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米兰时装周谢幕

The Delight Isn’t Always in the Details
米兰时装周谢幕

MILAN

米兰

Melanie Ward, a stylist who worked closely with Helmut Lang in the 1990s and then Karl Lagerfeld on his short-lived New York label, was backstage here at Versace. As Donatella Versace stood nearby explaining why her collection looked so skimpy, Ms. Ward, her new stylist, offered some practical wisdom.

设计师梅兰妮·沃德(Melanie Ward)曾在20世纪90年代跟赫尔穆特·朗(Helmut Lang)密切合作,又同卡尔·拉格菲尔德(Karl Lagerfeld)合作设计过一个属于拉格菲尔德的短命的纽约品牌,如今作为范思哲的新设计师出现在范思哲的后台。多纳泰拉·范思哲(Donatella Versace)站在她身边解释为什么她的这一系列看起来如此暴露,沃德也说出了一些实用的窍门。

It’s always a good sign, she said, when the models say during fittings that they want to own the clothes, and the vote for Versace’s cheeky lace hot pants and dresses had apparently been unanimous.

她说,如果模特们试衣时说她们想拥有那些衣服,这永远都是个好兆头,而她们一致选择了范思哲大胆的蕾丝热裤和连衣裙。
 

Giorgio Armani的后台,一个模特跑到她在最后谢幕时的位置上。

Let’s concede that a skinny girl who wears clothes for a living knows what she likes. And after seeing some of Milan’s stuffier creations, like the harlequin-checked satin dresses at Aquilano.Rimondi, which featured dimples of fabric over the tummy, or the number of components in Ferragamo’s summer looks (leather coats, crocodile dresses, knee-high boots with spaghetti lacing), Ms. Versace’s flaky fashion began to seem brilliant.

我们得承认,以穿衣为生的纤细女孩的确懂得她们喜欢什么。而且看完米兰的一些更加沉闷的设计,比如Aquilano.Rimondi的花格缎连衣裙(特点是腹部的面料做了褶皱),或者菲拉格慕(Ferragamo)夏装的众多元素(皮质外套,鳄鱼皮裙,带有意大利面状绑带的及膝长靴),更会觉得范思哲女士奇异的风格让人眼前一亮。

Milan likes to make a big show of its tailoring and handcraft. It’s like a guy with his gorgeous red Ferrari, but unlike the Ferrari, what’s “under the hood” doesn’t necessarily make the garment fun to wear. Ferragamo is a case in point. Massimiliano Giornetti threw everything at the clothes. For the show notes, the P.R. staff used “hyper-constructed” to describe a trench coat. But it was obvious that Mr. Giornetti didn’t give himself enough to work with. Where were summer-weight fabrics? Why so many hard little jackets?

米兰喜欢充分展示其裁剪和手工艺,就像拥有一辆炫酷红色法拉利跑车的男人喜欢炫耀他的跑车一样;但是有一点不同,法拉利车盖下面的机械更加重要,而衣服使用的材质却未必会让衣服穿起来更有趣。菲拉格慕(Ferragamo)就是个典型的例子。马希米亚诺·乔尼蒂(Massimiliano Giornetti)把所有的元素都加到了衣服上。在时装秀的说明里,公关人员用“超级建构”来描述一件双排扣风雨衣。但是很明显乔尼蒂没有设身处地地想一想:为什么不用适合夏季穿的面料?为什么净是些硬邦邦的小外套?

Giorgio Armani often catches grief for doing things, well, the Armani way: putting models in silly hats, say, or trying to arouse interest in balloon shorts. But at least Mr. Armani isn’t trying to trick anybody with his tailoring. One or two of his cropped jackets on Sunday looked woven from leather or silk cord. They were extremely light, like all his jackets, and underneath were fluid tops and wide-leg pants in silvery gray and pale blue silk or organza.

乔治·阿玛尼(Giorgio Armani)用阿玛尼式的方法做事的时候经常碰壁,比如让模特带上愚蠢的帽子,或者努力引起人们对泡泡短裤的兴趣。但是至少阿玛尼先生不会尝试拿他的裁剪开玩笑。周日他的一两件超短外套看起来像是用皮料或者丝带缝制的。像他的所有外套一样,这些衣服特别轻,而里面是用银灰色或淡蓝色的丝绸或透明硬纱做成的飘逸的上衣和宽腿长裤。

Were it not for the luminous fabrics and the Armani daytime polish of a jacket, the outfits could have passed for pajamas. In a fairly simple way, Mr. Armani has updated his modern uniform. Except for a few shorts and long skirts, every outfit was shown with pants, for a consistently relaxed and mobile silhouette. And the models were free enough to run backstage to get in place for the finale, though they still had to hold on to their hats.

如果不是因为发亮的面料以及像是白天外出穿的外套,这些套装都能当睡衣穿了。阿玛尼用非常简单的方法改进了他的时髦制服。除了几件短裤和长裙,所有的套装都是配长裤,统一采用随性的、流动性的样式。穿着这些衣服,模特们在后台可以自由地跑到自己在谢幕时的位置上,不过手还得按着帽子。

A number of designers were interested in uniformity, as well as lightening things up: Peter Dundas with his stark white, layered cling dresses for Pucci; Angela Missoni with sheer trapeze dresses over knitwear. Ms. Missoni liked the idea of affecting waiflike figures with her floating dresses, which created shadings of coral and green with the underlayer. But it was also a nice way to highlight Missoni’s knits without completely shrouding them.

