Raf Simonsの歴史についての動画です。
動画
字幕 (自動生成されたもの)
00:00:00 ～ 00:00:02 Hey everyone welcome back to Threaducation
Threaducation チャンネル名
00:00:02 ～ 00:00:04 today we’ll be talking about
00:00:04 ～ 00:00:07 the history of Raf Simons I can
00:00:07 ～ 00:00:08 confidently say that Raf Simons is a
00:00:08 ～ 00:00:10 name that everyone knows but in this
00:00:10 ～ 00:00:12 video we’re going to be taking a deeper
take a deep a dive into 〜を深く分析する
00:00:12 ～ 00:00:14 dive into each and every step in his
00:00:14 ～ 00:00:16 journey towards becoming one of the most
towards =toward ～を目指して、～を目的として
00:00:16 ～ 00:00:18 accomplished designers alive so without
accomplished 成就した、完成した、完了した、出来上がった、成し遂げられた、熟達した、老練の、名人級の
alive 活動して、動作して
00:00:18 ～ 00:00:21 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。
00:00:21 ～ 00:00:25 the history of Raf Simons
00:00:33 ～ 00:00:35 in 1968 Raf Simons was born in near
00:00:35 ～ 00:00:37 Pelt Belgium where his father worked as
Pelt ペルト ベルギーのリンブルフ州にある自治体
00:00:37 ～ 00:00:39 a watchman for the military and his
watchman 〈古〉警備員
00:00:39 ～ 00:00:41 mother worked as a house cleaner his
00:00:41 ～ 00:00:43 upbringing was rather strict and from an
upbringing 〔幼少期の〕しつけ（方）、養育（法）
00:00:43 ～ 00:00:45 early age he was enrolled in a Catholic
Catholic キリスト教徒［教会］の
enroll in 〔大学など〕に入る
00:00:45 ～ 00:00:48 school that preached utilitarian values
preach 〔～を〕説き勧める
utilitarian 〔考え方などが〕実利的な、実利にかなう、〔物が鑑賞用ではなく〕実用的な、実際の役に立つ、功利主義の
utilitarian value 実用的価値
00:00:48 ～ 00:00:50 but by some miracle through it all he
00:00:50 ～ 00:00:52 uncovered his passion for the art of
uncover 〔秘密にされていたことなどを〕発見する、見いだす、明らかにする、明るみに出す、あらわにする、暴く、暴露する、打ち明ける
00:00:52 ～ 00:00:53 design
00:00:53 ～ 00:00:55 just to be clear he wasn’t into fashion
just to be clear はっきりさせておきたいんだけど
00:00:55 ～ 00:00:57 design quite yet but instead he was
00:00:57 ～ 00:00:59 interested in the design of everyday
everyday object 〔身の回りにある〕普通の［ありきたりの・ありふれた］物、日用品、日常品
00:00:59 ～ 00:01:01 objects with that in mind when he was
with that in mind その点［こと］を考慮して［考慮に入れて・念頭に置いて］
00:01:01 ～ 00:01:03 old enough he began studying industrial
00:01:03 ～ 00:01:06 design at Belgium’s LUCA school of arts
00:01:06 ～ 00:01:07 while there he began looking for an
00:01:07 ～ 00:01:09 internship and he was fortunate enough
00:01:09 ～ 00:01:11 to land one working for the Belgian
land 手に入れる、入手する、獲得する、得る
00:01:11 ～ 00:01:13 fashion designer Walter Van Beirendonck
Walter Van Beirendonck ウォルター・ヴァン・ベイレンドンク ベルギーのファッションデザイナー
00:01:13 ～ 00:01:15 Raf’s job was to help Walter design
00:01:15 ～ 00:01:17 showrooms and installations and while he
installation 《美術》展示（品）、設置（物）、インスタレーション
場所や空間全体を作品として体験させる芸術
00:01:17 ～ 00:01:19 was happy to have an internship he
00:01:19 ～ 00:01:21 himself admits that he wasn’t thrilled
00:01:21 ～ 00:01:23 to be working in fashion because at the
at the time その時（に［は］）、その時点で
00:01:23 ～ 00:01:26 time he found it to be a bit superficial
superficial 表面的な、うわべだけの、外見上の、見掛けの、実体のない
00:01:26 ～ 00:01:27 that was all about to change however
00:01:27 ～ 00:01:30 because in 1989 Walter brought raphaelon
raphaelon ??
