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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，埃米利奧・璞琪(Emilio Pucci)發布了以萬花筒般圖案和緊身修身針織衫為特色的同名品牌。不久后，他選擇自己的家作為品牌的運營基地：位于佛羅倫薩中心的復興時期宮殿Palazzo Pucci。這處宅邸從璞琪家族15世紀擔任美第奇家族(Medicis)的政治顧問起就為其所有，擁有波提切利(Botticelli)及其他繪畫大師的珍貴畫作，也是一座畫室、精品店以及公司總部的所在地。璞琪的檔案包括18,000種印花圖案、15,000條圍巾、1,000匹復古面料和200種定制面料顏色，這些都存在這座宮殿地下的酒吧里。但這位設計師的時尚遺產在這個古老的地下空間里并不安全，埃米利奧的女兒勞多米亞(Laudomia)心知肚明。她是在1992年父親去世時接管這里的。
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.
勞多米亞現任該品牌的形象總監及副董事長。她記得1966年阿諾河(Arno River)那場毀滅性的洪災，100多人不幸遇難，無數佛羅倫薩的藝術、建筑和文學作品被毀。這個酒吧也未幸免。勞多米亞說：“水有兩米深。我父親失去了一切。一早醒來，突然所有人都穿著橡膠套鞋在試圖搶救東西。”勞多米亞現在仍和丈夫、三個孩子，還有她的母親──埃米利奧的遺孀Marchesa Cristina Pucci di Barsento──住在Palazzo的最頂層。雖然公司在那場災難后補充了檔案，但從那以后，洪災會周期性地令璞琪的藏品浸沒在泥濘的洪水里。2012年再度遭到侵襲后，勞多米亞意識到自己的遺產處于危險之中。
'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?'
勞多米亞說：“如果我想把公司創造的東西傳下去，就得采取點措施。為什么要讓它死掉？既然我面前有一個完整的地方，為什么要讓它被洪水吞沒？”
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.
這個地方就是Granaiolo，璞琪家族位于Castelfiorentino的占地150英畝（約60公頃）的鄉村莊園，在佛羅倫薩西南方向驅車45分鐘距離處。2012年秋季開始，勞多米亞開始將公司龐大檔案庫的大部分藏品轉移到鄉下，并修建了一座實驗室，供時裝專業學生學習面料技術、設計和歷史。
'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.'
她說：“在這里我有足夠的空間，我想跟人分享。人們從前有那么多時間探索和開發新東西。我父親就有這種時間。但如今年輕的創意人沒有──商業規則變得太殘酷了。所以我真心希望這里能成為一個反省、學習和獲得創意的地方。”
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，璞琪家族的產業可追溯至13世紀，當時他們的貴族祖先在這片蜜色的土地上建造了一座壯觀的城堡。后來又有了一座壁畫裝飾的修道院，還有為在地里種小麥──Granaiolo意思是“小麥谷倉”──葡萄和煙草的農民修建的馬廄和農舍。
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世紀初，Granaiolo的收入一直維系著璞琪家族的實力，當時埃米利奧的祖父修建了鎮里的火車站。出生時就是侯爵的年輕的璞琪在二戰期間入伍做了飛行員，后來才開始他利潤豐厚的時裝事業。Granaiolo一直是一座農場，直到上世紀80年代才最終停止了農業經營。那時璞琪已經成為一個全球性品牌，璞琪家族還不需要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，埃米利奧患病，勞多米亞在29歲的年紀擔任了首席執行長的職務。埃米利奧去世后，商業和創意兩方面都由她接管。但勞多米亞發現這是個挑戰。她只為自己的父親、以及紀梵希(Hubert de Givenchy)的生產部門工作過。
'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.
勞多米亞談到莊園的翻修工程時說：“這是我們周末的愛好。”他們讓當地的工匠用手工陶土鋪地板，用再生木材蓋屋頂。工人們修復了當地城堡塞茵那石(pietra serena stone)壘砌的藍灰色外 、窗戶原有的鐵門和巨大的馬廄木門。主屋、樓上的客房和泳池仍然會是家族的私人度假地，但那些曾經搖搖欲墜的農用建筑變得更現代了。隨著翻修工程的進行，許多寶藏開始呈現出來，比如舊酒莊里優雅的圓柱拱廊，還有勞多米亞發現的藏在谷倉里的16世紀畫作。
'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.'
她談到璞琪的歷史時說：“我們有豐厚的底蘊和悠久的傳統。這是我讓我們的歷史變得特別的機會。隨著全球主義、明星效應和大眾時尚的普及，我們需要這種厚度，否則就和別的品牌沒差別了。”
'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) 時裝集團首席執行長皮爾-伊芙・羅塞爾(Pierre-Yves Roussel)說：“時裝檔案是我們品牌的靈魂，但是擁有一個比任何人都了解品牌傳統的人是一個優勢。”
'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.'
