好英语网伦敦时装周：用图案讲故事
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.”
伦敦——数码图案、仿佛油画笔刷出的色彩、强有力的大色块和细小的图案——英伦时尚以其“适于印染的一切新概念”博得了名声。
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.
这一条准则在充满欢乐与色彩的伦敦时装周头几天里也得到了诠释。2013年的夏装展跃动着各式图案，并且贯穿着一条崭新的线索：那就是叙述性的图案，用小小的图画讲述一个个故事。
伦敦2013春/夏系列当中的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，就连马修·威廉姆森(Matthew Williamson)庆祝品牌15周年生日的那场秀上，也都出现了印度喀拉拉邦的数码风景图，图案受到纽约艺术家沙恩·麦克亚当斯(Shane McAdams)的启发，和该服装上完全来自印度的灵感相呼应。色彩丰富的扎染效果仿佛是在印度胡里节(Holi)庆典里四处撒出的彩粉，给白裤子这样简单的服饰也添上生动的色块。
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.
从他早期华美的嬉皮岁月至今，威廉姆森的手法变得越发圆熟，这一次的服装系列受到伊维萨岛和喀拉拉邦风情的启发，在拉贾斯坦邦风格的对称刺绣中游刃有余。此外，在这一次的周年系列中，他还带来了他的第一款鞋类设计：有高跟鞋和平底鞋，底部或塑造成波浪形，或用厚橡胶制成。
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?
这样一种全新的成熟味道是否也适合Topshop的女孩们呢？在周日Topshop Unique的时装秀上，她们就坐在前排。而观看视频直播的那两百多万人次，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.
“我们想要提升格调，”Topshop的创始人菲利普·格林(Philip Green)说。他指的是摆脱以往的乖僻狂野风格，向优雅的剪裁和平面图案靠拢，重拾20世纪90年代的感觉，而这也是在整场2013年夏装秀当中一道隐隐跳动的脉搏。
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.
尽管在展示中也出现了一些透明面料的衣服，缝上几块不透明的布料作遮掩，使其显得稍为端庄一些，但可以看出，这场展览并不性感——更多地是展示一些特大号的罩衫外套，上面的几何图案仿佛是在一个方格图上设计的一样。
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、黄和明亮的海军蓝，稍稍添上一点粉红，便是当中能察觉到的全部颜色，让这一系列成为Unique品牌当中最有“成熟感”但却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展出了以编织物和松软绒毛为质材的奇特设计，服装上呈现出全新版本的法式“toile de jouy”印花。贵族的决斗场面或是田园风光的图画上印着小人图案，不过小人是盖在图画上面，而不是作为图画当中的人物。另外，品牌的三位设计师还用图画展示了伦敦都市暴动时的场面。
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.
他们的团队把这场秀称作“伍尔沃思战士”(Warrior in Woolworths)，灵感来自20世纪70年代乐队“X射线透射器”(X-Ray Spex)的歌曲，以此代表他们所说的“年轻熟女装”。当中包括了大胆狂野的软毛头饰，上面有一个图标，名叫“波丽·斯泰蕾尼”(Poly Styrene)，就是那支乐队的主唱。整场秀充满欢闹和乐趣，也有一些十分迷人的服饰。
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·奥古坚尼(Kinder Aggugini)新系列背后的故事则是海洋中的生命，有各种水下场景图画，包括美人鱼、船锚和旗鱼等。这场秀的灵感来自欧内斯特·海明威(Ernest Hemingway)的《老人与海》(Old Man and the Sea)，但却是展出以人体环境工程学为基础的水手风格服装（可以想想罩衫、连裙围衫和低腰裤等）。此外还有木底鞋和史蒂芬·琼斯(Stephen Jones)设计的帽子，上面有手写的关于海洋的诗句。这场演出十分机智地揉合了各种元素。
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.
