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走进Raf Simons的时装屋
(2015-04-28 15:29:47)
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Inside Raf
Simons’s House
走进Raf
Simons的时装屋
BY JO-ANN FURNISS
本文来自T
MAGAZINE，采写：乔·安·弗尼斯
翻译：张朴
如转载中文翻译，请联系译者，版权所有
The designer talks about a new
film detailing the bumpy road to his first couture collection for
Dior — and the intimate relationship with the women of his
atelier.
Raf
Simons作为Dior的设计师和我们聊这部关于他和Dior的纪录片。这部电影用细节展示了Raf
Simons为准备自己的第一个Dior系列而走过的颠簸不平的道路，以及他在Dior的工作坊中和这里的女技师们建立起的亲密关系。
http://ww1/large/56fb5d50gw1erlb3gkixcj20dc0k0abo.jpgSimons的时装屋" TITLE="走进Raf Simons的时装屋" /> Raf
Simons and his longtime colleague Pieter Mulier inspecting a fall
2012 couture ball dress in Dior’s signature full-skirted silhouette
at the atelier flou.Credit Courtesy of Dior
Raf Simons和自己长期合作的同事Pieter
Mulier一道检视这条为2012年秋季系列制作的晚装裙——这条晚装裙在Dior的Flou工坊里展现，再现了具有Dior标志性的女装裙身的一个轮廓。（图片由Dior提供）
RAF SIMONS ISN’T good at hiding
his feelings. The Belgian designer who took over as creative
director at Dior three years ago, after running the minimalist
house Jil Sander, may seem intense and watch-spring tight, but his
emotions — fear, obsession, ecstasy — are instantly readable in his
steel-blue eyes and at the corners of his mouth. At one point in
“Dior and I,” the documentary by Frédéric Tcheng released this
month that traces Simons’s first eight weeks at the house and the
breakneck creation of his first couture collection for fall 2012,
he is so carried away by joy when a fabric-maker is able, at the
last minute, to perfect a challenging print based on the paintings
of Sterling Ruby that he holds back tears as he mouths the word,
“Sublime.”
Raf
Simons不善于掩饰自己的情感。这位比利时设计师，在结束了之前为极简主义品牌Jil
Sander的设计工作后，他在三年前，受命成为Dior的创意总监，这一转变也许显得密集，又另人翘首期待，但是他内心的情感——害怕，迷恋，狂喜——可以即刻从他冰蓝色的眼眸和从他嘴角传出的话语中获知。在这部由Frédéric
Tcheng拍摄，于今年四月上映的《Dior与我》（Dior and I）的纪录片中（这部纪录片聚焦了Raf
Simons为准备他的第一个Dior系列——2012年秋季系列，前八周在Dior工作的过程），从电影中的某一瞬间，我们能看到Raf
Simons被一种喜悦冲击的情态：在最后一刻，作为一个衣料制作者，当Raf Simons把从艺术家 Sterling
Ruby画作中汲取来的图案用到自己设计的衣料上面，变作完美的具有挑战性的图案的时候，我们看到Raf
Simons抑制住自己的泪水，从他的口中说出了“高尚而又非凡”一词。
http://ww3/large/56fb5d50gw1erlb7yhq7ij20go09dmyh.jpgSimons的时装屋" TITLE="走进Raf Simons的时装屋" />
It is the paradox of Simons’s
personality and talent — despite his reserve and shyness, he is
also collaborative and emotional — that is at the heart of the
film. That duality underpins as well the relationship he has
developed with Florence Chehet, 47, and Monique Bailly, 62, the
pair of premières who, respectively, run the atelier flou, where
Dior’s confectionary dresses are created, and the atelier tailleur,
which creates the meticulous suiting and fitted pieces. With their
mostly middle-aged workers, called “les petites mains” (the little
hands), many of whom have been sewing couture since they were
teenagers, the premières, one jolly, the other fretful, are the
unsung heroines of the film — and arguably the couture business
itself — laboring in crowded workrooms atop Dior’s historic Avenue
Montaigne mansion. The uninitiated may assume that clients rarely
have contact with the white-coated, unglamorous people who actually
hand-make the clothes, but through much of the process, Chehet and
Bailly are directly involved, sometimes flying to such places as
Doha, Dallas or St. Petersburg to do multiple adjustments on
garments that can easily cost $200,000 or more. Of all the French
design houses that started out with couture, only Chanel continues
to maintain its atelier in addition to ready-to-wear
operations.
