全世界小女孩都想穿的裙子是怎么设计出来的？

When Brittney Lee first signed on to do animated work for Disney’s Frozen more than six years ago, our Queen of Arendelle sported a very different look. “Elsa was blue and had black spiky short hair,” Lee says. The character went through many iterations before landing on her final beauty look of a thick white-blonde side braid, white skin, and an impressive purple smoky eye. Her wardrobe went through just as many changes. What started out as a coat made out of living weasels was eventually turned into a glistening gown that millions of little girls around the world would go on to wear.

六年前，当Brittney Lee刚签约为迪士尼的《冰雪奇缘》做动画工作时，我们的阿伦黛尔女王的形象和现在非常不同。“那时艾莎是蓝色的，留着又尖又短的黑头发，”Lee说。这个角色经历了很多次反复修改才有了最后的美丽妆容:浓密的白金色侧边麻花辫，白皙的皮肤，一套令人印象深刻的紫色烟熏眼妆。她的服装也同样经过了多次调整。最初设定中用活黄鼠狼做的外套在最终版被改成了一件闪闪发光，世界各地数百万小女孩都想穿的长袍。

Lee and her colleague Griselda Sastrawinata-Lemay are part of the visual development team at Disney. This means they’re animated artists responsible for designing everything from the characters to the environment to the props. And, yes, the costumes. Both worked on designing the outfits for Anna and Elsa on Frozen 2, which Sastrawinata-Lemay notes might be the most intricate of any animated movie in history due to advancements in 3D and computer generated imagery technology. It’s an upgrade that’s made her and Lee’s jobs both more exciting — “because it helps to enhance the storytelling” — and more challenging, “because there are so many more details to consider.”

Lee和她的同事Griselda Sastrawinata-Lemay是迪士尼视觉开发团队的成员。这意味着（动画中的一切）都由这些动画艺术家负责设计：角色，环境，道具，当然，还有服装。两人都为《冰雪奇缘2》中的安娜和艾莎设计了服装。Sastrawinata-Lemay补充道，由于3D技术和计算机生成图像技术的发展，这可能是有史以来最复杂的动画电影。科技的进步“有助于加强故事叙述”，因此她和Lee的工作变得更加有趣。同时，这份工作也变得更具挑战性 “因为有太多的细节需要考虑”。

For example, as Lee explains, many of the costumes in the first Frozen involved embroidery, but the technique wasn’t nearly as involved as it is now. “On this film, we could really be elaborate and add a lot of extra bead work or sequins that wouldn’t have been possible to do on the first film,” she explains. “We really tried to meet technologies’ needs in creating more art work and more design where appropriate.”

例如，正如Lee解释的那样，《冰雪奇缘》第一部中的许多服装上都有刺绣，但那时的制作技术远不如现在。她解释说:“在这部电影中，我们可以把服装做得非常精致，可以在衣服上加更多的珠饰或亮片，这在第一部电影中是做不到的。”“我们尽最大的努力用现有的技术和适当的方式创造了更多艺术作品，做了更多设计。”

Then there comes enhancements to the fabric. Lee and her team use a C.G.I. tailoring program called Marvelous Designer that allows them to see how certain materials would drape on an animated character in the same way that it would drape on a person. “Something that is meant to be a velvet shouldn’t be moving as if it was tulle or if it was cotton,” Lee explains. “We run a whole bunch of tests until we can get it moving in a way that is believable and that is also hopefully true to the fabric that we’re trying to represent.”

其次是布料的强化处理。Lee和她的团队使用了一个名为“奇妙设计师”(Marvelous Designer)的C.G.I.裁剪程序，可以让他们看到某些材质的布料穿在动画人物身上的效果，就像真人穿上一样。“本该是丝绒的衣服不应该像薄纱或棉花那样移动，” Lee解释说。“在能够实现衣服真实的摆动之前，我们进行了大量的测试。我们还（在动画中）尽量还原了布料本身的效果。

When it comes to the costume design direction for Frozen 2, Sastrawinata-Lemay says they were told three things about the film beforehand: it takes place in the fall, Anna and Elsa will be three years older, and there’s going to be an epic journey. “Everything else is being worked out at the same time as we’re designing,” she says. Thankfully, since this is a sequel, they already had a good idea of who the sisters are style wise. “We didn’t have to ask the question of ‘oh, would she or would she not wear this,’” Lee says. “It was always more of ‘well, what’s right for this girl at this moment in time?’”

