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纽约时装周最后的疯狂

更新时间:2015-10-7 10:31:22 来源:纽约时报中文网 作者:佚名

Freed From the Constraints of Plaids and Stripes
纽约时装周最后的疯狂

Far from the madding crowd, far from even Kanye and Kim — now the organically blended Kimye — a small band of design explorers is getting closer to entering a new dimension.

远离疯狂的人群,甚至远离卡内(Kanye)和金姆(Kim)——现在他们俩被合称为Kimye——一小拨具有探索精神的设计师正在靠近一个新的方向。

It’s an exciting time in fashion, with an ambitious group in Paris, led by Phoebe Philo at Céline, Raf Simons at Dior, Hedi Slimane at Saint Laurent and Nicolas Ghesquière at Balenciaga. Here in New York, focused in similar ways, are Marc Jacobs and the Proenza Schouler designers, Jack McCollough and Lazaro Hernandez, who had a stellar show on Wednesday night.

巴黎那一群野心勃勃的人为时装界带来激动人心的时刻;他们的领头人是Céline的菲比·费罗(Phoebe Philo),Dior的拉夫·西蒙斯(Raf Simons),Saint Laurent的海蒂·斯利马尼(Hedi Slimane),以及Balenciaga的尼古拉斯·盖斯奇埃尔(Nicolas Ghesquière)。在纽约,也有些设计师把注意力放在类似的方向上,他们就是马克·雅各布斯(Marc Jacobs),以及Proenza Schouler的设计师杰克·麦克劳夫(Jack McCollough)和拉萨罗·赫南德斯(Lazaro Hernandez),后两位周三晚上上演了一场精彩的时装秀。

Let’s get the mundane business out of the way: the Proenza designers stepped things up. They set off some new technical fireworks with woven leather (in a wonky geometric pattern) and silk-jacquard tweeds based on Gerhard Richter’s abstract paintings. They sharpened their low-riding silhouette. A sleek top in jet-black crochet with a slightly flared, above-the-knee leather patchwork skirt was an unbeatable look.

让那些平淡无奇的设计见鬼去吧:Proenza的设计师们拔高了层次。他们依据格哈德·里克特(Gerhard Richter)的抽象画,设计出拼接皮料(稀奇古怪的几何图案)和丝质提花面料,引发了一场新的技术革命。他们改进了低腰裙和低腰裤。还设计出线条明快的深黑色钩针上衣,搭配裙摆微微张开的及膝皮质拼接裙,精彩绝伦。

Now for the fun stuff. Following contemporary artists who use the process of picture language, a few designers have embedded found images into clothing. But none have done it as effectively as Mr. Hernandez and Mr. McCollough, or with the understanding of what these blocks of image and color should ultimately represent. One obstacle has been the technical constraints of apparel. What materials will yield the most arresting results? Presumably, the garment should also be wearable.

现在说点好玩的。有些设计师按照当代艺术家的方法使用图画语言,把随手拈来的图像应用在服装里。但是谁都没有赫南德斯和麦克劳夫做得精彩,或者没有人像他们那样理解这些图案和颜色到底代表什么意义。服装的技术限制是个困难——什么样的材质能带来最醒目的效果?而且前提是这种材质应该能够供人穿着。

The Proenza designers found images of a crowded swimming pool, a beach and protesters. These images were then reproduced on both double satin and leather. In their research, the designers looked at a lot of vernacular fashion: biker denim, hippie crochet and patchwork. These textures figured into their other designs, like vivid leather jackets and skirts with crochet, but they also had an indirect influence on the photo-print dresses.

Proenza的设计师们找到了拥挤的游泳池、沙滩和抗议者的图像。这些图像同时在双层缎子和皮料上重新制作出来。在研究的过程中,设计师们参考了大量的地方风尚:骑自行车的人穿的斜纹粗棉布、嬉皮士穿的钩针织品和拼接布。这些材质融入了他们的其他设计中,比如鲜艳的皮夹克和钩针短裙,同时也间接影响了带影印图案的长裙。

Obviously these dresses evoke Tumblr, but they do more than that. The pixelated scattering of pink nailheads on the top of the protesters’ dress creates a three-dimensional effect, one that works because it is quite modest. At the same time, the nailheads suggest a perennial fashion favorite, the polka dot. The Proenza designers take the archival process, at least in fashion, to a whole new level.

很明显这些长裙引发了Tumblr上的转发狂潮,但是还不止这些。印满抗议者的长裙的顶部撒满了粉红色的像素钉头,造成了一种立体的视觉效果;看起来非常好,因为这让衣服显得很端庄。而且,钉头还让人想起一种永恒的时尚:波尔卡圆点。Proenza的设计师们把这种历史发展过程提升到了一个新的高度,至少是在时装方面。

Francisco Costa was on a similar bend at Calvin Klein. His 3-D effects were kept under a tighter, elegant rein, but it was a delight to see how he applied the idea to tailoring, by subtly pinching a jacket’s shape or using the seams or a chalk-etched black lapel to suggest extra dimension. Most of the collection came in variations of black and white. Even a silvery-white evening satin had an unusual depth.

