服装是与人的生活最为关系密切的艺术门类,其审美内在规律值得探讨。下面是小编带来的服装类的英语文章阅读，欢迎阅读!

服装类的英语文章阅读篇一

China's Ancient Clothing

中国的古代服装

China's traditional clothing is characterized as magnificent, as shown in ceremonies and court, and grand and exerts immense influence on the neighboring countries. An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance，but also an internal symbolism. Each and every piece of traditional clothing communicates a sense of vitality of its own intrinsically. Such a perfect combination of external form with internal symbolism of clothing is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period(475一221 BC).Two feathers of a ho bird(a type pheasant good at fighting)were inserted into the helmet wom by warriors of this period to symbolize a bold and warlike spirit.

中国传统衣着的特点是华丽。中国的传统衣着的一大显著特点就在于它不仅表现出外在的典雅，而且还具有内在的象征意义。每一件传统服装都传递出其自身所具有的内在活力感。从人们所佩带的一副难鸡羽毛中，就可以体现出这种服饰的外在形式与内在象征的完美结合。这起源于战国时代(前475一前221年)战斗时的习俗。因为在当时如果将两片凤鸟(这是一种非常擅长战斗的难鸟)的羽毛插在武士所佩戴的头盔上的话，便可以以此来象征大无畏的尚武精神。

According to archaeological findings，18 000-year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing early in ancient Chinese civilization. Variety in clothing was roughly established by the era of the Yellaw Emperor and the Emperors Yao and Shun(about 4 500 years ago).Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty( 16th to I 1 th century BC ).

根据考古学的发现，18 000年前的文化遗迹中有诸如骨针和穿孔的石珠和贝壳，它们都证明了在中国古代文明很早的时候装饰和缝纫就已经存在了。而到了黄帝和尧舜时代(大约距今4 500年前)，服装的品种已经初具规模。丝麻织物的残片和古代的陶俑进一步表明商代(公元前16至公元前11世纪)服装的精密程度和优雅程度。

The three main types of traditional Chinese clothing are the pien-fu，the ch'ang-p'ao，and the shen-i. The plan-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pies and the ch'angp'ao;on the one hand，it consists of a tunic and a skirt or trousers like the pierfu， on the other hand，the tunic and the skirt are sewed together and essentially one piece like the ch'ang-p'ao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt，utilized a very small number of stitches for the amount of cloth used. So because of their relatively plain design and structure，embroidered edgings，decorated bands，draped cloth or silks，patterns on the shoulders，and sashes were often added as ornaments. Variety in designs came to be one of the unique features of traditional Chinese dress.

传统的中国服装可以分为弃服、长袍以及深衣三种。弃服是一种分为上衣和下裳的古代装束，它的上衣类似于束腰外衣并且长至膝盖，而其下裳则为裙子或裤子并长至脚躁。长袍则是由肩部到脚踵的单件外衣。深衣则是介于弃服和长袍两者之间的另一种服装，它一方面由束腰上衣和裙子或裤子组成，这一点和弃服很像;而另一方面束腰_r_衣和裙子缝合在一起;实际上就像长袍一样是单件外衣。因此，深衣是这三种服装中使用最广泛的一种。这三种服装的典型特征就是宽大的袖子和宽松的腰身。无论是采用束腰外衣和裤子组合还是束腰外衣和裙子组合，它们相对于所使用的布料量而言都尽可能少地使用针脚数量。由于它们的设计和结构相对比较朴素，因此它们经常绣上花边、饰以镶边、辅以褶皱布料或丝料、肩部加上图案花样、并配上腰带。这些不同的式样便成为中国传统服装的一个特殊之处。

Darker colors were favored over lighter ones in traditional Chinese clothing，so the main color of ceremonial clothing tended to be dark while bright，elaborate tapestry designs actented. Lighter colored clothing was worn more frequently by the common people for everyday life and around the house use. The Chinese associate certain colors with specific seasons:green represents spring，red symbolizes summer, white represents autumn，and black symbolizes winter. The Chinese are said to have a fully developed system of matching，coordinating，and contrasting colors in apparel.

中国的传统服装对暗色调的偏好程度要大于亮色调，因此礼服的主色调往往采用暗色调，然后辅之以精巧的亮色调织锦式样。普通百姓平常生活和在家附近则通常穿亮色调的服装。中国人将某些色彩与特定的季节联系在一起:绿色代表春天，红色代表夏天，白色代表秋天，而黑色则代表冬天。据说，中国人已经拥有一整套对服装颜色进行搭配、协调和对比的方法了。

China's Modern Clothing

中国的近代服装

After the 1911 Revolution，the garments changed greatly，and the dresses and the official cap were eliminated. Particularly，hair plaits were cut off, but chi-pao(one-piece mandarin robe)still exist. The Blue Short Gown of schoolgirls was the main style，and it gradually became popular.

