(Boredom alert! For fashionista word nerds and wannabes only!)
Having established in Part One that translating fashion texts isn’t quite as glamorous as you might think and that fashion translators aren’t necessarily always sitting in the front row in Milano or being showered with gifts from designer labels, it’s time to run through the real nitty-gritty, the actual working process. Or at least the one that works for us, and by us I mean Trend Translations (www.trendtranslations.de), my long-standing partnership with my translation colleague and proofreading sidekick Paula Hedley.
We translate everything from press releases for designers and collection descriptions for websites to invitations to Fashion Week parties but one of our favourite fashion clients is a specialist magazine for the fashion biz. It’s an invaluable source for the latest in jeans and contemporary trends and is published four times a year. Here’s how we tackle this particular job:
- We start off by being sent a rundown of the coming issue (“Ausgabenplan” in German) from the editor-in-chief, stating the various deadlines for delivery of text for the journalists and our translations, and also the time slots allocated for the correction period, layout etc. For deadline read “Time from which the editor will start hassling everyone and getting frantic.” Inevitably the whole process is stretched out over a few weeks so it’s best not to book our holidays until the issue is flying off the printing press and our job is officially done. Sometimes the contributors send their texts directly, but mostly they are sent by the editor after being tweaked and fact-checked.
- It’s always a bit like Christmas when we start receiving the texts from the various editors and contributors because the magazines we work for are usually packed with interesting interviews and articles about leading designers and manufacturers and brands, which are a real pleasure to read and of course to translate. There are also some witty puff pieces or lengthier in-depth articles and essays, as well as a city guide in each issue.
- Paula or I compile an Excel chart of the texts to be translated, which we upload to OneDrive in a file we are both authorised to update and read. We update as we go along, sharing out the texts between us as equally as possible. Then basically we get on with translating, using whichever method suits us best. Until now we’ve been very old-school – not quite paper and plume, but without the whole CAT tool shebang. However, we’re currently working on sharing termbases and translation memories and dipping our toes in the ocean that is Memsource and memoQ. And we find that Dragon (speech-recognition software) is very useful when translating interviews as it helps to capture the laid-back flow of the speakers, and of course speeds things up immensely.
- We upload all documents to Google Drive or OneDrive to make sure everyone in the team has access to them, even if one of us is working at an airport or sitting in a kayak in the middle of a lake, the digital nomads that we are! We send each other everything for proofing, sometimes bouncing a particularly tricky piece back and forth four or five times.
- There’s always lots of research to be done, the names and spellings of every brand name, manufacturer and store as well as their website URLs have to be checked and double checked, and I try not to get side-tracked by browsing Drykorn’s website or held up reading interviews with designers I admire. You have to be au fait with the latest terminology: what used to be a jumpsuit or a boiler suit is now referred to as “onesie” and what was known as a leotard in my day is now a “body”, for example. Heels are now sometimes referred to as “pumps” which reminds me more of stinky black rubber plimsolls from school sports than sexy stiletto heels.
Although major German newspapers have their own style guides, of course no German-produced magazine has a dedicated English style guide, so it’s up to us to be consistent, even if only galão-sipping transatlantic Parisians are reading us. So if we spell Cracow without an accent once we have to make sure we do it throughout the entire issue. That’s Paula’s specialty. And of course it helps that we both enjoy leafing through the latest issue of British Vogue and The Business of Fashion and checking out the reviews of Fashion Weeks in the New York Times and Harpers Bazaar, for a feel of the kind of language used.
- Once we’ve sent all our finished translations off to the graphic designer for layout, the editorial team will often come back at us with last-minute changes, urgent new texts or headings that might need translating etc. That might mean a phone call while we’re navigating the supermarket aisles with our trolley or a late-night one-liner on WhatsApp. We often work evenings when the deadline is nearing. It’s simply part of the job, and one we both take in our stride, trying to make sure we balance things out with a Thai massage, enough sport and some digital detoxing when the magazine is hot off the press. But you do need nerves of steel sometimes when fielding the increasingly plaintive demands of the graphic designer waiting to be “fed” with new texts and the in-transit messages from the editor who is already halfway around the globe at her next destination or interview for the next issue and doesn’t have the foggiest where the final version of the intro for the fashion tradeshow text might be.
