Toile Chic
In high school, I envied a girl named Maddie because she owned a black toile handbag.
高中时，我很羡慕一个叫麦迪的女孩，因为她拥有一个黑色的手提包。
If this sounds like an impossibly stodgy sartorial choice for a teenager, it’s worth pointing out that at my school, the implicit goal for many students was to dress like fifty-year-old country club members, in boat shoes and plaid sport coats and boxy Lilly Pulitzer shift dresses.
如果这听起来对一个青少年来说是一种极其古板的着装选择，那么值得指出的是，在我的学校，许多学生的隐含目标是穿得像五十岁的乡村俱乐部成员，穿着船鞋、格子运动外套和四四方方的莉莉·普利策直筒连衣裙。
It made sense: Many of them were already country club members, at L’Hirondelle or Maryland Club or BCC.
这是有道理的：他们中的许多人已经是 L'Hirondelle、马里兰俱乐部或 BCC 乡村俱乐部的会员。
They were simply getting a head start on their birthright.
他们只是在他们与生俱来的权利上取得了先机。
Stodgy is the aesthetic that toile trades in.
朴素是布料交易的审美观。
It’s part of the preppy interior design canon, decorating homes from Palm Beach to Bar Harbor, operating as a cipher for a certain kind of wealth.
它是学院派室内设计经典的一部分，装饰着从棕榈滩到巴尔港的房屋，作为某种财富的密码。
To some, toile’s monochrome peasant figures are ugly or peculiar, but no more culturally weighted an interior decorating choice than flocked wallpaper or avocado green appliances.
对一些人来说，土砖的单色农民形象丑陋或奇特，但没有比植绒壁纸或鳄梨绿色器具更具有文化意义的室内装饰选择。
But to those in the know, toile evokes squash games, engraved silver, lobster rolls in Nantucket, monogrammed L.L.
但对于知情人士来说，印花布会让人想起壁球比赛、雕刻的银器、楠塔基特岛的龙虾卷、印有字母 L.L. 的图案。
Bean Boat and Totes coated with horsehair, and the kind of insouciance one feels when possibilities and respect are a foregone conclusion.
Bean Boat 和 Totes 涂有马鬃，当可能性和尊重已成定局时，人们会感到一种漫不经心的感觉。
It’s strange but telling that affluent people continue to decorate their homes with images of happy poor people.
富人继续用快乐的穷人的形象来装饰他们的家，这很奇怪，但却很能说明问题。
Toile seems to hang in stately living rooms as a reminder that everything is okay, showing wealthy people how idyllic poor people’s lives can be.
Toile 似乎挂在富丽堂皇的客厅里，提醒人们一切都好，向富人展示穷人的生活是多么田园诗般的。
My parents hate toile, but have curiously never gotten around to changing the living room curtains that were there when we moved into our Baltimore home fifteen years ago.
我的父母讨厌劳作，但奇怪的是，他们从来没有抽出时间更换客厅的窗帘，十五年前我们搬进巴尔的摩的家时，窗帘就在那里。
In the middle of the house, in blood red ink on ecru cotton, a clump of French peasants eats apples beneath a tree, a young boy tends to a goat, and a comely farm girl hikes up her crinoline to feed some chickens, her bosom spilling over the square neckline of her dress.
在房子的中央，在米色棉布上，血红墨水上，一群法国农民在树下吃苹果，一个小男孩在照顾一只山羊，一个漂亮的农家女孩抬起衬裙喂鸡，她的胸部溢出了裙子的方领口。
When I look at those curtains, I often think of the men who come to mow and weed my parents’ yard, sweat beading on their brows in the summer humidity.
当我看着那些窗帘时，我常常想起那些来我父母院子里割草和除草的人，他们的额头上在夏季的潮湿中留下了汗珠。
Toile’s origins are not nearly as striking as the fabric itself.
印花布的起源并不像面料本身那么引人注目。
The fabric’s full name, toile de Jouy (French for “cloth from Jouy”) is not a title used by textile experts, but rather a moniker embraced by decorators to denote monochrome figural prints.
这种织物的全名“toile de Jouy”（法语，意为“来自 Jouy 的布料”）并不是纺织专家使用的名称，而是装饰师所采用的一个绰号，用于表示单色人物印花。
The style developed out of imported wood block prints from India, which became popular via trade in the seventeenth and eighteenth centuries.
