Blue and green should never be seen — or so the saying goes. But look to this season’s catwalks, and designers are throwing the colour chart out of the window. The AW18 collections were awash with “off” combinations, from rosy pinks mixed with flame reds at Peter Pilotto to Roksanda’s powdery blue interspersed with rich, blood-like burgundies. Emilia Wickstead, meanwhile, blended a turmeric-tinged brown with lemon yellow in a frothy and feminine midi-dress that was styled with a contrast raspberry shoe.

俗话说，蓝和绿不能大摇大摆出现在时装上。但看看今年的T型台吧，设计师们争相推出明艳色时装。2018秋冬季充斥着这些原先不登大雅之堂的颜色混搭的时装：从火红色点缀桃红色的Peter Pilotto到浓血般紫红色点缀的浅灰蓝色Roksanda ，可谓应有尽有。与此同时，艾米丽亚•威克斯第德(Emilia Wickstead)在所推泡泡迷女裙中使用了姜黄色点缀的棕色与淡黄色进行混搭，再把它与形成截然反差的紫红色鞋进行搭配。

“Usual colour combinations bore me,” says designer Josep Font, of the Madrid-based house Delpozo. “I mix a lot of green with blue — I think all shades can be seen together. What might be considered odd for others is for me a fresh and appealing approach to colour.” For pre-fall 2018, the Spanish designer offered a painterly palette that clashed verdant jungle hues with minty greens and vivacious sunny yellows. His AW18 collection went even further — periwinkle blues were mixed with light browns and mustards; a woollen skirt was patchworked together in squares of camel and bubblegum pink. “The key is finding the specific shades that work well,” he says.

“寻常颜色搭配让我觉得索然无味。”马德里时尚品牌Delpozo设计总监Josep Font说，“我大量使用蓝色点缀绿色——我觉得所有色调都能混用。其他设计师可能觉得怪异的颜色，我却觉得既清新又好看。”这位西班牙设计师推出的2018年早秋系列装有意用薄荷绿装及艳黄色装与葱绿装进行不搭的撞色。他的2018年秋冬系列更是“变本加厉”——浅紫光蓝装与浅棕色装与暗黄色装进行混配：羊毛短裙则用驼色与粉红色方块料拼缀而成。“最重要的是找到营造良好效果的色调。”他说。

For Roksanda Ilincic, colour is part of her identity; her garments often feature a contrast cuff or sleeve. “This latest trend of unexpected colours is my speciality, I think,” she says. “I like to challenge the perception of what goes together and what doesn’t — usually I have this subtle palette that is then completely interrupted with unexpected bursts of ultra-strong colours like lapis blue and fluorescent reds.”

在萝克桑达•伊林契奇(Roksanda Ilincic)看来：颜色是其设计风格的重要组成部分；她的时装通常会设计撞色的袖口或袖子。“我觉得当前这种采用出其不意颜色的全新流行时尚正是本人的专长。”她说。“我就喜欢挑战颜色互搭与错搭的传统观念——通常说来，我青睐颜色巧搭的时装：整个色调因天青石蓝与荧光红等出其不意的浓重颜色的点缀而成为完全“错搭”。

The London-based, Serbian-born designer has played with palette since launching her eponymous Roksanda label in 2005. Having trained at Central Saint Martins, Ilincic was intrigued by the shades of pink worn by lecturer and illustrator Julie Verhoeven. “Even her make-up was extraordinary. She had a whole colour wheel of lipsticks and used to wear this shocking pink around her eyes,” says Ilincic. “Everything from her hairstyles to her drawings was touched by colour.” And while it’s long been her signature, Ilincic is inspired by the wider adoption of the trend. “I can punch up my colours even more now that people are more open to it.”

