本周二,法國美術學院宣布著名設計師皮爾?卡丹(Pierre Cardin)逝世,享年98歲。上世紀60年代,卡丹標志性的“太空時代”風格將其推至時尚之巔,大到家居床單、小到隨身腕表,當時的各類流行物品幾乎都和卡丹有關。
上世紀70至80年代是卡丹的全盛期,成千上萬印有“卡丹”簽名的商品在全球約10萬余家門店內同步發售。
然而卡丹之熱并不長久。由于風格單一,卡丹的產品在后期被冠以“廉價貨”之名,服裝銷量急劇下降,還常常被嘲諷“過時得可笑”。
除了設計師身份,卡丹還是一位精明的商人,憑借自己的時尚帝國在巴黎積攢下了巨額財富及頂級地產,其中就包括他經常光顧的“美好時代”(Belle Epoque)餐館。
自1992年來,卡丹一直都是法國美術學院的核心成員,但該學院在周二發布訃告時并沒有解釋卡丹的死因,也未說明他在何時何地死亡。
回顧卡丹的生平,從20世紀50年代開始,他便與法國設計師安德烈?庫雷熱(Andre Courreges)及西班牙設計師帕科?拉巴尼(Paco Rabanne)三人一起,徹底顛覆了時尚界。
當其他巴黎品牌都癡迷于美化女性身材時,卡丹卻把穿著者定義為“衣架”,以展顯服裝的獨特版型及圖案。他的設計既非實用主義,也非全然為了觀賞,而是一種純粹的“氣場”。
卡丹設計的長袍和緊身衣由熒光氨綸制成,在腰部、手肘、手腕和膝蓋處都裝有塑料箍,以分離身體和衣物。卡丹的泡泡裙和披肩則都為球形,織物材料溫柔地包裹著穿著者。另外還有飛碟式及水桶式的鏤空帽,可以說,卡丹一次次刷新著大眾對于時尚的定義。
1970年,卡丹在接受法國電視臺采訪時說:“在前人和后者看來,時尚總是荒謬的。但在當下,它是令人驚嘆的。”
1922年7月7日,卡丹出生于意大利威尼斯附近的一個小鎮,一個普通的工人階級家庭。在孩童時期,他隨家人一起搬到法國中部的圣艾蒂安市(Saint Etienne)。卡丹在那里接受教育,并在14歲時成了為一名裁縫學徒。
后來,卡丹逐漸接受了自己“白手起家者”的身份。在上文提到的那次1970年的采訪中,他說,單槍匹馬地在這一行業奮斗能讓人“看到生活更真實的一面”,并“迫使你做出決定,把你磨煉得越來越勇敢”。
他說:“獨自闖入一片前路未知的黑暗森林,要比走在已知的通途上困難得多。”
移居巴黎后,他于1945年開始在著名的帕奎因時裝屋(House of Paquin)擔任助理,還曾為讓?科克托(Jean Cocteau)等導演設計戲服。卡丹還參與了科克托在1946年所拍攝的熱門電影《美女與野獸》的服裝制作。
在與艾爾莎?夏帕瑞麗(Elsa Schiaparelli)和克里斯汀?迪奧(Christian Dior)等著名設計師短暫地合作之后,卡丹在巴黎最繁華的第一區開設了自己的服裝公司,從設計服飾和面具開始。
1953年,卡丹舉辦了自己的第一場時裝秀,并迅速獲得了巨大的成功。1954年,他推出了著名的“泡泡”連衣裙,并使這一款式成為經典,流傳至今。
1959年,卡丹在著名的巴黎春天百貨商店上演了他的首場成衣秀——這項創舉在當時看來過于大膽,甚至使他暫時被逐出巴黎高級時裝聯合會(Chambre Syndicale)——法國的時尚管理機構。卡丹與這一組織的關系本就不合,后來他選擇離開,以自己的方式舉辦時裝秀。
卡丹與法國的國寶級女演員讓娜?莫羅(Jeanne Moreau)的高調戀情也讓他的品牌名聲大噪。一部《祖與占》讓這位化著煙熏妝、一頭金發的女明星名聲大噪,也提升了卡丹品牌的知名度。雙方將這段持續了大約五年的戀情稱為“真愛”,但他們從未結婚。
卡丹將生產高級時裝系列所需的天價開支視為一項投資。即使這些高級定制時裝售價高昂,卻仍不足以覆蓋其手工制作的成本,但他的高定時裝秀在媒體上獲得了相當大的曝光度,也帶動了他的品牌中那些價格較低的物品的銷量,例如帽子,皮帶和襪子。
隨著卡丹的聲名鵲起,他投資的房產也一路飆升。長期以來,卡丹和妹妹住在巴黎愛麗舍宮總統府對面寬敞的公寓里,但他們的生活如僧侶般簡樸。一些時尚界人士看到他買下附近這么多頂級不動產,紛紛打趣說卡丹可能要發動一場政變。
