古董裝 時裝品牌的新價值
As heritage continues to obsess the industry, the fashion archive is becoming highly prized.
隨着古董時裝持續走紅時裝界，時裝檔案館也越來越受到追捧。
Brands are pouring resources into building museums in which to house their collections, while canny young designers are buying back garments from clients, or bidding against collectors and museums to retrieve rare vintage pieces with which to build their own.
各大品牌開始投巨資建博物館，用來收藏旗下歷年推出的時裝系列，精明的年輕設計師則從客戶手中回購時裝，或是從藏家手中和博物館競拍回珍稀限量款，以豐富自己的藏品。
Many brands are now using their archives to produce exhibitions as a way of extending their brand message.
很多品牌公司如今用自己的館藏舉辦展覽，作爲擴大自己品牌影響力的手段。
The Fondation Pierre Bergé — Yves Saint Laurent will open two museums in autumn 2017, in Paris and Marrakesh, to celebrate the work of its founder, Yves Saint Laurent.
皮埃爾•貝爾熱-伊夫•聖•羅蘭基金會(Fondation Pierre Bergé-Yves Saint Laurent)建於巴黎與馬拉喀什(Marrakesh)的兩家博物館將於2017年秋季正式開館，用來紀念品牌創始人伊夫•聖羅蘭的傑出成就。
The Gucci Museum, which opened in Florence in 2011, recently announced acquisitions from Tom Ford’s era at the house.
古馳博物館(The Gucci Museum)2011年在佛羅倫薩開館，它近日宣佈收購湯姆•福特(Tom Ford)擔任古馳創意總監時期所推的時裝。
The Missoni archive is on display at the Fashion and Textile Museum in London (until September 4).
米索尼(Missoni)各個時期推出的時裝不久前也在倫敦時裝與紡織品博物館(Fashion and Textile Museum)展出。
There’s a dawning realisation that if you want to be a so-called heritage brand, you have to be able to tell the story through objects, explains Sonnet Stanfill, fashion curator at the Victoria and Albert Museum.
如今各大品牌開始意識到：若要成爲底蘊深厚的品牌，就得通過自己各時期推出的時裝講述前世今生。倫敦維多利亞和阿爾伯特博物館(Victoria and Albert Museum)時裝策展人索妮特•斯坦菲爾(Sonnet Stanfill)這樣解釋道。
An archive can be useful for design inspiration, for lending to an exhibition, or for if you think you’d want to do your own retrospective.
時裝檔案能有效啓發設計靈感，也可友情參展，還能自辦品牌回顧展。
Shonagh Marshall, a freelance curator who archived Alexander McQueen’s collection in preparation for the Met’s Savage Beauty exhibition in 2015, and who has also worked on the archive collections of Christian Louboutin and the late stylist Isabella Blow, agrees.
自由策展人肖納格•馬歇爾(Shonagn Marshall)對此也深以爲然。 爲了參加紐約大都會博物館2015年舉辦的亞歷山大•麥昆(Alexander McQueen)野性之美時裝特展(Savage Beauty)，他精心收藏了對方各個時期設計的時裝；他還致力於克里斯蒂安•婁伯丁(Christian Louboutin)以及已故知名設計師伊莎貝拉•布羅(Isabella Blow)的資料檔案收藏。
The motivation often lies in the sense of building a brand, which is now entwined with cultural heritage. Keeping those objects means keeping a sense of narrative — without them you have no assets.
建立檔案館的動機通常在於打造品牌意識，如今它與文化遺產緊密關聯。收藏這些物品意味着傳承歷史——品牌沒有它們，就談不上有什麼內涵。
Kerry Taylor, who runs her own auction house, is considered a world leader in vintage fashion, antique costume and textiles.
經營時裝拍賣行的凱麗•泰勒(Kerry Taylor)是當今世界在復古時裝、仿古服裝及紡織品方面的老大。
She often finds herself selling back items to design houses prepared to pay huge sums for missing pieces.
她經常把一些藏品回售給各大品牌，對方願出巨資購買自己漏藏的款式。
Some of the more established brands, such as Dior, Balenciaga and Chanel, really see the value in buying back their heritage, she explains.
