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)
00:12:59 ～ 00:13:01 he was facing all of these problems the
00:13:01 ～ 00:13:03 university of applied arts in Vienna
applied art 応用美術
00:13:03 ～ 00:13:05 Austria offered him a position as the
00:13:05 ～ 00:13:07 head of their fashion department not
00:13:07 ～ 00:13:09 only was this a prestigious position but
00:13:09 ～ 00:13:11 it afforded him the opportunity to take
afford 〔+間接目的語+直接目的語 〈ものが〉〈人・ものに〉〈…を〉与える; 〔人・ものに〕〈…を〉与える.
00:13:11 ～ 00:13:14 a step out of the spotlight I also want
take a step 一歩進む
00:13:14 ～ 00:13:16 to point out how crazy it is that he had
00:13:16 ～ 00:13:18 only been in the industry for five years
00:13:18 ～ 00:13:20 had no formal fashion training and was
00:13:20 ～ 00:13:22 now being asked to lead this
00:13:22 ～ 00:13:24 university’s fashion department Raf
00:13:24 ～ 00:13:26 ended up accepting the offer and
00:13:26 ～ 00:13:27 officially began what would become a
00:13:27 ～ 00:13:29 one-year hiatus from his label while I
hiatus 〔活動・計画・仕事などの〕中断、休止、停滞
00:13:29 ～ 00:13:31 wouldn’t say that this was a long hiatus
00:13:31 ～ 00:13:33 there were concerns that he’d lose some
00:13:33 ～ 00:13:34 of the momentum that he’d built for
00:13:34 ～ 00:13:36 himself with his earlier collections but
00:13:36 ～ 00:13:39 when he made his return in 2001 he laid
00:13:39 ～ 00:13:41 those doubts to rest during his time off
rest 休む、休息する、休憩する、休養する、眠る
00:13:41 ～ 00:13:43 he’d narrowed down his team partnered
partner with ～とパートナーになる、～と手を結ぶ、～と組む、～と提携する
00:13:43 ～ 00:13:45 with a new manufacturer and sought new
00:13:45 ～ 00:13:47 sources of inspiration with the end
end result 《an ～》〔長い過程や一連の出来事の〕結末、最終結果
00:13:47 ～ 00:13:50 result being his now legendary fall 2001
legendary 伝説的な、伝説に残るほど有名な
00:13:50 ～ 00:13:52 menswear collection titled Riot Riot
00:13:52 ～ 00:13:54 Riot the name alone should be enough to
00:13:54 ～ 00:13:56 tell you that the collection was
00:13:56 ～ 00:13:57 inspired by the same spirit of
00:13:57 ～ 00:13:59 rebelliousness that had inspired
rebelliousness 反抗、反逆
00:13:59 ～ 00:14:01 previous collections like Black Palms
00:14:01 ～ 00:14:03 but unlike Black Palms which had many of
00:14:03 ～ 00:14:05 the models going shirtless Riot Riot
00:14:05 ～ 00:14:08 Riot was a master class in layering in a
layer 重ね着する
00:14:08 ～ 00:14:10 later interview Raf said that his
00:14:10 ～ 00:14:12 fascination with layering came from
fascination 魅了（された状態）、魅惑、強い興味、心をグイグイ引き付けられること
fascination with ～に魅惑されること、～に感じている魅力
00:14:12 ～ 00:14:14 seeing kids in Vienna pile on as many
00:14:14 ～ 00:14:15 pieces as they could just to make it
make it through ～をうまくやり遂げる、～を何とかやっていく、うまく通り抜ける、何とか～を切り抜ける［乗り越える］
00:14:15 ～ 00:14:18 through the harsh European winters from
00:14:18 ～ 00:14:19 there he mixed in some of his signature
signature 〔衣類が〕デザイナーの名前入りの
00:14:19 ～ 00:14:21 elements with graphic patches designed
00:14:21 ～ 00:14:24 by Peter De Potter extended proportions
Peter De Potter ( ピーター・デ・ポッター ) とは 1970年生まれ、アントワープ王立芸術アカデミー出身。ベルギーを拠点に活動中のビジュアルアーティスト
proportion 《proportions》〔物事の〕重要度、《proportions》〔他と比較したときの〕大きさ、サイズ
00:14:24 ～ 00:14:26 and cut off sleeves to create what is
00:14:26 ～ 00:14:28 arguably his most critically acclaimed
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。
critically 非常に、とても、決定的に、批判的に（言えば）、酷評して、批判して、批評的に
00:14:28 ～ 00:14:30 collection to date we’ll be talking
date ～から始まる、時代物である、古風になる、時代遅れになる
00:14:30 ～ 00:14:31 about some of his other critically
00:14:31 ～ 00:14:33 acclaimed collections in just a bit but
00:14:33 ～ 00:14:35 you simply cannot talk about the history
00:14:35 ～ 00:14:37 of Raf Simons without bringing up Riot
bring up 〔話題・議題・案・問題などを〕持ち出す、言い出す、指摘する、提起する、提出する、提示する
00:14:37 ～ 00:14:40 Riot Riot and nowadays pieces from this
00:14:40 ～ 00:14:42 collection are among the most coveted in
