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米兰时装周的变与不变
J. Lo Wins Milan. Fashion Comes Second.

来源:纽约时报    2019-11-04 03:33



        The moment that ate Milan Fashion Week occurred at the end of the Versace show.        将整个米兰时装周吞噬的一刻,发生在范思哲秀的结尾。
        People had been promised a special something, but no one knew what it was. The lights went down, a soundtrack crescendo began to build, and then — Jennifer Lopez! Age 50! In a new version of the jungle print dress she wore to the Grammys in 2000.        大家事先已经知道会有惊喜,但是没人知道具体是什么。灯光变暗,配乐渐起,接着——詹妮弗·洛佩兹!50岁的詹妮弗·洛佩兹!身着那件在2000年格莱美颁奖礼上穿过的丛林印花裙的全新版本,闪亮登场。
        You know, the one that was cut down to her navel and up to her crotch, and set off so many digital searches back in the day that, in the myth of the internet and fashion, it is said Google created image search because of it (a more plausible version of the story is that it was part of the reason; a big part, sure, but still — a part).        对,就是,那件上面开叉一直到肚脐,下面到胯部的裙子,在当时引发了大量的网上搜索。互联网和时装界传说它是谷歌制作图片搜索功能的起因(更为可信的说法是这条裙子只是其中一部分原因;它当然很重要,但仍然只是一部分)。
        The dress had been given a bit of an update, to be sure — less fabric on the sides, the sleeves were gone, there were jewels all over the matching bikini bottoms, and iridescent palm fronds bristled like epaulets on the shoulders. But those were details; the effect was the same. Bags were clutched. The whole audience rose as one. Phones came out and were wielded like knives, each one slicing off a section of her walk for the posting.        裙子得到了一些升级,这是显而易见的——侧面的布料更少了,去掉了袖子,配色比基尼打底裤上镶满宝石,肩上也添加了色彩斑斓的棕榈叶状装饰。但这些都只是细节;它带来的冲击力还是一样的。包包攥在手中。整个观众席齐刷刷的起立。人们纷纷掏出手机,像匕首一样挥舞,每一下挥舞,似乎都在从她的信步展示中切割下属于自己的那一小块。
        Mea culpa. But if ever there was a finale that crystallized just how much fashion had moved on — or not — since the turn of the millennium, that was it.        请原谅。但是,如果真有什么东西能称得上千年之交以来的时装大结局,将这些年的剧变——或者不变——具现出来,那就是这件裙装了。
        Back in the day, of course, there was no Instagram or live stream; people mostly viewed shows with their actual eyes as opposed to through the lens of their tiny cameras; designers only did two collections a year (or two we knew of); editors and glossy magazines still served as the conduits of choice for fashion information; diversity was pretty much nonexistent; and even if fashion people had read “Silent Spring” in school, they probably thought it had nothing to do with them, or their jobs.        当然,那时候既没有Instagram也没有流媒体直播;那时的人们可不会通过他们小小的相机镜头来看秀,他们都用自己的肉眼;那时的设计师一年只发布两个系列(或者说只有两个我们听说过);编辑和光鲜的时尚杂志仍是获得时装资讯的主要渠道;那些时尚界人士即便在学校读过《寂静的春天》(Silent Spring),也不会认为自己和自己所从事的工作与这本书有任何联系。
        It is tempting to say: How things have changed! Except for Ms. Lopez of course; she looked exactly the same. If anything, more toned and worked out.        这让人禁不住感慨:世事已变化至此!但显然对洛佩兹来讲不是这样;她看起来与当年并无二致。硬要说有什么变化的话,她现在更有力、更健美了。
        But then, so did most of Donatella Versace’s clothes: the sharp-shouldered little black coat dresses with big gold hardware; the jersey draped to show slices of side abs; the tie-dyed Medusa tees; the cobalt-and-jade or fire opal-spinel jungle print on pretty much everything from jeans jackets to sequined evening frocks fringed at the hem and dotted with spiky, three-dimensional alien blooms.        但是多娜泰拉·范思哲(Donatella Versace)的大多数时装设计也是如此:饰有巨大金色五金的尖肩黑色小礼服裙;刻意露出侧腹的打褶运动衫;扎染的美杜莎T恤;从牛仔夹克到边缘镶着流苏,装点着尖锐的立体外星花朵的亮片晚装,几乎每件衣服上都是钴蓝翡翠,火蛋白石,或者是丛林印花。
