聖·羅蘭的繆斯德·拉·法萊斯

Loulou de la Falaise was a French icon and an enduring muse to Yves Saint Laurent. With her unstudied style and indefatigable spirit, she also represented everything that is brilliant about fashion.

盧盧·德·拉·法萊斯(Loulou de la Falaise)是一位法國偶像，也是伊夫·聖·羅蘭(Yves Saint Laurent)長久的靈感繆斯。她自然的風格、不知疲倦的精神代表着時裝界的各種精彩。

Much has been written about the heady, hedonistic Paris fashion scene of the 1970s and '80s, and much of it is true. But of all the characters who animated those nonconformist, wildly indulgent, hyperinventive years, Loulou de la Falaise, who died in 2011 at the age of 64, was the star. Celebrated for inspiring and accessorizing Yves Saint Laurent's couture and ready-to-wear collections for almost three decades, she is the subject of "Loulou de la Falaise," a new book by Ariel de Ravenel and Natasha Fraser-Cavassoni.

關於20世紀七八十年代衝動興奮、快樂至上的巴黎時裝界，人們已經寫了很多，其中很多都是真實的。是許多人共同造就了那個不墨守成規、瘋狂放縱、極具創意的年代，而盧盧·德·拉·法萊斯則是其中最耀眼的明星。她於2011年去世，享年64歲，人們認爲，在將近30年的時間裏，她給伊夫·聖·羅蘭的高級定製和成衣系列帶來靈感，併爲其設計配飾。阿里爾·德·拉夫納爾(Ariel de Ravenel)和娜塔莎·弗雷澤-卡瓦索尼(Natasha Fraser-Cavassoni)的新書《盧盧·德·拉·法萊斯》講述正是她的故事。

From 1975 to 1990, I lived and worked in Paris as a reporter for Women's Wear Daily, where I had a ringside seat to Loulou's transformation from the haute-bohemian daughter of a French marquis and the eccentric British model Maxime de la Falaise into Saint Laurent's trusted muse and a designer in her own right. For those of us who watched her at work and play, she was not simply Yves's most colorful collaborator, but one of the most vivid female fashion personalities since Coco Chanel.

從1975年至1990年，我在巴黎生活、工作，任《每日女裝》(Women's Wear Daily)的記者，近距離地看着盧盧從一位法國侯爵和古怪的英國模特馬克西姆·德·拉·法萊斯(Maxime de la Falaise)放蕩不羈的女兒蛻變爲聖·羅蘭最信任的繆斯，以及一位獨立的設計師。對我們這些目睹她工作和遊戲的人來說，她不僅是伊夫最爲多姿多彩的合作者，而且是可可·香奈兒(Coco Chanel)之後時裝界最活躍的女性人物之一。

Upbeat, savvy, beautiful and boyishly slim, she looked like a Saint Laurent fashion sketch. How she put herself together was even more remarkable: When she arrived at about 9 a.m. every day to the YSL couture studios on Paris's Right Bank, it was an event. The pants, jackets, skirts, blouses, dresses, stockings, shoes, shawls, bags and jewelry that she assembled and donned each morning in her 14th Arrondissement apartment were unlike anything anyone else in Paris wore, or had ever seen. Heiresses, countesses, models, movie stars and scores of fashion editors wanted to look like Loulou. Whether she was channeling an 18th-century Indian princess, a pre-Soviet Russian peasant or a 20th-century East Village flower child, her getups went beyond costume. They looked fresh, contemporary. She didn't dress up to wow the paparazzi (although she was photographed countless times), but rather to delight herself, surprise her friends and, most crucially, impress Yves.

樂觀，聰慧，美麗，男孩子似的苗條——她看起來像聖·羅蘭的時裝草圖。她的着裝方式更是引人注目：大約每天上午9點她到達巴黎右岸伊夫·聖·羅蘭的高級定製工作室，那絕對是個重要時刻。每天早上她在第14區自己的公寓裏搭配起來的褲子、上衣、半身裙、襯衫、連衣裙、長筒襪、鞋子、披肩、手包和珠寶跟巴黎任何其他人穿的或見過的都不一樣。女繼承人、女伯爵、模特、電影明星和很多時裝編輯都想模仿她。不管她是模仿18世紀的印度王子、前蘇聯時代的俄羅斯農民還是20世紀東村鼓吹愛與和平的嬉皮士，她的打扮都超越了服裝。它們看起來新鮮、時尚。她打扮不是爲了贏得狗仔隊的喝彩（雖然她被偷拍了無數次），而是爲了讓自己高興，讓朋友驚訝，最重要的是，給伊夫留下深刻印象。

