs $8,250. A buffalo leather sailboat whose sail was once a 'Petit Duc' silk scarf is $10,200. A calfskin elephant is $58,200, while a crystal bowl is a relative bargain at $1,925.

Petit h系列产品的昂贵程度就如它们的稀有程度一般。每一件物品要么是独一无二的,要么就是产量非常之少。比如说那件名为“折纸风格松鼠雕塑”(Origami Squirrel Sculpture)的书架的售价就高达112,400美元。一个鳄鱼皮小牛皮平板电脑保护套价格为8,250美元。一件水牛皮帆船摆件的售价为10,200美元,它的船帆取材自一条“Petit Duc”丝巾。一尊小牛皮大象摆件要卖58,200美元,一只水晶碗的售价则相对实惠,只要1,925美元。

Unlike regular Hermes goods, Petit h items aren't widely distributed. They are sold regularly only at the Hermes store in Paris's St. Germain neighborhood, though there are traveling exhibits. In the second half of June, the Hermes store at South Coast Plaza in Southern California will display and sell Petit h objects. A few will be sold at hermes.com as well.

与普通的爱马仕商品不同,Petit h系列产品并不在各处销售。它们通常只在巴黎 日耳曼街区(St. Germain)的爱马仕专卖店出售,但是也会有流动的展销。在6月下旬,南加州南海岸广场购物中心(South Coast Plaza)的爱马仕专卖店将展出和销售Petit h产品。此外,有一些Petit h系列产品还将在hermes.com销售。

The quirkiness of Petit h might seem jarring to people who think of Hermes as a maker of Kelly bags and pricey scarves. Hermes's profit margins are among the highest in luxury goods, and the company -- whose customers tend to be among the world's wealthiest -- has been more insulated against economic downturns than rivals such as LVMH. Its sales rose 7.8% last year to 3.75 billion euros ($5.13 billion). Though publicly traded, the company is controlled and operated by the family.

对于认为爱马仕就是生产凯莉包(Kelly bag)和昂贵丝巾的人而言,Petit h的古怪特色或许显得有些格格不入。爱马仕的利润率在奢侈品界居于最高之列,而且该公司——其客户通常都是那些全球最富裕人士——一直较路威酩轩(LVMH)等竞争对手更能抵抗经济衰退的影响。其去年的销售额上升了7.8%,达到37.5亿欧元。虽然它是一家上市公司,但它仍由爱马仕家族控股和管理。

But the broader ethos of the company is apparent in its flagship stores. They are stuffed to the brim, like peculiar department stores, with beach towels, jewelry boxes, sports equipment, sculpture and even equestrian saddles and bridles, all finished with a penchant for artisanal perfection that borders on pathological. The Petit h boutique within the Paris flagship amplifies that reverence for craftsmanship with gallery-like displays of objets d'art.

不过,爱马仕的基本特质在其各家旗舰店中还是显而易见的。这些专卖店塞满了爱马仕的产品,它们就像独特的百货商场一样,出售沙滩巾、首饰盒、运动装备、雕塑甚至还有马鞍和马缰,它们全都体现出一种对完美工艺接近于病态的追求。巴黎旗舰店内的Petit h精品店像画廊一样陈列着各色艺术品,更是强化了对工艺的敬重。

Petit h 'expresses the values most dear to Hermes,' says Pierre-Alexis Dumas, Hermes's artistic director and Ms. Mussard's cousin. He adds that it remains 'faithful to the artisan spirit of the house using exceptional discarded materials to create and reinvent beautiful objects full of fantasy which are unusual.'

爱马仕艺术总监、米萨尔的表弟皮埃尔-亚历克西斯·杜马斯(Pierre-Alexis Dumas)称,Petit h“表达了爱马仕最珍视的价值观”。他还说:“(它)利用独特的废弃材料设计及重新打造充满奇思的别具一格的精美物品,依然是忠于爱马仕的手工艺精神的。”

Petit h also allows Hermes to boast -- as the company does on its website --'We don't throw anything away.' (The company does have other re-use efforts. For instance, scarves with very tiny defects are shredded and used to stuff pillows.)

Petit h也给了爱马仕自夸的资本——爱马仕在其网站上便是这样做的——“我们不浪费任何东西。”(该公司确实也有其他的废物再利用行动。例如,有极其细微瑕疵的丝巾会被剪成碎片用于填充枕头。)

The recycling message reverberates today, but Ms. Mussard attributes the concept of frugality to her mother, who grew up during World War II. 'We saved everything,' she says. Her mother insisted the family finish yesterday's bread before starting on a fresh loaf. 'By that time the (new) loaf was no longer fresh,' says Ms. Mussard.