00:01:30 ～ 00:01:32 to the presentation of Margiela’s spring
00:01:32 ～ 00:01:34 1990 collection which many people
00:01:34 ～ 00:01:36 consider to be one of Margiela’s most
00:01:36 ～ 00:01:39 important shows to date this happened to
00:01:39 ～ 00:01:41 be the first fashion show that Raf ever
00:01:41 ～ 00:01:44 attended and in a later interview he
00:01:44 ～ 00:01:45 would say that this show is the sole
sole reason 《the ～》唯一の理由
00:01:45 ～ 00:01:48 reason that he became a fashion designer
00:01:48 ～ 00:01:50 from that point forward he began taking
from that point forward その時から［以来］、それからというもの
take (an) interest in ～に興味［関心］を持つ
00:01:50 ～ 00:01:51 a deeper interest in the fashion
00:01:51 ～ 00:01:53 industry and even began hanging out at a
00:01:53 ～ 00:01:55 cafe in Antwerp where local fans of
00:01:55 ～ 00:01:57 fashion were known to congregate there
00:01:57 ～ 00:01:59 he made connections discussed
00:01:59 ～ 00:02:01 collections and generally speaking
00:02:01 ～ 00:02:03 became more immersed in the culture
immerse 〔人を〕没頭［熱中］させる
00:02:03 ～ 00:02:05 that said it would still be a while
00:02:05 ～ 00:02:07 before he began working in fashion
00:02:07 ～ 00:02:09 because after graduating in 1991 he
00:02:09 ～ 00:02:11 found himself designing furniture for
find oneself 自分が～だと分かる、気が付くと［いつの間にか・知らないうちに］～している
00:02:11 ～ 00:02:13 art galleries even though this is what
00:02:13 ～ 00:02:16 his studies had prepared him for he knew
prepare someone for （人）に～を覚悟させる、（人）に～の準備をさせる
00:02:16 ～ 00:02:17 right away that this wasn’t what he
00:02:17 ～ 00:02:20 wanted in fact he remembers nearly
00:02:20 ～ 00:02:21 breaking down in regret of studying
break down がっくりくる、がっくりする、気落ちする、挫折する、泣きだす、泣き崩れる、取り乱す
in regret 後悔して
00:02:21 ～ 00:02:23 industrial design after seeing Olivier
industrial design 工業デザイン
Olivier Rizzo ベルギーのスタイリスト。Raf SimonsやWilly Vanderperreとよく仕事をしている
00:02:23 ～ 00:02:26 Rizzo one of his friends from Antwerp
00:02:26 ～ 00:02:28 present his collection for graduation to
00:02:28 ～ 00:02:30 put it simply Raf felt like he’d made a
00:02:30 ～ 00:02:33 massive mistake but in a twist of fate
twist of fate 《a ～》運命の意外な［思わぬ］展開
00:02:33 ～ 00:02:35 this so-called mistake is exactly what
00:02:35 ～ 00:02:37 led him down the right path
00:02:37 ～ 00:02:39 you see Walter Van Beirendonck introduced
00:02:39 ～ 00:02:42 Raf to Linda Lopa who was at the time
Linda Lopa リンダ・ロッパ アントワープ王立美術アカデミーのファッション学科長
00:02:42 ～ 00:02:43 the head of the fashion department at
00:02:43 ～ 00:02:45 the royal academy of fine arts in
00:02:45 ～ 00:02:47 Antwerp she took an interest in his work
take (an) interest in ～に興味［関心］を持つ
00:02:47 ～ 00:02:49 as a furniture designer but over the
00:02:49 ～ 00:02:51 course of several conversations they
00:02:51 ～ 00:02:53 came to discuss his dreams of becoming a
00:02:53 ～ 00:02:55 fashion designer although he had no real
00:02:55 ～ 00:02:57 experience in the industry outside of
outside of ～の他に、～の外側へ、～を除いて、～を別とすれば
00:02:57 ～ 00:02:59 working with Walter she told him that he
00:02:59 ～ 00:03:02 didn’t need any now obviously Raf was
00:03:02 ～ 00:03:04 quite talented to begin with but I want
