【卫报】戴安娜王妃的时装遗产将在肯宁顿宫展示丨第45期

Twenty years after their flower-covered gates became her unofficial shrine, an exhibition at Kensington Palace reframes Diana's story, from the tale of a tragic princess to that of an empowered modern woman who shaped her identity.

在英国鲜花门成为戴安娜王妃私人圣地的二十年后的今天，肯辛顿宫的展览展示了戴安娜从一个悲剧王妃到时尚女人的自主蜕变之路

Diana: Her Fashion Story casts her not as a victim, but as independent-minded and active in championing her personal goals and the causes she supported.

戴安娜：她的时装展览并不仅仅把她说成是一个受害者她的时装演变并没有使她成为一个受害者，反而塑造树立了她有独立思考以及为她为个人目标和所支持的事业而奋斗的形象。

A unique lineup of dresses charting her journey from teenage ingenue to international star makes the case for the princess as a pioneer of visual messaging.

一个独一无二的衣着阵容记录了戴安娜王妃由一个阅历尚浅的少女逐步走向一个国际明星的历程，这也解释了她为什么能成为视觉信息方面的先锋。

Curator Eleri Lynn, who collaborated with Diana's favoured designers and photographers in staging the show, said: "Everyone who worked with her recalls that she knew what she liked and was very active in her own image-making."

馆长Eleri Lynn与戴安娜王妃所青睐的设计师和摄影师合作筹划了这场展览。他说道：“每个和她一个工作过的人都回忆说王妃知道她自己想要什么并且在她自己的图案设计领域表现得非常活跃。”

Diana's success as an image maker was reflected in the fact that "many of us have the impression that we knew what Diana was like, in some way", said Lynn. "When I got into the research, it was a surprise to discover how little footage there exists of her speaking. The Diana that we think we know comes to a great extent from still photographs."

戴安娜王妃在图案设计上的成功反映在现实生活中的情况了就像是Lynn所说那样的“在一定程度上，我们许多人认为自己知道戴安娜大概长什么样。”她还说道：“我调查时惊讶的发现很少有戴安娜王妃说话的影片。我们认为的我们认识的戴安娜在很大程度上只是来自于静止的照片。当我做一个调查时，我惊讶地发现在她说话时隐藏着多小的镜头。我们认为我们所认识的戴安娜很大程度上只来自于照片。

Lynn said the emotional power of Diana's style narrative came from the fact that to some extent, this was "a journey most women go on - from being a hesitant teenager, to maturity and confidence. But she did it on the international stage."

Lynn说戴安娜王妃的故事所产生的情感力量从一定程度上来说也体现了“大多数女人所走的道路——从一个优柔寡断的青少年成长为成熟、自信的女人。只不过她是在国际舞台上完成了这一蜕变。”

In 1980, Lady Diana Spencer was so guileless that the first published images of her as Prince Charles's love interest are best remembered for her backlit transparent skirt, but she quickly learned the style ropes and, having done so, began to use them to her advantage.

1980年的戴安娜王妃还非常单纯，她第一次公开亮相是以查尔斯王子挚爱的身份是以查尔斯王子的挚爱被出版的，给人印象最深刻的是她露背式的裙子，但她很快就掌握了时尚穿衣不同风格的窍门，并且开始利用它们，使之成为她的长处。

"Fashion is a great medium to talk about the princess, because it is a language which she herself mastered in order to communicate with others," said Lynn.

“提戴安娜王妃必定会涉及时尚，时尚是谈论戴安娜王妃的一大谈资，因为她深谙此道并以此来和别人交流。这是一门她用来与人沟通的语言。”Lynn说道。

A wall of sketches includes one of a brightly coloured Bellville Sassoon floral dress and wide-brimmed hat. Diana ordered the dress, and it became a favourite on her visits to children's hospitals, always teamed with chunky jewellery that gave nervous children something to focus on and play with. (She never ordered the hat because, she said, "you can't cuddle a child if you are wearing a hat".) 

一堵墙上的草图中画着一条亮色的贝尔维尔沙宣碎花连衣裙和一顶定宽边的帽子。戴安娜王妃定制了那条的碎花连衣裙，至此那条裙子成为了她去儿童医院最爱穿的衣服，并且总是和厚重粗短的珠宝首饰一起佩戴，因为这能引起让紧张的孩子们的引起注意，也可以让他们有东西可玩。便于与他们玩耍。（她从不戴那顶帽子，因为她说，“你戴着帽子时永远不能拥抱一个孩子。”

Quick to master the rules of a public wardrobe, she then learned to bend them. She used fashion creatively, dressing with deliberate informality to convey approachability and break down barriers, especially when she visited patients with HIV.

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Diana's weaponisation of fashion during her divorce has been well documented. The cocktail frock she wore the night in 1994 when her husband was admitting his relationship with Camilla Parker Bowles to Jonathan Dimbleby on ITV became known as "the revenge dress". But as the point of view of the palace establishment - and staged at a time when Charles and Camilla have been married for 12 years - this exhibition focuses instead on the use of Diana's style for public causes.