- Paula, who is geographically nearer to the editorial team for our main magazine client, has the highly responsible and difficult job of checking the final proofs by hand with the graphic designer at his office. That’s why she is always a real stickler about removing any unnecessary mistakes ahead of time and has a pet hate of stray “straight” apostrophes that Dragon sneaks in. She’s the one who saves the magazine the embarrassment of printing the wrong year on the cover and can always be relied upon when it comes to spelling difficult designer names like Proenza Schouler and Walter Van Beirendonck.
Now for the pros and cons…
- Freebies: I’m really bad at this, but I have streetwise colleagues who are always bagging themselves freebies and goodie bags like the cute monthly My Little Box subscriptions – as well as commanding top rates!
- Decent pay: Working for PR companies, as well as agencies who cater to big brands means they are willing to pay higher rates for your additional skills, which will include excellent copywriting, as well as ensuring you’re clued-up on all the terminology. They sometimes simply pass the cost on to their clients so they are looking for quality rather than a cheap rush job. I love these clients because they really value your language skills and know that one spelling faux pas (Columbia instead of Colombia for example) can ruin a whole advertising campaign. Fashion magazines and tradeshow guides generally pay less, but the upside is that it’s regular work and a large chunk in one go. So although it’s stressful, you can allow yourself a luxury break afterwards.
- Second-hand glamour: You can certainly ask your clients to get you into fashion shows, and some may even offer you clothing in lieu of payment. A colleague I know receives cool streetwear in return for proofreading texts for the label’s catalogues. Obviously that’s not going to pay the rent but it’s a very nice bonus.
- Being in the know: You will be one of the first people in town to know about new trends and upcoming collections. If you want to be an “early adopter” and wear culottes and blousons before they hit the high street, then this is the job for you!
Another day at the office…
- Online distractions: When researching whether that buckskin waistcoat has a vertical or a horizontal mid-seam, it is easy to suddenly find yourself filling up your shopping cart on ASOS or, heaven forbid, Maison Margiela, and spending every cent you earned that day in the process.
- Raison d’être: It’s hard to convince yourself you are truly making a difference when you translate fashion. If you are planning to bag a Nobel Peace Prize you need to look elsewhere, and translation-wise you should probably also find a balance by doing stuff that makes the grey matter cry ouch every once in a while. But we shouldn’t have to live under a bridge just to translate or write that world-shattering opus. Personally I love writing my own stuff, translating texts for documentary film narration or the odd stint for an art book or museum catalogue. But I also love the airy lightness and joy of fashion work.
- You will be asked to work for free a lot…whether it’s “just three Instagram hashtags” or “two Facebook posts, daahhling!” So you need to practice saying no and choose carefully when to say yes.
- Stress: Magazine deadlines, tradeshows, Press Days and the week preceding Fashion Week. Basically your yearly calendar has its stress curves already drawn in for you. That’s when everyone is scrambling to get their press releases written and sent out. Even if I am not planning any visits to fashion events I make sure I keep the week beforehand light in terms of social activities as that’s usually when emergency work comes flooding in. In the commercial world in general, where time is money, fast turnarounds are often a must. But especially in the fashion industry, where the large chain stores are taking inspiration from the catwalks and transforming them into off-the-peg cheap fashion within six weeks, every second counts.
So, if all this sounds like it would float your boat, and you are already an experienced translator with a penchant for creative texts, you will need to get out there and network with people from the fashion sector, meet young up-and-coming designers (offer to translate their “About us” page for free, for example,) attend tradeshows, or even study a particular aspect of the trade you find interesting (design, marketing, textiles etc.). Glass of champagne at Berlin Fashion Week anyone?
*Photo credits Paula Hedley.