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。
Part1はこちらです。→YouTube英語動画勉強13 The History of Margiela Part1
動画
字幕 (自動生成されたもの)
00:08:20 ～ 00:08:22 nevertheless the polarizing collections
polarizing 意見［評価］が大きく分かれる、〔話題などが〕意見の対立を招く
00:08:22 ～ 00:08:24 are often the ones that provoke the most
provoke 〔～を〕引き起こす、招く、起こさせる、誘発する
00:08:24 ～ 00:08:25 discussion and that’s why nearly
00:08:25 ～ 00:08:27 everyone in the industry knew his name
00:08:27 ～ 00:08:29 after this show for any designer trying
00:08:29 ～ 00:08:31 to launch their own label that sounds
00:08:31 ～ 00:08:33 like a dream come true but that was not
that is not the case そうではない(内容を真っ向から否定したい)
00:08:33 ～ 00:08:35 the case for him as much as he loved the
as much as ～するだけの量のもの、～と同じ程度に、～と同じ量のもの、～ではあるが
00:08:35 ～ 00:08:37 creative freedom to make whatever he
00:08:37 ～ 00:08:39 wanted he never cared for the spotlight
care for ～を欲する、～が欲しい、～を好む ◆疑問文・否定文で用いられる。
spotlight 〔世間の〕注目、着目、注視
00:08:39 ～ 00:08:41 that came with it and so just like that
come with 〔主語には〕～が付いて［付属して・同梱されて］いる
just like that 突然、急に、あっという間に、何の予告［前触れ］もなく、ふとにわかに
00:08:41 ～ 00:08:43 Martin Margiela began planning his own
00:08:43 ～ 00:08:46 disappearance
disappearance 見えなくなること、失踪、消失、行方不明
00:08:57 ～ 00:08:59 Martin Margiela’s decision to disappear
00:08:59 ～ 00:09:00 from the public eye came down to a
come down to ～に及ぶ、～に行き着く
00:09:00 ～ 00:09:03 combination of a few different factors
00:09:03 ～ 00:09:04 on one hand he’s always been an
on the one hand 一方では
00:09:04 ～ 00:09:07 inherently private person and on the
inherently 本質的に、もともと（は）
00:09:07 ～ 00:09:08 other hand he wanted to let his work
00:09:08 ～ 00:09:11 speak for itself oftentimes in the
oftentimes oftenの古い版
00:09:11 ～ 00:09:13 fashion industry we associate a brand
00:09:13 ～ 00:09:14 with its founder or whoever the creative
00:09:14 ～ 00:09:17 director is and while I personally don’t
00:09:17 ～ 00:09:18 think that that’s a bad thing there are
00:09:18 ～ 00:09:20 definitely instances where it distracts
instance 〔物事が起きる〕場合、出来事
00:09:20 ～ 00:09:22 from what we really care about which is
00:09:22 ～ 00:09:25 the clothes so how did Margiela go about
00:09:25 ～ 00:09:27 staging his disappearance well I touched
stage〔イベントを〕主催する、計画的に実施する
touch on 〔議論の中で話題などに〕軽く触れる、言及する
00:09:27 ～ 00:09:29 on this a bit earlier but basically he
00:09:29 ～ 00:09:31 stopped making public appearances he
00:09:31 ～ 00:09:32 stopped giving interviews and he even
00:09:32 ～ 00:09:35 refused to be photographed speaking of
photograph 〔～を〕写真に撮る、〔～を〕撮影する
speaking of which そういえば◆相手の話した全文を受けて
00:09:35 ～ 00:09:37 which I think that here is a good place
00:09:37 ～ 00:09:39 to address the most famous rumor about
address 〔問題などに〕対処する、取り組む
00:09:39 ～ 00:09:41 Margiela which is that there are no
00:09:41 ～ 00:09:43 known photos of him in existence
in existence 既存の、存在して
00:09:43 ～ 00:09:46 right away let me say that this is 100
00:09:46 ～ 00:09:48 false while there may not be many of
