This Is Not the End of Fashion

时尚并未终结

纽约时报双语版-时尚并未终结

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纽约时报双语版-时尚并未终结

左上:1947年的迪奥“New Look”系列;摩登时代的裙摆和裙罩。中部:Yves Saint Laurent在1976年的俄罗斯芭蕾系列。
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It is a truth that may be hard to imagine in a world devastated by illness and economic insecurity, riven by racism and unrest, but we will get dressed again.

在一个被疾病和经济不稳定摧毁、被种族主义和动荡分裂的世界里,这是个很难想象的事实:我们会重新开始穿衣打扮。

Dressed not for the anonymity of the hospital or the essential workforce, the heat and heartbreak of the protest, the anomie of the supermarket or the park, but for the next stage catharsis. Capital D Dressed. It is both history and human nature.

不是为了医院或必要工种的千篇一律而穿,不是为了抗议的热情和心碎,不是为了在超市或公园的失态,而是为了下一阶段的宣泄。大写的打扮。这是历史和人类天性决定的。

“We will come out of this, like we come out of a war,” said Li Edelkoort, a trend forecaster. “The buildings are still there, but everything is in ruins. We will want two things: security and to dance.”

“我们能走出困境,就像我们走出一场战争一样,”潮流预测师李·爱德科特(Li Edelkoort)表示。“建筑物还在那里,但一切都成了废墟。我们需要两件事:安全和跳舞。”

“We will be aching for something new, to refresh our personalities,” she said. “Eccentric clothes, romantic clothes.”

“我们会渴望一些新东西,给我们提提神,”她说。“古怪的服饰,浪漫的服饰。”

And that is why, after months in which the death of fashion was proclaimed loudly and regularly, a week when it was once again forced to confront its own role in preserving inequality, the motor of the industry has begun to shift into gear once more, in Europe and Asia if not yet in the United States, where stores remain nailed shut.

这也是为什么,在时尚被不断大声宣告死亡几个月后,在它被迫再次面对自己在维护不平等秩序中扮演的角色一周后,这一行业的发动机已经开始重新启动,在欧洲和亚洲,甚至可能在商店仍然关闭的美国。

Thus far, there has been a lot of focus on the “system.” A lot of anguish about the need for change and angst over shopping. Will anyone ever want to do it again?

到目前为止,人们对“体制”的关注颇多。对改变的必要感到痛苦,对购物感到焦虑。还有人想要购物吗?

It’s the wrong question.

这是错误的问题。

What we should be asking is: When we reengage with a world pockmarked by pain, and see one another — from more than just the shoulders up — what will we want to wear?

我们应该问的是:当我们重新融入一个被痛苦铭刻的世界,看到彼此——不只看肩膀上面——的时候,我们应该穿些什么?

It sounds ridiculous: Who cares what we will wear when there has been so much tragedy and economic destruction, when old wounds left to fester have been gashed open once again? But the root of that question is as cyclical as history: What will our post-crisis identities look like?

听起来很荒谬:发生了这么多悲剧和经济毁坏,遗留下来的溃烂伤口再次被撕开,谁还会在意我们穿什么?但这一问题的根源就像历史一样具有周期性:我们在危机后的身份会是什么样?

纽约时报双语版-时尚并未终结

14世纪的黑死病催生了奢华的装饰,成为文艺复兴时期的服饰特征。
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The Question of Clothes

服饰问题

What will we want our clothes to telegraph about who we have become, and what these complicated experiences have meant? It is the answers to those questions that will pull us into stores again. It is the answers to those questions that will get factories humming again — much more so than interim safety precautions or the changes in fashion shows and clothing deliveries currently being mooted by industry insiders.

我们希望衣服能传达出何种关于我们个人改变的信息,以及这些复杂的经历都意味着什么?正是这些问题的答案将我们再次拉回商店。也是这些问题的答案将使工厂重新开工——这远比业内人士正在讨论的临时安全防范措施,或时装秀及服装配送的变化重要得多。

Not that there’s anything wrong with those changes; many are laudable, if still in draft form. The fashion circus is a creaky circus and in need of an update — not to mention even more meaningful grappling with race and representation in hiring and supply chains. Shows will be entirely digital at least until September, if they happen at all this year. (Many designers — Dries Van Noten is one — think not.) The British Fashion Council and the Council of Fashion Designers of America together published a statement effectively urging an end to the traveling precollection extravaganzas.

不是说这些变化有什么错;尽管很多仍处于草案阶段,但还是值得称赞的。时尚圈是一个陈旧的圈子,需要更新——更不用说解决招聘和供应链中种族和群体代表问题的意义了。至少在9月之前——或者说如果今年还会有的话(许多设计师——例如德里斯·冯·诺登[Dries Van Noten]就认为今年不会有了)——所有秀展都将是完全数字化的。英国时装协会和美国时装设计师协会联合发表一份声明,就是为了呼吁终结铺张的巡展预展盛会。

“Open letters” to the industry have been issued, signed by a variety of retailers and mostly independent designers, pledging allegiance to a “right-seasoning” of store deliveries so that coats are sold when it is cold, bathing suits when it is warm, and sales take place after the big gift-giving seasons, not before.

