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范思哲上网

Versace's Cyber Move
范思哲上网

MILAN — With “Donatella’s Hit Picks” and an offer to personalize looks, the house of Versace introduced this week its online flagship store, versace.com.

米兰——范思哲(Versace)公司本周推出了它的网上旗舰店versace.com,“多纳泰拉之精选”,并承诺提供个性化的服务。

The site is designed to energize the brand in the digital arena and to create a buzz among the wired generation, while keeping the iconic images — like a mosaic floor pattern — that represent Versace and its universe. And the e-commerce section, beginning with core European countries, is to roll out, from Austria to the United States, on Oct. 17.

这个网站旨在激活该品牌在数码领域里的活力,在网络时代引起轰动,同时继续保持品牌形象,让代表着范思哲及其帝国的像马赛克地板状图案继续流行下去。网站的电子商务部门始于欧洲核心国家,将于10月17日向其他地区展开,范围从奥地利直到美国。
 

范思哲,多纳泰拉·范思哲设计,2013春夏装,米兰。

The relationship of Italian designers with the digital world is about more than selling in cyberspace. The Milan shows Friday for the summer 2013 season proved how much the fabric of fashion, literally and figuratively, is connected to handwork and craft.

意大利设计师和网络世界的联系不止于网上销售。然而周五的米兰2013夏装发布会亦证明,时装面料乃至整个时尚界同手工作业和手工技艺是分不开的。

Thus, the Etro show was backed by a giant set of painterly flowers, lavish in their mighty brush strokes. And Veronica Etro claimed proudly in her program notes that all the fantastical prints were done not on a computer but by traditional techniques of “the nearly extinct art of hand-painted prints.”

因此,艾特罗(Etro)时装秀的布景是一幅巨大的手绘繁花,笔触夸张有力。维罗妮卡·艾特罗(Veronica Etro)在她的设计说明中骄傲地说,所有这些美妙的印花都不是用电脑做出来的,而是采用“几乎绝迹的传统手绘印花”技术。

Italian style is facing the aftershock of a digital revolution that threatens to overwhelm many of its skills, if not make them obsolete.

意大利服装正面临着数码革命带来的冲击,很多工艺都有被打压、甚至被淘汰的危险。

The Donatella Versace approach is to focus on the namesake line and to let Christopher Kane, as her companion in design on the Versus collection, play with the plasticized fabrics and digital chain prints natural to his generation. Sitting beside Mr. Kane, in a preview of shows that were to follow each other Friday evening (with a concert by the singer Beth Ditto), Ms. Versace spelled out her own goal.

多纳泰拉·范思哲(Donatella Versace)的做法是注重以自己名字命名的系列,并请克里斯托弗·凯恩(Christopher Kane)做她的搭档,共同设计“对抗”(Versus)系列,他们使用可塑性面料和数码链式印花,这些对凯恩这一代人来说是非常自然的。两场时装秀即将在周五晚上先后上演(歌手贝丝·迪托[Beth Ditto]为发布会现场伴唱),观看预演的时候,坐在凯恩先生旁边的范思哲女士说出了她自己的目标。

“I wanted tailoring — Versace is well known for its dresses but our heritage of tailoring has been a little bit lost,” she said, although in this collection, inserts of lingerie lace into firm black fabrics gave the usual Versace glimpses of flesh.

“我想突出裁剪——范思哲以连衣裙闻名,但是我们的裁剪传统有点失传了,”她说。虽然在这个系列里,在沉稳的黑色面料上插入内衣蕾丝让常见的范思哲服饰也暴露了一点肌肤。

Another message came as tiny metallic fringes, children of those metal mesh effects that seemed so forward-thinking when Gianni Versace invented them back in the 1980s.

另外一个信号就是那些小小的金属边缘,这继承自詹尼·范思哲(Gianni Versace)在上世纪80年代发明的金属网眼效果,这个发明在当时非常前卫。

Unlikely though it seems that the glamorous Ms. Versace would ever join the hippie world, she picked tie-dye prints to create an indeterminate, watery pattern on the dresses, sometimes clinching them with the famous Versace emblem of a Medusa head. It remains to be seen how much the designer will come under the influence of the high-tech effects that Mr. Kane offered so effortlessly in his powerful London collection.

