My Son, The Prince Of Fashion

我的儿子，时尚王子

我的儿子，时尚王子 · 官方页 · 存档源

Half an hour late, and just ahead of his minder—he was always a step ahead of his ponderous old minder—Abraham Chabon sauntered into the room where the designer Virgil Abloh was giving a private preview of Off-White's collection for spring-summer 2017 to a small group of reporters, editorial directors, and fashion buyers.

迟到了半个小时，亚伯拉罕·查邦 (Abraham Chabon) 慢悠悠地走进了设计师 Virgil Abloh 正在向一小群记者、编辑总监和时装买手展示 Off-White 2017 春夏系列的房间——他总是比他那笨重的老监护人领先一步。

Abe's manner was self-conscious, his cheeks flushed, but if his movements were a bit constrained they had an undeniable grace.

安倍的举止很不自然，脸颊通红，但如果他的动作有点拘束的话，他们却有一种不可否认的优雅。

Saunter was really the only word for it.

漫步确实是唯一的词。

“Now, this dude here, that's what I'm talking about,” Abloh said, smiling at Abe from the center of the room, the attic of an old photo studio in the Latin Quarter: crisscrossing steel beams, wide pine floorboards, every surface radiant with whitewash except for the gridded slant of windows in the steep-pitched roof.

“现在，这个家伙，这就是我所说的，”阿布洛在房间中央对安倍微笑着说，房间的中央是拉丁区一家旧照相馆的阁楼：纵横交错的钢梁，宽阔的松木地板，除了陡峭屋顶上网格状倾斜的窗户外，每个表面都涂满了白色的粉刷。

From their folding chairs opposite the atelier windows, the buyers and editors turned to see what Abloh was talking about.

买家和编辑们坐在工作室窗户对面的折叠椅上，转过头来看看 Abloh 正在谈论什么。

So did the four male models lined up and slouching artfully in front of the people in the folding chairs.

四位男模特也同样巧妙地排成一排，在折叠椅上的人们面前无精打采地躺着。

By the time his minder caught up with him, everyone in the room seemed to have their eyes on Abe.

当他的看守追上他时，房间里的每个人似乎都把目光集中在阿贝身上。

Prompt people never get to make grand entrances.

提示人们永远无法隆重入场。

“Come over here,” Abloh said.

“到这里来，”阿布洛说。

Abloh was a big man, solidly built, an architect by training who had emerged in the early 2000s from the fizzy intellectual nimbus—one-third hip-hop, one-third hustle, one-third McLarenesque inside joke—surrounding fellow Chicagoan Kanye West.

Abloh 是个身材高大、体格健壮的人，是一位训练有素的建筑师，他在 2000 年代初从芝加哥同胞坎耶·韦斯特 (Kanye West) 周围的泡沫知识分子氛围中脱颖而出——三分之一的嘻哈、三分之一的喧嚣、三分之一的麦克拉伦式内部笑话。

Abloh had made a name for himself in fashion along the avant-garde perimeter of streetwear, screen-printing diagonal crosswalk stripes and cryptic mottoes onto blank Champion tees and dead-stock Rugby Ralph Lauren flannel shirts that he re-sold for dizzying multiples of their original retail price.

Abloh 在时尚界以前卫街头服饰闻名，他将人行横道斜条纹和神秘的座右铭丝网印刷到空白 Champion T 恤和滞销的 Rugby Ralph Lauren 法兰绒衬衫上，他以令人眼花缭乱的原零售价数倍的价格转售。

Abe thought Virgil Abloh was “lit,” the highest accolade he could award to anyone or anything.

Abe 认为 Virgil Abloh 很“亮眼”，这是他能授予任何人或任何事物的最高荣誉。

“Come right on over here.

“就到这里来吧。

Hey, look at you!”

嘿嘿，看看你！”

Abe went on over, sleeves rolled, hands thrust into his pockets, tails of his pale gray-green shirt freshly tucked into the waist of his gray twill trousers.

阿部继续走过去，卷起袖子，双手插进口袋，淡灰绿色衬衫的下摆刚刚塞进灰色斜纹裤的腰部。

In front the shirt lay flat and trim, but it was a little too big, and at the back it bellied out over the top of his skinny black belt.

前面的衬衫平整而整洁，但有点太大了，后面的衬衫则鼓起，盖住了他细长的黑色腰带。

It was Maison Margiela, cleanly tailored, with a narrow collar and covered buttons that gave it a minimalist sleekness.

这是Maison Margiela，剪裁干净利落，窄领和包扣赋予它极简主义的时尚感。

Abe had bought it the day before, on sale, at a shop in Le Marais called Tom Greyhound.

阿贝是前一天在玛莱区一家名为汤姆灰狗 (Tom Greyhound) 的商店打折时买的。

He wore a pair of $400 silver Adidas by Raf Simons purchased for $250 on adidasx.com and a pair of Off-White athletic socks.

他穿着一双价值 400 美元的 Raf Simons 银色阿迪达斯鞋（在 adidasx.com 上以 250 美元的价格购买）和一双 Off-White 运动袜。

He had pulled the socks up to his knees, where they met the rolled-up cuffs of his trouser legs, vintage-newsboy-style.

他把袜子拉到膝盖处，与裤腿卷起的袖口相遇，这是一种复古的报童风格。

Money to pay for the “Rafs” had been earned by Abe's raking leaves for neighbors, organizing drawers and closets around the house, running errands, and other odd jobs.

支付“皇家空军”费用的钱是安倍通过为邻居扫树叶、整理房子周围的抽屉和壁橱、跑腿和其他零工赚来的。

His parents had given him the cash he used to buy the Margiela shirt, on the occasion of his bar mitzvah, and the trousers had actually been repurposed from his Appaman bar mitzvah suit.

在他的成人礼之际，他的父母给了他用来购买 Margiela 衬衫的现金，而这条裤子实际上是由他的 Appaman 成人礼套装改造成的。

Abe was 13 years and 3 months old, and he did not need to be told, by Virgil Abloh or anyone else, to look at himself.

Abe 当时 13 岁零 3 个月大，不需要 Virgil Abloh 或其他任何人告诉他要审视自己。

He knew exactly how he looked.

他清楚地知道自己的样子。

“Hi,” Abe said to Abloh, in his husky voice—low-pitched and raspy all his life, heading even lower now and given, at the moment, to random breaking, “I'm Abe.”

