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PARIS — With a column of a dress decorated with white puffballs — as soft and furry as Karl Lagerfeld’s cat Chupette in his iPhone images — the Chanel show drew to its close.
巴黎——一队模特鱼贯而出，身上装点着白色毛球——就像卡尔·拉格斐(Karl Lagergeld)的iPhone照片里那只叫“邱佩特”(Chupette)的猫一样柔软蓬松。在这样的画面中，香奈儿(Chanel)的时装秀走向了尾声。
In its wash of pink and gray colors, its dense decoration worked on tulle or its thin columns of slippery silver, this was the closest the designer has been to Coco Chanel since an elegant, intimate haute couture show at the Ritz back in 1996.
粉红和灰暗的色彩，或薄纱上浓重的装饰，又或是光滑的银色条纹，自从1996年在丽思·卡尔顿酒店那场优雅、细腻的高订时装秀之后，这是这位设计师最靠近可可·香奈儿的一次。
巴黎2012年秋冬高订时装周，卡尔·拉格斐设计的香奈儿系列。
“New vintage — for today,” said Mr. Lagerfeld, referring to a flow of high-waisted, wide pants that might have come from hazy photographs of a mademoiselle in Deauville but were, in fact, invented in one of the designer’s gouache drawings.
“新复古——为今日而造，”拉格斐说。他指的是那一连串高腰的宽身裤子，它们仿佛来自法国多维尔某位年轻女士光影模糊的照片，但实际上，那是设计师从他绘画的一幅水粉画中获得灵感而创造出来的。
With the models wearing mesh snoods and walking in metal-trimmed court shoes, the clothes looked womanly and for the well-behaved.
模特们用发网束着头发，穿着带金属边饰的宫廷鞋走出来，这样的服饰看起来很富于女性魅力，并且像是为举止端庄的女士而造。
Checked tweed coats and suits certainly seemed familiar, the kind of solid Chanel pieces that come up at auction. Except that they were an optical illusion: new renditions of the eternal Coco look, with every square and line embroidered by the Chanel fairy fingers.
格子呢的大衣和女装外套自然让人再熟悉不过，就像是那种在拍卖会上出现的典型香奈儿服饰。然而，这是一种错觉：这其实是对永恒的香奈儿造型最新一轮的演绎，每一方格和每一线条，都出自香奈儿工匠的妙手刺绣。
But fashion now is not about the actuality of intricate handwork, however beautiful. It is about perception. And the problem with this collection, for all its genteel and fragile beauty, is that it seemed dull — although there were lovely pieces, like a black velvet dress with a frilled pocket in the skirt, and pants in a patchwork of lace.
不过无论它如何漂亮，当今的时尚其实并不在于复杂的手工，而在于意念。这一个系列的问题是它虽有文雅精致的美丽，却显得呆滞——不过还是有一些动人之处，比如一件边上有一个饰边口袋的黑色丝绒女装，和一条拼缝着蕾丝花边的裤子。
The root problem was that this is not a moment to look back. It is time to clear the closet, strip everything down to clean lines and make decoration sparse. (We are talking about the Raf Simons debut at Dior here.)
问题的根源在于这并不是一个应该回顾过去的时候。这是一个清理衣柜的季节，所有衣服应该简化到只有清晰的线条，装饰应该少之又少。（我们说的是像拉夫·西蒙[Raf Simons]在迪奥[Dior]的首秀那样的风格。）
Mr. Lagerfeld, designing for his own label in another incarnation, knows how to do the graphic and streamlined. But this is not part of his vision at Chanel. He is also smart enough to see that, with Dior going for the empty, open spaces, Chanel should be offering something different for its many genuine couture clients.
