海文毛中特讲义
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立冬的气温这么高

  

  DUCHESS SATIN’S VERY NAME betrays its status. It’s the type of fabric that princesses choose to wear on their wedding day, and it’s attractive for all the obvious reasons: The material is expensive, full-bodied and lustrous. But its appeal also lies in the fact that it rarely hides a couturier’s mistakes — cut it wrong and it will pucker, bubble or sag. The simpler the cut, therefore, the more masterful the garment. So when Raf Simons used couture-grade duchess satin in his spring 2019 men’s wear collection for wide, boxy New Wave-inflected coats in Kelly green and canary yellow, it was clear the Belgian designer was incorporating what he had learned in his three and a half years as the creative director at Dior, one of the few European houses where exacting craftsmanship still pulses through nearly every strand.

  Only a few days later, John Galliano debuted what he called an “artisanal” men’s wear collection for Margiela: Electric blue vinyl pants and vampy décortiqué boots were juxtaposed against a Japonisme mackintosh coat. Suits made with Savile Row-quality wools and silks were cut on the bias, the lines of the wool’s window panes running at distorted diagonals, while extravagant feathers dotted collars and hemlines and a leather cape with rows of hand-cut incisions was made to look like the peck of a bird’s beak. The details at Kim Jones’s first men’s wear collection at Dior were just as astonishing. Tiny handmade feather flowers that recalled Monsieur Dior’s 1950s porcelain dinner service had been pressed between the panels of vinyl coats; delicate embroidered bumblebees (a house motif) were sewn across pants and shirts, as if buzzing around a springtime garden.

  “I’m just trying to exercise the craft of dressmaking,” Galliano explained on his house’s podcast. “We call it men’s, but you know, traditionally, I’ve used it for women’s.” This mode of thinking — couture, but for men — was also on display at Givenchy, where Clare Waight Keller introduced four men’s wear looks at last year’s spring couture show along with exquisite full-length dresses inspired by Hubert de Givenchy’s earliest designs. It marked the first time that Givenchy, which is one of the 15 official members of the Chambre Syndicale de la Haute Couture, would open its specialized ateliers to men’s wear.

  BUT WHO BUYS these clothes? Couture has traditionally been worn by the very famous or the very wealthy — movie stars such as Audrey Hepburn or eccentric heiresses such as Daphne Guinness. Beautiful women, in other words, whose beautiful lifestyles demand a discreet sense of opulence. Couture’s luxury is in its refinement, from the fabrics to the hand-beading to the overlay of handmade lace atop the skirt of a dress. The custom as we understand it today, whereby the client and designer meet on a number of occasions to fit a dress perfectly to her needs and form, was invented in the mid-19th century by the English dressmaker Charles Frederick Worth. But the dandy — an impeccably dressed, vaguely aristocratic man obsessed with his own appearance — emerged more than 60 years before. And with the dandy arrived the bespoke suit, which, followed by the tuxedo, came to occupy the attentive tailors who continue to work on Savile Row today. Custom-made clothes were therefore never really a gender-specific obsession, even if women’s fashion evolved to become ever more flamboyant, while men’s wear came to symbolize consistency and pragmatism.

  The Broadway Theater impresario Jordan Roth was one of Waight Keller’s earliest customers at Givenchy. At last year’s Met Gala, he wore a sumptuous red silk coat made to resemble the cassock of a cardinal, with hundreds of hand-beaded strands hanging from the coat’s shoulder like a glittering cape. His look for the 2018 Tony Awards, a blue ombré silk suit with hand-embroidered zigzags, was just as elegant and surprising. Each outfit required three to four fittings; for some, Roth flew from New York City to Paris to meet with Waight Keller personally — even the tiniest detail, like the width of his trouser’s legs, was weighed and discussed and then tried. He’s now working with Galliano for an upcoming look. “What’s so extraordinary about the art of couture,” says Roth, “is both the idea and then the execution of the idea — it’s this whole other layer of artwork. It’s exactly why I love making theater. You don’t just put a piece of theater onstage because that seems fun. You have an idea that you’re unpacking and exploring and grappling with and trying to express, and so you start there, and how you express it and the craftsmanship of that expression is the difference between good and great. Or maybe even the difference between great and life-changing.”

