美国常春藤：第二章

第二章。

Chapter two.

当前的问题是：

The question at hand is this.

潮流从何而来？

Where do trends come from?

我的意思是，整个行业都在致力于研究潮流的来源和什么是酷的。

I mean, there's a whole industry devoted to figuring out where trends come from and what's cool.

所以我无法一般性地回答这个问题，但我可以具体地谈，因为有时候你真的能追踪到一个潮流的起源。

So I can't answer the question generally, but I can speak specifically because sometimes you really can trace a trend.

我一直对追踪潮流的起源、来源以及它为何传播感到着迷。

I have always been fascinated about getting as specific as possible for where does a trend start and where does it come from and why does it spread.

W·大卫·马克斯是《地位与文化》一书的作者。

W David Marks is the author of the book Status and Culture.

我认为在美国，通常很难追溯到它的源头。

And I think often in The US, it's just too hard to track it down.

美国只是一个庞大而古老的国家，各种影响交织其中。

America is just a big old country with a lot of influences swirling around.

但大卫·马克斯并不住在美洲。

But David Marks doesn't live in America.

我住在日本东京。

I live in Tokyo, Japan.

我在这里生活了整整十九年。

I've lived here for the last nineteen years.

大卫·马克斯还是《阿马托拉：日本如何拯救美国风格》一书的作者。

And David Marks is also the author of the book, Amatora, How Japan Saved American Style.

而在日本，历史上更容易追踪潮流是如何以及为何传播的。

And in Japan, it is historically much easier to track how and why trends spread.

在这本书中，我能够找到那些非常具体的人，以及他们做出的促成事件发生的决策。

You know, I was able with this book to find the very, very specific people and the decisions that they made to make things happen.

这是因为日本在过去两百多年里一直与西方世界大部分地区隔绝。

And this is because Japan, for over two hundred years, was secluded from much of the Western world.

当时很少有国际影响进入。

There were very few international influences coming in.

因此，任何来自外部的影响都显得格外引人注目。

And so when any influence came in from the outside, it was really noticeable.

于是日本就变成了一个实验室，你可以看到当某些人采取行动、推动事物发展，然后由此传播开来时，所产生的非常具体的文化影响。

And so Japan becomes kind of a laboratory where you get to see the very specific cultural influence that happens when certain people do things and push things and then, you know, spread from there.

但让我先退一步说。

But let me back up.

1639年，日本厌倦了欧洲人不断航行过来试图让他们皈依天主教或在贸易中用不公平手段欺骗他们。

In 1639, Japan was tired of Europeans constantly sailing over to try to convert them to Catholicism or rip them off in unfair trades.

日本当时就觉得，够了。

And Japan was like, enough.

够了。

Enough.

所有人都出去。

Everybody out.

我们结束了这一切。

We are done with this.

他们切断了与西方的所有联系。

And they cut off all contact to the West.

直到两个多世纪后的十九世纪末，日本才重新开放国际贸易和接待外国访客。

It wasn't until, again, over two hundred years later in the late nineteenth century that Japan finally reopened to international trade and visitors.

这时，明治天皇登上了权力宝座。

And this was when emperor Meiji came to power.

为了确立日本在全球舞台上的新角色，明治天皇通过法律彻底改变了国家的服饰风格。

And emperor Meiji, in order to assert Japan's new role on the global stage, decided by law to completely change the nation's fashion.

西方的物质文化被视为西方社会的优势之一。

Western material culture was seen as being one of the strengths of Western society.

因此，如果你想赶上西方社会，成为军事竞争对手等等，你就必须采纳所有这些风格特征。

And so if you're gonna catch up with Western society and you're gonna become a military rival and all these things, you've got to adopt all those stylistic things as well.

明治天皇发起了一场所谓的现代化运动。

Emperor Meiji launched a so called modernization campaign.

现在听起来很荒谬，为了拥有强大的陆军和海军，居然需要剪短头发。

So it sounds silly now that, oh, in order to have a great army and navy, you need to have, you know, shorter haircuts.

但这确实是真实发生过的事情，不仅仅是因为看起来好看，而是因为他们认为这对国家有利。

But that's literally, you know, something that happened, and not just because it's like, oh, that looks good, but because they thought it had an advantage for their nation.

天皇本人抛弃了传统服饰，开始穿着欧式军装。

The emperor himself ditched traditional robes and started to wear European style military uniforms.

他还把原本的武士发髻剪成了欧洲式的短发。

He also cut his hair European short from a samurai topknot.

随后，明治天皇颁布了一项剪发令，要求所有前武士都剪掉他们的发髻。

And then Emperor Meiji passed a haircut edict that instructed all former samurai to chop off their topknots too.

因此，日本政府积极推广并接纳了欧洲文化，包括欧洲的哲学、音乐、艺术，当然还有时尚。

So Japanese government actively promoted and embraced European culture, including European philosophy and music, art, and, of course, fashion as well.

松文·曼丁在悉尼大学教授日本研究。

Masafumi Mandin lectures in Japanese studies at the University of Sydney.

尤其是上层阶级的男性开始穿着欧式服装，作为一种象征现代化的视觉标志。

Men in especially in upper class started wearing European style clothes as a sort of, like, a visual satire signifier that they are modernized.

因此，在这段被称为明治维新的时期，日本努力在国际贸易与商业中立足，日本海军开始穿着类似英国的制服，而日本陆军则看起来像法国军队。

And so during this time known as the Meiji Restoration, when Japan was trying to hold their own in global trade and commerce, The Japanese navy started to dress like the British, and the Japanese army started to look like the French.

作为这一运动的一部分，1885年，东京帝国大学为学生统一配备了制服。

And as part of this movement, in 1885, Tokyo's Imperial University put students in a uniform.

这种制服让他们看起来像小小的精致普鲁士士兵。

And this uniform made them look like little fancy Prussian soldiers.

