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明星资讯腾讯娱乐2017年12月16日 09:17:07
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  ^X4a4N-xA.(Kx49euD@9Australians love instant coffee澳大利亚人爱速溶咖啡~()9v^Hx7T7H20vSTdt3)SqU#!Ogyye)XBKAustralians are the biggest consumers of instant coffee in the world. |egN8k|%jWv澳大利亚是世界上最大的速溶咖啡消费国1fq#LM8I[y~TuX~LAUSSIES love to believe we’re a nation of coffee snobs. But it turns out we’re a little more stingy than we’d like to admit.Dz%eF1y[D__澳大利亚人自认为是“咖啡专家”,但事实上澳大利亚人的吝啬程度可能超出我们自己的预期.owd~PRI;^9。CawBmK%n8%u!OL~PWhile we might buy a frothy latte from the local cafe each day, it’s instant coffee we’re buying to drink at home.@7VWIoh#(yGhIM相比每天在当地的咖啡厅买一杯泡沫满满的咖啡,我们更愿意买速溶咖啡回家自己冲0RdGv~)|O]~p)e^a。QrTLd1~_]_@Qz[h*%^4s#acJ[^g67!r!mrIL9Od^+|V^6[5B /201407/314069

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  The Nobel Prize for Literature yet again eluded the popular Japanese writer Haruki Murakami (Norwegian Wood). But this year’s winner, dark horse that he is, deserves the honor.今年诺贝尔文学奖结果已揭晓,人气颇高的日本作家村上春树再次落选,而这位半路杀出的“黑马”却当之无愧。French writer Patrick Modiano, 69, has won the 2014 Nobel Prize for Literature for works that made him “a Marcel Proust (a well-known French author in the 19th century) of our time” with tales often set during the Nazi occupation of Paris during World War II, the Swedish Academy announced on Oct 9.10月9日,瑞典皇家科学院宣布,现年69岁的法国作家帕特里克#8226;莫迪亚诺获得2014年诺贝尔文学奖。因其作品多以二战期间纳粹统治下的巴黎为背景,莫迪亚诺被喻为“当代的马塞尔#8226;普鲁斯特(19世纪著名法国作家)”。Relatively unknown outside of France and a renowned media recluse, Modiano’s works have centered on memory, loss and the puzzle of identity. He has written novels, children’s books and film scripts.在法国之外,莫迪亚诺鲜为人知,也很少接受媒体采访。他的作品集中探讨记忆、遗忘以及身份之谜。他不仅写过小说,还写过儿童读物和电影剧本。The academy said the award of 8 million Swedish crowns (about 6.8 million yuan) was “for the art of memory with which he has evoked the most ungraspable human destinies”.瑞典皇家科学院称,之所以将800万瑞典克朗(约680万元人民币)的诺奖奖金颁给他,是因为他“以记忆的艺术,唤起了人类最难以捉摸的命运。”Peter Englund, permanent secretary of the Swedish Academy, noted that Modiano’s works are “always variations of the same thing, about memory, about loss, about identity, about seeking.”瑞典皇家科学院常任秘书彼得#8226;英格伦这样评价莫迪亚诺的作品:“(他的作品)是同一事物的各个方面,关于记忆、遗失、身份以及寻觅。”In France, Modiano is a respected writer, The New York Times reported. His books, often coming in shorter than 200 pages, are widely . Many of his fictional works are set in Paris during World War II, and some play with the detective genre.据《纽约时报》报道,在法国,莫迪亚诺是一位受人尊敬的作家。他的书通常不到200页,却被广为阅读。他的小说多以二战时的巴黎为背景,一些则涉猎侦探题材。Refined repetition优雅的“重复”His first novel La Place de l’Etoile, published in 1968, remains probably his best known book and touched on many themes that he would return to throughout his career, including the fate of the Jews under the Nazis.莫迪亚诺的处女作《星形广场》出版于1968年,至今仍是他最著名的作品。该书包含的诸多主题,都贯穿了他整个的创作生涯,包括,纳粹统治下犹太人的命运等。Modiano, reacting to the award, said he felt like he had been writing versions of the same book for many years.对于获奖一事,莫迪亚诺说,他觉得自己多年来不过是在写同一本书的各种版本。“What I am keen to see are the reasons why they chose me... One can never really be one’s own er,” he told a news conference in Paris. “Even more so because I have the impression of writing the same book for 45 years.”