Martin Margielaについて語られている動画をYouTubeで発見したので勉強の教材にしてみます。
ちなみに全体で26分くらいあるので3回くらいに分けて投稿しようと思います。
動画
字幕 (自動生成されたもの)
00:00:00 ～ 00:00:01 hey everyone welcome back to
00:00:01 ～ 00:00:03 threaducation today we’re back with a
00:00:03 ～ 00:00:05 story that i am personally very excited
00:00:05 ～ 00:00:07 to tell Martin Margiela has often been
00:00:07 ～ 00:00:09 called the invisible man and it’s for a
00:00:09 ～ 00:00:12 good reason despite the wild popularity
wild excellent, special, or unusual
00:00:12 ～ 00:00:14 of his eponymous label he rarely makes
eponymous 〔会社などが〕創始者の名前を社名にした
00:00:14 ～ 00:00:16 public appearances and he has never
make an appearance 顔を出す［のぞかせる］、顔出しする
00:00:16 ～ 00:00:18 given an in-person interview you may
in-person 〔人が〕直接会う、生で出演する
00:00:18 ～ 00:00:20 have even heard a rumor that there are
00:00:20 ～ 00:00:22 no confirmed photos of him in existence
in existence 存在して
00:00:22 ～ 00:00:23 but we’ll be addressing that in just a
00:00:23 ～ 00:00:26 bit as crazy as all of this is i’ve
00:00:26 ～ 00:00:27 pieced together what little information
piece together〔情報などの断片をつないで〕全貌を知る
00:00:27 ～ 00:00:29 we have to bring his story to light and
00:00:29 ～ 00:00:31 by the end of this video the most
00:00:31 ～ 00:00:33 mysterious man in fashion may just be a
00:00:33 ～ 00:00:35 little less mysterious so without
00:00:35 ～ 00:00:38 further ado let’s get into it this is
ado 騒ぎ、騒動
let’s get into it さあ始めよう。取り掛かりましょう。
00:00:38 ～ 00:00:42 the history of Margiela
00:00:47 ～ 00:00:50 in 1957 Martin Margiela was born in Genk
00:00:50 ～ 00:00:52 Belgium this was before other Belgian
00:00:52 ～ 00:00:54 fashion designers like Raf Simons and
00:00:54 ～ 00:00:56 the antwerp 6 were even around so this
00:00:56 ～ 00:00:58 meant that Martin had very little
00:00:58 ～ 00:01:00 exposure to the fashion industry growing
exposure 〔自然環境に〕さらされて［露出して］いること
00:01:00 ～ 00:01:02 up in fact the only real industry in
00:01:02 ～ 00:01:04 Genk was coal mining so he was about as
coal 石炭
mining 採鉱、鉱業、採掘、鉱山業
00:01:04 ～ 00:01:07 far removed from the arts as you can get
00:01:07 ～ 00:01:08 that was all about to change however
00:01:08 ～ 00:01:10 because one day he was sitting down
00:01:10 ～ 00:01:12 watching tv and he happened to see a
00:01:12 ～ 00:01:15 segment on paco rabanne and andre kurege
paco rabanne パコ ラバンヌ。パコラバンヌが創業したファッションブランド 参考ページ
andre kurege アンドレ・クレージュ。André Courrèges フランスのファッションデザイナー
00:01:15 ～ 00:01:16 two european fashion designers who
00:01:16 ～ 00:01:18 successfully ran their own fashion
00:01:18 ～ 00:01:19 houses
00:01:19 ～ 00:01:21 upon seeing this segment Martin realized
on seeing を見て
00:01:21 ～ 00:01:22 that he wanted to do what they were
00:01:22 ～ 00:01:24 doing and so he began his journey into
00:01:24 ～ 00:01:26 the world of fashion to fuel his
fuel 〔感情を〕あおる、刺激する
00:01:26 ～ 00:01:28 curiosity he took an introductory course
introductory 初歩の、入門の
00:01:28 ～ 00:01:30 on fashion and by the time that he’d
00:01:30 ～ 00:01:32 finished there was no doubt left in his
00:01:32 ～ 00:01:34 mind that this was for him
