影集展示80年代的阿瑪尼：打破性別界限

影集展示80年代的阿瑪尼：打破性別界限

One has a name that is a household word. The other is known mostly by fashion’s cognoscenti.

一個(gè)人的名字家喻戶曉，另一個(gè)人的名字主要為時(shí)裝業(yè)行家所知。

But the collaboration between Giorgio Armani and the photographer Aldo Fallai in the 1980s is more than just a record of a powerful artistic relationship. It shows the essence of Armani as a designer and how the image that the designer created in his mind and in cloth was translated for the wider world.

但是喬治·阿瑪尼(Giorgio Armani)和攝影師奧爾多·法拉伊(Aldo Fallai)在20世紀(jì)80年代的合作不只是一種有影響力的藝術(shù)合作關(guān)系。它表現(xiàn)出阿瑪尼的設(shè)計(jì)精華，以及他如何向更廣闊的世界展示自己在頭腦中和服裝中創(chuàng)作出來(lái)的形象。

The exhibition “Aldo Fallai, From Giorgio Armani to Renaissance, Photos 1975-2013” through March 16 at the Villa Bardini in Florence and the accompanying book should be viewed as an object lesson in style for any aspiring designer.

“奧爾多·法拉伊，從喬治·阿瑪尼到文藝復(fù)興，攝影作品1975-2013”將在佛羅倫薩的巴迪尼別墅舉辦至3月16日，隨附的圖書(shū)應(yīng)該被所有志向遠(yuǎn)大的設(shè)計(jì)師視為一本時(shí)裝實(shí)物教科書(shū)。

Mr. Fallai captures so boldly — yet with great subtlety — what Mr. Armani understood: That the androgynous 1980s were more than skin and pantsuit deep.

法拉伊大膽又細(xì)膩地捕捉到阿瑪尼的見(jiàn)解：雌雄同體的80年代不只是膚淺的長(zhǎng)褲套裝。

Their spontaneous alliance created a vision of a new woman and a newly softened male. The Armani clothes freed the wearer from all restraints, giving the same possibility of an energetic life to both sexes. Above all, the duo captured a new female attitude: She could dare to present herself as an intelligent adult, whether you call an oversize pantsuit, ironing out curves, unisex or androgynous.

他們的自發(fā)結(jié)合創(chuàng)造出新女性和更柔和的新男性。阿瑪尼的服裝讓穿著者擺脫了所有的束縛，給兩性帶來(lái)了同樣有活力的生活。最重要的是，兩人的合作成果充分體現(xiàn)了女性的新態(tài)度：她敢于把自己塑造成有智慧的成年人，不管你把掩蓋曲線的寬大的長(zhǎng)褲套裝稱為男女通用或者雌雄同體。

The female models were mostly jolie laide, the French term for “pretty-ugly.” But their faces are filled with character, which after the “dolly girls” of the 1960s and the skinny creatures with weeping hair in the 1970s, was a minor revolution.

女模特大多是“jolie laide”的，這個(gè)法語(yǔ)詞組的意思是“相當(dāng)丑陋”，但是她們的臉很有個(gè)性。與60年代的“洋娃娃”和70年代的長(zhǎng)發(fā)骨感女孩相比，這是個(gè)小小的革命。

A firm female figure, clasping daily newspapers to her wide-shouldered suit, expressed absolutely who was kicking out the glass ceiling back in 1984. Her counterpart by 1993 was a man, denim jacket tied around the waist below a bared chest, clutching an armful of flowers.

一個(gè)堅(jiān)定的女人把報(bào)紙緊緊抱在寬肩西服前，這無(wú)疑在表達(dá)是女性在1984年打破了傳統(tǒng)界限。與她類似的是1993年的一個(gè)男人，他把牛仔布夾克系在腰上，裸露的胸前抱著一大束花。

Many of Mr. Fallai’s images were for the less expensive Emporio Armani line. They included families, so children with a solemn stare or a man walking along, holding a child’s hand, suggested major societal shifts.

