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  Born in Biella, a mountainous province in northern Italy known for its fine wool, Alessandro Sartori grew up just a few miles from the fabric mill where, half a century earlier, Ermenegildo Zegna — the Italian luxury house of which Sartori is now artistic director — got its start. His father designed mechanical looms, while his mother ran a tailoring shop. “I remember being just 3 or 4 and watching in awe as she altered wedding dresses and winter coats,” he says. “Being surrounded by sketches and patterns and fittings has always felt like my most natural habitat.” As a teenager in the late ’80s, he studied textile engineering and joined Zegna soon after, working first as a product designer and later as the director of the brand’s sporty Z Zegna diffusion line. Following a hiatus at Berluti, he returned to the fourth-generation family-owned company in 2016 in his current role and began deconstructing the rigid, traditional dress codes to which it had long adhered.

  “The new generation doesn’t want the same old stiff suit their father wore; they want a totally personalized silhouette,” says the designer, 52. “Nowadays, you mostly see formal suiting at funerals and in court.” Instead, Sartori champions technical rigor — he’s pioneered high-performance materials including crease-free and machine-washable wools — and the concept of an infinitely modular wardrobe. As he sees it, his ultralightweight anoraks, leather-mesh sweatshirts and utilitarian bombers can just as easily be paired with high-waisted double-pleat trousers as with track pants that cleverly unzip into shorts; he also makes topcoats and button-downs with interchangeable collars and detachable French cuffs. “In an era that’s embracing the Silicon Valley hoodie-and-sneaker office look, men’s wear needs to be malleable,” he says, adding, “a heritage brand may as well be declared dead the moment it stops evolving.”

  “Here I am in Death Valley on a road trip I took in 2014, traveling west from Miami to Southern California. I often spend my vacation days driving across America — it’s the best country for it because you can go for such long distances and see so many strikingly different landscapes.”

  Left: “I keep this Sabine Weiss photo of Alberto Giacometti in my Milan office. I love his slightly off-kilter but always chic personal style. He’d be perfectly dressed in a jacket and tie while lying on the floor to work on a sculpture and end up completely covered in plaster, sand and bronze resin.”

  Right: “We held our spring 2019 show at Milan’s Mondadori building. It was designed by the Brazilian architect Oscar Niemeyer in 1968, which happens to be the year Zegna launched ready-to-wear, and was a fitting setting because Niemeyer’s work was one of the main inspirations for the collection. I thought a lot about how he created contrasts between outdoor and indoor spaces.”

  Left: “Zegna’s culture of sustainability began in the 1930s when Ermenegildo planted 500,000 plants and trees in the countryside surrounding his factories. It’s equally important today. A quarter of my fall 2019 collection was made from recycled materials and Zegna factory offcuts, and we recently developed all-natural dyes derived from herbs, flowers and leaves.”

  Right: “Leonardo da Vinci’s ‘Cenacolo’ at the Santa Maria delle Grazie chapel in central Milan is my favorite fresco. What I find most interesting about it is how he created the illusion of three-dimensional depth. I also adore the rich color palette of the clothing, which somehow looks very modern to me even though the work was painted in 1498.”

  Left: “Lisbon is one of my favorite places to visit. It’s uniquely positioned between the ocean and the river, and has amazing light. Alfama, which is filled with Baroque porcelain tiles, is also the neighborhood with the best views and most divine food. This is the sort of place where friends sit down at 10 p.m. on a weekday for a laid-back dinner. I just want to go back there again and again — it’s almost as if the city has attached pieces of itself to my soul.”

  Right: “In 2016, I designed a bespoke shoe collection. Each pair, from laced loafers to derbies and gussets, was inspired by a different friend of mine. These deco square dress oxfords were for my friend Michael, who works as a sommelier in Paris.”

  Left: “This is a sketch of a denim-on-denim look from my spring 2019 collection — we start every outfit with a drawing because it helps us anticipate how the silhouette will create shadows and take on forms and folds. For this look, we used an indigo fabric that had been deep-washed and repeatedly dyed this completely organic violet color. I try to bring in elements of street wear, like an oversize cargo pocket or jean material, and elevate them into couture.”

  Right: “I first discovered the work of the German artist Joseph Beuys when I was a design student in Milan and was totally struck by its exquisite juxtapositions. This sculpture, ‘Stuhl mit Fett’ (1963), shows a simple wooden chair paired with a slab of fat. Of all the artists in the world, I’m drawn to Beuys the most. Even his voice, sense of style and persona totally enchant me.”