Simons本身就是一个充满了矛盾感的人，他的个性与才华——虽然他似乎保守，害羞，但是他也充满合作感，且非常包含情感——这也是这部纪录片想表现的内核。这一“二元性”在电影中通过Raf
Simons和两位女技师的交道得到印证：一位是47岁的Florence Chehet，一位是62岁的Monique
Bailly，这一对首席女裁缝技师，一位掌管着Dior的Flou工坊——那些如糖果般美丽的Dior衣装在这里被创造出来；一位则在tailleur工坊工作——在这里，Dior创造出技艺精湛，剪裁合身的衣物。
和这些工坊中的大多数中年工匠技师一道，他们被称为是“小巧的手”，这些人很多从年轻时期就开始做裁缝衣服的工作，而两位首席女技师，一位兴高采烈，一位焦躁不安，从电影中我们能感到：就高级订制这门本身充满了争议的生意来看，她们是未被歌颂的女英雄，她们在Dior具有历史意义的蒙田大道的大厦顶楼，和其他技师们挤在一起埋头工作。
大家可能不约而同地以为顾客很少会和这些穿着白色外套，样貌并非充满魅力的工作人员接触，这些人真正是制作这些衣服的人。但事实上，这其中包含若干过程，两位首席女裁缝：Chehet
和Bailly其实会直接和客人接触。她们有时候会飞到诸如多哈，达拉斯，或者圣彼得堡，根据客人要求为衣物做非常多的调整，这些订制的Dior衣服轻轻松松就售价超过20万美元或者更多。所有法国的设计时装品牌，在他们的工作坊中设计制作高级订制系列，只有香奈儿，除了在自己的工坊中做高订系列，也同时继续在工坊中设计制作下一季的成衣系列。
http://ww3/large/56fb5d50gw1erlb91j83jj20gg0az763.jpgSimons的时装屋" TITLE="走进Raf Simons的时装屋" />Designer
with members of his couture team, referred to as the “petites
mains,” and the premières who head the ateliers, Florence Chehet
(right, in black) and Monique Bailly (left, in black).Paolo
Roversi
设计师Raf
Simons和工作坊中的高级订制团队，他们被称为“小巧的手”，这些“巧手”由工坊中的首席技师带领工作。图右穿着黑色的是Florence
Chehet，左边穿着黑色的是Monique Bailly。（摄影：PAOLO ROVERSI）
“It is really an in-house,
collaborative thing,” Simons said recently, as he sat behind the
large midcentury desk that dominates his office in an annex to the
mansion, a work by Los Angeles-based Ruby on the wall. He is eating
a bowl of fruit and cereal heartily, surely a sign that now, three
years after the film was shot (his most recent ready-to-wear show,
a minimalist jungle of tough, twisted animal prints, was warmly
embraced by critics), he is in a more peaceful place. “I always
compare it to the sense you get from American quilting, where the
women of a family get together and work on something for months,
years even.”
Simons’s years in ready-to-wear
did not prepare him for the face-to-face closeness of the couture
atelier, he says. As someone who is not easily comfortable with
strangers — his awkwardness is palpable in the film as he meets the
staff for the first time — he seems as surprised as anyone by the
intimacy that has developed since he took over. “In ready-to-wear,
you work with many external suppliers, it is more abstract. About
95 percent of these people, I do not know who they are.” In the
Dior ateliers, he says, it was “very easy and very family, very
fast.”