coveted 誰もが欲しがる［待ち望む］
00:14:42 ～ 00:14:44 all of fashion one such piece is the
00:14:44 ～ 00:14:46 riot bomber jacket as has been seen on
00:14:46 ～ 00:14:48 Kanye West and just to put into
put ~ in(to) perspective 物事の全体像を捉える、広い視野で物事を見る
00:14:48 ～ 00:14:49 perspective how much people love this
00:14:49 ～ 00:14:51 collection one of these jackets sold for
00:14:51 ～ 00:14:54 47 thousand dollars on Grailed back in
Grailed ファッション通販サイト？かも。→https://www.grailed.com
00:14:54 ～ 00:14:57 2018. that is quite a hefty price but
hefty price 《a ～》高額な価格
00:14:57 ～ 00:14:59 it’s a price that some are willing to
00:14:59 ～ 00:15:01 pay for a piece of fashion history and
00:15:01 ～ 00:15:04 that’s truly what it is Riot Riot Riot
00:15:04 ～ 00:15:06 was by itself a brilliant collection but
00:15:06 ～ 00:15:08 you have to remember that it also marked
00:15:08 ～ 00:15:10 Raf’s return to fashion and it kicked
kick off 〔試合・イベント・仕事・会議など〕始まる、始める、開始する、火蓋を切る、幕を切って落とす、幕を開ける
00:15:10 ～ 00:15:12 off what is personally my favorite
00:15:12 ～ 00:15:14 period in his career
00:15:14 ～ 00:15:16 after this came Raf’s spring 2002
00:15:16 ～ 00:15:18 collection and with it he demonstrated
00:15:18 ～ 00:15:20 his ability to balance beauty and chaos
chaos 〔状態の〕混沌、大混乱
00:15:20 ～ 00:15:22 in total there were more than 70
00:15:22 ～ 00:15:24 different looks many of them in all
00:15:24 ～ 00:15:26 white unlike some of his previous
00:15:26 ～ 00:15:28 collections which had been all black and
00:15:28 ～ 00:15:30 the shrouded models carrying torches
shroud 覆う、包む
torch たいまつ、光明、点火棒、カンテラ、光
00:15:30 ～ 00:15:32 down a dimly lit runway invoked a sense
dimly 薄暗く、lit lightの過去形
dimly lit 《be ～》薄暗い明かりが灯っている
invoke 〔～を〕思い起こさせる、引き起こす、かき立てる、誘い出す、呼び覚ます
00:15:32 ～ 00:15:34 of mayhem to me this collection
mayhem 〔非常な恐怖・興奮による〕大混乱、大騒ぎ
00:15:34 ～ 00:15:35 showcased Raf’s development as a
showcase 〔目立たせるために～を〕見せる、展示する、紹介する
00:15:35 ～ 00:15:37 designer because it proved he no longer
00:15:37 ～ 00:15:39 needed to use things like anarchy
anarchy 〔一般的な〕混乱、無秩序
00:15:39 ～ 00:15:41 symbols to convey a sense of anarchy he
00:15:41 ～ 00:15:43 was now letting the pieces speak for
00:15:43 ～ 00:15:44 themselves and the message was coming
come through 〔情報などが〕届く、入ってくる、伝わる
00:15:44 ～ 00:15:47 through loud and clear I’ll also add
loud and clear 明確な、はっきりした
00:15:47 ～ 00:15:48 that this collection included the
00:15:48 ～ 00:15:50 collapse hoodie and while it’s not quite
00:15:50 ～ 00:15:52 as coveted as the riot bomber it’s still
coveted 誰もが欲しがる［待ち望む］
00:15:52 ～ 00:15:55 a favorite among collectors
00:15:55 ～ 00:15:57 moving on Raf’s next collection is one
00:15:57 ～ 00:15:59 that I’m very excited to talk about
00:15:59 ～ 00:16:01 because it may very well be my favorite
00:16:01 ～ 00:16:03 that he’s ever made here I’m talking
00:16:03 ～ 00:16:05 about his fall 2002 collection titled
00:16:05 ～ 00:16:08 Virginia Creeper right off the bat the
right off the bat 〈米話〉すぐに、直ちに
00:16:08 ～ 00:16:10 concept is brilliant in the other
00:16:10 ～ 00:16:11 collections we’ve talked about he
00:16:11 ～ 00:16:13 explored concepts related to man-made
concept 〔製品などの〕構想、コンセプト
man-made 人間が作り出した、人工の、人造の、人為の、人為的な、〔繊維などが〕合成の
00:16:13 ～ 00:16:15 insurrections such as anarchy but with
insurrection 反乱、暴動、謀反
00:16:15 ～ 00:16:17 Virginia Creeper his intention was to
00:16:17 ～ 00:16:20 explore natural-born destruction that’s
natural-born 〔技能・資質などが〕生まれつきの、先天的な、その土地で生まれた
destruction 破壊［破滅］すること［過程］、破壊された［破滅した］状態
00:16:20 ～ 00:16:21 why it’s called Virginia Creeper which
00:16:21 ～ 00:16:23 is a type of vine known for overtaking
vine 《植物》ブドウの木［つる］、〔つる植物の〕つる
overtake 〔前の人や車などを〕追い越す、追い抜く,〔人や乗り物などに〕追い付く、間に合う
00:16:23 ～ 00:16:25 and destroying surrounding plants to
00:16:25 ～ 00:16:28 drive this home he staged the show in a
driveの意味が??
