about being a costume designer

關於做服裝設計師

is that, in many ways, you're also a psychologist,

是，在很多方面，你也是一個心理學家。

you're an art director,

你是一個藝術總監。

you're in the background and you're in the foreground.

你在背景中，你在前景中。

And being able to balance that

而能夠平衡這一點

with all the creative input

集思廣益

becomes very difficult and challenging at times.

變得非常困難，有時也很有挑戰性。

[upbeat piano music]

[歡快的鋼琴曲]

My name is Ruth Carter and I'm a costume designer.

我叫魯思-卡特，是一名服裝設計師。

There are lots of people

有很多人

and layers to creating a costume,

和層次來創造服裝。

from getting a person dressed for the set,

從讓一個人穿上套裝。

to communicating ideas,

以溝通思想。

that I'm constantly paring it down.

我不斷地把它縮小。

We all want to take the lead,

我們都想帶頭。

and show our stuff,

並展示我們的東西。

and be out front.

並在前面。

And, "Look at me, look at me."

還有，"看著我，看著我"。

But a lot of times it's, "Don't look at me."

但很多時候都是 "別看我"。

And a lot of times it's let's be subtle.

而且很多時候，我們要含蓄一點。

I don't do a lot of subtle films,

我不怎麼拍精巧的電影。

but believe it or not,

但信不信由你

there is a dialing down

有調低

and a constant understanding of the bigger picture,

以及對大局的不斷了解。

the composition.

的組成。

And I have to consistently be aware of the intent

而我必須始終如一地意識到這一意圖。

and the composition of each scene,

以及每個場景的構成。

and let all of the parts come together and have synergy.

並讓所有的部分聚集在一起，產生協同效應。

I got into costume design,

我進入了服裝設計。

kind of as a default,

樣作為默認。

I was studying acting in college,

我在大學裡是學表演的。

and I didn't make the role that I was going after.

而我並沒有成為我所追求的角色。

And the instructor who was actually directing the play

而實際執導該劇的教官

asked me if I wanted to do the costumes instead.

問我要不要改做服裝。

And it was kind of like the constellation prize.

而這有點像星座獎。

I said, okay,

我說，好吧。

because I had dabbled in sewing as a kid

因為我從小就對縫紉有興趣

and I gave it a try and it stuck.

我試了一下，就堅持下來了。

And I have worked on everything from School Daze,

我曾參與過《學校迷霧》的所有工作。

to B.A.P.S, Do the Right Thing, Mo' Better Blues,

到B.A.P.S.，做正確的事，Mo' Better Blues。

I'm Gonna Git You Sucka,

我要去找你，混蛋。

Selma, Malcolm X, and Black Panther.

塞爾瑪、馬爾科姆-X和黑豹。

When I first started as a costume designer,

當我剛開始做服裝設計師的時候。

I was very much focused on doing the illustrations

我非常專注於做插圖。

and going through the process.

並經歷了這一過程。

And then as we traveled through the years,

然後隨著我們走過的歲月。

costume design has evolved to be illustration process,

服裝設計已經發展為插畫過程。

involves more people.

涉及更多的人。

It's more digital.

更是數字化的。

I was, you know, working on one sheet of paper

我是，你知道，工作在一張紙上。

with my pens or my brushes.

用我的筆或我的刷子。

And now we're illustrating by computer.

現在我們用電腦來說明。

We are creating costumes with 3D printing.

我們正在用3D打印製作服裝。

We can actually, you know,

我們其實可以，你知道的。

really see 3D renderings of what we're creating.

真正看到我們正在創造的3D渲染。

So we can look at a costume

所以我們可以看一下服裝

from all angles before we begin the build process.

在我們開始建造過程之前，從各個角度。

So we're much more informed now

所以我們現在的信息量大了很多

even though I think my original approach

儘管我認為我原來的做法

to costume design still is alive and well.

到服裝設計仍然是活生生的。

There's nothing more beautiful

沒有什麼比這更美了

than a sketch done on a piece of art paper.

比在一張美術紙上畫的草圖。

But now we can use our digital process

但現在我們可以使用我們的數字過程

to reverse things that we don't like much easier

顛覆我們不喜歡的東西更容易。

than it was from that first idea.

