时装电影 Rise of the ready to wear movie
In recent years, the line between film and fashion has become increasingly blurred. Actresses front ad campaigns for fashion houses, while models such as Agyness Deyn, Stacy Martin and Cara Delevingne have taken to the big screen. There has also been a growing number of films about the fashion world: last year saw the release of the documentary Dior and I, Albert Maysles’ last film Iris, about the interior designer and textile manufacturer Iris Apfel, and two feature films about Yves Saint Laurent.
近几年来，电影与时尚之间的界限越发模糊不清。女明星们成为各大时尚品牌广告片的主角，而阿格妮丝•迪恩(Agyness Deyn)、斯塔茜•马汀(Stacy Martin)以及卡拉•迪瓦伊(Cara Delevingne)等名模则喜欢上了演电影，而且时尚题材的影片渐趋增多：去年有诸多时尚类记录片推出——《Dior and I》、阿尔伯特•梅索斯(Albert Maysles)介绍室内设计师及纺织品生产商艾瑞斯•阿普菲尔(Iris Apfel)传奇人生的封山之作《Iris》以及两部介绍伊夫•圣•罗兰(Yves Saint Laurent)的长片。
But if 2015 was the year of the style biopic, this is the year of the ready-to-wear movie: Tom Ford, the Rodarte sisters (Kate and Laura Mulleavy) and Tara Subkoff (who spent much of the 2000s as half of the high-end, upcycling line Imitation of Christ) are each taking a turn in the director’s chair.
但是，如果说2015年是时尚界名人传记片兴起之年，那么今年可以说是成衣设计师纷纷跨界拍电影之年：汤姆•福特(Tom Ford)、创立罗达特(Rodarte)品牌的凯特与劳拉•穆里维(Kate and Laura Mulleavy)俩姐妹以及塔拉•苏博科夫(Tara Subkoff)都“转行”当起了导演。21世纪前十年的多数时间里，塔拉•苏博科夫一直担任“升级改造”的高端时装品牌Imitation of Christ的联合设计师。
Ford’s authority as a director is well proven. His first film, 2009’s A Single Man, starring Colin Firth, won a Bafta (and was nominated for an Oscar), and the rights to his follow-up were subject to a bidding war in Cannes last May. focus Features paid more than $20m for Nocturnal Animals, which is due to be released this year. A book adaptation, like A Single Man, it is based on Austin Wright’s 1993 thriller Tony and Susan about a divorcee sent a dark, fantastical novel written by her ex-husband.
福特的导演功力早已得到证明。其首部影片、2009年由科林•弗思(Colin Firth)主演的《单身男子》(A Single Man)曾荣获英国电影和电视艺术学院奖(BAFTA)，而且还赢得奥斯卡提名。去年五月戛纳电影节期间，多家影业公司为争夺其最新导演的大片展开了竞拍大战，最终焦点影业(Focus Features)以2000多万美元把《Nocturnal Animals》拍到手，该片定于2017年公映。与《单身男子》一样，《Nocturnal Animals》改编自奥斯丁•怀特(Austin Wright)1993年出版的恐怖小说《Tony and Susan》，剧情讲述的是一位离婚女收到其前夫所写的一本情节离奇的黑暗小说。
Ford has been instrumental in melding the worlds of fashion and film. Last February, he moved his catwalk show from London to Los Angeles, just as the awards season got under way, staging it in Hollywood before the likes of Julianne Moore and Amy Adams (who will star in Ford’s new film alongside Jake Gyllenhaal and Isla Fisher). Earlier that month, Moore wore a low-cut ruby dress by the designer to collect her Bafta.
福特一直努力推动把时尚与电影融为一体。去年2月，他把自己的时装秀场从伦敦移师洛杉矶好莱坞（当时正值奥斯卡颁奖典礼期间），搬到了朱丽安•摩尔(Julianne Moore)以及艾米•亚当斯(Amy Adams)等明星的家门口。艾米•亚当斯将与杰克•吉伦哈尔(Jake Gyllenhaal)以及艾拉•费舍尔(Isla Fisher)都将担任这部《Nocturnal Animals》的主演。去年二月初，莫尔身穿福特设计的深红色低胸裙受领了英国电影和电视艺术学院奖。
Last season, Ford suspended his SS16 catwalk show and instead commissioned photographer Nick Knight to film a staged performance starring Lady Gaga. “I wanted to think about how to present a collection in a cinematic way that was designed from its inception to be presented online,” Ford said.
