2023-10-01 09:31:07來源：魔方格
摘要：時尚不僅僅是流行文化現(xiàn)象，也不僅僅是個人審美的產(chǎn)物，而是一種由場域的力量關系所決定的社會產(chǎn)品。下面是七考網(wǎng)小編帶來的介紹時尚的英文文
(資料圖)
時尚不僅僅是流行文化現(xiàn)象，也不僅僅是個人審美的產(chǎn)物，而是一種由場域的力量關系所決定的社會產(chǎn)品。下面是七考網(wǎng)小編帶來的介紹時尚的英文文章欣賞，歡迎大家閱讀!
肥胖遭時尚界的排擠史 In Fashion Fat Is Still a Taboo
Rosy-cheeked and curvy, Madame de St.-Maurice smiles complacently on visitors to the 80WSE Gallery at New York University. The subject of a late-18th-century portrait by Joseph Siffred Duplessis, she flaunts multiple chins, her fleshy arms and bosom becomingly veiled in a demi-sheer frock.
面色紅潤、體態(tài)豐滿的圣-莫里斯夫人(Madame de St.-Maurice)對著紐約大學(New York University)80WSE畫廊(80WSE Gallery)的觀眾們得意地微笑。她是18世紀末約瑟夫·西弗爾·迪普萊西(Joseph Siffred Duplessis)描繪的對象，她炫耀著自己的雙下巴以及巧妙隱藏在半透明連衣裙下的豐腴胳膊和胸部。
When the original canvas was exhibited, “it was praised for its truthfulness,” said Tracy Jenkins, the curatorial director of “Beyond Measure: Fashion and the Plus-Size Woman,” the new student exhibition showcasing the work. Sure the sitter was chubby. So what?
這幅原版油畫在最近學生策劃的展覽“超越尺寸：時尚與特大號女人”(Beyond Measure: Fashion and the Plus-Size Woman)上展出。策展負責人特蕾西·詹金斯(Tracy Jenkins)說，“它的真實性得到了贊揚”。沒錯，畫中的這個女人很胖。那又如何?
Flash-forward a couple of centuries, and Madame would as likely have been skewered, her frame regarded as an aesthetic, and perhaps even a moral, affront to polite society.
要是放到幾個世紀之后，圣-莫里斯夫人很可能會遭到譏諷，她的體型會被認為是對上流社會審美觀念乃至道德層面的冒犯。
That assumption is at the heart of this small but affecting exhibition, one that encompasses photographs, mannequins, video and advertising imagery. Organized by graduate students in the costume studies program at N.Y.U.’s Steinhardt School, the show, which runs though Feb. 3, goes some way toward demonstrating that fat shaming, with roots burrowing deep into the 19th century, was, and remains, a freighted issue.
這一假想是這場頗有感染力的小型展覽的核心，它包括照片、人體模型、視頻和廣告圖片。它是紐約大學斯坦哈特學院(Steinhardt School)服裝研究專業(yè)的研究生們組織的，將持續(xù)到2月3日。這場展覽在很大程度上表明，肥胖羞恥感曾是——如今依然是——一個沉重的話題，它的根源可以追溯到19世紀。
Portrayed in the popular postcards and ads of the late 19th and early 20th century as grotesque, unseemly and out of control, women of size are represented in the gallery by Nettie the Fat Girl, a sideshow attraction shown in an early-20th-century photograph as a bulbous, childlike creature, her tutu and inflated thighs all but bearing her aloft.
在19世紀末、20世紀初的熱門明信片和廣告中，胖女人被描繪成怪異、不得體、失控的女人。在這場展覽中，那一時期胖女人的代表是馬戲團的演員“胖姑娘妮蒂”(Nettie the Fat Girl)。在20世紀初的一張照片中，我們看到她像嬰兒一樣肥胖臃腫，她的芭蕾舞短裙和膨脹的大腿幾乎能讓她飄起來。
Today that image wouldn’t fly, supplanted, in the popular media at least, by “full figured” role models, among them the defiantly outsize performers Beth Ditto and Melissa McCarthy, Adele and the aggressively curvy Tess Holliday, touted on the cover of People last spring as the first size-22 supermodel.
如今，那樣的形象飛不起來，而是至少在大眾媒體上，被“豐滿的”楷模所取代。比如體形龐大的藝人貝絲·迪托(Beth Ditto)、梅莉莎·麥卡錫(Melissa McCarthy)和阿黛爾(Adele)，以及非常豐滿的特絲·霍利迪(Tess Holliday)。去年春天，霍利迪作為第一位衣服尺碼為22號的超級模特招搖地登上《人物》雜志(People)的封面。
A tentative acceptance of full-figured models that dates from the early 1990s is highlighted in the exhibition by the emergence of Stella Ellis, known as the first large-size model, a divalike figure who strode Jean Paul Gaultier’s runway in 1992 and was featured in his ad campaign, billowy bosom exposed, hair piled high like an opera star’s.
這場展覽還重點展示了20世紀90年代初人們對豐滿模特的短暫接受。那一時期的代表人物是斯特拉·埃利斯(Stella Ellis)，她被稱為首位大號模特。她是一個天后般的人物。1992年，她在讓·保羅·高緹耶(Jean Paul Gaultier)的秀臺上款款而行，并成為他的廣告代言人——她顯露出洶涌的胸部，頭發(fā)像歌劇明星那樣高高盤起。
There is, as well, the flowery frock worn in the 1930s by the actress Marie Dressler, and a recent video clip of the lavender-coiffed, unabashedly round Ashley Nell Tipton, the first “Project Runway” designer to win with a plus-size collection.
還有20世紀30年代穿著華麗長袍的女演員瑪麗·德雷斯勒(Marie Dressler)，以及染著紫發(fā)、非常豐滿的阿什莉·內(nèi)爾·蒂普頓(Ashley Nell Tipton)前不久的視頻片段。她是第一位憑借大號系列在“天橋驕子”節(jié)目(Project Runway)中獲勝的設計師。
Still, progress has been halting.
