They are not only artistic things.

它們不僅是藝術的東西。

It could be a movie, that could be a trip,

可能是一部電影，也可能是一次旅行。

curiosity for other people,

對別人的好奇心。

and it's the way you transform that into fashion

而這是你將其轉化為時尚的方式。

into clothes.

成衣服。

It's the best way a collection start

這是最好的收藏開始的方式

is to be aware and curious about what is surrounding you

就是對你周圍的事物保持警覺和好奇。

in this world.

在這個世界上。

- Hi, I'm Nicolas Ghesquière,

- 嗨，我是尼古拉斯-蓋斯基爾。

and this is the timeline of my career.

這是我職業生涯的時間軸。

[lo-fi music]

[低頻音樂]

I joined Jean Paul Gaultier in 1990.

我於1990年加入Jean Paul Gaultier。

It was a dream come true for me.

這對我來說是夢想成真。

I went there and I show my drawings at the time

我去了那裡，我展示了我當時的圖紙

that was really fashion teen's drawing and they liked it.

那真的是時尚少年的畫，他們很喜歡。

So I get hired and they gave me my first job.

所以我被錄用了，他們給了我第一份工作。

Fashion in the nineties was a crazy place,

九十年代的時尚是一個瘋狂的地方。

especially in Paris.

特別是在巴黎。

It was a job for strange people I would say,

我想說，這是給奇怪的人做的工作。

for people with strange visions

幻覺者

and being with Jean Paul Gaultier

和Jean Paul Gaultier在一起

was being in the heart of the game.

是在遊戲的核心。

It was the place to be.

那是個好地方

The most desirable job in fashion at the time.

是當時時尚界最理想的工作。

So it was absolutely amazed to be there

所以能到那裡絕對是個驚喜

in the middle of this incredible creative studio.

在這個不可思議的創意工作室中。

[lo-fi music]

[低頻音樂]

I joined Balenciaga in 1995

我於1995年加入Balenciaga

as what was called a licensed designer.

作為所謂的特許設計師。

So it was designing clothes for different countries,

所以是為不同國家設計衣服。

Asia, South America, and they were not,

亞洲、南美洲，而他們卻沒有。

let's say the most prestigious collection.

比方說最負盛名的收藏。

So it was designing bridles for renting.

所以是設計馬具出租。

I was designing the collection in Japan

我在日本設計這個系列

there was called black roses there was for widows.

有叫黑玫瑰的有為寡婦。

One day in 1997, so they offer me temporary,

1997年的一天，所以他們給我臨時。

the big job of artistic director,

藝術總監的大任。

but just for six months.

但只是半年時間。

They told me at Balenciaga, they were looking

他們告訴我，在Balenciaga，他們正在尋找。

for someone famous and they wanted me to to do

為某個著名的人，他們希望我做的

the in between jobs.

工作的間隙。

So to design the collection just for one time.

所以要設計的系列就只有一次。

Of course, I agree.

當然，我同意。

Then I took the job and eventually I stayed for 15 years.

然後我就接受了這份工作，最終我呆了15年。

I was young, I was 25 when I first started,

我很年輕，剛開始的時候我才25歲。

and I think I was 27 when I get the big job.

我想我27歲的時候，我得到了一份大工作。

It was a brand that had disappeared

那是一個已經消失的品牌

from the fashion landscape for many years,

從時尚界消失多年。

probably since Cristóbal Balenciaga

大概從克里斯托巴爾-巴倫西亞加開始吧

stopped his brand in 1968.

1968年停止了他的品牌。

So to be responsible for that rebirth

所以要對那個重生負責

is probably one of the thing I'm the most proud about

可能是我最引以為豪的事情之一。

if I can say in my career, yeah.

如果我可以說在我的職業生涯，是的。

So I was named Womenswear Designer at the CFDA.

所以我被評為CFDA的女裝設計師。

Yeah, in 2001.

是的，在2001年。

And I was 30 years old.

而我當時30歲。

I remember flying in New York

我記得我在紐約坐飛機

and at the time the CFTA was a competition.

而當時的CFTA是一場比賽。

We were three nominated, and I was nominated

我們有三個人被提名，我也被提名了。

with Karl Lagerfeld and I was nominated

與卡爾-拉格斐合作，我還被提名為 "中國十大傑出青年"。

with Alexander McQueen, and I remember going there thinking,

與亞歷山大-麥昆合作，我記得當時我在想，

"Wow that's great trip going to New York for a few days.

