A Banner Day

Two of the finest examples of old and nouveau-school fundraising in New York City are juxtaposed today.

First, there’s the “hat lunch” — the Central Park Conservancy Women’s Committee Frederick Law Olmsted Awards Luncheon, to be held at one of New York’s loveliest spots, the Conservatory Gardens at Central Park. Now celebrating its 25th anniversary, it was this event that put the conservancy on the map as a socially prestigious organization. With 1240 guests expected, it is expected to raise $2.3 million, 43% of the Women’s Committee’s annual contribution to run Central Park.

In the evening, there will be a blowout dinner, auction, and a performance by Aerosmith at one of the most miserable venues in the city: the Jacob Javits Center. The Robin Hood Foundation gathers there because it’s the only place big enough to hold the 4,000 very deep pockets expected to donate some $50 million, about two-thirds of the amount the foundation grants to poverty-fighting nonprofits in New York.

Both events enjoy national recognition and cachet, and lure guests from all over the country. But they couldn’t be more different. Take the matter of press coverage: The Central Park Conservancy invites coverage from a few outlets, including The New York Sun. In contrast, The Robin Hood Foundation board of directors, the chairman of which is Robert Pittman, have instituted a strict “no press” policy for its event. Does the board think their guests are un-photogenic? I couldn’t get anyone to explain the policy to me.

The conservancy, however, was happy to explain why I was invited: “It’s a great advertisement for the park. It was really when the newspapers started writing up our events that more and more people got to understand they could write a small, medium, or big check to the park,” the chairwoman of the Women’s Committee, Nancy Paduano, said. “Coverage brings the message to so many more people than can attend the luncheon.”

It may also be that the conservancy’s donor base is simply used to press coverage. Many leaders on the Women’s Committee have enjoyed long-established wealth and stature in the city. The Robin Hood Foundation’s patrons often represent more recent sources of philanthropy.

It is no surprise then that many of the women come to the “hat lunch” prepared for photographs —as their mothers did before them. And there are always a few women who wing it, or come with no hat at all.

In honor of the event’s 25th anniversary, the conservancy will give each guest a book of photographs from past luncheons it has prepared, along with an umbrella, a jeweled makeup case, and other treats. Among other items of fashion history, the book shows that the “hat lunch” didn’t actually feature hats until the 1990s.

“In the ’80s, people still had hairstyles that were pretty impressive in and of themselves. There really wasn’t room for a hat,” Ms. Paduano said.

Having attended at least 15 of the luncheons herself, Ms. Paduano is familiar with all the event’s intimate details, such as the perpetual debate over French service versus prepared plates. “With French service, the server comes and you have a hat on, and you’re leaning to the left, then leaning to the right. For the servers, it’s a real challenge just to get in and out of the hats,” she said.

Today Ms. Paduano will be wearing a Lanvin organza dress she bought at Barney’s with a black pillbox hat from Suzanne’s Couture Millinery on East 61st Street. “I’m having my Jackie Kennedy moment,” Ms. Paduano said.

The overall experience remains fun for her. “We’re sold out. It’s wonderful that people aren’t sick of it,” Ms. Paduano said.

Robin Hood tickets are $3,000 to $25,000 each. The conservancy’s tickets are $550 to $5000 each.

Fireworks, Aural and Astral

The waiters wore hard hats, and so did some of the guests at Lincoln Center for the Performing Arts’ “Good Night, Alice” benefit on Monday.

The night started with the final concert at Alice Tully Hall until January 2008, which featured Laurie Anderson, Philip Glass, Wynton Marsalis, and Audra McDonald.

Then the crowd of 600 people — donors, folks involved in the design and construction, and friends —headed to Lincoln Center Plaza to watch the chairman of Lincoln Center, Frank Bennack, and Mayor Bloomberg ignite a fireworks display over Avery Fisher Hall.

“We’re well aware we blew up the wrong building,” Mr. Bennack said later, under a tent in Lincoln Center’s Damrosch Park decked out to celebrate the campus’s redevelopment. Dinner was served in lunch boxes, and centerpieces were made of shovels and tractors.

“The city is the single largest donor to this inspiring project,” Mr. Bloomberg said. Applause followed.

“Well, you can applaud if you want, but I’m giving away your money,” he replied — and the applause got even louder.

The chairmen of the event were couples Katherine Farleyand Jerry Speyer — who brought their real estate expertise to the redevelopment project — and Margaret Wolff and Charles Prince — who lent legal and financial resources to the project.

Coming Out Party

The first official New York outing for the new general manager and artistic director of the New York City Opera took place at the French consulate Sunday night.

The chairwoman of the City Opera, Susan Baker, introduced Gerard Mortier, whom she called “a man who is all heart.”

Mr. Mortier then spoke for about 20 minutes, outlining his intention to bring City Opera to the entire city — potentially, to the Armory, the Apollo Theater, and City Center, among other venues — while reaffirming his commitment to staying at Lincoln Center. “if we leave, someone else will come in!” Mr. Mortier said. Of the acoustics at the New York State Theater, he offered: “Believe me, if you say the whole time that the acoustics are very good, everybody will believe you. Acoustics are very psychological.” He also spoke of moving from playing in repertory to a stagione system, which will allow more time to do “the productions I want to do.”

He ended by asking those present for their support. “If you give me 20% more, I will give you 100% more!” he said.

Mr. Mortier’s audience was impressed.

“I better get out of here before I wind up giving $20 million to the opera,” one guest said.

agordon@nysun.com