00:03:04 ～ 00:03:06 you to stop and think about how crazy
00:03:06 ～ 00:03:08 that is the head of the fashion
00:03:08 ～ 00:03:10 department at one of the most prolific
prolific 〔作家・芸術家などが〕多くの作品を残す、多作の
00:03:10 ～ 00:03:12 art schools in the world sat him down
00:03:12 ～ 00:03:14 and said he didn’t need to go to school
00:03:14 ～ 00:03:16 for fashion to become a fashion designer
00:03:16 ～ 00:03:18 it wasn’t what he’d been expecting to
00:03:18 ～ 00:03:20 hear and certainly not who he had been
00:03:20 ～ 00:03:22 expecting to hear it from but it was at
00:03:22 ～ 00:03:24 this moment his perspective changed
at this moment 現在のところ、現段階［時点］で（は）
00:03:24 ～ 00:03:26 forever Linda convinced him to give it a
give it a chance 試してみる、チャレンジしてみる、チャンスを与える、与えてみる
00:03:26 ～ 00:03:29 chance and so in 1995 he began working
00:03:29 ～ 00:03:33 on his first collection
00:03:41 ～ 00:03:43 Raf’s decision to launch his own label
00:03:43 ～ 00:03:46 was ambitious but he wasn’t in it alone
ambitious 〔成功・富・権力などを求めて〕大きな望みを持って、大望のある、〔人・企業などが〕野心的な、意欲的な
00:03:46 ～ 00:03:47 you see Linda knew that he would need
00:03:47 ～ 00:03:49 some guidance to get started and so she
00:03:49 ～ 00:03:52 directed him towards Daniele Ghiselli an
00:03:52 ～ 00:03:53 industry veteran with extensive
00:03:53 ～ 00:03:56 experience in sales the idea here was
00:03:56 ～ 00:03:58 for Raf to focus on the designs and for
00:03:58 ～ 00:04:00 her to help market them to clients to
market 〔広告などの努力をして～を〕売り込む、市場に出す
00:04:00 ～ 00:04:02 make that happen she got him into a
make ～ happen ～を実現させる
00:04:02 ～ 00:04:03 showroom where he could present his
present 〔芸術作品で人や物を～として〕表現する、描く
00:04:03 ～ 00:04:05 collection and that is exactly what
00:04:05 ～ 00:04:08 you’re watching a recording of right now
00:04:08 ～ 00:04:10 in total there were 35 pieces most of
00:04:10 ～ 00:04:12 them really not much more than samples
00:04:12 ～ 00:04:14 but something about his dark yet
00:04:14 ～ 00:04:15 youthful design language seemed to
youthful 若い、青年の、若々しい、はつらつとした
00:04:15 ～ 00:04:17 resonate with the showroom’s buyers
resonate with ～に反響する、（人）の心に響く、～の間で共感を呼ぶ
00:04:17 ～ 00:04:19 because the entire collection sold out
00:04:19 ～ 00:04:22 even Raf himself was a bit surprised
00:04:22 ～ 00:04:24 but if we dig a little bit deeper we may
00:04:24 ～ 00:04:26 be able to understand what happened here
00:04:26 ～ 00:04:28 you see it was by complete chance that
by complete chance 全くの偶然で
00:04:28 ～ 00:04:30 HELMUTLANG was also presenting a
HELMUTLANG(ヘルムートラング)は、1976年にオーストリア・ウィーンで設立されたファッションブランド。
00:04:30 ～ 00:04:32 collection at the showroom that day at
00:04:32 ～ 00:04:34 this time HELMUTLANG was by far the more
by far 〔最上級を強めて〕はるかに、断然、非常に、群を抜いて、圧倒的に、間違いなく
00:04:34 ～ 00:04:36 well-known designer and we can presume
presume 仮定する、推理する、推測する
00:04:36 ～ 00:04:38 that many of the buyers were there for
00:04:38 ～ 00:04:40 him but what’s important to understand
00:04:40 ～ 00:04:42 is that in addition to Margiela HELMUTLANG
00:04:42 ～ 00:04:44 was one of Raf’s single largest
00:04:44 ～ 00:04:47 sources of inspiration Raf studied his
inspiration 〔創造的思考に対する〕刺激、鼓舞