"哇，這趟旅行真不錯，去紐約玩了幾天。

I'm going to enjoy myself,

我要去享受自己。

but there is no way I'm going to win."

但我不可能贏。"

So I was surrounded by incredible people,

所以我身邊有很多不可思議的人。

and it's always very impressive to be in America.

而且在美國總是讓人印象深刻。

You know, there was a lot of stars and a lot of designers.

你知道，當時有很多明星和很多設計師。

And then my name was said, and I have to say

然後我的名字被說出來了，我不得不說... ...

that this is something that I will never forget

這是我永遠不會忘記的事情

because the recognition so early,

因為認識這麼早。

the recognition of this industry of people that I admire

認可這個行業的人，我很佩服。

that were physically around me in that room

在那間屋子裡，我身邊的人

was something that was unique and so unexpected

是什麼東西，是獨特的，所以出乎意料

that they recognize very early my work

他們很早就認識到我的工作

and that was very special with my relationship

那是非常特別的與我的關係

with the American audience and public

與美國觀眾和公眾

that they were very quick in recognizing

他們非常迅速地認識到

what I was doing at Balenciaga.

我在Balenciaga做了什麼？

Sometimes quicker than European strangely,

有時比歐洲人奇怪的快。

so I'm always very thankful for that, yes.

所以我一直很感激，是的。

The Lariat bag had many names.

拉里奇包有很多名字。

It says a lot about how much people love that bag

這說明了人們對這個包包的喜愛程度。

because they were making them our thing.

因為他們讓他們成為我們的東西。

Very exclusive and very personal.

非常專一，非常個性化。

I designed that bag like quite early.

我很早就設計了那個包。

It came out in 2001 officially, but it was on a shelf

2001年正式面世，但它是在一個架子上的

in my studio for at least a year.

在我的工作室至少一年。

That bag was asked because everyone

那個包包被問到是因為大家

was doing bags obviously, and they told me at Balenciaga,

顯然是在做包包，他們告訴我在Balenciaga。

just try one, just like have fun.

只是嘗試一個，就像有樂趣。

You can try to design a bag.

你可以嘗試設計一個包。

So I did that bag and I put it in the studio,

所以我做了那個包，我把它放在工作室裡。

and I remember especially K Tomas at the time

我特別記得當時的K-托馬斯。

walking through the studio for a fitting

穿行在試衣間

and look at this little thing in the corner of the room

看看房間角落裡的這個小東西

and said, "This is a really cool bag.

並說："這真是一個很酷的包。

I really want to wear that bag."

我真的很想穿那個包。"

And I remember Chloe Sevigny or so

我還記得克洛伊-塞維格尼什麼的

like coming to Paris, she saw the bag, the same.

像來巴黎一樣，她看到了包，一樣的。

So I realize that maybe it was time

所以我意識到，也許是時候

to try to distribute that bag.

來嘗試分配那個袋子。

So I think we manufactured 20 the first time,

所以我想我們第一次就製造了20個。

and put them in the Parisian store.

並把它們放在巴黎的商店裡。

And I sent a few bags for my friends to wear,

而且我還送了幾個包給朋友們穿。

the one who had the desire to wear it, Kate, Chloe,

那個有慾望穿上它的人，凱特，克洛伊。

and some other French editors,

和其他一些法國編輯。

and international editors at the time,

和當時的國際編輯。

and then it became a success quite instantly.

然後很瞬間就成功了。

It was crazy the reaction that the world of fashion

時尚界的反應真是太瘋狂了。

and the customer had for that bag,

和客戶對該包的有。

demanding that bag to every department store

要求每家百貨公司都有這個包

around the world, and it can become phenomenal.

在世界各地，它可以成為現象級的。

If I did not have designed that bag at the time,

如果當時我沒有設計那個包。

I would have never become

如果不是我，我也不會成為

an artistic director at Louis Vuitton

路易威登的藝術總監

This is really where I show that I could design more

這是我真正展示我可以設計更多的地方。

than clothes, that I could design handbags,

比衣服更重要的是，我可以設計手袋。

that I could design shoes, that I could do jewelry,

我可以設計鞋子，我可以做珠寶。

that I could design a full silhouette,

我可以設計一個完整的輪廓。

that my vision was complete.

我的願景已經完成。

That bag became a timeless item.