00:01:34 ～ 00:01:35 making the decision to commit himself
commit 〔～に〕全てをささげる、〔～に〕全力を傾ける、〔～に〕最大限の努力を投じる
00:01:35 ～ 00:01:37 fully he enrolled in antwerp’s royal
00:01:37 ～ 00:01:39 academy of fine arts there he learned
fine arts 美術
00:01:39 ～ 00:01:41 more about the art of fashion design and
00:01:41 ～ 00:01:44 after his graduation in 1979 he began
00:01:44 ～ 00:01:46 working as a freelance designer just to
00:01:46 ～ 00:01:48 be clear this does not mean that he was
to be clear 明確化のために［誤解のないように］言うと
00:01:48 ～ 00:01:50 making his own clothes it means that he
00:01:50 ～ 00:01:52 was lending his talents as a designer to
lend 〔人に力を〕貸す
00:01:52 ～ 00:01:54 other labels for the time being that was
for the time being 差し当たり（は）、当分（の間）
00:01:54 ～ 00:01:56 fine but after nearly five years of this
00:01:56 ～ 00:01:58 he decided that he’d liked something a
00:01:58 ～ 00:02:00 bit more consistent and he was fortunate
consistent 〔進展・成長などが〕着実な、〔意見・言行などが～と〕一致した、矛盾のない、つじつまの合った
00:02:00 ～ 00:02:02 enough to land a full-time job as
land 〈話〉〔～を〕勝ち取る、〔～を〕確保する
00:02:02 ～ 00:02:04 jean-paul gaultier’s design assistant at
00:02:04 ～ 00:02:06 some point i’ll need to make a full
at some point ある時点で、いつか、ある時期に
00:02:06 ～ 00:02:08 video on jean-paul gaultier but for now
00:02:08 ～ 00:02:09 just know that he’s a boundary pushing
boundary pushing 限界を押し広げる、きわどい
00:02:09 ～ 00:02:11 fashion french couture designer and this
couture 〈フランス語〉〔デザイナーの作る〕高級婦人服、オート・クチュール
00:02:11 ～ 00:02:13 is right when his career was really
00:02:13 ～ 00:02:14 starting to take off
00:02:14 ～ 00:02:16 for Martin this was in many ways a
00:02:16 ～ 00:02:18 formative experience because during this
formative experience 成長期の体験
00:02:18 ～ 00:02:20 time he learned more about everything
00:02:20 ～ 00:02:21 from designing collections to getting
00:02:21 ～ 00:02:24 them into stores and with jean-paul he
00:02:24 ～ 00:02:26 was doing it at the highest level
00:02:26 ～ 00:02:27 possible
at the highest level possible 可能｛かのう｝な限り高いレベルで
00:02:27 ～ 00:02:28 another interesting point is that this
00:02:28 ～ 00:02:30 new job was actually in Paris so Martin
00:02:30 ～ 00:02:32 now found himself in what many people
00:02:32 ～ 00:02:33 consider to be one of the fashion
00:02:33 ～ 00:02:36 capitals of the world it was a far cry
far cry from (be a ～) ～から叫び声が聞こえるか聞こえないかのところにある、～から遠い距離にある、～から程遠い、～とは大違いである、～と大いに異なる
00:02:36 ～ 00:02:38 from Genk Belgium but this is exactly
00:02:38 ～ 00:02:40 what he needed to fully immerse himself
immerse 〔人を〕没頭［熱中］させる◆【用法】immerse oneself
00:02:40 ～ 00:02:42 into the fashion industry so overall
00:02:42 ～ 00:02:44 things were going great but after nearly
00:02:44 ～ 00:02:46 three years of working with Jean Paul
00:02:46 ～ 00:02:48 Martin began to sense the urge that many
sense 〔直感的に～を〕理解する、〔直感的に～だと〕分かる
urge 〔～しようとする〕衝動、本能
00:02:48 ～ 00:02:50 design assistants sense at some point in
at some point ある時点で、いつか、ある時期に
00:02:50 ～ 00:02:52 their careers he wanted to start his own
00:02:52 ～ 00:02:53 label