自从1911年辛亥革命以来，外套便产生了巨大的变化，同时服装和官员所戴的帽子均被废除。尤其是剪掉了辫子，但是旗袍(单件式满清官袍)依然保留了下来。女学生所穿的蓝色短袍成为主流款式，并且这逐渐流行起来。

The government specified the system of formal dresses of men and women in the first year of the Republic of China. Men had dress suits and routine suits. Dress suits included day suit and evening suit，which were all made of black cloth，trousers and cravats. Routine suits included Western style and Chinese style(e. g. long gown and mandarin jacket).The formal dress of women had collars and was long to the knees with buttons down the front. Skirts were decorated with cartouches in the front and back，both sides were sewn with pleats，and both ends had patterns of knots.

在中华民国元年，当时政府规定了男子和女子的正式着装制度。男子可以穿着礼服和常服。礼服又包括午服和晚礼服，两者均包括黑色衣服、裤子以及领结。常服则包括西式和中式两种(即长袍和马褂)。妇女所穿着的正式服装则带领子而且长至膝盖，并在前侧下方缀有纽扣。裙子上配有装饰镜板，同时两侧均缝有褶皱，两端则采用打结式样。

Along with the emergence of cinema，film stars became eminent figures gradually. Shanghai City became the base camp of women's wear in China. The garments of Guangdong Province and Hong Kong became one of the branches of Shanghai City garments

随着电影院的兴起，电影明星也逐渐成为显赫的人物。上海市成为中国妇女服饰的大本营。广东省和香港的外衣则成为海派外衣的一支。

Changes of Men's and Women's Costume

男子和妇女服装的变迁

Men wore western-style clothes and Sun Yat-sen's uniform(Chinese tunic suit ) . These two styles of clothes were foreign styles，and most officials and intel lectuals more usually wore them. White garments were worn in the summer, but black or dark garments were worn in other seasons. The style with a mandarin jacket over a long gown was still one of the common dressing styles. The student's clothing with erect collar .three pockets and seven buttons were mainly the uniform and women included a jacket and trousers or covered with a ramie skirt(long or short small skirt fastened on body ).

男子穿着西式服装和中山装。这两种风格的服装均为西式服装，大多数官员和知识分子通常都穿着这些服装。在夏天穿着白色外衣，但在其他季节则穿着黑色或暗色调外衣。在长袍上穿马褂依然是常见的穿着风格。学生的服装则采用立领、三个口袋以及七粒纽扣，这主要是大学和学院的学生所穿的服装。此外，农村男女的普通穿着方式是一件短褂加一条裤子，或是在裤子外面再罩上竺麻裙子(系在身上的小裙子，可长可短)。

Women's costume changed greatly during the period，some kept the Qing Dynasty(1644一1912)style of trousers and clothes with curving front，some imitated western-style with a jacket and a skirt，most schoolgirls wore black silk skirts and short jackets that had a round lower hem and short sleeves to elbow. The common garments of social women were mainly Chi-pao.

妇女的服装发生了巨大的变化，有些保留了清朝(1644一1912 )的裤子和衣服式样，它们前侧采用了弧形造型，有些则仿照了西式服装并采用短褂加裙子，大多数女学生则穿着黑色的丝裙和短上衣，并且在下方有个圆形的褶边，它的袖子较短只及肘部。社交女性的普通外衣则主要采用旗袍。

The overall tendency of new garments was divided into two types:one type was the long Chi-paos made of solid-color cloth or printed materials;characteristi-tally, laces or patterns were added to the edges，or the small waistcoat and silk scarves were over the jacket. As to the other dressing type，the upper garment and lower skirt were separated.

新式外衣的整体倾向可以分为两种类型:一类是长旗袍，它由纯色布料或印花布料所制成;它的特点是在边上加花边或图案，或是在短褂上罩小马甲和丝巾。至于另一种穿着类型，则分别穿着上衣和裙子。

In the 1920s，people began to wear Chi-pao whose style was mostly the same as that of the Qizhuang garments(garments of banner men)existing at the end of the QingDynasty. Later，the cuff was reduced gradually，and embroidered border was not as broad as the previous one. By the end of the 1920s，dressing style was affected by that of Europe and America，and the pattern of chipao was changed significantly. By the early 19306，Chi-pao had been very popular. The main changes of garments in that time were the modifications of collar, sleeve and length，etc. The garments with high collar were popular at first，and the higher the collar, the more popular. Gradual1y，garments with low collars began to be popular，and the lower the collar，the more modern. Finally，people wore collarless and sleeveless Chi-pao.

