里卡爾多蒂希 他拯救了紀(jì)梵希

Riccardo Tisci is sitting at a table in the parquet-floored showrooms of Givenchy in Paris,contemplating his upcoming 10-year anniversary. “Itseems like yesterday,” says the designer, a swarthy40-year-old who is today sporting a slight pepperingof stubble and short, cropped hair.

里卡爾多•蒂希(Riccardo Tisci)端坐在巴黎紀(jì)梵希(Givenchy)總部鑲花地板的陳列室里的桌子旁，想著即將到來(lái)的自己擔(dān)任紀(jì)梵希創(chuàng)意總監(jiān)的10周年紀(jì)念。“一切就像發(fā)生在昨天的事，”皮膚黝黑的設(shè)計(jì)師如是說(shuō)，他今年已屆不惑之年，今天的他理了一頭稍顯濃密而又粗硬的短平發(fā)。

Emotionally, maybe, but times have changed. In 2005, Givenchy was on the verge ofbankruptcy, and the atelier reeling from successive design appointments that had seen JohnGalliano, Alexander McQueen and Julien Macdonald enter and exit the building within years ofeach other. “I had to cross the street to use the public photocopier because there wasn’t aworking one in the Givenchy studio. We didn’t have the money.”

從情感上講或許是如此，但如今的紀(jì)梵希早已今非昔比。2005年，紀(jì)梵希瀕臨破產(chǎn)，當(dāng)時(shí)的設(shè)計(jì)室因幾任設(shè)計(jì)總監(jiān)如走馬燈似地更換而“風(fēng)雨飄搖”，幾年里，它先后“迎來(lái)送往”了約翰•加里亞諾(John Galliano)、亞歷山大•麥昆(Alexander McQueen)以及朱利安•麥克唐納(Julien Macdonald)等多位設(shè)計(jì)總監(jiān)。“我不得不到街對(duì)面去使用公用復(fù)印機(jī)，因?yàn)榧o(jì)梵希設(shè)計(jì)室沒(méi)有一臺(tái)能正常使用，我們當(dāng)時(shí)連維修的錢都沒(méi)有。”

No one expected much then of LVMH’s signing, a streetwise Italian in jeans and sneakers whohad studied at Central St Martins in London and staged only two collections under his own label,in Milan. “They called me ‘goth’,” says Tisci, speaking quickly in a strongly accented English thatis nuanced with Londonisms and regularly defers to people as “baby”.

那時(shí)沒(méi)人看好這位路威酩軒(LVMH)新簽入的街頭浪子模樣的意大利設(shè)計(jì)師。他穿著牛仔褲與運(yùn)動(dòng)鞋，畢業(yè)于倫敦中央圣馬丁藝術(shù)設(shè)計(jì)學(xué)院(Central St Martins)，之前只在米蘭舉行了兩場(chǎng)自創(chuàng)品牌的發(fā)布會(huì)。“時(shí)裝圈稱我是‘哥特人(野蠻人)’，”蒂希說(shuō)，他的語(yǔ)速很快，說(shuō)的英語(yǔ)口音很重，與倫敦腔英語(yǔ)有些差別，經(jīng)常尊稱別人為“baby”。

“Tom Ford was doing sexy and glam, and I was doing goth. I was very dark. And the presskilled me.” He pauses. “It’s OK,” says, flicking the tip of an American Spirit into a nearbyashtray. “The same people that hated me then . . . After six years, they came.”

“湯姆•福特(Tom Ford)走的是性感和華麗路線，而我則是哥特式的設(shè)計(jì)風(fēng)格，我非常崇尚黑色。當(dāng)時(shí)媒體把我說(shuō)得一無(wú)是處。”他停了一會(huì)兒然后又說(shuō)，“不過(guò)沒(méi)關(guān)系，”并把American Spirit煙灰輕輕彈進(jìn)一旁的煙灰缸。“當(dāng)時(shí)對(duì)我口誅筆伐的同一波人……六年后，反過(guò)來(lái)對(duì)我大唱贊歌。”

Tisci’s quiet direction, determined work ethic and intuitive brilliance have since transformedGivenchy, re-energising the fabled couture house founded by Hubert de Givenchy in 1952, andturning it into a profitable business (exact figures are frustratingly buried within the LVMHgroup’s aggregated financial statements).