“嗨，”亚伯用他那沙哑的声音对阿布洛说——他的声音一直很低沉、沙哑，现在音调更低，而且此刻语无伦次，“我是亚伯。”

Some of the people in the room already knew Abe—which tended to get pronounced Ah- bay, like the surname of the Japanese prime minister, by the French staffers who put his name on the guest lists for the 14 shows he attended over the course of Paris Men's Fashion Week.

房间里的一些人已经认识安倍——法国工作人员往往把他的名字读成阿贝，就像日本首相的姓氏一样，他们把他的名字列入了他在巴黎男装周期间参加的 14 场时装秀的嘉宾名单上。

They had met him or seen him around.

他们见过他或者见过他。

He was almost always, and by far, the youngest person in the audience, and would likely have stood out for that reason alone, even if he had not dressed himself with such evident consideration and casual art.

到目前为止，他几乎总是观众中最年轻的人，即使他没有以如此明显的考虑和随意的艺术来打扮自己，也很可能仅仅因为这个原因就脱颖而出。

But it was his clothes and the way he wore them that elicited reporters' attention, and a few had taken enough of an interest to ask him some questions, on the record.

但引起记者注意的是他的衣服和穿着方式，有一些人对此很感兴趣，并记录在案地问了他一些问题。

The questions tended to run along the same lines: What had he thought of this or that particular collection?

这些问题往往遵循同样的思路：他对这个或那个特定的收藏有什么看法？

What got him interested in clothes?

是什么让他对服装产生了兴趣？

Did he hope to be a fashion designer one day?

他希望有一天成为一名时装设计师吗？

Why had he come to Fashion Week?

他为什么来时装周？

I'm here with my dad, it's my bar mitzvah present, he's a writer and he's writing about our trip to Fashion Week for GQ.

I know I want to do something in fashion but I don't know what, maybe design; I do make sketches, mostly streetwear, I like to use fabrics and patterns you kind of wouldn't expect, like, I don't know, a Japanese textile pattern for a bomber jacket, or glen plaid overalls.

我知道我想在时尚界做点什么，但我不知道是什么，也许是设计；也许是。我确实画草图，主要是街头服饰，我喜欢使用你意想不到的面料和图案，比如，我不知道，飞行员夹克的日本纺织图案，或格伦格子工装裤。

My older brother got me interested in clothes, it started with sneakers and then it kind of grew, and now I know more about men's fashion than he does.

我哥哥让我对衣服产生了兴趣，从运动鞋开始，然后逐渐发展，现在我比他更了解男士时尚。

I thought the collection was interesting or I thought it was awesome or I thought it was a little boring, you know, it didn't really stand out, we've seen a lot of trench coats already this week or The quality of the tailoring didn't seem very good or I thought it was insane or It was fire or It was totally lit.

我觉得这个系列很有趣，或者我觉得它很棒，或者我觉得它有点无聊，你知道，它并没有真正脱颖而出，这周我们已经看到了很多风衣，或者剪裁的质量似乎不太好，或者我认为它很疯狂，或者它很火，或者它完全被点燃了。

Abe's minder noticed that when talking to reporters, Abe almost always found a way to mention the leaf-raking and drawer-organizing, conscious of the atmosphere of privilege and extravagance that permeated the world of fashion.

安倍的看护者注意到，在与记者交谈时，安倍几乎总是想方设法提及扫树叶和整理抽屉的事情，意识到时尚界弥漫的特权和奢侈的氛围。

He knew that for a lot of kids his age—good friends of his among them—the price of a pair of “fire” sneakers represented a greater and more important sacrifice than it would for him and his family.

他知道，对于许多同龄的孩子（其中包括他的好朋友）来说，一双“火”运动鞋的价格代表着比他和他的家人更大、更重要的牺牲。

But he never directly addressed the ethics of his wearing a shirt that had cost him $225, on sale.

但他从未直接提及他穿着一件售价 225 美元的打折衬衫的道德问题。

He did not offer profound insights into the economics or meaning of style like some pocket-size Roland Barthes bursting with critique and paradox.

他没有像一些袖珍的罗兰巴特那样充满批评和悖论，对经济学或风格的意义提出深刻的见解。

Abe was just a kid who loved clothes.

安倍只是一个喜欢衣服的孩子。

He loved talking about them, looking at them, and wearing them, and when it came to men's clothing, in particular the hipper precincts of streetwear, he knew his shit.

他喜欢谈论它们、观察它们、穿着它们，当谈到男装时，尤其是街头服饰的时髦领域，他知道自己的狗屎。

He could trace the career path of Raf Simons, from Raf to Jil Sander to Dior and now to Calvin Klein.

他可以追溯 Raf Simons 的职业生涯，从 Raf 到 Jil Sander，再到 Dior，现在到 Calvin Klein。

He could identify on sight the designers of countless individual articles of men's clothing—sneakers, shirts, jackets, pants—and when he didn't know for sure, the guesses he made were informed, reasoned, and often correct.

他可以一眼认出无数男士服装——运动鞋、衬衫、夹克、裤子——的设计师，当他不确定时，他所做的猜测是明智的、合理的，而且往往是正确的。

He seemed to have memorized a dense tidal chart of recent fashion trends as they ebbed and flooded, witheringly dismissing a runway offering as “fine, for 2014” or “already kind of played out last year.” His taste as reflected in the clothes he wore was impeccable, interesting, and, in its way, fearless.

他似乎已经记住了最近流行趋势的潮起潮落的密集潮汐图，他严厉地斥责时装秀“还好，适合 2014 年”或“去年就已经结束了”。他的品味体现在他所穿的衣服上，无可挑剔、有趣，而且以某种方式无所畏惧。

It takes a profound love of clothes, and some fairly decent luck, to stumble on somebody who wants to converse about cutting-edge men's fashion at a Rush concert, and yet a year before his trip to Paris, in the aftermath of the Canadian band's last show at Madison Square Garden, Abe had managed to stumble on John Varvatos.

