What did the ’70s feel like? As recalled by Bebe Buell, a singer and onetime habitué of that fabled hipster magnet Max’s Kansas City: “Everybody’s eyelids were very heavy. I used to chuckle to myself, thinking, ‘That’s the cannabis eye, the quaalude eye’ — the look people get when they’re feeling no pain.”

20世纪70年代是一种什么感觉？歌手碧碧·布埃尔(Bebe Buell)曾是潮人胜地“马克斯的堪萨斯城”的常客，她回忆：“所有人都是眼睛睁不开的样子。我曾经偷偷笑着想，‘这人一看眼睛就抽大麻，这人一看眼睛就吃安眠酮’——感觉不到痛苦的人，就是那个样子。”

What did the ’70s look like? “Stylistically, it was a free-for-all,” the designer Betsey Johnson said of the tangy stew defining the era, a jumble of Harlowesque evening frocks, belled sleeves, flared pants, belted suede and wildly patterned caftans. Fashion in that showily dissolute decade was silky and caressing, silhouettes fluid and bras a relic of a straitjacketed past. So goes the lore.

70年代看上去像什么样呢？“从风格来说，就是一切都自由自在，”设计师贝特西·约翰逊(Betsey Johnson)说，那个时代意味着最刺激的大杂烩，各种各样的Harlow风的晚礼服、钟形袖、喇叭裤、束带的仿麂皮长袖衫上印着各种疯狂的花纹。在那个华丽而招摇的十年，时尚就意味着丝绸与触感，以及剪影般的流畅，以及过去紧身衣年代的胸罩遗迹。传说就是这样。

“It was like you were walking around naked, but you had clothes on,” said Phyllis Magidson, the curator of costumes and textiles at the Museum of the City of New York.

“就好像你赤裸身体走来走去，但其实又穿着衣服，”纽约市博物馆服装与纺织品部分负责人菲莉斯·马吉德松(Phyllis Magidson)说。

At the peak of that period, exalted in the popular mind as all that was kicky, inventive and louche, Ms. Magidson was in charge of wardrobe for soaps like “As the World Turns.” She recalled draping an actress in a slithery dress that exposed the outlines of her nipples. “She can’t wear that,” a sponsor huffed. So Ms. Magidson cast about for a way to make the star’s breasts less, well, perky. “I’d say to her, ‘Warm ’em up, honey.’ ”

在这个年代的巅峰时期，大众最欣赏的是那些新奇、富于创新色彩和离经叛道的东西，马吉德松曾负责《地球照转》(As the World Turns)等肥皂剧的戏服，她回忆自己曾让一个女演员穿上顺滑的长裙，露出乳头的轮廓。“她不能穿这个，”一个赞助商看了大为光火。于是马吉德松还得想办法让这位明星的胸部显得不那么招摇。“我还得告诉她，‘别冻着，宝贝。’”

Before long, though, the languid sensuality that was part of an aesthetic flowering extending roughly from 1967 to 1973 had pretty well run its course.

这种慵懒的性感来自1967年到1973年盛行一时的美学，虽然不久前它已经走到了尽头。

And yet.

但是……

“Certain elements of the period — the garish prints and weird color combinations — keep repeating,” said Rebecca Arnold, a fashion historian at the Courtauld Institute of Art in London. So-called ’70s style, Dr. Arnold added, is actually an aesthetic mash-up, one encompassing “sophisticated pantsuits, bohemianisms and a childlike play on the ’60s baby-doll look.” And that’s to say nothing of the slippery fabrics, folksy embroideries, jumpsuits and swingy little dresses that might have been at home amid the glitter and grit of Studio 54.

“那个时期的若干元素，比如艳丽的印花和奇异的色彩组合等等，到现在还在持续出现，”伦敦考陶德艺术学院的时尚历史学家丽贝卡·阿诺德(Rebecca Arnold)说。她说，所谓的“70年代风尚”，其实是一种美学上的混搭，混合了“精致的裤套装、波西米亚风格与孩子气的60年代娃娃风格。”更别提顺滑的织物、民间风情的刺绣、连体服和轻快的小礼服裙，即便跻身于Studio 54那些名流之中也可以如鱼得水。

Those long-ago emblems of worldliness — and waywardness — have now returned in force, with designers scrambling to loosely resurrect an era that keeps spinning like a continuous reel in their heads. Aptly enough, Tom Ford, who in the 1990s rescued the ailing house of Gucci with a ’70s rock-infused collection, was prompt in his spring 2015 show to channel Bianca Jagger and other idols of the day, issuing a bell-bottom evening suit that conjured the dandyish regalia of Ms. Jagger’s tabloid days.

