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幻想活在秀台上,现实活在店铺里

更新时间:2015-7-19 10:08:57 来源:纽约时报中文网 作者:佚名

Runway Fantasies and the Regular Guy
幻想活在秀台上,现实活在店铺里

The young guy by the exit of the Métro station a few blocks from the Musée du Quai Branly seemed nervous.

巴黎——在凯布朗利博物馆(Musée du Quai Branly)几个街区外的地铁站出口,一位年轻男子显得有点紧张。

He was fashionably dressed, with wide, high-cropped pants and a jaunty hat. There was a wild-parakeet-printed invitation to the Issey Miyake fashion show in his hand. It was just after 10:30 a.m., the show’s listed start time.

他打扮得很时尚,穿着宽松的七分裤,戴着漂亮的帽子。他手上拿着三宅一生(Issey Miyake)时装秀的邀请函,上面印着野生长尾鹦鹉的图像。时装秀是10点半开始,当时刚过这个时间。

At crosswalks, waiting for lights to change, he fidgeted. On the blocks between them, he ran.

在人行横道边等红灯时,他焦躁不安。灯变了之后,他马上跑了过去。

Just outside of the museum gates, he was stopped by a man with a camera, one of the many street-style photographers who cluster around the shows. Without hesitation, the late-arriving showgoer stopped, clambered onto a nearby bench and began to pose.

在博物馆大门外,他被一个拿相机的人拦住——后者是聚在时装秀外的众多街拍摄影师之一。这位迟到的观秀者毫不犹豫地停下,到附近的一条长凳上坐下,开始摆姿势。

Men’s wear, as it gets trotted out on runways of Europe during its twice-yearly world tour: Is it for man or mannequin?

当男装在欧洲的秀台上炫耀之际(这样的机会一年有两次),我想到这个问题:它是给男人们设计的还是给时装模特们设计的?

Twice a year, the designers, the news media, the store buyers and others gather in London, in Florence, in Milan and in Paris (and now in New York, too, where New York Fashion Week: Men’s begins July 13) to propose and then to sell next season’s look. There are as many as 20 shows a day, 17 days straight.

每年两次,设计师、时尚记者和店铺买手等人聚集在伦敦、佛罗伦萨、米兰和巴黎(现在纽约也有了男装周,从7月13日开始),展示下一季的造型,以便日后销售。每天有多达20场时装秀,持续17天。

Celebrities occasionally appear to burnish both the brands they visit and their own, which is how, over the shows’ circuitous course, you may overhear Samuel L. Jackson reviewing Burberry in London (“Awesome!”), come face to face with Katy Perry in Florence and duck out of Amar’e Stoudemire’s iPhone photo of the Paris suburb where the designer Raf Simons sets his shows.

名人们偶尔现身,给他们观看的品牌造势,也增加自己的曝光率。所以在东奔西走观看这些时装秀的过程中,你会无意中听见塞缪尔·L·杰克逊(Samuel L. Jackson)在评论伦敦的博柏利(Burberry,他说“棒极了!”),在佛罗伦萨与凯蒂·佩里(Katy Perry)面对面,在巴黎郊区(设计师拉夫·西蒙斯[Raf Simons]在那里举办时装秀)躲开阿玛雷·斯塔德迈尔(Amar’e Stoudemire)的iPhone相机。

Chauffeured cars ferry teams of high-profile attendees from one corner of each city to the next (the yawning distance between shows being too unfashionable for show organizers to contemplate) with the exception of Florence. There, at the Pitti Uomo trade fair, the pace is a bit slower, and the suited dandies find more time to loll in the sun, waiting to be photographed.

出席时装秀的名人们坐着高级轿车从每个城市的一个角落赶到下一个角落(对时装秀组织者们来说,时装秀之间令人昏昏欲睡的路程不够时尚,不值得考虑),除了佛罗伦萨。佛罗伦萨的皮蒂男装展(Pitti Uomo)的节奏比较慢,所以穿着考究的男人们有更多时间懒洋洋地在阳光下徜徉,等待被拍照。

On display is artistry, craft and silliness. For those of us who make the tour, season in and season out, this is business as usual — big business, according to oft-cited statistics about men’s wear’s climbing sales. But to an outside observer, should one parachute in, the whole ordeal might appear pretty odd.

艺术性、工艺和愚蠢都在这里上演。对我们这些每一季都要报道的人来说,这个行业一如既往——从经常被引用的不断攀升的男装销售数据来看,这是个大行业。但是对那些空降的行外观察者来说,这整个痛苦的过程可能看起来非常奇怪。

Fashion can seem like its own secluded world, with its own dress codes and own haunts. You could live in Milan or Paris for many years and never find your way to the decommissioned train depots and moldering Y.M. C.A.s in the distant pockets of the cities where designers stage their shows. Fashion’s ways are not immediately accessible to those outside its ken.