是的。

Yeah.

这是一种以军装为原型设计的校服。

It was a school uniform that was modeled on military regalia.

因此，它有着柔和的色调，以及一种黑色的夹克。

So it has, like, a mild color and, like, a black sort of like a jacket.

这件黑色夹克有双排金色纽扣，一直扣到黑色高领的顶部，裤子也是黑色的。

And this black jacket had double breasted brass buttons that buttoned all the way to the top of the black Mao color, and the pants were also black.

因此，它与普通的校服大不相同。

So it's quite different from a common school uniform.

很快，所有年级的男生都穿上了这种黑色的普鲁士军装。

Soon, all male students in all levels of school and college were wearing this black Prussian army outfit.

我刚刚在大都会艺术博物馆看了一堆世纪之交的日本浮世绘。

And I was actually just looking at a bunch of Japanese screen prints from the turn of the last century at the Met.

每次看到小男孩，他都像个小哥特式侍从，因为他穿着这种叫作‘学ラン’的黑色制服。

And really, every time you see a little boy, he looks like a little goth footman because he's wearing this black uniform, which is called a gakkuron.

在日本你仍然能看到它。

You'll still see it in Japan.

这种‘学ラン’也叫‘詰襟’，意思是方领。

So the gakkuron, it's also called a tsumei eri, which means a square collar.

它就像方领的普鲁士军装，搭配黑色面料和黑色长裤。

It's like the square Prussian military jacket and black surge cloth with black pants.

但在19世纪末直到战争期间及之后，如果你是精英中学的学生，你就穿它；上大学后，你仍然穿着它。

But, basically, in the late nineteenth century all the way to the war and beyond, if you were a elite high school student, you wore it, then you went to college, and you still wore it.

男孩们常常一直穿着同一套‘学ラン’。

Often, boys wore literally the same gakkuron all the time.

所以，基本上，人们从入学一直到大学毕业，每天都穿着这一套制服。

So, basically, people all the way until they graduate from college would wear this one uniform every single day.

东京的夏天极其酷热。

And the summers in Tokyo are are brutal.

所以，没错，每天穿着这件衣服真的非常难受。

So, yeah, I mean, it was just a really disgusting piece of clothing to wear every day.

基本上，年轻男性会一直穿着学兰服，直到他们长大到可以穿西装为止。

And, basically, young men wore gakkuron until they were old enough to wear a suit.

在公共生活中，有一种深色、简约的西方制服。

There was a dark, simple, Western uniform in public life.

这种穿着方式在个人表达等方面极其压抑，因为每个人都穿着同样的衣服，基本上每天都在穿同一件衣物。

It's incredibly stifling in terms of, you know, personal expression and all those kind of things because everyone's just wearing the same thing, and you're basically wearing the same piece of clothing every single day.

所以，有点讽刺的是，一个从小每天穿着这种黑色单调的学兰服长大的人，后来却改变了日本人的着装方式。

So it's kind of funny that someone who grew up wearing this black drab Gakkaron every single day would grow up to change the way Japan dresses.

因此，石津健介出生于二十世纪初。

So Kensuke Ishizu was born in the early twentieth century.

石津健介于1911年出生于日本西南部的冈山市。

Kenseuke Ishizu was born in the southwest city of Okayama in 1911.

他来自一个富裕的纸张批发商家庭。

He came from a rich family that were paper wholesalers.

小时候，石津健介对服装极其着迷。即使在学兰制服的严格限制下，他也要求父母将他转学到离家很远的另一所学校，只因为那所学校的学兰制服有金色纽扣。

And as a kid, Kenseuke Ishizu was just so into clothes, Even under the severe limitations of the gakkuran, Ishizu asked his parents to transfer him to a different school very far away from his house just because their gakkuran had gold buttons.

在中学时，石津健介让裁缝在裤子后袋上加方形翻盖，或加宽裤脚，只为在厚重深色的学兰制服下，稍稍透露一点个人风格。

And in middle school, Ishizu asked his tailor to add square flaps on the back pockets or wider hems to his pants, just anything to give the smallest hint of a sense of personal style under the thick, dark gakkuran.

但到了高中时，石津健介最终以当时年轻男孩唯一能展现个性的方式——让学兰制服穿得破旧不堪——来展示自己的风格。

But eventually, by the time he got to high school, Ishizu showed off his personal style in really the only way young boys could, which was basically by letting his gakkuron get worn out.

这是一种被称为‘班卡拉’的风格。

This was part of a style known as bancara.

日本有一种叫做‘班卡拉’的概念，最初是对日本在1868年开国后拥抱欧洲文化的回应。

There's a concept called bancara in Japan, which originally was a reaction towards Japan's embrace of European culture after Japan opened to the West in 1868.

在明治天皇推行现代化运动时，许多反叛者和反对者会自豪地、对抗性地穿着他们肮脏老旧的和服。

Back when emperor Meiji was launching his modernization campaign, a lot of rebels and naysayers would proudly, adversarially trot out their dirty old kimonos.

有一群人反对采纳欧洲的思想和文化。

There's a group of people who are opposing to the idea of adoptive European ideas and cultures.

因此，他们通过穿着破旧、肮脏的和服来区分自己。

So they started distinguishing themselves by wearing their kimono in, like, a ragged, dirty wire.

于是他们故意让和服显得破烂，呈现出一种邋遢的外观。

So they consciously darted their kimonos and had a, like, shabby look.

他们被称为‘反卡’（bancara）。

And they were called a bankara.

‘反’意味着野蛮。

Ban means savage.

因此，他们有意识地通过营造破旧、邋遢的外观来塑造自己的身份。

So they consciously created their identity through adapting, like, a ragged, shabby look.

但随着时间推移，这种邋遢的反卡风格逐渐被更多人接受。

But over time, the shabby Bankara look became a bit more widely accepted.

