达利如何影响了我们的生活
When Surrealist artist Salvador Dalí first put a lobster on a dress, he wanted to be provocative.
超现实主义艺术家萨尔瓦多·达利第一次把龙虾穿在裙子上时，他想表现得有趣一些。
It worked.
他成功了。
His 1937 collaboration with boundary pushing fashion designer Elsa Schiaparelli caused consternation.
1937年，他与前卫时装设计师埃尔莎·夏帕瑞丽的合作震惊了众人。
The silk organza A-line gown they created together, subsequently worn by Wallis Simpson in the pages of Vogue, elicited shock, head scratching, and plenty of voluble conversation from the fashion world.
沃利斯·辛普森随后在《Vogue》杂志上发表了她的作品，他们共同设计的一件欧根纱A字丝质礼服引起了时尚界的震惊、费解和热议。
Apparently Dalí was disappointed though.
不过达利显然有点失望。
He felt that the dress was missing one final touch: a dash of mayonnaise.
他觉得这条裙子最后少了一点修饰:少了一点蛋黄酱。
It's hard in the present day to imagine a lobster on a dress being such a big deal.
在今天，很难想象把龙虾放在裙子上会有这么大的影响。
It's the kind of print you could easily find now, adorning everything from loafers to smocks.
这种印花你现在很容易就能找到，装饰着从乐福鞋到罩衫的各种各样衣服。
Henrik Vibskov's Spring-Summer 2020 collection featured plenty of pink and red crustaceans, for example, and Louis Vuitton's Autumn-Winter 2020 menswear show saw models stride down the catwalk wearing white fluffy coats decorated with oversized, similarly plush lobsters.
例如，亨里克·维布斯科夫的2020年春夏系列以大量粉色和红色的甲壳类动物为特色，路易威登的2020年秋冬男装秀上，模特们穿着白色的蓬松外套走在t台上，外套上装饰着超大的、类似长毛绒的龙虾。
The reason we now find such imagery so commonplace is, in part, thanks to a 20th century avant garde art movement: Surrealism.
我们现在发现这样的图案如此普遍的原因，部分是由于20世纪的先锋派艺术运动：超现实主义运动。
With an emphasis on the untapped power of dreams and a drive to create fantastical art through techniques such as automatism (spontaneous, uninhibited writing and artwork) and juxtapositions of unlikely images Surrealism aimed to release the unconscious mind and, in doing so, set loose the imagination.
超现实主义强调的是未开发的梦的力量和通过自发(自发的，不受约束的写作和艺术作品)和不可能的图像并置来创造幻想艺术的驱动力，它的目的是释放潜意识思维，通过这样做，释放想象力。
It was deeply influenced by Freud's writing about hidden desires and feelings, as well as other psychological and political thinkers including Karl Marx.
它深受弗洛伊德关于隐藏欲望和情感的作品的影响，以及其他心理学和政治思想家包括卡尔·马克思的影响。
The word itself was first used in 1917, but it really came to the fore as movement in the 1920s.
这个词本身在1917年首次使用，但在20世纪20年代作为一场运动才真正崭露头角。
In the 1930s. Plenty of Surrealism's key proponents turned to design, creating extraordinary, often startling objects.
在1930年代。许多超现实主义的主要支持者转向了设计，创造出非凡的、常常令人吃惊的物品。
A select few embraced fashion too.
其中也有少数融入了时尚感。
Schiaparelli collaborated with both Dalí and fellow artist Méret Oppenheim, who would go on to incorporate clothes to unnerving ends in her own work, such as gloves adorned with fur and veins.
夏帕瑞丽与达利以及同为艺术家的梅雷特·奥本海姆合作，后者会在自己的作品中加入一些令人不安的服装，比如饰有皮毛和血管的手套。
Joan Miró designed bright, brash costumes for the Ballet Russes.
琼·米罗为俄罗斯芭蕾舞团)设计了明亮、大胆的服装。
Eileen Agar devised playful designs like her 1936 "Ceremonial Hat for Eating Bouillabaisse," which featured seashore detritus including a lobster's tail and a fishing net.
艾琳·艾格设计了一些有趣的设计，比如她1936年的“吃海鲜鱼汤的仪式帽”，帽子上有海岸边的碎屑，包括龙虾尾巴和渔网。
This back and forth traffic between art and fashion manifested in other ways too.
这种艺术和时尚之间的交融也表现在其他方面。
Photographers including Man Ray and Lee Miller brought a Surrealist eye to their fashion photography, while figures such as painter Leonor Fini developed a reputation for outrageous costuming.