Loulou, Yves and my editor at WWD, John Fairchild, were great buddies. A mutual admiration society of three fashion titans, they also challenged and teased each other mercilessly. I can't remember a single season over two decades that John and I didn't meet at the YSL headquarters to take photos of a new ready-to-wear collection in progress, inspect a sketch of a couture gown or watch a model being fitted for a tuxedo jacket and pants. At work, Loulou and Yves weren't very chatty; they communicated in a sort of code. The way she flicked her hair back, extinguished a Camel or uncrossed her colt-like legs sent a signal to Yves, who watched her constantly. He would then pick up a pencil, pause, adjust his glasses, and Loulou would get whatever message he was sending back to her. When she laughed — heartily and from the throat — everyone in the room cracked up too. It was hard not to want to do what Loulou did. At times, the normally self-possessed, sometimes imperious John was so smitten that he couldn't speak.

盧盧、伊夫和我在《每日女裝》的編輯約翰·費爾柴爾德(John Fairchild)是好朋友。這三位時裝界巨星互相仰慕，但也會無情地互相質疑、取笑。二十年來，每一季約翰和我都會在伊夫·聖·羅蘭的總部碰頭，給製作中的新成衣系列拍照，審視高級定製禮服的草圖，或者觀看模特試穿無尾禮服和褲子。工作時盧盧和伊夫不怎麼說話，他們像是在用一種密碼進行交流。她把頭髮向後撩起，掐滅駱駝牌香菸或者把交叉起來的小馬似的雙腿放下來——這些都是在給時常看她的伊夫發信號。然後他會拿起鉛筆，停一下，扶一下眼鏡——盧盧能領會他返回的任何信號。她大笑的時候——是真誠的，從嗓子裏發出的笑聲——房間裏的每個人都會跟着笑。你很難不去模仿盧盧做過的事。有時，通常很冷靜、有時有點專橫的約翰會因爲不能說話而感到受打擊。

I wonder if Loulou's charm was rooted in her odd sense of self. At once disciplined, rambunctious, confident and vulnerable, I suspect that she wasn't totally convinced of her power or beauty. She was impish and fun, never condescending or snappy. She looked artistic, and sounded worldly and intelligent in either English or French. She loved all-night parties, didn't exercise and smoked like a San Bernardino wildfire, but then so did everyone else in Paris those days. Ditto for the drinks and drugs, which were also pretty ubiquitous in those stylish Parisian although she excelled at socializing with Rothschilds and the Rolling Stones, she seemed happier when she was with Yves, her reserved husband Thadée Klossowski de Rola — a writer and son of the painter Balthus — and their daughter, Anna. Their wedding party, in June of 1977, was staged on an island in the Bois de Boulogne in Paris. Several hundred guests arrived in a fleet of flower-garlanded boats. Loulou wore a deep delphinium blue outfitwith a headdress sprouting stars and a crescent moon.

我不知道盧盧的魅力是否源於她對自己的奇怪感覺。她既自律又難以駕馭，既自信又脆弱，我懷疑她對自己的力量或美貌不完全自信。她頑皮風趣，從不居高臨下或者發脾氣。她看起來很風雅，不管說英語還是法語，聽起來都世故而聰明。她喜歡整晚參加派對，從不運動，抽菸抽得很兇，但那時候巴黎所有人都這樣。在當時的巴黎時尚圈，酒和毒品也很常見。雖然她擅長與羅思柴爾德家族和滾石樂隊打交道，但她似乎在和伊夫、她內斂的丈夫撒德·克洛索斯基·德·羅拉(Thadée Klossowski de Rola)——作家，他的父親是畫家巴爾蒂斯(Balthus)——和他們的女兒安娜(Anna)在一起時更快樂。1977年6月，他們在巴黎布洛涅森林公園的一個小島上舉行了婚禮。幾百名客人坐着一羣裝飾着花環的小船前來。盧盧穿着深翠雀藍套裝，頭飾上有星星和新月。

As Loulou and Thadée got older, they spent more and more time in Italy at his family's sparsely furnished castle. Toward the end of her life, she became an avid gardener, tending the property at their French country house in Boury-en-Vexin. During her last few years, she designed a collection of jewelry for Oscar de la Renta and a line of clothing and accessories for HSN. Thadée stayed home and wrote — he was always the grounded one, Loulou the live wire. Even though she's gone, she's as electrifying now as ever.

盧盧和撒德年老以後，更多的時間在撒德家族裝修簡單的意大利城堡裏度過。晚年，她熱衷於園藝，喜歡打理他們位於法國韋克桑布里的鄉間別墅的花園。最後幾年，她爲奧斯卡·德拉倫塔(Oscar de la Renta)設計了一系列珠寶，還爲購物網站HSN設計了一系列服裝和配飾。撒德待在家裏寫作——他總是腳踏實地，她總是活潑好動。雖然去世了，但她仍然一如既往地令人振奮。