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2017年10月24日 09:54:19

While the Eastern Jin existed in the south, northern China fell into disunifi-cation of warfare. The Yellow River valley became the battlefield for warlords from the five Hu nationalities—the Xiongnu, the Xianbei, the Jie, the Diand the Qiang. Each Hu (minority) state established its own government to front the Eastern Jin and there were a bunch of countries came into existence and vanished. These governments are known as “the Sixteen States”.当东晋在江南建国的同时,中国的北方则陷人分裂混战,黄河流域成为匈奴、鲜卑、羯、氐、弟等五个主要游牧民族争杀的战场,并分别建立了自己的国家,相互争霸,不断有国家成立和灭亡,这些国家被称为北方的十六国。In 304, the Xiongnu noble Liu Yuan set up the Han state which, in 316, vanquished the Western Jin. In 439, the Tuoba tribe of the Xianbei nationality united the north. For over a hundred years, frequent wars took place among different nationalities, resulting in the establishment of 15 states. They were the Former Zhao (Xiongnu), the Later Zhao (Jie), the Former Yan (Xianbei), the Former Liang (Han), the Former Qin (Di), the Later Qin (Qiang), the Later Yan (Xianbei), the Western Qin (Xianbei ),the Later Liang ( Di), the Southern Liang (Xianbei), the Western Liang (Han), the Northern Liang (Lushuihu), the Southern Yan (Xianbei), the Northern Yan (Han), and the Xia (Xiongnu). These fifteen states together with the Han state of Cheng established by the Di nationality in the southwest are historically called the Sixteen States.从公元304年匈奴贵族刘渊建立汉国,316年灭掉西晋,到439年鲜卑拓拔部统一北方,这130多年里,北方各民族相互争战,先后建立了前赵(匈奴)、后赵(羯)、前燕 (鲜卑)、前凉(汉)、前秦(氐)、后秦(羌)、后燕(鲜卑)、西秦(鲜卑)、后凉(氐)、南 凉(鲜卑)、西凉(汉)、北凉(卢水胡)、南燕(鲜卑)、北燕(汉)、夏(匈奴)等15个政 权,连同西南氐族建立的成汉,共十六国,和东晋汉族政权长期对峙,史称五胡十六国。Besides, there were five regimes:the Wei founded by Ran Min of the Han nationality; the Wei founded by the Zhai family in Dingling; the Chouchi founded by the Yang family in Wudu, a leader of the Di nationality; the Western Yan founded by the Murong family of the Xianbei nationality, and the Dai by the Tuoba family of the Xianbei nationality. There were altogether 21 states in this period.除十六国之外,还有汉人冉闵建立的魏、丁灵翟氏建立的魏、武都氐帅杨氏建立的仇池国、鲜卑慕容氏建立的西燕、鲜卑拓跋氏建立的代五个政权,总计先后建立了21个政权。Among them, the Later Zhao,the Former Yan and the Former Qin successively occupied most of the northern territories;especially, the Former Qin almost united the whole northern part of China.上述政权中,后赵、前燕、前秦都曾占据过北方的大部分疆域。4世纪下半期,氐族贵族建立的前秦,基本上统一了北方。After the Feishui Compaign,the Former Qin was shattered, thus over a century, warfare never stopped in the north.淝水之战后,前秦统治瓦解,北方再度陷人四分五裂和军阀混战状态。The wholescale migration to the hinterland brought many minorities into full contacts with the Huaxia (Chinese) culture. They acquired the same tastes and conventions with Han nationality and were assimilated and accommodated in Han culture.由于少数民族人主中原,更多地接触到华夏文化,使之与汉民族逐渐发展为同一生活习惯的民族,进而被汉族融合。Since then, China was a nation embracing various ethnic groups that imbued with similar customs due to the fact that the minorities live along with the majority Han side by side in the northern part of central plain.自魏、晋、南北朝之后,中原北方大体已形成以汉族为主,其他少数民族混居的人口构成形式,使中国正式成为具有相似生活习惯的多民族国家。