广州市哪间医院做人流丽常识

明星资讯腾讯娱乐2019年11月21日 08:26:37
0评论

  

  Sure long johns do a good job keeping people warm. But for many people, they have been something for grandparents, or rather, they are a fashion no-no.秋裤的确有很好的保暖作用,但对大多数人而言,它们属于祖辈,或者更确切的说,它们是时尚大忌。In 2008, Su Mang, chief editor of the Chinese version of fashion magazine Bazaar indicated that wearing long johns compromised fashion.2008年时,时尚杂志《时尚芭莎》中国版主编苏芒曾表示穿秋裤有损时尚。“I never allow people around me to wear long johns,” Su said in a talk show with TV anchor Chen Luyu.她在一档由陈鲁豫主持的谈话节目中表示:“我从不允许自己周围的人穿秋裤。”But things seem to be different for long johns ever since last year.但从去年开始,这些有关秋裤的话题似乎发生了转变。A number of important designer labels, including Jean Paul Gaultier, D amp; G and Dries Van Noten, all showed variations of long johns on their 2010/2011 fall/winter runways.众多重量级时装品牌,如Jean Paul Gaultier、D amp; G 和Dries Van Noten,早在2010/2011秋冬时装发布会T台上便展示了各式各样的秋裤。And British actor Jude Law even sported a pair of long johns at a London airport earlier last year, together with a loosely structured jacket and T-shirt, which made a lot of jaws drop.去年早些时候,英国演员裘德#8226;洛现身伦敦机场时甚至就穿着一条秋裤,再搭配松垮的夹克和T恤,令无数人大跌眼镜。“It’s a very British thing,” explained British designer Victoria Barlett to The New York Times.设计师维多利亚#8226;巴特利特在接受《纽约时报》采访时表示:“这是一种非常英伦范儿的打扮。”Long johns were first made popular in the 19th century by the English company John Smedley which still produces them today.其实秋裤早在19世纪便盛行一时,最先推出这种长裤的英国公司约翰#8226;斯梅德利至今仍在生产它们。But Jude Law is not the only celebrity heartthrob that loves the garments. British soccer star David Beckham is another big fan.但是万人迷裘德#8226;洛不是唯一热衷秋裤的男星,英国足球明星大卫#8226;贝克汉姆(音译)是另一位秋裤粉。“They are very cool,” Beckham told UK newspaper The Sun in September.他在去年九月接受英国报纸《太阳报》采访时曾表示:“它们真的很酷。”What’s more, Beckham has pledged to put the sexy back into long johns. He is designing his own line of long johns which will hit stores in February 2012 just in time for Valentine’s Day.不仅如此,贝克汉姆还许诺将引领秋裤的性感回归,他正在设计自己的秋裤品牌。该系列瞄准情人节市场,将于今年2月上市,。If anyone can make long johns sexy, Beckham could be the man to do it.如果有人想让秋裤焕发性感,贝克汉姆也许正是最佳人选。 /201409/329610。

  

  It is hard to overstate the impact Ming Cho Lee has had on the world of theater design.你怎么称赞李名觉对戏剧设计界的影响都不为过。Michael Yeargan, a student of Mr. Lee#39;s at the Yale School of Drama in 1969 and now co-chairman of the drama school#39;s design department, recognized that at the 2005 Tony Awards ceremonies, where Mr. Yeargan was honored for set design.迈克尔·耶尔根(Michael Yeargan)2005年参加托尼奖颁奖典礼领取舞台设计奖时意识到了这一点。1969年耶尔根在耶鲁大学戏剧学院就读时师从李名觉,现在是该戏剧学院设计系的联合系主任。;When I went backstage and looked around me,; he recalled, he noticed that five of the six Tony winners standing there had studied with Mr. Lee. ;I suddenly realized what an influence he had on all of us.;他回忆说,“我走到后台,看着周围的人”,注意到站在那里的六位托尼奖获得者中有五位曾师从李名觉,“我突然意识到他对我们所有人的影响有多大”。The schools of drama and architecture at Yale are staging a retrospective exhibition honoring Mr. Lee, who has been a member of the drama school faculty for more than four decades.耶鲁大学戏剧学院和建筑学院正在举办李名觉回顾展。李名觉已在戏剧学院任教40多年。