  It’s a subtle distinction for the uninitiated. Couture is couture not because the article of clothing it produces is more than the sum of its parts. In the end, a coat will always be a coat. But it is the product of a dialogue between designer and client, of the time and resources spent by the craftspeople at each of the different specialized ateliers to make the garment as precisely as possible. It represents an entire tradition in dressmaking that celebrates, as art does, the beauty of the individual. Couture can’t be cheated by speeding it up, it can’t be outsourced, it can’t be copied. It is stubbornly old-fashioned and singular in every dimension — its extravagance, and expense, is purely associated with the time, quality of material and labor it requires.

  If the rare fabrics and exacting techniques in these designers’ collections are a dialectical response to the recent enthusiasm toward street wear styles, so be it. Men’s wear should embody both the high and the low and be as tough as it is delicate, as unconventional as it is traditional. But this larger gesture toward couture-level quality clothing also signals something more. Bending the rules of who gets to wear what can be subtler and more luxurious than simply mixing runway models and pieces within a collection. What was once suitable for a duchess can now adorn the physique of, say, a man or a genderqueer individual, without reflecting any sense of camp or costume. Such dedication to making the most beautiful thing means perfection can be subversive in the most radical — and sublime — of ways.

B:

  

  海文毛中特讲义【罗】【伊】【斯】【基】【可】【是】【个】【精】【明】【的】【家】【伙】。 【他】【到】【孑】【域】【以】【前】【经】【历】【的】【世】【界】【要】【远】【比】【这】【小】【小】【的】【孑】【域】【复】【杂】【的】【多】。 【他】【自】【己】【的】【国】【度】【需】【要】【飘】【洋】【过】【海】【的】【航】【行】【几】【年】【才】【能】【到】【达】【这】【里】。 【这】【使】【得】【他】【的】【性】【格】【有】【一】【些】【些】【分】【解】。 “【我】【说】【孩】【子】【们】!【你】【们】【可】【知】【巫】【母】【跟】【我】【说】【了】【什】【么】?” “【什】【么】?” “【我】【告】【诉】【你】【们】!【巫】【母】【说】【了】【把】【你】【们】【交】【给】【我】【处】【理】【了】,【所】【以】

  【闻】【言】,【梁】【宗】【兴】【也】【就】【放】【心】【了】。 “【舅】【舅】,【若】【那】【些】【人】【询】【问】【起】【关】【于】【飞】【行】【灵】【器】【之】【事】,【不】【必】【刻】【意】【隐】【瞒】,【让】【他】【们】【随】【意】【打】【听】。”【慕】【天】【阎】【补】【充】【道】。 【梁】【宗】【兴】【点】【点】【头】,【应】【了】【一】【声】,“【行】,【我】【会】【转】【告】【太】【子】,【让】【他】【安】【排】。” 【顿】【了】【顿】,【梁】【宗】【兴】【问】【出】【了】【心】【中】【疑】【惑】,“【你】【们】【打】【算】【什】【么】【时】【候】【去】【见】【他】【们】?” “【先】【晾】【几】【天】。” 【慕】【天】【阎】【看】【向】【王】【城】