The rulers of Eastern Jin were contented with their sovereign in the south and did not take serious of recovering of the Central Plain.由于东晋统治者安于江南,不以恢复中原为意,门阀大族致力于南方的庄园经营。Those landlord gentries and noble families concentrated their minds on economic developments in the south. Therefore It was possible for the nobles in the south to know the prestigious families and refugees migrated from the north in the war which enhanced the social development in the south.北方大族及大量汉族人口迁徙江南,使得江南的名士与渡江的中原人士有了更多的交流机会,促进了社会文化的发展。Since Wei there was a prosperous development of literature,especially in the Eastern Jin Dynasty.自曹魏以来,中国的文学发展一直处于大步前进的时期,其中以东晋年间的文人最为著名。For example, Xie Lingyun, a landscape poem writer and Tao Yuanming , a pastoral poet grew out of the old style of poem writing and wrote the poems full of imagination and the flavor of rustic life. These new ideas and reforms laid foundation for later flourishing of poems and prose in Sui-Tang dynasties.东晋出现了山水诗人谢灵运、 田园诗人陶渊明等人,他们对旧体诗作出改革,为将来隋、唐的诗文盛世创造了前提条件。In social development, the handicraft industry was advanced in a wide margin compared to that of the Western Jin owing to the melting and communications of the north and the south.在社会生产上,北方的手工业技术与南方的技术相互融合,使东晋的手工业水平比西晋有了大幅度的提高。With the industrious working of the immigrated farmers from the north and the native farmers in the south, enormous wilds were cultivated and empoldered, which made the Yangtze River valley the center of e-conomy following the Yellow River valley in Chinese history.南下的北方农民和土著农民辛勤劳动,开辟南方广大的山泽荒野,促进了江南的开发,使中国经济重心开始由黄河流域向长江流域转移。 /201512/415745内蒙古医学院第三附属医院泌尿系统在线咨询By the end of the Southern and Northern Dynasties, Chinese had experienced north-south separation for a long time.南北朝末年,中国经历了长期的南北分裂后,人民普遍渴望统一。People looked forward to a unified country but no emperor either in the Northern Zhou or the Southern Chen was able to accomplish this. It was not until Yang Jian usurped the throne and founded the Sui Dynasty that the reunification occurred.但北周和南陈的皇帝都没有统一南北的能力;到了杨坚夺取了北周政权、建立 隋朝以后,这一任务才由隋文帝杨坚完成。Yang Jian, a born aristocrat of the Northern Zhou, was Emperor Xuan^ Chancellor of Military Affairs.杨坚出身北周贵族,周宣帝时拜上柱国、大司马。Later when the infant Emperor Jing ascended the throne, Yang was made the chief Minister and took charge of both military and civil affairs. After his suppression of the separatist forces in Henan,Hubei and Sichuan,he cleared away the Yuwen’s families, overthrew the Northern Zhou, declared himself the emperor in the first year of Dading (581) and named his empire the Sui.后来周静帝年幼即位,坚为大丞相,总揽军政大权,在平定了河南、湖北、四川的割据势力后,又剪除了宇文氏诸王室,于大定元年(581)代周称帝,建国号隋,是为隋文帝。As Emperor Wen of the Sui, he immediately carried out his military plans for unification. He first made peace with the Western Turks through marriage and resettled the Eastern Turks; hence trouble was free in the north. Then he attacked the Chen in the south by appointing Yang Guang as marshal.接着,他开始了统一的军事部署,先与突厥和亲,使东突厥归顺,解除了后顾之忧,然后便安排南下伐陈。Yang Guang collected the vanguards forces in Anhui to make preparations for crossing the Yangtze River.文帝以晋王杨广为行军元帅,在安徽前线集结兵力,准备渡江。