好英语网男装世界的革新
PARIS
巴黎
FOR a while now, people have been saying that the overheated fashion business needs to cool down. There are too many products, too many shows, too many points of entry.
已经好长时间了，人们一直在说，时尚产业热度过高，需要降温。现有的产品太多，时装秀太多，连时装秀的入口也太多。
Of course, the Internet is frequently blamed for turning fashion into a commodity. At the same time, online shopping has become a substitute for other addictive behavior. “It’s like cocaine,” a stylist said the other day.
当然，人们会经常把这归咎于互联网，说它把时尚变成了一种商品。与此同时，网上购物也已经代替了其他形式的上瘾行为。不久前一位造型师说：“网购就像可卡因一样。”
爱马仕的一套修身夏装。
Yet, when people talk about an overheated system, maybe what they crave is a more genuine sense of excitement. If that’s true, then from where is it likely to come and what forms will it take?
然而，当人们说一个事物热度过高时，或许他们其实是需要一种更实在的刺激。假如是这样的话，它最有可能来自哪里？又会以一种什么样的形式出现呢？
Certainly the clothes created by Raf Simons in his couture debut at Dior, on Monday, portend a new feeling for beauty free of irony and postmodern tricks. But the women’s side of the business has always been complicated, with deeply embedded habits, among them a tendency on the part of consumers to buy things based on what they see in magazines or on celebrities. And let’s face it: many women today are satisfied with a new handbag or pair of shoes.
诚然，在7月2日，拉夫·西蒙(Raf Simons)在迪奥(Dior)的高级订制时装处女作，带来了一种没有任何反讽和后现代把戏的美感。然而，这一项产业当中，女性一面永远是复杂的，它有着根深蒂固的习惯，比如消费者会倾向于根据杂志上所看到的或者明星身上所穿着的来买东西。还有，我们都面对现实吧：当下很多女士，只要能有一个新包包或者一双新鞋就满足了。
No, the change is far more likely to come from the men’s side, and strange as it may sound, the companies in the best position to supply excitement are those that already cater to the superrich, namely, Hermès and Louis Vuitton.
所以没戏。转变更有可能会来自男性那一边。虽然这听起来可能很奇怪，但最有机会带来刺激的还是那些已经在为巨富阶层服务的品牌，也就是爱马仕（Hermès）和路易·威登（Louis Vuitton）。
If those companies were resting on their laurels, there would be nothing to argue. But the designs of Véronique Nichanian of Hermès and Kim Jones of Vuitton are strongly linked to the same principles of quality and research that attract people to new mobile devices and other technological innovations.
如果连那些品牌都安于现状不思进取的话，那就没什么好讨论的。不过，爱马仕的维罗尼克·妮莎尼安(Véronique Nichanian)和路易·威登的金·琼斯(Kim Jones)在设计中遵循的品质与探索的原则，与新移动设备和其他新科技产品之所以吸引人的原因是一样的。
To be sure, their clothes are extremely expensive, but more than that, the designs are highly considered. They may be playful, as with Mr. Jones’s design for a life vest in black leather or a wet suit in cashmere, but they also acknowledge a serious fascination that men have with objects, from cars to laptops, and how they perform. (The life vest happens to be functional.)
肯定的是，它们的衣服都极其昂贵，更重要的是，它们的设计都极度考究。设计中或许有玩闹的成分，比如琼斯设计的黑皮革救生衣和羊绒潜水服，但这些设计都认同，从汽车到笔记本电脑等器物以及它们的功能表现，男性对它们有着强烈的迷恋。（那件救生衣可真的是实用意义的。）
The form of the suits at Hermès and Vuitton was dead serious: clean lines, a bit leaner this season. Generally, that was the story of the Paris collection, with a no-nonsense attitude at Lanvin, where the designer Lucas Ossendrijver showed suits in slightly wrinkled dark fabrics and used small gestures, like the blousy fit of shirts or sheer panels in a jacket, to toggle between the masculine and feminine. Mr. Ossendrijver also used so-called technical fabrics in a clear way. The clothes at Dior Homme were quite lean and mean, but the formula — first developed by Hedi Slimane, its former designer, a decade ago — has not evolved.
