教皇是如何影响时装行业的？

Fashion and the Power of the Pulpit
By SUZY MENKES July 31, 2013
时尚
教皇是如何影响时装行业的？
SUZY MENKES 2013年07月31日
ROME — A clerical collar fits neatly at the neckline, a top is plain and long-sleeved, a skirt falls chastely over the knees and shoes are flat, black and mannish — even if a spark of jewelry at the toes is a reminder that this is a fashion show, not a priestly parade of habits.
罗马——硬白领整洁地与脖颈贴合，长袖上衣很朴素，半身裙端庄地超过膝盖，平底黑色鞋子很有男人味。尽管鞋尖宝石的亮光在提醒我们这是时装秀，不是教士服游行。
The AltaRoma season, which took place here last week, had classic couture clothes for the rich and conventional. But there were also displays of new talent. And most young designers at “Who Is on Next?” seemed to reflect a change in attitude. The aesthetic was as far as could be imagined from the ***-pot, breast-heaving, leg-exposing outfits of the bunga bunga world of Silvio Berlusconi, the politician and media tycoon who has served three times as prime minister.
AltaRoma的时装季上周在这里举行，展示为比较传统的富人设计的经典定制服装。同时也展示了新的设计。“谁是下一站潮人”展览的大多数年轻设计师似乎体现了这种态度上的转变。如今的审美已经与西尔维奥·贝卢斯科尼(Silvia Berlusconi)性派对里那些胸部隆起、暴露腿部的性感套装相去甚远。这位政治家和媒体大亨曾三次当选首相。
Such a switch in Italian fashion suggests more than a mere government upheaval. Looking at the discreet, sober, even chaste outfits put forward by the new designers, you have to ask this question: Has the humility and abstention demonstrated by Francis since he became pope in March influenced the fashion message coming out of Italy?
意大利服装的这种转变不只暗示着政府的剧变。看着新设计师推出的那些拘谨、庄重、甚至纯真的套装，你忍不住会问：方济各(Francis)3月份当选教皇后表现出来的谦逊和节制是否影响了意大利的时装潮流？
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Ariel La Rosa/AltaRoma
为教皇方济各制作的法衣是AltaRoma的展览一部分。这场展览在罗马的安杰丽卡图书馆举办。
Silvia Venturini Fendi, co-designer with Karl Lagerfeld at the Roman luxury leather-goods company and president of the Italian fashion organization AltaRomAltaModa, says a societal shift is expressing itself in clothing.
西尔维亚·文图里尼·芬迪(Silvia Venturini Fendi)是卡尔·拉格菲尔德(Karl Lagerfeld)在罗马奢侈皮制品公司的联合设计师，也是意大利时装组织AltaRomAltaModa的主席。她说社会转变正在服装方面体现出来。
“It’s a whole new spirit in Rome,” she said, “and this is evident when we have a new pope going back to real Christianity, which lately was far from the church.”
“罗马有了一种全新的精神，”她说，“这一点很明显，我们有了一位回归真正的基督教精神的新教皇，近些年这种精神已远离教堂。”
“People are looking for meaning,” she continued, “and the real meaning of fashion is as a tool to express yourself. Sometimes fashion hides your language but we look for meaning in materials and fabrics to allow true personality to come out.”
“人们在寻找意义，”她继续说道，“时尚的真正意义在于它是你表达自己的一种方式。有时候，时尚会掩盖了你自己的语言，但是我们希望能在材料和面料中寻找意义，体现真正的个性。”
Ms. Fendi also sees this as a reaction to wasteful mass-market fast fashion, a subject dear to the heart of her sister Ilaria Venturini Fendi, who has dedicated herself to upscale recycling. Her Carmina Campus range of bags is made from castoffs like old military blankets, garbage bags and bottle tops. Other purses are made by women’s collectives in Africa.