stage 〔演劇や映画を〕演出する、監督する、〔イベントを〕主催する、計画的に実施する
00:16:28 ～ 00:16:30 forest-like setting and had each model
00:16:30 ～ 00:16:32 skulk into the light before returning
skulk 〔コソコソと〕動き回る
00:16:32 ～ 00:16:33 into the dark background from which they
00:16:33 ～ 00:16:35 came as you can see he’s stuck with
stuck with 《be ～》～に行き詰まっている
00:16:35 ～ 00:16:38 mostly earthy tones and the real focus
earthy 現実的な、世俗的な、〔言葉・冗談などが〕野卑な、下品な、低俗な、〔性格などが〕自然な、気取らない
00:16:38 ～ 00:16:39 for him here was layering different
00:16:39 ～ 00:16:41 materials this is something he really
00:16:41 ～ 00:16:43 pushed to the limit as you can see with
push ～ to the limit ～を限界に達せさせる、～をいっぱいにする
00:16:43 ～ 00:16:45 the one fit where he literally places a
00:16:45 ～ 00:16:48 translucent coat over a letterman jacket
00:16:48 ～ 00:16:49 other than that we also saw him
00:16:49 ～ 00:16:52 incorporate leather camo and of course a
incorporate〔アイデア・特徴などを〕取り入れる、〔～を〕組み込む、〔～を〕包含する
00:16:52 ～ 00:16:55 handful of pieces with graphics none
a handful of 少量の～、少数の～、一握りの
no more ～ than A Aと同じくらい～でない、～でないのはAと同じ
00:16:55 ～ 00:16:56 more popular than the now iconic
00:16:56 ～ 00:16:59 Nebraska sweater this is yet another
00:16:59 ～ 00:17:00 piece that is highly coveted by
coveted 誰もが欲しがる［待ち望む］
00:17:00 ～ 00:17:02 collectors and to tell you the truth
to tell you the truth 実は、実を言うと
00:17:02 ～ 00:17:04 it’s kind of hard to explain what makes
00:17:04 ～ 00:17:06 this so great I mean after all it is
00:17:06 ～ 00:17:09 just a sweater that says Nebraska so why
00:17:09 ～ 00:17:11 all the hype well Virginia Creeper is
hype 〈俗〉誇大広告、刺激的な宣伝
00:17:11 ～ 00:17:13 widely considered to be one of his best
00:17:13 ～ 00:17:15 collections and the fact of the matter
fact of the matter is that 《The ～》実際には〔that以下〕である
00:17:15 ～ 00:17:16 is that this is the most recognizable
recognizable 見分けのつく、認識できる、目に見える、はっきりとした、見覚えがある、承認できる
00:17:16 ～ 00:17:19 piece it may not be as intricate as the
intricate 〔構造・模様などが〕複雑な
00:17:19 ～ 00:17:21 green leather trench coats but when you
00:17:21 ～ 00:17:23 see this sweater you instantly know that
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）
00:17:23 ～ 00:17:24 you’re looking at a standout garment
garment 〔1着の〕衣服、衣類
00:17:24 ～ 00:17:26 from one of his best bodies of work I
body of work 《a ～》一連の作品
00:17:26 ～ 00:17:28 feel like I should mention that this
00:17:28 ～ 00:17:29 wasn’t the only standout graphic from
00:17:29 ～ 00:17:31 the collection because there was an
00:17:31 ～ 00:17:33 actual Virginia Creeper logo hoodie as
00:17:33 ～ 00:17:36 well it may not be as bold but this is
bold 力強い、奔放な、勇敢な、大胆な、冒険的な、力強い、奔放な、はっきりした、際立った、目立つ、派手な
00:17:36 ～ 00:17:37 another piece that collectors are
00:17:37 ～ 00:17:39 obsessed with and it’s not uncommon to
obsessed with 《be ～》～で頭がいっぱいである、～に取りつかれている、～のことしか考えてない、～に夢中である
uncommon 珍しい、めったに見られない、まれな、素晴らしい、卓越した
00:17:39 ～ 00:17:41 see original versions of this in the
00:17:41 ～ 00:17:43 Nebraska sweater reselling for thousands
00:17:43 ～ 00:17:45 of dollars online that’s enough of that
00:17:45 ～ 00:17:47 though because I think you guys get the
