打破種族禁忌的“多彩”名模馬沙多逝世

China Machado, the first non-Caucasian to appear on the cover of a glossy fashion magazine and a model who broke not only the race barrier but also the age barrier, died Sunday in Brookhaven, New York, on Long Island. She was 86.

登上時尚雜志封面的第一位非白人，打破種族和年齡雙重障礙的模特希納·馬沙多(China Machado)，于周日在紐約州長島布魯克黑文去世，享年86歲。

Her family said the cause was cardiac arrest.

家人說她死于心臟驟停。

Many reports have come out about her highly colorful life: She was born Noelie de Souza Machado on Christmas Day 1929, in Shanghai; fled the country with her parents in 1946 after the Japanese occupation; had an affair with Luis Dominguín, the Spanish bullfighter, who left her for Ava Gardner; and socialized with François Truffaut.

很多媒體報道了她的多彩人生：她于1929年的圣誕日出生在上海，本名諾艾莉·德索薩·馬沙多(Noelie de Souza Machado);在中國被日本人占領(lǐng)后隨父母于1946年逃離;跟西班牙斗牛士路易斯·多明圭因(Luis Dominguín)有過一段情事，后者為了艾娃·加德納(Ava Gardner)離開了她;和弗朗索瓦·奧朗德(François Hollande)有過交往。

But at a time when the fashion industry is still struggling with diversity, it is worth pausing to consider what “colorful” really meant when it came to Machado, what her career represented and how far we still have to go.

但在時尚產(chǎn)業(yè)仍然缺乏多樣性的今天，有必要停下來思考：“多彩”在馬沙多身上究竟是何含義，她的職業(yè)生涯代表著什么，我們還有多長的路要走。

Her legacy extends far beyond the pictures she created, and the poses she struck, to make us rethink our assumptions about what is considered beautiful, and why. And it is as relevant today as when she first stepped on a runway, in the 1950s.

她留下的遺產(chǎn)遠(yuǎn)遠(yuǎn)超出她拍過的照片、擺過的姿勢，她會讓我們重新思考關(guān)于什么被視為美以及為什么被視為美的種種假設(shè)。這種思考在今天的重要性，并不亞于她在上世紀(jì)50年代初次登上伸展臺之時。

“China Machado was one of the first great pioneers in the firmament of haute couture,” André Leon Talley, the fashion and style director of i.am+, the tech firm founded by Will.i.am, and the former Vogue editor at large, wrote in an email. He added that she “made of her ethnicity something powerful. Internationally, she paved the way for diversity and other races, as well as paving the way for the rise of the black model in print and on the runway.”

“希納·馬沙多是高級定制時裝的偉大先驅(qū)者之一，”目前在威廉(Will.I.Am)創(chuàng)辦的科技企業(yè)i.am+擔(dān)任時尚和造型總監(jiān)的《時尚》(Vogue)雜志前自由編輯安德烈·萊昂·塔利(André Leon Talley)在一封電子郵件中寫道。他還表示，她“把自身的種族性變成了某種強(qiáng)大的東西。在國際上，她為多樣性以及其他種族鋪平了道路，也為黑人模特在出版物和伸展臺上的崛起鋪平了道路。”

Stefano Tonchi, the editor of W, said: “She was the first to put in front of the audience the idea of the otherness, bringing out memories of different cultures and fragments of other imagery. She always did it with irony, without posing, modeling or vogueing. Somehow she showed it all while dancing.”

《W》雜志主編斯蒂法諾·湯奇( Stefano Tonchi)說：“她是第一個把‘他者性’的概念擺在讀者面前的人，喚起了關(guān)于不同文化的記憶，讓人看到他者意象的碎片。她總是以諷刺的方式這樣做，而不是通過擺姿勢、當(dāng)模特兒或者模仿模特兒的姿勢跳舞。不知怎的，她在舉手投足之間就將其全部展現(xiàn)了出來。”

And though she did not do it consciously in the beginning, by the time she was aware of her historic place in the fashion world, her daughter Emmanuelle LaSalle-Hill said, she “was proud to wear that mantle. She thought so much of fashion looked the same, and she wanted to celebrate the idea that everyone could be who they were.” Machado certainly was.