不過，進步出現(xiàn)了停滯。
“Fat today is much less stigmatized, especially among younger people,” Ms. Jenkins allowed.
詹金斯承認，“如今，肥胖不再是那么恥辱的事，尤其在年輕人中。”
Outside, that is, the world of style.
不過，那說的是時尚界之外的世界。
“Fashion’s job is to exclude,” Ms. Jenkins said, adding pointedly, “Fashion is not accepting fat.”
詹金斯說，“時尚的職責是排外。”她尖銳地補充道：“時尚不接受肥胖。”
The show’s omissions make the case: Apart from the dress form draped in Dressler’s effusively feminine garment, and a pair of others showcasing items made from children’s Chubbies Patterns in the 1950s, there are no mannequins of heft — and no fashion to clothe them.
這場展覽所沒有展示的東西恰恰說明了這一點：除了展示德雷斯勒熱情奔放、有女人味的裙子，以及20世紀50年代胖乎乎的兒童款式的東西之外，幾乎沒有肥胖的人體模型，也沒有給它們穿的衣服。
Those are simply too hard to come by, as Ya’ara Keydar, a graduate student and an organizer of the show, explained. Ms. Keydar recalled that during a recent visit to an exhibition of historic evening dresses at the Sigal Museum in Easton, Pa., there was only one plus-size dress on display.
研究生雅拉·基達(Ya’ara Keydar)是這場展覽的組織者之一。她解釋道，那是因為很難弄到肥胖的人體模型?；_回憶說，前不久，她去賓夕法尼亞州伊斯頓的西加爾博物館(Sigal Museum)觀看一場關于歷史上著名的晚禮服的展覽，發(fā)現(xiàn)只有一件特大號晚裝在展出。
“Those garments don’t get shown unless you’re someone famous, like Queen Victoria,” Ms. Jenkins said. Even in museums with dedicated costume wings, there is a bias, she said.
詹金斯說，“特大號服裝除非被某個名人穿過，比如維多利亞女王，否則，沒有展示的機會。”她說，就連那些有專門用于展示服裝的側(cè)館的博物館，也存在偏見。
On conventional runways and in print, a show of fat can still raise eyebrows, the show’s organizers argue, as a tacit breach of etiquette and, less commonly, as a transgressive gesture. It remains more of a taboo than race, age or class, Ms. Jenkins maintained. That is because, regardless of race, age or social standing, “a fashionable outline is still achievable,” Ms. Keydar said. “With a larger body, it is not.”
這場展覽的組織者們說，在傳統(tǒng)秀臺和出版物上，展示肥胖仍會令人驚訝，被默認為是對禮儀的違背，甚至是某些情況下的侵犯行為。詹金斯認為，與種族、年齡或階層相比，肥胖更是禁忌?；_說，那是因為，不同種族、年齡或社會地位的人，“都可能擁有時尚的外形”，但一個人“要是體形碩大，就不可能時尚了”。
There are notably few references to the F-word, “fat,” replaced in the show, as it is in the industry, by the euphemistic “plus size.”
很明顯，展覽中極少用到“胖”這個詞，而是被委婉的說法“特大號”所替代，這也是時尚業(yè)的常規(guī)做法。
“‘Fat’ remains too charged a word,” Ms. Jenkins said. “Fashion has yet to come to terms with it” — or for that matter, with nonstandard sizing.
詹金斯說：“‘肥胖’這個詞依然容易引起激烈反應。時尚界還沒有接受它”——要做到這一點，就不能設定標準尺寸。
Images of plus-size runway models, in a slideshow first seen on the website Refinery29, reinforce her point: Models parade in their underwear, their random bumps and curves strategically covered and smoothed by padding.
一組特大號秀臺模特的照片佐證了她的觀點。那些照片首次出現(xiàn)是在Refinery29網(wǎng)站的一組幻燈里。照片中的模特們穿著內(nèi)衣走秀，她們隨意隆起的贅肉被巧妙地用襯料遮蓋或掩飾。
The message? Ideal beauties they may be, “but even these women need improvements,” Ms. Keydar said.
這樣做是要傳達什么意思?基達說，意思就是，她們可能是完美的美女，“但是就算這些女人也需要改進“。
Among plus-size models, too, stringent standards apply. Smaller heads are preferred. “You don’t want to see a double chin,” Ms. Jenkins said. Banished as well: stretch marks, bat wings or what the British like to call those wobbly bits.
嚴格的標準也適用于特大號模特。頭偏小的特大號模特更受歡迎。詹金斯說：“你不想看見雙下巴。”同樣遭到排斥的包括妊娠紋、蝴蝶肉或英國人所說的晃動的肉。
“There is just as much smoke and mirrors in plus-size fashion as in anything else,” Ms. Jenkins said.
詹金斯說：“特大號時尚也同樣需要霧里看花。”
街拍 時尚界的熱門生意 Why it pays to peacock
People used to go to fashion shows to see the clothes; now they go to be seen wearing them.The practice of documenting “street style” evolved in the 1980s, when style magazines such asi-D began chronicling people out and about. Today though, the stars of the scene don’t poundpavements hoping to be snapped on the street; they exit chauffeur-driven cars to totter thefive or six metres to the fashion show venues, often posing on their phone or chatting with apal in a matching outfit. Neither do they wear thrift any more: these street stars are seen inthe latest designer clothes, sometimes just hours after their catwalk debut. It’s good news forthe labels; it’s even better news for those canny enough to monetise their penchant forclashing print or double denim.
