介绍时尚的英文文章欣赏

摘要：时尚不仅仅是流行文化现象，也不仅仅是个人审美的产物，而是一种由场域的力量关系所决定的社会产品。下面是七考网小编带来的介绍时尚的英文文

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　　时尚不仅仅是流行文化现象，也不仅仅是个人审美的产物，而是一种由场域的力量关系所决定的社会产品。下面是七考网小编带来的介绍时尚的英文文章欣赏，欢迎大家阅读!

　　介绍时尚的英文文章欣赏篇一

　　肥胖遭时尚界的排挤史 In Fashion Fat Is Still a Taboo

　　Rosy-cheeked and curvy, Madame de St.-Maurice smiles complacently on visitors to the 80WSE Gallery at New York University. The subject of a late-18th-century portrait by Joseph Siffred Duplessis, she flaunts multiple chins, her fleshy arms and bosom becomingly veiled in a demi-sheer frock.

　　面色红润、体态丰满的圣-莫里斯夫人(Madame de St.-Maurice)对着纽约大学(New York University)80WSE画廊(80WSE Gallery)的观众们得意地微笑。她是18世纪末约瑟夫·西弗尔·迪普莱西(Joseph Siffred Duplessis)描绘的对象，她炫耀着自己的双下巴以及巧妙隐藏在半透明连衣裙下的丰腴胳膊和胸部。

　　When the original canvas was exhibited, “it was praised for its truthfulness,” said Tracy Jenkins, the curatorial director of “Beyond Measure: Fashion and the Plus-Size Woman,” the new student exhibition showcasing the work. Sure the sitter was chubby. So what?

　　这幅原版油画在最近学生策划的展览“超越尺寸：时尚与特大号女人”(Beyond Measure: Fashion and the Plus-Size Woman)上展出。策展负责人特蕾西·詹金斯(Tracy Jenkins)说，“它的真实性得到了赞扬”。没错，画中的这个女人很胖。那又如何?

　　Flash-forward a couple of centuries, and Madame would as likely have been skewered, her frame regarded as an aesthetic, and perhaps even a moral, affront to polite society.

　　要是放到几个世纪之后，圣-莫里斯夫人很可能会遭到讥讽，她的体型会被认为是对上流社会审美观念乃至道德层面的冒犯。

　　That assumption is at the heart of this small but affecting exhibition, one that encompasses photographs, mannequins, video and advertising imagery. Organized by graduate students in the costume studies program at N.Y.U.’s Steinhardt School, the show, which runs though Feb. 3, goes some way toward demonstrating that fat shaming, with roots burrowing deep into the 19th century, was, and remains, a freighted issue.

　　这一假想是这场颇有感染力的小型展览的核心，它包括照片、人体模型、视频和广告图片。它是纽约大学斯坦哈特学院(Steinhardt School)服装研究专业的研究生们组织的，将持续到2月3日。这场展览在很大程度上表明，肥胖羞耻感曾是——如今依然是——一个沉重的话题，它的根源可以追溯到19世纪。

　　Portrayed in the popular postcards and ads of the late 19th and early 20th century as grotesque, unseemly and out of control, women of size are represented in the gallery by Nettie the Fat Girl, a sideshow attraction shown in an early-20th-century photograph as a bulbous, childlike creature, her tutu and inflated thighs all but bearing her aloft.

　　在19世纪末、20世纪初的热门明信片和广告中，胖女人被描绘成怪异、不得体、失控的女人。在这场展览中，那一时期胖女人的代表是马戏团的演员“胖姑娘妮蒂”(Nettie the Fat Girl)。在20世纪初的一张照片中，我们看到她像婴儿一样肥胖臃肿，她的芭蕾舞短裙和膨胀的大腿几乎能让她飘起来。

　　Today that image wouldn’t fly, supplanted, in the popular media at least, by “full figured” role models, among them the defiantly outsize performers Beth Ditto and Melissa McCarthy, Adele and the aggressively curvy Tess Holliday, touted on the cover of People last spring as the first size-22 supermodel.

　　如今，那样的形象飞不起来，而是至少在大众媒体上，被“丰满的”楷模所取代。比如体形庞大的艺人贝丝·迪托(Beth Ditto)、梅莉莎·麦卡锡(Melissa McCarthy)和阿黛尔(Adele)，以及非常丰满的特丝·霍利迪(Tess Holliday)。去年春天，霍利迪作为第一位衣服尺码为22号的超级模特招摇地登上《人物》杂志(People)的封面。

　　A tentative acceptance of full-figured models that dates from the early 1990s is highlighted in the exhibition by the emergence of Stella Ellis, known as the first large-size model, a divalike figure who strode Jean Paul Gaultier’s runway in 1992 and was featured in his ad campaign, billowy bosom exposed, hair piled high like an opera star’s.

　　这场展览还重点展示了20世纪90年代初人们对丰满模特的短暂接受。那一时期的代表人物是斯特拉·埃利斯(Stella Ellis)，她被称为首位大号模特。她是一个天后般的人物。1992年，她在让·保罗·高缇耶(Jean Paul Gaultier)的秀台上款款而行，并成为他的广告代言人——她显露出汹涌的胸部，头发像歌剧明星那样高高盘起。

　　There is, as well, the flowery frock worn in the 1930s by the actress Marie Dressler, and a recent video clip of the lavender-coiffed, unabashedly round Ashley Nell Tipton, the first “Project Runway” designer to win with a plus-size collection.