他在巴黎的新闻发布会上表示,“我很想知道他们为何选中我……因为没有一个人能真正成为自己的读者。而且我觉得自己45年来一直在写同一本书。”“Of the unique things about him, one is of course his style, which is very precise, very economical. He writes small, short, very elegant sentences,” Englund said. “And he returns to generally the same topics again and again, simply because these topics cannot be exhausted.”英格伦则说,“他有许多与众不同之处,言简意赅的写作风格就是其中之一,他笔下的句子短小、文雅。他一次次回到相同的主题,只因为这些都是永恒的主题。”“After each novel, I have the impression that I have cleared it all away,” Modiano told France Today in a 2011 interview. “But I know I’ll come back over and over again to tiny details, little things that are part of what I am.”在2011年接受《今日法国》采访时,莫迪亚诺说,“每写完一本小说,我觉得自己已将其完全抛于脑后,但我知道自己还是会一次次在细节中回归,因为那些微小之处正是我的一部分。”“In the end, we are all determined by the place and the time in which we were born.”“最终,我们都由自己出生时的时间和空间所决定。”Modiano is not an unfamiliar name in Chinese literary circle. Many of his works have been translated into Chinese and have been an influence on some Chinese writers. The late writer Wang Xiaobo, for example, opened his own novel Temple of Eternal Life with the opening sentences from Modiano’s Missing Person: “I am nothing. Nothing but a pale shape.”在中国文学圈中,莫迪亚诺并不是一个陌生的名字。他的很多作品都被译成中文,影响了一批中国作家。其中,已故作家王小波就曾将他《暗店街》中的句子“我的过去,一片朦胧。”作为自己小说《万寿寺》的开篇语。 /201410/336799

  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。” /201409/326615NOT LONG AFTER EMILIO PUCCI launched his line of kaleidoscopic patterns and slinky, body-conscious jersey knits in 1947, he chose his home as his base of operations: the Palazzo Pucci, a Renaissance palace in the center of Florence. Owned by the family since they were political advisers to the Medicis in the 1400s, the palace boasts precious paintings by Botticelli and other Old Masters, as well as an atelier, boutique and company headquarters. For decades, Pucci#39;s archives-which include 18,000 print variations, 15,000 scarves, 1,000 bolts of vintage fabric and 200 custom fabric colors-were stored in a cantina beneath the property. But the designer#39;s fashion legacy was not secure in the ancient subterranean space, and Laudomia, Emilio#39;s daughter who took over when he died in 1992, knew it.1947年,埃米利奥#12539;璞琪(Emilio Pucci)发布了以万花筒般图案和紧身修身针织衫为特色的同名品牌。不久后,他选择自己的家作为品牌的运营基地:位于佛罗伦萨中心的复兴时期宫殿Palazzo Pucci。这处宅邸从璞琪家族15世纪担任美第奇家族(Medicis)的政治顾问起就为其所有,拥有波提切利(Botticelli)及其他绘画大师的珍贵画作,也是一座画室、精品店以及公司总部的所在地。璞琪的档案包括18,000种印花图案、15,000条围巾、1,000匹复古面料和200种定制面料颜色,这些都存在这座宫殿地下的酒吧里。但这位设计师的时尚遗产在这个古老的地下空间里并不安全,埃米利奥的女儿劳多米亚(Laudomia)心知肚明。她是在1992年父亲去世时接管这里的。Laudomia, now the brand#39;s image director and deputy chairman, remembers the devastating flood of the Arno River in 1966, which killed more than a hundred people and destroyed countless works of Florentine art, architecture and literature. It also wiped out the cantina. #39;The water was two meters deep. My father lost everything. You wake up and suddenly everyone is in their galoshes trying to save pieces,#39; says Laudomia, who continues to live on the Palazzo#39;s top floor with her husband, three children and her mother, Marchesa Cristina Pucci di Barsento, Emilio#39;s widow. Though the company replenished after that disaster, since then, flash flooding has periodically steeped the Pucci archives in swampy water. When it happened again in 2012, she realized her heritage was at risk.