在后台，张卉山(Huishan Zhang)解释说，他的优雅服饰上细小的平面设计元素，灵感来自于传统的中国桌布和包装材料。那些冰蓝色和暗哑的蓝绿色能让西方人联想到中国的陶瓷。张卉山拥有一种高级时装的视野，在一件修身女装的边上裹上一块披肩布料，或是在颈部加入雪纺，都显示了他的技巧。他的系列在一贯活泼的伦敦时装秀中看起来或许显得比较成熟，也证明了他在女装制作上的技艺。
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·富尔顿(Holly Fulton)的灵感则来自靠近墨西哥的加利福尼亚风格——20世纪60年代的滑板选手帕蒂·麦基(Patti McGee)便是这场充满色彩与图案的走秀中的“缪斯”。走秀的焦点是一朵非常有英伦风格的玫瑰——只不过它是用透明的塑料编织起来的，用一种聪明而现代的方式将自然与人工结合。在一条修身裤上印着一个细小的女性裸体图案，虽然让人有点意想不到，但只是一种风流而不下流的点缀。
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.”
在克莱门茨·里贝罗(Clements Ribeiro)品牌的秀上，那些修身廓形的灵感是来自于20世纪30年代的华里丝·辛普森(Wallis Simpson)。编织衫、修身女装上衣和裙子都用横间条或斜列方格装饰，这种风格由当年的温莎公爵夫人所倡导，如今克莱门茨·里贝罗又对其作了一番生动的演绎。这对夫妻档设计师将这个系列准确地描述为“倾侧的时尚”(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.
拼缝设计在迷幻的嬉皮年代曾经风靡一时，如今在贾斯珀·康兰(Jasper Conran)的设计中成就了一个富于青春活力的系列。设计师重新使用了20世纪70年代的靛蓝色牛仔布，配上皮革贴花，让海特-阿什伯里(Haight-Ashbury)和伍德斯托克(Woodstock)时代的风格焕发新生，成为现代化都市时尚。伦敦的设计师们似乎普遍都有一种狡猾而机智的幽默感，甚至能让古典风格都充满生气。
‘’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.
“荷兰屋(House of Holland)开始展现自己的态度，”设计师亨利·霍兰(Henry Holland)声称。他说，他让20世纪90年代“垃圾摇滚(grunge)的魅力和荣耀”复活。
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.
背景音乐中正响着那个年代的女子组合“香波”(Shampoo)的歌曲，坐在前排的“魅力女性”艾里珊·钟(Alexa Chung)、皮格茜·盖尔多夫(Pixie Geldof)和凯莉·奥斯本(Kelly Osbourne)正随节奏用脚敲着拍子，她们为那些扎染的斜列方格和令人目瞪口呆的图案喝彩。不过，这些强烈的色彩和少女情怀被一些裁成短装的罩衫中透出的阳刚美所调和。
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.
伊萨(Issa)系列的灵感则来自于伊甸园。不过，那些紧密的丛林绿叶和精致的长尾鹦鹉图案暗示了设计师丹妮埃拉·赫拉耶(Daniella Helayel)的巴西国籍，而她也即将在圣保罗开设她的第一家时装店。在伦敦的这些年里，她发展出一种流畅、圆熟的美学，用细腻的单色带来性感的长款女装。花朵装饰图案也被简化，只剩下长款女装褶边上的兰花图案和头发上的真花装饰。
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)阴郁而美丽的视角改变了伦敦时装周的节奏。红色和略带点绿的黄色色块，如同滴血一般染在丝质女装上，又或者是溅泼在裙子上，与哑光打磨的合身游猎外套形成鲜明对比。设计师说约瑟夫·康拉德(Joseph Conrad)的小说《黑暗的心》(Heart of Darkness)和电影《现代启示录》(Apocalypse Now)是他的灵感来源，不过被他演绎成了一系列精心制作的服饰。这场秀以黑色女装结束，在这次伦敦时装季中很少见，但时装光滑的边缘露出隐约闪现的皮肤，却为这一切带来了一抹亮色。
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.
在所有这些色彩和图案当中，尼科尔·法伊(Nicole Farhi)的系列带来了一些平静。它受到爱德华·伯汀斯基(Edward Burtynsky)在意大利喀拉拉大理石场的摄影作品启发。其设计并没有惯常的大理石脉纹理，而是在裙子上折出皱褶，产生纸张一般的质感。
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.
灰暗的岩石碎屑便是当中的颜色，它并没有让这个系列明亮起来。不过，法伊后来逐渐带来了一些温暖的色彩，比如炽热的赭石色和棕色，它们与树叶状的图案一起，给这个夏装系列带来了一抹秋意。