服裝類的英語文章閱讀
服裝是與人的生活最爲關係密切的藝術門類,其審美內在規律值得探討。下面是本站小編帶來的服裝類的英語文章閱讀，歡迎閱讀!
China's Ancient Clothing
中國的古代服裝
China's traditional clothing is characterized as magnificent, as shown in ceremonies and court, and grand and exerts immense influence on the neighboring countries. An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance，but also an internal symbolism. Each and every piece of traditional clothing communicates a sense of vitality of its own intrinsically. Such a perfect combination of external form with internal symbolism of clothing is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period(475一221 BC) feathers of a ho bird(a type pheasant good at fighting)were inserted into the helmet wom by warriors of this period to symbolize a bold and warlike spirit.
中國傳統衣着的特點是華麗。中國的傳統衣着的一大顯著特點就在於它不僅表現出外在的典雅，而且還具有內在的象徵意義。每一件傳統服裝都傳遞出其自身所具有的內在活力感。從人們所佩帶的一副難雞羽毛中，就可以體現出這種服飾的外在形式與內在象徵的完美結合。這起源於戰國時代(前475一前221年)戰鬥時的習俗。因爲在當時如果將兩片鳳鳥(這是一種非常擅長戰鬥的難鳥)的羽毛插在武士所佩戴的頭盔上的話，便可以以此來象徵大無畏的尚武精神。
According to archaeological findings，18 000-year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing early in ancient Chinese civilization. Variety in clothing was roughly established by the era of the Yellaw Emperor and the Emperors Yao and Shun(about 4 500 years ago)ins of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty( 16th to I 1 th century BC ).
根據考古學的發現，18 000年前的文化遺蹟中有諸如骨針和穿孔的石珠和貝殼，它們都證明了在中國古代文明很早的時候裝飾和縫紉就已經存在了。而到了黃帝和堯舜時代(大約距今4 500年前)，服裝的品種已經初具規模。絲麻織物的殘片和古代的陶俑進一步表明商代(公元前16至公元前11世紀)服裝的精密程度和優雅程度。
The three main types of traditional Chinese clothing are the pien-fu，the ch'ang-p'ao，and the shen-i. The plan-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pies and the ch'angp'ao;on the one hand，it consists of a tunic and a skirt or trousers like the pierfu， on the other hand，the tunic and the skirt are sewed together and essentially one piece like the ch'ang-p'ao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt，utilized a very small number of stitches for the amount of cloth used. So because of their relatively plain design and structure，embroidered edgings，decorated bands，draped cloth or silks，patterns on the shoulders，and sashes were often added as ornaments. Variety in designs came to be one of the unique features of traditional Chinese dress.
傳統的中國服裝可以分爲棄服、長袍以及深衣三種。棄服是一種分爲上衣和下裳的古代裝束，它的上衣類似於束腰外衣並且長至膝蓋，而其下裳則爲裙子或褲子並長至腳躁。長袍則是由肩部到腳踵的單件外衣。深衣則是介於棄服和長袍兩者之間的另一種服裝，它一方面由束腰上衣和裙子或褲子組成，這一點和棄服很像;而另一方面束腰_r_衣和裙子縫合在一起;實際上就像長袍一樣是單件外衣。因此，深衣是這三種服裝中使用最廣泛的一種。這三種服裝的典型特徵就是寬大的袖子和寬鬆的腰身。無論是採用束腰外衣和褲子組合還是束腰外衣和裙子組合，它們相對於所使用的布料量而言都儘可能少地使用針腳數量。由於它們的設計和結構相對比較樸素，因此它們經常繡上花邊、飾以鑲邊、輔以褶皺布料或絲料、肩部加上圖案花樣、並配上腰帶。這些不同的式樣便成爲中國傳統服裝的一個特殊之處。
Darker colors were favored over lighter ones in traditional Chinese clothing，so the main color of ceremonial clothing tended to be dark while bright，elaborate tapestry designs actented. Lighter colored clothing was worn more frequently by the common people for everyday life and around the house use. The Chinese associate certain colors with specific seasons:green represents spring，red symbolizes summer, white represents autumn，and black symbolizes winter. The Chinese are said to have a fully developed system of matching，coordinating，and contrasting colors in apparel.
中國的傳統服裝對暗色調的偏好程度要大於亮色調，因此禮服的主色調往往採用暗色調，然後輔之以精巧的亮色調織錦式樣。普通百姓平常生活和在家附近則通常穿亮色調的服裝。中國人將某些色彩與特定的季節聯繫在一起:綠色代表春天，紅色代表夏天，白色代表秋天，而黑色則代表冬天。據說，中國人已經擁有一整套對服裝顏色進行搭配、協調和對比的方法了。
China's Modern Clothing
中國的近代服裝
After the 1911 Revolution，the garments changed greatly，and the dresses and the official cap were eliminated. Particularly，hair plaits were cut off, but chi-pao(one-piece mandarin robe)still exist. The Blue Short Gown of schoolgirls was the main style，and it gradually became popular.
