The Colorful History of the Little Black Dress
小黑裙的斑斕歷史
The little black dress is an iconic French invention, right?
小黑裙是標(biāo)志性的法國(guó)發(fā)明，不是嗎？
Created nearly a century ago by Coco Chanel as emblematic of Gallic chic and worn by Edith Piaf as she sang about love and loss, the dress did make it to America, perhaps most notably as Audrey Hepburn’s costume in the 1961 movie “Breakfast at Tiffany’s.” But that dress was, of course, made by the Paris couturier Hubert de Givenchy.
小黑裙大約是一個(gè)世紀(jì)前可可·香奈兒(Coco Chanel)發(fā)明的，是法國(guó)時(shí)尚的象征，伊迪絲·琵雅芙(Edith Piaf)在吟唱愛(ài)與失去時(shí)，穿的就是這樣的小黑裙。后來(lái)它來(lái)到美國(guó)，也許最出名的就是奧黛麗·赫本(Audrey Hepburn)在1961年的電影《蒂芙妮的早餐》(Breakfast at Tiffany’s)中穿的小黑裙。但是那條連衣裙當(dāng)然是由巴黎女裝設(shè)計(jì)師于貝爾·德·紀(jì)梵希(Hubert de Givenchy)制作的。
So it may come as a surprise in “Little Black Dress,” an intriguing exhibition in Paris at the Mona Bismarck American Center for Art & Culture (until Sept. 22) to encounter first a black lace dress worn by the American designer Marc Jacobs to the 2012 Metropolitan Museum gala by the Japanese designer Rei Kawakubo of Comme des Gar?ons and a sleek dinner dress, worn by the artist Rachel Feinstein, made by Mr. Jacobs.
所以，在巴黎蒙納俾斯麥美國(guó)藝術(shù)文化中心(Mona Bismarck American Center for Art & Culture)舉辦的有趣的展覽“小黑裙”（Little Black Dress，展覽持續(xù)到9月22日）上，首先看到美國(guó)設(shè)計(jì)師馬克·雅可布(Marc Jacobs)參加2012年大都會(huì)博物館慶典宴會(huì)時(shí)穿過(guò)的，由日本設(shè)計(jì)師川久保玲(Rei Kawakubo)設(shè)計(jì)的黑色蕾絲連衣裙，以及藝術(shù)家雷切爾·范斯坦(Rachel Feinstein)穿的雅可布設(shè)計(jì)的精致禮服，多少讓人有些意外。
Created at the Savannah College of Art and Design (SCAD) in Georgia, the exhibition pits a framed Karl Lagerfeld example of the classic black Chanel dress, as worn by Anna Wintour, the editor-in-chief of American Vogue, against the feisty cutaway Latex dress by Norma Kamali, or even a body-revealing lace and jet-beading creation from Tom Ford.
這場(chǎng)展覽由喬治亞州的薩凡納藝術(shù)設(shè)計(jì)學(xué)院(Savannah College of Art and Design)主辦。展覽中，《Vogue》美國(guó)版主編安娜·溫圖爾(Anna Wintour)穿過(guò)的卡爾·拉格菲爾德(Karl Lagerfeld)設(shè)計(jì)的經(jīng)典香奈兒黑色連衣裙，諾瑪·卡瑪利(Norma Kamali)設(shè)計(jì)的活潑的乳膠燕尾連衣裙，以及湯姆·福特(Tom Ford)設(shè)計(jì)的暴露的蕾絲珠飾連衣裙，競(jìng)相爭(zhēng)艷。
The man behind the artistic organization of textures, shapes and nuances of shades, all shown against sanguine red walls, is André Leon Talley. Long known as a contributing editor at American Vogue and now an editor-at-large for the Russian version of Numéro magazine, Mr. Leon Talley used his connections with high society to enrich the collection that opened in in 2011 at the SCAD Museum of Art in Savannah.
這場(chǎng)展覽的背景墻體是樂(lè)觀活潑的紅色，負(fù)責(zé)面料、裁剪以及顏色細(xì)微差別的藝術(shù)總監(jiān)是安德烈·利昂·塔利(André Leon Talley)。他一直是《Vogue》美國(guó)版的特約編輯，最近又開(kāi)始兼任《Numéro》雜志俄羅斯版的自由編輯。他利用自己在上流社會(huì)的人際關(guān)系網(wǎng)，令2011年在薩凡納藝術(shù)設(shè)計(jì)學(xué)院藝術(shù)博物館展出的藏品更加豐富。
And Mr. Leon Talley has no doubts about the power of the little black dress after years of attending haute couture shows and advising socialites like Anne Bass, a benefactor of the New York City Ballet, as well as famous names from Alicia Keys through Gwyneth Paltrow, Diana Ross, Serena and Venus Williams and Renée Zellweger.