劳多米亚现任该品牌的形象总监及副董事长。她记得1966年阿诺河(Arno River)那场毁灭性的洪灾,100多人不幸遇难,无数佛罗伦萨的艺术、建筑和文学作品被毁。这个酒吧也未幸免。劳多米亚说:“水有两米深。我父亲失去了一切。一早醒来,突然所有人都穿着橡胶套鞋在试图抢救东西。”劳多米亚现在仍和丈夫、三个孩子,还有她的母亲──埃米利奥的遗孀Marchesa Cristina Pucci di Barsento──住在Palazzo的最顶层。虽然公司在那场灾难后补充了档案,但从那以后,洪灾会周期性地令璞琪的藏品浸没在泥泞的洪水里。2012年再度遭到侵袭后,劳多米亚意识到自己的遗产处于危险之中。#39;If I wanted to pass on what the company has created, I had to do something about it,#39; says Laudomia. #39;Why let it die? And why by a flood, when I have this whole place in front of me?#39;劳多米亚说:“如果我想把公司创造的东西传下去,就得采取点措施。为什么要让它死掉?既然我面前有一个完整的地方,为什么要让它被洪水吞没?”This whole place is Granaiolo, the family#39;s sprawling 150-acre country estate in Castelfiorentino, 45 minutes southwest of Florence. Starting in the fall of 2012, Laudomia began to transfer most of the company#39;s vast archives to the countryside, and built a laboratory for fashion students to study fabric technology, design and history.这个地方就是Granaiolo,璞琪家族位于Castelfiorentino的占地150英亩(约60公顷)的乡村庄园,在佛罗伦萨西南方向驱车45分钟距离处。2012年秋季开始,劳多米亚开始将公司庞大档案库的大部分藏品转移到乡下,并修建了一座实验室,供时装专业学生学习面料技术、设计和历史。#39;I have more than enough space here, and I want to share it,#39; she says. #39;People used to have so much time to explore and develop things. My father had this time. But young creatives today don#39;t-the business rules have become so cutthroat. So I really hope this can be a place of reflection, study and creativity.#39;她说:“在这里我有足够的空间,我想跟人分享。人们从前有那么多时间探索和开发新东西。我父亲就有这种时间。但如今年轻的创意人没有──商业规则变得太残酷了。所以我真心希望这里能成为一个反省、学习和获得创意的地方。”At Granaiolo, the Pucci family legacy runs back to the 13th century, when their noble forebears built an imposing fortress atop the honey-colored land. Over time came a convent graced with frescoes, stables and farmhouses for the peasants who worked the fields for wheat-#39;Granaiolo#39; means #39;wheat barn#39;-wine grapes and tobacco.在Granaiolo,璞琪家族的产业可追溯至13世纪,当时他们的贵族祖先在这片蜜色的土地上建造了一座壮观的城堡。后来又有了一座壁画装饰的修道院,还有为在地里种小麦──Granaiolo意思是“小麦谷仓”──葡萄和烟草的农民修建的马厩和农舍。The income from Granaiolo powered the family#39;s concerns until the early 20th century, when Emilio#39;s grandfather built the town#39;s train station. The young Pucci, a marchese by birth, enrolled as a fighter pilot in World War II before launching his lucrative fashion career. Granaiolo remained a working gentleman#39;s farm up until the 1980s, when it finally ceased agricultural operations. By then, Pucci had become a global brand, and the family didn#39;t need Granaiolo for support.到20世纪初,Granaiolo的收入一直维系着璞琪家族的实力,当时埃米利奥的祖父修建了镇里的火车站。出生时就是侯爵的年轻的璞琪在二战期间入伍做了飞行员,后来才开始他利润丰厚的时装事业。Granaiolo一直是一座农场,直到上世纪80年代才最终停止了农业经营。那时璞琪已经成为一个全球性品牌,璞琪家族还不需要Granaiolo的持。WHEN EMILIO FELL ILL in 1989, Laudomia stepped into the CEO job at age 29. After Emilio#39;s death, she took over both the business and creative sides. But Laudomia-who had worked only for her father, and in production for Hubert de Givenchy for three years-found it a challenge.1989年,埃米利奥患病,劳多米亚在29岁的年纪担任了首席执行长的职务。埃米利奥去世后,商业和创意两方面都由她接管。但劳多米亚发现这是个挑战。她只为自己的父亲、以及纪梵希(Hubert de Givenchy)的生产部门工作过。