2月19日，香奈兒藝術總監“老佛爺”去世，享年85歲。
香奈兒“老佛爺”去世：他塑造了現代奢侈時尚產業
Karl Lagerfeld, Designer Who Defined Luxury Fashion, Dies at 85
Karl Lagerfeld, the most prolific designer of the 20th and 21st centuries and a man whose career formed the prototype of the modern luxury fashion industry, has died. He was 85.
20和21世紀創作成就最爲卓著、在職業生涯中塑造了現代奢侈時尚產業原型的設計師卡爾·拉格斐(Karl Lagerfeld)去世，享年85歲。
His death was announced on Tuesday by Chanel.
香奈兒(Chanel)於週二宣佈了他的死訊。
“More than anyone I know, he represents the soul of fashion: restless, forward-looking and voraciously attentive to our changing culture,” Anna Wintour, editor of American Vogue, said of Mr. Lagerfeld when presenting him with the Outstanding Achievement Award at the British Fashion Awards in 2015.
“他比我認識的任何人都更能代表時尚的靈魂：永不止步，目光向前，如飢似渴地關注着我們不斷變化的文化，”《Vogue》雜誌美國版主編安娜·溫圖爾(Anna Wintour)在2015年英國時尚大獎(British fashion Awards)頒獎禮上這樣評價拉格斐。
voracious
表示“渴求的，求知慾極強的”，英文解釋爲“having an extremely strong desire to do or have a lot of something”如：a voracious reader 一個如飢似渴的讀者。
Creative director of Chanel since 1983 and Fendi since 1965, and founder of his own line, Mr. Lagerfeld was the definition of a fashion polyglot, able to speak the language of many different brands at the same time (not to mention many languages themselves: he read in English, French, German and Italian).
拉格斐從1983年起擔任香奈兒的創意總監，從1965年起擔任芬迪(Fendi)的創意總監，還創立了自己的品牌，他一直是時尚多語者的代名詞，可以同時用多個不同品牌的語彙表達（更不用說對語言本身了：他能閱讀英語、法語、德語和意大利語）。
polyglot
polyglot /ˈpɒlɪˌɡlɒt/ 表示“通曉數種語言的人”，英文解釋爲“A polyglot is a person who speaks or understands many languages.”
In his 80s, when most of his peers were retiring to their yachts or country estates, he was designing an average of 14 new collections a year ranging from couture to the high street, and not counting collaborations and special projects. His signature combinations of “high fashion and high camp” attracted Rihanna; Princess Caroline of Monaco; Christine Lagarde, managing director of the International Monetary Fund; and Julianne Moore.
他的同齡人大都已經退休，在遊艇上或鄉間別墅裏打發時間，他卻在耄耋之年依舊平均每年設計從高級定製時裝到高街產品的14個新系列，這還不包括合作和特別項目。他對“高端時尚和高端坎普”的結合已經成爲個人標誌，吸引了蕾哈娜(Rihanna)、摩納哥卡羅琳公主(Princess Caroline of Monaco)、國際貨幣基金組織(IMF)總裁克里斯蒂娜·拉加德(Christine Lagarde)和朱麗安·摩爾(Julianne Moore)等人。
couture
表示“高級時裝設計製作；高級時裝”，英文解釋爲“Couture is the designing and making of expensive fashionable clothes, or the clothes themselves.”
高街？
高街品牌最早是指那些英國主要商業街的商店、仿造T型臺時尚秀上所展示的時裝，迅速製作爲成品銷售、讓人人都能買到的品牌。（百度百科）
而英文中的high street表示“（位於重要商業區的）大街，商業街”，英文解釋爲“a street where the most important ashops and businesses in a town are”，舉個🌰：
A new bookshop had opened in the high street.
大街上開了一家新書店。
而the high street可表示“商業買賣，商業活動，生意”（used to talk about shops and the money people spend in them；business done in shops），舉個🌰：
There are signs of economic recovery in the high street.
商業方面有經濟復甦的跡象。
This year was exceptionally difficult on the high street.
今年商店生意特別難做。
“Ideas come to you when you work,” he said backstage before a Fendi show at age 83. As a result, Mr. Lagerfeld never stopped creating. He was also a photographer, whose work was exhibited at the Pinacothèque de Paris; a publisher, having founded his own imprint for Steidl, Edition 7L; and the author of a popular 2002 diet book, “The Karl Lagerfeld Diet,” about how he had lost 92 pounds.
