妻子穿阿瑪尼，情人穿范思哲(雙語)

Gucci, Prada, Armani, and Versace. It"s easy to name them all, which are considered incontestable fashion heavyweights, and it"s also widely known how they differ from one another. However, what might not be known is why. The divergence not only lies in style, which can be sensed at the very beginning, but also on culture which nurtures style and a designer"s personality which defines style. Here we take the 4 Italian fashion powerhouses as an example to show not only how but also why. To make it fun, juicy gossip and behind-the-scenes stories are staged as interludes.

古馳、普拉達、阿瑪尼、范思哲……這些耳熟能詳的大牌誰都點得出來，其間風格的差異也眾所周知。但是，是什麼造就了這種差異就不是人人都清楚了。風格的不同只是表面，對於很多人來說一看就知，但是其背後的文化因素與設計師的個性才是精髓所在。本期內容我們就以上述四個義大利品牌為例，探討隱藏在風格背後的種種，或是引人入勝的八卦，或是塵封已久的故事。

"She (Miuccia Prada) never follows anyone else"s lead, just her own original energy. Her collections are completely an expression of herself."

"她(繆西亞·普拉達)從不跟風，她只順從自己的內心。她的系列就是她本人的宣言。"

"If it"s raining in New York and two women are going for a cab, the Gucci woman gets it."

"紐約。下雨天。兩個女人爭計程車，最後，上車的肯定是那個穿古馳的女人。"

"Armani dressed the wife, while Versace dressed the mistress."

"妻子穿阿瑪尼，而情人穿范思哲。"

【法國定製時裝VS義大利定製/成衣】

A little bit of background is needed to understand what contrasting Italian brands set each other. We start with French couture. The Italian fashion newcomers somehow took their inspiration from it, or just defied it, and finally transformed it into a new look.

在了解這些義大利品牌之間的差異之前，有必要先提一下法國高級定製。義大利定製時裝和成衣與法國高定不可割捨，它們有的從法國"前輩們"那裡汲取了靈感，有的則乾脆背道而馳，最後終於連法國高定一起華麗蛻變。

French haute couture excelled in its extravagance and formality, but it often came with discomfort. While it reined supreme in elegance, it was by no means youthful, let alone sexy. The apparel-making and fitting process was both money and time consuming so that only idle, rich women could afford it.

法國定製時裝在奢華與正式上達到了極致，但缺點也顯而易見——毫無舒適感可言。誠然，論優雅法國高定無可比擬，但是看上去毫無朝氣，至於性感，就更談不上了。此外，制衣和試穿過程都相當繁瑣，需要投入大量的財力與時間，所以只有那些有錢有閑的貴婦才能穿得起。

However, by the mid-1970s, the influence of the French couturiers was waning. Italian couture and ready-to-wear filled the vacuum, catering to a new generation of independent professional women. New designers such as Giorgio Armani and Gianni Versace budded and eventually gathered the global spotlight.

但是到了上世紀70年代中期，古老的法國高定便不可避免地衰弱了。義大利定製與成衣成長起來，填補了這一空白，適應了一個新興顧客群體的需求——獨立的職業女性。這也是義大利本土新興設計師崛起的時代，比如喬治·阿瑪尼和詹尼·范思哲，在以後的日子裡，正是這些人讓義大利時尚界受到了全球矚目。

Compared with their French predecessors, Italian couture and ready-to-wear were much less fussy and simpler in line, and created a fresh, easier and graceful feeling. Just like Federico Fellini"s film La Dolce Vita, Italian fashion developed a style of sunny, easy-going and carefree charm, which was contrary to their snobbish French counterparts. (Coco Channel vowed she"d never do ready-to-wear because she didn"t want to dress everybody.)

與傳統的法國高定相比，義大利定製和成衣系列不那麼繁瑣，線條更加簡潔，是另一種平易近人的優雅。就像費里尼的電影《甜蜜生活》給人的感覺一樣，意式時尚散發出的品味有一種親切的陽光氣質，打破沉悶因而令人愉悅。這一切都跟高高在上、不可一世的法國高定形成了鮮明對比。(可可·香奈兒女士曾堅定地說，她永遠不會發布成衣系列，因為她不可能取悅所有的人。)

【Gucci VS Prada古馳VS普拉達】

Unlike fashion names that rose in the 1970s, these two houses boasted their rich history. Both of them started the family business with leather products and then evolved into a multibillion global luxury brand handling various product lines. As it is said in the book of The House of Gucci by Sarah Gay Forden, in Italy the Gucci name had always been associated with elegance and style. Italians were proud of their creativity and artisan traditions and Gucci was one of those names...that symbolized quality and craftsmanship.

