平特肖公式大全中华文本库来源:环球运费网 2019-12-12 21:40:20 A-A+


  “I never thought I was anyone that Max Mara would be interested in,” says Ian Griffiths, the Italian house’s creative director, who has been with the company for 32 years. The thoroughly English, Derbyshire-bred ex-punk rocker won a student competition to work there in 1987 and has remained ever since. Over the course of his tenure as head designer, the 57-year-old has quietly and consistently created subtle, enduring classics: the perfect crisp white shirt, the reliably flattering cigarette trouser and the famously cozy Teddy Bear coat.

  Even before he was a fashion student at Manchester Polytechnic in the 1980s, Griffiths was inspired by his hero David Bowie and experimented wildly with his own image, creating avant-garde outfits that he’d wear to the legendary music venue (and New Order haunt) in town, the Haçienda. “That side of me is still part of my psyche, even though I don’t look like that now,” says Griffiths, who has moved on to a uniform of bespoke Savile Row suits. He began his career at Max Mara, based in Reggio Emilia, as a junior designer under the French stylist Anne-Marie Beretta, who helped define the look of working women in the ’80s with her iconic double-breasted 101801 camel coat; she remains one of his greatest influences. Beretta created clothes that “gave women the chance to break into the corridors of power,” says Griffiths, who lives in Milan and London. “I still design for that woman, but as she would be today.”

  “This is me at the Collezione Maramotti, the private contemporary art collection created by Max Mara founder Achille Maramotti. When I started, this building was the company’s headquarters, and Achille would hang his new acquisitions in the public spaces. I think his intention was to broaden his employees’ minds. I saw this Richmond Burton painting (‘Thought Plane Assembly 1,’ 1990-91) every day for years, and it’s part of my life.”

  Left: “I collect all sorts of things, including bespoke suits. But now my husband, Mark, has banned me from buying any more stuff, so I have to focus on small things that I can easily sneak into the house, like pocket squares. Every morning, I post a new combination of suit and pocket square on Instagram. This is a cashmere suit with a vintage silk square I found at a shop on Camden Passage in London, near our house in Islington.”

  Right: “I have a board next to my desk with images of my muses — mostly pioneering women, some men — and have always been fascinated by Marilyn Monroe. I imagine that she would have been a punk if she had lived at the right time. I have somehow conflated her with Siouxsie Sioux and invented an imaginary muse, Siouxsie Monroe.”

  Left: “Claudio Parmiggiani’s ‘Natura Morta con Testa Nera’ (1974), at the Collezione Maramotti, for me embodies the relevance of classical mythology in contemporary life. I particularly love Pat Barker’s, Madeline Miller’s and Margaret Atwood’s feminist retellings of classic stories and myths. One day, when I’m no longer a fashion designer, I would like to write the story of the sea goddess Amphitrite.”

  Right: “The Neues Museum in Berlin, restored by David Chipperfield in 2009, is my favorite building at the moment. I studied architecture for a year at university, and that instinct has really stayed with me. When I’m designing a coat, I think like an architect would.”

  “At the Max Mara archive, we preserve everything. The building is a former stocking factory that now contains around 300,000 garments dating back to the brand’s founding in 1951, as well as over 8,000 historical reference garments, arranged across three floors (the total area is close to an acre). Everything I’ve ever done is in there, including a black kimono-sleeved skirt suit — the look that first got me in the door.”

  Left: “‘Bella figura’ is an Italian expression that means looking and acting your best. It applies to every aspect of Italian culture — art, fashion, cars and, of course, food. My favorite restaurant in the world is Da Giacomo in Milan. I come here with my team and my husband to celebrate after every show, and I always have the antipasto crudo di mare.”

  Right: “Here I am in Manchester in 1981. The photo was taken by a friend — we’d just dressed to go to a club called Legend. We would spend all afternoon getting ready. I’d make myself an outfit from a pair of old curtains in 45 minutes, but my makeup would take three hours.”