芬迪女士还把这看做是对十分浪费的大众市场快速时尚的反应，这个主题对她的姊妹伊拉里亚·文图里尼·芬迪(Ilaria Venturini Fendi)来说十分重要，后者致力于生产高档次的循环利用产品。她的Carmina Campus系列皮包是用旧军毯、垃圾袋和瓶盖等废弃物做成的。其他手包是由非洲的女子集体企业制作的。
A show by four designers — from Ghana, Switzerland and Rome’s own Stella Jean — displayed inventive textiles and traditional wax printing brought up date as stylish international clothing.
一场由四名设计师设计的时装秀展示了创造性面料和传统蜡染技术，这种技术经过革新，成为具有现代风格的国际服装。这四位设计师来自加纳、瑞士和罗马。来自罗马的设计师名叫斯特拉·珍(Stella Jean)。
Simone Cipriani, head of the ethical fashion initiative at the International Trade Center (an arm of the World Trade Organization and the United Nations) said he believed that [要查看本链接请先注册并登录] has already made an impact.
西蒙·斯普莱力(Simone Cipriani)是国际贸易中心（世界贸易组织和联合国的一个分支机构）的时装伦理倡议项目的主管。他说他认为[要查看本链接请先注册并登录]已经产生了影响。
‘’This Francesco is spreading the right message, also for us who work in this business, to take on responsibility,” said Mr. Cipriani, who said that “responsible” fashion, as in products made to ethical standards by craft workers, is increasingly in demand in a world of cheap fashion produced by the poor.
“方济各在传播正确的讯息，号召我们承担起责任，对我们服装业的人来说也是如此，”斯普莱力说。他说当今世界上的便宜时装都是穷人生产制作的；而人们愈来愈需要一种“负责任的”时尚，由技艺娴熟的工人生产符合道德伦理标准的时装。
How much is this wishful thinking by people committed to good works, and how much a real change?
这种想法有几分是决心生产优质产品的人们的美好愿望，又有几分是切实的改变？
Francis appears on the cover of last week’s Italian Vanity Fair, which has named him its “Man of the Year.” He is lauded inside for his courage and applauded by people like Elton John, who told the magazine: “Francis is a miracle of humility in an era of vanity.”
方济各上周登上了《名利场》(Vanity Fair)意大利版的封面，该杂志将他评为“年度人物”。教会内部的人赞美他的勇气。像艾尔顿·约翰(Elton John)这样的人也赞美他，艾尔顿对该杂志说：“在这个虚荣的年代，方济各是个奇迹般的谦逊之人。”
The previous pontiff, Benedict, was often described as the pope in the Prada shoes, though his entourage denied he wore them. He certainly had a passion for historic and religious robes, capes and headwear. A satirical YouTube video called “Vanità in Vaticano, the Pope in Fashion,” shows Benedict wearing 48 different gowns, hats, capes and chasubles.
人们经常把前任教皇本笃十六世描述为穿普拉达鞋子的教皇，虽然他的随从否认他曾穿过普拉达的鞋子。他无疑特别喜爱具有历史和宗教意义的长袍、斗篷和头饰。YouTube上有一段讽刺性的视频，名叫“梵蒂冈的化妆台，时尚的教皇”，该视频展示了本笃十六世穿过的48套不同的长袍、帽子、斗篷和无袖长袍。
Rome’s ecclesiastical shops, like Gamarelli (the pope’s official tailor) on Via Santa Chiara and DeRitis on Via de Cestari are stocked with cardinal-red and papal-purple bales of fabric waiting to be made up. There are still batches of decorative and gilded ribbons, even if the glitter is no longer actual gold thread.
罗马的教会服装店里储备了一捆捆猩红色和教皇专用的紫色面料备用，比如Via Santa Chiara街上的加马雷利店铺（Gamarelli，教皇的官方裁缝店）和Via de Cestari街上的DeRitis店铺。还有很多捆装饰用的镀金丝带，尽管闪光的不再是真正的金线。
The ultimate satire on religious fanciness is the famous fashion show in Federico Fellini’s movie “Roma” (1972). From the roller-skating duo in scarlet satin habits, to applauding nuns, country priests in bicycling attire, pastors in girly white frills and on to the glory and grandeur of papal costume, the clip sums up what the director saw as liturgical excess.
