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倫敦時裝周:用圖案講故事

Prints That Tell a Story
倫敦時裝周:用圖案講故事

LONDON — Digital patterns, painterly brushstrokes, mighty splodges and tiny images — British fashion has made a reputation for “all the new that’s fit to print.”

倫敦——數碼圖案、仿佛油畫筆刷出的色彩、強有力的大色塊和細小的圖案——英倫時尚以其“適于印染的一切新概念”博得了名聲。

That mantra defines opening days of a joyous and colorful London Fashion Week. The summer 2013 shows vibrate with pattern, but with a fresh story line: the narrative print, telling a tale in tiny pictures.

這一條準則在充滿歡樂與色彩的倫敦時裝周頭幾天里也得到了詮釋。2013年的夏裝展躍動著各式圖案,并且貫穿著一條嶄新的線索:那就是敘述性的圖案,用小小的圖畫講述一個個故事。
 

倫敦2013春/夏系列當中的Matthew Williamson、Sister by Sibling以及Topshop Unique。

Even Matthew Williamson’s show Sunday, celebrating his label’s 15th birthday, had digital landscape prints of the Indian state of Kerala, inspired by the New York artist Shane McAdams, to contrast with the clothing’s full-on Indian inspirations. The more colorful tie-dye effects, as though from the powders thrown around in India’s Holi celebrations, bled vivid shades onto simple clothes like white pants.

星期天,就連馬修·威廉姆森(Matthew Williamson)慶祝品牌15周年生日的那場秀上,也都出現了印度喀拉拉邦的數碼風景圖,圖案受到紐約藝術家沙恩·麥克亞當斯(Shane McAdams)的啟發,和該服裝上完全來自印度的靈感相呼應。色彩豐富的扎染效果仿佛是在印度胡里節(Holi)慶典里四處撒出的彩粉,給白褲子這樣簡單的服飾也添上生動的色塊。

Since his early hippie de luxe days, with inspirations from Ibiza and Kerala, Mr. Williamson’s approach has become more sophisticated — give or take a re-run of Rajasthan mirror embroidery. And he included in this anniversary collection his first footwear designs: shoes with heels and platform soles carved into undulating shapes or made of thick rubber.

從他早期華美的嬉皮歲月至今,威廉姆森的手法變得越發圓熟,這一次的服裝系列受到伊維薩島和喀拉拉邦風情的啟發,在拉賈斯坦邦風格的對稱刺繡中游刃有余。此外,在這一次的周年系列中,他還帶來了他的第一款鞋類設計:有高跟鞋和平底鞋,底部或塑造成波浪形,或用厚橡膠制成。

Did a new sophisticated feel suit the Topshop girls, sitting front row at the Topshop Unique show on Sunday? And how did the two million-plus views watching the live-streamed show judge it?

這樣一種全新的成熟味道是否也適合Topshop的女孩們呢?在周日Topshop Unique的時裝秀上,她們就坐在前排。而觀看視頻直播的那兩百多萬人次,又是如何看待的呢?

“We tried to raise the bar,” said Philip Green, the founder of Topshop. He meant by that a move away from the kooky and funky toward elegant tailoring and graphic patterns, picking up the 1990s vibe that is pulsating faintly through the summer 2013 shows.

“我們想要提升格調,”Topshop的創始人菲利普·格林(Philip Green)說。他指的是擺脫以往的乖僻狂野風格,向優雅的剪裁和平面圖案靠攏,重拾20世紀90年代的感覺,而這也是在整場2013年夏裝秀當中一道隱隱跳動的脈搏。

Although there were dresses in transparent fabrics with blocks of opaque fabric to provide modesty, the show was noticeably unsexy — more an offering of oversized duster coats and geometric patterns, designed as if on a grid.

盡管在展示中也出現了一些透明面料的衣服,縫上幾塊不透明的布料作遮掩,使其顯得稍為端莊一些,但可以看出,這場展覽并不性感——更多地是展示一些特大號的罩衫外套,上面的幾何圖案仿佛是在一個方格圖上設計的一樣。

Black, white, yellow and bright navy, with a touch of powder pink, were the only noticeable colors, making this the most “grown-up” look from the Unique label — but not necessarily the most dynamic.

黑、白、黃和明亮的海軍藍,稍稍添上一點粉紅,便是當中能察覺到的全部顏色,讓這一系列成為Unique品牌當中最有“成熟感”但卻并不一定是最有活力的造型。

When Sister by Sibling sent out its quirky designs in knit and feathery fluff, one image came to the fore: a new version of the French toile de jouy. Little people were printed on, but not in, noble battle scenes or pastoral pictures. Instead, the trio of designers pictured urban London scenes — of riots.

