好英语网王大仁巴黎世家首秀，他经受住了考验
PARIS
巴黎
Alexander Wang showed on Thursday that he could design for a major house. His debut for Balenciaga was smart and graceful, and the streamlined clothes advanced the codes in a modern way. He may have played it safe but he also didn’t make mistakes.
王大仁(Alexander Wang)在周四证明他有能力给著名的时装公司做设计。他在巴黎世家的首秀时尚而优雅，流线型的服装把公司的传统向现代推进。他可能还比较保守，但是也没有犯错。
Mr. Wang had his doubters, on both sides of the Atlantic, who questioned if a designer of moderate-priced clothes with attitude could make the Paris grade. But Balenciaga isn’t a cathedral, any more than Mr. Wang is strictly a T-shirt designer. Times change. The only way to preserve a house is to periodically examine its foundations and then figure out how to make the structure more livable for today.
之前，大西洋两岸都有人怀疑过王大仁，担心这位以设计有个性的中等价位服装见长的设计师，能否够得上巴黎的水准。但是巴黎世家不是大教堂，王先生也不再只是T恤衫设计师。时代变了。维护一幢房子的唯一方法是定期检查它的根基，想办法让这个建筑更适合在如今这个时代居住。
That’s essentially what Mr. Wang did.
王大仁正是这么做的。
巴黎世家：（左起）燕尾服式的毛料大衣，裂纹针织上衣，有织纹的针织上衣搭配修身的毛料裤子，低背包肩百褶连衣裙。
Sticking to a stark but elegant palette of black and white with a smidge of brown and dark green, he poked around in the Balenciaga archive. In the roundness of the opening jackets, in the gentle sweep of coats and in the cap sleeves and loose-back tops, there were allusions to Balenciaga’s 1950s modernity, as well as ’60s evening styles.
他在巴黎世家的资料库里四处搜寻，选中了黑白为主，有少量褐色和深绿色的质朴优雅色调。开场上装的圆润轮廓，外套平缓的下摆，只盖住肩膀的超短袖和宽松的后背，这些都暗示着巴黎世家20世纪50年代的现代主义以及60年代的晚装风格。
But Mr. Wang brought his street smarts to those couture volumes that are indelibly Balenciaga. He minimized them so that they look more realistic for today. In effect, he was offering a top and a pair of black pants, or thigh-high suede boots with small loopy silver bows. But the results were not boringly minimalist.
但是王大仁也把他的街头休闲风格融入到巴黎世家不可磨灭的高级定制服装的元素中。他尽量弱化这些元素，让服装看起来更实用，更符合当今的品味。上装搭配黑色的裤子，长及大腿的山羊皮靴子上装饰着小小的圈状银色蝴蝶结。给人的感觉不是那种无趣的极简主义。
He was also clever with textures. Jackets and tops that appeared to be stiffened wool were in fact knits. Those crackled leather pieces that came out late in the show? Not leather at all but rather painted knits.
在面料的设计上他也很聪明。那些看起来像硬毛料的上装实际上是针织品。时装秀后半部分出现的裂纹皮质服装呢？也完全不是皮料，而是上了色的针织衫。
His predecessor, Nicolas Ghesquière, modernized Balenciaga, in part by using new materials that relate to hard, synthetic environments. Embroideries, no matter how exquisite, can look fuddy-duddy. So Mr. Wang did some nice fake-outs. Tops and dresses that looked as if they could have been injection-molded and then rolled in plastic sprinkles were actually embroidered. And some of the loveliest dresses were elongated drapes with hard bodices of tiny French knots.