这让我想起，像皮夹克曾经是帮派成员的标志。

It kind of reminds me of how, like, leather motorcycle jackets used to be for gang members.

现在它仍然算是一种另类，但已经相当主流且被接受了。

And now it's still sort of alternative, but it's pretty mainstream and acceptable.

所以，当石津在学校穿校服时，Bangkara男孩已经算不上稀少了。

So in a similar way, by the time Ishizu was wearing his gakkuron in school, Bangkara boys were somewhat common.

从二十世纪二十年代和三十年代开始，石津就开始与这种Bangkara理念联系在一起。

One Ishizu started associating with this idea of bhankara in the nineteen twenties and nineteen thirties.

这种Bangkara及其野蛮特质在当时已经有所缓和，主要由高中生男生实践。

This idea of bhankara and its savage nature of bhankara had sort of toned down a little bit, and it it was back then practiced mainly by male student of high school.

事实上，Bangkara是当时青年最大的反文化运动。

And, really, Bangkara was kind of the biggest counterculture movement for youth.

这是受过教育、家境优越的男孩表达自我、反抗父母并同时稍微炫耀的一种主要方式，因为穿着破旧的校服表明你在学校待了很久。

This was the main way that educated, privileged boys could express themselves and, like, rebel against their parents and show off a little bit at the same time because having a raggedy gakkuron showed that you had been in school for a long time.

所以，你的校服越破旧，你就越有地位。

And so the kind of more worn down your gakkuron was, the more elite you were.

你知道，这仅仅表明你已经穿了它很久了。

You know, it just showed that you'd been wearing this thing forever.

因此，石津把他的校服穿得破破烂烂。

So Ishizu wore his gakkuron ragged.

但当他于20世纪30年代年轻时毕业，他不得不寻找其他方式通过服装表达自己。

But when he graduated as a young man in the nineteen thirties, he had to look for other ways to express himself in clothing.

于是，石津尝试了各种新兴的西方时尚潮流，比如他会穿一套三件式的棕色粗花呢西装。

And so Ishizu tried out different fledgling little Western fashion trends, like he'd wear a three piece brown tweed suit.

而这种穿着被视为有些反常和不道德，因为服装本应是统一的。

And that was seen as somewhat perverse and and immoral because clothing was supposed to be uniform in a sense.

因此，20世纪30年代在日本兴起的任何时尚潮流都没有真正持久或流行起来。

So none of the fashion fads that rippled up in Japan in the nineteen thirties really lasted or took hold.

所以30年代确实出现了一点风格上的变化。

And so there was a little bit of a movement of style in the thirties.

然后战争爆发了，这一切戛然而止。

And then the war came, and it shut down.

因此，石津的故事真正开始于他离开日本，前往东海的一个殖民地时。

And so Ishizu's story really picks up when he left Japan, and he went to a colony on the East China Sea.

日本曾殖民了亚洲的许多地区。

Japan had colonized a lot of Asia.

他前往中国的一个叫天津的城市。

He went over to a city called Tianjin in China.

天津非常国际化，伊藤在经营这家日本商店的同时，学会了基础的英语、俄语和汉语。

Tianjin was extremely international, and Ishizu picked up basic English and Russian and Chinese, all while running this Japanese store.

他协助经营一家百货公司，并在那里成为男装采购员。

And he helped run a department store, and there he became the men's fashion buyer.

但随着第二次世界大战蔓延至中国，这家百货公司意识到，也许现在并不是销售奢侈品的好时机。

But then, as World War II spread throughout China, this department store realized maybe this was not the right moment to be selling luxury goods.

于是他们卖掉了公司，伊藤剃光头发，参军加入了海军。

So they sold off the company, and Ishizu shaved his head and enlisted in the navy.

但他选择留在中国，并被指派监督一家甘油工厂，在那里——我非常喜欢这个细节——伊藤将所有设备改造，用来生产带有巴黎香料香味的精致、奢华的透明香皂。

But he chose to remain there in China, and he was assigned to oversee a glycerin factory where, and I love this fact, Ishizu proceeded to retool all the machinery to make fancy, luxurious, clear soaps scented with spices from Paris.

但在1945年8月，伊藤打开收音机，听到了天皇广播，宣布日本向盟军投降。

But in August 1945, Ishizu turns on the radio and hears the emperor's broadcast announcing that Japan had surrendered to allied forces.

不久之后，国民党的中国军队闯入市田的工厂，抢走了一桶桶甘油，并将市田关进了一个临时监狱。

And shortly thereafter, the nationalist Chinese army come in to ransack Ishizu's factory for barrels of glycerin, and they lock up Ishizu in a makeshift prison.

在1945年9月的大部分时间里，他都被困在那里。

And that's where he is trapped for most of September 1945.

战后在中国，他被关在战俘营里，等待遣返。

In China, after the war, he was in a prison camp, you know, awaiting repatriation.

他遇到了一位名叫奥布莱恩的中尉。

And he met this lieutenant named O'Brien.

传说这位名叫奥布莱恩的美国中尉，只是想找一个能说一点英语的人。

The lore says that this American lieutenant, supposedly named O'Brien, was just looking for anyone who could speak a little bit of English.

于是这位中尉把市田从临时监狱里放了出来，两人成了朋友。

And so this lieutenant let Ishizu out of the makeshift prison, and he and Ishizu became friends.

这位中尉向市田讲述了许多关于美国的故事。

And this lieutenant proceeded to regale Ishizu all kinds of stories about America.

他告诉市田自己战前的生活，以及他在大学的时光。

He told him about his life in the years before the war, about his time in college.

这是石津第一次听说一个叫做常春藤联盟的东西。

And this was the first moment Ishizu heard about something called the Ivy League.

石津与这位美国中尉的对话将引发一系列事件，启动日本时尚产业并改变世界的着装方式。

And Ishizu's conversations with this American lieutenant would set in motion a series of events that would kick start Japanese fashion and change the way the world dresses.

