贯日翻译样本文艺（英译中）

Lily

Beijing Express

“北京特快”时装展

In 2013, three years after presenting Shanghai Gesture, a collection of cream-coloured shirts inspired by Sino-Dutch trade relations dating back to the 17th century, Alexander van Slobbe returned to China for the Beijing Design Week. Instead of heading a delegation of 11 colleagues to work with Chinese counterparts, the renowned fashion designer concentrated on tomorrow’s talents, the students of the Beijing Institute of Fashion Technology (BIFT) and the Central Academy of Fine Arts (CAFA). As a master of minimalism Van Slobbe limited the starting point for his ten-day workshop to a piece of intensely red chintz. The students were given three terms to guide them: red dress, red carpet and China red.

三年前，亚历山大·凡·斯洛博（Alexander van Slobbe）以始于17世纪的中荷贸易关系为灵感，展示了米黄色调的“上海风光”（Shanghai Gesture）时装系列。2013年，他再次来到中国，参加北京国际设计周。与以往不同的是，这位著名的时装设计大师此次并没有带上11人的团队来与中国同行开展合作。他此行的主要目的是培养明日之星——北京服装学院（BIFT）和中央美术学院（CAFA）的学生。在为期十天的工作坊中，极简主义大师凡·斯洛博将大红印花棉布作为唯一的开场白。他向学生们提供了三个指导词：红色礼服，红色地毯，中国红。

The results were shown at the exhibition Beijing Express, which was staged at the Confucius Museum in Beijing. An elegant parade of evening dresses unfolded flanked by the mighty steles bearing 14 of the sixth-century BC philosopher's manuscripts. The shiny material rippled in waves, was twisted into rose-like forms or folded as a hood. Van Slobbe’s own sober style, which came to world fame through the orson + bodil collections and his OS men’s clothing line, sometimes shone through. But these dresses were unmistakably Chinese too. Cleavage was, for example, practically absent and was replaced by ornate collars.

学生们的作品在北京国子监博物馆举行的“北京特快”（Beijing Express）时装展上展出。优雅的晚礼服逐一亮相，与14块刻有孔子名句的巨大石碑相映成趣。闪亮的布料被设计成玫瑰花或兜帽的形状，在时装展上泛起片片涟漪。凡·斯洛博凭借“orson + bodil”时装系列及OS男装品牌闻名于世，其特有的朴素风格也不时体现在此次展览中。但这些作品毫无疑问极具中国特色，例如：基本没有采用低领设计，而是以华丽的衣领取而代之。

One of the most striking creations, designed by Amanda Ma, was inspired by the traditional silhouettes of Tang dynasty gowns. Ma added a modern twist, however. While the front of the dress was chastely closed, the back had been slashed in a men's shirt-like manner. It lent the design a robust aura. Constituting a counterpoint, the shoulders and hips were accentuated by a long string of twine low on the back.

最引人注目的作品之一是由英文名叫Amanda Ma的学生设计的，其灵感来自唐朝袍衫的传统轮廓，但流露出现代气息。这件服装的前面“密不透风”，后面却采用类似男装衬衫的开叉设计，看上去活力十足。与之形成对比的是，设计师在服装背部下方添加了一根长长的细绳，以此突出肩膀和臀部的线条。

Not only aesthetics and ideas on taste were mixed during Van Slobbe’s workshop. He also introduced Dutch teaching methods. Flanked by Zou You, dean of BIFT, and designer Vega Zaishi Liang, he limited his instructions to twice-daily conversations and inspired students to explore their own ideas freely. He acted as a catalyst. Beijing Express connected Chinese silhouettes and cultural history with western high fashion.

凡·斯洛博在工作坊当中不仅将美学与创意结合起来，还引入了荷兰的教学方法。他在北服院长邹游和设计师王在实陪同下，每天与学生交流两次，启发学生随意畅想，在此过程中发挥了“催化剂”的作用。将中国的形象、文化和历史与西方高级时装结合起来，这就是“北京特快”时装展的主旨。

Starting Something

“身边的创作灵感”设计展

Anything can function as the raw material for open-minded designers, even the soot collecting on Beijing's windows, the grimy precipitation caused by industry and traffic. Jetske Visser collected this soot and turned it into a pigment. She applied a subtle fan of fifty shades of grey to a piece of cloth, turning waste material into the stuff of visual poetry.

