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once began a story almost

Marcus

way:

Weill, the photographer, has said he

how we

with

in this

live

considering that there

is

chiefly

is

death.

concerned

would say

our virtues and arts have to do with the fear of death.

He

his

theme

that

is

we

believes that

seriousness and logic because seriousness and logic remind us that

much

photographs

in his

we

most of

flee

will die.

from

But

il-

amusement is beauty and truth,


that nothing is worth grief or is certain, not even death. He thinks we look at every face
to see if it alone is perfect enough or clever enough to help us escape a sense of worthlessness or of unused time. Or if it is a rival. Or is the hint of a life we might have had or
might yet have. He quotes Robert Herrmann, the emigre philosopher: "My life's work
logic

is

and

frivolity say

nothing makes

sense, that

demonstrate not Euclidean but mortal geometry."

to

that a photograph, like flesh or love,

hundred axioms
fashions, to

in the

is

a clock.

He

said to

Herrmann has

me

it

was a truism

"There are

written,

mortal geometry that have to do with games, with clocks and

make time seem

pleasurable for a while, that use a quarrel or temperament

or the flash of a talent to drown the noise of the clocks in the room.

Perhaps the

Marcus has photographs of


women in tears, women with dizzying smiles of confused meaning, women dancing: and
in these photographs there are often no walls, and no real shadows, just now and then.

rich

and beautiful and talented hate time the most.

in the

."

angles and points of a composition, a scarf or a face, a

crease of agitation, a clear statement of folk and of pride.

model shout, "Ah God

am

And

so on.

is

a Jew.

snout of terror, a

once saw him make

a tired

so happy," and crazed with exhaustion and careful pretti-

ness she suddenly realized she almost meant

He

fish

it.

He

took the picture then.

You

Time. Oh, yes.

Time

see, well, the question

often time.

is

as wreckage, time as threat, time as obscurity.

pulse

isn't a single

time varies by

No one can

human measurements

amusement or boredom; in a sense, time is local; each of us


time in some form is sewn to each atom; whatever
time

everything: words, childhood and children, manuscripts,


well or fail in,

we

dismay

of intelligence

In dreams and visions,

we

and

which we

tell

ourselves.

have come

life's

is

a dream.

is

little

is. It

our

it,

born into a private envelope of

it is

lips.

that time does,

Much

it

does

it

to

of what we do not do

A common

statement of

more time.

which does not belong to the time of the world

in

our dreaming minds invent a time for us untied to

meanings, and the duration of such time has only to do with stories we

The word dream

dream. The book

Is

find a time

will die: this is a silkier time:

anything but our

had a

If only I

us what time

other than our sense of

are constrained to by lack of time to do otherwise.


is

tell

It

is

almost always in our mouths a term of praise. The dress

seems

a dream

like

to

experience

this.

is

Look: all your dreams

true.

time painful? For a child in front of a mirror, a child alone

in a child's mirror, the questions, the helplessness; the child runs:

someone makes something. Some


any time that

is

artifacts are

made

The slow time

in a field?

we

act.

Fashion, as a verb:

to suggest that present time

past, to suggest that Fate has taken a

new

turn, that

we

is

unlike

be unlike what

will

we take older objects and imagine virtues in the past dead or stilled
virtues
and we reform, we reverse time, rescue those virtues (we think) and objects, we
hint that time makes beauty, proves value. Neither an emotion nor a pyramid, not beauty,
not elephants can sustain the weight of time: our emotions change and we don't quite
remember we don't know what the truth is here. Objects, feelings, gestures our moods,
our emotions
as we express them or name them, are fashion. Fashion, as a noun, means
things that have been made for us to use as we try to live now.
older people were; or

Fashion

is

us

trying to live.

Fashion, as a noun, can

mean

joined together only uncertainly in

a way, anyone's

common methods

attempt at superiority to immediate time;


or

combined

in a

verses

itself,

a swindle.

we can have

salesmen.

style

restores

Style

it is

more

it

it.

can mean us

of attempt. Style, austere or not,

is

an

useful fashion, fashions strung together

grace or contract of rebelliousness against too-short-a-time

assert ourselves so

sonal worth then.

way of doing anything. Or

we need

to

a sense of personal will in the face of time, a sense of per-

is difficult

to judge unless

one has time. Often history mocks

Usually, to say a style for

elegance or beauty

now

is

to joke

bitterly

it,

re-

or to intend

those words used a certain way are words for


But

in

another sense they describe an

Style, realistically,

is

art.

a perception of hope, of a triumph of a kind.