觀眾過去到時裝秀場就是為了欣賞時裝，如今去的目的是希望顯擺自己的行頭。上世紀80年代，記錄都市街頭時尚開始起步，當時《i-D》之類的時尚雜志就開始記錄街頭巷尾年輕人的穿著行頭。然而，如今的街拍對象出頭露面的目的并非是成為攝影師的抓拍目標;他們在距離秀場舉辦地5、6米的地方走下專車，故意放慢腳步，經(jīng)常自拍造型或是與身穿同樣行頭的好友閑聊。他們的穿著也不再寒酸：這些街拍明星往往身著最新款的名牌服裝拋頭露面，這些時裝有時只比T型臺上剛亮相的晚區(qū)區(qū)幾個小時。這對于時尚品牌來說是福音，對于那些腦瓜靈光的時尚愛好者更是如此，他們利用自己青睞鮮明格紋印花裝(clashing print)以及牛仔單品疊穿(doubledenim)的穿著方式而大獲其利。
Conservatives within the fashion world may dismiss street style as part of the growing “circus”around the shows, but its leaders can translate an image into big rewards; from ambassadordeals with brands and paid-for posts on social media to own clothing ranges and brandcollaborations. The rise in street style has even sparked a wider trend in “real people”-ledadvertising. J Crew kicked things off in 2012 with a campaign starring Caroline Issa (chiefexecutive and fashion director of Tank magazine), stylist Julia Sarr-Jamois and Frenchjournalist Virginie Mouzat. Last year, “Tod’s Band” campaign featured 15 personalities andfashion show regulars including Langley Fox Hemingway, Mae Lapres and Julia Restoin Roitfeld,while Chloé is currently popularising its bags and accessories on social media with the hashtag#ChloeGirls. Peacocking has never been so profitable.
時尚界保守人士或許會把街頭時尚貶稱為秀場外圍逐漸增多的“雜耍”而已，但是，無論是簽約品牌出任形象大使、在社交媒體上進行付費廣告宣傳，還是推出自己的時裝系列以及品牌合作共建，這股潮流的引領者都從中大獲其利。街頭時尚的興起甚至讓各色人物參與代言的廣告戰(zhàn)變本加厲。2012年，J Crew聘請《Tank》雜志總裁兼時尚總監(jiān)卡洛琳•伊莎(Caroline Issa)、設計師朱麗婭•薩爾-加莫娃(Julia Sarr-Jamois)以及法國記者穆扎(Virginie Mouzat)出任廣告片主角，算是開了這種合作風潮之先河。去年，“Tod’s Band”廣告片聘請了15位名人與時裝秀?？?，其中就包括嵐莉•福克斯•海明威 (Langley Fox Hemingway)、Mae Lapres 以及Julia Restoin Roitfeld;而蔻依(Chloé)目前則在社交媒體上以#ChloeGirls#的標簽號推介自己的手袋與配飾。高調(diào)張揚如今比以往任何時候都要有利可圖。
It’s not only the street stars who are cashing in. Many of the photographers shooting thestyles have turned their images into a viable business, among them Tommy Ton (who has shotfor Condé Nast and his own site, tommyton.com), Scott Schuman of The Sartorialist blogturned book, Vogue contributing editor Phil Oh (aka Street Peeper) and Adam Katz Sinding ofLe 21ème.
不僅街頭時尚明星能大肆掙錢，很多街拍攝影師也因此坐收漁利，其中就包括湯米•托恩(Tommy Ton，他為康泰納仕(Condé Nast)以及自己的網(wǎng)站tommyton.com提供照片)、把自己博客The Sartorialist結(jié)冊出版的斯科特•舒曼(Scott Schuman)、《Vogue》特約編輯Phil Oh(又稱街拍潮人(Street Peeper))、以及創(chuàng)建Le 21ème網(wǎng)站的Adam Katz Sinding。
Katz Sinding has been shooting since 2007, but has only been capturing fashion weekattendees since 2011. Now it’s a huge part of his work — he’s funded to travel by a range ofclients, “from e-commerce companies, to publications, to the brands themselves”, and has asyndication deal with Trunk Archive for resale of his images. He’s watched the scene changeenormously. “It’s been a very fast (de)evolution,” he jokes. “Back then, the people we shotwere exponentially more authentic. There was not the push from brands that we now see. Itwas rare to see full runway looks walking down the street.”
Katz Sinding自2007年以來一直從事街拍，但2011年之后才拍攝時裝周的各色參客。如今這成了他的主要工作——形形色色的主顧(“從電子商務公司、出版社到品牌公司)資助其四處拍攝”);他還與Trunk Archive簽訂了供稿協(xié)議，向?qū)Ψ睫D(zhuǎn)售自己的街拍照片。他親眼目睹了整個時尚界的這場巨變。“這是異乎尋常的變化。”他開玩笑道，“想當初，我們街拍的對象多是展示其真實生活狀態(tài)，他們并沒有品牌公司對此推波助瀾(如今則比比皆是)，當時身穿全套時裝行頭行走在大街小巷的人非常少。”
Blogger Leandra Medine — aka Man Repeller — is a regular in Katz Sinding’s shots. Heridiosyncratic style makes her a photographer’s dream — the name of her blog is a nod to herkooky taste: clothes that stylish women adore but men find sexually repellent. She’s alsonoticed the commodification of the scene. “When I started five years ago, street style felt morelike an indie art,” says the writer, who has worked with Saks Fifth Avenue, shoe brandSuperga, Michael Kors and Maje on brand collaborations. “It’s become a sort of native advert inmany ways — living, breathing sponsorships that look a lot like personal style but are actuallymotivated by something other than self-expression.”
