Riveted: The History of Jeans

James Sullivan, Author: You don't really stop and think about why half of the population of the planet is wearing them on any given day.

詹姆斯·沙利文，作者：你不会真正停下来思考为什么地球上一半的人口在任何一天都穿着它们。

We just are.

我们只是。

Melissa Leventon, Curator: Have you ever asked yourself why everyone you know owns multiple pairs of jeans?

策展人 Melissa Leventon：您是否曾问过自己，为什么您认识的每个人都拥有多条牛仔裤？

Jonathan Square, Fashion Historian : Dress it up, dress it down..

乔纳森·斯奎尔（Jonathan Square），时尚历史学家：盛装打扮，休闲装扮..

Tommy Hilfiger, Designer: People know when they wear them they look cool.

Tommy Hilfiger，设计师：人们知道，当他们穿上它们时，他们看起来很酷。

Emma McClendon, Fashion Historian: This one garment can be both universal and individual at the same time.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：这一件衣服既可以通用，又可以个性化。

There’s nothing like that in the history of clothing.

服装史上还没有这样的事。

Valerie Steele, Fashion Historian: And in fact, Yves Saint Laurent said he wished he had invented jeans, that he thought they were the most important item of fashion in the 20th century.

Valerie Steele，时尚历史学家：事实上，Yves Saint Laurent 说他希望自己发明了牛仔裤，他认为牛仔裤是 20 世纪最重要的时尚单品。

Melissa Leventon, Curator: Jeans are the quintessential American garment.

策展人 Melissa Leventon：牛仔裤是典型的美国服装。

Stephen Aron, Historian: But so much of the story we tell about jeans is a myth.

史蒂芬·阿伦（Stephen Aron），历史学家：但是我们讲述的关于牛仔裤的大部分故事都是神话。

Tanisha Ford, Historian: It's one that is about the cowboys, and the west, it's about Levi Strauss, and the Gold Rush--

塔尼莎·福特（Tanisha Ford），历史学家：这是一部关于牛仔和西部的一部，一部关于李维·斯特劳斯和淘金热的电影——

Emma Mcclendon, Fashion Historian: It’s always the same story.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：总是同一个故事。

.

。

.

。

Emma Mcclendon, Fashion Historian: After the cowboys, jeans got picked up by rockers and bikers and hippies and now everybody wears them.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：继牛仔之后，牛仔裤被摇滚乐手、摩托车手和嬉皮士所接受，现在每个人都穿着它们。

But denim has been around much, much longer.

但牛仔布的存在时间要长得多。

It has a long and deep history with so many other fascinating stories that are not always told.

它有着悠久而深厚的历史，还有许多其他引人入胜的故事并不总是被讲述。

James Sullivan, Author: Blue jeans do represent American culture to the rest of the world, but like any other good product of America, we borrow all the best ideas from everywhere.

詹姆斯·沙利文（James Sullivan），作者：蓝色牛仔裤确实向世界其他地方代表了美国文化，但与美国的任何其他优质产品一样，我们借鉴了世界各地的所有最佳创意。

James Sullivan, Author: The real fact of the matter is that blue jeans themselves originated somewhere else

詹姆斯·沙利文（James Sullivan），作者：事情的真相是蓝色牛仔裤本身起源于其他地方

Kim Jenkins, Fashion Historian: The story of denim jeans is so much more than Wrangler, it’s more than Levi-Strauss especially when it comes to the material.

金·詹金斯 (Kim Jenkins)，时尚历史学家：牛仔裤的故事远不止 Wrangler，也不仅仅是 Levi-Strauss，尤其是在材质方面。

James Sullivan, Author: We're not quite sure exactly where the fabric originated, but there are several hints: One is Dungri, India, where as early as the 17th century, they were creating a coarse cloth for workers, eventually called dungaree.

作者 James Sullivan：我们不太确定这种布料的确切起源，但有几个线索：一个是印度的邓格里 (Dungri)，早在 17 世纪，他们就为工人制造了一种粗布，最终被称为工布工布 (dungaree)。

There's the Genoans of Italy, who had a certain type of sail cloth that was eventually fashioned into work pants.

意大利的热那亚人有一种特定类型的帆布，最终被制成工作裤。

And there's Nimes, France where the cloth there was known as “serge de Nimes.” Not always but very often, these various types of cloth were dyed blue.

还有法国尼姆，那里的布料被称为“serge de Nimes”。这些不同类型的布料并不总是但经常被染成蓝色。

Probably to hide dirt as much as anything.

可能是为了隐藏污垢。

Rabbit Goody, Weaver: So, we have blue “jean” from Genoa, we have blue “de Nimes” or denim coming from Nimes but when we make it into pants in America, we end up morphing the garment into blue jeans.

Rabbit Goody，Weaver：所以，我们有来自热那亚的蓝色“牛仔裤”，我们有来自尼姆的蓝色“de Nimes”或牛仔布，但当我们在美国将其制成裤子时，我们最终将服装变成了蓝色牛仔裤。

James Sullivan, Author: People don't necessarily think about how their blue jeans came to be blue.

詹姆斯·沙利文，作者：人们不一定会考虑他们的蓝色牛仔裤是如何变成蓝色的。

Historically, that's because of the indigo dye.

从历史上看，这是因为靛蓝染料。

Centuries ago, indigo was said to be worth its weight in gold.

几个世纪前，据说靛蓝的价值相当于黄金。

Competition for it was so fierce Europeans actually called it the “devil's dye.”

对它的竞争如此激烈，欧洲人实际上称它为“魔鬼染料”。

Catherine McKinley, Author: Indigo is in fact a weed.

凯瑟琳·麦金利（Catherine McKinley），作者：靛蓝实际上是一种杂草。

The process of turning indigo from this small green leaf into a dye is a very very delicate process; so only the most skilled are able to do this.

将靛蓝从这片小绿叶变成染料的过程是一个非常非常微妙的过程；所以只有最熟练的人才能做到这一点。

Rabbit Goody, Weaver: One of the neatest things about dying with indigo is the dye vat is green.

Rabbit Goody，Weaver：用靛蓝染色最巧妙的事情之一是染缸是绿色的。

It's not blue.

它不是蓝色的。

And when you introduce a fabric like denim to the dye vat, it comes out green.

当你将牛仔布等织物放入染缸时，它会变成绿色。

And then, as it oxidizes in our atmosphere, it turns blue.

然后，当它在我们的大气中氧化时，它会变成蓝色。

It is magic.

这是魔法。

Indigo dying is magic.

靛蓝的死亡是魔法。

Catherine McKinley, Author: Indigo is enormously valuable.

凯瑟琳·麦金利（Catherine McKinley），作者：靛蓝非常有价值。

The practice of dying is extremely difficult.

修行死亡是极其困难的。

In Africa indigo cloth has a spiritual importance.

在非洲，靛蓝布具有精神上的重要性。

It’s said that it holds the person’s soul, their spirit.

据说它承载着人的灵魂、精神。

Africans have had a long history of working indigo and knew the special process involved making the dye and in dyeing cloth.

非洲人有着悠久的靛蓝加工历史，并且了解制造染料和染色布料的特殊过程。

Seth Rockman, Historian: And of course African captives brought with them knowledge of how to extract the blue from the plant, and how to fix the blue to fabrics.

历史学家赛斯·洛克曼：当然，非洲俘虏带来了如何从植物中提取蓝色以及如何将蓝色固定在织物上的知识。

Indigo is one of the ways in which slave holding became tied to the economic fortunes of the colonial experiment in the Americas.

靛蓝是奴隶制与美洲殖民实验的经济命运联系在一起的方式之一。

Catherine McKinley, Author: So in the mid 1700s there was this labor that had been extracted from Africa, and indigo presents itself as this thing with economic possibility.

凯瑟琳·麦金利（Catherine McKinley），作者：所以在 1700 年代中期，有一种从非洲提取的劳动力，而靛蓝则表现为这种具有经济可能性的东西。

And then when you add to it moving the dye stuff from one end of the world to the other, it only increased in value.

然后，当你将染料从世界的一端转移到另一端时，它的价值只会增加。

And Eliza Lucas benefited enormously from the impact of this trade.

伊丽莎·卢卡斯从这次交易的影响中受益匪浅。

Daina Berry, Historian: Eliza Lucas has been credited as literally producing indigo in America.

历史学家戴娜·贝瑞 (Daina Berry)：伊丽莎·卢卡斯 (Eliza Lucas) 被誉为真正在美国生产靛蓝的人。

She's been credited as a botanist.

她被认为是一位植物学家。

She's even written about in elementary school and high school textbooks.

