襯衣成了女人的華麗時(shí)裝

　　The classic masculine button-down has this seasonbeen given a feminine twist. Spring/summercatwalks introduced shirting with new architecturalproportions: strict peplums or sculptural, cut-outdetails tied up with ribbons. “Mensy” shirts werechopped into a severe crop and decorated withasymmetrical ruffles.

　　這個(gè)春夏時(shí)裝季，經(jīng)典款領(lǐng)扣式男襯衣被設(shè)計(jì)師賦予了女性風(fēng)情。各個(gè)春夏季時(shí)裝秀場(chǎng)推出了呈現(xiàn)全新比例結(jié)構(gòu)關(guān)系的襯衣：腰部飾裙以及系著絲帶的雕花圖案比比皆是。男款襯衣被翻改成用非對(duì)稱皺褶裝點(diǎn)的女性風(fēng)格裝束。

　　What was once just a building block of a woman’s wardrobe has been remade as the focalpoint. “The great thing about shirting is that it goes with jeans, and jeans are probably themost modern, functional garment that ever existed,” says designer Jonathan Andersonwhose six-piece JW Anderson x Net-a-Porter capsule launched last month.

　　昔日女性裝束的尋常角色如今搖身一變，成為時(shí)尚界眾目睽睽的焦點(diǎn)。“襯衣的妙用就是它能隨意搭配各種牛仔裝，而牛仔裝或許是時(shí)裝界有史以來最時(shí)髦、功能最為多樣的裝束。”設(shè)計(jì)師喬納森•安德森(JonathanAnderson)這樣說道。不久前，他與Net-a-Porter合作推出了JW Anderson六件單品“混搭裝”(capsule)。

　　The collection elevates shirting to new levels: pieces include an off-the-shoulder, loose topwith a sweetheart neckline and superfine spaghetti straps, and a one-shouldered pinstripebustier with a sculpted peplum. For the designer, taking a timeless piece as a basis for adirectional collection makes the pieces easily wearable. “I wanted to propose items customerswould be able to combine with their actual wardrobe,” says Anderson.

　　該系列把襯衣提升至全新的高度：?jiǎn)渭b中就包括了雞心形領(lǐng)口與精制細(xì)吊帶的寬松型露肩襯衫，配有雕花款腰部飾裙、一頭露香肩的細(xì)條紋式束身胸衣。在設(shè)計(jì)師安德森看來：把適合各時(shí)尚季穿的襯衫作為設(shè)計(jì)引領(lǐng)風(fēng)尚系列的基礎(chǔ)，各單品襯衣于是順理成章成了百搭裝。“我希望所推出的襯衣是消費(fèi)者心悅誠服的百搭裝。”安德森說。

　　Elsewhere this spring, there are loosely-tailored tie-waisted versions at Joseph and balloon-sleeved styles at Céline. For Sarah Rutson, vice-president for global buying at Net-a-Porter,shirting’s renaissance is no surprise. It’s the “backbone of a woman’s wardrobe”, she says.The site’s shirting category offers styles from 106 designers, and that’s only likely to increase,with shirts a feature on the AW16 catwalks, seen at, among others, Preen by Thornton Bregazziand 1205.

　　Joseph與Céline等其它品牌在這個(gè)春夏時(shí)裝季分別推出了腰部系結(jié)式寬松襯衣與肥袖款襯衣。Net-a-Porter全球采購部副總裁莎拉•羅森(Sarah Rutson)說，襯衣的“東山再起”完全在預(yù)料之中。襯衣是“女妝之定海神針”，她說。Net-a-Porter網(wǎng)店上的襯衣來自106位設(shè)計(jì)師，而且，隨著襯衣成為2016秋冬季時(shí)裝秀(Preenby Thornton Bregazzi與1205等眾多品牌就是明證)的一道亮麗風(fēng)景線，Net-a-Porter上網(wǎng)銷售的襯衣品牌只會(huì)越來越多。

　　This month meanwhile sees the launch of MatchesFashion.com’s shirting collaboration withJoseph Altuzarra: an exclusive five-piece collection born out of the fact that the designer’sshirt-dresses were forever selling out on the site.