get the point （人）の話のポイント［要点］を理解する［把握する・つかむ］、（人）の言いたいことが分かる、（人）の話の核心をつかむ
00:17:47 ～ 00:17:49 point which is that Raf came back from
come back from 〜から戻る
00:17:49 ～ 00:17:51 his hiatus at the top of his game and
hiatus 〈文〉〔活動・計画・仕事などの〕中断、休止、停滞
at the top of one’s game 絶好調で
00:17:51 ～ 00:17:53 quickly became one of the most
00:17:53 ～ 00:17:55 distinguished designers in fashion
distinguished 〔人が能力や功績などで〕名高い、著名な
00:17:55 ～ 00:17:57 he was doing everything right but in a
00:17:57 ～ 00:17:59 twist of fate it was actually a sequence
twist of fate 《a ～》運命の意外な［思わぬ］展開
sequence 連続（するもの）、ひと続きのもの、相次いで起こること
00:17:59 ～ 00:18:01 of events completely out of his control
00:18:01 ～ 00:18:03 that changed the trajectory of his
trajectory 〔人生などの〕軌跡、通り道
00:18:03 ～ 00:18:07 career forever
00:18:18 ～ 00:18:20 for this next part of the story I need
00:18:20 ～ 00:18:23 to provide a little bit of context Jil
context 文脈、〔文中の言葉の〕前後関係、〔事件などの〕事情、背景、状況
00:18:23 ～ 00:18:25 Sander is a german-born fashion designer
00:18:25 ～ 00:18:26 who at some point I’m sure I’ll be
at some point ある時点で、いつか、ある時期に
00:18:26 ～ 00:18:28 making an entire video about but for the
00:18:28 ～ 00:18:30 purposes of this video just know that
00:18:30 ～ 00:18:32 she launched a luxury label under her
00:18:32 ～ 00:18:35 own name in 1973 and by the early 2000s
00:18:35 ～ 00:18:37 it had become one of the biggest in all
00:18:37 ～ 00:18:39 of fashion it was so big in fact that
00:18:39 ～ 00:18:42 the Prada group purchased a 75 stake
00:18:42 ～ 00:18:44 in the brand for an undisclosed price
00:18:44 ～ 00:18:46 this promised to be a mutually
00:18:46 ～ 00:18:48 beneficial acquisition one that would
00:18:48 ～ 00:18:50 allow Jill sander to continue growing
00:18:50 ～ 00:18:52 her label but it was only after the Inca
Inca?
00:18:52 ～ 00:18:53 drive that she began feuding with
feud with ～との確執
00:18:53 ～ 00:18:56 Prada’s CEO Patrizio Bertelli while the
00:18:56 ～ 00:18:58 details of this feud were obviously not
feud 不和、敵意、抗争
00:18:58 ～ 00:19:00 made public the belief is that they had
make public 公表する
belief 証拠はないが真実である・存在すると〕信じる［思い込む］こと、〔真実である・存在すると信じる〕信念、確信、思い込み、考え、意見、〔人などに対する〕信用、〔宗教などに対する〕信仰
00:19:00 ～ 00:19:02 very different ideas of where to take
00:19:02 ～ 00:19:04 the brand and were unable to reach any
00:19:04 ～ 00:19:06 sort of compromise
compromise 譲歩、妥協（案［策］）、歩み寄り、和解、示談
00:19:06 ～ 00:19:08 in a move that shocked everyone Jil
00:19:08 ～ 00:19:10 ended up leaving her namesake label just
namesake 〔特に有名人と〕同名の人［もの］
00:19:10 ～ 00:19:12 six months after the acquisition and the
00:19:12 ～ 00:19:14 Prada group hastily brought in Milan
hastily 急いで、急に、急きょ、慌てて
00:19:14 ～ 00:19:16 Vukmirovic as her replacement
Milan Vukmirovic 2001年秋冬シーズンからジル サンダーのデザイナーに就任。
00:19:16 ～ 00:19:18 unfortunately this did not pan out too
pan out 成功する、計画がうまくいく
00:19:18 ～ 00:19:21 well because in 2001 the brand lost
00:19:21 ～ 00:19:24 nearly 10 million dollars and in 2002 it
00:19:24 ～ 00:19:26 lost nearly 30 million dollars
00:19:26 ～ 00:19:28 in other words this was shaping up to be
shape up どう訳すべきか謎??