各种致产业的“公开信”已经出现,署名包括多家零售商和大部分独立设计师,他们恳请大家支持“符合季节”的商店配货方式,这样大衣就能在天冷的时候卖,泳衣就在天暖的时候卖,把促销活动放在送礼旺季之后,而不是之前。

And speaking of stores: They are reopening (or were, until they became fearful of damage from the protests), with hand sanitizer stations, social distancing, plexiglass protection and regular disinfecting. Still, the retail bankruptcies keep coming, the numbers get worse and worse.

说到商店:他们正在重新开业(或是曾经在,直到由于害怕抗议者的破坏再次关门),店里有洗手液放置点,会保持社交距离,有树脂玻璃防护,还经常消毒。尽管如此,零售业仍破产不断,数字变得越来越难看。

It’s not going to be a need for more leggings that solves that problem; those we can get online. (And besides, hasn’t everyone realized that what we need is elsewhere?)

能解决这些问题的并不是人们对打底裤的需求;这些东西我们在网上都能买到。(再说,难道大家还没意识到我们的需求都在别处吗?)

It’s going to be the irrational, emotional pull of a … something. The gut punch of recognition that comes from seeing a new way to cast your self. One that signals: “Yes, I have changed. Yes, things are different. Now we emerge in a new world.”

能解决问题的,是某种非理性的、有情感吸引力的……东西。当你发现一种塑造自我的新方式,内心认知都会受到震撼。其中一个信号就是:“是的,我变了。是的,情况不同了。现在我们进入了一个新世界。”

It’s on fashion to define that something, because that something is going to be how history remembers whatever happens next. It will do what clothes always do, which is symbolize a moment, and give it visual shape. What that shape will be is the existential question facing designers right now.

定义这种东西的,就是时尚,因为这种东西将会是历史铭记接下来所发生的一切的方式。它会像服饰一直以来所做的那样,给一个时刻象征意义,并在视觉上赋予它造型。这个造型会是什么样,就是设计师们现在面临的重大问题。

But here’s a bet: It’s not going to be sweatpants. It’s not going to be the all-black patchwork of the antifa or the Hawaiian shirts that have been co-opted recently by far-right anarchists.

但我敢打赌:它不会是卫裤。不会是反法(Antifa)团体的全黑服饰或最近被极右翼无政府主义者选择的夏威夷衫。

纽约时报双语版-时尚并未终结

花枝招展的摩登女郎。
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The End of (Fashion) History

(时尚)历史的终结

Right now, the news is full of intensity, just as previously it was full of Crocs, of speculation that after months of living with elastic waists and stretchy fabrics, we will never go back. That just as white-collar workers will never return to old office life or old office schedules, they will never return to old office dress and the social order that signified.

当下的新闻充满了激烈情绪,就像以前到处都是Crocs鞋子一样,人们都猜测在经历了几个月的松紧裤腰和弹性面料的生活后,我们再也回不去了。就像白领永远回不去曾经的办公室生活或办公室时间表一样,他们也永远不会再穿回曾经的办公室着装,彰显其所代表的社会秩序。

That may be true, and though it’s possible that this really is the end of fashion as it has been defined and disseminated by the aesthetic empires of the West — that Newton’s third law of motion no longer applies; that the Marxian thesis-antithesis-synthesis cycle that has powered our clothing choices for decades is over — it probably is not. If I were one of the companies currently crowing about being the “it” brand of the WFH wardrobe, or trying to clothe the uprising, I would not be resting on my laurels.

这或许是真的,尽管这可能就是西方的审美帝国所定义和传播的那种时尚的终结——牛顿第三运动定律不再适用;几十年来驱动我们选择服饰的马克思主义正反合辩证循环结束了——也许它还没结束。如果我的企业是如今吹嘘自己就是在家工作装的“最佳”品牌之一,或者是试图给抗议穿上衣服,我不会满足于这样的桂冠。

It is even more likely that we will develop some sort of Pavlovian association with the clothes that became the uniforms of our isolation and our impotence; that to see them will send us subconsciously down a wormhole to the pandemic; that what we will need is exactly the opposite.

更可能的是,我们会与成为象征着我们的孤立与无能的服饰形成某种巴甫洛夫式的联系;看到它们就会让我们下意识掉进大流行的虫洞;而我们需要的其实恰恰相反。

That’s what the past teaches us anyway.

反正这也是过去教给我们的东西。

纽约时报双语版-时尚并未终结

Yves Saint Laurent的秋季系列。
Shutterstock

Times of great trauma also produce moments of great creativity as we attempt to process what we have been through. The functional side of that is fashion. After periods of extremes — war, pandemic, recession — dress is a way to signal the dawning of a new age.