In the 9th year of Kaihuang (589),the vanguards Han Qinhu and He Ruobi,s forces advanced crossing the Yangtze River from Caishi and Guangling respectively; then they quickly attacked and captured Jiankang. The Chen forces collapsed and its emperor surrendered.开皇九年(589)正月,先锋韩擒虎、贺若弼分别从采石、广陵渡江,直取建康,陈军崩溃,陈后主投降。All forces in the south successively pledged allegiance to the Sui. It took Emperor Wen less than four months to unify the North and the South.南方各地纷纷归附,文帝出兵后不到四个月,便实现了南北统一。Emperor Wen undertook a series of measures to develop the economy, recover production and consolidate the unification.隋文帝实行了一系列发展经济、恢复生产、巩固统一成果的措施。He strengthened the power of the central government by dividing it into six departments under three ministries. Local administrative divisions were also changed from the three-level system (prefectures, sub-prefectures, and counties) to a two-level system ( prefectures and counties). He also reformed the military enlistment system, issued new orders to implement the land equalization system and to mint the five- zhu coins, and standardized weights and measures.他加强中央行政机构的领导,设立三省六部;又改地方州郡县三级制为郡县二级制;改革府兵制;重颁均田令;制定新刑律;新铸五铢钱;统一度量衡等。He entrusted able men like Gao Ying, Yang Su, Niu Hong and Su Wei alike with important positions N Emperor Wen also engaged in developing agriculture and constructing water conservancy as well as irrigation systems, which helped reviving handicraft industry and commerce.他使用得力的大臣高颖、杨素、牛弘、苏威等,坚持以农为本,兴修水利,使手工业和商业得到恢复发展。The completion of the Guangtong Channel made it more convenient for water transportation. The imperial examination system was improved, allowing candidates to enter government offices through examination.文帝又开通广通渠,以便漕运交通,并完善科举制,通过考试选拔人材。During the Renshou years, the number of families in the country reached seven million, the granaries were full and the society was tranquil and economy prosperous.仁寿年间, 全国户口增到700万户,仓廪充实,社会安定,出现欣欣向荣的景象。 /201601/421839呼和浩特首大医院可以用医保卡呼伦贝尔看妇科好不好

呼和浩特市第一医院治疗女性疾病多少钱乌兰察布痛经哪家医院最好的Is something rotten in the state of fashion?时尚界是不是有什么东西在溃烂?On Wednesday — six days after it was announced that the designer Raf Simons was leaving Christian Dior, and weeks after Alexander Wang’s last show for the house of Balenciaga — Lanvin, the oldest surviving French fashion house, announced that its creative director, Alber Elbaz, is also leaving the company, “on the decision of the company’s majority shareholder,” according to a statement from Mr. Elbaz.周三(10月28日),现存的历史最悠久的法国时装公司浪凡(Lanvin)宣布,其创意总监阿尔贝·埃尔巴兹(Alber Elbaz)将离开这家公司。埃尔巴兹在声明中说,“这是公司控股股东的决定。”六天前,设计师拉夫·西蒙斯(Raf Simons)宣布将离开迪奥(Christian Dior)。几周前,王大仁完成了在巴黎世家(Balenciaga)的最后一场时装秀。“Feels like the industry is shedding its skin right now,” Linda Fargo, the women’s fashion director of Bergdorf Goodman, wrote in an email.“感觉这个行业正在蜕皮,”波道夫·古德曼百货公司(Bergdorf Goodman)的女装总监琳达·法戈(Linda Fargo)在接受邮件采访时说。But unlike Mr. Simons and Mr. Wang, both of whom lasted approximately three years at Dior and Balenciaga respectively, Mr. Elbaz has been at Lanvin since 2001. He single-handedly revived the brand, making it a favorite of regular women and celebrities like Meryl Streep and Natalie Portman, in the process becoming one of fashion’s most beloved figures.