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| The dystopic, fantastical show “Squid Game” — a bloody, nine-episode thriller by South Korean director-writer Hwang Dong-hyuk that has been lauded for its searing critique of capitalist society — continues to be a worldwide sensation. Approximately 142 million people have streamed the series since its debut in September, according to Netflix, and its elaborate Chekhovian guns have set off fan theories about every imaginable element. |
| 反乌托邦奇幻剧《鱿鱼游戏》是韩国导演兼编剧黄东赫执导的血腥惊悚剧，共有九集，因其对资本主义社会的尖锐批评而广受好评，目前它还在继续引起全球范围内的轰动。根据网飞(Netflix)的数据，自9月首播以来，大约有1.42亿人观看了这部剧，那些精心设计、一旦出现必有深意的道具，引发了剧迷们对剧中各种元素的猜测。 |
| But it is worth taking another look at the numbered green track suits worn by the show’s main characters, for they offer a specific, symbolic window into Korean culture. Despite the global appeal of “Squid Game,” the ubiquitous, normcore outfits function as a commentary on the nation’s social classes, politics and history. |
| 但是主角们身穿的编号绿色运动服尤其值得回味，因为它们为了解韩国文化提供了一扇特殊的、具有象征意义的窗口。尽管《鱿鱼游戏》在全球都很受欢迎，但这些无处不在的简约风服装可以被视为对韩国社会阶层、政治和历史的评论。 |
| “The show is really talking about Korean society,” said Jae Won Chung, a literary translator and Korean studies professor at Rutgers University, in an interview. And when it comes to the track suits, “there are so many levels to it.” |
| “这部剧实际上说的是韩国社会，”罗格斯大学文学翻译、韩国研究教授郑在元（音）在接受采访时说。至于运动服，“其中包含了很多层面。” |
| Track suits have become a mark of social status in contemporary Korean culture, said Jooyoung Shin, a fashion design professor at Indiana University. |
| 美国印第安纳大学时装设计系教授申朱永（音）表示，运动服在现代韩国文化中已经成为社会地位的标志。 |
| “When I saw the green track suits, the first thing that came to mind was this notion of ‘baeksu,’” Ms. Shin said, using common slang for someone who is out of work. “Baeksu,” which translates to “white hands,” suggests that idle days make for shamefully clean palms. |
| “看到绿色的运动服，我首先想到的就是‘白手(baeksu)’这个词，”申朱永说，这是形容失业人员的常用俚语，意思是空闲的日子会让手心变得干净，显得很丢脸。 |
| In K-dramas, seeing someone head to the corner store during the workday, dressed in training-bok — as track suits are called — has become visual shorthand for “characters who are branded as losers, who haven’t gained financial independence from their parents or family or are somehow neglected by the dominant social group or discriminated against in society because of their failures,” Ms. Shin said. “Training-bok has become a symbol of this life of baeksu, having this very idle, even parasitic, life.” |
| 在韩剧里，看到一个人在工作日穿着运动服去街角的商店，表明这个人已经成了“被贴上失败者标签的人，他们在经济上没有从父母或家庭那里独立出来，或者因为自己的失败，在某种程度上被社会主流群体忽视，在社会上受到歧视”，申朱永说。“训练服已经成了这种非常懒散，甚至是寄生虫一样的白手生活的象征。” |
| Ms. Shin’s reading is evocative of another runaway South Korean hit: Bong Joon Ho’s 2019 Oscar-winning film, “Parasite.” In an early scene, the son, Ki-woo, catches up with an old high school pal over drinks and refers to himself as a baeksu — the prospect of college stunted by his family’s hapless finances. |
| 申朱永的解读让人联想到另一部热门韩国影片，奉俊昊导演的2019年奥斯卡获奖影片《寄生虫》。在该片开头，主人公的儿子基宇和高中同学喝酒聊天时就自称为白手——因为家庭经济状况不佳，他上不了大学。 |
| The coded stigma tied to dress is a dead ringer for the pool of 456 contestants in “Squid Game,” who are united in their desperation for a Hail Mary escape from their financial debts. Though most of the show’s contestants are middle-aged, it’s not out of the question that player 001 — an elderly man whose true sinister involvement in the games is revealed by season’s end — is in it to win it. |