　　还有20世纪30年代穿着华丽长袍的女演员玛丽·德雷斯勒(Marie Dressler)，以及染着紫发、非常丰满的阿什莉·内尔·蒂普顿(Ashley Nell Tipton)前不久的视频片段。她是第一位凭借大号系列在“天桥骄子”节目(Project Runway)中获胜的设计师。

　　Still, progress has been halting.

　　不过，进步出现了停滞。

　　“Fat today is much less stigmatized, especially among younger people,” Ms. Jenkins allowed.

　　詹金斯承认，“如今，肥胖不再是那么耻辱的事，尤其在年轻人中。”

　　Outside, that is, the world of style.

　　不过，那说的是时尚界之外的世界。

　　“Fashion’s job is to exclude,” Ms. Jenkins said, adding pointedly, “Fashion is not accepting fat.”

　　詹金斯说，“时尚的职责是排外。”她尖锐地补充道：“时尚不接受肥胖。”

　　The show’s omissions make the case: Apart from the dress form draped in Dressler’s effusively feminine garment, and a pair of others showcasing items made from children’s Chubbies Patterns in the 1950s, there are no mannequins of heft — and no fashion to clothe them.

　　这场展览所没有展示的东西恰恰说明了这一点：除了展示德雷斯勒热情奔放、有女人味的裙子，以及20世纪50年代胖乎乎的儿童款式的东西之外，几乎没有肥胖的人体模型，也没有给它们穿的衣服。

　　Those are simply too hard to come by, as Ya’ara Keydar, a graduate student and an organizer of the show, explained. Ms. Keydar recalled that during a recent visit to an exhibition of historic evening dresses at the Sigal Museum in Easton, Pa., there was only one plus-size dress on display.

　　研究生雅拉·基达(Ya’ara Keydar)是这场展览的组织者之一。她解释道，那是因为很难弄到肥胖的人体模型。基达回忆说，前不久，她去宾夕法尼亚州伊斯顿的西加尔博物馆(Sigal Museum)观看一场关于历史上著名的晚礼服的展览，发现只有一件特大号晚装在展出。

　　“Those garments don’t get shown unless you’re someone famous, like Queen Victoria,” Ms. Jenkins said. Even in museums with dedicated costume wings, there is a bias, she said.

　　詹金斯说，“特大号服装除非被某个名人穿过，比如维多利亚女王，否则，没有展示的机会。”她说，就连那些有专门用于展示服装的侧馆的博物馆，也存在偏见。

　　On conventional runways and in print, a show of fat can still raise eyebrows, the show’s organizers argue, as a tacit breach of etiquette and, less commonly, as a transgressive gesture. It remains more of a taboo than race, age or class, Ms. Jenkins maintained. That is because, regardless of race, age or social standing, “a fashionable outline is still achievable,” Ms. Keydar said. “With a larger body, it is not.”

　　这场展览的组织者们说，在传统秀台和出版物上，展示肥胖仍会令人惊讶，被默认为是对礼仪的违背，甚至是某些情况下的侵犯行为。詹金斯认为，与种族、年龄或阶层相比，肥胖更是禁忌。基达说，那是因为，不同种族、年龄或社会地位的人，“都可能拥有时尚的外形”，但一个人“要是体形硕大，就不可能时尚了”。

　　There are notably few references to the F-word, “fat,” replaced in the show, as it is in the industry, by the euphemistic “plus size.”

　　很明显，展览中极少用到“胖”这个词，而是被委婉的说法“特大号”所替代，这也是时尚业的常规做法。

　　“‘Fat’ remains too charged a word,” Ms. Jenkins said. “Fashion has yet to come to terms with it” — or for that matter, with nonstandard sizing.

　　詹金斯说：“‘肥胖’这个词依然容易引起激烈反应。时尚界还没有接受它”——要做到这一点，就不能设定标准尺寸。

　　Images of plus-size runway models, in a slideshow first seen on the website Refinery29, reinforce her point: Models parade in their underwear, their random bumps and curves strategically covered and smoothed by padding.

　　一组特大号秀台模特的照片佐证了她的观点。那些照片首次出现是在Refinery29网站的一组幻灯里。照片中的模特们穿着内衣走秀，她们随意隆起的赘肉被巧妙地用衬料遮盖或掩饰。

　　The message? Ideal beauties they may be, “but even these women need improvements,” Ms. Keydar said.

　　这样做是要传达什么意思?基达说，意思就是，她们可能是完美的美女，“但是就算这些女人也需要改进“。

　　Among plus-size models, too, stringent standards apply. Smaller heads are preferred. “You don’t want to see a double chin,” Ms. Jenkins said. Banished as well: stretch marks, bat wings or what the British like to call those wobbly bits.

　　严格的标准也适用于特大号模特。头偏小的特大号模特更受欢迎。詹金斯说：“你不想看见双下巴。”同样遭到排斥的包括妊娠纹、蝴蝶肉或英国人所说的晃动的肉。

　　“There is just as much smoke and mirrors in plus-size fashion as in anything else,” Ms. Jenkins said.

　　詹金斯说：“特大号时尚也同样需要雾里看花。”

　　介绍时尚的英文文章欣赏篇二

　　街拍 时尚界的热门生意 Why it pays to peacock

　　People used to go to fashion shows to see the clothes; now they go to be seen wearing them.The practice of documenting “street style” evolved in the 1980s, when style magazines such asi-D began chronicling people out and about. Today though, the stars of the scene don’t poundpavements hoping to be snapped on the street; they exit chauffeur-driven cars to totter thefive or six metres to the fashion show venues, often posing on their phone or chatting with apal in a matching outfit. Neither do they wear thrift any more: these street stars are seen inthe latest designer clothes, sometimes just hours after their catwalk debut. It’s good news forthe labels; it’s even better news for those canny enough to monetise their penchant forclashing print or double denim.