;Stage Designs by Ming Cho Lee,; on display at the Yale School of Architecture in New Haven through Feb. 1, features more than 90 models, sketches and photographic reproductions for more than 60 theater, dance and opera productions by Mr. Lee, who received a special Tony Award for lifetime achievement last year and a National Medal of Arts in 2002.“李名觉舞台设计展”(Stage Designs by Ming Cho Lee)在纽黑文市的耶鲁大学建筑学院举行,持续到2月1日,展出李名觉为60多部戏剧、舞蹈剧和歌剧设计的90多件作品,包括模型、草图和逼真的复制品。李名觉去年获得了托尼奖终身成就奖,2002年获得了国家艺术奖章。Arnold Aronson, a professor of theater at Columbia University who wrote the introductory wall text and publication for the Yale exhibition and who is writing a book on Mr. Lee that will be published this year, said Mr. Lee had trained more set designers than anyone else.展览简介墙和出版物上的文字是由哥伦比亚大学戏剧教授阿诺德·亚伦森(Arnold Aronson)撰写的。他正在写一本关于李名觉的书,该书将于今年出版。他说李名觉培养的舞台设计师比其他任何人都多。;And his influence goes beyond set design,; Dr. Aronson said. ;Costume and lighting designers, playwrights, directors, architects, artists have taken his classes. His aesthetic and ideology have seeped into the very fabric of American theater.;“他的影响力超越了舞台设计,”亚伦森士说,“装和灯光设计师、剧作家、导演、建筑师和艺术家都上过他的课。他的审美观和思想方式已经渗入了美国戏剧的构造中。”Mr. Lee, who has also taught at New York University and has held classes and workshops around the world, is not passing along a particular style of design, Dr. Aronson added. Instead he offers ;an approach, a commitment to the idea that art has the possibility of changing the world, that art must make a statement.;李名觉也在纽约大学教书,还在世界各地开过讲习班。亚伦森士补充说,他不是传授某一种设计风格,而是提供“一种方法,传递一种信念——艺术具有改变世界的可能,艺术应该表达立场”。Born in Shanghai in 1930, Mr. Lee studied landscape painting as a teenager, which, he said in a recent interview, had taught him ;not to use much color; and ;gave me a real foundation for watercolor.; These studies, he added, also showed him how to be ;real without being realistic.;李名觉1930年出生在上海,十几岁的时候学过风景画。他在最近的一次采访中说,学习风景画让他明白“不要使用太多色”,“为我学水画奠定了扎实的基础。”他补充说,这也让他知道如何“具有真实感而不照搬现实”。When he entered Occidental College in Los Angeles in 1949 with little command of English, he could not understand his first lecture, and decided, he said, ;to take every drawing class I could get my hands on.; In them, he said, ;I would get A#39;s, which balanced the D#39;s I got in freshman English. They saved my life.;1949年他进入洛杉矶西方学院学习时,几乎不会说英语,第一节课完全听不懂,所以他决定“去上能上的所有绘画课”。他说,这些课“我能得到A,它们能平衡我在大一英语课上得的D。它们救了我的命。”Mr. Lee moved to New York in 1954 and worked for Jo Mielziner, the designer of sets for plays including ;The Glass Menagerie,; ;Death of a Salesman; and ;Carousel.;1954年,李名觉搬到纽约,为乔·梅尔齐纳(Jo Mielziner)工作。梅尔齐纳是很多戏剧的舞台设计师,包括《玻璃动物园》(The Glass Menagerie)、《推销员之死》(Death of a Salesman)和《旋转木马》(Carousel)。Mr. Lee also worked with the set designer Boris Aronson (no relation to Arnold Aronson), who Dr. Aronson said introduced nonobjective art movements into the American theater, providing ;an important counterpoint to the poetic realism of Mielziner.;李名觉还跟舞台设计师鲍里斯·亚伦森(Boris Aronson,与阿诺德·亚伦森没有关系)合作过。亚伦森士说鲍里斯·亚伦森把抽象艺术运动带入了美国戏剧界,提供了“一种与梅尔齐纳的诗意现实主义相反的重要方法”。;For Boris, Lee has said, designing for the theater was not just a question of design but of the play#39;s relationship to history, society, politics, religion — to life itself,; Dr. Aronson said.“李名觉曾说过,对鲍里斯来说,戏剧设计不只是设计的问题,而是这部戏剧与历史、社会、政治、宗教以及生活本身的关系,”亚伦森士说。