英国卫报：Gap是如何迷失自己的？(7)（在线收听）

　　Gap had found its point of view, and it was Drexler’s.

　　Gap已经找到了自己的观点，这也是德雷克斯勒的观点。

　　“Mickey was the north star. There’s no question,” said Jen Foyle, the president and executive creative director of the clothing brand American Eagle and its offshoot Aerie, who worked as a Gap merchant in the late 90s and early 00s.

　　“米奇是北极星。毫无疑问。”服装品牌美国之鹰(American Eagle)及其分支Aerie的执行创意总监、总统级人物珍·福伊尔说。他在90年代末和00年代初曾是Gap的一名经销商。

　　Over the course of his career, Drexler has been known for his hands-on approach.

　　在他的职业生涯中，德雷克斯勒一直以亲力亲为而著称。

　　At Gap, the lead-up to what Foyle calls “Mickey meetings”, in which each merchant would present the buys for their department or division, came with a rush of adrenaline.

　　在Gap，福伊尔所说的“米奇会议”的开始--每个商家都会展示自己部门或部门的商品--这让人兴奋不已。

　　Everyone was paying attention to what he did and didn’t respond to, who performed well and who didn’t.

　　每个人都在关注他做了什么，没有回应什么，谁表现得好，谁不好。

　　“When he stayed on a product for a minute, you knew there was something not right about it, or the buy wasn’t right, or something was mis-ranked,” said Foyle.

　　福伊尔说：“当他在一个产品上停留一分钟的时候，你就会知道这个产品有什么地方不对，或者这个产品买得不对，或者它的排名不对。”

　　In the 80s, Gap’s sense of identity was clear to shoppers, too.

　　在80年代，Gap的认同感对购物者来说也是显而易见的。

　　“Gap was so pure and simple,” said Scott Sternberg, a fashion designer who looked to that era of Gap as a source of inspiration when launching his own colourful essentials brand, Entireworld, in 2018.

　　“Gap是如此纯粹和简单，”时装设计师斯科特·斯特恩伯格(Scott Sternberg)说，他在2018年推出自己的五颜六色的必需品品牌Entireworld时，把那个Gap时代视为灵感的来源。

　　Sternberg is 47 and grew up in Dayton, Ohio, where he used to go to the Gap store in the local mall.

　　斯特恩伯格现年47岁，在俄亥俄州代顿市长大，他经常去当地购物中心的Gap商店购物。

　　It was a one-stop shop where he would buy everything from khakis and jeans to T-shirts and socks.

　　这是一家一站式商店，他可以在那里买到从卡其布和牛仔裤到T恤和袜子的各种商品。

　　Sternberg feels that Drexler’s Gap allowed shoppers to build a cohesive wardrobe over time, creating a utopian order where the products were all compatible, regardless of when you bought them.

　　斯特恩伯格认为，德雷克斯勒的Gap让购物者随着时间的推移建立起一个有凝聚力的衣柜，创造出一种乌托邦式的秩序，无论你是在什么时候购买的，所有的产品都是兼容的。

　　During this period, Gap was selling the notion that its classics were for everyone, but that each person wore them in their own way -- an ethos that dovetailed with changing tastes in the fashion world.

　　在此期间，Gap一直在推销这样一种理念，即它的经典服装适合每个人，但每个人都以自己的方式穿着它们--这种精神与时尚界不断变化的品味相吻合。

　　“The idea of ‘personal style’ was becoming a huge catchphrase in the fashion industry at that time,” said Betts, who remembers seeing the term on magazine covers when she went to work at Vogue in 1991.

　　贝茨说：“‘个人风格’在当时成为时尚界的一大流行语。”她还记得1991年去《Vogue》工作时，在杂志封面上看到过这个词。

　　Previously, people who wore designer clothing tended to dress in a single brand from head to toe, but heading into the 90s, designers and editors started favouring a more individualised “high-low” look, mixing designer pieces with blue jeans or a T-shirt.

　　以前，穿名牌服装的人往往从头到脚穿一个品牌的衣服，但进入90年代，设计师和编辑开始青睐更个性化的“高-低”造型，将名牌服装与蓝色牛仔裤或T恤混合在一起。

　　On Anna Wintour’s first cover as editor-in-chief of Vogue in 1988, the model Michaela Bercu wore an embroidered Christian Lacroix haute couture jacket with a pair of Guess jeans.

　　1988年，在安娜·温图尔作为《Vogue》主编首次登上封面，模特米凯拉·贝尔库穿着一件刺绣的克里斯汀·拉克鲁瓦高级定制夹克，搭配了一条Guess牛仔裤。