納粹集團對時尚行業的10點驚人影響(下)

5.迪奧

Even while his sister served in the French Resistance and was captured by the Gestapo, fashion designer Christian Dior kept his head down and worked for the Nazis, often making dresses and outfits for the wives of high-ranking officers. Some saw him as a traitor and a shill for working for the Germans. But as he saw it, he was just doing what he had to do to keep French high fashion alive.

即使自己的親妹妹投身於法國抵抗運動中，後來還被蓋世太保捕獲，時裝設計師克里斯汀·迪奧還是選擇了低聲下氣地爲納粹黨服務——爲高級官員的太太們剪裁新衣。有人說他是賣國賊，有人說他喪心病狂。但是在他看來，他所做的一切只不過是想讓法國時尚能夠繼續傳承下去。

Before World War II, Dior was working as a designer for a respected fashion house run by Lucien Lelong. But the experience of the Nazi occupation of France and his newfound mission to preserve France as the home of fashion was enough to encourage Dior to set up his own fashion house. And in doing so, he became a household name across the world.

二戰以前，迪奧在巴黎勒隆手下的時尚巨頭公司擔任設計師，然而，隨着納粹佔領法國後，迪奧內心想要保護法國時尚之都地位的使命感油然而生，這一切都促使着迪奧去創立自己的時尚品牌。他也這樣做了，並且成爲了全世界範圍內家喻戶曉的人。

s Vuitton

4.路易·威登

Louis Vuitton handbags are one of the most iconic and famous handbags on the planet. When the Nazis invaded France in 1940 and the Vichy State ruled the country, most brands were oppressed and their stores closed down.

LV的手提包可以說是全世界最經典最有標誌性的手提包之一。1940年納粹佔領法國，維希政府統治法國時期，大多數品牌都面臨威脅，店面紛紛倒閉。

But Louis Vuitton thrived throughout the entire occupation and war. In fact, they were the only brand given permission to operate a store on the ground floor of Hotel du Parc, where France's puppet government operated during the early 1940s.

可是，路易·威登卻躲過了這一劫，撐過了整個佔領期，甚至整個戰爭期。不瞞你說，LV是唯一一個獲准杜帕克賓館一層開店經營的品牌，而杜帕克賓館正是二十世紀四十年代初期法國傀儡政府的辦公地點。

The French brand got these allowances through openly, brazenly, and shamelessly cooperating with the Nazis. While Louis Vuitton's competitors either refused the deal, went into hiding, or went out of business, they stayed afloat. After the war, the market was theirs for the taking.

LV公開地、厚着臉皮與納粹進行合作洽談，最終獲得這些准許。而與LV同一時期的競爭者要不拒絕交易，隱姓埋名，要不退出市場，從此銷聲匿跡。自然，戰爭過後，這個市場都是LV的天下。

Would Louis Vuitton have the market position it enjoys now had Hitler and Co. not pushed out or forcibly closed all its business rivals?

要不是維希政府對LV所有競爭對手的強制打壓，LV能有如今的市場地位嗎？

-Authority Subcultures

3.反權威亞文化

The primary motif of the Nazi regime was the swastika. An equal-armed cross with arms jutting out at right angles, it was once an ancient and sacred symbol of peace. Until Hitler and his goons got their hands on it.

納粹政權的標誌圖案是卐字符（等長的十字符號，每一邊分別延伸），這個符號曾經是古老而神祕的和平的象徵，直到希特勒和他手下的一羣看守們向它伸出魔爪。

They repurposed it, and the swastika has been stigmatized ever since. Such is the simple design's ability to offend on mere glimpse, it is sometimes used by people who wish simply to shock an audience.

他們重新定義了卐字符，從那時開始，它便成了邪惡的代名詞。有時候，人們會用這個符號來起到震懾人的作用，這就是這個簡單的設計的魔力，僅憑一瞥便能產生強烈的效果。

Biker gangs of the 1960s and '70s used swastikas, iron crosses, and SS-style lightning bolts as insignia on their clothing. Performance artists have borrowed iconography from the Nazis ever since the end of the war, too. And let us not forget the proliferation of swastikas and other Nazi symbols when punk rock exploded in the late 1970s.

上世紀六七十年代，魁北克機車幫將卐，金屬十字架以及納粹風格的閃電圖案印在衣服上，作爲幫派的標誌。戰爭結束後，行爲藝術家們也常用納粹標誌進行藝術創作。上世紀七十年代末，伴隨着朋克搖滾的興起，卐字符和納粹的其他標誌再一次得到廣泛傳播。

While bikers and punk rockers have flirted with neo-Nazism, the images have mostly been employed to merely shock and offend. A sort of "art through provocation" affair.

儘管機車手和搖滾樂手們表現出來的是一種新納粹主義，但是這些形象仍舊帶有強烈的侵略意味，這是一種“挑釁藝術”。

n Pop Culture

2.亞洲流行文化

Have a drink in an Indonesian cafe, go watch a Japanese girl band perform, or attend a school parade in Taiwan and you may find something really quite t and unabashed Nazi imagery on display. Those examples are all real, by the way.