Within the propositions and extent and grossness of time.

The amount of a maker's life and


vested
when it is fashioned matches

looking at

it,

in valuing

it.

care, time of that sort, with which an object

the approximately similar time and care

Such a symmetry

exists but not exactly.

first

most hidden order of time's quality

in

photograph may be seen

to

is

being con-

have a further and

something that provokes a second and,

it,

in

comprehension,

which may be as quick as a camera shutter's closing, which may indicate time
efficiency, with technology, a

we take

Something sketched or

photographed, apparently quickly, may include years, so that after the

quered with

is in-

al-

in a sense,

an endless look.
gives us an image.

It

want to say that

photograph there

in a

is

and enchants the hunting and scavenging animal

Our

lives, if

our attention

a hideous agony of love, say,


lysts

is

we

caught,

if

we

romance of magical capture

in the

human

it

without

so?

see that our lives confuse us; and

Our own cleverness? Ah,

much

viewer.

are hectored by self-examination, because of

and Proust, does not explain much or hardly anything:

make

that deludes

memory,

in spite of ana-

not explicable: what would

life is

haven't that sort of pride. Our narratives are,

sense and are, therefore, astonishing

like

a novel: I could

tell

think,

you things

and you could make them into a book that would get you a fortune.
Our senses and minds cannot grasp a present moment either: we say, "Christ. I m
going crazy," we feel so harassed. We cannot, except willfully, make sense of anything.
After all, actuality is not sane: what principle would make it sane or arrange it sanely? It is
what we do in regard to it which we judge sane or not.
A photograph aids our senses and bestows on our memory a gift of the stillness of an
object or a face for study so that we can stalk it at leisure: we are flattered by seeing and
remembering for study with such seeming exactness. The untruth and distortion in a photograph which makes it humanly true
and important sometimes we often ignore in order to
.

imagine another truth

of testimony

in the

photograph, a romance of the true and untrue

mixed, of the ideal and the carnal reality inconsistently but often enough intoxicatingly
joined.

What does

a photograph

show?

It

shows something never seen

in lite: in lite,

the light,

the object, the face are part of time, of a sequence, a parade of moments: of change, therefore: a
in

long chain of variations.

these molecular chains

bits.

We make
In a lie,

failure to

is

The

real nature of faces

too difficult for us.

We

and objects and

leap and seize and

dream

our perceptions
in

portions and

parables, examples, the legendary, the dreamlike, a set of lies about

meaning, rightly or wrongly, can be certain (what makes

be believed

rate existence

ot

then

it

is

nonsense) because

from our mode of dealing with

it:

in a lie,

how we

lit

meaningless

meaning does not have

utter

it.

fixity.

what we sa\

is

is its

a sepa-

everything:

but this

not so

is

if

we make

a conscious attempt at '"truth": then

form and content do

separately and problems of expression begin to tease us. 'Truth," so far as


fuses purpose,

must

such an overriding purpose

it is

settle for a half-accuracy as

and

times;

dangerous

our

really,

and

in itself;

we go about our

lives feel strange in us,

lovely

animals,

think.

becomes part of human boastfulness; and

we know

and we cannot always give

business. This

is

it

exist

it,

dif-

time but

vertiginous for us some-

which makes

around us

us sudden and

photograph by representing superior senses

we

we were looking at photographs


we don't often try very hard to see anything very clearly in life: we use common
sense: we get along
we are not perfect viewers how can we be? The interposition of machinery doesn't change the human quality of making or of seeing a photograph. A machine is

ness and finality

try to see as if

machine-like, not supernatural.

in a

in life

we wish

And

human

in the

to photograph,

we

photograph but only abstractions of

can,

lights

if

how much

order of things, no matter

we

still-

are honest, find no final subject matter

and darks, limitations and successes of the

camera, devices, simple and complex, of the photographer, the date we look

at the picture,

the date the picture

we look

is

fashioned, the light

actual or mental

with which

at

various representations, visually and emotionally misinterpreted or merely interpreted.

it,

We

don't like to admit this.

