襯衣成了女人的華麗時裝大綱
The classic masculine button-down has this season been given a feminine twist. Spring/summer catwalks introduced shirting with new architectural proportions: strict peplums or sculptural, cut-out details tied up with ribbons. “Mensy” shirts were chopped into a severe crop and decorated with asymmetrical ruffles.
這個春夏時裝季，經典款領釦式男襯衣被設計師賦予了女性風情。各個春夏季時裝秀場推出了呈現全新比例結構關係的襯衣：腰部飾裙以及繫着絲帶的雕花圖案比比皆是。男款襯衣被翻改成用非對稱皺褶裝點的女性風格裝束。
What was once just a building block of a woman’s wardrobe has been remade as the focal point. “The great thing about shirting is that it goes with jeans, and jeans are probably the most modern, functional garment that ever existed,” says designer Jonathan Anderson whose six-piece JW Anderson x Net-a-Porter capsule launched last month.
昔日女性裝束的尋常角色如今搖身一變，成爲時尚界衆目睽睽的焦點。“襯衣的妙用就是它能隨意搭配各種牛仔裝，而牛仔裝或許是時裝界有史以來最時髦、功能最爲多樣的裝束。”設計師喬納森•安德森(Jonathan Anderson)這樣說道。不久前，他與Net-a-Porter合作推出了JW Anderson六件單品“混搭裝”(capsule)。
The collection elevates shirting to new levels: pieces include an off-the-shoulder, loose top with a sweetheart neckline and superfine spaghetti straps, and a one-shouldered pinstripe bustier with a sculpted peplum. For the designer, taking a timeless piece as a basis for a directional collection makes the pieces easily wearable. “I wanted to propose items customers would be able to combine with their actual wardrobe,” says Anderson.
該系列把襯衣提升至全新的高度：單件裝中就包括了雞心形領口與精製細吊帶的寬鬆型露肩襯衫，配有雕花款腰部飾裙、一頭露香肩的細條紋式束身胸衣。在設計師安德森看來：把適合各時尚季穿的襯衫作爲設計引領風尚系列的基礎，各單品襯衣於是順理成章成了百搭裝。“我希望所推出的襯衣是消費者心悅誠服的百搭裝。”安德森說。
Elsewhere this spring, there are loosely-tailored tie-waisted versions at Joseph and balloon-sleeved styles at Céline. For Sarah Rutson, vice-president for global buying at Net-a-Porter, shirting’s renaissance is no surprise. It’s the “backbone of a woman’s wardrobe”, she says. The site’s shirting category offers styles from 106 designers, and that’s only likely to increase, with shirts a feature on the AW16 catwalks, seen at, among others, Preen by Thornton Bregazzi and 1205.
Joseph與Céline等其它品牌在這個春夏時裝季分別推出了腰部繫結式寬鬆襯衣與肥袖款襯衣。Net-a-Porter全球採購部副總裁莎拉•羅森(Sarah Rutson)說，襯衣的“東山再起”完全在預料之中。襯衣是“女妝之定海神針”，她說。Net-a-Porter網店上的襯衣來自106位設計師，而且，隨着襯衣成爲2016秋冬季時裝秀（Preen by Thornton Bregazzi與1205等衆多品牌就是明證）的一道亮麗風景線，Net-a-Porter上網銷售的襯衣品牌只會越來越多。
This month meanwhile sees the launch of ’s shirting collaboration with Joseph Altuzarra: an exclusive five-piece collection born out of the fact that the designer’s shirt-dresses were forever selling out on the site.
與此同時， 將推出與設計師約瑟夫•奧圖扎拉(Joseph Al¬tu¬zarra)合推的襯衣：這個限量版五件套系列的橫空出世，源於後者設計的禮服襯衣在網店總是供不應求。
This new focus on the staple is great news for shirting brands too. When Central Saint Martins graduates Matthew Harding and Levi Palmer founded their label Palmer Harding in 2012, they homed in on shirts as they felt it was good to have a niche. “Rather than trying to build everything at once, specialising in one garment allowed us space for constant refinement,” says Harding.
消費者關注銷路穩定的產品，對於各大品牌而言同樣是重大利好。畢業於中央聖馬丁藝術學院(Central Saint Martins)的馬修•哈丁(Matthew Harding)與萊維•帕爾默(Levi Palmer)於2012年合創Palmer Harding品牌時，他們把目標投向了襯衣，因爲他們認爲創建這個細分行業前景廣闊。“我們不想一下子眉毛鬍子一把抓，而是專注於襯衣，此舉能讓我們不斷精益求精。”
Palmer has a degree in pattern-cutting from Dallas University — and the duo’s technical skills have led to the nickname “the shirt boys”. Palmer Harding has a list of rules for its shirting: cotton only; collars must have two types of interfacing; and each seam has 18 stitches per inch, with most constructed with French seams, for softness. (Many of their pieces are created via draping fabric on the model, with the shirting elements added in afterwards.)
帕爾默曾獲得達拉斯大學(Dallas University)的裁剪專業學位—這對黃金組合的出色設計技能使其獲得了“襯衣男神”的綽號。Palmer Harding的襯衣有一整套規則：只採用純棉面料，衣領必使用兩種襯布，每個接縫採用每英寸18針，而且多數接縫採用法式線縫法，以期增加柔軟度。（很多單件襯衣設計時，先在模特身上試面料，而後再添加各個襯衣組件。）
Their four annual collections include a variety of shirting interpretations, each referred to by a model number. Such has been the popularity of number 96 (introduced in 2013, pictured below), they have struggled to keep up with orders, and there is often a long waiting list for the shirt. Its appeal is obvious: crafted from five metres of fine German cotton, the top is a classic button-down with long sleeves and big cuffs, which gives way to a vast, asymmetric maxi length. “It’s a very dramatic piece and it creates a massive silhouette,” says Harding. “But at the same time, it’s just a cotton shirt.”
