編者按：在這個系列中，我們想給你透漏一下時裝設(shè)計師如何通過電影、音樂家、藝術(shù)家、大編輯、都市女孩為自己的設(shè)計發(fā)掘靈感的。

Who: In the Mood for Love
花樣年華

What: Movie
電影

Tell Me More: Acclaimed director Wong Kar-Wai releasedIn the Mood for Love in 2000. The film takes place in 1960’s Hong Kong and follows Chow Mo-wan and Su Li-zhen, two young married people who move in to the same building on the same day whose spouses are often away traveling. Eventually, they realize that their spouses are cheating on each of them, and their budding friendship gives way to feelings that go unrequited, as they don’t want to stoop to the same level as their respective partners. Already, their friendship is raising eyebrows in their small community, where friendships between men and women (who are married) are neither common nor accepted. Eventually Chow and Su attempt to start a life together, but their intended encounter results in a missed connection. Each time they seek each other out over the course of their lives, they miss each other, never to meet again.
讓我多了解了解這部影片：著名導(dǎo)演王家衛(wèi)在2000年執(zhí)導(dǎo)了電影《花樣年華》，影片的故事發(fā)生在1960年的香港，講述的是周慕云和蘇麗珍這兩個年輕人分別已婚，在同一天搬到了同一棟樓上，兩人的另一半經(jīng)常在外工作。最終，他們發(fā)現(xiàn)各自在外工作的配偶背著他們有了婚外情，他們二人萌芽的友誼讓步給不求回報的感情，因為他們都不想屈尊各自的另一半。不過他們二人的友誼已經(jīng)在這個小社區(qū)招來閑言碎語 ，在這個小社區(qū)，男女（尤其是已婚男女）之間的友誼很少見也不被人所接受。最終周和蘇嘗試著一起生活，但是已婚的經(jīng)歷讓二人最終還是錯過了彼此。每次他們在生命中尋求對方，他們都會錯過彼此，終究兩人不再見面。

In?the?Mood?for?Love?is?the?most?romantic?film?that?will?break?your?heart?into?the?most?amount?of?tiny?little?pieces,?so?tiny?that?you?will?be?unable?to?glue?them?back?together.?
《花樣年華》是最浪漫的電影，浪漫得讓你心碎，心碎到即使用膠水也無法再把心的碎片粘回到一起。

Signature Style: Director Wong Kar-Wai is known for his lush cinematography, courtesy of Christopher Doyle, the award-winning cinematographer with whom he has worked for most of his career. In In the Mood for Love this translates into slightly faded, saturated colors, and an overwhelming amount of visual stimuli on screen. The perspective is often changing, with camera shots taken from behind a plant or a nightstand, all to make the viewer feel like they are right in the room, standing very still so as to not be noticed.
影片風(fēng)格：導(dǎo)演王家衛(wèi)的攝影技高一籌，可謂是最佳攝影，該部影片獲攝影獎，他的大部分職業(yè)生涯都是攝影?！痘幽耆A》的翻譯版本較母語版本略顯褪色，飽和的色彩在屏幕上的視覺刺激有著壓倒性的優(yōu)勢。經(jīng)常變化遠(yuǎn)景背景，攝像頭拍攝的鏡頭后或是植物或是床頭，都讓觀眾覺得房間里的環(huán)境氣氛是對的，沒有鏡頭的時候就站著一動不動。

And the fashion? Oh the fashion! Su exclusively wears tailored cheongsams, or qipaos, as they are also known, made popular by Shanghai's elite in the 1920's. Done in sumptuous floral fabrics that closely follow the lines of Maggie Cheung's body, the dresses become another symbol of the repressed passion in the film. Meanwhile, Chow always wears a suit, his hair perfectly slicked back, a bastion of masculinity. The costume designer behind this and many other Wong Kar-Wai films, William Chang Suk-ping, once said in a rare interview that he asks himself, What is the ambience before beginning to put the visuals together (he is also the art director), and the result is intoxicating visuals that allow the viewer to get completely lost in the moment.?
然后說時尚？哦，時尚！蘇只穿量身定制的旗袍，因為他們也知道，旗袍在1920年的上海是很流行的。華麗帶碎花的面料完美勾勒出張曼玉的身材線條，禮服成為影片壓抑激情的又一象征。周先生總是穿著西裝，大背頭的發(fā)型設(shè)計，充滿陽剛之氣。這里少不了服裝設(shè)計師張碩平的功勞，王家衛(wèi)的許多電影他都是功臣。張碩平曾在少有的訪談中說道，他問自己，在開始剪輯（他也是藝術(shù)總監(jiān)）之前，我該營造什么樣的氛圍氣氛好呢？而剪輯結(jié)果實在是令人陶醉，讓觀眾完全迷失在此時此刻的氛圍里。

Chang Suk-ping has also unwittingly influenced fashion at large, despite having once said,I dont like fashion. Its transitory. His visions of beauty have influenced designers like Miuccia Prada who based a whole collection around his vision, and the countless other fashion editors who have created editorials inspired by the look. Once youve seen this film, its hard not to let romance dictate your aesthetics, and always be in the mood for love.
盡管曾有次張碩平說他不喜歡跟隨時尚，因為時尚轉(zhuǎn)瞬即逝，但他也不知不覺地被流行元素所打動。在他的整個合集中，他對美的詮釋影響了像普拉達(dá)這些大牌的設(shè)計師，這本合集為其他時裝編輯發(fā)掘出無數(shù)靈感?？催^這部電影的人，都認(rèn)為是浪漫主宰了你的審美觀，沉浸在花樣年華的美好年華中。