false 〔判断・判定・識別などが〕正しくない、誤った
00:09:48 ～ 00:09:50 them we do have several confirmed photos
00:09:50 ～ 00:09:52 of Margiela some of them were taken
00:09:52 ～ 00:09:54 during photo shoots some of them were
00:09:54 ～ 00:09:56 taken paparazzi style but either way
either way どちらにしても
00:09:56 ～ 00:09:58 Martin is aware that these photos are
《be ～》～を知っている、～が分かっている
00:09:58 ～ 00:10:00 out there and that people know what he
00:10:00 ～ 00:10:02 looks like and honestly I think that the
look like のように見える
00:10:02 ～ 00:10:04 air of mystery he’s created for himself
air of mystery 神秘的な［謎めいた］部分［雰囲気］
00:10:04 ～ 00:10:06 has only spread more curiosity about who
00:10:06 ～ 00:10:09 he is and if you ask me I think that he
00:10:09 ～ 00:10:11 plays into this a bit yes he disappeared
play into （アイデア・考え・理論などを）助長する、手助けする
00:10:11 ～ 00:10:13 from the public eye but it seems as if
00:10:13 ～ 00:10:14 he wants us to know that there’s
00:10:14 ～ 00:10:16 something missing one of the best
00:10:16 ～ 00:10:17 examples of this is that he started
00:10:17 ～ 00:10:19 using a plain white tag on all of his
00:10:19 ～ 00:10:21 clothing it’s extremely simple and
00:10:21 ～ 00:10:23 non-descript but like I just said you
nondescript 〔人・物の見た目がごく普通でまったく興味が湧かないほどに〕何の特徴［変哲］もない、どこにでもありそうな、平凡な、目立たない、ごくありきたりの
00:10:23 ～ 00:10:25 know that there’s something missing why
00:10:25 ～ 00:10:27 have a tag at all if you’re not going to
00:10:27 ～ 00:10:29 put the name of the brand on it I will
00:10:29 ～ 00:10:31 note that the tag wouldn’t remain blank
note that ここで留意すべきは〔that以下〕である
00:10:31 ～ 00:10:33 but the point I’m making here still
00:10:33 ～ 00:10:35 holds up because he decided to replace
hold up 持続する、持ちこたえる、維持する
00:10:35 ～ 00:10:36 it with something that is arguably even
arguably 〔見解・意見などが〕ほぼ間違いなく、議論の余地はあるかもしれないが◆【用法】文全体を修飾する。
00:10:36 ～ 00:10:39 more cryptic as you can see it’s three
cryptic 〔メッセージ・発言などが〕暗号のような、不可解な、謎めいた
00:10:39 ～ 00:10:42 rows of numbers ranging from 1 to 23 and
00:10:42 ～ 00:10:43 the cool thing here is that depending on
00:10:43 ～ 00:10:45 the type of product the tag will
00:10:45 ～ 00:10:47 actually be different I’m not going to
00:10:47 ～ 00:10:49 go through each and every variation but
go through くまなく［細かく］調べる、捜索する
00:10:49 ～ 00:10:51 here’s a list that shows what number
00:10:51 ～ 00:10:52 will be circled depending on what type
00:10:52 ～ 00:10:55 of product it is so for example the
00:10:55 ～ 00:10:57 number 22 will be circled on the logo of
00:10:57 ～ 00:10:59 every Margiela’s shoe the only one
00:10:59 ～ 00:11:01 that’s really different is MM6 because
00:11:01 ～ 00:11:03 rather than being treated as just
00:11:03 ～ 00:11:06 another product category MM6 is the name
00:11:06 ～ 00:11:08 of a diffusion line focused exclusively
diffusion 拡散、発散
diffusion line《a ～》ディフュージョンライン◆有名デザイナーによる廉価版のブランド製品
00:11:08 ～ 00:11:10 on women’s wear so anytime you see that
00:11:10 ～ 00:11:12 just know it’s essentially an offshoot
00:11:12 ～ 00:11:14 of the brand’s main line personally I