但第一块多米诺骨牌的推动，仅仅是当石津得知在美国某个地方有一个叫做普林斯顿的地方时。

But the flick of the first domino was simply when Ishizu learned that there was, somewhere in America, a place called Princeton.

所以这些是你作为新生时会看到的大门。

So these are the gates when you're a freshman.

你穿过这些大门，就像是整个入学仪式的一部分，加入学院。

You like walk through these gates as a whole a whole part of the ceremony of like matriculating and and joining the college.

普林斯顿大学的校徽悬挂在这些黑色金属大门上方，上面刻着校训'因上帝之力，她繁荣昌盛'。

The seal of Princeton University is suspended over these black metal gates with the motto, Under God's power, she flourishes.

作为学生，从中间的大门离开是不吉利的，因为这会给你带来霉运之类的。

And it's bad luck to when you're when you're a student, it's bad luck to leave the middle gates because it, like, jinxes you or whatever.

在你真正毕业之前，你必须从侧门离开。

Like, you have to leave through the side gates before you actually graduate.

你遵守了吗？

Did you obey that?

哦，当然遵守了。

Oh, totally.

我亲爱的朋友、也是播客同行的艾莉森·贝林格，曾就读于普林斯顿大学。

My dear friend and fellow podcaster, Alison Behringer, went to Princeton University.

当她带我参观校园时，我看到了普林斯顿对她的深远影响，因为她依然崇敬着校园里的各种迷信传统。

And when she took me to campus, I could see what an imprint it made on her because she still revered all the campus superstition.

比如，她从不穿过正门。

Like, she wouldn't go through the front gates.

等等。

Wait.

那么，你现在还会不会穿过这扇门呢？

So now will you still not go through this

主厅？

the the main room?

我想这无关紧要，因为不管什么诅咒，都对我无效。

Guess it doesn't matter because, like, the cur any kind of curse, it doesn't apply to me.

我拿到了文凭。

I got I got the diploma.

但我能感觉到你在抗拒。

But I can feel you resisting it.

我们走侧门吧。

Let's go in the side door.

普林斯顿校园感觉像是一个独立的领地，甚至与周围的小镇都截然不同。

The Princeton campus sort of feels like its own separate fiefdom, even from the little town around it.

它拥有许多独特且本土形成的文化、仪式和传统。

It has all these cultures and rituals and traditions that are totally unique and homegrown.

就连我这样一个在美国上过私立大学的人，也觉得普林斯顿格外与众不同。

Even for me, an American who attended a private college on a campus, Princeton still felt like something really different.

在二十世纪二三十年代，它具备了特定的元素组合，催生了常春藤风格的诞生。

And in the nineteen twenties and thirties, it had this particular cocktail of ingredients that led to the invention of Ivy style.

这里，普林斯顿，是常春藤风格的发源地。

This, Princeton, is where Ivy style began.

为什么普林斯顿在常春藤盟校中特别重要？

Why is Princeton particularly important among the Ivies?

首先，

Well, first of

它稍微有些孤立。

all, it's slightly isolated.

它离城市区域有点远。

It was a bit away from an urban area.

这种孤立造就了他们独特的文化。

This isolation gave them their own culture.

帕特里夏·米尔斯是时装技术学院博物馆的副馆长。

Patricia Mears is the deputy director of the museum at the Fashion Institute of Technology.

她策展了2012年的展览‘常春藤风格’。

She curated the twenty twelve exhibit Ivy style.

由于普林斯顿倾向于更加保守，因此在某些方面被认为非常优雅，它的绰号也被称作‘北方最好的南方学校’。

And because Princeton tended to cleave a little bit more towards the conservative side, it was considered very genteel in some ways, and also its nickname was the best southern school in the North.

我相信在二战之前，约85%的学生显然是男性，且均为白人、盎格鲁-撒克逊裔和圣公会教徒。

I believe before World War two, about 85% of its student body was obviously, they were all male, but were white, Anglo Saxon, and Anglican, specifically.

他们是新教徒。

They were Protestant.

这意味着学校里天主教徒、犹太人和其他群体的学生非常少。

So it meant there was a very small number of Catholics, Jews, and others attending the school.

此外，普林斯顿相对规模很小。

Also, Princeton is comparatively tiny.

虽然哈佛有25,000名学生，但普林斯顿只有大约8,400名学生。

While Harvard has 25,000 students, Princeton has around 8,400 students.

正如艾莉森可以证实的，普林斯顿的学生特别热爱运动。

And as Allison can confirm, Princeton students are uniquely sporty.

每五个学生中就有一个是校队运动员。

It's like one out of every five students is a varsity athlete.

那里有很多运动员。

There's a ton there's tons of athletes.

在普林斯顿校园里，没有人像在我大学校园那样闲逛着抽烟。

No one on the Princeton campus was just hanging out outside smoking weed like they did on my college campus.

每个人似乎都是刚从体育训练回来，或者正要去训练，他们从课堂直接穿着运动服去训练，然后去吃饭。

Everyone seemed to be going to or coming from sports practice, and they were wearing their sports clothes right from class to practice to dinner.

我的意思是，运动真的很重要。

I mean, sports are so important.

甚至有传言说，‘常春藤’这个名字来源于四所大学体育队的联盟，这四所大学是耶鲁、普林斯顿、哈佛，第四所则因人而异。

It's even rumored that the name Ivy came from a conference of four college sports teams, the colleges being Yale, Princeton, Harvard, and a fourth one that changes depending on who you ask.

但当时确实有四所，用罗马数字表示就是‘Ivy’。

But there were four of them, which in Roman numerals is Ivy.

历史上，休闲服饰是基于运动装发展起来的。

Historically, casual wear has been based it's based on sportswear.

对吧？

Right?