自從1911年辛亥革命以來，外套便產生了巨大的變化，同時服裝和官員所戴的帽子均被廢除。尤其是剪掉了辮子，但是旗袍(單件式滿清官袍)依然保留了下來。女學生所穿的藍色短袍成爲主流款式，並且這逐漸流行起來。
The government specified the system of formal dresses of men and women in the first year of the Republic of China. Men had dress suits and routine suits. Dress suits included day suit and evening suit，which were all made of black cloth，trousers and cravats. Routine suits included Western style and Chinese style(e. g. long gown and mandarin jacket) formal dress of women had collars and was long to the knees with buttons down the front. Skirts were decorated with cartouches in the front and back，both sides were sewn with pleats，and both ends had patterns of knots.
在中華民國元年，當時政府規定了男子和女子的正式着裝制度。男子可以穿着禮服和常服。禮服又包括午服和晚禮服，兩者均包括黑色衣服、褲子以及領結。常服則包括西式和中式兩種(即長袍和馬褂)。婦女所穿着的正式服裝則帶領子而且長至膝蓋，並在前側下方綴有鈕釦。裙子上配有裝飾鏡板，同時兩側均縫有褶皺，兩端則採用打結式樣。
Along with the emergence of cinema，film stars became eminent figures gradually. Shanghai City became the base camp of women's wear in China. The garments of Guangdong Province and Hong Kong became one of the branches of Shanghai City garments
隨着電影院的興起，電影明星也逐漸成爲顯赫的人物。上海市成爲中國婦女服飾的大本營。廣東省和香港的外衣則成爲海派外衣的一支。
Changes of Men's and Women's Costume
男子和婦女服裝的變遷
Men wore western-style clothes and Sun Yat-sen's uniform(Chinese tunic suit ) . These two styles of clothes were foreign styles，and most officials and intel lectuals more usually wore them. White garments were worn in the summer, but black or dark garments were worn in other seasons. The style with a mandarin jacket over a long gown was still one of the common dressing styles. The student's clothing with erect collar e pockets and seven buttons were mainly the uniform and women included a jacket and trousers or covered with a ramie skirt(long or short small skirt fastened on body ).
男子穿着西式服裝和中山裝。這兩種風格的服裝均爲西式服裝，大多數官員和知識分子通常都穿着這些服裝。在夏天穿着白色外衣，但在其他季節則穿着黑色或暗色調外衣。在長袍上穿馬褂依然是常見的穿着風格。學生的服裝則採用立領、三個口袋以及七粒鈕釦，這主要是大學和學院的學生所穿的服裝。此外，農村男女的普通穿着方式是一件短褂加一條褲子，或是在褲子外面再罩上竺麻裙子(系在身上的小裙子，可長可短)。
Women's costume changed greatly during the period，some kept the Qing Dynasty(1644一1912)style of trousers and clothes with curving front，some imitated western-style with a jacket and a skirt，most schoolgirls wore black silk skirts and short jackets that had a round lower hem and short sleeves to elbow. The common garments of social women were mainly Chi-pao.
婦女的服裝發生了巨大的變化，有些保留了清朝(1644一1912 )的褲子和衣服式樣，它們前側採用了弧形造型，有些則仿照了西式服裝並採用短褂加裙子，大多數女學生則穿着黑色的絲裙和短上衣，並且在下方有個圓形的褶邊，它的袖子較短只及肘部。社交女性的普通外衣則主要採用旗袍。
The overall tendency of new garments was divided into two types:one type was the long Chi-paos made of solid-color cloth or printed materials;characteristi-tally, laces or patterns were added to the edges，or the small waistcoat and silk scarves were over the jacket. As to the other dressing type，the upper garment and lower skirt were separated.
新式外衣的整體傾向可以分爲兩種類型:一類是長旗袍，它由純色布料或印花布料所製成;它的特點是在邊上加花邊或圖案，或是在短褂上罩小馬甲和絲巾。至於另一種穿着類型，則分別穿着上衣和裙子。
In the 1920s，people began to wear Chi-pao whose style was mostly the same as that of the Qizhuang garments(garments of banner men)existing at the end of the QingDynasty. Later，the cuff was reduced gradually，and embroidered border was not as broad as the previous one. By the end of the 1920s，dressing style was affected by that of Europe and America，and the pattern of chipao was changed significantly. By the early 19306，Chi-pao had been very popular. The main changes of garments in that time were the modifications of collar, sleeve and length，etc. The garments with high collar were popular at first，and the higher the collar, the more popular. Gradual1y，garments with low collars began to be popular，and the lower the collar，the more modern. Finally，people wore collarless and sleeveless Chi-pao.
