And so, farewell to “Mad Men.” Farewell to the blogs and fan sites that tracked the story line (and more important, the outfits) of each episode.
别了，《广告狂人》(Mad Men)。别了，那些追踪每集情节（更重要的是，每集服装）的博客和粉丝网站。
Farewell to Don and his perfect suits, to Peggy and her plaids, to Joan and her jewel tones and sheaths.
别了，唐(Don)和他完美的西服；别了，佩姬(Peggy)和她的格子裙；别了，琼(Joan)和她的珠光宝气以及紧身连衣裙。
Since Sunday, viewers everywhere have been in mourning, at least judging by the Twitterati.
从周日起，各地的观众都在叹息该剧剧终，至少从Twitter名人的帖子来看是这样的。
I, however, am not among them.
不过，我不在叹息之列。

Not because I am happy to see the end of what was one of television’s smartest series, a pioneer of what is now generally accepted as the current golden age of small-screen serials.
不是因为我乐意看到一部精彩的电视剧剧终——如今已被公认为电视剧的黄金时代，而它正是这个时代的先驱。
But because I can’t help but hope that with the end of “Mad Men” comes the end of a period in fashion that has seen designers become trapped in the past to an almost stifling degree. At least the past as it looked in the 1960s (which in the beginning, let us not forget, looked a lot like the late 1950s) and early ’70s.
我只是忍不住希望，随着《广告狂人》的终结，一个时尚阶段也能终结，在这个阶段，设计师们被困于过去的时代，几乎窒息——至少是困在20世纪60年代（不要忘了，60年代初与50年代末非常相似）至70年代初。
Even for an industry that generally views history as a grab bag of potential inspiration to be dipped into and mixed and matched at will, this has been extreme.
时尚界通常视历史为潜在灵感的百宝囊，可供随时汲取、混合搭配。即便如此，目前这一阶段对历史的依赖也太过极端。
For as long as the show has been running — ever since its debut in 2007 — we have been, it seems, suffering from what Hadley Freeman in The Guardian newspaper dubbed “madmenalaria.”
从该剧2007年首播至今，我们似乎患上了哈德利·弗里曼(Hadley Freeman)在《卫报》(The Guardian)上所称的“广告狂人狂热症”(madmenalaria)。
She defined the term as “the desire to dress like a character from ‘Mad Men,’ ” though I would revise that and call it the mass fashion conviction that all consumers want to dress like characters from “Mad Men.” The show’s visual impact was so intense, it went viral and seemed to recode designers’ creative DNA.
她对“广告狂人狂热症”的定义是“想像《广告狂人》中的人物那样着装”，不过，我想把它的定义改为，大众时装公司认为所有的消费者都想穿成《广告狂人》中的人物那样。该剧的视觉冲击力非常强大，以病毒级传播，仿佛重组了设计师们的创意DNA。
It was apparent not just in obvious brand extensions, like Banana Republic’s “Mad Men” collection (designed in collaboration with the show’s costume supremo, Janie Bryant), but in more pervasive, unspoken ways: in silhouette and print; in hemline and seam. And in the clear belief, visible on catwalks everywhere, that the 1960s were the answer to every moment of pallid inspiration, or aesthetic doubt.
《广告狂人》对时装的影响体现在品牌的发展当中，例如香蕉共和国(Banana Republic)就推出了《广告狂人》系列（这个系列是与该剧的服装主管贾妮·布赖恩特[Janie Bryant]联合设计的），而且很多心照不宣的地方在设计中更加随处可见：裁剪和印花，褶边和接缝；它的影响渗入了在秀台上普遍存在的一种鲜明理念：如果你缺乏灵感或者产生了审美怀疑，就去回顾60年代吧。
It was visible, for example, on many of Frida Giannini’s Gucci runways, including the tablecloth shades and A-line shapes of leathers for autumn-winter 2014; the pastel tunics and ruffled hostess dresses of spring-summer 2013; the bright Beatle trouser suits and caftans of spring-summer 2009.
在弗丽达·詹尼尼(Frida Giannini)为古驰(Gucci)设计的很多时装秀上都可以看到这种理念，包括2014年秋冬的台布渐变色和A字皮裙；2013年春夏的粉色长款衬衫和褶饰女主人连衣裙；2009年春夏的披头士风格鲜艳裤套装和宽松束腰长裙。
It was there in Rossella Jardini’s Moschino, from the bows and bouffants of spring-summer 2009 to the Mary Quant-inspired spring 2013 collection.
它还体现在萝塞拉·亚尔迪尼(Rossella Jardini)为莫斯奇诺(Moschino)设计的2009年春夏系列的蝴蝶结和宽松裙子上以及以玛丽·匡特(Mary Quant)为灵感的2013年春季系列中。
It was in Giambattista Valli’s most recent autumn-winter show, full of puffed-sleeve printed tunics over matching trousers and drop-waisted schoolgirls shifts, and in MaxMara’s ode to Marilyn Monroe’s 1962 photo shoot with George Barris.
它还体现在詹巴蒂斯塔·瓦利(Giambattista Valli)最近的秋冬时装秀上，那场时装秀中充满泡泡袖印花长款衬衫和配套裤子，以及低腰直筒女学生连衣裙；还体现在麦丝玛拉(MaxMara)向乔治·巴里斯(George Barris)1962年为玛丽莲·梦露(Marilyn Monroe)拍摄的照片致敬的系列。
It was visible in practically every brand that edged from the 1960s to 1970s for the season currently in stores, including Alberta Ferretti, Pucci and Etro.
其实，它体现在所有品牌上，它们把六七十年代的服装搬到当季店铺里，包括阿尔伯特·菲尔蒂(Alberta Ferretti)、璞琪(Pucci)和艾绰(Etro)。
I like a miniskirt and maxi-dress as much as the next woman; they are, generally, flattering and easy to wear. And there’s no question that seeing them on Megan and Company was a potent reminder.
