急用 ！！请网友们帮忙翻译！ ￥（悬赏引线币40）￥￥

一品天下

Ever since President John F. Kennedy went hatless in the 1960s as a sign
of youthful vigor and disregard for traditional formalities, millinery has
become more costume than convention .Designer Kelly Christy revels in
this sartorial evolution,giving each of her unique hats a name to reflect a
specific mood or character, like “Let’s skate” or “Veronica Lake.”
Christy has a theatrical flair that made her the ideal choice to design hats
For the recent Broadway revival of Clare Booth Luce’s play The Women
(costumes were done by Isaac Mizrahi). “For a classic milliner,” Christy
Says, “that was a dream. The play is set in the late thirties, a perfect period,
Because that’s when hats were frivolous.” Inspired by French couturiere
Elsa Schiaparelli and Adrian, who costumed the play’s 1939 Hollywood
Adaptation, Christy created eighteen fantasy hats that mined the era’s
Penchant for toylike dimensions and exotic materials while visuslly
Portraying each character’s
distinct personality.

Christy helps her clientele achieve similar distinction. Working out of
a small shop in the fashionable Manhattan neighborhood of Nolita, she
designs and fabricates her own hats, hoping to keep her craft “personal
and detailed.” Recently she has focused her dramatic aesthetic on a series
of designs that put miniature landscapes on people’s herds. Combining
cloth and miniatures, this new generation of hats represents snow scenes,
Complete with skiers and trees, as well as ice skating rinks and picnics. An
Iowa native and nature lover, Christy sees analogies between her designs
And the canopied silhouettes created by groves of trees. Birds’ nests
Inspired a series of hats made of twigs, artificial birds, and eggs. In an age
Of mass-produced fashion,Kelly Christy holds out for customization,
transforming her clients into eccentric actors in the drama of city life.

Greg Vendena works in the city symbolizes postindustrial America-
Detroit. Substandard housing and dilapidated public spaces are among the
troubles addressed by Vendena and his architecture and design practice,
co-lab. Established in 2001, co-lab-a contraction of collaborative, labor,
and laboratory—includes Vendena, a graduate in architecture from the
local Cranbrook Academy of Art; Christine Dunn, an architect and artist;
and Fabio Fernandez, an artist, teacher, and community organizer. (Others
often join them as well.)Fusing social commitment and environmentalism,
co-lab’s major a “progressive response to the conditions around us.”
Co-lab’s major design strategy is a clever recycling of everyday
materials. Abandoned tires, plentiful detritus of Detroit’s car culture, have
been converted into outdoor plant holders and shingles that keep rain and
wind out of houses. Global automaking, however, doesn’t always reach
local residents. Only one in four city dwellers owns a car. The others often
rely on Detroit’s inadequate mass transportation, so co-lab has proposed
recycling thrift-store suitcases into colorful bus shelters. Co-lab also reno-
vates abandoned houses using renewable energy systems and recycling
materials such as wood scraps into tiles for floors, walls, and tabletops.

In the future co-lab wants to improve the furniture in local parks by
Capitalizing on an ad-hoc process in which residents have traditionally
Gathered discarded household chairs to create meeting spaces. Working
With the community, co-lab will transform scrap metal into 250-pound
replicas of these vernacular ancestors.

“Thinking ecologically,” Vendena says, “reasserts our organic reality
and the evanescence and interconnection of all things.” Co-lab’s approach
to specific local issues responds to problems vexing all post-industrial
cities. “Detroit,” Greg Vendena says, “is everywhere.”

请论坛里的朋友们一定要帮帮忙！！

淘气小洪

我英语不怎么样。翻译不过来哦。
要不你去在线翻译看看

aiwozhang

自从肯尼迪总统来到镶嵌在1960的一个迹象
朝气和无视传统手续，已millinery
更为服饰比公约。凯利设计师克里斯蒂在营业
这表情变化，让每一个她独特的帽子，一个名称，以反映
特定情绪或性格，喜欢"让滑冰"或"婆婆湖" 。
克里斯蒂有文艺天赋使她成为理想的选择，设计帽子
对于最近百老汇复活克莱尔展台luce的发挥妇女
（舞衣都是由艾萨支） 。 "对于一个典型的女帽， "克里斯蒂
说， "这是一个梦想。比赛定于30月底，一期完善，
因为这样的帽子时，被无聊。 "的鼓舞下，法国库蒂里埃
协会schiaparelli和艾德里安，谁costumed戏的， 1939年好莱坞
适应，克里斯蒂创造18幻想帽子，布雷时代
演戏toylike尺寸和异国材料，同时visuslly
每刻画人物
鲜明的个性。

克里斯蒂帮助她的客户实现类似区分。工作出
一个小商店在曼哈顿时髦邻nolita ，她
设计和编造自己的帽子，希望把她的船"个人
和详细。 "最近她一直注重戏剧性，她的审美一系列
设计，把盆景对人的畜群。结合
布和小型，这新一代的帽子代表着雪景，
完成滑雪和树木，以及溜冰和野餐。一个
爱荷华乡土与自然的情人，克里斯蒂认为类比之间，她设计
并确轮廓创造丛林树木。鸟巢
灵感系列净化了树枝，人工鸟和蛋。在这样一个时代
大规模制作的时装，凯利举行克里斯蒂进行定制，
她转化成客户偏心者在戏剧城市生活。

格雷格vendena工程中的城市后，象征美
底特律。简陋的房屋和破旧的公共空间中
故障处理vendena和他的建筑设计实践，
联合实验室。成立于2001年，联合实验室收缩协作，劳动
实验室-包括vendena ，毕业于建筑，从
克兰当地美术学院;陆恭杜恩，是一名建筑师和艺术家;
法比奥和费尔南德斯，艺术家，教师，社区组织者。 （他人
常常他们一起为好） 。融合社会的承诺和环保，
联合实验室的主要"渐进反应的情况在我们身边" 。
联合实验室的主要设计策略，是一个聪明的回收天天
材料。废弃轮胎碎屑丰富，底特律的汽车文化，有
被改作户外厂持有带状不断雨
风走出房子。全球汽车，但并不总是达到
当地居民。只有四分之一的城市居民拥有一辆汽车。别人往往
依靠底特律的不足，大众运输，使两顾建议
节约回收店手提箱进入五彩缤纷的巴士站上盖。联合实验室还里诺-
vates废弃房子使用可再生能源系统和回收
材料如木材废料变成砖地板，墙壁，桌面。

在今后的合作实验室想要提高家具在当地公园
利用特设进程中，居民的传统
收集废弃的椅子住户创造会议空间。工作
与社区联合实验室将变换废金属成250磅
复制这些白话文的祖先。

"生态思维" ， vendena说， "我们重申有机现实
与幻灭和互连所有东西。 "联合实验室的办法
要根据当地的具体问题作出回应的问题，一切烦恼后工业
城市。 "底特律， " vendena格雷格说， "到处" 。

一品天下

答案虽然我不满意，但是我还是谢谢你。毕竟你尽力了嘛！
因为引线币扣的厉害，所以我不得不终止悬赏。