之所以把這兩個品牌拿出來對比，是因為它們與上世紀70年代崛起的品牌不一樣，它們有著引以為豪的悠久歷史。這兩個品牌最先都是從做皮具生意的家族企業起家，然後逐漸發展成了擁有多條產品線並具有全球影響力的奢侈品帝國。如同Sarah Gay Forden在她所著的《The House of Gucci》一書中所說，在義大利古馳這個名字常常與優雅和品位聯繫在一起。義大利人對他們經典品牌所代表的創造力和傳統手工很是自豪，古馳就是其中之一……因為這些都是高端品質和精湛手工的代名詞。

*Style comparisons: Fantasy VS Function

風格對比：誇張VS實用

Gucci and Prada came to represent two opposing fashion philosophies at the end of the 20th century: hedonism and optimism versus function and utility, said fashion writer Suzy Menkes in 1999, referring to their respective distinctive menswear styles. This is especially true during Gucci"s Tom Ford days.

時尚評論人士Suzy Menkes在1999年評論兩家截然不同的男裝風格時曾寫道：古馳和普拉達代表了20世紀末兩種背道而馳的時尚理念——享樂主義樂觀派和實用主義功能派。在湯姆·福特執掌古馳的時候尤為如此。

--Gucci style"s evolution

--古馳的風格演變

Gucci"s style was cleaved into two different stages: Tom Ford days (1994-2004) and post-Ford days. Instigated by Ford"s bold taste, Gucci had become synonymous with Ford himself. The image about the label had been confined to jetsetter-sexy, say, Paris Hilton-style party girl jetsetter, who would drink champagne by the pool.

近些年來，古馳的風格可以明顯劃分為兩個時期：湯姆·福特時期(1994-2004年)和後湯姆·福特時期。湯姆·福特以其新潮大膽的品味讓古馳重新煥發生機，但也給古馳貼上了濃重的個人標籤。古馳給人的感覺就像是那種專屬於富人的性感，容易讓人聯想到帕里斯·希爾頓那種富家女，過著泳池派對和觥籌交錯的奢靡生活。

In the post-Tom Ford days, Gucci strived to reinvent itself. The brand strategists it hired redefined Gucci as being not just about sexiness but about impacting sensual power. They did interviews and concluded that Gucci women wanted to be remembered for making an impact on the world, not just for their cleavage. She was flying everywhere too, but going to a meeting and making an impact on the world. A few key words can describe the kind of woman Gucci is aimed at, such as assertive, powerful, charismatic, dynamic, and self-assured.

在湯姆·福特離開以後，古馳不得不重新尋找品牌定位。品牌戰略管理專家給出過這樣的建議，古馳不應該只是局限於性感的詮釋，而應該是震人心魄的魅力。他們通過採訪調查發現，穿古馳的女人不想只是因為外在的性感被記住，而是想向世界證明自己的影響力。她也經常當空中飛人，但是是為了趕往下一個會場，以自己的方式影響這個世界。古馳的客戶群體可以通過幾個關鍵詞概括：自信果斷、強勢、富有人格魅力、充滿活力。

"If it"s raining in New York and two women are going for a cab, the Gucci woman gets it."

"紐約。下雨天。兩個女人爭計程車，最後，上車的肯定是那個穿古馳的女人。"

--Miuccia Prada"s offbeat fashion world

--繆西亞·普拉達的非凡創作世界

Miuccia Prada, the granddaughter of Prada house"s founder, is the person who decides what to send to the brand"s catwalk every season and who is one of the world"s most influential trendsetters. She"s been called the fashion"s auteur. She always goes the opposite to the major-league designers. If the rest of the fashion world says "color", she will present an all-black collection. "She (Miuccia Prada) never follows anyone else"s lead, just her own original energy. Her collections are completely an expression of herself," said Julie Gilhart, then fashion director for Barneys in 2007.