他的前任尼古拉斯·盖斯奇埃尔(Nicolas Ghesquière)推动了巴黎世家的现代化，其中一个手段是使用新面料，这与当时使用坚硬的人造面料风潮有关。不管多么精致的刺绣，看起来都会有点守旧，所以王先生巧妙地做了些伪装。那些连衣裙和上衣看起来像是用塑模铸造、然后又在塑料碎片里滚过，实际上它们是用刺绣的方法做成的。其中几件修长的百褶连衣裙特别可爱，上半身用小小的法式线结做成，比较硬挺。
“I wanted to begin by going back to the roots of the house,” Mr. Wang said, calling out each style — the jacket, the skirt, the white shirt — as if identifying his building blocks. The New York designer can certainly build on these clothes, adding color and more risk-taking, but if he continues to strike that modern balance between couture and the street, he will reinvigorate a great name — and win over naysayers.
“我想先回到这家公司的根基，”王大仁说。他历数每一种风格——上衣，半身裙，白衬衣——好像在列举他建楼用的每一块砖。这位纽约设计师当然可以在这些服装基础上加入更多色彩和更冒险的元素；但是如果他能更进一步，在高级定制时装和街头服饰之间取得现代平衡，他将能振兴这个伟大的品牌，并且打败那些非议他的人。
One difference at Balenciaga was that the clothes were friendly toward women, of any age. Ann Demeulemeester’s show also looked especially inviting, and individual, with its romantic white smocks and underplayed tailoring. But such genuine warmth isn’t always evident this season.
巴黎世家与众不同的地方在于它的衣服对女人很友好——对任何年龄的女人。安·迪穆拉米斯特(Ann Demeulemeester)的时装秀看起来也特别友好，而且还很有个性——浪漫的白色衬衫和不着痕迹的剪裁。但是这种真正的温暖在这一季不总是那么明显。
Thinking of the degrading jokes at the Oscars, I wouldn’t mind if Tina Fey and Amy Poehler took over next year — and while they’re at it, can they do something about these shows? It’s not that designers are misogynist, or not especially misogynist, as in the past when some presented women as trussed-up Kewpie dolls. But banalities persist.
想想奥斯卡颁奖礼上低级的玩笑，如果明年由蒂娜·菲(Tina Fey)和艾米·波勒(Amy Poehler)来主持的话，我不会介意——如果她们在的话，能对这些时装秀做些什么吗？我不是说设计师们厌恶女人，或者说他们不是特别厌恶女人，至少不像过去那样把女人当做捆绑起来的丘比娃娃来展示。但是平庸陈腐的设计还是在延续。
Saying he wanted to present “the notion of a dignified womanly persona, with a wealth of experience,” Marco Zanini of Rochas showed chic if unremarkable slacks-and-sweater outfits with loafers, silk pajamas and slim coats brushed to a careworn softness. But it’s hard for a woman to maintain her dignity when her midcalf pencil skirt forces her to take short steps or her majestically oversize coat seems a royal pain. (Surely, a reference in the show notes to “Prince of Whales” check was a typo.)
Rochas的设计师马可·萨尼尼 (Marco Zanini)说他想呈现“一位高贵的、有女子气质和丰富人生经验的女人形象”。时髦但平凡的宽松长裤和针织衫，搭配平底休闲鞋，丝质睡衣搭配长长的外套，营造出一种略带忧虑的温柔感。但是长及小腿中部的铅笔裙让女人只能迈着小碎步，威严的超大外套似乎带来一种皇室才享有的痛苦，在这种情况下，她很难保持尊严的仪态（当然，时装秀介绍中提到的“鲸鱼王子”[Prince of Whales，应该是Prince of Wales威尔士王子——译注]是打字错误）。
Mr. Zanini may design some attractive clothes, but you don’t get the sense that his worldly woman really owns them.
萨尼尼设计的衣服可能很吸引人，但是让人感觉普通女人不会真的去买这些衣服。
At Nina Ricci, Peter Copping turned to the dance world for a graceful, nonchalant elegance conveyed in fitted washed wool suits, blush-pink silk slips and open necklines. Without prints and not many saccharine details, the clothes looked fresh. A pair of pianists performed Philip Glass’s “Two Movements for Two Pianos.” Still, it’s a narrow view of womanhood that Mr. Copping presents, reflected not just in the retro silhouette but also in the fact that he used only a few nonwhite models.
