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| In the '60s, Coco sprang no surprises, only refinements on what was her classic look: the short, straight, collarless jacket, the slightly flaring skirt and hems that never budged from knee length. Wearing the broad-brimmed Breton hat that was her hallmark, her scissors hanging from a ribbon around her neck, and her four fingers held firmly together in spite of severe arthritis, she would feel for defects. Working directly on the model, she often picked a apart with the point of her scissors, complaining that it was unwearable. 在20世纪60年代，除了其经典造型方面的改进：短小而直挺的无领夹克、略显华丽的裙子以及永远及膝的下摆，夏奈尔并没有带来其它任何惊喜，。头戴宽边布雷顿帽是她的标记，她的剪刀悬挂在围绕于她颈项的缎带上，同时她不顾严重的关节炎而把四个手指紧紧攥在一起，她寻找瑕疵，她直接在模特上工作，经常用剪刀尖指出其毛病，抱怨它不合身。 Her fashion empire at her death brought in over $160 million a year. Here clients constituted a litany of the best-dressed women, not of the year but of the century: Princess Grace, Queen Fabiola, Marlene Dietrich, Ingrid Bergman, all the Rothschilds and most of the Rockefellers. A musical version of her life, enhanced by Katharine Hepburn but stripped of most of the real drama, put Coco on Broadway. She was on a first-name basis with people too famous to need first names: Cocteau, Colette, Diaghilev, Dali, Picasso. Yet at the time of her death, the woman Picasso termed "the most sensible in the world" had a Paris wardrobe consisting of only three outfits. 她的时尚帝国在她去世之时每年获利超过1亿6千万美元。她的顾客组成了并非年度的而是世纪的最佳着装女性排行榜：格蕾斯王妃、法比奥拉皇后、玛琳·黛德丽、英格丽·褒曼，整个罗斯恰尔兹家族以及洛克斐勒家族的大部分人。一部以她生平为题材的音乐剧在百老汇上演，此剧由于凯瑟琳·赫本而增加了声望，但去掉了很多真实的戏剧性事件。她（Coco）和那些因为太有名而无需姓氏的人们一样有着可以直呼其名的基础：科克托（名诗人）、科莱特（法国杰出女作家）、达基列夫（俄罗斯芭蕾舞团经理）、达利（超现实主义画家）、毕加索。然而在她去世之时，这位被毕加索誉为“全世界最有灵气” 的女人在巴黎的衣柜里只有三身全套服装。 "If Mademoiselle Chanel has reigned over fashion," mused Jean Cocteau, "it is not because she cut women's hair married silk and wool, put pearls on sweaters, avoided poetic labels on her perfumes, lowered the waistline or raised the waistline and obliged women to follow her directives; it is because--outside of this gracious and robust dictatorship--there is nothing in her era that she has missed." “如果说夏奈尔小姐曾经主宰时尚，” 让·科克托缅怀道，“那并非因为她剪短了妇女们用丝带和绒线绑到一起的头发、把珍珠安到毛衣上、避免在她的香水上出现浪漫标签、降低腰线或是提升腰线、以及迫使妇女跟随她的指示；而是因为，在这高雅而强健的专政之外，在她的时代，她没有错过任何东西。” The House of Chanel in Paris, under Karl Lagerfeld, remains one of the top design houses today. 巴黎的夏奈尔公司，而今在卡尔·拉格菲尔德的领导下，依然是顶级的设计机构之一。 Karl Lagerfeld 卡尔·拉格菲尔德 For more than a decade after Chanel's death, the house languished, with a reverent design team producing couture clothes—and introducing ready-to-wear for the first time—in Mademoiselle's dowdiest image. This all changed in 1982, when owner Alain Wertheimer (whose grandfather and great-uncle acquired the rights to Parfums Chanel in 1924, and, later, the world of Chanel in 1954) finally persuaded Karl Lagerfeld to assume the mantle. Lagerfeld had trained chez Balmain in the glory years of the haute couture and was later the designer at the house that bore the name of Chanel's hated rival Jean Patou (and whose workrooms still guarded the secrets of antebellum dressmaking). But it was his work for the ready-to-wear house of Chloé that sealed his reputation; with a Chanel-ish instinct for timing, Lagerfeld realized that fashion news in the sixties and seventies lay in the ready-to-wear and not the increasingly moribund couture. "Karl's vigorous, ironic, and knowing modernity," wrote Kennedy Fraser for a 2004 Vogue profile, "made him just right to colonize the legend of Mademoiselle." Where Chanel's clothes are subtle, Lagerfeld's are emphatic; where hers are forgiving, Lagerfeld's are demanding. Chanel reviled fashion; Lagerfeld rejoices in it, creates it—and often leads it. "There is a kind of hyperbolic quality to Karl's pieces," says Koda, "but in her day, Chanel was probably just as shocking, taking the materials of service clothing and using it for clothing for a woman of privilege. But times have changed, so it has to be a more vivid transgression—you have to push the boundaries more." |
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