圣·罗兰的缪斯德·拉·法莱斯

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.

卢卢·德·拉·法莱斯(Loulou de la Falaise)是一位法国偶像，也是伊夫·圣·罗兰(Yves Saint Laurent)长久的灵感缪斯。她自然的风格、不知疲倦的精神代表着时装界的各种精彩。

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.

关于20世纪七八十年代冲动兴奋、快乐至上的巴黎时装界，人们已经写了很多，其中很多都是真实的。是许多人共同造就了那个不墨守成规、疯狂放纵、极具创意的年代，而卢卢·德·拉·法莱斯则是其中最耀眼的明星。她于2011年去世，享年64岁，人们认为，在将近30年的时间里，她给伊夫·圣·罗兰的高级定制和成衣系列带来灵感，并为其设计配饰。阿里尔·德·拉夫纳尔(Ariel de Ravenel)和娜塔莎·弗雷泽-卡瓦索尼(Natasha Fraser-Cavassoni)的新书《卢卢·德·拉·法莱斯》讲述正是她的故事。

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.

从1975年至1990年，我在巴黎生活、工作，任《每日女装》(Women's Wear Daily)的记者，近距离地看着卢卢从一位法国侯爵和古怪的英国模特马克西姆·德·拉·法莱斯(Maxime de la Falaise)放荡不羁的女儿蜕变为圣·罗兰最信任的缪斯，以及一位独立的设计师。对我们这些目睹她工作和游戏的人来说，她不仅是伊夫最为多姿多彩的合作者，而且是可可·香奈儿(Coco Chanel)之后时装界最活跃的女性人物之一。

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.

乐观，聪慧，美丽，男孩子似的苗条——她看起来像圣·罗兰的时装草图。她的着装方式更是引人注目：大约每天上午9点她到达巴黎右岸伊夫·圣·罗兰的高级定制工作室，那绝对是个重要时刻。每天早上她在第14区自己的公寓里搭配起来的裤子、上衣、半身裙、衬衫、连衣裙、长筒袜、鞋子、披肩、手包和珠宝跟巴黎任何其他人穿的或见过的都不一样。女继承人、女伯爵、模特、电影明星和很多时装编辑都想模仿她。不管她是模仿18世纪的印度王子、前苏联时代的俄罗斯农民还是20世纪东村鼓吹爱与和平的嬉皮士，她的打扮都超越了服装。它们看起来新鲜、时尚。她打扮不是为了赢得狗仔队的喝彩（虽然她被偷拍了无数次），而是为了让自己高兴，让朋友惊讶，最重要的是，给伊夫留下深刻印象。

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.

卢卢、伊夫和我在《每日女装》的编辑约翰·费尔柴尔德(John Fairchild)是好朋友。这三位时装界巨星互相仰慕，但也会无情地互相质疑、取笑。二十年来，每一季约翰和我都会在伊夫·圣·罗兰的总部碰头，给制作中的新成衣系列拍照，审视高级定制礼服的草图，或者观看模特试穿无尾礼服和裤子。工作时卢卢和伊夫不怎么说话，他们像是在用一种密码进行交流。她把头发向后撩起，掐灭骆驼牌香烟或者把交叉起来的小马似的双腿放下来——这些都是在给时常看她的伊夫发信号。然后他会拿起铅笔，停一下，扶一下眼镜——卢卢能领会他返回的任何信号。她大笑的时候——是真诚的，从嗓子里发出的笑声——房间里的每个人都会跟着笑。你很难不去模仿卢卢做过的事。有时，通常很冷静、有时有点专横的约翰会因为不能说话而感到受打击。

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.

我不知道卢卢的魅力是否源于她对自己的奇怪感觉。她既自律又难以驾驭，既自信又脆弱，我怀疑她对自己的力量或美貌不完全自信。她顽皮风趣，从不居高临下或者发脾气。她看起来很风雅，不管说英语还是法语，听起来都世故而聪明。她喜欢整晚参加派对，从不运动，抽烟抽得很凶，但那时候巴黎所有人都这样。在当时的巴黎时尚圈，酒和毒品也很常见。虽然她擅长与罗思柴尔德家族和滚石乐队打交道，但她似乎在和伊夫、她内敛的丈夫撒德·克洛索斯基·德·罗拉(Thadée Klossowski de Rola)——作家，他的父亲是画家巴尔蒂斯(Balthus)——和他们的女儿安娜(Anna)在一起时更快乐。1977年6月，他们在巴黎布洛涅森林公园的一个小岛上举行了婚礼。几百名客人坐着一群装饰着花环的小船前来。卢卢穿着深翠雀蓝套装，头饰上有星星和新月。

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.

卢卢和撒德年老以后，更多的时间在撒德家族装修简单的意大利城堡里度过。晚年，她热衷于园艺，喜欢打理他们位于法国韦克桑布里的乡间别墅的花园。最后几年，她为奥斯卡·德拉伦塔(Oscar de la Renta)设计了一系列珠宝，还为购物网站HSN设计了一系列服装和配饰。撒德待在家里写作——他总是脚踏实地，她总是活泼好动。虽然去世了，但她仍然一如既往地令人振奋。