迪奧(Dior)、巴黎世家(Balenciaga)以及香奈兒(Chanel)這些時尚大牌現在真正認識到了回購老款時裝的重要意義。
The Chanel archive in Paris is like a glamorous high-security prison. Everything has black lacquered sliding cabinets.
她這樣解釋道，巴黎的香奈兒檔案館猶如一座光彩奪目、戒備森嚴的監獄，各種館藏品都掛在滑動式黑漆櫃中。
If Karl Lagerfeld wants to look at something from the 1920s or 1930s, there it is, beautifully stored and catalogued.
老佛爺(Karl Lagerfeld)若想欣賞上世紀20、30年代的香奈兒款式，來這裏就可以了，它們分門別類存放於此，依然光鮮亮麗。
Not only does it reinforce the importance of the brand itself, [but also] when new designers come along they can plunder it for ideas — and stay within the house.
此舉不僅鞏固了品牌自身的江湖地位，而且當年輕設計師參觀時，能夠長時間駐足其中，汲取設計靈感。
Pierre Bergé, one-time romantic partner and longtime business partner of Saint Laurent, started building the Saint Laurent archive soon after the brand’s foundation.
皮埃爾•貝爾熱曾是聖羅蘭的情人及長期商業合夥人，聖羅蘭創牌後不久，他就開始着手創建品牌檔案館。
It was a prescient move.
此舉頗有先見之明。
Yves decided to keep a dress for the first time in 1964, only two years after we founded the couture house, says Bergé.
1964年，伊夫第一次決定收藏自己設計的一款裙子，這距我倆創牌僅過了兩年時間。貝爾熱回憶道。
I remember it very well, it was a brown lace dress that he loved very much.
我記得非常清楚，這是一款他愛不釋手的棕色蕾絲裙。
The Fondation Pierre Bergé-Yves Saint Laurent has since become a huge enterprise.
皮埃爾•貝爾熱-伊夫•聖•羅蘭基金會逐漸成爲規模空前的博物館。
Besides the 5,000 garments and 15,000 accessories, our archive also contains all the original drawings, as well as the atelier’s specification sheets, the collection boards and a large number of press articles, photos and videos of collections, he continues.
除了收藏的5000件時裝以及15000件配飾外，我們的檔案館還藏有最原始的草圖以及工作室的規格表、採集板和大量時裝類新聞稿、照片及視頻。
Each piece is stored on our premises under optimal conditions: air conditioning, humidity controls, anti-acid paper.
他繼續道，每一件館藏品都存放於最佳環境中：空調、溼度控制以及耐酸紙。
About 10 people, mainly trained museum specialists, work on the preservation and the documentation of the collection.
大約10位（多爲訓練有素的博物館專業人員）負責藏品的保存及歸檔。
Bergé is proud of his ability to share the YSL story with both the public and those who head up the design department — including newly appointed creative director Anthony Vaccarello.
能與普通民衆及聖羅蘭設計室諸負責人（其中包括新任創意總監安東尼•瓦卡萊洛(Anthony Vaccarello)）共同分享聖羅蘭品牌的輝煌歷史，貝爾熱對自己的成就頗感自豪。
Since we closed the couture house in 2002, the archives have always been made available to the designers from the ready-to-wear house.
自我們2002年退隱江湖後，檔案館一直向聖羅蘭的設計師開放。
Hedi Slimane [who left this year, and borrowed heavily from the house’s original 1960s design aesthetic] came many times.
前任創意總監艾迪•斯理曼(Hedi Slimane)來過很多回。
He is a great connoisseur and admirer of Yves’ oeuvre.
他從聖羅蘭上世紀60年代的設計理念借鑑頗多，他是聖羅蘭時裝的鑑賞大師及超級粉絲。
Anthony Vaccarello immediately asked to come and visit the archives.
安東尼•瓦卡萊洛一上任，就請求來檔案館參觀。
One would assume most designers appointed at a house have free rein of their archive. It isn’t always so.
大家可能會認爲：大多數創意總監可隨意支配所在品牌公司的館藏檔案，但事實並非如此。
Demna Gvasalia, the new creative director of Balenciaga, spent several weeks in the archive after he joined this year; his pre-fall collection featured oversized shearling scarfs with the house branding that were an exact copy of a 1930s original.
