「什麼都好，時尚必須結合現代科技」--時尚老佛爺Karl Lagerfeld

Chanel藝術總監Karl Lagerfeld因病逝於巴黎的消息，讓無數人驚愕悲慟。作為人們心目中時尚代表的他，總是熱衷觀察世界變化的每一秒，這就是全能鬼才Karl Lagerfeld走在潮流尖端，甚至掀起時尚風潮的秘訣。

Before you read

Karl Lagerfeld
卡爾拉格斐
1933年9月10日 — 2019年2月19日

WHO

香奈兒藝術總監，縱橫時尚界60多年，卡爾拉格斐曾在1983年Chanel發展低潮時，投身 Chanel 一舉將品牌地位拉抬到時尚精品的高點，成為時尚圈傳奇性的人物。

WHAT

2004年Karl Lagerfeld帶領精品時尚的Chanel與平價快時尚品牌 H&M 攜手合作，精準在第一時間抓住市場消費者的品味動向，靈敏的商業嗅覺與藝術鬼才兩不相誤的他，受到業界同行崇敬。

HIGHLIGHT

永遠的黑墨鏡、皮手套與低馬尾，再搭上全套黑西裝，這樣的打扮成為Karl Lagerfeld的代名詞。卡爾以不變應萬變的形象展現給世人，時尚設計上卻從不設限，總是盡情展現時尚變化萬千的華麗面貌。

時尚貓奴

身為時尚巨人的Karl Lagerfeld，也是個不折不扣的貓奴，奢華的寵貓方式更是讓人驚嘆，不僅帶著貓咪Choupette乘坐私人飛機，還聘專屬侍女來照顧Choupette，並曾玩笑說：「如果可以，我想和自己的貓結婚！」

訪談節錄 

節錄自《女裝日報WWD》發布的特別訪談

Q. What inspires you? 
你一天能持續工作16小時，你的靈感都來自哪裡？

Everything. I am what people call a voyeur. I look at everything. I remember everything. I can redo things my way because a bad idea of somebody else can give you a good idea. I am like a building with an antenna that captures everything. I want to know everything. I read every magazine. I want to be informed. I think that's exciting about fashion. You look at paintings from whatever century, but you can only date them by the clothes. That means fashion is important.

所有的事物！我就是人們口中說的偷窺者，我偷看整個世界，記住並重新以我的方式呈現出來，因為別人糟透的想法說不定能給你好點子，我就像能接收所有訊號的天線。我想瞭解所有事情，我閱讀每一本雜誌，我渴望新知。我認為時尚令人振奮，因為當你去欣賞那些不知道是哪個年代的畫作時，你只能從畫中的服裝來判別年代，這正是時尚重要的原因。

Q. Are there any subjects or genres that do not interest you?
大家都知道你的興趣廣泛，那有不感興趣的東西或風格嗎？

You never know where good photography is. I love to do architecture. It's interesting for a designer to do photos, because if not, you are isolated in your studio after you do a collection. Doing photos, doing advertising, you meet with other people. You are not isolated. The worst thing in fashion, which was the case with couture in the past in France, is the ivory tower. I think that's like a cemetery. I am very much against it.

你永遠都不知道好的攝影會出現在哪。我喜歡拍攝建築物，我認為時尚設計師從事攝影是很有趣的事情，因為這樣他們就不會成天待在工作室裡埋頭設計，而斷了與外界的連結。不管是攝影還是做廣告，你認識不同的人，沒有被孤立於花樣世界之外。時尚最糟的事情，也是過去法國高級時裝的問題，正是設計被關在象牙塔中，這就跟挖個坑，把設計埋進墳墓沒兩樣，我非常反對這樣的風氣。

Q. What's the role of couture today?
你對高級時裝在時尚界的定位有什麼樣的見解？

Somebody once said that couture was dead when someone closed their house. Apparently, it's not really true, because, in fact, there are more clients for couture than there were 20 years ago. The clients look like models. They could buy ready-to-wear and buy it because some of the ready-to-wear today has the prices of couture in the past. There are so many new worlds and so much new money. They're interested in it because they discover it.