到了上世纪20年代，人们开始穿着旗袍，它的风格基本上与清末的旗装(旗人的外衣)是一样的。之后，旗袍的袖口便逐渐收小，而且绣边也不像之前那么宽了。到了上世纪20年代末，服装式样受到了欧美的影响，而旗袍的式样也发生了巨大的变化。到了上世纪30年代初，旗袍已经极为流行了。当时外衣的主要变化是对领口、袖子以及长度等进行了修改。高领外衣起初十分流行，而且领口越高越流行。低领外衣逐渐开始风靡，而且领口越低越时髦。最后，人们开始穿着无领、无袖的旗袍了。

Influence of Foreign Costume

西方服装的影响

With the inflow of foreign goods into China，western life styles penetrated into the society. Women living in Chinese big cities often attended social activities in the 19305一19405. All this resulted into the change of social morals accordingly. Women wore the western-style clothing and skirt together with glass and watch，and sunshade in hands，looking more modern and romantic. The modem fashion-able dress of Europe and Japan affected Chinese women in terms of short skirts， underwear and colors， etc. More and more women began to imitate ahem，and some e}len imitated the simple dressing style of America. Ladies who liked sports always wore red pleated skirts and used brassiere to replace the old-time bellyband (an undervvear that was made of red embroidery cloth and hung from the neck with gold or silver chains，it came down from ancient times).In addition,women's one-piece dress was more popular. During the 19205一19405，fur coats were still popular in rich families.

随着西方商品进人中国，西方的生活方式开始渗透社会。居住在大城市中的妇女在上世纪30年代至40年代经常参加社交活动。所有这些导致社会道德出现了相应变化。妇女们穿着西式的衣服和裙子，戴着眼镜和手表，手里打着太阳伞，看上去更加时髦、浪漫。欧洲和日本近代的流行服装在短裙、内衣以及颜色等方面对中国妇女产生了影响。越来越多的妇女开始对此进行模仿，有些妇女甚至模仿美国简约的着装风格。喜爱运动的妇女经常穿着红色褶皱裙并用文胸来取代之前所使用的肚兜(一种用红色刺绣布料制成的内衣并用金、银锁链悬挂在颈部，它自从古代便一直得以使用)。此外，女式单件服装也更加流行。在20世纪20年代至40年代，毛皮大衣在富裕家庭中依然十分盛行。

Today's Clothing

如今的服装

China's fashion designers use a mixture of traditional and modern ideas to create new fashions. These new fashions also incorporate age-old motifs such as guardian deities, lions，and masks of Chinese opera characters. Chinese bronze is another source of printed，woven，and embroidered design for clothes. Some of the distinctive designs include dragons，phoenixes，clouds，and lightning. Motifs from traditional Chinese painting also end up in woven or printed fashion designs.

中国的时装设计师运用了各种传统和现代理念来创造出新的时装。这些新式时装还加入了古老的图案，例如守护神、狮子以及中国京剧人物所使用的面具。服装上还印上、织上或缝上中国青铜器的图案。某些独特的设计图案包括龙、凤、云以及闪电。传统中国画中的图案也被编织或印在时装设计中。

Many accessories such as macrame are used to decorate shoulders, bodices, pockets, seams，and openings of clothing，as well as belts，hair ornaments，and necklaces. Some successful examples of combinations of modern and traditional fashion elements are the modern bridal tiara，based on a Sung Dynasty design and the Hunan Province style of embroidered sash made in the traditional colors of pure red，blue, and green. From these examples，it can be seen how traditional Chinese dress is the foundation of modern fashion. However, the Chinese have also adopted many Western styles of clothing such as business suits and jeans

为了装饰衣服的肩部、胸衣、口袋、缝合线、开口以及腰带、头饰以及项链，采用了诸如流苏等许多装饰品。有许多例子成功地将现代和传统的时装要素融合在一起，其中有现代化的新娘冠饰，它采用了宋朝的设计和湖南风格的刺绣饰带，并且色调使用了传统的大红色、蓝色以及绿色。从这些例子可以看出传统的中国服饰乃是现代时装的基础。但是中国人也采用了许多西式的服装，例如商务套装和牛仔。

In modern society，Chinese men are seen at social occasions wearing ceremovial clothes in two varieties on formal occasions，t. e. the dignified and refined traditional Chinese long gown and the Sun Yat-sen's uniform，which is a creative blending of fashion elements from the East and West, and a milestone in the history of Chinese garment design-was hailed as the "State Suit".White women often wear the ch'i-p'ao，a modified version of a traditional Ching Dynasty. fashion. The variations of height, length，width，and ornamentation of the collar, sleeves，skirt and basic cut of this Oriental fashion are limitless.

在现代社会，中国男子在社交场合穿着两种礼服，一种是威严、精巧的传统中国长袍，另一种则是中山装，它创造性地将东西方的时装要素揉合在一起并成为中国服装设计史上的里程碑—被称为“国服”。而女子则经常穿着旗袍，这是清朝一种传统时装的现代化版本。这种东方时装的领口、袖子以及下摆的高度、长度、宽度、装饰以及基本的剪裁方法都是不受拘束的。

服装类的英语文章阅读篇二

工作时女性应该穿什么?

When Annette Spillane, a former Senior Manager at Ernst and Young, first started working infinance 12 years ago, there was "no concept" of fashion-forward women dressing in their ownstyle. Working in an office meant women dressing to match their male counterparts: boxyblazers, minimal jewelry, and neutral tones reigned supreme. There was nothing, minus theclicking of heels, to set them apart.