到了上世紀20年代，人們開始穿着旗袍，它的風格基本上與清末的旗裝(旗人的外衣)是一樣的。之後，旗袍的袖口便逐漸收小，而且繡邊也不像之前那麼寬了。到了上世紀20年代末，服裝式樣受到了歐美的影響，而旗袍的式樣也發生了巨大的變化。到了上世紀30年代初，旗袍已經極爲流行了。當時外衣的主要變化是對領口、袖子以及長度等進行了修改。高領外衣起初十分流行，而且領口越高越流行。低領外衣逐漸開始風靡，而且領口越低越時髦。最後，人們開始穿着無領、無袖的旗袍了。
Influence of Foreign Costume
西方服裝的影響
With the inflow of foreign goods into China，western life styles penetrated into the society. Women living in Chinese big cities often attended social activities in the 19305一19405. All this resulted into the change of social morals accordingly. Women wore the western-style clothing and skirt together with glass and watch，and sunshade in hands，looking more modern and romantic. The modem fashion-able dress of Europe and Japan affected Chinese women in terms of short skirts， underwear and colors， etc. More and more women began to imitate ahem，and some e}len imitated the simple dressing style of America. Ladies who liked sports always wore red pleated skirts and used brassiere to replace the old-time bellyband (an undervvear that was made of red embroidery cloth and hung from the neck with gold or silver chains，it came down from ancient times) addition,women's one-piece dress was more popular. During the 19205一19405，fur coats were still popular in rich families.
隨着西方商品進人中國，西方的生活方式開始滲透社會。居住在大城市中的婦女在上世紀30年代至40年代經常參加社交活動。所有這些導致社會道德出現了相應變化。婦女們穿着西式的衣服和裙子，戴着眼鏡和手錶，手裏打着太陽傘，看上去更加時髦、浪漫。歐洲和日本近代的流行服裝在短裙、內衣以及顏色等方面對中國婦女產生了影響。越來越多的婦女開始對此進行模仿，有些婦女甚至模仿美國簡約的着裝風格。喜愛運動的婦女經常穿着紅色褶皺裙並用文胸來取代之前所使用的肚兜(一種用紅色刺繡布料製成的內衣並用金、銀鎖鏈懸掛在頸部，它自從古代便一直得以使用)。此外，女式單件服裝也更加流行。在20世紀20年代至40年代，毛皮大衣在富裕家庭中依然十分盛行。
Today's Clothing
如今的服裝
China's fashion designers use a mixture of traditional and modern ideas to create new fashions. These new fashions also incorporate age-old motifs such as guardian deities, lions，and masks of Chinese opera characters. Chinese bronze is another source of printed，woven，and embroidered design for clothes. Some of the distinctive designs include dragons，phoenixes，clouds，and lightning. Motifs from traditional Chinese painting also end up in woven or printed fashion designs.
中國的時裝設計師運用了各種傳統和現代理念來創造出新的時裝。這些新式時裝還加入了古老的圖案，例如守護神、獅子以及中國京劇人物所使用的面具。服裝上還印上、織上或縫上中國青銅器的圖案。某些獨特的設計圖案包括龍、鳳、雲以及閃電。傳統中國畫中的圖案也被編織或印在時裝設計中。
Many accessories such as macrame are used to decorate shoulders, bodices, pockets, seams，and openings of clothing，as well as belts，hair ornaments，and necklaces. Some successful examples of combinations of modern and traditional fashion elements are the modern bridal tiara，based on a Sung Dynasty design and the Hunan Province style of embroidered sash made in the traditional colors of pure red，blue, and green. From these examples，it can be seen how traditional Chinese dress is the foundation of modern fashion. However, the Chinese have also adopted many Western styles of clothing such as business suits and jeans
爲了裝飾衣服的肩部、胸衣、口袋、縫合線、開口以及腰帶、頭飾以及項鍊，採用了諸如流蘇等許多裝飾品。有許多例子成功地將現代和傳統的時裝要素融合在一起，其中有現代化的新娘冠飾，它採用了宋朝的設計和湖南風格的刺繡飾帶，並且色調使用了傳統的大紅色、藍色以及綠色。從這些例子可以看出傳統的中國服飾乃是現代時裝的基礎。但是中國人也採用了許多西式的服裝，例如商務套裝和牛仔。
In modern society，Chinese men are seen at social occasions wearing ceremovial clothes in two varieties on formal occasions，t. e. the dignified and refined traditional Chinese long gown and the Sun Yat-sen's uniform，which is a creative blending of fashion elements from the East and West, and a milestone in the history of Chinese garment design-was hailed as the "State Suit"e women often wear the ch'i-p'ao，a modified version of a traditional Ching Dynasty. fashion. The variations of height, length，width，and ornamentation of the collar, sleeves，skirt and basic cut of this Oriental fashion are limitless.
在現代社會，中國男子在社交場合穿着兩種禮服，一種是威嚴、精巧的傳統中國長袍，另一種則是中山裝，它創造性地將東西方的時裝要素揉合在一起併成爲中國服裝設計史上的里程碑—被稱爲“國服”。而女子則經常穿着旗袍，這是清朝一種傳統時裝的現代化版本。這種東方時裝的領口、袖子以及下襬的高度、長度、寬度、裝飾以及基本的剪裁方法都是不受拘束的。
服裝類的英語文章閱讀篇二工作時女性應該穿什麼?
When Annette Spillane, a former Senior Manager at Ernst and Young, first started working infinance 12 years ago, there was "no concept" of fashion-forward women dressing in their ownstyle. Working in an office meant women dressing to match their male counterparts: boxyblazers, minimal jewelry, and neutral tones reigned supreme. There was nothing, minus theclicking of heels, to set them apart.