“这确实是一个在工作坊内，需要协同合作去完成的事情”，Simons最近谈道。他坐在一张占据了整个办公室面积，超大的中世纪感的桌子后，这间办公室附属于Dior大厦，在办公室的墙上挂着洛杉矶艺术家Ruby的画作。他尽情吃着一碗水果加谷物的食物，这一状态传递的信号就是，距离这部纪录片拍摄三年后
（他在自己最近的一个成衣系列秀上，为我们展现了一个极简主义者描绘的丛林，在其中则有凶狠扭曲的动物图案——这场秀被评论界抱以温暖的回应。），Raf
Simons处在一个更加平和的状态。
“我总是把它（设计时装）和美国床单拼贴技艺中蕴含的意味做比较：美国家庭中的女性花上好几个月，甚至几年的时间，拼贴出一张美丽的床单。”
Simons之前在成衣设计制作方面积累的丰富经验，并没有为他在高级订制工作坊中工作做好心理准备：那种需要面对面工作的亲密感——他说。Raf
Simons是一个面对陌生人，并非感觉自在的人。在电影中，他第一次和工作坊中的人见面时所透露出的尴尬，显而易见。他自己都觉得吃惊，在接管了Dior后，和每个人都逐渐培养起来一种亲密感。“在制作成衣的领域，你和很多外在的供货商工作，工作的方式更加抽象。这其中有95%的人我都不知道他们是谁。”Raf
Simons在Dior的工坊中说，“这里非常简单，非常像一个家庭，非常快速。”
http://ww2/large/56fb5d50gw1erlbb938j2j20gg0azdh9.jpgSimons的时装屋" TITLE="走进Raf Simons的时装屋" />Clockwise
from bottom left: Simons and his première Florence Chehet pinning
the bodice of a dress muslin; pastel feathers individually sewn
onto fabric in horizontal panels; Simons’s finale gown with
contrasting embroidery on the front and back.Credit Courtesy of
Dior
顺时针方向：Simons和他的首席女裁缝：Florence
Chehet在一件薄棉细布裙身上加注针头；彩色羽毛逐个缝制到布料中形成水平的纹路；这是一套由Simons设计的成品裙身，前后的刺绣对比强烈。（图片由Dior提供）
THE PRESSURE ON SIMONS to create
a couture collection from scratch without any experience in the
ateliers and with the shadow of Monsieur Dior hanging over him
gives the film its racing pulse, but through it all, the premières
are largely unflappable. Little wonder, as they spent years working
with the temperamental, flamboyant John Galliano, whose name is not
mentioned in the film and who click-clacked about his shows for 15
years in flamenco heels or outfitted as a haute couture pirate,
complete with skintight britches, bandanna and bad-guy mustache.
(He was fired in 2011 by owner LVMH in the wake of drunken
anti-Semitic comments made in a Paris bar and recently took over at
Maison Margiela.) Simons, in his customary white shirt and navy
cashmere crew-neck sweater, stands as a quiet rebuke to all that,
and his collections have grown more confident season by season,
leaving behind the legacy of Galliano’s highly theatrical
oeuvre.
Despite their differences,
however, both men were unafraid to make extraordinary demands of
the ateliers, as did Monsieur Dior, whose memoirs are read in
voice-over during the film, linking the new designer directly to
the founder. It’s not unusual for a single couture dress to take
700 hours of work; Galliano’s aesthetic was more elaborate, but
Simons’s approach required a different sort of discipline. His
first collection riffed on the house’s legendary New Look, but he
insisted that the dressmakers sculpt the trademark poufy
silhouettes into a more modern shape, which, at moments in the
film, proves challenging. He produced more pants in his first
collection than the house had ever seen, and continues to. “When we
worked with John Galliano, we knew nothing was impossible,” said
Chehet, who started her career as a seamstress for Hubert de
Givenchy more than 30 years ago. Looking back on that first
collection with Simons, she said, “We felt we were necessary, that
they needed us.”
