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安庆龟头周围安庆望江男科大夫在线Happiness in the real world is largely the result of prioritizing what’s really important for you, going after those things, and not being too picky about everything else. Of course, when you’re talking about fantasizing, you can have it all, as we’ve seen previously when men are asked for the characteristics of their ideal woman.现实的快乐大部分源自对自己最重要东西的选择和追求,而不对其他的事过多挑剔。当然若是幻想,那你怎么想都可以。当男士被问及自己理想女性的特点时,情况就是如此。So when a men’s magazine in Japan recently published the results of a similar survey, we weren’t surprised that the compiled average of the physical parameters were pretty strict. What was shocking, though, was the response given by one man, whose image of the perfect female figure isn’t just largely unattainable, it’s downright unhealthy.所以当一本日本男士杂志最近发布了一项类似调查结果时,我们毫不惊讶得出的平均身材标准是多么的严格。其中,一位男士的回答特别令人惊讶,他心目中的完美女性身材不仅难以达到,而且是一种极其不健康的身材。Twitter user Junnai shared one page of the questionnaire’s results. This page, though, is all about the physical, and with a section unabashedly declaring that the best breasts have both elasticity and a well-defined shape, there’s obviously not a lot of self-censoring going on. There’s a tale of the tape for the perfect body, and the non-round numbers seem like a pretty clear indicator that the figures are averages, with a height of 157 centimeters, a weight of 44 kilograms, a D-cup bust, and waist and hip measurements of 59 and 81 centimeters, respectively.Junnai在推特上分享了一页调查问卷结果。但这页调查结果全部是关于身材的,并且还非常大胆地写道,最佳胸部既要有弹性又要形状好,显而易见,这个调查对结果并没有做太多的筛检。调查得出的完美身材数据十分具体,像是一个清晰的平均标准,要求如下:身高157厘米,体重44公斤,D罩杯,腰围和胸围分别为59厘米和81厘米。Somewhat harder to find, though, would be someone fitting the description one man gave of his ideal woman.然而,其中有一位男士对理想女性的要求比较难达到。152 centimeters isn’t that tiny by Japanese standards, but 37 kilograms? There are indeed certain things that’s a fine weight for. For example, if you’re an eighth-grade boy who’s just started lifting weights, a 37-kg bench press is a modest, yet decent, starting goal.根据日本标准,身高152厘米不算特别矮,但36公斤呢?理想体重还是应该有个度吧。36公斤大概是多少呢?一个8年级男孩可从37公斤开始练习举重,这对他来说不高也不低,较为合适。For a person, though, 37 kilograms probably means either your caloric intake or number of limbs is lower than it ordinarily should be. That or you’re some kind of bird-like creature built for flight and have hollow bones.但对一个人来说,37公斤的体重可能意味着你的卡路里摄入不足,或是你的肢体有些残缺,要不然你大概是某种空心骨头的鸟类生物吧。Not everyone who participated in the survey was so fixated on numbers, either. Directly to the right of the 32 kilogram comment sown above is another e from someone else saying, “As long as she has a slim waist I don’t really care about how many centimeters it is.”但也不是每一个受访者都拘泥于数字。32公斤那条左边的另一条就说道,“只要她腰部纤细,我不在意数字是多少。”We should also point out that the magazine either didn’t know or chose not to reveal the age of the respondents. It’s possible the guy looking for a 37-kilogram girl is still in junior high, and thus isn’t thinking in terms of full-grown women, we suppose. Of course, it’s also possible that he just doesn’t have enough experience with real women to know how far out of touch with reality his fantasy is.还需要指出的一点是,杂志并没有透露受访者的年龄,这也许是因为不知道,还有可能是有意选择不透露。我们猜想,梦想着37公斤理想女性的那位男士有可能还是一个初中生,因此并不是在说成年女性。当然也有可能是因为他缺乏与真实女性的交往经验,不知道幻想与现实差得有多远。 /201407/311664潜山县红十字会医院男科专家挂号 (CNN) -- If you are a woman, you#39;ve likely experienced the creepy, disrespectful and sometimes scary way some men treat you as you walk down the street -- lewd looks, unwanted comments, compliments about your body, elongated necks craning to see your backside, catcalls, even being followed.(CNN) --作为女人,在走在大街上时,你很可能经历过男人的这些恶心的、无礼的,有时甚至是可怕的对待,比如说色眯眯的注视,评头论足,恭维你的身材或容貌,伸长脖子看你的背面,吹口哨,甚至是跟踪你。It can be very hard to explain why catcalls and unwanted comments amount to harassment. Thankfully, there#39;s a new online that drives it home. In it, a woman walks around Manhattan for 10 hours(a hidden camera is in front of her and she#39;s got microphones in each hand.) She#39;s harassed 108 times as she walks (silently) down the streets of the city. In two instances she#39;s followed; one of the guys walks beside her for over five minutes. It#39;s very eerie.很难说清楚为什么吹口哨和评头论足就等同于骚扰。谢天谢地,网上有一个新视频能说明这一切。在视频中,一个女人在曼哈顿的大街上走了10个小时,她的前面有一个隐藏起来的摄像机,双手都带有麦克风。在静静地走过这个城市的街道时,她受到了108次骚扰。她两次被跟踪;其中一个家伙跟了她超过5分钟。这太可怕了。It#39;s a very sobering and enlightening experience to watch the barrage of harassment happen. And sadly, since so many of you believe that women provoke violence and even rape based on how they dress -- get this, the woman in the is wearing a plain T-shirt and jeans. There#39;s no cleavage or midriff or bare leg showing -- she#39;s just a gal walking down the street.看着这些骚扰接二连三地发生,不仅令人不禁恍然大悟。令人悲哀的是,你们中的很多人认为女人招致暴力甚至是强暴,是因为她们穿的太少,看看这个,视频中的女人穿着普通的T恤和牛仔裤。没有露乳沟,没有露肚脐,没有露大腿,她只是一个走在大街上的姑娘。The is compelling, particularly for women. It is uncomfortable to be harassed like this walking down the street, and yes, harassment is exactly what it is. In fact, in many states, it#39;s also illegal.这个视频是振聋发聩的,特别是对女性来说。走在大街上时,像这样被骚扰是令人不舒的,是的,这就是骚扰。事实上,在很多州,这也是非法的。For a long time, I didn#39;t see it that way. Maybe it#39;s because I make a living giving keynotes on leadership and at 45 have grown to be a very confident, extroverted person. Every time a man would say ;Hey Beautiful; to me, I#39;d just look him straight in the eyes, shoot a smile and shout back ;Yo what#39;s up; -- which works like a charm, de-sexualizes the whole thing, keeps it Midwestern friendly while leaving the guy speechless that I asserted myself.很长时间以来,其实我认为这没什么大不了的。这也可能是因为我经常给领导阶层做主题报告,并且我已经45岁了,已经变成一个足够自信、性格外向的人。每次有男人对我说“嘿,美女”时,我只是直视着他的眼睛,露出微笑,回敬一句“嗨,怎么了”,立马将难题化解于无形,保持中西部风格的友好,摒除其中的性别成分,同时我敢保能让那个家伙无话可说。But my opinion about catcalls changed when I saw it happen to my daughter. She#39;s a beautiful girl, and just 15. A few weeks ago, we were walking in Boston -- she was in jeans, LL Bean boots and a flannel shirt -- yet the majority of guys eyed her head to toe and about half of them turned back to check out her butt. With every look, the momma bear in me started to get really angry. Sawyer, on the other hand, just got very quiet. When we crossed the street in front of a work site, she just stared at the ground.但当骚扰发生在我女儿身上时,我的想法发生了变化。她是个漂亮的姑娘,只有15岁。几周前,我们在波士顿街头散步,她穿着牛仔裤,LL Bean牌的靴子和法兰绒衬衫,然而大多数的男人都从头到脚地盯着她看,大约一半人还回头看她的臀部。母性使我真的要生气了,然而索伊却不发一言。