00:19:28 ～ 00:19:30 an investment gone horribly wrong for
go wrong 〔物事が〕誤った［間違った・悪い］方向に進む［向かう］、うまくいかない、堕落する
00:19:30 ～ 00:19:32 the Prada group and out of desperation
desperation 自暴自棄、死に物狂い、やけくそ
00:19:32 ～ 00:19:34 they reached out to Jil Sander hoping
reach out to ～に手を差し出す、～に接触する、～に働き掛ける、～と心を通わせる、（人）に援助の手を差し伸べる
00:19:34 ～ 00:19:36 to negotiate her return on her terms she
on one’s terms ～の条件どおりで
00:19:36 ～ 00:19:39 agreed to rejoin the label in 2003 but
00:19:39 ～ 00:19:41 by 2004 she was once again having
00:19:41 ～ 00:19:44 problems with Patricio Bertelli and once
00:19:44 ～ 00:19:46 again resigned at this point the Prada
at this point 現在のところ、現段階［時点］で（は）◆現在起きていることや状況は長続きしないことを含意する。
00:19:46 ～ 00:19:48 group was really out of options they’d
out of option 《be ～》選択の余地はない◆通例複数形のoptionsを用いる。
00:19:48 ～ 00:19:50 acquired Jil Sander the label driven
drive away 〔虫・誘惑・苦痛などを〕追い払う、追い散らす、撃退する
00:19:50 ～ 00:19:53 away Jil Sander the designer and when
00:19:53 ～ 00:19:55 they tried replacing her the result was
00:19:55 ～ 00:19:56 disastrous
disastrous 災害を引き起こす、破滅的な、〔被害などが〕悲惨な
00:19:56 ～ 00:19:58 their backs were up against the wall and
back is against the wall 《one’s ～》追い詰められた状態である、窮地に陥っている
up against the wall 《be ～》八方塞がりである、壁に突き当たっている
00:19:58 ～ 00:19:59 they really could not afford to make
00:19:59 ～ 00:20:01 another mistake
00:20:01 ～ 00:20:03 now more than ever they needed a savior
more than ever ますます、これまで以上に
savior 救助者、救い手、救済者、救い主、救世主
00:20:03 ～ 00:20:04 and with that in mind they set their
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］
set one’s sights on ～に照準を合わせる［狙いを定める］、〈比喩〉～に狙いをつける、～を手に入れようとする、～を目指す
00:20:04 ～ 00:20:07 sights on Raf Simons as we just
00:20:07 ～ 00:20:09 discussed in detail Raf was one of the
00:20:09 ～ 00:20:11 hottest designers in the industry during
00:20:11 ～ 00:20:13 the early 2000s and on the heels of
on the heels of ～のすぐ後に続いて、～の余波で
00:20:13 ～ 00:20:15 collections like Riot Riot Riot and
00:20:15 ～ 00:20:17 Virginia Creeper the resounding
resounding 〔名声などがひどく〕際だった、目立つ、はっきりとした、断固とした、〈成功など〉めざましい，顕著な.
00:20:17 ～ 00:20:19 sentiment was that he could do no wrong
sentiment 気持ち、感情、心情、感傷
00:20:19 ～ 00:20:21 this made him the obvious choice for
obvious choice 当然の［分かりきった］選択
00:20:21 ～ 00:20:23 Jil Sander but let’s stop for one
for one second ＝ for a second 少し［ちょっと］の間、一瞬
00:20:23 ～ 00:20:24 second and think about this from Raf’s
00:20:24 ～ 00:20:26 perspective
00:20:26 ～ 00:20:28 at this point his own label had never
00:20:28 ～ 00:20:29 been more successful and let’s not
00:20:29 ～ 00:20:31 forget that he was still the head of the
00:20:31 ～ 00:20:33 fashion department at the university of
00:20:33 ～ 00:20:35 applied arts in Vienna so why would he
00:20:35 ～ 00:20:36 spend his time trying to save a
00:20:36 ～ 00:20:38 distressed fashion house like Jil
distressed 〔十分な金がなくて〕困窮した、行き詰まった
00:20:38 ～ 00:20:39 Sander
00:20:39 ～ 00:20:41 well first off you have to remember that
first off 〈話〉最初に
00:20:41 ～ 00:20:42 despite the issues it was having at the
00:20:42 ～ 00:20:45 moment Jil Sander was still one of the
00:20:45 ～ 00:20:46 most respected fashion houses in the
00:20:46 ～ 00:20:49 industry now I can’t say for certain but
can’t say for certain but 確かなことはいえないが
00:20:49 ～ 00:20:51 there may have been a part of Raf that
00:20:51 ～ 00:20:53 always wanted to go work for a respected
00:20:53 ～ 00:20:55 fashion house like this because in the
00:20:55 ～ 00:20:57 fashion industry that is the end goal
end goal 最終目標
00:20:57 ～ 00:20:59 for a lot of designers
00:20:59 ～ 00:21:01 moreover I think that Raf knew how badly
00:21:01 ～ 00:21:02 Jil Sander was struggling and this
00:21:02 ～ 00:21:04 would not only be a great way to
00:21:04 ～ 00:21:06 challenge himself but if he pulled it
pull it off 〈俗〉うまくやる、成功する
pull off 〈話〉〔困難な状況の中で～を〕うまくやり通す、成功させる
00:21:06 ～ 00:21:08 off he would easily become one of the
00:21:08 ～ 00:21:10 most sought-after designers in fashion
