本季時裝盛會充滿魔幻世界的魅力

The enchantment of magicAl places, from medieval castles to storybook gardens, inhabits fashion this season, as designers focus on the narratives of familiar legends and folklore.

這一季的時裝充滿魔幻世界的魅力——從中世紀的城堡到小說中的花園——因爲設計師們格外關注衆所周知的傳說和民間故事。

Chivalry reigns on, according to Mary Katrantzou, who incorporated regal, heraldic motifs in her fall collection (top center-left). Dolce & Gabbana (bottom left) borrowed from the stately robes worn by the fabled King Arthur and his Knights of the Round Table, as depicted in a 15th-century manuscript (top left). The princesses they fought for were evoked in ethereal white gowns at Alexander McQueen (bottom right); these maidens looked as if they could live at Neuschwanstein Castle (top right) in Bavaria, built in 1869 by the eccentric King Ludwig II. In tales and fables, thickets like the Dark Hedges in Ballymoney, Northern Ireland (bottom center), where “Game of Thrones” was filmed, are alive with fairy creatures of the kind sculpted by Janine Janet (top center-right) in 1957.

瑪麗·卡特蘭佐(Mary Katrantzou)說，騎士精神開始流行。她把王室的紋章圖案融入自己的秋季系列中（上排中左）。杜嘉班納（Dolce & Gabbana，左下）借鑑傳說中亞瑟王和圓桌騎士們所穿的華麗長袍，正如15世紀的一個手稿描繪的那樣（左上）。亞歷山大·麥昆（Alexander McQueen，右下）飄逸的白色禮服讓人想起了騎士們保衛的公主；這些少女們看起來像是住在巴伐利亞的新天鵝城堡（Neuschwanstein Castle，右上），它是古怪的路德維格二世1869年修建的。北愛爾蘭的巴利馬尼區是《權力的遊戲》(Game of Thrones)的拍攝地，在傳說故事中，那裏的黑暗樹籬（中下）裏住着仙女，就像雅尼娜·珍妮特(Janine Janet)1957年創作的那種雕塑（上排中右）。

Fairy tales are more compelling when based in reality. Since serving as the refectory of Hogwarts in the Harry Potter movies, the Great Hall of Christ Church (bottom center) has become the most visited site at the University of Oxford, and the Witch’s House (top center), built by the Hollywood art director Harry Oliver in 1921, is now a much-frequented landmark in Beverly Hills. For fall, Disney’s Snow White appeared on dresses at REDValentino (right) and at Alice and Olivia, where a model played the pale beauty in a crystal casket (left). Schiaparelli showed a dress embroidered with a bleeding heart (far right) while Dolce & Gabbana created a woodsy cape (center) and Undercover’s coronated models (far left) clutched electronic apples as if to ward off temptation.

基於現實的童話更有吸引力。自從基督教堂的大會堂（中下）成爲《哈利·波特》系列電影中霍格沃茨魔法學校的餐廳的拍攝地之後，這裏成爲牛津大學被參觀最多的地方，女巫的房子（上中）是好萊塢藝術導演哈里·奧利弗(Harry Oliver)1921年建造的，現在是貝弗利山的熱門地標建築。今年秋季，迪士尼的白雪公主出現在紅·華倫天奴(REDValentino)的連衣裙上（右），也出現在愛麗絲+奧利維亞(Alice and Olivia)的秀臺上，一位模特扮演水晶棺中面色蒼白的美人（左）。夏帕瑞麗(Schiaparelli)推出了一款繡着流血的心的連衣裙（最右），杜嘉班納設計了一件具有森林色彩的披肩（中），高橋盾UC(Undercover)戴着皇冠的模特們（最左）拿着電子蘋果，好像是爲了避開誘惑。

Fanciful spaces have often been realized by those who wished to occupy their own made-up worlds. One was the Prince Regent, who in 1815 employed John Nash to create the Indo-Saracenic pavilion (top left) in Brighton, England, as a riposte to the classicist architecture of the time. Tony Duquette’s Malibu Ranch (top center) was a latter-day equivalent: a city of pseudo-oriental architecture, in which one could easily dress in Anna Sui’s chinoiserie-inspired fall line (left). In a rural setting, Valentino’s gauzy frocks (both bottom right) might fit in Marie Antoinette’s 18th-century fantasy farm, L’Hameau de la Reine (bottom center), at Versailles. A truly quixotic landscape is seen in Salvador Dalí’s 1946 painting “The Temptation of St. Anthony” (top right), which depicts a metropolis set upon the backs of animals. The sandy hues in the exotic worlds conjured by Richard Selesnick and Nicholas Kahn in their narrative photo novellas (center) is echoed in Ralph Lauren’s majestic fall evening wear (center left).

別出心裁的建築通常是由想住在自己幻想世界的人實現的。攝政王(Prince Regent)就是其中之一，1815年他僱傭約翰·納什(John Nash)在英國布賴頓修建了一座印度撒拉遜風格的亭子（上左），作爲對當時古典主義建築風格的反擊。託尼·杜克特(Tony Duquette)的馬利布農場（Malibu Ranch，上中）是近代的一個類似的僞東方建築羣，在裏面穿着安娜蘇(Anna Sui)具有中國藝術風格的秋季服裝系列（左）應該非常合適。華倫天奴的秀臺是田園風格的，它的輕薄連衫裙（右下的兩款）可能很適合瑪麗·安託瓦內特(Marie Antoinette)18世紀在凡爾賽修建的幻想農場——王后村莊（中下）。薩爾瓦多·達利(Salvador Dalí)1946年的油畫《聖安東尼的誘惑》（The Temptation of St. Anthony，右上）描繪了一個建在動物背上的大都市，那是真正的空想風景。理查德·塞萊斯尼克(Richard Selesnick)和尼古拉斯·卡恩(Nicholas Kahn)在敘事照片小說（中）中想像出來的異域世界的多沙色調在拉夫·勞倫(Ralph Lauren)莊嚴的秋季晚禮服中得以體現（中左）。