　　與此同時(shí)， MatchesFashion.com將推出與設(shè)計(jì)師約瑟夫•奧圖扎拉(Joseph Al¬tu¬zarra)合推的襯衣：這個(gè)限量版五件套系列的橫空出世，源于后者設(shè)計(jì)的禮服襯衣在MatchesFashion.com網(wǎng)店總是供不應(yīng)求。

　　This new focus on the staple is great news for shirting brands too. When Central Saint Martinsgraduates Matthew Harding and Levi Palmer founded their label Palmer Harding in 2012, theyhomed in on shirts as they felt it was good to have a niche. “Rather than trying to buildeverything at once, specialising in one garment allowed us space for constant refinement,”says Harding.

　　消費(fèi)者關(guān)注銷路穩(wěn)定的產(chǎn)品，對(duì)于各大品牌而言同樣是重大利好。畢業(yè)于中央圣馬丁藝術(shù)學(xué)院(Central SaintMartins)的馬修•哈丁(Matthew Harding)與萊維•帕爾默(Levi Palmer)于2012年合創(chuàng)Palmer Harding品牌時(shí)，他們把目標(biāo)投向了襯衣，因?yàn)樗麄冋J(rèn)為創(chuàng)建這個(gè)細(xì)分行業(yè)前景廣闊。“我們不想一下子眉毛胡子一把抓，而是專注于襯衣，此舉能讓我們不斷精益求精。”

　　Palmer has a degree in pattern-cutting from Dallas University — and the duo’s technical skillshave led to the nickname “the shirt boys”. Palmer Harding has a list of rules for its shirting:cotton only; collars must have two types of interfacing; and each seam has 18 stitches per inch,with most constructed with French seams, for softness. (Many of their pieces are created viadraping fabric on the model, with the shirting elements added in afterwards.)

　　帕爾默曾獲得達(dá)拉斯大學(xué)(Dallas University)的裁剪專業(yè)學(xué)位—這對(duì)黃金組合的出色設(shè)計(jì)技能使其獲得了“襯衣男神”的綽號(hào)。Palmer Harding的襯衣有一整套規(guī)則：只采用純棉面料，衣領(lǐng)必使用兩種襯布，每個(gè)接縫采用每英寸18針，而且多數(shù)接縫采用法式線縫法，以期增加柔軟度。(很多單件襯衣設(shè)計(jì)時(shí)，先在模特身上試面料，而后再添加各個(gè)襯衣組件。)

　　Their four annual collections include a variety of shirting interpretations, each referred to by amodel number. Such has been the popularity of number 96 (introduced in 2013, picturedbelow), they have struggled to keep up with orders, and there is often a long waiting list for theshirt. Its appeal is obvious: crafted from five metres of fine German cotton, the top is aclassic button-down with long sleeves and big cuffs, which gives way to a vast, asymmetricmaxi length. “It’s a very dramatic piece and it creates a massive silhouette,” says Harding. “But at the same time, it’s just a cotton shirt.”

　　他們每年推出四個(gè)時(shí)裝系列，其中就有眾多襯衣款式，每一款都由模特號(hào)代表。風(fēng)靡一時(shí)的96號(hào)襯衣就是如此。該款襯衣的訂單多得讓他們力不從心，總是供不應(yīng)求。其魅力顯而易見：它由5米德國上乘棉布料手工打造而成，這款長(zhǎng)袖子與大袖口的經(jīng)典款領(lǐng)扣式襯衣最終呈現(xiàn)的是非對(duì)稱的超長(zhǎng)款式。“這款夸張做作的襯衣穿在身上，氣勢(shì)逼人。”哈丁說。“但與此同時(shí)，這只是一款棉襯衣。”

　　The button-down has come a long way from its humble origins. “In the past, the gentleman’sshirt was relegated to being worn as an undergarment. Unless you were fighting a duel, itreally wasn’t on display,” says Kristina Rate, who founded her London-based Belle Epoque labelin 2013. Her first collection was comprised entirely of white shirts inspired by the actressLauren Bacall. “Today, it’s a powerful fashion staple — it’s the most-worn piece of clothing byboth sexes.”

　　領(lǐng)扣式襯衣最初是名不見經(jīng)傳的角色，歷經(jīng)漫長(zhǎng)歲月，方有今日之地位。“過去，男士襯衣只是穿作貼身內(nèi)衣。除非參加決斗，否則它難露真身。” 克里斯蒂娜•凱特(Kristina Rate)說，她于2013年在倫敦創(chuàng)辦自己的品牌Belle Epoque。她推出的第一個(gè)時(shí)裝系列全是白襯衣，其設(shè)計(jì)靈感來自于影星勞倫•巴考爾(LaurenBacall)。“如今，這是一款暢銷裝——它是男女擁躉最喜歡的單品。”

　　Whereas the classic white shirt will always sell, this season is all about the statement. “We’vealways loved a woman in a white shirt,” says Tome’s Ramon Martin from the brand’s 25thStreet studio in NoMad, a tiny New York neighbourhood nestled between Chelsea and Flatiron.The studio is a big, white, open space with all-day sunlight and sky views, where everythingfrom the designing to pattern-cutting and fittings takes place. “It’s an inspiring space to bein,” says co-founder Ryan Lobo.