戴安娜王妃在离婚期间所使用的服装秘籍被很好地记录了下来在离婚后戴安娜王妃在时装方面的秘笈被很好地记录了下来。1994年晚上查尔斯王子在互动电视上向Jonathan Dimbleby承认了与卡米拉·帕克-鲍尔斯之间的关系，当时戴安娜王妃所穿的鳄鱼连衣裙被认为是“复仇之裙”。但站在宫殿建造的角度以及查尔斯王子与卡米拉王妃结婚12年来看，这个展览的则是重在戴安娜王妃在公众场合的穿衣风格。

Nonetheless, is it notable that after her wedding day, few of the most famous images of Diana feature Charles. Although she came into public life as a shy fiancee and was single for only five years before her death, her persona is very much as a single woman in the spotlight.

然而，值得注意的是，在结婚之后戴安娜王妃也很少以贴合查尔斯王子的形象示人。尽管她进入大众的视野是查尔斯王子未婚妻的形象，尽管在她单身五年后她就去世了，但是她单身女人的形象却深入人心。尽管如此，在她婚礼过后，关于最有名的戴安娜和查尔斯的印象中的一些，是否应引起注意呢？尽管在公众面前她作为一个害羞的未婚妻以及距离死期只有五年的人，她的形象是在高度关注下的单身女性。

One of the most enduring images of her marriage is of Diana poignantly alone in front of the Taj Mahal, on one of her last overseas trips with Charles. The Victor Edelstein dress in which she danced at the White House - with John Travolta, rather than her then husband - in 1985, which featured in the exhibition, sold for £240,000 at auction four years ago.

关于她的婚姻的最多的持久想象之一是在泰姬陵前痛切的孤独，那是她与查尔斯最后几次海外旅行地点之一。1985年，她在白宫与约翰•特拉发达（并不是她的下一任丈夫）跳舞时穿的维克托•埃德尔斯坦裙子-1985年，四年前在一个拍卖会以镇展之宝240000英镑的高价售出。

The many visitors to Kensington Palace who are drawn by their emotional connection to Diana will be charmed by a gown worn for private entertaining in the palace in the mid-80s, the silk velvet skirt marked by hundreds of tiny indents the curators believe to be fingerprints made by her sons Princes William and Harry, who would have been around knee-height at the time.

许多对戴安娜王妃有感情的游客来肯辛顿宫都会被其中一件衣服深深吸引，那是戴安娜在80年代用来在宫殿了娱乐穿的。来肯辛顿宫的游人大都十分无力，他们对于戴安娜的情感联系会被80年代中在这座宫殿中的供私人娱乐的成熟磨损沟所吸引，这件丝质法兰绒衬衫，由于数百位馆长均相信应手写，使之她的儿子威廉王子和哈里王子做了标记，那时他们的身高仅及膝。

But the exhibition is also likely to attract younger visitors whose knowledge of the princess comes largely through her style influence.

但这个展览更像是吸引年轻的游客，他们对于王妃的认识很大程度上来源于戴安娜风格的影响力。

Her status as a fashion muse can be seen in the recent trend for pie-crust collar blouses, revived by Alexa Chung, and in a collection for Asos designed by Sharmadean Reid MBE last year in direct homage to Diana's style, which featured hot-pink sheath dresses, pearl-trim cocktail wear and Sloane ranger kilts.

戴安娜作为时尚界缪斯的地位可以在最近的饼干领衬衫的趋势中得到体现，这是由Alexa Chung恢复的并在去年由Sharmadean Reid MBE设计的Asos系列中直接致敬戴安娜，其特色是粉红色护套连衣裙，珍珠鸡尾酒套装。她作为时尚灵感的社会地位在最近的对于硬领工装女上衣的趋势中是可以被看到的。

The exhibition also reflects the development of Diana's relationship with the media. A boxy green coat worn on an early trip to Venice was criticised in the press, and never seen again. ("She read her reviews," said Lynn.)

这个展览也反映了戴安娜和媒体关系的发展。早期，她在去威尼斯穿着的一件方正绿色大衣被新闻界批评评论，之后这件大衣再也没有出现过了但之后却再也没有这种现象了。（林恩说：她阅读有关于她的评论。）

Her early passion for ruffles faded after she learned that they photographed badly, and she began to move toward a more sleek aesthetic, exemplified in the exhibition by a pearl-beaded Catherine Walker two-piece from 1989 whose high collar, while Elizabethan in inspiration, earned it the nickname of the "Elvis dress".

她早期对于褶边的热情在她发现褶边拍照很丑之后便放弃了，然后她开始着眼于一种更光滑的美感，如在展览中的例子，1989年出自凯瑟琳·沃克之手的，一件饰以珍珠拼接而成的高领衣服一个珍珠串是由1989年高领拼接而成，伊丽莎白笑称之为“猫王服装奥维斯的裙子”。

As Diana grew up and travelled, she developed a more international attitude which was reflected in her dress. "She loved coming to my shop, because she loved fashion. She was excited to see what was new, but she already knew exactly how she wanted to look."

当戴安娜长大了，开始在世界各国游走时，她的态度更加的国际化，这一点也体现在了服装上。在戴安娜成长，旅游的过程中，对她成为了一个更加国际化的人，这可以体现在她的裙子上。“她喜欢来我店子里，因为她热爱时尚。看到那些新品让她兴奋，但是她已经十分明白自己到底想要怎样穿着了。”

Diana: Her Fashion Story opens on 24 February at Kensington Palace and runs throughout 2017

戴安娜：她的时尚故事在2.24与肯辛顿宫开幕，2017年全年运行。

翻译丨G-S-2

审核丨薄荷凉

编辑丨Ternence

注：以上所有图片均来源于网络