对于宗教中的浮华，最极端的讽刺是费德里科·费里尼(Federico Fellini)的电影《罗马》(Roma,1972)中的那场著名的时装秀。里面有穿着猩红缎子服的溜冰二人组、喝彩的修女、穿着骑行服的乡村教士、衣服上装饰有女孩子气白色褶皱的牧师以及庄严荣耀的教皇服装。这个片段集中体现了导演对过分注重仪式的讥讽。
But has the new pope, who dresses in the plainest of white robes, really influenced Italian fashion, and could his arrival alter people’s attitude toward luxury goods? He discouraged priests last week from driving “fancy” rather than “humble” cars. The Vatican says that Francis himself, lodged far from the Vatican’s palatial papal rooms, is driven in a modest compact car.
但是穿着最朴素的白色长袍的新教皇真的影响意大利时装了吗？他的到来能改变人们对奢侈品的态度吗？上周他鼓励教士们开“简朴的”汽车，不要开“花哨的”汽车。梵蒂冈说方济各本人乘坐的就是简朴的紧凑型轿车，而他住的地方离梵蒂冈皇宫般的教皇官邸很远。
On the Via dei Condotti, the restrained fashions in the windows of luxury stores contrast with the sun tops and beach shorts of visiting tourists.
在Via dei Condotti大街，奢侈品商店橱窗里的保守服装与游客们的吊带背心和沙滩短裤形成了鲜明的对比。
Dolce & Gabbana, whose new collection was openly religious, featuring images of southern Italian churches, had in its window a white lace dress that could have served for a first communion. Valentino, whose design duo has drawn on religious iconography and has shown covered-up clothes, had a cardinal-red dress, plain, ankle length and with long sleeves.
杜嘉班纳(Dolce & Gabbana)的新系列明显具有宗教色彩，以意大利南部教堂的图案为特色。橱窗里的一件白色蕾丝连衣裙十分庄重，穿着它参加首次圣餐毫无问题。华伦天奴(Valentino)的设计二人组从宗教图腾中寻找灵感，设计出了完全覆盖身体的衣服，其中一件猩红色长袖连衣裙款式简单，长及脚踝。
Even Céline, a French brand, had a focus on sobriety, with black shirt, skirt and brogues in its window.
甚至连法国品牌赛琳(Céline)也开始注重朴素，橱窗里有黑色半身裙、衬衣和粗革拷花皮鞋。
But the new store on Via Borgognona opened by the hot talent Fausto Puglisi showed a more flashy style with bold punk plaids. His “sober” dresses, presented like religious robes on the runway, yet split down one side, have been worn on stage by the singer Beyoncé.
但是热门天才法奥斯托·普吉立斯(Fausto Puglisi)在Via Borgognona大街上开的新店展示了更花哨的风格，衣服上有大胆的朋克风格的彩色格子。他的那些比较“朴素”的连衣裙，在秀台上展示时看起来像教士袍，但是一侧开出了狭长的口子。歌手碧昂斯(Beyoncé)已经在舞台上穿过这件连衣裙了。
Marigay McKee, chief merchandising officer at Harrods in London, was in town to view new collections and judge the AltaModa’s young designers.
伦敦哈罗德(Harrods)百货公司的首席采购销售运营官麦瑞戈·麦基(Marigay McKee)来到罗马观看这些新系列，评判AltaModa的年轻设计师们的作品。
She sees a turnaround in Italian style, with customers moving away from the ritzy Roberta Cavalli and Versace toward more sporty or “moderate” brands like Brunello Cucinelli, Zegna and Loro Piana, the fabric company that was just purchased by LVMH Moët Hennessy Louis Vuitton.
她注意到意大利风格的转变，顾客们从奢华的罗伯特·卡沃利(Roberta Cavalli)和范思哲(Versace)转向更有运动感的或者更“温和”的品牌，比如布鲁奈罗·库奇内利(Brunello Cucinelli)、杰尼亚(Zegna)和Loro Piana，最后这家面料公司刚被路威酩轩(LVMH)集团收购。
“Some of the overstated bling has become a bit irrelevant, and Italy is beginning to understand how the world is working,” Ms. McKee said of the progress of a brand like Bottega Veneta, with its more “intellectual” appeal. She also said that Asian customers at Harrods judge quality by studying the inside, not just the look, of luxury garments.