#39;This was our weekend hobby,#39; says Laudomia of the renovation project. They tasked regional artisans with laying floors in handmade terra-cotta and pitching roofs of reclaimed wood. The workers restored the fortress#39;s blue-gray facade of local pietra serena stone, original iron grates on the windows and massive wooden stable doors. The main house, its upper guesthouse and pool will remain the family#39;s private retreat, but the property#39;s once crumbling agricultural buildings have been reimagined as a lightly modernized version of themselves. As the restoration progressed, treasures came to light, like a graceful arcade of columns in the old winery, and some 16th-century paintings Laudomia found hidden in the granary.劳多米亚谈到庄园的翻修工程时说:“这是我们周末的爱好。”他们让当地的工匠用手工陶土铺地板,用再生木材盖屋顶。工人们修复了当地城堡塞茵那石(pietra serena stone)垒砌的蓝灰色外 、窗户原有的铁门和巨大的马厩木门。主屋、楼上的客房和泳池仍然会是家族的私人度假地,但那些曾经摇摇欲坠的农用建筑变得更现代了。随着翻修工程的进行,许多宝藏开始呈现出来,比如旧酒庄里优雅的圆柱拱廊,还有劳多米亚发现的藏在谷仓里的16世纪画作。#39;We have a richness and a heritage,#39; she says of Pucci#39;s history. #39;It#39;s my opportunity to make it into something special. More and more with globalism, celebrity and mass fashion, you need this weight and substance, or you turn into any other brand.#39;她谈到璞琪的历史时说:“我们有丰厚的底蕴和悠久的传统。这是我让我们的历史变得特别的机会。随着全球主义、明星效应和大众时尚的普及,我们需要这种厚度,否则就和别的品牌没差别了。”#39;Archives are the soul of our brands, but it#39;s a privilege when you have someone who knows the heritage better than anyone,#39; says LVMH fashion group CEO Pierre-Yves Roussel.路易威登(LVMH) 时装集团首席执行长皮尔-伊芙#12539;罗塞尔(Pierre-Yves Roussel)说:“时装档案是我们品牌的灵魂,但是拥有一个比任何人都了解品牌传统的人是一个优势。”#39;It#39;s a hell of a job,#39; adds Roussel. #39;It becomes a logistical challenge to store and maintain these fragile things. The Givenchy archives are in the basement of Avenue George V, and most other [LVMH brands] are outside Paris in temperature-controlled warehouses. This is very unique.#39;罗塞尔说:“这是个大工程。存放和维护这些脆弱的东西在后勤上是个挑战。纪梵希的档案是在乔治五世大道(Avenue George V)上的地下室,其他大多数品牌〔路易威登品牌〕都在巴黎郊外的温控仓库里。这是很独特的。”Luckily, Granaiolo#39;s immense barn turned out to be a perfectly arid place to store and display all the vintage jersey that was #39;so fine, you could#39;ve folded the dresses down and put them in a cigarette box,#39; says Rome-based fashion historian and curator Enrico Quinto. #39;Emilio Pucci was an absolute trailblazer-he industrialized Italian fashion by introducing a range of y-made sizes, which was an unheard-of idea in Europe. Dior could have repetitions made, but Emilio had 10 sizes and 10 colors of one design. He became the most influential and powerful designer in Italy.#39;幸运的是,Granaiolo的大谷仓成了存放和陈列复古针织衫的完美的地方。罗马时装历史学家及策展人恩里科#12539;昆托(Enrico Quinto)说,那些复古针织衫“太精致了,都可以叠起来放在烟盒里”。埃米利奥#12539;璞琪是一个绝对的开拓者──他通过引进在欧洲闻所未闻的一系列成衣尺码将意大利的时装工业化。迪奥(Dior)本来可以仿制,但埃米利奥每种设计都有10个尺码和10种颜色。他成为了意大利最有影响力和最有实力的设计师。Laudomia selected some of her father#39;s designs to be displayed on vintage mannequins, as well as work by past creative directors Julio Espada, Christian Lacroix and Matthew Williamson, and Pucci#39;s current designer Peter Dundas. Another two rooms, once filled with wine bottles and tractors, are now lined with neoclassical furniture, historic armoires from Pucci#39;s #39;50s Florence boutique and newly built oak closets organized by garment and decade. Some of the armoires contain a rainbow of garments in the company#39;s custom Pantone colors so synonymous with Pucci#39;s vibrant look: Rosso 02 335 or Bordeaux 02 456 and so on. #39;Armani had his beiges. These colors are my father#39;s,#39; says Laudomia. #39;I call it the alphabet of Pucci.