比起當初的想法。

[mellow piano music]

[圓潤的鋼琴曲]

When I was first asked to do Black Panther,

當我第一次被邀請去拍《黑豹》的時候。

I thought, "Why me?"

我想，"為什麼是我？"

I had never done a superhero film before.

我以前從來沒有拍過超級英雄電影。

And walking into Marvel was similar

而走進萬科也是如此

to me like walking maybe into the CIA,

對我來說，就像走進中情局一樣。

you know, doors mysteriously slammed behind you.

你知道，門神祕地關在你身後。

You get your eyes scanned.

你的眼睛被掃描了。

And I walked into a room with Ryan Coogler and Nate Moore.

我和Ryan Coogler還有Nate Moore一起走進了一個房間。

And, you know, I found myself welcomed to the team.

而且，你知道，我發現自己很受歡迎。

Ryan was asking me questions

瑞安在問我問題

about Malcolm X and other films that I had done.

關於馬爾科姆-X和其他我拍過的電影。

And I felt like I had been designing superheroes already,

而且我覺得我已經在設計超級英雄了。

real life superheroes.

現實生活中的超級英雄。

And that's what he wanted me

這也是他希望我

to bring to the Black Panther film.

來帶入黑豹電影。

Coming into designing for Black Panther

來為《黑豹》做設計

was definitely a multi-tiered process.

絕對是一個多層次的過程。

There was a Wakandan Bible that gave us some direction

有一本瓦坎丹聖經，給了我們一些方向。

for creating the looks for many of the tribes.

為許多部落創造外觀。

When you're building a world, you can't take for granted

當你在建立一個世界的時候，你不能認為這是理所當然的。

that it's gonna be a one dimensional kind of a thing.

這將是一個單一維度的東西。

It was multi-tiered, multi-dimensional.

它是多層次、多維度的。

And as we delved into each individual costume,

而當我們深入瞭解每個人的服裝。

for example, the costume for Okoye,

比如奧科耶的服裝。

who is the general for the Dora Milaje,

誰是多拉米拉傑的將軍。

we wanted to have a uniform.

我們想有一個統一的。

We didn't want a cheerleader skirt and a bikini top.

我們不想穿拉拉隊的裙子和比基尼上衣。

We wanted these women to be taken seriously in a uniform,

我們想讓這些穿著制服的女人認真對待。

because they are protecting the King,

因為他們在保護國王。

King T'Challa, the Black Panther.

T'Challa國王，黑豹。

And so it was Ryan Coogler

所以是瑞恩-庫格勒

who felt like they should be flat on the ground,

誰覺得自己應該平地而起。

split toe boot,

分趾船。

no heels, no wedge boots.

沒有高跟鞋，沒有楔形靴。

And we crafted a costume

而我們製作了一套服裝

that really did represent all the areas of Africa.

這確實代表了非洲的所有地區。

You have bead work from the Turkana tribe.

你有圖爾卡納部落的珠子作品。

You have a leather skirt wrapped like the Himba women,

你的皮裙裹得像緋巴族婦女一樣。

who soaked the skins of the calf

是誰把小牛的皮浸透了？

and stretch the edges so that it ruffles.

並拉伸邊緣，使其褶皺。

When I viewed a lot of the techniques

當我看到很多技術

that were used for a lot of indigenous African craft

用於許多非洲土著手工藝的產品。

and tribalwear,

和部落服飾。

I saw so many beautiful ways

我看到了這麼多美麗的方式

that we could represent it on this costume.

我們可以在這套服裝上表現出來。

We have the Ndebele neck rings and arm rings

我們有Ndebele的頸環和臂環。

that represents South Africa.

代表南非。

But we wanted the neck rings to feel like jewelry.

但我們希望頸環的感覺像珠寶。

So we actually got a jewelry designer

所以，我們實際上得到了一個珠寶設計師

to come in and create our prototypes for those pieces.

來為這些作品創造我們的原型。

So there are so many ways

所以有這麼多方法

in which the Dora Milaje costume honors the female form.

其中，多拉-米拉傑的服裝尊重女性形態。

It has a leather harness

它有一個皮質的馬具

that travels around the body,

在身體周圍傳播的。

and you'll see it wrap around the bust area,

你會看到它包裹著胸圍區域。

and into the waist.

