粉紅色究竟意味著什么？

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Pink packs a punch. The once playful tint of fragile ballerinas, Bubble Yum and Malibu Barbie has flexed some muscle of late, taking on overtones of sociopolitical protest, transgression and unalloyed eroticism.
粉紅色也能重拳出擊。曾經(jīng)屬于纖巧芭蕾舞女演員、泡泡糖和馬里布芭比娃娃的這種嬉戲色調(diào)，最近顯示出了某種實(shí)力，披上了社會與政治抗議、越軌，以及純色情的寓意。

That message emerges with unexpected force at the Fashion Institute of Technology in a museum exhibition that explores variations of a color that has ping-ponged across the centuries, varying in tone from demure to baldly subversive, from classy to trashy and back.
這個信息以讓人意想不到的力量在紐約時裝技術(shù)學(xué)院(Fashion Institute of Technology)的一個博物館展覽中顯現(xiàn)出來，展覽探索了幾個世紀(jì)里，這種顏色從靦腆到大膽顛覆，從高貴到無聊，再反回來的多次變化。

Pink is a color in transition — pretty, and pretty unsettling — in a show that opens Sept. 7. Its lingering kitsch factor has clouded its impact for sure.
在9月7日揭幕的展覽中，粉紅是一種不斷轉(zhuǎn)型的顏色——既漂亮，又相當(dāng)令人不安。其揮之不去的庸俗氣息無疑掩蓋了其巨大的影響力。

“That’s one reason people think it’s not serious,” said Valerie Steele, the director of the Museum at F.I.T. Ms. Steele, on the other hand, would emphatically urge you to rethink pink. “這是人們認(rèn)為粉紅色不嚴(yán)肅的原因之一，”時裝技術(shù)學(xué)院博物館館長瓦萊麗·斯蒂爾(Valerie Steele)說。但斯蒂爾要力勸你從另一個角度來重新思考粉紅色。

“Really, it’s society that makes color, that decides what colors are going to mean,” she said, a point reinforced throughout the exhibition and in Ms. Steele’s accompanying book, “Pink: The History of a Punk, Pretty, Powerful Color.”
“的確，是社會制造了顏色，社會決定了各種顏色意味著什么，”她說，這個觀點(diǎn)貫穿在整個展覽之中，也貫穿在斯蒂爾為之所著的新書《粉紅：一個朋克、俏麗、強(qiáng)有力顏色的歷史》(Pink: The History of a Punk, Pretty, Powerful Color)之中，并從中得到強(qiáng)化。

A multidimensional hue with widely varying connotations, it is no longer, Ms. Steele insisted, “just girlie dumb pink but androgynous, cool hip protesting pink, an expression of all kinds of more complicated ideas.”
粉紅是一種多維的、含義變化多端的色彩，它不再只是“適合少女的愚蠢粉色，而是兼具兩性的、既酷且潮又反叛的粉色，是各種更復(fù)雜想法的一種表達(dá)，”斯蒂爾堅(jiān)稱。

The show makes her point, pink shedding its chaste, frothy associations in stealthy stages in favor of a more defiantly confrontational and sometimes downright kinky mood. Janelle Monáe mined that mood to the hilt with a copy of the ripely suggestive costume she wore in her recent video “Pynk.” That eye-searing look by Duran Lantink, a Dutch designer, is on view, its petal-like trousers opening to reveal a rosy-hued vagina.
展覽印證了她的觀點(diǎn)，通過幾個不聲張的階段，粉紅色擺脫了其純潔、輕快的聯(lián)想，附上了一種更為反叛的頂撞、有時簡直怪癖的情感。歌手加奈兒·夢奈(Janelle Monáe)在她最近的音樂錄影“PYNK”中，用身上穿的一件強(qiáng)烈暗示性服裝的復(fù)制品，把這種情感發(fā)揮到了極致。荷蘭設(shè)計師杜蘭·蘭廷克(Duran Lantink)設(shè)計的灼眼打扮出現(xiàn)在展覽中，花瓣?duì)畹难澴映ㄩ_來，揭示出粉紅色調(diào)的陰道。

Pink’s transgressive impact, though, has been long in the making. In Western culture the color, in near-magenta and faint, powdery variations, was embraced by the nobility, its popularity enhanced in the late 14th century when new dyes sourced from India and Sumatra made for richer pinks.
不過，粉紅的越軌性影響力有一個很長的形成過程。在西方文化里，從接近紫紅到淡而偏粉的這個顏色的各種色調(diào)曾受到貴族的喜愛，14世紀(jì)后期，來自印度和蘇門答臘的新染料制出了更飽滿的粉紅色后，這個顏色就更受歡迎了。