00:04:47 ～ 00:04:49 collections and discussed them at length
00:04:49 ～ 00:04:50 with his fashion friends so it makes
00:04:50 ～ 00:04:52 sense that HELMUTLANG’s aesthetic made
aesthetic 審美眼、美学、美学的思想、〔特に芸術の〕美［美学］の［に関する］、審美眼のある
make one’s way into 〔部屋など〕に入る、～に進入［進出］する
00:04:52 ～ 00:04:55 its way into some of his earlier work
00:04:55 ～ 00:04:56 perhaps you already see where I’m going
00:04:56 ～ 00:04:58 with this but I think it’s possible that
00:04:58 ～ 00:05:00 his first collection was so popular with
popular with 《be ～》～に人気がある
00:05:00 ～ 00:05:02 these buyers because it reminded them of
00:05:02 ～ 00:05:04 the HELMUTLANG pieces that they were
00:05:04 ～ 00:05:05 there to see
00:05:05 ～ 00:05:06 just to be clear I’m not saying that
just to be clear はっきりさせておきたいんだけど
00:05:06 ～ 00:05:08 this collection was derivative of HELMUTLANG
derivative 派生物、派生した、派生的な
00:05:08 ～ 00:05:11 but it was similar in respect to
in respect to 〜に関して
00:05:11 ～ 00:05:12 the fact that it explored that dark
00:05:12 ～ 00:05:14 rebellious side of fashion that not too
rebellious 〔人や言動が〕従順でない、反抗的な
00:05:14 ～ 00:05:16 many people were exploring at the time
explore 〔～を〕探検［探索］する、〔詳しく～を〕調査［研究］する
00:05:16 ～ 00:05:19 at least at this level that said it
00:05:19 ～ 00:05:21 still contained a lot of original ideas
00:05:21 ～ 00:05:22 that would provide the foundation for
foundation 土台、礎、基盤、根拠、基礎、根幹、基金
00:05:22 ～ 00:05:24 some of his future work and nowadays
00:05:24 ～ 00:05:26 this is looked back upon as one of his
look back on 〔過去の出来事などを〕回想［追想］する、振り返る
00:05:26 ～ 00:05:29 more iconic collections in fact if you
iconic 象徴的な
00:05:29 ～ 00:05:30 are thinking that this video looks a bit
00:05:30 ～ 00:05:33 familiar that’s because asap rocky
familiar よく知っている、精通している、造詣が深い、聞き覚えのある、打ち解けた、なじんだ、親しみがある、親しい
00:05:33 ～ 00:05:36 playboy cardi lil uzi quavo and frank
00:05:36 ～ 00:05:38 ocean paid homage by recreating this
pay homage to 〜に敬意を表する
00:05:38 ～ 00:05:40 video for their song wrath which is
wrath 〈フォーマル〉激怒、憤怒◆復讐を望むほどの激しい怒り。〈フォーマル〉天罰、復讐、報復
00:05:40 ～ 00:05:43 surprise surprise about Raf Simons
00:05:43 ～ 00:05:45 so anyways Raf continued building off of
00:05:45 ～ 00:05:47 the success of his first collection and
00:05:47 ～ 00:05:49 it was a year later in 1996 that he
00:05:49 ～ 00:05:52 presented his first real runway show in
00:05:52 ～ 00:05:54 Paris this was undoubtedly a major
undoubtedly 疑いようもなく、疑う余地なく、明らかに
00:05:54 ～ 00:05:56 milestone in his career and the show did
00:05:56 ～ 00:05:58 receive a fair amount of praise but it
00:05:58 ～ 00:06:00 was actually his second runway show in
00:06:00 ～ 00:06:04 1997 that changed everything for him the
00:06:04 ～ 00:06:05 show I’m talking about here was for his
00:06:05 ～ 00:06:08 spring 1998 collection titled black
00:06:08 ～ 00:06:09 palms
00:06:09 ～ 00:06:11 in many ways this was the collection
00:06:11 ～ 00:06:14 that made Raf Simons Raf Simons the
00:06:14 ～ 00:06:15 entire show featured more than 60
00:06:15 ～ 00:06:17 different looks a mainly black and white
00:06:17 ～ 00:06:19 color palette and a number of graphics
00:06:19 ～ 00:06:21 designed by the artist frankie clays
Frankie clays??