那些长久以前象征着名利与任性的东西如今已经卷土重来，那个时代像一条长长的电影胶片，在设计师们头脑中不停旋转，他们迫不及待地想把它大致还原。汤姆·福特(Tom Ford)曾在20世纪90年代用70年代摇滚风的系列重振病入膏肓的古驰，后来又不失时机地将比安卡·贾格尔(Bianca Jagger)与那个年代的其他偶像一起带回自己的2015春夏时装秀——他发布的那款喇叭裤晚装令人想起贾格尔女士占据小报时期的那些时髦行头。

Chanel paid homage to the Charlie girl, “kinda young, kinda now,” with a bell-sleeve blouse and cropped wide-legged trousers, and Marc Jacobs offered a wide-sleeve camp shirt and loose pants covered somewhat subversively in a naïve-looking Liberty print. Rebecca Taylor offered a sweeping diaphanous maxi, Givenchy a studded leather vest, Gucci a supple suede trench that Lauren Hutton might have worn at the peak of her modeling career.

香奈儿则对“查理女孩”致敬，她们“有点年轻，活在当下”，穿着钟形袖上衣和阔腿七分裤；马克·雅克布斯(Marc Jocbs)推出宽袖露营衬衫与宽松裤，带点颠覆性地使用了样子颇为天真的Liberty印花。丽贝卡·泰勒(Rebecca Taylor)带来拖地的轻柔长裙，纪梵希推出铆钉皮马甲，古驰带来柔软的山羊皮战壕风衣，劳伦·休敦(Lauren Hutton)在模特事业的巅峰期或许会穿上这么一件。

Who can help but plunder fashion’s past when its imagery is everywhere? The epoch was captured on film in “American Hustle” and, more recently, in “Inherent Vice,” the hemp-saturated reimagining of the Thomas Pynchon novel. It’s vividly present in rock memoirs like “Just Kids,” Patti Smith’s recollections of coming of age in downtown Manhattan, and in trips through the decade by Kim Gordon of Sonic Youth and by Joni Mitchell, muse to the designer Hedi Slimane, who highlighted the singer in his Saint Laurent spring marketing campaign.

当旧日时尚的意象无处不在的时候，谁能忍住不去偷点什么回来？电影《美国骗局》(American Hustle)捕捉了那段时光，最近托马斯·品钦(Thomas Pynchon)的小说《性本恶》(Inherent Vice)被改编为充满大麻气息的电影。摇滚回忆录里也生动地呈现了那段时光，比如帕蒂·史密斯(Patti Smith)的《只是孩子》回忆在曼哈顿下城的成长经历；此外“音速青年”(Sonic Youth)的基姆·戈顿(Kim Gordon)与设计师艾迪·斯理曼(Hedi Slimane)的灵感缪斯琼妮·米歇尔(Joni Mitchell)都曾回溯那十年间的旅程，斯理曼曾在圣罗兰的春季市场宣传活动中着重推出米歇尔的形象。

A wealth of pop ephemera is but a click away on Pinterest boards that worship at the altar of Ali MacGraw, looking womanly-provocative in the plunging silk dress or suede trench coat she wore in “The Getaway”; or Marisa Berenson vamping for Vogue in high hippie caftans, turbans and multiple rings; or Lisa Taylor, legs splayed suggestively as she poses for Helmut Newton in a Calvin Klein dress.

Pinterest上存在着大量昙花一现的流行元素，点击一下就能看到，它最崇拜的莫过于艾丽·麦古奥(Ali MacGraw)，她在电影《门》(The Gateway)中无论是身着低胸丝绸裙，还是山羊皮战壕风衣，都展现出挑逗的女性魅力；还有在《Vogue》杂志中亮相的马里莎·贝伦森(Marisa Berenson)，她身着高端嬉皮长袖束带衫、头巾和大堆戒指；抑或丽莎·泰勒(Lisa Taylor)，她穿卡尔文·克莱因(Calvin Klein)连衣裙，在摄影师赫尔姆特·牛顿(Helmut Newton)面前摆出张开双腿的姿势，颇为引人遐想。

Clearly the period retains an emotional pull. In retrospect, the decade that spawned the DVF wrap dress, maxi-coats worn over hot pants, and Ladies of the Canyon in battered jeans seems a garden of earthly delights.