Annette Spillane是安永的前任高級經理，當她12年前第一次涉足金融行業時根本就沒有女性穿出自己風格的時尚前沿概念。在辦公室工作意味着女性的穿着必須要與她們的男同事相配：休閒小西裝、小珠寶、中性色調佔據了上風。除了高跟鞋清脆的聲音，沒有什麼能將他們區分開來。
Today, though, things are a little different. "Dress codes have definitely loosened up, it's aboutexpressing yourself," Spillane says. "My philosophy is to have one statement item; it used tobe shoes, but now it's jewelry."
然而，現今情況變得不一樣了。“着裝規範有一定的改動，穿着就是要展現自己，” Spillane說道。“我的觀點就是要有一個展現自我的東西，以前是鞋子，現在變成了珠寶。”
And she's not alone. According to data from staffing service OfficeTeam, 18 percent of seniormanagers say employees are "much less formally dressed" than they were five years ago; with31 percent of workers preferring business casual and 27 percent preferring no dress code atall. "More people want to show creativity, whether they are a creative person or not, and oneway to do that is through your attire," explains Brandi Britton, District President for OfficeTeam. "And there is the argument that business casual and casual attire is more comfortable."
並不是只有她一人這樣。根據OfficeTeam員工服務的數據顯示，18%的高級經理都說現在員工的穿着與五年前相比遠沒有那麼正式了;31%的人員更傾向於休閒的穿着;27%的人根本就不想要有着裝規範。“更多的人想要顯示他們的創意，不管他們是否有創意，而通過着裝表現就是一種方法，” OfficeTeam的區總裁BrandiBritton解釋道。“而且還有人認爲商務休閒和衣着休閒會讓人更舒適。”
"Dress codes have definitely loosened up, it's about expressing yourself."
“穿衣規範肯定有變化，現在就是要表現自我。”
This idea of comfort has prevailed throughout the tech industry, where the likes of Steve Jobsand Mark Zuckerberg pioneered sweaters, turtlenecks and jeans as office-appropriate-a dress-for-ease approach that eventually seeped into the collective conscious.
穿着舒適在高科技產業佔據了上風，史蒂夫•喬布斯和馬克•扎克伯格開創了毛衣、高領毛衣和牛仔褲的先鋒，作爲辦公室穿着舒適的途徑，並最終得到了集體的贊同。
"In tech, what are you doing? You're sitting at your desk, so you want to be comfortable," saysErica Lockheimer, Senior Director at LinkedIn and head of the company's Women in Techinitiative. "You want to be able to kick off your shoes, hold your legs in your desk chair, listento your music and code, code, code; you're not going to do that if you're in some stiff outfit."
“在科技領域，你做什麼呢?那就是坐在你的桌子前，因此你想要舒適點，” LinkedIn的高級主管兼女性科技倡議公司的老闆Erica Lockheimer說道。“你想要脫掉鞋子，把腿盤在辦公椅上，聽聽音樂，敲敲代碼;如果你穿着緊身外套的話根本不可能做到這些。”
On the flip side, women in tech long faced pressure to "dress like a dude," says Lockheimer. "Iconformed to my environment and felt more comfortable wanting to fit in and look like themen," she says.
另一方面，科技領域的女性長期以來都面臨着“穿着傻帽”的壓力，Lockheimer說道。“那時候我與周遭人們的穿着一致，我想要融入進去，穿着更像男士讓我感到更舒適，”她說道。
Now, though, she dresses more like herself.
但現在，她的穿着更適合自己。
"I came to LinkedIn and I realized there was a more diverse group of people who grew up witha 'who cares' attitude and realized it shouldn't matter how I dressed," explains Lockheimer.
“我來到了LinkedIn，意識到還有很多人他們不在乎別人的看法，意識到我的穿着並不是那麼重要，”Lockheimer解釋道。
服裝類的英語文章閱讀篇三As heritage continues to obsess the industry, the fashion archive is becoming highly prized.
隨着古董時裝持續走紅時裝界，時裝檔案館也越來越受到追捧。
Brands are pouring resources into building museums in which to house their collections, whilecanny young designers are buying back garments from clients, or bidding against collectorsand museums to retrieve rare vintage pieces with which to build their own.
各大品牌開始投巨資建博物館，用來收藏旗下歷年推出的時裝系列，精明的年輕設計師則從客戶手中回購時裝，或是從藏家手中和博物館競拍回珍稀限量款，以豐富自己的藏品。
Many brands are now using their archives to produce exhibitions as a way of extending theirbrand message.
很多品牌公司如今用自己的館藏舉辦展覽，作爲擴大自己品牌影響力的手段。
The Fondation Pierre Bergé — Yves Saint Laurent will open two museums in autumn 2017, inParis and Marrakesh, to celebrate the work of its founder, Yves Saint Laurent.