自2005年推出同名时尚品牌以来，塞尔维亚出生、如今定居伦敦的伊林契奇一直尝试各种色调的率性搭配。中央圣马丁艺术学院(Central Saint Martins)科班出生的她曾被自己的老师与插画师朱丽•费尔赫芬(Julie Verhoeven)的粉色装所倾倒。“甚至她的化妆都与众不同。当时的她配备全彩色唇膏，常用艳粉色眼膏画眉毛。”伊林契奇说，“从其发型到画风，都用明艳色点缀。”尽管使用明艳色调长久以来一直是伊林契奇的标志性设计风格，但其设计灵感受到整个时尚的大风向影响。“由于社会越来越接受这种风尚，所以我能更大尺度使用各种明艳色调。”

The rise of the clashing colour is a palate-cleanser from the white and beige looks that have dominated runways in recent seasons. “Neutrals have become oversaturated,” says Ilincic. “Fashion trends come to oppose themselves from the past; and when the past is neutrals, the future turns into colour.” That colour, incidentally, is likely to be crafted from silk, one of the only fabrics that can be saturated to such extremes. “When I send my swatches off to the mill with the colour I want, in silk I know that almost 100 per cent of the time they will come back with that exact shade,” says Ilincic. “The woollen mills simply don’t manage to get the colour that I want.

”反差色的兴起，犹如一扫近年来T型台占主导地位的白色与米色装的“清洁剂”。“中性色早已泛滥。”伊林契奇说，“流行时尚发展到了与过去说拜拜的地步了；昔日是中性色的天下，那么未来就变成明艳色主宰江湖。”这种明艳色不经意间会用丝绸装点，这是唯一能泛用的面料。“我把自己喜欢的颜色的丝质面料样品送到厂家后，就坚信最终的成品面料完全是自己希望的那种色调效果。”伊林契奇说：“而毛纺厂根本弄不出我所需要的颜色。”

What is it about this season that’s different from before? Rather than using busy patterns, designers have been working the palette with simple separates, or as statement accents. “We found new ways of putting colours together beyond prints,” says Peter Pilotto of his pyjama-style suiting, which mixes bold ceruleans with peachy pinks. “Creating tension between several plain-coloured fabrics excites us.”

这个时装季为何会不同于以往？设计师不是采用繁缛花样，而是致力于在单件装上打造所爱色调，或者奠定时尚主流色。“我们找到了不同于印花的全新色调搭配。”彼得•皮洛托(Peter Pilotto)说，他设计了睡衣风格的时装：把桃红色装与醒目的天蓝色装混搭。“营造不同素色面料的‘错搭’让我痴迷不已。”

The lines are clean and architectural, leaving the eye to focus on the clash of the hues. “I prefer expressing myself with colour when the design is more understated,” says Tibi’s creative director Amy Smilovic, who this season paired traffic-cone-orange sweaters with crisp camel suiting.

最后打造出的面料线条明快、总体结构清晰，让我们最终专注于各种不搭颜色的撞色。“当设计风格简朴时，我更青睐于用色彩表现时尚理念。”Tibi创意总监艾米•斯米洛维奇(Amy Smilovic)说。在这个时装季，她采用圆锥形橙色交通标识装饰的毛衣与驼色装相搭配。

Elongated silhouettes are also essential. “Whether it’s a long sleeve, a palazzo pants or a full-length dress, it creates a beautiful canvas upon which a designer has space to work,” says Sasha Sarokin, fashion and buying director at online retailer The Modist. The site’s in-house brand, Layeur, this season used a 1980s magenta with reds and pastel pinks in separates that can be worn individually for a more subtle look. 

加长款式装同样重要。“不管是长袖、宽松裤还是拖地长裙，犹如美仑美奂的画布，给设计师提供了尽情挥洒才华的天地。”在线零售店The Modist时尚兼采购总监沙洛金(Sasha Sarokin)这样说道。这个时装季，The Modist旗下品牌Layeur推出的单件装采用的是红色及水粉色来装点上世纪80年代的紫红色；单穿时，显得更精干飒爽。

Designers are borrowing their palettes from real-life canvases. Font references the French artist Inès Longevial and London-based illustrator Charlotte Ager as inspirations; Gabriela Hearst cites Sonia Delaunay. And above all these is Pablo Picasso, unrivalled in his experimentation with clashing hues. Wickstead’s yellow-brown dress recalls Picasso’s “The Weeping Woman” (1937); Roksanda’s baby blue and burgundy can be matched with his “Reclining Nude” (1932). So extensive was the artist’s palette that he once spoke of a “thousand [shades of] green . . . Veronese green and emerald green and cadmium green . . . ” His spectrum is undeniable moodboard fodder for designers.

