NOT LONG AFTER EMILIO PUCCI launched his line of kaleidoscopic patterns and slinky, body-conscious jersey knits in 1947, he chose his home as his base of operations: the Palazzo Pucci, a Renaissance palace in the center of Florence. Owned by the family since they were political advisers to the Medicis in the 1400s, the palace boasts precious paintings by Botticelli and other Old Masters, as well as an atelier, boutique and company headquarters. For decades, Pucci's archives-which include 18,000 print variations, 15,000 scarves, 1,000 bolts of vintage fabric and 200 custom fabric colors-were stored in a cantina beneath the property. But the designer's fashion legacy was not secure in the ancient subterranean space, and Laudomia, Emilio's daughter who took over when he died in 1992, knew it.
1947年，埃米利奥・璞琪(Emilio Pucci)发布了以万花筒般图案和紧身修身针织衫为特色的同名品牌。不久后，他选择自己的家作为品牌的运营基地：位于佛罗伦萨中心的复兴时期宫殿Palazzo Pucci。这处宅邸从璞琪家族15世纪担任美第奇家族(Medicis)的政治顾问起就为其所有，拥有波提切利(Botticelli)及其他绘画大师的珍贵画作，也是一座画室、精品店以及公司总部的所在地。璞琪的档案包括18,000种印花图案、15,000条围巾、1,000匹复古面料和200种定制面料颜色，这些都存在这座宫殿地下的酒吧里。但这位设计师的时尚遗产在这个古老的地下空间里并不安全，埃米利奥的女儿劳多米亚(Laudomia)心知肚明。她是在1992年父亲去世时接管这里的。

Laudomia, now the brand's image director and deputy chairman, remembers the devastating flood of the Arno River in 1966, which killed more than a hundred people and destroyed countless works of Florentine art, architecture and literature. It also wiped out the cantina. 'The water was two meters deep. My father lost everything. You wake up and suddenly everyone is in their galoshes trying to save pieces,' says Laudomia, who continues to live on the Palazzo's top floor with her husband, three children and her mother, Marchesa Cristina Pucci di Barsento, Emilio's widow. Though the company replenished after that disaster, since then, flash flooding has periodically steeped the Pucci archives in swampy water. When it happened again in 2012, she realized her heritage was at risk.
劳多米亚现任该品牌的形象总监及副董事长。她记得1966年阿诺河(Arno River)那场毁灭性的洪灾，100多人不幸遇难，无数佛罗伦萨的艺术、建筑和文学作品被毁。这个酒吧也未幸免。劳多米亚说：“水有两米深。我父亲失去了一切。一早醒来，突然所有人都穿着橡胶套鞋在试图抢救东西。”劳多米亚现在仍和丈夫、三个孩子，还有她的母亲──埃米利奥的遗孀Marchesa Cristina Pucci di Barsento──住在Palazzo的最顶层。虽然公司在那场灾难后补充了档案，但从那以后，洪灾会周期性地令璞琪的藏品浸没在泥泞的洪水里。2012年再度遭到侵袭后，劳多米亚意识到自己的遗产处于危险之中。
'If I wanted to pass on what the company has created, I had to do something about it,' says Laudomia. 'Why let it die? And why by a flood, when I have this whole place in front of me?'
劳多米亚说：“如果我想把公司创造的东西传下去，就得采取点措施。为什么要让它死掉？既然我面前有一个完整的地方，为什么要让它被洪水吞没？”
This whole place is Granaiolo, the family's sprawling 150-acre country estate in Castelfiorentino, 45 minutes southwest of Florence. Starting in the fall of 2012, Laudomia began to transfer most of the company's vast archives to the countryside, and built a laboratory for fashion students to study fabric technology, design and history.
这个地方就是Granaiolo，璞琪家族位于Castelfiorentino的占地150英亩（约60公顷）的乡村庄园，在佛罗伦萨西南方向驱车45分钟距离处。2012年秋季开始，劳多米亚开始将公司庞大档案库的大部分藏品转移到乡下，并修建了一座实验室，供时装专业学生学习面料技术、设计和历史。
'I have more than enough space here, and I want to share it,' she says. 'People used to have so much time to explore and develop things. My father had this time. But young creatives today don't-the business rules have become so cutthroat. So I really hope this can be a place of reflection, study and creativity.'