In the mid-1700s, Madame de Pompadour rendered a more confectionary pink the height of fashion: In the portraits of François Boucher, she models a succession of sassily beribboned shell-pink gowns and negligees.
18世紀(jì)中期，蓬帕杜夫人使一種更甜蜜的粉紅色成為時尚之顛：在弗朗索瓦·布歇為她畫的幾幅肖像中，她穿了一系列的滿是絲帶、時髦且自信的貝殼粉色女禮服和女士晨衣。

Pink during that period was intended for both sexes, a point underscored in the exhibition by a mannequin showily attired a coat and breeches, its pale salmon silk damask contrasting smartly with a creamy embroidered waistcoat.
粉紅色在那個年代男女皆宜，展覽中一具穿著耀眼上衣和半長褲的人體模型強(qiáng)調(diào)了這一點(diǎn)，它穿的淡鮭魚色絲緞與奶油色刺繡馬甲背心對比鮮明。

But by the mid-19th century, men had largely ceded pink to their sisters and wives, any of whom might have worn the coy mid-1800s dress showcased at F.I.T., a pink silk taffeta gown, its multiple tiers bordered in an effusion of ruffles. Pink, as Ms. Steele writes, was perceived in those days as a pretty color expressive of delicacy and playful high spirits.
但到了19世紀(jì)中期，男人們大多已把粉紅色留給了他們的姐妹和妻子，她們當(dāng)中的任何一位都可能穿過時裝技術(shù)學(xué)院陳列的那件19世紀(jì)中期的故作忸怩的、粉紅色塔夫綢禮服，其多層的裙擺鑲嵌著流露的荷葉邊。斯蒂爾寫道，粉紅在那時被視為一種俏麗的顏色，表達(dá)了柔軟與俏皮活潑的性格。

But pink also suggested a second skin. A lingerie tint with louche undertones, it was celebrated by Théophile Gautier in his 1850 poem “To a Pink Dress,” the poet rhapsodizing, “How I love you in that dress that undresses you so well.”
但粉紅也暗示了貼身衣。蘊(yùn)含著名聲不好卻有吸引力內(nèi)涵的女內(nèi)衣，是泰奧菲爾·戈蒂耶(Théophile Gautier)在1850年的詩作《致一件粉裝》(To a Pink Dress)中頌揚(yáng)的東西，詩人熱情地寫道，“我太愛穿著那件裝的你，它讓你看上去如同不著一絲。”

Times change and with them, pink’s profile. By the late 19th century, pink was as common as ragweed. The introduction of aniline dyes that produced ultrabright, occasionally garish variations diminished the color’s prestige and rendered it vulgar, a tint flaunted in the novels of Emile Zola by shop girls and prostitutes.
時代不同了，粉紅色的形象也在變化。到19世紀(jì)晚期，粉紅已如野草般平常。苯胺染料的引入，生產(chǎn)出了格外明亮、偶爾花里胡哨的粉紅色，讓這種顏色的聲望下降，變得粗俗，帶上了埃米爾·左拉(Emile Zola)小說里女店員和妓女賣弄的色彩。

Not for another half-century would pink be restored to a semblance of its former self, a hue both fancy and frivolous enough to be whipped into a ball gown by the couturier Charles James. Propped high on a pedestal at the exhibition, James’s 1955 evening dress is a showstopper, a stole of black velvet opening like a flower to show off its faintly naughty rosy lining.
半個世紀(jì)之后，粉紅才恢復(fù)了自己曾經(jīng)有過的名聲，成了足夠奢華也足夠無聊的顏色，讓定制時裝設(shè)計師查爾斯·詹姆斯(Charles James)把它用在一件舞會禮服上。陳列在高高的展臺上的詹姆斯1955年設(shè)計的晚禮服，是一件令人印象深刻的展品：黑色絲絨披肩像花朵一樣張開，炫耀出其俏皮的淡粉色襯里。

By the 1960s, pink had taken on a dual personality. It was sophisticated enough for Jackie Kennedy, who received the French minister André Malraux at the White House wearing a bonbon pink evening dress. And it was sexy enough for Marilyn Monroe, who gave pink a racy spin encased in a closefitting diamond studded pink evening dress in the 1953 film “Gentlemen Prefer Blondes.”
到1960年代，粉紅色有了雙重性格。對肯尼迪夫人(Jackie Kennedy)來說，粉色足以老成，讓她可以穿著糖果粉色的晚禮服在白宮會見法國當(dāng)時的文化部長安德烈·馬爾羅(André Malraux)。對瑪麗蓮·夢露(Marilyn Monroe)來說，粉色足夠性感，讓她在1953年的電影《紳士愛美人》里穿上了緊身鑲鉆的粉色晚禮服，給這個顏色蒙上了不雅的色彩。

Pink went punk in the 1980s, a particularly garish shade known as Ultrapink enlivening the album covers of the Ramones, the Sex Pistols and X-Ray Spex.
粉紅在1980年代變得朋克，一種格外花哨的名為“超粉”(Ultrapink)的色調(diào)，讓“雷蒙斯”(Ramones)、“性手槍”(Sex Pistols)和X-Ray Spex樂隊(duì)的專輯封面更有生氣。

