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香奈儿“老佛爷”去世:他塑造了现代奢侈时尚产业

  Karl Lagerfeld, the designer with the most outstanding creative achievements in the 20th and 21st century, who shaped the prototype of the modern luxury fashion industry in his career, died at the age of 85.

  20和21世纪创作成就最为卓著、在职业生涯中塑造了现代奢侈时尚产业原型的设计师卡尔·拉格斐(Karl Lagerfeld)去世,享年85岁。

  Chanel announced his death on Tuesday.

  香奈儿(Chanel)于周二宣布了他的死讯。

  He represents the soul of fashion better than anyone I know: never stop, look forward, and stare eagerly at our changing culture, said Anna Wintour, editor-in-chief of Vogue Magazine ) Commented Lagerfeld like this at the 2015 British Fashion Awards.

  “他比我认识的任何人都更能代表时尚的灵魂:永不止步,目光向前,如饥似渴地关注着我们不断变化的文化,”《Vogue》杂志美国版主编安娜·温图尔(Anna Wintour)在2015年英国时尚大奖(British fashion Awards)颁奖礼上这样评价拉格斐。

  Lagerfeld has been the creative director of Chanel since 1983 and the creative director of Fendi since 1965. He has also created his own brand. He has been synonymous with fashion multilinguals and can use multiple different at the same time. The vocabulary of the brand (not to mention the language itself: he can read English, French, German, and Italian).

  拉格斐从1983年起担任香奈儿的创意总监,从1965年起担任芬迪(Fendi)的创意总监,还创立了自己的品牌,他一直是时尚多语者的代名词,可以同时用多个不同品牌的语汇表达(更不用说对语言本身了:他能阅读英语、法语、德语和意大利语)。

  Most of his peers have retired, spending time on yachts or country houses, but he still designs an average of 14 new collections every year from haute couture to high street products. This does not include cooperation and special projects. . His combination of "high-end fashion and high-end Camp" has become a personal icon, attracting Rihanna, Princess Caroline of Monaco, and International Monetary Fund (IMF) president Christina La Christine Lagarde and Julianne Moore.

  他的同龄人大都已经退休,在游艇上或乡间别墅里打发时间,他却在耄耋之年依旧平均每年设计从高级定制时装到高街产品的14个新系列,这还不包括合作和特别项目。他对“高端时尚和高端坎普”的结合已经成为个人标志,吸引了蕾哈娜(Rihanna)、摩纳哥卡罗琳公主(Princess Caroline of Monaco)、国际货币基金组织(IMF)总裁克里斯蒂娜·拉加德(Christine Lagarde)和朱丽安·摩尔(Julianne Moore)等人。

  When you work, ideas come naturally, he said backstage at a Fendi conference at the age of 83. Therefore, Lagerfeld never stopped writing. He is also a photographer and his work has been exhibited at the Pinacotheque de Paris; he is also a publisher and founded the Edition 7L brand at Steidl; in 2002, he wrote a popular diet book " The Karl Lagerfeld Diet tells how he lost 92 pounds.

  “当你工作的时候,想法自然会出现,”83岁时,他在一场芬迪发布会的后台说。因此,拉格斐从未停止创作。他同时还是摄影师,作品曾在巴黎美术馆(Pinacotheque de Paris)展出;他也是出版人,在Steidl出版社创办了Edition 7L品牌;2002年,他写了一本很受欢迎的饮食书《卡尔·拉格斐节食法》(The Karl Lagerfeld Diet),讲述了他是如何减掉92磅的。

  However, his greatest professional mission is the compiler of his own myth.

  然而,他最大的职业使命是自身神话的编纂者。 纽约时报中英文网 http://www.qqenglish.com

  Sunglasses, dusting ponytails, black jeans, mittens, stiff collars, Chrome Hearts jewelry and obsessive-drinking Diet Coke. This is the "caricature image" he also agrees with. , He enjoys a high international reputation-and is also highly controversial-so that in 2014, he partnered with American toy maker Mattel to launch a "Carl Barbie" for less than $ 200 Sold out in hours.

  墨镜、扑粉的马尾辫、黑色牛仔裤、露指手套、硬挺的衣领、克罗心(Chrome Hearts)珠宝和强迫症般不停喝着健怡可乐,这就是他自己也认同的“漫画形象”,他享有极高的国际声誉——同时也备受争议——以至于2014年,他与美国玩具制造商美泰公司(Mattel)合作推出售价200美元的“卡尔芭比娃娃”,不到一个小时就销售一空。

  He described him in a variety of ways, including "genius", "emperor" and "overvalued." His contribution to fashion is not about creating a new image like designers like Cristobal Balenciaga, Christian Dior and Coco Chanel .

  对他的描述五花八门,有“天才”、“皇帝”,也有“被高估的”。他对时尚的贡献并不是像克里斯托瓦尔·巴伦西亚加(Cristobal Balenciaga)、克里斯汀·迪奥(Christian Dior)和可可·香奈儿(Coco Chanel)这些设计师那样,创造出一个新的形象。

  He created a new designer: the deformer.

  他创造的是一种新的设计师:变形者。

  Specifically, as a creative force, come to the top of a long-established brand, transform it by identifying the brand's clothing symbols, and then inject appropriate disrespect and a small amount of pop culture into it to make the brand integrate into the present .