当我们穿过街道,走到一处工地时,她只是紧盯着地面。My viewpoint changed that day. She didn#39;t want the attention; she just wanted to walk down the sidewalk and window shop. And, more importantly, she didn#39;t know how to handle it.我的观点在那天起改变了。她不想要那种关注;她只想走过人行道和商店的橱窗。并且,更重要的是,她不知道如何处理这一切。That#39;s the crux of it. When you catcall, the attention, the comments, the looks are unwanted and they can make a woman feel emotionally and physically uncomfortable. A woman (or a girl) walking down the street just wants to be left alone. She#39;s not interested in what you think about her body or her face. If she was, she#39;d ask you.这就是问题所在。当你们的吹口哨、注视、评头论足和你们的相貌不是姑娘们想要的时候,这些会使姑娘们在情感上和身体上不自在。一个女人(或女孩)只想自由自在地在大街上行走。她对你对她容貌和身材的看法不敢兴趣。如果她有兴趣,她会问你的。It#39;s hard for guys to understand this, particularly when the sex center of the male brain is 2.5 times larger than the female sex center in the brain. Guys will likely always have sex on the brain more than women do. And sexual desire and power is absolutely at the root of catcalls -- that#39;s why you hoot, holler, leer, jeer at a woman -- and it#39;s also why guys think there#39;s nothing wrong with it. Whether a woman or a girl can handle the attention isn#39;t relevant; guys shouldn#39;t be putting women and girls in a position in which they feel like they are getting eyed like a piece of meat.男人很难理解这些,特别是因为男性大脑中的性区是女性大脑里的性区的2.5倍。男性脑中想着上床的次数要比女性多得多,性需求和驱使绝对是吹口哨的根本原因,这就是你们对女性大声叫嚷、窥视、调戏的原因,并且这也是男人并不认为这有什么错的原因。女人或女性能否应对这些关注与他们无关;男人不应该像盯着一块肉一样,死死盯着女人和女孩。How should men approach women?男人应该如何接近女人?There#39;s a huge difference between harassing a woman on the street with catcalls and actually trying to have a conversation with her. In case you fellas do want to speak with a woman, her are a few rules:在大街上吹口哨骚扰一个姑娘与真正想与姑娘交谈有着巨大的差别,你们这些家伙如果真想和一个姑娘交谈,要遵循这些规则:1. Speak ;to; her, not ;at; her.“与”她说话,而不是“对着”她说话。Whistles, shouts, hoots, hollers, kissing and animal sounds may help you hail a cab, but if you do it to a woman you don#39;t know, it#39;s harassment.口哨、叫喊、高声大笑、嘟嘟囔囔、飞吻和学叫也许会帮助你叫辆出租车,如果你用在姑娘身上,你要知道这就是骚扰。2. Start a conversation ;with; her, not ;about; her.“和”她交谈,而不是对她“评头论足”。Talk about the weather, the day, the book she#39;s ing, because then it is a conversation. Do not talk about her hair, her smile, her outfit, her legs, her booty or her appearance, because that#39;s harassment.谈论天气、当天和她在看的书,因为这之后就会有更深的交流。不要谈论她的头发,她的微笑,她的装,她的腿,她的臀部或她的外貌,因为这是骚扰。3. If she walks away do not follow her.如果她走开了,不要跟踪她。If she ignores you, drops eye contact or keeps walking -- just leave her alone. If you start following her, you aren#39;t complimenting her, you are stalking her.如果她没有搭理你,不再看你或径直走开,就这样让她去吧。如果你还紧追不舍,那就不是在恭维她,而是在跟踪她。At the end of the day, if you want to connect with a woman, all you need to do is smile. There#39;s no need to say anything. That#39;s all it takes. Look her in the eyes and smile. She#39;ll likely smile back. That#39;s it. If she wants to say hello, I#39;m sure she will. If she doesn#39;t, just let her be.在白昼即将结束时,如果你想结识一位姑娘,只需微笑就够了。不用说一个字。看着她的眼睛,面带微笑。她有可能以微笑回报。就是这样。如果她想打招呼,我肯定她会的。如果她不想,就让她走吧。And speaking of eye contact, look at her eyes, because when you stare at her chest, her butt, her private area or do the top-to-bottom scan, it makes her feel extremely uncomfortable. Women walking on a sidewalk are not walking on a catwalk, and you#39;re not a judge on America#39;s Top Model, so stop acting like one.说起眼神交流,要看着她的眼睛,因为当你看着她的胸部,她的臀部,她的隐私部位或者从头到脚打量,会让她觉得极度不自在。走在人行道上的姑娘不是在走猫步,你不是在一个美国顶级模特,所有不要这么做。 /201411/340353安庆丰瑞治疗男科病怎么样

安庆望江县治疗前列腺疾病多少钱The word “nice” overcomes a multitude of human complications: People can be rich, so long as they’re nice; they can be lazy at school or useless at work, but if they’re nice, it doesn’t matter. Nice is not the same as “great” or “lovely” or even “sweet” — it’s a category of well-pitched, ordinary decency, and a person who has niceness has everything. To my mind, Sarah Burton is not merely one of the world’s greatest designers, she just happens to be the nicest, and she is about to enjoy the flowering of her life. Once thought of as the diligent one, the silent one, the reliable power behind the dazzle of Alexander McQueen, she has emerged as a person with a devastating music of her own. Season after season, she produces beautiful combinations of the gracious and the eerie, giving us worlds that we didn’t know until we saw them. And now, after some dark winters and several seasons in the media sun, Burton seems free somehow, and y to stake her claim on the future.“性格好”这个词可以超越很多人类的复杂处境:性格好的人可以发财;不爱学习、工作上一无是处也没问题,只要你性格好就没关系。“性格好”跟“了不起”、“可爱”、“甜美可亲”之类的词还不一样,它悦耳动听、带着一种低调的体面,性格好的人就能拥有一切。在我看来,莎拉·伯顿(Sarah Burton)不仅是这个世界上最好的设计师,还是个性格顶好的人,如今她正准备享受人生最美好的时期。她曾被视为勤勉的人,沉默的人,华丽的亚历山大·麦昆(Alexander McQueen)品牌背后可靠的力量,如今她作为独立的个人而崛起,伴随着摧枯拉朽的背景音乐。一季又一季,她设计的时装集优雅与怪诞于一身,展现出我们根本无法去想像的崭新世界。经历了几个黑暗的冬天,又经历了几季媒体的曝光,伯顿如今似乎自由了,已经准备好去实现自己的目标。It is four years since Alexander McQueen — or “Lee,” as he was called — who in addition to being Burton’s boss was also her beloved friend and mentor, committed suicide. She was heartbroken — she finished the collection, assumed the role of head designer (which she never sought) and, soon after, in the hot glare of speculation, made the wedding dress of the decade, for the Duchess of Cambridge. To do it all, to bear it, and still be nice, is to exhibit a set of capabilities that adds even more to an aly first-rate talent. I didn’t know Sarah Burton, but we got together over several weeks for this story, at her studio, at restaurants, backstage at one of her shows and, finally, at her house in North London. The first time I met her, I noticed how bitten her nails were, how self-doubting she was and how vulnerable. Yet over the weeks, her strength emerged as it does in her work: determined, sure-footed, risky, humorous and y to open her soul in order to make contact with people. She hadn’t given an interview for almost two years before this one and even then had said very little, and she found herself speaking in a new way. A portrait emerged of a brilliant woman whose nature has been tested under severe conditions. And yet the person I met could laugh for England, making life stories, and her own life story, into an elegant aria of dreaming and believing. There is depth to her niceness, and a niceness to her depth, which has not only quadrupled her company’s fortunes, but which promises a wealth of great work to come.