| 而《鱿鱼游戏》中的456位参赛者也有类似的与着装相关的隐晦耻辱，他们在绝望中团结，孤注一掷地想要摆脱债务。虽然大部分参赛者都是中年人，但001号玩家——一个到季终才曝露参与游戏的真正险恶用心的老人——志在必得也不是不可能。 |
| South Korea’s elderly poverty rate is among the highest in the Organization for Economic Cooperation and Development member nations, according to the O.E.C.D.’s most recent data, despite the fact that the country has risen from postwar poverty to become one of the world’s most prosperous economies in a mere half-century. |
| 根据经济合作与发展组织的最新数据，尽管韩国在短短半个世纪的时间里摆脱了战后贫困，成为世界上最繁荣的经济体之一，但其老年贫困率仍是该组织成员国的最高水平。 |
| Kyunghee Pyun, an art history professor at the Fashion Institute of Technology, found an undeniable likeness in the show’s green track suits to “Secretly Greatly,” a popular 2013 film starring Kim Soo-hyun, who plays an undercover North Korean spy masquerading as a harmless, jobless “village idiot,” she said. His character’s memorable outfit of choice? A green track suit — “with a hoodie, in this case.” |
| 纽约时装技术学院的艺术史教授卞庆熙（音）表示，她发现这部剧中的绿色运动服与2013年热门影片《隐秘而伟大》有明显相似之处，金秀贤在片中饰演一名朝鲜卧底间谍，伪装成没有恶意也没有工作的“农村傻瓜”。这个角色的标志性着装？一套绿色运动服——“只不过他那款是连帽衫。” |
| Ms. Pyun noted: “While school uniforms are symbols of disciplined behavior and civic standards,” low-end track suits — especially when taken out of the gym class context — are a common trope of Korean films, shows and novels, “usually associated with people who have failed to be accepted by a community.” |
| 卞庆熙指出：“虽然校服是自律和公民守则的象征，”但廉价运动服——尤其是脱离体育课场景的——往往是韩国电影、剧集和小说的常见隐喻，“通常与不被社会接受的人联系在一起。” |
| For fashionable Seoulites, the green track suits are a clear throwback to another era. (The director, Mr. Hwang, has said the outfits were inspired by his own school gym uniforms from the 1970s.) “No one will say that the green sportswear that appeared in the show is gorgeous,” said the fashion editor and photographer Suk-woo Hong. “It doesn’t contain taste or personality. It’s something we call ‘retro’ or ‘new vintage’ now.” |
| 对于时尚的首尔人来说，绿色运动服显然是对另一个时代的复古。（导演黄东赫曾表示，这些服装的灵感来自于上世纪70年代他上学时穿过的校服。）“谁都不会说剧中的绿色运动服很好看，”时尚编辑兼摄影师洪石禹（音）说。“它没有品味和个性。现在我们称之为‘复古’或‘新经典’。” |
| For South Korea’s particularly embattled modern history, a flair for the “newtro” (a portmanteau of new and retro) has tended to draw from vintage Japanese or American styles, owing to Korea’s political history of occupation, dictatorship, democratization and rapid modernization. |
| 韩国的当代历史极为复杂，由于那段占领、独裁、民主化和快速现代化轮番上演的政治史，其“新复古风”往往借鉴了日本或美国的复古风格。 |
| In the 1970s, Ms. Pyun said, a Western-style track suit would have indicated that the wearer had some level of education, or lived in a major metropolitan area, where other Western clothing styles, including denim and miniskirts, began to replace more modest, traditional styles of dress. “With a school or company logo,” she said, a track suit “could be a symbol of envy. Without one, adult men would be looked down upon.” |
| 卞庆熙表示，在上世纪70年代，一个人穿西式运动服就意味着受过一定程度的教育，或者生活在大都市，在那里，包括牛仔衣和迷你裙在内的其他西式服装开始取代更保守的传统服饰风格。“因为带有学校或企业标志，”她说，一套运动服“可能成为招致嫉妒的符号。穿不上的成年男性会被瞧不起。” |
| In an interview with the Korea JoongAng Daily, the show’s art director Chae Kyoung-sun also noted Saemaul Undong, or New Village Movement, as a reference. Initiated in 1970 by former President Park Chung-hee, Saemaul Undong was a government-funded, community-led social and economic program to rapidly industrialize and develop the country’s housing and infrastructure. |
| 在接受《韩国中央日报》采访时，该剧的艺术总监蔡景舜（音）也提到了新村运动作为参考。1970年，由前韩国总统朴正熙发起的新村运动是由政府出资、社区主导的社会经济计划，旨在实现快速工业化，并发展韩国的住宅和基础设施建设。 |
