Ever since Alice fell down the rabbit hole in her white pinafore, aprons have been something of a fashion statement.
自從愛麗絲(Alice)身穿白色圍裙掉進兔子洞，圍裙就釀成了某種時尚宣言。
That bib was her most identifiable accessory, a signpost of the seductive tension between traditional girlhood and rebellion, as embodied by the character herself.
那件圍裙是她最顯眼的配飾，是傳統的女期和起義期之間誘人張力的標記，而這小我物恰是這類張力的典範代表。
This year is the 150th anniversary of the Lewis Carroll classic “Alice’s Adventures in Wonderland.” And as “The Alice Look,” a new exhibition at the Victoria and Albert Museum of Childhood in London, illustrates, the fashion world has been obsessed by her style ever since the book was published.
本年是劉易斯·卡羅爾(Lewis Carroll)的經典之作《愛麗絲周遊瑤池》(Alice’s Adventures in Wonderland)出書150周年。就像倫敦的維多利亞與艾伯特童年博物館(Victoria and Albert Museum of Childhood)的新展覽“愛麗絲造型”(The Alice Look)所展現的那樣，自從那本書出書以後，時尚界就迷上了她的作風。
Alice showed that an apron, like a handbag or a pair of shoes, is a highly efficient conduit of individual identity. It can transform a look and change an expectation.
愛麗絲註解，圍裙就像手袋或鞋子，能異常有用地轉達小我身份。它能改變一種造型，轉變一種等待。
And not only on the catwalk, but also in the kitchen. No wonder we have appropriated the once-utilitarian chef’s apron as our own. It doesn’t just protect from sauce splatter, grease stains and beet juice; it also projects personality and aesthetic choice, no matter the skill level or the ambition.
不但在秀台上，並且在廚房裏。難怪咱們已把曾僅具實勤奮能的大廚圍裙挪作己用。它不但能防備醬汁、油點和甜菜汁濺到身上，還能表示本性和審美，無論你的烹調程度有多高大概野心有多大。
This perhaps explains why, just as there are aprons in fashion (see the tough smithlike leather aprons and apron dresses in last February’s Fendi show and the cartoonish 1950s pinafore styles at Miu Miu), there are fashions in aprons.
這大概能說明為何，就像時尚界有圍裙同樣(好比客歲2月芬迪[Fendi]時裝秀上的刁悍鐵匠作風皮質圍裙和連衫圍裙和Miu Miu的20世紀50年月卡透風格圍裙)，圍裙也有本身的時尚。
There are workmen’s aprons, which are the culinary equivalent of streetwear: hardy leather and denim or selvage numbers with grommets and pockets that telegraph a tough-chef look, the better to carve up a goat and roast its carcass. The model might be the Stanley & Sons leather lap apron ($143), or the Search & Rescue split-leg apron (about $195). It’s expensive to look so hard-core.
有些是男工圍裙，相稱於烹調版的陌頭衣飾：壯實的皮料粗布圍裙，大概帶有扣眼和口袋的織邊圍裙，轉達出刁悍大廚的感到，最佳是穿戴它宰羊烘烤。這種圍裙的典範代表是Stanley & Sons的長及大腿的皮質圍裙(143美元)大概Search & Rescue的分腿圍裙(約195美元)。它們看起來便是根本款圍裙，以是價錢顯得有點貴。
There are decorative sunny aprons, like the black-and-white check from MacKenzie-Childs ($78) or the diner-stripe from Kate Spade ($30), the signifiers of the playful nature of the kitchen. These are good aprons for the sweet set, and for those who are fond of giving tradition a tweak.
也有一些生動的裝潢性圍裙，好比MacKenzie-Childs的詬誶格圍裙(78美元)或Kate Spade的餐廳條紋圍裙(30美元)，它們表達出廚房玩鬧的一壁。這些圍裙異常合適甜美的場所大概那些愛好輕微轉變傳統的人。
(Note: There is a difference between the “fun” apron and the “funny” apron — you know, the ones with naked bodies superimposed on the wearer’s body, or other sort of faux trompe l’oeil prints. The latter is a joke item, like the novelty tie, and is best avoided lest the joke be on you.)
(提醒：“風趣”的圍裙和“搞笑”的圍裙是兩碼事。你曉得，後者是把赤身圖象經由過程透視疊加在穿戴者身上。它們就像別致領帶，是用來搞笑的，以是最佳不要穿，省得你本身釀成笑柄。)
And there are tailored, minimal versions that are the culinary equivalent of, say, a Céline bag, so understated that they demand a level of connoisseurship to be understood. Think of aprons like Hedley & Bennett’s color-blocked waist-tied styles (from $40, on sale) or the Marcy Butler Italian linen V-neck Carol ($118) as a piece of tied-on sartorial semiology that reflects a fondness for both Scandinavia and the chemistry lab.
另有那種經心裁剪的極簡圍裙，它們相稱於烹調版的賽琳(Céline)手袋，異常樸實，懂得它們須要必定水平的觀賞力。好比，Hedley & Bennett的腰部系帶色塊圍裙(40美元起，特價)大概Marcy Butler的意大利亞麻V領卡羅爾圍裙(118美元)，後者是一種裁剪標記學，反應出對斯堪的納維亞作風和化學試驗室的兩重愛好。
“Curiouser and curiouser,” as Alice might say? Not at all. You’d feel like a pretender in a chef’s toque or checkered pants, but in an apron of your own choice, you can feel like yourself. It’s simply a matter of taste. In more than one sense of the word.
這是否是像愛麗絲說的，“愈來愈奇異了”?完整不是。假如戴著廚師帽或穿戴廚師方格褲，你會認為本身有點裝腔作勢，然則假如穿戴你本身遴選的圍裙，你會感到更像本身。這只是咀嚼題目。我指的是這個詞的多重寄義。
市場價：HK$ 110