需要对服装有着深厚的热爱，再加上相当不错的运气，才能偶然遇到一个想在 Rush 音乐会上谈论前沿男士时尚的人，然而在他去巴黎旅行的前一年，在这支加拿大乐队在麦迪逊广场花园的最后一场演出之后，Abe 成功地遇到了 John Varvatos。

Abe had spent that day leading his bemused minder on a pilgrimage through SoHo, from Supreme to Bape to Saint Laurent to Y-3, and now, ears still ringing from the final encore (“Working Man”), Abe reported in detail to Varvatos, with annotations and commentary, on all the looks he had seen downtown.

那天，Abe 带着一脸困惑的看护人在 SoHo 朝圣，从 Supreme 到 Bape，从 Saint Laurent 再到 Y-3，现在，耳边还回响着最后的安可曲（《Working Man》），Abe 向 Varvatos 详细地报告了他在市中心看到的所有造型，并附有注释和评论。

When he was through, Varvatos had turned to Abe's minder—a major Rush fan who was, of course, also Abe's father—and said, “Where'd you get this kid?”

当他讲完后，瓦维托斯转向阿贝的监护人——一位拉什的铁杆粉丝，当然也是阿贝的父亲——问道：“你从哪里得到这个孩子的？”

Abe had shown up late to his family, too, the fourth of four, graced with a sister on either side of the elder brother.

By the time a fourth child comes along, the siblings have usually managed among them to stake out a wide swath of traits, talents, crotchets, flaws, phobias, and strengths.

当第四个孩子出生时，兄弟姐妹通常已经能够在他们之间找出各种各样的特质、才能、怪诞之处、缺陷、恐惧症和优点。

Finding one's difference can often be a fourth child's particular burden and challenge.

For Abe it never seemed to be a challenge at all, and if it was a burden, it was also a gift: From the moment he became himself, what made Abe different—from his siblings, from classmates, from most of the children who have ever lived—was the degree of comfort he felt with being different.

对安倍来说，这似乎根本不是一个挑战，如果说这是一种负担，那也是一份礼物：从他成为自己的那一刻起，安倍与他的兄弟姐妹、同学、大多数曾经生活过的孩子的不同之处就在于他因与众不同而感到的舒适程度。

Everybody wants to stand out from the crowd, but so few of us have the knack, and fewer still the stomach for bearing up under the crush of conformity.

每个人都想从人群中脱颖而出，但我们中很少有人有这个诀窍，更没有人能忍受从众的压力。

It was always Abe's rare gift not just to stand out, and bear up, but to do those things with panache.

And the way in which he expressed his difference most reliably, and with the greatest panache, was through dressing up.

When he was very little—like so many little boys—“dressing up” meant “superhero.” At 3 he had been firmly of the opinion that a bright-yellow-and-sky-blue Wolverine costume, or a lop-eared bat cowl, was appropriate attire for any occasion.

When he was very little—like so many little boys—“dressing up” meant “superhero.”三岁时，他就坚信亮黄色和天蓝色的金刚狼服装或垂耳蝙蝠兜帽适合任何场合。

Later there had been an intense dalliance with a splendid, old-school, singing-cowboy-type western getup—black hat, red shirt embroidered in white, black vest and chaps with chrome conchos, black boots.

后来，人们对华丽的、老式的、歌唱牛仔式的西部装束进行了强烈的调情——黑色帽子、白色绣花的红色衬衫、黑色背心和带有镀铬贝壳的皮裤、黑色靴子。

When he started kindergarten, however, he found that the wearing of costumes to school was not merely discouraged, or permitted only on special days, as in preschool: It was forbidden.

然而，当他开始上幼儿园时，他发现穿服装去学校不仅不被鼓励，或者只在特殊的日子才被允许，就像在学前班一样：这是被禁止的。

It would also, undoubtedly, have incurred an intolerable amount of mockery.

Abe's response was to devise, instinctively and privately, what amounted to a kind of secret costume that would fall just within the bounds of “ordinary attire” and school policy.

安倍的回应是本能地、私下里设计出一种相当于“普通着装”和学校政策范围内的秘密服装。

Over the next few years, with increasing frequency, he went to school dressed up as a man—a stylish man.

He had only vague, somewhat cartoonish notions about what constituted adult-male style, centered around certain key articles of clothing, chief among them fedoras, cardigans, button-front shirts, suspenders, and bow ties.

对于什么是成年男性风格，他只有模糊的、有点卡通化的概念，主要集中在某些关键的服装上，其中主要是软呢帽、羊毛衫、前面有纽扣的衬衫、背带和领结。

He had a little tweed blazer that was a source of deep power for him, as deep as the power of the armor to Marvel's Iron Man.

他有一件小花呢西装外套，这对他来说是深层力量的源泉，就像漫威钢铁侠的盔甲的力量一样深。

It had a crest embroidered on a patch over the breast pocket and it made him very happy.

By the third grade he was wearing his man costume to school almost every day.

There had been teasing; one of his two little snap-brims would get snatched off his head now and then, and tossed around the playground.

有人戏弄；有人戏弄。 one of his two little snap-brims would get snatched off his head now and then, and tossed around the playground.

But the teasing had never exceeded Abe's ability or willingness to withstand it, or the joy that he derived from losing himself in clothes.

And his stubborn persistence had established a pattern that was thereafter repeated as his taste grew more refined and sophisticated: Little by little, one by one among the other boys in his class, fedoras would crop up, a porkpie here, a trilby there.

他的顽固坚持已经建立了一种模式，随着他的品味变得更加精致和复杂，这种模式也不断重复：一点一点地，班上的其他男孩中，软呢帽会出现，这里是猪肉馅饼，那里是毡帽。

It was not unusual to spot one of Abe's former tormentors sporting a cardigan or a clip-on tie.

Some nights I used to stand in the doorway of his bedroom, watching him thoughtfully edit the outfit he planned to wear to school the next day.

He would lay out its components, making a kind of flat self-portrait on the bedroom floor—oxford shirt tucked inside of cotton sport coat, extra-slim pants (with the adjustable elastic straps inside the waistband stretched to button at the very last hole), argyle socks, the whole thing topped by the ubiquitous hat—and I would try to understand what the kid got out of dressing up every day like a pint-size Ronald Colman out for a tramp across the countryside of Ruritania.

他会在卧室的地板上摆放它的组成部分，在卧室地板上画出一幅扁平的自画像——牛津衬衫塞在棉质运动外套里，超修身的裤子（腰带内的可调节松紧带拉到最后一个洞的扣子上），菱形图案的袜子，所有的一切都戴着无处不在的帽子——我会试图理解这个孩子每天打扮得像一个小号的罗纳德·科尔曼(Ronald Colman)，穿过乡村去流浪，会得到什么。鲁里塔尼亚。

Did he like the attention—even if it was negative?