　　观众过去到时装秀场就是为了欣赏时装，如今去的目的是希望显摆自己的行头。上世纪80年代，记录都市街头时尚开始起步，当时《i-D》之类的时尚杂志就开始记录街头巷尾年轻人的穿着行头。然而，如今的街拍对象出头露面的目的并非是成为摄影师的抓拍目标;他们在距离秀场举办地5、6米的地方走下专车，故意放慢脚步，经常自拍造型或是与身穿同样行头的好友闲聊。他们的穿着也不再寒酸：这些街拍明星往往身着最新款的名牌服装抛头露面，这些时装有时只比T型台上刚亮相的晚区区几个小时。这对于时尚品牌来说是福音，对于那些脑瓜灵光的时尚爱好者更是如此，他们利用自己青睐鲜明格纹印花装(clashing print)以及牛仔单品叠穿(doubledenim)的穿着方式而大获其利。

　　Conservatives within the fashion world may dismiss street style as part of the growing “circus”around the shows, but its leaders can translate an image into big rewards; from ambassadordeals with brands and paid-for posts on social media to own clothing ranges and brandcollaborations. The rise in street style has even sparked a wider trend in “real people”-ledadvertising. J Crew kicked things off in 2012 with a campaign starring Caroline Issa (chiefexecutive and fashion director of Tank magazine), stylist Julia Sarr-Jamois and Frenchjournalist Virginie Mouzat. Last year, “Tod’s Band” campaign featured 15 personalities andfashion show regulars including Langley Fox Hemingway, Mae Lapres and Julia Restoin Roitfeld,while Chloé is currently popularising its bags and accessories on social media with the hashtag#ChloeGirls. Peacocking has never been so profitable.

　　时尚界保守人士或许会把街头时尚贬称为秀场外围逐渐增多的“杂耍”而已，但是，无论是签约品牌出任形象大使、在社交媒体上进行付费广告宣传，还是推出自己的时装系列以及品牌合作共建，这股潮流的引领者都从中大获其利。街头时尚的兴起甚至让各色人物参与代言的广告战变本加厉。2012年，J Crew聘请《Tank》杂志总裁兼时尚总监卡洛琳•伊莎(Caroline Issa)、设计师朱丽娅•萨尔-加莫娃(Julia Sarr-Jamois)以及法国记者穆扎(Virginie Mouzat)出任广告片主角，算是开了这种合作风潮之先河。去年，“Tod’s Band”广告片聘请了15位名人与时装秀常客，其中就包括岚莉•福克斯•海明威 (Langley Fox Hemingway)、Mae Lapres 以及Julia Restoin Roitfeld;而蔻依(Chloé)目前则在社交媒体上以#ChloeGirls#的标签号推介自己的手袋与配饰。高调张扬如今比以往任何时候都要有利可图。

　　It’s not only the street stars who are cashing in. Many of the photographers shooting thestyles have turned their images into a viable business, among them Tommy Ton (who has shotfor Condé Nast and his own site, tommyton.com), Scott Schuman of The Sartorialist blogturned book, Vogue contributing editor Phil Oh (aka Street Peeper) and Adam Katz Sinding ofLe 21ème.

　　不仅街头时尚明星能大肆挣钱，很多街拍摄影师也因此坐收渔利，其中就包括汤米•托恩(Tommy Ton，他为康泰纳仕(Condé Nast)以及自己的网站tommyton.com提供照片)、把自己博客The Sartorialist结册出版的斯科特•舒曼(Scott Schuman)、《Vogue》特约编辑Phil Oh(又称街拍潮人(Street Peeper))、以及创建Le 21ème网站的Adam Katz Sinding。

　　Katz Sinding has been shooting since 2007, but has only been capturing fashion weekattendees since 2011. Now it’s a huge part of his work — he’s funded to travel by a range ofclients, “from e-commerce companies, to publications, to the brands themselves”, and has asyndication deal with Trunk Archive for resale of his images. He’s watched the scene changeenormously. “It’s been a very fast (de)evolution,” he jokes. “Back then, the people we shotwere exponentially more authentic. There was not the push from brands that we now see. Itwas rare to see full runway looks walking down the street.”

　　Katz Sinding自2007年以来一直从事街拍，但2011年之后才拍摄时装周的各色参客。如今这成了他的主要工作——形形色色的主顾(“从电子商务公司、出版社到品牌公司)资助其四处拍摄”);他还与Trunk Archive签订了供稿协议，向对方转售自己的街拍照片。他亲眼目睹了整个时尚界的这场巨变。“这是异乎寻常的变化。”他开玩笑道，“想当初，我们街拍的对象多是展示其真实生活状态，他们并没有品牌公司对此推波助澜(如今则比比皆是)，当时身穿全套时装行头行走在大街小巷的人非常少。”

　　Blogger Leandra Medine — aka Man Repeller — is a regular in Katz Sinding’s shots. Heridiosyncratic style makes her a photographer’s dream — the name of her blog is a nod to herkooky taste: clothes that stylish women adore but men find sexually repellent. She’s alsonoticed the commodification of the scene. “When I started five years ago, street style felt morelike an indie art,” says the writer, who has worked with Saks Fifth Avenue, shoe brandSuperga, Michael Kors and Maje on brand collaborations. “It’s become a sort of native advert inmany ways — living, breathing sponsorships that look a lot like personal style but are actuallymotivated by something other than self-expression.”