00:11:14 ～ 00:11:16 find this whole number system really
00:11:16 ～ 00:11:18 cool and it’s also a brilliant marketing
00:11:18 ～ 00:11:19 move because it contributes to
contribute to ～に貢献［寄与・寄稿・寄附］する、～の一因となる、～に役立つ
00:11:19 ～ 00:11:22 Margiela’s if you know you know status
00:11:22 ～ 00:11:23 now another great example of the
00:11:23 ～ 00:11:25 something is missing concept is this
00:11:25 ～ 00:11:28 photo of Margiela employees right away
00:11:28 ～ 00:11:29 you may notice that there’s one empty
00:11:29 ～ 00:11:31 chair and that empty chair is
00:11:31 ～ 00:11:33 symbolically reserved for Martin to be
symbolically 象徴的に、象徴的な意味において
00:11:33 ～ 00:11:35 fair we don’t know if leaving an empty
to be fair 公平のために（言うと）
00:11:35 ～ 00:11:37 chair was his idea but it just goes to
go to show ～を証明する
00:11:37 ～ 00:11:39 show that the brand actively feeds into
actively 活発に、積極的に、前向きに、盛大に、盛んに
feed into ～に注ぐ［流れ込む・絡む］
00:11:39 ～ 00:11:41 this mystery man narrative as a side
narrative 物語、談話
as a side note ちなみに、ついでに言うと
00:11:41 ～ 00:11:43 note you may have noticed that everyone
00:11:43 ～ 00:11:45 in the photo is wearing a white lab coat
00:11:45 ～ 00:11:47 and the reason behind that is actually
00:11:47 ～ 00:11:49 pretty interesting to create a sense of
00:11:49 ～ 00:11:51 unity among his employees Martin
unity 単一性、一つである状態、値が1であること、統一、結束、一つになること、〔目的や行動の〕一貫性、不変性、統合された〕まとまり、結合体
00:11:51 ～ 00:11:53 instated a company policy requiring
instate 〔～に〕つかせる、任命する
00:11:53 ～ 00:11:55 everyone to wear the same plain white
00:11:55 ～ 00:11:57 lab coat not only did this new uniform
00:11:57 ～ 00:11:59 place them all on common ground but it
common ground 共通の土台［基盤・立場］、〔複数の人たちの経験などの〕共通点
00:11:59 ～ 00:12:00 also encouraged them to focus less on
00:12:00 ～ 00:12:02 the clothes that they were wearing and
00:12:02 ～ 00:12:03 more on the clothes that they were
00:12:03 ～ 00:12:05 making this policy is still in place
in place 適当な位置に、適所に、所定の［あるべき・決まった］位置［場所］に、定位置に
00:12:05 ～ 00:12:07 today and if you want to see for
see for oneself 自分の目で確かめる
00:12:07 ～ 00:12:09 yourself just walk into any Margiela
00:12:09 ～ 00:12:10 store and you’ll be greeted by someone
greet 〔人を温かく〕出迎える、歓迎する、〔人に丁寧に〕挨拶する、呼び掛ける
00:12:10 ～ 00:12:13 in a white lab coat but anyways let’s go
00:12:13 ～ 00:12:14 back to what I was saying because there
00:12:14 ～ 00:12:16 is one thing that I want to be very
00:12:16 ～ 00:12:17 clear about when discussing the
00:12:17 ～ 00:12:20 anonymity of Martin Margiela yes I do
anonymity 匿名（性）
00:12:20 ～ 00:12:22 think that the brand intentionally leans
intentionally わざと、故意に、意図的に◆行為者が悪意を持っているニュアンスがある。
lean on ～に頼る
00:12:22 ～ 00:12:24 on this aspect of its reputation but
00:12:24 ～ 00:12:25 that does not make the element of
element 〔大きな集団を構成する〕成分、要素
00:12:25 ～ 00:12:28 mystery here any less authentic if
00:12:28 ～ 00:12:30 anything it makes it more authentic
if anything どちらかといえば［いうと］、それどころか
00:12:30 ～ 00:12:31 because Martin really is an intensely