这种风格是从印度进口的木刻版画发展而来的，在十七世纪和十八世纪通过贸易而流行。
But there is a man whose name has become almost synonymous with toile: Christophe-Philippe Oberkampf, whose story is equal parts Protestant work ethic and Ancien Régime materialism.
但有一个人的名字几乎成了辛苦的代名词：克里斯托夫-菲利普·奥伯坎普夫（Christophe-Philippe Oberkampf），他的故事一半是新教的职业道德，一半是旧制度的唯物主义。
Oberkampf was born to a family of Lutheran textile dyers from Württemberg.
奥伯坎普夫出生于符腾堡州的一个路德教纺织染工家庭。
In 1759, he opened a cotton printing factory in the French town of Jouy-en-Josas, employing painter and engraver Jean-Baptiste Huet as the house designer.
1759年，他在法国茹伊昂若萨镇开设了一家棉布印花厂，聘请画家兼雕刻师让-巴蒂斯特·休特（Jean-Baptiste Huet）担任房屋设计师。
“His is one of the very few business that is well-documented,” Linda Eaton, the director of textiles at the Winterthur Museum in Delaware, told me.
“他的生意是极少数有详细记录的生意之一，”特拉华州温特图尔博物馆纺织品主管琳达·伊顿告诉我。
“The records from others rarely survived, or are very difficult to understand and get access too.
“其他人的记录很少能保存下来，或者也很难理解和访问。
That’s why a lot of the historical precedent is focused on Oberkampf.”
这就是为什么很多历史先例都集中在奥伯坎普夫身上。”
Oberkampf’s factory began production in 1760, using engraved wooden blocks to print images on cotton cloth.
Oberkampf 的工厂于 1760 年开始生产，使用雕刻木块在棉布上印刷图像。
In 1770, Oberkampf imported a new printing technology from England and Ireland: Copper plates, which were more efficient than wood.
1770年，奥伯坎普夫从英国和爱尔兰引进了一种新的印刷技术：铜板，其效率比木材更高。
“Printed subjects closely reflected topics in popular culture of the period,” Metropolitan Museum of Art curator Melinda Watt said.
“印刷品主题密切反映了当时流行文化的主题，”大都会艺术博物馆馆长梅琳达·瓦特说。
“For example, the experiments with hot air and helium balloons in the seventeen eighties prompted the design of several versions on printed cotton.
“例如，十七世纪八十年代的热气球和氦气球实验促使人们在印花棉布上设计了多种版本。
Contemporary literature, opera, and theater were illustrated.
当代文学、歌剧和戏剧都有插图。
There is also more than one version commemorating the death of philosopher Jean-Jacques Rousseau.” And one absurdly meta design, The Activities of the Factory , depicts the process of cloth printing at the Oberkampf Manufactory, complete with images of Huet sketching, dyers mixing pigments, and printers applying ink to the copper plates.
还有不止一个版本纪念哲学家让·雅克·卢梭的去世。”一项荒谬的元设计《工厂的活动》描绘了奥伯坎普夫制造厂的布料印刷过程，其中包括休特素描、染色工混合颜料以及印刷工将墨水涂在铜板上的图像。
The fabric’s success allowed Oberkampf to become wealthy himself.
这种面料的成功让奥伯坎普夫自己也变得富有。
Oberkampf’s newfound wealth earned him a patent of nobility from Louis XVI and the patronage of Marie Antoinette.
奥伯坎普夫新获得的财富为他赢得了路易十六的贵族称号和玛丽·安托瓦内特的赞助。
The industrialist parlayed his toile empire into political power, becoming the first elected mayor of Jouy.
这位实业家将他的劳动帝国转化为政治权力，成为茹伊第一位民选市长。
By the time his factory closed in 1843, it had produced around thirty thousand unique designs.
到 1843 年他的工厂关闭时，它已经生产了大约三万种独特的设计。
Among the most prolific and enduring subjects was the pastoral.
田园诗是最多产和最持久的主题之一。
A typical example is Pleasures of the Farm , from the late seventeen eighties.
一个典型的例子是十七世纪八十年代末的《农场的乐趣》。
In this pattern, much like the curtains in my parents’ living room, a pretty farm girl feeds a flock of chickens, a woman and her young boys tend to cattle, and two peasants dance beneath a tree.