她说：“在这里我有足够的空间，我想跟人分享。人们从前有那么多时间探索和开发新东西。我父亲就有这种时间。但如今年轻的创意人没有──商业规则变得太残酷了。所以我真心希望这里能成为一个反省、学习和获得创意的地方。”
At Granaiolo, the Pucci family legacy runs back to the 13th century, when their noble forebears built an imposing fortress atop the honey-colored land. Over time came a convent graced with frescoes, stables and farmhouses for the peasants who worked the fields for wheat-'Granaiolo' means 'wheat barn'-wine grapes and tobacco.
在Granaiolo，璞琪家族的产业可追溯至13世纪，当时他们的贵族祖先在这片蜜色的土地上建造了一座壮观的城堡。后来又有了一座壁画装饰的修道院，还有为在地里种小麦──Granaiolo意思是“小麦谷仓”──葡萄和烟草的农民修建的马厩和农舍。
The income from Granaiolo powered the family's concerns until the early 20th century, when Emilio's grandfather built the town's train station. The young Pucci, a marchese by birth, enrolled as a fighter pilot in World War II before launching his lucrative fashion career. Granaiolo remained a working gentleman's farm up until the 1980s, when it finally ceased agricultural operations. By then, Pucci had become a global brand, and the family didn't need Granaiolo for support.
到20世纪初，Granaiolo的收入一直维系着璞琪家族的实力，当时埃米利奥的祖父修建了镇里的火车站。出生时就是侯爵的年轻的璞琪在二战期间入伍做了飞行员，后来才开始他利润丰厚的时装事业。Granaiolo一直是一座农场，直到上世纪80年代才最终停止了农业经营。那时璞琪已经成为一个全球性品牌，璞琪家族还不需要Granaiolo的支持。
WHEN EMILIO FELL ILL in 1989, Laudomia stepped into the CEO job at age 29. After Emilio's death, she took over both the business and creative sides. But Laudomia-who had worked only for her father, and in production for Hubert de Givenchy for three years-found it a challenge.
1989年，埃米利奥患病，劳多米亚在29岁的年纪担任了首席执行长的职务。埃米利奥去世后，商业和创意两方面都由她接管。但劳多米亚发现这是个挑战。她只为自己的父亲、以及纪梵希(Hubert de Givenchy)的生产部门工作过。
'This was our weekend hobby,' says Laudomia of the renovation project. They tasked regional artisans with laying floors in handmade terra-cotta and pitching roofs of reclaimed wood. The workers restored the fortress's blue-gray facade of local pietra serena stone, original iron grates on the windows and massive wooden stable doors. The main house, its upper guesthouse and pool will remain the family's private retreat, but the property's once crumbling agricultural buildings have been reimagined as a lightly modernized version of themselves. As the restoration progressed, treasures came to light, like a graceful arcade of columns in the old winery, and some 16th-century paintings Laudomia found hidden in the granary.
劳多米亚谈到庄园的翻修工程时说：“这是我们周末的爱好。”他们让当地的工匠用手工陶土铺地板，用再生木材盖屋顶。工人们修复了当地城堡塞茵那石(pietra serena stone)垒砌的蓝灰色外 、窗户原有的铁门和巨大的马厩木门。主屋、楼上的客房和泳池仍然会是家族的私人度假地，但那些曾经摇摇欲坠的农用建筑变得更现代了。随着翻修工程的进行，许多宝藏开始呈现出来，比如旧酒庄里优雅的圆柱拱廊，还有劳多米亚发现的藏在谷仓里的16世纪画作。
'We have a richness and a heritage,' she says of Pucci's history. 'It's my opportunity to make it into something special. More and more with globalism, celebrity and mass fashion, you need this weight and substance, or you turn into any other brand.'
她谈到璞琪的历史时说：“我们有丰厚的底蕴和悠久的传统。这是我让我们的历史变得特别的机会。随着全球主义、明星效应和大众时尚的普及，我们需要这种厚度，否则就和别的品牌没差别了。”
'Archives are the soul of our brands, but it's a privilege when you have someone who knows the heritage better than anyone,' says LVMH fashion group CEO Pierre-Yves Roussel.