intensely 〔程度が〕極度に、激しく
00:12:31 ～ 00:12:33 private person and this is something
00:12:33 ～ 00:12:35 that has been seamlessly woven into the
seamlessly 縫い目がないかのように、継ぎ目なく、途切れなく、いつまでたっても終わらないで
woven into 《be ～》～に織り込まれる
00:12:35 ～ 00:12:37 brand’s identity that’s why his decision
identity 〔ある人やものが持つ他と異なる〕独自性、固有性、アイデンティティー
00:12:37 ～ 00:12:39 to disappear didn’t hinder his progress
hinder 妨げる、妨害する、邪魔する、遅らせる
00:12:39 ～ 00:12:41 it actually helped I’m sure that he
00:12:41 ～ 00:12:43 would have been successful either way
either way どちらにしても
00:12:43 ～ 00:12:44 but the fashion world quickly became
00:12:44 ～ 00:12:46 enamored with this mystifying designer
enamored with 《be ～》～に夢中になって［魅了されて］いる、～のとりこになっている、～に惹かれて［ほれ込んで・熱を上げて・心を奪われて・うっとりして］いる
mystifying 煙にまく、神秘的にする、不可解にする
00:12:46 ～ 00:12:48 putting out stunning collection after
put out 生み出す、生産する、製造する、出版する、本を出す、発行する、発売する、公開する
stunning 見事な、素晴らしい
00:12:48 ～ 00:12:50 stunning collection
00:12:50 ～ 00:12:51 still behind the curtain he continued to
00:12:51 ～ 00:12:55 do so for several years but then in 1997
00:12:55 ～ 00:12:57 we got word of news that no one had been
get word of ～の知らせを受ける、～のうわさを耳にする
00:12:57 ～ 00:12:58 expecting to hear
00:12:58 ～ 00:13:00 Martin Margiela had been named the new
00:13:00 ～ 00:13:04 creative director of Hermes
00:13:15 ～ 00:13:16 Martin Margiela’s appointment as the
appointment 〔人の職位への〕任命、指名
00:13:16 ～ 00:13:18 creative director of women’s wear for
00:13:18 ～ 00:13:20 irma’s came as a bit of a surprise
00:13:20 ～ 00:13:22 through his work at his own label he’d
00:13:22 ～ 00:13:23 established himself as one of the more
establish 〔権威・要求・習慣・先例・地位・名声などを〕確立する
00:13:23 ～ 00:13:25 avant-garde designers in the industry
avant-garde 〈フランス語〉アバンギャルド、前衛芸術家集団◆前衛的、革新的な芸術活動を行う集団。
00:13:25 ～ 00:13:27 and this didn’t quite match the profile
00:13:27 ～ 00:13:29 of a more traditional somewhat
00:13:29 ～ 00:13:31 conservative fashion house like Hermes
conservative 〔見方や価値観が〕保守的な、伝統を守る
00:13:31 ～ 00:13:33 in fact during their first meeting the
00:13:33 ～ 00:13:36 chairman of Hermes Jean-Louis Dumas is
chairman 〔会社の〕（取締役）会長
Jean-Louis Dumas エルメス5代目会長、ジャン・ルイ・デュマ
00:13:36 ～ 00:13:37 said to have asked Martin if he was
00:13:37 ～ 00:13:38 going to start cutting their bags in
00:13:38 ～ 00:13:41 half part of him was of course joking
00:13:41 ～ 00:13:43 but part of him was being serious
00:13:43 ～ 00:13:44 because this is the type of radical
radical 急進的な、急進主義的な、過激な、極端な、過激派の、先鋭の、根本的な、徹底的な、本来の、抜本的な
00:13:44 ～ 00:13:46 approach that Martin had become known
00:13:46 ～ 00:13:47
00:13:47 ～ 00:13:48 the bottom line was that Hermes was
bottom line 最終結果［決定］、結論
00:13:48 ～ 00:13:50 taking a chance on him and looking back
take a chance on ～に賭けてみる、～をいちかばちかやってみる
look back 〔過去の出来事などについて〕回想する、追憶する
00:13:50 ～ 00:13:52 now I think we can say that things
00:13:52 ～ 00:13:54 worked out I’m not going to sit here and
work out 〔トラブルなどが〕何とか解決する、丸く収める、何とかなる、うまくいく、いい結果が出る、良い結果となる