  Left: “I think of myself as an archivist and spend a lot of time in our Trivero archive researching prints and patterns from the past. These funky samples are from the early ’70s and were originally preserved by the Heberlein Fund, a 2,200-volume collection of 20th-century textiles that Zegna acquired in 2011. To me, the idea of taking something rooted in a specific period and giving it a modern twist is both beautiful and just plain sensible.”

  Right: “Marcello Mastroianni is a true icon of Italian style, and I’m very much in love with him. He was totally addicted to fabrics and had such a natural knack for styling — he’d wear ties with little knots, crazy-bright colors and classic silhouettes. Here he is looking like the last word on chic alongside Anna Karina in the 1967 film ‘The Stranger.’ I could watch that movie, along with ‘8 1/2’ and ‘Casanova 70,’ every day and never get tired of it.”

  Left: “This is an Uli Weber photo of antique Fords at the Goodwood Revival, the annual vintage car race and festival in West Sussex. I’m obsessed with cars, and my own collection of vintage models includes a midnight blue 1965 Mustang, a 1970 Porsche 911 and a citrus orange 1982 Porsche Turbo, which I like to use for trips from Milan to the Trivero mills. Because I grew up nearby, whenever I’m up there for work, I visit my mom.”

  Right: “I’m infatuated with the ballet and spent eight months working closely with my dear friend Benjamin Millepied on these costumes for an L.A. Dance Project performance at the Chinati Foundation in Marfa, Tex., in 2017. The silk and jersey outfits were hyper-stretchy and almost weightless. As the dancers flew around, the fabrics became more and more voluminous, growing into these giant shapes and fluid wavelike forms. Watching the movement was totally exhilarating.”



  2016144开奖结果【十】【一】【月】【十】【二】【号】,【天】【晴】【多】【云】。 【宝】【贝】【已】【经】【顺】【利】【诞】【下】【一】【名】【健】【康】【的】【男】【婴】,【我】【也】【正】【式】【成】【为】【了】【一】【名】【新】【晋】【奶】【爸】。【这】【当】【中】【有】【太】【多】【的】【情】【绪】【难】【以】【言】【喻】,【一】【时】【之】【间】【让】【我】【有】【些】【恍】【若】【隔】【世】【的】【感】【觉】。 【回】【想】【起】【当】【初】,【宝】【贝】【刚】【追】【我】【那】【时】,【我】【对】【她】【的】【态】【度】【近】【乎】【冷】【漠】【到】【无】【从】【记】【起】。【我】【也】【从】【未】【想】【过】【跟】【她】【有】【未】【来】【可】【言】,【甚】【至】【觉】【得】【她】【会】【爱】【上】【我】【也】【是】【一】【件】【很】【可】【笑】【的】

  “【呶】,【他】【就】【坐】【在】【第】【五】【排】【靠】【走】【廊】【的】【那】【个】【位】【置】。” 【赵】【婷】、【杨】【晴】【顺】【着】【杨】【姐】【手】【指】【的】【方】【向】【望】【去】,【一】【堆】【估】【摸】【十】【几】【本】【叠】【起】【的】【书】【挡】【住】【离】【三】【的】【脸】,【倒】【是】【描】【述】【相】【似】【的】【穿】【着】【映】【入】【她】【们】【的】【眼】【帘】。 “【真】【没】【有】【想】【到】【这】【个】【孩】【子】【不】【但】【勤】【奋】,【而】【且】【这】【么】【坚】【强】。”【杨】【姐】【喃】【喃】【细】【语】【道】。 【脖】【子】【上】【挂】【着】【单】【反】【的】【赵】【婷】,【一】【手】【拿】【圆】【珠】【笔】,【一】【手】【拿】【小】【本】【子】,【本】【子】【上】

  【白】【皓】【雪】【说】【完】,【把】【手】【里】【的】【合】【约】【交】【给】【楚】【音】【儿】:“【楚】【姑】【娘】,【这】【些】【文】【件】【你】【先】【拿】【着】,【等】【我】【找】【到】【霁】【寒】【煜】【后】【再】【说】。” 【说】【完】,【白】【皓】【雪】【也】【不】【管】【楚】【音】【儿】【是】【什】【么】【表】【情】,【同】【意】【还】【是】【不】【同】【意】,【就】【立】【刻】【跑】【了】。 “【喂】……【你】……” 【楚】【音】【儿】【看】【到】【白】【皓】【雪】【跑】【的】【越】【来】【越】【远】,【没】【一】【会】【儿】【就】【不】【见】【的】【背】【影】,【只】【能】【无】【奈】【的】【叹】【口】【气】。 【楚】【音】【儿】【原】【本】【也】【打】【算】【打】【道】