“有些过于夸张的奢华服装变得有点不合时宜，意大利正开始理解世界是怎样运转的，”麦基谈起像宝缇嘉(Bottega Veneta)这样更有“知性”魅力的品牌的发展时这样说。她还说哈罗德百货的亚洲顾客在评判奢侈品服装的质量时不只看外表，还研究里面。
The idea of simplicity in materials and an emphasis on craft were the focus of the work of students at the Accademia di Costume e di Moda here.
服装设计学院(Accademia di Costume e di Moda)的学生们的作品注重用料的简单和对工艺的强调。
Their end-of-term work included kimonos, fashioned not out of sumptuous patterned silks, but out of the raw cotton fabric known as ghinea, which was then dyed and decorated.
他们的期末作品包括和服，它们不是用华丽的有花纹的丝绸做成的，而是用未加工的棉质面料做成的，之后再进行染色和装饰。
Other student projects that focused on simplicity were re-creations by third-year students of classic Neapolitan Christmas nativity scenes and by different versions of the classic shirt, which followed the various inspirations of designers like Martin Margiela and Vivienne Westwood. At another event, underscoring AltaRoma’s focus on craft, Ms. Fendi invited a new breed of artisan/artists working outside the fashion system to display various offbeat objects in the historic Biblioteca Angelica.
其他关注简单的学生作品是大三学生们对经典那不勒斯耶稣诞生的再现，以及对经典衬衫的不同演绎，后者的灵感来自于马丁·马吉拉(Martin Margiela)和薇薇安·韦斯特伍德(Vivienne Westwood)这样的设计师。在另一场活动中，芬迪女士为了强调AltaRoma对工艺的注重，邀请服装业之外的新一代技师/艺术家在著名的安杰丽卡图书馆(Biblioteca Angelica)展示各种新颖的物品。
Against the backdrop of thousands of ancient library books on shelves up to the vaulted ceiling, the work of 18 people was grouped under the heading of “Artisanal Intelligence,” an exploration of ways to develop craft within the decorative arts. Their work included film, fine art, craft and sartorial inventions such as one-of-a-kind hats.
书架上成千上万本古老的图书延伸到圆顶天花板上，以此为背景，18位技师/艺术家的作品以“工艺智慧”的主题被聚集到了一起，探索的是在装饰艺术中开发工艺的途径。他们的作品包括电影、美术、工艺和服装样式方面的创新，比如每种只有一顶的帽子。
Two of papal robes, made in the same Neapolitan workshop since 1829, were on display, alongside a video from Silvia Morini, who wanted to film the beauty of liturgical costume. Another dreamy video called “Celestial” was produced for Ludovica Amati, who showed clothes among other objects that focused on art rather than fashion.
本次展览展示了两件教皇长袍，是在那不勒斯一个1829年便已创立的工作室里制作出来的。同时还展示了西尔维亚·莫里尼(Silvia Morini)的视频，她想拍摄出宗教礼仪服装的美感。另一个叫《天堂》(Celestial)的梦幻般的视频是为Ludovica Amati这个品牌制作的，该视频除了展示服装，还展示了其他一些更富于艺术性而非时尚性的物品。
If Rome was not built in a day, it is unlikely that any abrupt change in style is going to take effect immediately. But fashion always holds up a mirror to society and its time.
如果罗马不是一日建成的，那时尚风格的转变也不大可能突然出现。但时装总是反映社会和时代的一面镜子。
“Maybe there is a moment when we want to focus on other things in life and give fashion a different meaning to clothing,” Ms. Venturini Fendi said. “Women are thinking and dressing more ethically. This pope is what we all needed.”
“也许会有一天我们想要关注生活中的其他东西，给时尚一个不同的定义，”文图里尼·芬迪说，“如今女人们的思想和服装更注重道德。这位教皇是我们都需要的。”