在这个图案中，很像我父母客厅的窗帘，一个漂亮的农家女孩喂一群鸡，一个女人和她的小男孩放牛，两个农民在树下跳舞。
Such patterns were a hit with the French aristocracy and bourgeoisie, who used it to decorate rooms ensuite, the same pattern adorning bed linens, window treatments, walls, and upholstery.
这种图案深受法国贵族和资产阶级的欢迎，他们用它来装饰房间的套间，同样的图案也装饰在床单、窗帘、墙壁和室内装潢上。
The soothing pastoral scenes could transform a stately bedroom into a womb of rustic sophistication.
舒缓的田园风光可以将庄严的卧室变成质朴精致的子宫。
But toile’s cheerful imagery belied France’s fomenting revolution.
但图莱的欢快形象掩盖了法国正在煽动的革命。
Most French people were subsistence farmers whose poverty was exacerbated by heavy taxes and feudal dues.
大多数法国人都是自给自足的农民，重税和封建税加剧了他们的贫困。
In 1775, poor harvests and rising grain prices led to nationwide riots.
1775年，歉收和粮价上涨导致全国骚乱。
These real life starving peasants were a stark contrast to toile’s cheerful, monochrome pastoral images.
这些现实生活中挨饿的农民与图莱欢快、单色的田园形象形成鲜明对比。
In 1788, another bread riot broke out, this one flavored by a growing dissatisfaction with the French monarchy.
1788 年，又爆发了一场面包骚乱，这次骚乱的原因是人们对法国君主制日益不满。
And in April 1789, just months before the July 14th storming of the Bastille, a riot broke out over proposed wage cuts at the Réveillon wallpaper manufactory.
1789 年 4 月，就在 7 月 14 日攻占巴士底狱的前几个月，Réveillon 壁纸制造厂因提议削减工资而爆发了骚乱。
It is unknown whether Réveillon produced toile wallpaper.
目前尚不清楚 Réveillon 是否生产印花壁纸。
But, if you had enough money to afford toile of any kind, it could provide a comforting justification for the status quo, right there in your home.
但是，如果你有足够的钱来承担任何形式的劳作，它可以为你家里的现状提供一个令人欣慰的理由。
Another popular subject was France’s burgeoning colonial empire.
另一个热门话题是法国新兴的殖民帝国。
“Exoticism in the decorative arts and interior decoration was associated with fantasies of opulence and ‘barbaric splendour,’” Sara J.
“装饰艺术和室内装饰中的异国情调与富裕和‘野蛮的辉煌’的幻想有关，”Sara J.
Oshinsky of the Cooper-Hewitt National Design Museum wrote in her 2004 article “ Exoticism in the Decorative Arts .” According to Oshinsky, Napoleon’s 1798–1799 campaign in Egypt and Syria — covered extensively in French and English language publications — had a major impact on the decorative arts.
库珀-休伊特国家设计博物馆的奥辛斯基 (Oshinsky) 在她 2004 年的文章“装饰艺术中的异国情调”中写道。根据奥辛斯基的说法，拿破仑 1798 年至 1799 年在埃及和叙利亚的战役（法语和英语出版物广泛报道）对装饰艺术产生了重大影响。
The imagery inspired by this campaign was the stuff of Edward Said’s nightmares.
这次活动所激发的图像是爱德华·萨义德的噩梦。
In 1808, the Oberkampf manufactory produced a toile pattern called The Monuments of Egypt , which features camels, pyramids, and seated, anonymous Arab men in robes and keffiyehs.
1808 年，Oberkampf 制造厂生产了一种名为《埃及纪念碑》的印花图案，其中有骆驼、金字塔和穿着长袍、头戴头巾的匿名阿拉伯男子的坐姿。
And during the nineteenth and twentieth centuries, France colonized large portions of North and West Africa, the Levant, and Southeast Asia.
在十九世纪和二十世纪，法国殖民了北非和西非、黎凡特和东南亚的大部分地区。
With this growing colonial empire came fresh representations of non-Europeans as a dark, indistinguishable horde of the exotic, the decadent, the uncivilized.
随着这个日益壮大的殖民帝国的出现，非欧洲人被重新描述为一群黑暗的、难以区分的异国人、颓废的人和未开化的人。
Many toiles were done in a style known as chinoiserie, which filters East Asian themes through the lense of European decorative arts.
