The Dedicated Women Are Attractive最美不过女匠人

无论世界怎样嘈杂，只要你有一颗安静的心，只要你能真心坚持做你喜欢做的事，专注地投身到你愿意为之奋斗终生的事业中，你就是最美丽的女人。桃花三月，恰逢“国际妇女节”，让我们一起走进文中几位“女匠人”的一生，为“最美女人”的定义做出最好的注解。

The Most Beautiful Woodworker-Ariele Atasko

最美女木匠――阿里尔・阿拉斯科

阿里尔・阿拉斯科是一位女木匠，也是一位家具设计师。她擅长用年代已久的老建筑废弃的木材，重新切割后再组装成几何图形的家具。每样木工工艺品都是她亲手完成，亲切又温暖的仿古与怀旧感，让人如同置身在对过去的回忆里。

Ariele Alasko is a full-time woodworker living in Brooklyn， NY. Originally from California， she attended Pratt Institute in BK and has a BFA in sculpture. Ariele started building furniture for her own apartment shortly after she graduated in 2009， and it swiftly grew from a fun hobby taking place in her small dusty living room， to a full time job.

Her primary material of choice for her patterned work is plaster lath， small strips of wood that come from the old walls of hundred-year-old buildings here in Brooklyn. Fairly available due to the constant gutting 0f these old brown- stones， she collects the materials， cleans.t， and uses the wood’s natural coloration and patina to create intricate pat- terns in her work， without the use of any stains.

Each piece takes days or even weeks to complete， as every strip of wood is cut individually to attain a perfect fit， making sure the resulting panel or table top is level， smooth， and without any gaps.

Nearly two years ago she discovered a great love for carving spoons， and had become well known as a spoon maker， carving everything by hand.

Tip：阿里尔・阿拉斯科现居纽约布鲁克林，是一位全职木匠。她从加州来到普拉特艺术学院求学，并取得了雕塑艺术学士学位：2009年毕业后，阿里尔开始在自己的公寓里制作家具。不久之后，原本出于“兴趣爱好”而自己动手做家具的阿里尔将这一“爱好”转变成了“全职工作”。

阿里尔的主要选材是灰泥板条，这些材料就是布鲁克林拥有百年历史的老建筑墙面上的木板条。这些老建筑被废弃之后，阿里尔会将这些材料收集起来，对它们进行清洁处理。她不用任何染色剂，将这些木材原有的色调与光泽运用到制作具有复杂图案的木器中。

因为是纯手工制作，所以每一件物品都需要几天甚至几周时间才能制作完成。每根木奈都要单独切割成完美的形状，以确保最终的成品表面是平整光滑。

大概在两年前，阿里尔疯狂地爱上了制作木勺，现在的她也成为了知名的勺艺大师，每把勺子都是纯手工制作。

lt’s Never Too Late-Anna Mary Robertson Moses

人生永远没有太晚的开始――传奇女画家摩西奶奶

摩西奶奶，原本只是一位普通的农场女工。她生育了10个孩子，几乎一生都在为家庭琐事操劳，77岁才正式开始绘画。80岁时在纽约举办个展，引起轰动。100岁时，她亲笔回信给渡边淳一，并对他说：“做你喜欢做的事，哪怕你现在已经80岁了。”当时的渡边正处于迷茫状态，不知是否要放弃稳定工作，专职从事写作事。

Anna Mary Robertson Moses left home at a young age to work as a hired girl at a neighboring farm. Marrying in 1887， she eventually gave birth t0 10 children. In addition to her work as a farm wife and mother， Moses helped support her family by selling various homemade foods.

Moses disliked spending time in knitting and sewing， but she began entertaining herself and her friends by making needlework pictures and quilts portraying colorful scenes of farm life. At 78， when arthritis rendered her unable to embroider， friends suggested she try painting these scenes instead.

Moses worked with whatever materials at hand， used house paint and leftover canvas or fireboard for her first paintings. As a self-taught artist， Moses had little concern for perspective or proportion.