羅塞爾說：“這是個大工程。存放和維護這些脆弱的東西在后勤上是個挑戰。紀梵希的檔案是在喬治五世大道(Avenue George V)上的地下室，其他大多數品牌〔路易威登品牌〕都在巴黎郊外的溫控倉庫里。這是很獨特的。”
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.'
幸運的是，Granaiolo的大谷倉成了存放和陳列復古針織衫的完美的地方。羅馬時裝歷史學家及策展人恩里科・昆托(Enrico Quinto)說，那些復古針織衫“太精致了，都可以疊起來放在煙盒里”。埃米利奧・璞琪是一個絕對的開拓者──他通過引進在歐洲聞所未聞的一系列成衣尺碼將意大利的時裝工業化。迪奧(Dior)本來可以仿制，但埃米利奧每種設計都有10個尺碼和10種顏色。他成為了意大利最有影響力和最有實力的設計師。
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.'
勞多米亞選了她父親的一些設計在復古道具模特上陳列，還有歷屆創意總監朱利奧・埃斯帕達(Julio Espada)、 克里斯汀・拉克魯瓦(Christian Lacroix)和馬修・威廉姆森(Matthew Williamson) 、以及璞琪現任設計師彼得・鄧達斯(Peter Dundas)的作品。另外兩個曾經滿是酒瓶和拖拉機的房間現在擺放著新古典主義家具，璞琪50年代佛羅倫薩專賣店的大衣櫥，還有新做的按服裝和年代整理的衣櫥。有些大衣櫥里有按照公司定制的Pantone色彩制作的五顏六色服裝，和璞琪活力四射的設計如出一轍：Rosso 02 335、Bordeaux 02 456等等。勞多米亞說：“阿瑪尼(Armani)有他的米黃色。這些顏色是我父親的。我稱之為璞琪的字母表。”
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.
莊園外面，寬闊的草坪上有一個景觀設計師尼科洛・格拉斯利(Niccolo Grassi)設計的樓梯──在一定程度上是在向已故的加埃・奧倫蒂(Gae Aulenti)于60年代為城堡所設計的夸張的階梯式草坪花園致敬。勞多米亞還在現有的柏樹和橄欖樹中間種了棕櫚樹，為的是營造“一點世俗感”。馬廄變身成為可容納20人的餐廳──山腰上的幾間改造農舍也有20間臥室。
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，健身器材在修復的磚 和梁木里嗡嗡作響。舊農場的遺跡與整體的流暢設計并存，后者包括璞琪的地毯、現代的Christian Liaigre家具、覆蓋有璞琪毛巾布的Cappellini沙發，還有一塊按照勞多米亞委托意大利藝術家弗朗西斯科・維佐利(Francesco Vezzoli)設計的璞琪印花圖案制作的掛毯──這是一個正在進行的項目的一部分，即邀請當代藝術家創作靈感來自璞琪檔案的作品。璞琪解釋說：“我想要藝術、時尚和設計融合的東西，所以我把Granaiolo弄得很多樣化。”
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.
璞琪已經舉辦過多項教育活動，包括兩場Journees Particulieres：路易威登贊助的開放參觀活動。來自佛羅倫薩時裝學校Polimoda的兩群學生來到這里學習縫紉和圖案設計。勞多米亞希望將教育活動擴展至國際時裝學校，并將學習時間延長。璞琪是該校董事會的成員。
'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.'
勞多米亞說：“我們應該鼓勵學生認同和欣賞這些檔案。”她認為這樣的學習會教會年輕的設計師欣賞他們的時尚前輩。在Granaiolo，她認為在未來，下一代人會找到一個休息、充電的地方，最重要的是找到創造性時裝的靈感。她說：“傳統的意義很重大，但只有把它拿出來讓它重生才可以。否則只會成為又一個死亡博物館。”
'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.'
勞多米亞說：“我付出的程度遠遠不夠。人們想要更多。柯萊特時尚店(Colette)想要我的東西。1998年，我帶著第一個系列時裝去米蘭走秀。那時我剛失去我的哥哥，而且剛有了兒子。我開始重新啟動公司，沒想到慢慢堅持了下來。我對自己說，我不想處在那種環境里。所以我開始遵守規則。我聘請了一位品牌策略師和一些設計師。在我東奔西跑的時候，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，勞多米亞將公司67%的股權轉給了路易威登，但她保留了巨大檔案庫的所有權。目前路易威登依然持有股權（銷售數據未公開）。她說：“在過去，檔案對時裝業的意義沒有現在重大。但我絕不會把它們賣掉。家族的記憶是不可能賣掉的。”這種自由讓勞多米亞和從事金融業的丈夫亞歷山德羅・卡斯特利亞諾(Alessandro Castellano)得以對Granaiolo進行改造。費用由他們個人承擔。