许多瓷砖都是以一种被称为“中国风”的风格完成的，这种风格通过欧洲装饰艺术的镜头过滤东亚主题。
A typical iteration are two unnamed Oberkampf patterns from 1770 and 1786, which both depict pagodas, bamboo, palm trees, and figures in nonspecific East Asian dress.
典型的迭代是 1770 年和 1786 年的两个未命名的 Oberkampf 图案，它们都描绘了宝塔、竹子、棕榈树和穿着非特定东亚服装的人物。
A toile from an Alsatian factory, produced sometime between 1825 and 1830, depicts East Asian figures (again of vague origin) naively frolicking.
阿尔萨斯一家工厂生产的一件织物于 1825 年至 1830 年间生产，描绘了天真嬉闹的东亚人物（同样来源不明）。
French missionaries and merchants had been attempting to “civilize” the people of Vietnam since the mid-nineteenth century, and in 1859, France invaded Saigon, kicking off a century of brutal colonial rule in Vietnam, Cambodia, and Laos.
自十九世纪中叶以来，法国传教士和商人一直试图“教化”越南人民，1859年法国入侵西贡，拉开了对越南、柬埔寨和老挝长达一个世纪的残酷殖民统治的序幕。
According to Linda Eaton, there were a few toiles that featured progressive political messages about abolishing slavery and supporting the American Revolution.
根据琳达·伊顿的说法，有一些作品以废除奴隶制和支持美国革命的进步政治信息为特色。
But the fabric business, like any business, catered to consumer demand, so the output of such designs was limited.
但面料业务与任何业务一样，都是为了迎合消费者的需求，因此此类设计的产量有限。
So how did toile find its way from France and its colonies to a living room in Baltimore?
那么，印花布是如何从法国及其殖民地传入巴尔的摩的客厅的呢？
Stateside, French decorative arts have been prized since the beginning.
在美国本土，法国装饰艺术从一开始就受到重视。
“French influence in American decorative arts probably owes to the influx of French refugees following the French Revolution and the back uprisings in Haiti,” writes Florence M.
“法国对美国装饰艺术的影响可能要归功于法国大革命后法国难民的涌入以及海地的起义，”弗洛伦斯·M·弗洛伦斯（Florence M.
Montgomery in her 2007 book Textiles in America: 1650–1870 .
蒙哥马利在她 2007 年出版的著作《美国的纺织品：1650-1870》中。
Fashion magazines, according to Montgomery, also spread French fashion and decorating trends.
蒙哥马利表示，时尚杂志也传播法国时尚和装饰潮流。
And in the world of fabric, everything comes back into fashion.
在面料的世界里，一切都回归时尚。
“Nothing disappears, and nothing appears out of nowhere.
“没有什么会消失，也没有什么会凭空出现。
Just as the individual pattern repeats incessantly over the course of a print run, its motifs are in repeat over the course of the decades,” writes Susan Meller in her 1991 book Textiles Designs: 200 Years of European and American Patterns .
正如单个图案在印刷过程中不断重复一样，它的主题也在几十年中不断重复，”苏珊·梅勒 (Susan Meller) 在她 1991 年出版的《纺织品设计：欧洲和美国图案 200 年》一书中写道。
The same could probably be said of interior design in general.
一般来说，室内设计也可以这样说。
If you visit Mount Vernon — which boasts a toile-upholstered canopy bed, chairs, and curtains in one of its many bedrooms — it doesn’t look fantastically different from many contemporary homes.
如果你参观弗农山——它的众多卧室中的一间配有一张铺有瓷砖软垫的天篷床、椅子和窗帘——它看起来与许多现代住宅并没有太大不同。
The fringed curtains, lyre back chairs, and rococo mirrors could all be encountered today.
流苏窗帘、竖琴靠背椅和洛可可风格的镜子今天都可以见到。
Like these objects, toile never really fell out of favor, and was further buoyed by several Colonial Revival periods in the nineteenth and twentieth centuries.
与这些物品一样，印花布从未真正失宠，并且在 19 世纪和 20 世纪的几次殖民复兴时期进一步得到提振。
“The Colonial Revival movement, with its roots in a distant past, has helped successive generations of Americans ease the transition into the newness of the present and the uncertainty of the future,” architectural historian Dr. Dale Allen Gyure writes in his essay “ The Colonial Revival: A Review of the Literature .” “In architecture and furniture design, the qualities of ‘refinement and dignity’ found in colonial examples, along with simplicity and proper proportions, linked colonial styles to the balance, symmetry and proportion of classical architecture.