  Left and center: “These are hollyhocks and verbena (left) and poppies (center) from the garden at our Suffolk cottage, where we try to spend two weekends each month. This is the first time I’ve had a garden, and it’s an enormous source of pleasure for me. The area — once home to Anglo-Saxon kings — is quite romantic and also has marshes, woods and heathland. You can walk for seven miles to the sea through a completely natural landscape.”

  Right: “Our cottage is not sophisticated — it’s ramshackle — and I love to fill it with things that could be considered slightly kitsch, like these English Toby jugs, which I only collect in shades of camel, ecru and black. Even when I’m buying kitschy jugs, I’m buying them in Max Mara colors!”

  Left: “At last count, there were 70 chairs in our London home. A pair of Eileen Gray’s Transat chairs are next on my list of acquisitions — when I can get my husband’s spending embargo lifted.”

  Right: “This is my mum and dad’s wedding in Lancaster in 1958. She usually made her own clothes, but in this case, she bought her wedding dress from a dressmaker in Southport, near Liverpool, where she met my dad. The dress says everything about her sense of individuality and style. She didn’t choose something white and frothy like everyone else — it was a copy of a more unconventional Balenciaga design. She was my first muse and still is even now, at 82.”

  Left: “This is the Glamis coat, which debuted in 2012, the year before the Teddy. We reissued it after this photo of Nancy Pelosi wearing a red version went viral last December. The world is a bit scary right now, and I think we all need something to snuggle.”

  Right: “I had the great honor of being tutored by the designer Ossie Clark at Manchester Polytechnic, and this is an ink study of a Schiaparelli design from the 1930s that I made for a project at the time. In those days, we didn’t have smartphones or even photocopiers, so when you did research, you’d have to draw the thing that interested you, and in drawing it, you’d realize what it was.”




  【随】【着】【北】【方】【鲜】【卑】【人】【统】【帅】【轲】【比】【能】【被】【刺】【杀】,【鲜】【卑】【联】【军】【果】【然】【从】【内】【部】【开】【始】【一】【点】【点】【的】【分】【裂】【溃】【散】。 【几】【乎】【不】【需】【要】【特】【意】【的】【推】【波】【助】【澜】,【之】【前】【第】【二】【大】【部】【落】【的】【步】【度】【根】【第】【一】【个】【站】【出】【来】【要】【担】【任】【联】【军】【的】【首】【领】。【可】【之】【前】【跟】【他】【势】【同】【水】【火】【的】【其】【他】【部】【落】【也】【站】【出】【来】【反】【对】,【一】【时】【间】【联】【军】【营】【帐】【内】【整】【日】【都】【充】【实】【着】【争】【吵】【声】,【根】【本】【没】【有】【人】【还】【有】【心】【思】【想】【着】【攻】【打】【中】【原】【这】【件】【事】。

  【林】【洛】【和】【林】【言】【被】【留】【在】【卞】【城】【府】【虽】【然】【有】【所】【不】【甘】,【但】【他】【们】【很】【清】【楚】【现】【在】【不】【是】【自】【己】【能】【够】【任】【性】【的】【时】【候】。 “【你】【说】【母】【亲】【这】【一】【次】【需】【要】【多】【久】【才】【能】【回】【来】?” 【从】【他】【们】【记】【事】【以】【来】,【母】【亲】【总】【是】【有】【着】【忙】【不】【完】【的】【事】,【所】【以】【他】【们】【已】【经】【习】【惯】【了】【在】【母】【亲】【出】【门】【在】【外】【的】【日】【子】【里】【自】【己】【排】【解】【寂】【寞】。 【他】【们】【龙】【凤】【胎】【两】【人】【还】【算】【好】,【可】【以】【说】【说】【话】,【日】【子】【过】【得】【也】【便】【更】【快】【一】【些】,

