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.

登上时尚杂志封面的第一位非白人，打破种族和年龄双重障碍的模特希纳•马沙多(China Machado)，于周日在纽约州长岛布鲁克黑文去世，

She was 86.

享年86岁。

Her family said the cause was cardiac arrest.

家人说她死于心脏骤停。

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.

很多媒体报道了她的多彩人生：她于1929年的圣诞日出生在上海，本名诺艾莉•德索萨•马沙多(Noelie de Souza Machado)；在中国被日本人占领后随父母于1946年逃离；跟西班牙斗牛士路易斯•多明圭因(Luis Dominguín)有过一段情事，后者为了艾娃•加德纳(Ava Gardner)离开了她；和弗朗索瓦•奥朗德(François Hollande)有过交往。

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.

但在时尚产业仍然缺乏多样性的今天，有必要停下来思考：多彩在马沙多身上究竟是何含义，她的职业生涯代表着什么，我们还有多长的路要走。

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.

她留下的遗产远远超出她拍过的照片、摆过的姿势，她会让我们重新思考关于什么被视为美以及为什么被视为美的种种假设。

And it is as relevant today as when she first stepped on a runway, in the 1950s.

这种思考在今天的重要性，并不亚于她在上世纪50年代初次登上伸展台之时。

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.

希纳•马沙多是高级定制时装的伟大先驱者之一，目前在威廉(Will.I.Am)创办的科技企业i.am+担任时尚和造型总监的《时尚》(Vogue)杂志前自由编辑安德烈•莱昂•塔利(André Leon Talley)在一封电子邮件中写道。

He added that she made of her ethnicity something powerful.

他还表示，她把自身的种族性变成了某种强大的东西。

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.

在国际上，她为多样性以及其他种族铺平了道路，也为黑人模特在出版物和伸展台上的崛起铺平了道路。

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.

《W》杂志主编斯蒂法诺•汤奇( Stefano Tonchi)说：她是第一个把‘他者性’的概念摆在读者面前的人，唤起了关于不同文化的记忆，让人看到他者意象的碎片。

She always did it with irony, without posing, modeling or vogueing.

她总是以讽刺的方式这样做，而不是通过摆姿势、当模特儿或者模仿模特儿的姿势跳舞。

Somehow she showed it all while dancing.

不知怎的，她在举手投足之间就将其全部展现了出来。

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.

起初她并非刻意为之，但她女儿艾玛努埃尔•拉萨尔-希尔(Emmanuelle LaSalle-Hill)说，等到她意识到自己在时尚界的位置具有历史意义的时候，她非常自豪地扮演起了那个角色。

She thought so much of fashion looked the same, and she wanted to celebrate the idea that everyone could be who they were.

她认为时尚界看上去太千篇一律，她想要赞美的理念是人人都可以活出真我。

Machado certainly was.

其中当然包括马沙多。

It began in 1959,

事情是从1959年开始的。

when Machado became the first nonwhite model featured in the pages of Harper’s Bazaar.

当时，马沙多成为了第一个出现在《时尚芭莎》(Harper's Bazaar)上的非白人模特。

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),

她此前在巴黎做过模特，最引人注目的经历是服务于休伯特•德•纪梵希(Hubert de Givenchy)和Balenciaga（她做得非常成功，是欧洲酬劳最高的伸展台模特儿）。

and Oleg Cassini brought her to New York for his runway show in 1958.

奥莱格•卡西尼(Oleg Cassini)在1958年把她带到纽约，为自己的新系列走秀。

She caught the eye of Diana Vreeland, who sent her to Richard Avedon,

她得到戴安娜•弗里兰(Diana Vreeland)的青睐，被送到理查德•埃夫登(Richard Avedon)面前。

then Harper’s Bazaar’s star photographer and a crucial player in forming the magazine’s identity.

后者当时是《时尚芭莎》的明星摄影师，在该杂志形成自身特色的过程中起到了至关重要的作用。

He christened her his muse and began photographing her exclusively — in looks that, Talley pointed out, had previously been worn only by white models.

他把她称为自己的谬斯，开始专门拍她——塔利指出，她拍照时脸上挂着以前只属于白人模特儿的表情。

Avedon wanted his photos of Machado in Bazaar’s February issue.

埃夫登想要把为马沙多拍的照片发表在《时尚芭莎》的2月号上。

But according to an interview Machado did with CNN in 2011, Robert F.

但马沙多于2011年接受CNN采访时表示，杂志的时任出版人罗伯特•F•麦克里奥德(Robert F.