他們每年推出四個時裝系列，其中就有衆多襯衣款式，每一款都由模特號代表。風靡一時的96號襯衣就是如此。該款襯衣的訂單多得讓他們力不從心，總是供不應求。其魅力顯而易見：它由5米德國上乘棉布料手工打造而成，這款長袖子與大袖口的經典款領釦式襯衣最終呈現的是非對稱的超長款式。“這款誇張做作的襯衣穿在身上，氣勢逼人。”哈丁說。“但與此同時，這只是一款棉襯衣。”
The button-down has come a long way from its humble origins. “In the past, the gentleman’s shirt was relegated to being worn as an undergarment. Unless you were fighting a duel, it really wasn’t on display,” says Kristina Rate, who founded her London-based Belle Epoque label in 2013. Her first collection was comprised entirely of white shirts inspired by the actress Lauren Bacall. “Today, it’s a powerful fashion staple — it’s the most-worn piece of clothing by both sexes.”
領釦式襯衣最初是名不見經傳的角色，歷經漫長歲月，方有今日之地位。“過去，男士襯衣只是穿作貼身內衣。除非參加決鬥，否則它難露真身。” 克里斯蒂娜•凱特(Kristina Rate)說，她於2013年在倫敦創辦自己的品牌Belle Epoque。她推出的第一個時裝系列全是白襯衣，其設計靈感來自於影星勞倫•巴考爾(Lauren Bacall)。“如今，這是一款暢銷裝——它是男女擁躉最喜歡的單品。”
Whereas the classic white shirt will always sell, this season is all about the statement. “We’ve always loved a woman in a white shirt,” says Tome’s Ramon Martin from the brand’s 25th Street studio in NoMad, a tiny New York neighbourhood nestled between Chelsea and Flatiron. The studio is a big, white, open space with all-day sunlight and sky views, where everything from the designing to pattern-cutting and fittings takes place. “It’s an inspiring space to be in,” says co-founder Ryan Lobo.
儘管經典款白襯衣一直暢銷，但這個時裝季，卻是華麗高調的女款襯衣獨領風騷。“我們一直對身穿白襯衣的女性情有獨鍾。”Tome設計師拉蒙•馬丁(Ramon Martin)在位於NoMad第25街的工作室如是說道，NoMad是位於紐約切爾西(Chelsea)與熨斗區(Flatiron)之間的一處微型社區。工作室是一處面積巨大的白色開放式空間，全天陽光通透，藍天白雲一覽無遺，從設計、裁剪到拼接的所有工作都在裏面完成。“身處其中，靈感源源不絕。”該工作室共同創始人瑞恩•洛博(Ryan Lobo)說。
Alongside its ready-to-wear collections which always includes shirts, in 2014 Tome launched a collaboration with the charity Freedom for All. The White Shirt Project is a twice-yearly capsule of around three shirts, with profits going to the charity’s efforts to eradicate slavery and human trafficking. “We see the white shirt as a metaphor for a clean slate,” says Lobo of the collaboration.
在推出成衣系列（總有襯衣）的同時，Tome2014年還與慈善組織Freedom for All合推了一個時裝系列，The White Shirt Project每年兩次推出混搭款襯衣，每次大約推出三件襯衣，所得利潤捐於Freedom for All，根除奴隸制與販賣人口的慈善事業。“我們認爲白襯衣寓意個人歷史一清二白。”洛博說。
Women are at the forefront of the Tome brand: whether it’s the female artist they take inspiration from each season (past choices have included Georgia O’Keeffe and Louise Bourgeois), the women in their six-strong atelier, or their clients. They are mindful of ensuring their collection has a democratic offering, and take on board feedback about everything from design to price points. “We ask them, ‘Would you wear this? Do you like this colour? Would you put this on?’ ” says Martin. “‘Would you buy it? And pay $500 for it?’ We enjoy learning about what inspires women and, practically, what satisfies them.”
不管是女性藝術家（每個時裝季，旗下設計師都會從其身上汲取設計靈感，過去的例子就包括了喬治亞•奧基夫(Georgia O'Keeffe)與路易絲•布爾喬亞(Louise Bourgeois)等女性藝術家）、工作室六位知名設計師中的女性成員、還是客戶羣，女性一直位居Tome品牌最重要的地位。Tome是有心者：確保自己推出的系列做到博採衆長，而且願意傾聽從設計至價位的各種反饋意見。“我們會問女性，‘您願意穿這嗎？喜歡這款顏色嗎？會穿它嗎？’”馬丁說。“‘您會買嗎？願意出500美元嗎？’我們樂於瞭解女性喜歡的東西，即她們實際青睞啥。”
For brands like Tome, it’s shirting season every season. “A blank page for a writer is an opportunity for just about any inspiration, and maybe the white shirt allows the same thing,” says Martin. “That white page allows our customer, our woman, to create whatever she wants of herself.” The shirt then allows for renewal. “They’re everyday heroes,” he concludes.
對於Tome這類品牌來說，襯衣成了包打各個時裝季的唯一產品。“對於作家來說，各種寫作靈感都能躍然於一張白紙上，或許白襯衣也是如此。”馬丁說。“一件白襯衣能讓我們的女性客戶肆意打扮。”襯衫的花樣就會不斷推陳出新。“它們就是平日生活的主角。”他總結道。