亚历山大·麦昆(人们都叫他“李”)在四年前自杀身亡,他是伯顿的老板,也是她的好朋友和导师。他的辞世令她悲痛欲绝,之后她完成了当季时装,承担起首席设计师的职责(她从来没有谋求过这个位子),很快又在众目睽睽的密切关注之下为英国王妃、剑桥公爵夫人设计了婚纱,这可是十年来最重要的一件婚纱。她做了这么多,承担了这一切,性格还是那么好,展现出她的各种综合能力。她本来就已经是一流人才了,这一切更为她大大加分。我本来不认识莎拉·伯顿,但是为了这篇报道,我们在一起呆了几个星期,我去了她的工作室,和她去餐厅吃饭,去了她秀场的后台,最后又去了她在北伦敦的家里。第一次见她的时候,我注意到她咬过手指甲,内心充满自我怀疑和脆弱。但是过了几个星期,她的力量开始在工作中显现出来,她意志坚定、脚踏实地、勇于冒险,有幽默感,而且乐于敞开心扉与人交流。这是她近两年来第一次接受采访,此前几乎没有在媒体面前说过什么话,如今她发现自己可以用一种新的方式畅所欲言了。在一个才华横溢的女人外表之下,有着一个天性饱经严酷考验的人。如今我面前这个女人可以随意笑谈英格兰,她让生活变得精,把自己的人生变成一曲优雅的咏叹调,讴歌着梦想与信仰。她的“性格好”是有深度的,她的深度又让她的性格更加好,这种人格魅力不仅让她的公司利润增长了四倍,而且肯定会让她创作出更多杰出的作品。Burton grew up outside Manchester. Her father was an accountant and her mother was a music teacher. She has four siblings. When she described her childhood to me she spoke a lot about education, about her father feeling that knowledge was something “nobody can take away from you.” On weekends, she and her brothers and sisters would be taken to places such as the Manchester Art Gallery, where she remembers doting on the pre-Raphaelite paintings. When we talked about influences, she sometimes glanced over her own personal things, as if she might always be haunted by the things that once haunted Lee McQueen. “I don’t have that darkness,” she said to me one morning as buses roared past her office on Clerkenwell Road. “I’m not haunted or sad. I don’t have that story in my youth.”伯顿在曼彻斯特城郊长大,父亲是会计,母亲是音乐教师。她有四个兄弟姊。聊起童年时,她说了很多关于教育的事情。父亲觉得知识是“没有人可以从你身上拿走”的东西。每到周末,她和兄弟姊们总会到曼彻斯特艺术馆之类的地方去,她还记得在那里沉醉于拉斐尔前派油画时的情形。当我们聊起对她产生影响的人或事物时,她经常会望着自己的私人物品,仿佛那些曾经困扰着李·麦昆的东西也在困扰着她。“我心底没有那种黑暗,”一天早上,她在克拉肯威尔路上的办公室里对我说,窗外车水马龙。“我没有困扰,也并不悲伤,我的青春时代没有什么特别的故事。”“But some artists are lured towards their opposite,” I said.“但是有些艺术家会受到与他们相反的东西所吸引,”我说。“That’s right. Some people think the pre-Raphaelites show a rather insipid way of representing beauty. But the painting of Ophelia [by John Everett Millais] is dark and beautiful at the same time.”“是的。有些人觉得拉斐尔前派用一种相对平淡的方式来展现美。但(约翰·埃弗里特·米莱斯[John Everett Millais]创作的)奥菲利亚油画既阴郁又美丽。”“She’s being pulled under by what Shakespeare called ‘her weedy trophies,’ ” I said. “Literally, being sunk and drowned by her dress. That’s not going to happen to you, is it?”“她被莎士比亚所谓的‘花冠’给拖下去了,”我说,“其实就是被裙子坠下去,淹没了。你可不会这样,对不对?”“No, it’s not,” she said. “Though I couldn’t always swear to it.”“不,不会,”她说,“但我不能总是这么保。”“Who is your hero?” I asked.“你心目中的英雄是谁?”我问。“I think my dad is my hero,” she said. “He works so hard, and he never lies. He believes in family. He’s always been totally fair. And he treats everybody in the family equally.”“我想爸爸是我的英雄,”她说。“他勤奋工作,从来不说谎,忠于家庭,总是那样公正,对家里所有人都一视同仁。”I looked for the sources of Burton’s memories of childhood, and the pictures she looked at in Manchester offer a host of beautiful, melancholy signals in abundant, colorful cloth: in “La Mort d’Arthur” by James Archer, a woman and a ghost grieve at the feet of the magical king. “The Lady of Shalott” by William Holman Hunt is drawn from Tennyson’s poem about a woman devoted to her loom and her weave who makes a fateful journey to the outside world. Yet Burton says she had a wonderfully happy childhood. The darkness was stored, and she grew up among the flora and fauna of the North — the windswept moors, the Pennine hills, the long green valleys they call the dales — which finds its way relentlessly into the best of her designs. “I’ve always loved nature,” she says. “I grew up in the countryside, and when I was a child I loved to paint and draw — that was my first love, actually. Eventually I was drawing clothes, but at first it was flowers and vegetables. So often we were outside, playing.”我想寻找伯顿童年记忆的源头,还有她曾在曼彻斯特观赏过的那些油画,它们通过鲜艳繁复的装传递出美丽而伤感的讯息:在詹姆斯·亚瑟(James Archer)的《亚瑟王之死》(La Mort d’Arthur)中,一个女人和一个鬼魂在那个有魔力的国王脚边哭泣。威廉·霍尔曼·亨特(William Holman Hunt)的《夏洛特夫人》(The Lady of Shalott)是根据丁尼生(Tennyson)的诗画成的,她本来是个一生都在织布的女人,如今来到外面的世界,做一次宿命的旅行。但伯顿说,她的童年很快乐。阴暗的东西都被封存起来,她是在北方的花丛与各种动物的陪伴下长大的——微风吹过原野,吹过奔宁山脉,吹过绿油油的山谷——这一切都常常在她最好的作品当中出现。“我一直都热爱大自然,”她说,“我生长在乡间,从小就喜欢油画和素描,它们是我最早喜欢上的东西。最后我开始画衣,但是一开始我画的是花朵和蔬菜。我们经常在户外玩耍。”“What was play for you?” I asked.“你们都玩什么呢?”我问。“A lot of dressing up.”“好多穿衣打扮的游戏。”“Were you the boss?”“你当老大?”“Yes, always,” Burton said, laughing. “My poor younger sister, she’d get the not-so-good outfits. Fashion wasn’t something in the psyche. I learned very early on you had to go with your heart and it doesn’t matter what people say. My job is quite fearful — I don’t shout the loudest, and I’m quite shy, which was why I was reluctant to throw myself into the public eye. I love beauty, craftsmanship, storytelling and romance, and I probably don’t have the armor to survive the relentless competition that exists in this particular world. But I have my own toughness.”“对,我总是老大,”伯顿笑着说。“我那可怜的,她总是得到不怎么好的衣。时尚并不是精神世界里的东西。我很小就明白,你得全身心投入进去,不要在乎别人怎么说。我的工作是很可怕的,我并不大声嚷嚷,我很羞涩,所以我才不太愿意让自己过多曝光。我喜欢美,喜欢精工细作,喜欢讲故事,也喜欢浪漫。在这个充满残酷竞争的世界上,我可能不是身披盔甲,但我也有我自己的坚强。”You see it in her collections. There is nothing fey about them, and her bold, searching intelligence is everywhere. What she makes are couture works of art, full of a wonderful dreamlike phantasmagoria. As if the material, the organza, the silk and the leather, was alive not only to history itself but to her own personal history, the dark and the light. Sometimes her stylistic similarities to McQueen have been levied as a criticism against Burton. “What do people think I was for all those years, the cleaner?” She helped him draw out the savage brilliance that first made the house famous. For such a retiring person, Burton had no problem journeying with him into the madness of the macabre, the rigid body-contoured corsets, the gold-painted fox-skeleton wrap, the bondage pieces, the kimono-style parachute, the antlered bridal gowns. She helped give birth to these designs and is said to have kept the show on the road through many difficult episodes. But she’s ultimately a different kind of artist. It’s hard to see her sharing the dark roots of McQueen’s fetishistic damage obsession. (His famous “Highland Rape” show, which McQueen said was about the rape of Scotland by England, took place before she joined the company.)这可以从她设计的系列中看出来。它们并不是异想天开的,而是灌注了她的勇气与探索的智慧。她设计的是装的艺术,充满梦幻般的精美景象。那些面料,透明硬纱、丝绸和皮革,仿佛都是有生命的,不仅反映出历史,也在讲述她人生中的黑暗与光明。有时候她与麦昆风格上的相似性为她招来批评。“大家以为那些年我都在干什么,扫地?”她协助麦昆创作出最早令品牌成名的绚丽野性。她本来是个内向的人,却毫不迟疑地跟随麦昆走过死亡主题的疯狂、紧贴身体曲线的紧身胸衣、镀金的狐狸骨架披肩、束缚风格的装、和风格的降落伞和鹿角婚纱。