繆西亞·普拉達是普拉達創始人的孫女，也是現在普拉達設計風格的掌舵人。她的影響力足以決定全球潮流走向。她被稱作時尚界的特立獨行者，她經常與主流設計師背道而馳。如果時尚界所有人都強調這一季色彩的重要性，她反而會推出一個黑色系的系列。2007年，當時的紐約巴尼斯精品店時尚總監Julie Gilhart說："她(繆西亞·普拉達)從不跟風，她只順從自己的內心。她的系列就是她本人的宣言。"

She exhibits a unique handling of fabrics. She uses a lot of synthetic fabrics and has developed a penchant for mixing luxurious traditional fabrics with new high-tech fibers.

繆西亞在材質運用上也非常獨特。她經常用一些合成材質，而且非常喜歡把奢華的傳統布料與新興的高科技材質融為一體。

*Culture origins文化淵源

Gucci was founded in Florence, and Prada was founded in Milan. These two cities had different culture traditions, which may give a clue to their style definitions.

古馳創立於佛羅倫薩，普拉達創立於米蘭。這兩個城市有各自鮮明的文化氣質，因而多多少少也影響了品牌的風格定位。

Florentines are born to be merchants. For them, wealth was honorable and carried with it certain obligations, for example, sponsoring painters, sculptors, poets and musicians. This love of beauty and pride in creating beauty has never died despite war, plague, floods, and politics. "Gucci is as Florentine as Johnnie Walker is Scotch, and there"s not much that anybody can teach a Florentine about merchandising or craftsmanship," said Aldo Gucci, son of the founder of the Gucci family business. This justified Gucci"s ultimate pursuit of fine workmanship.

佛羅倫薩人是天生的商人。對他們來說，擁有財富是值得尊敬的，而且必須伴隨著一定的義務才會有意義，比如用財富資助畫家、雕塑家、詩人和音樂家等等。即使面對戰爭、瘟疫、洪水和政治，他們對於美的熱愛和創造美的自豪也不會停歇。古馳創始人的兒子Aldo Gucci曾說："古馳是佛羅倫薩人，就好像尊尼獲加是蘇格蘭威士忌一樣，在經商和手工方面，沒有人能在佛羅倫薩人面前班門弄斧。"這也就解釋了古馳在精湛手工方面的不懈追求。

As Deborah Ball said in her book House of Versace: The Untold story of Genius, Murder and Survival, the Milanese - the country"s bankers, industrialists, and entrepreneurs - have long prided themselves on their role as the Calvinists of Italy. Yet in the 1980s, Milan changed radically. The city, home to Italy"s stock market, embraced the new greed-is-good ethos that was sweeping other Western countries. A city that had long enjoyed an industrial spirit is the cultural root of Prada"s design cores of function and practicality at the end of the 20th century.

至於米蘭，Deborah Ball在《House of Versace: The Untold story of Genius, Murder and Survival》一書中寫道：米蘭人是這個國家的銀行家、實業家和創業者，他們自詡為義大利人中的加爾文主義者。但在上世紀80年代，米蘭發生了翻天覆地的變化。米蘭是義大利的股票交易所所在地，在"金錢至上"的思潮席捲西方社會時，米蘭也沒能倖免。普拉達就是誕生在這樣一個以實業精神為驕傲的城市，因而在上世紀末展現出以實用和功能為導向的設計，也就不足為奇了。

【Versace VS Armani范思哲VS阿瑪尼】

"Armani dressed the wife, while Versace dressed the mistress."

"妻子穿阿瑪尼，而情人穿范思哲。"

This is probably the best-known cliché about the clash of two polar extreme styles. This duo is the embodiment of how a designer"s personality defines brand style. Both rising in the 1970s, Giorgio Armani and Gianni Versace, the late founder of the Versace house who was shot dead in 1997, were the quintessential yin and yang of Italian fashion, setting two glaringly opposite looks that would come to define the two extremes of Milanese style. They had embraced different aesthetics and succeeded equally at them. For more than 2 decades, the fierce rivalry between them lit up the fashion world and had always been the talk of the town.

