Viva the diva: inside the fashion documentary boom

时装纪录片扎堆面市
时间:2018-06-23 单词数:4760

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导读:薇薇恩韦斯特伍德、拉夫西蒙斯等设计名师和知名时尚编辑的纪录片扎堆面市。诱人时装业的幕后备受关注。

时装纪录片扎堆面市_ 双语新闻

In fashion, access is everything. But right now, it couldn’t be easier to go behind the scenes at a runway show, photo shoot or designer’s studio. Netflix and Amazon are currently offering documentary films about Vivienne Westwood, Dries Van Noten, Jeremy Scott, Manolo Blahnik and Raf Simons among their titles. And it doesn’t stop there. The celebrated Vogue editors Diana Vreeland, Carine Roitfeld and Franca Sozzani have all been the focus of recent films, while imminent releases include documentaries about Alexander McQueen and the stylist and writer André Leon Talley.

在时尚圈,接近就是一切。但如今,走入秀场、拍摄片场或设计师工作室的幕后早已是稀松平常之事。Netflix和亚马逊正在推出关于薇薇恩韦斯特伍德(Vivienne Westwood)、德赖斯范诺顿(Dries Van Noten)、杰里米斯科特(Jeremy Scott)、Manolo Blahnik和拉夫西蒙斯(Raf Simons)等时尚大咖的纪录片。还不止这些。大名鼎鼎的《VOGUE》杂志编辑戴安娜弗里兰(Diana Vreeland)、卡琳洛菲德(Carine Roitfeld)和弗兰卡?索扎妮(Franca Sozzani)都成了近来一些纪录片的主角,而有关亚历山大麦昆(Alexander McQueen)和造型师、作家安德列利昂塔利(André Leon Talley)的纪录片也即将上映。

It was all so different 11 years ago, when the film-maker RJ Cutler decided to make a movie about a fashion magazine. Back then, investors weren’t particularly interested in financing a film about the inner workings of American Vogue and its indomitable editor Anna Wintour. “One financier said to me, ‘Who wants to see a movie about the making of a magazine? It’s just a bunch of people standing around flipping pages,’ ” says Cutler. The result, The September Issue, was a critical and commercial hit — and a flood of fashion features followed.

就在11年前,情况还完全不同。当时,电影制片人RJ 卡特勒(RJ Cutler)决定制作一部关于一本时尚杂志的电影。可投资者对于投资一部讲美国版《VOGUE》杂志的内部运作及其不可一世的主编安娜温图尔(Anna Wintour)的电影并不太感兴趣。“一个投资者对我说,‘谁会想看一部讲如何制作杂志的电影?不就是一群人围着版面站着吗。’”卡特勒说。可最终推出的《九月刊》(The September Issue)无论是口碑还是商业上,都获得了巨大的成功,一大批时尚纪录片也随之涌现。

“The thing with the fashion world is that every few years there’s a new hot topic to dig into,” says Cutler. “And those who have survived the ephemeral nature of the fashion industry are even more legendary for their staying power. Who wouldn’t want to see a feature documentary exploring the extraordinary career of Karl Lagerfeld? Or a film about Saint Laurent? Now there’s a film about André — in a way, you’re telling the story of our times when you’re telling the story of André Leon Talley.”

“时尚界的一个特点在于,每过几年都会出现一个新的热门话题供挖掘。”卡特勒说,“而那些成功适应了瞬息万变的时尚界的人,会更加因为他们持久的影响力而成为传奇。谁不想看到一部展现卡尔拉格斐(Karl Lagerfeld)那非凡职业经历的纪录片?或是关于圣洛朗(Saint Laurent)的电影?现在,有一部关于安德列的纪录片——从某种程度上讲,讲述安德列利昂塔利的故事,就是讲述我们这个时代的故事。”

Cutler is referring to The Gospel According to André, directed by Kate Novack, and released in the US this month, which tracks the rise of the Vogue legend and front-row personality from his childhood living under Jim Crow laws in America’s South. Fashion stalwarts such as Marc Jacobs and Anna Wintour wax lyrical about him, and there’s archive footage of him partying with Andy Warhol at The Factory and working with Vreeland at the Met. But it’s not all high glamour: the film’s most candid scenes are those in which Talley describes the racism in the industry.

卡特勒说的是由凯特诺瓦克(Kate Novack)执导的电影《时尚男魔头的福音》(The Gospel According to André),5月份刚在美国上映。该片讲述了安德列这位《VOGUE》传奇人物的成名之路,以及童年在深受《吉姆克劳法》(Jim Crow——又译《黑人歧视法》)影响的美国南部度过的安德列是如何养成了争强好胜的性格的。马克雅各布斯(Marc Jacobs)和安娜温图尔等时尚巨头对他不吝美誉。片中还有一些他与安迪沃霍尔(Andy Warhol)在The Factory开派对,以及与弗里兰在Met时尚盛典合作的老镜头。但影片并未局限于炫目的时尚:片中最坦率的场景是塔利对时尚业内种族主义的描述。

“Fashion is like a funhouse mirror. It’s reality, but more fun, more scary, more everything,” says Frédéric Tcheng, director of Dior and I, which followed Raf Simons in his tumultuous first weeks as creative director of the French house. He’s currently working on a film about the designer Halston, which will be part fiction, part documentary. But Tcheng is keen to distance himself from the growing number of films being used by brands as a marketing exercise. “‘Content’ is a word I don’t like,” he says, “but ‘branded content’ is just pure death. Film-makers have to be smart about it.”

“时尚就像一面哈哈镜。真实,但更有趣,更吓人,更包罗万象。”《迪奥与我》(Dior and I)的导演Frédéric Tcheng说道。影片记录了拉夫西蒙斯(Raf Simons)刚接手这家法国公司的创意总监职务之初混乱的几周。Tcheng目前正在制作一部关于设计师候司顿(Halston)的半虚构半纪录片电影。但他希望自己与越来越多已被各品牌用作一种市场营销手段的影片划清界限。“‘内容’这个词我不喜欢。”他说,“但‘品牌内容’(branded content)肯定死路一条。电影制作者必须明白这一点。”

来源:金融时报爱语吧作者:金融时报

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