時裝電影 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.

近幾年來，電影與時尚之間的界限越發模糊不清。女明星們成爲各大時尚品牌廣告片的主角，而阿格妮絲•迪恩(Agyness Deyn)、斯塔茜•馬汀(Stacy Martin)以及卡拉•迪瓦伊(Cara Delevingne)等名模則喜歡上了演電影，而且時尚題材的影片漸趨增多：去年有諸多時尚類記錄片推出——《Dior and I》、阿爾伯特•梅索斯(Albert Maysles)介紹室內設計師及紡織品生產商艾瑞斯•阿普菲爾(Iris Apfel)傳奇人生的封山之作《Iris》以及兩部介紹伊夫•聖•羅蘭(Yves Saint Laurent)的長片。

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，如果說2015年是時尚界名人傳記片興起之年，那麼今年可以說是成衣設計師紛紛跨界拍電影之年：湯姆•福特(Tom Ford)、創立羅達特(Rodarte)品牌的凱特與勞拉•穆裏維(Kate and Laura Mulleavy)倆姐妹以及塔拉•蘇博科夫(Tara Subkoff)都“轉行”當起了導演。21世紀前十年的多數時間裏，塔拉•蘇博科夫一直擔任“升級改造”的高端時裝品牌Imitation of Christ的聯合設計師。

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.

福特的導演功力早已得到證明。其首部影片、2009年由科林•弗思(Colin Firth)主演的《單身男子》(A Single Man)曾榮獲英國電影和電視藝術學院獎(BAFTA)，而且還贏得奧斯卡提名。去年五月戛納電影節期間，多家影業公司爲爭奪其最新導演的大片展開了競拍大戰，最終焦點影業(Focus Features)以2000多萬美元把《Nocturnal Animals》拍到手，該片定於2017年公映。與《單身男子》一樣，《Nocturnal Animals》改編自奧斯丁•懷特(Austin Wright)1993年出版的恐怖小說《Tony and Susan》，劇情講述的是一位離婚女收到其前夫所寫的一本情節離奇的黑暗小說。

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.

福特一直努力推動把時尚與電影融爲一體。去年2月，他把自己的時裝秀場從倫敦移師洛杉磯好萊塢（當時正值奧斯卡頒獎典禮期間），搬到了朱麗安•摩爾(Julianne Moore)以及艾米•亞當斯(Amy Adams)等明星的家門口。艾米•亞當斯將與傑克•吉倫哈爾(Jake Gyllenhaal)以及艾拉•費舍爾(Isla Fisher)都將擔任這部《Nocturnal Animals》的主演。去年二月初，莫爾身穿福特設計的深紅色低胸裙受領了英國電影和電視藝術學院獎。

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，福特推遲了自己的2016年春夏季時裝秀時間，轉而授權攝影大師尼克•奈特(Nick Knight)執拍了一部由Lady Gaga領銜主演的廣告宣傳片。“我希望以電影的方式展現時裝，而且從一開始就策劃在網站播映。”福特說。

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.

同樣是在戛納電影節期間，穆裏維宣佈了她們的處女片《Woodshock》計劃，該片由這兩位來自美國西海岸的姐妹花共同創作及執導；她們親臨克魯瓦塞特大道（Croisette，戛納電影節主辦地），就是爲了獲得全球發行商的贊助。雖說倆姐妹不願透露處女作的詳情，但該片講述的是一位吸食毒品的偏執狂女患者的故事，分別由克里斯汀•鄧斯特(Kirsten Dunst)及羅蕾萊•林克萊特（Lorelei Linklater，飾演其少女時代)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.

是啥原因讓設計師們都跨界玩起了電影？“我喜歡講故事，總想把這種形式融進時尚中。” 塔拉•蘇博科夫說，她的處女作《#Horror》去年11月在美國上映，並將在英國上映。該片由科洛•塞維尼(Chloë Sevigny)主演，是一部青少年網路惡霸的恐怖片，發生於康涅狄格州一處掛滿當代藝術作品的偏僻寓所，這些藝術作品由烏爾斯•費舍爾(Urs Fischer)專爲此影片展出，而他恰巧就是蘇博科夫的丈夫。

“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.

“我們製作了很多短片與視頻片斷，而且在世界各地（從聖保羅到哈瓦那）的電影節上舉辦概念化的表演。”設計師蘇博科夫說，她最初職業爲演員，一直把電視及表演融入其時尚與藝術的混合品牌。2013年的威尼斯雙年展(Venice Biennale)上，蘇博科夫甚至把超模兼影星米拉•喬沃維奇(Milla Jovovich)裝進了玻璃箱中“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.”

“在時尚界，做決定必須當機立斷。”她說，“電影拍攝的節奏則要慢得多，但它有助於確立清晰的藝術觀，而且能把自己的願望清晰表達出來。”

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.

在蘇博科夫看來，《#Horror》也是展現服裝對人物影響力的契機：“琢磨科洛塞維尼在片中該穿啥衣服着實有趣。”她這樣提及塞維尼，她是在《迪斯科末日》(The Last Days of Disco)的片場與對方結識，該片1998上映，由斯蒂爾曼(Whit Stillman)擔任編劇。 “我希望《#Horror》中的塞維尼如同上世紀90年代的超模，對自己花瓶式妻子的命運悶悶不樂。所以她選了阿拉亞(Alaïa)——即便這與她的生活格格不入。”塞維尼片中服裝最難忘的一幕是在片頭：她身穿一件用摺紙裝飾的巴斯比•伯克利(Busby Berkeley)泳衣及拖地款沙灘裝，它來自Imitation of Christ的檔案室。

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.

儘管從時裝設計師跨界當導演會不斷引發質疑聲——《#Horror》一片的反應就褒貶不一——包括蘇博科夫在內的很多設計師都自認爲是講故事能手，尤以穆裏維倆姐妹爲甚，她倆總賦予劇情以豐富想象力，並與伊利亞•伍德(Elijah Wood)以及克里斯汀•鄧斯特等好萊塢明星合作，把其時尚風格的精髓在影片中展現出來。上述設計師將重心轉向電影業似乎成了水到渠成之事，而且電影越來越成爲時尚體驗的組成部分：老佛爺(Karl Lagerfeld)推出了一部由克里斯汀•斯圖爾特(Kristen Stewart)主演的電影短片，以助陣去年12月在羅馬舉行的香奈兒Chanel Métiers d’Art大秀，而亞歷山德羅•米歇爾(Alessandro Michele)也執拍古馳(Gucci)秀場的視頻短片。

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.

那麼誰可能是下一位試水電影的設計師？毫無疑問，埃德姆•莫拉里奧格魯(Erdem Moralioglu)一直具有電影的格局：2015年夏秋季時裝秀場，他從費里尼(Fellini)及希區柯克(Hitchcock)的影片獲得靈感，與藝術家羅賓•布朗(Robin Brown)合搭了一個場景——在循環播放的《甜蜜的生活》(La Dolce Vita)伴樂聲中，爲該時裝季女性擁躉設想了一個黑色世界；與此同時，他爲2016年夏秋季Prairie Madness系列發佈會巧妙搭建了一座澳洲內陸地區的廢棄火車站。

“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.

“如此挖空心思爲模特設計可謂其樂無窮，”埃德姆•莫拉里奧格魯如此評價整個過程。“它能讓自己真正一點點“拼湊”模特的形象。但如今他並無投拍電影的計劃。對於有些設計師來說，保持T型臺上的電影特效就已綽綽有餘。