Ⅰ 大家幫忙翻譯一下這個網站的一篇報道（服裝時尚類的）
GEOGRAPHY has always been a convenient form of branding in Manhattan, where Madison Avenue, Broadway and Wall Street are shorthand for career tracks as much as they are addresses.
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As the home of New York Fashion Week, Bryant Park is, to much of the world, synonymous with fashion. That is a fitting distinction since its wide-open lawn is also commonly referred to on Seventh Avenue, where famous designers like Donna Karan, Oscar de la Renta and Carolina Herrera have their offices, as the backyard of the garment district. So when the New York catwalks were centralized under a big tent there in 1993, it made a poignant narrative to show the clothes just a couple of blocks from where they were being created.
Sure, there were plenty of people then, as there are now, who thought it was perfectly appalling that a bunch of fashion designers should be allowed to take over just about the only patch of open green space in Midtown for their invitation-only affair. It may not have been obvious why fashion mattered to the thousands of tourists and commuters who walked by each day, irritated by the traffic, excited by the celebrities, bemused by the outfits.
But now, after a prolonged dispute between the designers and the park management, the Fashion Week that begins in Bryant Park today will be the last, before the event moves to Lincoln Center in the fall.
Its entrance, on Avenue of the Americas at 41st Street, is printed with dozens of quotations from designers, editors and publicists, all expressing the belief that showing collectively in Bryant Park is what made New York City a global fashion capital. One from Anna Wintour, the editor of Vogue, hangs over the front door: 「Bryant Park became the beacon of what New York fashion stands for — an instry that』s fearless, tireless and always moving forward.」
And yet few have missed the symbolism that this move away from Bryant Park is happening at a moment when the garment district, from 34th to 40th Streets between Broadway and Ninth Avenue, is in a profound state of decline.
Manufacturers who made their homes there selling buttons, trims, fabrics and threads, making samples, procing dresses and suits in factories along the side streets, have been disappearing at an alarming rate over the last decade. Most of the proction of clothes moved to cheaper factories overseas long ago. The recession, and pressure from landlords who want to convert factory buildings into luxury apartments, hotels and office space, has caused more of them to flee the district.
And now go the tents, the most visible image of the work that still goes on in the neighborhood.
「It』s sad that the tents are moving because they do validate the garment center,」 said Nanette Lepore, who proces 85 percent of her collection within five blocks of her office. 「The tents give you an image of strength.」 Ms. Lepore, along with designers like Anna Sui and Yeohlee, have been leading a 「Save the Garment District」 campaign for more than a year in response to city proposals that would end protective zoning for its manufacturers.
「I love the fact that Bryant Park was where they chose to do the shows because I love the garment center,」 Ms. Sui said. 「And to this day, we still wheel the racks to the show ourselves.」
Although it was once the largest source of manufacturing jobs in the city (representing more than 200,000 workers in the 1970s), there was little respect then for New York fashion in the rest of the world. Apart from a handful of major brands, very few New York designers had been exposed to an international audience, and hardly any had stores overseas.
That is, not until the designers decided to show their collections together in a central location, as a major media event, as their counterparts in Paris and Milan had done for decades. Their first season, in which virtually every major designer showed in the park, drew coverage from CNN, CBS, NBC, the BBC, VH-1 and MTV. Now organizers of Fashion Week typically receive 3,000 requests for media credentials each season.
「Fashion in the 』80s in New York was still very provincial,」 said Stan Herman, the designer who was president of the Council of Fashion Designers of America at the time. 「We had designers, but we had no cohesiveness. We were just a way station for fashion.」
The catalyst for banding together was a Michael Kors show, in 1991, in a raw Chelsea loft, when the booming music caused the walls to shake and a big chunk of the ceiling to fall onto the runway, clipping Suzy Menkes, the fashion editor of the International Herald Tribune, on her well-regarded head. She made only brief mention of the incident in her review. But, angered that no one seemed to take it very seriously, she slammed the chaotic disorganization of the New York shows in comments to Women』s Wear Daily.
「She called us second-raters,」 Mr. Herman said. 「Everybody looked at each other and said, 『We』ve really got to do something about this.』 She was one of the few editors from Europe who came to America.」
Persuading the designers to show in one place, however, was as much of a challenge as securing the use of the park, a task that fell to Fern Mallis, who was then the executive director of the council and the person widely credited with conceiving the event. She described a meeting at which several young but reluctant designers kept asking whether Calvin Klein had agreed to show there. Mr. Klein happened to be in the room and announced his support.
「This was the most important thing we could do for our instry,」 Ms. Mallis said. 「It was the right moment for American fashion.」 But Ms. Mallis has also faced criticism.