“殖民复兴运动起源于遥远的过去，帮助一代又一代的美国人轻松过渡到当下的新鲜感和未来的不确定性，”建筑历史学家戴尔·艾伦·久尔博士在他的文章《殖民复兴：文学评论》中写道。 “在建筑和家具设计中，殖民时期例子中的‘精致和尊严’品质，以及简单和适当的比例，将殖民风格与古典建筑的平衡、对称和比例联系在一起。
Interest in the Colonial Revival was therefore equated with timeless good taste.” Figural toiles have thus endured just like other patterns — stripes, floral toiles, ginghams.
因此，对殖民复兴的兴趣就等同于永恒的高品味。”因此，人物印花图案就像其他图案——条纹、花卉图案、格子图案一样经久不衰。
But figural toiles have a lot of visual content.
但人物玩具有很多视觉内容。
Any ideologies transmitted by stripes, florals toiles or ginghams would be hard to parse.
任何通过条纹、花卉图案或方格布传达的意识形态都很难解析。
Plus, those patterns are used too broadly and possess connotations too diluted for any kind of meaningful sociological read.
另外，这些模式的使用过于广泛，并且其内涵对于任何有意义的社会学阅读来说都过于淡化。
Toile is extremely niche-y, connoting specific places, eras, and classes.
Toile 非常小众，意味着特定的地点、时代和阶级。
Toile, along with Chippendale furniture and Federal architecture, offer a distinctly Colonial look, in more ways than one.
印花布、齐彭代尔家具和联邦建筑以多种方式呈现出明显的殖民风格。
The artist Renée Green took toile’s colonial connotations literally in her 1994 work Mise-en-Scène: Commemorative Toile .
艺术家 Renée Green 在她 1994 年的作品《Mise-en-Scène：Memorative Toile》中真实地诠释了 Toile 的殖民内涵。
In red on white, moments from France’s early colonial empire are depicted .
白底红字描绘了法国早期殖民帝国的时刻。
Louis XIV signs the 1685 Code noir laws, sanctioning slavery in France’s West Indian colonies.
路易十四签署了 1685 年《黑色法典》，批准法国西印度殖民地的奴隶制。
Haitian revolutionary Jean-Jacques Dessalines hangs a French officer during the country’s fight for independence between 1791 and 1804.
1791 年至 1804 年海地争取独立期间，海地革命家让-雅克·德萨林绞死了一名法国军官。
For exhibitions, Green decorated a room in the traditional ensuite manner, upholstering chairs, a lamp shade, and the wall.
为了展览，格林以传统的套间方式装饰了房间，包括软垫椅子、灯罩和墙壁。
The effect is at once homey, luxurious and, when examined in detail, disconcerting.
其效果既温馨又奢华，但仔细观察时又令人不安。
Interior designer Sheila Bridges put another modern spin on toile with her print Harlem Toile de Jouy .
室内设计师 Sheila Bridges 的 Harlem Toile de Jouy 印花为印花布增添了另一种现代气息。
“After searching for many years for the perfect toile for my own home, I decided that it quite simply didn’t exist,” Bridges writes on her website .
布里奇斯在她的网站上写道：“多年来，我一直在寻找适合自己家的完美瓷砖，但我发现它根本不存在。”
“I created Harlem Toile de Jouy to thread my own satirical story that lampoons some of the stereotypes deeply woven into the African American experience.”
“我创作《哈林区 Toile de Jouy》是为了讲述我自己的讽刺故事，讽刺一些深深融入非裔美国人经历的刻板印象。”
Like the original toiles, Harlem Toile has monochrome figures in eighteenth-century garb enjoying simple pleasures.
与最初的图伊尔一样，哈莱姆图伊尔也有身穿 18 世纪服装的单色人物，享受着简单的乐趣。
But the figures are black, and the pleasures — dancing, basketball, fried chicken — carry distinctly racist overtones.
但这些人物都是黑人，而其中的乐趣——跳舞、篮球、炸鸡——带有明显的种族主义色彩。
Bridges takes images that most people know to be racially prejudiced and puts them in the context of something quotidian, making a point not only about the stereotypes themselves but about the insidiousness of racism, about toile, about the power of everyday objects in shaping the way people see the world.