时尚界似乎是个隐匿的世界,有它自己的着装规范和常去之处。你可能在米兰或巴黎居住多年,却从未去过设计师们举办时装秀的废弃火车维修厂或偏远死胡同里衰败的基督教青年会(YMCA)。圈外人一般很难快速摸清时尚界的套路。

“Some of them are pretty,” a little girl in Florence reported doubtfully to her parents, having glimpsed a line of models at an outdoor fashion show outside her hotel. “Some of them are so weird.”

“有些挺好看,”佛罗伦萨的一个小女孩看了一眼酒店外露天时装秀上的一排模特后有点疑惑地对父母说,“有些怪怪的。”

Fantasy lives on the runway. This season saw Marilyn Monroe-printed suits, lace blouses shown with track shorts, jackets and pants that gaped with fresh-shorn slashes and holes.

幻想活在秀台上。这一季我们看到了玛丽莲·梦露(Marilyn Monroe)印花西服、蕾丝衬衫搭配运动短裤,以及剪洞上衣和裤子。

Reality sits in the stands. Among the fashion press, the popular uniform is Uniqlo, the nondescript-by-design Japanese fast-fashion label.

现实活在店铺里。据时尚新闻报道,最流行的服装是没有任何设计特色的日本快时尚品牌优衣库(Uniqlo)。

Across the aisle, where the retailers are, you see mostly unslashed suits. Even the designers themselves are often slow to adopt the styles they create. “For the first time, I’m starting to wear things that I’m designing,” Jonathan Anderson said at his presentation for Loewe, the Spanish label he has been reimagining for the last year.

在时装秀街对面的零售店里,你看到的大多是没有剪洞的衣服。甚至连设计师们也往往不会很快采用自己创造的风格。“这是第一次,我开始穿自己设计的衣服,”乔纳森·安德森(Jonathan Anderson)在罗意威(Loewe)的发布会上说。他从去年开始重塑这个西班牙品牌。

The essential question is: Should a fashion show show you what to wear and how to wear it? Or is something else going on here?

关键问题是:时装秀应该展示要穿的衣服以及穿着方式吗?还是说时装秀有其他意义?

There are those designers who use their presentations to advocate a wardrobe. They present clothes that anyone would wear. Standouts among these are Margaret Howell, in London, and Pierre Mahéo, in Paris.

有些设计师用发布会来推广实用的服装。他们展示的是任何人都能穿的衣服。其中的佼佼者是伦敦的玛格丽特·豪厄尔(Margaret Howell)和巴黎的皮埃尔·马埃奥(Pierre Mahéo)。

“I’m trying to be real,” said Mr. Mahéo, the designer of Officine Generale, a low-key line of slim suits, pleated trousers and smart outerwear. “I don’t dream the clothes I do. The project was to make clothes I wanted to wear.”

“我尽量真实,”Officine Generale的设计师马埃奥说。这个低调的品牌生产修身西服、打褶裤子和时髦外衣。“我设计的衣服不是用来幻想的。我的目标是做出我想穿的衣服。”

Then there are those who say fashion is about a message, a meaning, a proposal — in short, it’s art. Dries Van Noten, of the Marilyn Monroe suits, expressed after his show an apprehension about going so far out, then a relief that he did. And not by accident, he was speaking at a dinner in his honor at the top of Jean Nouvel’s spectacular Institut du Monde Arabe, where Mr. Van Noten was presented with the decoration of Officier de l’Ordre des Arts et des Lettres by Jack Lang, the institute’s president and a former culture minister of France.

也有人说,时尚是传递理念、意涵和动议,简而言之,它是艺术。玛丽莲·梦露印花西服的设计者德赖斯·范·诺顿(Dries Van Noten)在时装秀后表示,他曾担心自己的设计太前卫,后来则很高兴自己幸亏这么做了。他是在为他举办的晚宴上说这番话的,晚宴设在让·努维尔(Jean Nouvel)设计的壮观的阿拉伯世界研究院(Institut du Monde Arabe)屋顶上,这绝非偶然。范·诺顿曾在那里接受研究院院长、法国前文化部长雅克·朗(Jack Lang)授予的法国艺术与文学骑士勋章(Officier de l’Ordre des Arts et des Lettres)。

“It’s a point of view,” is how Gucci’s Alessandro Michele explained his polarizing collection of mixed-up pieces, the lace with the shorts, women’s wear with men’s, a thrift-store-looking collection of Italian-made luxury. “It’s not just a story about clothes,” Mr. Michele said.

