福州市长乐第二医院位置
时间:2019年02月18日 00:39:42

Last May, one of South Korea#39;s largest dairy companies, Namyang, came under fire for corporate malpractice. A company official was caught on tape threatening a small distributor into buying expired products that he couldn#39;t afford. The issue turned into a modern-day version of David and Goliath. The dairy giant issued an apology and paid a fine, but it continues to face widesp boycotts and protests.去年五月,韩国最大的乳业公司之一南阳乳业(Namyang)因为不当行为而遭到谴责。公司一位管理人员威胁一位小经销商购买他无力承担的过期产品,结果通话录音被曝光。这起事件演变成了现代版的大卫与歌利亚。最终,南阳乳业公司道歉并付了罚款,但至今依然面临广泛的抵制和抗议。Heekyung Jo Min will be the first to tell you that corporate misconduct is still quite common in South Korea. As an executive vice president for CJ Corporation, the 14th-largest Korean conglomerate, Min says that the country#39;s hierarchal system can sometimes lead to abuses of power or bad behavior in the name of expanding profits and pleasing higher-ups.闵赵熙京表示,公司不当行为在韩国仍然非常普遍。她是第一个公开讨论这一现状的人。闵是韩国排在第14位的企业集团希杰集团(CJ Corporation)执行副总裁。她表示,韩国的等级制度有时候会导致滥用职权,或以增加利润和取悦上司为借口的不良行为。Min is championing a profound shift in Korean corporate culture. By focusing on creating value for all stakeholders -- not just shareholders , Min believes disasters like Namyang#39;s can be avoided in the future.闵正在推动韩国公司文化进行一次意义深远的转变——即专注于为所有利益相关者创造价值,而不仅仅是股东。闵相信,未来,类似于南阳乳业遭遇的灾难是可以避免的。;The shareholders alone are not the main players of the economy,; Min says. ;There are more people involved than just shareholders, like our employees, our customers, and the communities that we serve.;闵说:“股东并不是经济活动中的主要角色。除了股东,一家公司还会涉及许多人,例如员工、客户和我们务的社区等。”Min says CJ is the first company to launch a department committed to ;Common Shared Value; -- or CSV -- in Korea, spearheading a call to action for sustainable business management. As the head of CJ#39;s Global CSV program, Min, who spoke with Fortune while in New York this week for a shared value summit, is working with the company#39;s divisions (which include the largest food manufacturer and the largest home shopping network in Korea) to focus not only on driving profits for shareholders, but also on how business practices can impact customers and the surrounding communities.闵表示,希杰集团在韩国开创了先河,专门成立了一个致力于“创造共享价值”(CSV)的部门。作为希杰集团全球共享价值计划的负责人,闵在上周于纽约召开的共享价值峰会上接受了《财富》杂志(Fortune)的采访。她目前正在与公司其他部门合作(包括韩国最大的食品生产商和最大的家庭购物网络),在为股东创造利润的同时,也将公司经营对消费者与周围社区的影响作为工作重点。The term CSV was coined in 2011 by Harvard professors Michael Porter and Mark Kramer to encourage companies to think more about the impact their businesses have on society at large. The professors point out that companies may be prospering in the stock market, but can still be to blame for major social, environment, and economic problems.2011年,哈佛大学(Harvard)教授迈克尔o波特与马克o克雷默提出了“创造共享价值”这一理念,旨在鼓励公司更多考虑他们对整个社会的影响。两位教授指出,一家公司可能在股票市场风光无限,但却会因为社会、环境和经济问题而备受诟病。Unlike corporate social responsibility, CSV is about creating new business opportunities that can strengthen a company#39;s competitive positioning, according to Min.闵认为,不同于公司的社会责任,CSV的目的是创造能够增强公司竞争优势的新商业机遇。;It not just teaching people to fish, but it is making a fisherman, and then we all catch more fish together,; says Min. ;With corporate social responsibility, you just give away the fish.;闵说:“这种理念是授人以渔,而非授人以鱼,之后所有人便可以一起享受钓鱼的乐趣。而公司的社会责任则属于后者。”