#39;劳多米亚选了她父亲的一些设计在复古道具模特上陈列,还有历届创意总监朱利奥#12539;埃斯帕达(Julio Espada)、 克里斯汀#12539;拉克鲁瓦(Christian Lacroix)和马修#12539;威廉姆森(Matthew Williamson) 、以及璞琪现任设计师彼得#12539;邓达斯(Peter Dundas)的作品。另外两个曾经满是酒瓶和拖拉机的房间现在摆放着新古典主义家具,璞琪50年代佛罗伦萨专卖店的大衣橱,还有新做的按装和年代整理的衣橱。有些大衣橱里有按照公司定制的Pantone色制作的五颜六色装,和璞琪活力四射的设计如出一辙:Rosso 02 335、Bordeaux 02 456等等。劳多米亚说:“阿玛尼(Armani)有他的米黄色。这些颜色是我父亲的。我称之为璞琪的字母表。”Outside, the sweeping lawn features a staircase by landscape designer Niccolo Grassi-a nod, in a way, to the dramatic stepped-grass garden that the late Gae Aulenti designed for the fortress in the #39;60s. Laudomia also planted palm trees amongst the existing cypress and olive trees #39;for a touch of kitsch.#39; Stables have metamorphosed into a dining room for 20-the number of bedrooms available in the smattering of converted peasant houses on the hillside.庄园外面,宽阔的草坪上有一个景观设计师尼科洛#12539;格拉斯利(Niccolo Grassi)设计的楼梯──在一定程度上是在向已故的加埃#12539;奥伦蒂(Gae Aulenti)于60年代为城堡所设计的夸张的阶梯式草坪花园致敬。劳多米亚还在现有的柏树和橄榄树中间种了棕榈树,为的是营造“一点世俗感”。马厩变身成为可容纳20人的餐厅──山腰上的几间改造农舍也有20间卧室。Visitors can unwind in a second pool or at the gym, where exercise machines hum within the restored brick walls and wood beams of a former livestock stall. The relics of the old farm are juxtaposed against slick design throughout, including Pucci carpets, modern Christian Liaigre furniture, Cappellini couches covered in Pucci terry cloth and a tapestry based on a Pucci print that Laudomia commissioned from the Italian artist Francesco Vezzoli-part of an ongoing project to have contemporary artists create works inspired by the archive. #39;I want a mix of art, fashion, design,#39; explains Pucci, #39;so I#39;m doing Granaiolo in a very versatile way.#39;游客可在泳池或健身房里放松,健身房以前是禽畜舍,健身器材在修复的砖 和梁木里嗡嗡作响。旧农场的遗迹与整体的流畅设计并存,后者包括璞琪的地毯、现代的Christian Liaigre家具、覆盖有璞琪毛巾布的Cappellini沙发,还有一块按照劳多米亚委托意大利艺术家弗朗西斯科#12539;维佐利(Francesco Vezzoli)设计的璞琪印花图案制作的挂毯──这是一个正在进行的项目的一部分,即邀请当代艺术家创作灵感来自璞琪档案的作品。璞琪解释说:“我想要艺术、时尚和设计融合的东西,所以我把Granaiolo弄得很多样化。”Aly Pucci has hosted several educational events, including two Journ谷es Particuli豕res: LVMH-sponsored open house events. Two groups of students from Polimoda, the Florentine fashion school where Pucci serves on the board, have come to study sewing and print design. Laudomia is hoping to extend the educational activities to international fashion schools for longer visits.璞琪已经举办过多项教育活动,包括两场Journees Particulieres:路易威登赞助的开放参观活动。来自佛罗伦萨时装学校Polimoda的两群学生来到这里学习缝纫和图案设计。劳多米亚希望将教育活动扩展至国际时装学校,并将学习时间延长。璞琪是该校董事会的成员。#39;We should encourage students to relate to archives,#39; says Laudomia, who believes such study will teach young designers to appreciate their fashion forebears. At Granaiolo, she sees a future where the next generation will find a place to rest, recharge and, most importantly, find inspiration for innovative fashion. #39;Heritage means a lot,#39; she says, #39;but only if you pull it out and make it alive. Otherwise it#39;s just another dead museum.#39;劳多米亚说:“我们应该鼓励学生认同和欣赏这些档案。”