听力文本

They were clothes that gave women enormous security...through the elegance of cut and taste and refinement.
那些衣服给女性带来巨大的安全感，那种优雅的裁剪和精致的品位。
There was nothing frivolous about them.
那里没有那么多浮华的东西。
You see, when I began in the '40s, there were no photographers at fashion shows.
我大概四十年代开始拍照，那时时装秀还没有摄影师。
What the fashion houses had to do was take their own photographs...and bring them to the editors to select something.
这些时装店要自己拍照，然后让报社的编辑从中去选择。
Then the ready-to-wear came into existence in the...in the end of the '60s, beginning of the '70s, very slowly.
那种成体系的模式大概在六十年代末其实年代初才刚刚出现。
At Saint Laurent's first ready-to-wear show, I think there were maybe myself, and maybe a Vogue photographer.
在Saint Laurent的第一个时装发布会大概是我还是一个Vogue的摄影师去了。
I mean, it didn't have this fanatic following that it has now...of all these manufacturers and people that just would kill to get in...because they need to steal ideas for their own work.
当时人们对于时装秀并没有现在这种狂热的追逐，这些服装制造商和人们拼了命想要挤进去，从时装秀中偷一些创意用到他们自己衣服上。
So they let Paris be the laboratory of ideas.
巴黎大概是这些创意的实验室。

视频及简介

这是一部关于街拍鼻祖比尔·坎宁安（Bill Cunningham）的纪录片。已入耄耋之年的比尔依然是纽约时报的一名摄影师，拥有自己的板面专栏“On the Street”以及“Evening Hours”。他从六十年代起便一直沉迷街拍，并享受工作。在比尔的镜头下，不管你是上流名人、普通工人甚至是下城居民，只要你着装出位有个性，比尔都乐于捕捉你的美。几乎所有的时尚界人士都认识并尊重这位摄影顽童，就连著名时尚杂志Vogue的女主编安娜·温图尔（Anna Wintour）也说：“我们都为比尔着盛装。”本片推出后深受欢迎，先后在悉尼电影节、南塔基特电影节、墨尔本国际电影节和阿布扎比国际电影节上获最佳纪录片殊荣。