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不动声色地强调女性形体

A Leap in Volume and Length
不动声色地强调女性形体

“It’s mostly cotton and organza,” Ashley Olsen said.

“用料主要是棉布和透明硬纱,”阿什莉·奥尔森(Ashley Olen)说。

“We were thinking of an English garden,” said her sister, Mary-Kate, clutching a paper coffee cup.

“我们设计时想着一座英国花园,”她的妹妹、手里握着咖啡纸杯的玛丽-凯特(Mary-Kate)说道。
 

THAKOON:绸棉小飞袖与绉纱长裙搭配鸟笼形马甲。

The Carlyle Hotel on Monday was a long way from a garden, English or otherwise, and Ashley’s laundry-sounding summation of The Row turned out to be a typical bit of Olsen reserve.

周一的卡莱尔酒店很难让人联想起花园,不管是英国的还是哪国的。阿什莉关于“The Row”这一季用料的总结,听起来就像是在洗衣店跟工作人员的对话,不过倒是符合她一贯轻描淡写的说话风格。

Even if their collection doesn’t deliver the creative blast of some other labels, the Olsens’ perspective on fashion engages, mostly for its separateness. It’s funny: they have won the industry’s highest accolade, they have the respect of retailers, yet their clothes remain beautifully those of outsiders.

她俩的时装发布会也许不像其他品牌那样充满创意,但这没有关系,奥尔森姊妹从事时尚行业主要是看中它的独特性。有意思的是,尽管她们已经赢得这个行业的最高嘉奖,受到零售商们的尊重,她们设计的衣服还是颇具外行人的种种可爱之处。

They did work with papery white cotton and delicately pleated georgette for airy coats, side-draped trousers and a cool halter tunic in two shades of white. They also showed outfits in khaki, deep red and two tones of navy. But it was the Olsens’ long, lightly layered silhouette that put this collection on a different level. You associate them with long things, but these clothes were far more particular, whether a neat red blazer with a cord tie and long matching skirt or a blue silk-linen dress with a low back that seemed to blend English Regency with Japanese folk.

她俩的作品包括各种轻盈的外套,由轻薄的白色棉布与打着精美褶裥的乔其纱制成,还有侧边褶皱裤和一款很酷的两种白色调挂脖长袍;此外还有各种卡其色、深红色与两种海军蓝色调的套装。但提升了该系列品质的,还要算是奥尔森姊妹凹凸有致的高挑身材。人们总会把她俩与纤长的事物联系在一起,但她们这一季的衣服却更为特别,不管是那款简洁的系带红色外套和与之相配的长衬衫,还是那款丝麻质地的蓝色裸背裙——它似乎混合了英国摄政王时期风格与日本民间风格,两者莫不如此。

The spring collections got a kick of energy as other designers also showed longer lengths and pretty volumes. Carolina Herrera could have skipped the girly crepe shorts and jackets in her strong collection, and just focused on her long, dreamy, lightly color-blocked dresses — the best in pearl-pink silk with a scattering of red-flecked embroidery at the neck and hem.

其他设计师也争相推出长度更长,体积较大的设计,为春季时装发布会带来新鲜活力。卡洛琳娜·埃莱拉(Carolina Herrera)从自己的主打系列中去掉了少女风的绉纱短裤和外套,重点推出梦幻般的亮色块长款衣裙,亮点是珍珠粉色的丝绸质地与颈部的红色绣块。

And despite a sooty palette at Theyskens’ Theory and the amount of black leather, Olivier Theyskens’s collection showed more vitality than last season, maybe because he gave real value to just about everything he put out on the runway, from terrific coat dresses to a crinkled blouson top to an over-scaled navy coat with a black leather mini.