Was he trying, by means of the clothes, to differentiate himself from the other boys, or were the clothes merely the readiest expression, to him, of his having been born different?

他是否试图通过衣服来使自己与其他男孩区分开来，或者这些衣服对他来说仅仅是他生来与众不同的最简单的表达？

Was he trying to set himself apart, or could he simply not help it?

他是想让自己与众不同，还是根本无法控制？

Around the time that Abe was making the transition to middle school, my elder son began to take a strong interest in clothes, particularly streetwear, fed by a burgeoning interest (shared by Abe) in hip-hop.

在 Abe 过渡到中学的时候，我的大儿子开始对服装产生浓厚的兴趣，尤其是街头服饰，这得益于对嘻哈音乐的兴趣（Abe 也有同样的兴趣）。

A kind of golden age of streetwear was under way, exemplified by brands such as Supreme, Palace, and A Bathing Ape, manifested through “collabs” between major sneaker manufacturers and the edgier, top-tier designers like Rick Owens and Raf Simons, and represented by hip-hop tastemakers like A$AP Rocky and the now-disgraced Ian Connor.

街头服饰的黄金时代正在到来，以 Supreme、Palace 和 A Bathing Ape 等品牌为代表，主要运动鞋制造商与 Rick Owens 和 Raf Simons 等前卫顶级设计师之间的“合作”，以 A$AP Rocky 和现已名誉扫地的 Ian Connor 等嘻哈时尚引领者为代表。

Abe's elder brother opened the door to this world—Virgil Abloh's world—and Abe had sauntered right in.

Abe 的哥哥打开了这个世界的大门——Virgil Abloh 的世界——Abe 就慢悠悠地走了进去。

Even as he followed his brother into this trend-driven, icon-imitating world, Abe worked to maintain his standard of idiosyncrasy, of standing out, freely incorporating floral patterns, vintage scarves, and the color pink into the outfits he wore into the heteronormative jaws of seventh grade.

即使他跟随他的兄弟进入这个潮流驱动、模仿偶像的世界，安倍仍然努力保持自己的独特标准，即脱颖而出，自由地将花卉图案、复古围巾和粉红色融入他在七年级异性恋下巴所穿的服装中。

Small for his age—barely a men's size XS—Abe often had trouble finding anything “fire,” in the way of menswear, that would fit him.

So he would shop the women's racks, with a sharply editorial eye; a women's XS, he could make work.

因此，他会以敏锐的编辑眼光选购女装衣架。一件女式XS，他可以工作。

The Maison Margiela shirt he wore at the Off-White preview was womenswear, and he had chanced upon another favorite shirt, a Tigran Avetisyan, while browsing one of the women's-clothing rooms at Opening Ceremony in L.A.

他在 Off-White 预览会上穿的 Maison Margiela 衬衫是女装，他在洛杉矶 Opening Ceremony 的一间女装间浏览时偶然发现了另一件最喜欢的衬衫，Tigran Avetisyan。

The sight of him, hanging around the neighborhood with a friend, looking so at ease in the flowing cream-black-and-gray Avetisyan shirt with its bold bands of red at the collar and cuffs and wild graphic pattern, made me realize that I almost literally never saw boys his age wearing anything remotely like it, wearing anything but a T-shirt or an athletic jersey, a hoodie or a flannel.

看到他和一位朋友在附近闲逛，穿着飘逸的奶油色黑灰色 Avetisyan 衬衫，领子和袖口有醒目的红色条纹，还有狂野的图案，看上去如此轻松，这让我意识到，我几乎从未见过他这个年纪的男孩穿任何类似的衣服，除了 T 恤、运动衫、连帽衫或法兰绒外，什么也不穿。

The mantle of uniformity lay vast and heavy across the shoulders of adolescent boys (how vast, how heavy, I remembered well).

统一的斗篷披在青春期男孩的肩上（多么巨大、多么沉重，我记得很清楚）。

As before—even worse than before—Abe suffered taunts and teasing for his style of dress and his love of style.

和以前一样——甚至比以前更糟糕——安倍因其着装风格和对时尚的热爱而遭受嘲笑和嘲笑。

But he did not back down; he doubled down.

但他并没有退缩；他加倍努力。

He flew the freak flag of his Tigran Avetisyan shirt high.

他高高地飘扬着Tigran Avetisyan衬衫上的怪异旗帜。

And though I couldn't fathom the impulse driving my kid to expose himself, every day, to mockery and verbal abuse at school, I admired him for not surrendering, and in time I came to understand the nature of my job as the father of this sartorial wild child: I didn't need to fathom Abe or his stylistic impulses; I needed only to let him go where they took him and, for as long as he needed me, to follow along behind.

虽然我无法理解驱使我的孩子每天在学校遭受嘲笑和谩骂的冲动，但我钦佩他的不屈服，随着时间的推移，我逐渐理解了我作为这个服装狂野孩子的父亲的工作性质：我不需要理解安倍或他的风格冲动；我不需要理解他的风格。我只需让他去他们带他去的地方，只要他需要我，我就跟在后面。

There was only one flaw, as far as Abe was concerned, in the week he spent going to fashion shows: His poky old minder, making him late.

对安倍来说，在他去看时装秀的那一周里，只有一个缺陷：他那狭隘的老管家，让他迟到了。

His minder was not having anywhere near as great a time.

他的看护人并没有享受到那么愉快的时光。

His minder was hot, and bored.

他的看护人很热心，而且很无聊。

Most of all, his minder did not, fundamentally, really give all that much of a fuck about fashion.

最重要的是，他的监护人从根本上来说并没有真正关心时尚。

Clothes, sure.

衣服，当然。

His minder found pleasure in thrift-shopping for vintage western shirts or Hermès neckties, in wearing his favorite Shipley & Halmos suits (gray cashmere, tan corduroy), his Paul Smith shirts and shoulder bag.

他的看护者喜欢从旧货店购买老式西式衬衫或爱马仕领带，穿着他最喜欢的 Shipley & Halmos 西装（灰色羊绒、棕褐色灯芯绒）、Paul Smith 衬衫和肩包。

Less pleasure, perhaps, than he found in books, or records, or cooking, or watching old movies with his wife, but pleasure nonetheless.