　　时尚博主利安德拉•梅丁(Leandra Medine，也就是The Man Repeller)一直是Katz Sinding的街拍对象。她的另类时尚风格使其成为摄影师觊觎的目标——她的博客名也与另类时尚风格一脉相承：她的服装让时尚女性倾心不已，但男士见后却毫无性趣。她也目睹了整个时尚圈的这场巨变。“五年前自己开始街拍时，街头时尚酷似独立制作的艺术。”这位时尚写作者说道，她如今与萨克斯第五大道百货店(Saks Fifth Avenue)、鞋履品牌Superga、Michael Kors 以及Maje合推品牌。“在很多方面，这已成为了某种原生广告——品牌公司赞助的装束更似体现了个人时尚，但实际的推波助澜者却是自我表现之外的力量。”

　　Today, almost every label will spend time and money “placing” product. Gifting has long been away of showcasing goods but, more recently, these gestures of goodwill have become moreformalised arrangements. Increasing numbers of key influencers and “tastemakers” now takefees or enter contractual relationships to promote brands on blogs and social media. It’s achange that has been driven both by brand promotion and the thirst for imagery created bythe enormous growth in editorialising in ecommerce sites.

　　现如今，几乎每个品牌都会花费大量财力与时间“推销”自己的产品。长久以来，展示产品的高招就是免费赠送，但近几年，这些善意举措已演变为更正式的合同。越来越多有巨大影响力的人与时尚达人如今不是收取费用、就是通过签约在博客与社交媒体上帮助推销相应品牌。如此变化，正是出于品牌推销以及对形象照片之需求，而正是电商网站对时尚评论的巨大发展创造了上述需求。

　　“The essence of street style itself has changed,” says Yasmin Sewell, fashion director of CondéNast’s new ecommerce site style.com (which will launch this year) and a much-photographedpresence at the shows. “In its early days, the focus was very much on a person’s unique self-expression. There was no such thing as Instagram to determine a person’s ‘value’. Now it’sone of a brand’s most powerful marketing tools.”

　　“街头时尚的内涵早已今非昔比。”康泰纳仕(Condé Nast)今年即将成立的电子商务网style.com时尚总监雅斯明•休厄尔(Yasmin Sewell) 说，她也是时装秀场摄影师重点关注的人物。“在一开始，聚集点多为某位名人的个性时尚。当时还没有Instagram这类决定名人‘巨大影响力’的社交平台。如今，社交媒体成为品牌最具影响力的营销工具。”

　　The “product for post” concept — a freebie in exchange for a post on social media, or ashout-out at the shows — has grown in tandem with the street-style movement. “Only a tinyhandful of brands can afford to put a full-page ad in a magazine,” Sewell continues. “But almostany brand can afford to gift a blogger or editor in the hope their product is worn and seen andwill create demand. There’s so much strategy involved — the right placement on the rightperson, snapped by the right photographers and featured on the right websites can mean somuch for a brand’s exposure and ‘covetability’.”

　　“以时装换广告位”理念(免费赠送产品以换取在社交媒体上打广告或是在时装周上公开露脸 (shout-out))的兴起亦步亦趋于街头时尚风潮。“只有少数品牌有财力在时尚杂志刊登整版广告。”休厄尔继续道。“但几乎每个品牌都有实力给博主或时尚主编赠送时装，并希望自己的装束公然示众，从而创造相应的市场需求。所有这一切都是处心积虑——寻找合适的对象宣传自己的时装，而后物色合适的摄影师街拍、并刊登在理想的社交网站上，此举对于品牌的曝光率与追捧度意义非凡。”

　　This transactional aspect of image-making has made Katz Sinding wary of describing himself asa “street-style” photographer. “I’m trying to capture something beyond the superficialcommercial aspect,” says Katz Sinding, who shoots the looks outside the shows for Wmagazine and lists Emmanuelle Alt, editor-in-chief of French Vogue, Isabelle Kountoure,Wallpaper*’s fashion director, and models such as Hanne Gaby Odiele among his favouritesubjects. “‘Street style’ to me, now, is showing trends and ‘important’ people dressed in‘important’ brands — it’s a bit boring.”

　　街拍牵扯利益回报，让Katz Sinding避谈自己是“街头时尚”拍客。“我努力捕捉那些超越单纯商业利益的形象。”Katz Sinding说。他为《W》杂志拍摄秀场外的时尚名流形象，并把法国版《Vogue》主编艾曼纽•奥特(Emmanuelle Alt)、《Wallpaper*》杂志时尚总监伊萨贝拉(Isabelle Kountoure)以及包括汉娜•盖比•奥迪尔( Hanne Gaby Odiele)在内的诸多名模列为自己最青睐的拍摄目标。“在我看来，如今的‘街头时尚’就是展现时尚风向以及‘重点人物’穿着 ‘重点品牌’的风采——这有点无聊乏味。”

　　The “important” people he speaks of aren’t celebrities but the once-anonymous fashion writersor stylists. Street-style fever has given birth to the strange notion of the “influencer” —someone who’s not traditionally famous, but can fit into high fashion and has upwards of50,000 Instagram followers. For brands, images of these people can become vital advertisingleverage, the importance of which will last far beyond fashion week.

　　他所说的“重点人物”并非名人，而是曾经隐匿真名的时尚作家与设计师。街头时尚热潮催生了前所未有的“大V”——他们并非传统意义上的名人，但对高端时装慧眼独具，Instagram粉丝数超过5万。对于各大品牌来说，这些牛人的照片可以成为至关重要的广告利器，其巨大影响力会远超时装周这个范畴。

　　Arguably, today’s influencers don’t need to be photographed: they must simply documentthemselves, obsessively. To Susie Lau, author of the fashion blog Style Bubble, this growthwas inevitable. One of the most respected — and familiar — faces on the scene, admired forher support of young labels, her success has inspired thousands of copycats. “It doesn’tsurprise me in the least,” she explains. “It’s only exploded because Instagram has become sucha huge platform. But it was ever thus. There will always be girls who wear clothes really well.”