Annette Spillane是安永的前任高级经理，当她12年前第一次涉足金融行业时根本就没有女性穿出自己风格的时尚前沿概念。在办公室工作意味着女性的穿着必须要与她们的男同事相配：休闲小西装、小珠宝、中性色调占据了上风。除了高跟鞋清脆的声音，没有什么能将他们区分开来。

Today, though, things are a little different. "Dress codes have definitely loosened up, it's aboutexpressing yourself," Spillane says. "My philosophy is to have one statement item; it used tobe shoes, but now it's jewelry."

然而，现今情况变得不一样了。“着装规范有一定的改动，穿着就是要展现自己，” Spillane说道。“我的观点就是要有一个展现自我的东西，以前是鞋子，现在变成了珠宝。”

And she's not alone. According to data from staffing service OfficeTeam, 18 percent of seniormanagers say employees are "much less formally dressed" than they were five years ago; with31 percent of workers preferring business casual and 27 percent preferring no dress code atall. "More people want to show creativity, whether they are a creative person or not, and oneway to do that is through your attire," explains Brandi Britton, District President for OfficeTeam. "And there is the argument that business casual and casual attire is more comfortable."

并不是只有她一人这样。根据OfficeTeam员工服务的数据显示，18%的高级经理都说现在员工的穿着与五年前相比远没有那么正式了;31%的人员更倾向于休闲的穿着;27%的人根本就不想要有着装规范。“更多的人想要显示他们的创意，不管他们是否有创意，而通过着装表现就是一种方法，” OfficeTeam的区总裁BrandiBritton解释道。“而且还有人认为商务休闲和衣着休闲会让人更舒适。”

"Dress codes have definitely loosened up, it's about expressing yourself."

“穿衣规范肯定有变化，现在就是要表现自我。”

This idea of comfort has prevailed throughout the tech industry, where the likes of Steve Jobsand Mark Zuckerberg pioneered sweaters, turtlenecks and jeans as office-appropriate-a dress-for-ease approach that eventually seeped into the collective conscious.

穿着舒适在高科技产业占据了上风，史蒂夫•乔布斯和马克•扎克伯格开创了毛衣、高领毛衣和牛仔裤的先锋，作为办公室穿着舒适的途径，并最终得到了集体的赞同。

"In tech, what are you doing? You're sitting at your desk, so you want to be comfortable," saysErica Lockheimer, Senior Director at ‎LinkedIn and head of the company's Women in Techinitiative. "You want to be able to kick off your shoes, hold your legs in your desk chair, listento your music and code, code, code; you're not going to do that if you're in some stiff outfit."

“在科技领域，你做什么呢?那就是坐在你的桌子前，因此你想要舒适点，” ‎LinkedIn的高级主管兼女性科技倡议公司的老板Erica Lockheimer说道。“你想要脱掉鞋子，把腿盘在办公椅上，听听音乐，敲敲代码;如果你穿着紧身外套的话根本不可能做到这些。”

On the flip side, women in tech long faced pressure to "dress like a dude," says Lockheimer. "Iconformed to my environment and felt more comfortable wanting to fit in and look like themen," she says.

另一方面，科技领域的女性长期以来都面临着“穿着傻帽”的压力，Lockheimer说道。“那时候我与周遭人们的穿着一致，我想要融入进去，穿着更像男士让我感到更舒适，”她说道。

Now, though, she dresses more like herself.

但现在，她的穿着更适合自己。

"I came to LinkedIn and I realized there was a more diverse group of people who grew up witha 'who cares' attitude and realized it shouldn't matter how I dressed," explains Lockheimer.

“我来到了LinkedIn，意识到还有很多人他们不在乎别人的看法，意识到我的穿着并不是那么重要，”Lockheimer解释道。

服装类的英语文章阅读篇三

As heritage continues to obsess the industry, the fashion archive is becoming highly prized.

随着古董时装持续走红时装界，时装档案馆也越来越受到追捧。

Brands are pouring resources into building museums in which to house their collections, whilecanny young designers are buying back garments from clients, or bidding against collectorsand museums to retrieve rare vintage pieces with which to build their own.

各大品牌开始投巨资建博物馆，用来收藏旗下历年推出的时装系列，精明的年轻设计师则从客户手中回购时装，或是从藏家手中和博物馆竞拍回珍稀限量款，以丰富自己的藏品。

Many brands are now using their archives to produce exhibitions as a way of extending theirbrand message.

很多品牌公司如今用自己的馆藏举办展览，作为扩大自己品牌影响力的手段。

The Fondation Pierre Bergé — Yves Saint Laurent will open two museums in autumn 2017, inParis and Marrakesh, to celebrate the work of its founder, Yves Saint Laurent.