甚至小学和高中的教科书上也有关于她的记载。

Catherine Mckinley, Author: Eliza Lucas was the daughter of a colonial governor.

凯瑟琳·麦金利，作者：伊丽莎·卢卡斯是一位殖民地总督的女儿。

She had studied botany and when Eliza was a teenager, her father brought her among many other plants indigo.

她学过植物学，当伊丽莎十几岁的时候，她的父亲给她带来了许多其他植物靛蓝。

Evan Morrison, Collector: The gift came from perhaps Antigua.

收藏家埃文·莫里森：这份礼物可能来自安提瓜岛。

The South needed something to add to crop rotation, and tobacco was something cultivated here.

南方需要一些东西来增加轮作，而烟草就是这里种植的。

Rice was cultivated here.

这里种植水稻。

adding indigo into your crop rotation was a way to find additional profit.

在轮作中添加靛蓝是获得额外利润的一种方式。

Daina Berry, Historian: Once Eliza gets her hands on the indigo seeds, it takes off in terms of production.

历史学家 Daina Berry：一旦 Eliza 拿到了靛蓝种子，它的产量就开始腾飞。

Indigo was a second cash crop behind rice in South Carolina.

靛蓝是南卡罗来纳州仅次于水稻的第二大经济作物。

And on the eve of the American Revolution, more than a million pounds of indigo was being shipped overseas.

在美国独立战争前夕，超过一百万磅的靛蓝被运往海外。

Daina Berry, Historian: Eliza Lucas was probably one of the most well-known producers of indigo in colonial America.

戴娜·贝瑞 (Daina Berry)，历史学家：伊丽莎·卢卡斯 (Eliza Lucas) 可能是美洲殖民地最著名的靛蓝生产商之一。

But Eliza's hands weren't blue.

但伊丽莎的手不是蓝色的。

She didn't get her hands dirty with the indigo crop.

她没有亲手染上靛蓝作物。

The knowledge to grow indigo came from enslaved people.

种植靛蓝的知识来自被奴役的人们。

They’re the ones that did the work that allowed her to become this great planter that she's been credited for.

是他们的努力让她成为了这位伟大的种植园主，她也因此而受到赞誉。

Catherine Mckinley, Author: Indigo really encapsulates this problem of how do we begin to tell the story of captive people and how we document their contributions in America, and to the denim history in particular.

凯瑟琳·麦金利（Catherine Mckinley），作者：Indigo 确实概括了这样一个问题：我们如何开始讲述被俘虏的故事，以及我们如何记录他们对美国的贡献，特别是对牛仔布历史的贡献。

Daina Berry, Historian: In fact we know the names of all the enslaved people that were owned by the Lucas and Pinckney family.

戴娜·贝瑞（Daina Berry），历史学家：事实上，我们知道卢卡斯和平克尼家族所有奴隶的名字。

These are generations of families.

这是几代人的家庭。

We're not just talking about a husband and a wife, or a mom and a dad.

我们谈论的不仅仅是丈夫和妻子，或者母亲和父亲。

We see grandparents on this list.

我们在这份名单上看到了祖父母。

They’re the ones that came from communities that dyed all kinds of cloth beautiful colors.

他们来自将各种布料染成美丽颜色的社区。

They’re the ones that had the knowledge of indigo; they’re the ones that created generations of wealth for these white slave-holding families.

他们是了解靛蓝的人；他们为这些白人奴隶主家庭创造了几代人的财富。

Evan Morrison, Collector: Back in the 19th century denim really dominated because it’s a strong weave.

Evan Morrison，收藏家：早在 19 世纪，牛仔布就占据了主导地位，因为它的编织方式很坚固。

So with the rise in durable cotton goods, denim made itself the accepted second skin in terms of cloth that was put into clothing meant for laborious work.

因此，随着耐用棉制品的兴起，牛仔布成为公认的第二层皮肤，被用于制作劳动服装。

Seth Rockman, Historian: So as American cotton manufacturing begins to sort of find its footing in the 18-teens and 1820s, mills in Rhode Island, mills in Massachusetts, mills in New Hampshire, they need a source of cotton.

历史学家 Seth Rockman：随着美国棉花制造业在 18 世纪 18 年代和 1820 年代开始站稳脚跟，罗德岛州的工厂、马萨诸塞州的工厂、新罕布什尔州的工厂，他们需要棉花来源。

And the only source of cotton that's available to make these mills economically viable is cotton that's being grown by enslaved men, women, and children in the American South.

使这些工厂在经济上可行的唯一棉花来源是美国南部被奴役的男人、女人和儿童种植的棉花。

Rabbit Goody, Weaver: When you follow the trail of cotton being grown in this country in the South, being shipped to the North, being woven into blue jeans, and then, being shipped down back to the South, where is it going?

Rabbit Goody，Weaver：当你追踪这个南方国家种植的棉花，被运到北方，被织成蓝色牛仔裤，然后运回南方时，它会去哪里？

Who's wearing it?

谁穿着它？

Daina Berry, Historian: There's a database that is called Freedom on the Move that has cataloged and crowdsourced runaway slave advertisements from all over the United States.

Daina Berry，历史学家：有一个名为“移动中的自由”的数据库，该数据库对来自美国各地的逃跑奴隶广告进行了编目和众包。

So slavers would put an ad describing the person with detailed descriptions of what they had on them when they left what clothing they were wearing, what type of clothing, what color the clothing was.

因此，奴隶贩子会投放一则描述该人的广告，详细描述他们离开时所穿的衣服、衣服的类型、衣服的颜色。

Daina Berry, Historian: And so you have advertisements that have very, very, very detailed information about enslaved people.

戴娜·贝瑞（Daina Berry），历史学家：所以你的广告里有关于被奴役者的非常非常详细的信息。

And enslaved people were, in fact, wearing jeans.

事实上，奴隶们都穿着牛仔裤。

Seth Rockman, Historian: This is a story in which coerced labor produces a raw material that is then exported from one region to a second region and which is then sold back in an ongoing cycle.

历史学家赛斯·洛克曼（Seth Rockman）：这是一个故事，其中强制劳动生产原材料，然后从一个地区出口到另一个地区，然后在一个持续的循环中被卖回。

An increasing number of American slaves will come to be wearing cloth that's manufactured in the United States, that travels under a number of names, that sometimes goes under an umbrella category of Negro cloth.

越来越多的美国奴隶将开始穿着在美国制造的布料，这些布料以多种名称流通，有时会被归入黑人布料的总类别下。

This is one of the powerful things about clothing, right?

这是服装的强大之处之一，对吗？

The ways in which it can be used, not only for individuals to perform their own identity, but also for the ways in which a dominant society can stigmatize people.

它的使用方式不仅可以用于个人表现自己的身份，还可以用于主流社会污蔑人们的方式。

James Sullivan, Author: So blue jeans clearly existed cl-clearly predated Levi Strauss.

詹姆斯·沙利文（James Sullivan），作者：所以蓝色牛仔裤显然已经存在了——显然早于李维·斯特劳斯（Levi Strauss）。

You’re looking at farmers, you’re looking at factory workers.

你看着农民，你看着工厂工人。

Miners were wearing denim; the enslaved peoples of America were clothed very often in denim.

矿工们都穿着牛仔布；美国的被奴役人民经常穿着牛仔布。

Emma McClendon, Fashion Historian: Basically any type of labor, hard work, that you can think of in the late 19th century, you would have found people wearing denim.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：基本上，在 19 世纪末，你能想到的任何类型的劳动、艰苦工作，你都会发现人们穿着牛仔布。

Denim pants, i.e. jeans did exist, but they ripped.

牛仔裤，即牛仔裤确实存在，但它们撕裂了。

They ripped and they wore down and they became tatters.

它们被撕破、磨损、变成破烂。

They became unusable.

它们变得无法使用。

They didn't last as long.

他们并没有持续那么久。

Melissa Leventon, Curator: Anybody who has ever torn a seam through exertion knows that there are certain points in garment structures that are more stressed than others.

Melissa Leventon，策展人：任何曾经因用力撕破接缝的人都知道，服装结构中的某些点比其他点承受的压力更大。

James Sullivan, Author: Jacob Davis is really sort of the unsung hero here.

詹姆斯·沙利文，作者：雅各布·戴维斯确实是这里的无名英雄。

Evan Morrison, Collector: Jacob Davis was a tailor in Reno, Nevada or somewhere thereabouts in the 1870’s

埃文·莫里森 (Evan Morrison)，收藏家：雅各布·戴维斯 (Jacob Davis) 是 1870 年代内华达州里诺或附近地区的一名裁缝

Stephen Aron, Historian: Nevada was one of the great bonanzas at the time.