去年秋季，福特推迟了自己的2016年春夏季时装秀时间，转而授权摄影大师尼克•奈特(Nick Knight)执拍了一部由Lady Gaga领衔主演的广告宣传片。“我希望以电影的方式展现时装，而且从一开始就策划在网站播映。”福特说。
It was also in Cannes that the Mulleavys announced their debut feature Woodshock, which the West Coast design duo have written and are directing together; the pair were on the Croisette to secure international distributors. While the sisters are refusing to discuss the details of their movie debut, it tells the story of a paranoiac woman, involves drugs, and stars Kirsten Dunst and Boyhood actress Lorelei Linklater.
同样是在戛纳电影节期间，穆里维宣布了她们的处女片《Woodshock》计划，该片由这两位来自美国西海岸的姐妹花共同创作及执导；她们亲临克鲁瓦塞特大道（Croisette，戛纳电影节主办地），就是为了获得全球发行商的赞助。虽说俩姐妹不愿透露处女作的详情，但该片讲述的是一位吸食毒品的偏执狂女患者的故事，分别由克里斯汀•邓斯特(Kirsten Dunst)及罗蕾莱•林克莱特（Lorelei Linklater，饰演其少女时代)出任主演。
What attracts designers to the world of celluloid? “I love storytelling and was constantly trying to inject that into fashion,” says Tara Subkoff, whose debut film #Horror was released in the US in November and is scheduled for distribution in the UK. Starring Chloë Sevigny, this teenage cyberbullying thriller (designers are clearly drawn to dark tales about psychological terror) is set in an isolated Connecticut home filled with contemporary art that was curated for the film by artist Urs Fischer, who happens to be Subkoff’s husband.
是啥原因让设计师们都跨界玩起了电影？“我喜欢讲故事，总想把这种形式融进时尚中。” 塔拉•苏博科夫说，她的处女作《#Horror》去年11月在美国上映，并将在英国上映。该片由科洛•塞维尼(Chloë Sevigny)主演，是一部青少年网路恶霸的恐怖片，发生于康涅狄格州一处挂满当代艺术作品的偏僻寓所，这些艺术作品由乌尔斯•费舍尔(Urs Fischer)专为此影片展出，而他恰巧就是苏博科夫的丈夫。
“I made shorts and video pieces, and we have hosted conceptualised performances all over the world, from São Paulo to the Havana Film Festival,” says the designer, who began her career as an actress and has always incorporated film and performance into her hybrid fashion-art brand. In 2013, Subkoff enclosed model/actress Milla Jovovich in a glass box for the Venice Biennale.
“我们制作了很多短片与视频片断，而且在世界各地（从圣保罗到哈瓦那）的电影节上举办概念化的表演。”设计师苏博科夫说，她最初职业为演员，一直把电视及表演融入其时尚与艺术的混合品牌。2013年的威尼斯双年展(Venice Biennale)上，苏博科夫甚至把超模兼影星米拉•乔沃维奇(Milla Jovovich)装进了玻璃箱中“展出”。
“In fashion you have to make decisions very fast,” she says. “Film moves much more slowly, but it helps to have a clear aesthetic and to be able to communicate what you want with clarity.”
“在时尚界，做决定必须当机立断。”她说，“电影拍摄的节奏则要慢得多，但它有助于确立清晰的艺术观，而且能把自己的愿望清晰表达出来。”
For Subkoff, #Horror was also an opportunity to play with the power of clothes on character: “It was fun figuring out what Chloë Sevigny was going to wear,” she says of the actress, whom she met on the set of Whit Stillman’s 1998 film The Last Days of Disco. “I wanted her to be like a 1990s supermodel meets a trophy wife who’s not happy with her lot. So she dresses in Alaïa — even though that doesn’t fit her life.” The most memorable of Sevigny’s costumes is in the opening scene: a Busby Berkeley bathing suit and floor-sweeping cover-up decorated in origami that comes from the Imitation of Christ archive.