  “【他】【们】【虽】【然】【与】【我】【们】【同】【属】【太】【古】【一】【族】,【但】【是】【那】【些】【族】【人】【都】【是】【听】【命】【于】【黑】【天】【尊】,【而】【极】【寒】【之】【地】【的】【族】【人】【们】,【都】【是】【听】【命】【于】【我】!【在】【族】【群】【遇】【到】【危】【险】【的】【时】【候】,【我】【们】【都】【是】【相】【互】【挽】【救】【的】!”【青】【帝】【不】【疾】【不】【徐】【的】【道】。 【听】【了】【青】【帝】【的】【话】,【宋】【坤】【算】【是】【明】【白】【了】【过】【来】,【当】【即】【点】【了】【点】【头】,“【原】【来】【如】【此】!” “【好】【了】,【宋】【坤】,【八】【极】【宗】【已】【经】【帮】【你】【覆】【灭】【了】,【我】【等】【就】【要】【离】【开】

  【终】【于】,【考】【试】【的】【第】【三】【天】,【最】【后】【一】【天】。 【不】【管】【有】【多】【不】【愿】【意】【考】【试】,【莱】【尔】【也】【必】【须】【参】【加】。 【魔】【咒】【课】,【贝】【克】【利】…… “【你】【们】【要】【写】【卷】【子】,【写】【完】【的】【人】【到】【另】【一】【个】【屋】【子】【考】【核】。”【监】【考】【的】【普】【克】【奇】【尖】【声】【说】【道】。【可】【惜】【不】【是】【石】【刺】,【是】【一】【个】【完】【全】【陌】【生】【的】【普】【克】【奇】。 【拿】【到】【卷】【子】,【果】【不】【其】【然】,【满】【满】【一】【张】。【考】【核】【最】【大】【时】【间】【是】【四】【十】【分】【钟】。【莱】【尔】【抄】【起】【羽】【毛】【笔】,2016144开奖结果【这】【是】【一】【片】【有】【着】【极】【少】【绿】【植】【的】【沙】【漠】【边】【缘】【地】【带】。 【此】【时】【的】【这】【片】【地】【带】【早】【已】【密】【布】【着】【多】【个】【势】【力】【的】【人】【手】,【大】【多】【都】【是】【三】【五】【人】、【七】【八】【人】【的】【样】【子】。 【但】【是】【也】【有】【聚】【集】【人】【数】【比】【较】【多】【的】,【足】【足】【有】【好】【几】【十】【人】【的】【样】【子】,【一】【看】【就】【是】【一】【方】【大】【势】【力】。 【更】【重】【要】【的】【是】,【从】【那】【些】【人】【身】【上】【散】【发】【出】【的】【气】【息】【来】【看】,【一】【看】【就】【知】【道】【不】【是】【普】【通】【人】。 【不】【过】【也】【确】【实】【是】【这】【样】,【只】

  “【贵】【派】【在】【东】【周】【的】【人】,【看】【来】【很】【得】【力】?”【陈】【洛】【阳】【问】【道】。 【叶】【蚕】【眠】【行】【了】【一】【礼】:“【当】【不】【得】【陈】【教】【主】【夸】【赞】,【本】【观】【与】【对】【方】,【也】【只】【是】【合】【则】【两】【利】,【不】【过】【合】【作】【次】【数】【多】【了】,【信】【誉】【很】【有】【保】【障】。” 【陈】【洛】【阳】【微】【微】【颔】【首】,【转】【而】【问】【道】:“【然】【则】,【东】【周】【在】【贵】【派】【内】【部】【呢】?” 【叶】【蚕】【眠】【知】【道】,【陈】【洛】【阳】【是】【在】【问】,【东】【周】【方】【面】【如】【何】【知】【道】【青】【牛】【观】【主】【不】【在】【红】【尘】【界】【的】【消】【息】

  【那】【是】【她】【的】【前】【世】,【与】【这】【一】【世】【没】【有】【任】【何】【关】【系】,【但】【是】,【因】【为】【事】【涉】【九】【渊】,【姜】【浮】【黎】【便】【无】【法】【忍】【耐】。【她】【几】【乎】【难】【以】【想】【象】,【前】【世】【九】【渊】【知】【道】【这】【件】【事】【之】【后】,【会】【不】【会】【紧】【张】,【害】【怕】。【万】【千】【年】【的】【岁】【月】,【九】【渊】【就】【这】【么】【独】【自】【一】【人】,【等】【待】【她】【的】【回】【来】,【这】【份】【情】【深】,【于】【姜】【浮】【黎】【来】【说】,【是】【生】【生】【死】【死】【最】【为】【珍】【贵】【的】,【没】【有】【任】【何】【东】【西】【可】【以】【比】【拟】。 【脚】【下】【一】【滑】,【姜】【浮】【黎】【便】【闪】【到】