Nor
an

art;

is

it is

photography an ancient form and

this

an old convention of misrepresentation

recent and perhaps temporary: photography

may turn

in

medium in short
know how satisfying

out to be a

new methods will replace it holography, perhaps we do not


the medium of photography is for us
only that it is satisfying now.
The romance of human flattery and aid and apparent instruction in a photograph
causes love of a sort and so we prefer it if the picture can be regarded sentimentally, if it
makes us gasp with admiration or some such feeling at ourselves; a soft love being easier for
us than a hard one. A photograph that makes us see too much forces us sometimes to hate it,
or to manage not to see it quite
it slides by us, misunderstood, mislabeled. Most of us like
the idea of a photograph of someone famous as mythically caught for all time: we don't like
to admit that we are confronted with constructed testimony. Love wants us to lie, to comprehend generously, even ourselves: photographs should be docile, not sly dreams. To accept an
actual photograph is a complex business in reality and can involve a great many kinds of romance. A photograph of a real person who is also a movie star is of little interest if that is all
there is to the photograph: the photograph of the star is more important to us. Photographs
use and

sell

and

the

woman

and

will

distill

a peculiar heroism: timelessness: the athlete in a

being

fully expressive of

not define

itself: it is

and misfortune are not

mersed
is

in

some

success,

it is

inevitabilities but

quality or other.

what

we become

an okayed insanity
restless

and

Modern

succeed,

it is

is

entirety of being,

life, like

history.

misfortunes of the system so

time and in our times that fashion

sanity, or

will

spasm of

It

old religion, lies

argues that death

far.

We

often an evidence of respectability,

are so imis

an okay,

not too great an insanity. Language becomes inverse

say something

is

incredible but

we mean

the opposite:

and

we mean

our individual existences and daring are safe somehow, but not so safe we are bored or must

accept our Fates as humans


private inclination,

less

and

less possible

and admired

it is

too singular:

it

meaning of a
dissolves the

Good taste God if you recall was supposed to be timeless, like a religion. It
with time. But our tastes die in a welter of arguments,
bargain, it was a communion

congregation.

was

is

as like the Fates of our ancestors. Taste, in the

facts,

change, commercial pathos, and cultural and personal exhaustion.

ial

we trembled with

know more, to comprehend the


world, we wanted things to hold still and to speak simply. As children we stared
do you remember? As adults we consume and give orders and make clumsily make lives. Sometimes
we create surprisingly primitive celebrities who stand for those childhood longings who are
the dumb things and people we loved as children, and who will stand still, who will be looked
at, who will be objects now, who will be fit subjects for photographs of a certain kind.
Lies are sometimes predictions of what we will do. The staring child creates a culture
arly in our lives

fugitive longings to

based astonishingly on the eye and on a dementia which perhaps ought not

The

idea, after

Must

If

all, is

new

that all of us

must

try to live.

speak of something stirred


his career, his

my

in

me.

produce a

flurry of

work and the occasion of this preface.

It

sense of the adventures of his eye.

book of

would be a multi-layered and

my

unreli-

words about Avedon

is

The photographs

erratic.

they are not pretensions: they are a particular

Avedon never was much

man

exist.

They do not represent moods;

as he lives.

influenced by painting. His photographs are always photo-

graphs, and they do not play sentimentally with the stillness of the photographic image

unearned or mechanical
tion, the hint of

he can manage

stillness. In

Avedon's photographs, that

motion, or by feeling: that


it,

a single picture:

is

to say, emotion.

He

on the motionlessness of a

perimpose the movement of a sequence

movements

stillness is
will

single

photograph a fact

odds with romance which

is

and

backgrounds are

motion.

If

all

the

often refuse to have,

photograph he

of comparisons,

it

will su-

movements of

the

in a single

always so self-consciously present or so ab-

powerfully part of the effect on the mind.

settings or white

gence

at

ravaged by mo-

mind. Didactic and godless, kinetic and beyond moralizing (usually), he gives

it is

in

his photographs.