蒂希穩(wěn)重不張揚(yáng)、堅(jiān)持不懈的行事風(fēng)格以及超常的直覺(jué)徹底改變了紀(jì)梵希，讓這家于貝爾•德•紀(jì)梵希(Hubertde Givenchy)于1952年創(chuàng)建、富有傳奇色彩的高級(jí)時(shí)裝品牌重?zé)瞬鷻C(jī)，并成為財(cái)源滾滾的品牌(讓人掃興的是：其準(zhǔn)確財(cái)務(wù)數(shù)據(jù)則淹沒(méi)在路威酩軒浩繁的總財(cái)報(bào)中)。

Today, his influence reaches from the Holly­wood red carpet – Cate Blanchett, Rooney Mara andRihanna are all devotees of his darkly sensuous gowns – to the street: Givenchy printed sweatsfeaturing totems of popular culture have become mandatory uniform among the louche-luxeweekend set.

如今，他的影響力已經(jīng)如日中天，從好萊塢(凱特•布蘭切特(Cate Blanchett)、魯妮•瑪拉(Rooney Mara)到蕾哈娜(Rihanna))的紅地毯到尋常阡陌：印有流行文化標(biāo)識(shí)的紀(jì)梵希運(yùn)動(dòng)衫已成為離經(jīng)叛道奢侈一族的周末必備行頭。

In 2008, he launched a highly successful menswear line. In 2012, he stopped showing couture.In September, he enshrined Kim Kardashian’s status as a fashion idol when he designed thereality star’s wedding dress. Elsewhere, his recent collaborations with Nike, a take on the AirForce 1 trainers he has worn since childhood, have offered kids a slice of Tisci cool with a bitmore bounce for their buck.

2008年，他推出了風(fēng)靡一時(shí)的男裝系列。2012年，他不再舉辦高級(jí)定制時(shí)裝發(fā)布會(huì)。今年九月，他為真人秀明星金•卡戴珊(Kim Kardashian)設(shè)計(jì)婚紗裙后，一下子讓對(duì)方升格成了時(shí)尚偶像。此外，他最近與耐克(Nike)聯(lián)手推出了Air Force 1復(fù)制版運(yùn)動(dòng)鞋(他從孩提時(shí)代就穿該鞋)，既賦予了孩子們一絲蒂希式的時(shí)尚感，更給他們?cè)鎏砹诵┰S青春狂野味。

This democratic, provocative, disarming, often moody refocus of a label once synonymouswith refined elegance and a rarefied clientele, has been fundamental to Tisci’s vision. Hemakes no apology for it. Furthermore, he argues, his Givenchy reflects the same sensibility ofits patrician founder.

紀(jì)梵希這個(gè)時(shí)尚品牌曾經(jīng)與精致優(yōu)雅以及極少數(shù)高端客戶為伴，如今它重新以平民化、刺激性、愜意感以及情緒化為重點(diǎn)，它是蒂希的核心設(shè)計(jì)理念。他沒(méi)有對(duì)此表示出一絲“悔改”，更有甚者，他堅(jiān)稱自己設(shè)計(jì)的紀(jì)梵希與貴族家庭出生的創(chuàng)始人于貝爾在情感上是一脈相承的。

“Givenchy was one of the chicest of the luxury labels,” says Tisci. “But Hubert had a dark side.I discovered that when I went down to the archives. In the 1950s you couldn’t express thatdarkness, but you could see the severity of the design and I was attracted to it. We broughtthe street to the label, and made Givenchy more honest and real.”

“紀(jì)梵希曾是最為時(shí)尚的奢侈品牌之一，”蒂希說(shuō)。“但于貝爾內(nèi)心有黑暗情節(jié)，我是在研讀相關(guān)檔案時(shí)發(fā)現(xiàn)這一點(diǎn)的。上世紀(jì)50年代，你無(wú)法直接表達(dá)這種‘黑暗情節(jié)’，但可以感同深受時(shí)裝的莊重感，我對(duì)此則癡迷不已。我們?cè)橙×藢こＩ钤?，讓紀(jì)梵希變得更為純粹與真實(shí)。”

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Walk into a Givenchy store today, as one can, in Chongqing, China, or Kuwait, or most recentlyLas Vegas, and you will find £400 polo shirts with £250 chain-ring earrings and £4,000butterfly-printed silk chiffon dresses next to £500 sneakers: Tisci’s high-low fashion has beenkey to the brand’s alchemy.

如今走進(jìn)任何一家紀(jì)梵希門店，不管是在中國(guó)的重慶、科威特，還是在(最新開(kāi)設(shè)門店)美國(guó)的拉斯維加斯，都能看到運(yùn)動(dòng)鞋(售價(jià)500英鎊)是和環(huán)鏈耳環(huán)(售價(jià)250英鎊)及印有蝴蝶圖案的真絲雪紡連衣裙(售價(jià)4000英鎊)，和與之搭配的開(kāi)領(lǐng)短袖襯衫(售價(jià)400英鎊)擺放在一起：蒂希的高低檔時(shí)裝混搭式銷售一直是紀(jì)梵希暢銷世界的絕招。