当我们试图回顾所经历的一切,巨大的创伤也能产生伟大的创造力。时尚就是这一过程务实的一面。在极端时期——战争、大流行、萧条——过后,穿着是一种标志新时代开始的方式。

We “will want beautiful things,” Alessandro Michele, the creative director of Gucci, said in a recent Zoom news conference. “The bamboo handle bag was created after World War II. It was a time of the rebirth of beauty.”

我们“会渴求美丽的东西”,古驰(Gucci)创意总监亚历山德罗·米凯莱(Alessandro Michele)在最近一场Zoom新闻发布会上说。“竹节手袋就是二战后的诞生的。那是美丽重生的年代。”

That also raises the stakes for an industry that has increasingly treated itself and what it makes as disposable. People may buy clothing that celebrates frivolity. But that is not the same thing as buying frivolously. Especially when money and where you spend it can make a political statement.

这也增加了这一行业的风险,因为它越来越多地把自己和它所创造的东西看作用后即弃。人们可能会购买象征轻快的衣服。但这与轻率消费是两码事。特别是当金钱和把金钱花在什么地方可以成为政治声明的时候。

纽约时报双语版-时尚并未终结

“竹节手袋就是二战后的诞生的。那是美丽重生的年代。”——古驰的亚历山德罗·米凯莱。下图是1996年提着竹节手袋的戴安娜·斯潘塞女爵。
Shutterstock

Redefining Value

重新定义价值

“This has taught us that we don’t miss stuff,” Pierpaolo Piccioli of Valentino said via Zoom. “We miss people. We don’t need another T-shirt exactly the same. We need something that delivers an idea, a culture.” Something that communicates a sense of the hands that have touched a garment, the imagination that has created it, the effort that has gone into it.

“这告诉了我们,我们不缺东西,”Valentino的皮埃尔保罗·皮齐奥利(Pierpaolo Piccioli)通过Zoom表示。“我们缺的是人。我们不需要另一件完全相同的T恤。我们需要的是能传递思想、文化的东西。”一种能让手在衣服上的触感、创造衣服的想象力和为它付出的努力连结起来的东西。

No one is going to rush out to buy a whole new wardrobe, nor are we likely to see the “revenge buying” in China that sparked what was reportedly Hermès’s best sales day turn into a trend. Indeed, analyst reports from Bain and the Royal Society for the encouragement of Arts, Manufactures and Commerce have found that people say they expect to buy fewer clothes, though not necessarily to spend less. There will be, said Lucie Greene, a consumer insights strategist, a certain amount of shame associated with having the extra income that allows for buying new clothes.

没有人急于购置一柜子全新行头,我们也不想看到中国那种“报复式消费”,据称爱马仕因此迎来了销量最高的一天,并逐渐成为趋势。当然,来自贝恩(Bain)和皇家艺术、制造和商业促进会(Royal Society for the encouragement of Arts, Manufactures and Commerce)的分析报告发现,虽然人们希望少买衣服,但钱不一定要少花。消费者洞察分析师露西·格林(Lucie Greene)就表示,拥有购置新衣的额外收入,会让人感到一定程度的愧疚。

“The continual desire for newness for the sake of newness will feel very inappropriate,” she said.

“为了新潮而追求新潮的持续渴望会让人感觉非常不合适,”她说。

纽约时报双语版-时尚并未终结

2018年,宾客们在芬迪的一场活动上展示他们过去几季的系列。
Amy Lombard for The New York Times

For years, fashion has fretted about the meaninglessness of its seasons, partly because global warming and globalization rendered them null and void and partly because there were so many collections, they couldn’t be temporally defined. (Pre-spring, after all, is simply … winter.)

多年来,时尚界烦恼季节的无意义,部分原因是全球变暖和全球化直接消除了季节差异,部分原因则是时装系列太多,无法在时间上加以界定。(毕竟,早春不就是……冬天。)

Now it is actually in everyone’s interests to jettison them entirely. Timeless fashion is fashion that holds its value and can be worn and reworn. It can also be sold and resold. It does not become passé in a matter of days. This may mean that fewer garments are made and bought and shown. It may mean a contraction of volume that will affect manufacturers.

现在,彻底抛弃季节概念实际上符合每个人的利益。永恒的时尚是指那些能够保住价值、可以被一穿再穿的时尚。它也可以被反复上架出售。它不会在几天之内就过气。这可能意味着制作、购买和展示的服装会变少。也可能意味着制造商的产能会收缩。

In the short term this could be painful, though the short term is already full of pain. In the long term it will help solve problems, including that of sustainability. (Eco-materials are good, but fewer materials staying in our closets longer is better.)

短期来看,这可能是痛苦的,尽管短期内已经充满痛苦。但长期来看,这将有助于解决问题,包括可持续性问题。(环保材料是挺好,但我们衣橱里的东西还是总量越少、放得越久越好。)

As Greene said, “disaster often accelerates, exponentially, the macro trends that predate its arrival.”

正如格林所说,“灾难常常会给此前就已存在的宏观趋势带来指数级的加速。”