Sister by Sibling展出了以編織物和松軟絨毛為質材的奇特設計,服裝上呈現出全新版本的法式“toile de jouy”印花。貴族的決斗場面或是田園風光的圖畫上印著小人圖案,不過小人是蓋在圖畫上面,而不是作為圖畫當中的人物。另外,品牌的三位設計師還用圖畫展示了倫敦都市暴動時的場面。

The team called the show “Warrior in Woolworths,” inspired by the song of the 1970s band X-Ray Spex, and referred to what they called “young old-lady outfits.” They included madcap fluffy headdresses with an icon named “Poly Styrene,” just like the band’s lead singer. It was all rollicking good fun — with some enticing clothes.

他們的團隊把這場秀稱作“伍爾沃思戰士”(Warrior in Woolworths),靈感來自20世紀70年代樂隊“X射線透射器”(X-Ray Spex)的歌曲,以此代表他們所說的“年輕熟女裝”。當中包括了大膽狂野的軟毛頭飾,上面有一個圖標,名叫“波麗·斯泰蕾尼”(Poly Styrene),就是那支樂隊的主唱。整場秀充滿歡鬧和樂趣,也有一些十分迷人的服飾。

Life on the ocean wave was the narrative behind Kinder Aggugini’s collection of snorkel scenic prints, including mermaids, anchors and swordfish. Inspired by Ernest Hemingway’s “Old Man and the Sea” but with ergonomic sailor-style clothes (think overalls, apron dresses and low-slung shorts), the show had a witty twist from its Stephen Jones hats with handwritten salty poems through wooden clogs.

而金德·奧古堅尼(Kinder Aggugini)新系列背后的故事則是海洋中的生命,有各種水下場景圖畫,包括美人魚、船錨和旗魚等。這場秀的靈感來自歐內斯特·海明威(Ernest Hemingway)的《老人與?!?Old Man and the Sea),但卻是展出以人體環境工程學為基礎的水手風格服裝(可以想想罩衫、連裙圍衫和低腰褲等)。此外還有木底鞋和史蒂芬·瓊斯(Stephen Jones)設計的帽子,上面有手寫的關于海洋的詩句。這場演出十分機智地揉合了各種元素。

Huishan Zhang explained backstage that traditional Chinese table clothes and packaging were the inspiration for the tiny, graphic elements on his elegant dresses, which came in those icy blues and pale turquoise that the West associates with Chinese porcelain. Mr. Zhang has a couture vision, showing skills in draping a wrap at the side of a slim dress or inserting chiffon at the neck. If his collection looked more sophisticated than the typical lively London shows, he proved his skill in dressmaking.

在后臺,張卉山(Huishan Zhang)解釋說,他的優雅服飾上細小的平面設計元素,靈感來自于傳統的中國桌布和包裝材料。那些冰藍色和暗啞的藍綠色能讓西方人聯想到中國的陶瓷。張卉山擁有一種高級時裝的視野,在一件修身女裝的邊上裹上一塊披肩布料,或是在頸部加入雪紡,都顯示了他的技巧。他的系列在一貫活潑的倫敦時裝秀中看起來或許顯得比較成熟,也證明了他在女裝制作上的技藝。

Holly Fulton’s inspiration was California drifting down Mexico way — with the 1960s skateboarder Patti McGee as muse for a show rich in color and pattern. The focus was a very English rose — except it was worked in clear or woven plastic, facing off nature and artifice in a smart, modern way. And if a tiny print of naked female bodies on slim pants came as a surprise, it was witty rather than raunchy.

霍莉·富爾頓(Holly Fulton)的靈感則來自靠近墨西哥的加利福尼亞風格——20世紀60年代的滑板選手帕蒂·麥基(Patti McGee)便是這場充滿色彩與圖案的走秀中的“繆斯”。走秀的焦點是一朵非常有英倫風格的玫瑰——只不過它是用透明的塑料編織起來的,用一種聰明而現代的方式將自然與人工結合。在一條修身褲上印著一個細小的女性裸體圖案,雖然讓人有點意想不到,但只是一種風流而不下流的點綴。

Wallis Simpson in the 1930s was the inspiration at Clements Ribeiro for the slim silhouettes. Knits or trim blouses and skirts were worked with horizontal stripes or a diagonal checks, making a graphic statement impregnated with the Duchess of Windsor’s style. The design duo accurately described the collection as “off-kilter chic.”

在克萊門茨·里貝羅(Clements Ribeiro)品牌的秀上,那些修身廓形的靈感是來自于20世紀30年代的華里絲·辛普森(Wallis Simpson)。編織衫、修身女裝上衣和裙子都用橫間條或斜列方格裝飾,這種風格由當年的溫莎公爵夫人所倡導,如今克萊門茨·里貝羅又對其作了一番生動的演繹。這對夫妻檔設計師將這個系列準確地描述為“傾側的時尚”(off-kilter chic)。

Patchworks, embraced by fashion in the hippie, trippy years, made a youthful collection fromJasper Conran. The designer rebooted West Coast indigo denims from the 1970s, pieced with leather appliques, refreshing the Haight-Ashbury and Woodstock era as streamlined, urban chic. London designers seem to have in common a sly and witty sense of humor, which enlivens even classics.