利昂·塔利對(duì)小黑裙的魅力毫不置疑，這是基于他多年參加高級(jí)定制時(shí)裝秀以及給社會(huì)名流擔(dān)任著裝顧問(wèn)的經(jīng)驗(yàn)。他曾給紐約市芭蕾舞團(tuán)的贊助人之一安妮·巴斯(Anne Bass)以及其他一些名人擔(dān)任著裝顧問(wèn)，比如艾麗西亞·凱斯(Alicia Keys)、格溫妮絲·帕特洛(Gwyneth Paltrow)、黛安娜·羅斯(Diana Ross)、塞麗娜和維納斯·威廉姆斯(Serena and Venus Williams)以及芮妮·齊薇格(Renée Zellweger)。
This collection is far more than an homage to past grandeur.
這場(chǎng)展覽還不只是對(duì)過(guò)去的輝煌致意。
“In every moment my desire was to establish an invisible dialogue or narrative between dress, showcasing variety and how women thought of the little black dress,” Mr. Leon Talley said. He chose a Chanel coatdress from Gloria von Thurn und Taxis and decided to face off a Galliano slip dress and a black Fortuny column that he says, is “as modern today as it must have been when it was designed circa 1907.” That piece came as part of a donation to SCAD of the entire wardrobe of the socialite C.Z. Guest.
“我每時(shí)每刻都想在這些小黑裙之間建立一種看不見(jiàn)的對(duì)話或描述，展示小黑裙的多樣性以及女人對(duì)它的看法，”利昂·塔利說(shuō)。他選了格洛麗亞·馮·圖恩溫特塔克西斯(Gloria von Thurn und Taxis)穿過(guò)的一件香奈兒開(kāi)襟連衣裙，決定和加利亞諾(Galliano)設(shè)計(jì)的一件吊帶連衣裙以及福圖尼(Fortuny)設(shè)計(jì)的黑色連衣裙放在一起對(duì)比。他說(shuō)福圖尼的那件連衣裙“直到現(xiàn)在還像1907年左右剛設(shè)計(jì)出來(lái)時(shí)那樣摩登”。那件衣服是社會(huì)名流C·Z·蓋斯特(C.Z. Guest)捐贈(zèng)給薩凡納藝術(shù)設(shè)計(jì)學(xué)院的全部服飾中的一件。
The lore of the little black dress is that it made its name in 1926, when an American Vogue illustration aligned Chanel’s creation with the any-color-as-long-as-it-is-black model-T Ford car.
據(jù)說(shuō)，小黑裙是1926年《Vogue》美國(guó)版把香奈兒的設(shè)計(jì)與所有的黑色T型福特車并排放置之后才開(kāi)始出名的。
Since the much-married social adventuress Mona Bismarck was the first woman in the world to head a “Best Dressed” list in 1933, it seems appropriate that the exhibition is in her former Paris home on the Avenue de New York. And that the mannequins grouped in back and front positions (the better to display a subtle plunge down the spine) emulate guests at a grand party.
因?yàn)橛卸啻位槭返呐鐣?huì)冒險(xiǎn)家蒙納·俾斯麥?zhǔn)?933年世界上第一個(gè)名列“最佳著裝獎(jiǎng)”榜首的女性，所以這次展覽在她位于紐約大道的巴黎故居舉辦似乎很合適。那些聚在一起的人體模型，有的面向觀眾，有的背對(duì)觀眾（背對(duì)觀眾能更好地展示沿脊柱而下的精妙開(kāi)叉），模仿的是一次盛大聚會(huì)上的賓客們。
Mr. Leon Talley links this rearview focus to a moment at his high school senior prom, when the homecoming queen asked him, between dances, to powder her bared back, thus giving him a first frisson of the spine as an erotic zone.
利昂·塔利對(duì)后背的關(guān)注源于他高中畢業(yè)舞會(huì)上的一個(gè)瞬間——回校探訪的舞會(huì)皇后在兩支舞之間請(qǐng)他給她裸露的后背搽粉，讓他第一次顫栗地發(fā)現(xiàn)脊柱原來(lái)可以是這樣一個(gè)充滿誘惑的部位。
Throughout the show there are subtle touches, as a lofty Madame Grès dress from 1977 is blown into movement by a tiny electric fan, with the back, once again, challenging the “monastic” look.
展覽中有很多感人的微妙之處，比如格雷夫人(Madame Grès)1977年穿過(guò)的一件高貴的連衣裙被一個(gè)小電扇吹動(dòng)，這件連衣裙的后背再次挑戰(zhàn)“修道士”的評(píng)判眼光。
In the final room of the show, the models sit elegantly on couches in front of a gilded mirror, with just a single cascade of Oscar de la Renta’s red frills signing off with bravura the intensity of black.
在展覽的最后一個(gè)房間里，人體模型們優(yōu)雅地坐在長(zhǎng)沙發(fā)上，后面是一面鍍金的鏡子，只有奧斯卡·德·拉倫塔(Oscar de la Renta)的一件瀑布般的紅色多層褶邊連衣裙大膽地打亂了黑色的強(qiáng)勢(shì)地位。
Mr. Leon Talley said he imagined a ball in Venice with the ladies gossiping as they waited to be asked to dance. And the donors’ names alone transport the clothes to another world: a 1962 Chanel dress from Baronne Béatrice de Rothschild; or a lace Yves Saint Laurent dress donated by the longtime front-row fixture Deeda Blair.
