評(píng)論
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They were clothes that gave women enormous security...through the elegance of cut and taste and refinement.
那些衣服給女性帶來(lái)巨大的安全感，那種優(yōu)雅的裁剪和精致的品位。
There was nothing frivolous about them.
那里沒有那么多浮華的東西。
You see, when I began in the '40s, there were no photographers at fashion shows.
我大概四十年代開始拍照，那時(shí)時(shí)裝秀還沒有攝影師。
What the fashion houses had to do was take their own photographs...and bring them to the editors to select something.
這些時(shí)裝店要自己拍照，然后讓報(bào)社的編輯從中去選擇。
Then the ready-to-wear came into existence in the...in the end of the '60s, beginning of the '70s, very slowly.
那種成體系的模式大概在六十年代末其實(shí)年代初才剛剛出現(xiàn)。
At Saint Laurent's first ready-to-wear show, I think there were maybe myself, and maybe a Vogue photographer.
在Saint Laurent的第一個(gè)時(shí)裝發(fā)布會(huì)大概是我還是一個(gè)Vogue的攝影師去了。
I mean, it didn't have this fanatic following that it has now...of all these manufacturers and people that just would kill to get in...because they need to steal ideas for their own work.
當(dāng)時(shí)人們對(duì)于時(shí)裝秀并沒有現(xiàn)在這種狂熱的追逐，這些服裝制造商和人們拼了命想要擠進(jìn)去，從時(shí)裝秀中偷一些創(chuàng)意用到他們自己衣服上。
So they let Paris be the laboratory of ideas.
巴黎大概是這些創(chuàng)意的實(shí)驗(yàn)室。