00:02:53 ～ 00:02:55 now this is where we really start to get
this is where 「そこで〜」と状況や出来事を説明する時に使える
00:02:55 ～ 00:02:56 a better understanding of Martin
00:02:56 ～ 00:02:58 Margiela’s identity or at least where we
00:02:58 ～ 00:03:00 get a bit more information to work with
00:03:00 ～ 00:03:02 because truth be told it’s still pretty
truth be told 正直に言うと
00:03:02 ～ 00:03:04 confusing as i alluded to in the
allude to ～についてほのめかす
00:03:04 ～ 00:03:06 beginning of the video he has always
00:03:06 ～ 00:03:08 been a very private person and at no
00:03:08 ～ 00:03:10 point in his journey has he actively
at no point いかなる時点でも〜なかった
00:03:10 ～ 00:03:11 sought out the spotlight but don’t let
seek out ～を捜し出す、～を追求する
00:03:11 ～ 00:03:13 that confuse you because when Martin
00:03:13 ～ 00:03:16 launched his own label in 1988 with the
00:03:16 ～ 00:03:18 help of his business-minded friend Jenny
business-minded 商売気［職業意識］のある
00:03:18 ～ 00:03:20 marins fashion critics were instantly
instantly すぐに、すぐさま、一瞬にして［のうちに］、瞬時に、即座に、即時に、あっという間に、瞬く間に、たちまち、たちどころに、途端に、間髪を入れず、時を移さず、見る見る（うちに）
00:03:20 ～ 00:03:22 taken aback by how radical he was his
taken aback《be ～》驚く、びっくりさせられる、困惑する、あっけにとられる、～で不意を突かれる
radical 根本的な、徹底的な、本来の、抜本的な、急進的な、急進主義的な、過激な、極端な、過激派の、先鋭の
00:03:22 ～ 00:03:24 silhouettes were unlike anything they’d
unlike ～とは異なって［違って］、〔…するとは〕～らしくない
00:03:24 ～ 00:03:26 ever seen he showed a strong affinity
affinity 〔人や物への〕親しみ、親近感、一体感
00:03:26 ～ 00:03:28 for deconstruction and he likes to
00:03:28 ～ 00:03:30 experiment with different materials
experiment with ～を試みる
00:03:30 ～ 00:03:32 not only that but he had a distinctly
distinctly 〔知覚や認識などが〕はっきりと、明瞭に、疑いようもなく、際だって
00:03:32 ～ 00:03:34 unique approach to presenting his
00:03:34 ～ 00:03:36 collections our earliest evidence of
00:03:36 ～ 00:03:38 this came in 1988 with the presentation
00:03:38 ～ 00:03:41 of his spring 1989 collection this was
00:03:41 ～ 00:03:43 his runway debut and i think it’s safe
00:03:43 ～ 00:03:45 to say that he left quite the strong
It is safe to say that ～ ～と言って差し支えない、間違いない
00:03:45 ～ 00:03:47 impression rather than hosting the show
00:03:47 ～ 00:03:49 at some fancy venue he decided to host
00:03:49 ～ 00:03:51 it in an unassuming cafe that doubled as
unassuming 〔人が〕出しゃばらない、気取らない、控えめな
00:03:51 ～ 00:03:53 a theater as far as the collection
as far as ～の範囲までは、～に関する限りは
00:03:53 ～ 00:03:55 itself he showed a total of 52 different
00:03:55 ～ 00:03:58 looks relying on a mostly white black
00:03:58 ～ 00:03:59 and red color palette and made the
palette 〔画家や特定の絵の〕色の幅［範囲・広がり］
00:03:59 ～ 00:04:01 interesting decision to cover a number
00:04:01 ～ 00:04:03 of the model’s faces this is giving me
00:04:03 ～ 00:04:05 some pretty major kanye vibes but the
vibes 「感じ」「雰囲気」
00:04:05 ～ 00:04:07 point here was to draw attention away
draw attention 注目を集めること；注意を引くこと
00:04:07 ～ 00:04:08 from their physical features and towards
away from 〜離れて
toward(towards) 〔動きが〕～の方へ、～に向かって
00:04:08 ～ 00:04:10 the clothes that they were wearing in a
00:04:10 ～ 00:04:12 similar vein of thought he had some of