時尚博主利安德拉•梅丁(Leandra Medine，也就是The Man Repeller)一直是Katz Sinding的街拍對象。她的另類時尚風格使其成為攝影師覬覦的目標——她的博客名也與另類時尚風格一脈相承：她的服裝讓時尚女性傾心不已，但男士見后卻毫無性趣。她也目睹了整個時尚圈的這場巨變。“五年前自己開始街拍時，街頭時尚酷似獨立制作的藝術。”這位時尚寫作者說道，她如今與薩克斯第五大道百貨店(Saks Fifth Avenue)、鞋履品牌Superga、Michael Kors 以及Maje合推品牌。“在很多方面，這已成為了某種原生廣告——品牌公司贊助的裝束更似體現(xiàn)了個人時尚，但實際的推波助瀾者卻是自我表現(xiàn)之外的力量。”
Today, almost every label will spend time and money “placing” product. Gifting has long been away of showcasing goods but, more recently, these gestures of goodwill have become moreformalised arrangements. Increasing numbers of key influencers and “tastemakers” now takefees or enter contractual relationships to promote brands on blogs and social media. It’s achange that has been driven both by brand promotion and the thirst for imagery created bythe enormous growth in editorialising in ecommerce sites.
現(xiàn)如今，幾乎每個品牌都會花費大量財力與時間“推銷”自己的產(chǎn)品。長久以來，展示產(chǎn)品的高招就是免費贈送，但近幾年，這些善意舉措已演變?yōu)楦降暮贤?。越來越多有巨大影響力的人與時尚達人如今不是收取費用、就是通過簽約在博客與社交媒體上幫助推銷相應品牌。如此變化，正是出于品牌推銷以及對形象照片之需求，而正是電商網(wǎng)站對時尚評論的巨大發(fā)展創(chuàng)造了上述需求。
“The essence of street style itself has changed,” says Yasmin Sewell, fashion director of CondéNast’s new ecommerce site style.com (which will launch this year) and a much-photographedpresence at the shows. “In its early days, the focus was very much on a person’s unique self-expression. There was no such thing as Instagram to determine a person’s ‘value’. Now it’sone of a brand’s most powerful marketing tools.”
“街頭時尚的內(nèi)涵早已今非昔比。”康泰納仕(Condé Nast)今年即將成立的電子商務網(wǎng)style.com時尚總監(jiān)雅斯明•休厄爾(Yasmin Sewell) 說，她也是時裝秀場攝影師重點關注的人物。“在一開始，聚集點多為某位名人的個性時尚。當時還沒有Instagram這類決定名人‘巨大影響力’的社交平臺。如今，社交媒體成為品牌最具影響力的營銷工具。”
The “product for post” concept — a freebie in exchange for a post on social media, or ashout-out at the shows — has grown in tandem with the street-style movement. “Only a tinyhandful of brands can afford to put a full-page ad in a magazine,” Sewell continues. “But almostany brand can afford to gift a blogger or editor in the hope their product is worn and seen andwill create demand. There’s so much strategy involved — the right placement on the rightperson, snapped by the right photographers and featured on the right websites can mean somuch for a brand’s exposure and ‘covetability’.”
“以時裝換廣告位”理念(免費贈送產(chǎn)品以換取在社交媒體上打廣告或是在時裝周上公開露臉 (shout-out))的興起亦步亦趨于街頭時尚風潮。“只有少數(shù)品牌有財力在時尚雜志刊登整版廣告。”休厄爾繼續(xù)道。“但幾乎每個品牌都有實力給博主或時尚主編贈送時裝，并希望自己的裝束公然示眾，從而創(chuàng)造相應的市場需求。所有這一切都是處心積慮——尋找合適的對象宣傳自己的時裝，而后物色合適的攝影師街拍、并刊登在理想的社交網(wǎng)站上，此舉對于品牌的曝光率與追捧度意義非凡。”
This transactional aspect of image-making has made Katz Sinding wary of describing himself asa “street-style” photographer. “I’m trying to capture something beyond the superficialcommercial aspect,” says Katz Sinding, who shoots the looks outside the shows for Wmagazine and lists Emmanuelle Alt, editor-in-chief of French Vogue, Isabelle Kountoure,Wallpaper*’s fashion director, and models such as Hanne Gaby Odiele among his favouritesubjects. “‘Street style’ to me, now, is showing trends and ‘important’ people dressed in‘important’ brands — it’s a bit boring.”
街拍牽扯利益回報，讓Katz Sinding避談自己是“街頭時尚”拍客。“我努力捕捉那些超越單純商業(yè)利益的形象。”Katz Sinding說。他為《W》雜志拍攝秀場外的時尚名流形象，并把法國版《Vogue》主編艾曼紐•奧特(Emmanuelle Alt)、《Wallpaper*》雜志時尚總監(jiān)伊薩貝拉(Isabelle Kountoure)以及包括漢娜•蓋比•奧迪爾( Hanne Gaby Odiele)在內(nèi)的諸多名模列為自己最青睞的拍攝目標。“在我看來，如今的‘街頭時尚’就是展現(xiàn)時尚風向以及‘重點人物’穿著 ‘重點品牌’的風采——這有點無聊乏味。”
The “important” people he speaks of aren’t celebrities but the once-anonymous fashion writersor stylists. Street-style fever has given birth to the strange notion of the “influencer” —someone who’s not traditionally famous, but can fit into high fashion and has upwards of50,000 Instagram followers. For brands, images of these people can become vital advertisingleverage, the importance of which will last far beyond fashion week.
他所說的“重點人物”并非名人，而是曾經(jīng)隱匿真名的時尚作家與設計師。街頭時尚熱潮催生了前所未有的“大V”——他們并非傳統(tǒng)意義上的名人，但對高端時裝慧眼獨具，Instagram粉絲數(shù)超過5萬。對于各大品牌來說，這些牛人的照片可以成為至關重要的廣告利器，其巨大影響力會遠超時裝周這個范疇。
Arguably, today’s influencers don’t need to be photographed: they must simply documentthemselves, obsessively. To Susie Lau, author of the fashion blog Style Bubble, this growthwas inevitable. One of the most respected — and familiar — faces on the scene, admired forher support of young labels, her success has inspired thousands of copycats. “It doesn’tsurprise me in the least,” she explains. “It’s only exploded because Instagram has become sucha huge platform. But it was ever thus. There will always be girls who wear clothes really well.”