Although familiar with the hardships and sorrow of farm life， she illustrated happy childhood memories of fields and storms， barn dances， and holidays in rural New York and Virginia. She deliberately omitted telephone poles， tractors， and other elements of the effects of industrialization.

New York collector Louis J.Caldor chanced upon Mo-ses’s work and helped her begin exhibiting professionally.She gained the nickname。Grandma Moses”from a reviewer at New York’s Hera/d Tribune. Her paintings became immensely popular and were appreciated for their nostalgic charm.

She exhibited her work internationally into her 90s and painted untila few months before her death at age 101.

Tip：安娜‘玛丽・罗伯逊。摩西年幼时便离开家，来到邻近的农场做帮手。她于1887年结婚，共生育了10个子女。她的身份除了农妇、母亲之外，还靠售卖各种家常食物维持家庭生计。

摩西并不喜欢把时间花在针织上，但她乐于通过刺绣画作来描绘农场生活。78岁时，因为关节炎，她不得不放弃刺绣，朋友们建议她可以用绘画来代替。

摩西用刷房子的漆作为颜料，用废弃的帆布和壁炉遮板作为画板――就是用这些随手找来的材料，摩西画出了自己的第一批作品。作为一个一切从零开始的业余画家，摩西很少考虑作画视角与构图比例。

尽管摩西对农场的疾苦生活十分熟悉，但她在画中描绘的却是自己快乐的童年记忆，她的画中有田野和暴风雪、谷仓舞，还有在纽约与弗吉尼亚乡间的假期生活。她有意地省略了电线杆、拖拉机和其他工业化的产物。

因机缘巧合看到摩西画作的纽约收藏家路易斯.J.卡尔多帮她策划了画展，她也因此获得了“摩西奶奶”的昵称，这个昵称来源于《纽约先驱论坛报》的一位评论员。她的画作因其中蕴含的怀旧情怀而受到了极大的欢迎。

摩西奶奶90岁高龄时，还在全世界举办画展；直到101岁去世前几个月，摩西奶奶还在作画。

Modernist Potter-Lucie Rie

灵魂陶艺家――露西-理

露西‘理，一个纯粹的陶艺家，她一生都只专注于一件事――陶艺。她的专注、坚持，甚至浸润到了生活中：跟友人聚会，一次只约见一人。她的为人，她的作品，看似静水深流，但每每都有异常澎湃的感染力。她说：“所有的一切，都无须被附加太多，那些陶碗如此，生活也如此。”

Lucie Rie was born in Vienna in 1902. Between the ages of 20 and 26 she studied at the Vienna Kunstgewerbeschule（craft technical school）.On leaving the school she married Hans Rie-a marriage that lasted only fourteen years.Her success came early，and by the time she was thirty her work had been exhibited in France and ltaly as well as her native Austria.Her work showed a strong feeling for form；like many other fine potters she was always aware that the nature of the pot was dictated by its purpose.

In 1938 she came to England to escape the Nazis. The following year she met Bernard Leach and was somewhat confused by his well-meaning criticism of her work. During the war years her sense of purpose seemed to wane， but it was fully restored in 1946 when the young Hans Coper came to work with her at her London studio.

In 1948 Lucie started working in stoneware and porcelain rather than her customary earthenware. In the following years her work was exhibited very widely-in both solo exhibitions and doubling with Hans Coper. Lucie received many honours， becoming an OBE in 1968， a CBE in 1981 and a Dame in 1991.

She was much written about，and was the subject of a BBC film.Since her death in 1995 there has been no loss of interest in her work.