和普通女人一样，我也喜欢超短裙和超长裙——它们通常讨人喜欢，易于穿着。毫无疑问，这些裙子穿在梅根(Megan)和她的朋友们身上更是有力地提醒了我们。
But this has begun to feel less like a relevant statement about what women want now and more like a retreat; an assumption, which I would characterize as false, that the past is a safe place to dress.
不过，这种风潮好像不是在表达如今的女人想穿什么，而是在逃避，认为最安全的着装方式是回归过去，我认为这种想法是错误的。
There is a natural human tendency to idealize and whitewash days of yore, to cast them in the rosy glow of the mind’s eye.
理想化地描述并粉饰往昔，把往昔置于想象中的玫瑰色光环中，这是人类的天性。
But most of us are self-aware enough to understand that even as we do this, we are lying to ourselves. We recognize those dangers when it comes to politics (see: Bush and Clinton). Why should clothes be any different?
不过，我们大部分人都有自知之明，在粉饰过去的同时就已意识到自己是在自欺欺人。我们知道这种倾向在政治界的危害（看看布什和克林顿吧）。可是，在时尚界又何尝不是如此呢？
Granted, it is easier to remake something than to make something new. Anyone who has faced a blank page knows that. But if fashion’s ubiquitous default to the 1960s over the last seven years has exposed anything, it is its own lack of imagination, not only about clothes and consumers, but about the relationship of culture and dress.
毋庸置疑，改造比创造容易。任何曾经对着白纸一筹莫展的人都知道这一点。但是，在过去七年里，时尚界对60年代的普遍模仿至少暴露出，这个行业缺乏想象力——不只是对于服装和消费者缺乏想象力，而且对于文化与服装的关系也缺乏想象力。
Such borrowing is predicated in part on the assumption that by decontextualizing a style you also strip it of any possible negative implications: military, dynastic, what have you. It becomes an aesthetic form that exists on its own terms, as opposed to one that symbolizes all sorts of complicated societal or political convulsions.
某种程度上，这种借鉴是基于这样的假设：把一种时装风格从它自身的环境中剥离出来，就能同时去除它所有潜在的负面寓意：譬如战争和王朝。它会变成一种独立存在的审美形式，不再象征任何复杂的社会和政治动荡。
Yet if “Mad Men” showed us anything (besides how cool a skinny suit could look, and that wide ties really were not a good men’s wear moment), it is that the decade chronicled was a complicated, often unhappy, occasionally destructive time.
但是，如果《广告狂人》向我们展示了什么的话（除了修身西服看起来多酷，宽领带真的不是男装的点睛之笔），那么，它最主要展示的是，60年代非常复杂，往往不太愉快，偶尔具有破坏性。
The show was a potent reminder that the sexual revolution and women entering the work force and the rise of consumerism and the Age of Aquarius (all that) had a dark side, and claimed their own victims. That’s part of why it was such a powerful show.
它有力地提醒我们，性革命、女性进入职场、消费主义的盛行以及太空时代都有阴暗的一面，有些人在其中受到了伤害。这是该剧具有强大影响力的一个原因。
The clothes had resonance because the characters who wore them were intricate and multidimensional, not just because Joan’s brocade sheath was really glamorous, or Megan’s psychedelic chiffons made Pucci feel cool.
那些服装能引起共鸣，是因为身穿那些服装的剧中人物精致复杂，而不只是因为琼的织锦紧身连衣裙真的魅力四射，或者梅根的迷幻雪纺连衣裙让璞琪看起来很酷。
But that kind of emotional identification gets lost on the runway, and the retail floor. And then we are left with what?
但是，在秀台上和零售店里，那种情感上的认同消失了。那么，我们还剩下什么？
Form without content. Which is why devolving to such familiar forms seems like a safe bet, and why it really isn’t. It’s empty and disposable — which is in turn why the 1960s keep being identified as a “trend,” with the associated implication that at some point they will also be identified as “over.” Even though that “over” has yet to come.
只剩下空洞的形式。所以，借鉴这些熟悉的形式看似稳妥，实际上并非如此。它是空洞的，可以被丢弃，所以，60年代的风格一直被认为是一股“潮流”——“潮流”暗含的意思是，在某一时刻它将“终结”。虽然“终结”尚未到来。
But perhaps we are finally there. Perhaps the curtain had to fall on the show before it could fall on that part of the ready-to-wear shows. Perhaps the history hamster wheel that we seem to be on — which has seen us cycle through the 1970s as well as some of the big hair and bigger shoulder pads of the 1980s (yes, we are there again) — will finally stop turning.
但是，我们也许终于走到了终点。也许只有在该剧落幕之后，它对成衣秀的影响力才会终结。也许我们对历史无休止的模仿（是的，我们曾模仿70年代的风格以及80年代的大波浪头和高垫肩）才会最终停止。
After all, during the last round of collections, the most striking pieces — from Louis Vuitton, Dior, Proenza Schouler, Narciso Rodriguez — had a streamlined momentum that wasn’t dragged down by any decade-related reference, or identity. They were clothes that went striding into the future, freed from the weight of the past.
毕竟，在最新一批时装系列中，最引人注目的系列有流线形的趋势，没有被任何与60年代有关的元素或身份拖住——例如，路易威登(Louis Vuitton)、迪奥(Dior)、普罗恩萨·施罗(Proenza Schouler)和纳西索·罗德里格斯(Narciso Rodriguez)——这些服装大踏步走向未来，没有往昔的负累。
Isn’t that what we all want? Don Draper would have understood.
这难道不是我们所有人都想要的吗？唐·德雷珀(Don Draper)应该会理解的。