Nina Ricci的设计师彼得·考平(Peter Copping)从舞蹈世界的优雅和冷艳中寻找灵感，设计出了可水洗的修身羊毛套装，淡粉色的丝质衬裙和张开的领口。没有印花，没有很多娇媚的细节，这些衣服看起来很清新。有两位钢琴师演奏了菲利普·格拉斯(Philip Glass)的《双钢琴的双乐章》(Two Movements for Two Pianos)。考平先生展示的仍然是对女子气质的狭隘看法，不仅体现在复古的剪裁上，还体现在他只用了少数几位非白人模特这一点上。
Dries Van Noten often blends cultural motifs. You can’t be sure if a classic English jacket or a burnoose inspired pieces in a deep red and cream wool stripe. His shapes were oversize, with mannish coats and embellished blazers over fringed tops or gold brocade. But this collection, despite some great individual pieces, lacked the resplendent slob appeal of his January men’s show. Can’t women have that attitude, too?
德赖斯·范·诺顿(Dries Van Noten)经常把不同的文化主题混搭起来。你不能确定一件深红色和奶油色相间的毛衣的灵感来自于一件古典的英式上装还是一件连帽斗篷。类似男装的超大号大衣或者带有装饰的西服里面搭配着带有流苏的衬衣或金色织锦。尽管这个系列里有一些很有个性的服装，但是缺乏他在1月份发布的男装秀中那种华丽、慵懒的魅力。难道女人就不能有那种态度吗？
Jun Takahashi’s modest and brilliant show at the Sorbonne probably confirmed for many in the audience why they will cross an ocean just to be tickled for 15 minutes. Mr. Takahashi, the creator of Undercover, hasn’t done a Paris show in awhile. So it was a pleasure to see a genuine maverick back in action, riffing on girlie fashion and kiddie obsessions even as he (almost) convinced you that you needed pumps with ponytails swishing off the backs.
高桥盾(Jun Takahashi)在巴黎大学(Sorbonne)举办的时装秀端庄而精彩，很可能会让很多观众确信他们横跨大洋就是为了享受这15分钟还是值得的。Undercover的创始人高桥先生好久没在巴黎举办时装发布会了，所以很高兴能看到一个真正特立独行的人回归。他在少女服装和小孩子迷恋的那种服装上大做文章，（几乎）使你深信你需要买双舞鞋，扎个马尾辫，不时地甩到后背上。
Somehow, unlike Seth MacFarlane at the Oscars, Mr. Takahashi takes the high road with the loaded female gags, including outfits whipped up from satin bras and corsets. He’s just subversive in a way that few designers truly are today. The black version of the lingerie mash-up looked like a cool utility vest.
不像奥斯卡典礼上的赛思·麦克法兰(Seth MacFarlane)，高桥的女装都内涵丰富，包括一整套的服装，从绸缎文胸和束身内衣开始。他的颠覆性在今天的时装界无人能及。黑色的贴身内衣混搭看起来像一件酷酷的多功能背心。
Each group in the show, done to a nice, laid-back mixture of indie rock and folk, winked at fashion as it displayed his technical virtuosity. White motorcycle jackets with matching skate skirts were adorable — and grown-up. There were dresses made from curling layers of white shirt collars, and a finale of extremely twisted outfits formed by bunched-up balls of fabric. The white version looked as if the model was sprayed with whipped cream.
发布会的背景音乐是轻松好听的独立摇滚乐和民谣音乐。每一组服装都在展示他的艺术品位。白色摩托夹克搭配溜冰短裙，非常可爱——也很成熟。有些连衣裙是用一层层弯曲的白色衬衫的衣领做成的，最后一身特别扭曲的套装是用一束束棉线球做成的。白色的那款看起来像是模特被喷上了鲜奶油。