00:13:54 ～ 00:13:55 tell you that he completely reinvented
reinvent 〔既存の発明品や考案物に気付かずにそれと同じものを〕再発明する、新たに考案する
00:13:55 ～ 00:13:57 Hermes but that was never really his
00:13:57 ～ 00:14:00 intention in fact he sort of used it as
00:14:00 ～ 00:14:02 an opportunity to reinvent himself
00:14:02 ～ 00:14:04 his collections for the fashion house
fashion house 高級ファッションメーカー
00:14:04 ～ 00:14:05 explored a site of luxury and elegance
luxury 豪華さ、ぜいたく
elegance 優雅、上品、気品
00:14:05 ～ 00:14:07 that he had never really explored with
00:14:07 ～ 00:14:08 his own label and there’s even an
00:14:08 ～ 00:14:10 argument to be made that his Hermes
argument 議論、討論、討議、論拠、〔議論の〕根拠
00:14:10 ～ 00:14:11 collections were just higher end
higher end より崇高な目的
00:14:11 ～ 00:14:13 reinterpretations of his Margiela
reinterpretation 再解釈
00:14:13 ～ 00:14:16 collections I’m not saying that this was
00:14:16 ～ 00:14:17 always the case and he did of course
00:14:17 ～ 00:14:19 explore a number of new ideas but there
00:14:19 ～ 00:14:22 is an undeniable element of overlap he
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
overlap 重複（部分）、重なり
00:14:22 ～ 00:14:24 would only remain at Hermes until 2003
00:14:24 ～ 00:14:27 and during that time he released just 12
00:14:27 ～ 00:14:29 collections but overall I think that
overall 概して、全体としては、全般的に見れば、全体的に見て
00:14:29 ～ 00:14:30 this is a really interesting part of his
00:14:30 ～ 00:14:31 story
00:14:31 ～ 00:14:33 the collections were great there’s no
00:14:33 ～ 00:14:35 question about that but it’s really
00:14:35 ～ 00:14:36 fascinating to wonder what made him want
fascinating 魅力的な、魅惑的な、うっとりさせる、興味をそそる
wonder 〔～に〕感嘆［驚嘆］する､～かどうかと思う、～を知りたいと思う
00:14:36 ～ 00:14:38 to do this
00:14:38 ～ 00:14:40 like I said earlier his decision to join
00:14:40 ～ 00:14:42 Hermes came as a surprise to many and
come as a surprise 意外な結果［事実］である、驚きである、驚かされる◆【直訳】～が驚きとして人の感覚に達する
00:14:42 ～ 00:14:43 that’s because it was so
00:14:43 ～ 00:14:45 uncharacteristic for a person as
uncharacteristic 特徴的［典型的］ではない、特質のない
00:14:45 ～ 00:14:47 reclusive as he was to lend his name and
reclusive 〔人が〕隠とん生活を好む、引きこもりがちな、人前に出ない［姿を見せない］
lend 〔人に力を〕貸す
00:14:47 ～ 00:14:50 talents to another major fashion house
00:14:50 ～ 00:14:51 maybe it was that same urge he felt as a
urge 〔～しようとする〕衝動、本能
00:14:51 ～ 00:14:53 design assistant that made him go start
00:14:53 ～ 00:14:55 his own label it’s not uncommon for
uncommon 珍しい、めったに見られない、まれな
00:14:55 ～ 00:14:57 successful independent designers to want
00:14:57 ～ 00:15:00 to go join big name fashion houses so in
in that ～という点において、～であるから
00:15:00 ～ 00:15:01 that respect I guess Martin may have
00:15:01 ～ 00:15:04 been no different in the meantime though
meantime 合間、その間の時間、その間に
00:15:04 ～ 00:15:05 he was still pushing forward with his
push forward with 〔計画などを〕推進する
00:15:05 ～ 00:15:07 namesake label and with each step of the
namesake 〔特に有名人と〕同名の人［もの］、〔特に有名人に〕ちなんだ名前の人
00:15:07 ～ 00:15:09 way he continued refining the design
refine 〔～を〕洗練する、精緻化する、磨く、〔～に〕磨きをかける
