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Annie would just give Bill like...Here's a hundred pages, and Bill flourished with Annie more than ever anywhere.
Annie会给Bill很大的创作空间和自由度，Bill的作品等在Annie的这里也比其他任何杂志都多。
It was like she almost gave him his own little mini magazine just to do it however he wanted.
就好像是她提供给他了一整个迷你杂志，他可以按照自己喜欢和想要的样子来做。
He'd work all day, and he'd come up at night, and our sessions usually lasted till about 4:00 in the morning.I worked for the Establishment during the day,
他整天都在工作，有时会晚上过来，我们有时会开会到凌晨四点。我白天要为《纽约时报》工作
so I was like a bird getting out of a cage, and I'd go down there.
我像逃出牢笼一样跑到这里来。
It was marvelous.
这真是很奇妙的感觉。
I would come after my job at the Times, and we would lay this out, and then I'd go home about 2:00.
我一般在结束《纽约时报》的工作之后过来，然后我们把内容定下来，我大概两点钟左右回家。
Biked back from SoHo where we were.
从SoHo那边骑车过来，好了我们在这儿。
I think one Details Magazine, it was Fall Special...125 pages of Bill Cunningham.
我在策划Details杂志的一期秋季特刊125页Bill Cunningham的作品。
A hundred pages?
一百页？
Ninety-nine. -Ninety-nine pages.
99.-99页。
We just...We never thought of it.We just went on and did what we wanted till we had said what we wanted to say.
我们只是…从没想过这个。我们都是尽力在杂志上表达我们想要传达给读者的东西。
111 pages. -111 pages.
111页。-111页。
Here are what I did was I blew up the embroidery of the coat, and we put it on the pages, and then put the coat, small, in the middle of it,
这部分我要重新解构这些刺绣的外套，我们把它放在这些页，然后把衣服的图片缩小到页中央，
'cause the news was in...-Yeah, the idea was the big...was this.
因为内容是在…-是的，我们的想法是…占大部分的是这个花纹。
'Cause it was like something out of the Renaissance, you see?
因为这有些像文艺复兴时期的东西。
You try to show the reader what was really new.
你要努力向读者展现出这些最新的东西。
Look at this. It's like something from Paul Poiret, uh, 1910.
看这个…这像是Paul Poiret在1910的作品。
Scheherazade, the Arabian Nights.
Scheherazade的一千零一夜。
Look at the embroidery, the tassels, the lace.
看这些刺绣、流苏、蕾丝边。
