Name: 瑪莉官：時尚革命 | 揭開巨星的傳奇歷程 | Absolute Documentaries (Mary Quant: The Fashion Revolution | Unveiling the Icon's Journey | Absolute Documentaries)
Uploaded: 2026-02-16T15:15:48.000Z
Duration: 23 min 31 s

Mary Korn is someone who's credited often with designing miniskirts and really is one of the main people that is responsible for the 60s look.

Mary Quant 經常被認為是設計 miniskirts 的功臣，也是 60s look 的主要推手之一。

第二類條件句型

If you were going to a fancy dress party and you wanted to go as a 60s mod, you would be dressing in everything that Merrick once invented.

如果你要去參加 fancy dress party，又想打扮成 60s mod 風格，你就會穿上 Mary Quant 發明的服飾。

程度副詞

我覺得她真的讓女性更 emancipated 了。

She completely transformed the way in which young women could and were dressing.

她徹底 transformed 了年輕女性的穿著方式。

Marycourt was a young woman, she was fashionable, she had a great haircut and she was skinny and she could wear her clothes.

Mary Quant 年輕時很 fashionable，有個很棒的 haircut，身材 skinny，而且她能駕馭各種服飾。

She was an embodiment of the brand Mariquant.

她是 Mariquant 這個 brand 的 embodiment。

She not only achieved success in the 1960s, but she actually defined that decade.

她不只在 1960 年代 achieved success，更是定義了那個年代。

Mary Quant was born Barbara Mary Quant in February 1934 in Blackheath in London.

Mary Quant 本名 Barbara Mary Quant，於 1934 年 2 月 born 在 London 的 Blackheath。

Her parents were Welsh, they were actually from mining families, but both had trained to be teachers.

她的 parents 是 Welsh 人，來自礦工家庭，但他們都受過教師訓練。

And when Mary very early on expressed an interest in fashion design as a career, they both discouraged it.

當 Mary 很早就對 fashion design 這個職業表現出興趣時，他們兩人都極力反對。

Mary wound up taking a diploma to become an art teacher at Goldsmiths College in London.

Mary 最後在倫敦的 Goldsmiths College 拿到藝術老師的文憑。

But during the evening she took pattern making classes because there was always an interest in fashion, always an interest in creating her own clothing, in creating, I guess, her own identity through, through fashion.

但晚上她會去上製衣課程，因為她一直對 fashion 很有興趣，一直想做自己的衣服，我想，透過 fashion 創造自己的身份。

She, she was completely introduced to the most amazing sort of beatnik esque people.

她接觸到一群超讚的、有點像 Beatnik 的人。

There was a real exciting ripple going on in the 50s in London.

五十年代的倫敦正經歷一股很令人興奮的浪潮。

她也是其中非常重要的一部分。

When she gained her diploma from Goldsmiths, she then went to work at a milliner's called Eric's and she said at this time she had very little money so she didn't really eat very often and it was very badly paid.

從 Goldsmiths 拿到文憑後，她到一家叫 Eric's 的帽子店工作，她說那時候她錢很少，所以常常沒東西吃，薪水也很低。

But she also had begun developing her own kind of designs.

但她也開始發展自己的設計風格。

It's interesting how Mary Quant's experience of 1950s London really colored her later designs.

有趣的是，Mary Quant 在 1950 年代倫敦的經驗，真的影響了她後來的設計。

She's talked about the invention of the miniskirt as being.

Because she thought the Chelsea girls had wonderful legs and she wanted to show them off.

因為她覺得切爾西的女孩們擁有一雙美腿，她想讓大家看到。

So really it's about this kind of mixing in different spheres of influence, mixing with different people, seeing this sort of new energy on the streets in London.

所以其實是關於這種在不同影響圈的融合，與不同的人交流，看到倫敦街頭這種新的能量。

And by the 1950s, London and fashion as a whole across the world was really changing.

到了 1950 年代，倫敦和全球的時尚界真的都在改變。

There was this emergence in America and subsequently across Europe of this idea of the teenager as being a cultural movement in its own right.

美國開始出現，接著歐洲也跟著出現，青少年本身就是一種文化運動的概念。

And it's really starting to influence popular culture and then subsequently influence fashion.

這真的開始影響流行文化，然後進而影響時尚。

And really Mary Quant is kind of absorbing all of those things.

Mary Quant 其實就是在吸收所有這些東西。

She's, she's seeing this youth being expressed across culture, across fashion and, and

她看到年輕一代在文化、在時尚中的展現，

During her time at Goldsmith College, Mary Quant met future husband Alexander Plunkett Green.

在戈德史密斯學院就讀期間，Mary Quant 遇見了她未來的丈夫 Alexander Plunkett Green。

She calls him the love of her life, you know, the one true love.

她稱他為她此生的摯愛，你知道的，唯一的真愛。

And so I think without him, her life may have been very different.

所以我覺得如果沒有他，她的人生可能會很不一樣。

He bought a building on the King's Road, and in the basement he opened a restaurant called Alexander's.

