Shirley Kurata wore a pink long-sleeve T-shirt designed by her husband, Charlie Staunton; a vintage pink floral Comme des Garçons skirt; and yellow and purple Melissa x Opening Ceremony sneaker jellies, one of at least two pairs she owns. The large round L.A. Eyeworks glasses are exclusive to her, in a marbled pattern and tobacco color called “bronzino.”
雪莉·倉田(音)穿著一件由丈夫查理·斯坦頓設計的粉色長袖T恤;一條經典Comme des Garçons粉色印花短裙;黃紫兩色的Melissa x Opening Ceremony果凍運動鞋,這鞋她至少有兩雙。巨大的L.A. Eyeworks圓形眼鏡是她的專屬,使用了一種大理石圖案和被稱為「布龍齊諾色」的煙草色。
Kurata, who gives her age only as “Gen Xer,” has a signature style, mixing vintage with high-end designers, and is drawn to an intense color wheel — an exuberant look she has cultivated since her brother’s girlfriend gave her hand-me-down Barbies from the 1960s. (“I thought, ‘Wow, these clothes are so much cuter’ ” than Barbies from the ’80s, she recalled.)
被問及年紀時,倉田只回答她是「X世代」。她有一種標誌性的風格,融合了古著和高端設計師品牌,喜好強烈的配色——自從她哥哥的女友把自己的一些1960年代芭比娃娃給了她,她的這種活潑的風格就開始漸漸成形了。(「我心想,『哇,這些衣服太可愛了,比80年代那些好多了,」她回憶道。)
She has brought her aesthetic to the Linda Lindas’ new music video “Growing Up,” Rodarte’s recently released look book for its fall 2022 collection, the MiuMiu short film “House Comes With a Bird” and Vans’ capsule collection with rapper Tierra Whack. But perhaps most notably, this sought-after costume designer’s original eye was showcased in “Everything Everywhere All at Once,” this spring’s sleeper hit feature film.
她把她的美學帶進了美琳達樂隊(Linda Lindas)新出的音樂影片《長大》(Growing Up)、Rodarte近日推出的2022秋季系列造型冊、MiuMiu短片《此房附帶一隻鳥》(House Comes With a Bird)和Vans與說唱樂手蒂耶拉·瓦克合作的膠囊系列。不過,最能體現這位炙手可熱的戲裝設計師的原創眼光的,可能是今春黑馬電影長片《瞬息全宇宙》(Everything Everywhere All at Once)。
“She’s able to take the dumbest-looking things and turn them into high fashion,” said Daniel Kwan, who, along with Daniel Scheinert, directed “Everything,” which is now streaming. “In a lot of ways, she’s a kindred spirit to our process and very much focused on the same endeavor, putting highest and lowest on the same level and showing people maybe they’re two sides of the same coin.”
「她可以把看上去傻了吧唧的東西變成高品位時尚,」與丹尼爾·施恩奈特一同執導《瞬息全宇宙》的丹尼爾·關說,該片目前正在流媒體平台發行。「從很多方面看,她和我們惺惺相惜,都專注於同樣的目標,我們把最高的和最低的放在一個水平面上,讓人們看到這些也許只是同一枚硬幣的兩面。」
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“A lot of the movie is regular people wearing kind of frumpy things that are very specific to an IRS office or a laundromat, and it was exciting that Shirley was just as passionate about that as the far-fetched, wild aspects of it,” Scheinert said. “Shirley was a slam-dunk for this movie.”
「這片子很多時候是一些普通人穿著挺無聊的衣服,國稅局或洗衣店特有的那種,很高興雪莉能像對其中離奇和瘋狂的一面一樣,對這些也充滿熱情,」施恩奈特說。「雪莉是本片的亮點。」
For the film, Kurata spearheaded the costumes for actors Michelle Yeoh, Ke Huy Quan, Stephanie Hsu and Jamie Lee Curtis as they traveled between multiple universes — including nearly a dozen wild looks for Hsu, who played Joy Wang, the daughter of a Chinese American couple running a suburban laundromat, as well as the villain Jobu Tupaki.