vein 〔a vein of A〕一筋［少量］のＡ，Ａの気味［感じ］
((a ～))（…の）スタイル, 手法；（…の）気味, 特質, 調子, 性格((of …))
00:04:12 ～ 00:04:14 the models step in red paint right
step in ～に足を踏み入れる、参加する
00:04:14 ～ 00:04:16 before walking onto the runway and this
00:04:16 ～ 00:04:17 was to draw attention towards the fact
00:04:17 ～ 00:04:19 that they were wearing tabby boots
00:04:19 ～ 00:04:21 tabby boots would go on to become one of
go on to ～に進む、～に進学する、～に取り掛かる、次に～する
00:04:21 ～ 00:04:23 Margiela’s signature offerings but you
signature [他と区別される]特徴、特徴的な性質
00:04:23 ～ 00:04:24 might be surprised to learn that they
00:04:24 ～ 00:04:27 actually pre-date Margiela by about 400
pre-date 前に来る
00:04:27 ～ 00:04:28 years
00:04:28 ～ 00:04:30 it all started in 15th century japan
00:04:30 ～ 00:04:32 when people started making split toe
toe 〔人の〕足指、つま先
00:04:32 ～ 00:04:33 socks called tabbies that they could
00:04:33 ～ 00:04:35 wear with their traditional thong
thong 〔～を〕革ひもで打つ、〔～に〕（革）ひもを付ける
thong sandal 〈米・豪〉ビーチサンダル
00:04:35 ～ 00:04:37 sandals and over time this evolved into
evolve into 進歩して～になる
00:04:37 ～ 00:04:40 a split toe boot called the jika tabby
00:04:40 ～ 00:04:41 this mostly served a functional purpose
00:04:41 ～ 00:04:43 as people would wear them outdoors but
00:04:43 ～ 00:04:45 it did become a staple in the world of
staple 〔繰り返し使われる〕不可欠な要素、必需品
00:04:45 ～ 00:04:47 japanese fashion fast forward a few
fast-forward 最新の情報に精通している、最先端をいっている
00:04:47 ～ 00:04:49 hundred years and it just so happens
00:04:49 ～ 00:04:51 that Martin Margiela’s studies led him
00:04:51 ～ 00:04:53 to take an interest in japanese fashion
take (an) interest in ～に興味［関心］を持つ
00:04:53 ～ 00:04:55 after learning about the tabby he got
00:04:55 ～ 00:04:56 the idea to create a higher end split
00:04:56 ～ 00:04:58 toe boot and the end result was the now
(an) end result 〔長い過程や一連の出来事の〕結末、最終結果
00:04:58 ～ 00:05:01 iconic tabby this is actually something
00:05:01 ～ 00:05:02 he’d been working on for years before
00:05:02 ～ 00:05:04 starting his own label but it finally
00:05:04 ～ 00:05:06 made an appearance in his debut show and
00:05:06 ～ 00:05:08 was an instant hit at first glance it
instant すぐの、即時の
at first glance 一目見ただけで、一見したところ（では）、一見して
00:05:08 ～ 00:05:10 may have been hard for spectators to see
00:05:10 ～ 00:05:12 them in the dimly lit cafe but as the
dimly 薄暗く dimly lit cafe 薄暗いカフェ
00:05:12 ～ 00:05:14 red paint on the bottom stamped
00:05:14 ～ 00:05:15 hoof-like marks along the runway they
hoof-like ひづめのような
00:05:15 ～ 00:05:18 became impossible to ignore and as soon
00:05:18 ～ 00:05:20 as the show was over the orders started
00:05:20 ～ 00:05:21 coming in
00:05:21 ～ 00:05:23 now before this show not many people
00:05:23 ～ 00:05:25 knew the name Martin Margiela other than
other than ～以外の、〈否定文で〉～以外にない
00:05:25 ～ 00:05:26 the few who knew him as jean-paul
00:05:26 ～ 00:05:28 gaultier’s design assistant but with
00:05:28 ～ 00:05:30 this stunning presentation he put his
stunning とても魅力的な
00:05:30 ～ 00:05:32 name on the map
00:05:32 ～ 00:05:33 many people will tell you that first