说到《冰雪奇缘2》的服装设计方向，Sastrawinata-Lemay说，他们事先被告知了关于这部电影的三件事:故事发生在秋天，安娜和艾莎将长大三岁，这将是一段史诗般的旅程。她说:“其他一切（电影情节）都是我们在设计的同时搞清楚的。”值得庆幸的是，由于这是一部续集，他们已经很清楚这对姐妹的服装风格了。“我们不必问‘哦 她会不会穿这件衣服，’”Lee说。“我们更常说的是，‘好吧，在这个时间点，这个女孩穿哪件衣服更合适?’”

Anna’s style draws inspiration from traditional Norwegian folk wear known as the bunad, a dress typically made out of wool and adorned with embroidery, and silhouettes like the cinched waist and full, A-line skirt from Christian Dior’s “New Look.” Her looks tend to be grounded in the fabrics and materials of the place and time period (the 1840s-1850s, according to Lee), which means she wears heavier materials like wool and velvet and her color palette skews on the warmer side. 

安娜服饰风格的设计灵感来自于传统的挪威民间服饰bunad。Bunad是一种典型的用羊毛制成并饰有刺绣的连衣裙。裙子的束腰和a字裙等轮廓借鉴了克里斯汀·迪奥推出的（女性服装款式）“新风貌”。她的打扮往往基于当地和那个时代 (根据Lee的说法，在1840 -1850年代)的面料和材料，这意味着她得穿羊毛和天鹅绒之类的更厚重的材料，她的衣服以暖色调为主。

The focus for this film centered around upgrading her wardrobe to something that felt more mature than the “bubbly younger effervescent sister,” Lee says. One instance is the shape line of Anna’s dress which, before, always included a rounded scalloped shape. “We really squared those shapes off, so she’s just a little bit more linear and a little less playful,” Lee says. After 122 iterations, the team ended up with a classic A-shape dress with a bell skirt and a deep purple travel cloak.

Lee说，这部电影的重点是将安娜的服装升级，让她（给人的感觉）比“活泼可爱的妹妹”更成熟。比如以前安娜裙子的轮廓线总是圆圆的扇形。Lee说:“我们把这些线条改成方形，所以安娜变得稍微更有线条感，（看上去）也没那么顽皮了。”经过122次反复修改，团队最终设计出一件经典的钟形裙摆的A字连衣裙，并配上了一件深紫色的旅行斗篷。

For Elsa, the focus wasn’t to make her seem older, since “she’s always been a little more stoic and reserved,” Lee says. “She’s the older sister and so we sort of played that into her from the beginning.” But rather the challenge lay in how to design a costume that was going to endure high amounts of action. Elsa’s outfits draw inspiration from designers like Alexander McQueen and Elie Saab. And everything the team had created for her up until the second film included long trains and floor length hemlines which would prove cumbersome. So the question then became: “How do we cut her hemline so that it’s not floor length, but still makes her feel like Elsa?”

Lee说艾莎“一直都比较坚忍和保守”，但艾莎（服装设计）的重点并不是让她看起来更老。“她是大姐，所以我们从一开始就在她身上体现了这一点。”真正的挑战在于如何设计一款能够承受大量动作的服装。”艾莎的服装灵感来自亚历山大·麦昆和埃利·萨博等设计师的作品。”在第二部电影之前，这个团队为她设计的所有东西都包括了长长的裙裾和地板长度的裙摆，这非常不适合运动。所以接下来的问题就变成了:“我们如何剪短她的裙摆，让它不那么长，但仍然让角色有艾莎的感觉?”

Lee and her team managed to do this by creating a tailored coat paired with a double paneled cape, which allowed Elsa to “retain that snow queen dress quality that she had in ‘Let It Go,’” Then, for strength, they added snowflake encrusted shoulders that are meant to look like militaristic epaulettes. “We wanted to make sure we were illustrating that she’s the Queen of Arendelle,” Lee says. “There should be some sort of authority in the costume that she’s wearing for the bulk of the film.” As far as fabric and color go, tulle and cool shades are reserved for our frosty protagonist, who is creating these materials herself out of ice.