sought-after 需要［人気］が高くて入手［利用］困難な、引っ張りだこの、引く手あまたの
00:21:10 ～ 00:21:11 which would of course open the door for
00:21:11 ～ 00:21:13 him to go work at other fashion houses
00:21:13 ～ 00:21:16 further down the line surely that was
further down the line = in the future
00:21:16 ～ 00:21:17 enough reason to go give this a chance
00:21:17 ～ 00:21:19 but I think what really sold him was
sell 〔考え・説明などを人に〕納得［受け入れ］させる
00:21:19 ～ 00:21:21 that they were asking him to be the
00:21:21 ～ 00:21:23 creative director for both menswear and
00:21:23 ～ 00:21:24 women’s wear
00:21:24 ～ 00:21:26 with his eponymous label he had only
eponymous 〔会社などが〕創始者の名前を社名にした
00:21:26 ～ 00:21:28 ever ventured into menswear but women’s
venture into 〔危険を冒して〕～の中に入る［踏み込む］、～に足を踏み入れる、思い切って～をやってみる、～に進出［挑戦］する、～に挑む
00:21:28 ～ 00:21:29 wear is something that he’d always
00:21:29 ～ 00:21:32 wanted to try and Jil Sander was
00:21:32 ～ 00:21:34 offering him the budget infrastructure
00:21:34 ～ 00:21:36 and platform to do just that
00:21:36 ～ 00:21:38 all things considered he had more to
all things considered 全てを考えて［考慮して］みると、あれこれ［いろいろな点から・総合的に］考えてみると、全体から見ると
00:21:38 ～ 00:21:41 gain than he had to lose so in 2005 he
00:21:41 ～ 00:21:42 stepped down from his role as the
step down 〔高い地位から〕身を引く、辞任する、退陣する、引退する
step down from ～を辞任する
00:21:42 ～ 00:21:45 university’s fashion department head and
00:21:45 ～ 00:21:46 agreed to become Jil Sander’s new
00:21:46 ～ 00:21:48 creative director
00:21:48 ～ 00:21:49 he officially made his debut with the
00:21:49 ～ 00:21:52 presentation of his fall 2006 menswear
presentation 〔社交界などへの〕披露、デビュー
00:21:52 ～ 00:21:54 collection and while it was 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
00:21:54 ～ 00:21:56 his own Jil Sander fans were delighted
00:21:56 ～ 00:21:57 to see him building upon the brand’s
build on ～の上に築く、～に基づいて事を進める、～を当てにする、～を足場とする
00:21:57 ～ 00:22:00 history of chic minimalism this was
chic 〈フランス語〉〔服装などが〕しゃれた、あか抜けした、粋な、シックな、上品な
00:22:00 ～ 00:22:02 followed by his fall 2006 ready to wear
00:22:02 ～ 00:22:04 collection and while the aesthetic was
aesthetic 審美眼、美学、美学的思想
00:22:04 ～ 00:22:06 largely the same he had for the first
00:22:06 ～ 00:22:08 time translated it to women’s wear the
00:22:08 ～ 00:22:10 response was positive to say the least
to say the least 控えめに言っても◆文頭で用いられた場合の訳例
00:22:10 ～ 00:22:12 and the Prada group took a sigh of
sigh of relief 安堵のため息
00:22:12 ～ 00:22:14 relief knowing that their decision to
00:22:14 ～ 00:22:16 hire Raf had paid off over the next few
pay off 〔努力や投資などが〕利益［効果］を生む［もたらす・挙げる］、報われる
00:22:16 ～ 00:22:18 years he continued delivering upon his
deliver on one’s promise 約束を果たす
00:22:18 ～ 00:22:20 promise to turn the brand around and
turn around 〔悪い事態・状況などを〕良くする［好転させる］、〔業績などを〕回復させる、〔経営などを〕建て直す
00:22:20 ～ 00:22:22 looking back now I think it’s safe to
look back 〔過去の出来事などについて〕回想する、追憶する
it is safe to say ～と言って（も）いい［間違いない・差し支えない］だろう［でしょう］、～と言えるだろう、～といっても過言ではない
00:22:22 ～ 00:22:24 say that he completed his mission
00:22:24 ～ 00:22:26 when he first joined there was serious
00:22:26 ～ 00:22:27 concern that the brand would never
00:22:27 ～ 00:22:29 return to its former glory but through a
glory 栄光、名誉、誇り
00:22:29 ～ 00:22:31 series of collections that blended
00:22:31 ～ 00:22:32 minimalistic elegance with innovative
00:22:32 ～ 00:22:35 tailoring Raf made it happen
make it happen 実現させる
00:22:35 ～ 00:22:37 also don’t forget that while all of this
00:22:37 ～ 00:22:39 was going on he was still finding
00:22:39 ～ 00:22:41 immense success with his own label and
immense 計り知れない、巨大な、莫大な、広大な、すてきな、素晴らしい
00:22:41 ～ 00:22:43 while he was making progress in many
make progress 進展［進行・進歩］する
00:22:43 ～ 00:22:45 areas the one that stands out to me the
00:22:45 ～ 00:22:48 most is his footwear in particular it
00:22:48 ～ 00:22:50 was in the spring 2008 menswear
00:22:50 ～ 00:22:52 collection for Raf Simmons that we first
00:22:52 ～ 00:22:54 saw the dish style hiking boots I
dish??