皮埃爾•貝爾熱-伊夫•聖•羅蘭基金會(Fondation Pierre Bergé-Yves Saint Laurent)建於巴黎與馬拉喀什(Marrakesh)的兩家博物館將於2017年秋季正式開館，用來紀念品牌創始人伊夫•聖羅蘭的傑出成就。
The Gucci Museum, which opened in Florence in 2011, recently announced acquisitions fromTom Ford’s era at the house.
古馳博物館(The Gucci Museum)2011年在佛羅倫薩開館，它近日宣佈收購湯姆•福特(Tom Ford)擔任古馳創意總監時期所推的時裝。
The Missoni archive is on display at the Fashion and Textile Museum in London (untilSeptember 4).
米索尼(Missoni)各個時期推出的時裝不久前也在倫敦時裝與紡織品博物館(Fashion and Textile Museum)展出。
There’s a dawning realisation that if you want to be a so-called heritage brand, you have to beable to tell the story through objects, explains Sonnet Stanfill, fashion curator at the Victoriaand Albert Museum.
如今各大品牌開始意識到：若要成爲底蘊深厚的品牌，就得通過自己各時期推出的時裝講述前世今生。倫敦維多利亞和阿爾伯特博物館(Victoria and Albert Museum)時裝策展人索妮特•斯坦菲爾(Sonnet Stanfill)這樣解釋道。
An archive can be useful for design inspiration, for lending to an exhibition, or for if youthink you’d want to do your own retrospective.
時裝檔案能有效啓發設計靈感，也可友情參展，還能自辦品牌回顧展。
Shonagh Marshall, a freelance curator who archived Alexander McQueen’s collection inpreparation for the Met’s Savage Beauty exhibition in 2015, and who has also worked on thearchive collections of Christian Louboutin and the late stylist Isabella Blow, agrees.
自由策展人肖納格•馬歇爾(Shonagn Marshall)對此也深以爲然。 爲了參加紐約大都會博物館2015年舉辦的亞歷山大•麥昆(Alexander McQueen)野性之美時裝特展(Savage Beauty)，他精心收藏了對方各個時期設計的時裝;他還致力於克里斯蒂安•婁伯丁(Christian Louboutin)以及已故知名設計師伊莎貝拉•布羅(IsabellaBlow)的資料檔案收藏。
The motivation often lies in the sense of building a brand, which is now entwined with culturalheritage. Keeping those objects means keeping a sense of narrative — without them you haveno assets.
建立檔案館的動機通常在於打造品牌意識，如今它與文化遺產緊密關聯。收藏這些物品意味着傳承歷史——品牌沒有它們，就談不上有什麼內涵。
Kerry Taylor, who runs her own auction house, is considered a world leader in vintage fashion,antique costume and textiles.
經營時裝拍賣行的凱麗•泰勒(Kerry Taylor)是當今世界在復古時裝、仿古服裝及紡織品方面的老大。
She often finds herself selling back items to design houses prepared to pay huge sums formissing pieces.
她經常把一些藏品回售給各大品牌，對方願出巨資購買自己漏藏的款式。
Some of the more established brands, such as Dior, Balenciaga and Chanel, really see thevalue in buying back their heritage, she explains.
迪奧(Dior)、巴黎世家(Balenciaga)以及香奈兒(Chanel)這些時尚大牌現在真正認識到了回購老款時裝的重要意義。
The Chanel archive in Paris is like a glamorous high-security prison. Everything has blacklacquered sliding cabinets.
她這樣解釋道，巴黎的香奈兒檔案館猶如一座光彩奪目、戒備森嚴的監獄，各種館藏品都掛在滑動式黑漆櫃中。
If Karl Lagerfeld wants to look at something from the 1920s or 1930s, there it is, beautifullystored and catalogued.
老佛爺(Karl Lagerfeld)若想欣賞上世紀20、30年代的香奈兒款式，來這裏就可以了，它們分門別類存放於此，依然光鮮亮麗。
Not only does it reinforce the importance of the brand itself, [but also] when new designerscome along they can plunder it for ideas — and stay within the house.
此舉不僅鞏固了品牌自身的江湖地位，而且當年輕設計師參觀時，能夠長時間駐足其中，汲取設計靈感。
Pierre Bergé, one-time romantic partner and longtime business partner of Saint Laurent,started building the Saint Laurent archive soon after the brand’s foundation.
皮埃爾•貝爾熱曾是聖羅蘭的情人及長期商業合夥人，聖羅蘭創牌後不久，他就開始着手創建品牌檔案館。
It was a prescient move.
此舉頗有先見之明。
Yves decided to keep a dress for the first time in 1964, only two years after we founded thecouture house, says Bergé.
1964年，伊夫第一次決定收藏自己設計的一款裙子，這距我倆創牌僅過了兩年時間。貝爾熱回憶道。
I remember it very well, it was a brown lace dress that he loved very much.
我記得非常清楚，這是一款他愛不釋手的棕色蕾絲裙。
The Fondation Pierre Bergé-Yves Saint Laurent has since become a huge enterprise.