而拉格斐，这一次又以另一种化身来设计他自己的品牌。他懂得怎样使用图案，将线条简化，但他眼中的香奈儿并不包含这些。并且他很聪明，他看得到，既然迪奥玩的是空间和留白，那香奈儿应该给它那一大群真正的高订时装客户呈献一些不一样的东西。
In his recent resort collection shown at Versailles, the Chanel image was of froufrou and frivolity to the max. Playing picador to fashion’s minimalists would not have been appropriate for couture winter 2012. This show therefore seemed like a compromise: a gentle kiss to Coco, but not enough energy for now.
在他最近于凡尔赛展出的早春度假系列(Resort Collection)当中，香奈儿摆出的形象是将大量华丽的装饰推到极致。而在2012秋冬高订季，在时尚界的这些极简主义者面前扮演斗牛士并不是一个恰当的举动。于是，这一场秀便显得像一次妥协：它是对可可·香奈儿一记温柔的亲吻，但目前看来却活力不足。
Giorgio Armani ought to be in his element, now that the fashion world is swinging toward his no-fuss fashion attitude. And so he was with his Armani Privé collection that played with color, taking shades from the dawn breaking over darkness to the sun’s setting into the velvet night.
乔治·阿玛尼(Giorgio Armani)肯定会感觉如鱼得水，因为现在的时尚界正在向他所倡导的“无喧闹”时尚态度循环。而他在他的阿玛尼“私”系列(Armani Privé)当中也正是如此，把玩着各种色彩，从黎明吞没黑暗的亮色到日落投向紫夜的暗调。
“The sky — I looked at the sky,” the designer said backstage to explain the dawn pink and washed sky blue for tailored pieces that came out in pairs. With beanie hats and small heels, this was the Italian maestro’s sporty side.
“天空——我是在仰望天空时看到的，”在后台，这位设计师这样解释以清晨的粉红色和洁净的天蓝色来做合身剪裁服饰的原因，而那些衣服都是成双地出现。无檐的便帽和小高跟鞋也展现这位意大利大师轻灵的一面。
The other stars — the front-row figures like Michelle Yeoh and the eternal Sophia Loren — started clapping as the catwalk’s night was falling and models with mesh headpieces sparkling like sun on water brought in a mermaid touch. Slim dresses shone with silvered lines or sparkled with embroidery on a midnight hue.
另外一些大明星——比如坐在前排的杨紫琼和永远的索菲娅·罗兰(Sophia Loren)，在这一个T台之夜降临之时便开始鼓掌。模特儿们戴着网状的头巾，流光溢彩，如同阳光洒在水面上，被美人鱼轻触后摇曳的波光，修身女装的银边线条也发着光，身上的刺绣在暗夜中仿佛闪出火花。
This Armani vision has not changed radically from his earlier Privé collections. But the clothes are more relaxed. From a coat in dawn mauve to a dress with a stardust of embroidery, the collection was as wearable as it was poetic.
阿玛尼的这一组设计与此前的“私”系列相比，并没有太大的改变，但衣服却是比原来更松弛。从一件暮紫色的大衣到一件用刺绣装点成星空的女装，这一系列的服饰既适合穿着，又充满了诗意。
Leather encrusted on beads and dangling silk fringes made the 10 outfits at Givenchy dense with workmanship.
用皮革包裹着珠子和丝质的流苏，则让纪梵希(Givenchy)的10套装束充满了工艺之美。
“Spain and the 1960s” was the message from Riccardo Tisci, who created a now-familiar scenario in three rooms of a historic mansion. Fascinating outfits with a spine of beading or a sheared mink fur stole sewn into a bodice were shown alongside accessories, including lace-up boots climbing high on the thigh. (This couture should come with a personal dresser.) Deep goggle-eye glasses were inspired by the archive of Hubert de Givenchy, who built the house that Mr. Tisci has reconstructed.
