60年代叱咤风云的服装设计师玛丽·官 | 经济学人讣告
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英文部分选自经济学人20230422期讣告
Mary Quant
玛丽·官
The look of an era
时代的缩影
Dame Mary Quant, designer of the clothes that made the Sixties swing, died on April13th, aged 93
60年代叱咤风云的服装设计师玛丽·官于4月13日去世，享年93岁。
Tunics were at the back. Once you had worked through the immense Butterick pattern catalogue, past pages of pastel A-line dresses or tight-skirted suits, suddenly the look changed. It became rectangular, plain, sleek and very short, and if you were a teenager in the early 1960s that was what you wanted. Your parents would never buy such clothes for you, but if you were determined you would make them yourself. Out on the lounge floor you’d spread the fabric, a shock of scarlet, orange or electric blue, and in a few days you, too, would be wearing Mary Quant.
紧身束腰外衣在（服装样式目录）的后面。一旦你浏览完庞大的巴特里克（Butterick）图案目录，再翻过几页色彩柔和的A字裙或紧身裙套装，突然间造型就变了，直筒造型、设计朴素、面料光滑、长度却很短的样式映入眼帘。如果你是60年代初的青少年，那么这种样式简直太合胃口了。父母不会给你买这样的衣服，但如果你一定想要，你会自己做。在客厅的地板上，你铺开颜色扎眼的布料——猩红色、橙色或电蓝色（开始鼓捣），然后几天后，你也穿上了玛丽·官。
Wearing it, over a polo-neck and contrasting tights (oh, the joy of losing that fiddly suspender belt!), made you feel different. You were not a version of your mother any more. You were modern. Even more so when you plastered down your hair with spray, framed your eyes with kohl and piled on the mascara. High boots, if you had them, perfected the look. Now you could stride.
穿这种设计的衣服配上高领内搭和撞色丝袜（哦，摆脱繁琐难弄的裤袜腰带可太开心了！），你会有一种全新的感觉。你不再是你母亲的翻版，你很时尚。喷上发胶、画上眼影、再涂上睫毛膏就更潮了。如果再配一双高筒靴，整个造型就完美了。现在你可以昂首阔步地上街了。
At the start of her career Mary Quant, too, spent hours on her bedsit floor pinning and cutting. She worked at night to restock her first shop, Bazaar, in the King’s Road in Chelsea, with a bouillabaisse of racy clothes. By evening the rails would be almost stripped, and she would rush to Harrods to get fabrics for the next day. Out of men’s suitings, in tweed or grey flannel, she would make pinafores; striped shirting was cut into dresses. She ran up culottes, knickerbockers and lounge pyjamas, and had fun with foot-wide waistbands, broad stripes and huge polka dots. Her best-seller was a white plastic Peter Pan collar, to add demure little-girlishnessto each eye-smacking ensemble.
职业生涯初期，玛丽·官也会花好几个小时在起居室的地上又缝又裁。她把第一家店Bazaar开在切尔西的国王路，售卖各种各样新奇的衣服，晚上都要干活给店里补货。一天下来，货架上的衣服几乎被一扫而空。（店铺打烊后）她会赶到哈罗德百货公司（Harrods），为第二天上架的货品采购布料。她会用斜纹软呢或灰色法兰绒这种男士西装面料来制作背带裙，用条纹衬衫面料来制作裙子。她做过阔腿裤、灯笼裤和休闲睡衣，还玩过一脚宽的宽腰带、粗条纹和巨大的圆点花纹。她最畅销的款式是白色的塑料彼得-潘假领，它为每一套引人注目的着装增添了娴静端庄的妙龄少女气质。
She also sold mini-skirts. They went like wildfire, getting ever shorter because her leggy Chelsea customers demanded it. She designed them long before André Courrèges, in his Paris show in 1964, made them respectable. They were not respectable with her. Wickedly, they teased men, as did her long cardigans worn as very short dresses, and in 1966 her crutch-hugging minipants. Appalled Citytypes in bowler hats would pass Bazaar, with its open door blaring out jazz and its window of cavorting mannequins, and cry “Disgusting!”, beating their umbrellas on the glass.