她帮他设计了那些装,据说在很多艰难的时刻,都是她让走秀继续举办下去。但她毕竟是另一种类型的艺术家。在她身上看不到麦昆那种迷恋毁灭的黑暗根源(麦昆曾说自己著名的“高地强暴”系列是关于英格兰对苏格兰的强暴,这还是她加盟公司之前的事)。Burton’s darkness is more masked, almost more surprising. It comes unbidden from a place of relative personal optimism and sunniness. Her hauntings are more romantic, and the materials she uses are increasingly different, more celebratory of enduring life and returning nature, despite the brutality at nature’s core. I’d also argue that a larger sense of wearability, and of lightness, of small detail and cool craftsmanship, has matched the house to a new and bigger audience. She is fiercely loyal to Lee McQueen, a fact which brought her, several times during our interviews, past the brink of tears. She loves who he was and wants the company he founded to continually honor his memory, but she has to move on. The work aly has moved on, and she knows that is what McQueen himself would have demanded. There is now a feeling, I detect, that she is y to let him rest, no matter how hard that is. All the great houses had to move beyond their founding geniuses: Coco Chanel died, one must remember, and so did Cristobal Balenciaga and Yves Saint Laurent. Burton took over under traumatic circumstances, and it has taken her this long to be able to truly speak. It took a little work but eventually she opened up about some of the difficulties she’d had. We sat at a large table in her workshop with dresses hanging on every side, organza puffballs, feathered slips. She spoke with love but also with an essential determination.伯顿内心的黑暗更隐蔽,也更令人惊讶。它从个人乐观主义和活泼的个性之中不自觉地冒出来。她所执迷的东西更加浪漫,她选用的材料愈来愈多样化,歌颂着生命的韧性与回归自然,尽管自然的本质是残酷的。我想说,她设计的装更加耐穿、更轻盈,细节更精美,做工更考究,更能适应这个品牌不断增加的新受众。她对李·麦昆极为忠诚,在我们的采访中几次差点落泪。她爱着他本来的样子,希望能让他亲手缔造的公司一直纪念他,但她也得前进了。她的作品已经开始向前走了,她知道,麦昆本人也希望这样。我发现她已经准备好,可以放手让他安眠,不管这有多么艰难。所有伟大的时装品牌都得超越自己天才的缔造者。要知道,可可·香奈儿(Coco Chanel)已经去世,克里斯托瓦尔·巴伦夏卡(Cristobal Balenciaga)和伊夫·圣·洛朗(Yves Saint Laurent)也一样。伯顿在公司备受创伤时接管了局势,她花了这么长的时间,才能把这一切真正说出口。我们坐在她工作室大大的桌边,四周挂满衣:透明硬纱百褶裙、羽毛薄裙。她的语气中充满爱意,但也不乏坚定。“He would sit here and I would sit there,” she said, pointing to two chairs. “Sometimes he’d call me at 3 o’clock in the morning just to talk, and we had this relationship where . . . I would do anything for him. And then when he died I didn’t want the job, but then everybody was going to leave and I thought, ‘Well, what else are you going to do?’ ” When somebody with that size of talent dies you’re blessed with this legacy, and the legacy gets more and more. “Lee is Marilyn Monroe. He’s James Dean. And to be honest, it’s taken me a while to stop being afraid and see that the company needs me to be at my best.”“他就坐在这儿,我坐在那儿,”她指着两张椅子说。“有时候他凌晨三点给我打电话,只是想聊天,我们的关系好到……我什么都愿意为他做。然后他死了,我不想做这份工作,但当时所有人都想走,我想:‘好吧,那我还能怎么办呢?’”一个这样有才华的人离去之后,你会受惠于他所遗下的东西,这份遗产还会日益增加。“李就像玛丽莲·梦露(Marilyn Monroe),就像詹姆斯·迪恩(James Dean)。诚实地说,我花了好长时间才不再忧虑,觉得公司确实需要我保持在最佳状态。”“Did you feel angry at him?”“你生他的气吗?”“Why?”“为什么生气?”“Because he left you. Because he destroyed himself. Because you had to finish the collection. Because you had to take over. And maybe nobody gave you permission to be angry?”“因为他离开了你。因为他毁掉了自己。因为你得完成那个系列。因为你得接管一切。或者没有人允许你去愤怒?”“I’m not sure,” she said. “But the hardest thing is that I never really understood the pressure he was under. He could deal with all the difficult characters just by telling them to shut up. But I’m not like that. Only now am I beginning to accept the differences between us, and it’s fine. He was a painter who worked in massive brush strokes and I’m a person with tiny brush strokes.”“我不确定,”她说。“但最艰难的是,我从来没能真正理解他所承担的压力。他能应付所有难搞的人,只是让他们闭嘴就行了。我可不是这样的。到现在我才开始接受我们之间的不同,这样很好。他是大手笔的画家,而我则是细描。”The media has been on her case since that sad day in 2010. Many designers with less talent would have crumbled under the pressure, but Burton, despite all the fear and all the doubt and all the grief, has established her aesthetic. She speaks a lot off the record and doesn’t want to raise her voice, but eventually she does. “Lee and I weren’t cut from the same cloth, but we often cut into the same cloth, so it shouldn’t surprise people, after all these years, that we shared some basic creative instincts. I think I’ve probably spent too much time expressing an anxiety about Lee’s influence, but that’s coming to an end now and a new period is beginning. I loved Lee, but he is gone. And the decisions I will make for this company have aly been bold, I hope, and strong, and driven by a creative integrity that is finding its feet in new ways every day. Every great design house knows that legacy cannot be allowed to be a curse and must be a wonderful opportunity for invention. That’s where I am. That’s who we are.”自从2010年那个悲伤的日子以来,媒体一直都在骚扰她。面对这么大的压力,换了不那么有才华的设计师就要被压垮了,但是伯顿尽管内心充满恐惧、怀疑与悲伤,还是奠定了自己的美学。她私下里说了很多东西,并不愿意抬高嗓门,但到最后她还是说出来了。“李和我并不是用同样的料子做成的,但我们的确经常用同样的材料做衣,所以这么多年以来,如果说我们有共同的基本创作本能,那么人们也不应该感到奇怪。我想我可能是花了太多时间去表达李的影响力所带来的焦虑,但如今这已经结束了,新的阶段开始了。我爱李,但他已经去了。我希望自己为公司的未来所作出的决定是大胆有力的,是由诚信的创意所驱动,每一天都以新的方式找到自己的根基。所有伟大的设计品牌都知道,遗产不应当成为一种诅咒,而必须成为创新的精机遇。我就是处在这样的阶段,我们就是这样的。”It’s worth remembering the motto at Withington Girls’ School, where Burton was a happy pupil in the 1980s: “ad lucem” — toward the light. That is the general direction of her life and her talent. Her husband, David Burton, is also her best friend, and they have twin girls. If you’re available for optimism, as she is, then the movement toward the light will come naturally, with all the opposing shadows existing like ghosts on a glass negative. In her fall show for Alexander McQueen, Burton set all this to life, like a magician of selfhood. A strange, misty moorland — not unconnected to the landscape of her childhood — was the setting for the combination of beautiful tailoring and wild imaginings that characterize the house. There was a sense of romanticism-in-crisis, of the Bronte sisters, of Heathcliff haunted by the cold hand of death scratching at his window, of owls, dreams and the poems of Samuel Taylor Coleridge, whom Burton cites. The dresses came with capes, fur hoods, bell sleeves and delicate, small embroidery, frilled and frayed hemlines. Clothes like these don’t make themselves, and legacy doesn’t make them either. Some designers are driven not by what is flamboyant in them but by what is recessive. Burton brings to the McQueen brand an English tendency toward dark pleasure as opposed to dark pain. She is a prettier designer than many, but always alert to the mysteriously perverse.20世纪80年代,伯顿在威辛顿女子学校度过了快乐的小学时光,她还记得学校的校训:“ad lucem”——迎着光明。