  【周】【末】,【陈】【一】【墨】【把】【向】【挚】【带】【回】【了】【河】【坊】【街】,【在】【那】【个】【叫】【做】【旧】【曾】【谙】【的】【小】【院】【里】,【她】、【向】【挚】、【还】【有】【宋】【河】【生】【签】【了】【一】【份】【协】【议】——【向】【挚】【入】【股】【旧】【曾】【谙】,【从】【今】【往】【后】,【旧】【曾】【谙】【赚】【的】【每】【一】【分】【钱】【向】【挚】【都】【有】【分】【红】,【算】【是】【他】【帮】【陈】【一】【墨】【做】【材】【料】【研】【发】【的】【工】【资】。 【旧】【曾】【谙】【这】【个】【名】【字】,【向】【挚】【不】【是】【第】【一】【次】【听】【见】。【去】【年】【设】【计】【系】【大】【名】【鼎】【鼎】【的】【一】【等】【奖】【第】【一】【名】【作】【品】【就】【叫】【这】【个】【名】【字】。

  【德】【妃】【越】【想】【越】【觉】【得】【这】【事】【很】【有】【可】【能】。 【对】【于】【很】【多】【人】【而】【言】【德】【妃】、【胤】【禛】【和】【胤】【祯】【是】【一】【体】【的】,【就】【算】【是】【对】【于】【那】【些】【铁】【杆】【支】【持】【胤】【禛】【的】【人】【而】【言】,【胤】【祯】【也】【是】【帮】【手】【助】【力】,【兄】【弟】**【其】【利】【断】【金】。【毕】【竟】【她】【的】【态】【度】【那】【么】【明】【显】,【而】【之】【前】【德】【妃】【自】【己】【都】【没】【有】【预】【料】【到】【小】【儿】【子】【胤】【祯】【会】【对】【皇】【位】【起】【心】【思】,【更】【何】【况】【其】【他】【人】! 【说】【真】【的】,【对】【于】【德】【妃】【而】【言】【胤】【禛】【和】【胤】【祯】【谁】【上】【位】【自】

  “【行】【了】,【我】【们】【走】【吧】,【跨】【过】【这】【道】【坎】【我】【们】【依】【旧】【是】【好】【兄】【弟】。”【我】【无】【奈】【的】【看】【向】【了】【面】【前】【的】【男】【人】【真】【的】【是】【面】【部】【的】【表】【情】【无】【比】【的】【丰】【富】,【再】【也】【不】【是】【以】【前】【所】【认】【识】【的】【面】【瘫】【脸】【了】。 “【嗯】,【不】【过】【能】【不】【能】【不】【要】【表】【现】【的】【那】【么】【的】【男】【性】【啊】,【你】【要】【记】【住】【你】【是】【个】【女】【孩】【子】,【女】【孩】【子】,【你】【就】【应】【该】【好】【好】【改】【改】【自】【己】【的】【习】【惯】。” “【怎】【么】【了】?【你】【还】【怕】【我】【找】【不】【到】【对】【象】【啊】,【我】【告】海文毛中特讲义【第】【六】【百】【九】【十】【五】【章】【全】【场】【最】【佳】【与】【万】【妖】【心】【法】【到】【手】! 【熙】【国】【本】【就】【是】【天】【朝】【一】【方】【霸】【主】,【备】【受】【瞩】【目】,【又】【有】【祥】【瑞】【降】【下】,【公】【子】【恒】【诞】【生】,【凤】【鸣】【熙】【都】【的】【消】【息】【如】【同】【长】【了】【翅】【膀】【的】【一】【般】,【很】【快】【便】【传】【遍】【了】【诸】【夏】【天】【朝】。 【就】【连】【上】【一】【代】【天】【子】【帝】【熙】【降】【下】【神】【谕】,【为】【曾】【孙】【赐】【名】【的】【内】【幕】【在】【顶】【级】【权】【贵】【圈】【子】【中】【流】【传】【开】【来】。 【熙】【云】【侯】【本】【就】【雄】【才】【大】【略】,【带】【领】【熙】【国】【以】【势】【不】【可】【挡】

