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Once, we were all dressed by someone else.
Parents picked out a T-shirt; the school dictated what colour our trousers should be.
But at some point, we were granted the opportunity to discover who we might be in the world of clothes.
We had to decide for ourselves about collars and necklines, fit,
colours, patterns, textures and what goes (or doesn’t) with what.
We learnt to speak about ourselves in the language of garments.
Despite the potential silliness and exaggeration of sections of the fashion industry,
assembling a wardrobe is a serious and meaningful exercise
Based on our looks or background, others are always liable to come to quick and,
not very rounded decisions about who we are.
Too often, their judgment doesn’t quite get us right.
They might assume that because of where we come from, we must be quite snobbish or rather resentful;
based on our work we might get typecast as dour or superficial;
the fact that we’re very sporty might lead people to see us as not terribly intelligent;
or an attachment to a particular political outlook might be associated with being unnervingly earnest.
Clothes provide us with a major opportunity to correct some of these assumptions.
When we get dressed, we are, in effect, operating as a tour guide, offering to show people around ourselves
We’re highlighting interesting or attractive things about who we are and,
in the process, we’re clearing up misconceptions.
We’re acting like artists painting a self-portrait:
deliberately guiding the viewer’s perception of who they might be.
In 1961, the English painter Peter Blake portrayed himself wearing a denim jacket, jeans and trainers.
He was deliberately nuancing the view most of his contemporaries would have had of him:
based on knowing that he was a successful and rather intellectual painter.
He might have been thought of as slightly aloof and highly refined;
detached from, and censorious of, ordinary life.
But his clothes speak about very different aspects of his personality:
they go out of their way to tell us that he’s quite modest; he’s interested in talking about pop music;
he sees his art largely as a kind of manual labour.
His clothes, like ours, give us a crucial introduction to the self.
This explains the curious phenomenon whereby if we’re staying with good friends,
we can spend a lot less time thinking about our clothes,
compared with the anxiety about what to wear that can grip us with strangers.
With good friends, we might sit around in a dressing gown or just hastily slip on any old jumper.
They know who we are already; they’re not relying on our clothes for clues.
It’s a strange but profound fact that certain items of clothing can excite us.
When we put them on or see others wearing them, we’re turned on:
a particular style of jacket, the right kind of shoes or the perfect shirt might prove so erotic,
we could almost do without a person wearing them.
It’s tempting to see this kind of fetishism as simply deluded but
it is alerting us in an exaggerated way to a much more general and very normal idea:
that certain clothes make us very happy.
They capture values that we’re drawn and want to get closer to.
The erotic component is just an extension of a more general and understandable sympathy.
The French novelist Stendhal wrote:
‘Beauty is the promise of happiness’
and every item of clothing we’re drawn to contains an allusion to a different sort of happiness.
We might see a very desirable kind of competence and confidence in a particular pair of boots;
we might meet generosity in a woollen coat or a touching kind of innocence in a hemline;
a particular watchstrap may sum up dignity;
the way a specific collar encases the neck could strike us as commanding and authoritative.
The classic fetishist might be pushing their particular attachments to a maximum
and be rather restricted in the choice of items they favour, but they are latching onto a general theme:
clothes embody values that enchant and beguile us.
By choosing particular sorts of clothes, we are shoring-up our more fragile or tentative characteristics.
We’re both communicating to others who we are and strategically reminding ourselves.
Our wardrobes contain some of our most carefully-written lines of autobiography.
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為什麼服裝很重要?(Why Clothes Matter)

15526 分類 收藏
Evangeline 發佈於 2018 年 6 月 22 日   Arnold Hsu 翻譯   Evangeline 審核

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打開衣櫃,你的衣櫃裡都是什麼樣的衣服呢?是充斥著黑白灰的 T-shirt?還是都是格子系列的襯衫?還是其實你最愛的是丹寧系列?事實上,我們身上穿的衣服都代表我們的性格喔!到底是不是這樣呢?快跟著小 V 繼續看下去吧!

1typecast   1:00
typecast 是動詞,意思為「總讓演員演某一特定的角色」,可延伸出「固定...的形象」,而本部影片中的 get typcasted as 亦是。
The actress doesn't smile often, so she is always typecasted as a villain in movies.
那個女演員不常笑,所以她總是演電影中的反派角色。


*同場加映:
【今夜秀】演員克里斯漢斯沃原本打算推掉雷神索爾這個角色? (Chris Hemsworth's Toddler Son Scaled a Fridge to Reach Candy)


2aloof    2:00
aloof 當形容詞的意思是「不友善、冷漠的」,同義字是 indifferent。而當副詞時,它的意思是「分開地;冷漠地」,後面加介系詞 from。
She seems aloof but actually she's just shy.
她看起來很冷漠,但其實她只是很害羞。

She stays aloof from others.
她站得離其他人很遠。


*同場加映:
哪種類型的男人有魅力?請選擇!(What Actually Makes A Man Attractive?)


3slip on   2:39
slip on 這個片語是「匆匆穿上」的意思。另外,如果是 slip-on 的話,它是一個名詞,指的是「懶人鞋」。
I slipped on my jacket and went out last night.
我昨晚匆匆穿上我的外套然後出門。

I love wearing slip-ons.
我超愛穿懶人鞋。


*同場加映:
在日本的文化衝擊 (CULTURE SHOCK in Japan)


4turn on   2:55
turn on 這個片語的意思有「打開;取決於;使高興或興奮」,而在本部影片中是「使高興或興奮」之意。
This question turns on what method you take.
問題取決於你採用什麼方法。

In order to get people to hear your message, you need to find out what turns them on.
要讓別人願意聽你說話,你必須找到能讓他們開心的話題。


*同場加映:
精華!2 分鐘 12 部電影勵志片段 Follow your Dreams- Inspirational Speeches


看完這部影片,是不是跟小 V 一樣突然驚覺穿衣服原來那麼重要啊!以後真的不能再隨便抓一件衣服就穿出門了...

文/ Judy Huang

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