時髦男裝都用女性面料
Does fabric have an inherent gender? As menswear designers continue to surprise with their use of lace, floral silk, chiffon and bouclé, what does the use of textiles more commonly associated with womenswear mean? These materials aren’t merely attention-seeking runway showpieces: they are at the core of many collections.
面料分性別嗎？男裝設計師不斷採用透孔織品、印花絲綢、薄綢以及仿羔羊呢(bouclé)等面料設計男裝，讓時尚界備感驚詫，他們用這些女裝常用面料到底想幹什麼？這些面料不僅僅是T型臺上萬衆矚目的對象，還是衆多時裝的根本所在。
So is it a case of novelty, subversion or part of a complex shift towards gender-neutral fashion?
那麼這到底是標新立異、全盤顛覆還是僅僅只是漸趨轉向中性時裝的個案？
Carlo Brandelli at Savile Row tailors Kilgour has been using bouclé —
英國薩維爾(Savile Row)裁縫行切爾高(Kilgour)創意總監卡洛.布蘭德利(Carlo Brandelli)10多年來一直使用仿羔羊呢面料。
a wool as integral to the feminine lexicon of Chanel as its N°5 fragrance — for more than a decade.
就如同香奈兒(Chanel)不能少了5號香水，這種面料也是香奈兒女裝的不二標配。
I use the same mill as Chanel and have no hesitation in using fabrics associated with womenswear, he says.
我與香奈兒的面料來自同一廠家，因此毫不猶豫地使用女裝面料設計男裝。
It was always very bizarre to me that fabric manufacturers set separate appointments for men’s and women’s textile collections.
他說，生產廠家把男裝女裝面料分得涇渭分明，但我覺得這很奇怪。
Then, when I started designing my own fabrics in 2004 it meant I could dictate the brief completely.
我2004年開始設計時裝後，就開始完全自主地選擇面料。
Brandelli’s tailoring is austere and masculine but its design is driven by texture.
布蘭德利製作的男裝莊重、男人味十足，但他的設計取決於面料質感。
Like the dazzling brocade bomber jackets at Dries Van Noten, or Alexander McQueen’s Victorian moth foil embroidery this season, it fits with a growing trend in menswear.
它與這個時裝季的德賴斯.範諾頓(Dries Van Noten)織錦料亮麗短夾克（腰部和袖口帶有鬆緊帶）以及亞歷山大.麥奎(Alexander McQueen)的維多利亞風格蛾箔刺繡圖案男裝一樣，應和着當今男裝的流行時尚。
If fashion is cyclical (and of course it is), this is one loop that’s taken longer than most to complete: we haven’t really seen it since the 18th century.
如果說時尚具有周期性（毫無疑問是如此），那麼這一輪迴比多數事物的週期都要長：自18世紀以來，我們還沒有真正看到面料這一週期的終結。
Textiles only became ‘gendered’ in the 1790s, during and after the French Revolution,
面料直到18世紀90年代纔有性別之分，那時是法國大革命之間與之後。
says fashion historian and author Judith Watt.
時尚歷史學家及作家朱迪思.瓦特(Judith Watt)說。
After that date, decorative clothes for men — lace, velvet, woven fabrics like brocade, anything that was pretty — were verboten.
從那以後，裝飾性面料（透孔織品、天鵝絨、織錦之類的編織類面料，一切漂亮的面料）就嚴禁用於製作男裝。
The French adopted a masculinity defined by English sporting dress.
法國人沿用了英國運動裝界定的男裝風格。
But now it’s come full circle.
但如今這一時裝運行週期行將結束。
It doesn’t really matter any more, does it?
現在女裝面料運用於男裝已無關緊要。
There’s no fence between masculine and feminine.
男女裝之間已沒有界限。
Textiles undeniably carry meaning.
面料毫無疑問承載着特定意義。
Consider the artist Joseph Beuys, whose use of grey felt was explained via an (apocryphal) story involving nomadic Tartars,
比方說德國藝術家約瑟夫.博伊斯(Joseph Beuys)，他愛用一個虛構的故事，故事稱：灰色毛氈料源自遊牧民族韃靼人。
who he said had wrapped him in it after his plane crashed in the Crimea.
他說自己乘坐的飛機在克里米亞半島(Crimea)失事後，正是當地韃靼人用灰色毛氈把他裹護起來。
See also British-Nigerian artist Yinka Shonibare — who is the subject of an exhibition at Stephen Friedman, London, until November 5 — who is celebrated for his colonial-era dresses, produced in the bright and graphic Dutch wax fabric so associated with African style.
再看英籍尼日利亞裔藝術家印卡.修尼巴爾(Yinka Shonibare)的例子：他以設計殖民時期的服裝而著稱於世，他在倫敦Stephen Friedman畫廊舉辦了個展：他採用明顯非洲風格、帶有豔麗圖案的荷蘭蠟染面料設計時裝。
These are textiles as pure statement.