The Yale exhibition, which was organized by the New York Public Library for the Performing Arts and based on three earlier exhibitions, traces these influences and experiences, largely through some 65 models made by Mr. Lee for sets.耶鲁大学的展览是纽约公共图书馆为表演艺术组织的展览,它以之前的三次展览为基础,主要通过李明觉为布景创作的约65个模型来追踪这些影响力和经历。From 1962 to 1973, Mr. Lee was the principal designer for what is today the Public Theater#39;s Shakespeare in the Park program at Central Park#39;s Delacorte Theater. He also designed sets for the Metropolitan Opera, Royal Opera House at Covent Garden, Martha Graham Dance Company, regional theaters like the Arena Stage in Washington and the Mark Taper Forum in Los Angeles, and many others.从1962年到1973年,李名觉是如今的公共剧团在中央公园戴拉寇特剧院举办的“公园中的莎士比亚”(Shakespeare in the Park)项目的主要设计师。他还为其他很多剧院设计过布景,比如大都会剧院、科文特花园的皇家歌剧院、玛莎·葛兰姆现代舞团,以及一些地方剧院,比如华盛顿的阿瑞娜剧场和洛杉矶的马克·塔佩剧场。The models are mostly one-eighth-inch-scale and one-quarter-inch-scale and some half-inch-scale models of sets, in full color, not only containing scenery, but often lights, actors and audiences.这些模型大多是1/8英寸或1/4英寸,有些是1/2英寸,全色,不仅包括布景,还包括灯光、演员和观众。Among the most important, Mr. Lee said, is the model for ;Electra,; a 1964 Public Theater production at the Delacorte Theater. The model has three stone sculptural pieces on a metal framework that represent the walls of a courtyard.李名觉说,其中最重要的一个是为《厄勒克特拉》(Electra)制作的模型。该剧是公共剧团1964年在戴拉寇特剧院上演的戏剧。这个模型有三个石雕,镶嵌在一个代表院墙的金属框架上。This set was the first with ;a completely nonliteral abstract design, though at the same time it was real, an emblem, an icon,; Mr. Lee said. ;It wasn#39;t an illustration of a place, it was the pure expression of the play.;李名觉说,这个布景是第一个“完全非写实的抽象设计,虽然它同时也具有真实感,但它是一个象征,一个标志”,“它不是对一个地方的描绘,而纯粹是对这出戏的表达。”Similarly, his designs for two sets from the Metropolitan Opera#39;s 1973 production of ;Boris Godunov; feature multiple religious icons as well as what he called ;fairly real sculptural pieces; that represent a cathedral wall and a stone wall.同样的,他为大都会歌剧院1973年的《鲍里斯·戈都诺夫》(Boris Godunov)设计的两个布景也含有很多宗教标志以及他称之为“非常真实的雕塑”,这些雕塑代表大教堂的一面墙和一面石头墙。Mr. Lee said more recent models for the two parts of ;Angels in America,; produced at the Dallas Theater Center in 1996, ;are very different from ‘Electra.#39; I#39;m no longer interested in making things abstract, I#39;m using super-realism.;李名觉说为1996年在达拉斯戏剧中心上演的分两部分的“《美国天使》(Angels in America)设计的模型”与“《厄勒克特拉》很不一样”。“我对制作抽象的东西不再有兴趣了,我用的是超现实主义风格。”In Part 1, the rear wall of the set#39;s great hall contains light switches and various medical controls, representing a hospital, while it is also painted with a blue sky and white clouds; this design thus combines multiple locations and images into one. The set for Part 2 is what Mr. Lee described as a ;pretty abstract; East Village tenement, painted a ;dirty blue; that could represent heaven.在第一部分中,布景中大厅的后围墙上有电灯开关和各种医疗控制装置,代表一个医院,不过上面还画着蓝天白云,这样的设计能把多个地点和场景融合在一起。为第二部分设计的布景是李明觉所说的“非常抽象的”东村住宅,它是“深蓝色”的,可以代表天堂。The exhibition also brings Mr. Lee#39;s career full circle: Beside theatrical models, it also contains 24 of his watercolors, painted from 1949 to 2007; none has been shown before. These include 1950s scenes of Los Angeles and New York and lyrical, almost abstract seascapes of Bar Harbor, Me., from 2007.