在影片中，我们看到，Simons没有任何在高级订制工作坊工作的经验，几乎是从零开始设计制作自己的高订系列，让他倍感压力。Dior先生的阴影高悬在他头顶上，让这部电影有着赛跑般的紧张脉络，但即便如此，工作坊中的两位首席女技师却显得处乱不惊，镇定自若。
这不奇怪，她们和喜怒无常，华丽乖张的前任设计师John
Galliano一道工作多年，早就见怪不怪了。而在电影中，John
Galliano的名字并未被提及，但他在过去15年中，在Dior秀场给我们留下深刻的印象：他脚踏着弗朗明哥的高跟鞋开始一场秀，穿着海盗外衣，再配以紧贴皮肤的裤装完成整体造型，他拿着印花大手帕，留有胡须，呈现一个坏男人的印象（他因为在巴黎的酒吧醉酒后发表反犹太人的言论，在2011年被LVMH集团解雇，最近他成为了Maison
Margiela的设计总监。）
Simons，他穿着他个人风格化的白色衬衣，以及海军蓝色的羊毛圆领衫，安静站在那里，仿若是在指责John
Galliano的风格。而Raf
Simons自己的系列在一季又一季之后变得更加自信，离Galliano高度戏剧化的作品风格已经很远。
除了二人风格上的不同，两位设计师都如Dior创始人迪奥先生（Monsieur
Dior）一样按照Dior工作坊对于品牌设计的要求做出非同寻常的创造。在影片中，迪奥先生的回忆以一种画外音的方式，被第三者阅读并穿插在电影中，这一手法将Dior新的设计师和创始人迪奥先生联系在了一起。
一件高级订制的衣服需要花费700个小时的工作量来完成真是异乎寻常的；Galliano的美学风格是更为详尽复杂的，但是Simons的设计制作方式则需要不一样的规则。Simons的首个Dior系列是一篇关于Dior新造型的即兴章，但是他坚持认为衣服制造者们将Dior标志性的宽大的侧影雕琢进了一个更加现代的轮廓中——Simons所持的这一看法，在该片的某个时刻被证明是非常具有挑战性的。
他自己设计的第一季Dior和以前的Dior系列相比，制作了更多的裤装，且一直保持这一设计。“当我们和John
Galliano工作的时候，我们就知道没有什么是不可能的。”
Chehet在影片中说道，而Chehet在30几年前作为一名女裁缝开始在Hubert de
Givenchy的工作，由此开始自己的职业生涯。回顾她和Simons一道工作设计Dior的第一个系列，她说，“我们感觉我们存在的必要，因为这些时装需要我们。”
http://ww1/large/56fb5d50gw1erlbd9de4uj20gg0azaby.jpgSimons的时装屋" TITLE="走进Raf Simons的时装屋" />waiting
backstage before the fall 2012 show’s finale, for which they wore
custom veils by the milliner Stephen Jones. Courtesy of
Dior
在后台等待2012年秋冬秀终场的模特们，她们头戴的面纱装饰来自女帽供应商Stephen
Jones。（图片由Dior提供）
A subtle but significant moment
in the film comes midway through the season preparation, when the
premières present the ateliers with the sketches that Simons has
approved, ready to be cut and sewn under breathtaking deadline.
Instead of assigning each seamstress an item, the workers are
allowed to choose which design they wish to execute.
“It’s very beautiful; everybody
becomes emotionally invested in what they do,” said Pieter Mulier,
Simons’s right-hand man, reflecting recently on how that process,
which he’s seen several times since the film was shot, still moves
him. “A couture garment is like a child that each person takes care
of day and night for two months, and the last day when they give
the garment away to the showroom, it’s very sad.”
在影片中，一处微妙而重要的时刻出现在第一季时装筹备的过程途中，当两位首席女技师把Simons已经点头通过的未成形的衣服带到工作坊时，让人屏住呼吸的是，此系列面世的截止日即将到来，这些未完工的衣服还将被剪裁和缝制。Simons没有把这些衣服分派给不同的女裁缝，而是允许让技师们自己去挑选每他们想去操作完成的设计单品。
“真是太美了；每个人都感情充沛投入到他们专注的事情上”，Pieter
Mulier说道，他是Simons的“右手”，这是他最近再次看到这一高级订制过程时的反应——他从这部电影开始拍摄的时候就已经看过这个场景多次了，但他依然被感动。“高级订制的衣服就像是一个孩子，在两个月时间里，每人每天都夜以继日地照看着他，而最后，当他们把这件成品送出去，摆放到展示屋（Showroom）的时候，不免让人感伤。”
张朴：
作家，挪威奥斯陆大学媒体学硕士，曾在BBC实习工作。出版文集《孤独要趁好时光：我的欧洲私旅行》《香港的前后时光》（内地与港台版）《仿佛，一场告别》。
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