“當你工作的時候，想法自然會出現，”83歲時，他在一場芬迪發佈會的後臺說。因此，拉格斐從未停止創作。他同時還是攝影師，作品曾在巴黎美術館(Pinacotheque de Paris)展出；他也是出版人，在Steidl出版社創辦了Edition 7L品牌；2002年，他寫了一本很受歡迎的飲食書《卡爾·拉格斐節食法》(The Karl Lagerfeld Diet)，講述了他是如何減掉92磅的。
His greatest calling, however, was as the orchestrator of his own myth.
然而，他最大的職業使命是自身神話的編纂者。
A self-identified “caricature,” with his dark glasses, powdered ponytail, black jeans, fingerless gloves, starched collars, Chrome Hearts jewelry and obsessive Diet Coke consumption, he achieved such a level of global fame — and controversy — that a $200 Karl Barbie doll, created in collaboration with the toymaker Mattel, sold out in less than an hour in 2014.
墨鏡、撲粉的馬尾辮、黑色牛仔褲、露指手套、硬挺的衣領、克羅心(Chrome Hearts)珠寶和強迫症般不停喝着健怡可樂，這就是他自己也認同的“漫畫形象”，他享有極高的國際聲譽——同時也備受爭議——以至於2014年，他與美國玩具製造商美泰公司(Mattel)合作推出售價200美元的“卡爾芭比娃娃”，不到一個小時就銷售一空。
caricature
表示“人物漫畫”，英文解釋爲“a funny drawing of someone that makes them look silly”。
He was variously referred to as a “genius,” the “kaiser” and “overrated.” His contribution to fashion was not in creating a new silhouette, as designers like Cristobal Balenciaga, Christian Dior and Coco Chanel herself did.
對他的描述五花八門，有“天才”、“皇帝”，也有“被高估的”。他對時尚的貢獻並不是像克里斯托瓦爾·巴倫西亞加(Cristobal Balenciaga)、克里斯汀·迪奧(Christian Dior)和可可·香奈兒(Coco Chanel)這些設計師那樣，創造出一個新的形象。
Rather, he created a new kind of designer: the shape-shifter.
他創造的是一種新的設計師：變形者。
That is to say, the creative force who lands at the top of a heritage brand and reinvents it by identifying its sartorial semiology and then wresting it into the present with a healthy dose of disrespect and a dollop of pop culture.
具體來說，就是作爲一股創造力量，來到一個歷史悠久的品牌的最高層，通過識別品牌的服裝符號來對其進行改造，然後爲之注入適當的不敬和少量流行文化，令品牌融入當下。
sartorial
表示“衣着的；製衣的”，英文解釋爲“Sartorial means relating to clothes and to the way they are made or worn.”
Not that he put it that way exactly. What he said was: “Chanel is an institution, and you have to treat an institution like a whore — and then you get something out of her.”
他並沒有確切地這麼說。他說的是：“香奈兒是一個體制，你必須像對待妓女一樣對待體制——然後你從她那裏得到一些東西。”
This approach has become almost quotidian in the industry, but before Mr. Lagerfeld was hired at Chanel, when the brand was fading into staid irrelevance kept aloft on a raft of perfume and cosmetics, it was a new and startling idea.
如今這種方法在業內幾乎已屬日常，但在拉格斐被香奈兒聘用之前，這個品牌正逐漸變得無足輕重，被一大堆香水和化妝品架空，他的這種想法是嶄新的、令人吃驚的。
staid
表示“嚴肅呆板的；過時的”，英文解釋爲“If you say that someone or something is staid, you mean that they are serious, dull, and rather old-fashioned.”
aloft
表示“在高處；在上面；在空中”，英文解釋爲“in the air or in a higher position”舉個🌰：
We held our glasses aloft.
我們高舉酒杯。
a raft of sth
表示“大量某物；許多某物”，英文解釋爲“a large number of things”舉個🌰：
The company has launched a whole raft of new software products.
公司推出了大量新軟件產品。
That he dared act on it, and then kept doing so with varying degrees of success for decades, transformed not only the fortunes of Chanel (now said to have revenues of over $4 billion a year) but also his own profile.
他敢於採取行動，並在數十年的時間裏取得了不同程度的成功，這不僅改善了香奈兒的財務狀況（現在它的年收入據稱超過40億美元)，也改變了他自己的形象。
And it cleared a new path for designers who came after, from Tom Ford (who likewise transformed Gucci) to John Galliano (Dior), Riccardo Tisci (Givenchy) and Tomas Maier (Bottega Veneta).