皮埃爾•貝爾熱-伊夫•聖•羅蘭基金會逐漸成爲規模空前的博物館。
Besides the 5,000 garments and 15,000 accessories, our archive also contains all the originaldrawings, as well as the atelier’s specification sheets, the collection boards and a largenumber of press articles, photos and videos of collections, he continues.
除了收藏的5000件時裝以及15000件配飾外，我們的檔案館還藏有最原始的草圖以及工作室的規格表、採集板和大量時裝類新聞稿、照片及視頻。
Each piece is stored on our premises under optimal conditions: air conditioning, humiditycontrols, anti-acid paper.
他繼續道，每一件館藏品都存放於最佳環境中：空調、溼度控制以及耐酸紙。
About 10 people, mainly trained museum specialists, work on the preservation and thedocumentation of the collection.
大約10位(多爲訓練有素的博物館專業人員)負責藏品的保存及歸檔。
Bergé is proud of his ability to share the YSL story with both the public and those who head upthe design department — including newly appointed creative director Anthony Vaccarello.
能與普通民衆及聖羅蘭設計室諸負責人(其中包括新任創意總監安東尼•瓦卡萊洛(Anthony Vaccarello))共同分享聖羅蘭品牌的輝煌歷史，貝爾熱對自己的成就頗感自豪。
Since we closed the couture house in 2002, the archives have always been made available tothe designers from the ready-to-wear house.
自我們2002年退隱江湖後，檔案館一直向聖羅蘭的設計師開放。
Hedi Slimane [who left this year, and borrowed heavily from the house’s original 1960s designaesthetic] came many times.
前任創意總監艾迪•斯理曼(Hedi Slimane)來過很多回。
He is a great connoisseur and admirer of Yves’ oeuvre.
他從聖羅蘭上世紀60年代的設計理念借鑑頗多，他是聖羅蘭時裝的鑑賞大師及超級粉絲。
Anthony Vaccarello immediately asked to come and visit the archives.
安東尼•瓦卡萊洛一上任，就請求來檔案館參觀。
One would assume most designers appointed at a house have free rein of their archive. It isn’talways so.
大家可能會認爲：大多數創意總監可隨意支配所在品牌公司的館藏檔案，但事實並非如此。
Demna Gvasalia, the new creative director of Balenciaga, spent several weeks in the archiveafter he joined this year; his pre-fall collection featured oversized shearling scarfs with thehouse branding that were an exact copy of a 1930s original.
戴姆納•瓦薩利亞(Demna Gvasalia)今年新晉巴黎世家新任創意總監後，曾花了數週時間泡在檔案館;他的早秋系列主推印有巴黎世家品牌標識的特大款羊絨圍巾，它們與上世紀30年代的款式一模一樣。
But his predecessor, Nicolas Ghesquière, had a very different experience when he joined thehouse in 1997.
但瓦薩利亞的前任尼古拉斯•蓋斯基埃(Nicolas Ghesquière)1997年出任巴黎世家設計總監時，則境況大不相同。
For years Ghesquière was blocked from the archive, partly because the pieces didn’t actuallybelong to the corporate group that bought the Balenciaga name, and partly due to tensionswith the keeper of the keys, Marie-Andrée Jouve.
蓋斯基埃好多年都無法進檔案館參觀，部分原因是其館藏品並不真正屬於購買巴黎世家商標名的開雲集團(Kering)，部分原因是他與檔案館的鑰匙掌管者瑪麗亞-安德蕾•朱維(Marie-Andrée Jouve)關係緊張。
He was only granted access in 2002, when the house was acquired by the Gucci Group.
他到了2002年才獲許入館，當時巴黎世家已被新東家古馳收購。
Other archives are simply the victim of disorder.
有些檔案館則完全毀於管理失當。
The Givenchy archive; now there’s a shame, sighs Kerry Taylor.
紀梵希(Givenchy)檔案館如今成了業界恥辱。
Things by Hubert de Givenchy have never been properly catalogued.
凱麗•泰勒嘆氣道，于貝爾•德•紀梵希(Hubert de Givenchy)的檔案資料從來沒有準確分門別類。
Their archivists come and go and it’s not a senior role.
他們的檔案館工作人員經常變動，完全是可有可無的角色。
Bergé and Saint Laurent were pioneers.
貝爾熱與聖羅蘭則是建立檔案館的開天闢地者。
None of today’s most important couture houses have archives like ours, he says.
如今大多數知名時尚品牌的檔案館都比我們遜色。
They only realised the significance of having an archival department in the 1990s.
他說，它們在上世紀90年代才意識到設立專門檔案部的重要性。
Today, Gucci has a museum.
如今古馳也建有自己的時裝博物館。
Twenty years ago it had nothing.
20年前的它在這方面可是白紙一張。
I started the Gucci historical archives in 1997 from scratch, when the whole concept was verynew and innovative, explains curator Grazia Venneri.
1997年，我們從無到有開始組建歷史檔案館，當時整個理念非常新穎、頗具前瞻性。
Unfortunately, the Gucci family never kept samples of their production. I had to carry out asystematic research and acquisition campaign; reaching out to celebrities, private collectorsand collaborating with auction houses and vintage boutiques.