In just one year since launching the CSV program, CJ has aly seen a tangible impact on its bottom line, she says. A partnership with small and medium-sized food businesses, for example, has increased CJ#39;s product offerings while supporting local farmers and creating new job opportunities. CJ is also working on rural development in Vietnam where it sources many agricultural products like chili peppers. By providing communities with more advanced farming technologies as well as building schools and proper bathrooms, Min forecasts that local farmers will be roughly 200% more productive next year.她表示,CSV计划启动仅仅一年,希杰集团就体会到了这项计划对公司财务状况的实质影响。例如,与中小型食品公司的合作不仅增加了希杰集团的产品类别,同时也扶持了当地农民,创造了更多的就业机会。此外,希杰集团同样致力于越南的农村发展。希捷集团在越南采购农产品,如辣椒等。通过为社区提供更先进的农业技术,以及兴建学校和卫生间。闵预计,明年,当地农民的工作效率将提高约200%。CJ is also working internally to combat Korea#39;s notoriously unsustainable work culture for women. If a woman leaves her job for more than a year to start a family or any other reason, many Korean corporations will not allow her to even take the entrance exam to get back into the workforce. As a result, Korea#39;s labor force participation rate for women is much lower than similar-sized economies. To tackle this problem, CJ created a ;returnship; program targeted at women who have been out of work for two or more years. The program includes flexible hours, mentoring, and special training from managers.众所周知,韩国公司有一种针对女性的不合理的工作文化。希杰集团正在努力打破这种传统。如果女性因为成立新家庭或其他任何原因离开工作超过一年时间,许多韩国公司会拒绝她重新回到工作岗位,连参加额外考试的机会也没有。结果导致韩国女性劳动力参与率远远低于规模类似的其他经济体。为了解决这个问题,希杰集团针对离开工作两年或以上的女性启动了“回归”计划。这项计划包括灵活的工作时间,导师指导和管理人员的特殊培训。Min acknowledges that CJ and her peer conglomerates have a long way to go to match CSV effort she has seen outside of Korea. The Columbia Business School graduate recalls going to leadership conferences in the mid-2000s and being impressed by initiatives by Pfizer (PFE), Johnson amp; Johnson (JNJ), and others to ensure the surrounding communities and employees benefits from the companies#39; success. As South Korea plays catch-up, Min says it#39;s important that corporations keep in mind the importance of balance.闵承认,要达到其他国家的企业在CSV方面的成绩,希杰集团和其他韩国企业集团还有更长的路要走。哥伦比亚商学院(Columbia Business School)毕业的闵回忆称,她2000年代中期参加领导力会议时,辉瑞(Pfizer)、强生(Johnson amp; Johnson)等公司为确保周边社区与员工能从公司的成功中获益时所采取的举措给她留下了深刻印象。闵表示,韩国公司要迎头赶上,必须牢记平衡的重要性,这一点非常重要。;It used to be that I would proudly say that I never left the office before 10:30 at night. But we don#39;t have to work our employees that way anymore,; Min says with a laugh. ;It is a constant balance, and if you want to have common shared value, you cannot do it alone. You have to involve the community and your employees.;闵笑着说:“之前,我会非常骄傲地说,我从来没有在晚上十点半之前离开过办公室。但现在我们不需要员工这么做。这是一种持续的平衡,如果你想创造共享价值,不能只靠自己。必须调动社区和员工共同参与进来。” /201405/300115

PARIS巴黎。A PIN dropped.一根大头针掉到了地上。Twenty feet from where the designer Clare Waight Keller was sitting in the offices of Chloé on the Avenue Percier, it slipped from the hands of an assistant as he adjusted the hem of a crisp white popover top, worn by the 16-year-old English model Rosie Tapner, who had the sniffles. You could hear the plink of metal as it struck the painted wood floor.设计师克莱尔·维特·凯勒(Clare Waight Keller)坐在珀西大街的Chloé办公室,这根大头针是从她的一位助理手中滑落的,掉到了离克莱尔20英尺的地方。当时这位助理正在调整16岁的英国模特罗西·塔普纳(Rosie Tapner)身上穿的挺括、宽松的白色上衣的边缘,而这位模特正在抽鼻子。你能听到大头针撞上涂了漆的木质地板时发出的叮铃声。