她的人生与创作也大致是朝着这个方向。她的丈夫大卫·伯顿(David Burdon)是她最好的朋友,他们有一对双胞胎女儿。如果你像她那样充满乐观精神,一切就会自然而然地走向光明,身后的那些阴影就和显影底片上的幽灵没什么两样。在伯顿为亚历山大·麦昆推出的秋冬时装秀上,她为这一切赋予了生命,就像一个展现出自己人格的魔法师。秀台背景是一片雾气弥漫的奇异荒原,仿佛连接着她的童年风景,时装有着精心的裁剪和品牌标志性的疯狂想像力。有种危难时刻的浪漫主义,就像勃朗特(Bronte)姊,就像希斯克厉夫(Heathciliff),被那只在他窗口抓挠的冰冷的死亡之手所困扰,就像猫头鹰、梦境与塞缪尔·泰勒·柯勒律治(Samuel Taylor Coleridge)的诗句,伯顿曾经引用过他的诗。这些裙子有斗篷、皮毛兜帽、钟形袖和精美的小小刺绣,还有流苏和做旧的底边。这样的衣不是凭空而来的,也不是来自遗产。有些设计师被它们内部隐含的东西吸引住了,而不是它们表面上张扬的东西。伯顿为麦昆品牌带来的是一丝英国式的黑暗欢愉,而不是黑暗的痛苦。她比许多设计师要聪明,但一直都对那种神秘的变态怀有警惕之情。Not everyone has obvious demons. With Lee it was skulls, shipwrecks, hospital inmates and birds of prey. But Burton’s instinct might be more subtle. Her instinct might be to see the fly in the ointment, the crack in the teacup, the little details that make the ordinary strange.不是所有人心中都有明显的恶念。李内心的魔鬼就是那些骷髅、海难、医院病人和猛禽。但伯顿的本能或许更加微妙。她的本能或许就是看到陷在油膏中的苍蝇、茶杯上的裂缝,以及种种化平凡变为奇异的微小细节。“When I went to Saint Martins” — the art school she attended — “a lot of the people there were these flamboyant characters. I thought, ‘God, I’m not like them.’ I thought, ‘What’s going on? I’m really normal.’ But my own demon is the fear of failure. My obsessional addiction is work and there’s a possible twistedness in always putting myself last, you know?”“我在圣马丁上学的时候,”——那是一所艺术学校——“很多人性格都很张扬。我想,‘天哪,我跟他们可不一样。怎么回事?我真的是个正常人。’但我内心的魔鬼就是对失败的恐惧,我对工作非常执着,而且也总有转折点发生,让我坚持下去,你知道。”“Were you never really interested in being a star designer?”“你是不是根本就不想当明星设计师?”“Honestly, no. There have been times when, if I could have disappeared from this industry I would have. I had to battle with it. I don’t look like a fashion person, I’m not cool, and I always just loved people who are good at what they do. I’m not interested in going to parties. I hate having my picture taken. When the Met Ball is happening I want to go through the back door. When the giant McQueen show was on there” — which became the biggest draw in the history of the museum — “I didn’t want to go up the red carpet because . . . it’s embarrassing. I’m shy. When celebrities tap me on the shoulder I think they’re asking me to move out of the way. And you know: It doesn’t bother me. I smile about it with my husband, we’re secure. And to me the only story that is worth telling is the story of the work.”“诚实地说,我不想。有时候我想,如果我能从这个行业消失就好了。我得和这个想法对抗。我看上去就不像时尚人士,我一点也不酷,我只喜欢那些擅长做自己工作的人。我对派对之类没兴趣。我讨厌拍照片。大都会物馆慈善舞会上,我只想从后门溜走。麦昆品牌举办大型展览的时候”——这是大都会物馆史上最吸引人的盛事——“我根本不想去走红毯,因为……这让人尴尬。我很害羞。名人们拍着我的肩膀,我觉得他们可能是要我让路吧。你知道:这并不让我困扰,我和丈夫一起微笑面对,我们很安全。对于我来说,唯一值得一提的就是关于工作的事情。”Someone who works with Burton told me about the pressure she came under to accept the job at McQueen. She was approached for the creative directorship of another major fashion house at the same time and this person told her she’d regret not accepting the offer. “You’ll always be haunted at McQueen,” she said. After Lee’s suicide, the co-worker remembers Burton burning a candle in Lee’s room and leaving off the lights: “There was just this candle. Sarah had this giant decision to make. And we were all relieved when she took the job. We always knew she had a whole vision of her own that helped Lee’s vision but was peculiar to her.”伯顿的同事和我说过她同意接替麦昆工作时的压力。当时她也在与另一个大品牌接触,考虑接受该品牌创意总监的工作,接受我采访的这个人当时对她说,如果她不接手麦昆,一定会后悔。“麦昆会永远萦绕在你心头,”她说。这位同事还说,李自杀以后,伯顿在他的房间里关掉了灯,为他点燃一蜡烛:“对着这蜡烛,莎拉做了这个重大决定。听说她接手这个工作,我们都松了一口气。我们都知道她有自己完整的想法,她会对李的想法有帮助,但她的想法是完全属于她自己的。”Burton told me she was relieved to be able to talk again about the basics of design and inspiration. She felt she’d been tossed around in a sea of media obsessions — the hunger for news about her relationship with the royals still persists, and a few days before we first met, the media camped on her doorstep again, convinced she had designed Kim Kardashian’s wedding dress, which she hadn’t. With me she became more relaxed, saying it was nice to be back on dry land, talking about ideas, trying to define her way of doing things in a job she loves.伯顿告诉我,能再次谈起设计与灵感的基础,让她觉得很宽慰。她觉得自己在媒体的汪洋大海中挣扎——人们还在渴望了解她和皇室之间的关系,我们第一次见面之前几天,媒体再一次在她家门口扎营,认定是她为金·卡戴珊(Kim Kardashian)设计了婚纱,其实并不是她。她在我面前显得更放松一点,说能够从媒体的海洋中爬上来真是太好了,她还谈起设计创意,她热爱这份工作,并试图给自己做工作的方式下个定义。“What have clothes to do with emotion?” I asked.“装和情感有关系吗?”我问。“Oh, everything,” she said. “They can describe a moment in your life or a feeling that is completely instilled in you. Feeling the texture of the material and seeing how it moves on the body, well, that is emotion — it’s emotion-in-motion. It might interest you to know that the clothes that sell best in our shops is the most extreme stuff — people want to express something about themselves and they find an enabler in us, and that’s emotional.”“啊,大有关系,”她说。“它们可以用来描述你生命中的某个时刻,或是一种完全渗入你内心的感觉。抚摸面料的质材,看着它怎样在身体上移动,那就是感情,是一种处于兴奋状态的感情。知道店里卖得最好的衣是你设计出的最极端的东西,这让人兴奋——人们想表达关于他们自身的东西,他们觉得我们的装能做到这一点,这就是感情。”One of the reasons Burton has shied away from the media is because certain quarters of it have pursued her. Her biggest project to date, making the royal wedding dress in 2011, meant the press stalked her for months, and the stress of trying to keep the secret and trying to deal with bogus stories came fast on the heels of Lee’s death. The dress was universally admired and it made Alexander McQueen a household name, but there are critics who say she has been too silent. “I had no idea it would be as big as it was. Only the night before, seeing all the photographers outside the abbey, did I think, ‘Oh, my God. This is massive.’ ”伯顿远离媒体的原因之一是有些媒体一直在追逐她。她迄今做过的最大项目就是2011年为皇室设计婚纱,所以媒体跟踪了她好几个月。李刚刚去世没有多久,保密的压力与应付假新闻的压力就随之而来。最后那件婚纱广受喜爱,令亚历山大·麦昆成为家喻户晓的名字,但也有人批评她太过沉默。“我没想到这件事会变得这么大。一直到前一天晚上,看到路边到处都是摄影师,我才想,‘天哪,这么大的阵势。’”