00:05:33 ～ 00:05:35 impressions are everything so in that
00:05:35 ～ 00:05:37 department he was doing fine but in the
00:05:37 ～ 00:05:39 fashion industry your ability to parlay
parlay 元金ともうけた金［配当金］を再び賭ける、資産を運用して金もうけをする
parlay〈資金などを〉〔…に〕拡大[増大]させる〔into〕
00:05:39 ～ 00:05:41 initial interest into a sustainable
sustainable 維持［持続］できる、持ちこたえられる、耐え得る
00:05:41 ～ 00:05:43 following is what will really make or
following 追随者、支持者、ファン、愛好者
make or break の成功を左右する
00:05:43 ～ 00:05:45 break you so after this first collection
00:05:45 ～ 00:05:48 the pressure was on he continued pushing
00:05:48 ～ 00:05:50 forward and in 1989 he delivered what
push forward〔押しのけて〕前へ進む、突き進む、～を人目につかせる
00:05:50 ～ 00:05:52 many people believe to be some of his
00:05:52 ～ 00:05:54 most groundbreaking work to date
groundbreaking 革新的な、画期的な
00:05:54 ～ 00:05:56 once again going against the grain
go against [主義・方針・習慣・時流・常識・規則などに] 逆らう、従わない、反対する、反する、合わない
grain 〔人の〕性質、気性
00:05:56 ～ 00:05:58 Martin decided to host his spring 1990
00:05:58 ～ 00:06:00 show on a playground in the outskirts of
playground 〔学校・公園などの中にある〕遊び場
00:06:00 ～ 00:06:02 Paris that may sound a bit random but
00:06:02 ～ 00:06:04 his intention was to make the show feel
00:06:04 ～ 00:06:06 authentic and open to the public as a
00:06:06 ～ 00:06:08 matter of fact it was open to the public
as a matter of fact 実は、実を言うと［言えば］、実際のところ、何を隠そう
00:06:08 ～ 00:06:10 and there were no formal seating
00:06:10 ～ 00:06:12 arrangements this didn’t go over too
go over with ～で好評を博する、～で受ける
00:06:12 ～ 00:06:13 well with members of the fashion media
00:06:13 ～ 00:06:15 because they arrived to discover that
00:06:15 ～ 00:06:17 the front row seats they were accustomed
accustomed to 《be ～》～に慣れている、～が習慣になっている、常習的に～している
00:06:17 ～ 00:06:18 to sitting in had been taken by young
00:06:18 ～ 00:06:21 children you see Martin felt bad that
00:06:21 ～ 00:06:22 the playground would be closed for a few
00:06:22 ～ 00:06:24 days while they were setting up the show
00:06:24 ～ 00:06:25 so he began thinking of things he could
00:06:25 ～ 00:06:28 do for the kids in return his first
00:06:28 ～ 00:06:29 thought was to send him all on a field
field trip 現地調査旅行、校外学習、校外見学、社会見学、遠足
00:06:29 ～ 00:06:31 trip out to the french countryside but
00:06:31 ～ 00:06:33 then he had an even better idea he
00:06:33 ～ 00:06:35 approached each of the local schools and
00:06:35 ～ 00:06:37 asked if they’d be willing to make
00:06:37 ～ 00:06:38 invitations for his show in their art
00:06:38 ～ 00:06:41 classes all of the schools agreed and
00:06:41 ～ 00:06:43 Martin was handed back nearly 500 unique
hand back 〈人に〉〈物を〉返却する
00:06:43 ～ 00:06:45 invitations as his way of saying thank
one’s way of saying 話しぶり、〈言い方〉・口振り、話し振り、話しぶり
00:06:45 ～ 00:06:47 you he then invited all of the kids who
00:06:47 ～ 00:06:49 designed them to attend his show and
00:06:49 ～ 00:06:51 that is why we see them sitting in the
00:06:51 ～ 00:06:53 front row now seeing as they were just
00:06:53 ～ 00:06:55 children they had no regard for the type