可以說，如今的時裝大V們無需成為專門的拍攝對象：他們必須記錄自己的一切(得全身心投入)。在時尚博客Style Bubble博主蘇茜•勞(Susie Lau)看來，這種發(fā)展趨勢不可避免。她是整個時尚界最受尊重、也是最為熟知的人物，因其大力支持新成立品牌而被人津津樂道;她的成功故事激勵了成千上萬的仿效者。“我完全覺得不足為奇。”她解釋道。“我受到的追捧爆棚，因為Instagram已成為超級社交平臺。但過去也是如此，上妝效果好的姑娘總是不乏其人嘛。”
Blogger Pandora Sykes is great at getting dressed. She juggles her digital work and Instagramfeed with a job at Sunday Times Style magazine. She says: “I’ve been very resistant to being apaid body — who wants to be a fashion sandwich-board? Someone being paid to wearsomething at the shows is just an example of how you can leverage your image and yourpersonal brand. Bribery is rife. People think if they send something that that is some form ofpayment for a post. I’ve been sent umbrellas before and got a follow-up email saying it wouldbe great if we could have a ‘cheeky little Instagram post’.”
博主賽克斯(Pandora Sykes)擅長穿衣打扮。她除了任職于《Sunday Times Style》時尚雜志外，還兼顧自己的博客與Instagram的feed網(wǎng)頁。她這樣說道：“我一直強烈反對成為‘付費代言人’——誰愿意充當時尚界的廣告牌?時裝周的付費代言者只是利用個人形象與名聲進行投機的其中一個例子。時尚界此類‘賄賂’越發(fā)司空見慣。大家都覺得品牌公司免費贈送時裝，就是某種形式的廣告代言費。本人之前獲贈過雨傘，緊隨其后就會收到電郵，聲稱若‘在Instagram有塊巴掌大的展示空間’，將不勝感激。”
Sasha Wilkins of Liberty London Girl, sums it up when she says, “Once you hit half a millionfollowers on Instagram you can start writing your own cheques — ￡10,000 for a post with youwearing something.”
時尚博客Liberty London Girl的博主薩莎•威爾金斯(Sasha Wilkins)總結(jié)道，“Instagram的粉絲數(shù)一旦達到50萬，就可以主動開價——在Instagram上的時裝代言費1萬英鎊。”
But are viewers or readers aware of these payments when browsing street-style blogs orInstagram? “Do the semantics really matter to who’s looking at them?” asks Lau, who hasworked with the likes of Coach and Yoox and on sponsored blog projects and social mediaposts featuring products. For her, “it’s no different to flicking through advertising in amagazine. They’re looking at it for a fleeting second and they’ve given it a fleeting amount ofattention.”
但用戶瀏覽這些街頭時尚的博客與Instagram時，是否意識到上述代言費?“瀏覽對象真的會在意這些語意嗎?”勞恩問道。她本人就博客與社交媒體上的代言費與蔻馳(Coach)以及Yoox等品牌展開了合作。在她看來，“這與瀏覽時尚雜志的廣告毫無二致。讀者匆匆瀏覽，只是稍微注意而已。”
For Lau, “This is a new form of advertising and it is one that works because the images feelpersonal — those girls have built up a cult of personality. Though people may become numb tothat — in the way we’re numb to traditional advertising today.”
在勞恩看來，“這是行之有效的新廣告模式，因為瀏覽照片讓人倍感親切——這些代言女孩已成功培育了追星族。盡管讀者將來可能會對此麻木——我們?nèi)缃駥鹘y(tǒng)廣告早已無動于衷。”
That numbness is yet to kick in. For the moment, images of stylish women — and increasinglymen — out and about shift product. “It’s the idea of real-life usability of the garments thatdraws people to our images versus catwalk looks. Seeing it in daily use really speaks to people,”argues Katz Sinding.
但這種麻木感目前仍不存在?，F(xiàn)如今，照片中大街小巷的潮女(還有越來越多的潮男照片)不斷變換衣服花樣。“正是服裝在現(xiàn)實生活中的實際效果讓瀏覽者青睞社交媒體與博客上的照片而非它們在T型臺上的形象。尋常生活中的實際穿著效果真正吸引了消費者。”Katz Sinding如此評論道。
This idea of “real life” is the strange irony of the whole movement — it’s central to its success,but disappearing because of it. “I frequently turn down big money jobs because I’m not goingto look good in a brand’s stuff and I won’t feel good in it — that wouldn’t do anyone anyfavours,” says Sykes. “I think brands can be quite naive about that. They should be strivingfor authentic relationships, not just people who have the most followers.”
“現(xiàn)實生活版”對于整個街拍真是個奇怪的諷刺——它對于后者的成功至關重要，但自己又因為后者的存在而漸漸消亡。“我時常拒絕高額代言，因為我穿后效果一般，而且自我感覺不爽——那樣對所有人都沒啥好處。”賽克斯說。“我認為品牌公司有時想法太過幼稚。它們應該努力尋求接地氣的合作，而非僅僅關注粉絲數(shù)最多者。”
Medine agrees. “My style is such an integral part of what I do professionally, I can’t really affordto risk the authenticity factor there,” she says. “The reason street style resonates and hasbecome a phenomenon has everything to do with women seeing themselves in other women.The moment that jolt of authenticity is compromised and the trust between the voyeur andthe wearer begins to break, the game is over.”
