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更新时间:2018-1-7 11:34:52 来源:纽约时报中文网 作者:佚名

The designers taking the kimono into the future

The word ‘kimono’ originally meant ‘something to wear.’ But today, it immediately conjures images of the famous Japanese garment, an icon of Asian fashion and a symbol of Japan, with an enduring appeal the world over.


The kimono as we know it dates back to Japan’s Heian period (794-1192) and came into its own during the Edo period between 1603 and 1868. With many samurai to dress, kimono makers improved their craft to such an extent that it became an art form. As kimonos became more valuable and more collectable as pieces of art and not simply as apparel, families preserved them as heirlooms to hand down to future generations.


That’s not to say that an appreciation of the kimono today has to be all about historical artefacts. Today, the kimono is back in vogue.


The comeback kit


This was evident on the opening night of the Cannes Film Festival in May 2017, where the garment made a comeback on the glamorous event’s famous red carpet, around the same time as a runway show for Louis Vuitton’s Cruise 2018 collection took place in a museum in Kyoto, the home ofthe kimono.

在2017年5月的戛纳电影节开幕典礼上,就能看出这一现象。和服当时在戛纳著名的红毯秀上实现了东山再起。大约就在同一时间,路易·威登的Cruise 2018大秀则在和服的故乡京都举行。

Wandering around the former Japanese capital’s romantic wooden lanes today, like the one where Louis Vuitton showed accessories decorated in Kabuki theatre masks, visitors can see real-life geishas wearing kimonos.


“The beauty of the kimono has fascinated people in the United States and Europe, since it was introduced to the West at the time of the Japonism movement during the late 19th Century,” says leading Japanese fashion curator Akiko Fukai. Her previous exhibitions, which have toured the globe, include the landmark show Future Beauty, that launched at London’s Barbican, and looked at the influence of avant-garde Japanese designers, like Issey Miyake, Yohji Yamamoto and Rei Kawakubo.

"自通过19世纪末的日本主义运动介绍给西方之后,和服之美便令美国人和欧洲人为之着迷。"日本顶尖时尚策展人深井晃子(Akiko Fukai)说。她之前的展览曾经进行过全球巡展,包括在伦敦巴比肯(Barbican)举行的地标秀Future Beauty,而且还关注了一批日本前卫设计师的影响力,例如三宅一生(Issey Miyake)、山本耀司(Yohji Yamamoto)和川久保玲(Rei Kawakubo)。

Ms Fukai is best known for running, for several decades, the Kyoto Costume Institute, Japan’s leading fashion museum. KCI is dedicated to western fashion, reflecting a trend towards wearing western, rather than traditional Japanese clothing, that emerged in Japan after WWII. But Fukai has worked tirelessly to make a connection between the two sartorial worlds.

深井晃子著名的身份是担任京都服饰文化研究财团(Kyoto Costume Institute)的负责人长达数十年之久,那是日本领先的时装博物馆。京都服饰文化研究财团专门从事西方时尚设计,反映了西方的穿着方式,而非传统的日本服饰,这是第二次世界大战以后在日本流行起来的一种潮流。但深井晃子曾经不遗余力地在这两种时装风格之间建立联系。

Her gaze rests currently on the trend towards updating the classic kimono. This traditional dress is having a modern-day makeover from multiple parties, both at home and overseas.


A lasting fascination


The most notable surge of interest in kimono-style fashion in recent history, was during the 1920s, when designers such as Elsa Schiaparelli and Vionnet brought the draping lines of this style into contemporary fashion. As they did then, the luxurious and flowing lines of the kimono are identifiable on today’s catwalks, as well as on the high street.

近代史上,人们对和服风格的服饰最明显的兴趣提升发生在20世纪20年代。当时,伊尔莎·斯奇培尔莉(Elsa Schiaparelli)和薇欧奈(Vionnet)把和服风格的悬垂线引入了现代服装。在她们的努力下,当今的T台和街头都可以看到和服那豪华而流畅的线条。

“What is really interesting is foreign designers seeing or re-imagining the kimono, or Japanese kimono textile, with fresh eyes,” says the curator. “It is not new,” she says. “It could often be seen in 1920s Paris fashion, with designers like Vionnet, Paul Poiret, Chanel, Molyneux and many others. But recently, I have seen its influence more than before.”

"真正有趣的是外国设计师用全新的眼光看待和重新构思和服或和服面料的方式。"这位策展人说。"这并不新鲜。"她说。"20世纪20年代的巴黎时尚界经常看到,包括薇欧奈、保罗·波烈(Paul Poiret)、香奈儿、莫里纽克斯(Molyneux)等人的作品。但最近,我发现它的影响力更大了。"

Examples include the use of traditional woven textiles, used to make the Obi, or the belt that holds a kimono in place, for a recent shoe collection by Christian Louboutin.

例如,Christian Louboutin最近的新鞋,就使用了“Obi”(固定和服时使用的腰带)的传统针织面料。

“Louboutin was inspired by the kosode, a typical kimono from the 19th Century,” says Rie Nii, curator of the Kyoto Costume Institute. “It was a typical kimono/kosode for Bushi and Samuri women of the era,” she adds.

"Louboutin是受到“kosode”(小袖)的启发,这是19世纪的一种典型的和服。" 京都服装学院策展人瑞·尼伊(Rie Nii)说,"这是那个时代的女性武士和跟侍的典型和服。"

Designer Bertrand Guyon created a kimono for the Schiaparelli haute-couture spring/summer 2017 season. The piece was made from a flower-petal moulded silk organza gauze, embellished with striped silk twill. Elsa Schiaparelli, the house’s founder, often wore kimonos at home.

