双语新闻：米兰男装周缺乏新意
Milan’s autumn/winter 2013 menswear shows drew to a close last Wednesday, but what continues to resonate? Houndstooth. Cardigan-snug jackets. Pinstripe suits. Sweaters of great manufacturing complexity. And a feeling that Milan has chosen inaction as the response to its growing crisis – not the general crisis that leaps to mind, but that of having no notable new talent.米兰男装秀有哪些热点还在持续升温?犬牙织纹、修身羊毛开衫、细条纹套装、工艺复杂的毛衣。给人一种感觉就是米兰一直在回避应对发展中出现危机——并非我们通常能想到的那些，而是缺乏令人眼前一亮的新鲜血液。
What it did have – at least in part – was a new attitude to dressing. Milan’s shows tend to stick to a rule-driven formula, with polite daywear followed by tuxedos that wouldn’t say boo to a goose. So when Miuccia Prada sent out her first look on Sunday evening, many in the audience thought something had gone horribly wrong: the collar of the shirt was wonky. Uh-oh! Wonky collar alert! And yet, with Prada, everything is intentional. The collar turned out to be a statement about how we view clothing, and what it means to be correct.
至少在一定程度上，米兰表现出了对于时装的新态度。米兰的时装秀看似百花齐放争奇斗艳，但其实长久以来还是遵循着固有的服饰传统，比如男士晚礼服必然是一丝不苟，优雅至极。因此当缪西娅•普拉达(Miuccia Prada)在时装周首次亮相时，观众席上的许多人都觉得是不是搞错了：衬衫的领子是松松垮垮的。哎唷，松垮的领子!不过对于普拉达来说，所有一切都是故意为之的。衣领表达了一种观点，我们应该如何看待服装，以及何谓对错。
The result was the only show in Milan to have any real sense of how young men really dress, while also being chock-full of pieces for older men who can actually afford the stuff – particularly a houndstooth raglan sleeve coat that felt like an echo of the work Prada did when she still produced menswear under the Miu Miu label: great Shetland wool sweaters, either in block primary colours or with stripes; gingham shirts; and, for the more adventurous, traditional shoes with monster-sized treads.
结果就是，普拉达在米兰这场秀的现实意义便是告诉大家年轻人真正的穿衣方式，当然，除了这些，还得为自己的目标客户——那些的确能够买得起她的衣服的成熟男性准备各式各样的作品，比如犬牙花纹的插肩大衣，看上去颇有普拉达当年还在为缪缪(Miu Miu)工作时的男装设计风格：顶级设得兰群岛羊毛衫，有色块与条纹两种图案选择;棉布条纹衬衫;此外，还有为前卫人士准备的巨底鞋履。
Also resonant was the (literal) furniture on the catwalk, housed in open-plan room sets: boxy low-slung chairs and round primary-coloured coffee tables – all prototypes for a collection designed by Rem Koolhaas’s OMA, which will be produced with Knoll later in the year.
同样能引起观众共鸣的还有出现在T台上的家具，被布置在开放式的房间里：矮矮胖胖的椅子、圆形的原色咖啡桌——它们都是来自雷姆•库哈斯(Rem Koolhaas)的大都会建筑事务所(OMA)的系列设计，将会由Knoll在今年下半年生产面世。
There was also a sense of off-kilter movement at Jil Sander, where coats came with detachable oversized collars, purposefully skewing the balance with the more sedate bodies beneath. See, for example, one style where the plaid in the sleeves faded as it approached the body, creating a ghostly effect – only to be halted by a great big red collar on top. It was as if the designer was saying, “Stop calling me ‘minimalist’” – interesting as a statement; as clothes, the coat would look better with the collar removed.
在吉尔•桑达(Jil Sander)的秀上也可以看到同样趋势，大衣配上可拆卸的超大型衣领，与简洁平静的躯干部分形成鲜明对比。比如，从袖口到肩膀渐渐变为纯色的格纹衣袖，再配以一个鲜艳的大红领子，效果相当惊人。仿佛设计师藉此表明：“别再说我是‘极简主义’啦!”不过有趣的是，有人也认为其实这件衣服把领子去掉会更好看。
Still, it was Sander who showcased some of the most accomplished sweaters, with seemingly straightforward designs sitting within the knit itself, so that, in one case, a needle-punch technique was used to make spare criss-cross of lines across a crew-neck.
不过，吉尔•桑达还是展示了一些极为精美的毛衣。比如其中一件，看似简单的设计，但其应用特别的针法，织出一个独立的十字纹路。
Elsewhere, the focus was on product. Bottega Veneta presented some of the most desirable pieces of the week, aimed at men whose working life transcends the standard uniform: men who, if they wear a shirt and tie, wear it in tonal shades. They will recognise themselves in creative director Tomas Maier’s soft tailoring, whether it be jackets like cardigans, cardigans like outerwear or city coats that hung obediently close to the body.
