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更新时间:2020-4-17 7:24:20 来源:本站原创 作者:佚名 浏览:

Clothes Worthy of Their Label

PARIS — You sometimes think, at the bleary end of a runway season, that fashion would be better off if companies didn’t have labels to sell.


Take Saint Laurent. One of the first things the new designer, Hedi Slimane, did was to remove “Yves” from the label, thereby severing a symbolic connection to the founder, and everything he stood for, like good taste and feminine power. But it was also a test of the label’s enduring appeal.

以圣罗兰(Saint Laurent)为例。它的新设计师艾迪·斯里曼(Hedi Slimane)首先着手做的其中一件事是把“Yves”从品牌名中删去了,从而象征性地切断该品牌与其创始人之间的联系,也切断这位创始人所代表的一切,比如优雅的品味和女性的力量。但是这也是在考验这个品牌是否具有持久的吸引力。

Who needed the extra syllable when Saint Laurent was virtually lodged in people’s ears, and so much fun to say?


Mr. Slimane has been the talk of Paris Fashion Week, or at least the closing days, largely because he showed a grunge collection of baby-doll dresses and flannel shirts, which I viewed online because I was not invited to the show. Opinion varied widely. Many people said the clothes looked like stuff sold at Topshop or a thrift store, while others defended Mr. Slimane’s approach and identified pieces, like a pink fur chubby, that relate back to Yves’s designs of the late ’60s and early ’70s, when he got ideas — say, for a pea coat — from the street. It’s doubtful that customers will make that connection, but such comments serve to validate what Mr. Slimane has done.


And the controversy is good for Saint Laurent. But mainly it was clear to me how strong the name is. In terms of design, the clothes held considerably less value than a box of Saint Laurent labels. Without the label attached to them, Mr. Slimane’s grunge dresses wouldn’t attract interest — because they’re not special. But a box of labels is worth a million.


Hermès stands in sharp contrast to the Saint Laurent show and its lazy values. From the first few outfits, shown in a school library near the Sorbonne, you were aware that real design was at work here and that Hermès was not resting on its fancy haunches. For my money, this was one of the top two or three collections in Paris, and maybe of the entire ready-to-wear season; and for the simple fact that somebody at Hermès refused to let fashion take over the clothes. You could see elements of Martin Margiela’s eye-changing designs for the house, in one or two pants outfits and an austere gray V-neck wool dress with a white collarless shirt, but even his fashion was not allowed to intrude.

爱马仕(Hermès)与圣罗兰的时装秀及其慵懒的态度形成了鲜明的对比。发布会在巴黎大学附近的一个学校图书馆举行。从开头的几身套装上,你就能意识到这才是真正的设计,爱马仕没有躺在功劳簿上睡大觉。在我看来,在这次的巴黎时装周上,甚至可以说在整个成衣时装季上,它能排到第二或第三名。原因很简单:爱马仕公司的某个人拒绝让时尚掌控服装。你可以在其中一些衣服上看到马丁·马吉拉(Martin Margiela)为该公司设计的一些元素,让人耳目一新,比如其中的一两套裤套装,还有一件朴素的灰色V领羊毛连衣裙搭配白色无领衬衫,但是即使是他开创的时尚也不能占据主导。

Somebody made incredibly good judgments: about the fit, the proportions, the selective use of silk prints, the natural looking prettiness of the models. Christophe Lemaire is the women’s designer at Hermès, but past collections have tended to be overloaded with volume and color — nowhere near as sharp as this one.

某人的判断力极佳:衣服合身,比例恰到好处,丝质印花选得很好,模特们也天生丽质。克里斯托弗·勒迈尔(Christophe Lemaire)是爱马仕的女装设计师,但是他过去设计的系列衣服数量太多,颜色太杂,远比不上这个系列如此鲜明。

Also, there wasn’t a lick of branding in the show, unless you count a suede and calf-hair coat in a horse-blanket medley of colors. You knew it was Hermès, because Hermès is supposed to be about good taste, and here was the modern expression of it.


Good taste doesn’t have to be old-looking or bourgeois. What a crummy prison of ideas, the fashion world can be. Nor does it have to scream luxury. In fact, it shouldn’t. At Hermès, it was conveyed in the balance of impeccable cut and rustic textures, like goatskin coats, and in the array of pieces, like cashmere wraps or a blousy shirt worn with a full leather skirt, that owe as much to simplicity as the attitude of the woman who wears them.


The fall collections closed on Wednesday with a lively big-time show by Marc Jacobs at Louis Vuitton, and a fresh look from Miu Miu. These are really editorial collections, with a fashion gesture usually blown up, like the extra-long silhouette at Miu Miu (thanks to cute, slim-fitting cardigans bundled over long silk-print skirts with 1890s button boots) and a spree of polka-dot midi-coats. The silhouette made the collection.

秋季系列周三晚上闭幕,最后登场的是马克·雅各布斯(Marc Jacobs)为Louis Vuitton设计的充满活力的、一流的时装秀,以及Miu Miu推出的全新形象。这些衣服真的是精选,手法有些夸张,比如Miu Miu超长的剪裁(漂亮、修身的羊毛衫搭配丝质印花半身长裙以及19世纪90年代的纽扣靴子)和好几件波尔卡圆点长外衣。裁剪造就了这个系列。

Mr. Jacobs recreated the glamorous mood of a hotel, or rather the half-dressed attitude of women coming and going from their different rooms, apparently with seduction in mind. Though most of his audience probably had sleep in mind (Mr. Jacobs wore pajamas), this collection was indeed inviting, with some beautiful undies mixed in with handsome, strict coats and powder-puff bags.