对于思路开阔的设计师来说，任何东西均可成为创作的原材料，即使是从北京家庭窗台上收集的烟尘或者是由工业污染和车辆尾气产生的肮脏沉淀物也不例外。叶似珂（Jetske Visser）将收集起来的烟尘变成颜料，在一块布匹上绘画出由五十道阴影组成的精致扇形图案，将废料变成充满诗意的视觉体验。

Visser’s textile samples were part of the exhibition Starting Something that took place at Factory 751 during Beijing Design Week 2013. 30 students and recent graduates of the Sandberg Institute in Amsterdam were invited to respond to Beijing’s reality for this show. The aim was not to come up with ready-made solutions, but to devise open-ended projects that could perhaps lead to new ways of thinking. It was more about working intuitively from within a given situation than starting with a clearly defined problem.

她以布料尝试创作的多件作品在2013北京国际设计周的“身边的创作灵感”（Starting Something）设计展上展出，展览地点为751工厂。主办方邀请了阿姆斯特丹桑德伯格艺术学院的30名学生和年青校友按北京的现状来进行创作。创作的内容不限，旨在通过一种开放式的创作带来创新的思维。设计师们应做的事是：在一个给定的情境下开展直观创作，而非着手解决特定问题。

A crucial part of Starting Something was the interaction between the Sandberg Institute participants and third-year students from the Central Academy of Fine Arts in Beijing. The Chinese responded to the Dutch projects with graphics and product design. Half the Dutch students acted as guest lecturers either utilising Skype or during live masterclasses.

另外，“身边的创作灵感”设计展有一个重要环节是：来自桑德伯格艺术学院的参赛者将与北京中央美术学院的三年级学生进行交流互动。中国学生以图像和产品设计回应荷兰方面提出的项目。有一半的荷兰学生通过Skype或现场大师班的形式举办特邀讲座。

The exhibition Starting Something centred on three themes. Visser’s recycling of soot fit in nicely with the theme ‘New Use Old Materials’. This was also true of the latex casts Jorien Kemerink made in historic buildings in Amsterdam and in the hutongs of Beijing. She documented histories on the brink of disappearing whilst simultaneously cleaning the interiors by absorbing the dust and dirt into her slabs of latex, using what amounts to a simple household technique.

“身边的创作灵感”设计展包括三大主题。叶似珂的“烟尘作品”非常切合“旧材料的新应用”的主题。设计师Jorien Kemerink根据阿姆斯特丹和北京胡同的历史建筑物制作了乳胶模型，也与该主题不谋而合。她记录了濒临消失的历史，同时运用一种比较家常的做法，将尘垢融入其乳胶作品之中，达到洗涤心灵的目的。

The second theme, ‘Power of People’, dealt with the energy of the collective, the social dynamic shaping our environment. Exemplary for this theme was Lucas Maassen who started a design studio with his nine and eleven year old sons, giving new meaning to the concept of knowledge transfer.

第二个主题是“人民的力量”，涉及集体的能量，即塑造环境的社会动态。例如，设计师Lucas Maassen与其9岁和11岁的儿子共同建立了一个工作室，给“知识转移”的概念赋予新的含义。

The most diverse group of designs were brought together for the Cityscape theme. The category included Esther Jongsma’s answer to Beijing’s scorching summer heat, a building conditioning system borrowed from traditional cooking techniques that utilise layers of wet sand, but also Arne Hendriks’ The Incredible Shrinking Man. In a nation with over a billion inhabitants, Hendriks argued in favour of downsizing the human species to approx. 50 cm enabling a reduction in the use of natural resources and waste production.

至于“都市景观”主题下的设计作品则是最多元化的。例如：设计师Esther Jongsma借鉴传统烹饪方法中的沙炒法，专门针对北京的夏日酷暑构建了一套楼房空调系统；Arne Hendriks创作了一个作品叫《不可思议的收缩人》。Hendriks认为，如果人类的身高缩小至50厘米左右，就能减少自然资源的消耗和废物的生成。这点对于一个有着十多亿人口的国家来说很有借鉴意义。