拼縫設計在迷幻的嬉皮年代曾經風靡一時,如今在賈斯珀·康蘭(Jasper Conran)的設計中成就了一個富于青春活力的系列。設計師重新使用了20世紀70年代的靛藍色牛仔布,配上皮革貼花,讓海特-阿什伯里(Haight-Ashbury)和伍德斯托克(Woodstock)時代的風格煥發新生,成為現代化都市時尚。倫敦的設計師們似乎普遍都有一種狡猾而機智的幽默感,甚至能讓古典風格都充滿生氣。

‘’The House of Holland has developed an attitude problem” proclaimed the designer Henry Holland about what he called a revival of the “grunge, glamour and glory” of the 1990s.

“荷蘭屋(House of Holland)開始展現自己的態度,”設計師亨利·霍蘭(Henry Holland)聲稱。他說,他讓20世紀90年代“垃圾搖滾(grunge)的魅力和榮耀”復活。

Tapping their feet to that era’s Shampoo girl band on the soundtrack, the front row “It girls” Alexa Chung, Pixie Geldof and Kelly Osbourne cheered the tie-dye diagonal checks and eye-popping patterns. But the intense colors and girly vibe were tempered by a male aesthetic in overalls cropped as shorts.

背景音樂中正響著那個年代的女子組合“香波”(Shampoo)的歌曲,坐在前排的“魅力女性”艾里珊·鐘(Alexa Chung)、皮格茜·蓋爾多夫(Pixie Geldof)和凱莉·奧斯本(Kelly Osbourne)正隨節奏用腳敲著拍子,她們為那些扎染的斜列方格和令人目瞪口呆的圖案喝彩。不過,這些強烈的色彩和少女情懷被一些裁成短裝的罩衫中透出的陽剛美所調和。

The Garden of Eden was the inspiration for the Issa collection. But the dense mix of jungle green leaves and preening parakeets suggested the native Brazil of the designer Daniella Helayel, who is about to open her first store in São Paulo. Her years in London have produced a streamlined and sophisticated aesthetic, bringing sensual, long dresses in a single vivid color. Flower prints were reduced to virtual orchids at the hem of long dresses and the actual flowers in the hair.

伊薩(Issa)系列的靈感則來自于伊甸園。不過,那些緊密的叢林綠葉和精致的長尾鸚鵡圖案暗示了設計師丹妮埃拉·赫拉耶(Daniella Helayel)的巴西國籍,而她也即將在圣保羅開設她的第一家時裝店。在倫敦的這些年里,她發展出一種流暢、圓熟的美學,用細膩的單色帶來性感的長款女裝?;ǘ溲b飾圖案也被簡化,只剩下長款女裝褶邊上的蘭花圖案和頭發上的真花裝飾。

A dark but beautiful vision fromTodd Lynn changed the pace of the London shows. Shades of red and lime-tinged yellow dripped like blood down slim silk dresses or washed over skirts, contrasting with the matte finish of tailored safari jackets. The designer quoted Joseph Conrad’s “Heart of Darkness” and the film “Apocalypse Now” as his inspiration, but that translated as a collection of finely crafted clothes. The show ended with black dresses, rare in the current London season, but lightened with silken fringe revealing a glimpse of flesh.

托德·林恩(Todd Lynn)陰郁而美麗的視角改變了倫敦時裝周的節奏。紅色和略帶點綠的黃色色塊,如同滴血一般染在絲質女裝上,又或者是濺潑在裙子上,與啞光打磨的合身游獵外套形成鮮明對比。設計師說約瑟夫·康拉德(Joseph Conrad)的小說《黑暗的心》(Heart of Darkness)和電影《現代啟示錄》(Apocalypse Now)是他的靈感來源,不過被他演繹成了一系列精心制作的服飾。這場秀以黑色女裝結束,在這次倫敦時裝季中很少見,但時裝光滑的邊緣露出隱約閃現的皮膚,卻為這一切帶來了一抹亮色。

Among all the color and pattern, Nicole Farhi’s collection, inspired by Edward Burtynsky’s photographs of the Carrara marble quarries in Italy, brought some calm. The designs did not have the usual marble veins but a papery texture, as skirts were folded into pleats.

在所有這些色彩和圖案當中,尼科爾·法伊(Nicole Farhi)的系列帶來了一些平靜。它受到愛德華·伯汀斯基(Edward Burtynsky)在意大利喀拉拉大理石場的攝影作品啟發。其設計并沒有慣常的大理石脈紋理,而是在裙子上折出皺褶,產生紙張一般的質感。

The gray marble dust, settling as a color, did not do much to lighten the collection. But Ms. Farhi slowly introduced warmer colors of burnt umber and brown, which, along with a leafy print, gave an autumnal touch to this summer collection.

灰暗的巖石碎屑便是當中的顏色,它并沒有讓這個系列明亮起來。不過,法伊后來逐漸帶來了一些溫暖的色彩,比如熾熱的赭石色和棕色,它們與樹葉狀的圖案一起,給這個夏裝系列帶來了一抹秋意。
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