訂閱

多平臺閱讀

微信訂閱

雜志

申請紙刊贈閱

訂閱每日電郵

移動應用

生活

迪奧專用模特要什么條件?腰圍不到一尺四

Hilary Fox, 美聯社 2019年08月29日

身體條件優秀,即使不會說法語,也會被迪奧錄取。

克里斯汀·迪奧模特簡·達內。圖片來源:Hulton Archive/Getty Images

在超級模特出現之前,曾經有一些“人體衣模”,都是活生生會呼吸的女性。她們筆挺地站著,為高級定制時裝的設計發揮了不可或缺的作用。設計師和工匠往人體模特身上釘、戳或是裹上布料,把草圖和創意付諸實踐。

1950年,英國模特簡·達內曾經在巴黎的迪奧公司全職工作。獲得這份工作就足以讓她登上當時的英國報紙,不過她也寫了本書介紹經歷。《模特女郎》于1956年出版,書中走入時裝秀、時裝屋和攝影棚的幕后,揭示了非凡魅力背后的辛苦努力。

如今,達內的女兒卡蒂爾·葛莉辛截取回憶錄中的一部分重新出版,書名叫《為克里斯汀·迪奧工作》(Zuleika Books出版社),配合倫敦V&A博物館舉辦的“克里斯汀·迪奧:夢想設計師”展覽。

葛莉辛說,她母親去法國是從威尼斯當模特回國的路上,當時花了幾天時間敲設計師的門找工作。

“她只找能夠認出香水牌子的設計師,因為她就是這么記名字的。每個人都愿意請她,所以她應該還不錯。”葛莉辛說。“她確實條件不錯,很漂亮而且很優雅,還可以很好地適應了設計師的要求,腰圍才18英寸。”

盡管達內不會說法語,但冷不防地找設計師還是成果頗豐,最后接受了迪奧工作室的聘用合同。

“當時她們得9點鐘打卡上班,就像在工廠一樣。然后她就一直站著,真的是站著,然后被推過來推過去,身上被釘著或別著布料。”她女兒解釋說。

2016年母親去世后,葛莉辛在衣柜深處發現了一件迪奧的衣服。

“那是件漂亮的羊毛精紡高腰連衣裙,款式叫‘諾內特’,是克里斯汀·迪奧的原作,上面還有編號。如果在上面做測試,很可能會找到迪奧的DNA,因為這是1950年他用我母親當模特做出的衣服。”她說。“1950年春克里斯汀·迪奧來到倫敦做薩沃伊時裝秀時,我母親穿的就是這條連衣裙。”這條裙子也是V&A博物館展覽的展品。

在薩沃伊酒店秀的鏡頭中,達內穿著一件名叫“純真”的初入社交圈少女白色禮服,一件叫“鈴蘭”的白色刺繡禮服,一件叫“糾纏”的絲綢外套,還有用草邊花邊制作的晚餐禮服。

達內在離開迪奧后,她的知名度繼續上升。

葛莉辛說,1951年《時尚》走出不尋常的一步,邀請達內和其他幾位模特去澳大利亞參加活動。“衣服之前就已就位,但衣服送到之后他們發現當地也有漂亮女孩,就讓當地模特當模特。但雜志還是為五個女孩包飛機,又安置在奢華酒店里。后來這五個女孩成了所謂的‘超級模特’。”

達內在馬略卡島寫了回憶錄,她在島上還跟摩納哥王子雷尼爾王子和格蕾絲·凱利王妃來往,當時兩人正在度蜜月。

“她可以花一整天時間寫書,不用擔心食物,因為可以去很棒的游艇上吃晚飯。”葛莉辛說。她說,在她母親跟凱利當時的合照中,“兩人看起來真的很像。都是典型的50年代風格,戴著圍巾和尖框眼鏡。”

兩人的相似之處還不止這些。后來達內也嫁給了王子,一位移民到英國的俄羅斯皇室。她成了喬治·葛莉辛公主。

后來幾年里,她寫了另一本關于模特的書,經常參加智力競賽,為時裝店提供建議,也做了不少慈善工作。

在1997年迪奧50周年紀念展上接受美聯社采訪時,達內回憶過當時的興奮感:“戰后人們普遍穿著樸素,服裝配給和優惠券很普遍,當迪奧出現在大家眼前,給人一種非常強烈的感覺,原來時裝可以極其女性化,浪漫又美麗,而且可以用如此多的布料。”(財富中文網)

譯者:馮豐

審校:夏林

Before there were supermodels, there were “mannequins”—living, breathing women who played an active role in designing haute couture by standing very, very still. Designers and artisans would pin, prod, or tuck fabric and toiles to the mannequins to bring sketches and ideas to life.