關於這兩個品牌的風格如何截然對立，這句話應該是最耳熟能詳的解釋了。這兩個品牌的對比就是設計師個性影響品牌風格的最好證明。喬治·阿瑪尼和詹尼·范思哲(范思哲的創始人，在1997年被槍殺)都是上世紀70年代崛起的設計天才，象徵著義大利時尚界的陰陽兩極，迥異的設計重新定義了米蘭，代表著兩種風格的極致。他們的審美態度相去甚遠，卻都在各自的風格領域獲得成功。20多年裡，他們之間激烈的競爭點燃了整個時尚界，也經常成為談資。

*Conservative vs Bold sexuality

*保守內斂VS極致性感

Armani"s taste was more conservative. His signature style is a soft, deconstructed suit, taking the business uniform of the day, which was stiff and structured, and removing the stiffness. Armani feminized men"s tailoring, while adding the same ease to women"s wear but with an elegant authority. He targeted the largest and most affluent part of the market – the over-35s. "Armani is a safe bet. The thing about Giorgio Armani is that he owns sophistication. No one else in the market does," said brand consultant Susanne Tide-Frater.

阿瑪尼的品位傾向於保守內斂。線條柔軟、輪廓柔和的套裝是他的標誌，他採用了那個時代僵硬和硬朗的商務套裝款式，然後使之變得柔和靈動。阿瑪尼為男裝帶來柔和的剪裁，同時為女裝帶來隨意優雅的權威感。阿瑪尼主打最龐大也最富有的消費群體——35歲以上的人士。品牌管理顧問Susanne Tide-Frater曾說："阿瑪尼是最安全的選擇。喬治·阿瑪尼的與眾不同之處在於他的高端品位，沒有人能像他一樣。"

Versace is the very name that conjures up images of outrageous glamour and bold sexuality. Gianni had achieved his breakthrough by marrying the raw energy of the street to the finely cut elegance of couture. He chose as his muse the prostitute, and he raised vulgarity to an art form. His clothes never evoked indifference. By the late 1990s, he had changed the vocabulary of fashion. His designs, for all their sexual sport, their antic sampling of history and art, and their brass, appealed to a human need for freedom that ran deeper than fashion - an urge bursting to the surface of society in the sexualized, globalized, post-religious late 20th century.

范思哲就是大膽出位、極致性感的代名詞。詹尼·范思哲把充滿活力的街頭文化與精緻優雅的定製傳統融為一體，打造出專屬於范思哲的風格。他以性工作者為繆斯，他把艷俗升華為藝術。他的系列一經推出，從來都是一片嘩然。到上世紀90年代後期，他已經改寫了時尚的定義。他以性感前衛又融合藝術與傳統的設計迎合了人們對自由的追逐，早已超越了時尚。這一切都是20世紀末的感官化、全球化和後宗教社會的必然訴求。

*Bitter rivalry

*針鋒相對

The two had been engrossed in constant competition for magazine covers, flagship stores, ads and campaigns. Milan would never have become a fashion Mecca without both of them, yet the pair nonetheless loathed each other.

兩人在各個方面都陷入了無休止的比拼：拼雜誌封面、拼旗艦店、拼廣告、拼宣傳……如果沒有這兩個冤家，米蘭根本不會成為全球時尚之都，而他倆也都互相看對方不順眼。

To Armani, Versace, with his punk-esque, flamboyantly sexy, and garish collections, was an insult to women. Armani was public in his criticism, declaring that Versace presents women "as bait for men, the incarnation of vulgar sex fantasies".

對於阿瑪尼來說，范思哲朋克風格的張揚、花哨的性感是對女人的侮辱。喬治·阿瑪尼曾公開表示非議，說范思哲把女人打造成了"想讓男人上鉤的誘餌，粗俗與性幻想的化身"。

Versace, in turn, found Armani tedious and lacking in passion. "I dress a woman who is more beautiful, more glamorous," said Gianni, "He has a type of woman who is always a little somber, a little dull. They call it chic, but I"ve never seen it as chic."

反過來，詹尼·范思哲也覺得阿瑪尼的設計寡淡無味、毫無激情可言。他曾說："我的衣服是給風姿綽約、漂亮迷人的女人穿的，他打扮的卻是那些有點沉悶憂鬱的女人。人們把那個也稱為潮，我實在是沒看出來潮在哪兒了。"

*Rule-follower vs Rule-breaker

*順從者VS叛逆者

Take how they treated French couture traditions as an example. Giorgio drew his inspiration from the 1930s and 40s. He learned from French couture and then alternated them with a modern look. He said he hated the styles of the 1960s and 1970s with the rise of punk nihilism and pop culture, which nurtured Gianni"s style. He loved the energy and sexuality of it. Gianni was always the person to say no, to contend, and to challenge the established things.

