牙牙 2007-5-30 12:15
flamenco dress
[b]Tradition reinvented for the woman [/b]
[img]http://www.flamenco-world.com/magazine/about/traje/images/macana.jpg[/img]
The flamenco dress transcends classification as a regional costume. The attire which brings the women of Seville out in bloom each Spring, in which bailaoras and cantaoras blossom on stage, is constantly evolving, under pressure from the trends it creates, and reinvented every season.
Genesis. The origins of the flamenco dress lie in the work dresses worn by nineteenth century Andalusian women, the dresses worn by the those who accompanied the livestock traders who gathered at the Prado de San Sebastián for Seville's Feria de Abril from 1847 onwards. As business gave way to pleasure the fair changed from a Feria de Ganado - a livestock fair - to simply become a Feria that was a celebration of those original outfits, obtaining the blessing of even the most distinguished ladies at the 1929 Ibero-American Exhibition. Around the same time, the increasing acceptance of flamenco as a professional art form acted as a parallel force in consecrating the traditional Andalusian dress as de rigueur on stage. The material used became richer, as did adornments and complements: lacing, embroidered ribbons, flowers, costume jewelry, Manila silk shawls, ladies' fans... A new-found creative freedom which accentuated natural feminine beauty, and spurred on the evolution of a dress which even transformed itself into a miniskirt in the sixties.
Tradition in evolution. The flamenco dress brings together tradition and innovation. While it does conserve a basic structure of a figure-hugging body and a skirt layered with flounces, creativity flows within this framework. In the eighties the flamenco dress lived a baroque decade of lacing and satin ribbons. In the nineties, in a show of simplicity, it shed its embellishments, its starched rigidity and concealed hips, and underwent a metamorphosis to become light, airy and sensual. Now women were beginning to wrap themselves in silky smooth material, plain colors and those ubiquitous spots. The dress showed off women's contours, drawing in the waist and flounces, regardless of whether the arms were stripped bare or covered in modesty. As we move into the 3rd Millennium, the style draws inspiration from the past, poplin is brought back (though the close fit is maintained), the dress is divided into a two-piece outfit, the spots start to grow... A continuous state of flux and invention which is mirrored in all types of complements or avíos. If this year a large flower is the thing to have in your hair, worn low next to the bun, then the next it'll be a small flower placed up high. If this year the earrings to have are ringlets, the next they'll be pendant earrings. If your shawl this year is decorated with painted flowers, the next it'll be made out of patterned cloth…
[img]http://www.flamenco-world.com/magazine/about/traje/images/eva.jpg[/img]
Industry. And this incessant reinvention keeps everybody's vision focused, looking for the next direction. And the next direction might be born at the sewing machine in the workshop of a flamenco seamstress, or more likely in the chains of better-known firms dedicated to tailoring this unique attire. In fact, the annual turnover in the sector is already more than 120 million euros according to the Asociación de Empresarios de la Moda Flamenca, a body which oversees the flamenco fashion industry. This figure is shared among thirty or so clothing manufacturers concentrated largely around the province of Seville. A clear sign of the sector's strength can be found at the Salón Internacional de Moda Flamenca (Simof), an international flamenco fashion event organized by the Doble Erre fashion house and Hotel Alcora. The eighth edition of the event, held in February 2002, brought together more than twenty designers, putting their creations on show on eighteen catwalks for ten thousand visitors.
Haute couture. And the flamenco dress has even found a place in the world of haute couture, inspiring designers like Yves Saint Laurent, or Vittorio & Lucchino from Seville, who have created an exclusive line of flamenco dresses. And these dazzling designs have moved onto the stage too - Francis Montesinos designs Eva Yerbabuena's wardrobe, while Joaquín Cortés is dressed by Armani. But the entente isn't by any means universally accepted, especially not by female artists. The stiff traditional bata de cola dress worn by Matilde Coral has nothing to do with the light, fluttering dresses worn by Sara Baras. Purity against renovation. The same old debate comes up everywhere evolution creeps in.
SaGe 2007-6-2 01:28
大意说Flamenco舞裙，最初是安达卢西亚的女人劳作时穿的，后来随着春集节的出现，人们为这个节日准备了更加艳丽的服装，首饰等。在Flamenco逐步确定了她在舞台表演上的地位之后，服装也更加朝着舞台化的方向发展。
现在的Flamenco形式越来越多样化，服装设计也趋向多元。但是紧贴的上身和大幅的裙摆却是Flamenco不变的标志。在新千年到来的时候，Flamenco的服装又掀起一股复古的潮流。
最后一段讲了Flamenco服装行业的与Fashion地结合，讲到了Simof，Flamenco已经成为一种风格，和时尚结合在一起了。YSL等众多高级女装品牌已将Flamenco元素融入其设计当中。
大概就这样个意思。
[[i] 本帖最后由 SaGe 于 2007-6-2 01:30 编辑 [/i]]