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紐西蘭外海地震 規模6.4

國安法修法三讀 退休軍公教淪共諜喪失並追繳退俸

紐時賞析/巴黎聖母院 融入法國時尚

2019-05-08 15:34聯合報 紐時賞析

Woven Into the Style of France

巴黎聖母院 融入法國時尚

圖為聖母院原貌。 圖/聯合報系資料照片
圖為聖母院原貌。 圖/聯合報系資料照片
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There has never been a fashion show inside the Cathedral of Notre Dame, or in the piazza splayed in front of it, the way there have been in French cultural landmarks like the Louvre, the Palais de Justice and the National Archives.

巴黎聖母院主教座堂內部或前方寬闊廣場上,從來沒有像法國其他文化地標一樣辦過時尚秀,如羅浮宮、司法宮和國家檔案館。

But there might as well have been. It is embedded on the psychographic style map of the city, its two towers as defining a silhouette as the New Look, its image practically a brand in itself.

不過其實也跟舉辦過沒什麼兩樣。聖母院已深植於這座城市的心理圖像風格地圖之中,它的兩座鐘樓就和「新風貌」一樣,為時裝風格定了調,它的意象實際上就是一個品牌。

Four times a year, as the couture and ready-to-wear shows dawn in Paris, town cars and editors and retailers shod in stilettoes or Stan Smiths would crisscross the quais from the Tennis Club de Paris to Bercy, Austerlitz to the Pompidou.

時裝設計和成衣秀每年在巴黎登場四次,每一次,豪華轎車和穿著細跟高跟鞋或經典史密斯運動鞋的總編輯和零售業者,都會在各個碼頭之間縱橫交錯,從巴黎網球俱樂部到貝西地區,從奧斯特里茨地鐵站到龐畢度中心。

Each time, they would swirl past the towers and rose windows of the cathedral on the Île de la Cité, the nexus of a diagonal from the Sixth Arrondissement headquarters of Sonia Rykiel to the Fourth Arrondissement home of Azzedine Alaïa, all around it other showrooms and ateliers like pearls on a string.

每一回,這些人總會匆匆經過西堤島上這個主教座堂的鐘樓和玫瑰窗。聖母院是一條對角線的樞紐,線一端是巴黎第六區索尼亞.里基爾品牌總部,另一端則是巴黎第四區時裝設計師阿萊亞故居,其他最新商品展示場和工作室環繞著聖母院,像一條線上的一顆顆珍珠。

When it burned, so did one of the poles by which the fashion world orients itself, and not just geographically.

當聖母院焚毀時,時尚世界賴以定向的極點之一也毀了,而且不是只在地理上。

The tragedy at Notre Dame pierced viewers around the world, and leaders of all kinds have responded with emotion and support. For the French, there’s a more visceral connection between French fashion and French monuments that has to do with definitions of the country’s culture and how it is disseminated around the world.

聖母院的悲劇讓世界各地觀者心如刀割,各界領袖帶著感情和支持的心回應。對法國人而言,法國時尚與法國紀念建物的連結更為深刻入骨,這種連結與法國文化的定義和它如何傳遍全球有關。

To designers of French brands, whose identity is wrapped up in the history of Paris, Notre Dame is not just an example of gorgeous architecture (though it is that, and designers often cite various buildings as catalysts for their imagination), nor is it just another tourist draw that helps bring their customers to France (though it is that, too).

法國品牌設計師的認同與巴黎史緊密相繫,對設計師來說,聖母院不只是宏偉建築的範例(雖然它的確是,且設計師也常說各類建物觸發他們的想像力),也不只是又一個把客戶引來法國的景點(雖然它同樣也是)。

It is, in a more abstract sense, part of their own patrimony, an example and embodiment of the values they hold dear and that define their work at its best: beauty, artisanship, handwork, heritage, the emotion that can be evoked by creativity. A concrete — or rather, stone and wood — example of the worth that resides in these concepts. A character in the myth of Frenchness written by Victor Hugo and Disney.

在更抽象的意義上,聖母院是法國品牌設計師祖傳遺產的一部分,是他們所珍視價值的代表和化身,這些價值界定了他們作品的極致:美、工藝、手藝、傳統、創造力喚起的情感。是這些概念裡潛藏價值具體的——或寧可說,石磚和木材的——實例。是作家雨果和媒體集團迪士尼撰寫的法國風範神話中一個角色。

And for anyone trying to capture that elusive quality of Frenchness and give it form — which is, let’s face it, part of the promise of French fashion, especially those brands that are synonymous with that je ne sais quoi (Dior, Saint Laurent, Givenchy, Chanel and Hermès) — Notre Dame was an essential reference.

而對於想抓住難以捉摸的法國風範,並賦予形式的人而言,聖母院是不可或缺的範例。老實說吧,抓住法國風範並給予形式,正是法國時尚所具魅力的一部分,尤其是等同於「難以名狀迷人特質」的品牌(迪奧、聖羅蘭、紀梵希、香奈兒和愛馬仕)。

Just as it was shorthand for the sagas that surround it, be they of Joan of Arc, Napoleon or de Gaulle, which also provide the elements of a sartorial vocabulary all designers share.

正因為聖母院見證過周遭的一些英雄故事,不論是關於聖女貞德、拿破崙或是戴高樂的,所以也提供了所有設計師共享的服裝語彙要素。

文/Vanessa Friedman 譯/李京倫

法國巴黎聖母院紐約時報

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