When I first brought the dress up with Burton, she wanted to wave the subject away. But during our second meeting, she appeared resolved to put the matter to rest. “I know we live in a culture obsessed with fame,” she said, “but I happen to believe privacy is a virtue, and the relationship I have with my clients is private. Some people like to think I’ve been too shy or that I’m afraid to speak up about the happy experience I had creating the Duchess of Cambridge’s wedding dress, but I can tell you that is nonsense. I have never been a shrinking violet or a person who is ruled by fear. I loved making the dress, I loved adapting my ideas to suit the person and the occasion, and we put our hearts into it. I respect the intimate nature of that lovely project and I respect the friendships that were forged during it. This is the era of blab, but we’re strong-minded here at McQueen, we always have been, and we’re proud of what we do. There are people in the media who will always want to invent sinister reasons for people’s discretion, but an instinctive, intelligent, imaginative young woman’s wish for a beautiful wedding dress — or any kind of dress — is the most natural thing in the world. And I was honored to pick up the challenge and always will be.”我第一次和伯顿提起那件婚纱时,她还想摆脱这个话题。但是第二次见面的时候,她就决心给这件事做个了断了。“我知道自己生活在迷恋名声的文化之中,”她说,“但是我也相信尊重隐私是一种美德,我和客户之间的关系就是隐私。有人觉得我过于羞涩,或者我不敢谈起给剑桥公爵夫人设计婚纱的愉快体验,但是我可以告诉你,这是胡说。我从来不是一个羞怯的人,也不会被恐惧所配。我喜欢做那件婚纱,我喜欢调整自己的想法,去适合当时的人与场合,我们全心全意投入在里面。那是一个愉快的项目,它的本质是亲密的,我尊重它,我也尊重在那个项目中结成的友谊。这是一个八卦满天飞的时代,但是在麦昆,我们有着坚定的意志,我们一直都是这样,我们为我们所做的一切感到自豪。有些媒体的人总想为别人的动机编造险恶的理由,但是一个纯真、聪明、富于想象力的年轻姑娘想穿一件漂亮的婚纱——或者其他什么衣——这是世界上最自然的事情。我很荣幸能够接受这个挑战,我会永远为此感到荣幸。”So there you have it. Does that sound like a frightened artist to you? Like someone playing second fiddle to anyone? She made the most famous dress in the world and survived to tell us that the tale is hers. It provides a perfect antidote to the prurience of our times and shows Burton to be willing not only to take her values into her workplace, into her home life, but now, after a season of rain, into the sunny uplands of her public image.所以就是这样了。听上去像是个胆小怕事的艺术家吗?像是一个总在打下手的人说的话吗?她设计了这个世界上最著名的一件衣,而且还活下来给我们讲了她的故事。这对于我们这个浮躁的时代不啻为一剂解药,也表明现在的伯顿不仅愿意在工作场所和家庭生活中显示自己的价值,经历了漫长的雨季,如今她愿意走向阳光明媚的高处,展示自己的公众形象。When I popped backstage to see her after her recent men’s wear show in London, there was a queue of international glamour types lining up to praise what she’d done. It was quite a show — long, lean coats with flashes of red lining, made in Prince of Wales check or houndstooth, with abstract Kabuki patterns lifting them out of England — but she waved off the praise, then smiled broadly when the elderly mother of the show’s hairstylist came up. “Oh, you’re the belle of the ball, so I won’t keep you,” the lady said. “But how’s the kids? Great. Well, let’s be seeing you before long, darling — you’re looking lovely.”前不久她在伦敦举行了一场男装发布会,之后我来到后台,一大堆国际名人排着队争相赞美她。这场秀非常精——瘦长的外套,有着闪亮的红色镶边,用威尔士王子格纹呢或牙花呢制成,抽象的艺妓风格花纹又使得它们仿佛远离英伦。但她挥挥手,不去理会那些赞美,只是对一位老妈妈露出真诚的笑容,她是这场秀的发型师的妈妈,特意赶来看走秀,“啊,你是女主角,我不耽误你了,”这位老夫人说。“但是孩子们还好吗?好吧,好吧,希望很快能再见面,亲爱的——你真美。”“Would you sooner come back as a butterfly or a bee?” I asked her.“你是会变成蝴蝶还是蜜蜂,很快飞回来?”我问她。“Oh, a bee,” she said, her Northern accent suddenly obvious. “I think I’m more of a worker than I am a painted lady.” Everybody who knows Burton admires her, and many of them have waited patiently for her to speak out without being hesitant, to embrace the success she’s having, and to let the light of Alexander McQueen shine equally on the past and the present. She now has her own legacy to think about. “We’re in the enchantment business,” she said. “Fashion will never stagnate so long as there are teams of people willing to tackle the soul of the culture. That’s what we do here at McQueen, that’s what we’ve always done.”“啊,变成蜜蜂,”她说,她的北方口音突然变得很明显。“我觉得我更像工蜂,不是花蝴蝶。”认识伯顿的人都崇拜她,很多人都在耐心等待,希望她可以毫不迟疑地开口发言,去享受自己已经取得的成功,让亚历山大·麦昆的光芒既照亮过去,也点亮现在。如今,她已经可以考虑自己的创作遗产了。“我们置身于一个迷人的行业,”她说。“时尚永远不会停滞太久,总会有成群的人乐于触动文化的灵魂。我们在麦昆所做的就是这样的事,我们一直都是如此。” /201409/326615安庆男性专科咨 MIKE TROIANO NEEDED to get something off his chest, and he went to social media to do it. In a recent Instagram post, the CMO of Waltham, Mass.-based tech company Actifio announced to the world, with a mix of liberation and mourning: #39;Retiring Bigass Suburban Dad Cargo Shorts. Godspeed, old friend. #itssohardtosaygoodbye.#39; The accompanying photo showed a forlorn and weathered pair of olive cargo shorts. The pockets sagged like old skin, clearly distressed from years of carrying, as Mr. Troiano told me, #39;anything smaller than a toaster.#39; 迈克·特罗亚诺(Mike Troiano)有心事要倾吐,于是他去了社交媒体上发帖子。在最近的一个Instagram帖子上,这位马萨诸塞州沃尔瑟姆市(Waltham)科技公司Actifio的首席营销长带着既解脱又哀痛的情绪向世界宣布:“大号‘乡下老爸’的工装短裤要退休了。祝你好运,老朋友。#itssohardtosaygoodbye(想说再见太难)。”配的照片是一条可怜的、饱经风霜的橄榄色工装短裤。下垂的口袋就像是衰老的皮肤,显然是遭受了多年装东西的折磨。正如特罗亚诺告诉我的:“只要是比烤面包机小的东西都会往里塞。”Like many men, myself included, Mr. Troiano, 47, responded to the cargo craze of the 1990s, when the military-inspired shorts and pants were introduced as casual wear for civilians. Cut above the knee, they were #39;the manliest shorts out there,#39; Mr. Troiano said. As pants, they were rough, tough and workable for carpenters, adventurers and ordinary men who just needed to carry more stuff. F. Martin Ramin/The Wall Street Journal,Styling by Anne CardenasDockers“阿尔法修身工装裤”,售价68美元,urbanoutfitters.com有售。和许多男士(包括我在内)一样,47岁的特罗亚诺也对1990年代的工装热做出了积极响应。当时这种灵感来自军的短裤和长裤首次被作为休闲装向普通人推广。特罗亚诺说,那时这种长度到膝盖上方的短裤“是最有男人味的短裤”。长裤则比较粗糙耐穿,木匠和冒险家能穿,也适合需要装更多东西的普通人。At some point, however, Mr. Troiano decided the baggy cargo look was no longer appropriate. They were a #39;stage-of-life#39; pant, he said, and he was well beyond his undergraduate days. His reaction isn#39;t entirely uncommon-particularly among men who associate the look with sloppy collegiate bros burdened by bloated pockets.不过,从某个时候开始,特罗亚诺觉得这种宽松的工装风格不再适合了。他说,这种裤子只适合某个阶段,而他早就过了大学生的年纪了。他的反应并不罕见——尤其是把这种风格与口袋塞得鼓鼓的散漫的大学男生联系起来的男性。But there may be life in those pockets yet. #39;If you asked us if cargo pants were stylish just a few seasons back, we would have answered with a resounding, #39;No,#39; #39; wrote the editors at Esquire on the magazine#39;s site in 2012. In the next sentence, however, they confessed to changing their tune. As well they should: In the past couple of years, the cargo has experienced a complete reputation rehab to become one of the most stylish and versatile go-to pieces of a man#39;s wardrobe.不过这种裤子或许还有一定的生命力。《时尚先生》(Esquire)杂志编辑2012年在其网站上写道:“如果几年前你问我们工装裤是不是时髦,我们的回答肯定是否。”但是在接下来那句话中,他们却承认他们的态度正在改变。他们确实也应该改变:这几年来,工装裤经历了一次彻底的名誉修复,成为了男士衣橱里最时尚也最百搭的单品之一。This spring you can find debonair cargo pants from labels like Michael Bastian, Todd Snyder, Ovadia amp; Sons, Balmain and Michael Kors. Even Dockers, which reported that its sales of cargoes have grown in the past year, this spring introduced a trimmer and more stylish pair, called the Alpha Slim-Fit Cargo. 