尽管Theyskens’ Theory时装大多采取黑色调,大量使用黑色皮革,但奥利维尔·泰斯金斯(Olivier Theyskens)的时装发布会比上季还是更显活力,也许是因为他在走秀中展示的每一款衣服都具有实用性。比如精彩的风衣式连衣裙、一款带褶皱的女式束腰上衣以及一款大号海军风衣配黑色皮质超短裙。

In her fashion, Diane von Furstenberg refers to the plot of her life — princess, yacht-borne gypsy — but it is clever enough to snip away the nostalgia. She served up palazzo pants and draped tunics, repetitively, but it’s the way she used that loose attitude to refresh a suit, in terra cotta crepe with a notched white edge that surprised. Also compelling were new jackets, scooped in front and trimmed with tiny metal beads, and shown with slouchy trousers or silk shorts. And there were hybrids of a vest and soft blouse — a nod to the practical, self-sufficient woman that DVF projects.

黛安·冯芙丝汀宝(Diane von Furstenberg)说自己的人生就是公主与开游艇的吉普赛人,但避免怀旧情结是更聪明的做法。她为本季带来了宽身裤和褶皱宽松上衣。虽说有些累赘,但她正是用这种宽松的态度为服装赋予新的活力,一套陶土色的绉纱服装有着带切痕的白色边缘,颇为令人惊喜。她设计的新款外套也非常迷人,低胸前领,下面缀着小小的金属珠子,下面配着慵懒的长裤或丝绸短裤。此外还有马甲与柔软宽松上衣的混搭,充分符合DVF品牌塑造的讲求实际、自立自主的女人形象。

Beyond the Google glasses Ms. von Furstenberg had on her runway, technology has also give designers freedom to combine disparate elements, through bonding, laser-cutting, photo printing. Derek Lam and Thakoon Panichgul employed some of those techniques in their very grown-up collections.

冯芙丝汀宝女士戴着Google智能眼镜出席了自己的走秀。技术的进步让设计师们可以自由自在地把各种完全不同的设计元素通过黏结、激光切割和照片印刷结合在一起。德里克·林(Derek Lam)和塔库恩·帕尼克歌尔(Thakoon Panichgul)在他们的成人时装系列上就采用了这样一些技术。

But even more striking was a quiet insistence of feminine shapes. Mr. Panichgul’s opening number, a strapless dress in white silk duchess, followed the curves of some erotic birdcage, enhanced by a birdcage print. The dress was gorgeous. Gentleness pervaded the collection, as well as self-assurance, with hummingbirds and flowers embroidered on shifts and poplin chemises with collage fronts.

但更令人惊艳的是他们对女性形体不动声色的强调。帕尼克歌尔展示的第一套时装是一件白绸女公爵款无吊带长裙,性感的曲线是模仿鸟笼的形状,上面还印着鸟笼的图案。这条裙子非常华美。一套套服装上绣着蜂鸟与花朵的图案,绸缎内衣前胸处带有拼贴图案,该季时装充满高贵与自信的气质。

Mr. Lam’s woman seems to have her nose in an old-fashioned book. Which is hardly a demerit, but it does convey a healthy distance from fashion. That feels right at the moment. I couldn’t decide if Mr. Lam’s many knee-length skirts were meant to be awkward. In the end, I decided to admire the difference they cut.

林先生的女装灵感似乎来自一本古老的时尚画册。这当然不算什么缺点,反而能让林先生和潮流保持一段健康的距离,在当下这个时候给人感觉很好。我不知道林先生的许多齐膝半裙是否故意做得那样质拙。最后我还是拿定了主意,欣赏起它们那种特殊的裁剪。

Also strong was a slim sleeveless dress in a leafy mixture of green and brown madras (who uses madras today?), a puffy white cotton pullover that was a nice departure from a flat T-shirt, and slim dresses and tops made of three layers of contrasting meshlike lace. Mr. Lam’s colors are wonderfully strange: spruce with icy gray, marigold with azure blue. Again, this is part of the fashion territory that he has wisely staked as his own.

还有一套纤细的无袖连衣裙也很美,有着树叶般的质地,是用绿色与棕色的马德拉斯布制成——如今谁还会使用马德拉斯布呢?有一套蓬松的白色棉布套衫,摆脱了平淡的T恤样式,也很别致。另外还有几件纤细的连衣裙与上衣,是由三层撞色网眼蕾丝构成。林先生使用的色彩非常奇异:灰绿色搭配冰灰色,橘红色搭配天蓝色。林先生在时装界已经巧妙地确立了自己的特色,这种色彩搭配自然也是他独有的特点。
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