The photographer

sent

language and views aroused by him.

able and affectionate joke, the fiction of words applied to him, of


a

be rebuked.

somehow.

live

speak of the actual man, the photographer,

to

The

shapes, angles,

name

of the

elements of a seduction by excitement, truth,

you see naivete and patience

in a face or

sitter,
intelli-

an unlikely or almost

alle-

gorical juxtaposition of people or objects (or parts of people: their noses, say), you are
invited to enter a fragmented novel, a special
ist.

form of duration of time, by

a wordless novel-

His pictures are always blasphemous, are always prepared for misinterpretation

some-

comedy of misinterpretation: sometimes as an acid "truth": these, too. are further


movements of the mind. Re gives no pictures to the viewer, he detaches them from himself,
lets them be stolen or found. Much of the technique, the placement of heads, the secret
times as a

meaning

in

an eye, the

detail of ill-grace or other grace in a hand, the build

up

of fluid or

means of divorce from him as photographer, are the elements of the gift he makes: an active gilt. He has become famous by claiming least, as a photographer by being the most modest of them all. Part ol the m\ stcrv in any

fleshy geometries, a stomach, a dress, a

photograph of

his

is

gown

are

the resonance of his personality. Hut the resonance

is

not defined

as

idealism or lunacy or bitterness, as anything but changeable, quick, often Inspired, maniacal,

inventively photographic: this

bothersome

is

dangerously, he invites words. There

to critics.

He

the model, the photograph in sequence are

is

at

photographs

Avedon

is,

on study,

most

but he too

is

in

most of these photographs there

in

you look blankly but from within yourself and


time exist
that is, don't divorce the photograph from time, yours, his, that of what
pictured: Marella Agnelli, Suzy Parker, Penelope Tree, Irene Castle: observe the

games with
over

if

time.

Have any

reaction you like, misuse the photograph however you wish.

stillness are

always there inside the

stilled

The movements

frame, beneath the necessarily

This relentlessness of opposition to the mechanical, this assertion of

stilled surface.

spirit is usually

part also of the subject matter; sometimes a lapse from this assertion of spirit

subject matter. Tensions of opposition and of echo plus the inevitable

graph combine to produce the resonance that


evoke. His photographs have
that photographs flatter in us

made

dreams made actual

merge unexpectedly

in the

little

to

his

do with sentiment and even

and that mimics night dreams:


actual foolishly, bravely. Real

part of the

romance of the photo-

his
life

else's

less with the egocentricity

work has more

to

do with

and dream and daydream

queer ambience of photographic time. Language, so we are

wants to deal with meaning or feeling must

speak requires the connivance of


lying

is

photographs more than anyone

taught nowadays, must be factual, must stick to numbers, or else

all

lie: it

it

lies:

so language

if it

cannot be factual. To make a photograph

sorts of facts

and

but then the

processes of fact

must begin and a photographic language created which was not used by painters

their different
is

and touch:

invisible: the shapes,

moments

at various

way but

in a private

something that appears most clearly

let

to see

not graspable quite.

is

Everyone looks
is

mind

a careless, even suicidal self-revelation in the

is

innocent-seeming of his photographs but the revealed self


motion; he

invites the

games with time and

truth and objects and faces.

comprehensible and the conventional

banal, banality

itself.

The

is

Only the conventional

the subject of most photographs perhaps

singular, the strange

is

the

human

in

the

voice, only half-comprehensible,

an importunate and important murmur, not an ideogram, not comprehensible

but present.

compounded of lie and "truth"; the tensions between these make


up much of the structure of a work of art: the contrariety of elements of "truths" generates
the desperate beauty or electricity of some performances, some accomplishments. We love
and fear this. We embrace it: we run away. We are only human. We have our fashions. Avedon gravitates to those moments in which the oscillation between pretense and revelation is
most intense. The subject of any of his photographs is likely to show in part isolation or gro-

The

best illusions are

tesquerie, courage to the point of madness, isolation-and-defiance or sly


tion

and

wit, pride

and

sterility,

amusement, desola-

pride and triumph. Victories, defeats mingle in the same

moment sometimes or on adjoining pages. He is an extraordinarily hasty, careless, earnest


man an artist. Each photograph is a confession by him, by the sitter, by the process of

and

often a ribald or im-

a sexuality, a wryness, a madness, a

madness of love and

photography: and the conspiracy of confession has here a gaiety


passioned or implicated sarcasm

excitement
a

that

is

purposefully movement, moving, a dance and a confession

form of meaning.
Avedon's work.