As the event grew larger, from 42 shows under 2 tents and inside the New York Public Library in 1993 to more than 65 in 3 tents this season (hundreds more designers show independently), corporate sponsorship took on more prominence. Sponsors like Mercedes-Benz, Olympus, General Motors, M.A.C., Evian, Fiji, Dunkin』 Donuts, McDonald』s, Delta, the Bermuda Department of Tourism and Kohler, the toilet maker, paid handsomely to feature their procts and messages in the limelight of Fashion Week. In 2001, the fashion council sold its runway operations to IMG, the global marketing company. That, in turn, led to sniping that Fashion Week had come to resemble a trade show, or a car dealership. Many of New York』s marquee designers now show their collections elsewhere.
THE complaints may be somewhat unfair. What is not often noted is how closely the explosion of marketing noise around Fashion Week mirrored the increasing globalization and corporate slickness of fashion itself over the last two decades. Without a lot of money and marketing behind them, it is harder for new designers to construct and proce a small collection on their own. 「It』s important to maintain the dream that it is possible to become a designer,」 Ms. Sui said. 「But how do you do that? The only thing that made it possible for me was that I had accessibility to this area and really figured out my resources.」 If the local button-makers and fabric suppliers and factories all close, she said, 「everything cannot just be available over the Internet.」
Can Lincoln Center, already associated with so many things besides fashion, ever give fashion designers the same sense of belonging as did Bryant Park? It bothers many of them no end that their craft is perceived a lesser (if not the least) form of art, that the costume galleries at the Metropolitan Museum of Art are in the basement, or that an appreciation of style is often remarked upon as a liability to politicians, athletes and intellectuals.
Designers are making the best of it.
「When you think of Lincoln Center, you think of the arts, the music, the dance and the opera, so I think being there will elevate and celebrate fashion as an art,」 said Donna Karan, who happened to be the very first designer to have a runway show in Bryant Park when the tents opened on Halloween in 1993. Many of her peers, in interviews and in the comments plastered on the front of the tents, repeated the belief that Lincoln Center will legitimize them, not just as designers, but as artists.
Not one of them mentioned that the new location is home to another seasonal event that takes place under a big tent, one that is perhaps an even more apt metaphor for Fashion Week.
