高考问答怎样减小照片文件大小:麻烦帮我翻译一下呀!!我非常的感谢你!
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The spread features Moore in military drag, with her dark brown hair slicked back and tucked into a camouflage cap. In the opening shot she sports dog tags, fatigues and police-chic oversized shades. Her sultry mouth is open and one of her hands looks like it’s about to grab her tongue. It’s not entirely clear what the other hand is about to do, with the thumb tucked under her waistband and the other four fingers resting on her crotch as she leans back in a chair.
Ever versatile, Moore can pull off a macho look—combat boots and masculine stances, a lit cigarette pursed between her lips—as fluently as she hits a note of retro glamour, with her hair swept upwards and pinned back ’40s-style. Her jaw is square, her chin slightly cleft, eyebrows thick and nose possibly chiseled by the same sculptor responsible for Joaquin Phoenix’s. Her deep-set dark brown eyes convey a confident elegance. You’d never guess she is one to goof off and shadow-box the cameraman for a news crew during downtime on the set.
It was a real punch that Moore reportedly threw at a romantic rival in a Union Square bar a few years later, knocking him to the ground. In August 2003 the New York Post ran a story on Moore with the sensationalist headline “Lesbian Beauty Strikes Back” and the opener “Sexy lesbian Vogue cover girl Amanda Moore punched out a man who's been making time with her girlfriend the other night.” The girlfriend in question was Kate Young, a former staff member at Vogue. Just four days before the Post story, Moore and then-girlfriend Young were featured in the New York Metro magazine cover story "Sexiest New York Couples," and the two had done a photo shoot together for veteran fashion magazine iD.
As the New York Post article illustrates, Moore's rapid rise to fame hasn't always been smooth. "I'm really struggling to be myself and to remember that [modeling] is just a job," she told The Fashion Wire in a 2001 interview. "There were times when I forgot to be grateful for what I have, and luckily I've been reminded of that. When I leave this world I want to be remembered as a person who had a good job and was good to people." That included buying her family a new pickup truck, one of the first things she had intended to do with the money from her modeling career.
She didn't have to wait long: within three years of the Orlando trip, Moore had landed in the pages of Harper’s Bazaar, French Vogue, Allure, and Pop, in spreads shot by the hottest photographers in the fashion industry. She also landed prestigious campaigns for the likes of DKNY, D&G, Hilfiger and Armani.
In 2004 she attained the ultimate hallmark of supermodel status: appearing in the Pirelli calendar
Ever versatile, Moore can pull off a macho look—combat boots and masculine stances, a lit cigarette pursed between her lips—as fluently as she hits a note of retro glamour, with her hair swept upwards and pinned back ’40s-style. Her jaw is square, her chin slightly cleft, eyebrows thick and nose possibly chiseled by the same sculptor responsible for Joaquin Phoenix’s. Her deep-set dark brown eyes convey a confident elegance. You’d never guess she is one to goof off and shadow-box the cameraman for a news crew during downtime on the set.
It was a real punch that Moore reportedly threw at a romantic rival in a Union Square bar a few years later, knocking him to the ground. In August 2003 the New York Post ran a story on Moore with the sensationalist headline “Lesbian Beauty Strikes Back” and the opener “Sexy lesbian Vogue cover girl Amanda Moore punched out a man who's been making time with her girlfriend the other night.” The girlfriend in question was Kate Young, a former staff member at Vogue. Just four days before the Post story, Moore and then-girlfriend Young were featured in the New York Metro magazine cover story "Sexiest New York Couples," and the two had done a photo shoot together for veteran fashion magazine iD.
As the New York Post article illustrates, Moore's rapid rise to fame hasn't always been smooth. "I'm really struggling to be myself and to remember that [modeling] is just a job," she told The Fashion Wire in a 2001 interview. "There were times when I forgot to be grateful for what I have, and luckily I've been reminded of that. When I leave this world I want to be remembered as a person who had a good job and was good to people." That included buying her family a new pickup truck, one of the first things she had intended to do with the money from her modeling career.
She didn't have to wait long: within three years of the Orlando trip, Moore had landed in the pages of Harper’s Bazaar, French Vogue, Allure, and Pop, in spreads shot by the hottest photographers in the fashion industry. She also landed prestigious campaigns for the likes of DKNY, D&G, Hilfiger and Armani.
In 2004 she attained the ultimate hallmark of supermodel status: appearing in the Pirelli calendar