而其他的一些品牌，则将关注点放在产品本身。宝缇嘉(Bottega Veneta)也推出了一些不错的设计，目标人群便是那些在工作时不用穿着制服的男士：这些男士就算穿衬衫打领带，也都沉闷无比。他们会极为认同创意总监托马斯•迈尔的柔软剪裁，无论是貌似开衫的夹克，还是貌似外套的修身开衫。
Others might see familiarity in Dolce and Gabbana’s real Sicilian models, used to show their signature black suit and white shirt in a soft new softer-tailored light. Gucci’s strength, meanwhile, was a series of tweed coats and suits, part of a general menswear trend to use traditional British cloths in non-traditional ways. Best were suits in houndstooth or an oversized Prince of Wales check, the latter of which also turned up at Versace. There, though, the check had been warped in the weave, characteristic of a show that aimed for excess, from its handpainted denim jackets to the lace men’s underwear. Believe it or not, there is a customer for the latter.
在杜嘉班纳(Dolce and Gabbana)的秀场上我们也能找到熟悉之处，其启用的西西里模特身着品牌标志性的黑西服与白衬衫，充满柔和的定制之感。而古奇(Gucci)则推出一系列花呢外套与西服，以一种非传统的方式来表现英伦着装传统。最棒的当属犬牙花纹和威尔士王子方格的应用，后者得到了范思哲(Versace)的青睐。在范思哲的设计中，这些方格已经由于编织而变形，而无论是手绘丹宁夹克还是男士蕾丝内裤，整场秀格外抓人眼球。不管你信不信吧，后者还真有人买。
If this straightforward embrace of product meant that designers played to their strengths, it also made for safe shows without much excitement. So Calvin Klein Collection presented some neat quilted zip-up sportswear (quilting being a big Milan theme), while the sportiness of Emporio Armani’s zip-up raglan-sleeve bombers looked suitably vigorous, and Armani’s mainline show featured signature pinstripe tailoring and snug jackets – though they were ultimately overshadowed by an emphasis on fussy double-breasted military buttoning.
如果这些对产品赤裸裸的关注意味着设计师们在发挥自己的长处，但这种安全牌同时也注定会缺乏令人兴奋的精彩。卡尔文•克莱恩(Calvin Klein)推出了一系列整洁优雅的绗缝运动装(绗缝是米兰的一个重要主题);安普里奥•阿玛尼(Emporio Armani)的运动线推出的拉链插肩外套看上去也相当有活力;而阿玛尼主线则以标志性的细条纹西服和舒适外套示人——虽然最后一件军装风格的双排扣大衣还是抢了它们的风头。
Burberry’s catwalk was, in effect, an online trunk show, with outerwear and accessories immediately available to order. As a result, its show was a stream of easy-to-digest wearable trenches, duffels, donkey jackets and the like. Chief creative officer Christopher Bailey kept himself amused with animal printed horsehair accessories and loveheart sweaters and shirts, and the audience titillated by the chimes of Big Ben that started the show, leading to speculation that the brand would soon be moving its menswear to its hometown of London as it has done with its womenswear.
确切地说，巴宝莉(Burberry)的秀可以算作一场在线新品展示会，场上的所有服饰都可以立即订购。因此，整场秀的主力军便是可穿性极高的短上装、粗呢大衣、风雨衣等等。创意总监克里斯托弗•贝利(Christopher Bailey)对有着动物图案的马毛饰品和心形毛衣、衬衫有着一如既往的热情，从大本钟的钟声改编而来的开场曲让观众热情高涨，但这也引人猜测，该品牌是否会将自己的男装跟随女装以其搬回到故乡伦敦。
If Burberry does leave Milan for London, following Tom Ford and Alexander McQueen, it’ll be another hole in the schedule. Milan has an air of diminishment about it. It is clear that fashion houses all act independently of each other, without any unified attempt to preserve Milan’s status as a fashion capital. Italy needs to work out its own way of discovering and supporting fresh talent.
如果巴宝莉步汤姆•福特(Tom Ford)和亚历山大•麦昆(Alexander McQueen)的后尘，离开米兰而去往伦敦，那么时装周的日程表上又将会出现一个大空缺。米兰已经开始在努力降低这种事情发生的可能性。但很明显，各个时装品牌的行为都是彼此独立的，并不会形成一个统一的战线以维护米兰作为时装之都的地位。意大利需要琢磨出一套自己的方法来挖掘和支持新鲜血液。
The importance of Milan’s mega-labels is undeniable, but most of them were either founded in the 1970s and 1980s, or are rebirths exploiting an old legacy. It was only relatively recently that Milan took over from Rome as the centre of fashion in Italy. If something isn’t done soon, history may see Milan’s menswear shows of the late 20th and early 21st century as a brief storm of creativity, rather than a place where history was made, and then evolved.
米兰大品牌的重要性不言而喻，但是它们大部分或者是创建于上世纪七八十年代的新生代，或者是重焕青春的老牌子。米兰从罗马手中接过意大利时尚中心的交椅也并不是太久之前的事。如果不快点做些什么的话，那么20世纪末21世纪初的米兰男装秀在历史上也将不过是昙花一现，根本不可能留下影响后世的华彩篇章。
译者:琳子
(兼职编辑：蓝奕婷)
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