It was proverbially quiet in the Chloé showroom, three days before Ms. Waight Keller#39;s spring runway show here, as critical decisions were being made about the hair and makeup, the order the clothes would be shown, whether the colors and proportions were just right. A steady stream of guests came and went. A plastic box of Haribo gummi candies that had been full the day before was half-empty, but the detail that spoke loudest was the lack of noise.Chloé样品间的安静,人尽皆知;此时距维特·凯勒女士的春装发布会还有3天,她们正在做一些关键性的决定,比如发型和妆容,装展出的顺序,颜色和比例是否合适。客人们来来往往,川流不息。一塑料盒的哈里波橡皮糖前一天还是满的,第二天就半空了;但这里最显著的细节是没有任何噪音。In the year since Ms. Waight Keller, formerly the designer of Pringle of Scotland, became the creative director at Chloé, many visitors have noted the remarkable calmness that radiates from her studio. That, and the fact that roughly 80 percent of the hundreds of employees at the company are women, which is a point of pride at a house that has projected an aura of femininity for 60 years.维特·凯勒之前是苏格兰普林格(Pringle)的设计师,在她就任Chloé的创意总监后的这一年里,很多客人已经注意到了她的工作室散发出来的格外宁静的气氛。该公司的上千名员工中有大概80%是女性,这对于这家60年来散发着女性魅力的品牌来说,是一种骄傲。Guido Palau, the hairstylist, proposed a loosely tied ponytail, sort of half up and half down, with a deep part inspired by Twiggy. Ms. Waight Keller and her team considered whether it looked modern enough, or cool, or sufficiently effortless. They debated, then asked to see another model. Mr. Palau, in mock exasperation, said, “Oh, my God, how many girls are in this room?”发型师吉多·帕劳(Guido Palau)提议扎一个松松的马尾,差不多是一半扎起来,一半垂下来,其实这是受到模特崔姬(Twiggy)的启发。维特·凯勒女士和她的团队在考虑这样够不够现代,够不够酷,够不够随意。她们争论了一会儿,然后要求再看一位模特。帕劳先生假装恼怒地说:“哦,我的天哪,这个房间里到底有多少女孩子啊?”He wasn#39;t being rude. It is a question Ms. Waight Keller has asked herself as she decided how to best approach a label that, for better or worse, has been reduced over the years to terms like ;girly; and ;flirty,; which do not do it justice. It is her job to balance the sweetness with something a little bit cooler and a lot more modern. Though clearly confident, she is prone to questioning her decisions. In moving to Paris, she brought along her husband, an interior architect, and three young children, and so a lot rides on making this a success.他这样问并非无礼。维特·凯勒也问过自己这个问题——在她决定怎样才能最好地经营这个经过多年的发展被简单地定义为“女孩子气”和“充满风情”的品牌的时候(你不好说这种定义是好是坏,但是这么说不够公平)。让这个品牌不仅甜美,而且还有那么一点酷,有更强的现代感,是她的责任。她虽然非常自信,但还是常常对自己的决定没有把握。搬到巴黎的时候,她把丈夫(一位内部建筑师)和三个年幼的孩子也带来了;所以她成功与否关系重大。;Is the proportion right? she asked. ;Do I like the colors? Is it too sweet?;“这个比例合适吗?”她会问自己,“我喜欢这些颜色吗?这个是不是太甜美了?”She was concerned about a white top with frothy sleeves made of a Japanese polyester that in theory should have looked crisp but in fact were beginning to look like the type of collars that keep dogs from scratching themselves.她在为一件日本涤纶做的白色泡泡袖上衣而忧虑,理论上讲它应该看起来挺括,但实际上它看着有点像是防止小抓伤自己的项圈。Ms. Waight Keller, 42, English-born (though she has lived and traveled extensively), is the ideal image of the Chloé customer. She was raised in dresses and the skirts of school uniforms and has spent much of her adult life rebelling by wearing pants. And she is the type of designer who can make leather pants — like the forest-green ones she was wearing in the showroom, with a cool blue cotton shirt — look as comfortable as pajamas. She keeps her head down and walks with her hands in her pockets.维特·凯勒今年42岁,出生在英国(不过她在很多国家居住和旅游过);她是Chloé的顾客的理想形象。她成长的过程中常常穿连衣裙和校的半身裙,长大以后为了表示叛逆,经常穿长裤。她是那种可以把皮裤设计得看起来像舒的睡衣的设计师,就像她在样品间穿的那件深绿色的皮裤,搭配一件酷酷的蓝色棉质衬衣。她经常低着头,走路的时候把手插在口袋里。