Tip：露西・理1902年生于维也纳。从20到26岁，她在维也纳工艺美院求学。离开学校之后的露西嫁给了汉斯・理――这段婚姻仅持续了14年的时间。露西・理成名较早，她在30岁的时候，作品就在法国、意大利和故乡奥地利展出。她的作品展示出了一种强烈的“形态”感，正如许多其他陶艺大师一样，她也总能意识到陶器的本质受其创作意图所支配。

1938年，露西为躲避纳粹，逃往英格兰。1939年，露西遇到了伯纳德一利奇，对于他对自己作品的批评，她多少感到有些困惑。在战争期间，她的创作意图与灵感似乎衰退了不少，但是就在1946年，当年轻的汉斯・科佩尔来到她的工作室与她共事，她的创作灵感似乎得到了恢复。

1948年，相比起她擅长的陶器，露西开始制作石器与瓷器。在接下来的几年间，她的作品以个展和联合展（与汉斯・科佩尔一起）的形式被广泛展出。露西也获得了多项荣誉：1968年荣获英帝国勋章，1981年荣获英帝国二等勋位爵士，1991年荣获“女爵士”殊荣。

关于她的文章有很多，英国广播公司还把她的经历搬上了大银幕。直到1995年露西去世时，人们对她作品的兴趣和关注依然没有减弱。

The Goddess of Wedding Gowns-Vera Wang

婚纱女王――王薇薇

王薇薇，著名华裔婚纱设计师。她在41岁的时候，从一名服装编辑转行设计婚纱。她用现代、简约、端庄的风格，打破繁复奢华的传统，创立了自己的婚纱帝国，成为当之无愧的国际婚纱女王。如今，世界上每一位姑娘都憧憬拥有一件“Vera Wang”品牌的婚纱。

Vera Wang’s story began in 1989， when her impend-ing marriage prompted her to search for a suitable wedding gown. Not finding any gowns fitting the look and style she en- visioned， she sketched her own design and hired a talented dressmaker to turn her design into reality. A year later，Wang opened her own boutique.

Prior to opening her boutique， Wang’s association with the fashion world included 17 years with Vogue and 2 years as a design director for Ralph Lauren. While Wang had expe- rience in the fashion field， she never had any formal training in design.

The Vera Wang Bridal House Ltd.，located in New York’s Carlyle Hotel， catered to an upscale clientele with fea-tured gowns by established designers. During this period， Wang continued to work at perfecting her own designing skills； this process came to culminate with her own signature collection.

The Vera Wang label has today become synonymous with a high-end crowd-many celebrities and society names included-that loves to wear Wang’s modern clothing， gowns and accessories. Along with ner bride and bridesmaid gown collections， she has added a ready-to-wear inspired by the simplicity of Coco Chanel， eveningwear， sun wear， shawls， shoes， lingerie and fragrance line.

Her home fashion line is as stylish and elegant as her fashion designs， featuring tableware， fine linens， blankets， decorative pillows and home accessories. Each item bears her signature mark of sleek modern lines with a quiet and subtle undertone

Tip：王薇薇的故事始于1989年，当时她正为即将到来的婚礼寻找一件合适的婚纱礼服。由于没有找到从款式到风格都符合自己内心期许的婚纱，王薇薇只能自己勾勒出设计草图，然后雇佣了一位技艺出众的裁缝，最终才使得她的设计完美地呈现出来。一年后，王薇薇开设了自己的精品服装店。

在开店之前，王薇薇可是和时尚界有着千丝万缕的联系：她曾在《时尚》杂志做了17年编辑，为知名品牌拉夫・劳伦做过两年设计总监。尽管王薇薇在时尚领域经验丰富，但她从未接受过任何设计方面的专业训练。

王薇薇婚纱有限公司位于纽约卡莱尔酒店，由知名设计师设计的婚纱礼服迎合了高端客户的审美与喜好。在此期间，王薇薇也不忘精进自己的设计技艺，她的设计能力也随着她的婚纱系列达到巅峰。

王薇薇品牌在今天已变成了高端人群的代名词――众多明星与名流都是该品牌服装、礼服及首饰的忠实拥趸。除了婚纱礼服系列，王薇薇还增加了以可可‘香奈儿的简约风格为灵感的成衣系列，以及晚装、太阳镜、围巾、鞋、内衣和香水系列。

她的家居时尚品牌也和她的时装设计一样时髦、优雅，产品线涉及餐具、精良的亚麻制品、地毯、装饰枕头以及房间内饰。每一件物品都印上了王薇薇特有的低调内敛、时髦现代的品牌烙印。