並進入腰部。

And in between there's a raised printing

而中間有一個凸起的印刷

that mimics scarification.

模仿疤痕化的。

Different tribal customs use scarification

不同部落的風俗習慣使用疤痕化

as identifying their origin.

作為識別其來源，

Sometimes the scars are on the face.

有時疤痕在臉上。

Sometimes the scars are on the body.

有時候疤痕在身上。

And you'll see that represented

你會看到，代表了

in many areas and many aspects of different tribal customs.

在許多領域和不同部落習俗的許多方面。

And so this Dora Milaje costume would not be complete

所以這套Dora Milaje服裝就不完整了。

without some representation of that tradition.

如果沒有這種傳統的某種代表，那麼就會出現這種情況。

To design for Queen Ramonda,

要為雷蒙達女王設計。

it was very stressful for me at first,

一開始對我來說是非常緊張的。

because in the comics Queen Ramonda is walking around

因為在漫畫中雷蒙達女王走來走去。

in yoga pants and barefoot,

穿著瑜伽褲，光著腳。

and she has her white, beautiful dreadlocks.

她有她的白色，美麗的辮子。

And, you know, she's very easygoing,

而且，你知道，她很平易近人。

and because we're making a movie,

因為我們在拍電影

and I really wanted you to recognize her as the Queen

我真的很想讓你承認她是女王。

at first glance,

乍一看

when we see her there on the landing pad

當我們看到她在登陸臺上的時候。

when T'Challa returns to Wakanda with Nakia,

當T'Challa帶著Nakia回到Wakanda時。

we know right away that that's the Queen.

我們馬上就知道那是女王。

And I think it's identifiable in her costume.

而且我覺得從她的服裝上可以辨別出來。

She has her shoulder mantle, which is 3D printed.

她的肩缽，是3D打印的。

She has her isicholo,

她有她的伊希科洛。

which is the married woman's hat from South Africa.

這是南非的已婚婦女的帽子。

And one of the main reasons why it was important

而其中一個重要的原因是

to 3D print that piece was I needed it to be perfect.

要3D打印那塊是我需要它是完美的。

If Wakanda is this forward-thinking place

如果瓦坎達是這樣一個有遠見的地方的話。

that's leading in technology,

處於技術領先地位的。

the Queen would definitely have pieces

皇后一定會有的

that represented tradition,

代表傳統的。

but also represented new innovations.

但也代表了新的創新。

The first Black Panther suit

第一套黑豹服

was seen in the film Captain America: Civil War.

在電影《美國隊長》中出現過。內戰。

I think it was added maybe well into the production.

我想這也許是在製作過程中加入的。

And so there were a lot of things

所以有很多事情

that weren't really sussed out completely.

沒有真正完全搞清楚的。

So by the time I came onto

所以當我來到

the full-blown Black Panther film,

全面的黑豹電影。

I brought the costume to my office

我把服裝帶到了我的辦公室

and I put it on a mannequin,

我把它放在一個人體模型上。

and I thought, "Hmm, you know,

我想，"嗯，你知道的。

the mannequins just really don't give you the magic.

人體模特兒只是真的不給你的魔法。

Maybe I need Chadwick Boseman to come into my office."

也許我需要查德威克-博斯曼來我的辦公室。"

He came in and he put the suit on,

他進來了，他把西裝穿上。

and it was magical.

這是神奇的。

And he stretched,

他還伸了個懶腰。

and he did his karate poses,

他做了他的空手道姿勢。

and he did all this stuff

他做了這一切的東西

in my office and I was completely floored.

在我的辦公室裡，我完全被震撼了。

I wanted to step in

我想插手

and give it my personal spin.

並給予它我個人的旋轉。

I felt like there needed to be a connection

我覺得需要有一個連接

between the suit and the place, in Wakanda,

服和地方之間，在瓦坎達。

and I saw that there was an opportunity

我看到有一個機會

to add a surface pattern

添加表面圖案

to the suit,

到訴訟。

which was a triangle.

這是一個三角形。

The triangle is sacred geometry of Africa,

三角形是非洲神聖的幾何圖形。

I like to say.

我喜歡說。

It means the father, the mother, and the child.