她认为这样的学习会教会年轻的设计师欣赏他们的时尚前辈。在Granaiolo,她认为在未来,下一代人会找到一个休息、充电的地方,最重要的是找到创造性时装的灵感。她说:“传统的意义很重大,但只有把它拿出来让它重生才可以。否则只会成为又一个死亡物馆。”#39;The level of what I was giving was never enough. People wanted more. Colette wanted my stuff. In 1998, I brought the first collection to Milan to show. I had just lost my brother, and I had just had my son. I was relaunching the company. I managed to hold it together by chance,#39; says Laudomia. #39;And I thought to myself, I don#39;t want to be in that situation. So I started playing by the rules. I hired a brand strategist and some designers, and while I was running around, LVMH banged on the door.#39;劳多米亚说:“我付出的程度远远不够。人们想要更多。柯莱特时尚店(Colette)想要我的东西。1998年,我带着第一个系列时装去米兰走秀。那时我刚失去我的哥哥,而且刚有了儿子。我开始重新启动公司,没想到慢慢坚持了下来。我对自己说,我不想处在那种环境里。所以我开始遵守规则。我聘请了一位品牌策略师和一些设计师。在我东奔西跑的时候,路易威登找到了我。”By 2000, Laudomia had navigated the sale of 67-percent interest in the company to LVMH, which still owns it (sales figures are not public), but she retained ownership of the extensive archive. #39;Archives weren#39;t instrumental to the business in the way they are today,#39; she says. #39;But it was never a question that I would sell it. You don#39;t sell your family#39;s memories.#39; The freedom has allowed Laudomia and her financier husband, Alessandro Castellano, to take on Granaiolo#39;s transformation, which they have personally funded.到2000年,劳多米亚将公司67%的股权转给了路易威登,但她保留了巨大档案库的所有权。目前路易威登依然持有股权(销售数据未公开)。她说:“在过去,档案对时装业的意义没有现在重大。但我绝不会把它们卖掉。家族的记忆是不可能卖掉的。”这种自由让劳多米亚和从事金融业的丈夫亚历山德罗#12539;卡斯特利亚诺(Alessandro Castellano)得以对Granaiolo进行改造。费用由他们个人承担。 /201408/320691The unnamed youngster astounded mourningrelatives and friends when she moved her head during the ceremony at a churchin the Philippineson Sunday.周日,在菲律宾某教堂,这名姓名未知的小女孩在自己的葬礼上扭动了脑袋,这可吓坏了正在哀悼的亲人朋友们。 Police confirmed the startling incident atthe church in Aurora, Zamboanga del Sur. They refused to name the child or thefamily in order to protect their identities.警察实了发生在南三宝颜省(ZamboangaDel Sur)一教堂的惊人事件。为了保护家人和孩子的身份,警方拒绝透露他们的姓名。 Video footage of the event, which showedthe girl#39;s parents rushing to remove her from the wooden coffin, went viralafter they were posted on a social network yesterday.从该事件的录像片段中可以看到,女孩的父母冲到棺材前将她抱了出来。自昨天视频被发到社交网络上后就快速传播开来 Although it could not be confirmed, localreports suggest the child experienced a very high fever for days and wasbrought to the clinic in the town for medical attention last Friday.虽然视频无法得到实,但据当地新闻报道,这名女童连日高烧不退,上周五被送到小镇的诊所接受医疗救助。 ;During that time, the attending clinicpersonnel and physician confirmed that the young patient had no more pulse andwas clinically dead last Saturday morning about 9 a.m.,; said Aurora policechief Heidil Teelan.警长HeidilTeelan说:“在接受救助期间,诊所出诊人员和医生于上周六早上9时许请确认小女孩没有脉搏,并宣告她临床死亡。” /201407/312259

  The pure mathematics of weight loss is simple—eat less, move more—but if knowing that were all it took, everyone would be in great shape. Los Angeles–based personal trainers Bob Harper and Jillian Michaels have been helping to define the bodies of celebrities like Gwyneth Paltrow, Ellen DeGeneres, and Laura Dern, and they#39;ve also changed the lives of contestants on N#39;s weight loss reality show, The Biggest Loser. Michaels is co-ownecsr of Sky Sport and Spa. Here#39;s what they know about diet and fitness success.减肥的原理十分简单——少吃多做。但若知道减肥不过如此,也许人人都会拥有好身材。来自洛杉矶的 Bob Harper 和Jillian Michaels 一直从事帮助名人健身的工作,他们曾当过Gwyneth Paltrow, Ellen DeGeneres和 Laura Dern的私人教练,他俩也改变了N真人减肥秀——超级减肥王上面的参赛者的生活。Michaels是拥有天空体育馆和水疗馆的私人教练。以下便是他们关于饮食和健身的成功经验。 /201407/308822