Avedon' s Art.

a defiance:

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Place de

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ust 1947

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August L948

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Turban by Paulette
Hue Francois-Premier. PanAugust 1948

Hon-.' of Dior

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Dorian Leigh

Paris

Dorian Leigh with bieycle rarer


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Charnps-Elysees, Paris
tagusl 1949

top

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August 1955

August 1955

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Dorian Leigh
Hat by Dior
Gare de Lyon, Paris
August 1949

18

Barbara Mullen

Dovima

Hat by

Evening dress by Fath

New York

Paris studio

April

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1951

August 1950

14

24

Dorian Leigh
Evening dress by Piguet
Helena Rubinstein apartment

19

Evening dress by Fath

lie St. -Louis, Paris

Paris studio

August 1949

August 1950

25
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Le Sheherazade, Paris
August 1956

Dovima

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Dovima

Turban by Dior

Evening dress by Gres

The

Pre-Catelan. Paris

Paris studio

August 1955

August 1948

August 1950

Elise Daniels
Turban by Paulette

Dovima

20

26
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Dorian Leigh

Ritz, Paris

Suzy Parker and China Machado


with Robin Tattersall and Dr. Reginald
Evening dresses by Balmain and Patou

Evening dress by Griffe

Evening dress by Balenciaga

Paris studio

Paris studio

La Pagode d'Or, Paris

August 1955

August 1949

January 1959

Kernan

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37

27

Sunny Harnett

32

Evening dress by Dior


Rue Jean-Goujon, Paris
August 1954
2ft

Carmen

33

Evening dress by Patou

Au

Reveil. Paris

Sunny Harnett and

Alia
Evening dresses 1>\ Balmain
lasino,
Touquet
\ugus1 l<r>l

34

Dovima

35

30

Fouquet's, Paris
August 1955

IT).')

3f>

-i

I').")

39

Su/.v
i

Parker and Kohin Tattersall

oal b)

aroche

Palais-Royal, Paris

Vugust

Carmen
Evening dress b^ Nina Ricci
Moulin Rouge, Paris
August 1957

Vugusl L955

ll

Suzy Parker and Robin Tattersall


Evening dress b\ Griffe
Folies-Bergere, Pans

Dovima

tugusl

astillo

3ft

Vugusl L957

DrOSS l>\ PatOII


Maxim's. Pans

I'-

Dress bv Dior
Place de la Concorde. Paris
August 1956

Dovima

Hit In Balenciaga
Maxim's, Paris

Evening dress b) Lanvuv<


Motel San Regis, I'.u

Suzv Parker with Gardner .McKay


and Robin Tattersall

Hat b\ Dior

.<

Sumi) Harnett

37

Dovima
Evening dress by Patou
Chez Yvonne, Paris
August 1955

August 1957

29

Dovima
Tunic by Baleneiaga
Place de la Concorde. Paris
August 1955

10

Vudrev Hepburn and Art Buch^ald


with Simone. Barbara Mullen.

Frederick Eberstadt, ami


Dr. Reginald Kernan
Evening dresses 1>\ Balmain. Dior. Patou

Maxim'-. Paris
>V>
\llUll-t
1

41

50

Dovima

42

Grand Palais,
August 1955

46 Carmen

Carmen

47

Sunny Harnett
Theatre Marigny, Paris

August 1954

48

Sunny Harnett
Evening dress by Gres
Casino, Le Touquet
August 1954

45

Carmen and Robin

Tattersall

Evening dress by Dior


Pont Alexandre III, Paris
August 1957

Suzy Parker and Robin Tattersall

Sunny Harnett
Turban and dress by Dior

August 1955

52

Dovima
Dress by Dior

Grand Palais,
August 1955

53

Paris

Dovima
Wrap by Brooke Cadwallader
Great Pyramids of Giza, Egypt
January 1951

August 1954

Cloche by Balenciaga
Cafe des Deux Magots, Paris
August 1955

Dovima
Hat by Dior

Theatre Marigny, Paris

49 Dovima with Sacha

Paris

Fouquet's, Paris

Evening dress by Gres


Moulin Rouge, Paris
August 1957

Hat by Balenciaga

44

51

Evening dress by Dior


Moulin Rouge, Paris
August 1957

Hat by Lanvin-Castillo
Pont Alexandre III, Paris
August 1957

43

Dovima
Suit by Dior

Evening dress by Cavanagh


La Grande Cascade, Paris
August 1955

54

Veronica Compton and Bruno


Scarf by John Frederics

New York
July

1949

studio

<

%
'J

**
>

d
i

t
,

^
57

56

i.