　　可以说，如今的时装大V们无需成为专门的拍摄对象：他们必须记录自己的一切(得全身心投入)。在时尚博客Style Bubble博主苏茜•劳(Susie Lau)看来，这种发展趋势不可避免。她是整个时尚界最受尊重、也是最为熟知的人物，因其大力支持新成立品牌而被人津津乐道;她的成功故事激励了成千上万的仿效者。“我完全觉得不足为奇。”她解释道。“我受到的追捧爆棚，因为Instagram已成为超级社交平台。但过去也是如此，上妆效果好的姑娘总是不乏其人嘛。”

　　Blogger Pandora Sykes is great at getting dressed. She juggles her digital work and Instagramfeed with a job at Sunday Times Style magazine. She says: “I’ve been very resistant to being apaid body — who wants to be a fashion sandwich-board? Someone being paid to wearsomething at the shows is just an example of how you can leverage your image and yourpersonal brand. Bribery is rife. People think if they send something that that is some form ofpayment for a post. I’ve been sent umbrellas before and got a follow-up email saying it wouldbe great if we could have a ‘cheeky little Instagram post’.”

　　博主赛克斯(Pandora Sykes)擅长穿衣打扮。她除了任职于《Sunday Times Style》时尚杂志外，还兼顾自己的博客与Instagram的feed网页。她这样说道：“我一直强烈反对成为‘付费代言人’——谁愿意充当时尚界的广告牌?时装周的付费代言者只是利用个人形象与名声进行投机的其中一个例子。时尚界此类‘贿赂’越发司空见惯。大家都觉得品牌公司免费赠送时装，就是某种形式的广告代言费。本人之前获赠过雨伞，紧随其后就会收到电邮，声称若‘在Instagram有块巴掌大的展示空间’，将不胜感激。”

　　Sasha Wilkins of Liberty London Girl, sums it up when she says, “Once you hit half a millionfollowers on Instagram you can start writing your own cheques — ￡10,000 for a post with youwearing something.”

　　时尚博客Liberty London Girl的博主萨莎•威尔金斯(Sasha Wilkins)总结道，“Instagram的粉丝数一旦达到50万，就可以主动开价——在Instagram上的时装代言费1万英镑。”

　　But are viewers or readers aware of these payments when browsing street-style blogs orInstagram? “Do the semantics really matter to who’s looking at them?” asks Lau, who hasworked with the likes of Coach and Yoox and on sponsored blog projects and social mediaposts featuring products. For her, “it’s no different to flicking through advertising in amagazine. They’re looking at it for a fleeting second and they’ve given it a fleeting amount ofattention.”

　　但用户浏览这些街头时尚的博客与Instagram时，是否意识到上述代言费?“浏览对象真的会在意这些语意吗?”劳恩问道。她本人就博客与社交媒体上的代言费与蔻驰(Coach)以及Yoox等品牌展开了合作。在她看来，“这与浏览时尚杂志的广告毫无二致。读者匆匆浏览，只是稍微注意而已。”

　　For Lau, “This is a new form of advertising and it is one that works because the images feelpersonal — those girls have built up a cult of personality. Though people may become numb tothat — in the way we’re numb to traditional advertising today.”

　　在劳恩看来，“这是行之有效的新广告模式，因为浏览照片让人倍感亲切——这些代言女孩已成功培育了追星族。尽管读者将来可能会对此麻木——我们如今对传统广告早已无动于衷。”

　　That numbness is yet to kick in. For the moment, images of stylish women — and increasinglymen — out and about shift product. “It’s the idea of real-life usability of the garments thatdraws people to our images versus catwalk looks. Seeing it in daily use really speaks to people,”argues Katz Sinding.

　　但这种麻木感目前仍不存在。现如今，照片中大街小巷的潮女(还有越来越多的潮男照片)不断变换衣服花样。“正是服装在现实生活中的实际效果让浏览者青睐社交媒体与博客上的照片而非它们在T型台上的形象。寻常生活中的实际穿着效果真正吸引了消费者。”Katz Sinding如此评论道。

　　This idea of “real life” is the strange irony of the whole movement — it’s central to its success,but disappearing because of it. “I frequently turn down big money jobs because I’m not goingto look good in a brand’s stuff and I won’t feel good in it — that wouldn’t do anyone anyfavours,” says Sykes. “I think brands can be quite naive about that. They should be strivingfor authentic relationships, not just people who have the most followers.”

　　“现实生活版”对于整个街拍真是个奇怪的讽刺——它对于后者的成功至关重要，但自己又因为后者的存在而渐渐消亡。“我时常拒绝高额代言，因为我穿后效果一般，而且自我感觉不爽——那样对所有人都没啥好处。”赛克斯说。“我认为品牌公司有时想法太过幼稚。它们应该努力寻求接地气的合作，而非仅仅关注粉丝数最多者。”

　　Medine agrees. “My style is such an integral part of what I do professionally, I can’t really affordto risk the authenticity factor there,” she says. “The reason street style resonates and hasbecome a phenomenon has everything to do with women seeing themselves in other women.The moment that jolt of authenticity is compromised and the trust between the voyeur andthe wearer begins to break, the game is over.”