西蒙斯和王大仁分别在迪奥和巴黎世家待了大约三年,而埃尔巴兹从2001年起就为浪凡效力。他凭一己之力复兴了这个品牌,让它成为受到普通女性和名人(比如梅丽尔·斯特里普[Meryl Streep]和纳塔莉·波特曼[Natalie Portman])青睐的品牌。在此过程中,他也成为时尚界最受喜爱的人物之一。He is known not only for his talent, but also for his generosity (he regularly sends flowers to other designers before their shows) and his self-questioning. Last week, receiving his award at the Fashion Group International Night of Stars, the Roger Vivier designer Bruno Frisoni noted that the event was especially important to him because Mr. Elbaz was also being honored. “I love you, Bruno,” Mr. Elbaz called out.他的名声不仅在于才华,而且在于慷慨(他经常在其他设计师的时装秀之前给他们送花)和自我反省。上周,Roger Vivier的设计师布鲁诺·弗里索尼(Bruno Frisoni)在国际时尚组织(Fashion Group International)的群星之夜(Night of Stars)领奖时说,这场活动对他来说尤为重要,因为埃尔巴兹也获奖了。“我爱你,布鲁诺,”埃尔巴兹大声回应道。In his statement Wednesday, he also expressed “gratitude and warm thoughts” and “affection” for all his colleagues. (When contacted for comment for this article, he texted a heart emoji to me, but no words).在周三(10月28日)的声明中,埃尔巴兹也向全体同事表达了自己的“感激之情、温暖的感受”和“喜爱之情”(我请他就本文做出时,他回复了一个心形表情符号,没说别的)。As a result, and though Lanvin itself is privately held (it is owned by the Taiwanese publishing magnate Shaw-Lan Wang, and Mr. Elbaz reportedly has a 10 percent stake) and relatively small, with 2014 revenues of 250 million euros, Mr. Elbaz was regularly on the shortlist for every major fashion appointment in the last five years.虽然浪凡本身为私人所有(它属于台湾出版大亨王效兰,据说埃尔巴兹有10%的股份),规模相对较小,2014年的总收入仅为2.5亿欧元,但是在过去五年里,埃尔巴兹经常出现在所有大型时装公司的终选名单上。But he regularly denied any impulse to leave. In 2011, when asked if he would consider moving to another brand from Lanvin, he told The Financial Times: ‘“How could I do that? The people who work there enable me to do what I do. They are my orchestra. I can’t say to them, ‘Oh, bye, Mummy’s leaving now.’ ” In the end, it was not his decision, though a pointed line in his statement — that he hoped the brand found “the business vision it needs to engage in the right way forward” — suggests disagreement between himself and his corporate colleagues.不过,他拒绝了所有离开的机会。2011年,《金融时报》(The Financial Times)问他是否考虑跳去别的品牌,他回答说:“我怎么可能那样做呢?在这里工作的人帮我实现了愿望。他们是我的管弦乐队。我不能对他们说,‘哦,再见啦,妈妈要走了。’”最后也不是他决定要离开。不过他在声明中说,希望这个品牌找到“它需要向前推进的正确商业目标”,这句尖锐的话表明他和公司同事之间存在不同想法。Still, Mr. Elbaz has also long expressed a certain discomfort with the direction the industry at large is taking. Receiving his Fashion Group International award, he said, “We designers, we started as couturiers, with dreams, with intuition, with feeling.” Then, he said: “We became ‘creative directors,’ so we have to create, but mostly direct. And now we have to become image-makers, creating a buzz, making sure that it looks good in the pictures. The screen has to scream, baby.”不过,很久以来,埃尔巴兹也表达了自己对这个行业总体发展方向的某种不适。在领取国际时尚组织的大奖时,他说,“我们设计师本来是裁缝,有着梦想、直觉和感受”,后来“我们成了‘创意总监’,所以我们必须去创造,不过大多是进行指导。现在,我们必须变成形象创造者,要引起轰动,确保照片拍出来很棒。屏幕必须尖叫,宝贝”。But, he said, “I prefer whispering.” Combined with Mr. Simons’s departure for “personal reasons,” and Mr. Wang’s, this is sure to exacerbate the storm of existential self-questioning currently roiling the fashion world and focused on “the system.” Whether the constant cycle of collection after collection, far-flung store opening after far-flung store opening, Instagram after YouTube, demands too much of its creative talent. Whether, as Mr. Elbaz said at FGI, “everyone in fashion just needs a little more time.”