In 1950, one such mannequin, the British model Jean Dawnay, went to work full-time in Paris at the fashion house of Christian Dior. This contract alone was enough to earn her newspaper coverage in Britain at the time, but she also wrote a book about her experiences. “Model Girl,” published in 1956, went behind the scenes of fashion shows, couture houses, and photoshoots, lifting the veil on the hard work that goes into glamour.

Now Dawnay's daughter, Katya Galitzine, is re-releasing a section of the memoir as “Working for Christian Dior” (Zuleika Books) to coincide with the “Christian Dior: Designer of Dreams” exhibition at the V&A Museum in London.

Galitzine says her mother arrived in France on the way back from a modeling job in Venice and spent a few days knocking on designers' doors, asking for work.

“She only went to the Houses whose perfumes she knew, because that was how she knew the names, and every single one of them wanted her, so she must have had something,” Galitzine says. “I mean, she did have something. But she was very beautiful, she was very elegant. She adapted very well to whatever people wanted, and she had an 18-inch waist.”

Although she spoke no French, Dawnay's cold calling paid off, and she accepted a contract at Dior's atelier.

“They had to clock in, like in a factory, at 9 o'clock, and then she would stand, literally stand and be pushed around and shoved around and pricked and pinned,” her daughter explains.

Galitzine found one Dior dress hidden at the back of a wardrobe after her mother died in 2016.

“There was this beautiful, wool worsted tight-waisted dress that's called 'Nonette' that was original Christian Dior, numbered. If you did a test on it, it would probably have his DNA dust on it because he actually made it on my mother in 1950,” she says. “And it was the dress that she wore at the original Savoy show that brought Christian Dior to London in spring 1950.” The dress is part of the V&A show.

In footage of the Savoy Hotel show, Dawnay wears a white debutante dress called “Innocence,” a white embroidered dress “Muguet de Mai,” a silk coat called “Ravel” and a dinner dress made of straw lace.

After Dawnay left Dior, her celebrity status continued to rise.

In 1951, Vogue took the unusual step of sending her and several other models to an event in Australia, Galitzine says. “Clothes had been sent to locations, but once the clothes got there, they'd find pretty local girls, local models, to be the model. To actually pay on an aircraft for five girls and put them up in a hotel—that was enormous. So those five girls became ‘supermodels.’”

Dawnay wrote her memoir in Majorca, where she socialized with Prince Rainier and Grace Kelly, who were there on their honeymoon.

“She'd spend all day writing her book and then not have to worry about food because she'd go to this fantastic yacht and have dinner,” Galitzine says. In photos of her mother and Kelly from that period, she says, “they looked so similar actually. They're very much that '50s style with the scarves and their pointed glasses.”

The comparisons didn't end there: Dawnay also went on to marry a prince—a Russian emigre to Britain. She became Princess George Galitzine.

In later years, she wrote another book about modeling, made regular appearances on quiz shows, advised stores on fashion, and did charity work.

In an interview with The Associated Press at a Dior 50th anniversary exhibition in 1997, Dawnay recalled the excitement of those days: “After the war, with the austerity and clothes rationing, coupons, when Dior came on the scene, it was such a sensation—these incredibly feminine, romantic, beautiful clothes with so much material.”

我來點評

  最新文章

最新文章:

500強情報中心

財富專欄

三剑客和女王援彩金
捕鱼来了手机最新辅助 云南11选5口诀 安徽十一选五历史开奖 足球即时赔率足球直插 太行麻将临汾一门牌下载 河南11选5最新开奖 捕鱼达人2单机免费版 十一选五开奖结果上 王者荣耀电竞比分 追光娱乐下载网址 大赢家比分直播是什么 熊猫牌手机 北京十一选五一定有 腾讯手游捕鱼来了 甘肃十一选五开奖结 福彩中天图库好运彩