他買下了國王大道的一棟建築，並在地下室開了一家叫做 Alexander's 的餐廳。

But obviously that left the upstairs vacant.

And what ended up happening there was that space was given over to Mary.

然後發生的事就是，那個空間就給了 Mary。

And with the help of Alexander, with the collaboration of Alexander, she created Bazaar, which was the first shot.

在 Alexander 的幫助和合作下，她創立了 Bazaar，這是第一步。

1955 is the year that Bazaar opened on the Kings Road, which is really one of the main, you know, most important moments, I would say, within 20th century fashion history.

1955 年，Bazaar 在國王大道開幕，我認為這是 20 世紀時尚史上最重要的時刻之一。

She described it as kind of a bouillabaisse for the Chelsea set.

她形容那裡就像是切爾西名流的雜燴。

This whole idea that it was a shop that you could come into and you would be able to buy dresses and shoes and hosiery accessories, which at that point was still very new.

這整個概念就是，你可以走進一家店，買到洋裝、鞋子和襪飾配件，這在當時還是很新的。

People would go to specific places for these garments.

人們會去特定地方購買這些服飾。

You wouldn't generally go into kind of a one stop shop and be able to buy everything together and have everything coordinate into a look, which was very much what Mary Quant's Bazaar was about.

你不會一般地走進一傢什麼都有的店，然後能買到所有東西組合搭配出一個造型，這正是 Mary Quant 的 Bazaar 所代表的。

It was a really exciting moment in terms of her feeling a zeitgeist and really making garments for somebody or a group of people, people that weren't catered for at the time.

這對她來說是一個非常令人興奮的時刻，她感覺自己抓住了時代精神，為當時沒有被滿足到的人們，或是某一群人製作服飾。

And after the baby boomers had started, become kind of grown ups or teenagers, there was a real kind of demand for something new, something fresh.

在嬰兒潮世代長大或成為青少年後，大家對新事物、新風格的需求就出現了。

And this is really what she was tailoring to.

She was creating these pieces that people had wanted or perhaps hadn't known they wanted it.

她創造了這些人們渴望，或者甚至還不知道自己渴望的單品。

And they were very, very inspired by kind of childlike form, cut silhouettes, fluid lines.

這些設計深受童稚的造型、簡潔的線條和流暢的輪廓所啟發。

And what she actually used to do was go and buy the cloth at Harrods.

她實際上是去 Harrods 購買布料。

She would then make the clothes, hang them in Bazaar, they would sell and they would use the, the proceeds from that to go and buy more cloth, to make more clothes.

她會製作衣服，掛在 Bazaar 出售，然後用所得的收益去購買更多布料，製作更多衣服。

It was very much a kind of hand to mouth operation.

這基本上是一個非常「捉襟見肘」的營運模式。

There was no real understanding of business, certainly no real understanding of the garment business, of, of wholesale, of manufacturing of fabrics, that there was no real comprehension of the system of how things were done.

對於做生意，她其實沒有什麼概念，當然也對服飾業、批發、布料製造，完全沒有概念，不知道事情的運作系統是怎麼樣的。

But it says a lot about, about Quant, about her instincts, about her aesthetics and about her connection to that time, that what she was doing was obviously chiming with what people actually wanted to wear.

但這也說明瞭 Quant 本人、她的直覺、她的美感，以及她與那個時代的連結，她所做的東西很明顯地引起了大家想穿的共鳴。

These items that she was designing were full of childlike motifs.

她設計的這些單品充滿了童趣的圖案。

So these kind of nursery school pinafores, aprons.

像是這種幼稚園風格的圍裙、圍兜。

So I think it was almost a sort of an interesting play on, on what it meant to be these kind of in between age.

所以我覺得這有點像是很有趣的遊戲，關於「介於中間年齡」的意義。

It's not highly constructed clothes, like the kind of things being offered by Paris Couturiers.

這不是那種結構複雜的衣服，不像巴黎高級訂製服提供的款式。

And it's, it's really focused on kind of on reality and on a total look.

而且，它非常著重於現實和整體造型。

She's offering every element of the wardrobe for these young women to buy into.

她提供了年輕女性衣櫥裡的所有元素讓她們購買。

So the Mod movement at the time was a really important subcultural sort of gang or group.

所以當時的 Mod 風潮是一個非常重要的次文化團體或群組。

And Quant very much appealed to the mod girls.

而 Quant 非常受到 Mod 女孩們的喜愛。

She kind of catered for their look, which was very, very monochromatic, very clean lines, pinafores, sharp shapes, miniskirts.

她有點像是迎合她們的造型，那種非常、非常單色調、線條乾淨、吊帶裙、俐落的輪廓、miniskirts。

A real staple of the model look was the really doe eyed, heavily mascaraed false eyelashes.

那個 model 造型的真正標誌，就是那種無辜的、濃密睫毛膏刷出的假睫毛。

Alexander Plunkett Green had a real marketeer's mind.