史蒂芬·阿伦（Stephen Aron），历史学家：内华达州是当时最大的富矿之一。

There’s this enormous rush of people.

人们蜂拥而至。

And great fortunes are made there from mining gold.

那里的黄金开采创造了巨大的财富。

But the greatest fortunes that are made there are not made by individual prospectors.

但在那里创造的最大财富并不是由个人探矿者创造的。

They're made by the people who can sell goods to miners.

它们是由可以向矿工出售商品的人制造的。

Evan Morrison, Collector: So this lady approached Jacob Davis and she said, "I have a portly husband who continues to rip his work pants, and I'd like you to construct a sturdy pair for him." So he thought, "Well, I have all these washer and post rivets that people put on these saddles.

埃文·莫里森（Evan Morrison），收藏家：这位女士找到雅各布·戴维斯（Jacob Davis），她说：“我有一个肥胖的丈夫，他总是撕破他的工作裤，我希望你为他打造一条坚固的裤子。”所以他想，“好吧，我有人们放在这些马鞍上的所有垫圈和铆钉。

Let's add these to all these places he keeps ripping his pants." So he adds them to places like the fly and mouths of pockets, and even on to the mouth of the back pocket, which is a patch pocket.

让我们将这些添加到他经常撕破裤子的所有这些地方。”因此，他将它们添加到门襟和口袋口等地方，甚至添加到后袋的口部（即贴袋）。

Melissa Leventon, Curator: Customer loved them.

策展人 Melissa Leventon：顾客很喜欢它们。

Obviously, word of mouth spread.

显然，口碑传播了。

Soon he had more customers than he could handle, and he wanted to scale up the business, but he was one man in a tailor shop in Reno, Nevada.

很快，他的顾客就超出了他的承受能力，他想扩大业务，但他只是内华达州里诺一家裁缝店的一个人。

So he contacted Levi Strauss, who was his dry good supplier...

于是他联系了李维斯，他的干货供应商……

based in San Francisco, and offered him a partnership deal.

总部位于旧金山，并向他提供了一份合作协议。

He said basically, "Let's go into business together.

他基本上是说：“我们一起做生意吧。

We need a patent.

我们需要专利。

We'll take out the patent, and then we can make these riveted pants, because you have the wherewithal to scale up.

我们将拿出专利，然后我们就可以制造这些铆接裤子，因为你有足够的资金来扩大规模。

Levi agreed.

利威尔同意了。

The two of them filed for the patent, and received it in 1873.

他们两人申请了专利，并于 1873 年获得专利。

Emma McClendon, Fashion Historian: The rivets were crucial in the design for durability.

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：铆钉对于耐用性设计至关重要。

It was like making some armor for your body, that could just hold up to anything.

这就像为你的身体制造了一件盔甲，可以承受任何东西。

James Sullivan, Author: With the addition of the copper rivets, the product becomes the most durable form of workwear available to any working American.

詹姆斯·沙利文（James Sullivan），作者：随着铜铆钉的加入，该产品成为美国工人最耐用的工作服。

Emma McClendon, Fashion Historian: At the end of the nineteenth century, Americans were still largely working with their hands.

艾玛·麦克伦登（Emma McClendon），时尚史学家：十九世纪末，美国人仍然主要用手工作。

Nearly 70% of workers toiled either on farms or in factories, mines, or construction.

近70%的工人在农场、工厂、矿山或建筑业劳作。

This of course created a huge market for jeans.

这当然为牛仔裤创造了巨大的市场。

But jeans initially weren't called jeans.

但牛仔裤最初并不被称为牛仔裤。

They were called waist overalls.

它们被称为腰工作服。

James Sullivan, Author: Overalls were so prevalent in the culture that jeans were just a truncated version of overalls without the bib, that's where the term “waist overalls” comes from.

James Sullivan，作者：工装裤在文化中非常流行，以至于牛仔裤只是没有围兜的工装裤的截短版本，这就是“腰部工装裤”一词的由来。

Evan Morrison, Collector: So 1890, 17 years of patent exclusivity for this rivet reinforced pocket by Levi Strauss and Company ends---

收藏家埃文·莫里森 (Evan Morrison)：所以 1890 年，Levi Strauss and Company 对这款铆钉加固口袋的 17 年专利独占期结束了——

Evan Morrison, Collector: Now anyone can use the rivet reinforced pocket that wants to, and everybody does it.

埃文·莫里森（Evan Morrison），收藏家：现在任何人都可以使用自己想要的铆钉加固口袋，而且每个人都会这样做。

Melissa Leventon, Curator: Once they lose their patent protection, there are rivets everywhere, there are knockoff logos and brands everywhere.

Melissa Leventon，策展人：一旦失去专利保护，到处都是铆钉，到处都是山寨标志和品牌。

Evan Morrison, Collector: So you have companies called can’t bust ‘em can’t rip ‘em and Never Rip and Never Wear Out

埃文·莫里森（Evan Morrison），收藏家：所以有一些公司叫“can't bad 'em can't rip 'em”和“Never Rip and Never Wear Out”

James Sullivan, Author: There were brands called Blackbear, Dubbleware, Dozfit.

James Sullivan，作者：有一些品牌叫做 Blackbear、Dubbleware、Dozfit。

Evan Morrison, Collector: Boss of the Road..

埃文·莫里森，收藏家：路上的老板..

Evan Morrison, Collector: And so you have all these companies trying to push their version of the work pant out into society, and we start to see so much evolution going on within jeans

埃文·莫里森（Evan Morrison），收藏家：所以所有这些公司都试图将他们的工作裤推向社会，我们开始看到牛仔裤正在发生如此多的演变

Melissa Leventon, Curator: We started with one pocket and button fly.

Melissa Leventon，策展人：我们从一个口袋和纽扣门襟开始。

James Sullivan, Author: There were no belt loops.

詹姆斯·沙利文（James Sullivan），作者：没有皮带环。

Most people wore suspenders.

大多数人都穿着背带裤。

Evan Morrison, Collector: But in mining you can't have a strap over your shoulder that could get snagged and cause the mine to collapse.

埃文·莫里森（Evan Morrison），收藏家：但是在采矿过程中，你不能把带子挂在肩上，否则可能会被钩住并导致矿井倒塌。

So several folks had the rope tied around the waistband

于是几个人把绳子绑在腰带上

Melissa Leventon, Curator: Then a second pocket was added, and there was also a waist cinch.

Melissa Leventon，策展人：然后添加了第二个口袋，还有一个腰部收紧带。

Evan Morrison, Collector: And then they added Zippers..

埃文·莫里森（Evan Morrison），收藏家：然后他们添加了拉链……

Melissa Leventon, Curator: There was a rivet at the crotch people had been complaining about that for years.

梅丽莎·莱文顿（Melissa Leventon），策展人：胯部有一个铆钉，人们多年来一直抱怨这一点。

I think they were happy to get rid of that rivet and that has never come back.

我认为他们很高兴摆脱了那颗铆钉，但它再也没有回来。

Emma McClendon, Fashion Historian: Denim was changing and so was America.

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：牛仔布正在发生变化，美国也在发生变化。

That image of someone clad in denim at the turn of the 20th century is inevitably, you know, romanticized.

你知道，二十世纪之交穿着牛仔布的人的形象不可避免地被浪漫化了。

And the reality is, that people of all different ages, races, and genders were wearing denim during this time.

现实情况是，不同年龄、种族和性别的人在这段时间都穿着牛仔布。

Sharecroppers in the south, Chinese immigrants on the transcontinental railway--

南方的佃农，横贯大陆铁路上的中国移民——

Stephen Aron, Historian: As the word of the gold rush spreads not only across the nation but across the whole world, people really from all over the world come through and often stay in San Francisco, turning San Francisco overnight, not only into a booming boom town, but also into a place where you have more diversity, a more cosmopolitan place than any other spot on the face of the Earth.

史蒂芬·阿伦，历史学家：随着淘金热的名声不仅传遍了全国，而且传遍了全世界，来自世界各地的人们来到旧金山并经常停留在旧金山，一夜之间，旧金山不仅变成了一个蓬勃发展的新兴城镇，而且变成了一个比地球上任何其他地方都更加多元化、更加国际化的地方。

James Sullivan, Author: There was a huge nativists' outcry in San Francisco at the time--the idea that other people from elsewhere are coming to take our jobs away.

詹姆斯·沙利文（James Sullivan），作者：当时，旧金山本土主义者强烈抗议，认为来自其他地方的人会抢走我们的工作。

Stephen Aron, Historian: The backlash galvanizes an immense political movement, who make it their central platform to see the expulsion of Chinese labor.