有人說，高級時裝屋關門大吉的那一刻，高級時裝就死亡了。這顯然不是真的，因為願意買高級時裝的顧客比20年前還多。這些顧客穿得像模特兒，他們買成衣，因為目前某些成衣價格和過去的高級時裝差不多。世界有許多來自不同領域的人，都有意將錢投資到高級時裝的產業。他們之所以有興趣是因為他們才剛發現了這個產業。

I think couture has a real reason to exist in a limited way, like Chanel or Dior, because they have a real couture house organization. Small designers who don’t have a real organization should do expensive ready-to-wear, because couture is not just the same dresses made-to-order, but it’s also the presentation, the fittings, the whole thing that goes with it. There is something mythical about it that cannot be improvised. You can make very good clothes at home on a limited scale but a real couture organization…there are very few left.

我認為高級時裝有必要以小範圍的方式存在，像是在Chanel或Dior製作，因為這些品牌有專門的高級時裝屋。但對於沒有這樣組織結構的小設計師來說，應該要朝向製作高級成衣的路線，因為高級時裝並不能被制式生產。高級時裝重視呈現、試裝以及整體的經驗，其神秘之處是無法隨意創造出來的。你也許可以在家中小規模地製作美麗的衣服，但真正的高級時裝屋已經不多見了。

Q. How important is it, do you think, to leave Paris for a collection?
Chanel近年將時尚伸展台搬離巴黎，甚至將整個伸展台搬到不同國家的海邊、森林和博物館，這樣大膽新奇的舉動吸足了眾人眼球，不禁讓人好奇，促成這個創舉背後的原因及重要性是什麼？

It's very important to do it in a very special way, because today, everything is shown on the Internet and on television. When you have a show with only a girl coming out of the door, crossing a runway, it's OK for fashion freaks but the public get bored very quickly. There has to be some magical surrounding. That's why I went to Scotland to this castle where Mary Stuart was born, and it was quite a magical moment. To do the opposite, next time, in a year, I will go to Dallas.

要用別的方式呈現其重要性，因為現今社會，所有的事情都能在網路或電視上曝光。當你主持一場時裝秀，卻只有模特兒不停從一扇門走到伸展台上，時尚怪胎很愛這模式，但一般民眾卻很快就產生審美疲勞，因此，華麗炫目的場地布置就顯得非常重要，這就是我們為什麼將伸展台搬到蘇格蘭的城堡，那是蘇格蘭女王瑪麗．史都華出生的城堡，那個當下十分美妙。接下來，我要反其道而行，像是我明年要去美國達拉斯辦秀。

You know why? First of all, I love Texas. I love Texans. There's another reason. When Chanel reopened, the French press was beyond nasty. The only press that understood it immediately was the American press, and Neiman Marcus gave her the Oscar for her collection, so I think it's a nice thing to go there.

你知道為什麼嗎？因為我愛德州，我愛德州人！另一個原因是當可可．香奈兒決定重新開業，法國媒體非常不待見，甚至可說是態度惡劣，唯一立刻表態支持的是美國媒體。此外，當時達拉斯的Neiman Marcus也頒了奧斯卡表揚她的時裝系列。所以，我認為我們有很好的理由去那裡辦時裝秀。

Q. Indulge us in a little bit of nostalgia. Tell us about Paris in the 70s and 80s and fashion.
談談有關懷舊70或80年代的巴黎吧！

The 80s were very different from the 70s. I prefer to forget about the 80s. In the 80s, I lived in Monte Carlo most of the time…because Paris with Mitterrand was not the most exciting place, either. The 70s were great in a way because it was careless, it was free… as long as you were young. It had something unpretentious. It was not about money. You never heard about money. Today you hear too much about money. We need it, but as a subject, it's not very funny. There was no red carpet, there were no 200 bodyguards for famous people. The cool thing was light, young, improvised and fresh. Today things are all overorganized.