Alexander Plunkett Green 真的有行銷頭腦。

And I think, you know, with Mary Quant's clothing and his kind of suggestions on what they call things and for example, bras called the booby Trap really kind of chimed with the brand's identity.

我覺得，你知道，Mary Quant 的服飾和他那種對事物命名方式的建議，像是胸罩叫做 booby Trap，真的跟 brand 的形象很搭。

To put the shop name on the shopping bag.

So bizarre was written in these huge fonts on the bag.

Bizarre 就這樣用超大的字體印在袋子上。

And Quant kind of reflects upon this ingenious move because all her customers then became her walking billboards.

Quant 對這個天才的舉動做了反思，因為她所有的顧客都變成了她的行動廣告招牌。

Everybody was walking around town and then people would stop each other in the street saying, where, where did you get that bag?

每個人都逛街，然後人們就會在街上互相問說，你那個包包是在哪裡買的？

And, and I think it became almost a way of being in the gang.

而且，而且我覺得這幾乎變成了一種幫派的歸屬感。

所有這些元素都結合在一起了。

In 1962, Mary Quant signed an agreement with J.C. penney, which was in effect licensing her name.

1962年，Mary Quant 和 J.C. penney 簽訂了一份協議，實際上是授權她的名字。

Mary Quant affiliated garments would appear in 1700 stores across the United States.

Mary Quant 聯名服飾將出現在美國的1700家商店。

And really what that indicated was an enormous shift in perceptions of Mary Quant, an enormous shift in the broadcast of her name.

這真的顯示了大家對 Mary Quant 的看法有了巨大的轉變，她的名字的傳播也有了巨大的轉變。

And it really made her name on a US stage and therefore on a global stage.

這真的讓她在美國舞臺上，進而也在全球舞臺上聲名大噪。

This whole idea that all of a sudden a new audience was introduced to Mary Quant.

這個概念，就是突然間有一個新的觀眾群認識了 Mary Quant。

And what that new audience was also introduced to was this style that became kind of symbolic of the swinging 60s.

而這個新的觀眾群也認識了這種風格，這種風格有點象徵著搖擺的60年代。

This style that became very much known as the London look, which are these kind of point staples of straightforward tunics, of short skirts, skirts of knitwear, matching things in block colors, op art prints, stripes.

這種風格非常出名，被稱為 London look，也就是這些經典單品：簡潔的長版上衣、miniskirts、針織裙、撞色搭配、op art 印花、條紋。

All of that stuff was, was sold across the United States under the Mary Quant label.

所有這些東西，都是以 Mary Quant 的品牌在美國各地販售的。

So people really came to identify her with this kind of brave new world of fashion, with this, these brave new Designs that were so different to what the fashion establishment were proposing.

所以大家真的開始將她與這種勇敢的新時尚世界連結在一起，與這些，這些勇敢的新設計連結在一起，它們與當時時尚界提出的東西截然不同。

When Mary Quant invades new realm of fashion, bright young girls are interested and so is the national press.

當 Mary Quant 進入時尚新領域時，時髦的年輕女孩們和全國媒體都對此感興趣。

When looking at her design notes, they really focus upon very geometric, sort of very graphic monochromatic stripes, scalloped edges, little details, but

看看她的設計筆記，她們非常專注於非常幾何、非常圖形的單色條紋、扇形邊緣、小細節，但

still very clean line of the actual garments.

Working with Twiggy was something that she did very early on.

和 Twiggy 合作是她很早就開始做的一件事。

Twiggy became this, this beautiful doe eyed, waifish kind of pin up of the 60s.

Twiggy 成為了60年代這位擁有美麗鹿眼、纖細身形的性感海報女郎。

And it was very much within, within amongst Mary Quant kind of aesthetic that Twiggy kind of blossomed, I think the, the black daisy symbol that with its five petals that, that Mary Quant invented in the 1960s.

我認為，Mary Quant 在1960年代發明的、有五片花瓣的黑色雛菊標誌，非常符合 Twiggy 在 Mary Quant 美學中的綻放。

It's really emblematic of that period as a whole.

It's really emblematic of this focus on very simple graphics, a kind of childlike simplicity and that chimes with the kind of childlike simplicity of the sort of clothes that Quant was making.

它確實象徵著這種對非常簡單圖形的關注，一種孩子氣的簡潔，這與 Quant 所製作的服裝那種孩子氣的簡潔非常契合。

我認為這是另一件很重要的事。

它是少女風，但仍然有女人味。

Watch on mobile devices or the big screen.

Throughout the 1960s, Mary Quant would be at the forefront of London's fashion scene.

在整個 1960 年代，Mary Quant 始終走在倫敦時尚的最前線。

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瑪莉官：時尚革命 | 揭開巨星的傳奇歷程 | Absolute Documentaries (Mary Quant: The Fashion Revolution | Unveiling the Icon's Journey | Absolute Documentaries)

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