黛德丽·克莱门特是内华达大学拉斯维加斯分校的历史学教授，也是《休闲着装：大学生如何重塑美国风格》一书的作者。

Deirdre Clemente is a professor of history at the University of Nevada, Las Vegas and the author of Dress Casual, How College students redefined American style.

上个世纪之交，体育真正开始融入美国文化并迅速兴起。

The turn of the last century really saw the introduction and rise of sports as part of American culture.

随之而来的是属于体育的独特服饰风格。

And with that came its own sort of brand of clothes.

对于男性来说，就是更轻便的裤子，你知道的，还有毛衣。

For men, it would have been lighter pants, you know, a a sweater.

正是在这里，毛衣首次出现。

This is where you see the introduction of sweaters.

许多预科生风格的服装最初都是运动服。

A lot of preppy clothes started as sportswear.

比如，纽扣领衬衫就是板球运动员过去穿的衬衫的变体。

Like, for example, button down shirts were versions of shirts polo players used to wear.

他们当时会把衣领扣起来，以免在骑马时衣领上下翻飞遮住脸。

Like, they used to button down their collars so they wouldn't flap up in their faces while they were riding horses.

但后来美国大学生开始随时随地穿运动服上课、参加派对等等。

But then American college students just started wearing sports clothes all the time to class, to parties, whatever.

在1910年代，运动服确实只在运动时穿着。

In that 1910 era, you know, sportswear was really worn on sports.

但到了那个十年末期，进入20世纪20年代，运动服不仅出现在球场上，还出现在食堂和餐厅里。

Now when historically things start to heat up is by the end of that decade going into nineteen twenties when you see sportswear not only on the courts, but in the cafeterias, in restaurants.

这些对旧有方式的突破。

These sort of breaks with the old ways.

对吧？

Right?

摆脱了西装和更正式的面料。

Breaks with suits and sort of more formal feeling fabrics.

人们开始追求服装的多功能性。

People are looking for, they're talking about versatility in clothes.

嘿，这个概念以前可没出现过，对吧？

Hey, that's an interesting concept that hasn't been around, right?

混搭。

Mix and match.

你知道，所以这确实是一个变化，美国人与他们衣服的关系在20年代和30年代真正发生了改变。

You know, so it's really a change when people have the relationships Americans with their clothes really changes in the 20s and 30s.

当然，大学生确实是这一变化的核心，原因多种多样，从他们参与体育运动，到与父母之间产生的一种新的空间感。

And of course, college students were really at the heart of that change for a variety of reasons ranging from their involvement in sports, but also sort of a a new sense of space from their parents.

他们变得对朋友的话比对父母的话更感兴趣。

They became more interested in what their friends said than what their parents said.

大学是一个由同龄人构建、面向同龄人的新世界，学生们可以为了彼此而着装，而不必迎合某种权威。

College was this new world that felt like it was for peers by peers, where students could dress for each other and not appeal to some authority.

尤其是普林斯顿大学，其文化中有很大一部分几乎完全由学生自主管理。

And Princeton, in particular, has a huge part of its culture that is run almost entirely by students.

与许多其他大学不同，他们没有兄弟会。

Unlike many other universities, they didn't have fraternities.

他们拥有所谓的'饮食俱乐部'，并且这些俱乐部是自我管理的。

They had what they called eating clubs, and they were self regulatory.

它们不是由大学管理的。

They're not run by the university.

普林斯顿大学70%的三年级和四年级学生都加入了用餐俱乐部，每个俱乐部由六到十名学生以及清洁和烹饪人员组织。

70% of juniors and seniors at Princeton University are in eating clubs, And each eating club is organized by six to 10 students along with a cleaning and cooking staff.

艾莉森曾加入过一个用餐俱乐部，那里几乎就是她每天吃饭的地方。

Alison was in an eating club, and it was quite literally where she would go to eat each day.

他们新启动的一项措施是：我获得助学金，而我的助学金覆盖了我的食堂餐计划。

Something new they started was I was on financial aid and find my financial aid covered my dining hall plan.

因此，我的助学金也可以用于用餐俱乐部。

And so my financial aid could be applied to the eating club.

艾莉森带我走过一条看起来像住宅街的街道，两旁是美丽的古老庄园。

Alison walked me down what looked like a residential street lined with beautiful old mansions.

她向我介绍了每个用餐俱乐部及其特色，比如门外有一门古老古董大炮的俱乐部就叫‘大炮’。

And she pointed out each eating club and their personalities, like an eating club with an old antique cannon outside of it was called cannon.

很多橄榄球运动员和体育生都加入了那个俱乐部。

A lot of football players and sports people joined that one.

左边是殖民地风格。

Here's Colonial on the left.

因此，这些由学生运营、为学生服务的用餐俱乐部，是所有这些因素的点睛之笔。

So the eating clubs, these places run by and for students, were sort of the cherry on top of all these factors.

在二十世纪二三十年代，普林斯顿的规模、地理位置、同质性以及运动氛围，使其成为一种新型休闲风格的理想培养皿。

In the nineteen twenties and thirties, Princeton's size, location, homogeneity, and sportiness made it the perfect petri dish for a new kind of casual style.

是的，要穿衬衫和领带，但从不拘谨，主要穿一脚蹬式的鞋子。

And, yes, shirt and tie, but never restricted, mostly slip on style shoes.

牛津布经典扣领衬衫原本就不是为了做成硬挺僵化的服装。

The Oxford cloth classic button down shirt was never meant to be a starched stiff garment.

领带则是作为色彩鲜艳的配饰，从不是为了限制行动或自由。

And the ties were meant to be colorful accessories, never ones to inhibit movement or freedom.

但帕特里夏·米尔斯表示，常春藤风格最显著的特征是衣服看起来刚刚

But Patricia Mears says the biggest hallmark of the Ivy look was that the clothes had just

变得柔软。

softened.

