你分得清時(shí)裝和垃圾的區(qū)別嗎？

　　你分得清時(shí)裝和垃圾的區(qū)別嗎?

　　Derelicte is really happening.

　　垃圾利用真的正在發(fā)生。

　　Twelve years after the Ben Stiller-as-supermodel classic “Zoolander” introduced the concept of a garbage-inspired fashion collection, real-life designers appear to be reprising trash as a trend. For anyone who needs a reminder, Mugatu, the bad-guy designer in the film, says: “Let me show you Derelicte. It is a fashion, a way of life inspired by the very homeless, the vagrants, the crack whores that make this wonderful city so unique.”

　　本·斯蒂勒(Ben Stiller)的經(jīng)典影片《超級(jí)名?！?Zoolander)推出了以垃圾為靈感設(shè)計(jì)服裝的概念，12年后，現(xiàn)實(shí)生活中的設(shè)計(jì)師們似乎真的在把垃圾變成一種潮流。要是你還沒(méi)想起來(lái)，我給你個(gè)提示：影片中的反派設(shè)計(jì)師穆格圖(Mugatu)說(shuō)，“讓我給你們展示垃圾利用。它是一種時(shí)尚，一種生活方式，靈感正是來(lái)自那些無(wú)家可歸的人、流浪漢以及為換取毒品而賣(mài)淫的妓女——他們讓這個(gè)精彩的城市如此獨(dú)特。”

　　Well, let me show you the real Derelicte. On the spring runway at Lanvin, there were shiny purses that looked very much like Hefty bags. At J. W. Anderson and Giambattista Valli, there were tunics and dresses that looked as if they were made from cardboard boxes. And at his New York show, Marc Jacobs created a set strewn with detritus, calling to mind a post-apocalyptic wasteland.

　　呃，還是讓我給你們展示真正的垃圾利用吧。在浪凡(Lanvin)的春季時(shí)裝秀上，有一些閃亮的手袋看起來(lái)很像Hefty牌垃圾袋。在J·W·安德森(J. W. Anderson)和詹巴迪斯塔·瓦利(Giambattista Valli)的秀臺(tái)上，我們能看到有的上衣和連衣裙像是用紙箱做成的。在紐約的時(shí)裝秀上，馬克·雅可布(Marc Jacobs)在秀臺(tái)上撒滿了瓦礫，讓人想起了大毀滅之后的廢墟。

　　During the fall season, garbage bags were used to great fashion effect by Mr. Anderson and Gareth Pugh, and Vivienne Westwood and John Galliano were doing the trash thing years ago. Perhaps designers are hoping for inclusion in the long-promised sequel to “Zoolander,” which Mr. Stiller indicated as recently as a year ago was still in development.

　　在秋季時(shí)裝秀上，安德森和加勒斯·普(Gareth Pugh)用垃圾袋收到了強(qiáng)烈的時(shí)尚效果，而多年前薇薇安·韋斯特伍德(Vivienne Westwood)和約翰·加利亞諾(John Galliano)就在設(shè)計(jì)垃圾風(fēng)服飾了。也許設(shè)計(jì)師們是希望自己能加入早已許諾拍攝的《超級(jí)名?！防m(xù)集——斯蒂勒一年前說(shuō)續(xù)集仍在策劃之中。

　　Mr. Anderson, at his Paris showroom, acknowledged that, why yes, the intricate pleating on leather tunics in his collection did look like corrugated cardboard. There were also some garbage-bag handbags and a clutch that was meant to look like a cardboard takeout container. But actually, the stiff pleating effects came from another designer, Issey Miyake. “I have huge respect for him,” Mr. Anderson said. “This was about finding a new way of pleating.” He called his collection “avant-garde bland.”

　　安德森在巴黎的展廳里承認(rèn)，他服裝系列里的皮質(zhì)上衣的復(fù)雜褶皺的確看起來(lái)像波狀紙板。那些垃圾袋手袋和手包想要收到外賣(mài)硬紙箱的效果。但是實(shí)際上，硬朗的褶皺效果的靈感來(lái)自另一位設(shè)計(jì)師——三宅一生(Issey Miyake)。“我特別尊敬他，”安德森說(shuō)，“我想找到一種新的打褶方法。”他稱(chēng)自己的系列是“溫和的先鋒派”。

　　Alber Elbaz, the Lanvin designer, has made no secret of his distaste for fashion’s obsession with ‘It’ bags, so his luxury trash bags were widely viewed as a pointed statement. (So far, he has only cryptically remarked to Jezebel, “I don’t make garbage bags.”) But no one was more literal than Mr. Valli, who included a cardboard dress (actually printed silk) that came with a rope belt (but really made of bronze). The look, he said, was inspired by the films of Pier Paolo Pasolini, which took a certain delight, as does Mr. Valli, in tormenting the bourgeoisie.

　　浪凡的設(shè)計(jì)師阿爾伯·艾爾巴茨(Alber Elbaz)從不掩飾自己對(duì)時(shí)裝界癡迷“名媛”手袋的厭惡，所以他奢華的垃圾袋被普遍認(rèn)為是一種尖銳的表態(tài)(到目前為止，他只對(duì)《Jezebel》含糊地說(shuō)過(guò)，“我做的不是垃圾袋”)。但是沒(méi)人比瓦利更直白了，他設(shè)計(jì)了一件紙箱連衣裙(實(shí)際上是印花絲綢)，配了一條繩子腰帶(實(shí)際上是用青銅做成的)。他說(shuō)那件衣服的靈感來(lái)源于皮埃·保羅·帕索里尼(Pier Paolo Pasolini)的電影，那些電影和瓦利一樣，能從折磨有產(chǎn)階層之中獲得某種快樂(lè)。