史蒂芬·阿伦（Stephen Aron），历史学家：这种强烈反对激起了一场巨大的政治运动，他们将其作为驱逐中国劳工的中心平台。

Evan Morrison, Collector: There's a rise in racism you do see in the 1880s and 1890s, “no Chinaman made your clothes,” and “made by white labor only.”

收藏家埃文·莫里森 (Evan Morrison)：在 1880 年代和 1890 年代，种族主义确实有所抬头，“没有中国人制造你的衣服”，“只有白人劳工制造”。

James Sullivan, Author: Because Levi was a San Francisco based company, they decided, ok we're not hiring any Chinese people.

James Sullivan，作者：因为 Levi 是一家总部位于旧金山的公司，所以他们决定，好吧，我们不雇用任何中国人。

We're going to give the jobs to the local white people.

我们要把工作机会给当地的白人。

Diana Berry: I think it is a challenge for us as we embrace how we came to be here, we have to embrace the whole story and the whole history.

戴安娜·贝瑞：我认为这对我们来说是一个挑战，因为我们要接受我们是如何来到这里的，我们必须接受整个故事和整个历史。

Jeans are a great example to think about American history and a way to go into parts of American history that we haven't always addressed.

牛仔裤是思考美国历史的一个很好的例子，也是一种了解美国历史中我们并不总是涉及到的部分的方式。

Evan Morrison, Collector: During the Great Depression and the Farm Securities Act, and the contracting of photographers to go about the country to document everyday life, denim became symbolic of our nation.

埃文·莫里森（Evan Morrison），收藏家：在大萧条和《农场证券法》期间，以及摄影师签约到全国各地记录日常生活的时期，牛仔布成为了我们国家的象征。

You see people on the West Coast wearing them, people laboring in the ports, the shipyards.

你会看到西海岸的人们穿着它们，在港口、造船厂工作的人们。

You see people in the Empire State sitting on I beams during lunch breaks, and you see tobacco farmers out in fields in the Southeast with sun faded overall and it became this common identity that I think helps the country to still feel unified even during dark times.

你看到帝国州的人们在午休时坐在横梁上，你看到烟草种植者在东南部的田野里，太阳整体褪色，我认为这种共同的身份有助于这个国家即使在黑暗时期仍然感到团结。

James Sullivan, Author: Up until about the 1930s, denim was really worn out of necessity.

James Sullivan，作者：直到 20 世纪 30 年代左右，牛仔布确实是出于必要而磨损的。

James Sullivan, Author: It wasn't until those years and beyond that the product went from a necessity to a fashion...

詹姆斯·沙利文（James Sullivan），作者：直到那些年及以后，该产品才从必需品变成了时尚......

James Sullivan, Author: a lot of that had to do with this kind of nostalgia for the American West.

詹姆斯·沙利文（James Sullivan），作者：这很大程度上与对美国西部的怀旧有关。

Holly George-Warren: Thanks to westerns, cowboys became the American figure that kind of helped us get out of the Great Depression in a way.

霍莉·乔治-沃伦：多亏了西部片，牛仔成为了美国的象征，在某种程度上帮助我们摆脱了大萧条。

We didn't have royalty like in England and other European countries, but we had cowboys wearing blue jeans.

我们没有像英国和其他欧洲国家那样的皇室成员，但我们有穿着蓝色牛仔裤的牛仔。

They were our knights in shining armor.

他们是我们穿着闪亮盔甲的骑士。

Stephen Aron, Historian: It’s hard for people today to really appreciate how big the Western was.

史蒂芬·阿伦，历史学家：今天的人们很难真正理解西部片有多大。

As the United States is transformed from being a rural and agrarian nation to one in which most people live in cities or towns, there is a nostalgic embrace of the frontier world lost, and the cowboys in those westerns were almost always were wearing jeans.

当美国从一个农村和农业国家转变为一个大多数人居住在城市或城镇的国家时，人们对失去的边疆世界怀有怀旧之情，那些西部片中的牛仔几乎总是穿着牛仔裤。

Stephen Aron, Historian: And yet, there's no question that when we look more closely at the ways in which jeans come into the West the story turns out to be much more problematic.

史蒂芬·阿伦（Stephen Aron），历史学家：然而，毫无疑问，当我们更仔细地观察牛仔裤进入西方的方式时，事实证明这个故事的问题要大得多。

The stories we tell are all white people.

我们讲述的故事都是白人。

In fact the reality of life in the American West was a much more multi-ethnic.

事实上，美国西部的生活现实是多种族的。

You know, a significant portion of the workforce were people of color, people from Mexico, Native Americans, African Americans probably making up an eighth to a quarter of the cowboy workforce.

你知道，劳动力的很大一部分是有色人种，来自墨西哥、美洲原住民、非裔美国人的人可能占牛仔劳动力的八分之一到四分之一。

So we have a much more complicated reality that contrasts with the whitening of those figures in the westerns.

因此，我们面临着一个更加复杂的现实，与西部片中那些人物的变白形成鲜明对比。

Emma McClendon, Fashion Historian: Of course, Hollywood’s take on the cowboy was just the start of denim spreading beyond the working class.

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：当然，好莱坞对牛仔的演绎只是牛仔布向工人阶级之外传播的开始。

This shift is happening in an era of huge economic schisms.

这种转变发生在一个经济严重分裂的时代。

The vast majority of people were really struggling during the Great Depression, but there continued to be an elite class of individuals.

在大萧条期间，绝大多数人确实在挣扎，但仍然存在精英阶层。

They still travelled.

他们仍然旅行。

They still shopped.

他们仍然购物。

James Sullivan, Author: One consequence at the time was that this idea of the dude ranch came about.

詹姆斯·沙利文（James Sullivan），作者：当时的一个后果是，“度假牧场”的想法应运而生。

The dude ranch was essentially a getaway, like sorta a spa getaway for wealthy Easterners.

花花公子牧场本质上是一个度假胜地，就像富裕的东方人的水疗度假胜地一样。

Adrienne Rose Bitar, Historian: Because of the collapse of many of the sources of income based on cattle ranching and other traditional agricultural pursuits, many working cattle ranches turned their attention to dudes, which was a more reliable source of income.

艾德丽安·罗斯·比塔尔（Adrienne Rose Bitar），历史学家：由于许多基于养牛场和其他传统农业活动的收入来源崩溃，许多正在运营的养牛场将注意力转向了男人，这是更可靠的收入来源。

Adrienne Rose Bitar, Historian: Many of these ranches were very remote.

艾德丽安·罗斯·比塔尔（Adrienne Rose Bitar），历史学家：许多牧场都非常偏远。

It might take two weeks to even travel by train and horseback.

即使乘坐火车和骑马旅行也可能需要两周的时间。

Adrienne Rose Bitar (Cont.), Historian : They were expensive.

艾德丽安·罗斯·比塔（Adrienne Rose Bitar）（续），历史学家：它们很昂贵。

They accepted paying guests to participate in all the ranch chores.

他们接受付费客人参与所有牧场杂务。

To herd cattle, to brand cattle…

放牧牛，给牛打上品牌……

Melissa Leventon, Curator: This was particularly an opportunity for women.

策展人梅丽莎·莱文顿：这对女性来说尤其是一个机会。

American society was still not fully comfortable with the idea of women wearing pants in the 1930s.

20 世纪 30 年代，美国社会对于女性穿裤子的想法仍然不太满意。

Bifurcated garments seemed so unladylike.

分叉的衣服看起来很不淑女。

Adrienne Rose Bitar, Historian: Vacationing was a secure laboratory--especially for the women.

艾德丽安·罗斯·比塔尔（Adrienne Rose Bitar），历史学家：度假是一个安全的实验室——尤其是对女性来说。

When they looked in the mirror, which I think many dudeines did, they didn’t see their old self from Connecticut or Rhode Island, they saw a cow girl from the movies.

当他们照镜子时——我想很多男人都这么做了——他们看到的不是来自康涅狄格州或罗德岛州的过去的自己，而是电影中的牛女。

Denim afforded many women the ability to get dirty, to hunt, to fish, to ride horses.

牛仔布让许多女性能够变得肮脏、打猎、钓鱼、骑马。

I think blue jeans on a dude ranch not only gave women the ability to move more freely, to experience their bodies in different ways, but perhaps also to sort of think more freely.

我认为，男士牧场上的蓝色牛仔裤不仅让女性能够更自由地行动，以不同的方式体验自己的身体，而且也许还能更自由地思考。

To rethink their position in American society.

重新思考他们在美国社会中的地位。

James Sullivan, Author: This was one of the first times that women felt comfortable enough to say, "Hey, you know what?

詹姆斯·沙利文（James Sullivan），作者：这是女性第一次感到可以轻松地说：“嘿，你知道吗？

I enjoy wearing that clothing.