皮埃尔•贝尔热-伊夫•圣•罗兰基金会(Fondation Pierre Bergé-Yves Saint Laurent)建于巴黎与马拉喀什(Marrakesh)的两家博物馆将于2017年秋季正式开馆，用来纪念品牌创始人伊夫•圣罗兰的杰出成就。

The Gucci Museum, which opened in Florence in 2011, recently announced acquisitions fromTom Ford’s era at the house.

古驰博物馆(The Gucci Museum)2011年在佛罗伦萨开馆，它近日宣布收购汤姆•福特(Tom Ford)担任古驰创意总监时期所推的时装。

The Missoni archive is on display at the Fashion and Textile Museum in London (untilSeptember 4).

米索尼(Missoni)各个时期推出的时装不久前也在伦敦时装与纺织品博物馆(Fashion and Textile Museum)展出。

There’s a dawning realisation that if you want to be a so-called heritage brand, you have to beable to tell the story through objects, explains Sonnet Stanfill, fashion curator at the Victoriaand Albert Museum.

如今各大品牌开始意识到：若要成为底蕴深厚的品牌，就得通过自己各时期推出的时装讲述前世今生。伦敦维多利亚和阿尔伯特博物馆(Victoria and Albert Museum)时装策展人索妮特•斯坦菲尔(Sonnet Stanfill)这样解释道。

An archive can be useful for design inspiration, for lending to an exhibition, or for if youthink you’d want to do your own retrospective.

时装档案能有效启发设计灵感，也可友情参展，还能自办品牌回顾展。

Shonagh Marshall, a freelance curator who archived Alexander McQueen’s collection inpreparation for the Met’s Savage Beauty exhibition in 2015, and who has also worked on thearchive collections of Christian Louboutin and the late stylist Isabella Blow, agrees.

自由策展人肖纳格•马歇尔(Shonagn Marshall)对此也深以为然。 为了参加纽约大都会博物馆2015年举办的亚历山大•麦昆(Alexander McQueen)野性之美时装特展(Savage Beauty)，他精心收藏了对方各个时期设计的时装;他还致力于克里斯蒂安•娄伯丁(Christian Louboutin)以及已故知名设计师伊莎贝拉•布罗(IsabellaBlow)的资料档案收藏。

The motivation often lies in the sense of building a brand, which is now entwined with culturalheritage. Keeping those objects means keeping a sense of narrative — without them you haveno assets.

建立档案馆的动机通常在于打造品牌意识，如今它与文化遗产紧密关联。收藏这些物品意味着传承历史——品牌没有它们，就谈不上有什么内涵。

Kerry Taylor, who runs her own auction house, is considered a world leader in vintage fashion,antique costume and textiles.

经营时装拍卖行的凯丽•泰勒(Kerry Taylor)是当今世界在复古时装、仿古服装及纺织品方面的老大。

She often finds herself selling back items to design houses prepared to pay huge sums formissing pieces.

她经常把一些藏品回售给各大品牌，对方愿出巨资购买自己漏藏的款式。

Some of the more established brands, such as Dior, Balenciaga and Chanel, really see thevalue in buying back their heritage, she explains.

迪奥(Dior)、巴黎世家(Balenciaga)以及香奈儿(Chanel)这些时尚大牌现在真正认识到了回购老款时装的重要意义。

The Chanel archive in Paris is like a glamorous high-security prison. Everything has blacklacquered sliding cabinets.

她这样解释道，巴黎的香奈儿档案馆犹如一座光彩夺目、戒备森严的监狱，各种馆藏品都挂在滑动式黑漆柜中。

If Karl Lagerfeld wants to look at something from the 1920s or 1930s, there it is, beautifullystored and catalogued.

老佛爷(Karl Lagerfeld)若想欣赏上世纪20、30年代的香奈儿款式，来这里就可以了，它们分门别类存放于此，依然光鲜亮丽。

Not only does it reinforce the importance of the brand itself, [but also] when new designerscome along they can plunder it for ideas — and stay within the house.

此举不仅巩固了品牌自身的江湖地位，而且当年轻设计师参观时，能够长时间驻足其中，汲取设计灵感。

Pierre Bergé, one-time romantic partner and longtime business partner of Saint Laurent,started building the Saint Laurent archive soon after the brand’s foundation.

皮埃尔•贝尔热曾是圣罗兰的情人及长期商业合伙人，圣罗兰创牌后不久，他就开始着手创建品牌档案馆。

It was a prescient move.

此举颇有先见之明。

Yves decided to keep a dress for the first time in 1964, only two years after we founded thecouture house, says Bergé.

1964年，伊夫第一次决定收藏自己设计的一款裙子，这距我俩创牌仅过了两年时间。贝尔热回忆道。

I remember it very well, it was a brown lace dress that he loved very much.

我记得非常清楚，这是一款他爱不释手的棕色蕾丝裙。

The Fondation Pierre Bergé-Yves Saint Laurent has since become a huge enterprise.