  In the 1939 film classic The Women, much is made of the alluring quality of a specific color of nail polish: “Jungle Red.” It turns out that the characters’ faith in the product was not misplaced.在1939年的经典影片《女人们》中,主角们常常说到一种特殊的指甲油颜色——“丛林红”特别具有诱惑力。科学明,这些电影角色对这种指甲油色号的笃信并非没有根据。New research suggests the color red on a woman does indeed signal sexual availability—not only to men, but also to other women.现在科学研究指出,女性身上红色的装饰确实会向他人发送诱惑的信号——不仅向男性,也会向其他女性发送这种信号。As we have noted previously, studies have found that men tend to view women in red as more sexually attractive. But, ladies, if you were thinking wearing that color would send a subliminal signal only males would pick up on, you’re out of luck.我们已经知道,研究发现,男性往往认为穿红衣的女性更具有吸引力。但是姑娘们,如果你以为穿红衣只会对男性发送微妙的信号,那你就错了。“Our results suggest that women perceive and behave toward other women in red as if these other women are actively advertising” their openness to the possibility of a sexual encounter, writes a research team led by University of Rochester psychologist Adam Pazda.罗彻斯特大学的心理学家亚当·帕扎达所带领的研究团队指出,“我们的研究成果表明,当某些女性穿着红衣的时候,其他女性就会认为她们正在积极地招蜂引蝶,她们对这些红衣女士的态度和交流方式都会有所不同。”Pazda and his colleagues describe a experiment conducted on two different continents that provide evidence that wearing red sets off certain alarm bells. In the first, 196 women recruited online viewed a photo of “a moderately attractive women in her late 20s.”帕扎达的团队在两块不同的大陆上进行了三项实验,这些实验的结果实,穿红衣的女性会发出警示信号。在第一项实验中,科学家们请196名参与实验的女性观看一张“具有现代美的二十八九岁的女性”照片。Half saw an image of her wearing a white dress; the rest viewed an otherwise identical image of her in a red dress. Afterwards, all responded on a sliding scale to a series of statements such as “This person is sexy.”一半的实验参与者看到的照片上姑娘穿着白衣;另一半的实验参与者看到的照片上姑娘穿着红衣。实验结果是,所有的参与者都认为“这个人很性感”,但是性感的程度却有明显的高低之分。As expected, the woman was seen as more sexy if she was wearing red. This held true whether or not the study participants were in a committed relationship.如科学家们所料想的,穿红衣的姑娘被认为更加性感。无论实验参与者是否单身,他们的观点都是这样的。The researchers caution that, needless to say, “not all women displaying red are actively advertising sexual availability.” For those who are not, it’s valuable to understand the ways their wardrobe choices are being interpreted—both by men, and by their female acquaintances.研究者们提醒道,“并不是所有女性在穿红衣的时候都在故意显露性感。”——这一点毋庸置疑。对那些无意穿红色衣的姑娘们,你们有必要知道:你衣着的颜色不仅会向男性、也会向女性同胞们发送某种信息。 /201407/311662

  

  Speed-ing is an indispensable skill in the Internet age. We skim over articles, e-mails and tweets to try to grasp key words and the essential meaning of a certain text. Bombarded with information from our electronic devices, it would be impossible to cope if we word by word, line by line.在互联网时代,快速阅读已成为一项不可或缺的技能。我们要能在匆匆浏览过文章、邮件、或是微之后,迅速找到关键词、抓住文章大意。因为我们的手机、电脑每天都会被海量信息所“轰炸”,逐字逐句的阅读显然是不可能的。But a new trend calls on people to unplug and enjoy ing slowly, listing benefits beyond intellectual stimulation.但是,不插电、享受慢阅读正在成为一个新趋势,人们认为它有除了激发智力之外的诸多好处。