从左至右依次为:瑞格布恩、Ovadia amp; Sons、拉夫#8226;劳伦黑标(Ralph Lauren Black Label)今年春季,你能找到来自迈克尔·巴斯蒂安(Michael Bastian)、托德·斯奈德(Todd Snyder)、Ovadia amp; Sons、巴尔曼(Balmain)以及迈克尔·科斯(Michael Kors)等品牌的优雅工装裤。就连Dockers今年春季都推出了一款更时尚的修身工装裤,名为“阿尔法修身工装裤”(Alpha Slim-Fit Cargo)。据报道,Dockers去年工装裤的销量有所增长。These new styles have evolved greatly from the original #39;90s cargo, which had a Rambo-in-Passaic look. #39;These aren#39;t college-fit cargoes that are baggy and beyond,#39; said Michael Kors. #39;Ours are polished with a cleaner fit. I wear cargoes all the time.#39; 这些新款式是从最初90年代军装痕迹比较明显的款式演变而来的。迈克尔·科斯说:“这些并不是适合大学生的宽松工装裤,我们的款式设计得更修身。我一直都穿工装裤。”Mr. Kors#39;s version is slender and comfortable with real New York attitude. It has the crisp lines of a chino with a great deal more visual appeal. With four smooth zippered pockets, these cargoes are a slap in the face to the bulkiness of the past, and pickpockets of the future.F. Martin Ramin/The Wall Street Journal,Styling by Anne Cardenas从左至右依次为:托德#8226;斯奈德、迈克尔#8226;巴斯蒂安、Gant by Michael Bastian、李维斯(Levi#39;s)、迈克尔#8226;科斯American designer Michael Bastian has included cargoes in his collection since his first spring season in 2007. Mr. Bastian#39;s spring cargo pant, pictured at right, is softened up, with slim legs and neater, flatter pockets. They could replace your linen slacks for a languorous soiree on the beach, but they#39;re polished enough for a smart weekend in the city or even a summer Friday at the office. #39;I think [the cargo] is the one pant that falls directly in that spot between jeans and chinos,#39; said Mr. Bastian. #39;[It#39;s] a little more dressed up than a jean and a little more special than an ordinary chino. It covers a lot of ground.#39;托德#8226;斯奈德这款腿部修身剪裁的工装裤采用人字纹面料。口袋为平整的流线型,中间没有典型的褶皱。Infantry工装裤,售价295美元,toddsnyder.com有售。He said he wears corduroy cargoes for much of the year; in winter, they#39;re heavier and blended with cashmere; in summer, they#39;re lighter weight and off-white. #39;Pair [cargoes] with a very tailored blazer,#39; he advised, #39;and you#39;re well-dressed enough for anything.#39; Seeing the designer#39;s signature cargo look-rolled to the ankle and paired with a soft-shouldered blazer, shirt and tie-is enough to banish any frat-boy associations you ever had. 迈克尔#8226;巴斯蒂安带四合扣的平整的口袋位于略高于小腿的位置。Snap工装裤,售价465美元,Cottage Miami有售,电话305-534-9917。One association designers would do well to hang onto is cargoes#39; connection to military history, which lends them a cool, rugged appeal. #39;Cargo pants#39; longevity is all about their utilitarianism,#39; said American designer Todd Snyder, whose resume includes stints at Gap, J.Crew and Polo Ralph Lauren dating back to 1992, and who shares Mr. Cucinelli#39;s fondness for pairing cargo pants with a sport coat. #39;That functionality endures over time.#39; Mr. Snyder#39;s olive-hued Infantry Cargo pants, shown above, have slim modern lines but also a historical military feel: You can almost see them on Alec Guinness in #39;The Bridge on the River Kwai#39; or in a #39;Downton Abbey#39; war scene. 李维斯采用全棉斜纹布面料,非常适合骑车上班。口袋有两个夹层。通勤工装裤,售价78美元,levi.com有售。Adhering even closer to the style#39;s military roots, Rag amp; Bone designers Marcus Wainwright and David Neville collaborated this spring with Crye Precision, manufacturers of modern-day combat apparel, to create their Precision Pants. With inverted pleat pockets on both leg fronts and backs, the trousers are severely stylized. The collaboration, said Mr. Wainwright, telegraphs that their cargoes are #39;all about vintage and authentic military clothing,#39; cutting to the heart of men#39;s appreciation for the look. Gant by Michael Bastian腰部带纽扣的口袋可以装东西,大腿的口袋就可以腾出来。腰带很特别地带有额外的纽扣。完美工装裤(Perfect Cargo Pant),售价225美元,gant.com有售。But loving cargo pants doesn#39;t necessarily mean that you#39;re one step away from re-enacting the Battle of the Bulge on the weekends. There#39;s something purely aesthetic in the power of the pocket. #39;It gives the pants just a little extra interest, rather than just a regular flat-front trouser,#39; said Bruce Pask, men#39;s fashion director at Bergdorf Goodman. 迈克尔#8226;科斯这款修身工装裤采用很轻的弹性斜纹布面料,有四个小的拉链口袋。工装裤,售价175美元,michaelkors.com有售。And so what started as a utilitarian pant and advertisement for masculinity, has morphed into an endlessly interpreted design staple. Will the cargo ever go away? Avowed cargo enthusiast Alex Kasavin certainly doesn#39;t think so. Mr. Kasavin, a co-owner of Brooklyn menswear shop IDOL, sees only continued evolution. A designer#39;s sensibility can come through even when he works within the conventions of cargo pants, Mr. Kasavin said. #39;It#39;s still a cargo, but it#39;s also clearly that designer#39;s pant.#39; At his store, he is selling the Matrix-like #39;Memphis#39; pants from Rick Owens#39;s Drkshdw label. He also admires styles from other designers, such as Balmain.Everett Collection老式工装裤 2000年,身穿宽松工装裤的男孩乐团98 Degrees成员。科斯的款式很瘦,很舒,有着纯粹的纽约态度。它有着斜纹棉布裤的挺括线条,视觉上的吸引力则强得多。四个流畅的拉链口袋让从前的臃肿无所遁形,也让小偷无处下手。These days, cargo pants speak across cultures, from hip-hop to hipster, beach front to board room. With all these options, I thought, surely I can coax Suburban Dad Mr. Troiano back into the cargo-pant fold. 从2007年首个春季系列开始,美国设计师迈克尔·巴斯蒂安的设计就一直包括工装裤。右图中巴斯蒂安今春的工装裤更加柔软,小腿更修身,口袋也更平整。这条裤子可以替代亚麻宽松裤去参加慵懒的沙滩聚会,而若要在城市里度过潇 的周末,或者夏季的周五在办公室里,它也足够地精致。巴斯蒂安说:“我觉得工装裤正好介于牛仔裤和斜纹棉布裤之间的位置。它比牛仔裤正式一点,又比普通的棉布裤更特别一点。它可以驾驭很多场合。”First, I asked if he would look at some images of the futuristic cargo pants by Rick Owens. He fell silent. It was the silence of countless of us dads who have passed Brooklyn hipster viability. Next, I asked him to look at Todd Snyder#39;s work. #39;That#39;s a nice pant,#39; he said, #39;[It#39;s] a classic look.#39; #39;How so?#39; I asked. #39;Like Otis Day#39;s #39;Shout#39; classic,#39; he said, #39;everyone loves that song!#39; Yes, I thought, in their own ways, everyone loves these pants.但是说到最新的设计师品牌高档工装裤,不得不提到意大利设计师布鲁奈罗·库奇内利(Brunello Cucinelli)。他花了很大精力为工装裤赋予了一丝奢华和休闲高雅的元素。库奇内利就像是一位时尚预言师,他从1998年开始就设计了小巧的工装裤款式。他说:“这种款式既年轻又实用,会让人显得很现代,同时又很舒适。它已经成了我的常规穿着。”