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| LONDON — At first glance, it looked like it was back to business at London Fashion Week. A vast industrial show space was heaving on Friday, packed with public relations types and security guards in headsets, glowing floor-to-ceiling screens blasting social content (the venue was sponsored by TikTok) and tightly packed rows of fashion glitterati. |
| 伦敦——乍看起来，伦敦时装周似乎又回到了正轨。周五，一个巨大的工业风秀场人满为患，到处都是戴着耳机的公关和保安，从地板到天花板——发光的屏幕上播放着社交内容（该场馆由TikTok赞助），还有密密麻麻的时尚名流。 |
| They were out in force to celebrate Nensi Dojaka, the Albanian-born, London-based creator of carefully engineered, barely there little black dresses, who earlier this month became the latest winner of the LVMH Prize. |
| 他们如此兴师动众，是为了祝贺妮西·多贾卡，这位出生于阿尔巴尼亚、现居伦敦的设计师在本月早些时候成为了LVMH大奖的最新得主，她创造出了用料极少的精致小黑裙。 |
| It was her debut solo runway show and the buzz was palpable, with a sense of cautious optimism emanating from the local and largely maskless crowd following 18 long and difficult months. After all, everyone loves the ascent of bright new talents. Particularly when the fashion industry is still feeling muted and unmoored. |
| 这是她的个人T台首秀，在经历了漫长而艰难的18个月后，大部分当地观众都未戴口罩，现场气氛热烈，反映了谨慎而乐观的情绪。毕竟，人人都乐见才华横溢的新人崭露头角，尤其是在时尚界仍觉沉闷和低迷的时候。 |
| As during the New York collections, there was no real international audience. The result of travel restrictions, certainly, but likely also the absence of major brands like Burberry, Christopher Kane and JW Anderson from the live schedule. That doesn’t mean those who remained weren’t determined to put on a show — albeit on their own terms. |
| 和纽约时装周一样，没有真正的国际观众参与。这自然是旅行限制的结果，但可能也是由于Burberry、Christopher Kane和JW Anderson等大品牌的缺席。这并不意味着参与者没有大秀一场的想法——只不过要按照他们自己的方式来。 |
| At the Serpentine gallery in Hyde Park, Roksanda Ilincic presented a “Women in Motion” dance recital with performers in billowing, unabashedly feminine volumes in coral, chrysanthemum, peridot and merlot swooping and spinning to capture “the kinetic vibrancy of change,” according to the show notes. |
| 在海德公园的蛇形画廊，罗克桑达·伊林契奇带来了“跃动她影”舞蹈表演，根据演出说明，舞者们象征珊瑚、菊花、橄榄石和梅洛葡萄的着装带有明显的女性气质，他们衣袂飘飘地奔跑旋转，捕捉着“变化中的动感活力”。 |
| Twenty-four hours later, in the same space but under a full moon, Harris Reed made a dazzling small-scale London debut with a gender-fluid collection of nine monochrome demi-couture gowns and tuxedos upcycled from discarded bridal wear and morning suits sourced from Oxfam charity stores. |
| 24小时后，在同一地点，满月之下，哈里斯·里德将从乐施会慈善商店买来的二手婚纱和日间礼服变废为宝，改成了由九件单色半高定礼服和无尾礼服构成的中性系列，进行了一次惊艳的小规模伦敦首秀。 |
| Osman Yousefzada, known for his sculptural tailoring and recent social activism, also had the life cycle of garments on his mind: He presented looks in a silk alternative fabric made from sustainably sourced wood pulp. And Rejina Pyo opened her show Sunday with Olympics Team GB athletes plunging from the diving board at the London Aquatics Center. |