古馳檔案館館長葛拉齊拉•文內裏(Grazia Venneri)解釋道，遺憾的是，古馳家族過去從不保存自己所推時裝的樣品，我只得進行系統調研與收購活動;求助於名人與個人藏家，以及與拍賣行及舊貨店合作。
When I left Gucci in 2013 we had collected and catalogued more than 5,000 products and about2,000 documents and vintage images.
2013年我離開古馳時，已經收集與歸類了5000多件時裝以及大約2000件文檔和老照片。
Alessandra Arezzi Boza helped build the archive of Pucci, another major Italian brand.
亞歷桑德拉•阿雷齊•博扎(Alessandra Arezzi Boza)協助建立了意大利另一知名品牌璞琪(Pucci)的檔案館。
I found a huge warehouse full of boxes, she says.
我最初看到的是堆滿各種箱子的大倉庫。
Having been a family-run brand until 2000, with the headquarters located in the family palace,the Pucci archive had a great advantage: everything had been kept since the early 1950s —photographs, sketches, textile prints, press and of course garments and accessories — morethan 30,000 items.
她回憶道，璞琪在2000年前一直是家族企業，總部就設在自家豪華別墅裏，因此建立檔案館具有得天獨厚的優勢：自上世紀50年代初以來的一切東西都完整保留着——照片、素描圖、紡織品印花、媒體文章，當然還有推出的所有服裝及配飾——總數超過3萬件。
But it all needed to be organised and brought alive.
但所有東西需要分類歸檔以及‘激活’。
Motivated by their experiences, Arezzi Boza and Venneri formed a consultancy that extends intostrategy.
積累成功經驗後，博扎與文內裏隨後組建了拓展至戰略籌劃的諮詢公司。
As well as working with big Italian manufacturers keen to leverage their heritage, the duo planto help emerging talent.
除了與急切發揮自身悠久傳統的意大利大品牌合作之外，他倆還計劃助設計新銳以一臂之力。
For young designers, the decision to keep an archive depends on pre-empting one’s futuregreatness.
對於年輕設計師來說，是否保存自己的時尚作品，在於自己能預知到將來必定會功成名就。
Which can seem a little grandiose.
此舉似乎顯得有點不切實際。
It’s a question of how important you think you’re going to be, a strange thought when you’re arecent graduate, says Shonagh Marshall.
關鍵在於你如何定位自己的未來，對初出茅廬的設計師來說，這樣的想法的確有點不可思議。肖綱格•馬歇爾說。
Then there’s the expense and space required to do it properly.
此外還有設立檔案館的費用與場地。
You need not just the space but the proper storage infrastructure — thin, flat drawers forthings that can’t be hung, rails, archival tissue, manpower, cameras, computers, says Stanfill.
你不僅需要建館的場地，而且還需要必要的存儲設施——存放無法掛放東西的窄平抽屜、橫檔、包裝檔案的薄紙、人手、相機以及電腦。
If you’re in a rush, things pile up and disorder creeps in.
斯坦菲爾說，追求短平快的話，東西就會堆積如山，失序自然就隨之而來。
Keeping things is a luxury few young designers can afford, even if the inclination to collectand reference their own past work is there. Cash flow concerns can mean items are sold offthrough sample sales. Or lost altogether.
不間斷保存好自己作品需大量人力、物力與財力，年輕設計師可求不可得，即便內心存有收藏以及借鑑自己昔日勞動成果的意向，大量經費需求有時意味着得通過特賣活動忍痛割愛部分藏品，抑或說永遠失去它們。
In the early years, Alexander McQueen paid people in clothing, says Marshall.
亞歷山大•麥奎最早是用自己設計的時裝支付費用。
There’s one famous lost collection; after a show he left the clothes in a bin bag outside aKing's Cross club because he didn’t have the money for the cloakroom.
馬歇爾說，他失去自己的一款時裝的事衆所周知：一次時裝發佈會後，他把時裝放在倫敦國王十字車站(King'sCross)附近某俱樂部外的塑料垃圾袋裏，因爲他沒錢把它們存放於衣帽間。
The whole lot disappeared. But as the brand got bigger, the archive got bigger, particularlyafter his death in 2010.
這套時裝就這樣永遠消失了。隨着亞歷山大•麥奎品牌知名度越來越大，檔案館的藏品也愈加豐富(他2010年離世後尤爲如此)。
Sarah Burton regularly draws on it.
薩拉•伯頓(Sarah Burton)經常從中汲取靈感。
London-based designer Gareth Pugh, whose work has been exhibited at the Met and theV&A, has made an effort to keep as much as possible without the help of a formalarchivist.
倫敦設計師加雷斯•普歐(Gareth Pugh)的時裝曾在大都會博物館以及維多利亞和阿爾伯特博物館展出，在沒有正式檔案專業人士幫助的情況下，他盡最大努力收藏自己的作品。
The big expense is the storage — square footage in London does not come cheap, he says.
最大的費用是存放場地——倫敦每平方英尺的租費價格不菲。他說。
Designer Erdem Moralioglu, of Erdem, has also made a concerted effort to keep everything.