我喜欢穿那件衣服。

I'm going to do it.

我会去做的。

So the American blue jeans manufacturers realized that there was a rather substantial market to be conquered by specifically creating blue jeans lines for women.

因此，美国蓝色牛仔裤制造商意识到，通过专门为女性打造蓝色牛仔裤系列，可以征服相当大的市场。

Melissa Leventon, Curator: So you start seeing the design of jeans beginning to follow fashion, in a way that they didn't previously do when they were strictly work pants.

Melissa Leventon，策展人：所以你开始看到牛仔裤的设计开始追随时尚，这是以前严格意义上的工作裤时所没有的。

Adrienne Rose Bitar, Historian: Jeans entered the world of fashion in the 1930s, because they functioned as a souvenir, and they also functioned as a symbol of wealth and prestige.

Adrienne Rose Bitar，历史学家：牛仔裤在 20 世纪 30 年代进入时尚界，因为它们既可以作为纪念品，也可以作为财富和声望的象征。

Somewhat ironically, the clothes of the working man became a symbol that you belonged to the leisure class.

有点讽刺的是，工人的衣服成了有闲阶级的象征。

Emma McClendon, Fashion Historian: That's the dichotomy sorta represented in the juxtaposition between the Dorothea Lange photos of the Dust Bowl and Lady Levi’s and Vogue .

艾玛·麦克伦登（Emma McClendon），时尚史学家：这就是多萝西娅·兰格（Dorothea Lange）在沙尘暴的照片与 Lady Levi's 和 Vogue 的并置照片中所体现的二分法。

They can co-exist, because there was this extreme inequality in America.

它们可以共存，因为美国存在这种极端的不平等。

Melissa Leventon, Curator: For many men and women, World War II was the first time they wore jeans.

Melissa Leventon，策展人：对于许多男人和女人来说，第二次世界大战是他们第一次穿牛仔裤。

Emma McClendon, Fashion Historian: World War II is a moment where denim goes global in a sense.

Emma McClendon，时尚历史学家：从某种意义上说，第二次世界大战是牛仔布走向全球的时刻。

James Sullivan, Author: One result of Americans fighting overseas was that the GIs when they were off duty, were in many cases wearing blue jeans, and the locals took notice and thought, "Well, they look like movie stars, they look cool.

詹姆斯·沙利文（James Sullivan），作者：美国人在海外作战的结果之一是，大兵在下班时，很多时候都穿着蓝色牛仔裤，当地人注意到了，并想：“嗯，他们看起来像电影明星，他们看起来很酷。

They look like what we want to look like."

它们看起来就像我们想要的样子。”

Emma McClendon, Fashion Historian: There's a way in which during the 1940s, because of the patriotism around World War II, denim almost became the blue in the red, white, and blue of the American flag.

Emma McClendon，时尚史学家：在 20 世纪 40 年代，由于二战期间的爱国主义情绪，牛仔布几乎成为美国国旗红、白、蓝中的蓝色。

You know and Rosie the Riveter is a classic example of this.

你知道，铆工罗西就是一个典型的例子。

Melissa Leventon, Curator: Rosie the Riveter was a Normal Rockwell painting that ended up on the cover of The Saturday Evening Post .

梅丽莎·莱文顿 (Melissa Leventon)，策展人：《铆工罗西》是一幅普通洛克威尔的画作，最终登上了《周六晚邮报》的封面。

She was like the American everywoman, who when the menfolk were away fighting the war in Europe, she pitched in, she did her part.

她就像美国的普通女人一样，当男人们远赴欧洲打仗时，她就会投入，尽自己的一份力量。

James Sullivan, Author: With so many of the men overseas, something like 6 million mothers and daughters were suddenly going to work on a daily basis.

詹姆斯·沙利文（James Sullivan），作者：由于有这么多男人在海外，大约有 600 万母亲和女儿突然每天都要去工作。

And to a large extent, wearing denim.

在很大程度上，穿着牛仔布。

Melissa Leventon, Curator: So, what happens when the soldiers who were wearing denim overseas come home?

策展人 Melissa Leventon：那么，当在海外穿着牛仔布的士兵回国时会发生什么？

They kept wearing denim.

他们一直穿着牛仔布。

Why not?

为什么不呢？

They’re great pants.

它们是很棒的裤子。

They're comfortable.

他们很舒服。

They're durable.

它们很耐用。

They had gotten used to them.

他们已经习惯了。

They liked them.

他们喜欢他们。

Why not?

为什么不呢？

Bill Hayes, Author: As the WWII vets started to come back, they obviously had been through a lot.

比尔·海耶斯（Bill Hayes），作者：当二战老兵开始回来时，他们显然经历了很多事情。

They felt a lot of camaraderie.

他们感受到了很多友情。

They felt a lot of brotherhood in the trenches and to come back into a very staid, kinda 9-5 lifestyle--for some people wasn't going to work.

他们在战壕中感受到了很多兄弟情谊，并回到了一种非常古板的、朝九晚五的生活方式——因为有些人不会工作。

But the combination of a big motorcycle and denim that really worked.

但大型摩托车和牛仔布的结合确实有效。

Bill Hayes, Author: They all got jeans on.

比尔·海斯（Bill Hayes），作者：他们都穿着牛仔裤。

The t-shirt with the cigarette pack rolled up in it--you look pretty tough.

卷着烟盒的T恤，看起来很硬朗。

Suddenly bikers have become modern day outlaws.

突然之间，骑自行车的人变成了现代的不法之徒。

Melissa Leventon, Curator: So the idea of the outlaw, which has always had a stronghold on the American popular imagination, was actually promoted by the movies, and linked in particular with jeans.

策展人梅丽莎·莱文顿（Melissa Leventon）：因此，亡命之徒的观念一直在美国大众的想象中占据着重要地位，实际上是通过电影来宣传的，尤其是与牛仔裤联系在一起。

James Sullivan, Author: We see that a lot in Hollywood of the 1950s, classically represented by Marlon Brando in the biker film, The Wild One.

詹姆斯·沙利文（James Sullivan），作者：我们在 20 世纪 50 年代的好莱坞看到了很多这样的情况，典型的代表人物是摩托电影《The Wild One》中的马龙·白兰度 (Marlon Brando)。

Brando's character, who was, of course, the guy who’s asked, "What are you rebelling against?"

白兰度扮演的角色，当然就是那个被问到“你在反抗什么？”的人。

James Sullivan, Author: Like, I don't know what it is that I'm rebelling against.

詹姆斯·沙利文，作者：就像，我不知道我在反抗什么。

I'm just doing it.

我只是在做而已。

Bill Hayes, Author: All bets were off at that point.

比尔·海耶斯（Bill Hayes），作者：那时所有的赌注都被取消了。

A lot of the teenagers may not have wanted to become Wally or Beaver…

很多青少年可能不想成为沃利或海狸……

Bill Hayes, Author: ...

比尔·海耶斯，作者：...

they were able to make the choice and part of that choice was having jeans on.

他们能够做出选择，而选择的一部分就是穿牛仔裤。

SOT Teenager Film: The early teens are years of upheaval and turmoil.

SOT 青少年电影：青少年早期是动荡和动荡的岁月。

They’re years of physical and glandular change.

这是身体和腺体变化的岁月。

Parents of almost every child find the age of puberty or early adolescence full of problems

几乎每个孩子的父母都发现青春期或青春期早期充满了问题

Holly George-Warren: After WWII, really the teenager, as we now know it came into being

霍莉·乔治·沃伦：二战后，真正的青少年，正如我们现在所知，应运而生

James Sullivan, Author: Prior to WWII, you were either a young person living at home, going to school, or when you were finished with school, then you entered the workforce.

詹姆斯·沙利文，作者：在第二次世界大战之前，你要么是一个住在家里、上学的年轻人，要么当你完成学业后，你就进入了劳动力市场。

You were contributing to the family income.

您正在为家庭收入做出贡献。

James Sullivan, Author: After WWII, the middle class exploded.

詹姆斯·沙利文（James Sullivan），作者：二战后，中产阶级爆发了。

Families could offer their kids more leisure time, more independence.

家庭可以为孩子提供更多的休闲时间和更多的独立性。

SOT archival: Rock-n-Roll teenage cowboy…

SOT 档案：摇滚少年牛仔……

Holly George Warren, Author: The American consumer economy was booming and it just became the American way of life: spend money, buy things, dress up, move up the food chain.

霍莉·乔治·沃伦（Holly George Warren），作者：美国消费经济蓬勃发展，它刚刚成为美国人的生活方式：花钱、买东西、打扮、向食物链上游移动。

James Sullivan, Author: If teenagers decided to work, they could use that money for their own benefit, for their own leisure time.