在影片中,倉田為楊紫瓊、關繼威、許瑋倫和傑米·李·柯蒂斯等演員在不同宇宙間的穿梭設計了前衛的服裝——包括給飾演喬伊·王的許瑋倫做了10種以上的瘋狂造型,她扮演了一個在郊區開洗衣店的華裔美國家庭的女兒,以及大反派「豬八土扒姬」。
倉田領導製作了《瞬息全宇宙》的服裝,其中的人物在多個宇宙間穿梭,圖為傑米·李·柯蒂斯飾演的迪爾德麗·波貝雷。
倉田領導製作了《瞬息全宇宙》的服裝,其中的人物在多個宇宙間穿梭,圖為傑米·李·柯蒂斯飾演的迪爾德麗·波貝雷。 A24
「她可以把看上去傻了吧唧的東西變成高品位時尚,」與丹尼爾·施恩奈特一同執導《瞬息全宇宙》的丹尼爾·關說,圖為許瑋倫飾演的「豬八土扒姬」。
「她可以把看上去傻了吧唧的東西變成高品位時尚,」與丹尼爾·施恩奈特一同執導《瞬息全宇宙》的丹尼爾·關說,圖為許瑋倫飾演的「豬八土扒姬」。 Allyson Riggs
“The interesting parallel is my parents owned a laundromat, too,” said Kurata, who grew up in the Los Angeles suburb Monterey Park and attended an all-girls Catholic high school in La Cañada Flintridge. “I really related to Joy’s character.”
「有意思的是我父母也開洗衣店,」在洛杉磯郊區蒙特雷公園長大、曾在拉肯亞達-弗林楚奇一所天主教女子高中讀書的倉田說。「喬伊這個角色我感同身受。」
Based in Los Angeles, Kurata describes herself as a “creative collaborator.” She has dressed Billie Eilish (including for her current world tour), Whack, Lena Dunham, Jenny Lewis and Pharrell Williams. Among her fans are directors Autumn de Wilde, Cat Solen and Janicza Bravo. And Kurata herself emits an aura of celebrity — as a fashion icon, a model, a muse and a co-owner, along with her husband, of the lifestyle store Virgil Normal — even if fame is not how she measures her success.
在洛杉磯生活的倉田自稱是個「創意合作者」。她給比莉·艾利什(包括她目前的世界巡演)、瓦克、莉娜·杜漢姆、珍妮·劉易斯和法瑞爾·威廉斯做過造型。她的擁躉包括導演奧特姆·德瓦爾德、凱特·索倫和詹妮克扎·布拉沃。倉田自己也散發著一種名流氣息——時尚教主、模特、繆斯、和丈夫共同經營著生活方式商店Virgil Normal——儘管聲名並不是她衡量成功的標準。
The youngest of four children in a Japanese American family, she said she didn’t fit in at her “predominantly white and preppy” school. At a freshman ice cream social, she recounted, “One of the seniors asked me earnestly, ‘Do you speak English?’ ”
作為一個日裔美國家庭四個孩子中最小的一個,她說她跟自己曾就讀的那所「以白人和預科生為主的」學校不太對付。她記得在一次新生的冰淇淋聚會上「有個學長一本正經地問她,『你會說英語嗎?』」
“You’re just as American as these other white students,” she said. “But in terms of the mainstream, there wasn’t much that reflected who you were. It was always a challenge or dilemma to assert your Americanness.”
「你和其他白人學生一樣,都是美國人,」她說。「但就主流而言,沒有多少東西能反映你的身份。明確你的美國屬性一直是一種挑戰或困境。」
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She expressed herself through fashion.
她通過時尚來表達自己。
“I was really into Japanese magazines,” Kurata said, adding that she loved the fashion and styling and would try to do her own version on “free-dress days,” when school uniforms weren’t required. “I had a friend that lived in Orange County, and she introduced me to the whole world of thrift shopping.” While studying art at Cal State University Long Beach, she decided to move to Paris to study fashion design.
「我真的很喜歡日本雜誌,」倉田說。她還說,她喜歡日本的時尚和造型,在不要求穿校服的「自由著裝日」,她會嘗試穿自己製作的制服。「我有個朋友住在奧蘭治縣,她向我介紹了整個淘二手貨的世界。」在加州州立大學長灘分校學習藝術期間,她決定搬到巴黎學習時裝設計。
It was during this formative three-year period attending Studio Berçot, known for its avant-garde curriculum, that Kurata’s interest in film burgeoned. “There was such a big appreciation for filmmakers and there would always be film festivals — Godard, Jacques Tati,” she recalled. “I was like, ‘Who is this Cassavetes?’ I had a thirst for seeing cult and indie films and the fashion in them.”