爱马仕和路易·威登的西装，在版型上严格到了极致：线条简洁，在本季度也更为修身。总体来说，这也是巴黎系列的大体风格。Lanvin的态度是实用而直截了当，设计师卢卡斯·奥赛德瑞弗(Lucas Ossendrijver)呈献出的西装，微皱的深色面料配以精致的细节，比如像女装般合身剪裁的衬衫，或者在外套中加入薄纱，将阳刚与阴柔接合在一起。而对于所谓功能面料的使用，奥德赛瑞弗也来得十分干脆。迪奥男装(Dior Homme)的服饰则非常修身而且轻薄，但是最初由前设计师艾迪·斯理曼(Hedi Slimane)在十年前所创立的模板，则并没有太多的演变。
What made the Hermès and Vuitton suits stand out, as well as separates like knits and jackets, was the content. Ms. Nichanian’s suits were made of blends of extra-fine cotton and linen canvas; a white windbreaker was made of chiffon calfskin — obviously, superfine leather. None of these garments looked pretentious. Mr. Jones used a lightweight seersucker, woven from kimono silk.
爱马仕和路易·威登的西装，以及像针织衫和外套这样的单品之所以能脱颖而出，在于它的质料。妮莎尼安所设计的西装，用的是超上等的棉和亚麻混纺面料；而一件白色防风夹克用的则是雪纺小牛皮——显然是一种极上等的皮革。所有这些衣服都毫不造作。琼斯所使用的，则是以和服丝绸编织而成的轻薄绉纱。
“Men love a back story,” said Tom Kalenderian, the chief men’s wear executive at Barneys, describing the impulse among men to appreciate and pay for quality.
“男人所钟爱的是背后的故事，”巴尼斯(Barneys)的首席男装主管汤姆·卡伦德瑞安(Tom Kalenderian)说，是这样的品质促使男人有冲动去欣赏和购买。
More companies, then, should be thinking about how to relate their products to men, young or old, who are broadly informed and who instinctively appreciate things for their level of legitimate innovation. Offering a novel cut or milking tradition is not enough. Berluti, the Italian shoemaker owned by LVMH, is making a move into men’s wear, and it staged a costly show in the Palais Royal. But the clothes were too weighed down with details to excite a progressive person.
于是，更多的品牌应该去考虑如何让它们的产品与男性更贴近，不管对方年轻还是年长，他们都见多识广，而且本能地欣赏有实在创新理念的东西。新奇的剪裁或是单纯地沿袭传统都不足以让他们心动。路威酩轩集团(LVMH)旗下的意大利制鞋品牌Berluti，正在向男装领域进军，并且在巴黎皇家宫殿举办了一场奢华的展览。然而它的服装因为过多的细节而显得沉重，无法打动前卫的人。
Though in a different vein, the collections of Mr. Simons and Riccardo Tisci of Givenchy were also noteworthy. Mr. Simons handled transparency more imaginatively than anyone else this season, simply by using sheer wools and bonding cotton shirts in places to create subtle plays of lights and texture. He again returned to slim shorts, and reproduced paintings from the artist Brian Calvin on blocky tops, repeating the chalky pinks, blues and greens on sneakers and dip-dyed cream shorts. The latter, not shown on the runway, were fabulous.
除去路易·威登和爱马仕这类品牌，值得一提的是西蒙以及纪梵希(Givenchy)设计师里卡多·提西(Riccardo Tisci)所做的设计。在这一季，西蒙对透明度的把控比任何人都来得更有想象力，简单地用精纺羊毛和棉质衬衫进行几处拼接，塑造出了微妙的光线与层次。他再次回归到了修身短裤，还在四四方方的上衣上面印制布莱恩·卡尔文(Brian Calvin)的画作，在便鞋上呼应粉红、蓝和绿等各种颜色；还有浸染的乳白色短裤，虽然没有在T台上出现，确是惊艳之作。
Mr. Tisci drew inspiration from Madonna — the original one. That may sound dicey, but the images, which appeared on tunics and some suit fronts, were very well done. And like Mr. Simons, the Givenchy designer went for peony pink in couture silks cut with graphic precision.
提西则从最早期的麦当娜身上获取灵感。这听起来似乎有点冒险，但是在宽松罩衫和一些西装正面出现的麦当娜的影像，制作非常精良。这位纪梵希的设计师也像西蒙一样，在丝质高订服装上用起了牡丹粉红，并且剪裁极其精致。
It was a giddy season for prints, with new interpretations of camouflage at Dries Van Noten and Comme des Garçons, which plunked long frock coats over soft trousers in flashy leopard print and gold. As usual, Rei Kawakubo gave you something to ponder about the male animal: Did the camouflage and rock music represent a yearning for glory? Were the handsome coats trying to hide weakness? Were the leather crowns really a sign of defeat? Her two-word summary for the collection was “poor king.”