也许，不如他在书籍、唱片、烹饪或与妻子一起看老电影中找到的快乐，但仍然是快乐。

Clothes were all right with Abe's minder.

在安倍的照顾下，衣服没问题。

But they were nothing to build a religion, a hobby, or even a decent obsession around.

但它们并不足以建立一种宗教、一种爱好，甚至是一种像样的痴迷。

Then, one warm June week in Paris, Abe's minder attended his first Men's Fashion Week and discovered that he understood even less.

然后，在巴黎一个温暖的六月周，安倍晋三的看护者参加了他的第一次男士时装周，发现他了解得更少。

Fashion shows had an unexpected sideshow-freaks-on-parade quality, and when they were not pompous or eccentric, they were just plain goofy.

时装秀有一种意想不到的杂耍表演性质，当它们不浮夸或古怪时，它们只是简单的愚蠢。

You drove all the way across Paris to get to the venue—a special mapping algorithm seemed to have been employed to ensure that every show was held as far as possible from its predecessor and its successor on the schedule—through the heat of a Paris summer, arrived late yet still waited around outside until your feet hurt, guaranteeing you would be late for the next show, too.

你开车穿过巴黎一路到达会场——似乎采用了一种特殊的地图算法，以确保每场演出都在时间表上尽可能远离前一场和后一场——在巴黎炎热的夏天，迟到却还在外面等到脚疼，保证你下一场演出也会迟到。

Then you sat in a dark, loud, hot, crowded room for another 20 minutes.

然后你又在黑暗、吵闹、炎热、拥挤的房间里又坐了 20 分钟。

The lights came on and the music pounded.

灯光亮起，音乐响起。

There would be a wall made out of old car headlights and a sonic wall of EDM, and a bunch of tall, bony, pouting young men with a studied air of opiate addiction would come striding past you, swinging their arms, like little boys pretending to walk like their dads in a game of playing house.

会有一堵用旧汽车前灯制成的墙和一堵电子舞曲的音墙，一群高大、骨瘦如柴、撅着嘴、带着鸦片成瘾神情的年轻人会大步从你身边走过，挥舞着手臂，就像小男孩假装像他们的爸爸一样走路，玩过家家游戏。

This gait was meant to read as “fierce,” someone explained to Abe's minder, as was the expression on the models' faces, a universal stony blank, tinged with rouge, onto which it was forbidden to affix a smile.

有人向安倍的监护人解释说，这种步态被解读为“凶猛”，模特脸上的表情也是如此，一种普遍的石头般的空白，沾着胭脂，禁止在上面附加微笑。

The looks they modeled ranged in effect from preposterous to functional to arresting, often in the same show.

他们塑造的造型从荒谬到实用到引人注目，通常出现在同一场秀中。

Sometimes the music would not be EDM but Neil Young or Leonard Cohen or the amazing Japanese neo-psychedelic band Kikagaku Moyo.

有时音乐不是 EDM，而是 Neil Young 或 Leonard Cohen 或令人惊叹的日本新迷幻乐队 Kikagaku Moyo。

At the Paul Smith show the models just walked—sauntered, really—like the good-looking young dudes they were, and when they saw somebody they knew in the audience, or when they just felt good in the beautiful suits and shirts Paul Smith had dressed them in, they would—heretically—smile.

在 Paul Smith 的秀场上，模特们只是走路——闲逛，真的——就像那些英俊的年轻小伙子一样，当她们在观众中看到自己认识的人时，或者当她们穿着 Paul Smith 为她们穿上的漂亮西装和衬衫感觉良好时，她们会——异端——微笑。

Issey Miyake gave you a first-aid chemical cold pack to break and lay against the sweaty nape of your neck.

三宅一生（Issey Miyake）给了你一个急救化学冷袋，让你打开并放在出汗的颈背上。

Once—at the Y-3 show—the pants were inflatable.

有一次，在 Y-3 展会上，裤子是充气的。

The whole show would be over in ten minutes yet it would still run overtime, and then you got back into a taxi and rushed algorithmically across town.

整个演出将在十分钟内结束，但仍然会超时，然后你回到一辆出租车，按照算法冲过城镇。

It was kind of like Disneyland, but instead of a three-minute log flume or roller coaster you got inflatable pants.

这有点像迪士尼乐园，但你没有三分钟的原木水槽或过山车，而是充气裤。

Toward the end of one long and particularly trying four-show day for Abe's minder, Abe began to hear about yet another show he was keen to attend.

对于安倍的看护者来说，漫长且特别艰难的四场演出日即将结束时，安倍开始听说他热衷于参加另一场演出。

It started at 8 p.m.

晚上八点开始。

and it would be the last of the day.

这将是这一天的最后一天。

But Abe's minder felt strongly that he had already experienced his last show of the day.

但安倍的看护者强烈地感觉到，他已经经历了当天的最后一场演出。

“It's Stéphane Ashpool—he's a really interesting new designer,” Abe said.

“这是 Stéphane Ashpool，他是一位非常有趣的新设计师，”Abe 说。

“Everyone says his show last year was amazing.

“每个人都说他去年的演出很棒。

Please, Dad?”

爸爸，请吗？”

But Abe's minder had hardened his heart against Stéphane Ashpool.

但安倍的看护者对斯特凡·阿什普尔的态度却变得冷酷无情。

Fortunately for Abe, certain members of the editorial staff of this publication, who had been telling Abe about last year's Pigalle show and generally testing, to their apparent satisfaction, the breadth and depth of his knowledge of men's clothing, offered to let him come along with them to this year's.

对安倍来说幸运的是，该出版物的某些编辑人员向安倍讲述了去年的皮加勒时装秀，并普遍测试了他对男装知识的广度和深度，他们对他的男装知识的广度和深度感到满意，并提出让他和他们一起参加今年的时装秀。

There was room in the car.

车里还有空间。

They would see to it that he would be returned to his minder at the rendezvous point, a party at the Musée Picasso.

他们会确保他在集合点（毕加索博物馆的一场聚会）回到他的监护人那里。

It turned out that Abe's minder had, possibly, made the wrong decision in choosing not to go to the Pigalle show.