在以前衛課程著稱的貝考工作室學習的三年時間給她帶來了巨大的影響,她在那裡萌生了對電影的興趣。「那裡對電影人很看重,總有那麼多電影節——戈達爾,雅克·塔蒂,」她回憶。「我當時想,『這個卡薩韋蒂斯是什麼人?』我渴望看到邪典電影和獨立電影,以及其中的時尚。」
“I really consider Shirley to be one of the top five stylists in the world,” said Peter Jensen, chair of fashion at the Savannah College of Art & Design. Jensen founded (and has since sold) a namesake label that once featured a collection inspired by Kurata — with color-blocked ’60s silhouettes and models all sporting her glasses and hairstyle. “She comes from a fashion design background. She knows the language. She understands the nuance and small elements and how to put all of it together to become a full story.”
「我真的認為雪莉是世界上最好的五個造型師之一,」薩凡納藝術設計學院時裝系主任彼得·詹森說。詹森創立的一個同名品牌(已出售)曾經以倉田為靈感推出了一個系列——60年代的色塊廓形,模特們都戴著她那種眼鏡,留著她的髮型。「她是做時裝設計出身的。她懂得這種語言。她懂得細微差別和小的元素,懂得如何將所有這些組合成一個完整的故事。」
服裝設計師雪莉·倉田(音)在洛杉磯華埠,她說自己是「創意合作者」。她曾為比莉·艾利什、蒂耶拉·瓦克、莉娜·杜漢姆、珍妮·劉易斯和法瑞爾·威廉斯設計造型。
服裝設計師雪莉·倉田(音)在洛杉磯華埠,她說自己是「創意合作者」。她曾為比莉·艾利什、蒂耶拉·瓦克、莉娜·杜漢姆、珍妮·劉易斯和法瑞爾·威廉斯設計造型。 Jimmy Marble for The New York Times
Much of her inspiration comes from the world she has built around her, including Virgil Normal, the East Hollywood store she opened with Staunton in 2015 in a former motorcycle-repair shop that was also the hangout for their moped gang Latebirds. The shop’s patio hosts events such as a pop-up for hand-lettered signs by She Chimp, fundraisers and gatherings to rally support around local causes.
她的很多靈感來自於她在自己周圍建立起來的世界,包括Virgil Normal,這家她和斯坦頓2015年在東好萊塢開的店前身是一家摩托車修理店,也是他們的輕便摩托幫「晚鳥」的聚集地。這家店的露台上舉辦過各種活動,比如She Chimp的手工標語快閃店,為當地公益事業爭取支持的籌款活動和集會。
“Shirley has knowledge of all different mediums of art that makes her references and eye unique,” actress Kirsten Dunst, whom Kurata has worked with on Rodarte collaborations, wrote in an email while shooting Alex Garland’s “Civil War.” Besides being a great dancer and karaoke partner, she continued, “Shirley has an innovative imagination and knows how to make that a reality.”
「雪莉精通所有不同的藝術媒介,所以她的指涉和眼界都很獨特,」演員克爾斯滕·鄧斯特在拍攝亞歷克斯·加蘭的影片《內戰》(Civil War)期間在電子郵件中寫道,她曾與倉田在Rodarte的系列中合作。她還說,倉田是一個很棒的舞者和卡拉OK搭檔,而且「雪莉還有創造性的想像力,知道如何使想像成為現實。」
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Kate and Laura Mulleavy, the sisters who founded and are the designers of Rodarte, have worked with Kurata, along with stylist Ashley Furnival, since their first New York show, in 2006. Its fall 2022 collection — presented in a look book instead of a runway show — featured a cast of actors, musicians and directors such as Kathleen Hanna, Rachel Brosnahan, Lexi Underwood and the Linda Lindas. Laura Mulleavy talks to Kurata almost every day on the phone.
自2006年在紐約舉辦第一場時裝秀以來,Rodarte創始人兼設計師凱特和勞拉·穆利維姐妹一直與倉田以及造型師阿什利·弗尼瓦爾合作。她們的2022年秋季系列以造型冊而不是走秀的形式呈現,其中包括許多演員、音樂家和導演,如凱瑟琳·漢納、蕾切爾·布羅斯納漢、萊西·安德伍德和美琳達樂隊。勞拉·穆利維幾乎每天都和倉田通電話。
“Shirley is very much connected to a visual narrative,” Mulleavy said. “Creating character, an intention to come across in the clothing, extreme or subdued, she understands the theatricality. She understands the history of fashion in a very interesting way.”