00:06:21 ～ 00:06:23 with the most notable of course being
00:06:23 ～ 00:06:25 the black pawns beyond that though some
pawn 《チェス》ポーン（◇一番価値の低いこま）
00:06:25 ～ 00:06:28 of the pieces featured anarchic imagery
anarchic 無政府［無法］状態の；無秩序の，混乱の
imagery 〔集合的に〕((形式))絵画的形象，（一連の）イメージ，肖［画，彫］像
00:06:28 ～ 00:06:29 and this was really just Raf’s way of
00:06:29 ～ 00:06:31 doubling down on that rebellious
double down on ～に倍賭けする、〈比喩〉～を強化する◆リスクを伴う行動・活動・戦略などを
rebellious 〔人や言動が〕従順でない、反抗的な、〔国家に対する〕謀反の、反乱の、〔物事や病気などが〕扱いにくい、治療しにくい
00:06:31 ～ 00:06:33 aesthetic that we talked about earlier
aesthetic 〔特に芸術の〕美［美学］の［に関する］、審美眼のある、審美眼、美学、美学的思想
00:06:33 ～ 00:06:35 there was something authentically gritty
gritty 勇気のある、気骨のある、肝の据わった、ほこりだらけの、砂のような、砂利の入ったような、ザラザラする、
00:06:35 ～ 00:06:37 about the entire show and I’m not just
00:06:37 ～ 00:06:39 talking about the clothing it might be
00:06:39 ～ 00:06:41 hard to tell but the presentation
00:06:41 ～ 00:06:43 actually took place in a parking garage
00:06:43 ～ 00:06:45 and many of the models in the show
00:06:45 ～ 00:06:47 weren’t professional models as part of
00:06:47 ～ 00:06:49 his casting process Raf ran ads on the
run 〔広告などを〕掲載する
00:06:49 ～ 00:06:51 radio throughout Europe asking people to
00:06:51 ～ 00:06:53 submit photos of themselves and from
00:06:53 ～ 00:06:55 those photos he selected the youngest
00:06:55 ～ 00:06:57 and most punkish looking given that many
00:06:57 ～ 00:06:59 of them were walking the runway
00:06:59 ～ 00:07:00 shirtless or with some type of skin
00:07:00 ～ 00:07:02 exposed it was also hard to ignore their
00:07:02 ～ 00:07:04 collective gauntness and while this
collective 〔全員で〕共有する、共同で作る、集合体の、総体の、〔労働者の〕共同体［運営］の
gauntness 解離、痩せぎす、窶れ(やつれ)
00:07:04 ～ 00:07:06 wasn’t too out of the ordinary from what
00:07:06 ～ 00:07:08 we saw on other runways at the time it
at the time その時（に［は］）、その時点で
00:07:08 ～ 00:07:10 did contribute to the show’s overall
00:07:10 ～ 00:07:13 somber and austere tone now make no
austere 〔生活・財政などが〕切り詰めた、質素な、禁欲的な、緊縮型の、
〔人の態度・顔つき・規律などが〕厳しい、厳格な、厳粛な、真面目な、〔部屋などが〕飾り気のない、〔文体・様式などが〕簡潔な、簡素な
00:07:13 ～ 00:07:15 mistake this was very early on in Raf’s
early on 早い時期に［段階で］、早くから
00:07:15 ～ 00:07:17 career and he still had a long way to go
00:07:17 ～ 00:07:19 but with the black palms collection he
00:07:19 ～ 00:07:22 had in a sense disrupted the fashion
disrupt 〔行為やその進行を〕中断させる、邪魔する、〔物事の秩序を〕混乱させる、破壊する
in a sense ある意味では、ある程度まで、一面では
00:07:22 ～ 00:07:24 industry he was by no means the only one
by no means 決して～ではない
00:07:24 ～ 00:07:26 pushing boundaries in this direction but
push the boundary 限界を押し広げる、可能の範囲を広げていく
00:07:26 ～ 00:07:28 trust me when I say that he turned a lot
00:07:28 ～ 00:07:30 of heads by having a half naked model
00:07:30 ～ 00:07:32 painted with the anarchy logo marched
march down to ～をずんずんと進む
anarchy 無政府・無秩序な状態であること。また、そのさま。無統治状態。
00:07:32 ～ 00:07:34 down the runway in Paris with this he
00:07:34 ～ 00:07:36 became known as somewhat of a maverick
maverick 一匹おおかみ、独立独行の人、独自路線を行く人［組織］
00:07:36 ～ 00:07:37 in the industry and while this certainly
00:07:37 ～ 00:07:39 helped him become more popular he was
00:07:39 ～ 00:07:42 now faced with a very difficult task
face with ～に直面する
00:07:42 ～ 00:07:43 because the only thing in fashion more
00:07:43 ～ 00:07:45 difficult than thinking outside of the
think outside of the box （既成の）枠、既成概念にとらわれず考える
00:07:45 ～ 00:07:48 box is doing it twice with the black
00:07:48 ～ 00:07:49 palms collection he had gotten
00:07:49 ～ 00:07:51 everyone’s attention but how was he
00:07:51 ～ 00:07:52 going to keep that attention with his