事实证明，安倍的看护者选择不参加皮加勒秀可能是错误的决定。

A few hours later, Abe showed up at the Picasso vibrating with excitement about the clothes he had seen and, even more, about the remarkable way they had been presented.

几个小时后，阿部出现在毕加索博物馆，他对他所看到的衣服以及它们的非凡展示方式感到兴奋不已。

Instead of the usual solemn palace or dark box pounding with electronica, instead of the usual runway, the Pigalle show had been presented outdoors, at the back of a museum, in a garden.

皮加勒秀没有通常的庄严宫殿或电子乐撞击的暗箱，也没有通常的跑道，而是在户外、博物馆后面的花园里进行。

It had taken the form of a faux wedding party, with musicians and a wedding canopy and little round café tables for all the “guests.” Food was served.

它采取了假婚礼派对的形式，有音乐家、婚礼天篷和供所有“客人”使用的小圆形咖啡桌。食物送来了。

The evening felt cool.

晚上感觉凉爽。

Abe had sat with the people from GQ and been caught up in the night and the company and the beautiful clothes.

Abe 和 GQ 的人坐在一起，沉浸在夜晚、公司和漂亮的衣服中。

“It was like being at a play,” he said.

“这就像在看一场戏剧，”他说。

“But also being in it.”

“但也身在其中。”

“You need to go stand over there,” Virgil Abloh told Abe.

“你需要站在那边，”维吉尔·阿布洛告诉安倍。

He pointed at the line of male models, who looked a little taken aback at the turn things had taken but made room for Abe in their ranks.

他指着一排男模特，他们对事情的转变看起来有点惊讶，但在队伍中为安倍让出了位置。

Abe laughed, and the flush in his cheeks deepened, but he did as he was told, without apparent hesitation or awkwardness.

阿部笑了，脸颊上的红晕加深了，但他还是照做了，没有明显的犹豫或尴尬。

The laughter and the hectic color were not due to embarrassment; Abe was excited and pleased.

笑声和紧张的表情并不是因为尴尬，而是因为尴尬。安倍既兴奋又高兴。

The presence on his feet of Off-White socks was hardly an accident.

他脚上穿着灰白色袜子绝非偶然。

Abe was not the kind of boy who would go to a baseball game with his mitt, hoping that a foul ball might come his way and fantasizing that if one did, he might snatch it from the air with such evident skill that he would be offered, on the spot, a contract to play for the home team, but there was definitely an aspect in this moment of the dream come true.

安倍并不是那种戴着手套去看棒球比赛，希望有界外球飞过来，幻想着如果有界球飞过来，他就能以如此明显的技巧从空中抢到球，从而当场获得一份为主队效力的合同的男孩，但在梦想成真的那一刻，肯定有一个方面。

And really, he had nothing to be embarrassed about.

事实上，他没有什么可尴尬的。

Sure, these models were nearly twice his height, and very good-looking, but with all due respect to Virgil Abloh and his stylists, none of the models were dressed any better—or looked more comfortable in what they were wearing—than Abe.

当然，这些模特的身高几乎是他的两倍，而且非常漂亮，但恕我直言，对 Virgil Abloh 和他的造型师表示敬意，没有一个模特比 Abe 穿得更好，或者穿着看起来更舒服。

Over the past two days of attending shows with his minder, Abe had paid close attention to everything that came down the runways, but he had if anything made an even more careful study of clothes worn by certain young men one saw waiting around outside the venues, standing in line with their elaborate tickets until the people with the clipboards said it was time to go inside.

在过去两天和他的看护人一起参加时装秀的过程中，安倍密切关注了T台上的一切，但他对某些年轻人所穿的衣服进行了更仔细的研究，人们看到这些年轻人在场馆外等候，拿着精美的门票排队，直到拿着剪贴板的人说是时候进去了。

The models on the runways had without question been fashionably dressed—from the shaggy yellow Muppet pants and clown-emblazoned transparent breastplates at the Walter Van Beirendonck show to the hyper-flared trousers and fringed jackets chez Dries Van Noten to the Mœbius-meets- Logan's Run, 1970s post-apocalypse gear on view at the Rick Owens show, his models swaggering gloomily through the subterranean venue like young volunteers to be fed to the robot god, wearing sneakers so enormous that a couple of them tripped over their own toes—but these guys that caught Abe's eye, always two or three or four of them scattered among the waiting crowds, had style.

毫无疑问，T台上的模特们都穿着时尚——从 Walter Van Beirendonck 秀场上毛茸茸的黄色布偶裤和小丑图案透明胸甲，到 Dries Van Noten 的超喇叭裤和流苏夹克，再到 Rick Owens 秀场上展示的莫比乌斯遇上 Logan's Run、1970 年代后启示录服装，他的模特们他们阴沉地大摇大摆地穿过地下场地，就像被喂给机器人神的年轻志愿者一样，穿着巨大的运动鞋，其中有几个人被自己的脚趾绊倒了——但这些引起安倍注意的人，总是有两三四个人分散在等待的人群中，很有风格。

The clothes they wore were their own, chosen and tweaked and assembled by them from their own drawers and closets.

他们穿的衣服是他们自己的，是他们从自己的抽屉和壁橱里挑选、调整和组装的。

Often these looks were built around a single, stunning, no doubt exorbitant garment, a dazzling scarlet silk tracksuit, say, paisleyed with light blue and peach paramecia and paired with a yellow bandanna worn as a neckerchief.

通常，这些造型都是围绕着一件令人惊叹的、毫无疑问是昂贵的服装打造的，一件令人眼花缭乱的猩红色丝绸运动服，上面饰有浅蓝色和桃色草履虫图案，搭配一条黄色头巾作为围巾。

The looks Abe made the closest study of, however, were the eclectic ones, the ones that had been assembled out of disparate, perhaps more affordable elements into a surprising whole.

然而，安倍最仔细研究的造型是不拘一格的造型，这些造型是由不同的、也许更实惠的元素组合成一个令人惊讶的整体。

One of Abe's favorites had belonged to a handsome black dude he saw outside the Van Beirendonck show.

安倍最喜欢的一件作品是他在 Van Beirendonck 演出外看到的一位帅气的黑人。

He had a bushy beard and wore an odd felt hat with a broad brim and broad diagonal pleats around its crown, a cross between an Amish number and a Jell-O mold.