　　盡管經(jīng)典款白襯衣一直暢銷，但這個(gè)時(shí)裝季，卻是華麗高調(diào)的女款襯衣獨(dú)領(lǐng)風(fēng)騷。“我們一直對(duì)身穿白襯衣的女性情有獨(dú)鐘。”Tome設(shè)計(jì)師拉蒙•馬丁(Ramon Martin)在位于NoMad第25街的工作室如是說道，NoMad是位于紐約切爾西(Chelsea)與熨斗區(qū)(Flatiron)之間的一處微型社區(qū)。工作室是一處面積巨大的白色開放式空間，全天陽光通透，藍(lán)天白云一覽無遺，從設(shè)計(jì)、裁剪到拼接的所有工作都在里面完成。“身處其中，靈感源源不絕。”該工作室共同創(chuàng)始人瑞恩•洛博(Ryan Lobo)說。

　　Alongside its ready-to-wear collections which always includes shirts, in 2014 Tome launched acollaboration with the charity Freedom for All. The White Shirt Project is a twice-yearlycapsule of around three shirts, with profits going to the charity’s efforts to eradicate slaveryand human trafficking. “We see the white shirt as a metaphor for a clean slate,” says Lobo ofthe collaboration.

　　在推出成衣系列(總有襯衣)的同時(shí)，Tome2014年還與慈善組織Freedom for All合推了一個(gè)時(shí)裝系列，The White Shirt Project每年兩次推出混搭款襯衣，每次大約推出三件襯衣，所得利潤捐于Freedomfor All，根除奴隸制與販賣人口的慈善事業(yè)。“我們認(rèn)為白襯衣寓意個(gè)人歷史一清二白。”洛博說。

　　Women are at the forefront of the Tome brand: whether it’s the female artist they takeinspiration from each season (past choices have included Georgia O’Keeffe and LouiseBourgeois), the women in their six-strong atelier, or their clients. They are mindful of ensuringtheir collection has a democratic offering, and take on board feedback about everything fromdesign to price points. “We ask them, ‘Would you wear this? Do you like this colour? Would youput this on?’?” says Martin. “‘Would you buy it? And pay $500 for it?’ We enjoy learning aboutwhat inspires women and, practically, what satisfies them.”

　　不管是女性藝術(shù)家(每個(gè)時(shí)裝季，旗下設(shè)計(jì)師都會(huì)從其身上汲取設(shè)計(jì)靈感，過去的例子就包括了喬治亞•奧基夫(Georgia O'Keeffe)與路易絲•布爾喬亞(Louise Bourgeois)等女性藝術(shù)家)、工作室六位知名設(shè)計(jì)師中的女性成員、還是客戶群，女性一直位居Tome品牌最重要的地位。Tome是有心者：確保自己推出的系列做到博采眾長(zhǎng)，而且愿意傾聽從設(shè)計(jì)至價(jià)位的各種反饋意見。“我們會(huì)問女性，‘您愿意穿這嗎?喜歡這款顏色嗎?會(huì)穿它嗎?’”馬丁說。“‘您會(huì)買嗎?愿意出500美元嗎?’我們樂于了解女性喜歡的東西，即她們實(shí)際青睞啥。”

　　For brands like Tome, it’s shirting season every season. “A blank page for a writer is anopportunity for just about any inspiration, and maybe the white shirt allows the same thing,”says Martin. “That white page allows our customer, our woman, to create whatever she wants ofherself.” The shirt then allows for renewal. “They’re everyday heroes,” he concludes.

　　對(duì)于Tome這類品牌來說，襯衣成了包打各個(gè)時(shí)裝季的唯一產(chǎn)品。“對(duì)于作家來說，各種寫作靈感都能躍然于一張白紙上，或許白襯衣也是如此。”馬丁說。“一件白襯衣能讓我們的女性客戶肆意打扮。”襯衫的花樣就會(huì)不斷推陳出新。“它們就是平日生活的主角。”他總結(jié)道。