| Outside of Seoul and other major metropolitan cities, Korea remained a largely rural country with thatch-roofed homes in the postwar period. Saemaul Undong, which equipped communities with building materials to renovate from the ground up, is widely credited for laying the groundwork for the country’s economic rise — called the “Miracle on Han River” — even as President Park, a military leader who enforced martial law and was assassinated in 1979, remains a controversial figure. |
| 除了首尔和其他主要大都市，战后的韩国基本上还是一个由遍地茅草屋的农村组成的国家。新村运动为社区配备了彻底改造的建筑材料，被普遍认为是韩国经济崛起——即所谓的“汉江奇迹”——的基础，尽管朴正熙总统是实施戒严的军方领导人，并在1979年遭到暗杀，至今仍是个争议人物。 |
| “My generation kind of jokes about how green became a symbol of public service personnel,” Ms. Shin said. |
| “我们这代人都会开玩笑说，绿色变成了公职人员的象征，”申珠影说。 |
| As a child growing up in Korea during that time, “I heard the term ‘Saemaul Undong’ every day,” she said. Schools and communities would begin their mornings with a daily exercise drill to the tune of Saemaul Undong’s campaign song — a chanson written and composed by President Park himself — with a bootstrap message that likened physical strength to national and economic power. The movement’s emblem, a bright green flag, pictures a sprouting yellow orb at its center. |
| 她说，作为那个时期在韩国长大的小孩，“我每天都能听到‘新村运动’这个词。”每天早上，学校和社区都会把新村运动的主题曲——由朴正熙总统亲自创作——当作晨练音乐播放，传递的是把体能力量与国力和经济实力相关联的信息。该运动的标志符号是一面亮绿色旗帜，中间的黄色圆形里有一株萌芽。 |
| Despite improving the overall standard of living, Saemaul Undong “was a political system that directed the rural people to just follow the government’s directions to contribute to the economy,” said Yumi Moon, a history professor at Stanford University, and it involved a certain amount of coercive erasure of cultural traditions. |
| 斯坦福大学历史系教授文余米（音）表示，新村运动虽然改善了人民的整体生活水平，但“这一政治体制要求农村人民必须听从政府指挥，为经济发展做出贡献”，在一定程度上强制消除了文化传统。 |
| As it relates to “Squid Game,” there are multiple readings of the symbolism. “One way in which it’s deeply ironic is that the New Village Movement was about collective struggle and advancement,” Mr. Chung said, “but in the neoliberal context, they’re all being mobilized for this zero-sum game where there can only be one winner.” |
| 至于它在《鱿鱼游戏》中的象征意义，则有很多种解读。“一种极具讽刺意味的解读是，新村运动代表着集体的挣扎与上进，”郑在元说道，“但在新自由主义的背景下，人们都被动员到了这场只能有一个赢家的零和游戏中。” |
| On the opposite end, there are also no clear winners. The workers in “Squid Game” who wear bright pink boiler suits are defined by their anonymity and opposition. They are the invisible hands, so to speak, that keep the game, and the show’s analogy to capitalist competition, going. Though not imbued with as much symbolism as the green track suits, the pink counterpoint is a textbook example of color contrasts, according to Na Kim, a designer in Berlin. |
| 另一方面，这场游戏并没有真正的赢家。《鱿鱼游戏》里身穿亮粉色连体裤的工作人员的特点就是匿名和对立。他们可以说是看不见的手，让游戏——以及该剧对资本主义竞争的比喻——继续下去。现居柏林的设计师金娜（音）表示，尽管不像绿色运动服那么具有象征意义，但反方的粉色是典型的色彩对比手法。 |
| Ms. Kim, a Seoul expat, has become an ambassador of sorts for Korea’s creative industry, and is at work designing the upcoming exhibition “Hallyu! The Korean Wave,” opening next fall at the Victoria & Albert Museum in London, with support from the Republic of Korea’s Ministry of Culture, Sports, and Tourism. (“Hallyu” translates to “the Korean wave” and is the term used to describe South Korea’s cultural industry spanning music, beauty, film, TV and more.) |
| 来自首尔的金娜可以称得上是韩国创意产业大使，在韩国文化体育观光部的支持下，她正在打造的展览“韩流！”将于明年秋天在伦敦的维多利亚和阿尔伯特博物馆开幕。（“韩流”就是“韩国潮流”之意，指的是涵盖了韩国音乐、美容、电影、电视在内的文化产业。） |