虽然华丽端庄的范思哲女士不大可能加入嬉皮士的世界,但是她用扎染法在长裙上制造出模糊的、淡淡的图案,有时加入范思哲商标著名的徽章——美杜莎头像。高科技做出的效果(凯恩先生在其震撼人心的伦敦时装秀上不遗余力地展示了这一点)到底会对范思哲女士有多大影响,尚未可知。

The Etro show was so focused on fabric that there were times when it seemed that the designer had taken a stretch of material, draped it at a slant across the body — and left it at that.

艾特罗的时装秀太注重面料了,有时甚至让人觉得设计师就是找了一块面料,打了点皱褶,斜挂在模特身上——就完事了。

While solid colors — and there was a pure green silk and plain orange — emphasized the streamlined, geometric shapes, the flowers sometimes seemed poorly planted within the graphic outline.

虽然用纯色(纯绿色的丝绸和纯橙色)强调流线型的几何图案,但是有时候那些花朵在图形轮廓里看起来像是发育不良。

Theoretically it sounded smart: a contrast between the richly painted florals and the pared-down silhouettes. But the shapes, like deep sleeves on a boxy top, came through as a nod to the 1980s. Perhaps — although it might seem mean to suggest it — patterns digitally worked to fit with the body and the cut of the clothes might have been easier to pull off.

理论上听起来很聪明:让手绘花朵的绚丽与服装样式的精简形成对比。但是这些样式,比如四四方方的上衣上长长的袖子,像是在向上世纪80年代致意。这么说似乎有点刻薄——但是用贴合身形的电脑印花,搭配精心的剪裁,可能更容易成功。

Just Cavalli was an opportunity for Beyoncé’s sister Solange Knowles and the rapper Azealia Banks to contemplate from the front row the print skills of a designer who can create an idyllic Mediterranean garden on a small piece of cloth.

“就是卡瓦利”(Just Cavalli)时装秀上,坐在秀场前排的是碧昂斯的妹妹索兰格·诺利斯(Solange Knowles)和说唱歌手阿兹利亚·班克斯(Azealia Banks)。他们可以仔细观看设计师的印染技术是怎样在一小块面料上创造出田园诗般的地中海花园。

Linking animal patterns to flower prints (a trend of the season), Roberto Cavalli succeeded in developing all sorts of inspirations, from blue patterns on white that looked like fine porcelain to tie-dye prints (another current look).

罗伯托·卡瓦利(Roberto Cavalli)成功地迸发出各种灵感,把动物图案和印花(本季的潮流)结合起来,有看起来像上等瓷器的白底蓝花图案,也有扎染印花(本季的另一个潮流)。

Lace inserts on brief dresses seemed familiar. But whether it was an expert or the designer himself, an eager photographer, who captured the essence of a southern summer as sea creatures and bougainvillea, the prints were fresh and enticing.

在简洁的长裙上插入蕾丝,看起来似曾相识。但是不管对专家还是对设计师本人(这位狂热的摄影师捕捉到了南欧夏季的精髓——海洋生物和九重葛)来说,这些印花都很新鲜、迷人。

At Moschino, the black and white parade that opened the show was so precise and geometric that it could have been a rerun (white hard hat and all) from the 1960s of André Courrèges.

莫斯奇诺(Moschino)的开场服装简直就是黑与白的大游行,其精确和几何感让人感觉是上世纪60年代安德烈·库雷热(André Courrèges)时装的回归(白色安全帽及其他)。

These graphic lines seemed like a lesson in geometry — but one that was first taught a long time ago. Then the designer Rossella Jardini added color, first as basic shades like blue, red and yellow, then as florals that changed from flat-plane outlines of daisy shapes to a conglomeration of florals.

这些生动的线条像是一堂几何课——只不过这堂课在许久以前就有人上过了。设计师罗塞拉·贾蒂尼(Rossella Jardini)添加了一些色彩,一开始是基础色,比如蓝色、红色和黄色,然后是花朵——从平淡的雏菊轮廓到一团繁花。

The Italian way with print has a history and a heritage. But although comparisons might seem unfair, after London Fashion Week’s displays of ultra-imaginative digital printing, Italy’s efforts seem rather tame.

意大利的印花方式有其历史和传统。虽然这样比较有失公平,但是在看完伦敦时装周上超富想象力的数码印花之后,再看着意大利的这些尝试,觉得有点逊色。 
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