詹姆斯·沙利文（James Sullivan），作者：如果青少年决定工作，他们可以用这些钱为自己谋取利益，享受自己的闲暇时间。

They could buy their own cars.

他们可以购买自己的汽车。

They bought their own records.

他们购买了自己的唱片。

They sort of helped create rock and roll.

他们在某种程度上帮助创造了摇滚乐。

Emma McClendon, Fashion Historian: Jeans got sort of irreparably linked with cool.

艾玛·麦克伦登（Emma McClendon），时尚史学家：牛仔裤与酷有着不可挽回的联系。

Coolness became the ideal to strive for.

冷静成为人们努力追求的理想。

Melissa Leventon, Curator: It's like, "What mom and dad want to do?

策展人梅丽莎·莱文顿（Melissa Leventon）：就像是，“爸爸妈妈想做什么？

Oh my God.

我的天啊。

I can't even talk to them.

我什至不能和他们说话。

I do not want to wear what they're wearing."

我不想穿他们穿的衣服。”

Melissa Leventon, Curator: The charisma of deviance is powerful.

梅丽莎·莱文顿（Melissa Leventon），策展人：越轨者的魅力是强大的。

Emma McClendon, Fashion Historian: So during the 1950s, denim becomes increasingly associated with biker gangs and juvenile delinquency.

Emma McClendon，时尚历史学家：因此，在 20 世纪 50 年代，牛仔布越来越多地与摩托帮和青少年犯罪联系在一起。

There was a sort of fear, I think, among adults that if teenagers put on a pair of jeans, they were automatically going to become delinquents in some way.

我认为，成年人有一种恐惧，如果青少年穿上牛仔裤，他们就会自动成为某种意义上的罪犯。

Holly George Warren, Author: School systems literally started banning blue jeans because they identified the kids who wore them as the “bad seeds.” They were going to beat up a little old lady and steal her pocketbook or whatever.

霍莉·乔治·沃伦（Holly George Warren），作者：学校系统实际上开始禁止蓝色牛仔裤，因为他们将穿牛仔裤的孩子视为“坏种子”。他们要殴打一个小老太太并偷走她的钱包或其他什么东西。

James Sullivan, Author: The parents' generation started to clamp down, which caused a dip in sales.

詹姆斯·沙利文（James Sullivan），作者：父母一代开始严厉打击，导致销量下降。

Suddenly families were shying away from buying blue jeans.

突然间，很多家庭都不敢购买蓝色牛仔裤了。

Emma McClendon, Fashion Historian: The denim companies start to get worried.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：牛仔布公司开始感到担忧。

As a result, a lot of the major denim companies band together to form what they called the Denim Council.

结果，许多主要的牛仔布公司联合起来成立了他们所谓的牛仔布委员会。

Holly George Warren, Author: So they start this whole campaign first to try to counter the bad blue jean look with the wholesome blue jean look.

Holly George Warren，作者：所以他们首先开始整个活动，试图用健康的蓝色牛仔裤造型来对抗糟糕的蓝色牛仔裤造型。

This is the right way to wear jeans and it’s neat with a nice shirt.

这才是牛仔裤的正确穿法，而且搭配漂亮的衬衫也很整洁。

This kinda very healthy looking kid.

这个看起来非常健康的孩子。

And then this is the bad blue jean." And so it's the more the kid with his hair hanging down greasy and all that kind of stuff.

这就是糟糕的蓝色牛仔裤。”因此，更多的是头发垂下来、油腻腻的孩子。

Like, see?

就像，看到了吗？

There is a difference.

有一个区别。

You can be a good kid and wear blue jeans.

你可以做一个好孩子，穿蓝色牛仔裤。

Emma McClendon, Fashion Historian: They tried to create a National Denim Day.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：他们试图设立一个全国牛仔日。

They had all sorts of campaigns around the country which are about the discovery of America, they are about cowboys, they are about adventure, and history.

他们在全国各地开展了各种关于发现美洲、关于牛仔、关于冒险和历史的活动。

James Sullivan, Author: That series of advertisement, helped reverse the trend away from blue jeans.

詹姆斯·沙利文（James Sullivan），作者：这一系列广告帮助扭转了蓝色牛仔裤的潮流。

James Sullivan, Author: By the first years of the 1960s, the Peace Corps, JFK's initiative, sending young Americans out across the globe to do good deeds, they were actually dressed in blue jeans.

詹姆斯·沙利文（James Sullivan），作者：到 20 世纪 60 年代初期，肯尼迪发起的和平队派遣美国年轻人到世界各地行善，他们实际上都穿着蓝色牛仔裤。

That was their uniform.

那是他们的制服。

So no longer was it that the bad kids were the only ones wearing blue jeans.

因此，坏孩子不再是唯一穿着蓝色牛仔裤的人。

Emma McClendon, Fashion Historian: One thing in particular that is interesting about this period is the denim companies spend all this time in the 1950s trying to get away from the rebel image and then the 60’s happens.

Emma McClendon，时尚历史学家：这一时期特别有趣的一件事是，牛仔布公司在 20 世纪 50 年代一直试图摆脱反叛形象，然后到了 60 年代。

Tanisha Ford, Historian: When we think about the denim story in the 1960s we almost automatically think of the hippies, with their bell bottoms, and tie-dye, but the hippies weren't the only people wearing those clothes.

历史学家 Tanisha Ford：当我们想到 20 世纪 60 年代的牛仔布故事时，我们几乎会自动想到穿着喇叭裤和扎染的嬉皮士，但嬉皮士并不是唯一穿着这些衣服的人。

Emma McClendon, Fashion Historian: The classic image of the Civil Rights movement is Martin Luther King Jr. and he and many of his closest partners wore suits and button down shirts…

艾玛·麦克伦登（Emma McClendon），时尚史学家：民权运动的经典形象是小马丁·路德·金，他和他的许多最亲密的伙伴都穿着西装和纽扣衬衫……

sort of a Sunday’s best approach.

这是周日最好的方法。

Jonathan Square, Fashion Historian: Being a man of African descent, a lot hinged on his self representation.

乔纳森·斯奎尔（Jonathan Square），时尚历史学家：作为一个非洲后裔，很大程度上取决于他的自我表现。

He needed to present himself to the world as a respectable person, because there was already a notch against him for being a black man.

他需要向世界展示自己是一个受人尊敬的人，因为作为黑人，他已经受到了歧视。

Tanisha Ford, Historian: The focus on the Sunday Best has obscured the fact that at that time there were these young college students who say instead we’re going to wear denim because we want to show that our political bonds are to the black working poor and not to the black bourgeois.

塔尼莎·福特（Tanisha Ford），历史学家：对周日最佳的关注掩盖了这样一个事实：当时有一些年轻的大学生说我们要穿牛仔布，因为我们想表明我们的政治纽带是针对黑人穷人，而不是黑人资产阶级。

These young people, once they left Howard University, Fisk University, Tougaloo College, to head south, say “we’re going to wear this denim alongside the working class and sharecroppers who had been trying for decades to fight for their right to vote.” They were rebels with a cause.

这些年轻人在离开霍华德大学、菲斯克大学、图加卢学院南下后表示，“我们将与几十年来一直在努力争取投票权的工人阶级和佃农一起穿着这种牛仔布。”他们是有原因的叛逆者。

Kim Jenkins, Fashion Historian: For young Black protesters, it absolutely is risky with what they're wearing because they already have the systemic pressure up against them presuming that they are of a lower class, or status in society.

金·詹金斯，时尚历史学家：对于年轻的黑人抗议者来说，他们的穿着绝对是有风险的，因为他们已经面临着系统性压力，认为他们属于下层阶级或社会地位。

And so wearing a certain style of dress that is aligned with the laboring class, that is absolutely bold.

因此穿着符合劳动阶级风格的服装，这绝对是大胆的。

Tanisha Ford, Historian: As this southern movement spreads and garners national media attention, you now have white students who decide to go South to help with the organizing.

历史学家塔尼莎·福特：随着这场南方运动的蔓延并引起全国媒体的关注，现在有白人学生决定前往南方帮助组织。

Tanisha Ford, Historian: So when those white students go back North, they go back wearing denim.

历史学家塔尼莎·福特：所以当那些白人学生返回北方时，他们会穿着牛仔布回去。

This becomes the look of youth rebellion in the 1960s.