  【打】【开】【空】【间】【格】【局】【重】【新】【再】【塑】,【产】【生】【平】【衡】【之】【美】,【甫】【入】【空】【间】,【餐】【橱】【柜】【与】【客】【厅】【机】【柜】【界】【定】【出】【玄】【关】【存】【在】,【地】【上】【半】【抛】【面】【砖】【粗】【糙】【纹】【理】【转】【换】【入】【室】,【悄】【悄】【调】【合】【着】【地】【坪】【风】【格】【一】【致】【性】,【客】【厅】【低】【反】【射】【度】【消】【弭】【了】【视】【觉】【锐】【利】。【电】【视】【墙】【面】【低】【调】【大】【器】,【双】【面】【柜】【满】【收】【纳】,【天】【花】【变】【化】【出】【块】【状】【分】【割】,【两】【面】【向】【线】【条】【内】【敛】,【搭】【配】【上】【重】【新】【整】【理】【后】【的】【厨】【房】,【净】【白】【中】【形】【塑】【场】【域】【特】【色】。

  “【怎】【么】【个】【查】【资】【料】,【这】【种】【书】【你】【有】?”【尉】【迟】【恭】【抬】【杠】【的】【说】【到】“【这】【种】【书】【也】【就】。。。” “【我】【怎】【么】【吧】【这】【老】【家】【伙】【给】【忘】【了】。”【尉】【迟】【恭】【的】【话】【说】【了】【一】【半】【之】【后】【猛】【地】【一】【拍】【大】【腿】。 【这】【个】【时】【候】【所】【有】【人】【的】【目】【光】【都】【集】【中】【在】【了】【程】【咬】【金】【的】【身】【上】,【都】【在】【等】【他】【说】【话】。【毕】【竟】【这】【一】【叫】【人】【的】【话】【他】【这】【东】【西】【就】【得】【出】【手】【了】。 “【请】【人】【吧】”【程】【咬】【金】【想】【了】【想】【然】【后】【下】【定】【决】【心】

  【楚】【天】【都】【市】【报】11【月】10【日】【讯】(【记】【者】【陈】【凌】【燕】 【通】【讯】【员】【李】【晗】)“【我】【很】【理】【智】【的】【不】【准】【备】【购】【物】,【但】【仍】【然】【没】【躲】【开】【双】【十】【一】。”31【岁】【的】【何】【先】【生】【并】【没】【有】【被】【购】【物】【欲】【击】【中】,【却】【被】【购】【物】【节】【的】【玩】【法】“【擒】【获】”。【最】【近】【半】【月】【他】【天】【天】【沉】【迷】【盖】【楼】(【某】【购】【物】【网】【站】【红】【包】【游】【戏】),【还】【耽】【误】【了】【工】【作】,【昨】【日】【不】【得】【不】【求】【助】【心】【理】【专】【家】。

  2010【年】【底】,【一】【个】【偶】【然】【的】【机】【会】【让】【湖】【北】【随】【州】【淅】【河】【镇】【蒋】【寨】【村】【叶】【家】【山】【村】【民】【在】【修】【整】【水】【渠】【的】【过】【程】【中】【发】【现】【了】【一】【个】“【大】【香】【炉】”。【随】【州】【市】【博】【物】【馆】【馆】【长】【黄】【建】【勋】【闻】【讯】【赶】【到】【现】【场】,【当】【他】【看】【了】【这】【件】【还】【有】【半】【截】【身】【子】【埋】【在】【土】【中】、【被】【村】【民】【称】【为】“【大】【香】【炉】”【的】【鼎】【之】【后】,【不】【由】【得】【欣】【喜】【万】【分】。【从】【形】【制】【看】,【这】【件】【铜】【鼎】【至】【少】【是】【西】【周】【时】【期】【器】【物】,【而】【其】【巨】【大】【的】【体】【量】,【是】【随】【州】【西】【周】【考】【古】【所】【没】【有】【见】【过】【的】。【他】【朦】【胧】【地】【预】【感】【到】【随】【州】【考】【古】【将】【要】【轰】【动】【全】【国】【了】。

[责任编辑:李晓龙]

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