jH

*l.\

IV
^
f
J
1w

.-

4
9

58

-(

66

67

68

69

65

Lauren Bacall with John Huston


Dress by Galanos

55

60

Cyd Charisse
Evening dress by Macrini

New York

studio

June 1961

56

61

Irene Castle
Dress designed for her

New York

in

1914 by

Luoile

Cayetana, Duchess of Alba


Mew ork Btudio
December L959

62

New York
July

66

studio

1960

Gabrielle Chanel and Suzy Parker


Suits b) Chanel

Linda Harper and Sunny Harnett

Paris studio

Dresses by Mr. Gee

January 1959

New York studio


May 1958

studio

November 1958

57

Sunny Harnett and Linda Harper


Suits by Toni Owen
New York studio
May 1958

67

Barbara Mullen

The Honorable Mrs.

J.J. Astor
with Cecil Beaton
K\enins; pajamas b\ Jane Derbx

Pajamas by Cooper's Cabana

New

New York

October L959

studio

ork studio

February 1957

58

Jean Patchett, Betsy Pickering,


M.u iKn Ambrose
Suii> bv Nellej deGrab
New ^ ink studio

68
65

Dress
\<-u

June L958
5*>

Lisa

and Alfred

Danny Weil
't

(rl

(
1

Dovtma

New

New ^ oik studio


December ).">7

ork studio

June lM)0

I>n

i^

(>*>

Dress

rraina-Norell
l

Ma)

><>:2

Suit b) Zelinka-Matlick
^

ink studio

October
Leslie

ening dress bj Diof


New ork studio

\be Schrader

li\

\ icointcsse Jacqueline de Kibes


with Kavilllindo de arr.ini

1
1

><>1

Eveaksa slipper
Designed bj Roger

Pan* studio
Vugust L963

mar

for

Dior

i-.i

70

71

Mj
^r
m.

>

81

70

82

Marilyn Monroe
Dress by Norell

New York
May 1957
71

72

75

studio

Katharine Hepburn
New York studio
March 1955

76

Suzy Parker
Dress by Nina Ricci
Champs-Elysees, Paris

77

Mrs. Cordelia Biddle Robertson


New York studio
September 1956

Suzy Parker and Mike Nichols


Suit by Simonetta-Fabiani

Paris studio

Rue Franqois-Premier,

August 1961

Paris

79

Marella Agnelli
Hair by Kenneth
New York studio
December 1959

80

Vicomtesse Jacqueline de Ribes


Hair by Kenneth
New York studio
December 1959

81

Vicomtesse Jacqueline de Ribes


Hair by Kenneth
New York studio
December 1955

82

Antonella Agnelli
Hair by Kenneth
New York studio
January 96

The House of Dior


Mitza Bricard. Jacques Rouet. Kouka,
Suzanne Luling, Yvonne de Peyerimhoff
Evening dress by Dior