皮埃尔•贝尔热-伊夫•圣•罗兰基金会逐渐成为规模空前的博物馆。

Besides the 5,000 garments and 15,000 accessories, our archive also contains all the originaldrawings, as well as the atelier’s specification sheets, the collection boards and a largenumber of press articles, photos and videos of collections, he continues.

除了收藏的5000件时装以及15000件配饰外，我们的档案馆还藏有最原始的草图以及工作室的规格表、采集板和大量时装类新闻稿、照片及视频。

Each piece is stored on our premises under optimal conditions: air conditioning, humiditycontrols, anti-acid paper.

他继续道，每一件馆藏品都存放于最佳环境中：空调、湿度控制以及耐酸纸。

About 10 people, mainly trained museum specialists, work on the preservation and thedocumentation of the collection.

大约10位(多为训练有素的博物馆专业人员)负责藏品的保存及归档。

Bergé is proud of his ability to share the YSL story with both the public and those who head upthe design department — including newly appointed creative director Anthony Vaccarello.

能与普通民众及圣罗兰设计室诸负责人(其中包括新任创意总监安东尼•瓦卡莱洛(Anthony Vaccarello))共同分享圣罗兰品牌的辉煌历史，贝尔热对自己的成就颇感自豪。

Since we closed the couture house in 2002, the archives have always been made available tothe designers from the ready-to-wear house.

自我们2002年退隐江湖后，档案馆一直向圣罗兰的设计师开放。

Hedi Slimane [who left this year, and borrowed heavily from the house’s original 1960s designaesthetic] came many times.

前任创意总监艾迪•斯理曼(Hedi Slimane)来过很多回。

He is a great connoisseur and admirer of Yves’ oeuvre.

他从圣罗兰上世纪60年代的设计理念借鉴颇多，他是圣罗兰时装的鉴赏大师及超级粉丝。

Anthony Vaccarello immediately asked to come and visit the archives.

安东尼•瓦卡莱洛一上任，就请求来档案馆参观。

One would assume most designers appointed at a house have free rein of their archive. It isn’talways so.

大家可能会认为：大多数创意总监可随意支配所在品牌公司的馆藏档案，但事实并非如此。

Demna Gvasalia, the new creative director of Balenciaga, spent several weeks in the archiveafter he joined this year; his pre-fall collection featured oversized shearling scarfs with thehouse branding that were an exact copy of a 1930s original.

戴姆纳•瓦萨利亚(Demna Gvasalia)今年新晋巴黎世家新任创意总监后，曾花了数周时间泡在档案馆;他的早秋系列主推印有巴黎世家品牌标识的特大款羊绒围巾，它们与上世纪30年代的款式一模一样。

But his predecessor, Nicolas Ghesquière, had a very different experience when he joined thehouse in 1997.

但瓦萨利亚的前任尼古拉斯•盖斯基埃(Nicolas Ghesquière)1997年出任巴黎世家设计总监时，则境况大不相同。

For years Ghesquière was blocked from the archive, partly because the pieces didn’t actuallybelong to the corporate group that bought the Balenciaga name, and partly due to tensionswith the keeper of the keys, Marie-Andrée Jouve.

盖斯基埃好多年都无法进档案馆参观，部分原因是其馆藏品并不真正属于购买巴黎世家商标名的开云集团(Kering)，部分原因是他与档案馆的钥匙掌管者玛丽亚-安德蕾•朱维(Marie-Andrée Jouve)关系紧张。

He was only granted access in 2002, when the house was acquired by the Gucci Group.

他到了2002年才获许入馆，当时巴黎世家已被新东家古驰收购。

Other archives are simply the victim of disorder.

有些档案馆则完全毁于管理失当。

The Givenchy archive; now there’s a shame, sighs Kerry Taylor.

纪梵希(Givenchy)档案馆如今成了业界耻辱。

Things by Hubert de Givenchy have never been properly catalogued.

凯丽•泰勒叹气道，于贝尔•德•纪梵希(Hubert de Givenchy)的档案资料从来没有准确分门别类。

Their archivists come and go and it’s not a senior role.

他们的档案馆工作人员经常变动，完全是可有可无的角色。

Bergé and Saint Laurent were pioneers.

贝尔热与圣罗兰则是建立档案馆的开天辟地者。

None of today’s most important couture houses have archives like ours, he says.

如今大多数知名时尚品牌的档案馆都比我们逊色。

They only realised the significance of having an archival department in the 1990s.

他说，它们在上世纪90年代才意识到设立专门档案部的重要性。

Today, Gucci has a museum.

如今古驰也建有自己的时装博物馆。

Twenty years ago it had nothing.

20年前的它在这方面可是白纸一张。

I started the Gucci historical archives in 1997 from scratch, when the whole concept was verynew and innovative, explains curator Grazia Venneri.

1997年，我们从无到有开始组建历史档案馆，当时整个理念非常新颖、颇具前瞻性。

Unfortunately, the Gucci family never kept samples of their production. I had to carry out asystematic research and acquisition campaign; reaching out to celebrities, private collectorsand collaborating with auction houses and vintage boutiques.

