完美女性身材（下）
The style was also the perfect way for the rising bourgeoisie to show off their wealth.
时尚业是新兴中产阶级炫富的最佳方式。
Men’s attire was relatively subdued at the time but if a man could afford to dress his wife in a crinoline, which required vast amounts of fabric and the help of a servant to put on, it would indicate access to a substantial income.
男士的服装在当时还算中规中矩，但如果一个男人能给他老婆买得起衬裙，这需要耗费大量的布料还得有仆人帮忙穿，也就意味着他拥有不菲的收入。
The appearance of the bustle, which gave prominence to the rear, from 1870 onwards coincided with an era in which fashion was becoming progressively more democratised, as technical advances and the rise of the department store meant that different social classes were buying similar styles, thus creating a certain standardisation of the ideal silhouette and creating a pressure to conform among all social classes.
随着裙撑的出现，后部也得到了支撑，在1870年以后的时期刚好也是时尚变得更加平民化的时期，因为技术进步了，百货商店兴起，也就产生了某种理想身材的标准，并对设计出令社会各阶层人士满意的服装提出了新要求。
So although dress-reform activists and doctors had been warning against the harmful effects of corsetry for decades, when it became available to the masses, women flocked to buy them.
尽管长期以来服装改良活动家和医生们都在警告紧身衣的危害，当它们变得可以让大众消费以后，女士们还是争先恐后地买来穿。
However the fact that many advertisements offered them in sizes from 18 – 30 inches (45.72 – 76.2cm) makes it clear that many women did not meet the slender ideal.
不过广告里说道的从18到30英寸（45.73-76.2厘米）则显示出很多女性并没有苗条的身材。
The early 20th Century saw the aesthetic dress movement, typified by elegant flowing gowns created by the department store Liberty, attempt to liberate women from the confines of the corset.
20世纪初兴起了服装设计运动，代表就是利百特百货公司推出的飘逸的晚礼服， 将女性从紧身衣的束缚中解放了出来。
It was a style favoured in artistic circles but considered eccentric by the general public, and even those who chose to adopt the fashion rarely wore it outside the confines of the home.
但这紧紧是时尚圈的新秀，大众认为这是很奇怪的，就算那些能够欣赏这种时尚样式的人也只敢在家里解放一下，偶尔穿穿。
It wasn’t until the flapper styles of the 1920s came into fashion that conventional corsetry began to lose favour.
直到1920年的翻领设计开始流行，紧身衣才开始退出历史舞台。
Although McClendon is at pains to point out that it is “a common misconception that women stopped wearing corsets and were suddenly 'free.’”
不过麦克克林顿很痛心地指出，如果认为女性不穿紧身衣就是被解放了话是一个普遍的误解。 The new styles required a lithe androgynous body achieved by wearing a hip-slimming girdle, which although certainly more comfortable still created an artificial body shape.
新式的服装要求的是柔软不丰满的身体，必须穿着绕臀的紧身腰带来塑造，虽然比以前的服装更舒适了，但仍然会产生一种人造的体型。
Women for whom the look was impossible to achieve found other ways to be fashionable.
达不到这种身材标准的女性找到了其他的方式来让自己更时髦。
The exhibition features a pair of purple-and-orange crepe pyjamas that have a 40-inch (101.6 cm) waist, proving that however much the fashion press wanted to ignore them there have always been stylish larger women.
时装展览展出了几条紫色和橙色的绉纱睡裙，腰围达到了40英寸（101.6厘米），证明了无论时尚界多么鄙视她们，总有一些追求时髦的胖女士们存在。
Certain brands have enthusiastically embraced a more inclusive view of the fashionable body.
几大品牌热情地推出了几种更极端的时尚身材。
Designer Becca McCharen-Tran’s label Chromat has some of the most diverse catwalk shows in the industry with models spanning different races, sizes and gender identities.
设计师贝卡。麦克卡伦-特兰的品牌Chromat就拥有多种多样的模特秀，他们的模特来自不同的种族，胖瘦和性别身份。
“It is not our bodies that are wrong, it is the sizing system that is wrong,” she says. “Until we acknowledge the problems in the current system, we cannot begin to fix it.”
“其实错的不是我们的身材，而是标记尺寸的系统，”她说。“只有我们意识到这种错误，才有可能改正它。”
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