  “【首】【领】——【你】【若】【拿】【刀】【把】【那】【蛇】【砍】【死】【在】【床】【上】,【只】【怕】——【只】【怕】【妾】【身】【再】【也】【不】【敢】【来】【了】——”【张】【贼】【还】【没】【拿】【刀】,【那】【个】【娇】【儿】【倒】【先】【娇】【滴】【滴】【地】【哭】【起】【来】【了】。 【张】【贼】【听】【到】【这】【句】【话】【又】【心】【软】【了】,【搂】【住】【了】【那】【个】【娇】【儿】:“【那】【把】【侍】【卫】【叫】【进】【来】——【来】【人】——” “【可】【是】【妾】【身】【现】【在】——”【那】【个】【娇】【儿】【更】【急】【了】,【看】【了】【看】【自】【己】,“【妾】【身】【穿】【在】【外】【面】【的】【衣】【服】【还】【在】【床】【上】,【他】【们】

  【变】【异】【者】【意】【外】【的】【冲】【出】【神】【秘】【区】【域】,【打】【了】【姬】【水】【滨】【现】【在】【所】【在】【的】**【一】【个】【措】【手】【不】【及】,【后】【半】【夜】,【战】【争】【打】【响】【了】【号】【角】,【变】【异】【者】【从】【最】【初】【的】【两】【个】【人】,【已】【经】【逐】【渐】【的】【发】【展】【成】【为】【了】【数】【十】【人】,【规】【模】【且】【在】【不】【断】【的】【增】【大】【着】。 【姬】【水】【滨】【被】【数】【个】【特】【战】【队】【员】【拉】【着】,【向】【着】【早】【已】【准】【备】【好】【的】【运】【输】【队】【前】【去】,【将】【他】【拉】【离】【了】【战】【场】,【保】【证】【姬】【水】【滨】【的】【安】【全】,【是】【中】【校】【关】【世】【禹】【最】【重】【要】【的】【命】

       人力资源保障证  喜欢句子的人  香 港 三 肖 三 肖 长 期 网 站   小米环绕屏手机预售 
[发消息] [看主贴]
发表于 2019-10-01 04:33:14 2#



#苹果11跟手表#【双】【方】【打】【的】【旗】【鼓】【相】【当】,【采】【任】【突】【然】【停】【下】【来】,【没】【有】【过】【去】【帮】【忙】【的】【意】【思】。 “【老】【大】,【他】【们】【有】【一】【个】【星】【体】【镜】【高】【期】【强】【者】,【我】【们】【与】【他】【们】【合】【并】【肯】【定】【能】【够】【更】【加】【安】【全】,【为】【什】【么】【要】【停】【下】?【我】【们】【直】【接】【过】【去】【帮】【忙】【他】【们】【肯】【定】【会】【让】【我】【们】【加】【入】【他】【们】【队】【伍】【的】。” 【庄】【必】【大】【概】【猜】【到】【采】【任】【的】【心】【思】,【不】【就】【是】【怕】【合】【并】【以】【后】【他】【不】【能】【再】【主】【导】【大】【家】【吗】?【之】【前】【自】【己】【只】【是】【说】【谁】【都】【坑】【有】
[发消息] [看主贴]
发表于 2019-03-23 10:13:38 3#



[发消息] [看主贴]
发表于 2019-03-27 04:28:24 3#



#做好吃的面包是#“【方】【老】【板】【说】【的】【很】【有】【道】【理】【啊】,【人】【家】【肯】【定】【不】【愿】【意】【搭】【钱】【给】【咱】【包】【装】【啊】。”【陈】【雁】【飞】【看】【着】【沮】【丧】【的】【本】【小】【海】【和】【唐】【振】【华】,【安】【慰】【他】【们】【道】,“【咱】【们】【缺】【的】【不】【是】【歌】【曲】【和】【歌】【手】,【咱】【们】【缺】【的】【是】【马】【内】【啊】,【咱】【们】【还】【是】【先】【努】【力】【赚】【钱】【吧】,【骚】【年】【们】!” 【陈】【雁】【飞】【有】【些】【无】【厘】【头】【的】【话】,【终】【于】【把】【气】【氛】【搞】【活】【起】【来】。 【本】【小】【海】【想】【通】【过】【发】【行】【歌】【曲】【赚】【钱】【的】【路】【子】【是】【走】【不】【通】【了】,【不】【过】,