But with the spring collection, which was shown on Oct. 1 in the Tuileries, Ms. Waight Keller gave herself a challenge by chopping and cropping pieces to unexpected lengths. And she sought to reconnect the label with the more playful elements of its past, including tanks that were styled after basketball jerseys, sequined tuxedo stripes that ended with the point of an arrow, and a floral print that resembled something from Hawaiian surf wear.在10月1日在杜伊勒里宫举办的春装系列发布会上,维特·凯勒做了一次尝试,把很多单品剪切成各种意想不到的长度。她努力想把这个品牌和它曾经有过的比较调皮的元素再次联系起来,包括模仿篮球运动衫设计的紧身背心,底端是箭头形状的金属亮片条纹装饰,以及夏威夷冲浪风格的印花。;You can be too familiar with the look,; Ms. Waight Keller said. ;You have to push forward. It can be a little bit of a trap to be the consumer.;“你可能太熟悉那个样子了,”维特·凯勒说,“你必须得向前推进。对顾客来说,这可能是个小小的策略。”The vision of Gaby Aghion, the Egyptian-born daughter of a cigarette manufacturer who founded Chloé and named it after a friend, was not girly. It was to create feminine clothing with less formality and more freedom than what was being shown in postwar couture. The pioneering Ms. Aghion, who is 91 and still attends Chloé shows when she is able, remains a notorious flirt. But she was more likely to describe her own style as ;simple; and ;classic.;Chloé的创始人盖比·阿格依奥(Gaby Aghion)出生在埃及,父亲是个烟草商;她用一个朋友的名字命名这个品牌,当时她的设想可不是“女孩子气”。她想要不那么正式、比战后的高级装店的装更加自由的女性装。前卫的阿格依奥女士今年91岁,力所能及的时候仍然参加Chloé的发布会,她还是那么充满风情。但是她可能更愿意把自己的风格描述为“简单”、“经典”。Ms. Aghion once said something that Ms. Waight Keller found inspiring: ;I don#39;t explain anything. I lived the life I wanted.;阿格依奥曾经说过一些维特·凯勒认为非常鼓舞人心的话:“我从不做解释。我只是过了我想要的生活。”;In a way, we have such a recent idea of Chloé,; Ms. Waight Keller said, speaking of its growth as a luxury brand, mostly during the decade beginning in 1997, when it was designed with great success by Stella McCartney and Phoebe Philo, producing hit styles and bags like the Paddington.“从某种意义上讲,Chloé给人的最新印象就是这样的,”维特·凯勒女士这样说;她指的是这个奢侈品牌的发展过程,主要是在1997年之后的10年里,当时的设计师是斯特拉·麦卡特尼(Stella McCartney)和菲比·费罗(Phoebe Philo),她们成功地设计出了一些风靡一时的时装和手包,比如帕丁顿(Paddington)手袋。Of course, there was the long association with Karl Lagerfeld, beginning in the #39;60s, but Chloé has mostly been a house where young designers, like Peter O#39;Brien, Guy Paulin and Martine Sitbon, were allowed to flourish on their way to becoming stars. Still, there is the sense that the label, which is owned by Richemont, has lost some traction in recent years, with mixed collections by Paulo Melim Andersson and Hannah MacGibbon, the two previous creative directors.当然,这个品牌长期以来是跟卡尔·拉格菲尔德(Karl Lagerfeld)联系在一起的,这种关系始于上世纪60年代,但是Chloé主要还是让年轻设计师们在这里大展身手,成为大师,比如皮特·奥布莱恩(Peter O#39;Brien)、盖依·保林(Guy Paulin)和玛蒂娜·希特恩(Martine Sitbon)。不过,近年来这个品牌(属于历峰集团[Richemont])在之前的两位创意总监保罗·麦林姆·安德森(Paulo Melim Andersson)和汉娜·麦克吉恩(Hannah MacGibbon)的引领下,似乎丧失了部分魅力。;Honestly,” said Daniella Vitale, the chief merchant of Barneys New York, ;I think this past show was the most spot-on I have seen in terms of capturing the spirit of the Chloé girl, which had waned in the years before Clare took over.”“坦白地说,”纽约巴尼斯(Barneys)精品百货公司的采购总监丹尼娜·维塔尔(Daniella Vitale)说,“我觉得这次新发布会最准确地捕捉到了Chloé女孩的精髓,这一点在克莱尔接管之前的那些年里有些衰落了。”Barneys had not carried the Chloé fashion collection since the #39;80s, but when the buzz started, ;we wanted in,; Ms. Vitale said, noting that over the last year the store has expanded its selection to include y-to-wear and accessories, based on its confidence in Ms. Waight Keller.