那個包包成了永恆的物品。

And it's very very special when you have something

這是非常非常特別的，當你有東西

that survive that long in fashion

長盛不衰

and become a new iconic classic.

併成為新的標誌性經典。

So I'm very proud of that, yeah.

所以我很自豪，是的。

That's my introduction to dressing Hollywood

這就是我對好萊塢服飾的介紹

and to dress for red carpet.

並穿上紅地毯。

And it was with Jennifer Connelly.

而且是和詹妮弗-康奈利一起。

And I had to be in Japan at the time for work,

而我當時必須在日本工作。

I have a Japanese breakfast in a hotel room

我在酒店房間裡吃了一頓日式早餐

with some colleague, and then we are watching

與一些同事，然後我們正在觀看。

the Oscars on TV and she won.

在電視上的奧斯卡獎，她贏得了。

My phone starts ringing.

我的手機開始響了。

It was New York Times, everyone was calling,

這是紐約時報，大家都在打電話。

everyone wanted a quote,

每個人都想要一個報價。

everyone wants to speak about the dress.

每個人都想談論這件衣服。

So the day after was a different experience.

所以後天的經歷就不一樣了。

That was a terrible contrast between the appreciation

這是一個可怕的對比之間的讚賞

of the dress and people who loved it so much,

的衣服，還有那麼喜歡它的人。

and some who hated it so much.

和一些恨之入骨的人。

So I learned a lot about like what became

所以我學到了很多關於像什麼成為

such very harsh judgment for actresses around the world

對全世界的女演員來說，這樣的評價是非常苛刻的。

with their dress, but some people said it was a mop

與他們的衣服，但有些人說這是一個拖把。

and some of them said it was a brilliant and excellent

他們中的一些人說這是一個輝煌而優秀的。

and such a new proposition for red carpet,

而這樣的紅毯新主張。

that it was a game changer,

它是一個遊戲規則的改變。

and somebody else said it was trash,

還有人說這是垃圾。

and it was a shame to design that kind of dress

而且設計那種衣服是很可惜的

for the awards.

的獎項。

So I was really experiencing a mixed feeling

所以我當時真的是百感交集

of judgment, and yeah, and then I was ready to do many more.

的判斷，是的，然後我準備做更多的。

So in 2013, when I was at called to join the house

所以在2013年，當我在被叫去加盟的時候。

of Louis Vuitton, in a year where I had decided

我在這一年裡，決定為路易威登公司提供服務。

to stop for two seasons, which is very long in fashion,

以停止兩季，這是非常長的時尚。

to stop to work for two seasons.

停工兩季。

You skip one show, it's already complicated,

你跳過一個節目，已經很複雜了。

you skip two shows, you feel you are an outsider.

你跳過兩場演出，你會覺得自己是個局外人。

And so when Vuitton call me and said,

所以當LV給我打電話說。

"Okay, we would like you to become the artistic director."

"好的，我們希望你能成為藝術總監。"

I was really in awe, because it's a house I admire

我真的很敬畏，因為這是我很欣賞的房子。

for many years and it was so, it was a huge step for me.

多年來，就是這樣，這對我來說是一個巨大的進步。

My first vision at Vuitton was the fact

我在LV的第一個設想是

that we needed to define an aesthetic

我們需要定義一種美學

that was functional because Louis Vuitton

因為路易-威登公司

is very functional, luxurious,

是非常實用、豪華的。

because of obviously, it's emblematic

因為很明顯，它是象徵性的。

from what is the ultimate luxury.

從什麼是極致奢華。

That was what I wanted to say.

這就是我想說的。

But also their choice to hire me was also

但他們選擇聘用我也是

to play the game of fashion.

來玩時尚的遊戲。

They didn't want it something timeless only,

他們不希望它的東西永恆的只。

or something that was classical.

或一些古典的東西。

They wanted a true proposition,

他們想要一個真實的命題。

and I think Mark Jacobs did an incredible work for 16 years,

我認為馬克-雅各布斯16年來的工作令人難以置信。

and to be asked to be the second designer at Vuitton

並被邀請成為LV的第二位設計師。

after Mark was already a great honor.

馬克之後已經是莫大的榮耀。

My vision was really to develop the wardrobe

我的願景是真正開發衣櫃

that was going to grow season after season.

那是要一季一季的增長。

The pressure was very high obviously,

顯然壓力非常大。

but I try to stay very quiet,

但我儘量保持非常安靜。

and I remember walking that room

我記得我走過那個房間

and feeling something very warm and nice.