此次展览还全面展示了李名觉的艺术生涯:除了戏剧模型,还包括24幅他从1949年到2007年绘制的水画,这些水画之前从未展示过。其中包括20世纪50年代洛杉矶和纽约的场景以及2007年缅因州巴尔港的抽象海景。;I#39;ve devoted a good part of my life to teaching at Yale, and when they said, ‘Let#39;s do a retrospective at Yale,#39; I welcomed it,; he said, adding he hoped the exhibition would help visitors better understand set design, which he called ;neither fish nor fowl.;他说,“我大半生都在耶鲁大学任教,所以当他们说‘我们在耶鲁办个回顾展吧#39;时,我欣然同意。”他又补充道,希望这次展览能帮助观众更好地理解“不伦不类的”舞台设计。 /201409/331677A 9-year-old Minneapolis boy was able to get through security and onto a plane at the Minneapolis-St. Paul International Airport without a ticket, an airport spokesman said Sunday.机场发言人在上周日10月6号称,一名未持机票的9岁男孩在明尼阿波利斯市的保罗国际机场逃过安检登上了飞机。Security officials screened the boy at airport shortly after 10:30 a.m. Thursday, Metropolitan Airports Commission spokesman Patrick Hogan said. The boy then boarded Delta Flight 1651, which left for Las Vegas at 11:15 a.m.大都会机场委员会发言人帕特里克·霍根称,安检官员在周四上午10点半左右就通过监控录像发现了男孩,接着这名男孩登上了11点15分开往的三角洲1651航班。The flight was not full, Hogan said, and the flight crew became suspicious mid-flight because the boy was not on their list of unattended minors. The crew contacted Las Vegas police, who met them upon landing and transferred the boy to child protection services, Hogan said.霍根说,当时机上还有空位,机组人员很快就对这个不在无人看管未成年人的名单上的男孩产生了怀疑。机组人员联系了警方,后者在飞机着陆后就将男孩送到局里看管起来了。Minneapolis Police went to his residence. Parents told officers they “hadn’t seen much of him today.”明尼阿波利斯市警方去男孩家调查。父母对警方称他们“今天没怎么看到孩子。”“The child was screened along with all other passengers to ensure that he was not a threat to the aircraft,” said the TSA spokesperson.一名运输安全的发言人称,“我们给这个孩子以及其他乘客都进行了身份扫描,以确保他不会对飞机构成威胁。”They added that of the boy at the checkpoint has been reviewed, and they are “investigating whether we should reconfigure barriers to prevent another incident like this one.”该局发言人同时称,他们已经反复查看过了男孩通过验票口时候的机场录像,并且该局“正在研究是否应该应该重新设置检票口的隔栏,以防止出现类似事故。”Video also shows the boy at the airport Wednesday, Hogan said. He grabbed a bag from the carousel and ordered lunch at a restaurant outside of the security checkpoints, Hogan said. He ate and then told the server he had to use the bathroom, left the bag and never returned to pay.霍根称,机场摄像头还拍摄到了男孩于周四现身机场的录像,当时他从行李旋转带上取走了一个拎包,还在检票口外面的餐厅里点了一份午餐。The owner of the bag was identified, and the bag was returned to him, Hogan said. Nothing was stolen.霍根称,被孩子拿走的拎包已经找到了失主并原物奉还,失主并没有丢东西。The boy became ;violent; and was hospitalized in Las Vegas, where hospital staff reported he was ;uncontrollable; at first but eventually calmed down, it said.男孩被发现后反应相当“剧烈”,人们将他送到了的医院。医护人员反应男孩入院时“难以控制”,但后来最终冷静下来了。A hearing in Las Vegas about the boy#39;s case was scheduled for Tuesday.在本周二举行了关于男孩的听会。The boy has been suspended several times at school, most recently since Sept. 21 for fighting, the father said. “He’s not an honor student; he has his ups, he has his downs,” he said, adding he met with the principal and “we put in a plan,” but the son’s misbehavior continued.据男孩的父亲说,这个9岁的孩子曾经多次被学校停学,最近的一次是在9月21日因为打架被学习停学。“他并不是一个三好学生;他有自己的优点,也有自己的缺点。”the boy is known to county staff as a “challenging” child. Since December 2012, the county has four times assessed the boy’s family for protective services.