利昂·塔利說(shuō)他想象的是威尼斯的一場(chǎng)舞會(huì)，女士們一邊等待被邀請(qǐng)?zhí)瑁贿呴e談。光是捐贈(zèng)人的名字就把這些衣服帶到了另一個(gè)世界：貝阿特麗絲·德·羅斯柴爾德(Béatrice de Rothschild)男爵夫人1962年穿過(guò)的一件香奈兒連衣裙；或者長(zhǎng)期坐在頭排的迪達(dá)爾·布萊爾(Deeda Blair)捐贈(zèng)的一件伊夫圣羅蘭的蕾絲連衣裙。
But the show is not entirely given over to studied elegance or a world as charming and glamorous as it is definitively over.
但是這場(chǎng)展覽也不是完全用于展示考究的優(yōu)雅或者那個(gè)已經(jīng)確定消失了的迷人的、魅惑的世界。
There are hyper-modern dresses, like the American designer Prabal Gurung’s plunge-front gown, Diane Von Furstenburg’s synthetic lamé wrap dress and a Neoprene zip-front design from the SCAD graduate Alexis Asplundh.
也有一些非?，F(xiàn)代的連衣裙，比如美國(guó)設(shè)計(jì)師普拉巴·高隆(Prabal Gurung)的前胸開(kāi)叉禮服、黛安·馮芙絲汀寶(Diane Von Furstenburg)設(shè)計(jì)的合成金銀線裹裙，以及薩凡納藝術(shù)設(shè)計(jì)學(xué)院畢業(yè)生亞歷克西斯·阿斯普隆德(Alexis Asplundh)設(shè)計(jì)的一件前面有拉鏈的氯丁橡膠連衣裙。
“I think Americans take more freedom with it — with more energy put into young designers, there is a tilt toward America in the show,” says Molly Rowe, director of Creative Initiatives at SCAD.
“我覺(jué)得美國(guó)人對(duì)它的態(tài)度更自由，對(duì)年輕設(shè)計(jì)師投入更多精力，這場(chǎng)展覽向美國(guó)傾斜，”薩凡納藝術(shù)設(shè)計(jì)學(xué)院創(chuàng)意倡導(dǎo)會(huì)的主管莫利·羅(Molly Rowe)說(shuō)。
Although one senses that Mr. Leon Talley’s heart is in Paris haute couture, there are various modern American gowns, including classic dresses from Rodarte.
雖然能感覺(jué)到利昂·塔利的心屬于巴黎高級(jí)定制服裝，但是也有各種美國(guó)現(xiàn)代禮服，包括羅達(dá)特(Rodarte)設(shè)計(jì)的經(jīng)典連衣裙。
Azzedine Ala?a’s zippered short dress, metal chains swinging over a bifurcated dress from the Nicolas Ghesquière years at Balenciaga and Stella McCartney’s cutaway dress all offer fresh takes.
阿澤丁·阿拉伊阿(Azzedine Ala?a)的拉鏈短連衣裙、尼古拉斯·蓋斯奇埃爾(Nicolas Ghesquière)在巴黎世家(Balenciaga)任職期間設(shè)計(jì)的分成兩截的連衣裙上搖晃的金屬鏈子以及斯特拉·麥卡特尼(Stella McCartney)的燕尾連衣裙都讓人耳目一新。
“The little black dress is something to rely on — to fill you with confidence and ease,” says Ms. McCartney in the text of the accompanying book, published by Rizzoli.
“小黑裙是一種可以依靠的東西，它讓你充滿自信、讓你放松，”麥卡特尼在隨附的書(shū)中寫(xiě)道。該書(shū)由里佐利(Rizzoli)出版社出版。
So is the little black dress the last haven for a conventional dresser, or an opportunity to add a jolt of imagination to a classic?
所以，到底小黑裙是傳統(tǒng)服裝師最后的避難所，還是給經(jīng)典之作增加一點(diǎn)想象力的一個(gè)機(jī)會(huì)？
The answer in this exhibition is both. It is as though the classic pieces from Cristóbal Balenciaga or Yves Saint Laurent are still the center of a fashion world where imagination in fabric, cut and the way the dress is worn add that extra jolt.
這場(chǎng)展覽給出的答案是兩者都是。克里斯托巴爾·巴倫西亞加(Cristóbal Balenciaga)或伊夫·圣·羅蘭(Yves Saint Laurent)的經(jīng)典款式似乎仍是時(shí)裝界的中心，而對(duì)面料、裁剪和著裝方式的想象力則增添著額外的震撼。
Miuccia Prada expresses the reality of timeless yet contemporary fashion, when she says in the book: “To me, designing a little black dress is trying to express in a simple, banal object, a great complexity about women, aesthetics, and current times.”
繆西婭·普拉達(dá)(Miuccia Prada)認(rèn)為時(shí)裝既是永恒的，又是暫時(shí)的，她在書(shū)中寫(xiě)道：“對(duì)我來(lái)說(shuō)，設(shè)計(jì)一件小黑裙是努力用簡(jiǎn)單而平凡的東西表達(dá)女性、審美和當(dāng)下的復(fù)雜性?！?/p>
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