回收利用的观念在当下有着深远的影响,不过米萨尔把自身节俭的理念归于她成长于二战期间的母亲。她说:“我们什么都要节省。”她的母亲一定要让一家人在吃新鲜面包之前先把前一天的面包吃完。米萨尔说:“到那个时候(新)面包也不新鲜了。”

Years later, Ms. Mussard would wince as she witnessed defective Hermes products being destroyed so that they couldn't be sold as seconds or on the black market.

多年之后,米萨尔在看到有瑕疵的爱马仕产品被毁掉以使它们不会被当作次品或在黑市上出售时,她都会皱眉蹙额。

Ms. Mussard ferreted boxes of useful detritus out of Hermes factories for years. Then she met Gilles Jonemann, a jewelry designer working under his own name who held no reverence for Kelly bags or silk scarves. 'I knew nothing about Hermes,' Mr. Jonemann says, 'except for things I didn't like.'

多年来,米萨尔从爱马仕作坊找出了一箱箱有用的废弃品。后来她遇到了吉勒·若内曼(Gilles Jonemann),后者是一位拥有自有品牌的珠宝设计师,他对凯莉包或丝巾没有丝毫敬意。他说:“我对爱马仕一无所知,除了那些我不喜欢的爱马仕产品。”

When she asked him to work secretly for a year, without pay, he helped her squirrel more rejects out of Hermes factories in the trunk of his car. Together, they created 100 prototypes, many of them whimsical. With a broken teapot, Mr. Jonemann said, 'We'll make a lamp.' He added wings and hung it so the pot would seem to fly. They made a tall leather-covered camel and named it 'Raul.'

当米萨尔邀请若内曼无薪秘密工作一年时,他用他的汽车后备箱帮助她从爱马仕作坊运出并保存了更多废弃品。他们一同设计了100件样品,其中有许多风格颇为奇特。若内曼说,对于一件破损的茶壶,“我们会把它做成一盏灯”。他还给它加上了双翅并把它挂起来,这样一来它看上去像要飞翔的样子。他们还制作了一件高高的真皮裹面骆驼摆件,并把它取名为“劳尔”(Raul)。

When she took the concept of selling Petit h goods to her family, Ms. Mussard read her written proposal verbatim because she was so nervous to stray from the paper. 'I said, I have a project and you cannot say no. I know you all think I'm crazy,' she says. The family agreed to test the concept, though she had to find legal means to re-use the previously copyrighted products. (Artists hired by Hermes own the copyright to their designs.) 'The lawyers said, 'Impossible!' she recalls. She met with artists to seek their permission.

在把销售Petit h产品的想法介绍给家族成员时,米萨尔是逐字逐句照着写出来的计划书念的,因为她太紧张了,无法脱离文稿。她回忆道:“当时我说,我有一个项目,你们不能拒绝。我知道你们都觉得我疯了。”其他家族成员同意试试这个想法,但是她还得找到重新利用这些之前已有版权归属的产品的合法途径。(受雇于爱马仕的艺术家拥有其设计的版权。)她回忆说,当时律师答道,“绝无可能!”后来她与各位艺术家见面寻求他们的授权。

These days, there is no more sneaking around. 'Now,' she says, 'the factories save leftovers for me.'

现如今,她再也不用偷偷摸摸了。她说:“现在,各家作坊都会替我把残余品保留下来。”

The artisans were selected by Ms. Mussard to join the Petit h atelier after proving themselves at Hermes's larger factories. One spent 20 years making prototypes for leather collections, another made suitcases, and yet another came from the repair department, where he learned to identify design flaws. There are silversmiths, and a seamstress who is learning leather work.

一些在爱马仕的大型作坊证实了自身能力的工匠被米萨尔选至Petit h的工作坊。其中一名工匠曾制作了20年的皮具样品,另一位则是制作行李箱的,还有一位来自修补部门,他在那儿学会了识别设计瑕疵。此外还有多名银匠和一名学习皮革制作的女缝工。

The objects created at Petit h must be made to Hermes's standards. When asked if a thin leather shelf was wrapped around cardboard, Ms. Mussard replied, 'No, it's Hermes. We never use cardboard.'

Petit h生产的产品必须要符合爱马仕的标准。在被问及一块薄薄的真皮搁架是否是以纸板裹以真皮制成时,米萨尔答道:“不是,这是爱马仕。我们从来不用纸板。”

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