显然，那段时期仍抱有一种情感上的吸引力。回溯那十年，可以想起黛安·冯芙丝汀宝(DVF)裹裙、及踝长裙裹着里面的热裤，“峡谷女士”身穿破旧的牛仔裤，令这十年显得好像一个充满尘世喜悦的花园。

“We didn’t have the consequences that we do for our actions today,” said the costume designer Mark Bridges, whose film credits include “Boogie Nights” and “Inherent Vice.” “People smoked without pause; you made out with who you wanted to; and on all fronts we were in an experimentation mode. Why not? The stakes weren’t as high.”

“我们那个时候不用像今天这样为自己的所作所为承担后果，”马克·布里奇斯(Mark Bridges)说，他曾为《不羁夜》(Boogie Nights)和《性本恶》等影片设计服装。“人们一支接一支地抽烟，想和谁亲热就和谁亲热，在所有事情的前沿都处于一种试验状态。为什么不呢？代价反正也不高。”

That age before AIDS and drastic budget shortfalls, Dr. Arnold said, “seems like the most exciting period of decadence ever. There’s an element of the ’70s that can still seem somewhat outré, kind of glamorous, but a little bit sleazy as well. It’s got an edge to it.”

那是艾滋病与预算严重不足来临之前的岁月，阿诺德博士说，“好像是史上最激动人心的堕落时代。70年代中有一种元素，如今看上去仍然夸张、辉煌，但也有点低俗。它有自己的棱角。”

Small wonder it’s catnip to a generation that has yet to evolve a seminal style of its own. Doris Raymond, the owner of the Los Angeles vintage emporium the Way We Wore, who is featured on “L.A. Frock Stars,” a Smithsonian Channel reality series, finds in the work of designers today echoes of ’70s fashion sensations like Ossie Clark, Halston and Thea Porter.

毫不奇怪，它对尚未形成具有重大影响风格的一代人来说，具有别样的魅力。洛杉矶复古商场“往日服装”(Way We Wore)的店主多丽丝·雷蒙德(Doris Raymond)是史密森频道(Smithsonian Channel)真人秀“洛杉矶女装之星”的主角，她在工作中发现，如今设计师们的作品在重复着70年代的时尚感，诸如奥西·克拉克(Ossie Clark)、霍斯顿(Halston)和西娅·波特(Thea Porter)的作品。

The decade’s persistent allure may owe a debt to Mom as well. “Most designers now in the driver’s seat had mothers who were at their fashion peak in the ’70s,” said David Wolfe, the creative director of the Doneger Group, a trend-forecasting agency. “They are doing what Dior did when he did the New Look as homage to his own mother.”

这十年持续的魅力或许也来自于母亲的影响。“如今大多数掌权的设计师，他们的母亲都来自70年代时尚的顶峰，”潮流预测公司丹恩格集团(Doneger Group)的创意总监大卫·伍尔夫(David Wolfe)说，“当年迪奥(Dior)推出‘New Look’来纪念自己的母亲，他们做的事也差不多。”

True, quite a few contemporary tastemakers (the gallery includes Stella McCartney, whose mother, Linda, recorded tunes with her husband, Paul, and photographed the leading pop stars of the time, and Phoebe Philo of Céline, her mother a graphic artist) experienced the ’70s secondhand, through their mothers’ wardrobes.

的确如此，有很多当代的品位缔造者都通过母亲的衣橱间接体会过70年代。这其中包括史黛拉·麦卡特尼(Stella McCartney)，她的母亲琳达(Linda)和丈夫保罗(Paul)一起录制歌曲，还给当时最红的流行歌星拍照；另外还有思琳(Céline)的菲比·斐洛(Phoebe Philo)，她的母亲是平面设计师。

But fashion’s reflexive return to the ’70s goes deeper, and is part of a generalized recycling trend that dates, some say, to the midcentury at least. “Instead of being about itself, the 2000s has been about every other previous decade happening again all at once,” the British music journalist Simon Reynolds wrote in “Retromania: Pop Culture’s Addiction to Its Own Past.” He notes that fashion, like music, now attempts to capture “a simultaneity of pop time that abolishes history while nibbling away at the present’s own sense of itself.”