“西班牙与1960年代”是里卡多·提西(Ricardo Tisci)所传达出来的信息。他在一座古老大宅中的三个房间里，进行这个系列的服装展示，这种展示手法如今已为人熟知。几身迷人的装束，背后一列珠饰，一条修剪平整的貂皮毛长围巾缝在一件紧身衣上，这些都配上了各种配饰呈现眼前，包括一双过膝长筒绑带靴。（这些服饰都应该配一个专门的换装师。）巨大的护风镜则受到休伯特·德·纪梵希(Hubert de Givenchy)当年的设计启发，纪梵希本人建造的这所工作室，现由提西来重新装点。
As ever, a giant image — showing both sides of a group photo, Alsatian dog and all — hung in the chinoiserie-decorated room. And as ever, the couture pieces were works of art, although not all as dramatic as the Carmen red cloak of leather strings worn over an embroidered harem-pant jumpsuit.
就像以往一样，在那个用中国风装潢的工作室里挂着一幅巨大的照片，展示着一张合影照片，上面有阿尔萨斯狗等等各种东西。也像以往一样，这一系列高订时装称得上是艺术杰作，尽管它们并不像《卡门》里出现的那些刺绣连衣灯笼裤配上系皮带的红色斗篷那般充满戏剧性。
Because of the familiar setting, there was something déjà vu about the display, however elegant and intriguing the individual pieces. They needed to be seen in movement to make a convincing statement about their modernity and energy. Instead, they seemed set to move from closet to museum in the blink of an eye.
无论每一件单独的服饰如何优雅动人，这场展览还是因为这个熟悉的场景而带着一些似曾相识的感觉。这些服装更需要在动态当中展示，才能够令人信服地传达出它们的活力与现代感。不过相反，它们现在看起来仿佛是转眼之间，从衣柜直接被搬到了博物馆。
“Nymphéas” was Giambattista Valli’s single word to describe his water lily inspiration for a lush immersion in nature. The models drowned up to their necks in ruffs of fabric, the rest of the dresses fluttering with frills, while a net over the face held a butterfly at the mouth.
詹巴迪斯塔·瓦利(Giambattista Valli)只用了《睡莲》(Nymphéas)这一个词来描述他受睡莲启发然后全情投入大自然的灵感。模特儿脖子上的绉领让她们仿佛浸在池塘的水中，整件衣服上的褶皱摇曳生姿，而脸上披着的网纱则在嘴上挂着一只蝴蝶。
In this sylvan spirit, gilded and sculpted jewelry controlled some of the burgeoning shapes. But there was still a heaviness about the decoration.
在这种林间风景的神韵中，镀金的雕刻珠宝在某种程度上镇住了那些夸张的轮廓，但整个装饰当中，仍然不免带着一种沉重。
The painterly patterns could be traced to Claude Monet and their intense colorings were both dramatic and beautiful. But the shapes, so at odds with the sinuous modern body, seemed more suited to the Rome of Mr. Valli’s origins than the new, streamlined Paris couture of today.
充满画家气质的图案可以追溯到克劳德·莫奈(Claude Monet)，它们强烈的色彩既澎湃又漂亮。但是衣服的外形却与现代充满线条的身体如此不搭调，似乎它们更适合瓦利的故乡罗马，而不是今天全新的巴黎高级订制时装产业。
Alexis Mabille is a decorator in a fashion world of architects. From the tip of the heads, where an upstanding pigtail was finished off with a glittering jewel, through dresses in shiny material to more sober fabrics cut with pretty necklines, there were some pleasing pieces. But there was no clear focus or sense of the clientele that Mr. Mabille is trying to entice with these clothes.
艾历克西斯·马毕(Alexis Mabille)在这个满是“建筑师”的时尚世界中，却算是一名“室内设计师”。从头顶上一条向上竖起并挂着闪亮珠宝的辫子，到明亮布料做成的衣服，再到更内敛的布料剪裁出的精致领口，他的系列有不少令人赏心悦目的作品。不过，马毕的作品却没有明确的焦点，没有主动去考虑他的这些衣服到底是要吸引哪一些顾客。