（除了店里那些标新立异的服装）她还卖迷你裙。迷你裙火出天际，在切尔西区长腿顾客们的要求下变得越来越短。1964年，安德烈·库雷热在自家的巴黎时装秀上展示迷你裙，才让这种衣物初登大雅之堂；但早在那一年之前，玛丽·官就设计了迷你裙，只不过那时她设计的迷你裙还被认为“不够端庄”。但奇怪的是，不论是玛丽·官设计的迷你裙，还是当作短裙穿的长款针织开衫以及1966年设计的短到胯根儿的迷你裤，这些衣物都让男性觉得受到了挑逗。头戴圆顶高帽、尊奉礼教的人士路过她的店，听着大开的门里传出的爵士音乐，看着橱窗里搔首弄姿的模特，便拿起雨伞敲打橱窗玻璃，大喊“恶心！”。
Inside, though, dowagers competed with middle-class girls to buy Quant by the armful, and the haut monde of the day—Tony Armstrong-Jones, David Bailey, Jean Shrimpton, Brigitte Bardot, the odd Beatle or Rolling Stone—would drop in to the running cocktail party. She was her own best advertisement, gamine and frisky, especially when Vidal Sassoon, the hairdresser of the moment, snipped her hair into a bob, and when Terence Donovan, the hot photographer, snapped her (as here). She and her equally mould-breaking business partner-husband, Alexander Plunket Greene, loved to hear people sneer “God! Modern Youth!”. Swinging London was their new world, and they were dressing it.
然而在店内，上了年纪的贵妇与中产女孩大包小包地抢购玛丽·官的衣服。当时的上流社会精英们——托尼·阿姆斯特朗-琼斯、大卫·贝利、简·诗琳普顿、碧姬·巴铎、古怪的披头士乐队或滚石乐队——会光顾她正在举办的鸡尾酒会。她顽皮娇俏，尤其是（穿上自己设计的服装）顶着最当红的美发师维达·沙宣为她打造的波波头，再由最受欢迎的摄影师特伦斯·多诺万为她拍照的时候（如插图），她就是自己品牌最好的代言人。亚历山大·普朗基特·格林既是她的生意伙伴，也是她的丈夫，他们俩都是不落窠臼的人，听到人们嘲讽“天哪！摩登青年！”的时候会感到快乐无比。活力四射的伦敦是他们的新世界，而他们正在（用他们设计的服装）装扮它。
This was also serious stuff, for her. She was shy, and always had been, but through clothes she could express herself. Already, at six, she was making her own dresses out of bedspreads. At school she recast her uniform. The Quant look came from a tap-dancer at her childhood ballet class who wore a long black jumper, black tights, white socks and no skirt to speak of; she liked skinny, lively monochrome ever after. At Goldsmiths College she decided to ignore what was happening in Paris, creating clothes solely for herself and her friends. In pursuit of fashion she was constantly looking for the next, best, thing: a colour or fabric that had been forgotten, a shirt that could be tied like a scarf, a natural pattern she could blow up large. As she walked she might pick up a conker, leaves, a brass hook, bits of ribbon and mesh from factory floors. Even a rubber doorstop would set her mind working.