梅丁也同意上述看法。“本人的穿著風格是自己職業(yè)不可缺少的組成部分，我不能去冒這種讓自己不接地氣的風險。”她說。“街頭時尚引發(fā)了時尚愛好者的強烈共鳴并成為時尚熱潮的原因完全在于女性粉絲在別的女性身上看到自身形象的效果。一旦犧牲了接地氣，時尚粉絲與代言人之間的信任感就開始分崩離析，這樣就玩完了。”
美國時尚界追捧的全新時裝品牌
A revolution is taking place in American fashion. With a focus on fit and durability, and collections built on basic staples and knitwear in neutral hues, this new breed of contemporary luxury labels is filling the most stylish wardrobes — and its discreet brand of understated and simple femininity is valued above all.
美國時尚界正在經(jīng)歷乾坤巨變。這類新涌現(xiàn)的奢侈品牌注重服裝的合身及耐用性，時裝系列由最基本的主打款式組成，針織衣物采用中性色，這些逐漸成為炙手可熱的搶手貨——體現(xiàn)女性含蓄與簡潔的小眾品牌則最受青睞。
The Row — founded by Mary-Kate and Ashley Olsen in 2006 — has built a following for essaying “relaxed and timeless elegance”. Gabriela Hearst describes her garments as “classic with a rustic edge”. Ryan Roche refers to her knitwear as “pared-back and minimal and essential”, while Rosetta Getty defines her eponymous line as “refined and easy to style for effortless dressing”.
由瑪麗-凱特(Mary-Kate)和阿什利•奧爾森(Ashley Olsen)姐妹創(chuàng)辦于2006年的品牌The Row因其“閑適雋永的優(yōu)雅感”而擁躉如云;加布麗埃拉•赫斯特(Gabriela Hearst)稱自己設計的時裝是“透著鄉(xiāng)土氣息的經(jīng)典款式”;羅奇•瑞恩(Ryan Roche)稱自己設計的針織裝是“瘦削型、風格簡約、必不可少”，而羅塞塔•蓋蒂(Rosetta Getty)則把自己的同名品牌定義為“精致、隨意搭配的休閑裝”。
Set in 12 acres in New York state, Roche’s barn-conversion studio is a rustic space punctuated with oak worksurfaces and mood boards on whitewashed walls. Now in her eighth season, she takes her palette seriously and considers each collection an addition to a lifestyle look. “It’s part of the conversation, how the new colours are going to work with the season before,” she says. “It’s another reason my customers love my collection, as it’s so easy for them, everything is harmonious and all the shades work together.”
羅奇由谷倉改建而成的工作室位于美國紐約州鄉(xiāng)村(占地面積達12英畝)，工作室內(nèi)不時可以看到橡木的工作臺面以及畫在白墻面上的各種情緒板。羅奇進入設計行當已有8個年頭，如今她對各種服裝顏色精明老到，覺得每個系列都好比增加了一款生活類時裝。“這是生活與時尚的互動內(nèi)容——新色調(diào)如何銜接前一個時裝季。”她說，“這也是粉絲喜歡我設計的時裝的另一原因，因為她們穿上后輕松自在，一切顯得那么和諧自然，所有色調(diào)實現(xiàn)了珠聯(lián)璧合。”
Each of these labels focuses on building a wardrobe rather than offering trend-driven looks. Their success is in their uniformity — “we’re consistent with the way that we build on our collections,” says Ashley Olsen. “You’re adding pieces rather than discarding and starting afresh every season,” says Maria Lemos, founder of the wholesale showroom and communications agency Rainbowwave, which represents Hearst. “Pieces from these brands aren’t like a statement dress that after a while you feel you’ve worn to too many parties. These are investment pieces.”
上述每個品牌都專注于“開辟新的天地”而不是提供順應流行時尚的裝束。它們的成功就在于始終如一——“我們一以貫之設計時裝系列。”阿什利•奧爾森說。“我們每個時裝季只是添貨而不是另起爐灶重新開始。”瑪麗亞•萊莫斯(Maria Lemos)說，她是倫敦批發(fā)類展廳及廣告公司Rainbowave的創(chuàng)始人，Rainbowave是赫斯特品牌的代理公司。“上述幾個品牌并不像是那種沒穿幾次就已經(jīng)顯得像是老面孔的高調(diào)華服，它們是真正值得買的時裝。”
Getty, who is based in LA, uses fabrics that can be worn throughout the year. “I may include a luscious cashmere for the fall season, or a fun, easy lace for spring — most of the fabrics are cross-seasonal,” she says. “My goal is to introduce clothing where the worth lies in the design and fabrication.”
定居洛杉磯的蓋蒂采用常年適穿面料設計時裝。“我或許會運用柔軟光滑的羊絨面料設計秋裝，或是用逗趣舒適的蕾絲裝設計春裝——多數(shù)面料都適合跨季穿。”她說，“我的目的是推出那些設計與做工俱佳的時裝。”
With sweaters costing from ￡700, durability and practicality are vital. Roche uses the finest Mongolian cashmere, but her sweaters can be machine washed on a delicate cycle and tumble dried. “I don’t want it to be too precious,” she says. “I want women to be able to really love it and live in it.”
對于起售價700英鎊的毛衣，經(jīng)久耐穿與實用性至關重要。羅奇采用質(zhì)量上乘的蒙古羊絨，但她的毛衣可用洗衣機柔洗以及使用滾筒進行干燥。“我不想讓它太過嬌貴。”她說，“我希望女性朋友發(fā)自內(nèi)心喜歡它，生活中片刻不離身。”
After testing the prototypes of her new handbag line, Hearst improved the hardware and closure of her “Nina” bag because it was opening too many times in a way she didn’t like. And when she became concerned that a waxed vest from her line would dirty other clothes, she wore it for a week to ensure it didn’t. “No disclaimer tag needed,” she says. Practical details are also considered: pockets must be big enough for an iPhone 6; shoes are made with double-welded soles for longevity.