00:07:52 ～ 00:07:54 next collection for him the obvious
00:07:54 ～ 00:07:56 question was whether he should stick
stick with ～にこだわる、～の一点張りで通す、行き詰まらせる
00:07:56 ～ 00:07:58 with more of the same or if he should
00:07:58 ～ 00:08:00 become even more radical but he ended up
radical 急進的な、急進主義的な、過激な、極端な、過激派の、先鋭の
00:08:00 ～ 00:08:03 doing the smartest thing possible he
00:08:03 ～ 00:08:05 didn’t either you see in a very short
00:08:05 ～ 00:08:07 period of time he had developed a
00:08:07 ～ 00:08:09 reputation as one of the industry’s most
00:08:09 ～ 00:08:10 subversive young designers and he
subversive 〔活動・組織・思想などが〕反体制的な、破壊的な
00:08:10 ～ 00:08:12 realized that if he continued pushing
00:08:12 ～ 00:08:14 this punk rock aesthetic he would very
aesthetic 審美眼、美学、美学的思想
00:08:14 ～ 00:08:17 quickly become pigeonholed wanting to
pigeonhole 型にはめる
00:08:17 ～ 00:08:19 avoid this he officially presented his
00:08:19 ～ 00:08:21 spring 1999 collection titled Kinetic
Kinetic Youth 1999のコレクション
00:08:21 ～ 00:08:24 Youth and it was almost entirely formal
00:08:24 ～ 00:08:26 wear the models wore carefully tailored
00:08:26 ～ 00:08:28 suits none of them were shirtless there
00:08:28 ～ 00:08:30 were no provocative graphics he used a
provocative （人）を刺激する［挑発する・怒らせる］、〔性的に〕挑発する、興奮させる、誘発物、刺激物、怒らせるもの
00:08:30 ～ 00:08:32 reserved color palette and he even moved
00:08:32 ～ 00:08:34 to the show out of a parking garage and
00:08:34 ～ 00:08:36 into a theater in Paris located inside
00:08:36 ～ 00:08:38 of this geodesic dome the collection was
geodesic dome 《建築》ジオデシックドーム◆三角形の部材を組み合わせた半球形の構造。
00:08:38 ～ 00:08:40 still distinctly Raf Simons made
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
00:08:40 ～ 00:08:42 evident by the cut off sleeves and
evident 〔証拠があって〕明白な、明らかな、はっきりとした［分かる］、歴然とした、確かな
00:08:42 ～ 00:08:44 extended proportions but at the end of
00:08:44 ～ 00:08:46 the day what he proved was that he could
00:08:46 ～ 00:08:48 be just as classy and tasteful as he
tasteful 趣味の良い、上品な
00:08:48 ～ 00:08:50 could be loud and abrasive this is a
abrasive〔音・声などが〕耳障りな、不快な、〔人の性格・発言などが〕つっけんどんな、無愛想な、しゃくに触る、イライラさせる（ような）
00:08:50 ～ 00:08:52 balance that very few designers can
00:08:52 ～ 00:08:54 manage so in a sense taking this
in a sense ある意味では、ある程度まで、一面では
00:08:54 ～ 00:08:55 simplified approach with the Kinetic
00:08:55 ～ 00:08:57 Youth collection was the most impressive
00:08:57 ～ 00:08:59 thing he possibly could have done in
00:08:59 ～ 00:09:01 retrospect it may not be quite as
retrospect 回想、回顧、追想
00:09:01 ～ 00:09:03 memorable as the black palms collection
memorable 〔目立った特徴などがあって〕記憶しやすい、覚えやすい、〔出来事・体験などが非常に良いので〕記憶すべき、記憶に残る、忘れられない、印象的な
00:09:03 ～ 00:09:04 but the argument can be made that it
argument 議論、討論、討議
00:09:04 ～ 00:09:06 played an equally important role in
play a role 役割［任務］を果たす、役を演じる
00:09:06 ～ 00:09:08 establishing his career as he was about
00:09:08 ～ 00:09:11 to discover though this newfound success
newfound 新たに［つい最近］発見した［発見された・獲得した・手に入れた・手にした］、新発見の、手に入れたばかりの
00:09:11 ～ 00:09:15 would not come without its problems
00:09:26 ～ 00:09:28 in light of his label’s recent surge in
《in (the) light of》～に照らせば、～の観点から、～の視点から見ると、《in (the) light of》〔得られた情報などを〕考慮して、踏まえると
00:09:28 ～ 00:09:30 popularity Raf’s talents were soon in
00:09:30 ～ 00:09:32 high demand and the first company to
00:09:32 ～ 00:09:34 come knocking was Ruffo technically
technically speaking 専門的［厳密］に言えば［言うと］
Ruffo ルッフォ リサーチはイタリアのレザー生産で有名な企業、ルッフォ社から実験的に立ち上げられたブランド
00:09:34 ～ 00:09:37 speaking Ruffo is not by itself a label