        Which suggest the real takeaway is plus ça change, and all that. The fashion landscapes in New York and London may finally be in the throes of their own upheavals; the altered shapes of social and political life, a new balance of power, reflected in an evolution on the catwalk. But in Milan, the status quo — the one from 20 years ago — still rules. That’s as stultifying and frustrating as it sounds, even if it’s justified as “heritage” or “DNA.”        这也说明了这场时装秀真正的要点是“越改变,越不变”,诸如此类。纽约和伦敦的时装风貌,可能最终要承受城市的动荡激变带来的阵痛;社会和政治生活的形变,一种新的权力平衡,在伸展台的演化中得到体现。但是在米兰,20年前的现状,仍是今天的现状。这听起来真是乏味而恼人,尽管这样的现状被美化为“传承”或“基因”。
        Of Sun and Earth and Staying in Place        太阳和地球以及原地踏步
        Think about it this way: the day of the global climate strike, which also happened to be the day of the Versace show, when hundreds of thousands took to the roads of New York and Berlin and Sydney, in Milan it was just traffic as usual.        这样来看这个问题吧:全球气候大罢工恰好与范思哲时装秀发生在同一天。这一天里,成千上万的人走上纽约,柏林和悉尼的街头,而在米兰则一切如常。
        “Is there going to be a protest here?” visitors asked. Locals raised their eyebrows and shrugged. Later, there was some anticipation around the fact Giorgio Armani called his show “Earth” — but it turned out to be because it was inspired by the muddy colors of the land (dank browns, midnight blues), gradually lightening to morning mists.        “这里会发生抗议活动吗?”游客们问道。本地人扬起眉毛耸耸肩。稍后,乔治·阿玛尼(Giorgio Armani)将自己的秀命名为“地球”,引发了一些期待——但最终人们发现,那仅仅是因为它的灵感来自于晨雾中逐渐明朗起来的大地的色彩(深棕色,午夜蓝)。
        Trousers were pleated at the hip and narrow at the calf or palazzo loose. Jackets were long or short, curving or boxy. Skirts were long and billowing, often sheer. There were some sporty references, a banana palm print and a fair amount of pastel sparkle. In the end, two models came out in glistening evening columns, torsos encased in stiff ruffled organza shells; each woman had one arm supporting her opposite elbow, which was cocked up and out to the side as if holding a cigarette en pose. Except, this being 2019, the hand was empty. That’s a metaphor, if anyone cared to contemplate it.        裤装在髋部打褶,在小腿收紧,或是干脆像睡裤一般松散。夹克或长或短,或曲或方。半身裙长而飘逸,通常薄而透明。有一些运动服饰参考,一点香蕉棕榈树印花,不少粉彩纹样。到最后,两位模特穿着闪亮的晚礼服登场,她们的身躯被包裹在一层打着硬挺褶皱的欧根纱外壳中;两位女模特都用一只胳膊托着另一只的肘部,另一只手则向上竖起并向一侧扬去,就好像是夹了支烟的姿势。但事实是,眼下是2019年,所以那只手里空空如也。这是个隐喻,假如还有人会花心思去想的话。
        Meanwhile, at the Missoni show, dedicated to summer and held around a giant public swimming pool, Angela Missoni gave every guest a mini Olafur Eliasson solar lamp with the message: “Join us in holding hands with the sun, we are at a crucial point for our planet and need to take action.”        与此同时,在Missoni围绕一个巨型公共泳池制作的夏日时装秀场上,安吉拉·米索尼(Angela Missoni)送给每位来宾一只奥拉维尔·埃利亚松(Olafur Eliasson)的迷你太阳能灯,并附有留言:“和我们一起与太阳牵手,我们的星球已到了紧要关头,我们应当采取行动。”
        Then Ms. Missoni, like Ms. Versace and Mr. Armani, engaged in some aesthetic recycling, bringing 1970s dandy men and the free spirits who loved them to life in layers of ultrathin knits glinting with metallics, stripes over florals over plaids, a cardigan (or two) tied the waist.        接着,米索尼和范思哲、阿玛尼一样,做了一些美学回收再利用,用一层层闪烁着金属饰物、条纹叠着花朵叠着格子的超薄针织面料、一件(或两件)缠在腰上的开衫,让1970年代的花样美男和爱他们爱得要死的自由人士重现人间。
        They weren’t necessarily reducing (there were 72 looks in the Missoni show), but they were definitely reusing: ideas, silhouettes, prints, often with joyful abandon. Remember this?! And so it went.        数量上不见得有什么减少(整场Missoni秀共有72个造型),但毫无疑问有重复利用:创意、廓形、印花,并且在这样做时,往往带着欢快的无所顾忌。还记得这个吗?!那就是它了。
        Where Did It Get Us?        这将我们领向何方?