That is, of course, the Big Apple Circus.
地理一直是在曼哈頓麥迪遜大街的地方，百老匯和華爾街的職業速記品牌方便的形式盡可能多首曲目，因為他們的地址。
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時代主題：紐約時裝WeekReaders的評論
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作為紐約時裝周的家，布萊恩特公園，為大部分的世界中，時尚的代名詞。這是因為其廣泛的開放式草坪也經常提到的第七大道，到那裡就像唐娜卡蘭，奧斯卡德拉倫塔和卡羅萊納埃雷拉著名設計師他們的辦公室，裝修的區別作為服裝區後院。因此，當紐約模特是一個大帳篷下在1993年有集中的，它提出了尖銳的敘述，以顯示他們是從那裡正在創建的衣服只有幾個街區。
當然，有很多人當時，因為現在，誰認為這是一個非常令人震驚的是一堆的時裝設計師應該允許拍照只是公開在市中心區綠地的邀請，只只修補過的事情。它可能不會有明顯的原因時裝顯然將影響到成千上萬的遊客和乘客誰走過每一天，由交通惱火，由名人，困惑興奮的服裝。
但現在，經過與設計師和公園管理長期爭端，時裝周，在布賴恩特公園從今天開始將是最後一次，在活動前移至林肯中心在秋季。
它的大門，在第41街的美洲大道，是印有幾十個設計師的報價，編輯和所有集體表示相信，在布賴恩特公園展示的是什麼使紐約市的全球時尚之都宣傳員。從安娜溫圖爾，在時尚的編輯，一個掛在門口：「布賴恩特公園成為燈塔什麼紐約時裝代表 - 一產業的無畏，不知疲倦，永遠前進。」
然而，很少有人錯過了這個象徵意義，脫離布萊恩特公園是在一個時刻發生在服裝區，從第34至第40和第九屆大街之間的百老匯街，在一個深刻的衰退狀態。
誰製造了自己的家園有賣紐扣，花邊，布料，線打樣，生產服裝和西服工廠沿著小街，已消失在過去10年的驚人速度。服裝生產的大部分轉移到海外的工廠早就便宜。經濟衰退，並從業主誰想要轉化為豪華公寓，酒店和寫字樓廠房的壓力，造成他們逃離該地區更多。
現在走帳篷，該工作照常進行在附近最明顯的形象。
「這是可悲的帳篷，因為他們正在做驗證的服裝中心，」說納內特萊波雷，誰製造了她收集了她的辦公室在5塊百分之85。 「這些帳篷給您力量的形象。」萊波雷女士，以及像安娜蘇和Yeohlee設計師，一直在領導一個「拯救制衣區」的一年多運動，針對城市的建議，將結束保護區劃其製造商。
「我愛布賴恩特公園的事實是，他們選擇這樣做的節目，因為我熱愛服裝中心，」隋女士說。 「為了這一天，我們仍然車輪的機架來顯示自己。」
雖然它曾經是城市的代表在20多萬工人在20世紀70年代（製造就業機會的最大來源），很少有尊重紐約在世界各地的時裝然後。除了極少數的大品牌，很少紐約設計師已經暴露在國際觀眾，幾乎沒有任何有商店海外。
也就是說，直到顯示的設計者決定在中心位置的集合在一起，作為一個大型的宣傳活動，因為他們的同行在巴黎和米蘭進行了幾十年。他們的第一個賽季，其中幾乎所有主要設計師在公園發現，吸引了來自美國有線新聞網報道，哥倫比亞廣播公司，全國廣播公司，英國廣播公司，VH - 1等和MTV。現在，時裝周的組織者通常會收到3000媒體憑據每個賽季的請求。
「在80年代在紐約時裝仍然非常省，」斯坦赫爾曼說，設計師誰當時的美國時裝設計師協會會長。 「我們的設計師，但我們沒有凝聚力。我們只是一個時尚中途站。「
為聯合起來的催化劑是邁克爾科爾斯顯示，在1991年，在原切爾西閣樓，在音樂的蓬勃發展所造成的震動和牆壁的天花板大塊下降到跑道上，剪報蘇茜門克斯，時尚主編國際先驅論壇報，對她很好，把頭部。她只對在事件中簡要地提到她的審查。但是，似乎激怒了，沒有人採取非常認真，她撞上了紐約混亂的混亂表明女裝日報的評論。
「她叫我們第二評價者，」Herman先生說。 「大家面面相覷，說：'我們真的必須做的事情。'她是誰從歐洲到美國的少數幾個編輯器之一。」
說服設計師顯示在一個地方，然而，作為一個為確保公園的使用，一個任務，下降到弗恩Mallis，誰當時安理會的執行董事和廣泛的人設想的許多挑戰記事件。她描述了一個會議，會上幾位年輕的設計師一直在問，但不願卡爾文克萊是否已同意以顯示那裡。克萊因先生正好在房間里，並宣布他的支持。
「這是最重要的事情，我們能為我們的行業，」Mallis女士說。 「這是為美國時尚時機。」但Mallis女士也面臨批評。
隨著事件越積越多，從42顯示的2頂帳篷和內部紐約公共圖書館在1993年超過65本賽季在三頂帳篷（數以百計的獨立設計師展示），企業贊助了更多的重視。贊助商如賓士，奧林巴斯，通用汽車，陸委會，依雲，斐濟，鄧肯甜甜圈，麥當勞，三角洲，旅遊和科勒，馬桶製造商支付豐厚的地域特色的時尚風頭他們的產品和信息，百慕大部周。 2001年，時裝理事會出售其跑道運作，IMG公司，全球營銷公司。這反過來又導致了狙擊的時裝周已經到了像一個貿易展，或汽車經銷商。紐約的大牌設計師展示他們的收藏現在許多其他地方。
投訴可能有點不公平。什麼是不經常注意的是如何緊密地圍繞時裝周的營銷雜訊爆炸鏡像，在過去二十年的日益全球化和企業本身的時尚華而不實。如果沒有金錢和營銷背後的很多，現在是進行新的設計和生產難度，構建自己的一個小集合。他說：「重要的是要保持夢想，有可能成為一名設計師，」隋女士說。 「但是你怎麼做呢？唯一使我有可能是我更容易了解這一領域，真正找到了我的資源。如果本地按鈕，製造商和面料供應商和工廠都關閉時，她說「，」一切都不能只可在互聯網。「
可以林肯中心，除了已經與時尚相關的許多事情，不斷給時裝設計師對屬於同一布賴恩特公園一樣的感覺？這其中許多煩惱，他們的船是沒有知覺結束較小（如果不是至少）形式的藝術，這在大都會藝術博物館服裝館是在地下室，或欣賞的風格是常說的後一個政治家的責任，運動員和知識分子。
設計師們最大限度地利用它最好的。
「當你覺得林肯中心，你認為藝術，音樂，舞蹈和歌劇，所以我覺得在那裡慶祝會提升和時尚作為一種藝術，說：」唐娜卡蘭，誰正好是第一個設計師有一個在布賴恩特公園跑道表明，當帳篷在萬聖節開幕於1993年。她的許多同齡人，在采訪中對帳篷前貼的意見，反復相信林肯中心將合法化，他們不僅是設計師，但是，作為藝術家。
沒有一個人提到的新的位置是家庭到另一個季節性事件，需要下大帳篷，一個is或許是時裝周更貼切的比喻more地方。
也就是說，當然，大蘋果馬戲團。
Ⅱ 以馬內利用英語怎麼表達
Emanuel