除了女裝和男裝精品店外,卡丹還擁有一家兒童用品店、一家家具店和位于巴黎市中心的卡丹藝術中心(Espace Cardin)。卡丹藝術中心是一座寬敞的禮堂,設計師可以在這里舉辦時裝表演、戲劇、芭蕾和其他文化活動。
除了時裝以外,卡丹還涉足香水、化妝品、瓷器、巧克力等領域,并投資了法國南部的度假勝地和馬克西姆酒吧(Maxim's),人們經常能看到他在這家酒吧吃午飯。
20世紀70年代,卡丹進行了大規模的公司擴張,門店數量達到10萬多家。
卡丹率先認識到亞洲在時尚行業的重要地位——它既是一個制造業中心,也具有巨大的消費潛力。
他從60年代初開始在日本工作,并于1979年成為第一位在中國舉辦時裝秀的西方設計師。
1986年,卡丹與蘇聯當局簽訂協議,在該國開設展室并銷售其在當地生產的服裝。
由于沒有法定繼承人,卡丹在晚年時分解了他的龐大帝國。在2009年,他把幾十張在中國的許可證賣給了兩家當地公司。
兩年后,卡丹告訴《華爾街日報》,愿意以14億美元的價格出售自己的整個公司,當時該公司擁有大約500-600張許可證。(財富中文網)
編譯:陳怡軒 陳聰聰 馮雨涵
本周二,法國美術學院宣布著名設計師皮爾?卡丹(Pierre Cardin)逝世,享年98歲。上世紀60年代,卡丹標志性的“太空時代”風格將其推至時尚之巔,大到家居床單、小到隨身腕表,當時的各類流行物品幾乎都和卡丹有關。
上世紀70至80年代是卡丹的全盛期,成千上萬印有“卡丹”簽名的商品在全球約10萬余家門店內同步發售。
然而卡丹之熱并不長久。由于風格單一,卡丹的產品在后期被冠以“廉價貨”之名,服裝銷量急劇下降,還常常被嘲諷“過時得可笑”。
除了設計師身份,卡丹還是一位精明的商人,憑借自己的時尚帝國在巴黎積攢下了巨額財富及頂級地產,其中就包括他經常光顧的“美好時代”(Belle Epoque)餐館。
自1992年來,卡丹一直都是法國美術學院的核心成員,但該學院在周二發布訃告時并沒有解釋卡丹的死因,也未說明他在何時何地死亡。
回顧卡丹的生平,從20世紀50年代開始,他便與法國設計師安德烈?庫雷熱(Andre Courreges)及西班牙設計師帕科?拉巴尼(Paco Rabanne)三人一起,徹底顛覆了時尚界。
當其他巴黎品牌都癡迷于美化女性身材時,卡丹卻把穿著者定義為“衣架”,以展顯服裝的獨特版型及圖案。他的設計既非實用主義,也非全然為了觀賞,而是一種純粹的“氣場”。
卡丹設計的長袍和緊身衣由熒光氨綸制成,在腰部、手肘、手腕和膝蓋處都裝有塑料箍,以分離身體和衣物。卡丹的泡泡裙和披肩則都為球形,織物材料溫柔地包裹著穿著者。另外還有飛碟式及水桶式的鏤空帽,可以說,卡丹一次次刷新著大眾對于時尚的定義。
1970年,卡丹在接受法國電視臺采訪時說:“在前人和后者看來,時尚總是荒謬的。但在當下,它是令人驚嘆的。”
1922年7月7日,卡丹出生于意大利威尼斯附近的一個小鎮,一個普通的工人階級家庭。在孩童時期,他隨家人一起搬到法國中部的圣艾蒂安市(Saint Etienne)。卡丹在那里接受教育,并在14歲時成了為一名裁縫學徒。
后來,卡丹逐漸接受了自己“白手起家者”的身份。在上文提到的那次1970年的采訪中,他說,單槍匹馬地在這一行業奮斗能讓人“看到生活更真實的一面”,并“迫使你做出決定,把你磨煉得越來越勇敢”。
他說:“獨自闖入一片前路未知的黑暗森林,要比走在已知的通途上困難得多。”
移居巴黎后,他于1945年開始在著名的帕奎因時裝屋(House of Paquin)擔任助理,還曾為讓?科克托(Jean Cocteau)等導演設計戲服。卡丹還參與了科克托在1946年所拍攝的熱門電影《美女與野獸》的服裝制作。
在與艾爾莎?夏帕瑞麗(Elsa Schiaparelli)和克里斯汀?迪奧(Christian Dior)等著名設計師短暫地合作之后,卡丹在巴黎最繁華的第一區開設了自己的服裝公司,從設計服飾和面具開始。