Ruffo ルッフォ リサーチはイタリアのレザー生産で有名な企業、ルッフォ社から実験的に立ち上げられたブランド
00:09:37 ～ 00:09:39 but instead it’s a world-class Italian
world-class 〔能力・品質などが〕ワールドクラスの、国際的レベルの、世界で第一の、世界に通用する［誇る］、世界的に認められた［名の通った］、天下一品の
00:09:39 ～ 00:09:42 leather manufacturer however in 1998
00:09:42 ～ 00:09:45 they established a program called Ruffo
Ruffo ルッフォ リサーチはイタリアのレザー生産で有名な企業、ルッフォ社から実験的に立ち上げられたブランド
00:09:45 ～ 00:09:46 Research with the intention of inviting
00:09:46 ～ 00:09:48 designers to create leather-based
00:09:48 ～ 00:09:50 collections on their behalf with that in
on one’s behalf ～の代理で、～のために、～の利益になるように
with that in mind その点［こと］を考慮して［考慮に入れて・念頭に置いて］
00:09:50 ～ 00:09:52 mind they invited Raf to design and
00:09:52 ～ 00:09:55 create their spring summer 1999 menswear
00:09:55 ～ 00:09:58 collection and their autumn winter 1999
00:09:58 ～ 00:10:00 menswear collection you may also find it
find ～ interesting ～に興味を持つ［覚える］、～を興味深いと思う
00:10:00 ～ 00:10:02 interesting to note that Raf’s
note that ここで留意すべきは〔that以下〕である
00:10:02 ～ 00:10:03 girlfriend at the time Veronique
Veronique Branquinho ヴェロニク ブランキーノ ベルギーのデザイナー
00:10:03 ～ 00:10:05 Branquinho was invited to design the
00:10:05 ～ 00:10:07 women’s wear collections so they were
00:10:07 ～ 00:10:09 sort of in on this project together now
in on 《be ～》〔計画などに〕参加している
00:10:09 ～ 00:10:10 while it’s not like you’ve been
00:10:10 ～ 00:10:12 recruited to work for some big name
00:10:12 ～ 00:10:14 label Raf’s brief stint with Ruffo
stint 〔仕事・活動などに従事していた〕期間
00:10:14 ～ 00:10:16 Research taught him a lot about working
00:10:16 ～ 00:10:18 with leather which is something he’d go
go on to ～に進む、～に進学する、～に取り掛かる、次に～する
00:10:18 ～ 00:10:19 on to incorporate more into his own
incorporate ～ into ～を…に組み入れる［組み込む・取り込む・取り入れる・盛り込む・持ち込む・利用する・輸入する・採用する］
00:10:19 ～ 00:10:21 label and it was his first real
00:10:21 ～ 00:10:23 experience designing for someone other
00:10:23 ～ 00:10:26 than himself anyways this was just a
00:10:26 ～ 00:10:27 one-year thing and in the meantime he
in the meantime それまでの間（に）、その間に（も）、そう（こう）しているうちに、そのうち（に）、その一方で（は）、（さて）話（は）変わって、ところで
00:10:27 ～ 00:10:29 was still pushing forward with his own
push forward with 〔計画などを〕推進する
00:10:29 ～ 00:10:31 label but following the release of his
00:10:31 ～ 00:10:33 autumn winter 2000 menswear collection
00:10:33 ～ 00:10:35 he shocked everyone by announcing that
00:10:35 ～ 00:10:37 he would be taking a step back and his
take a step back 一歩退く、一歩譲る、譲歩する
00:10:37 ～ 00:10:39 label would be put on hold as I’m sure
put on hold 《be ～》保留［お蔵入り］にされる
00:10:39 ～ 00:10:41 you can imagine people were very
00:10:41 ～ 00:10:43 confused by this decision from an
00:10:43 ～ 00:10:45 outside perspective everything seemed to
00:10:45 ～ 00:10:47 be going great so why on earth would he
why on earth 一体どうして
00:10:47 ～ 00:10:50 just walk away well as it turns out
00:10:50 ～ 00:10:52 things behind the scenes weren’t going
00:10:52 ～ 00:10:54 so great first off the year that he made
first off 最初に
00:10:54 ～ 00:10:56 this announcement was the same year that
00:10:56 ～ 00:10:58 he parted ways with his girlfriend
part ways with （人）と決別する、（人）とたもとを分かつ
00:10:58 ～ 00:11:01 Veronique they actually met at the cafe
00:11:01 ～ 00:11:03 and Antwerp we talked about earlier so
00:11:03 ～ 00:11:04 she’d pretty much been with him
00:11:04 ～ 00:11:06 throughout the entire journey up until
00:11:06 ～ 00:11:08 this point beyond their personal
00:11:08 ～ 00:11:10 relationship they also collaborated very
00:11:10 ～ 00:11:12 closely on the creative side of things
00:11:12 ～ 00:11:14 so I have to imagine that their