他说,但“我更喜欢低语”。再加上西蒙斯“因个人原因”离职和王大仁的离职,这无疑加剧了目前搅动时尚界的风暴,人们纷纷在质疑自我存在感,并把目光聚焦到“体制”上。一个又一个系列,一个又一个遥远的店铺开幕,发完Instagram又要发YouTube,这些是不是对创意人才的要求太高了。或者是否就像埃尔巴兹在国际时尚组织颁奖礼上说的,“时尚界的每个人都需要多一点时间。”That is part of the problem, no question. But I also think it’s actually time to look a little harder at what is going on. Because, while “the system” is a disembodied, nonspecific entity that may be the most obvious culprit for our dissatisfaction, it seems to me that all these departures are also a very powerful reflection of an insidious, and potentially more destructive, trend.毋庸置疑,这是一个问题。不过我也觉得,现在应该更仔细地研究一下到底是什么情况。因为,虽然“体制”这种空洞的东西可能是我们不满的最明显的罪魁祸首,但是在我看来,这些设计师离职也有力地反应出一股潜在的、可能更具破坏力的潮流。That is, the current situation in which brands treat designers as “work for hire” — stewards that set a course for a style ship for a time, but who can be replaced as necessary while the ship itself sails on — and its inevitable corollary: that designers start to see themselves the same way. The result transforms the relationship from that of a marriage, where you pledge to love and care for each other through sickness and in health, into a dispassionate contract-to-contract arrangement.目前的情况是,品牌认为设计师是“雇佣工”,是在一段时间内为一艘时尚大船导航的舵手,但是在向前行进的过程中,如果需要,他可以被取代;这种态度带来的必然结果是,设计师们也开始这样看待自己。结果,设计师和品牌的关系从原本类似婚姻的关系——发誓相互关爱,同甘共苦——变成了冷漠的合同关系。While on the one hand this makes for a cleaner and more professional pairing — one less fraught with the highs and lows (and mood-altering drugs and rehab stints) of the generation before, like Mr. Galliano and Alexander McQueen, one where expectations between the parties are theoretically aligned — it also means that creative directors are more willing to weigh the costs and benefits of an employment situation and make a conscious judgment that it may no longer be working for them.这样虽然能结成更简单、更职业的合作关系——不像上一代,合作过程中充满起伏(以及令人心情动荡的吸毒和戒毒事件),比如加利亚诺(Galliano)和亚历山大·麦昆(Alexander McQueen)——双方对彼此的期待从理论上讲是一致的,但它也意味着,创意总监们更容易去权衡一个职位的代价和利益,会有意识地考虑这个职位是否还适合自己。Put another way: They can leave. And increasingly, it seems, they do.换句话说:他们可以离开。而且他们似乎正在越来越多地这样做。Fashion is now on a slippery slope of its own making that began with Tom Ford’s departure from Gucci Group in 2003. It was a rupture caused by disagreements over the scope of his power that was first seen as a dire event (How would Gucci survive without its superstar designer?) and latterly introduced the ascension of the brand: the idea that it was the house that mattered, and the designer served that master.如今,时尚界正沿着自己开创的滑坡下滑。这始于2003年汤姆·福特(Tom Ford)离开古驰集团(Gucci Group)。他们关系的破裂源于对福特权限范围的不同意见。最初,人们觉得福特的离开非常可怕(没有这位超级明星设计师,古驰怎么生存下去呢?),后来,这个事件反倒拔高了这个品牌的地位:人们开始认为,重要的是这个公司,设计师只是为主人务。Gucci tested the theory by hiring three unknown creative directors after Mr. Ford (for women’s wear, men’s wear and accessories), a situation that lasted only until 2006, when one of them, Frida Giannini, became the sole creative director. Ms. Giannini remained at her post for nine years, before being replaced earlier this year by Alessandro Michele, also an unknown.