A decade later, the color asserted itself on a global scale as the fashion insignia of self-proclaimed outliers: Madonna embraced pink’s bordello associations, performing in 1990 in a soft pink cone-cupped bustier by Jean Paul Gaultier. Pink became ubiquitous in Japanese girl culture, the blushing hue of mini-gangs of Lolitas roaming the Harajuku district in Tokyo.
十年后，隨著粉色成為以離群者自詡的人的時尚符號，這種顏色在全球范圍得到肯定：麥當(dāng)娜擁抱了粉紅與窯子的關(guān)聯(lián)，在1990年穿著讓·保羅·高提耶(Jean Paul Gaultier)設(shè)計的圓錐形罩杯粉色緊身胸衣演出。粉紅色成了日本少女文化中無處不在的顏色，是在東京原宿區(qū)游蕩的“洛麗塔”小伙伴們臉上掛著的紅暈。

The cultish color was taken up by American club crawlers, the emblem of cybergoths and ravers. More recently, it was appropriated by hip-hop culture. Turned out in pink mink and diamonds at New York Fashion Week in 2003, the hip-hop artist Cam’ron lent the sugary hue some clout.

這個邪教般的顏色被逛夜總會的美國人所接受，成為了賽博哥特(cybergoth)和喜歡尋歡作樂者的徽記。再近一些，它也被嘻哈文化采納。嘻哈藝人Cam’ron在2003年的紐約時裝周上，穿著粉紅貂皮、戴著鉆石現(xiàn)身，給這個甜蜜顏色帶來一些影響力。

“People showed me so much love,” he later recalled. “I had to go out to Pantone and create my own color, which is called Killa Pink.”
“人們向我表示了那么多的喜愛，”他后來回憶說。“我不得不去潘通公司(Pantone)創(chuàng)造了我自己的專色，我把它稱為‘殺手粉’(Killa Pink)。”

With the years and shifting emphasis, pink turned political, the infamous pink triangle of the Nazi era repurposed by gay rights activists as a symbol of protest. Pink was taken up by a new generation of feminists as an assertion of proud womanhood, a trend that reached a crescendo at the 2017 inauguration when women descended on Washington en masse, flaunting quaintly homespun-looking pussy hats.
隨著年代和強(qiáng)調(diào)的遷徙，粉紅也帶上了政治色彩，納粹時代臭名昭著的粉紅三角形被同性戀平權(quán)活動人士稍加修改成為抗議的標(biāo)志。新一代的女權(quán)主義者拾起了粉紅色，把它作為成年女性自豪的表達(dá)，這個趨勢在2017年的總統(tǒng)就職典禮上達(dá)到頂峰，大批女性戴著看起來是自織的粉紅色貓耳帽涌進(jìn)了華盛頓。

Around that time, pink took on a more knowing shading, as marketers and scores of young consumers made a run on the beiged, grayed and dusty variations known in aggregate as millennial pink, a color that spruced up a range of goods, including Scandinavian furniture and the Fenty label.
大約在那時，粉紅有了一種更心照不宣的運(yùn)用，營銷者與大批年輕消費(fèi)者們決定嘗試淺褐的、偏灰的和灰土色的各種粉色，這些統(tǒng)稱為“千禧粉”的顏色已用在許多產(chǎn)品上，包括斯堪的納維亞家具和Fenty品牌。

Fenty’s creator, Rihanna, improbably melded a boudoir mood with the aggressiveness of the playing field in a spring 2017 collection.
Fenty的創(chuàng)始人蕾哈娜(Rihanna)在2017年春季系列中令人難以置信地把閨房氣氛與運(yùn)動場上的志在必得結(jié)合起來。

“I figured pink would be over by the time this show was up,” Ms. Steele said. But there are indications — Tom Ford’s pointy pink glitter shoes and the feathery pink ball gown Lady Gaga wore to the premiere of “A Star Is Born,” among them — that pink has yet to run its course.
“我原以為，這個展覽結(jié)束時，粉紅色也會成為過去，”斯蒂爾說。但有從Tom Ford的粉色亮面尖頭鞋，到Lady Gaga參加《一個巨星的誕生》(A Star Is Born)首映式時穿的羽毛裝飾的粉紅色舞會禮服等一系列跡象表明，粉紅色還有待發(fā)展。

“In terms of its meaning new things, pink has acquired the charisma and complexity of black,” Ms. Steele said. “Once it’s been interpreted as an androgynous and political color that speaks to young men and women of all races, there is no going back.”
“從它意味新生事物的角度而言，粉紅色已經(jīng)具備了黑色的魅力與復(fù)雜性，“斯蒂爾說。“它一旦被理解為一種對所有種族的年輕男女都有感召力的、兼具兩性的政治顏色，就沒有回頭路了。”