设计师也不断从画家身上借鉴各种色调的使用。Font从法国插画家Inès Longevial以及定居伦敦的插画家夏洛特•阿格(Charlotte Ager)作品中汲取灵感；加布丽埃拉•赫斯特(Gabriela Hearst)则自称从法国已故抽象画家索妮娅•德劳内(Sonia Delaunay)的作品中获取灵感。当然，设计师最重要的借鉴对象当属艺术大师毕加索(Pablo Picasso)，因为毕加索在运用相互不搭色调方面登峰造极。威克斯第德设计的黄色与棕色混配迷地裙就借鉴了毕加索1937年的抽象画《哭泣的女人》(“The Weeping Woman”)；而伊林契奇的紫红色点缀的淡蓝色时装能与其1932年创作的《斜靠的裸女》(Reclining Nude)相配。毕加索运用色彩如此全面，所以他曾说过“绿色有上千种：绿土、翠绿、镉绿......”他的画作无可争议地成了设计师们借鉴各种色调的大宝库。

Pilotto was inspired by the depths and scope of Picasso’s blue period, while Hearst says her colour palette “mixes warm and cold shades within the spectrum” — a Picasso signature. “He’s definitely an artist I constantly refer to,” says Ilincic. “He didn’t care about rules of colour, it was all about expressing yourself — as an artist you have much more freedom than as a designer.” Ultimately, of course, commercial concerns reign supreme. “I have to be really conscious of outerwear colours for sales,” says Hearst, who opts for more muted shades of burgundy and camel for her overcoats — naturally, they come with contrast collars this season.

皮洛托曾从毕加索蓝色时期(Blue Period, 1901-1904)创作的广度与深度兼备的作品中汲取设计灵感，而赫斯特说自己“冷暖色调同时使用”——这是典型的毕加索风格。“毕加索肯定是本人不断借鉴的艺术大师。”伊林契奇说，“他不关心色调使用的条条框框，最重要的是表达出自己的艺术观念——艺术大师的自由度要远胜于时装设计师。”当然，商业利益最终至高无上，“我必须清醒了解各种色调外衣的销售情况。”赫斯特说，她为自己设计的大衣选择了紫红色与驼色中更为柔和的色调——一切顺理成章，这个时装季它们带着反差色衣领。

The rise of e-commerce has also had its effect on fashion’s colour wheel, as black and navy products don’t sell that well online. The backlight of a laptop or mobile phone screen serves brighter hues better. “The statement-making element of colour is aligned with the strengths of e-com,” says Sarokin. “Pictures online show what strong colours would do against one’s skin, and the head-to-toe looks help women visualise how to accessorise pieces more than a hanger on a rail.

”电商的兴起也对时尚界色调的使用产生了重大影响，网店销售中，黑色与深蓝色并不乐观。手提电脑与手机屏幕的背光让明艳色调时装更显效果。“引领时尚的色调与电商的发展程度互相影响。”沙洛金说，“网上照片能展现哪些浓重色彩与肤色相配。相比挂在货架上的服装，模特的全身形象照能让女性消费者直观感受如何实现最佳搭配。”

So we’ve moved from beige to bold. But why? For Sarokin, these strong colours are an outward reflection of the strong female spirit that is part of the current cultural zeitgeist. “It’s a reflection of the times,” she says. “Women are more passionate and individual, and that is mirrored in the strength and boldness we see in colour palettes in fashion.

”所以，以往流行的米色等中性色如今转成明艳色。这一切的深层次原因是什么？沙洛金认为：这些明艳色是女性表达强烈女权思想（当前文化思潮的内容之一）的外在形式，“它是整个时代的反映。”她说，“如今的女性更具激情、个性更为张扬，它就体现于明艳与浓重的时装色调中。”

For Ilincic, however, the colour clash has a more personal meaning. “They are a great way of lifting up your emotions and making you feel better,” she says. “That element of care that colour brings is almost nurturing you, mentally,” she says, as she smoothes down her silken rose and buttercup dress. Fancy frocks with a feelgood factor — well, they don’t call it sunshine yellow for nothing.

但伊林契奇认为：反差色调更具个人意义。“它们是提振情感与自我感觉的神药。”她说，“明艳色时装带来的喜悦感在潜移默化影响着心理。”她一边说，一边抚着自己柔滑的玫瑰红与亮黄色连衣裙。花式长裙点缀着提振心情的色调——不管怎样，这种黄色被称作“阳光黄”肯定是有原因的。