但是时尚界向70年代的回归有更深刻的原因：有人说，它是一种普遍的复古潮流的一部分，至少可以追溯到上世纪中期。“21世纪并不是要成为自己，而是要将过去所有的十年同时全部重现，”英国音乐记者西蒙·雷诺兹(Simon Reynolds)在《复古狂热：流行文化对自身过去的迷恋》(Retromania: Pop Culture’s Addiction to Its Own Past)一书中写道。他指出，音乐等时尚试图抓住“流行时代的同时性，它一方面抛弃了历史，另一方面又在蚕食当下自身的自我感觉”。

In the book, Mr. Reynolds argues that the tendency to mine vanished eras has only accelerated since 1964, the year that marked the advent of the Biba store in London. Tricked out like an Edwardian opium den, the shop enshrined the totems of a bygone day — feathery boas, peacock feathers, piano shawls and the like — marketing them to a style-besotted public as never hipper or more “now.”

在这本书里，雷诺兹认为，这种对消逝时代的发掘开采是到1964年才开始加速的，那年Biba时装店在伦敦开张。它的装潢活像爱德华七世时代的鸦片巢穴，供奉逝去岁月的图腾——羽毛围巾、孔雀毛、钢琴披肩等——将它们当做最嬉皮、最“当下”的东西，销售给迷恋风尚的大众。

But the plumbing of the retro well, and the ’70s in particular, reached a frenzy, Mr. Reynolds goes on, “when designers like Marc Jacobs and Anna Sui ransacked the styles of previous epochs almost as soon as they ended.” As he argues, fashion now “is about changes but not Change in the sense of progress.”

但是，从过去，特别是从70年代寻找灵感已经到了狂热的地步，雷诺兹说，“如今，马克·雅克布斯(Marc Jacobs)与安娜·苏(Anna Sui)这样的设计师几乎在一个时代刚刚结束的时候，就马上开始彻底搜寻它的风格。”他说，如今的时尚“确实是关于改变，但并不是前进意义上的改变”。

Change, after all, can be at odds with commerce, a concept few designers have embraced as vigorously as Mr. Slimane. A proven master at issuing biker jackets, fringed skirts and other signifiers of old-style rebellion, he has put forth a look so reassuringly familiar both to those who experienced the decade firsthand and to their spiritual offspring, that it was, in hindsight, calculated to make registers ring.

说到底，改变有可能与商业发生冲突，斯理曼是最坚决拥护这个观念的人。他曾经发布过机车夹克、流苏裙等老派叛逆的标志产品，已被公认为大师。他带来了一种外观，会令曾经亲身体验过那十年的人，乃至他们的精神后代都感到亲切和似曾相识，但事后看来，这只是精心算计的赚钱策略罢了。

“Slimane gives his consumers thoroughly digestible fashion, perfectly executed,” Robin Mellery-Pratt wrote this month in a Business of Fashion post, citing 2014 financial results reported by the parent company Kering, which demonstrate that while Saint Laurent leather goods and shoes are performing robustly, its ’60s- and ’70s-inflected ready-to-wear has been the fastest growing of any category, surging ahead by 23 percent last year.

“斯理曼给消费者提供的完全是易于理解的时尚，执行上很完美，”罗宾·莫勒里-普拉特(Robin Mellery-Pratt)本月在一篇关于时尚业的文章中写道，并援引2014年开云公司（斯理曼所在的圣罗兰的母公司）的财务报告称，圣罗兰的皮具和鞋类表现强劲，但受六七十年代风格影响的成衣的增长超过了任何种类，比去年增长了23%。

It’s hard to argue with a strategy that so deftly conjures the spirit of sexual brashness and youth. “I put on a ’70s dress, and it changes the energy that I exude,” Ms. Raymond of the Way We Wore said. “Who doesn’t want that flower-emblazoned little dress that makes you feel young again?”

这种策略巧妙地结合了性冲动与青春的气息，因此很难反驳。“穿上一件70年代的连衣裙，我焕发的能量也随之改变，”“往日服装”的店主雷蒙德说，“谁不想穿一件让你感觉重返年轻时代的小花裙呢?”