　　梅丁也同意上述看法。“本人的穿着风格是自己职业不可缺少的组成部分，我不能去冒这种让自己不接地气的风险。”她说。“街头时尚引发了时尚爱好者的强烈共鸣并成为时尚热潮的原因完全在于女性粉丝在别的女性身上看到自身形象的效果。一旦牺牲了接地气，时尚粉丝与代言人之间的信任感就开始分崩离析，这样就玩完了。”

　　介绍时尚的英文文章欣赏篇三

　　美国时尚界追捧的全新时装品牌

　　A revolution is taking place in American fashion. With a focus on fit and durability, and collections built on basic staples and knitwear in neutral hues, this new breed of contemporary luxury labels is filling the most stylish wardrobes — and its discreet brand of understated and simple femininity is valued above all.

　　美国时尚界正在经历乾坤巨变。这类新涌现的奢侈品牌注重服装的合身及耐用性，时装系列由最基本的主打款式组成，针织衣物采用中性色，这些逐渐成为炙手可热的抢手货——体现女性含蓄与简洁的小众品牌则最受青睐。

　　The Row — founded by Mary-Kate and Ashley Olsen in 2006 — has built a following for essaying “relaxed and timeless elegance”. Gabriela Hearst describes her garments as “classic with a rustic edge”. Ryan Roche refers to her knitwear as “pared-back and minimal and essential”, while Rosetta Getty defines her eponymous line as “refined and easy to style for effortless dressing”.

　　由玛丽-凯特(Mary-Kate)和阿什利•奥尔森(Ashley Olsen)姐妹创办于2006年的品牌The Row因其“闲适隽永的优雅感”而拥趸如云;加布丽埃拉•赫斯特(Gabriela Hearst)称自己设计的时装是“透着乡土气息的经典款式”;罗奇•瑞恩(Ryan Roche)称自己设计的针织装是“瘦削型、风格简约、必不可少”，而罗塞塔•盖蒂(Rosetta Getty)则把自己的同名品牌定义为“精致、随意搭配的休闲装”。

　　Set in 12 acres in New York state, Roche’s barn-conversion studio is a rustic space punctuated with oak worksurfaces and mood boards on whitewashed walls. Now in her eighth season, she takes her palette seriously and considers each collection an addition to a lifestyle look. “It’s part of the conversation, how the new colours are going to work with the season before,” she says. “It’s another reason my customers love my collection, as it’s so easy for them, everything is harmonious and all the shades work together.”

　　罗奇由谷仓改建而成的工作室位于美国纽约州乡村(占地面积达12英亩)，工作室内不时可以看到橡木的工作台面以及画在白墙面上的各种情绪板。罗奇进入设计行当已有8个年头，如今她对各种服装颜色精明老到，觉得每个系列都好比增加了一款生活类时装。“这是生活与时尚的互动内容——新色调如何衔接前一个时装季。”她说，“这也是粉丝喜欢我设计的时装的另一原因，因为她们穿上后轻松自在，一切显得那么和谐自然，所有色调实现了珠联璧合。”

　　Each of these labels focuses on building a wardrobe rather than offering trend-driven looks. Their success is in their uniformity — “we’re consistent with the way that we build on our collections,” says Ashley Olsen. “You’re adding pieces rather than discarding and starting afresh every season,” says Maria Lemos, founder of the wholesale showroom and communications agency Rainbowwave, which represents Hearst. “Pieces from these brands aren’t like a statement dress that after a while you feel you’ve worn to too many parties. These are investment pieces.”

　　上述每个品牌都专注于“开辟新的天地”而不是提供顺应流行时尚的装束。它们的成功就在于始终如一——“我们一以贯之设计时装系列。”阿什利•奥尔森说。“我们每个时装季只是添货而不是另起炉灶重新开始。”玛丽亚•莱莫斯(Maria Lemos)说，她是伦敦批发类展厅及广告公司Rainbowave的创始人，Rainbowave是赫斯特品牌的代理公司。“上述几个品牌并不像是那种没穿几次就已经显得像是老面孔的高调华服，它们是真正值得买的时装。”

　　Getty, who is based in LA, uses fabrics that can be worn throughout the year. “I may include a luscious cashmere for the fall season, or a fun, easy lace for spring — most of the fabrics are cross-seasonal,” she says. “My goal is to introduce clothing where the worth lies in the design and fabrication.”

　　定居洛杉矶的盖蒂采用常年适穿面料设计时装。“我或许会运用柔软光滑的羊绒面料设计秋装，或是用逗趣舒适的蕾丝装设计春装——多数面料都适合跨季穿。”她说，“我的目的是推出那些设计与做工俱佳的时装。”

　　With sweaters costing from ￡700, durability and practicality are vital. Roche uses the finest Mongolian cashmere, but her sweaters can be machine washed on a delicate cycle and tumble dried. “I don’t want it to be too precious,” she says. “I want women to be able to really love it and live in it.”

　　对于起售价700英镑的毛衣，经久耐穿与实用性至关重要。罗奇采用质量上乘的蒙古羊绒，但她的毛衣可用洗衣机柔洗以及使用滚筒进行干燥。“我不想让它太过娇贵。”她说，“我希望女性朋友发自内心喜欢它，生活中片刻不离身。”

　　After testing the prototypes of her new handbag line, Hearst improved the hardware and closure of her “Nina” bag because it was opening too many times in a way she didn’t like. And when she became concerned that a waxed vest from her line would dirty other clothes, she wore it for a week to ensure it didn’t. “No disclaimer tag needed,” she says. Practical details are also considered: pockets must be big enough for an iPhone 6; shoes are made with double-welded soles for longevity.