00:11:14 ～ 00:11:16 separation took a toll on him that
take a toll on ～に被害［損害］を与える、～に犠牲を強いる
00:11:16 ～ 00:11:18 however was not the only issue one thing
00:11:18 ～ 00:11:20 that’s very important to understand here
00:11:20 ～ 00:11:23 is that Raf is generally speaking a very
00:11:23 ～ 00:11:26 private person as time went on he would
00:11:26 ～ 00:11:28 become more open but at this point in
00:11:28 ～ 00:11:30 his career he followed in the footsteps
follow in the footsteps of （人）の足跡をたどる、（人）の先例に倣う
00:11:30 ～ 00:11:32 of his idol Martin Margiela by refusing
00:11:32 ～ 00:11:35 to appear in photos or give interviews
00:11:35 ～ 00:11:36 the problem with this is that he was
00:11:36 ～ 00:11:38 becoming famous much more quickly than I
00:11:38 ～ 00:11:41 think he’d anticipated just a few years
00:11:41 ～ 00:11:42 prior he had never even been to a
00:11:42 ～ 00:11:45 fashion show and now there he was with
00:11:45 ～ 00:11:46 what felt like the entire industry
00:11:46 ～ 00:11:48 talking about his work
00:11:48 ～ 00:11:50 not only that but I guess you could even
00:11:50 ～ 00:11:52 say that some of his work was going
go viral 〔インターネットや口コミで情報が〕急速に広まる［拡散する・伝播する］、バズる
00:11:52 ～ 00:11:54 viral this is the late 90s and early
00:11:54 ～ 00:11:56 2000s we’re talking about so interpret
interpret 通訳する
00:11:56 ～ 00:11:58 the term viral how you will but it was
00:11:58 ～ 00:12:01 in 1998 that this image of Robbie
00:12:01 ～ 00:12:03 Snelders was used as the cover of v
00:12:03 ～ 00:12:05 magazine wrath himself had nothing to do
wrath?
have nothing to do することが何もない、手を持て余している、何の関係もない、無関係である
00:12:05 ～ 00:12:07 with this shoot other than the fact that
00:12:07 ～ 00:12:09 Robbie is wearing one of his jackets but
00:12:09 ～ 00:12:11 this image soon spread everywhere and
00:12:11 ～ 00:12:14 Raf’s name was attached to it he had no
00:12:14 ～ 00:12:15 real issue with this because it was one
00:12:15 ～ 00:12:17 of his closest friends who had styled
00:12:17 ～ 00:12:18 the cover and he would even use it in
00:12:18 ～ 00:12:20 one of his exhibitions a few years later
00:12:20 ～ 00:12:22 but the point I’m trying to make here is
00:12:22 ～ 00:12:24 that it was becoming harder for Raf to
00:12:24 ～ 00:12:27 maintain his private lifestyle it felt
00:12:27 ～ 00:12:28 like everything he had a hand in became
become the talk of the town 町中の評判［うわさ］になる
00:12:28 ～ 00:12:30 the talk of the town and so he was left
00:12:30 ～ 00:12:33 with a difficult choice give into the
give in to ～に屈する、～に降伏する
00:12:33 ～ 00:12:35 fame or give it up altogether to make
altogether 全く、全然、完全に、すっかり、まるで
to make matters worse さらに悪いことに
00:12:35 ～ 00:12:37 matters worse it appears that he was
00:12:37 ～ 00:12:38 also having some trouble with his
00:12:38 ～ 00:12:41 manufacturer and while we don’t exactly
00:12:41 ～ 00:12:43 know what that issue was we do know that
00:12:43 ～ 00:12:45 Raf’s decision to walk away marked the
mark 〔出来事などが重要な時期を〕示す、知らせる
00:12:45 ～ 00:12:47 end of his partnership with them so
00:12:47 ～ 00:12:49 taking all of this into account it’s
00:12:49 ～ 00:12:51 clear to see that not everything was
00:12:51 ～ 00:12:53 going his way but I think it’s entirely
go one’s way 我が道を行く、自分の好きなように［思うとおりに］する、マイペースで行く、自分の方式でやる
00:12:53 ～ 00:12:54 possible that he would have pushed
push through 〔仕事などを〕実行する、断行する、やり遂げる、完遂する、成し遂げる
00:12:54 ～ 00:12:56 through it had he not been offered a way
way out 《the ～》出口、降車口、〔困難などからの〕脱出方法、逃げ道、〔問題などの〕解決法
00:12:56 ～ 00:12:59 out you see in 2000 the same year that
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