1953年,卡丹舉辦了自己的第一場時裝秀,并迅速獲得了巨大的成功。1954年,他推出了著名的“泡泡”連衣裙,并使這一款式成為經典,流傳至今。
1959年,卡丹在著名的巴黎春天百貨商店上演了他的首場成衣秀——這項創舉在當時看來過于大膽,甚至使他暫時被逐出巴黎高級時裝聯合會(Chambre Syndicale)——法國的時尚管理機構。卡丹與這一組織的關系本就不合,后來他選擇離開,以自己的方式舉辦時裝秀。
卡丹與法國的國寶級女演員讓娜?莫羅(Jeanne Moreau)的高調戀情也讓他的品牌名聲大噪。一部《祖與占》讓這位化著煙熏妝、一頭金發的女明星名聲大噪,也提升了卡丹品牌的知名度。雙方將這段持續了大約五年的戀情稱為“真愛”,但他們從未結婚。
卡丹將生產高級時裝系列所需的天價開支視為一項投資。即使這些高級定制時裝售價高昂,卻仍不足以覆蓋其手工制作的成本,但他的高定時裝秀在媒體上獲得了相當大的曝光度,也帶動了他的品牌中那些價格較低的物品的銷量,例如帽子,皮帶和襪子。
隨著卡丹的聲名鵲起,他投資的房產也一路飆升。長期以來,卡丹和妹妹住在巴黎愛麗舍宮總統府對面寬敞的公寓里,但他們的生活如僧侶般簡樸。一些時尚界人士看到他買下附近這么多頂級不動產,紛紛打趣說卡丹可能要發動一場政變。
除了女裝和男裝精品店外,卡丹還擁有一家兒童用品店、一家家具店和位于巴黎市中心的卡丹藝術中心(Espace Cardin)。卡丹藝術中心是一座寬敞的禮堂,設計師可以在這里舉辦時裝表演、戲劇、芭蕾和其他文化活動。
除了時裝以外,卡丹還涉足香水、化妝品、瓷器、巧克力等領域,并投資了法國南部的度假勝地和馬克西姆酒吧(Maxim's),人們經常能看到他在這家酒吧吃午飯。
20世紀70年代,卡丹進行了大規模的公司擴張,門店數量達到10萬多家。
卡丹率先認識到亞洲在時尚行業的重要地位——它既是一個制造業中心,也具有巨大的消費潛力。
他從60年代初開始在日本工作,并于1979年成為第一位在中國舉辦時裝秀的西方設計師。
1986年,卡丹與蘇聯當局簽訂協議,在該國開設展室并銷售其在當地生產的服裝。
由于沒有法定繼承人,卡丹在晚年時分解了他的龐大帝國。在2009年,他把幾十張在中國的許可證賣給了兩家當地公司。
兩年后,卡丹告訴《華爾街日報》,愿意以14億美元的價格出售自己的整個公司,當時該公司擁有大約500-600張許可證。(財富中文網)
編譯:陳怡軒 陳聰聰 馮雨涵
Pierre Cardin, the French designer whose famous name embossed everything from wristwatches to bedsheets after his iconic Space Age styles shot him into the fashion stratosphere in the 1960s, has died, the French Academy of Fine Arts said Tuesday. He was 98.
A licensing maverick, Cardin's name went on thousands of products and in the brand's heyday in the 1970s and '80s, while goods bearing his fancy cursive signature were sold at some 100,000 outlets worldwide.
That number dwindled dramatically in later years, as his products were increasingly regarded as cheaply made and his clothing — which, decades later, remained virtually unchanged from its 60s-era styles — felt almost laughably dated.
