Not only does Betts have to navigate the insular, highly codified fashion world, she also has tosurvive the hazing at the office, where Fairchild might grill her on the best place to go for solemeunière, or the ­socialite-courting bureau chief might rouse her on a Sunday morning, barkingat her to find out who the next Dior designer will be. Her exploits are heaven for anyone whoremembers the days when “ ‘luxury’ was rarely used in tandem with ‘fashion,’ and the word‘brand’ referred to Crest and Coca-Cola, not clothing labels. She does a friend a favor byvisiting the studio of an unknown shoe designer whose ugly, fish-scale-covered stilettos shementions in a small roundup, mostly out of politesse (Christian Louboutin). She attends anexclusive preview in Yves Saint Laurent’s atelier with the frail designer, perfectly describinghis “zigzaggy smile. She follows a hunch about an unheard-of Viennese designer whoseminimalist aesthetic is the opposite of the poufy chic of the moment (Helmut Lang). And shediscovers the meaning of “fashion moment at one of the first Martin Margiela shows. Bettsremembers what she wore just as clearly. Her outfits tell the story too, as she graduates fromKookaï T-shirts and chinos to Claude Montana leather jackets.
贝茨不仅要在如海岛般孤立、有自己规则的时尚界中探索,还要在办公室政治中生存,在这里,费尔柴尔德可能让她变成一道法国名菜——干煎塌目鱼,热衷讨好上流社会的总编也可能在周日上午训斥她,逼她去查下一任迪奥(Dior)的总设计师是谁。贝茨经历的冒险对那些仍然记得“‘奢侈’很少同‘时尚’挂钩,‘品牌’是指佳洁士、可口可乐,而不是服装牌子的时代的人来说,已经是天堂了。她受朋友之请,去拜访一个无名鞋履设计师的工作室,后来只是出于礼貌才在一篇综述短文中提到这位设计师丑陋的、包着鱼皮的细高跟鞋。这位设计师不是别人,是克里斯提·布鲁托(Christian Louboutin)。她去伊夫·圣·洛朗(Yves Saint Laurent)的工作室做独家专访,精确地描述这位憔悴的设计师有着“七扭八歪的笑容。她预感一位名不见经传的维也纳设计师肯定会成功,他的极简主义美学和当时盛行的厚重风格正好相反,这位设计师是海尔姆特·朗(Helmut Lang)。她还在早期的马丁·马吉拉(Martin Margiela)走秀上发现了“时尚时刻的意义。贝茨记得那时自己穿的是什么。她自己的打扮也是这场历险的一部分,从Kookaï T恤衫和棉布裤,到克劳德·蒙塔纳(Claude Montana)的皮外套。
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