這些都是體現純主流時尚符號的面料。
In fashion, the meanings attributed to certain fabrics continue to change.
在時裝界，特定面料的內涵不斷在演變。
In the mid-1960s, Norman Mailer punched Warhol acolyte Mark Lancaster because Mailer took offence at his pink linen jacket.
上世紀60年代中葉，著名作家諾曼.梅勒(Norman Mailer)曾暴揍著名畫家沃霍(Warhol)的助手馬克.蘭開斯特(Mark Lancaster)，原因是身穿粉色亞麻布夾克的梅勒感到遭受了對方侮辱。
Fifty years later, and Italian boutique Luisa Via Roma is currently selling a Saint Laurent hot pink mink coat for men (its price is just shy of ￡17,000).
時間僅過了50年，意大利奢飾品網站Luisa Via Roma如今卻以近1.7萬英鎊的高價銷售一款聖羅蘭桃紅色男式貂皮大衣。
Flamboyance for most of the 20th century was synonymous with homosexuality.
豔麗裝在20世紀的多數時間裏是同性戀的代名詞。
But recent years have seen high fashion becoming more fluid in its approach.
但近年來，高端時裝的跨界化趨向越發明顯。
Gucci designer Alessandro Michele insists that his designs for men and women all start from the same source and uses the same pinky silks, vibrant prints and richly embellished materials across both his men’s and women’s labels.
古馳(Gucci)創意總監亞歷山德羅.米歇爾(Alessandro Michele)堅稱自己的男女裝設計理念同宗同源，並在男裝與女裝中運用相同的淡紅色真絲料、亮麗印花料以及帶有華麗裝飾圖案的面料。
When Gaultier showed men in skirts in 1984 it was hugely controversial; now skirts are a staple at Dries Van Noten, Rick Owens and Yohji Yamamoto.
當高緹耶(Gautier)1984年推出男款短裙時，曾引發巨大爭議；如今，短裙成了德賴斯.範諾頓、瑞克.歐文斯(Rick Owens)以及山本耀司(Yohji Yamamoto)等品牌的主打產品。
The actor Jaden Smith starred in a Louis Vuitton campaign this year wearing a skirt.
小明星傑登.史密斯(Jaden Smith)身穿短裙出演今年的路易威登(Louis Vuitton)廣告大片。
And why not? It’s just a kilt with a twist.
有何不可呢？他穿的只是略微改動的蘇格蘭短褶裙。
This breaking down of gender boundaries has been most apparent in textiles, spurred on by young designers such as 2016 LVMH prize winner Grace Wales Bonner.
跨性現象在面料中最爲明顯，推波助瀾者是包括2016年路威酩軒時裝設計新人獎(LVMH prize)得主格蕾絲.威爾士.邦納(Grace Wales Bonner)等設計新銳。
Her menswear has drawn equally on the dandy look of Quentin Crisp in the The Naked Civil Servant as it has the decorative ceremonial style of Haile Selassie.
如同她設計的男裝借鑑了埃塞俄比亞皇帝海爾.塞拉西(Haile Selassie)的禮服裝束一樣，她也借鑑了英國電影《The Naked Civil Servant》中昆汀.克里斯普(Quentin Crisp)的時髦紳士裝束。
I never thought when I started my career that I would be working with sequins, bouclé and Lurex,
自己剛入設計這一行時，從未想過有朝一日會用金屬飾片、薄綢以和金屬織物進行設計。
says Damien Paul, who is head of the menswear buy at , but the modern man is embracing more feminine aspects of style.
網店男裝採購部主管達米安.保羅(Damien Paul)說，但是，當代男性越來越接受男裝女性化。
I think men are open to experimentation as long as the fabrics are used on a traditionally masculine shape.
我認爲只要這種（女性化）面料應用在傳統版型的男裝上，男士們還是願意試一試的。
Gucci is one of the bestselling brands at Matches Fashion.
古馳是網店上最爲暢銷的品牌，
Also popular is the young British designer Craig Green, whose autumn line is full of military green bouclé.
網店上同樣大受粉絲追捧的還有英國設計新銳克雷格.格林(Craig Green)，他設計的秋季系列時裝都採用了軍綠色仿羔羊皮料。
Textile is always a main starting point for every collection, Green explains.
面料一直是任何時裝的主要起點。
I was a textiles graduate at Central Saint Martins and I have always been obsessed with ideas of process and the properties of what a fabric can do or be.
格林解釋道，我是中央聖馬丁藝術學院(Central Saint Martins)面料專業的科班生，所以一直迷戀面料的加工流程、功能及其用途。