Lee和她的团队设计了一件定制外套并配上了一件两片式披风，成功地解决了这个问题。这身衣服让艾莎“保留了‘Let it go’中冰雪女王的感觉。”然后,为了（让艾莎看上去）更有力量,他们在衣服肩部加入了雪花镶嵌的类似军国主义肩章的装饰。“我们想要证明她是阿伦戴尔的女王，”Lee说。“她在整部电影中所穿的服装应该具有某种权威。”就面料和颜色而言，薄纱和冷色调是我们冷冰冰的主人公的服装基调，这些材料都是她自己用冰创造的。

To add even more practicality to both Anna and Elsa’s wardrobes, they wear pants underneath their dresses. “We didn’t want [the pants] to be the element that you’re looking at, but we wanted them to function and help them be able to move through everything that they needed to move through,” Lee says. Elsa’s outfit is topped off with a pair of snowflake-adorned ice boots.

为了让安娜和艾莎的服装更实用，她们还在裙子下面穿了裤子。“我们不想让(裤子)成为你关注的元素，但我们想让它们发挥作用，方便两位主人公穿过一切需要穿过的地方，”Lee说。艾莎的行头还搭配了一双饰有雪花图案的冰靴。

Lee and Sastrawinata-Lemay are designing for what would be best for the characters and for the film, but they eventually have to grapple with whether or not people will want to wear their designs in real life. (They will; Disney reported that more than three million Anna and Elsa dresses were sold in North America in 2014 alone.) The duo try not to think about that when they’re in the thick of working though. “At the time, it’s more like solving a puzzle piece than designing for a consumer product,” Sastrawinata-Lemay says. Eventually they have to pass off what they refer to as “call outs” to their design team so that they can manifest their creations into physical costumes.

Lee和Sastrawinata-Lemay正在设计的是最适合角色和电影的服装，但他们最终不得不考虑人们是否愿意在现实生活中穿他们设计的服装。(他们会;迪士尼报告称，仅2014年，安娜和艾莎的裙子就在北美售出了300多万件。)不过，两人在工作最忙的时候尽量不去想这些。“设计服装时的感觉更像是在解谜，而不是设计一件消费产品，”Sastrawinata-Lemay说。最终，他们必须把草图传给他们的设计团队，这样他们才能把自己的作品变成实际的服装。

The timeline of the process goes something like this: Once an outfit is approved and while Lee and Sastrawinata-Lemay are finalizing how the garment is constructed, where the seams are, and what specific fabrics they’re going to use, they simultaneously put together a diagram made up of call outs for the team that’s designing the physical costumes. “It’s like a bible on how to make the dress,’ Sastrawinata-Lemay says. “It’s really detailed, down to what direction the embroidery thread would go and how big or how small it is.”

流程的时间轴是这样的:一旦一身服装通过审核,Lee和Sastrawinata-Lemay敲定了这件衣服的构造,哪里要有接缝, 要用哪些特定的面料,他们就会把这些需求放在一个图表里交给成衣设计团队。“这就像一本制作裙子的圣经，”Sastrawinata-Lemay说。“里面的内容非常详细，细到刺绣时线的方向、大小都写了进去。”

It takes many iterations to get right, a relative idea since very rarely is there a one-to-one translation from film costume to consumer product, especially when it comes to the fabrics. Sastrawinata-Lemay says that, if somebody were going to make an exact replica of their designs, down to the materials used, “it would definitely be more of an haute couture gown outfit that would cost so much money.”

从电影服装到消费产品需要经过多次调整才能实现，很少有一对一的转换，尤其是在面料方面。Sastrawinata-Lemay说，如果有人要完全复制他们的设计，连使用的服装材料都和电影里一样，“那它肯定是昂贵的高级定制礼服。”

The pair doesn’t have control over what the alternative materials are, but they understand the need to use affordable fabrics for items being mass produced. “It is no more expensive for us to put a very luxurious velvet cape on Anna than it would be for a much cheaper material,” Lee says, noting that this isn’t the case for product designers.

这两人无法决定（生产过程中）用什么替代材料，但他们明白，批量生产中需要使用价格实惠的面料。“对我们来说，给安娜穿上一件非常奢华的天鹅绒披肩，并不会比用一种便宜得多的材料来的贵，”Lee说。她提到，产品设计师的面临的情况并非如此。

For the past two years that they’ve worked on Anna and Elsa, the animators have been immersed in the Disney universe, where the real world rules and restrictions don’t apply. “You’re designing for a princess so we kind of go all out,” Sastrawinata-Lemay says. “Because, well, why not?”

在过去的两年里，他们一直致力于安娜和艾莎服装的制作，动画师们沉浸在迪斯尼的世界里。在这里，现实世界的规则和限制并不适用。“你在为公主设计服装，所以我们有点全力以赴的意思，”Sastrawinata-Lemay说。“因为，为什么不呢?”