他蓄着浓密的胡须，戴着一顶奇怪的毡帽，帽子宽边，帽顶周围有宽大的对角褶皱，是阿米什数字和果冻模具的混合体。

Over a black mesh undershirt he had on a gold-and-green plaid blazer down the front of which he had stitched groups of black thread in parallel lines like guitar strings.

他在黑色网眼汗衫外面套了一件金绿格子西装外套，在西装外套的正面缝了几组黑线，就像吉他弦一样平行。

He had stacked tribal bracelets on his wrists and silver tribal earrings curled in his earlobes, and he wore round gold granny glasses.

他的手腕上叠放着部落手镯，耳垂上戴着银色的部落耳环，戴着圆形的金色奶奶眼镜。

His moon-boot-style sneakers had been precisely distressed, and his black pinstriped trousers, belted with a length of red-and-white jump rope, he wore rolled to the knee.

他的月球靴风格的运动鞋经过了精确的仿旧处理，他的黑色细条纹长裤卷到了膝盖，上面系着一段红白相间的跳绳。

It was a mad jumble of pieces of this and that from here and there, but somehow it all went together.

这是一个疯狂的混乱，到处都是这样那样的碎片，但不知怎的，它们都融合在一起了。

It expressed an idea, and the idea it expressed was not Rick Owens's idea or Juun.J's idea but all the bits and pieces from here and there that made up the mind and history of the guy who had put them on.

它表达了一个想法，而它表达的想法不是 Rick Owens 的想法或 Juun.J 的想法，而是来自各处的所有零碎的东西，这些东西构成了穿上它们的人的思想和历史。

Abe had learned a lot from studying this guy's look and the looks of the other dandies—for that was what they were, unpaid, unsponsored, there only to see and be seen and hoist their colors on the humid afternoon air—who showed up for the shows.

安倍从研究这个家伙的外表和其他花花公子的外表中学到了很多东西——因为他们就是这样的人，没有报酬，没有赞助，只是为了看到和被看到，在潮湿的午后空气中炫耀自己的色彩——他们出现在演出中。

Every night he had come home and gone through his suitcase, reviewing the elements of the wardrobe he'd brought with him (with a few fresh additions; it was the week of the soldes ), combining and re-combining them, laying out his little self-portrait on the floor.

每天晚上他回到家都会检查他的手提箱，检查他带来的衣柜里的元素（加上一些新的补充；这是销售的一周），组合再组合它们，把他的小自画像放在地板上。

When he woke up in the morning he would have changed his mind about something, or a sudden inspiration would strike.

当他早上醒来时，他可能会改变对某件事的想法，或者突然的灵感。

The look he had chosen for the Off-White preview had been tested and revised, in his mind and on his body, and it said whatever it was about himself that he had managed, at this early and still inarticulate moment in the history of his soul, to say.

他为 Off-White 预览选择的造型已经在他的思想和身体上进行了测试和修改，这说明了他在灵魂历史上这个早期且仍不清楚的时刻所管理的关于他自己的一切。

It would bear up to scrutiny.

它经得起审查。

It had been designed to bear up to scrutiny.

它的设计是为了经得起审查。

Indeed it had been designed to invite scrutiny, not of the look itself but of the person inside it.

事实上，它的设计就是为了引起人们的审视，不是外观本身，而是里面的人。

His clothes were not on the outside of his body; they were —for now—the outside of his body.

他的衣服不是在他身体的外面，而是在他的身体外面。它们——目前——是他身体的外部。

They were the visible form taken by the way he chose to define himself.

它们是他选择定义自己的方式所采取的可见形式。

None of the gawky young models, standing around flat-footed and hunch-shouldered with their assigned coats and jackets and baggy shorts hanging off them like drop cloths thrown over a dining room set, could say that.

没有一个笨拙的年轻模特可以这么说，他们平足驼背，穿着指定的外套、夹克和宽松的短裤，就像扔在餐厅布景上的罩布一样。

Even Virgil Abloh, in his black sweats and black T-shirt, seemed to be wearing Off-White.

就连身穿黑色运动衫和黑色 T 恤的 Virgil Abloh 也似乎穿着 Off-White。

Virgil Abloh asked Abe where he was from.

维吉尔·阿布洛问安倍他来自哪里。

Abe said that he was from Oakland.

安倍说他来自奥克兰。

That was not quite true; Abe lived in Berkeley, one block from the Oakland-Berkeley line.

但事实并非如此。安倍住在伯克利，距离奥克兰-伯克利线仅一个街区。

Undoubtedly he thought, not without reason, that Oakland sounded, and was, cooler than Berkeley as a place for one to be from.

毫无疑问，他认为奥克兰作为一个出生地听起来比伯克利更酷，这并非没有道理。

Oakland was the Black Panthers, the impassive cartoon masks thrown up on freeway embankments by graffiti artist GATS, and heroes of hip-hop like Too Short, Mac Dre, Richie Rich, and the Hieroglyphics collective.

奥克兰有黑豹队、涂鸦艺术家 GATS 在高速公路路堤上搭建的冷漠卡通面具、Too Short、Mac Dre、Richie Rich 等嘻哈英雄和象形文字团体。

Berkeley was bearded dudes wearing drug rugs and drawstring pants in the drum circle at the Ashby BART on Saturday mornings.

周六早上，伯克利的阿什比 BART 的鼓圈里都是穿着毒品地毯和抽绳裤的留着胡须的家伙。

“This young man understands the idea, here,” Virgil Abloh told the reporters, pens poised over their notepads.

“这个年轻人在这里理解这个想法，”维吉尔·阿布洛对记者说，笔放在记事本上。

“This is what I'm trying to do.” Abloh invited his assembled guests to consider Abe's look from the ground up.

“这就是我正在努力做的事情。”阿布洛邀请与会的客人从头开始考虑安倍的造型。

The models were trying to suppress smiles now and not in all cases succeeding.

模特们现在试图抑制微笑，但并非所有情况都成功。

“First of all,” Abloh said, “you got the Adidas— hold on!

“首先，”阿布洛说，“你有阿迪达斯——坚持住！

” He went in for a closer look at Abe's shoes.

”他走进去仔细看了看安倍的鞋子。

“You wearing Rafs?

“你穿 Rafs 吗？

” He offered Abe a congratulatory fist bump.

他向安倍击拳表示祝贺。

Abe graciously accepted it.