古驰验了这个理论的正确性。在福特离开后,古驰聘用了三位不出名的创意总监(分别负责女装、男装和配饰)。这种状态只持续到2006年,那一年,三位总监中的弗丽达·詹尼尼(Frida Giannini)成了唯一的创意总监。詹尼尼在这个职位上待了九年,今年年初,她被同样不出名的亚历山德罗·米歇尔(Alessandro Michele)取代。Meanwhile, other brands began to go through creative directors at a notable rate, for a variety of different reasons. Alessandra Facchinetti, Gucci’s head of women’s wear post-Ford, was let go from the brand in 2005, and joined Moncler Gamme Rouge, before jumping to Valentino, only to be replaced after two collections and hop to Pinko, where she introduced a new collection called Uniqueness in 2011, leaving in 2013 to become creative director of Tod’s following the American designer Derek Lam, who had been there for six years. (Phew.)与此同时,其他品牌开始以惊人的速度更换创意总监,原因各不相同。取代福特负责古驰女装的亚历山德拉·法基内蒂(Alessandra Facchinetti)在2005年离开该品牌,加入Moncler Gamme Rouge,后来又跳到华伦天奴(Valentino)。她在华伦天奴只设计了两个系列就跳到了Pinko。2011年,她在Pinko推出了一个名叫Uniqueness的新系列,但是2013年就离开Pinko去Tod’s做创意总监。她在Tod’s的前任是美国设计师林达克(Derek Lam),后者在Tod’s做了六年(哇!)。At Nina Ricci, Lars Nilsson was creative director from 2003 to 2006 before being replaced by Olivier Theyskens (2006 to 2009), who in turn was replaced by Peter Copping (2009 to 2014), who was replaced by Guillaume Henry. Mr. Theyskens resurfaced at Theory in New York in 2011, where he lasted for just over three years.丽娜蕙姿(Nina Ricci)的创意总监也是不停地换,2003年至2006年是拉斯·尼尔森(Lars Nilsson),2006年至2009年是奥利维耶·泽斯肯斯(Olivier Theyskens),2009年至2014年是彼得·科平(Peter Copping),之后是纪尧姆·亨利(Guillaume Henry)。2011年,泽斯肯斯复出,就职于纽约的Theory,他在那里待了三年多。(In case you were wondering, the standard term for most creative director contracts is at least three years.)(你可能会想怎么都是三年,这是因为大部分创意总监的合同期限都是至少三年)。At Céline, Michael Kors left in 2004, and was replaced by Roberto Menichetti, who after two seasons was replaced by Ivana Omazic, who in 2008 was replaced by Phoebe Philo, who famously insisted (after leading Chloé from 2001 to 2006, when she resigned — shades of Mr. Simons — for personal reasons) that she be allowed to stay in London with her family, and work from there.思琳(Céline)的情况是这样的:2004年迈克尔·高仕(Michael Kors)离开后由罗伯托·梅尼凯蒂(Roberto Menichetti)接任;两季之后,他被伊万娜·奥马齐克(Ivana Omazic)取代;2008年,菲比·菲洛(Phoebe Philo)又取代了奥马齐克(2001年至2006年菲洛执掌Chloé,后来因个人原因辞职,跟西蒙斯的说法一样)。菲洛坚持要求允许自己在伦敦工作,可以和家人待在一起。It’s a decision that has been cited often in the last week as an example of the way the current generation of designers has made an effort to prioritize their own needs along with their brands’ needs for better balance, as was Alexander Wang’s decision, made mutually with the brand, not to renew his contract with Balenciaga, in part to concentrate on his own company.在过去一周里,这个决定经常被拿来作为一个例,明这一代设计师们会权衡自己和自己品牌的需要,更追求平衡。王大仁不再和巴黎世家续签合同的决定是和这个品牌共同做出的,部分原因也是为了专注于自己的公司。Whether or not Balenciaga actually wanted him to stay (as Dior did with Mr. Simons), or it aly thought things weren’t working out — and it has since appointed Demna Gvasalia of the French label Vetements to the post — Mr. Wang didn’t go quietly into that good night. He went running and jumping and practically celebrating, as all of us who were at his final Balenciaga show could see, suggesting that he was more than happy to be free of the grind.