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| 2020/12/22 05:11:33瀏覽420｜回應0｜推薦10 | |
| Excerpt：Legendary Authors and the Clothes They Wore—Marcel Proust “ …makes a good case for studying authors’ sartorial choices…a chance to discover whose understated ensemble matches their minimalist prose, or who dressed-down on the daily, saving their flair for the page.” —Los Angeles Times 最初是因為普魯斯特的關係找到這一本書，如果以書中50位作家為基準，普魯斯特佔有6頁含照片的篇幅已經是超過平均。 以書摘、作者生平、相關軼事來引介一位作家，其實是很吸引讀者的一種方式。 書裡頭特別提到與普魯斯特關聯較深的西班牙時裝設計師 Mariano Fortuny，包含在普魯斯特的小說《追憶似水年華》裡頭多次描述並推崇他所設計的服裝。 對我們來說，以普魯斯特本身的形象以及小說作品來討論時裝會是個新發現嗎？ 相信普魯斯特有更多讓我們感到驚奇的地方啊！ https://www.amazon.com/Legendary-Authors-Clothes-They-Wore/dp/0062428306 Legendary Authors and the Clothes They Wore By Terry Newman Publisher : Harper Design; Illustrated edition (June 27, 2017) Language: : English Hardcover : 208 pages ISBN-10 : 0062428306 ISBN-13 : 978-0062428301 Delving into the wardrobes of literary icons—past and present—and the way they write about clothes provides a glimpse into the world they each inhabited and their moment in time. A testament to the notion that reading and writing never go out of style, Legendary Authors and the Clothes They Wore is sure to captivate lovers of fine literature and dedicated followers of fashion. A collection of icons of literature and the sartorial stories they tell, this innovative gift book presents fifty fully illustrated profiles of prominent men and women of letters, highlighting their key works, signature fashion moments from their wardrobe that express their persona, and how they influence the fashion world today. This segues into an examination of how a particular item of clothing or style makes up part of fashion’s lingua franca, getting under the skin of the fashion story and going into more detail about its historical trajectory and distinctive impact on popular culture. Entertaining features—revealing anecdotes about the authors and their work, archival photography, first-person quotations, little-known facts, and clothing-oriented excerpts that exemplify their writing style—make this a lively look at the authors we love. https://www.books.com.tw/products/CN11717719 名作家和他們的衣櫥 作者：（英）特莉·紐曼 出版社：人民文學出版社 出版日期：2020/06/01 語言：簡體中文 內容簡介： 50位舉世聞名的作家，80張珍貴照片，英國時尚作家特莉·紐曼逐一打開作家們的神秘衣櫥，捕捉文學與時尚交匯的驚喜瞬間。 薩繆爾·貝克特最愛其樂牌（Clarks）袋鼠靴，兩件套、襯衫式連衣裙搭配珍珠項鍊是西爾維婭·普拉斯對抗世界的盔甲，名模凱特·摩絲結婚時複刻了菲茨傑拉德夫婦的婚戒，時尚教主伊夫·聖羅蘭從普魯斯特身上汲取時尚靈感……作家們的衣櫥彰顯獨特的個人風格，潛入他們的作品，並與時尚永恆交織。 【Excerpt】 Marcel Proust Fashions, being themselves begotten of the desire for change, are quick to change also. —Marcel Proust, Within a Budding Grove. 1919 時尚，應變化之需要而誕生，它本身也在變化之中。 We do not succeed in changing things according to our desire, but gradually our desire changes. —Marcel Proust, The Fugrtive, 1925 我們無法按照我們的意願去改變事物，但是我們的意願本身卻在逐漸起著變化。 