　　检测完自己的新手袋系列的样品后，赫斯特着手改进了Nina手袋的开关与五金件，原因是手袋太过频繁的开合很让自己腻烦。当她担心自己设计的一款蜡染马甲可能会沾脏其它衣服时，为此她亲自试穿了一周时间才确定这纯属多虑。“不能以免责声明推诿。”她说。她对各种实用性细节同样上心：口袋必须大到能搁放一部iPhone 6手机;鞋跟必须双面焊接以保证结实耐穿。

　　Luxury fabrics, and choosing to do much of their manufacturing in New York, mean higher prices, but despite this, these garments sell — very well. The Row is a bestseller on Matchesfashion.com, and Roche’s $980 fisherman sweater sold out at Barneys this season. Getty “does incredibly well online”, says Lemos, and this season will be available at Selfridges. “It’s the way we live now; we want less but we want good quality.”

　　选用高档面料以及大多在纽约制作完成的时装意味着更高的售价，但尽管如此，这些时装非常畅销。The Row是Matchesfashion.com网店上的销量第一的品牌，罗奇售价980美元的厚毛衣(fisherman sweater)更是在巴尼斯百货店(Barneys)被抢一空。盖蒂的产品“在网店尤其畅销”，莱莫斯说，这个时装季，盖蒂将进场塞尔福里奇百货(Selfridges)销售。“这就是我们如今的生活特点——少而精为上。”

　　Each of these women, who have a hugely aspirational lifestyle, makes an excellent advertisement for their label: Getty works from her mid-century mansion perched atop Runyon Canyon Park in the Hollywood Hills, Roche from her 17th-century barn studio. Hearst uses local artisans to weave wool sheared from sheep on her family’s Uruguayan ranch. There’s a simplicity to their idyllic way of life: swathed in cashmere and surrounded by nature. Sweaters, it seems, have serious selling power.

　　过着高大上生活的每一位女性设计师，就好比为自己品牌做了一次绝佳的广告代言：盖蒂的工作场所就是其雄踞于好莱坞山中鲁尼恩峡谷公园(Runyon Canyon Park in the Hollywood Hills)顶上的中世纪豪宅;而罗奇的工作场就在其17世纪的谷仓改建而成的工作室。赫斯特雇佣当地手工艺人纺羊毛，羊毛就剪自自己家在乌拉圭牧场饲养的绵羊。她们的田园牧歌生活简单质朴：身穿羊绒衫怡然自得地生活在大自然的环抱中。毛衣似乎特别畅销。

　　Rosetta Getty

　　罗塞塔•盖蒂

　　“Every time I have an upcoming meeting or trip, I think about what pieces would make my life easier,” says mother-of-four Rosetta Getty, 46. “With my clothes, I want to tell a story by reimagining classic styles in a way that’s appealing to women like myself.” As a model, Getty was catapulted into the fashion industry aged 14, shuttling between Silver Lake, LA, and Europe to pose for Bruce Weber and Paul Jasmin. Now married to the Brothers & Sisters actor Balthazar Getty, great-grandson of the oil tycoon J Paul Getty, she launched her label for autumn 2014, having closed her Rosetta Millington childrenswear label in 2001 after 10 years.

　　“每次我赴会或是外出前，我都会认真考虑穿啥衣服能让自己的生活更为惬意。”今年46岁、已是4个孩子妈妈的盖蒂这样说道。“我设计时装时，往往会设想这种款式是否会吸引像我这样的女性。”14岁的盖蒂偶然进入时尚界，成为一名模特，从此她的生活就穿梭于洛杉矶的银湖(Silver Lake, LA)与欧洲之间，参与布鲁斯•韦伯(Bruce Weber)以及保罗•加斯明(Paul Jasmin)执拍的广告片。嫁给《兄弟姐妹》(Brothers & Sisters)男主角、石油大亨保罗•盖蒂(J Paul Getty)的孙子巴尔萨泽•盖蒂(Balthazar Getty)后，她于2001年关闭了自己创建10年的童装品牌Rosetta Millington，并于 2014年秋季创建了自己的同名时装品牌。

　　She has a roster of high-profile friends to wear her designs, among them her childhood best friend Patricia Arquette, for whom Getty created a dress for the 2015 Academy Awards, where Arquette took home best supporting actress for Richard Linklater’s Boyhood.

　　很多明星朋友都是她时装的粉丝，其中就有儿时的闺蜜帕特里夏•阿奎特(Patricia Arquette)，盖蒂专为对方设计了参加2015年奥斯卡颁奖典礼的一款连衣裙，阿奎特凭借自己在理查•林克莱特(Richard Linklater)执导的《少年时代》(Boyhood)中的出色表演而勇夺最佳女配角奖。

　　Getty is a designer who opts not to dictate: “Many of the pieces are designed to be worn in multiple ways — ties that can be knotted closely to the body, draped or even left undone,” she says. Signatures include elongated tunics with fluid lines, worn over loose-fitting trousers.

　　盖蒂不是一位因循守旧的设计师：许多时装可有多种穿法——领带既可系、也可装饰，甚至只是挂在脖子里压根不系。她的代表性时装就是与宽松款裤子搭配、带有流畅线条的瘦长束腰外衣。

　　Ryan Roche

　　瑞恩•罗奇

　　Before moving upstate eight years ago, Roche, 38, lived in Brooklyn, working on her then childrenswear label made from Japanese organic cotton. Encouraged by her clients, who included actresses Maggie Gyllenhaal and Milla Jovovich, Roche launched her women’s label in 2011 in the quietest way possible: sharing a 12-piece collection with an intimate group of friends and supporters. “It was tiny for a few years,” says Roche.