00:15:09 ～ 00:15:11 language that he’s become so well known
00:15:11 ～ 00:15:13 for he pushed his interest in
interest in ～への興味［関心］
00:15:13 ～ 00:15:15 deconstruction to the absolute limit he
absolute limit 《the ～》〈話〉どうにも我慢ならない人［もの］、我慢の限界
00:15:15 ～ 00:15:17 continued experimenting with materials
experiment with ～を試みる
00:15:17 ～ 00:15:19 and different silhouettes he doubled
double down on 〈比喩〉～を強化する◆リスクを伴う行動・活動・戦略などを
00:15:19 ～ 00:15:20 down on his signature white black and
00:15:20 ～ 00:15:23 red color palette and he never stopped
00:15:23 ～ 00:15:24 thinking of new ways to present his
present 〔見えるように～を〕示す、提示する
00:15:24 ～ 00:15:27 collections my personal favorite was his
00:15:27 ～ 00:15:29 spring 1998 show where instead of using
00:15:29 ～ 00:15:31 models he literally had Margiela
00:15:31 ～ 00:15:33 employees hold the pieces up on their
hold up 持ち上げる
00:15:33 ～ 00:15:34 hangers
00:15:34 ～ 00:15:36 not only was this an interesting concept
00:15:36 ～ 00:15:38 but it served a functional purpose as
serve 〔～の〕役目［目的］を果たす、役に立つ
functional 〔用途が〕機能的な、実用的な
00:15:38 ～ 00:15:39 well because all of the pieces from this
as well 同じに、同様にうまく､おまけに、その上、なお
00:15:39 ～ 00:15:41 collection were designed to be
00:15:41 ～ 00:15:43 completely flat when not being worn so
00:15:43 ～ 00:15:45 the best way to show them was by not
00:15:45 ～ 00:15:46 wearing them
00:15:46 ～ 00:15:48 that is just one out of many examples
out of 〔ある数〕の中から
00:15:48 ～ 00:15:50 that we have of Martin’s brilliance and
brilliance 〔極めて優れた〕技能、才気
00:15:50 ～ 00:15:52 when you take a step back and look at it
take a step back 一歩退く、一歩譲る、譲歩する
00:15:52 ～ 00:15:54 it’s almost funny in a way he’s
in a way ある意味では、ある点では、幾分、ある程度、見方によれば、いわば
00:15:54 ～ 00:15:56 developed this reputation of being a low
00:15:56 ～ 00:15:58 profile guy who makes these timeless
low profile 低姿勢（をとる人［こと］）、控えめな態度［姿勢］、目立たないこと［存在・人・態度］
timeless 〔芸術作品などの素晴らしさが〕時代を超えた［超越した］、不朽の
00:15:58 ～ 00:16:00 somewhat understated pieces but his
00:16:00 ～ 00:16:02 approach is completely out of the box he
out of the box 〈米俗〉創造的に、独創的に、型にとらわれずに、自由な発想で
00:16:02 ～ 00:16:04 simply has different ways of thinking
00:16:04 ～ 00:16:05 about aspects of fashion that we take
00:16:05 ～ 00:16:07 for granted and that’s why he headed
take ～ for granted ～を当然［当たり前・もちろんのこと・常識・無論のこと］と考える［思い込む・見なす・独り決めする］、てっきり～だと思う、～に慣れっこになってしまう
〔当然のことと見なして〕～を軽く見る、～をみくびる、～の有難みを忘れる［全然分かっていない］、～を気に掛けない、～を正当に評価しない
head into ～に向かう
00:16:07 ～ 00:16:09 into the early 2000s as one of the most
00:16:09 ～ 00:16:12 celebrated designers in the industry but
celebrated 有名な、著名な、世に知られた、高名な
00:16:12 ～ 00:16:16 unfortunately there was trouble ahead
00:16:21 ～ 00:16:23 in 2002 Maison Martin Margiela was
00:16:23 ～ 00:16:26 officially sold to the OTB group which
00:16:26 ～ 00:16:27 is a fashion conglomerate founded by
00:16:27 ～ 00:16:29 Renzo Rosso that currently has stakes in
00:16:29 ～ 00:16:32 brands like DIESEL MARNI Jill Sander
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