路易威登(LVMH) 时装集团首席执行长皮尔-伊芙・罗塞尔(Pierre-Yves Roussel)说：“时装档案是我们品牌的灵魂，但是拥有一个比任何人都了解品牌传统的人是一个优势。”
'It's a hell of a job,' adds Roussel. 'It becomes a logistical challenge to store and maintain these fragile things. The Givenchy archives are in the basement of Avenue George V, and most other [LVMH brands] are outside Paris in temperature-controlled warehouses. This is very unique.'
罗塞尔说：“这是个大工程。存放和维护这些脆弱的东西在后勤上是个挑战。纪梵希的档案是在乔治五世大道(Avenue George V)上的地下室，其他大多数品牌〔路易威登品牌〕都在巴黎郊外的温控仓库里。这是很独特的。”
Luckily, Granaiolo's immense barn turned out to be a perfectly arid place to store and display all the vintage jersey that was 'so fine, you could've folded the dresses down and put them in a cigarette box,' says Rome-based fashion historian and curator Enrico Quinto. 'Emilio Pucci was an absolute trailblazer-he industrialized Italian fashion by introducing a range of ready-made sizes, which was an unheard-of idea in Europe. Dior could have repetitions made, but Emilio had 10 sizes and 10 colors of one design. He became the most influential and powerful designer in Italy.'
幸运的是，Granaiolo的大谷仓成了存放和陈列复古针织衫的完美的地方。罗马时装历史学家及策展人恩里科・昆托(Enrico Quinto)说，那些复古针织衫“太精致了，都可以叠起来放在烟盒里”。埃米利奥・璞琪是一个绝对的开拓者──他通过引进在欧洲闻所未闻的一系列成衣尺码将意大利的时装工业化。迪奥(Dior)本来可以仿制，但埃米利奥每种设计都有10个尺码和10种颜色。他成为了意大利最有影响力和最有实力的设计师。
Laudomia selected some of her father's designs to be displayed on vintage mannequins, as well as work by past creative directors Julio Espada, Christian Lacroix and Matthew Williamson, and Pucci's current designer Peter Dundas. Another two rooms, once filled with wine bottles and tractors, are now lined with neoclassical furniture, historic armoires from Pucci's '50s Florence boutique and newly built oak closets organized by garment and decade. Some of the armoires contain a rainbow of garments in the company's custom Pantone colors so synonymous with Pucci's vibrant look: Rosso 02 335 or Bordeaux 02 456 and so on. 'Armani had his beiges. These colors are my father's,' says Laudomia. 'I call it the alphabet of Pucci.'
劳多米亚选了她父亲的一些设计在复古道具模特上陈列，还有历届创意总监朱利奥・埃斯帕达(Julio Espada)、 克里斯汀・拉克鲁瓦(Christian Lacroix)和马修・威廉姆森(Matthew Williamson) 、以及璞琪现任设计师彼得・邓达斯(Peter Dundas)的作品。另外两个曾经满是酒瓶和拖拉机的房间现在摆放着新古典主义家具，璞琪50年代佛罗伦萨专卖店的大衣橱，还有新做的按服装和年代整理的衣橱。有些大衣橱里有按照公司定制的Pantone色彩制作的五颜六色服装，和璞琪活力四射的设计如出一辙：Rosso 02 335、Bordeaux 02 456等等。劳多米亚说：“阿玛尼(Armani)有他的米黄色。这些颜色是我父亲的。我称之为璞琪的字母表。”
Outside, the sweeping lawn features a staircase by landscape designer Niccolo Grassi-a nod, in a way, to the dramatic stepped-grass garden that the late Gae Aulenti designed for the fortress in the '60s. Laudomia also planted palm trees amongst the existing cypress and olive trees 'for a touch of kitsch.' Stables have metamorphosed into a dining room for 20-the number of bedrooms available in the smattering of converted peasant houses on the hillside.
庄园外面，宽阔的草坪上有一个景观设计师尼科洛・格拉斯利(Niccolo Grassi)设计的楼梯──在一定程度上是在向已故的加埃・奥伦蒂(Gae Aulenti)于60年代为城堡所设计的夸张的阶梯式草坪花园致敬。劳多米亚还在现有的柏树和橄榄树中间种了棕榈树，为的是营造“一点世俗感”。马厩变身成为可容纳20人的餐厅──山腰上的几间改造农舍也有20间卧室。
Visitors can unwind in a second pool or at the gym, where exercise machines hum within the restored brick walls and wood beams of a former livestock stall. The relics of the old farm are juxtaposed against slick design throughout, including Pucci carpets, modern Christian Liaigre furniture, Cappellini couches covered in Pucci terry cloth and a tapestry based on a Pucci print that Laudomia commissioned from the Italian artist Francesco Vezzoli-part of an ongoing project to have contemporary artists create works inspired by the archive. 'I want a mix of art, fashion, design,' explains Pucci, 'so I'm doing Granaiolo in a very versatile way.'