戴姆納•瓦薩利亞(Demna Gvasalia)今年新晉巴黎世家新任創意總監後，曾花了數週時間泡在檔案館；他的早秋系列主推印有巴黎世家品牌標識的特大款羊絨圍巾，它們與上世紀30年代的款式一模一樣。
But his predecessor, Nicolas Ghesquière, had a very different experience when he joined the house in 1997.
但瓦薩利亞的前任尼古拉斯•蓋斯基埃(Nicolas Ghesquière)1997年出任巴黎世家設計總監時，則境況大不相同。
For years Ghesquière was blocked from the archive, partly because the pieces didn’t actually belong to the corporate group that bought the Balenciaga name, and partly due to tensions with the keeper of the keys, Marie-Andrée Jouve.
蓋斯基埃好多年都無法進檔案館參觀，部分原因是其館藏品並不真正屬於購買巴黎世家商標名的開雲集團(Kering)，部分原因是他與檔案館的鑰匙掌管者瑪麗亞-安德蕾•朱維(Marie-Andrée Jouve)關係緊張。
He was only granted access in 2002, when the house was acquired by the Gucci Group.
他到了2002年才獲許入館，當時巴黎世家已被新東家古馳收購。
Other archives are simply the victim of disorder.
有些檔案館則完全毀於管理失當。
The Givenchy archive; now there’s a shame, sighs Kerry Taylor.
紀梵希(Givenchy)檔案館如今成了業界恥辱。
Things by Hubert de Givenchy have never been properly catalogued.
凱麗•泰勒嘆氣道，于貝爾•德•紀梵希(Hubert de Givenchy)的檔案資料從來沒有準確分門別類。
Their archivists come and go and it’s not a senior role.
他們的檔案館工作人員經常變動，完全是可有可無的角色。
Bergé and Saint Laurent were pioneers.
貝爾熱與聖羅蘭則是建立檔案館的開天闢地者。
None of today’s most important couture houses have archives like ours, he says.
如今大多數知名時尚品牌的檔案館都比我們遜色。
They only realised the significance of having an archival department in the 1990s.
他說，它們在上世紀90年代才意識到設立專門檔案部的重要性。
Today, Gucci has a museum.
如今古馳也建有自己的時裝博物館。
Twenty years ago it had nothing.
20年前的它在這方面可是白紙一張。
I started the Gucci historical archives in 1997 from scratch, when the whole concept was very new and innovative, explains curator Grazia Venneri.
1997年，我們從無到有開始組建歷史檔案館，當時整個理念非常新穎、頗具前瞻性。
Unfortunately, the Gucci family never kept samples of their production. I had to carry out a systematic research and acquisition campaign; reaching out to celebrities, private collectors and collaborating with auction houses and vintage boutiques.
古馳檔案館館長葛拉齊拉•文內裏(Grazia Venneri)解釋道，遺憾的是，古馳家族過去從不保存自己所推時裝的樣品，我只得進行系統調研與收購活動；求助於名人與個人藏家，以及與拍賣行及舊貨店合作。
When I left Gucci in 2013 we had collected and catalogued more than 5,000 products and about 2,000 documents and vintage images.
2013年我離開古馳時，已經收集與歸類了5000多件時裝以及大約2000件文檔和老照片。
Alessandra Arezzi Boza helped build the archive of Pucci, another major Italian brand.
亞歷桑德拉•阿雷齊•博扎(Alessandra Arezzi Boza)協助建立了意大利另一知名品牌璞琪(Pucci)的檔案館。
I found a huge warehouse full of boxes, she says.
我最初看到的是堆滿各種箱子的大倉庫。
Having been a family-run brand until 2000, with the headquarters located in the family palace, the Pucci archive had a great advantage: everything had been kept since the early 1950s — photographs, sketches, textile prints, press and of course garments and accessories — more than 30,000 items.
她回憶道，璞琪在2000年前一直是家族企業，總部就設在自家豪華別墅裏，因此建立檔案館具有得天獨厚的優勢：自上世紀50年代初以來的一切東西都完整保留着——照片、素描圖、紡織品印花、媒體文章，當然還有推出的所有服裝及配飾——總數超過3萬件。
But it all needed to be organised and brought alive.
但所有東西需要分類歸檔以及‘激活’。
Motivated by their experiences, Arezzi Boza and Venneri formed a consultancy that extends into strategy.