這意味著父親、母親和孩子。

And because we needed a surface texture,

而且因為我們需要一個表面紋理。

the triangle was developed.

三角形的發展。

But the suit itself,

但西裝本身。

it was designed by Adi Granov

它是由Adi Granov設計的

of the Marvel visual development team.

漫威視覺開發團隊的。

And people don't realize

而人們並沒有意識到

that it really does take a team

團結一心

to create all of the beautiful things that are developed.

來創造一切美好的事物，開發。

There's hundreds of illustrations that are put forward.

有幾百個插圖被提出來了。

And then it comes into my world.

然後它就進入了我的世界。

My world is one of design

我的世界是一個設計的世界

and it's also one of materialization.

而這也是一種物化。

And the materialization of the costumes is a big,

而服裝的材質化是一個大。

it was responsibility to understand how the textures

有責任瞭解紋理如何

will work together.

會一起努力。

And once we materialize these things, we do prototypes.

而一旦我們把這些東西具體化，我們就會做原型。

And so I did a prototype of the Panther skin,

於是我做了一個黑豹皮膚的原型。

as you might call it.

你可以叫它。

Several prototypes were developed

開發了幾個原型

and submitted for the Marvel executives

並提交給漫威高層

and Ryan Coogler to take a look at.

和瑞恩-庫格勒來看看。

And so they chose the one that they liked.

於是他們選擇了自己喜歡的那一個。

And then we made the complete suit.

然後我們做了一套完整的衣服。

[mellow piano music]

[圓潤的鋼琴曲]

I worked with Eddie Murphy for so many years.

我和埃迪-墨菲一起工作了這麼多年。

It was a reunion of sorts.

這也算是一次團圓。

It gave me an opportunity to reacquaint myself

這讓我有機會重新認識了自己。

with his body type,

與他的體型。

and how things change as you get a little bit older.

以及隨著年齡的增長，事情的變化。

Things do change.

事情確實發生了變化。

So at that point,

所以在那個時候。

I needed to go back to the first movie,

我需要回到第一部電影中去。

and really study it

潛心研究

and find the things that we wanted to extract and keep,

並找到我們想要提取和保留的東西。

and then move it forward.

然後將其推進。

I mean, going from Wakanda to Zamunda,

我是說，從瓦坎達到扎門達。

it really needed to have its own signature

它真的需要有自己的簽名

and its own look.

和自己的樣子。

When I was on Black Panther,

我在《黑豹》的時候

I would tell my crew and everyone coming onto the job that,

我會告訴我的團隊和每一個上崗的人。

"Hey, this is not Coming to America.

"嘿，這不是來美國。

Even though it was a great film,

儘管這是一部偉大的電影。

Wakanda needed to really have its own identity.

瓦坎達需要真正擁有自己的身份。

And here I am on Coming to America,

而我在《來美國》上。

saying to everyone, "This is not Wakanda."

對大家說，"這裡不是瓦坎達"

So I really examined what was really great about the design

所以，我真正研究了設計的真正優點是什麼？

on the first movie,

在第一部電影上。

and what we really could expect in a sequel,

以及我們真正能期待的續集。

because we're much more sophisticated now.

因為我們現在更復雜了。

We have seen African royalty,

我們已經看到了非洲的皇室成員。

and we really need to address the audience

我們真的需要對觀眾

and their knowledge of Africa.

以及他們對非洲的瞭解，

One of the things that we...

其中一件事，我們...

I would like to say we modernized,

我想說的是，我們實現了現代化。

or we made different in Coming to America,

或者說我們在《來美國》中做了不同。

was we were cruelty-free.

是我們是無虐待的。

If you remember, the King wears a lion on his shoulder

如果你還記得，國王的肩膀上有一隻獅子

when he comes to America.

當他來到美國。

And Prince Akeem, he also wears like an ocelot

還有阿基姆王子，他也穿得像個小貓一樣

over his shoulder.

在他的肩膀上。

And in the new Coming to America

而在新的《來美國》中

we decided that we would 3D print the lion on the shoulder.

我們決定，我們將3D打印獅子的肩膀。

And I like the idea of it being a piece of jewelry as well.

而且我也喜歡它是一件首飾的想法。

So we printed it in gold,