| 以雕刻风裁剪和近来的社会行动主义而闻名的奥斯曼·尤塞夫扎达也在思考服饰的生命周期：他展示了一种由可持续来源的木浆制成的丝绸替代面料。而在周日的伦敦水上运动中心，英国跳水奥运代表队为瑞吉娜·朴的时装秀拉开了序幕。 |
| “I feel like the mood around us at this moment is about a longing for freedom, and the place where I feel most free is in the water,” said Ms. Pyo, eight months pregnant with her second child. Models walked laps around the pool in her sheer shirting, swim-inspired separates and see-through mesh dresses in photographic prints and a mood-lifting color palette of eye-popping greens, ochers and pinks. |
| “我觉得我们此刻的心情是一种对自由的渴望，而我认为最自由的地方就是水中，”瑞吉娜·朴说道，她怀第二胎已经八个月了。围绕泳池走秀的模特身穿她设计的薄透衬衫、受泳装启发的单品和带有影印图案的透视网眼裙，绿、赭和粉等色彩运用令人耳目一新。 |
| Motherhood, new life and beginnings emerged as something of a theme. Molly Goddard, on maternity leave after the birth of her son, presented a more accessible take on her signature supersized brand vision. She ramped up wardrobe staples like wide-leg denim and neon-hued Aran-style knits, offered more men’s looks as well as shrunken versions of some of her giant tiered smocked dresses, inspired by the smaller proportions of children’s wear. |
| 身为人母、新生活和新开始成为了某种主题。生完儿子后正在休产假的莫莉·戈达德对自己标志性的超大码品牌风格提出了更平易近人的设计。她增加了基本服饰分类，比如阔腿牛仔裤和霓虹色调的阿兰风格的针织衫，提供了更多男装，并受到小尺寸童装的启发，为她那些层次分明的超大号罩裙推出了缩小版。 |
| Then Simone Rocha, who had a daughter in May, offered meditations on mother-daughter relationships amid the shadowy cloisters of St. Bartholomew the Great, a medieval church in the back streets of one of the oldest parts of London. She revisited design signatures like her layered white Holy Communion gowns, pearly embellishments and vinyl biker jackets and platform boots. Also woven in were diamante-encrusted nods to nursing bras, ribboned christening shawls, and coats and button-up nightdresses in prints inspired by vintage pastel bedsheets. |
| 还有西蒙娜·罗查，今年5月生下女儿的她在圣巴多罗缪大教堂的阴暗回廊中提出了对母女关系的思索。这是一座中世纪教堂，位于伦敦最古老街区之一的小巷中。她回顾了自己的标志性设计，如分层的白色圣餐礼服、珍珠饰品、仿皮机车夹克和厚底靴。此外，还有镶钻哺乳文胸、缎带洗礼包巾，以及图案灵感源于复古彩色床单的大衣和女士系扣睡衣。 |
| “I couldn’t help but put myself into the work and be influenced by the experience,” Ms. Rocha said after her show (notably the only one of the London season in which mask-wearing was encouraged at the doors), which moved some in the audience to tears. “There have been many sleepless nights. It has been exhausting. But ultimately I felt so privileged to be back and showing in person and sharing my newest ideas.” |
| “我情不自禁地将自我投射到作品中去，并被这种体验所影响，”罗查在她的时装秀（值得注意的是，这是伦敦时装季中唯一在门口鼓励戴口罩的活动）结束后说道，让一些观众感动得热泪盈眶。“我经历了许多不眠之夜。让人筋疲力尽。但最终，我很荣幸能回到这里，亲自展示并分享我的最新灵感。” |
| Richard Quinn had the most star-studded front row of the week, supported by the likes of Boy George and Kate Moss (who had come to watch her daughter, the model Lila Moss, open the show) and the photographers that trail them in tow. A consummate showman, Mr. Quinn riffed on some of his distinctive brand signatures — namely, head-to-toe jumbo floral prints, studded and spiked leathers and extravagant ball-gown skirts layered over tapered pants. Occasionally, however, Mr. Quinn flirted on the wrong side of homage to other designers, including Demna Gvasalia at Balenciaga. |