00:22:54 ～ 00:22:56 wouldn’t exactly call these a massive
call 〔～を…と〕考える［思う・見なす］、〔～を…に〕分類する
00:22:56 ～ 00:22:58 commercial success because they are a
00:22:58 ～ 00:23:00 bit hard for the casual fan to wear and
00:23:00 ～ 00:23:02 plus they were extremely limited but it
00:23:02 ～ 00:23:03 was an approach to footwear that we’d
00:23:03 ～ 00:23:05 never really seen from him before and as
00:23:05 ～ 00:23:07 we’ll come to see in just a bit footwear
00:23:07 ～ 00:23:09 would be a major part of his appeal to
00:23:09 ～ 00:23:11 younger generations
00:23:11 ～ 00:23:13 so between the work that he was doing at
00:23:13 ～ 00:23:14 his own label and the work that he was
00:23:14 ～ 00:23:16 doing at Jil Sander there was no
00:23:16 ～ 00:23:18 denying that he was on a hot streak
there is no denying (that or 名詞節) ～は否定できない
there is no ～ing ～することができない
hot streak 連勝
00:23:18 ～ 00:23:19 which is exactly why people were
00:23:19 ～ 00:23:22 surprised when they heard the news Raf
00:23:22 ～ 00:23:25 had been fired
00:23:30 ～ 00:23:32 Raf’s departure from Jil Sander was a
00:23:32 ～ 00:23:33 bit complicated because there were
00:23:33 ～ 00:23:35 several moving parts but I’ll do my best
moving part 〔計画などの〕変動［不確定］要素
00:23:35 ～ 00:23:38 to explain earlier on I speculated that
speculate 〔～について〕じっくり考える、熟考する、〔不確かな証拠に基づいて〕推測［臆測］する
00:23:38 ～ 00:23:40 one of the reasons he joined Jil Sander
00:23:40 ～ 00:23:42 in the first place was to market himself
in the first place まず第一に、最初に、そもそも
market 〔広告などの努力をして～を〕売り込む、市場に出す
00:23:42 ～ 00:23:44 to other bigger fashion houses and that
00:23:44 ～ 00:23:46 does appear to have been the case right
00:23:46 ～ 00:23:47 before he got fired there were several
00:23:47 ～ 00:23:49 unconfirmed rumors that he was
00:23:49 ～ 00:23:51 interviewing for jobs at Dior and Yves
interview for a job 就職の面接を受ける
00:23:51 ～ 00:23:53 Saint Laurent and there were also rumors
00:23:53 ～ 00:23:55 that Jil Sander herself wanted to make
00:23:55 ～ 00:23:57 a return and this leads me to my next
leave to 〔物事が〕～を引き起こす、～の原因となる
00:23:57 ～ 00:24:00 point it was the Prada group that hired
00:24:00 ～ 00:24:01 Raf and they loved him because he
00:24:01 ～ 00:24:04 basically saved the brand but in 2006
00:24:04 ～ 00:24:06 just one year after he joined they sold
00:24:06 ～ 00:24:08 Jil Sander to the private equity group
00:24:08 ～ 00:24:11 change capital partners then in 2008
capital 《経済》〔生産要素の〕資本
00:24:11 ～ 00:24:13 change capital partners sold it to the
00:24:13 ～ 00:24:16 Japanese fashion giant ONWARD holdings
00:24:16 ～ 00:24:17 this is a side of the fashion industry
00:24:17 ～ 00:24:19 that we never really talk about and I
00:24:19 ～ 00:24:21 understand if many of you don’t find
00:24:21 ～ 00:24:22 this too interesting but it’s important
00:24:22 ～ 00:24:24 to understand that there are large
00:24:24 ～ 00:24:25 companies treating these brands like
00:24:25 ～ 00:24:28 investments and more often than not it
00:24:28 ～ 00:24:29 can have a legitimate impact on the
legitimate 合法の、合法的な、適法の、合理的な、論理的な、筋の通った、〔社会の基準に照らして〕正当な、まっとうな
00:24:29 ～ 00:24:31 things that we do talk about like who
00:24:31 ～ 00:24:33 the creative director is
00:24:33 ～ 00:24:35 case in point the dismissal of Raf
case in point 《a ～》ぴったりした例、好適例、好例、適例、代表例、典型、目下の論点［問題点］
