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在時尚行業裡,Never say “I don’t do that.”

Date:
13 Dec 2018
Categories:
Fashion news

最近看了 Alan Prada 的專訪,談及到他在時裝媒體的生涯與洞見。那時他大學畢業一年半後便加入了《L’UOMO VOGUE》團隊,七年後升為副主編,去年更被任命為意大利版《VOGUE》副主編。如此平步青雲的時裝路,讓不少懷抱時尚夢想的年輕人憧憬不已。可是俗語常說「台上一分鐘,台下十年功」,Alan Prada 能夠坐上如今席位絕不輕易,訪問中更道出在時尚界最得成功的基本條件:Never say ‘I don’t do that.” 誠然,不論是時尚媒體者還是設計師還是什麼相關的工作,「不會」、「不可能」、「不可以」永遠是創造的最大阻礙,更遑論成功。

Alan Prada(網上圖片)

 

「永遠不要,『這我不會做』,因為你必須做一切。 你必須被時尚的夢想所驅使,因為我們都憧憬時尚的魅力。但是日常工作很辛苦,而且一點也不光鮮。『這我不會做』不可能存在。 你必須做所有的事情,甚至是那些令人討厭的事情。」—— Alan Prada

這句說話應該最讓同業感同身受了吧?「時尚」一詞讓人聯想到光鮮亮麗、衣香鬢影的畫面,但在閃光燈背後,多少人捱更抵夜、多少人東奔西跑,只有身在其中的人才會冷暖自知。尤其在規模不大的團隊,不論是設計師還是實習生、編輯還是記者,凡事總得親力親為。可以說「不」嗎?可以,只是潛在的客戶、工作機會也會因為一句「不」而隨之而去。(如遇到欺凌或違反道德之事,當然要說不!)

 

 

 

 

回想起在時尚媒體裡工作時,最厭煩就是寫「客稿」,因為十份裡總有九份與平台風格不符,卻要扭盡六壬將產品寫得時尚、寫得不像廣告,還要經過客戶與公司各部門批核。可以不做嗎?當然不可以。第一是份job到手時已不由得小薯 say no,第二是公司靠廣告賺錢,我們不願意寫的話來年就被 cut budget,到時連自己想寫的題材也被限制。Alan Prada 在訪問中也說到,無論是編輯、出版商或初級職位,也得「學會成為一個主編的秘書,以及兩者之間的一切。」

至於在時裝品牌裡,相信辛苦程度更甚。曾看過本地設計師要親自到廠房搬貨回工作室,最近亦試過為了省下搬運費而親自將三大箱衣服樣板送到客戶公司,出 fashion show/presentation或 trunk show時自己擔擔抬抬更不在話下。而缺少睡眠更是每個設計師必經的磨練,趕新 collection 時在工作室排了幾張椅子睡上一、兩個小時已是常事。

雖然做了很多自己不喜歡或看起來毫不相干的工作,但這些事情也是對行業裡各齒輪的了解——「你應該學習和了解你的領域。如果你不了解你的領域,就不值得你進入這個領域。」Alan Prada 說道。

至於這麼辛苦,為何大家仍願意留在時尚行業?因為兩個字:夢想。當自己的設計、出品被肯定時,那份滿足感遠大於背地裡工作的辛酸。山本耀司曾問自己、問他人:「就算以生命換取機會,你也想做衣服嗎?」想想看,「時尚」於你到底有何意義?其意義有多重大?你是否願意經過重重難關、曲折來走向最終的夢想?所以,不要因為一句“I don’t do that.” 而扼殺了機會與可能性。

最後,奉上一段本地設計師們的訪問短片,看看大家如何在地獄般的工作中看見天堂:訪問片段

Alan Prada 訪問原文

撰文:陳褘

In a recent interview with Alan Prada, now deputy editor-in-chief of Italian VOGUE, he highlights that his main advice to juniors in the industry, is to never say “I don’t do that”:

“Never say, ‘I don’t do that’ because you have to do everything. You have to be driven by the dream of fashion, because we all dream about the glamour. But the daily job is hard and its not glamorous at all. ‘I don’t do that’ can’t exist. You have to do everything, even things that are annoying” – Alan Prada

Joining the L’UOMO VOGUE team eighteen months after college, Alan Prada trained under Franca Sozzani at the height of her creative powers. Seven years later, he was appointed as the magazine’s deputy editor, and more recently, the deputy editor of Italian Vogue. With a CV that would inspire the envy of most, one would consider his advice to be sound.

So let’s discuss.

“It’s not glamorous at all.” Is this sentence the most reflective of the industry? Perhaps not at first glance. A mention of the word “fashion” often conjures a kaleidoscope of images – photoshoots, models, runways, after-parties, and a two-page spread in Vogue featuring Gigi Hadid. Yet whilst the purpose of fashion, like all art, may be to portray beauty, the process of its creation is often far from beautiful. In short, its hard work, and more often than not, its work that we must do ourselves.

“I don’t do that”. In the modern world, we often have the liberty to be selective. We select the exact dress we want out of thousands online, the exact meal we want off UberEats, swipe right on a potential partner out of thousands. But how well does this liberty translate to the professional world?

In fashion at least, it rarely ever does.  In order to curate the perfect look, to encapsulate our idea of beauty in the folds of a dress, or on a magazine spread, requires us to be a fashion designer, an artist, a photoshop. professional. And more practically, one must be willing to be the coffee intern when there is none around. Here in Hong Kong, I have seen designers run between factory and studio to drop off their own products, or personally deliver orders to clients to avoid the handling fee. To cut back, to realise our dreams, we must be willing to take on such responsibilities.

As Prada puts it, the key to success is “to become an editor-in-chief, and everything in between.” Or more simply put: hard work. For every catwalk and photoshoot, there are the all-nighters pulled to ready a dress for the next day. A makeshift bed in the studio for when there’s no time to make the commute between home and work.

But if it’s all such a nightmare, why stay? What’s this all for? It may sound cliche, but in effect, it is to realise our dreams. When an idea becomes a prototype, and finally a design on the runway, the satisfaction easily surpasses the fatigue accumulated from the hours we contributed.

So perhaps, in fashion as in all other work, and in work as in other aspects of life, it is necessary to ask instead: what wouldn’t I do?

Alan Prada interview article

Transalte & Edit: Wendy Liang

Tags:
VOGUE