设计师伯特兰·古永(Bertrand Guyon)为Schiaparelli 2017春/夏高级女装秀设计了一套和服。那件衣服用花瓣形的透明丝纱制成,还装饰了条形真丝斜纹绸。该公司创始人伊尔莎·斯奇培尔莉经常在家里穿和服。

Other overseas designers looking to Japan, according to Ms Nii, include Iris Van Herpen, who looked to Japan as inspiration for her autumn/winter 2016 collection. Of particular note was a tie-dye dress that was influenced by the Japanese tie-dye art of Shibori. It was shown inside a Paris church.

瑞·尼伊表示,其他海外设计师也在关注日本,其中就包括艾丽斯·范·赫本(Iris Van Herpen),她从日本获得了2016秋/冬时装秀的灵感。最值得注意的是一件扎染裙子。这件服装受到了日本扎染艺术的影响,在巴黎的一间教堂内展出。

Stella Jean created designs inspired by the block printing art of Bignata for spring/summer 2016, and at Thom Browne’s spring/summer menswear show for 2016, Geisha sprung out of a teahouse, and decorative scarecrows wore kimonos for the Japanese-themed event.

斯泰拉·简(Stella Jean)以Bignata的块印刷艺术为灵感,为2016春/夏时装秀创作了一些设计。而在2016 Thom Browne春/夏男装秀上,一群艺伎出现在茶馆里,还有一些装饰性的稻草人穿着和服参加那场以日本为主题的活动。

Closer to home


In Japan, too, designers have also been rethinking the kimono. A few years ago, Kyoto’s oldest kimono makers, Chiso, launched a state-of-the art kimono shop, designed to help shoppers create their own modern pieces. This is a  veritable ‘fast fashion’ offering by Chiso’s usual standards – they once spent 10 years completing the colour, together with a local dye workshop Takahashi Toku, for a single  design.

日本的设计师也在重新思考和服。几年前,京都历史最悠久的和服老铺千总(Chiso)开了一间顶尖和服店,帮助消费者制作自己的现代和服。按照千总的常规标准,这是一家真正的"快时尚"店——他们曾经花了10年时间,与当地的染工房高桥德(Takahashi Toku)一起为一款设计完善色彩。

The shop is novel in that it allows shoppers to go into a high-end kimono shop and order what they need, rather than having a kimono custom made. A rival weaving house, Hooso, which dates back to the 17th Century, is currently working on a contemporary kimono.  It has collaborated with Louis Vuitton’s Nicolas Ghesquière on interior-design fabric in the past, as well as menswear designer Mihara Yasuhiro.

这家店很新颖,消费者可以直接走进这间高档和服店,然后订购自己需要的服装,而不必单独定制。与之竞争的细尾和服店(Hooso)的历史可以追溯到17世纪,他们目前也在制作现代和服。他们曾经与路易·威登的尼古拉·盖斯奇埃尔(Nicolas Ghesquière)合作过室内设计面料,还与设计师三原康裕(Mihara Yasuhiro)共同设计过男装。

The Chiso shop was launched in response to the fact that, for a while now, the garment has been rising in popularity, not only with Japanese youth, who appear to have become bored of funky street wear, but also with tourists and leading global fashion creatives.


“It is younger people that didn’t previously know much about the kimono whoare driving the trend, or even tourists visiting Japan,” Akiko Fukai says.


A number of recent runway collections from Western designers have also celebrated the kimono. These include the Japanese designer Mihara Yasuhiro’s spring/summer 2018 show. The menswear designer, who has been a frequent collaborator with Hosoo, designed patchwork kimonos for spring/summer 2018. British brand Marchesa drew on the kimono using obi-style sashes and kimono sleeves, also for sspring/summer 2018, while Visvim reimagined World War Two jackets as kimonos.


“Many designers all over the world are looking at the kimono textile, at its technique and design, which is reflected in their designs,” Akiko says.


While recent exhibitions like Kimono: A Modern History, 2014, at the Metropolitan Museum of Art, have taken a fresh look at the classic clothing, in the New Year, Fukai is planning an exhibition that will explore the relationship between the kimono and fashion.


“The exhibition will consider the stimulus that the kimono has provided to the world of fashion and the creators that belong to it since the late 19th Century,” she says.


There are plenty of designers to choose from who have adapted the apparel, from Vionnet to young French designers like A.guery who has created interesting interpretations of Japanese design, or the Wasoukan shop in London’s Notting Hill, where the in-house designer Noriyuki Ikeda has worked to make the garmentpopular with Londoners. Yohji Yamamoto has also worked with Chiso to develop textiles, while British label Holland Street has adapted the shape to be worn as loungewear.

有很多设计师都采用了这种设计元素,包括薇欧奈和A.guery(他对日本设计展开了有趣的解读)等年轻的法国设计师,或者伦敦诺丁山的和想馆(Wasoukan)(在那里,室内设计师池田訓之(Noriyuki Ikeda)已经努力让这种服饰在伦敦人中流行开来)。山本耀司也与千总合作开发了一些面料,而英国品牌Holland Street还把这种样式应用到家居服上。

“With increasing globalisation, changes are taking place in the way that traditional culture is perceived,” Fukai adds. “One example is this growing interest in the Japanese kimono.”


“Decoration, including gorgeous textiles, is now one of the main themes of fashion, therefore the Kimono’s decorative and rich fabrics are very much in focus,” she says. And her favourite kimono interpretation? “Louboutin’s Obi shoes,” she says.