70年代與80年代的風格截然不同，我傾向刻意避開80年代。我80年代大多時間人都在蒙地卡羅，當時由密特朗掌權的巴黎可不是個有趣的地方。70年代風格很棒，因為對年輕人來說很奔放，很自由。那是個毫不矯揉造作的年代，因為金錢絲毫不重要。現今社會，大家都太過關注金錢，我們是需要它，但僅僅是作為貨幣，真的很無聊。70年代沒有紅毯造型，沒有200個保鑣包圍名人。70年代整個造型輕鬆、年輕、隨興和鮮活，現在所有事物都太「規矩」了。

Q. Ten years ago, we talked about celebrities' impact on fashion. Ten years later, that's proven not to have been a passing fancy. What do you think the celebrity impact has been on fashion? Has it been good on fashion, bad for fashion?
名人對於時尚造成的影響是好還是壞？

I don't know if it has had an impact on the fashion department for the clothes, but certainly for the beauty and the fragrances, because the girls are great. You must admit. I can understand that everyone wants to look like them, but here's another thing: You talked about couture. If you give an actress a couture dress a woman had ordered, they cancel the dress in a second. Perhaps they are afraid that the husband compares and thinks that Nicole Kidman looks better in the dress, but I don't know. That's a very strange thing, no? The public who looks at television is impressed by the red carpet. The women who are in a kind of competition on the money side, who buy the dresses, don't see it the same way. But that's only limited to couture.

我不太清楚名人對於時尚服裝產業的影響，但確實大大改變了美學和香水業，因為大家都無法否認那些明星實在太美了。我也很能理解每個人都想打扮成那樣。但當名人與高級時裝相遇，就會發生其他問題：假設你今天將一件設計好的高級時裝給了知名演員，已經下訂同一件服裝的女人會在下一秒取消訂單，也許是因為她們很不想被老公比較，發現妮可．基嫚穿起來比自己好看。我不確定背後的原因，但這個現象確實很奇怪。受到電視觀眾都很愛紅毯造型的高級時裝，但對花大錢買高級時裝的女人們來說，事情不是這樣的，不過這個現象僅限於高級時裝。

Q. What are Karl Lagerfeld's three, or four, or five, steps to success?
可以跟我們分享你成功的秘訣嗎？

It's a whole staircase. I try to pay attention not to fall down, but with my black glasses it's not easy, because in fact I am shortsighted. To go down the staircase, I don't need it, and to go up I don't need it either, so I prefer to keep my glasses to watch everything, and make an effort not to fall. I think, step by step, sometimes you go two steps back, that's a healthy thing. Nobody has a one line career like this. That doesn't exist.

那是一整個階梯，我戴著墨鏡試著不要從樓梯上摔下來，這並不容易，因為我近視。事實上，我既不需要盯著上樓梯，也用不著盯著下樓梯。我傾向戴著墨鏡盯住所有動靜，盡量不讓自己跌倒，一步一步地走，有時候你會向後退個兩步，但這無所謂。畢竟沒有人職涯能一飛衝天，這種情節根本不存在。

Q. Do you think technology and the speed which things can happen today and the speed to market has enhanced our industry or to some degree has spoiled it?
你認為科技會促進時尚產業的發展，還是會破壞產業？

Oh, no, no, no. We couldn't do without it. Fashion has to use everything that's going on in modern technology; if not material or whatever. If not, it would be something from another area. Oh, no, no, no. Fashion is the same thing as everything else, like cars, and every kind of industrial more or less industrial products. There's nothing bad about that. I think it's very interesting, it's very exciting; and the materials we have today are 100 times better than the modest materials that were who sold as modern and interesting in the 60s. If you touch the clothes of the 60s, they were horrible.

噢，不！時尚不能與科技脫節，時尚必須結合現代科技，應用在布料或其他什麼都好。假如時尚真的與科技脫節，時尚會變成另外一個世界的東西。時尚就和其他產品一樣，像是汽車或其他工業產物，這並不是壞事，反而相當有趣且刺激。此外，我們現在使用的布料，比起60年代最潮又最新奇的用布好上100倍，有機會可以去摸摸看60年代的衣服，你會發現質料很糟。

編輯/Sybella Liu

本文收錄於英語島English Island 2019年3月號
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