亚历山德罗·米歇尔(Alessandro Michele)为古驰(Gucci)设计的两极化混搭服装系列包括蕾丝搭配短裤,女装搭配男装。它们是产自意大利的奢侈服装,看起来却像旧货店服装。他解释说,“它是一种观点。它不只是一个关于服装的故事。”

Even if the point of view has to sell the clothes (either the ones on the runway, or the quieter ones that await in the showroom), the runway need not be read as an exact prescription.

尽管这个观点必须能把衣服卖出去(不管是秀台上的衣服还是在展厅里静静等待的衣服),但是秀台不需要展示精准的配方。

Clothes make the man; styling makes the mannequin. As the fashion critic Jo-Ann Furniss once wrote about one of Mr. Anderson’s conceptual J. W. Anderson shows, a provocative and occasionally pantsless affair, “Contrary to popular belief, men have sense enough to add their own trousers — they don’t need a show to point it out.”

服装塑造男人;风格塑造模特。时尚评论家乔-安妮·弗尼斯(Jo-Ann Furniss)在谈论一场概念化的J.W. 安德森(J. W. Anderson)时装秀(个别造型没有配裤子,引发争议)时写道,“与人们普遍的想法相反,男人们足够聪明,会自己配条裤子,不需要时装秀指出这一点。”

The shows may not actually tell an observer what to do, or just as crucially, what not to do. It is a mistake, ultimately, to take their lurid styling as gospel, especially since styling has, in many instances, overtaken design.

这些时装秀可能没有真正告诉观众该做什么,或者同样重要的,不要做什么。说到底,把那些骇人听闻的风格当做真理才是错误的,特别是因为,在很多情况下,造型压倒了设计。

Those who do take the runway’s lessons unreservedly to heart are the ones you may see swanning outside the gates, having (or waiting to have) their pictures taken. It is why the street scene has devolved into a burlesque. The wildest parakeets get mobbed, and the truly stylish men tend to pass invisibly, unphotographed.

真的完全照搬秀台造型的是那些在时装秀门外游荡、已经被拍(或者等待被拍)的人。这是街拍变得滑稽的一个原因。最狂热的手持长尾鹦鹉邀请函的人得到拥簇,而真正时髦的人往往无声无息地经过,没有被拍到。

That is because the runway has a different gravity from the street, which can leave our friend the casual observer standing uncertain at the sideline. For all that it does well, the fashion system ill serves those who would like to know, simply, what to buy for spring.

那是因为秀台和与街头的吸引力不同,它会让我们那些随意观看的朋友们在场边迟疑不决。时尚界其他方面可能做得还好,但它没有好好服务那些想简单明了地知道第二年春天该买什么衣服的人。

There is too much fashion, too many voices and too many shows for any easy takeaway. It has become harder to pick out any single overwhelming trend.

有太多潮流、太多声音、太多时装秀,所以很难选择。选出一个占主导地位的潮流越来越难。

There is one exception that proves the rule: the across-the-board fetishization of youth. All the other trends are smaller, little bubbles of like-mindedness (lace for men here, tropical florals there) that butt against one another and harmonize … well, barely at all.

这种情况有个例外:对青春的全面迷恋。其他的所有潮流都是类似心理的小支流(给男装加点蕾丝或者搞点热带花朵图案),它们相互矛盾,几乎毫不和谐。

The upside is that this has made the runway a buffet. It’s anything goes — or, maybe more optimistically cast, choose your own adventure.

它的好处是让秀台成了一个缓冲地带。在秀台上怎么设计都行,或者更乐观地说,你可以自己选择想尝试哪种风格。

Pair your grommet-pocked Raf Simons coat with droopy Prada shorts, or choose an indigo-dyed leather jacket made from Kobe (as in burger) beef from Louis Vuitton to wear over Mr. Van Noten’s Marilyn shirt.

把布满金属扣眼的拉夫·西蒙斯外衣与松垮垮的普拉达(Prada)短裤搭配起来,或者把用神户牛(做汉堡常用的也是这种牛的肉)的皮做的靛蓝色皮夹克与范·诺顿的玛丽莲印花衬衫搭配起来。

“I don’t like the idea of the total look,” Mr. Michele said, meaning a fashion pronouncement to be followed, head to toe. “That is something that makes me a little bit depressed. My mom grew up in the ’80s. She wanted to have a total look. I try to explain a different type of beauty. I try to enforce the idea that you can change, by yourself, every single piece.”

“我不喜欢整套造型这个概念,”米歇尔说。他指的是从头到脚追随一种时尚宣言。“那会让我觉得有点沮丧。我妈妈在80年代长大。她喜欢一整套造型。我努力阐释另一种美。我努力传达的是这样的理念:你自己能改变每件衣服。”

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