有几个设计师很在意服装风格的一致性,同时也喜欢搞些亮点:皮特·邓达斯(Peter Dundas)为Pucci设计出纯白色分层贴身长裙;安吉拉·米索尼(Angela Missoni)在针织衣外面套上透明的梯形宽松长裙。米索尼女士喜欢用她飘逸的长裙塑造流浪汉般的形象,用衬层做出珊瑚色和绿色的颜色渐变。但又没有完全遮盖住里面的针织衣,也是突显米索尼的针织手法的好办法。

Two influences loomed over the Milan shows: the minimalism of Raf Simons (from Dior couture, as well as his last collections for Jil Sander) and the extreme volumes of Rei Kawakubo’s fall Comme des Garçons show. Consuelo Castiglioni’s clothes for Marni were conspicuously cleaner than usual, with peplums or folded pieces of fabric giving shape to full-skirted dresses in black or white cotton. She also showed simple tops with matching shorts.

米兰时装周上隐约透露出两种势力的影响:拉夫·西蒙斯(Raf Simons)的极简主义(迪奥的服装以及他为吉尔·桑达[Jil Sander]设计的最新系列)和川久保玲(Rei Kawakubo)在Comme des Garçons的秋装秀上所展示的极端繁复主义。康秀露·卡斯第里奥尼(Consuelo Castiglioni)为玛尼(Marni)设计的服装明显比往常更干净,腰部的褶皱给黑色或白色棉布长裙增加了一些层次。她还展示了一些简单的上装和配套的短裙。

On Sunday, I stopped by the Jil Sander showroom to see the collection up close. Also there were editors from InStyle and buyers from Harvey Nichols in London. The reaction was overwhelmingly positive, as an editor, reaching for a loose white cotton twill dress, said, “I want to wear these clothes now.”

周日,我拜访了吉尔·桑达的展示间,近距离观察这个系列。《InStyle》的编辑和伦敦时尚店哈维·尼克斯(Harvey Nichols)的买家也在那里。大家的反应明显很正面,有个编辑伸手摸着一件宽松的白色斜纹棉布长裙说:“我现在就想穿这些衣服。”

Does that comment carry more weight than a model’s?

这个评论会比模特的评论更有分量吗?

This was Ms. Sander’s return collection after an eight-year absence. She told Sarah Mower of Vogue that she wants her company’s motto to be “excellence in manufacturing.” On the runway, Ms. Sander’s clothes looked plenty appealing for their simple, rounded shapes — the way a masculine vest in mulberry cotton morphed into a knee-length feminine dress over a white cotton middy blouse with a bit of swing in the hem. A slim navy skirt in cotton with a matching, somewhat cropped jacket caught everyone’s eye, as did deep-pocketed blazers with shorts and all the loose summery dresses.

这是桑达离开8年之后的回归之作。她对《Vogue》的评论人莎拉·穆尔(Sarah Mower)说,她想把她的公司的座右铭定为“精于制衣”。在秀台上,桑德的衣服因其简单、流畅的线条而看起来非常吸引人——一件深紫红色女性化的及膝连衣裙是由男式棉质马甲变化而来,里面衬一件带摺边的白色棉质水手衫。修长的棉质海军裙搭配超短外衣,吸引了每个人的眼睛。有深口袋的上衣搭配短裤,以及所有宽松的夏季连衣裙,也同样吸引人。

But when I saw the clothes up close, I appreciated Ms. Sander’s motto. If somebody couldn’t manufacture these clothes, then they shouldn’t be in business, because the construction wasn’t at all complicated. Clearly Ms. Sander picked up some ideas when she was working with Uniqlo. Also, while she has good people around her at Sander, she is a different designer today: much less doctrinaire, judging by this collection. The complaint 10 years ago was that her designs weren’t feminine enough. Minimalist and modern, sure. Well, that’s a big change.

但是当我近距离看这些衣服的时候,我领会了桑德的座右铭。如果有人不能制作这些衣服,那么他就不该呆在时装圈儿里,因为这些衣服的结构一点都不复杂。很明显,桑德吸取了她在优衣库(Uniqlo)工作时的一些理念。而且,吉尔·桑达,她周围的人也都很优秀,所以如今她已经不是从前那个设计师了:从这个系列看她不那么教条主义了。十年前对她的批评是她的设计不够女性化。当然,极简而现代。这是个很大的变化。

Karl Lagerfeld’s mind is a vast store of references, handled with a sense of play in his Fendi collection, where black-framed color-blocked skirts and dresses seemed folded like construction paper. Colors are Lagerfeldian — that telling drop of turquoise — and the furs often blend magically into fabrics. Bags come as colorful dangling cubes, while the baguette makes a joke of its status by having its own viewing pouch on the side of a tote.

卡尔·拉格菲尔德的头脑是个巨大的资料库,他把这些资料游戏般地应用到他的“芬迪”(Fendi)系列里:黑边多彩色块短裙和长裙像美术纸一样被折叠起来。色彩是拉格菲尔德式的——鲜明的松绿色——皮草经常神奇地和植物纤维结合在一起。手包是五颜六色的摇摇晃晃的立方体,为了拿baguette手包的经典地位开玩笑,有个手包边上垂着一个baguette形状的小袋子。

At Bottega Veneta, Tomas Maier’s floral print dresses with neat waists and sharp shoulders had a nice ’40s slant, heightened by imposing platform pumps. At their best, his clothes suggest a cool indifference to fashion. This collection had that feeling, with a dash of eccentricity in silver-fringed cocktail dresses, but the excessive amount of embroidery seemed old hat.

在宝缇嘉(Bottega Veneta)的秀场,托马斯·迈耶(Tomas Maier)的细腰耸肩印花长裙,带点上世纪40年代的感觉,搭配让人印象深刻的厚跟舞鞋。最妙的是,他的服装表现出对潮流的毫不在乎。这个系列就是给人这种感觉,比如古怪的银色流苏舞会裙,还有太多刺绣样的老式帽子。
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