不管巴黎世家是真的想挽留他(就像迪奥挽留西蒙斯那样)还是已经认为这样不可行——巴黎世家后来任命法国品牌Vetements的设计师戴姆娜·吉瓦萨利亚(Demna Gvasalia)接任此职——王大仁都不是悄悄地消失在美好的夜色里。在他巴黎世家的最后一场时装秀上,我们看到他又跑又跳,简直就是在庆祝,表明自己为摆脱束缚感到万分开心。We have reached the point where designers feel as justified in leaving a brand as the brand does in leaving them — and after it has happened once, for whatever reason (as it did when Mr. Simons left Jil Sander in 2012 under cloudy circumstances), it gets easier to do.如今,就像品牌觉得解雇某个设计师完全合乎情理,设计师们也觉得自己离开某个品牌完全合乎情理。这样的事情一旦发生过——不管因为什么原因(比如2012年,西蒙斯不太愉快地离开Jil Sander)——以后就更容易发生了。Indeed, Ms. Philo has publicly mused about her desire to spend more time in nature, and that, combined with the fact she left Chloé at the height of her success, has made rumors of a potential departure from Céline almost impossible to squash. It’s simply too believable that she could just walk away, not because she had a different job offer or a falling out with management, but because she simply wanted a different life. Like Mr. Simons.的确,菲洛已经公开提到想更多接触大自然,再加上她是在非常成功的时候离开Chloé的,所以关于她想离开思琳的传言几乎很难粉碎。人们太容易相信,她可以一走了之,不是因为有了其他工作机会或者和管理层不和,而仅仅是因为她想过不一样的生活。就像西蒙斯那样。The problem is, if we divorce emotion from the creative process, if designers don’t care as much about their brand, and brands are not as wed to their designers as they were when the same name shaped a sartorial identity over decades, then the risk is that consumers will feel the same way. It’s the part of this equation that doesn’t add up.问题是,如果创作过程中没有感情,设计师不像从前那么在乎品牌,品牌和设计师的联系也不像从前那么紧密(以前,一种独特的裁剪风格来自同一位设计师数十年的塑造。),就会出现这样的风险:消费者也会有同样的感觉。这才是这种关系不平衡的地方。As a retailer who asked to remain anonymous because she sells many of the brands said on hearing the Lanvin news: “Why do people covet Chanel or Comme des The brands send a consistent message about what they are and what they stand for. If you are going to invest, you invest in that. Even if you don’t like a collection or a season, you can’t deny the purity of the message. All these changes means fashion doesn’t feel pure any more. What do you say to the women?”一位零售商(她要求匿名,因为她销售很多品牌)听到浪凡的新闻后说:“人们为什么渴望香奈儿(Chanel)或Comme des Gar 因为关于这些品牌是什么以及它们所代表的东西,它们传递的信息是连贯一致的。你要是投资的话,你投资的是这个。即使你不喜欢某个系列或某一季的装,你也不能否认这个信息的纯粹性。而现在这些变化表明,时尚界不再那么纯粹了。你该跟女顾客们说什么呢?”When designers leave, by choice or not, the value proposition becomes broken. No one needs a new bag, or a fancy dress; they desire them because of what they represent. Once upon a time, Mr. Elbaz said in his Fashion Group speech, he used to ask himself: “What do women want? What do women need? What can I do for a woman to make her life better and easier?”设计师们不管是主动离开还是被动离开,品牌的价值定位都会被打破。没有人需要一个新包或者一件漂亮的新裙子。她们想要的是这些东西所代表的价值。埃尔巴兹在国际时尚组织的获奖致辞中说,他过去常常问自己:“女人们想要什么?女人们需要什么?我能做些什么,让她们的生活变得更好、更轻松?” Without that — the seduction and sentiment, the promise of transformation — it’s just stuff. And really, who wants that?如果没有那些——诱惑和情感,能带来变化的承诺——那就是只是些东西而已。真的,谁需要那些呢? /201511/407455呼和浩特和林格尔县无痛人流医院排名呼和浩特清水河县看妇科哪家医院最好的

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