        At Etro, Veronica Etro also went down memory lane with Keith Richards, Anita Pallenberg and Jane Birkin; paisley and butterfly embroidery; glam rock tailoring, and hobo, fringed knits (plus some striped men’s shirting first created by her father, Gimmo). At Salvatore Ferragamo, Paul Andrew updated the brand’s most famous shoe, the Vara (you know, the flat with the bow on the toe), renaming it the Viva, elongating it, and molding the bow in leather — which is pretty much his approach to the collection for both men and women: Update the classics. Cut away the backs of leather trench coats for movement; bubble-under the hems of skirts; use a print of Neptune inspired by a marble fountain figure on everything from loose sweatpants to evening gowns.        在Etro的时装秀上,维罗尼卡·艾绰(Veronica Etro)也与基斯·理查兹(Keith Richards),安妮塔·帕里博格(Anita Pallenberg)和简·柏金(Jane Birkin)一起追忆流年;佩斯利纹与蝴蝶刺绣;华丽摇滚式的剪裁和流浪风格的流苏饰边毛衣(配上她父亲吉莫首创的条纹男士衬衫)。在Salvatore Ferragamo秀上,保罗·安德鲁(Paul Andrew)对品牌最著名的鞋款——Vara(就那种鞋尖装饰了蝴蝶结的平底鞋)做了更新,更名为Viva,整体鞋型被拉长,蝴蝶结的材质也改成了皮革——他对这个系列的男装和女装差不多就是用这个思路:对经典进行升级。去掉皮革风衣的背面以利动感;半身裙的泡泡裙摆;受大理石喷泉塑像启发的海神印花,被运用到从宽松卫裤到晚礼服的一切设计上。
        It’s incremental progress. But comforting as familiarity can be, it leads to some uncomfortable conclusions. We’ve been there, worn that — and look where it got us. Not to a good place.        这是一个循序渐进的过程。尽管熟悉感可能令人宽慰,但也让我们得出了一些不安的结论。这些我们都经历过、穿过——结果你看我们现在怎么样了?并不是很好。
        Which is why Marni provided such a jolt. Francesco Risso, now almost three years into his job as creative director, has taken full control of the brand, transforming its kooky art-world charm into something altogether more ambitious and risky. And though he does it in his own head-scratching way, it has a magnetism that stands out.        这就是为什么Marni的秀带来如此的震撼。弗朗西斯科·里索(Francesco Risso)接过创意总监的职位将近三年,已经完全执掌了这个品牌,他正在将这个品牌自身古怪的艺术圈格调转化为一些更具野心、更冒险的东西。他的方式本身也令人挠头,但有一种显眼的磁性。
        This time around his theme was — well, who knew what it was? But it involved a made up tropical disease with its own medicine, “Tachitropirina,” which cures, “metamorphic and transformative states” and “feverish affections such as fauvism,” and which should not be used by people with “total incapacity for activism,” and which was presumably reflected in the show set, which featured cartoon palm trees made from recycled plastic and reconstituted cardboard. And it was expressed in clothes splashed with a riot of bright paint strokes. Imagine Gauguin’s Tahiti transplanted to the Tiber, and you’ll get the idea.        这一次围绕他的主题是——呃……谁知道那是什么呢?不过其中涉及某种编造的热带疾病,有其专属良药“Tachitropirina”,这种药主治“变态和变形的状态”以及“极度狂热的情感,比如野兽派”,还有“完全丧失行动力”的人群不能使用这种药,这一点从发布会现场布置上应该已经体现出来了,其中有回收塑料和再生纸板制成的卡通棕榈树。此外从服装上泼洒的亮色线条也可以看出来。可以想象把高更的大溪地移植到台伯河畔,大概就是这个意思了。
        Gorgeous balloon tops slouched off a shoulder over skirts gathered and knotted on a hip; long, fluted leathers spouted petticoats of frills; simple scoop-necked bias gowns were caught under a crocheted floral net; puffed-out coats cocooned the body; and apron frocks were just hanging on, clinging beautifully to possibility. Which is pretty much where we all are. Or want to be.        懒懒从一边肩头滑下的华丽蓬蓬上衣,搭配在胯部聚拢和纽结的半身裙;长长的压槽皮革百褶衬裙;简洁的椭圆领斜纹布礼服外面罩着一层钩针编织的花朵纹样网;膨胀感的外套包裹住身体;而围裙式的连衣裙就那么松松垮垮的挂在身上,美妙的依附住一切可能性。我们基本上就是这个状态了。或是想要这个状态。
        The clothes didn’t go viral — it’s possible no garment on its own can do that any more, as Ms. Versace seems to understand better than anyone — but they finally made a point that was impossible to ignore.        这些服装没有病毒式走红——很有可能再也不会有一件衣服能凭一己之力做到这一点了,范思哲似乎比任何人都更明白这一点——但它们终于提出了一个难以无视的观点。
                
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