  具体来说,就是作为一股创造力量,来到一个历史悠久的品牌的最高层,通过识别品牌的服装符号来对其进行改造,然后为之注入适当的不敬和少量流行文化,令品牌融入当下。

  He didn't say that exactly. He said: "Chanel is a system, you have to treat the system like a prostitute-and then you get something from her."

  他并没有确切地这么说。他说的是:“香奈儿是一个体制,你必须像对待妓女一样对待体制——然后你从她那里得到一些东西。”

  Today, this method is almost daily in the industry, but before Lagerfeld was hired by Chanel, the brand was gradually becoming insignificant and suspended by a lot of perfumes and cosmetics. His idea was brand new and surprising. of.

  如今这种方法在业内几乎已属日常,但在拉格斐被香奈儿聘用之前,这个品牌正逐渐变得无足轻重,被一大堆香水和化妆品架空,他的这种想法是崭新的、令人吃惊的。

  He dared to act and achieved varying degrees of success over decades, which not only improved Chanel's financial situation (now its annual income is reportedly more than $ 4 billion), but also changed his own image.

纽约时报中英文网 http://www.qqenglish.com/

  他敢于采取行动,并在数十年的时间里取得了不同程度的成功,这不仅改善了香奈儿的财务状况(现在它的年收入据称超过40亿美元),也改变了他自己的形象。

  This also opened up a new path for later designers, from Tom Ford (he also transformed Gucci) to John Galliano (Dior), Riccardo (Riccardo) Tisci) and Tomas Maier.

  这也为后来的设计师们开辟了一条新道路,从汤姆·福特(Tom Ford,他同样改造了古驰)到约翰·加利亚诺(John Galliano,迪奥)、里卡多·蒂西(Riccardo Tisci,纪梵希)和托马斯·迈尔(Tomas Maier,宝缇嘉)。

  Those who want to belittle Lagerfeld refer to him as a "stylist": a designer who recreates clothes by reusing what has already been created, without creating anything new. But Lagerfeld refused to treat fashion as art and designers as painful geniuses. His goals are more opportunistic.

  那些想贬低拉格斐的人把他称为“造型师”:一个通过重新利用已有的东西来创造穿搭造型的设计师,并没有创造任何新东西。但拉格斐拒绝将时尚视为艺术,拒绝将设计师视为痛苦的天才。他的目标更加机会主义。

  He once said, "I want to be a transnational fashion phenomenon composed of one person."

  他曾经说过:“我想成为由一个人构成的跨国时尚现象。”

  In fact, only those master-level mottos that he frequently utters can be compared with his fashion works-in 2013, his famous collection was published as "The World According to Karl".

  事实上,能与他的时装作品媲美的,只有他频频吐露的那些大师级的格言——2013年,他的名言集结出版为《卡尔眼中的世界》(The World According to Karl)一书。

  Some of these masterpieces: "Sweat pants are a sign of failure" and "I am very down to earth, just not the earth."

  其中一些杰作:“运动裤是失败的标志”和“我非常脚踏实地,只不过不是地球的地。”

  It doesn't matter if his claims are correct (in any case, they are conceptually correct, or right when they are said). For Lagerfeld, truth may be an alternative concept. He likes to create and process his past. For example, his birth year is controversial: Is it Chanel's 1938, or is author Alicia Drake's 1933 asserted in a book? Or is it what he called 1935 in a 2013 interview with Paris Match magazine? (The Hamburg Genealogical Society says that he was born on September 10, 1935.)

  他的说法是否正确并不重要(无论如何,它们在概念上是正确的,或者在说的时候是正确的)。对拉格斐来说,真相可能是一个可以替代的概念,他喜欢对自己的过去进行创造加工。比如,他的出生年份就存在争议:是香奈儿认为的1938年,还是作家艾丽西亚·德雷克(Alicia Drake)在一本书中断言的1933年?抑或是他在2013年接受《巴黎竞赛画报》(Paris Match)杂志采访时所说的1935年?(《汉堡宗谱学会》[Hamburg Genealogical Society]说,他生于1935年9月10日。)

  His personal preferences are a vast and ever-changing combination, including all ages, people, and disciplines. His biggest fear is boredom. His conversation (or monologue) took a breath from Anita Ekberg to play at the Trevi Fountain, and jumped to the rich woman in the 1920s sleeping under a ferret quilt before jumping to Danish fairy tale illustration Home Kay Nielsen. His own death was his only blind spot, and he refused to acknowledge its existence.

  他的个人喜好是一个不断变化的庞大组合,包括各种年代、各种人、各种学科。他最大的恐惧就是无聊。他的谈话(或独白)一口气从安妮塔·埃克伯格(Anita Ekberg)在特雷维喷泉边嬉戏,跳跃到1920年代的富家女子睡觉时盖白鼬皮被子,再跳到丹麦童话插画家凯·尼尔森(Kay Nielsen)。他自己的死亡是他唯一的盲点,他拒绝承认其存在。

  As he stated in the 2008 documentary "Lagerfeld Confidential", "I don't want to be a real person in someone's life, I want to be a phantom."

  正如他在2008年的纪录片《拉格斐机密》(Lagerfeld Confidential)中所说,“我不想成为别人生活中的真实人物,我想成为一个幻影。”

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