社区官员称这个孩子一直是一个“具有挑战性”的孩子。自2012年12月以来,社区已经有四次就儿童保护性问题走访过这家人。The boy also has a history of riding light-rail trains to a Bloomington water park, where he “waits until a large family is entering and joins them”. Of county interactions with the child, it said, “Typically, staff can tell if a child is lying, but with this child, they are unsure what is going on.”这个男孩还曾经乘坐轻轨列车到布卢明顿的水上公园去玩过,他在车站“等着一大家子人检票如站,然后和他们站在一起。”据社区官员说,他们在与男孩交流的时候,“官员们能明显的感觉到这孩子在说谎,但是他毕竟还是个孩子,他们无从得知他到底干了些什么。”Now, after the boy’s most dramatic wayward act, his father desperately pleaded for help for the son he hasn’t been able to speak to since last week.在男孩戏剧性的出格事件之后,他的父亲已经一周未能和男孩通话了。现在他正迫切的呼吁社会帮助。“He’s a 9-year-old child,” he said. “I don’t want to see my son hurt.”The father said the plane episode has been “a heartache” for the family. “We didn’t know he’d got on a plane until my fiancée called the police … it came back that he was in Las Vegas,” he said.男孩的父亲说,“他只是个九岁的孩子。我不想看到自己的孩子受伤。” 据他称,机场时间已经成了全家人的“心头大患”。“我们根本不知道他去了机场。后来我的未婚妻报了警,才知道他在。” /201310/260385PARIS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

  Imaginative play helps develop empathy for others. They become more willing to play fair, to share, and to cooperate.过家家的游戏可以增加孩子对他人的认同感。孩子会更乐于公平竞争、分享以及合作。 Build self-confidence树立自信 Young children have very little control over their lives. Imagining oneself as a builder of skyscrapers or a superhero defending the planet is empowering to a child. It helps them develop confidence in their abilities and their potential.小孩子很难配自己的生活。让孩子假装是天大楼的建造者或者保护星球的超级英雄,他们就会自我感觉很强大。这还会激发他们的自信心以及更方面的潜能。 /201403/278001

  

  

  North America has its first cat cafe.北美第一家猫咪咖啡馆开业了!City-dwellers and tourists alike flocked to the Purina ONE Cat Café in the Bowery on Thursday morning for their chance to spend some quality time with some furry friends, while caffeining up on the pop-up#39;s signature Cat#39;achino, a cappuccino with a foam feline on top.周四上午纽约包厘街,城市居民和游客都蜂拥进这家普瑞纳猫咪咖啡馆,希望能有机会跟边这些毛茸茸的喵星人度过休闲时光,边来杯特别的卡布奇诺——Cat#39;achino,咖啡上还有泡沫的喵星人图案。Feline fanatic Dennis Cote, 30, pounced at the opportunity to spend the morning with cats, commuting in two hours from his home in Farmington, Conn., to play with the shop#39;s 16 fuzzy felines.30岁的丹尼斯是爱猫人士,他没有错过这个机会,跟猫咪们度过了一个上午。他从法明顿市的家里坐了两个小时的车,来店里和16只喵星人一起玩耍。;I have three cats at home aly,; said Cote, who works as a Starbucks barista. ;My parents said don#39;t come back with a fourth.;丹尼斯在一家星巴克工作,他说:“我家里已经有三只猫了,我爸妈说不能再把第四只猫带回去了。”All of the kittens were provided by North Shore Animal League, the largest no-kill animal rescue and adoption shelter in the country.所有的猫咪由美国最大禁止杀戮动物救援和收养收容所“北岸动物联盟” 提供。Purina One and the North Shore Animal League teamed to create the pop-up cafe. They hope New York soon will be home to permanent cat cafes.普瑞纳宠物食品公司和北岸动物联盟合作打造了这个临时的猫咪咖啡馆。他们希望纽约很快能有永久性的猫咪咖啡馆。The space, which is open 10 a.m. to 7 p.m. every day until Sunday, is ;designed to create a conversation on cat health,; said Purina ONE spokeswoman Niky Roberts.普瑞纳猫咪咖啡馆将从周四到周日每天早上10点至晚上7点开放营业。发言人尼基-罗伯茨表示,猫咪咖啡馆的设计也是“为了引起关于猫咪健康的讨论”。London got its first one, Lady Dinah#39;s Cat Emporium, in March. Japan has had them for years.伦敦的首家猫咪咖啡馆——戴娜女士猫咪商城在三月开业,日本的猫咪咖啡馆则存在好多年了。KitTea is expected to open in San Francisco this summer, becoming this country#39;s first full-time cat cafe.美国的第一个全职猫咪咖啡馆KitTea 有望于今年夏天在旧金山开业。 /201404/292966