dismissal 〔人の〕免職、解職、解雇、〔考えを〕放棄すること、〔提案などの〕棄却
00:24:35 ～ 00:24:36 Simons was really nothing more than a
nothing more than ～にすぎない、～でしかない
00:24:36 ～ 00:24:38 business decision I’ve even heard that
00:24:38 ～ 00:24:40 ONWARD wanted Raf to stay but because
00:24:40 ～ 00:24:42 he was looking to leave and Jill Sander
look to ～を目指す、～しようと試みる、～しようとする
00:24:42 ～ 00:24:44 was looking to return the choice for
00:24:44 ～ 00:24:46 them was simple now you might be
00:24:46 ～ 00:24:47 wondering if Raf wanted to leave then
00:24:47 ～ 00:24:49 what’s the big deal well I think that
00:24:49 ～ 00:24:51 Bridget Foley from women’s wear daily
00:24:51 ～ 00:24:53 accurately described his dismissal as
00:24:53 ～ 00:24:56 unceremonious he had spent the past
unceremonious 儀式［形式］ばらない，打ち解けた、無作法な，無遠慮な，失礼な，ぶっきらぼうな，がさつな
00:24:56 ～ 00:24:58 seven years revitalizing Jil Sander and
00:24:58 ～ 00:25:00 while this is only speculation it seems
00:25:00 ～ 00:25:02 to appear that they let him go with
let someone go 解雇する
00:25:02 ～ 00:25:04 nothing more than a one week notice
nothing more than ～にすぎない、～でしかない
00:25:04 ～ 00:25:05 because he had not yet signed a contract
00:25:05 ～ 00:25:07 with any other fashion houses and the
00:25:07 ～ 00:25:09 official statement came out just a few
00:25:09 ～ 00:25:11 days before what would be his final show
00:25:11 ～ 00:25:13 some of you may already be familiar with
00:25:13 ～ 00:25:15 this show because it led to what is
00:25:15 ～ 00:25:17 likely the most famous photo of Raf
00:25:17 ～ 00:25:19 Simons here he is taking a final bow
take a bow 〔舞台に出て〕礼をして拍手に答える
00:25:19 ～ 00:25:21 after the models have cleared the runway
00:25:21 ～ 00:25:22 and you can see for yourself how
00:25:22 ～ 00:25:25 emotional he is prior to this he had
00:25:25 ～ 00:25:26 never really been one for displaying his
00:25:26 ～ 00:25:28 emotions so you can just imagine how
00:25:28 ～ 00:25:30 profoundly this whole situation must
00:25:30 ～ 00:25:32 have affected him but whether he was
00:25:32 ～ 00:25:34 ready for it or not his time at Jil
00:25:34 ～ 00:25:36 Sander had come to an end and we all
come to an end 終わる
00:25:36 ～ 00:25:38 know that when one door closes another
when one door closes another door opens チャンスを1つ失っても、また別のチャンスがやって来る／捨てる神あれば拾う神あり
00:25:38 ～ 00:25:39 door opens
00:25:39 ～ 00:25:41 several months after leaving Raf
00:25:41 ～ 00:25:43 announced that he had agreed to become
00:25:43 ～ 00:25:44 the creative director of women’s wear
00:25:44 ～ 00:25:47 for Dior a responsibility that included
00:25:47 ～ 00:25:48 directing the house’s couture
00:25:48 ～ 00:25:50 collections just so we’re all on the
on the same page 《be ～》〈米〉〔複数の人々が〕同じ考えを持っている、大筋で同意［合意］している、認識が一致している
00:25:50 ～ 00:25:52 same page couture refers to the design
00:25:52 ～ 00:25:54 of customized high-end garments
00:25:54 ～ 00:25:56 typically dresses and to separate from
00:25:56 ～ 00:25:58 ready to wear which is the type of stuff
ready-to-wear 既製服
00:25:58 ～ 00:25:59 you see on the shelf when you walk into
00:25:59 ～ 00:26:01 the store he had no prior experience
00:26:01 ～ 00:26:03 designing couture collections but while
00:26:03 ～ 00:26:05 designing women’s wear for Jil Sander
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