起初她并非刻意為之，但她女兒艾瑪努埃爾·拉薩爾-希爾(Emmanuelle LaSalle-Hill)說，等到她意識到自己在時尚界的位置具有歷史意義的時候，她“非常自豪地扮演起了那個角色”。她認(rèn)為時尚界看上去太千篇一律，她想要贊美的理念是人人都可以活出真我。”其中當(dāng)然包括馬沙多。

It began in 1959, when Machado became the first nonwhite model featured in the pages of Harper’s Bazaar. She had started modeling in Paris, most notably for Hubert de Givenchy and Balenciaga (so successfully that she was the highest-paid runway model in Europe), and Oleg Cassini brought her to New York for his runway show in 1958.

事情是從1959年開始的。當(dāng)時，馬沙多成為了第一個出現(xiàn)在《時尚芭莎》(Harper's Bazaar)上的非白人模特。她此前在巴黎做過模特，最引人注目的經(jīng)歷是服務(wù)于休伯特·德·紀(jì)梵希(Hubert de Givenchy)和Balenciaga(她做得非常成功，是歐洲酬勞最高的伸展臺模特兒)。奧萊格·卡西尼(Oleg Cassini)在1958年把她帶到紐約，為自己的新系列走秀。

She caught the eye of Diana Vreeland, who sent her to Richard Avedon, then Harper’s Bazaar’s star photographer and a crucial player in forming the magazine’s identity. He christened her his “muse” and began photographing her exclusively — in looks that, Talley pointed out, had previously been worn only “by white models.”

她得到戴安娜·弗里蘭(Diana Vreeland)的青睞，被送到理查德·埃夫登(Richard Avedon)面前。后者當(dāng)時是《時尚芭莎》的明星攝影師，在該雜志形成自身特色的過程中起到了至關(guān)重要的作用。他把她稱為自己的“謬斯”，開始專門拍她——塔利指出，她拍照時臉上掛著“以前只屬于白人模特兒”的表情。

Avedon wanted his photos of Machado in Bazaar’s February issue. But according to an interview Machado did with CNN in 2011, Robert F. MacLeod, the magazine’s publisher at the time, said: “Listen, we can’t publish these pictures. The girl is not white.”

埃夫登想要把為馬沙多拍的照片發(fā)表在《時尚芭莎》的2月號上。但馬沙多于2011年接受CNN采訪時表示，雜志的時任出版人羅伯特·F·麥克里奧德(Robert F. MacLeod)說：“聽著，我們不能刊發(fā)這些照片，這個女孩不是白人。”

“I knew I was considered kind of ‘exotic,’ if you want to use that word, in Europe, but it wasn’t any kind of a slur,” Machado told New York magazine this year.

“在歐洲，我知道別人覺得我有點兒‘奇特’——如果你想用這個詞的話，但它不絕不是某種恥辱，”馬沙多今年曾這樣告訴《紐約》(New York)雜志。

Avedon’s contract with Bazaar was up for renewal at the time, however, and, according to Machado, he threatened not to re-sign unless his photos of Machado appeared in the magazine, and such was his power that the editors finally agreed. He “sort of blackmailed them into putting these pictures into the magazine,” she said.

那時候，埃夫登與《時尚芭莎》的合同該續(xù)簽了。然而，根據(jù)馬沙多的說法，他放話說，如果該雜志不刊發(fā)他為馬沙多拍的照片，他就拒絕續(xù)約。由于他極具影響力，編輯們最終同意了這個條件。他“有點兒像是敲詐勒索，迫使他們在雜志上登了這些照片，”她說。

It wasn’t the only boundary she and Avedon pushed for the magazine. She was also its first nude, in 1961. And it wasn’t the only racism she encountered.

這并不是她和埃夫登幫助《時尚芭莎》突破的唯一一道界線。1961年，該雜志為她打破禁忌，首次刊登裸體照片。而這也不是她唯一一次遭遇種族主義。

After she appeared on Cassini’s runway in 1958, she said in New York magazine, he spoke to a group of “Southern buyers” because they were ignoring all the dresses Machado had worn in the show. He asked why, and they said, Machado reported, “Oh, she’s black.” (Actually, she was mixed race, with Portuguese, Chinese and Indian roots.)