尤其是二十世纪二十年代到三十年代，服装变得更为柔软，但依然保持了精良的剪裁或优雅的垂坠感。

The nineteen twenties in especially into the thirties was important because clothes softened, but it was still beautifully tailored or beautifully draped.

这一点在西装的肩部设计上最为明显。

This is most obviously seen in the shoulders of the suits.

学生们穿的夹克并没有加衬垫。

The jackets students were wearing weren't padded.

它们的结构不像意大利西装或英国萨维尔街的西装那样。

They weren't constructed out like an Italian suit or a British Savile Row suit.

学生的夹克肩部是柔软且无衬垫的。

The shoulders of the students jacket were soft and unpadded.

这是一种自然的肩线。

It was a natural shoulder.

它更舒适，更随意。

It was more comfortable, more casual.

它为活动提供了更多空间。

It had more room for movement.

当然，如果你本身就有合适的身材来驾驭这种风格，看起来会最好。

And, of course, it looks best if you've already got the physique to pull it off.

穿这种衣服的男性， underneath 那些西装下也看起来相当不错。

The men who wore it looked pretty good underneath those suits too.

我认为，体型在其中起了很大作用。

The body type, I think, had a lot to do with it.

这一切都基于你的身体比例和平衡，而无需过度重塑它。

This was all about balance and proportion based on your body without having to overly reshape it.

早期的时尚媒体确实帮助这种风格从校园传播开来。

Early fashion media really helped spread this look off campuses.

像《Apparel Arts》这样的男装行业期刊，正在服装销售商和业内人士中获得越来越多的关注。

Menswear trade journals like Apparel Arts Magazine were gaining traction among clothing sellers and industry insiders.

特别是《Apparel Arts》杂志开始聚焦于普林斯顿大学这些学生的着装风格。

And Apparel Arts magazine in particular started to focus on the style of these students at Princeton University.

我一直在问自己为什么。

And I was asking myself why.

你知道吗，这本杂志是在1931年大萧条高峰期创办的。

And, you know, the magazine was started in 1931 at the height of the depression.

他们发现，18到22岁的年轻男性在消费上比任何其他群体花的钱都多。

And what they realized is that young men between the ages of 18 and 22 actually spent more money than any other demographic.

我听说的一个数据是，大学生占了美国优质男装销售额的51%。

One account I heard is that college students accounted for 51 percent of the sales of good quality men's wear in America.

因此，你开始看到一些页面专门介绍大学生的着装。

That's why you start to see a few pages devoted to collegians here and there.

几年之内，到三十年代中期，《Apparel Arts》已经推出了专门介绍大学生校园着装的整期内容。

And within a few years, by the mid thirties, they had actual issues devoted to what young men were wearing on college campuses in apparel arts.

常春藤风格起源于普林斯顿大学的校园。

Ivy's style started on the campus of Princeton.

这一点毫无疑问。

No doubt about that.

但这里还有另一个因素在起作用。

And there's another element at play here.

因为普林斯顿学生的着装方式也与英国学生中早已兴起的另一种青年潮流并行发展，并对此作出回应。

Because the way Princeton students were dressing was also sort of in parallel and in response to another youth movement that had already been happening with students in England.

常春藤盟校除了康奈尔大学外，都是在美国建国之前就已成立的。

The Ivy Leagues were all founded before we even became a country with the exception of Cornell.

因此，这些年轻人转向英国寻求灵感是很自然的。

So it made sense that these young men were going to turn to England for inspiration.

常春藤风格的许多元素显然源自英国，比如所有的格子图案和粗花呢，以及大多数运动服饰都来自非常英国化的运动，如网球、高尔夫和马球。

So many elements of Ivy style were obviously imported from England, like all the tartan and the tweed and the fact that most of these sports clothes came from very British sports, like tennis and golf and polo.

尽管二十世纪二三十年代英国青年的风格与常春藤风格有所不同。

Although English youth style in the nineteen twenties and thirties was different from Ivy.

我们所定义的柔和风格，很多都源自二十世纪二十年代的牛津大学。

A lot of this, what we define the soft look, a lot of this is coming from Oxford in the nineteen twenties.

它源自本科生的着装风格。

It's coming from undergraduate styles.

看看对岸的牛津大学，你也会看到那里正在发生一场休闲革命的早期阶段，但方式却截然不同。

Look across the pond at Oxford University, and you also see the early stages of a casual revolution happening there, but in a really different way.

到二十世纪二十年代，牛津的学生们已经脱下了僵硬的萨维尔街西装，转而选择更舒适的服装，比如宽松的长裤和高领毛衣，英国人称之为高领套头衫。

By the nineteen twenties, students at Oxford had already shed their stiff, Savile Row suits and were instead opting for more comfy clothes like loose slacks and turtlenecks, or as Brits would call them, high neck jumpers.

而高领毛衣是当时一位体面的年轻男子唯一可以不打领带的方式。

And a high neck jumper was the only way in which, a respectable young man could get away with not wearing a tie.

D.J. 泰勒是一位专注于二十世纪英国文化的作家和评论家。

DJ Taylor is a writer and critic specializing in twentieth century British culture.

他们还开创了另一件当时备受鄙视的事情：不戴帽子。

The other thing too that they pioneered, which was immensely looked down upon, was not wearing a hat.

直到二十世纪初，如果你出门没戴帽子，走在街上都可能被人嘘。

As late as the early twentieth century, you could get booed in the street if you went out without a hat.

二十世纪二十年代的伦敦空气中弥漫着叛逆的气息，因为当时兴起了一种新的青年亚文化。

Rebellion was in the air in nineteen twenties London because there was this new youth subculture afoot.

他们被称为‘光鲜的年轻人’，喜欢派对。

They were called the bright young people, and they liked to party.

他们总是到处奔波。

They were always rushing around all over the place.

他们从来坐不住。

They can never sit still.