法拉伊的很多照片都是為相對(duì)便宜的愛(ài)姆普里奧·阿瑪尼(Emporio Armani)系列拍攝的。這些照片中有家人，所以嚴(yán)肅凝視的孩子或者牽著孩子的手走路的男人都反映出重大的社會(huì)變革。

Mr. Fallai, working, of course, before the digital era, still managed to convince the viewer that his bold woman, standing at the water’s edge, was at Portofino or some other iconic Italian beach. In fact, at the exhibition opening, he re-lived the moment when he hoisted a blown-up image of the backdrop onto a wall so the photography would capture the right spirit.

法拉伊工作的時(shí)代當(dāng)然沒(méi)有數(shù)碼技術(shù)，不過(guò)他還是能夠讓觀眾以為站在水邊的大膽女性是站在波多菲諾港或者其他某個(gè)標(biāo)志性的意大利海灘。實(shí)際上，在展覽的開(kāi)幕式上，他回顧了那時(shí)候的工作情況——他把放大的背景圖片吊到墻上，讓照片具有正確的感覺(jué)。

In that era, long before today’s post-production “improving” of images, there is a frankness to the photographer’s work that penetrates the mind.

那個(gè)時(shí)代沒(méi)有如今的后期圖片“美化”技術(shù)，那些深深印入人們頭腦的照片還具有一定的真實(shí)性。

Even more recent studies — people of today presented as Renaissance figures — have the same raw simplicity. The faces and the clenched hands are presented warts and all.

甚至連更近一些的作品——由現(xiàn)在的人飾演文藝復(fù)興時(shí)期的人物——也具有同樣純樸的簡(jiǎn)單。臉龐和緊握的雙手都不加掩飾地展示出來(lái)。

But it is the Armani pictures that offer such insight into both a period and a time when capturing a style was a collaboration between designer and photographer, rather than a team of professional brand-builders.

但是阿瑪尼的照片能讓我們深入了解那個(gè)時(shí)代，那時(shí)候展現(xiàn)時(shí)裝風(fēng)格需要設(shè)計(jì)師和攝影師協(xié)力合作，而不是通過(guò)專業(yè)的品牌塑造團(tuán)隊(duì)。

As a great designer, Mr. Armani produced work that proves something else. Although the clothes were revolutionary in their time, they have grown into classics. Maybe the androgyny of the 1980s now seems a little forced, but this was a period when making a female pantsuit elegant was a revolution.

作為一名偉大的設(shè)計(jì)師，阿瑪尼創(chuàng)作出了能證明其他一些東西的作品。雖然那些衣服在當(dāng)時(shí)是革命性的，但是它們后來(lái)成了經(jīng)典之作。80年代的雌雄同體也許在如今看來(lái)有些生硬，但是在那個(gè)時(shí)代，把女式長(zhǎng)褲套裝做得優(yōu)雅是一種革命。

The male, of course, appears in similar studies. The ease with which cloth folds over the male torso is another of Mr. Armani’s skills. And Mr. Fallai shows figures of sweet gentility, while at the same time making them distinctly male.

當(dāng)然，男性也出現(xiàn)在類似的作品中。輕松地讓衣服包裹男性軀干是阿瑪尼的另一個(gè)技巧。法拉伊展示的男性甜蜜、文雅，同時(shí)具有明顯的男性氣質(zhì)。

It is rare to see a collaboration that so captures a moment, nor an exhibition with such a clear purpose.

他們的合作如此充分地展現(xiàn)了一個(gè)時(shí)代，這很難得;這個(gè)展覽具有如此明確的目的，也同樣難得。

The show, although perhaps at its most beautiful in the Bardini museum with its hilltop view over Florence, deserves to travel the world as a celebration of art — both from photographer and designer.

也許這場(chǎng)展覽的迷人之處在于它是在巴迪尼博物館展出的——該博物館坐落在山頂上，能俯瞰佛羅倫薩，不過(guò)它值得你飛小半個(gè)地球來(lái)觀看，來(lái)贊美攝影師和設(shè)計(jì)師的藝術(shù)。