面对服装设计，她很认真。她向来是个害羞的人，但却能够通过服装设计来表达自我。六岁时，她已经能用床罩给自己做衣服。上学时，她裁改校服。玛丽·官的风格取自于她儿时芭蕾舞教室里的一位踢踏舞者。舞者身穿黑色长针织套衫、黑色紧身衣和白色短袜，并没有穿短裙。此后，她喜欢上了活力四射的紧身单色系打扮。在金史密斯学院求学期间，她决定不管巴黎的流行趋势，只为自己和朋友设计衣服。她追求时尚，始终在寻找一个又一个的最佳设计：被遗忘的颜色或布料，一件可以系成围巾的衬衫，一种可以放大的自然图案。走路时，她会从工厂的地上拾起一颗七叶树果、几片树叶、一个铜钩、几块丝带和网兜；甚至一个橡胶门挡都能给她灵感。
Fashion also gave her a living, surprisingly enough. Her parents, Welsh schoolteachers who had moved to London, thought the business dicey and dodgy. Neither she nor Alexander had much idea about money, and it was only his aristocratic income that enabled them to set up Bazaar in 1955 with the help of another useful friend, ex-lawyer Archie McNair. But in ten days the original stock had sold out, and in the first week the shop made £500. Two more London outlets came quickly and, in 1962, a deal with J.C. Penney to link up with 1,765 stores in America. By 1963 the Quant brand was global, with revenues of £14m; in 2000 her make-up arm was bought out by a Japanese company, in a country where her look was also adored. Sensibly, she went early into mass-production and discounting. Money-talk embarrassed her, but she and Alexander—with no furniture except a bed and deckchairs when they married in 1957—certainly rose fast in the world.
她从事时尚产业，这本身就挺令人惊奇的。她的父母是移居到伦敦的威尔士教师，都认为时尚事业风险大、不可靠。她跟亚历山大对金钱都没什么概念；他们第一家店Bazaar还是靠亚历山大身为贵族的收入和另一位得力的前律师朋友阿奇·麦克奈尔(Archie McNair)的帮助才开起来的。但在十天内，最初的存货就销售一空；第一周店铺就赚了500英镑。他们很快在伦敦又开了两家门店，并于1962年与彭尼百货达成协议，和美国1765家店铺合作。到1963年时，玛丽·官已成为全球品牌，销售额达1400万英镑；2000年，她的彩妆部门被一家日本公司收购；在日本，她的造型同样备受喜爱。商业嗅觉敏锐的她早早开启量产及折扣店模式。谈钱总是让她不自在；她跟亚历山大于1957年结婚时家具仅有一张床和几把躺椅，但之后两人火速发迹。
That love affair too had been made by fashion, when Alexander wandered into classes at Goldsmiths in his mother’s gold silk pyjamas. For both of them, eccentric dressing was a powerful tool for getting through life. It could be a disguise, and her range of cosmetics, with colours as vivid as her clothes, were really pots of theatrical paint made tiny for a handbag. Or it could be a bold announcement of things to come. When she set up Bazaar in a grey Britain not long out of rationing, a place of bomb-sites and pea-souper fogs, her shop immediately looked alive, with music and colours that sang of the world to be. Fashion changed first.
这段姻缘也是由时尚牵起；当时，亚历山大穿着母亲的金丝睡衣信步走入金史密斯学院的课堂。对他俩而言，古怪穿戴是渡过生活难关的有力工具。（这种标新立异）可以是一种伪装，而她那些色彩如服饰般鲜艳的系列化妆品真是把夸张的油墨重彩做成了适合放到手包里的大小。同样，标新立异也可以是大胆宣告即将发生的事情。她建起Bazzar之时，英国是灰暗的：配给制才刚刚结束不久，轰炸痕迹还随处可见，整个国家弥漫在黄色的浓雾之中。放眼灰扑扑的城市，一到她的店铺就能感受到鲜活的生命力，店内的动听音乐与绚丽色彩都是对未来世界的欢唱。时尚是最先改变的。
It also changed women, once the new look took hold. Not just because they could playfully imitate men, by borrowing men’s tailoring and their cardigans, but mostly because mini-dresses freed them to move. She designed them, she said, to be alive in. More important still, high hemlines, paired with opaque tights, let girls run for the bus in order to get to work. You could never run for the bus in a Dior dress. In Quant, women felt they could leave the house and dare a different life.
新造型的流行也改变了女性。这不仅仅因为通过借鉴男性服装的剪裁、混搭男式开衫，女性可以充满趣味性地模仿男性，更是因为迷你裙解放了女性、让女性能自在活动。她说，她设计迷你裙是为了让女性能穿着这样的衣服活着。更重要的是，高裙脚搭配不透明紧身袜，可以让女孩跑着赶公交去工作。穿迪奥裙子的人绝对不可能急着赶公交。而穿上玛丽·官，女性觉得自己可以离开家庭、闯出一番新天地。
When people credited her with that revolution, though, she objected. Times were coming to a boil and she just happened to be there, giving women more of what they already wanted. Her customers were the real revolutionaries; they, and the teenage girls who cut and stitched her designs on sitting-room floors across the land, kohl-rimmed eyes gleaming, eager to stride outside.
