彼得•潘的吊帶工裝褲

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.

來自美國格蘭特·伍德畫的哥特式經典的吊帶工裝褲形象，以看似陰沉、經濟蕭條的農民穿着深藍色的、污點斑斑的工作服爲特點。這是伍德繪畫最完美的服裝裝飾：吊帶工作服是新教倫理藍領的代名詞。還有農民（他們以前被稱作"泔水"），工作在鐵路部門的人們穿它有兩個原因：它容易穿上和脫下；它能保護穿在裏面的好衣服。此多功能的衣服更好服務於多樣的生活方式。

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).

上世紀90年代，馬里奧兄弟和諸如威爾·史密斯、旅遊頻道（他們展示兩種穿戴方式：皮帶式的和褲卷式的）、明星的青少年粉絲團等都採用了吊帶工裝褲。1994年滾石樂隊雜誌封面上，薇諾娜·賴德身穿一條吊帶工裝褲，上演了獨立電影中的青春玉女形象（紐約雜誌在2014年致敬伊麗莎白·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，當你"跨越橫線"，就帶你 "回到90年代"，曼驅闡述了工裝褲的價值，突出了懷舊情懷。他說"那些衣服很舒服，也不緊。在某種程度上，通過工裝褲的易拉伸、安全、防護性能保持自身平衡。它是脆弱的，它是安全的，它是受保護的。你甚至可以像我們一樣，在工裝褲外面穿上格子連衣裙"。

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

在時尚界，這就是美和有爭議的吊帶工裝褲，但它們永遠永遠都不會改變。