古驰档案馆馆长葛拉齐拉•文内里(Grazia Venneri)解释道，遗憾的是，古驰家族过去从不保存自己所推时装的样品，我只得进行系统调研与收购活动;求助于名人与个人藏家，以及与拍卖行及旧货店合作。

When I left Gucci in 2013 we had collected and catalogued more than 5,000 products and about2,000 documents and vintage images.

2013年我离开古驰时，已经收集与归类了5000多件时装以及大约2000件文档和老照片。

Alessandra Arezzi Boza helped build the archive of Pucci, another major Italian brand.

亚历桑德拉•阿雷齐•博扎(Alessandra Arezzi Boza)协助建立了意大利另一知名品牌璞琪(Pucci)的档案馆。

I found a huge warehouse full of boxes, she says.

我最初看到的是堆满各种箱子的大仓库。

Having been a family-run brand until 2000, with the headquarters located in the family palace,the Pucci archive had a great advantage: everything had been kept since the early 1950s —photographs, sketches, textile prints, press and of course garments and accessories — morethan 30,000 items.

她回忆道，璞琪在2000年前一直是家族企业，总部就设在自家豪华别墅里，因此建立档案馆具有得天独厚的优势：自上世纪50年代初以来的一切东西都完整保留着——照片、素描图、纺织品印花、媒体文章，当然还有推出的所有服装及配饰——总数超过3万件。

But it all needed to be organised and brought alive.

但所有东西需要分类归档以及‘激活’。

Motivated by their experiences, Arezzi Boza and Venneri formed a consultancy that extends intostrategy.

积累成功经验后，博扎与文内里随后组建了拓展至战略筹划的咨询公司。

As well as working with big Italian manufacturers keen to leverage their heritage, the duo planto help emerging talent.

除了与急切发挥自身悠久传统的意大利大品牌合作之外，他俩还计划助设计新锐以一臂之力。

For young designers, the decision to keep an archive depends on pre-empting one’s futuregreatness.

对于年轻设计师来说，是否保存自己的时尚作品，在于自己能预知到将来必定会功成名就。

Which can seem a little grandiose.

此举似乎显得有点不切实际。

It’s a question of how important you think you’re going to be, a strange thought when you’re arecent graduate, says Shonagh Marshall.

关键在于你如何定位自己的未来，对初出茅庐的设计师来说，这样的想法的确有点不可思议。肖纲格•马歇尔说。

Then there’s the expense and space required to do it properly.

此外还有设立档案馆的费用与场地。

You need not just the space but the proper storage infrastructure — thin, flat drawers forthings that can’t be hung, rails, archival tissue, manpower, cameras, computers, says Stanfill.

你不仅需要建馆的场地，而且还需要必要的存储设施——存放无法挂放东西的窄平抽屉、横档、包装档案的薄纸、人手、相机以及电脑。

If you’re in a rush, things pile up and disorder creeps in.

斯坦菲尔说，追求短平快的话，东西就会堆积如山，失序自然就随之而来。

Keeping things is a luxury few young designers can afford, even if the inclination to collectand reference their own past work is there. Cash flow concerns can mean items are sold offthrough sample sales. Or lost altogether.

不间断保存好自己作品需大量人力、物力与财力，年轻设计师可求不可得，即便内心存有收藏以及借鉴自己昔日劳动成果的意向，大量经费需求有时意味着得通过特卖活动忍痛割爱部分藏品，抑或说永远失去它们。

In the early years, Alexander McQueen paid people in clothing, says Marshall.

亚历山大•麦奎最早是用自己设计的时装支付费用。

There’s one famous lost collection; after a show he left the clothes in a bin bag outside aKing's Cross club because he didn’t have the money for the cloakroom.

马歇尔说，他失去自己的一款时装的事众所周知：一次时装发布会后，他把时装放在伦敦国王十字车站(King'sCross)附近某俱乐部外的塑料垃圾袋里，因为他没钱把它们存放于衣帽间。

The whole lot disappeared. But as the brand got bigger, the archive got bigger, particularlyafter his death in 2010.

这套时装就这样永远消失了。随着亚历山大•麦奎品牌知名度越来越大，档案馆的藏品也愈加丰富(他2010年离世后尤为如此)。

Sarah Burton regularly draws on it.

萨拉•伯顿(Sarah Burton)经常从中汲取灵感。

London-based designer Gareth Pugh, whose work has been exhibited at the Met and theV&A, has made an effort to keep as much as possible without the help of a formalarchivist.

伦敦设计师加雷斯•普欧(Gareth Pugh)的时装曾在大都会博物馆以及维多利亚和阿尔伯特博物馆展出，在没有正式档案专业人士帮助的情况下，他尽最大努力收藏自己的作品。

The big expense is the storage — square footage in London does not come cheap, he says.

最大的费用是存放场地——伦敦每平方英尺的租费价格不菲。他说。

Designer Erdem Moralioglu, of Erdem, has also made a concerted effort to keep everything.