然而，当人们将这场革命归功于她时，她没有接受。时代的潮流不可阻挡，而她只是刚好在浪尖上，给予女性更多她们本来就想要的东西。她的顾客，以及那些在各自家里起居室地板上按照她的设计自己裁缝衣服，那些抹着烟熏妆满眼是光，迫不及待出去阔步飞扬的女孩儿们，这些人才是真正的革命者。
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观点|评论|思考
Shulin，女，热咖啡+保温杯，慢慢来er
不知道有没有人跟我一样，提起“迷你裙”，脑海中首先想到的会是美少女战士水冰月变身换装的场景。小时候老着急，美少女战士换装的时间这么长，反派完全可以趁机进攻啊！然而没有，反派仿佛被点穴动不了，居然没有捣乱而是静静等她们变身完毕，战斗力大大提升，然后乖乖挨打！仔细想想，制服款迷你裙把美少女们的身材衬托得如此精巧曼妙，大概换成是谁都会在旁欣赏吧。长大一点，喜欢读张爱玲的《红玫瑰与白玫瑰》，文中描写主人公佟振保的初恋玫瑰时这么写道：“她的短裙子在膝盖上面就完了，露出一双轻巧的腿，精致得像橱窗里的木腿，皮色也像刨光油过的木头。”看得我浮想联翩，跃跃欲试。再到后来，王心凌的《爱你》响彻大街小巷，穿着迷你裙的王心凌显得那么青春活力，魅力四射，成为无数少男少女竞相模仿的对象。如果说人们对“年轻女孩”有什么刻板印象的话，我想，“白衬衫蝴蝶结配迷你裙”应该占有一席之地。
在今天，迷你裙只是一件时尚单品。然而在二十世纪六十年代，迷你裙却是一个时代的脚注：为女性赋予了前所未有的表达方式与选择权。当时，女权运动的领导人穿着它；切尔西最时髦的女孩穿着它；想要摆脱上一辈循规蹈矩生活的年轻女性也穿着它。其实第一条迷你裙在 1920 年便出现了，不过真正让迷你裙商业化并走向大众的，正是讣告组本期的主角英国设计师玛丽·官。1960 年代，玛丽·官将迷你裙推向极致：她将迷你裙定义为“裙长在膝盖之上 20cm 的裙子”。1966年她穿着一条短裙在白金汉宫接受了女王授予的大英帝国勋章，而她也被称为“迷你裙之母”。
迷你裙是一种时尚潮流，是一个时代脚注，更是一种阳光自信的宣言。女性们在愿意穿着这样裙装出门，展现的不仅是自己优美的体型，更多的是在展示自己愉快阳光的心情，是一种释放和轻松。早有研究表明，裙子的长短与经济社会的各种数据紧密相关。美国时尚界的重量级大咖蒂姆·冈恩说：“ 长久以来，裙子的长短、松紧程度就是女人甚至是男人社会地位的象征。”甚至早在1926年，美国的经济学家乔治泰勒就提出了“短裙效应”，在美国它有一个更通俗的名字叫做“牛市与裸露的大腿”：当经济稳定时，人们的生活水平越来越高的时候，男女都有了足够的时间谈情说爱，而女性对于异性也更大胆坦然，女生的天性可能会更加得到释放，衣服在腰线、领口等方面做出突破，颠覆传统、大胆的超短裙就会应运而生并且流行。
从长裙到短裙，再到迷你裙，有人说是男人的福利，但也有人说是女人的权利。其实，回归本质，长裙也好，短裙也罢，对女性而言，重要的是穿出那个最真实、最放松的自己。着装是人内心的外化，适合自己的才是最好的。多年以后，人们记得的是穿裙子的你，而你记得的是自己被人们看见时的心情。
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