Born in 1871 in Auteuil, a district of Paris, Proust was a belle epoque dandy who wore beautifully laundered white gloves and a cattleya orchid boutonniere, an extravagance purchased daily from the expensive Parisian florist Lachaume on Rue Royale. He observed and embodied the sartorial niceties of the era—his hair was beautifully waved and slicked, and his mustache flourished with the finesse of the time. His ties were secured with a sweeping bow, artistically knotted just on the right side of elegant. He “wore a coat lined with fur” and was said to often wear it to dinner parties. He was regularly spotted with it at the Ritz, having tea. As a young man Proust suffered from asthma and was in poor health, but he suffered with poise. Inspired by the watercolorist, art critic, and art patron John Ruskin, Proust lived his life to the artistic backbeat of the art nouveau, but his work In Search of Lost Time (À la recherche du temps perdu; earlier translations were called Remembrance of Things Past) has become known as the most important modernist novel of the twentieth century. …… In this novel, Proust mainly depicts fashion in the context of the styles seen in the chicest salons at the end of the nineteenth century, when embellished and impossible elegance was the purpose of design. The finest trimmings and fabrics and the most delicate of accessories, including hats, which were almost always adorned with ever-increasing numbers of feathers and flowers, were the day wear staples of the noble glitterati. Spanish designer Mariano Fortuny created his Grecian column dress, Deiphos, in 1907. Made from pleated silk, its pillar like shape was a contrast to the more complicated corseted silhouette of the day. Proust’s description of its aura, in Swann’s Way, is sublime. Fortuny was of special interest to Proust. He was married to the sister of Proust’s friend Reynaldo Hahn, and his artistic work is used as a metaphor in In Search of Lost Time. The narrator, Marcel’s, adoration of Venice, the sliding sentiment of longing, and the transformation of his lover, Albertine, are all channeled into the clothes Albertine wears. She has a quirky unconventionality, but when “captive” in volume five, she wears designer Fortuny gowns that Marcel buys her because the “best-dressed woman in Paris,” the Duchesse de Guermantes, is a fan. Proust’s use of fashion in this volume is complex and intricate: his attention to fabric, cut, and construction indicates individuality and social position, but also memory and nostalgia. …… The Fortuny gown which Albertine was wearing that evening seemed to me the tempting phantom of that invisible Venice. It swarmed with Arabic ornaments, like the Venetian palaces hidden like sultanas behind a screen of pierced stone, like the bindings in the Ambrosian library, like the columns from which the Oriental birds that symbolized alternatively life and death were repeated in the mirror of the fabric, of an intense blue which, as my gaze extended over it, was changed into a malleable gold, by those same transmutations which, before the advancing gondolas, change into flaming metal the azure of the Grand Canal. And the sleeves were lined with a cherry pink which is so peculiarly Venetian that it is called Tiepolo pink. —Marcel Proust, The Captive, 1923 那天晚上，她就是穿著那件福迪尼長裙。裙子使我想到威尼斯，更使我想到我為她作出的犧牲，然而她卻沒有絲毫感激之情。我雖然從未見過威尼斯，但是自從我孩提時要去那兒度復活節假，甚至更早一些，自從在貢布雷時斯萬送給我提香的版畫和基多的攝影以後，我對威尼斯就一直日夜嚮往。阿爾貝蒂娜那晚穿上那件福迪尼長裙，就彷彿是那誘人的、卻又隱而不見的威尼斯幽靈出現了。她渾身披滿了阿拉伯首飾，使人想起威尼斯城，想起猶如蘇丹臉上綴滿珠寶的面紗和金碧輝煌的威尼斯宮殿，想起安布羅瓦茲圖書館的精裝圖書，想起雕刻著東方鳥的石柱；這些象徵著生死輪迴的東方鳥，在綢光之中相互映輝，閃爍出深藍的顏色，然而隨著我目光的移動，深藍色又變化為柔和的金色。這色彩的瞬息變化，猶如坐在威尼斯尖舟上，隨看小船輕輕的划移，湛藍的大運河瞬時會泛出火焰焰的金光一樣。更別提那兩袖裡襯的櫻紅，那更是典型的威尼斯色調，也就是通常所謂的提耶波羅玫瑰色。 |
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