包括曼·雷和李·米勒在内的摄影师将超现实主义的眼光带入了他们的时尚摄影，而画家莱昂诺尔·菲尼等人则以夸张的服装造型而出名。
Many of their experiments have since bled through to mainstream fashion.
此后，他们的许多尝试都进入了主流时尚领域。
Elsa Schiaparelli's 1938 padded skeleton dress has inspired countless designs featuring bones, spines, hearts and other things usually kept beneath the skin, with Alexander McQueen's Spring- Summer 1998 spine corset in collaboration with jeweler Shaun Leane a particularly notable example.
艾尔莎·夏帕瑞丽1938年的软垫骨架裙激发了无数以骨骼、脊椎、心脏和其他通常藏在皮肤下面的东西为特色的设计，其中亚历山大·麦昆1998年春夏与珠宝商肖恩·利恩合作的脊椎束身衣就是一个特别著名的例子。
Elsewhere, the movement's desire to upend the normal has been reflected in shows as disparate as Hussein Chalayan's Autumn-Winter 2000 catwalk show featuring tables that turned into skirts and Victor & Rolf's Spring-Summer 2010 collection of tulle ball-gowns with huge cut-away holes.
在其他地方，这场运动颠覆常规的愿望也反映在一些完全不同的时装秀上，比如侯赛因·卡拉扬2000年秋冬季的t台秀(展示的桌子变成了裙子)，以及维克多·罗夫2010年春夏系列的带有巨大镂空洞的薄纱舞会礼服。
More recently, designers have demonstrated a renewed kinship to the art movement.
最近，设计师们对艺术运动表现出了一种新的兴趣。
Last year several labels cited Surrealist creators as major reference points.
去年，几家唱片公司都将超现实主义创作者作为了主要参考。
Simone Rocha's Autumn-Winter 2019 show drew on Louise Bourgeois' fearless approach to the female body, the designer subsequently working with art gallery Hauser & Wirth later that same year to release a set of earrings directly inspired by Bourgeois' fabric sculptures.
西蒙娜·罗查2019年秋冬季的时装秀借鉴了路易丝·布尔乔亚对女性身体的大胆设计，这位设计师随后与豪瑟与威尔斯艺术画廊在同年晚些时候发布了一套直接受到布尔乔亚织物雕塑启发的耳环。
Dior, too, has repeatedly rummaged through Surrealist history, with head designer Maria Grazia Chiuri name-checking artists and photographers including Leonor Fini, Leonora Carrington, and Dora Maar in recent seasons.
迪奥也在不断翻查超现实主义的历史，最近几季，首席设计师玛丽亚·格拉西亚·基乌里对艺术家和摄影师的名字进行了致敬，包括莱昂诺尔·菲尼、莱昂诺拉·卡灵顿和多拉·玛尔。
Some of this revived interest can almost certainly be traced to the art world's renewed focus on the work of female Surrealists, many of whom have been celebrated in retrospectives and other exhibitions after decades of neglect.
这种复兴的兴趣几乎可以肯定地追溯到艺术界重新关注女性超现实主义者的作品，她们中的许多人在被忽视了几十年之后，在回顾和其他展览中获得了赞扬。
This Surrealist preoccupation is even more fitting against the backdrop of a year of tumult in which our own understanding of normality has been ruptured.
这种超现实主义的流行，在我们对常态的理解被打破的动荡之年的背景下，显得更加合适。
Over the summer Dior's Autumn-Winter 2020 couture collection came complete with a photographic campaign shot by Brigitte Niedermair referencing key Surrealist motifs like disembodied hands and eyes, while other brands like Valentino offered dreamlike images of gowns presented in gargantuan scale.
在迪奥2020年秋冬系列的夏季时装秀上，布丽吉特·尼德梅尔拍摄了一组宣传摄影，参考了一些关键的超现实主义主题，比如没有实体的手和眼睛，而其他品牌，比如华伦天奴则提供了超大规模的礼服的梦幻般的图片。
Presently, too, brands including Victoria Beckham and Prada are selling shirts covered in free-floating lips, reminiscent of Man Ray's multimedia images and Salvador Dalí's bejeweled 1949 lips brooch.
现在，包括维多利亚·贝克汉姆和普拉达在内的品牌也在销售覆盖着自由浮动的嘴唇的衬衫，这让人想起曼·雷的多媒体图像和萨尔瓦多·达利的1949年镶有宝石的嘴唇胸针。
As Salvador Dalí once claimed, "I try to create fantastical things, magical things, things like in a dream."
正如萨尔瓦多·达利曾经说过的那样，“我试图创造奇幻的东西，有魔力的东西，像在梦里一样的东西。”
问题
文中提到的艺术流派叫什么名字？
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