  【张】【敏】【峰】【又】【扫】【到】【另】【外】【一】【条】【新】【闻】,【最】【新】【的】IT【新】【贵】,【最】【有】【影】【响】【力】【的】【新】【人】——【陈】【煜】【霆】。 【就】【是】【刚】【才】【说】【自】【己】【吃】【软】【饭】【的】【那】【个】【男】【人】。 【只】【有】【很】【有】【底】【气】,【才】【能】【如】【此】【自】【黑】。 【张】【敏】【峰】【顿】【时】【整】【个】【人】【都】【蔫】【了】,【再】【也】【嚣】【张】【不】【起】【来】,【怎】【么】【可】【能】【嚣】【张】? 【因】【为】【他】【同】【人】【家】【比】,【怎】【么】【也】【比】【不】【上】,【真】【的】【比】【不】【上】。 【所】【以】【才】【会】【是】【现】【在】【这】【样】【的】【情】【况】。

  【血】【骷】【魔】【仓】【促】【之】【间】【使】【出】【的】“【血】【焰】【碾】【杀】【戟】”【竟】【是】【后】【发】【先】【至】,【狠】【辣】【的】【划】【过】【樊】【冲】【篱】【的】【腹】【部】,【若】【非】【腹】【部】【的】【护】【甲】【还】【算】【完】【好】,【这】【一】【击】【定】【然】【能】【将】【他】【开】【膛】【破】【肚】,【五】【脏】【六】【腑】【都】【烧】【个】【一】【干】【二】【净】。【即】【使】【如】【此】,【紫】【红】【水】【晶】【战】【戟】【上】【残】【余】【的】【威】【力】【依】【旧】【在】【他】【的】【腹】【部】【划】【出】【一】【道】【焦】【黑】【的】【口】【子】,【强】【烈】【的】【灼】【烧】【感】【和】【疼】【痛】【瞬】【间】【涌】【入】【四】【肢】【百】【骸】,【令】【得】【樊】【冲】【篱】【忍】【不】【住】【发】【出】【痛】【苦】平特肖公式大全中华文本库“【究】【竟】【是】【谁】【蛊】【惑】【你】【来】【找】【我】【麻】【烦】【的】?” 【维】【克】【托】【声】【音】【不】【大】,【却】【清】【晰】【地】【传】【到】【了】【海】【尔】【丁】【的】【耳】【畔】。【他】【坐】【在】【椅】【子】【上】【悠】【闲】【地】【翘】【起】【二】【郎】【腿】,【双】【手】【十】【指】【交】【叉】【搁】【置】【于】【膝】【盖】【上】,【面】【容】【虽】【然】【带】【着】【笑】【意】【但】【却】【隐】【隐】【透】【着】【威】【压】。 【面】【对】【维】【克】【托】【的】【诘】【问】,【海】【尔】【丁】【沉】【默】【了】【一】【会】,【才】【舔】【了】【舔】【干】【瘪】【的】【嘴】【唇】,【艰】【难】【地】【开】【口】【说】【道】:“……【没】【有】【人】【让】【我】【来】,【是】【我】【自】【己】




  【如】【果】【不】【是】【胡】【烦】【一】【及】【时】【砍】【下】【了】【张】【强】【的】【那】【届】【手】【指】,【恐】【怕】【这】【个】【时】【候】【魏】【有】【成】【就】【已】【经】【一】【命】【呜】【呼】【了】。 【胸】【口】【上】【的】【伤】【疤】【只】【留】【下】【了】【浅】【浅】【的】【一】【道】,【双】【臂】【整】【个】【被】【削】【平】,【伤】【口】【甚】【至】【让】【人】【不】【忍】【去】【看】! 【魏】【有】【成】【脸】【色】【苍】【白】【直】【接】【昏】【迷】【了】【过】【去】,【何】【苗】【苗】【立】【即】【过】【来】【架】【住】【魏】【有】【成】。 “【快】!【你】【们】【先】【去】【书】【屋】【帮】【他】【的】【伤】【口】【做】【一】【下】【紧】【急】【处】【理】,【也】【治】【一】【治】【自】【己】【的】【伤】

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