But you can#39;t talk about the new generation of high-end, designer-refined cargo pants without mentioning Italian designer Brunello Cucinelli, .MI -0.20% who has done more than his share to impart an air of luxury and casual sophistication to the pants. Something of a fashion fortune teller, Mr. Cucinelli has produced a more dapper cargo pant since 1998. #39;There is something youthful and practical about them which keeps a man looking modern and comfortable,#39; said Mr. Cucinelli. #39;They#39;ve become part of my uniform.#39;他说他大部分时候都穿灯芯绒工装裤。冬天比较厚,布料添加了羊绒;夏天是轻薄的白色工装裤。他建议道:“可以把工装裤和裁剪十分考究的休闲西搭配,这样什么场合都能应付。” 巴斯蒂安的标志性工装裤款式——裤脚卷至脚踝,搭配一件无肩衬休闲西、衬衫和领带——足以将任何兄弟会的痕迹消除。THAT#39;S DEBATABLE | Should I actually carry anything in my cargo pockets? 设计师仍然很坚持的一点是工装裤和军之间的联系,这种联系让工装裤有了一种很酷的粗犷的吸引力。美国设计师托德·斯奈德(Todd Snyder)说:“‘工装裤’的长盛不衰在于它的实用主义。”自1992年起,斯奈德陆续在盖璞(Gap)、J.Crew和拉夫·劳伦(Polo Ralph Lauren)供职。他和库奇内利一样,都喜欢将工装裤和轻便上衣搭配。他说:“那种功用性是历久常新的。”上图中斯奈德设计的橄榄色步兵工装裤有着修长的现代线条,同时也有军装的历史感:《桂河大桥》(The Bridge on the River Kwai)中的亚历克·吉尼斯(Alec Guinness)身上或者《唐顿庄园》(Downton Abbey)中的战争场景中就有这种裤子的影子。Sure! 今年春季,瑞格布恩(Rag amp; Bone)设计师马库斯·温赖特(Marcus Wainwright)及大卫·内维尔(David Neville)与现代军制造商Crye Precision联合推出了Precision Pants,将工装裤与军的渊源体现得更淋漓尽致。这款裤子前后都有暗?袋,风格化十足。温赖特说,这次合作的工装裤“就是对老式的真正的军的演绎”,完全颠覆了男士们对这种款式的审美。Crazy as it sounds, #39;utilitarian#39; fashion can actually be useful, contends the pro-stash camp. #39;You can carry everything in your pockets,#39; said Alex Kasavin, co-owner of Brooklyn store IDOL. American designer Todd Snyder takes a more conservative approach-restricting the actual cargo to slim and essential objects. #39;You can carry your phone and passport,#39; said Mr. Snyder. #39;But nothing bulky.#39; 但爱穿工装裤并不一定意味着你周末穿上工装裤会让突出部之役(Battle of the Bulge)重新上演。工装裤的口袋有着很纯粹的美感。波道夫·古德曼精品百货店(Bergdorf Goodman)男装总监布鲁斯·派斯克(Bruce Pask)说:“口袋让裤子多了有趣的元素,让它不再是一条平淡无奇的裤子了。”Not Really 于是,最开始主打男子汉气概的实用工装裤演变成了有无数种解读的设计单品。工装裤会不会淡出时尚舞台?酷爱工装裤的亚历克斯·卡萨文(Alex Kasavin)肯定不会这么认为。卡萨文是布鲁克林男装店IDOL的老板之一,他认为工装裤只会继续演化。卡萨文说,即使是按照工装裤的传统惯例设计,设计师的感觉也能体现出来。他说:“虽然还是工装裤,但也很明显带有设计师的风格。”他的店里卖的是瑞克·欧文斯(Rick Owens)旗下Drkshdw品牌的工装裤,《黑客帝国》(Matrix)里孟菲斯(Memphis)的那种款式。他也喜欢巴尔曼等其他设计师的款式。Since one crucial element of the revamped designer cargo is sleeker pockets, keeping them empty or near-empty makes sense. #39;You don#39;t want to end up looking like a pack mule,#39; said Michael Kors. But if you must, he allowed: #39;Just a slim credit card or wallet.#39; Bergdorf Goodman men#39;s fashion director Bruce Pask always keeps his cargo pockets clean, with one exception-those days when he#39;s on location for a photo shoot. 从嘻哈到嬉皮,从海滩到会议室,如今各类文化中都能看到工装裤的身影。我觉得,既然有这么多的选择,我肯定可以把“乡下老爸”特罗亚诺拉回到工装裤的世界。Maybe 首先,我问他是否愿意看看瑞克·欧文斯设计的未来主义风格工装裤的图片。他陷入了沉默。正是无数老爸们的这种沉默最终让布鲁克林嬉皮风得以延续。接下来我让他看托德·斯奈德的作品。他说:“这条裤子不错,经典的风格。”我问道:“为什么?”他说:“就像Otis Day的经典歌曲《呐喊》(Shout)。所有人都喜欢那首歌!”没错,我心想,每个人都在以自己的方式喜欢这种裤子。Some feel it#39;s a matter of choice. #39;That#39;s a very personal question,#39; said Rag amp; Bone designer Marcus Wainwright. #39;I#39;m not going to determine that for anybody.#39;争议点 该不该在工装裤口袋里装东西?Lawrence LaRoseIllustration by Joe McKendry for The Wall Street Journal裤兜当然可以装东西!当然可以!安庆生殖器疱疹怎么引起的

安庆市治疗男性不育多少钱Is this the world#39;s most gruesome foodmarket? Dogs, rats, bats and monkeys among the animals roasted WHOLE inIndonesia这是世界上最可怕的菜市场吗?在印尼,,老鼠,蝙蝠,猴子等等,被整只的拿去烤These are the shocking images of a gruesomefood market where dogs are strangled by rope for food and customers canpurchase whole flame-roasted animals.这些惊悚的照片,在这个市场里,被勒死,整只的拿去烤,客人可以随意购买。The Tomohon Traditional market in NorthSulawesi, Indonesia sells whole monkeys, bats, cats, dogs, pigs, rats, slothsand even giant pythons laid out on tables with painful expressions still etchedon their faces.印尼北苏维拉西岛的托莫洪集市销售整只的猴子,蝙蝠,猫,,猪,老鼠,树籁,甚至还有巨蟒,排列在桌子上,他们脸上痛苦的表情依稀还能看到。The macabre food stalls were witnessed byOman-based photographer and blogger, Raymond Walsh, 44, who said it was easierto witness the dead and mutilated animals than it was to see the living dogs incages awaiting their fate.这些惊悚的照片由现年44岁的阿曼摄影师兼客作家Raymond Walsh拍下,他描述说在这里看到死亡和残废的动物要比看到笼子里等待死亡的活生生的更好受些。Mr Walsh said: #39;It was typical of a lot oflocal markets in the developing world - lots of fruit, vegetables and fish. Theonly difference was the sheer number of dead animals for sale.#39;他说:“在发展中国家,许多当地市场都具有这样的特点——许多食物,蔬菜和鱼。唯一的不同点在于出售的动物尸体有多少。”On his blog www.manonthelam.com, hedescribes the harrowing sight of dogs in cages with their dead counterpartslying on a table nearby.在他的www.manonthelam.com客中,他形容了令人痛心的一幕:一些活生生的被关在笼子里,而另外一些尸体就放在旁边的桌子上。#39;It was easier to stomach the entrails ofmonkeys, rats on a stick and decapitated pigs than it was to see those livedogs awaiting their fate,#39; he said.“有猴子的内脏,一串串的老鼠肉,以及被斩首的猪,吃这些食物要比看那些在笼子里等待死亡的让人更好受些,”他说。#39;The other animals seem foreign but I havefriends who have dogs.#39;“看到其他动物被这样子弄还好,但是我有些朋友有养。”Although the market#39;s dead dogs may bedifficult for westerners to look at, Mr Walsh points to the different culturesand attitudes towards the animals in South East Asia.尽管市场中的死可能让西方人不忍直视,但是他也指出了东南亚地区对动物的不同文化和态度。#39;Put simply, Westerners see dogs solely aspets. Indonesians see them as both pets and as sources of meat - it#39;s just howwe#39;re raised,#39; he said.“简而言之,西方人只把当成宠物。而印尼人把当成宠物和食物——这就是不同的文化在起作用,”他说。In the photographs, many of the animals arestiff and completely black with a haunting pained expressions on their faces.在这些照片中,许多被烤后的动物都是僵硬和黑乎乎的,其脸上痛苦的表情令人难忘。#39;After they are killed the animals areroasted over a fire, so the fur burns off, the skin tightens and peels back,causing that #39;screaming#39; look,#39; Mr Walsh explained.“被杀死后,这些动物就被烤掉,皮毛被烧,皮肤变紧和翻转,所以看起来才那么痛苦,”他说。#39;How they are killed depends on the animal.Cats, monkeys, and sloths are shot. Bats and rats have their heads clobberedagainst a tree or table. Pigs are stabbed with a sharp piece of wood or metal,#39;he added.“不同的动物有不同的杀法。猫、猴子以及树籁被射死。蝙蝠和老鼠用树或者桌子撞死。猪则用尖锐的木头或者铁器刺死,”他说。#39;Wild boars are killed as they as they aretrapped. Snakes are slashed with a knife or have their heads cut off. Dogs arestrangled with a rope,#39; Mr Walsh went on.“野猪落入陷阱后就被杀死。蛇则用刀划死或者把头砍掉。则用绳子勒死,”他说。When asked to describe the smell, Mr Walshsaid: #39;In a word, appalling. There#39;s something about the air that changes whenthere#39;s that much death around.#39;当被问到其味道如何时,他说:“一句话,叫人可怕。那么多的动物尸体在那里,周围空气都变了似的。”#39;It hangs heavy and it made me queasy andlight-headed at the same time... It#39;s the first time I#39;d ever encounteredanything like it,#39; he added.“过程相当慢且无聊,让我呕吐和头晕。。。这是我第一次看到这样的场景,”他说。 /201402/277815 安庆男科医院哪家较好安庆到哪治早泄

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