埃德姆创意总监埃德姆•莫拉里奥格鲁(Erdem Moralioglu)也竭尽全力收藏自己的一切作品。

Both he and Pugh keep their work in external storage facilities, outside of their studios.

他与普欧把收藏的时装存放在自己工作室外的存储设施里。

Like Pugh also, Moralioglu has made do without an archivist, although is looking to employone.

与普欧一样，莫拉里奥格鲁也是在毫无档案专业人员的帮助下努力为之，尽管他最近打算聘请一位。

Like Chanel, Gucci and other mega brands, he already seems aware of the importance ofheritage: he used his 10-year brand anniversary in 2015 as a chance to spotlight past hits.

与香奈儿、古驰等大名牌一样，他似乎也意识到了传承的重要意义：2015年，他运用自己创牌10周年纪念活动之契机，集中展示了自己过去所推时装精品。

In doing that project, I realised very quickly how many things were missing, he explains.

在做的过程中，自己很快意识到漏藏了好多款式。

There’s a stylist in New York who has a dress from my first collection that I don’t have.

他这样解释道，纽约有位设计师收藏了我平生首个时装系列的一款裙子(我自己却没有这款藏品)。

So I’m desperate to try to buy it off her — it’s funny to be buying back my own stuff.

所以我非常想从她手上回购它——买回自己设计的时装真是件逗事。

To him, it’s worth the trouble.

在他看来，如此折腾完全值得。

We’re all a project of what we’ve done and what we’ve shown, he says.

我们所有人都是自身劳动成果的一部分。他说。

Indeed, if there’s ever an illustration that brand and archive are one and the same, it’sHelmut Lang.

没错，若用例子来说明品牌与档案馆实际上完全是一回事的话，最合适的莫过于赫尔穆特•朗(HelmutLang)。

After deciding to leave fashion in 2005, and after his namesake brand was bought by the PradaGroup, he put 6,000 items through an industrial shredder.

2005年，朗决定退隐江湖、其同名品牌由普拉达(Prada)收购后，他竟用工业粉碎机把所收藏的6000件时装作品一毁了之。

As brands have become more interested in building their collections, so have the number ofprivate collectors increased.

各大品牌建立自己档案馆的兴趣日渐浓厚，私人藏家的数量也是与日俱增。

There are some collectors out there who have better archives than the houses themselves,admits Stanfill.

有些藏家的藏品甚至比时尚品牌公司自身馆藏都要丰富。

It means the museums have to get their act together, says Kerry.

斯坦菲尔坦承道，这意味着各大品牌公司博物馆得继续努力。

They do have tight budgets, but if it’s of national importance then they need to prioritise. Theycan no longer wait.

凯丽说，这些博物馆预算不多，若要成长为具有全国影响力的时装档案馆，那么就得优先发展，因为时不我待。

Kim Jones, men’s artistic director of Louis Vuitton, has access to the extensive Vuittonarchive every day for inspiration, but he has also built an impressive private collection,dating from 1971 to 1992, that features more than 300 looks and encompasses everything,from club looks by 1980s performance artist Leigh Bowery to rare punk pieces by VivienneWestwood and Malcolm McLaren.

路易威登(Louis Vuitton)男装创意总监金姆•琼斯(Kim Jones)每天都可从公司包罗万象的馆藏作品中汲取设计灵感，但他个人的路易威登藏品也异常丰富(时间从1971年直至1992年)，其中包括了300多套时装，它们应有尽有，从上世纪80年代行为艺术家利•鲍厄里(Leigh Bowery)的夜店装束到薇薇恩•韦斯特伍德(Vivienne Westwood)与马尔科姆•麦克拉伦(Malcolm McLaren)的珍稀款朋克装。

He’d like to eventually turn it into a book or exhibition, but, on a day-to-day level, he findsstimulus in the work of the names behind his pieces.

他想最终把它们付梓出版或是举办展览，但他每天都从这些藏品中汲取灵感。

He’s lately appreciating their value, too.

他最近还认识到了这些藏品的价值。

It was only recently, when I had to get it insured, that I realised how much it was all worth, hesays.

最近投保这些藏品时，自己才意识到它们价格不菲。他说。

Value is an interesting word, says Marshall.

价值是个让人感兴趣的词。马歇尔说。

For her, as for Jones, it’s the stories and sense of social history that make an archive trulyrelevant.

她认为，就琼斯而言，正是这些前世今生的故事与社会历史意识让时装档案馆意义非凡。

Taylor agrees. It’s not a quick way to make money.

泰勒也持同样看法：这并非赚钱的捷径。

And, whether the task falls on an individual or a brand, it requires a lot of patience.

而且，不管是个人还是品牌公司承担兴建档案馆的重任，都极需持久耐心。

You have to hang on to things for quite a long time.

做这事得持之以恒、长期为之。

Taylor pauses. But they can become very, very valuable.

泰勒停了一会儿说，但这些藏品可能会变得价值千金。