埃德姆創意總監埃德姆•莫拉里奧格魯(Erdem Moralioglu)也竭盡全力收藏自己的一切作品。
Both he and Pugh keep their work in external storage facilities, outside of their studios.
他與普歐把收藏的時裝存放在自己工作室外的存儲設施裏。
Like Pugh also, Moralioglu has made do without an archivist, although is looking to employone.
與普歐一樣，莫拉里奧格魯也是在毫無檔案專業人員的幫助下努力爲之，儘管他最近打算聘請一位。
Like Chanel, Gucci and other mega brands, he already seems aware of the importance ofheritage: he used his 10-year brand anniversary in 2015 as a chance to spotlight past hits.
與香奈兒、古馳等大名牌一樣，他似乎也意識到了傳承的重要意義：2015年，他運用自己創牌10週年紀念活動之契機，集中展示了自己過去所推時裝精品。
In doing that project, I realised very quickly how many things were missing, he explains.
在做的過程中，自己很快意識到漏藏了好多款式。
There’s a stylist in New York who has a dress from my first collection that I don’t have.
他這樣解釋道，紐約有位設計師收藏了我平生首個時裝系列的一款裙子(我自己卻沒有這款藏品)。
So I’m desperate to try to buy it off her — it’s funny to be buying back my own stuff.
所以我非常想從她手上回購它——買回自己設計的時裝真是件逗事。
To him, it’s worth the trouble.
在他看來，如此折騰完全值得。
We’re all a project of what we’ve done and what we’ve shown, he says.
我們所有人都是自身勞動成果的一部分。他說。
Indeed, if there’s ever an illustration that brand and archive are one and the same, it’sHelmut Lang.
沒錯，若用例子來說明品牌與檔案館實際上完全是一回事的話，最合適的莫過於赫爾穆特•朗(HelmutLang)。
After deciding to leave fashion in 2005, and after his namesake brand was bought by the PradaGroup, he put 6,000 items through an industrial shredder.
2005年，朗決定退隱江湖、其同名品牌由普拉達(Prada)收購後，他竟用工業粉碎機把所收藏的6000件時裝作品一毀了之。
As brands have become more interested in building their collections, so have the number ofprivate collectors increased.
各大品牌建立自己檔案館的興趣日漸濃厚，私人藏家的數量也是與日俱增。
There are some collectors out there who have better archives than the houses themselves,admits Stanfill.
有些藏家的藏品甚至比時尚品牌公司自身館藏都要豐富。
It means the museums have to get their act together, says Kerry.
斯坦菲爾坦承道，這意味着各大品牌公司博物館得繼續努力。
They do have tight budgets, but if it’s of national importance then they need to prioritise. Theycan no longer wait.
凱麗說，這些博物館預算不多，若要成長爲具有全國影響力的時裝檔案館，那麼就得優先發展，因爲時不我待。
Kim Jones, men’s artistic director of Louis Vuitton, has access to the extensive Vuittonarchive every day for inspiration, but he has also built an impressive private collection,dating from 1971 to 1992, that features more than 300 looks and encompasses everything,from club looks by 1980s performance artist Leigh Bowery to rare punk pieces by VivienneWestwood and Malcolm McLaren.
路易威登(Louis Vuitton)男裝創意總監金姆•瓊斯(Kim Jones)每天都可從公司包羅萬象的館藏作品中汲取設計靈感，但他個人的路易威登藏品也異常豐富(時間從1971年直至1992年)，其中包括了300多套時裝，它們應有盡有，從上世紀80年代行爲藝術家利•鮑厄裏(Leigh Bowery)的夜店裝束到薇薇恩•韋斯特伍德(Vivienne Westwood)與馬爾科姆•麥克拉倫(Malcolm McLaren)的珍稀款朋克裝。
He’d like to eventually turn it into a book or exhibition, but, on a day-to-day level, he findsstimulus in the work of the names behind his pieces.
他想最終把它們付梓出版或是舉辦展覽，但他每天都從這些藏品中汲取靈感。
He’s lately appreciating their value, too.
他最近還認識到了這些藏品的價值。
It was only recently, when I had to get it insured, that I realised how much it was all worth, hesays.
最近投保這些藏品時，自己才意識到它們價格不菲。他說。
Value is an interesting word, says Marshall.
價值是個讓人感興趣的詞。馬歇爾說。
For her, as for Jones, it’s the stories and sense of social history that make an archive trulyrelevant.
她認爲，就瓊斯而言，正是這些前世今生的故事與社會歷史意識讓時裝檔案館意義非凡。
Taylor agrees. It’s not a quick way to make money.
泰勒也持同樣看法：這並非賺錢的捷徑。
And, whether the task falls on an individual or a brand, it requires a lot of patience.
而且，不管是個人還是品牌公司承擔興建檔案館的重任，都極需持久耐心。
You have to hang on to things for quite a long time.
做這事得持之以恆、長期爲之。
Taylor pauses. But they can become very, very valuable.
泰勒停了一會兒說，但這些藏品可能會變得價值千金。
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