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| 她以几顶帽子、“一件女服，但是一件美观大方的女服，”并加上针织衫开始，随后又在五年内使夏奈尔时装店成为了一间值得重视的时尚会馆。夏奈尔引进了针织水手套衫和套头毛衣，把长期以来一直作为内衣裤织物的超凡针织羊毛衫用在柔软贴身的裙装上。她推出了吉普赛式裙装、绣花丝绸短衫并配上披肩。尽管在当时，夏奈尔服装的价格和所有巴黎妇女服装设计师的服装价格一样昂贵：但只有夏奈尔乐于见到自己的风格被摹仿——并使其能以低价为大众所企及。 "There is time for work. And time for love." said Coco Chanel. "That leaves no other time." In the '20s, Chanel filled her off-hours with Arthur ("Boy") Capel, a wealthy English polo player whose lavish gifts of jewels served as the keystones of Coco's astonishing collection, and whose blazer--lent to the designer on a chilly day at the polo grounds--became the source of her famous box jacket. From the Duke of Westminster, Chanel's most renowned amour, came more jewels: these she had copied, setting off the costume-jewelry vogue. With a personal fortune rumored by then to be close to $15 million--most of it the result of the pungent success of Chanel No. 5 --the designer calculated that she had little to gain, and quite a name to lose, from marriage to the Duke. So she finally turned him down, explaining with characteristic bluntness. "There are a lot of duchesses, but only One Coco Chanel." “有时间工作，也要有时间恋爱。”可可·夏奈尔说道，“其它的时间就没有了。”在二十世纪20年代，夏奈尔的业余时间都是和一名富有的英国马球赛手亚瑟·卡柏（绰号‘男孩’）共度的，他慷慨的珠宝馈赠占了夏奈尔惊人收藏的主要部分，而且某个寒冷的日子，他在马球场借给设计师（夏奈尔）的运动夹克成为了她著名的无领直统夹克的设计来源。更多的珠宝则来自威斯敏斯特公爵（夏奈尔最著名的恋情）：她复制了这些珠宝，发起了人造珠宝的时尚。由于据传私人财富接近1千5百万——其大部分源于夏奈尔五号（香水）扑面而来的成功——这位设计师认为从和公爵的婚姻中她能获得的太少，而且会降低自己的声誉。因此最终她拒绝了他，用其特有的直率解释道：“这世上有很多的公爵夫人，但只有一个可可·夏奈尔。” Cool Reception 冷落 In 1938, with the war coming on and the Italian designer Schiaparelli moving in on the fashion front, Chanel retired. For the next 15 years, she shuttled between Vichy and Switzerland returning to reopen her Paris salon in 1954 only to boost lagging perfume sales. Her jersey-and-tweed suits won a cool reception from the press, but soon nearly every knockoff house was competing to turn out the closest replica. Chanel had long since refused to join the cabal designers who tried to prevent style piracy. "I am not an artist," she insisted. "I want my dresses to go out on the street." Out they went by the thousands, easy to copy, because of the straightforward design, and cheap to produce because the fabric was standard. Even a copy of a Chanel could claim its cachet. Private customers paid $700 for the original: buyers. Buyers intent on knockoffs paid close to $1,500. 1938年，随着战争的到来以及意大利设计师夏帕瑞丽挤入她的时尚前沿领域，夏奈尔隐退了。在接下来的十五年间，她往返于维希（法国）和瑞士，1954年，为了推动下滑的香水销售，她而于1954年回去重开了到她的巴黎重开了自己的时尚沙龙。她的素色粗呢套装受到了新闻舆论的冷落，但很快几乎每家冒牌货商行都竞相生产出了最近似的复制品。夏奈尔很久以前就拒绝加入试图防止设计侵权的设计师派系组织。“我不是一名艺术家，”她强调说，“我希望我的服装可以在街头出现。”因为简单易懂的设计，它们大批地出现，容易仿制；而且因为织物普遍而造价低廉。连夏奈尔的一件仿制品都颇具威望。个人消费者为真品支付700美元：也即买家。而一心想购买冒牌货的消费者可能要花费将近1500美元一心想要仿制夏奈尔服装的买家则需支付近1500美元。 |
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