| 理查德·奎因坐在时装周最众星云集的前排，身边是乔治男孩和凯特·摩斯（她来看自己的模特女儿莱拉·摩斯走开场秀）之流，身后则是尾随而来的摄影师。作为一位终极表演家，奎恩强调了他的一些特有品牌标志——如全身大印花、镶钉和带刺的皮衣，以及在锥形裤外层层叠叠的奢华礼服。不过，奎恩偶尔也会向其他设计师进行近乎调侃的致敬，包括对Balenciaga的德姆纳·格瓦萨里亚。 |
| How, then, to nurture and encourage a next generation of designers? Names like Ms. Dojaka, whose confident and sexy creations neatly encapsulate many young women’s desire to show off their bodies after months at home. Or Supriya Lele, an LVMH prize finalist, who plays with concepts of revelation and concealment through asymmetrical shapes and bare skin. |
| 那么，如何培养和鼓励下一代设计师呢？就像多贾卡，她那自信而性感的作品巧妙凝结了许多年轻女性待在家中数月之后展示自己身体的欲望。或是进入LVMH大奖最终决选的苏普利亚·莱莱，她通过不对称的形状和裸露的肌肤，玩起了露与藏的概念。 |
| Or Charles Jeffrey, yet another LVMH finalist, who brought guests including the mayor of London, Sadiq Khan, into Electrowerkz, a cavernous industrial nightclub, for an encounter with his rolling treasure trove of theatrical tailoring and glam-punk paint-splattered prints, modeled by an army of the city’s underground cool kids. |
| 还有另一位进入LVMH决赛的设计师查尔斯·杰弗里，他带领包括伦敦市长萨迪克·汗在内的宾客进入洞穴般的工业风夜总会Electrowerkz，让自己的宝藏——夸张剪裁和华丽朋克式的溅彩图案——轮番与他们邂逅，走秀模特就是一群伦敦的地下酷孩子。 |
| The British accessories house Mulberry decided to celebrate its 50th anniversary by asking members of the new guard to reimagine some staple handbag styles while also giving them the freedom to develop fresh ideas. After working with Priya Ahluwalia and Nicholas Daley, the brand’s current collaboration was with Richard Malone, who draped a jewel-toned exploration of Irish craft heritage on models who stalked through galleries of Renaissance treasures at the Victoria and Albert Museum. |
| 英国饰品品牌Mulberry为了庆祝公司成立50周年，邀请新锐设计师重新设计一些经典款手袋，同时也给予了他们发挥新灵感的自由。继普里亚·阿卢瓦利亚和尼古拉斯·戴利之后，该品牌最近又与理查德·马龙合作，在维多利亚和阿尔伯特博物馆，他将对爱尔兰工艺遗产的珠宝色调的探索放在了模特身上，让他们在文艺复兴藏品陈列馆里走秀。 |
| But perhaps another, wider, industry shift in attitude is also required: a genuine acceptance of digital showcases alongside physical catwalks as a means of seeing new fashion. It may be a complicated transition for those used to absorbing the theater and spectacle of the runway, or eyeing fit and fabric up close. But live shows are a great financial and emotional pressure on designers, a fact widely acknowledged even before the pandemic. If brands’ survival is a priority for the sector, habits will need to evolve. |
| 但或许还需要另一种更广泛的行业态度转变：真正接受数字展示和实体T台的结合，作为观赏新时尚的一种方式。对于习惯欣赏T台的戏剧性和壮观场面、或是近距离关注服装和面料的人来说，这可能是一种复杂的过渡。但对设计师来说，现场走秀会带来巨大的财务和情绪压力，这一事实甚至在疫情前就已被广泛承认。如果品牌的生存是这个行业的当务之急，那么习惯就需要改变。 |
| To wit: Emilia Wickstead and Victoria Beckham, both of whom adopted a digital-first approach. Ms. Wickstead created a video ode to French New Wave cinema, reworking versions of her tailored dresses and separates in fruity shades and floral prints, while Ms. Beckham’s businesslike look book offered crisply cut trenches and wrap coats, coordinating tunics and pants that reflected her penchant for a men’s wear silhouette alongside silky slip dresses with stark peekaboo backs. |