檢測完自己的新手袋系列的樣品后，赫斯特著手改進了Nina手袋的開關與五金件，原因是手袋太過頻繁的開合很讓自己膩煩。當她擔心自己設計的一款蠟染馬甲可能會沾臟其它衣服時，為此她親自試穿了一周時間才確定這純屬多慮。“不能以免責聲明推諉。”她說。她對各種實用性細節(jié)同樣上心：口袋必須大到能擱放一部iPhone 6手機;鞋跟必須雙面焊接以保證結(jié)實耐穿。
Luxury fabrics, and choosing to do much of their manufacturing in New York, mean higher prices, but despite this, these garments sell — very well. The Row is a bestseller on Matchesfashion.com, and Roche’s $980 fisherman sweater sold out at Barneys this season. Getty “does incredibly well online”, says Lemos, and this season will be available at Selfridges. “It’s the way we live now; we want less but we want good quality.”
選用高檔面料以及大多在紐約制作完成的時裝意味著更高的售價，但盡管如此，這些時裝非常暢銷。The Row是Matchesfashion.com網(wǎng)店上的銷量第一的品牌，羅奇售價980美元的厚毛衣(fisherman sweater)更是在巴尼斯百貨店(Barneys)被搶一空。蓋蒂的產(chǎn)品“在網(wǎng)店尤其暢銷”，萊莫斯說，這個時裝季，蓋蒂將進場塞爾福里奇百貨(Selfridges)銷售。“這就是我們?nèi)缃竦纳钐攸c——少而精為上。”
Each of these women, who have a hugely aspirational lifestyle, makes an excellent advertisement for their label: Getty works from her mid-century mansion perched atop Runyon Canyon Park in the Hollywood Hills, Roche from her 17th-century barn studio. Hearst uses local artisans to weave wool sheared from sheep on her family’s Uruguayan ranch. There’s a simplicity to their idyllic way of life: swathed in cashmere and surrounded by nature. Sweaters, it seems, have serious selling power.
過著高大上生活的每一位女性設計師，就好比為自己品牌做了一次絕佳的廣告代言：蓋蒂的工作場所就是其雄踞于好萊塢山中魯尼恩峽谷公園(Runyon Canyon Park in the Hollywood Hills)頂上的中世紀豪宅;而羅奇的工作場就在其17世紀的谷倉改建而成的工作室。赫斯特雇傭當?shù)厥止に嚾思徰蛎?，羊毛就剪自自己家在烏拉圭牧?u>飼養(yǎng)的綿羊。她們的田園牧歌生活簡單質(zhì)樸：身穿羊絨衫怡然自得地生活在大自然的環(huán)抱中。毛衣似乎特別暢銷。
Rosetta Getty
羅塞塔•蓋蒂
“Every time I have an upcoming meeting or trip, I think about what pieces would make my life easier,” says mother-of-four Rosetta Getty, 46. “With my clothes, I want to tell a story by reimagining classic styles in a way that’s appealing to women like myself.” As a model, Getty was catapulted into the fashion industry aged 14, shuttling between Silver Lake, LA, and Europe to pose for Bruce Weber and Paul Jasmin. Now married to the Brothers & Sisters actor Balthazar Getty, great-grandson of the oil tycoon J Paul Getty, she launched her label for autumn 2014, having closed her Rosetta Millington childrenswear label in 2001 after 10 years.
“每次我赴會或是外出前，我都會認真考慮穿啥衣服能讓自己的生活更為愜意。”今年46歲、已是4個孩子媽媽的蓋蒂這樣說道。“我設計時裝時，往往會設想這種款式是否會吸引像我這樣的女性。”14歲的蓋蒂偶然進入時尚界，成為一名模特，從此她的生活就穿梭于洛杉磯的銀湖(Silver Lake, LA)與歐洲之間，參與布魯斯•韋伯(Bruce Weber)以及保羅•加斯明(Paul Jasmin)執(zhí)拍的廣告片。嫁給《兄弟姐妹》(Brothers & Sisters)男主角、石油大亨保羅•蓋蒂(J Paul Getty)的孫子巴爾薩澤•蓋蒂(Balthazar Getty)后，她于2001年關閉了自己創(chuàng)建10年的童裝品牌Rosetta Millington，并于 2014年秋季創(chuàng)建了自己的同名時裝品牌。
She has a roster of high-profile friends to wear her designs, among them her childhood best friend Patricia Arquette, for whom Getty created a dress for the 2015 Academy Awards, where Arquette took home best supporting actress for Richard Linklater’s Boyhood.
很多明星朋友都是她時裝的粉絲，其中就有兒時的閨蜜帕特里夏•阿奎特(Patricia Arquette)，蓋蒂專為對方設計了參加2015年奧斯卡頒獎典禮的一款連衣裙，阿奎特憑借自己在理查•林克萊特(Richard Linklater)執(zhí)導的《少年時代》(Boyhood)中的出色表演而勇奪最佳女配角獎。
Getty is a designer who opts not to dictate: “Many of the pieces are designed to be worn in multiple ways — ties that can be knotted closely to the body, draped or even left undone,” she says. Signatures include elongated tunics with fluid lines, worn over loose-fitting trousers.
蓋蒂不是一位因循守舊的設計師：許多時裝可有多種穿法——領帶既可系、也可裝飾，甚至只是掛在脖子里壓根不系。她的代表性時裝就是與寬松款褲子搭配、帶有流暢線條的瘦長束腰外衣。
Ryan Roche
瑞恩•羅奇
Before moving upstate eight years ago, Roche, 38, lived in Brooklyn, working on her then childrenswear label made from Japanese organic cotton. Encouraged by her clients, who included actresses Maggie Gyllenhaal and Milla Jovovich, Roche launched her women’s label in 2011 in the quietest way possible: sharing a 12-piece collection with an intimate group of friends and supporters. “It was tiny for a few years,” says Roche.