Calvin Klein的设计师弗朗西斯科·科斯塔(Francisco Costa)也有类似的偏好。他的立体效果显得更紧凑、更优雅,来看看他是如何把这个想法应用到裁剪上的吧,这很有趣:通过巧妙地给上衣捏出起伏的褶皱,或者使用缝合线,或者镶了白色滚边的黑色翻领来做出立体的效果。这一系列大多是各种黑白搭配。甚至一件银白色的绸缎晚装也有好几个层次。

But the clinchers in Mr. Costa’s fine show were white dresses with a sheer top layer embroidered with wavy lines, like moiré silk.

但是科斯特精彩的服装秀中最抢眼的还是那些白色长裙,它们的表层绣满了波纹状的线条,就像叠纹丝。

Was Ralph Lauren off to tango in Argentina? Run with the bulls in Spain? A Spanish theme arrived in Lauren country on Thursday, complete with serapes and matador jackets. Plainly the King of Seventh Avenue chose to overlook Spain’s economic troubles. All in all, it was a heady, smile-inducing romance, with smart-looking trousers (some of the best this season), a fringed black silk jersey cocktail dress, shirts and pants in faded teal or tomato-red suede, and plenty of kick in black embroidered evening looks.

拉尔夫·劳伦是去阿根廷跳探戈舞了吗?还是去西班牙斗牛了?周四,劳伦的王国里出现了西班牙主题系列,举目皆是塞拉普毛毯披肩和斗牛士夹克。很明显,这位第七大道之王决定不理会西班牙的经济困境。总之,服装秀浪漫得让人陶醉、引人微笑:精致的长裤(属于这一季的杰作),带流苏的黑色丝质紧身宴会短裙,衬衫和淡青色或番茄红起绒长裤,以及很有新意的黑色刺绣晚装。

Reed Krakoff said he wanted to inject subtle curves and roundness into his spring collection, in makeup shades, and he described the desired effect as clean and architectural. All that came across, sort of, in a show that consisted of sports-striped trousers, stocking jersey dresses, and zippered track coats in that same filmy jersey.

瑞德·克拉考夫(Reed Krakoff)说他想把不同粉底色彩的微妙曲线和圆形加入自己的春装系列里。他把他期待的效果描述为干净、符合建筑学原理。他的时装秀里充分体现了这个效果,内容包括带条纹的运动裤、针织齐膝短裙、用同样的透明针织材质做的拉链式田径外套。

But with the makeup beige and the runny-looking fabrics, the collection seemed less architectural than in need of a transfusion. Some of the shapes were just plain unflattering. Remember Mr. Krakoff’s first collection, with all its handsome coats, cool pants and quirky pieces? The main — really, only — complaint was the heaviness of some woolens. While there are some things in the new line that someone might love, like the leather, if Mr. Krakoff keeps dissecting his vision with nuanced seams, he could be left fingering a swatch.

但是整个系列的米黄粉底色调和松松垮垮的质地,使这个系列看起来非但不符合建筑学原理,而是让人觉得需要注入新鲜血液。有些形状实在不好看。还记得克拉考夫的第一个系列吗?潇洒的外套、精致的长裤和古怪的单品;那个系列主要的——也是唯一的——不足,是有些毛料衣服太过厚重。而这个新系列的某些方面,虽然可能得到某些人的喜爱,比如皮料,但是如果克拉考夫继续用细微的缝合线把他的服装分解开来,那可能太过曲高和寡了。

On the subject of modern India, filmmakers like Wes Anderson and writers like Katherine Boo have been tour guides, taking us well beyond raj dreams and sari nightmares. Provided a designer uses a strong contemporary filter, the contrasts could produce interesting fashion. Unfortunately, Georgina Chapman just popped on rose-colored glasses for a Marchesa collection slanted weakly toward the Beatles’ trip to India.

韦斯·安德森(Wes Anderson)这样的电影人和凯瑟琳·布(Katherine Boo)这样的作家以现代印度为主题,把我们带进一个更加丰富的印度世界,而不只是印度国王的美梦和莎丽的噩梦。如果一个设计者也使用强烈的当代视角去看待印度,这种对比应该能产生有趣的服装。遗憾的是,乔治娜·查普曼(Georgina Chapman)只为玛切萨(Marchesa)的印度风格系列带来了一点浪漫色彩,让这个系列有点像是“披头士”的印度之旅。

In a well-traveled commuter hall at Grand Central, Ms. Chapman presented many jeweled necklines, Capri pants and cascading hemlines, some in tones of coral and peacock blue that approached in gaudiness a 37th Street wholesaler. When the clothes were simplified, Ms. Chapman did fine, but many had a costume flavor.

在中央车站人潮涌动的通勤大厅里,查普曼展示了很多镶满珠宝的领口、卡普里长裤以及如瀑布般垂下的裙脚,有些衣服的颜色是珊瑚色和孔雀蓝,艳俗得像是37街零售店的衣服。有些比较简洁的服饰查普曼做得还不错,但是其中大部分都带着戏剧服装的味道。

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