在苏博科夫看来，《#Horror》也是展现服装对人物影响力的契机：“琢磨科洛塞维尼在片中该穿啥衣服着实有趣。”她这样提及塞维尼，她是在《迪斯科末日》(The Last Days of Disco)的片场与对方结识，该片1998上映，由斯蒂尔曼(Whit Stillman)担任编剧。 “我希望《#Horror》中的塞维尼如同上世纪90年代的超模，对自己花瓶式妻子的命运闷闷不乐。所以她选了阿拉亚(Alaïa)——即便这与她的生活格格不入。”塞维尼片中服装最难忘的一幕是在片头：她身穿一件用折纸装饰的巴斯比•伯克利(Busby Berkeley)泳衣及拖地款沙滩装，它来自Imitation of Christ的档案室。
While the move from fashion designer to film director can spark scepticism — #Horror has had rather mixed reviews — many designers, like Subkoff, identify themselves as storytellers. The Mulleavy sisters in particular have always invested their work with a richly imagined narrative and worked with a team of Hollywood-based collaborators — including actors Elijah Wood and Dunst — to capture the mood of their collections. That they should have shifted their focus on to film seems a natural progression. And film is increasingly becoming part of the fashion experience: Karl Lagerfeld made a short film starring Kristen Stewart to support the Chanel Métiers d’Art show in Rome last December, while Alessandro Michele is directing video content at Gucci.
尽管从时装设计师跨界当导演会不断引发质疑声——《#Horror》一片的反应就褒贬不一——包括苏博科夫在内的很多设计师都自认为是讲故事能手，尤以穆里维俩姐妹为甚，她俩总赋予剧情以丰富想象力，并与伊利亚•伍德(Elijah Wood)以及克里斯汀•邓斯特等好莱坞明星合作，把其时尚风格的精髓在影片中展现出来。上述设计师将重心转向电影业似乎成了水到渠成之事，而且电影越来越成为时尚体验的组成部分：老佛爷(Karl Lagerfeld)推出了一部由克里斯汀•斯图尔特(Kristen Stewart)主演的电影短片，以助阵去年12月在罗马举行的香奈儿Chanel Métiers d’Art大秀，而亚历山德罗•米歇尔(Alessandro Michele)也执拍古驰(Gucci)秀场的视频短片。
So who might be next to pick up the camera? Certainly Erdem Moralioglu has always had a filmic vision: for his AW15 catwalk show, he built a set with artist Robin Brown that imagined a noirish world for that season’s woman inspired by Fellini and Hitchcock, all set to a looping soundtrack from La Dolce Vita; his SS16 “Prairie Madness” collection, meanwhile, conjured a deserted Outback railway station.
那么谁可能是下一位试水电影的设计师？毫无疑问，埃德姆•莫拉里奥格鲁(Erdem Moralioglu)一直具有电影的格局：2015年夏秋季时装秀场，他从费里尼(Fellini)及希区柯克(Hitchcock)的影片获得灵感，与艺术家罗宾•布朗(Robin Brown)合搭了一个场景——在循环播放的《甜蜜的生活》(La Dolce Vita)伴乐声中，为该时装季女性拥趸设想了一个黑色世界；与此同时，他为2016年夏秋季Prairie Madness系列发布会巧妙搭建了一座澳洲内陆地区的废弃火车站。
“It’s fascinating getting to grips with a character so forensically,” he says of his process. “It allows you to literally piece together who this girl is.” Right now, however, he has no plans to make a movie. For some designers, it’s enough to keep the drama on the catwalk.
“如此挖空心思为模特设计可谓其乐无穷，”埃德姆•莫拉里奥格鲁如此评价整个过程。“它能让自己真正一点点“拼凑”模特的形象。但如今他并无投拍电影的计划。对于有些设计师来说，保持T型台上的电影特效就已绰绰有余。