这成为了20世纪60年代青年叛逆的样子。

Emma McClendon, Fashion Historian: The 1960s is a pivotal point in the history of denim

时尚历史学家 Emma McClendon：20 世纪 60 年代是牛仔布历史的关键点

Emma McClendon, Fashion Historian: Just like for the civil rights movement, for the hippies clothing was a form of political activism.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：就像民权运动一样，嬉皮士服装是政治激进主义的一种形式。

Holly George-Warren, Author: There was such an emphasis with the counterculture on creativity, on individuality, self-expression.

霍莉·乔治·沃伦（Holly George-Warren），作者：反主流文化非常强调创造力、个性和自我表达。

Tommy Hilfiger, Designer: People then embellished their jeans.

Tommy Hilfiger，设计师：然后人们装饰他们的牛仔裤。

They sewed fringe on them.

他们在上面缝了流苏。

They put feathers.

他们放了羽毛。

Emma McClendon, Fashion Historian: They were patched—

艾玛·麦克伦登（Emma McClendon），时尚历史学家：它们被修补了——

Kim Jenkins, Fashion Historian: Painted—

Kim Jenkins，时尚历史学家：画——

Emma McClendon, Fashion Historian: Embroidered and shredded—

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：刺绣和碎布——

Tommy Hilfiger, Designer: All of the sudden your jeans were your canvases.

Tommy Hilfiger，设计师：突然之间，你的牛仔裤就成了你的画布。

There was a cool factor.

有一个很酷的因素。

And when rock stars and musicians started wearing denim it became even cooler.

当摇滚明星和音乐家开始穿牛仔布时，它变得更加酷。

There was The Who and Janis Joplin, and the Doors, the Rolling Stones, Led Zeppelin.

其中包括 The Who 乐队和 Janis Joplin 乐队，还有 Doors 乐队、滚石乐队、Led Zeppelin 乐队。

So then everyone wanted to wear them.

所以每个人都想穿它们。

Holly George-Warren, Author: Woodstock the festival at the end of the decade in 1969, that movie completely expanded our idea of fashion.

Holly George-Warren，作者：1969 年十年末的伍德斯托克音乐节，那部电影彻底扩展了我们对时尚的看法。

I know for me being this kid in North Carolina, when I saw that movie, I'm like, " I want to wear clothes like that."

我知道作为北卡罗来纳州的一个孩子，当我看那部电影时，我想，“我想穿那样的衣服。”

Melissa Leventon, Curator: Denim was the uniform of that generation, and a lot of the denim companies started to capitalize on that.

Melissa Leventon，策展人：牛仔布是那一代人的制服，许多牛仔布公司开始利用这一点。

Emma McClendon, Fashion Historian: It's interesting to look at that case study of Levi's, because in the 1950s they tried so hard to get away from the counterculture.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：看看李维斯（Levi's）的案例研究很有趣，因为在 20 世纪 50 年代，他们非常努力地摆脱反主流文化。

And then by 1971, they use an aerial shot of the crowd at a music festival and just slap a Levi's logo on it, and that's it!

然后到了 1971 年，他们使用了音乐节上人群的航拍照片，然后在上面贴上李维斯 (Levi's) 标志，就这样！

James Sullivan, Author: It's been said that "those children of the '60s came in as a tribe and went out as a market." They were the market for blue jeans.

詹姆斯·沙利文（James Sullivan），作者：有人说“60 年代的孩子进来时是部落，出去时却是市场”。他们是蓝色牛仔裤的市场。

Emma McClendon, Fashion Historian: By the time you get into the early '70s hippie chic is everywhere.

艾玛·麦克伦登 (Emma McClendon)，时尚史学家：当你进入 70 年代初时，嬉皮士时尚已无处不在。

Tanisha Ford, Historian: the fashion industry becomes wildly taken with these young radicals.

历史学家塔尼莎·福特 (Tanisha Ford)：时尚界对这些年轻的激进分子非常着迷。

You have designers with ads that suggested, "The real freedom movement is in your jeans.”

有些设计师在广告中建议：“真正的自由运动就在你的牛仔裤里。”

Jonathan Square, Fashion Historian: It is ironic, isn't it?

时尚历史学家 Jonathan Square：这很讽刺，不是吗？

Rewind like a decade earlier, youth were sort of wearing denim as a form of rebellion.

时光倒流到十年前，年轻人穿牛仔布有点像是一种叛逆。

By the time we get to the 1970s, denim is being commodified.

到了 20 世纪 70 年代，牛仔布已经商品化。

Valerie Steele, Fashion Historian: The fashion industry co-opts authentic subcultural styles and then makes them part of the system.

瓦莱丽·斯蒂尔（Valerie Steele），时尚历史学家：时尚业吸收了真正的亚文化风格，然后使它们成为系统的一部分。

Whether it seems dangerous or seems totally trivial the fashion industry takes any cool look or stance and markets it if sees an audience for it.

无论它看起来很危险还是看起来完全微不足道，时尚界都会采取任何酷炫的外观或立场，并在看到观众时进行营销。

Kim Jenkins, Fashion Historian: We start to see denim jeans become just a very lucrative product.

Kim Jenkins，时尚历史学家：我们开始看到牛仔裤成为一种非常有利可图的产品。

They were really a great blank canvas for designers to express themselves.

它们确实是设计师表达自己的绝佳空白画布。

Tommy Hilfiger, Designer: When I was 16 years old, I was enamored with music and musicians, and I couldn't play so I couldn’t be a musician, but I wanted to look like a rock star.

Tommy Hilfiger，设计师：当我16岁时，我迷恋音乐和音乐家，但我不会演奏，所以我无法成为音乐家，但我想看起来像摇滚明星。

So I opened a small shop called People's Place, and started selling jeans.

所以我开了一家叫People's Place的小店，开始卖牛仔裤。

At one point I was thinking, "I think I could design better jeans than we're buying from vendors.”

有一次我在想，“我认为我可以设计出比从供应商那里购买的更好的牛仔裤。”

Emma McClendon, Fashion Historian: The fashion industry realizes that there's this massive market for all things denim.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：时尚界意识到牛仔布的所有产品都有巨大的市场。

Now it's sleek, high rise, tight--

现在它变得时尚、高腰、紧身——

Emma McClendon, Fashion Historian: There becomes a certain kind of glamour associated with jeans for the first time.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：牛仔裤第一次有了某种魅力。

Tommy Hilfiger, Designer: It was a turning point which became the era of designer jeans.

Tommy Hilfiger，设计师：这是一个转折点，成为设计师牛仔裤时代的转折点。

There was Gloria Vanderbilt, Calvin Klein...

其中有格洛丽亚·范德比尔特 (Gloria Vanderbilt)、卡尔文·克莱恩 (Calvin Klein)...

Jonathan Square, Fashion Historian: There Was Halston..

乔纳森·斯奎尔（Jonathan Square），时尚历史学家：有霍尔斯顿……

Emma McClendon, Fashion Historian: Fiorucci..

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：Fiorucci..

Tommy Hilfiger, Designer: Sergio Valente…

Tommy Hilfiger，设计师：Sergio Valente……

Tommy Hilfiger, Designer: We were really trying to outdo one another with sexiness.

Tommy Hilfiger，设计师：我们真的想在性感方面超越彼此。

But when Brooke Shields, as a young teen, was the Calvin Klein poster girl, I think heads turned

但当波姬·小丝 (Brooke Shields) 年轻时成为 Calvin Klein 的海报女郎时，我想人们的目光都转过来了

Tommy Hilfiger, Designer: Everyone said this is going to a whole new level.

设计师 Tommy Hilfiger：每个人都说这将达到一个全新的水平。

Emma McClendon, Fashion Historian: It is like a tidal wave over the whole industry.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：这就像席卷整个行业的浪潮。

Holly George-Warren, Author: People started actually verbalizing what everyone had known for a hundred years, that blue jeans are sexy.

霍莉·乔治·沃伦（Holly George-Warren），作者：人们开始真正用语言表达一百年来大家都知道的事实：蓝色牛仔裤很性感。

Emma McClendon, Fashion Historian: By the late 1970’s designer jeans were chipping away at the fashion hierarchy--

艾玛·麦克伦登 (Emma McClendon)，时尚历史学家：到 1970 年代末，设计师牛仔裤正在逐渐削弱时尚等级制度——

Melissa Leventon, Curator: They make it acceptable for anyone to wear a pair of jeans any time.

Melissa Leventon，策展人：它们让任何人都可以随时穿牛仔裤。

Valerie Steele, Fashion Historian: Jeans undermine the idea of what fashion was supposed to be.

瓦莱丽·斯蒂尔（Valerie Steele），时尚历史学家：牛仔裤破坏了时尚的本来面目。

They were part of a more general democratization of fashion.

它们是更普遍的时尚民主化的一部分。

It suddenly becomes possible to wear jeans in almost all settings.