並感覺到很溫暖很美好的東西。

And people were like addressing something

而人們就像在解決什麼

very positive to me, like they missed me,

對我來說非常積極，就像他們想念我一樣。

they missed my work, they missed my point of view,

他們錯過了我的工作， 他們錯過了我的觀點。

they were happy to see what I have to say

他們很高興看到我有什麼要說的。

that day for my first day, my first show at Louis Vuitton.

那一天是我在路易威登的第一天，我的第一場秀。

The first bag is designed for Louis Vuitton it called

第一款包包是為路易威登設計的，它被稱為 "路易威登"。

the Petite Malle.

小馬勒。

It's kind of the miniature of a trunk.

這有點像行李箱的縮影。

I went for lunch with Bernard Arnault

我和Bernard Arnault去吃午飯了

and we were talking about my vision for Louis Vuitton.

我們還談到了我對路易威登的願景。

I said, "You know, it's funny, my intuition is telling me

我說，"你知道，這很有趣，我的直覺告訴我。

that we should make a version of the traveling trunk,

我們應該做一個旅行箱的版本。

but in a smaller way for a woman to carry

但對女人來說，卻可以用較小的方式來進行。

during her day, during her nights,

在她的白天，在她的夜晚。

something that is super functional

超實用的東西

but had the values of the house that says in one look

但有價值的房子說，在一個看看

this is Louis Vuitton."

這是路易威登。"

And he loved that idea.

他很喜歡這個想法。

Sometimes I'm wondering if I get the job

有時候我在想，我是否能得到這份工作？

because of that idea only.

只因為這個想法。

Not now obviously, but I think there was really

現在不明顯，但我認為真的有。

a deal for him, a click.

對他來說，一個交易，一個點擊。

It was like, okay, the guy has a vision that is interesting

這就像，好吧，這傢伙有一個願景，是有趣的。

for the brand.

為品牌。

Petit Malle is a good luck, good luck item for me today.

小馬樂是我今天的吉祥物，好運物。

There is not one show without a Petite Malle.

沒有一個節目是沒有小馬哥的。

We designed like a few new proposition every season,

我們每一季都會設計一些新的主張一樣。

and people love it.

而且人們喜歡它。

Some people collect them,

有些人收集它們。

there's people that have like hundreds of them.

有的人，有像數百人。

This is very impressive.

這是非常令人印象深刻的。

I have a lot of love for that first design

我對第一個設計很有好感

for Louis Vuitton.

路易威登的。

[lo-fi music]

[低頻音樂]

So on May 14, 2017, I was in Kyoto presenting my

所以在2017年5月14日，我在京都介紹我的。

Cruise Collection in a wonderful museum

遊輪收藏在一個奇妙的博物館裡

called the Miho Museum in middle of the green valley.

稱為綠谷中的美保博物館。

This is an extraordinary landscape,

這是一道非凡的風景。

and we choose that location for our Cruise show

我們選擇這個地方作為我們的遊輪表演地點

at Louis Vuitton.

在路易威登。

600 guests were flying from all over the world at the time.

當時有600名客人從世界各地飛來。

Celebrating Japan was one of my favorite place to be,

慶祝日本是我最喜歡的地方之一。

Japanese culture, so rich, and so it was an intense moment.

日本的文化，如此豐富，所以那是一個激烈的時刻。

It was a very full moment, inspiring,

這是一個非常飽滿的時刻，鼓舞人心。

inspired with friends and a lot of people.

與朋友和很多人的啟發。

We had a great show.

我們有一個偉大的演出。

It's always very incredible to be able to travel

能夠旅行總是非常不可思議的。

with a collection for a Cruise show.

帶著收藏品去參加郵輪展。

We did a few, we did one in Rio,

我們做了一些，我們在里約做了一個。

we did one in New York, we did one in Palm Spring,

我們在紐約做了一個，我們在棕櫚泉做了一個。

and so every time it's a great experience

所以每次都是一次很好的體驗。

to carry the collection somewhere else

搬運到其他地方去

and to make a different proposition

並提出不同的主張

than the fashion week in Paris.

比巴黎的時裝週。

So in Kyoto that day, it was a great moment of joy,

所以那天在京都，那是一個非常高興的時刻。

but what was happening in Paris in fact

但事實上，巴黎的情況

was an extreme joy too because it was the investiture

也是一種極度的快樂，因為它是就職儀式