  Fresh air polluted by exhaust fumes and industrial emissions causes lung cancer, a team of World Health Organisation experts has officially declared. 据英国《每日电讯报》报道,世界卫生组织的专家们正式宣布,被汽车尾气和工业废气污染的空气会导致肺癌。 Outdoor air pollution was officially classified as carcinogenic to humans by the cancer arm of the WHO after a review of the latest scientific evidence from around the world. 世界卫生组织回顾了来自世界各地的最新据后,正式将户外空气污染定为致癌物质。 The International Agency for Research on Cancer (IARC) also highlighted an apparent link between air pollution and an increased risk of bladder cancer, although the findings were less conclusive. 国际癌症研究机构也强调了空气污染和膀胱癌发病率增加的明显关联,虽然还未被确定。 Levels of pollution vary widely between urban and rural areas, but the working group said their findings applied to all regions of the world, and sent a “strong signal” to governments to tackle the problem immediately. 都市和乡村的污染程度有很大的不同,但是研究组人员称他们的结果是来自全球所有区域的,并且极力要求各个政府尽快解决这个问题。 Dr Kurt Straif, head of the IARC Monographs Section which identifies environmental causes of cancer, said: “The air we breathe has become polluted with a mixture of cancer-causing substances. 库尔特#8226;斯特莱夫士是国际癌症研究机构专论部的领导者,这个部门专门识别导致癌症的环境因素。他说:“我们呼吸的空气已被一种混合的致癌物质所污染。” “We now know that outdoor air pollution is not only a major risk to health in general, but also a leading environmental cause of cancer deaths.” “现在我们知道户外空气污染不但是对健康不利的主要因素,而且是癌症死亡的主要环境因素。” The latest available data suggest that in 2010, air pollution was responsible for the deaths of 223,000 lung cancer patients around the world. 最新的数据表明,在2010年,空气污染造成全世界22.3万人死于肺癌。 Scientists from the IARC studied more than 1,000 academic papers on polluted air and, separately, small particles found in polluted air. 国际癌症研究机构的科学家们研究了1000多份空气污染的学术报告,分别在被污染的空气中找到了小颗粒物。 They found that the risk of developing lung cancer rises in tandem with increasing levels of either, concluding for the first time that outdoor air pollution is a cause of cancer. 他们发现患肺癌的风险与空气污染的增加是有关的,首次明户外空气污染是癌症的诱因。 Prof David Phillips of King’s College London, a member of the working group, said there was no particular threshold at which pollution becomes dangerous. “The higher the pollution, the greater the cancer risk,” he explained. “It does not suddenly kick in at a particular level.” 伦敦国王学院的戴维#8226;菲利普斯教授是工作组的成员之一。他说没有特定的临界值可以判定污染到达什么水平才算危险。“污染指数越高,患癌症的风险越大,”他解释说。“它不会突然达到一个特定的水平。” The programme had previously classed a variety of individual chemicals and mixtures found in polluted air as carcinogens, such as diesel engine exhaust, solvents, metals, and dusts. 该计划曾将一些单独的化学物质和受污染空气中的混合物归类于致癌物质,如柴油机排气,溶剂,金属和灰尘。 Dr Dana Loomis, deputy head of the IARC monographs section, explained: “Our task was to evaluate the air everyone breathes rather than focus on specific air pollutants. 