去印尼咖啡廳享受咖啡時光，去看一場日本女子樂隊表演，或者去參加一次臺灣的校園閱兵，你會感覺到這些文化中深深的納粹烙印。不過，這些例子確實是存在的。

Back in 2013, widespread controversy and condemnation forced an Indonesian cafe owner to shut down his Nazi-themed bar in Java. Sony had to apologize in 2016 after one of their acts, a popular girl band called Keyakizaka46, performed a concert all dressed as SS officers.

2013年，印尼爪哇島發生了這樣一個事件：一家納粹主題酒吧的老闆受到了全國的廣泛譴責，並強制要求關閉店鋪。2016年，索尼音樂公司由於某件事也不得不立刻道歉——女子流行樂隊Keyakizaka46的演唱會服裝風格爲納粹風。

And somehow, Hsinchu Kuang-Fu High School in Hsinchu City, Taipei, managed to design, create, and stage an entire anniversary parade themed around Adolf Hitler before anyone realized that it was not an appropriate thing to do.

臺灣新竹光復中學曾經籌劃併成功舉行了一次以希特勒爲主題的閱兵儀式，但不知怎麼的，在舉辦之前根本沒有人意識到這樣做存在着多麼大的不合理性。

Education in Asia surrounding World War II mostly focuses on the events that concerned the continent. The wider context and, specifically, the horrors of the Holocaust are rarely touched upon. So a whole generation of children in Asia is growing up ignorant of just what the Nazis did in Europe in the 1930s and '40s.

亞洲地區關於二戰的教育大多隻關注發生在本地區的相關事件上，而更廣泛更深刻的東西卻很少觸及到，尤其是納粹大屠殺的慘痛。所以，亞洲的新生一代對上世紀三四十年代納粹在歐洲的惡行幾乎是一無所知也毫不在意。

The true gravity of events might be lost on many young Asians, but the clothes, insignia, and symbolism are all still familiar. Swastikas and salutes have bled into modern culture somehow.

在亞洲年輕人心中，二戰的真實嚴重性並沒能帶給他們多大的觸動，因爲他們知道的只是皮毛，給他們印象最深的恐怕只有服飾、符號等標誌性的東西。某種意義上，納粹已逐漸融入了現代文化，甚至說，人們欣然接受了這股“納粹風”，

It might be slightly naive to assume that there isn't a hint of rebellion in this "Nazi chic" craze. But there doesn't seem to be a whole lot of malice involved in this superficial adoption of Nazism.

或許這樣講有些不夠成熟，但事實就是如此，人們在大量接納納粹文化，並且沒有那麼多怨恨的情緒在其中。

Understandable? Perhaps. But is it excusable?

或許是因爲納粹文化很容易理解？不過這足以構成理由嗎？

End To 'Boyish' Women's Fashion

1.中性風的終結

Germany was a prominent player in European fashion in the 1920s. Before the Nazis, Berlin and Munich were epicenters of design and high-end clothing. But when Hitler came to power, he sought to reshape the national image of the German woman.

上世紀二十年代，德國是歐洲時尚界的領軍者之一。納粹時代之前，柏林和慕尼黑曾是服裝高端設計與定製中心。希特勒執政後，他企圖重塑德國女性形象。

Hitler preferred women to dress sensibly and plainly. His argument was that the true Aryan beauty of the German woman should shine through. They didn't need make-up, fingernail polish, or elaborate dresses.

他說，應該將德國女性的雅利安真善美表現出來，而只有乾淨利落的着裝風格才能真正體現這種美——她們不用化妝，不用做美甲，也不用穿華麗精緻的長裙。

The dictator believed a Nazi-controlled fashion industry would aid German victory in the war effort. To this end, the Nazis established the Deutsches Modeamt ("Reich Fashion Bureau") to control how German women dressed. Under the Bureau rules, women were permitted to wear only German-made clothing crafted with German materials.

這位獨裁者堅信要是納粹控制了時尚業，對其在取得戰爭的勝利將有很大的助力。於是，他便設立了所謂的帝國時尚局，專門負責監管德國女性的穿着。管理條例規定，女性只能穿德國原產的衣服。

The fashion style of the time, pioneered by designers like the French Nazi-sympathizer Coco Chanel, was for a more "boyish" look. This meant shorter hair and clothes that made women look slimmer. Hitler liked women to have a more round, "fertile" look, believing this would lead to more offspring for the Reich. Full bust, shapely legs, and curvaceous figures.

那個時候由香奈兒等設計師引領起的時尚風潮，傾向於中性風，也就是說短髮加上更顯苗條纖細的衣服。希特勒以圓潤豐滿爲美，豐胸，肥臀，美腿，小蠻腰，S型身材。他認爲這種體型生殖能力強，能維持德意志的人口興旺。

And through the Reich Fashion Bureau, Hitler got his wish. It was Auf Wiedersehen ("goodbye") to the boyish look.

在帝國時尚局的掌控下，希特勒得以如願以償，中性風時代就此告一段落。