这是一个乱花渐入迷人眼的季节，德赖斯·范诺顿(Dries Van Noten)和CdG(Comme des Garçons)都对迷彩服作了新的演绎。后者用长大衣盖着带有闪亮豹纹的金色软身裤。川久保玲(Rei Kawakubo)一如既往地让人对那种富于男性气质的动物浮想联翩：那些迷彩服和摇滚音乐是代表着一种对荣耀的渴求吗？那些俊朗的大衣是在试图遮掩软弱吗？那些皮革头冠是挫败的象征吗？她本人总结这个系列时所用的一句短语是“poor king”（可怜的国王）。
Mr. Van Noten muddied up his camo, using it liberally for blazers, trousers and opaque vinyl coats. The effect was quite rich. And though in the groove with pure white and sheerness, including lacy knits, the dark earth tones of his tailoring stood apart.
范诺顿的迷彩服则是抹上了泥土的颜色。在运动上衣、裤子和暗哑的聚酯纤维大衣上都随处可见，产生了层次丰满的效果。这种深沉的泥土色调与纯白色和透明色，包括和蕾丝花边的针织衫配搭都十分出色，而且在设计中仍然能跳脱出来。
Cloud patterns drifted onto jackets at John Galliano, where the designer Bill Gaytten gave the tailoring an unexpected Japanese twist — literally, pinching coats at the back and putting them with blossomy shorts. The clouds recalled Magritte, while a fat lobster hanging from a model’s neck seemed a Koonsian nod to Dalí.
在约翰·加利亚诺(John Galliano)的秀上，夹克衫上飘逸着云彩的图案。设计师比尔·盖登(Bill Gaytten)给这些衣服揉进了一种出人意料的日式风格——因为他的大衣背面收得很紧，而且配搭了像开花般展开的裤子。那些云彩让人联想起超现实艺术家马格利特(René Maritte)，而在模特儿脖子上挂着的大龙虾则更像是对达利作了一次杰夫·昆斯(Jeff Koons)式的致敬。
You could probably link the snarled jackets to Mr. Galliano’s early efforts at deconstruction; he also did a Surrealist collection for Dior. But in the end, the only way to read the results is that Mr. Gaytten clearly knew the label needed a new direction.
你可能会从这些喧闹的夹克外套中联想到加利亚诺早期的解构主义实践，他还为迪奥做过一个超现实主义系列。不过归根到底，这当中得出的唯一结论就是盖登已经明确地知道，这个品牌需要找到全新的方向。
A Thom Browne show is often a little like watching a long fuse as it crackles and burns toward a pile of dynamite — and then, oops, no explosion.
而看桑姆·布朗(Thom Browne)的展览，则常常有点像看着火花沿着一根长长的引线逐渐烧向一堆炸药——而到最后却没有爆炸。
On Sunday night, as the men’s shows wound down and the women moved in for couture, Mr. Browne created a commotion in a formal garden on the Left Bank. Silver-haired models appeared in life-size Slinkies, each one sheathed in a skin of silver fabric. There were giggles in the audience.
6月30日晚上，当男装秀接近尾声，女装高订秀即将开始的时候，布朗在左岸一个端庄的花园里引起一阵骚动。一群银色头发的模特儿走出来，每个人都套在了一个真人大小的银色弹簧管中。观众中间响起了笑声。
The models slowly lumbered toward a square of grass, where shoes were set in a grid, and each stepped into a pair. Then, in unison, the helical covers flopped to the ground, revealing Mr. Browne’s familiar short-pants suits, now in Easter-egg plaids, with whale and lobster motifs.
模特儿缓慢地蹒跚到了一片草地上，鞋子放在一个个格子里，每个人都走到格子前踩到了鞋上。然后，他们的螺旋形外壳节奏一致地滑到了地上。出现的是布朗最令人熟悉的短裤西装，只是衣服上印了复活节彩蛋图样，上面还绘了鲸鱼和龙虾图案。
So, yes, it was quite a letdown.
所以，真的，挺让人失望。