Riccardo Tisci is sitting at a table in the parquet-floored showrooms of Givenchy in Paris, contemplating his upcoming 10-year anniversary. “It seems like yesterday,” says the designer, a swarthy 40-year-old who is today sporting a slight peppering of stubble and short, cropped hair.
里卡尔多•蒂希(Riccardo Tisci)端坐在巴黎纪梵希(Givenchy)总部镶花地板的陈列室里的桌子旁，想着即将到来的自己担任纪梵希创意总监的10周年纪念。“一切就像发生在昨天的事，”皮肤黝黑的设计师如是说，他今年已届不惑之年，今天的他理了一头稍显浓密而又粗硬的短平发。
Emotionally, maybe, but times have changed. In 2005, Givenchy was on the verge of bankruptcy, and the atelier reeling from successive design appointments that had seen John Galliano, Alexander McQueen and Julien Macdonald enter and exit the building within years of each other. “I had to cross the street to use the public photocopier because there wasn’t a working one in the Givenchy studio. We didn’t have the money.”
从情感上讲或许是如此，但如今的纪梵希早已今非昔比。2005年，纪梵希濒临破产，当时的设计室因几任设计总监如走马灯似地更换而“风雨飘摇”，几年里，它先后“迎来送往”了约翰•加里亚诺(John Galliano)、亚历山大•麦昆(Alexander McQueen)以及朱利安•麦克唐纳(Julien Macdonald)等多位设计总监。“我不得不到街对面去使用公用复印机，因为纪梵希设计室没有一台能正常使用，我们当时连维修的钱都没有。”
No one expected much then of LVMH’s signing, a streetwise Italian in jeans and sneakers who had studied at Central St Martins in London and staged only two collections under his own label, in Milan. “They called me ‘goth’,” says Tisci, speaking quickly in a strongly accented English that is nuanced with Londonisms and regularly defers to people as “baby”.
那时没人看好这位路威酩轩(LVMH)新签入的街头浪子模样的意大利设计师。他穿着牛仔裤与运动鞋，毕业于伦敦中央圣马丁艺术设计学院(Central St Martins)，之前只在米兰举行了两场自创品牌的发布会。“时装圈称我是‘哥特人（野蛮人）’，”蒂希说，他的语速很快，说的英语口音很重，与伦敦腔英语有些差别，经常尊称别人为“baby”。
“Tom Ford was doing sexy and glam, and I was doing goth. I was very dark. And the press killed me.” He pauses. “It’s OK,” says, flicking the tip of an American Spirit into a nearby ashtray. “The same people that hated me then . . . After six years, they came.”
“汤姆•福特(Tom Ford)走的是性感和华丽路线，而我则是哥特式的设计风格，我非常崇尚黑色。当时媒体把我说得一无是处。”他停了一会儿然后又说，“不过没关系，”并把American Spirit烟灰轻轻弹进一旁的烟灰缸。“当时对我口诛笔伐的同一波人……六年后，反过来对我大唱赞歌。”
Tisci’s quiet direction, determined work ethic and intuitive brilliance have since transformed Givenchy, re-energising the fabled couture house founded by Hubert de Givenchy in 1952, and turning it into a profitable business (exact figures are frustratingly buried within the LVMH group’s aggregated financial statements).
蒂希稳重不张扬、坚持不懈的行事风格以及超常的直觉彻底改变了纪梵希，让这家于贝尔•德•纪梵希(Hubert de Givenchy)于1952年创建、富有传奇色彩的高级时装品牌重焕了勃勃生机，并成为财源滚滚的品牌（让人扫兴的是：其准确财务数据则淹没在路威酩轩浩繁的总财报中）。
Today, his influence reaches from the Holly­wood red carpet – Cate Blanchett, Rooney Mara and Rihanna are all devotees of his darkly sensuous gowns – to the street: Givenchy printed sweats featuring totems of popular culture have become mandatory uniform among the louche-luxe weekend set.
如今，他的影响力已经如日中天，从好莱坞（凯特•布兰切特(Cate Blanchett)、鲁妮•玛拉(Rooney Mara)到蕾哈娜(Rihanna)）的红地毯到寻常阡陌：印有流行文化标识的纪梵希运动衫已成为离经叛道奢侈一族的周末必备行头。
In 2008, he launched a highly successful menswear line. In 2012, he stopped showing couture. In September, he enshrined Kim Kardashian’s status as a fashion idol when he designed the reality star’s wedding dress. Elsewhere, his recent collaborations with Nike, a take on the Air Force 1 trainers he has worn since childhood, have offered kids a slice of Tisci cool with a bit more bounce for their buck.
2008年，他推出了风靡一时的男装系列。2012年，他不再举办高级定制时装发布会。今年九月，他为真人秀明星金•卡戴珊(Kim Kardashian)设计婚纱裙后，一下子让对方升格成了时尚偶像。此外，他最近与耐克(Nike)联手推出了Air Force 1复制版运动鞋（他从孩提时代就穿该鞋），既赋予了孩子们一丝蒂希式的时尚感，更给他们增添了些许青春狂野味。
This democratic, provocative, disarming, often moody refocus of a label once synonymous with refined elegance and a rarefied clientele, has been fundamental to Tisci’s vision. He makes no apology for it. Furthermore, he argues, his Givenchy reflects the same sensibility of its patrician founder.
纪梵希这个时尚品牌曾经与精致优雅以及极少数高端客户为伴，如今它重新以平民化、刺激性、惬意感以及情绪化为重点，它是蒂希的核心设计理念。他没有对此表示出一丝“悔改”，更有甚者，他坚称自己设计的纪梵希与贵族家庭出生的创始人于贝尔在情感上是一脉相承的。
“Givenchy was one of the chicest of the luxury labels,” says Tisci. “But Hubert had a dark side. I discovered that when I went down to the archives. In the 1950s you couldn’t express that darkness, but you could see the severity of the design and I was attracted to it. We brought the street to the label, and made Givenchy more honest and real.”
“纪梵希曾是最为时尚的奢侈品牌之一，”蒂希说。“但于贝尔内心有黑暗情节，我是在研读相关档案时发现这一点的。上世纪50年代，你无法直接表达这种‘黑暗情节’，但可以感同深受时装的庄重感，我对此则痴迷不已。我们曾汲取了寻常生活元素，让纪梵希变得更为纯粹与真实。”
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Walk into a Givenchy store today, as one can, in Chongqing, China, or Kuwait, or most recently Las Vegas, and you will find £400 polo shirts with £250 chain-ring earrings and £4,000 butterfly-printed silk chiffon dresses next to £500 sneakers: Tisci’s high-low fashion has been key to the brand’s alchemy.
如今走进任何一家纪梵希门店，不管是在中国的重庆、科威特，还是在（最新开设门店）美国的拉斯维加斯，都能看到运动鞋（售价500英镑）是和环链耳环（售价250英镑）及印有蝴蝶图案的真丝雪纺连衣裙（售价4000英镑），和与之搭配的开领短袖衬衫（售价400英镑）摆放在一起：蒂希的高低档时装混搭式销售一直是纪梵希畅销世界的绝招。