所以你和朋友外出吃饭时，吃完饭后并不会就此结束。

So instead of just having an evening out with your friends, you finish your meal in the restaurant.

然后你上车，开车60英里到海边。

You then get in the car and drive 60 miles down to the coast.

接着你会去一家夜总会。

You then go to a nightclub.

之后你可能还会去别的地方，最后在凌晨五点左右回到索霍区吃早餐。

You then might go somewhere else, and you finished up with breakfast at 05:00 in the morning somewhere back in Soho.

这一切都处于一种永不停歇的旋涡之中，汽车高速行驶，留声机播放着激动人心的唱片。

There's this constant the whirling constant set of things whirling around and cars going at high speeds and and hyped up gramophone records.

这些时髦的年轻人在全城组织寻宝游戏。

The bright young people arranged treasure hunts all over the city.

他们从一家俱乐部飞奔到另一家俱乐部，你可以在伊夫林·沃的书中读到他们波西米亚式的冒险，也可以在塞西尔·比顿的照片中看到他们的身影。

They fluttered from club to club, and you can read all about their bohemian exploits in books by Evelyn Waugh and look at them in photographs by Cecil Beaton.

从这些照片中你可以看到，每个人似乎总是穿着某种服装。

And you can see in these photographs that everyone always seems to be in some sort of costume.

因为那是化装派对的黄金时代。

Because it was the great age of the fancy dress party.

泳装派对、丛林派对。

Swimsuit parties, jungle parties.

这些活泼的年轻人有时会随身携带一套备用服装，因为你永远不知道什么时候会用得上。

Bright young people were known to sometimes carry a spare costume in a bag because you never knew when you might need it.

你可能会装扮成一位海军上将，或者埃及女神。

You would go as an admiral perhaps or, you know, an Egyptian goddess.

表面上看，这似乎只是一群迷失的年轻人热情投身于享乐主义。

On the surface, this just seemed like a lost generation of young people enthusiastically hurdling themselves at hedonism.

但时尚总是具有政治性的，其背后另有深意。

But fashion is always political, and there was something under it.

这不仅仅是有人简单地说：‘我想穿得华丽一些。’

It's more than just somebody saying, oh, I want to wear flamboyant clothes.

因为所有这些派对都是在第一次世界大战结束后立即发生的。

Because all this partying was happening directly in the aftermath of the first world war.

你知道，那场持续四年的世界大战夺去了数百万人的生命。

You know, there's been a four year world war where millions of people have died.

在你上面一代人，就是你的兄弟姐妹那一代。

Of the generation just above you is the generation of your brothers and sisters.

许多这些朝气蓬勃的年轻人失去了他们的兄弟姐妹。

Many of the bright young people had lost their siblings.

即使他们没有，比如伊夫林·沃，他太年轻没能参军，但他的哥哥亚历克确实服役了。

And even if they didn't, like, for example, Evelyn Waugh was too young to enlist in the war, but his older brother, Alec, had served.

亚历克曾是战俘，这彻底改变了他的人生和对世界的看法。

And he'd been a prisoner of war, and it totally changed his life and his perspective on the world.

但如今，他们之间出现了隔阂。

But now there was this rift between them.

这一代人看起来与所有比他们年长的人如此不同。

This generation just seemed so separate from everybody older than them.

所以，当这一代年轻人在20世纪20年代初到牛津时，一方面他们决心要好好享受生活，但另一方面也充满内疚，因为他们太年轻，没能参战。

So that younger generation, by the time they get up to Oxford in the mid in the early to mid nineteen twenties, on the one hand, they're determined that they're gonna have a good time, but they're also seething with guilt as well because they're too young to have fought in the war.

因此，他们背负着羞愧与享乐的复杂情绪。

So they were laden with this mixture of shame and hedonism.

正如D.J.泰勒所言，这些才华横溢的年轻人是在阳光下哀伤。

The bright young people were, as DJ Taylor puts it, sorrowing in sunlight.

你知道，表面上看，这是一种颓废的氛围，人人都在尽情享乐，这就是所谓的‘咆哮的二十年代’。

You know, so you've got what outwardly is this atmosphere of decadence and, you know, everybody having a good time and the roaring twenties.

但在表象之下，却是一种深深的失落感、无根感与疏离感。

But beneath it is this terrible feeling of loss, and deracination and detachment.

旧世界已经消逝。

The old world is gone.

它再也不会复返了。

It's never gonna be the same again.

所以，让我们好好享受眼前的一切吧。

So let let's enjoy what we've got here.

我认为这正是二十世纪二十年代享乐主义背后那极其悲怆底色的来源，这一点在大西洋两岸都能看到。

That's what I think gives the hedonism of the nineteen twenties, this immensely tragic underpinning, which we find on both sides of the Atlantic, of course.

但可以说，这个故事是从那些光鲜的年轻人开始的吗？

But, is it fair to say the story sort of starts with the bright young things?

某种程度上，是的。

In a way, yeah.

我觉得是的。

I think so.

来自FIT博物馆的帕特里夏·米尔斯再次提到。

Patricia Mears of the FIT Museum again.

关键在于，那一代人希望摆脱爱德华时代的刻板束缚。

The main thing is that that generation wanted to step away from the rigidity of the Edwardian era.

但我认为美国人已经率先开始了。

But I think Americans had already started.

因为，这一点值得注意，

Because, and this is notable,

这些时髦青年和他们的美国同龄人可以直接去购买衣服，而无需量身定制。

the Bright Young Things and their American counterparts could all just go out and buy clothes without having to get fitted and measured for them.

这可是美国人送给全世界的礼物，宝贝。

And that had been an all American gift to the world, baby.

我们让服装变得更宽松了。

We relaxed the clothes.

我们让它们变得更容易获得。

We made them accessible.

我们开创了成衣的概念。

We pioneered the concept of ready to wear.