A savvy businessman, Cardin used the fabulous wealth that was the fruit of his empire to snap up top-notch properties in Paris, including the Belle Epoque restaurant Maxim's, which he also frequented.
The Fine Arts Academy announced his death in a tweet Tuesday. He had been among its illustrious members since 1992. The academy did not give a cause of death or say where or when he had died.
Along with fellow Frenchman Andre Courreges and Spain's Paco Rabanne, two other Paris-based designers known for their Space Age styles, Cardin revolutionized fashion starting in the early 1950s.
At a time when other Paris labels were obsessed with flattering the female form, Cardin's designs cast the wearer as a sort of glorified hanger, there to showcase the clothes' sharp shapes and graphic patterns. Destined neither for pragmatists nor for wallflowers, his designs were all about making a big entrance — sometimes very literally.
Gowns and bodysuits in fluorescent spandex were fitted with plastic hoops that stood away from the body at the waist, elbows, wrists and knees. Cardin bubble dresses and capes enveloped their wearers in oversized spheres of fabric. Toques were shaped like flying saucers; bucket hats sheathed models' entire heads, with cutout windshields at the eyes.
"Fashion is always ridiculous, seen from before or after. But in the moment, it's marvelous," Cardin said in a 1970 interview with French television.
Cardin was born on July 7, 1922, in a small town near Venice, Italy, to a modest, working-class family. When he was a child, the family moved to Saint Etienne in central France, where Cardin was schooled and became an apprentice to a tailor at age 14.
Cardin would later embrace his status as a self-made man, saying in the same 1970 interview that going it alone "makes you see life in a much more real way and forces you to take decision and to be courageous.
"It's much more difficult to enter a dark woods alone than when you already know the way through," he said.
After moving to Paris, he worked as an assistant in the House of Paquin starting in 1945 and also helped design costumes for the likes of Jean Cocteau. He also was involved in creating the costumes for the director's 1946 hit, "Beauty and the Beast."
After working briefly with Elsa Schiaparelli and Christian Dior, Cardin opened his own house in Paris' tony first district, starting with costumes and masks.
Cardin delivered his first real collection in 1953. Success quickly followed, with the 1954 launch of the celebrated "bubble" dress, which put the label on the map.
Cardin staged his first ready-to-wear show in 1959 at Paris' Printemps department store, a bold initiative that got him temporarily kicked out of the Chambre Syndicale. Cardin's relationship with the organization — the governing body of French fashion — was rocky, and he later left of his own volition to stage shows on his own terms.
Cardin's high-profile relationship with French screen siren Jeanne Moreau, the smoky-voiced blond of "Jules and Jim" fame, also helped boost the brand's profile. Described by both as a "true love," the relationship lasted about five years and they never married.
Cardin saw the astronomical expense of producing haute couture collections as an investment. Even though the clothing's pharaonic prices didn't cover the cost of crafting the made-to-measure garments, the media coverage generated by his couture shows helped sell lower sticker-price items, like hats, belts and hosiery.
As Cardin's fame and fortune spiked, so did his real estate portfolio. He long lived an austere, almost monastic existence with his sister in a sprawling apartment across from the Elysee presidential palace in Paris. He bought up so much top-flight real estate in the neighborhood that fashion insiders joked he could have mounted a coup d'etat.
In addition to his women's and men's clothing boutiques, Cardin opened a children's shop, a furniture store and the Espace Cardin, a sprawling hall in central Paris where the designer would later stage fashion shows, as well as plays, ballets and other cultural events.
Beyond clothes, Cardin put his stamp on perfumes, makeup, porcelain, chocolates, a resort in the south of France and even the velvet-walled watering hole Maxim's — where he could often be seen at lunch.
The 1970s saw a huge Cardin expansion that brought his outlets to more than 100,000, with about as many workers producing under the Cardin label worldwide.
Cardin was in the vanguard of recognizing the importance of Asia to the fashion world, both as a manufacturing hub and for its consumer potential.
He was present in Japan starting in the early '60s and in 1979 became the first Western designer to stage a fashion show in China.
In 1986, he inked a deal with Soviet authorities to open a showroom in the Communist nation to sell clothes locally made under his label.
In his later life, with no heir apparent, Cardin dismantled parts of his vast empire, selling dozens of his Chinese licenses to two local firms in 2009.
Two years later, he told the Wall Street Journal that he'd be willing to sell his entire company — made up at that point of an estimated 500-600 licenses — for $1.4 billion.