這也爲後來的設計師們開闢了一條新道路，從湯姆·福特（Tom Ford，他同樣改造了古馳）到約翰·加利亞諾（John Galliano，迪奧）、裏卡多·蒂西（Riccardo Tisci，紀梵希）和托馬斯·邁爾（Tomas Maier，寶緹嘉）。
Those who wanted to dismiss Mr. Lagerfeld referred to him as a “styliste”: a designer who creates his looks by repurposing what already exists, as opposed to inventing anything new. But he rejected the idea of fashion-as-art, and the designer-as-tortured genius. His goal was more opportunistic.
那些想貶低拉格斐的人把他稱爲“造型師”：一個通過重新利用已有的東西來創造穿搭造型的設計師，並沒有創造任何新東西。但拉格斐拒絕將時尚視爲藝術，拒絕將設計師視爲痛苦的天才。他的目標更加機會主義。
“I would like to be a one-man multinational fashion phenomenon,” he once said.
他曾經說過：“我想成爲由一個人構成的跨國時尚現象。”
Indeed, his output as a designer was rivaled only by his outpourings as a master of the telling aphorism — so much so that his quotations were collected in a book, “The World According to Karl,” in 2013.
事實上，能與他的時裝作品媲美的，只有他頻頻吐露的那些大師級的格言——2013年，他的名言集結出版爲《卡爾眼中的世界》(The World According to Karl)一書。
aphorism
aphorism /ˈæfəˌrɪzəm/ 表示“格言；警句”，英文解釋爲“An aphorism is a short witty sentence which expresses a general truth or comment.”
Some choice excerpts: “Sweatpants are a sign of defeat,” and “I'm very much down to earth. Just not this earth.”
其中一些傑作：“運動褲是失敗的標誌”和“我非常腳踏實地，只不過不是地球的地。”
Whether his statements were true was immaterial (anyway, it was conceptually true, or true at that moment). The truth could be a fungible concept to Mr. Lagerfeld, who was fond of taking creative license with the past. His birth year, for example, was a matter of some dispute: was it 1938, as Chanel believed, or 1933, as a book by the writer Alicia Drake asserted? Or was it 1935, as he told the magazine Paris Match in 2013? (The Hamburg Genealogical Society says he was born on Sept. 10, 1935.)
他的說法是否正確並不重要（無論如何，它們在概念上是正確的，或者在說的時候是正確的）。對拉格斐來說，真相可能是一個可以替代的概念，他喜歡對自己的過去進行創造加工。比如，他的出生年份就存在爭議：是香奈兒認爲的1938年，還是作家艾麗西亞·德雷克(Alicia Drake)在一本書中斷言的1933年？抑或是他在2013年接受《巴黎競賽畫報》(Paris Match)雜誌採訪時所說的1935年？（《漢堡宗譜學會》[Hamburg Genealogical Society]說，他生於1935年9月10日。）
immaterial
表示“無關緊要的”，英文解釋爲“If you say that something is immaterial, you mean that it is not important or not relevant.”舉個🌰：
Whether we like him or not is immaterial.
我們喜不喜歡他都不重要。
His personal proclivities were a constantly mutating collection of decades, people and disciplines. His one great fear was of being bored. His conversations (or monologues) could, in almost one breath, bounce from Anita Ekberg romping in the Trevi fountain, to how rich women in the 1920s slept under ermine sheets, and then to the Danish fairy tale illustrator Kay Nielsen. His one blind spot was his own mortality, which he refused to acknowledge.
他的個人喜好是一個不斷變化的龐大組合，包括各種年代、各種人、各種學科。他最大的恐懼就是無聊。他的談話（或獨白）一口氣從安妮塔·埃克伯格(Anita Ekberg)在特雷維噴泉邊嬉戲，跳躍到1920年代的富家女子睡覺時蓋白鼬皮被子，再跳到丹麥童話插畫家凱·尼爾森(Kay Nielsen)。他自己的死亡是他唯一的盲點，他拒絕承認其存在。
proclivity
表示“癖性；傾向”，英文解釋爲“A proclivity is a tendency to behave in a particular way or to like a particular thing, often a bad way or thing.”如：a proclivity to daydream. 白日做夢的一種癖好。
romp
表示“（尤指又跑又跳地）嬉鬧”，英文解釋爲“to play in a noisy way, especially by running, jumping etc”舉個🌰：
They could hear the children romping around upstairs.
他們聽到孩子們在樓上蹦跳打鬧。
As he said in the 2008 documentary “Lagerfeld Confidential”: “I don't want to be real in other people's lives. I want to be an apparition.”
正如他在2008年的紀錄片《拉格斐機密》(Lagerfeld Confidential)中所說，“我不想成爲別人生活中的真實人物，我想成爲一個幻影。”
apparition
表示“幽靈，鬼魂；幻影”，英文解釋爲“something that you imagine you can see, especially the spirit of a dead person”。
來源：紐約時報
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