| As the South Korean government continues to raise its investment in its culture industry, eyeing it as a lucrative export and source of so-called soft power, it’s also reshaping notions of success in its employment and education system that has traditionally been structurally competitive. |
| 韩国政府不断加大对文化产业的投资，将之视为有力的输出和所谓软实力的来源，这也改变了该国长久以来竞争激烈的就业和教育体制中关于成功的观念。 |
| “Many things in hallyu could be said to come from a certain type of outsider trying to do something different,” Ms. Kim said. She noted that Mr. Hwang, the show’s creator, began developing the idea for “Squid Game” more than 10 years ago and told the Hollywood Reporter (along with other outlets) that he lost six teeth from the stress of filming it. She added that he is a prime example of a “deok-hu” — the Korean slang equivalent of the Japanese word “otaku,” or niche pop culture obsessive — who has brought immeasurable visibility to the “hallyu” industry. |
| “韩流中的很多东西可以说是某种局外人在尝试做一些与众不同的事，”金娜说道。她指出，该剧的创作者黄东赫在十几年前就开始构思《鱿鱼游戏》，并向《好莱坞报道者》（以及其他媒体）透露，由于拍摄的压力，他掉了六颗牙齿。她还说，黄东赫可以说是典型的“deok-hu”——这一韩国俚语等于日语中的“御宅族”，指的是对小众流行文化的痴迷，他为“韩流”产业带来了不可估量的关注度。 |
| Mr. Hwang’s vivid, if unorthodox, approach has proved to be a success. Combining childhood nostalgia, economic disparity and high-stakes action, “Squid Game” is at its heart a deeply relatable, human tale about adversity that has resonated with viewers around the world. |
| 黄东赫用可算非正统的鲜明对比手法获得了成功。《鱿鱼游戏》结合了童年怀旧、贫富差距和惊险动作片的元素，其内核是一个饱含同情、关于逆境的人性故事，引发了全世界观众的共鸣。 |
| “There’s often something sinister about Korean shows and films,” said Jiminie Ha, a designer in New York. And fashion has been a hallmark of K-dramas, especially when they’re undercutting a tragic or dramatic scene about to take place. |
| “韩国剧集和电影总带有一些邪恶意味，”纽约设计师河智旻（音）表示。时尚一直是韩剧的特点，当它妨碍了即将到来的悲伤或戏剧性场面时尤其明显。 |
| Recent examples include the action film “The Villainess,” in which the actress Kim Ok-bin, playing an assassin disguised as a bride in a flowing white gown, is ordered to kill an ex-lover; or the protagonist of the mafia-inspired series “Vincenzo,” played by Song Joong-ki, an adoptee of an Italian family who becomes a consigliere and wears silk pajamas, custom suits and luxury watches. |
| 最近的例子包括动作电影《恶女》，金玉彬在其中饰演一位伪装成新娘的刺客，她穿着飘逸的白色礼服，受命杀死前任情人；或是黑手党题材电视剧《文森佐》，宋仲基饰演的主角被一个意大利家庭收养，后来变成了黑手党顾问，在剧中总有丝绸睡衣、定制西装和豪华手表的造型装扮。 |
| Many K-dramas expertly combine references to globally popular shows, and the overt references to films in “Squid Game,” including “The Hunger Games” and “Battle Royale,” are no secret, either. |
| 许多韩剧巧妙地结合了全球流行剧集的亮点，《鱿鱼游戏》对《饥饿游戏》和《大逃杀》的明显借鉴已经不是秘密。 |
| “Koreans know how to adopt a style, and then do it even better,” Ms. Ha said. What makes the show’s costuming stand apart, she added — aside from its airtight production design pairing pastel-colored playground sets with outré violence as a tool of high contrast — is that the outfits are intentionally drab: “It’s so anti-high fashion.” |
| “韩国人懂得如何借鉴一种风格，然后做得更好，”河智旻说。她还表示，该剧的艺术指导无懈可击，让色彩柔和的游乐场布景与超乎常规的暴力形成鲜明对比，除此之外，该剧服装的突出之处在于，角色着装都刻意显得单调乏味：“实在太反高级时尚了。” |
| Mr. Hong, the photographer, said: “‘Squid Game’ is a huge topic in Korea.” But, he added, “few Koreans would have thought that it would cause such a global craze.” Then again, he said, part of it is no surprise at all: “The most Korean thing is the most global thing.” |
| 摄影师洪石禹表示：“《鱿鱼游戏》是在韩国引发了热议。”但他也说，“在韩国几乎没有人预料到它会引发这样的全球热潮。”不过，他说一部分原因让他毫不惊讶：“最韩国的东西也是最世界的。” |
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