彼得•潘的吊带工装裤

The classic image of dungarees comes from Grant Wood's painting American Gothic, which features a glum-looking Depression-era farmer wearing a pair of navy blue dungarees flecked with dirt. It was the perfect bit of costuming for Wood's painting: dungarees were synonymous with the blue collar, Protestant work ethic. As well as farmers (they were originally called "slops"), they were worn by people who worked on the railroads for two prosaic reasons: they were easy to slip on and off; and they could protect the good clothes worn underneath. Functional clothes for functional living.

来自美国格兰特·伍德画的哥特式经典的吊带工装裤形象，以看似阴沉、经济萧条的农民穿着深蓝色的、污点斑斑的工作服为特点。这是伍德绘画最完美的服装装饰：吊带工作服是新教伦理蓝领的代名词。还有农民（他们以前被称作"泔水"），工作在铁路部门的人们穿它有两个原因：它容易穿上和脱下；它能保护穿在里面的好衣服。此多功能的衣服更好服务于多样的生活方式。

By the 90s, they were adopted by the Mario Brothers and the likes of Will Smith in the Fresh Prince and TLC (there were two ways of wearing dungarees - with one strap undone and one leg Rolled up); pop stars with a large teenage fan base. Winona Ryder's appearance on the cover of Rolling Stone in 1994, wearing a pair, played on the idea of her as an indie film ingenue (New York magazine paid homage with Elisabeth Moss in 2014).

上世纪90年代，马里奥兄弟和诸如威尔·史密斯、旅游频道（他们展示两种穿戴方式：皮带式的和裤卷式的）、明星的青少年粉丝团等都采用了吊带工装裤。1994年滚石乐队杂志封面上，薇诺娜·赖德身穿一条吊带工装裤，上演了独立电影中的青春玉女形象（纽约杂志在2014年致敬伊丽莎白·莫斯）。

In 2012, Man Repeller extolled the values of the overall, highlighting its nostalgic qualities, taking you "back to the 90s" when you "jumped rope", "They're comfortable, they're non-threatening. In a way, I was always able to keep a balance with those overalls: it was vulnerable, it was safe, it was protected. You could even dump a plaid dress on top of it, which we did."

在2012年，当你"跨越横线"，就带你 "回到90年代"，曼驱阐述了工装裤的价值，突出了怀旧情怀。他说"那些衣服很舒服，也不紧。在某种程度上，通过工装裤的易拉伸、安全、防护性能保持自身平衡。它是脆弱的，它是安全的，它是受保护的。你甚至可以像我们一样，在工装裤外面穿上格子连衣裙"。

In the fashion world, that's the beauty - and the problem - with dungarees: they never, ever change.

在时尚界，这就是美和有争议的吊带工装裤，但它们永远永远都不会改变。