| 比如：艾米莉亚·威克斯特德和维多利亚·贝克汉姆都选择了数字优先的形式。威克斯特德制作了一段视频，向法国新浪潮电影致敬，用水果色彩和花卉图案重新设计了她的洋装和单品。而贝克汉姆的商务造型照当中包含了剪裁简洁的风衣和外套，搭配一体的束腰上衣和裤装，反映了她对男士服装轮廓的喜好，还有大露背的丝质吊带裙。 |
| Indeed, digital creativity was on full display. The multicolor, maximalist crochet ponchos, knitted thigh-high socks and upcycled-fabric ball gowns of Matty Bovan, the Woolmark Prize winner, took (more of) a psychedelic twist than usual thanks to a retro 1970s-style short video and accompanying GIF look book. And Michael Halpern produced a video starring principal dancers from the Royal Ballet School in evening wear designed to fully come alive in movement. |
| 数字创意的确得到了充分的展示。凭借一段上世纪70年代的复古风短视频外加GIF形式的造型照，羊毛标志大奖得主马蒂·博万那色彩缤纷、极具风格的钩针披肩、针织长筒袜和回收面料的晚礼服也比以往增添了更多迷幻效果。而迈克尔·哈彭制作了一段由皇家芭蕾舞学院的首席舞者主演的视频，他们身着晚礼服，在动态中展现十足活力。 |
| “I wanted to support the London performing arts scene, the dancers who endured so much with such incredible discipline and determination,” he said backstage at the shoot earlier this month, standing next to color-block column gowns with box-shaped fringe, orb-shaped puffballs finished with Swarovski crystals and fluid silky evening dresses. “After such uncertainty, I wanted to capture their joy in being able to return, and to keep standing, and for the wheels to keep on turning.” |
| “我想要支持伦敦的表演艺术界，支持那些以惊人的自律和决心忍受了如此多磨难的舞者们，”本月早些时候他在拍摄后台说道，当时他就站在带有整齐流苏的彩色上衫、镶有施华洛世奇水晶的球状蓬蓬裙和丝滑的晚礼服旁边。“经历了这么多不确定之后，我想捕捉到他们回归舞台，昂首挺立，让一切继续向前的喜悦之情。” |
| A similar sentiment made for one of the most moving moments of the week. As guests assembled Sunday night beneath the British Museum colonnades for a celebration of the 15 years since Erdem Moralioglu’s first fashion show, a storm rumbled overhead. The designer loves to pluck maverick characters out of British history as inspirations; this season was the turn of the poet Edith Sitwell and Ottoline Morrell, an aristocratic philanthropist. Their influence sparked embroidered blooms and bold floral prints, cinched-waist Edwardian silhouettes and hats, romantic gowns of white lace and lustrous men’s tuxedo suits; an ode to survival and a love letter to the British capital’s idiosyncratic soul. |
| 与之类似的情绪也造就了本周最感人的场面之一。周日晚，当宾客们齐聚大英博物馆的柱廊下，庆祝艾尔丹姆·莫拉里奥格鲁首秀15周年时，一场暴风雨从天而降。这位设计师热衷以英国历史中特立独行的人物为灵感；本季轮到了诗人伊迪丝·西特维尔和贵族慈善家奥特林·莫瑞尔。在她们的影响下，诞生了刺绣花朵和大胆印花图案的设计，爱德华七世时期的束腰轮廓和帽子，浪漫的白色蕾丝礼服和挺刮的男士燕尾服；这是对生存的颂歌，也是一封情书，写给伦敦特立独行的灵魂。 |
| “I feel so fortunate to be an independent fashion label in London and am entirely indebted to all those who make it possible,” Mr. Moralioglu wrote in his show notes. |
| “能做成伦敦的一个独立时尚品牌，我感到非常幸运，这完全多亏了所有让这一切成为可能的人，”莫拉里奥格在他的秀场记录中写道。 |
| During the finale, a rare double rainbow broke through the clouds to hang triumphantly across the moody sky. |
| 终场秀进行时，一道罕见的双彩虹破云而出，得意地悬挂在阴郁的天空。 |
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