　　八年前北上发展时，今年38岁的罗奇一直居住于纽约的布鲁克林，专心打造自己的童装品牌(采用日本有机棉布)。在女星玛姬•吉伦哈尔(Maggie Gyllenhaal)以及米拉•乔沃维奇(Milla Jovovich)等明星客户的鼓动下，罗奇于2011年推出了自己的女性品牌，这是有史以来最名不见经传的品牌：与一帮闺蜜与拥趸共享由12件时装组成的系列。“几年中，这个系列没啥影响力。”罗奇说。

　　She has signed to an international showroom and word is spreading — Ryan Roche is now stocked by 55 retailers. While she plans to operate as a full lifestyle brand, she will remain true to the brand’s DNA. “The heart and soul of our brand will always be our knitwear,” she says of her aesthetic — staples include cashmere two-pieces and knitted evening gowns. “Two of my top sellers [the fisherman sweater and a fringed cashmere knit] are things I introduced in my first season. When I fall in love with something that a designer does, I’m heartbroken to see the next season it’s gone. It’s always been my philosophy to be consistent.”

　　她随后与国际知名展厅签约，其知名度迅速扩散——瑞恩•罗奇如今入主了55 家零售百货店。虽说罗奇只打算成为纯生活类品牌，但她仍会忠于自己品牌的时尚风格。“针织装永远是自己品牌的核心。”她这样评说自己的时尚风格——主要产品包括羊绒两件套与针织类晚礼服。“两款最为畅销的款式(厚毛衣与带流苏的羊绒针织毛衣)是自己首个时装季推出的。我对某款时装爱不释手、但下个时装季它却成了“弃儿”后，就会为此伤心不已。我的信条就是始终如一秉持自己的时尚风格。”

　　Gabriela Hearst

　　加布丽埃拉•赫斯特

　　“A lot of our product is made by hand in Italy, and when you’re making things by hand you have limitations and timings. You cannot rush it,” says Hearst, 39. “I think it comes from my ranching background. If you are in the middle of nowhere and really off the grid, everything has a purpose.”

　　“我的很多时装都是在意大利手工制作而成，手工打造的时装存在诸多局限性以及时机把握的问题。不可能一蹴而就。”今年39岁的赫斯特这样说道，“这觉得这一切源于自己的牧场生活经历，置身于远离现代科技的偏僻地方，做啥事都会有目的性。”

　　A former model, Hearst was born in Uruguay, during the civic-military dictatorship, and spent most of her summers on the family ranch herding cattle. The aesthetic of the label she founded in 2015 draws from both her upbringing in South America and Manhattan residency: matter-of-fact, wearable garments with a rustic edge, translating into an unfinished hem on a georgette gown, or teaming elegant dresses with heavy boots.

　　当过模特的赫斯特出生于乌拉圭，在乌国内军政府独裁统治期间，每个夏天的多数时间，她都会在家庭牧场放牧。她于2015年创建了自己的品牌，其时尚风格源于其从小在南美长大以及在曼哈顿生活的经历：设计的服装实用耐穿、透着乡土气息，最终推出的是带着未染色褶边的乔其纱(一种极薄的透明细纱)连衣裙以及搭配笨重靴子的漂亮裙子。

　　Hearst and her husband also manage the family’s livestock estate, and will this season use their own wool in her collections for the first time.

　　赫斯特与丈夫如今还经营着自家的畜牧场，今年这个时装季，他们将首次采用自产的羊毛设计时装。

　　The Row

　　That Mary-Kate and Ashley Olsen have managed to create one of the most coveted labels while remaining relatively under the radar is astonishing. Rather than becoming a flash-in-the-pan celebrity fashion line, the former actresses, 29, have proved slow and steady wins: after almost a decade in business they launched their first retail store in LA’s Melrose Place last year. “We like doing things slowly, seeing how people respond to things, and learning from our mistakes,” says Ashley. “We try not putting it all out there.”

　　玛丽-凯特和阿什利•奥尔森姐妹设法创建了时尚界最令人觊觎的品牌、同时又保持低调神秘，此举着实让人难以置信。今年29岁的这对姐妹花非但没有成为昙花一现的名人时装设计师，相反，这对昔日的女星成为稳扎稳打的大赢家：从业近10年后，她们去年在洛杉矶的梅尔罗斯广场(Melrose Place)开设了首家零售门店。“我们喜欢慢工出细活，随时关注消费者的反馈，并从自己的失误中汲取教训。”阿什利说，“我们努力避免四面开花。”

　　The twins, who took over creative direction after losing Nadège Vanhee-Cybulski to Hermès in 2014, offer garments that have little intimation of gender. Ready-to-wear staples include cashmere and silk-blend capes, silk-satin camisoles and loosely tailored trousers (the label’s name alludes to the tailoring of Savile Row). “Retailers have seen that a quiet brand like The Row can be one of their best performers,” says Maria Lemos of Rainbowwave.

　　这对双胞胎姐妹在Nadège Vanhee-Cybulski2014年转投爱马仕(Hermès)门下后，亲自接任了创意总监一职，随后推出了没有性别界限的时装。主要成衣款式包括了羊绒与真丝混纺的披肩、真丝缎的贴身背心以及休闲款裤子(品牌名字The Row暗指伦敦萨维尔街(Savile Row)定制成衣业)。“零售商们亲睹了The Row这类名不见经传的品牌变身为最叫卖的品牌。”Rainbowwave创始人玛丽亚•莱莫斯这样说道。

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