游客可在泳池或健身房里放松，健身房以前是禽畜舍，健身器材在修复的砖 和梁木里嗡嗡作响。旧农场的遗迹与整体的流畅设计并存，后者包括璞琪的地毯、现代的Christian Liaigre家具、覆盖有璞琪毛巾布的Cappellini沙发，还有一块按照劳多米亚委托意大利艺术家弗朗西斯科・维佐利(Francesco Vezzoli)设计的璞琪印花图案制作的挂毯──这是一个正在进行的项目的一部分，即邀请当代艺术家创作灵感来自璞琪档案的作品。璞琪解释说：“我想要艺术、时尚和设计融合的东西，所以我把Granaiolo弄得很多样化。”
Already Pucci has hosted several educational events, including two Journ谷es Particuli豕res: LVMH-sponsored open house events. Two groups of students from Polimoda, the Florentine fashion school where Pucci serves on the board, have come to study sewing and print design. Laudomia is hoping to extend the educational activities to international fashion schools for longer visits.
璞琪已经举办过多项教育活动，包括两场Journees Particulieres：路易威登赞助的开放参观活动。来自佛罗伦萨时装学校Polimoda的两群学生来到这里学习缝纫和图案设计。劳多米亚希望将教育活动扩展至国际时装学校，并将学习时间延长。璞琪是该校董事会的成员。
'We should encourage students to relate to archives,' says Laudomia, who believes such study will teach young designers to appreciate their fashion forebears. At Granaiolo, she sees a future where the next generation will find a place to rest, recharge and, most importantly, find inspiration for innovative fashion. 'Heritage means a lot,' she says, 'but only if you pull it out and make it alive. Otherwise it's just another dead museum.'
劳多米亚说：“我们应该鼓励学生认同和欣赏这些档案。”她认为这样的学习会教会年轻的设计师欣赏他们的时尚前辈。在Granaiolo，她认为在未来，下一代人会找到一个休息、充电的地方，最重要的是找到创造性时装的灵感。她说：“传统的意义很重大，但只有把它拿出来让它重生才可以。否则只会成为又一个死亡博物馆。”
'The level of what I was giving was never enough. People wanted more. Colette wanted my stuff. In 1998, I brought the first collection to Milan to show. I had just lost my brother, and I had just had my son. I was relaunching the company. I managed to hold it together by chance,' says Laudomia. 'And I thought to myself, I don't want to be in that situation. So I started playing by the rules. I hired a brand strategist and some designers, and while I was running around, LVMH banged on the door.'
劳多米亚说：“我付出的程度远远不够。人们想要更多。柯莱特时尚店(Colette)想要我的东西。1998年，我带着第一个系列时装去米兰走秀。那时我刚失去我的哥哥，而且刚有了儿子。我开始重新启动公司，没想到慢慢坚持了下来。我对自己说，我不想处在那种环境里。所以我开始遵守规则。我聘请了一位品牌策略师和一些设计师。在我东奔西跑的时候，路易威登找到了我。”
By 2000, Laudomia had navigated the sale of 67-percent interest in the company to LVMH, which still owns it (sales figures are not public), but she retained ownership of the extensive archive. 'Archives weren't instrumental to the business in the way they are today,' she says. 'But it was never a question that I would sell it. You don't sell your family's memories.' The freedom has allowed Laudomia and her financier husband, Alessandro Castellano, to take on Granaiolo's transformation, which they have personally funded.
到2000年，劳多米亚将公司67%的股权转给了路易威登，但她保留了巨大档案库的所有权。目前路易威登依然持有股权（销售数据未公开）。她说：“在过去，档案对时装业的意义没有现在重大。但我绝不会把它们卖掉。家族的记忆是不可能卖掉的。”这种自由让劳多米亚和从事金融业的丈夫亚历山德罗・卡斯特利亚诺(Alessandro Castellano)得以对Granaiolo进行改造。费用由他们个人承担。