積累成功經驗後，博扎與文內裏隨後組建了拓展至戰略籌劃的諮詢公司。
As well as working with big Italian manufacturers keen to leverage their heritage, the duo plan to help emerging talent.
除了與急切發揮自身悠久傳統的意大利大品牌合作之外，他倆還計劃助設計新銳以一臂之力。
For young designers, the decision to keep an archive depends on pre-empting one’s future greatness.
對於年輕設計師來說，是否保存自己的時尚作品，在於自己能預知到將來必定會功成名就。
Which can seem a little grandiose.
此舉似乎顯得有點不切實際。
It’s a question of how important you think you’re going to be, a strange thought when you’re a recent graduate, says Shonagh Marshall.
關鍵在於你如何定位自己的未來，對初出茅廬的設計師來說，這樣的想法的確有點不可思議。肖綱格•馬歇爾說。
Then there’s the expense and space required to do it properly.
此外還有設立檔案館的費用與場地。
You need not just the space but the proper storage infrastructure — thin, flat drawers for things that can’t be hung, rails, archival tissue, manpower, cameras, computers, says Stanfill.
你不僅需要建館的場地，而且還需要必要的存儲設施——存放無法掛放東西的窄平抽屜、橫檔、包裝檔案的薄紙、人手、相機以及電腦。
If you’re in a rush, things pile up and disorder creeps in.
斯坦菲爾說，追求短平快的話，東西就會堆積如山，失序自然就隨之而來。
Keeping things is a luxury few young designers can afford, even if the inclination to collect and reference their own past work is there. Cash flow concerns can mean items are sold off through sample sales. Or lost altogether.
不間斷保存好自己作品需大量人力、物力與財力，年輕設計師可求不可得，即便內心存有收藏以及借鑑自己昔日勞動成果的意向，大量經費需求有時意味着得通過特賣活動忍痛割愛部分藏品，抑或說永遠失去它們。
In the early years, Alexander McQueen paid people in clothing, says Marshall.
亞歷山大•麥奎最早是用自己設計的時裝支付費用。
There’s one famous lost collection; after a show he left the clothes in a bin bag outside a King's Cross club because he didn’t have the money for the cloakroom.
馬歇爾說，他失去自己的一款時裝的事衆所周知：一次時裝發佈會後，他把時裝放在倫敦國王十字車站(King's Cross)附近某俱樂部外的塑料垃圾袋裏，因爲他沒錢把它們存放於衣帽間。
The whole lot disappeared. But as the brand got bigger, the archive got bigger, particularly after his death in 2010.
這套時裝就這樣永遠消失了。隨着亞歷山大•麥奎品牌知名度越來越大，檔案館的藏品也愈加豐富（他2010年離世後尤爲如此）。
Sarah Burton regularly draws on it.
薩拉•伯頓(Sarah Burton)經常從中汲取靈感。
London-based designer Gareth Pugh, whose work has been exhibited at the Met and the V&A, has made an effort to keep as much as possible without the help of a formal archivist.
倫敦設計師加雷斯•普歐(Gareth Pugh)的時裝曾在大都會博物館以及維多利亞和阿爾伯特博物館展出，在沒有正式檔案專業人士幫助的情況下，他盡最大努力收藏自己的作品。
The big expense is the storage — square footage in London does not come cheap, he says.
最大的費用是存放場地——倫敦每平方英尺的租費價格不菲。他說。
Designer Erdem Moralioglu, of Erdem, has also made a concerted effort to keep everything.
埃德姆創意總監埃德姆•莫拉里奧格魯(Erdem Moralioglu)也竭盡全力收藏自己的一切作品。
Both he and Pugh keep their work in external storage facilities, outside of their studios.
他與普歐把收藏的時裝存放在自己工作室外的存儲設施裏。
Like Pugh also, Moralioglu has made do without an archivist, although is looking to employ one.
與普歐一樣，莫拉里奧格魯也是在毫無檔案專業人員的幫助下努力爲之，儘管他最近打算聘請一位。
Like Chanel, Gucci and other mega brands, he already seems aware of the importance of heritage: he used his 10-year brand anniversary in 2015 as a chance to spotlight past hits.