安倍欣然接受。

“You got the sneakers, and the athletic socks—the right athletic socks.” He grinned; Abe beamed.

“你有运动鞋和运动袜——合适的运动袜。”他咧嘴一笑；安倍微笑着。

The people in the folding chairs laughed.

折叠椅上的人都笑了。

“So far, everything is coming out of the streetwear context.

“到目前为止，一切都来自街头服饰背景。

But then up at the top, the look is something much more tailored.

但到了顶部，外观就更加定制化了。

For the young dudes, they're coming out of streetwear labels.

对于年轻男士来说，他们来自街头服饰品牌。

Supreme, Bape…

至尊、Bape……

That's where it starts, right?”

这就是一切的开始，对吗？”

He checked with Abe, who duly, and truthfully, nodded.

他向安倍核实，安倍如实地点点头。

“But now they're thinking, maybe without getting too expensive, maybe they could take it to a higher level.

“但现在他们在想，也许不用太贵，也许他们可以把它提升到一个更高的水平。

Good,” he said to Abe.

很好，”他对安倍说。

“Thank you.

“谢谢你。

Go on, now, go have a seat.”

走吧，现在就坐吧。”

Two days and five shows later Abe arrived, late, for the Off-White show.

两天后，五场演出后，Abe 迟到了，参加 Off-White 演出。

He had been melancholy all day, and now, as we arrived to find the show halfway over, he sank even further.

他一整天都很忧郁，而现在，当我们到达时发现演出已经过半，他的心情更加沮丧。

I felt badly; I had kept us too long at the previous show, Paul Smith.

我感觉很糟糕； Paul Smith，我在上一场演出中让我们待得太久了。

After the show ended, Abe caught sight of Virgil Abloh backstage, but the designer was surrounded by press and fans.

秀结束后，Abe 在后台看到了 Virgil Abloh，但设计师周围都是媒体和粉丝。

He nodded and smiled at Abe, but they didn't get the chance to speak again.

他对安倍点点头微笑，但他们没有再有机会说话。

Fashion Week was over.

时装周结束了。

It was time to go home.

是时候回家了。

“It's been so exciting for you,” I suggested.

“这对你来说太令人兴奋了，”我建议道。

“You don't want it to end.”

“你不想让它结束。”

But he didn't want to talk about it.

但他不想谈论这件事。

We rode in a taxi back to our rented apartment in the 12th Arrondissement.

我们乘出租车回到我们在十二区租的公寓。

Abe slowly packed up his clothes and laid out the jeans and T-shirt that he planned to wear on the flight home.

安倍慢慢地收拾好自己的衣服，拿出准备在回家的航班上穿的牛仔裤和T恤。

He grew more silent and sank even deeper into whatever was eating him.

他变得更加沉默，陷入更深的吞噬他的东西之中。

He grew tearful.

他泪流满面。

We had an argument.

我们发生了争执。

I was tired of fashion and fashion shows.

我厌倦了时装和时装秀。

I could only feel that I had had enough and that I wanted to leave and be done.

我只能觉得我已经受够了，我想离开并结束。

It was hard for me to imagine feeling any other way.

我很难想象其他的感受。

“We had a good time,” I said.

“我们玩得很开心，”我说。

“You got to do a lot of fun things and meet cool people.

“你必须做很多有趣的事情并结识很酷的人。

You got some nice things to wear.

你有一些漂亮的衣服可以穿。

You were in Paris.

你当时在巴黎。

Now it's time to go home.

现在是时候回家了。

Come on.”

来吧。”

“We'll come back to Paris.

“我们会回到巴黎。

When you grow up, you can live here.”

等你长大了，就可以住在这里。”

He looked at me, a funny expression on his face.

他看着我，脸上露出有趣的表情。

I realized that the reason he'd had such a great time that night was because I had not been present.

我意识到他那天晚上之所以玩得这么开心，是因为我不在场。

I had not been his father, or his friend, this past week.

过去一周我不是他的父亲，也不是他的朋友。

I had only been his minder.

我只是他的看护者。

I was a drag to have around a fashion show, and because I could not enter fully into the spirit of the occasion, neither could Abe.

我在时装秀上显得很累，因为我无法完全融入这个场合的精神，安倍也不能。

He was worrying about me, watching me, wondering if I was having a good time or not, if I thought the shaggy Muppet pants, for example, were as stupid as the look on my face seemed to suggest.

他担心我，看着我，想知道我是否玩得开心，例如我是否认为那条毛茸茸的布偶裤子像我脸上的表情所暗示的那样愚蠢。

“It wasn't the show, really,” I suggested as his eyes filled with tears.

“这不是演出，真的，”我建议道，他的眼睛里充满了泪水。

“Was it?

“是吗？

It was the people you were with, the GQ guys, the buyers, that dude who owns Wild Style.”

是那些和你在一起的人，《GQ》杂志的人，买家，那个拥有 Wild Style 的家伙。”

“They get it,” he said.

“他们明白了，”他说。

“They know everything about all the designers, and the house, and that's what they care about.

“他们了解所有设计师和房子的一切，这就是他们关心的。

They love to talk about clothes.

他们喜欢谈论衣服。

They love clothes.”

他们喜欢衣服。”

You are born into a family and those are your people, and they know you and they love you and if you are lucky they even, on occasion, manage to understand you.

你出生在一个家庭，他们是你的人民，他们了解你，爱你，如果你幸运的话，他们有时甚至能够理解你。

And that ought to be enough.

这应该足够了。

But it is never enough.

但这还不够。

Abe had not been dressing up, styling himself, for all these years because he was trying to prove how different he was from everyone else.

这些年来，安倍一直没有打扮自己，没有塑造自己的形象，因为他想证明自己与其他人有多么不同。

He did it in the hope of attracting the attention of somebody else—somewhere, someday—who was the same.

他这样做是希望能吸引其他人的注意——在某个地方，在某一天——他也是同样的人。

He was not flying his freak flag; he was sending up a flare, hoping for rescue, for company in the solitude of his passion.

他并没有悬挂他那面怪异的旗帜；而是他发射了一颗照明弹，希望能得到救援，希望能在他孤独的激情中得到陪伴。

Michael Chabon's ninth novel, ‘Moonglow,’ will be published in November.

迈克尔·查邦 (Michael Chabon) 的第九部小说《月光》(Moonglow) 将于 11 月出版。

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