2014，一個折騰的時尚年

4. BRANDS AS PATRONS, BRANDS AS PLAINTIFFS

4. 各大品牌忙著贊助;忙著起訴

With its one-two punch of a transformative new designer (Nicolas Ghesquière bowing at the March shows) and a landscape-changing new contemporary art museum (Fondation Louis Vuitton) debuting during the October shows, Louis Vuitton pretty much overshadowed every other brand at Paris Fashion Week, even counting spectacles like Dries Van Noten’s déjeuner sur le catwalk, Chanel’s supermarket sweep, Undercover’s “Swan Lake” in 51 looks and Comme des Garçons’ ode to blood and roses.

路易·威登今年的組合拳包括一位革新性的新設(shè)計師(尼古拉斯·蓋斯奇埃爾[Nicolas Ghesquière]在3月份的時裝秀上鞠躬)和一個改變景觀的新當(dāng)代藝術(shù)博物館(路易威登基金會大樓)，后者在10月份的時裝周期間開幕，蓋過了其他所有品牌的風(fēng)頭，甚至包括德賴斯·范諾頓(Dries Van Noten)秀臺上的早餐;香奈兒(Chanel)的超市走秀;高橋盾UC(Undercover)有51個造型的“天鵝湖”;以及川久保玲對血與玫瑰的頌歌。

Exciting as Mr. Ghesquière’s work was, however, it was the Fondation that may have the longest-lasting effect. Indeed, it is representative of a new movement in the luxury world, wherein brands increasingly assume the role of patron of the arts and preserver of heritage. As recession-hit central governments tighten their purse strings and direct money away from arts and toward infrastructure, luxury has stepped in to close the gap.

盡管蓋斯奇埃爾的作品令人興奮，但那個基金會也許具有最長久的影響力。的確，它代表了奢侈品界的一個新動向——各大品牌越來越多地充當(dāng)起藝術(shù)資助者和遺產(chǎn)保護者的角色。很多政府受到經(jīng)濟衰退沖擊，節(jié)省開支，把資金從藝術(shù)界抽出，投入基礎(chǔ)設(shè)施建設(shè)，此時，奢侈品公司挺身而出，填補了部分缺口。

Aside from Vuitton, Prada also announced the creation of its modern art complex, the Rem Koolhaas-designed Fondazione Prada, which will become Milan’s first contemporary art museum when it opens next year. Versace pledged to help restore the Galleria Vittorio Emanuele II, and Salvatore Ferragamo donated funds to renovate galleries at the Uffizi in Florence — all following earlier commitments by Fendi (the Fountain of Trevi), Tod’s (the Coliseum) and Diesel (the Bridge of Sighs). It’s proof that the next big battle in the luxury wars may have less to do with product than the promise of doing good.

除了路易·威登，普拉達也宣布修建自己的現(xiàn)代藝術(shù)綜合大樓——雷姆·庫哈斯(Rem Koolhaas)設(shè)計的普拉達基金會大樓，它明年開幕后將成為米蘭的第一個當(dāng)代藝術(shù)博物館。范思哲(Versace)承諾幫助修復(fù)埃馬努埃萊二世拱廊;薩瓦托·菲拉格慕(Salvatore Ferragamo)捐資修復(fù)佛羅倫薩的烏菲茲美術(shù)館——這些都是追隨芬迪(Fendi，修復(fù)許愿池)、Tod’s(修復(fù)羅馬競技場)和迪賽(Diesel，修復(fù)嘆息橋)等先驅(qū)。這表明，未來的奢侈品大戰(zhàn)可能與產(chǎn)品的關(guān)系更小，與行善承諾的關(guān)系更大。

Certainly it is a more productive use of time and money than the less salubrious trend toward settling problems in court, which suddenly seemed en vogue, with names like LVMH, Kering and Hermès, and which had the result of airing all sorts of dirty laundry in public. Happily, by year-end most of the squabbles had been resolved or sent home by the magistrates in charge, the relevant parties tasked with settling their differences out of court. Sometimes, a suit is just not a good look.

當(dāng)然，與在法庭上解決問題相比，做善事是對時間和金錢更有效的使用。訴諸法庭這種不太體面的事情似乎突然之間開始流行，路威酩軒、開云和愛馬仕等公司紛紛加入，結(jié)果爆出了各種丑事。令人高興的是，年末大部分爭端已經(jīng)解決或者被地方法官打發(fā)回家，當(dāng)事人開始在法庭之外解決分歧。有時，打官司的場面真不好看。