国际癌症研究机构专论部副主任达纳#8226;卢米斯士解释说:“我们的任务是评估每个人呼吸的空气而不是关注特定的空气污染物。” “The results from the reviewed studies point in the same direction: the risk of developing lung cancer is significantly increased in people exposed to air pollution.” “从相同方向研究的结果表明:患肺癌的风险对于暴露于空气污染中的人们来说正显著增加。” Although the findings do not come as a surprise, they are likely to significantly increase the pressure on governments around the world to tackle pollution, which has risen rapidly around the world during industrialisation and was aly known to raise the risk of conditions like heart and respiratory diseases. 虽然研究结果并不让人感到惊讶,但他们可能会对世界各国政府在解决污染的问题上施加压力。这些污染在全球工业化期间迅速飙升,人们也已知它们会提高患心脏病和呼吸疾病的风险。 Traffic, power stations, industrial and agricultural emissions, and cooking and heating in the home are the main causes of air pollution. 交通、电力站、工业和农业的排污,家庭做饭和供暖是空气污染的主要原因。 Dr Christopher Wild, director of the IARC, said: “Classifying outdoor air pollution as carcinogenic to humans is an important step. There are effective ways to reduce air pollution and, given the scale of the exposure affecting people worldwide, this report should send a strong signal to the international community to take action without further delay.” 克里斯托弗#8226;怀尔德士是IARC的主任,他说:“将室外空气污染归类为致癌物对人类来说是一个重要的步骤。我们有许多有效的方法来减少空气污染。考虑到空气污染范围影响着全球人民,这个报告应该向国际社会发出强烈信号,让他们立即采取行动。” /201310/261948

  When I was a child growing up in England three decades ago, I was confronted with the visual evidence of social mobility every day – but of the downward, not upward, type.30年前,当我还是个孩子的时候,我住在英格兰,每天都目睹表明社会流动性的“视觉”据,不过流动方向是向下的,而不是向上的。We lived in a suburban, middle-class home. On the walls, however, hung the portrait of an 18th-century Anglo-French aristocrat, a maternal ancestor. In the intervening centuries, my aristocratic forebears had lost their status and wealth due to drink, gambling and poor decisions. Thus, my only link with royalty was that portrait and the fact that I have the same unusual middle name – Romaine – as the noblewoman in the picture.我们是生活在郊区的中产阶级之家。但家里的墙上挂着一幅18世纪英法贵族的画像,她是我母亲家族的一位祖先。从她往后的几个世纪里,我的贵族祖先们由于饮酒、和一些糟糕的决定而失去了地位和财富。因此,我与贵族仅有的联系就是那幅画像,以及我有一个不同寻常的中间名罗曼(Romaine),与画像中的贵妇一样。A rare example of social mobility or a widesp pattern? Today, that is a very politically charged question, particularly in countries such as the US. But it is also a very hard question to answer definitively.这是社会流动性的一个罕见例子,还是一种普遍模式?如今,这是一个充满政治意味的问题,尤其是在像美国这样的国家。但这个问题很难明确回答。Social mobility is an issue about which politicians love to pontificate but about which we actually know surprisingly little. Economists have generally tracked mobility by looking at surveys on wealth, jobs and educational attainment over two or three generations. This has typically shown that mobility is highest in the Scandinavian countries and lowest in places such as Latin America, with the US and UK lying halfway in between.社会流动性是政治人士喜欢夸夸其谈的一个问题,但实际上我们对它的了解出奇地少。经济学家一般通过考察两、三代人的财富、就业和教育程度来追踪社会流动性。这些研究一般表明,斯堪的纳维亚国家的社会流动性最高,拉美等国最低,美国和英国介于二者之间。Interestingly, these surveys tend to show that more mobile societies such as Sweden are also more equal, as determined by the Gini coefficient, the most commonly used measure of inequality, and vice versa. The idea that you can justify high levels of inequality in some nations because there is plenty of mobility – as US politicians are apt to do – does not ring entirely true, based on the economic numbers.