「雪莉很擅長視覺敘事,」穆利維說。「她創造角色,在服裝中體現出一種意圖,極端或柔和,她理解這種戲劇性。她以一種非常有趣的方式理解時尚的歷史。」
“The first time we met her it was over Zoom and she had her cat on her lap,” said the drummer for the Linda Lindas, 11-year-old Mila de la Garza. (Kurata has two black-and-white tuxedo cats, Fanny and Moondog.) “She was already there petting her cat. And she has her glasses. And we were like, ‘Wow, this girl is cool.’”
「我們第一次見到她是在Zoom上,她把她的貓放在腿上,」美琳達樂隊鼓手、11歲的米拉·德拉·加爾扎說。(倉田有兩隻黑白相間的奶牛貓,范妮和月亮狗。)「她在那兒摸著貓,還戴著眼鏡。我們當時就想,『哇,這個女孩真酷。』」
“For us, it’s important that you’re comfortable and you can move in your clothes and you’re confident in what you’re wearing,” Lucia de la Garza, 15, a guitarist for the group, said over Zoom as her bandmates nodded in agreement.
「對我們來說,穿得舒服,可以穿著自己的衣服到處走,對自己穿的衣服有信心,這些是很重要的,」15歲的樂隊吉他手露西亞·德拉·加爾扎通過Zoom說,樂隊成員們點頭表示同意。
That’s what punk is, according to Bela Salazar, 17, another guitarist: “a way of doing things and thinking, so it translates into fashion.” “It’s a way of expressing yourself,” she added. “And we trusted Shirley.”
另一位吉他手、17歲的貝拉·薩拉查說,龐克就是這樣:「一種做事和思考的方式,所以它可以轉化為時尚。」「這是一種表達自己的方式,」她還說。「我們信任雪莉。」
Kurata has taken a momentary pause to field scripts before signing on to her next major project since the surprising box-office success of “Everything Everywhere All at Once.”
自從《瞬息全宇宙》獲得驚人的票房成功後,倉田決定停下來好好物色一下劇本,不急於敲定下一個重要合作計劃。
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“I don’t want to be working on things for superficial reasons, because I need money or to build my book or whatever — I did that when I was younger,” she said. “I’m seeing how much the movie has affected people. Being part of something like that means a lot to me, where you see Asian representation not in a clichéd or stereotypical way.”
「我不想為了一些表面的原因去做一些事情,因為我需要錢或者想寫書,或者其他什麼——我年輕的時候這樣做過,」她說。「我看到了這部電影對人們的影響。參與這樣的事情對我來說意義重大,在這樣的事情裡可以看到亞裔的代表,而且不是陳詞濫調或者刻板印象。」
Kurata is also involved in workers’ rights in her own field, as a board member on pay equity for the Costume Designers Guild. “In film right now, it’s still very much a boys’ club, so throw in being a person of color, that’s another challenge. I’ve definitely felt that. I think it’s still a battle.”
作為服裝設計師協會的薪酬平等委員會成員,倉田也參與了自己所在領域的工人維權。「現在的電影界在很大程度上仍然是一個男孩俱樂部,而且作為有色人種又是一個挑戰。我確實感覺到了。我認為這仍然是一場戰鬥。」
Though she’s reached a certain level of success, Kurata says she’s far from done.
雖然已經取得了一定程度的成功,但倉田說她還遠沒有實現目標。
「現在的電影界在很大程度上仍然是一個男孩俱樂部,而且作為有色人種又是一個挑戰。我確實感覺到了。我認為這仍然是一場戰鬥,」倉田說。
「現在的電影界在很大程度上仍然是一個男孩俱樂部,而且作為有色人種又是一個挑戰。我確實感覺到了。我認為這仍然是一場戰鬥,」倉田說。 Jimmy Marble for The New York Times
“For me, it was a long path,” she said. “It wasn’t like I was discovered, I didn’t have the contacts. I worked on the crappiest low-budget movies for years. It was very slow and it took a lot of hard work to get to where I am now. I’m still not even where I could be, but getting there.”
「對我來說,這是一條漫長的道路,」她說。「我並不是被發現的,我沒有人脈。我做了很多年最爛的低成本電影。我用了很長時間,付出了很多努力才走到現在。我甚至還沒有達到我可以達到的水平,但我正在往那個方向前進。」