have no regard for ～を重んじない、～に敬意を払わない、～に対する尊敬の念が全くない
00:06:55 ～ 00:06:56 of etiquette one would normally expect
00:06:56 ～ 00:06:58 at a high-end fashion show and while
00:06:58 ～ 00:06:59 this would be a nightmare for most
00:06:59 ～ 00:07:02 designers Martin loved it the kids stole
00:07:02 ～ 00:07:04 the show as they posed for the camera
00:07:04 ～ 00:07:06 sprinted onto the runway and one even
00:07:06 ～ 00:07:08 climbed onto the shoulders of a model
00:07:08 ～ 00:07:10 and while this was all exciting don’t
00:07:10 ～ 00:07:12 let this distract you from how great the
distract 〔+目的語(+from+(代)名詞)〕〈人・注意を〉〔…から〕散らす，そらす，転ずる〕
00:07:12 ～ 00:07:14 collection itself was
00:07:14 ～ 00:07:15 he focused much of his attention on
00:07:15 ～ 00:07:17 proportions with this one resulting in a
00:07:17 ～ 00:07:19 unique look that was wide at the waist
waist 胴［腰］のくびれ、ウエスト
00:07:19 ～ 00:07:21 and narrow on top in addition to this he
00:07:21 ～ 00:07:23 experimented with different materials as
experiment with ～を試みる
00:07:23 ～ 00:07:25 seen with this translucent dress and
translucent 半透明の
00:07:25 ～ 00:07:27 once again he brought back the tabby
bring back 連れて帰る、呼び戻す
00:07:27 ～ 00:07:29 boots looking back now Margiela’s spring
look back 〔過去の出来事などについて〕回想する、追憶する
00:07:29 ～ 00:07:32 1990 collection is an undeniable classic
undeniable 明白な、紛れもない、否定しようがない、受け入れざるを得ない
00:07:32 ～ 00:07:34 and you could even say that it changed
00:07:34 ～ 00:07:36 the course of fashion history you see at
00:07:36 ～ 00:07:38 the show that day there was a young man
00:07:38 ～ 00:07:40 in the audience named Raf Simons still
00:07:40 ～ 00:07:42 in school he’d landed an internship
00:07:42 ～ 00:07:43 working with the Belgian fashion
00:07:43 ～ 00:07:45 designer Walter Van Beirendonck but he
Walter Van Beirendonck ベルギーのファッションデザイナー
00:07:45 ～ 00:07:47 admittedly disliked the idea of a career
admittedly 確かに、認めざるを得ないことだが、明らかに、ご指摘のとおり
00:07:47 ～ 00:07:49 in fashion and was more interested in
00:07:49 ～ 00:07:51 furniture design that was all about to
00:07:51 ～ 00:07:53 change though because after Margiela’s
about to 《be ～》まさに～しようとしている、まさに～するところだ
00:07:53 ～ 00:07:55 collection he realized that he too
00:07:55 ～ 00:07:57 wanted to pursue fashion nowadays Raf
00:07:57 ～ 00:07:59 is one of the most prolific designers
00:07:59 ～ 00:08:01 alive but if he hadn’t gone to the show
00:08:01 ～ 00:08:03 that day there’s a very real chance that
00:08:03 ～ 00:08:04 we wouldn’t be talking about him right
00:08:04 ～ 00:08:07 now let me say though that as much as he
00:08:07 ～ 00:08:09 loved the collection not everyone felt
00:08:09 ～ 00:08:11 the same way and at the time it was
00:08:11 ～ 00:08:13 actually a bit polarizing
polarize 二極化する、分裂する、対立する
00:08:13 ～ 00:08:15 yes some people thought it was fantastic
00:08:15 ～ 00:08:17 but others hated it largely because of
00:08:17 ～ 00:08:19 how far it strayed from traditional
stray from ～から脱線する［外れる］、～から（脇へ）反れる
00:08:19 ～ 00:08:20 high-end fashion
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