有趣的是,这些调查往往表明,瑞典等社会流动性较大的国家也更为平等,与基尼系数(Gini coefficient,最为常见的衡量不平等程度的指标)所显示的一样,反之亦然。有人认为,可以把一些国家的高度不平等说成合理的,因为它们的社会流动性很大——美国政客就经常这么说。但根据经济数据,这种看法并不完全正确。The problem with this widely cited economic data are that they are very limited: it typically only tracks families over a generation or two and cannot capture subtle social patterns. So Gregory Clark, an economic historian at the University of California, Davis, has recently attempted to use another innovative approach that blends sociology, economics and history. In a new book, The Son Also Rises, he has analysed surnames in historical databases around the world to work out how families have risen in terms of wealth and status over multiple generations. In the US he looked at doctors; in the UK, at elite universities such as Oxford and Cambridge; and in Sweden, land records.这些被普遍引用的经济数据的问题在于,它们非常有限:它们对家族数据的追踪通常仅限于一、两代人,无法捕捉微妙的社会模式。因此,美国加州大学戴维斯分校(University of California, Davis)经济历史学家格里高利#8226;克拉克(Gregory Clark)最近尝试运用另一种创新方法,把社会学、经济学和历史学结合在一起。在其新书《虎子崛起》(The Son Also Rises)中,他对全球历史数据库中的姓氏进行了分析,考察家族财富和地位是如何在好几代人时间内上升的。在美国,他考察了医生;在英国,他考察的是牛津(Oxford)和剑桥(Cambridge)等精英大学;在瑞典,他考察的是土地记录。This approach – like the econometric one – has its limits. Historical lists of surnames or elite jobs can be patchy, particularly since they are dominated by the paternal line. (My story of maternal downward mobility, for example, would have been missed.) But Clark reaches some thought-provoking conclusions. First, he argues that if you look at multiple generations, social mobility is lower than widely presumed in most nations. Second, there is less difference between nations than usually thought. Those “egalitarian” Swedes are not as mobile as presumed. But in America, Clark rejects the idea that mobility has recently declined sharply as social polarisation has grown – an idea posited, for example, in Coming Apart, an influential book published last year by the political scientist Charles Murray. Clark argues that mobility is indeed low in America but insists it has always been thus.这种方法(类似计量经济学方法)有其局限性。姓氏或精英职业的历史清单可能是不完整的,尤其它们主要是父系数据。(例如,我母亲家族的向下流动会被遗漏。)但克拉克得出了一些发人深省的结论。首先,他主张,如果从好几代人的数据来看,多数国家的社会流动性低于人们普遍的想象。其次,国家间的差异小于人们通常的想象。“主张平等”的瑞典人的社会流动性并不像人们想象的那样大。但对美国,克拉克并不同意以下观点:由于社会两级分化现象加剧,社会流动性最近大幅下降——这是政治学家查尔斯#8226;默里(Charles Murray)去年出版的颇具影响力的著作《分化》(Coming Apart)中的看法。克拉克指出,美国的社会流动性确实很低,但他坚持称,该国一直如此。 /201403/280302

  • 好医养生广州精液测试的医院
  • 广州上环避孕手术价格
  • 广州封闭抗体阴性治疗多少钱妙手大全
  • ask乐园广州天河长安医院治疗月经不调怎么样好不好
  • 健康门户广州治疗妇科炎症哪里好
  • 广州白云做无痛流产多少钱
  • 天河无痛人流哪个医院好69分类
  • 百科咨询天河子宫肌瘤的症状
  • 广州市什么医院复通手术
  • 广州取环手术大概多少钱69知识
  • 番禺妇幼医院治疗不能怀孕
  • 快乐新闻广州天河无痛人流哪里做的好
  • 广州天河长安医院查白带怎么样好不好QQ分享广州天河长安看男科怎么样好不好
  • 天河治疗不孕不育症的医院
  • 天河治疗阴道炎哪家医院最好
  • 广州做B超去那好
  • 美大全云浮做不孕检查哪家医院最好
  • 广州番禺哪家治疗妇科病的医院
  • 广东广州长安医院查封闭抗体多少钱
  • 广州输卵管疏通到哪家医院
  • 广州市长安治疗无精
  • 咨询门户广州天河人流总共多少钱
  • 泡泡分类广州做个人流那个医院好120问答
  • 东莞人民医院看不孕医苑卫生广州做人流大概需要多少钱
  • 咨询频道广州天河好的做流产医院安心卫生
  • 广州长安不孕不育检查男科怎么样好不好
  • 广东省广州市长安医院做精液检查
  • 中山附属三院不孕不育科怎么样好不好
  • 东莞那个医院结扎复通
  • 广州番禺怀孕一个月做人流多少钱
  • 相关阅读
  • 广州黄埔怀孕多久打胎
  • 百家时讯广州做人工流产医院
  • 广州白云带环多少钱
  • 豆瓣大全广州番禺检查妇科病多少钱
  • 广东省长安医院生育检查光明社区
  • 广州长安中心医院结扎疏通
  • 同城知识广州治支原体感染去哪好
  • 广州去哪家医院做试管
  • 广州白云最好妇科医院哪好
  • 搜医养生广州市长安治疗盆腔炎好吗平安新闻
  • 责任编辑:国际在线

    相关搜索

      为您推荐