馬沙多在《紐約》雜志上說，她于1958年在卡西尼的秀場亮相后，卡西尼和一群“南方買手”做過溝通，因為他們忽略了她在時裝秀上穿的所有衣服。馬沙多稱，卡西尼問原因何在，他們則回答，“哦，她是黑人。”(事實上她是混血兒，有葡萄牙、中國和印度血統(tǒng)。)

And even later, when she was at the height of her fame, she told CNN: “Every advert that came out, it would say stupidly: ‘The Great China’ on it. I felt like ... a circus!”

她告訴CNN，甚至是后來自己名氣最盛的時候：“出來的每一個廣告上面都傻乎乎地寫著：‘偉大的希納’。我感覺像是……一個馬戲團(tuán)!”

With the notable exceptions of a Bazaar cover in 1971, when she became the first nonwhite woman on the cover of the magazine, and the Battle of Versailles in 1973, when she walked in the American contingent, Machado had, by 1962, segued from her role in front of the camera to one behind it. She became fashion director of Harper’s Bazaar, thus clearing yet another professional pathway (one later followed by such models turned editors as Grace Coddington and Tonne Goodman), and helped introduce Lear’s magazine, aimed at the over-50 set. Then, at age 81, she signed with IMG Models, becoming an effective octogenarian supermodel.

到了1962年，馬沙多已經(jīng)完成了從鏡頭前到幕后的轉(zhuǎn)變，但也有引人注目的例外——她曾于1971年出現(xiàn)在《時尚芭莎》封面上，成為登上該雜志封面的第一個非白人女性;也曾于1973年代表美國參與“凡爾賽宮之戰(zhàn)”(Battle of Versailles)時裝秀。她當(dāng)上了《時尚芭莎》的時尚總監(jiān)，由此開拓出另一條專業(yè)道路(模特出身的編輯格蕾絲·柯丁頓[Grace Coddington]、托恩·古德曼[Tonne Goodman]等人都是循著她的腳步)，還幫助推出了面向50歲以上人群的《Lear’s》雜志。后來，她在81歲那年和IMG模特公司(IMG Models)簽約，成為了一名真正的八旬超模。

She starred in ad campaigns for Barneys and Cole Haan, and was once again in the pages of Harper’s Bazaar. Only last month, she was modeling for a new Ray-Ban shoot by the photographer Steven Klein. All without ever having plastic surgery.

她在巴尼斯(Barneys)和科爾哈恩(Cole Haan)的廣告宣傳活動中當(dāng)上了主角，并重新登上了《時尚芭莎》雜志。就在上個月，她還在攝影師史蒂芬·克雷恩(Steven Klein)為雷朋(Ray-Ban)新拍的大片中做了模特。她從來沒有整過容。

“You can’t worry about aging because that’s the worst thing,” she once said. “If you start, then you just keep finding more things you don’t like, and then you’re finished. There are a lot of things I could have done to my face, but it would never stop.”

“你不能擔(dān)心變老，因為那是最糟糕的，”她曾經(jīng)表示。“如果你開始擔(dān)心，就會不斷發(fā)現(xiàn)更多你不喜歡的東西，然后你就完蛋了。我本可以對自己的臉做很多事情，但那樣一來就會沒完沒了。”

According to Ivan Bart, the president of IMG Models, “China was instrumental in teaching younger models, ‘Own yourself, own your beauty.'” Her life showed them how.

IMG模特公司總裁伊萬·巴特(Ivan Bart)說，“希納在教導(dǎo)年輕模特方面發(fā)揮了重要作用，‘把握你自己，把握你的美。’”他們可以從她的人生中看到如何這樣做。

Machado was always an exception. But if fashion learns anything from her example, someday, perhaps, she will be the rule.

馬沙多一直是一個特例。但如果時尚界能從她身上學(xué)到點兒什么，有朝一日她會許會變成一個平平常常的存在。