MacLeod, the magazine’s publisher at the time, said: Listen, we can’t publish these pictures.

MacLeod)说：听着，我们不能刊发这些照片，

The girl is not white.

这个女孩不是白人。

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.

在欧洲，我知道别人觉得我有点儿‘奇特’——如果你想用这个词的话，但它不绝不是某种耻辱，马沙多今年曾这样告诉《纽约》(New York)杂志。

Avedon’s contract with Bazaar was up for renewal at the time, however, and, according to Machado,

那时候，埃夫登与《时尚芭莎》的合同该续签了。

he threatened not to re-sign unless his photos of Machado appeared in the magazine,

然而，根据马沙多的说法，他放话说，如果该杂志不刊发他为马沙多拍的照片，他就拒绝续约。

and such was his power that the editors finally agreed.

由于他极具影响力，编辑们最终同意了这个条件。

He sort of blackmailed them into putting these pictures into the magazine, she said.

他有点儿像是敲诈勒索，迫使他们在杂志上登了这些照片，她说。

It wasn’t the only boundary she and Avedon pushed for the magazine.

这并不是她和埃夫登帮助《时尚芭莎》突破的唯一一道界线。

She was also its first nude, in 1961.

1961年，该杂志为她打破禁忌，首次刊登裸体照片。

And it wasn’t the only racism she encountered.

而这也不是她唯一一次遭遇种族主义。

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.

马沙多在《纽约》杂志上说，她于1958年在卡西尼的秀场亮相后，卡西尼和一群南方买手做过沟通，因为他们忽略了她在时装秀上穿的所有衣服。

He asked why, and they said, Machado reported, Oh, she’s black.

马沙多称，卡西尼问原因何在，他们则回答，哦，她是黑人。

(Actually, she was mixed race, with Portuguese, Chinese and Indian roots.)

（事实上她是混血儿，有葡萄牙、中国和印度血统。）

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.

她告诉CNN，甚至是后来自己名气最盛的时候：出来的每一个广告上面都傻乎乎地写着：‘伟大的希纳’。

I felt like ...

我感觉像是……

a circus!

一个马戏团！

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.

到了1962年，马沙多已经完成了从镜头前到幕后的转变，但也有引人注目的例外——她曾于1971年出现在《时尚芭莎》封面上，成为登上该杂志封面的第一个非白人女性；也曾于1973年代表美国参与凡尔赛宫之战(Battle of Versailles)时装秀。

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.

她当上了《时尚芭莎》的时尚总监，由此开拓出另一条专业道路（模特出身的编辑格蕾丝•柯丁顿[Grace Coddington]、托恩•古德曼[Tonne Goodman]等人都是循着她的脚步），还帮助推出了面向50岁以上人群的《Lear’s》杂志。

Then, at age 81, she signed with IMG Models, becoming an effective octogenarian supermodel.

后来，她在81岁那年和IMG模特公司(IMG Models)签约，成为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.

她在巴尼斯(Barneys)和科尔哈恩(Cole Haan)的广告宣传活动中当上了主角，并重新登上了《时尚芭莎》杂志。

Only last month, she was modeling for a new Ray-Ban shoot by the photographer Steven Klein.

就在上个月，她还在摄影师史蒂芬•克雷恩(Steven Klein)为雷朋(Ray-Ban)新拍的大片中做了模特。

All without ever having plastic surgery.

她从来没有整过容。

You can’t worry about aging because that’s the worst thing, she once said.

你不能担心变老，因为那是最糟糕的，她曾经表示。

If you start, then you just keep finding more things you don’t like, and then you’re finished.

如果你开始担心，就会不断发现更多你不喜欢的东西，然后你就完蛋了。

There are a lot of things I could have done to my face, but it would never stop.

我本可以对自己的脸做很多事情，但那样一来就会没完没了。

According to Ivan Bart, the president of IMG Models, China was instrumental in teaching younger models,

IMG模特公司总裁伊万•巴特(Ivan Bart)说，希纳在教导年轻模特方面发挥了重要作用，‘把握你自己，把握你的美。

‘Own yourself, own your beauty.' Her life showed them how.

’他们可以从她的人生中看到如何这样做。

Machado was always an exception.

马沙多一直是一个特例。

But if fashion learns anything from her example, someday, perhaps, she will be the rule.

但如果时尚界能从她身上学到点儿什么，有朝一日她会许会变成一个平平常常的存在。