八年前北上發(fā)展時，今年38歲的羅奇一直居住于紐約的布魯克林，專心打造自己的童裝品牌(采用日本有機棉布)。在女星瑪姬•吉倫哈爾(Maggie Gyllenhaal)以及米拉•喬沃維奇(Milla Jovovich)等明星客戶的鼓動下，羅奇于2011年推出了自己的女性品牌，這是有史以來最名不見經(jīng)傳的品牌：與一幫閨蜜與擁躉共享由12件時裝組成的系列。“幾年中，這個系列沒啥影響力。”羅奇說。
She has signed to an international showroom and word is spreading — Ryan Roche is now stocked by 55 retailers. While she plans to operate as a full lifestyle brand, she will remain true to the brand’s DNA. “The heart and soul of our brand will always be our knitwear,” she says of her aesthetic — staples include cashmere two-pieces and knitted evening gowns. “Two of my top sellers [the fisherman sweater and a fringed cashmere knit] are things I introduced in my first season. When I fall in love with something that a designer does, I’m heartbroken to see the next season it’s gone. It’s always been my philosophy to be consistent.”
她隨后與國際知名展廳簽約，其知名度迅速擴散——瑞恩•羅奇如今入主了55 家零售百貨店。雖說羅奇只打算成為純生活類品牌，但她仍會忠于自己品牌的時尚風格。“針織裝永遠是自己品牌的核心。”她這樣評說自己的時尚風格——主要產(chǎn)品包括羊絨兩件套與針織類晚禮服。“兩款最為暢銷的款式(厚毛衣與帶流蘇的羊絨針織毛衣)是自己首個時裝季推出的。我對某款時裝愛不釋手、但下個時裝季它卻成了“棄兒”后，就會為此傷心不已。我的信條就是始終如一秉持自己的時尚風格。”
Gabriela Hearst
加布麗埃拉•赫斯特
“A lot of our product is made by hand in Italy, and when you’re making things by hand you have limitations and timings. You cannot rush it,” says Hearst, 39. “I think it comes from my ranching background. If you are in the middle of nowhere and really off the grid, everything has a purpose.”
“我的很多時裝都是在意大利手工制作而成，手工打造的時裝存在諸多局限性以及時機把握的問題。不可能一蹴而就。”今年39歲的赫斯特這樣說道，“這覺得這一切源于自己的牧場生活經(jīng)歷，置身于遠離現(xiàn)代科技的偏僻地方，做啥事都會有目的性。”
A former model, Hearst was born in Uruguay, during the civic-military dictatorship, and spent most of her summers on the family ranch herding cattle. The aesthetic of the label she founded in 2015 draws from both her upbringing in South America and Manhattan residency: matter-of-fact, wearable garments with a rustic edge, translating into an unfinished hem on a georgette gown, or teaming elegant dresses with heavy boots.
當過模特的赫斯特出生于烏拉圭，在烏國內(nèi)軍政府獨裁統(tǒng)治期間，每個夏天的多數(shù)時間，她都會在家庭牧場放牧。她于2015年創(chuàng)建了自己的品牌，其時尚風格源于其從小在南美長大以及在曼哈頓生活的經(jīng)歷：設計的服裝實用耐穿、透著鄉(xiāng)土氣息，最終推出的是帶著未染色褶邊的喬其紗(一種極薄的透明細紗)連衣裙以及搭配笨重靴子的漂亮裙子。
Hearst and her husband also manage the family’s livestock estate, and will this season use their own wool in her collections for the first time.
赫斯特與丈夫如今還經(jīng)營著自家的畜牧場，今年這個時裝季，他們將首次采用自產(chǎn)的羊毛設計時裝。
The Row
That Mary-Kate and Ashley Olsen have managed to create one of the most coveted labels while remaining relatively under the radar is astonishing. Rather than becoming a flash-in-the-pan celebrity fashion line, the former actresses, 29, have proved slow and steady wins: after almost a decade in business they launched their first retail store in LA’s Melrose Place last year. “We like doing things slowly, seeing how people respond to things, and learning from our mistakes,” says Ashley. “We try not putting it all out there.”
瑪麗-凱特和阿什利•奧爾森姐妹設法創(chuàng)建了時尚界最令人覬覦的品牌、同時又保持低調(diào)神秘，此舉著實讓人難以置信。今年29歲的這對姐妹花非但沒有成為曇花一現(xiàn)的名人時裝設計師，相反，這對昔日的女星成為穩(wěn)扎穩(wěn)打的大贏家：從業(yè)近10年后，她們?nèi)ツ暝诼迳即壍拿窢柫_斯廣場(Melrose Place)開設了首家零售門店。“我們喜歡慢工出細活，隨時關注消費者的反饋，并從自己的失誤中汲取教訓。”阿什利說，“我們努力避免四面開花。”
The twins, who took over creative direction after losing Nadège Vanhee-Cybulski to Hermès in 2014, offer garments that have little intimation of gender. Ready-to-wear staples include cashmere and silk-blend capes, silk-satin camisoles and loosely tailored trousers (the label’s name alludes to the tailoring of Savile Row). “Retailers have seen that a quiet brand like The Row can be one of their best performers,” says Maria Lemos of Rainbowwave.
這對雙胞胎姐妹在Nadège Vanhee-Cybulski2014年轉(zhuǎn)投愛馬仕(Hermès)門下后，親自接任了創(chuàng)意總監(jiān)一職，隨后推出了沒有性別界限的時裝。主要成衣款式包括了羊絨與真絲混紡的披肩、真絲緞的貼身背心以及休閑款褲子(品牌名字The Row暗指倫敦薩維爾街(Savile Row)定制成衣業(yè))。“零售商們親睹了The Row這類名不見經(jīng)傳的品牌變身為最叫賣的品牌。”Rainbowwave創(chuàng)始人瑪麗亞•萊莫斯這樣說道。
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