與香奈兒、古馳等大名牌一樣，他似乎也意識到了傳承的重要意義：2015年，他運用自己創牌10週年紀念活動之契機，集中展示了自己過去所推時裝精品。
In doing that project, I realised very quickly how many things were missing, he explains.
在做的過程中，自己很快意識到漏藏了好多款式。
There’s a stylist in New York who has a dress from my first collection that I don’t have.
他這樣解釋道，紐約有位設計師收藏了我平生首個時裝系列的一款裙子（我自己卻沒有這款藏品）。
So I’m desperate to try to buy it off her — it’s funny to be buying back my own stuff.
所以我非常想從她手上回購它——買回自己設計的時裝真是件逗事。
To him, it’s worth the trouble.
在他看來，如此折騰完全值得。
We’re all a project of what we’ve done and what we’ve shown, he says.
我們所有人都是自身勞動成果的一部分。他說。
Indeed, if there’s ever an illustration that brand and archive are one and the same, it’s Helmut Lang.
沒錯，若用例子來說明品牌與檔案館實際上完全是一回事的話，最合適的莫過於赫爾穆特•朗(Helmut Lang)。
After deciding to leave fashion in 2005, and after his namesake brand was bought by the Prada Group, he put 6,000 items through an industrial shredder.
2005年，朗決定退隱江湖、其同名品牌由普拉達(Prada)收購後，他竟用工業粉碎機把所收藏的6000件時裝作品一毀了之。
As brands have become more interested in building their collections, so have the number of private collectors increased.
各大品牌建立自己檔案館的興趣日漸濃厚，私人藏家的數量也是與日俱增。
There are some collectors out there who have better archives than the houses themselves, admits Stanfill.
有些藏家的藏品甚至比時尚品牌公司自身館藏都要豐富。
It means the museums have to get their act together, says Kerry.
斯坦菲爾坦承道，這意味着各大品牌公司博物館得繼續努力。
They do have tight budgets, but if it’s of national importance then they need to prioritise. They can no longer wait.
凱麗說，這些博物館預算不多，若要成長爲具有全國影響力的時裝檔案館，那麼就得優先發展，因爲時不我待。
Kim Jones, men’s artistic director of Louis Vuitton, has access to the extensive Vuitton archive every day for inspiration, but he has also built an impressive private collection, dating from 1971 to 1992, that features more than 300 looks and encompasses everything, from club looks by 1980s performance artist Leigh Bowery to rare punk pieces by Vivienne Westwood and Malcolm McLaren.
路易威登(Louis Vuitton)男裝創意總監金姆•瓊斯(Kim Jones)每天都可從公司包羅萬象的館藏作品中汲取設計靈感，但他個人的路易威登藏品也異常豐富（時間從1971年直至1992年），其中包括了300多套時裝，它們應有盡有，從上世紀80年代行爲藝術家利•鮑厄裏(Leigh Bowery)的夜店裝束到薇薇恩•韋斯特伍德(Vivienne Westwood)與馬爾科姆•麥克拉倫(Malcolm McLaren)的珍稀款朋克裝。
He’d like to eventually turn it into a book or exhibition, but, on a day-to-day level, he finds stimulus in the work of the names behind his pieces.
他想最終把它們付梓出版或是舉辦展覽，但他每天都從這些藏品中汲取靈感。
He’s lately appreciating their value, too.
他最近還認識到了這些藏品的價值。
It was only recently, when I had to get it insured, that I realised how much it was all worth, he says.
最近投保這些藏品時，自己才意識到它們價格不菲。他說。
Value is an interesting word, says Marshall.
價值是個讓人感興趣的詞。馬歇爾說。
For her, as for Jones, it’s the stories and sense of social history that make an archive truly relevant.
她認爲，就瓊斯而言，正是這些前世今生的故事與社會歷史意識讓時裝檔案館意義非凡。
Taylor agrees. It’s not a quick way to make money.
泰勒也持同樣看法：這並非賺錢的捷徑。
And, whether the task falls on an individual or a brand, it requires a lot of patience.
而且，不管是個人還是品牌公司承擔興建檔案館的重任，都極需持久耐心。
You have to hang on to things for quite a long time.
做這事得持之以恆、長期爲之。
Taylor pauses. But they can become very, very valuable.
泰勒停了一會兒說，但這些藏品可能會變得價值千金。