以他們對法國高級定製的態度為例，喬治·阿瑪尼從三四十年代的風格中汲取了靈感，從法國定製中吸取了營養，並對其進行了現代的改良。他曾說他討厭以朋克虛無主義與流行文化崛起為代表的六七十年代風格，而這恰恰是詹尼的靈感來源。詹尼喜歡那些新事物所代表的活力與性感。詹尼總是那個說不的人，總是那個去抗爭、去挑戰固有事物的人。

*Personality

*個性差異

The reason they created vastly different styles is rooted in their personality. Style, on the other hand, speaks for personality.

個性差異影響了他們各自的設計風格，反過來，設計也是個性的代言人。

Giorgio"s life is marked with discipline and steeliness. But Gianni was in every inch the opposite. With his blatantly out-there ideas, he was programmed to outlaw anything that has an abundance of decorum or class strictures.

規律、約束、刻板是喬治的生活，詹尼恰好是這一切的反面。詹尼總是一副滿不在乎的樣子，愛誰誰，與任何繁文縟節背道而馳是他的天性。

Often spoken of in fashion circles as a forlorn, isolated figure, Giorgio has little interest in socializing outside that circle. But Gianni was good at enchanting the people around him. When he trained his natural exuberance and enthusiasm on someone, that person came away feeling slightly star-struck. "I"m yours," he often told journalists with a warm smile, throwing his arms open and putting them instantly at ease.

時尚界一般都把喬治描述成一個與世隔絕的清冷人物，不過他確實不怎麼熱衷於社交。詹尼就不一樣了，他總是能夠取悅身邊的人。當他對人自然展示出他豐富的個性與熱情時，總會散發出明星般的光環。他以前經常對記者說："我隨時供你差遣，"邊說邊張開雙臂，再加上臉上溫暖的笑容，讓人立刻就放鬆了。

By the standards of a multibillionaire, Giorgio"s life is relatively frugal, while Gianni"s splashy spending, featuring his opulent mansions both in Milan and Miami, is so conspicuous.

如果考慮到喬治億萬富翁的身份，他的生活確實比較簡樸，詹尼則是那種漫天撒錢的人，看看他在米蘭和邁阿密的豪宅就知道了，招搖到不行。

Gianni spun an elaborate tale of his childhood as the son of a provincial seamstress, while Giorgio scrupulously refused to embellish his own modest origins. Gianni was openly gay, while Giorgio was more discreet about his homosexuality.

詹尼為自己的童年打造出了一個具體而完美的故事——作為一個偏遠地區裁縫的兒子的點點滴滴，而喬治謹慎地避免為自己平凡的出身添枝加葉。詹尼毫不避諱自己的同性戀身份，而喬治則對自己同性戀的事實諱莫如深。

*Culture origins

*文化淵源

It"s not hard to understand why each of the two developed different temperaments, and eventually style, taking account of where they are from. Giorgio, 12 years older than Gianni, forged a rigid chilly character in a deprived childhood in Piacenza, a northern city that was incessantly bombed during World War II. His childhood had been marked with fear and wartime hardship, while Gianni, born after the war, enjoyed a largely carefree childhood. However, Gianni"s deep southern origin shadowed his life in Milan where antisouthern sentiment was common.

如果再考慮到滋養他們的地域文化，理解他們個性與風格的差異就更容易了。喬治比詹尼年長12歲，在義大利北部城市皮亞琴察度過了自己的童年。皮亞琴察在二戰期間遭受了盟軍無休止的轟炸，在艱苦的戰爭年代，喬治的童年也著實慘淡，充滿了恐懼感，因此形成了嚴苛清冷的性格。詹尼是在戰後出生的，童年相對來說過得無憂無慮。但是，詹尼來自義大利偏遠的南部，而米蘭普遍有一種對南方人的排斥，對詹尼也不例外。

*Workaholic ethos

*工作狂

If there is anything that the two had in common, it was their arduous work ethic and hunger for success. Both of them lived in apartments above their studios to dedicate as much time to work as possible.

如果非要揪出兩人的相同之處的話，那就是他們勤勉的工作態度和對成功的渴望了。他們都住在工作室上面的公寓里，以便能隨時奔去工作室。