布里奇斯拍摄了大多数人都知道的带有种族偏见的图像，并将它们置于日常生活的背景中，不仅强调了刻板印象本身，还强调了种族主义的阴险性、劳动性、日常物品在塑造人们看待世界的方式方面的力量。
Objects — even ones that seem beautiful or benign — communicate ideologies and narratives, and sometimes those ideologies and narratives are ugly and oppressive and violent.
物体——即使是看起来美丽或良性的物体——传达意识形态和叙事，有时这些意识形态和叙事是丑陋的、压迫性的和暴力的。
Toile has also inspired more lighthearted, less overtly political interpretations.
图莱还激发了更加轻松、不那么公开的政治解读。
Textile artist Richard Saja, who embroiders on toile fabric from decorator stores, puts blue mohawks on women, cockroaches on flowers, and clown noses on cherubs.
纺织艺术家理查德·萨贾 (Richard Saja) 在装饰店购买的土布上进行刺绣，在女性身上绣上蓝色莫霍克发型，在花朵上绣上蟑螂图案，在小天使身上绣上小丑鼻子。
Glasgow design firm Timorous Beasties has created dozens of toiles depicting streetscapes in New York and London, pigeons, and clouds.
格拉斯哥设计公司 Timorous Beasties 创作了数十幅描绘纽约和伦敦街景、鸽子和云彩的壁画。
Former Beastie Boy Mike Diamond designed Brooklyn Toile with boutique wallpaper house Flavor Paper to decorate his Cobble Hill townhouse.
前野兽男孩迈克·戴蒙德（Mike Diamond）用精品壁纸屋风味纸设计了布鲁克林托伊尔（Brooklyn Toile）来装饰他的科布尔山（Cobble Hill）联排别墅。
The wallpaper features images of the Brooklyn Bridge, the Notorious B.I.G., and Coney Island’s Cyclone roller coaster.
壁纸上有布鲁克林大桥、臭名昭著的 B.I.G. 和康尼岛的旋风过山车的图像。
These appropriations aren’t so much calling into question the politics of aesthetic norms as broadening the topics they depict.
这些挪用并不是对审美规范的政治提出质疑，而是扩大了它们所描绘的主题。
But their existence demonstrates how iconic toile’s imagery has become, and perhaps why it is so appealing.
但它们的存在证明了印花布的图像已经变得多么具有标志性，或许也说明了它为何如此吸引人。
Recently, I came across a photograph of the musician Panda Bear, born Noah Lennox.
最近，我看到了音乐家熊猫的一张照片，他的名字叫诺亚·伦诺克斯。
He wears a green and white toile t-shirt and stands in front of a matching backdrop.
他穿着一件绿白相间的印花 T 恤，站在配套的背景前。
Lennox grew up in Roland Park — a neighborhood not far from my parents’ house and my high school — where the houses have been in some families so long that they have covenants forbidding blacks and Jews from moving in.
伦诺克斯在罗兰公园长大，这是一个距离我父母的房子和我的高中不远的社区，那里的房子已经属于一些家庭很长时间了，以至于他们签订了禁止黑人和犹太人搬入的契约。
I couldn’t help but think that the photo shoot was a cheeky nod to his tony upbringing.
我忍不住认为这张照片是对他托尼成长经历的厚颜无耻的致敬。
After all, he named his latest single “Boys Latin,” a reference to a local prep school with a star lacrosse team and twenty-five-thousand-dollar-a-year tuition.
毕竟，他将自己的最新单曲命名为“Boys Latin”，指的是当地一所预科学校，该学校拥有一支明星长曲棍球队，每年学费为两万五千美元。
Lennox is a soft-spoken experimental musician with an ear for the psychedelic, not a lax-playing elitist.
伦诺克斯是一位说话轻声细语的实验音乐家，对迷幻音乐有着敏锐的耳朵，而不是一位演奏松散的精英主义者。
He’s not decorating with toile to prop up his belief in the status quo.
他并没有用粗俗的装饰来支撑他对现状的信念。
But it’s likely he grew up with the fabric, its imagery woven into his subconscious.
但他很可能是伴随着这种布料长大的，它的图像已经融入了他的潜意识。
I wonder if it makes him think of gardeners, hunched over flowerbeds in the hundred degree Baltimore heat.
我不知道这是否让他想起在巴尔的摩百度高温中弯腰驼背在花坛上的园丁。