突然间，几乎在所有场合都可以穿牛仔裤了。

Kim Jenkins, Fashion Historian: In the late 1970s around the Bronx in New York City, we start to see hip hop emerge

Kim Jenkins，时尚历史学家：20 世纪 70 年代末，在纽约市布朗克斯区，我们开始看到嘻哈音乐的出现

Kim Jenkins, Fashion Historian: Denim jeans become this sort of a uniform.

Kim Jenkins，时尚历史学家：牛仔裤成为了这种制服。

Tanisha Ford, Historian: For African Americans, a pair of designer jeans came with a lot of value.

历史学家塔尼莎·福特：对于非裔美国人来说，一条名牌牛仔裤具有很大的价值。

That's why we get language coming straight out of hip hop, like fresh, dope, fly,

这就是为什么我们的语言直接来自嘻哈音乐，比如“fresh”、“dope”、“fly”，

Tanisha Ford, Historian: You know, because that spoke to the value of clothing.

历史学家塔尼莎·福特：你知道，因为这说明了服装的价值。

Tommy Hilfiger, Designer: Hip hop changed denim in a very big way.

Tommy Hilfiger，设计师：嘻哈音乐极大地改变了牛仔布。

The hip hop stars started going on tour and doing MTV videos wearing really cool clothes.

嘻哈明星开始巡演并穿着非常酷的衣服制作 MTV 视频。

The way in which it was worn was very different.

佩戴方式非常不同。

Kim Jenkins, Fashion Historian: In the early 80s, with bands like Run DMC, it's just more of a straight look, but then it becomes more baggy.

Kim Jenkins，时尚历史学家：在 80 年代初，像 Run DMC 这样的乐队，它只是更加直率的外观，但后来变得更加宽松。

Tanisha Ford, Historian: and then they started to wear brands like Ralph Lauren, and Nautica, Tommy Hilfiger.

塔尼莎·福特 (Tanisha Ford)，历史学家：然后他们开始穿 Ralph Lauren、Nautica、Tommy Hilfiger 等品牌。

Those brands represented a lifestyle that historically African-Americans have been excluded from.

这些品牌代表了一种历史上非裔美国人被排除在外的生活方式。

Jonathan Square, Fashion Historian: I mean when we think about those brands, we think about the country club or yachting.

Jonathan Square，时尚历史学家：我的意思是，当我们想到这些品牌时，我们会想到乡村俱乐部或游艇。

Jonathan Square, Fashion Historian: By putting a brand like Ralph Lauren or Tommy Hilfiger on their backs they were changing the meaning of the brand.

时尚历史学家 Jonathan Square：通过背上 Ralph Lauren 或 Tommy Hilfiger 这样的品牌，他们正在改变品牌的含义。

This brand that's associated with all-American identity or whiteness becomes associated with hip hop culture.

这个与全美身份或白人相关的品牌也与嘻哈文化联系在一起。

Kim Jenkins, Fashion Historian: Not only do we see hip hop artists able to remix sounds, like in music, but they're also able to take clothing and remix it for their own means.

Kim Jenkins，时尚历史学家：我们不仅看到嘻哈艺术家能够像音乐一样重新混合声音，而且他们还能够以自己的方式重新混合服装。

To get your hands on that clothing and wear it is subversive in a way.

拿到那件衣服并穿上它在某种程度上是颠覆性的。

Because it is saying I'm not supposed to be wearing this, but look at me I am.

因为它说我不应该穿这个，但看看我，我穿了。

Kim Jenkins, Fashion Historian: Hip hop really helped to take command of the denim narrative.

Kim Jenkins，时尚历史学家：嘻哈音乐确实有助于掌控牛仔布叙事。

Valerie Steele, Fashion Historian: Jeans are probably the single most iconic garment of the 20th century.

Valerie Steele，时尚历史学家：牛仔裤可能是 20 世纪最具标志性的服装。

They have had a real impact on how people present themselves to the world.

它们对人们向世界展示自己的方式产生了真正的影响。

Each generation keeps rediscovering how jeans can be meaningful for them.

每一代人都不断重新发现牛仔裤对他们的意义。

Seth Rockman, Historian: Blue jeans are an amazing thing for anyone trying to tell a broader history of the United States, because It allows you to talk about slavery.

历史学家赛斯·洛克曼（Seth Rockman）：对于任何试图讲述更广泛的美国历史的人来说，蓝色牛仔裤是一件令人惊奇的事情，因为它让你可以谈论奴隶制。

It allows you to talk about fashion and consumerism.

它可以让你谈论时尚和消费主义。

It allows you to talk about cool and the invention of cool and have all of these things under the same heading, is really quite remarkable.

它允许你谈论酷和酷的发明，并将所有这些东西放在同一个标​​题下，这确实是相当了不起的。

Emma McClendon, Fashion Historian: Denim and its history is a perfect metaphor for where we find ourselves as a culture right now.

艾玛·麦克伦登（Emma McClendon），时尚历史学家：牛仔布及其历史是我们现在作为一种文化的完美隐喻。

Becoming much more aware of the silences, of those groups that have been pushed to the side.

更加意识到沉默，以及那些被推到一边的群体。

Exposing and celebrating these narratives that haven't made it into that typical telling of jeans is part of the work to change our understanding of American history.

揭露和庆祝这些尚未进入牛仔裤典型叙述的叙述是改变我们对美国历史理解的工作的一部分。

Tanisha Ford, Historian: It's a long journey from slave cloth to hip-hop denim and baggy jeans ruling the denim market in the mid 1990s.

历史学家 Tanisha Ford：从奴隶布到嘻哈牛仔布和宽松牛仔裤统治 20 世纪 90 年代中期的牛仔布市场，这是一个漫长的过程。

As I sit here in a denim jacket, you know it's clear to me that we can see the rich tapestry of where we've been as a people, as a nation.

当我穿着牛仔夹克坐在这里时，你知道，我很清楚，我们可以看到我们作为一个民族、作为一个国家所经历的丰富的织锦。

Kim Jenkins, Fashion Historian: The thing about the denim jean is it tells a story of who we are.

Kim Jenkins，时尚历史学家：牛仔裤的特点是它讲述了我们是谁的故事。

It is a garment that's almost like keeping the fingerprints of our history.

这件衣服几乎就像保留了我们历史的指纹。

The creases, the tears, all of it.

皱纹，泪水，所有这些。

You can repair it all you want, mend it all you want, but the scars of that, you know, the memory, that material memory will remain there.

你可以随心所欲地修复它，随心所欲地修补它，但是你知道，记忆、物质记忆的伤痕将留在那里。

Over the fourth of July weekend in 1947, 4,000 motorcycle riders, wearing leather jackets and blue jeans roared into Hollister, California.

1947 年 7 月 4 日的周末，4,000 名身穿皮夹克和蓝色牛仔裤的摩托车手呼啸着驶入加利福尼亚州霍利斯特。

From leisure suits to low-rise cuts, a brief history of the all-American fabric.

从休闲西装到低腰剪裁，美国面料的简史。

Historian and author Tanisha Ford and Dean of Fashion at Parsons School of Design Ben Barry speak with fashion historian Cassidy Zachary about how fashion has contributed to many of the most influential social movements in American history.

历史学家兼作家塔尼莎·福特 (Tanisha Ford) 和帕森斯设计学院时尚系主任本·巴里 (Ben Barry) 与时尚历史学家卡西迪·扎卡里 (Cassidy Zachary) 讨论时尚如何为美国历史上许多最具影响力的社会运动做出贡献。

You might think that Levi Strauss invented jeans.

您可能会认为牛仔裤是李维·斯特劳斯发明的。

In reality he is the man who brought them to market and made millions.

事实上，他是将这些产品推向市场并赚了数百万美元的人。

Take a minute and picture the cowboy.

花一点时间想象一下牛仔。

He’s got on his hat and boots, maybe a gun on each hip, and, of course, his well-worn blue jeans.

他戴着帽子，穿着靴子，也许两侧臀部各挂着一把枪，当然，还有他那条破旧的蓝色牛仔裤。

Put on your favorite pair of blue jeans and shake your booty to this denim-themed playlist.

穿上你最喜欢的蓝色牛仔裤，随着这个牛仔主题的播放列表摇动你的战利品。

Classic yet surprising, just as it should be.

经典而又令人惊讶，正如它应该的那样。

Denim is the quintessential American fabric.

牛仔布是典型的美国面料。

Yet its possible origins are spread across the globe.

然而其可能的起源遍布全球。

Watch a preview of Riveted: History of Jeans

观看铆接预览：牛仔裤的历史

Discover the fascinating and surprising story of this iconic American garment.

探索这款标志性美国服装的迷人而令人惊奇的故事。