这里的‘我们’，帕特里夏·米尔斯实际上指的是布鲁克斯兄弟公司。

And by we, Patricia Mears really means Brooks Brothers.

布鲁克斯兄弟公司开创了这么多东西。

Like, Brooks Brothers pioneered so much of this stuff.

比如，马球外套被美国人改良并软化了，很多人将这一成就归功于布鲁克斯兄弟公司。

For example, like, polo coat was softened and changed by the Americans, and a lot of people have given Brooks Brothers credit for this.

布鲁克斯兄弟早在1896年就推出了牛津布扣领衬衫。

And Brooks Brothers introduced the Oxford cloth button down shirt back in 1896.

布鲁克斯兄弟是美国最古老的服装公司。

Brooks Brothers is the oldest clothing company in America.

它已有200多年历史，对美国历史至关重要。

It is over 200 years old, and it is so vitally important to American history.

比如，在内战期间，他们为联邦军队制作了一些制服。

Like, during the civil war, they made some of the uniforms for the union army.

但更重要的是，布鲁克斯兄弟参与了这场革命，开创了大规模生产、成衣的概念。

But even more than that, Brooks Brothers was part of this revolution that created the very concept of mass produced, ready to wear clothing.

早在19世纪初，他们就已经能够接受订单并将服装运送到全国各处。

You know, as early as the very early nineteenth century, they had clothes that could be ordered and then shipped cross country.

这种做法在世界其他地方根本不存在。

This was something that simply didn't exist anyplace else.

在美国民主实验的早期，像布鲁克斯兄弟这样的公司开创了全新的公民形象概念，即在变革之后的生活方式。

And in the early days of the American democratic experiment, companies like Brooks Brothers created a whole new concept of what citizenship could look like after the break.

大多数与布鲁克斯兄弟同龄的服装公司，比如路易威登或爱马仕，都是从手工制作的奢侈品工匠起家的。

Most clothing companies that are roughly as old as Brooks Brothers, like Louis Vuitton or Hermes, These businesses started as, like, artisan luxury craftspeople.

但布鲁克斯兄弟从一开始就是为大众生产大批量服装，因为它与美国民主实验的早期阶段紧密相连。

But Brooks Brothers, from its very, very beginning, was always making mass produced clothes for the masses Because it was very tied up with the early days of the American democratic experiment.

民主的威胁在于它推翻了所有既有的等级制度。

What was threatening about democracy was that it overthrew all established hierarchies.

十九世纪美国政治最突出的象征之一就是服装。

And one of the most outstanding symbols of American politics in the nineteenth century was clothing.

迈克尔·扎基姆是特拉维夫大学的教授，也是《现成的民主》一书的作者。

Michael Zakim is a professor at Tel Aviv University and the author of Ready Made Democracy.

在十八世纪，民主就像如今的社会主义一样，在许多圈子里，即使提及它也是一种有争议的想法。

And in the eighteenth century, democracy was kind of like what socialism is now in that in many circles, it's kind of a controversial idea to even utter.

因此，当美国宣布将建立一个完全民主的政府时，来自欧洲的访客和大使们都急于前来考察。

So, of course, when The United States declared it was going to make a completely democratic government, visitors and ambassadors from Europe were eager to come check it out.

而他们无一例外都会激动地报告：天啊，美国人都穿得这么得体。

And inevitably, they would all breathlessly report, my god, everyone in The States dresses so well.

十九世纪时，人们普遍重复一个流行的说法：最贫穷的工人穿得比一百年前的英国国王还要好。

There was a real kind of favorite cliche that everyone was busy repeating in the nineteenth century, and that is that the poorest working person dresses better than the king of England did a hundred years beforehand.

你知道吗？

And you know what?

他们说得对。

They were right.

所有这些欧洲人都感到非常惊讶，因为当时人们并不去商店购买衣服。

And all these Europeans were so amazed because around this time, people did not go shopping for clothing.

人们去商店买的是布料，然后必须自己缝制，或者把布料拿给裁缝制作。

What you went shopping for was cloth, and then you'd have to go and sew it up yourself or bring this cloth to a tailor.

如果你购买的是成衣，也就是已经做好的衣服，那并不令人愉快，也不值得骄傲。

And if you were buying clothes, like already made clothes, like that was not fun or pleasurable or anything to be proud of.

一件已经做好的衣服通常曾属于别人，是别人穿过的旧衣服。

A garment that was already made was usually a garment that had belonged to someone else, and it was a hand me down.

因此，穿成衣的人往往是穷人中最贫困的群体，穷到无法自己置办衣物，甚至依赖二手服装交易——当时在东河和凯瑟琳街一带，也就是亨利·布鲁克斯最初开始做生意的地区，就有许多二手服装店。

So someone who wore ready made clothing belonged to the poorest, the least able to clothe themselves, to the point where, in fact, they were reliant on a trade in secondhand clothing, which and there were plenty of secondhand clothing stores in the same kind of neighborhood along the East River and Catherine Street where Henry Brooks first begins to do business.

亨利·布鲁克斯不是服装商，也不是裁缝。

Henry Brooks was not a clothier, and he was not a tailor.

他是个杂货商。

He was a grocer.

他在曼哈顿的凯瑟琳街经营一家杂货店，但因为他目睹了一件惊人的事情，于是转行卖起了衣服。

He ran a grocery store on Catherine Street in Manhattan, but he switched to selling clothes because he witnessed something amazing happening.

亨利·布鲁克斯看到了一个机会。

Henry Brooks sees an opportunity.

他并不是孤例。

He's not alone.

还有许多其他人也做了同样的事。

There's scores of others who do the same.

所以，当1812年战争结束时，出现了一个非常有趣的时刻。

So there was this very interesting moment when the War of eighteen twelve ended.

值得注意的是，当时美国还没有建立起完整的纺织工业。

It's And important to note that at this point, America didn't really have a full cloth industry just yet.