巴尼斯精品百货公司从上世纪80年代开始就不再销售Chloé装系列了,但是在它重现活力的时候,“我们也想加入,”维塔尔女士说;她指出去年这家百货公司扩大了进货范围,包括成衣和配饰,这都是基于对维特·凯勒女士的信心。;She embodies that Chloé spirit herself,; Ms. Vitale said. ;She#39;s nice. And you can really talk to her. She#39;s interested in your opinion, and she#39;s not removed at all.;“她本人就体现了Chloé的精神,”维塔尔女士说。“她很温和。你真的可以跟她深入交谈。她对你的观点很感兴趣,一点都不疏远。”MS. WAIGHT KELLER was not very well known when she was hired at Chloé, but she had impressed the company#39;s chief executive, Geoffroy de la Bourdonnaye, when she was at Pringle and he ran the Liberty store in London.维特·凯勒女士被Chloé聘用的时候,并不是非常出名,但是公司的首席执行官杰弗瑞·德拉波多那耶(Geoffroy de la Bourdonnaye)对她印象很好,那时候她在普林格,而他在伦敦经营自由(Liberty)百货公司。She displayed both creative and managerial maturity, Mr. de la Bourdonnaye said, a combination that is becoming more valuable in fashion as designers are expected to produce more and do more. And she had previously worked at Calvin Klein in New York, where she learned the power of minimalism, and at Gucci during the Tom Ford years, where she learned the importance of meticulous planning. At Gucci, she worked on a team that included Christopher Bailey and Francisco Costa, both of whom have gone on to personify the broader role that designers are taking as brand managers.德拉波多那耶说,她在创意和管理方面都表现得很成熟,这两种才能的结合在时装界越来越有价值,因为公司都希望设计师们能生产得更多,做得更多。她之前在纽约的凯文·克莱恩(Calvin Klein)工作的时候,领会了简约的力量;在汤姆·福特(Tom Ford)做古驰(Gucci)的创意总监期间她在那里工作,明白了谨慎规划的重要性。在古驰的时候,她所在的小组还包括克里斯托弗·贝利(Christopher Bailey)和弗朗西斯科·考斯特(Francisco Costa),这两位设计师后来也承担起了品牌经理的部分职责。In the showroom, there was a life-size mock-up of what the actual runway would look like, with blinding lights to simulate those of a show so Ms. Waight Keller could be certain the colors would exactly the right way.在样品间,有一个实物大小的秀台模型,跟真实的秀台一样,灯光炫目,这样维特·凯勒女士能够准确判断颜色出来的效果是否正好。;Clare is very pragmatic, very determined and she has a very clear vision,; Mr. de la Bourdonnaye said. ;But she also has a soft and pleasurable way of dealing with the team around her.;“克莱尔非常务实,非常坚定,有非常清晰的愿景,”德拉波多那耶先生说。“但是她跟周围的团队打交道时,又很温和,让人舒。”Ms. Aghion had that ability to inspire her designers as well. According to an anecdote in WWD, she was known to address them as ;my little kittens.;阿格依奥女士也有那种鼓舞设计师的能力。根据《女装日报》(WWD)上的一则传说,她称呼设计师们为“我的小猫咪们”。During Paris Fashion Week, there was a sweet moment when Mr. Lagerfeld, who had lost touch with Ms. Aghion after he left Chloé in the #39;90s, was reunited with her at an exhibition covering the history of the label at the Palais de Tokyo.在巴黎时装周期间,在东京宫(Palais de Tokyo)展示该品牌历史的展览上,拉格菲尔德先生与阿格依奥女士再次重逢,这一时刻非常温馨,因为自从上世纪90年代离开Chloé,他跟她就失去了联系。;She#39;s still funny,; he said, after posing for photographs.“她还是很风趣,”在摆好姿势拍照之后他这样说。The exhibition was meant to remind audiences that Chloé is a French label with a history not unlike those of Dior or Saint Laurent, where the news of two new designers this season overshadowed just about everything else happening in Paris. What struck Judith Clark, the art historian who curated the exhibition, was that after founding the label, Ms. Aghion remained so open to the work of others.该展览意在提醒观众,Chloé这个法国品牌的历史,与Dior和Saint Laurent一样悠久而辉煌;这一季关于后两家公司的新任设计师的新闻,盖过了巴黎时装周期间发生的所有其他新闻。本次展览的策展人是艺术历史学家朱迪思·克拉克(Judith Clark);让她感到震撼的是,阿格依奥在创建了这个品牌之后,依然对其他品牌的作品保持包容的态度。;It#39;s not about a cult of personality,; Ms. Clark said.“这不是个人崇拜,”克拉克女士说。 /201409/325805


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