影集展示80年代的阿玛尼：打破性别界限

影集展示80年代的阿玛尼：打破性别界限

One has a name that is a household word. The other is known mostly by fashion’s cognoscenti.

一个人的名字家喻户晓，另一个人的名字主要为时装业行家所知。

But the collaboration between Giorgio Armani and the photographer Aldo Fallai in the 1980s is more than just a record of a powerful artistic relationship. It shows the essence of Armani as a designer and how the image that the designer created in his mind and in cloth was translated for the wider world.

但是乔治·阿玛尼(Giorgio Armani)和摄影师奥尔多·法拉伊(Aldo Fallai)在20世纪80年代的合作不只是一种有影响力的艺术合作关系。它表现出阿玛尼的设计精华，以及他如何向更广阔的世界展示自己在头脑中和服装中创作出来的形象。

The exhibition “Aldo Fallai, From Giorgio Armani to Renaissance, Photos 1975-2013” through March 16 at the Villa Bardini in Florence and the accompanying book should be viewed as an object lesson in style for any aspiring designer.

“奥尔多·法拉伊，从乔治·阿玛尼到文艺复兴，摄影作品1975-2013”将在佛罗伦萨的巴迪尼别墅举办至3月16日，随附的图书应该被所有志向远大的设计师视为一本时装实物教科书。

Mr. Fallai captures so boldly — yet with great subtlety — what Mr. Armani understood: That the androgynous 1980s were more than skin and pantsuit deep.

法拉伊大胆又细腻地捕捉到阿玛尼的见解：雌雄同体的80年代不只是肤浅的长裤套装。

Their spontaneous alliance created a vision of a new woman and a newly softened male. The Armani clothes freed the wearer from all restraints, giving the same possibility of an energetic life to both sexes. Above all, the duo captured a new female attitude: She could dare to present herself as an intelligent adult, whether you call an oversize pantsuit, ironing out curves, unisex or androgynous.

他们的自发结合创造出新女性和更柔和的新男性。阿玛尼的服装让穿着者摆脱了所有的束缚，给两性带来了同样有活力的生活。最重要的是，两人的合作成果充分体现了女性的新态度：她敢于把自己塑造成有智慧的成年人，不管你把掩盖曲线的宽大的长裤套装称为男女通用或者雌雄同体。

The female models were mostly jolie laide, the French term for “pretty-ugly.” But their faces are filled with character, which after the “dolly girls” of the 1960s and the skinny creatures with weeping hair in the 1970s, was a minor revolution.

女模特大多是“jolie laide”的，这个法语词组的意思是“相当丑陋”，但是她们的脸很有个性。与60年代的“洋娃娃”和70年代的长发骨感女孩相比，这是个小小的革命。

A firm female figure, clasping daily newspapers to her wide-shouldered suit, expressed absolutely who was kicking out the glass ceiling back in 1984. Her counterpart by 1993 was a man, denim jacket tied around the waist below a bared chest, clutching an armful of flowers.

一个坚定的女人把报纸紧紧抱在宽肩西服前，这无疑在表达是女性在1984年打破了传统界限。与她类似的是1993年的一个男人，他把牛仔布夹克系在腰上，裸露的胸前抱着一大束花。

Many of Mr. Fallai’s images were for the less expensive Emporio Armani line. They included families, so children with a solemn stare or a man walking along, holding a child’s hand, suggested major societal shifts.

法拉伊的很多照片都是为相对便宜的爱姆普里奥·阿玛尼(Emporio Armani)系列拍摄的。这些照片中有家人，所以严肃凝视的孩子或者牵着孩子的手走路的男人都反映出重大的社会变革。

Mr. Fallai, working, of course, before the digital era, still managed to convince the viewer that his bold woman, standing at the water’s edge, was at Portofino or some other iconic Italian beach. In fact, at the exhibition opening, he re-lived the moment when he hoisted a blown-up image of the backdrop onto a wall so the photography would capture the right spirit.

法拉伊工作的时代当然没有数码技术，不过他还是能够让观众以为站在水边的大胆女性是站在波多菲诺港或者其他某个标志性的意大利海滩。实际上，在展览的开幕式上，他回顾了那时候的工作情况——他把放大的背景图片吊到墙上，让照片具有正确的感觉。

In that era, long before today’s post-production “improving” of images, there is a frankness to the photographer’s work that penetrates the mind.

那个时代没有如今的后期图片“美化”技术，那些深深印入人们头脑的照片还具有一定的真实性。

Even more recent studies — people of today presented as Renaissance figures — have the same raw simplicity. The faces and the clenched hands are presented warts and all.

甚至连更近一些的作品——由现在的人饰演文艺复兴时期的人物——也具有同样纯朴的简单。脸庞和紧握的双手都不加掩饰地展示出来。

But it is the Armani pictures that offer such insight into both a period and a time when capturing a style was a collaboration between designer and photographer, rather than a team of professional brand-builders.

但是阿玛尼的照片能让我们深入了解那个时代，那时候展现时装风格需要设计师和摄影师协力合作，而不是通过专业的品牌塑造团队。

As a great designer, Mr. Armani produced work that proves something else. Although the clothes were revolutionary in their time, they have grown into classics. Maybe the androgyny of the 1980s now seems a little forced, but this was a period when making a female pantsuit elegant was a revolution.

作为一名伟大的设计师，阿玛尼创作出了能证明其他一些东西的作品。虽然那些衣服在当时是革命性的，但是它们后来成了经典之作。80年代的雌雄同体也许在如今看来有些生硬，但是在那个时代，把女式长裤套装做得优雅是一种革命。

The male, of course, appears in similar studies. The ease with which cloth folds over the male torso is another of Mr. Armani’s skills. And Mr. Fallai shows figures of sweet gentility, while at the same time making them distinctly male.

当然，男性也出现在类似的作品中。轻松地让衣服包裹男性躯干是阿玛尼的另一个技巧。法拉伊展示的男性甜蜜、文雅，同时具有明显的男性气质。

It is rare to see a collaboration that so captures a moment, nor an exhibition with such a clear purpose.

他们的合作如此充分地展现了一个时代，这很难得;这个展览具有如此明确的目的，也同样难得。

The show, although perhaps at its most beautiful in the Bardini museum with its hilltop view over Florence, deserves to travel the world as a celebration of art — both from photographer and designer.

也许这场展览的迷人之处在于它是在巴迪尼博物馆展出的——该博物馆坐落在山顶上，能俯瞰佛罗伦萨，不过它值得你飞小半个地球来观看，来赞美摄影师和设计师的艺术。