A recent story from The Wall Street Journal reported on a book club in Wellington, New Zealand, where members meet in a cafe and turn off their smartphones. They sink into cozy chairs and in silence for an hour.《华尔街日报》最近的一篇文章就报道了新西兰首都惠灵顿的一家读书俱乐部,在那里,会员们会相约在咖啡馆,关掉各自的手机,倚在舒的椅子上,静静阅读一个小时。Unlike traditional book clubs, the point of the Slow Reading Club isn’t exchanging ideas about a certain book, but to get away from electronic devices and in a quiet, relaxed environment. According to the Journal, the Wellington book club is just one example of a movement initiated by book lovers who miss the old-fashioned way of ing before the Internet and smartphones.不同于传统的读书俱乐部,这家慢阅读俱乐部并不要求会员们就某一本书分享读后感,而只是让大家远离电子设备,在安静、放松的环境中阅读。据《华尔街日报》报道,这仅仅是那些怀念早前没有互联网和智能手机的时代传统阅读的书迷们发起的一项活动。Slow ers, such as The Atlantic’s Maura Kelly, say a regular ing habit sharpens the mind, improves concentration, reduces stress levels and deepens the ability to empathize.以《大西洋月刊》莫拉?凯利为代表的慢阅读者们认为,良好的阅读习惯能使心智更加敏锐,提高注意力,减缓压力,并且使人更富同情心。Some of these benefits have been backed up by science. For example, a study of 300 elderly people published by the journal Neurology last year showed that regular engagement in intellectually strenuous activities like ing slowed the rate of memory loss later in life.其中一些益处已有科学依据。比如,《神经病学》杂志去年发表的一项针对300名老人的研究显示,阅读等有规律的智力刺激能够减缓老年人的衰退。Mind er读书也“读心”Another study published last year in Science showed that ing novels helps people understand others’ mental states and beliefs, a crucial skill in building relationships.《科学》杂志去年的另一项研究则显示,阅读小说能让人更容易理解他人的心理和观点,而这也是人际关系中最重要的能力。Yet technology has made us less attentive ers. Screens have changed our ing patterns from the linear, left-to-right sequence to a wild skimming and skipping pattern as we hunt for important words and information. Reading text punctuated with links leads to weaker comprehension than ing plain text. The Internet may have made us stupider, says Patrick Kingsley from The Guardian. Because of the Internet, he says, we have become very good at collecting a wide range of factual tidbits, but we are also gradually forgetting how to sit back, contemplate, and relate all these facts to each other.但是,科技却让我们在阅读时无法集中精力。电子设备的屏幕让我们由从左向右的线性阅读习惯,变成寻找关键词和重要信息的疯狂略读模式。而与阅读纯文本相比,阅读带插有各种链接的文章降低了我们的理解力。《卫报》记者帕特里克?金斯利就说,互联网也许让我们变笨了;因为互联网,我们更擅长收集精华信息,却很难坐下来一一品读,并将其梳理和关联起来。Slow ing means a return to an uninterrupted, linear pattern, in a quiet environment free of distractions. Aim for 30 minutes a day, advises Kelly from The Atlantic. “You can squeeze in that half hour pretty easily if only during your free moments – whenever you find yourself automatically firing up your laptop to check your favorite site, or scanning Twitter for something to pass the time–you pick up a meaningful work of literature,” Kelly said. “Reach for your e-er, if you like. Kindles make books like War and Peace less heavy, not less substantive, and also ensure you’ll never lose your place.”慢阅读意味着回到连贯的线性阅读模式中,在安静、免打扰的环境中享受阅读。《大西洋月刊》的凯利就建议大家以“每天读半小时”为目标,“从赋闲的时间里挤出这半个小时是十分容易的。把你为了消磨时光而不自觉打开笔记本上自己喜欢的网站或是刷推特的时间用来读本有意义的书。如果你喜欢读电子书,那么你可以捧起Kindle——它更节省空间,让《战争与和平》变得更轻薄,内容却不减少一丝一毫。 /201411/339693

  

  

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