August 1962

73

Suzy Parker and Mike Nichols


Evening dress by Dior
Maxim's, Paris
August 1962

August 1962

78

74

Margot McKendry and China Machado


members of the French press

Suzy Parker and Mike Nichols

with

Evening dress by Lanvin-Castillo


Maxim's, Paris
August 1962

Dresses by Lanvin-Castillo and Heim


Paris studio

August 1961

93

94

95

96

92

China Machado
Suit by Ben Zuckerman
Hair by Kenneth

83

84

Princess Elizabeth of Yugoslavia


Hair by Claude
New York studio
December 1961

New York

88

Naty Abascal and Ana-Maria Abascal


with Helio Guerreiro
Dresses by Ricano

Dolores Guinness
Hair by Kenneth
New York studio
November 1961

Ibiza,

93

Spain

September 1964

Paris studio

Ana-Maria Abascal and Naty Abascal

94

Jean Shrimpton

Dolores Guinness

with Helio Guerreiro

Toga by Forquet

Hair by Alexandre
Paris studio

Bathing suit by Brigance


lbiza, Spain

August 1965

January 1959

September 1964

Paris studio

95

86 Conlcssa

90 Jeanne Moreau

Jean Shrimpton

Hair by Kenneth

Dress by Cardin

New York

Paris studio

Evening dress bj GefittnM


Hair In Alexandre
studit
P

August 1962

August 1965

Christina Faolozzi
studio

June 1961

87

Marchioness of Tavistock
Coat by Cardin
Hair by Alexandre
January 1959

89
85

studio

November 1958

llrigittr

Han

!>\

Bardot

Alexandre

Paris studio

January 1959

>

li
li /.ilx
Taylor
Cock feathers b) AneUoof Emms
New York studio
July 1964
I

*K>

Maya

IMisctskaya
Hat b\ Halston
New , ork studio
t

Max

0(,o

97

110

109

Lauren Hutton
Bathing suit by Oscar de la Renta
Great Exuma, the Bahamas
October 1968

98

108

107

106

102

Viva and Michel Auder


New York studio
October 1969

107

Twiggy
Dress by Roberto Rojas

New York

Lauren Hutton
Sweater by Van Raalte

103

New York

Great Exuma, the Bahamas


October 1968

April

Janis Joplin

studio

1967

studio

August 1969

108

Penelope Tree
Dress by Cardin

99 Claude and Paloma

Picasso

104

Paris studio

January 1966

100

Jacquetta, Lady Eliot

London

studio

Tilly Tizzani
Raincoat by Main Street

New York
July

1964

studio

January 1968

109
105

January 1965

101

Paris studio

Penelope Tree
New York studio
June 1967

106

Donyale Luna

Joan Baez
New York studio

Dress by Paco Rabanne

June 1965

December 1966

Penelope Tree
Mask by Ungaro

New York

110

studio

Jean Shrimpton
Hair by Alexandre

Paris studio

Paris studio

January 1968

August 1965

*^^

^^

>

121

111

\^

New York

116

studio

113

117

Sunglasses

Hair by Ara Gallant


New 'I ork studio

January 1970

October 1970

Veruschka

122

Penelope Tree
Evening dress
Paris studio

February 1965

January 1967

Sandal

118

lai

119

123
Mass

London

'>

rusehka
Wrap by Giorgio
New ^ oi k studio

China Maehado

120
dj Sant'

\ngelo

Paris studio

121

o.it

b\

ngaro

Pans studio
>70
Januan
(

Jean Shrimpton
Jump suit l>\ Courreges
Pans studio
Januan 1970

studio

Jean Shriiupt<n

Jean Shrimpton

Januarj 1970

Januarj L965

Lamm

Evening dress In Cardin

studio

Evening pajamas by Galitzine

tier

l>\

January 1968

January 1967

Julie DriscoU

March L972

Bill

New York

studio

l>\

studio

Veruschka
Dress by

New in k studio
December L968
ir>

Paris studio

New York

Bracelets

Sophia Loren

Paris studio

August 1970
1

121

Dress by Kimberly

I'.u is

125

Designed by Courreges

Designed bj Serge Lutens

Ingrid Boulting
Coat by Dior

November 1967
12

124

Penelope Tree
Dress by Dorcia Originals
Hair by Ara Gallant

123

122

125

Penelope Tree
Suit

1>\

ngaro

Pans studio
Januan 1968

136

133

130

137

Dovima and Betsy Pickering


Dresses by Lanvin-Castillo
Paris studio

August 1958

126

Veruschka
Antony Arland
New York studio
March 1972

131

Twiggy

132

Suit by

127

Bene Midler
New York studio

135

Evening dress by Lanvin-Castillo


Cafe des Beaux Arts, Paris
August 1956

December 1971

Lauren Hutton and Alan Lewis


Great Exuma, the Bahamas
October 1968

Hair by Ara Gallant


Paris studio

136

December 1977

133

Barbara Mullen

Suzy Parker

Dress by Traina-Norell

Evening dress by Dior

New York

Paris studio

January 1950

134
Suzy Parker
Antigua, West Indies
January 1962

137

Marisa Berenson as Josephine Baker


New York studio
December 1975

138

Dorian Leigh

studio

August 1956

129

Loulou de La Falaise
Paris studio

January 1968

128

Suzy Parker

Elise Daniels
Hat by Paulette
Place Vendome, Paris

August 1948

Hat by Paulett
Paris studio

August

949

171
t
1

139

144

150

119

152

151

151

153

119

Dovima
Cape by Lanvin-Castillo
Place Krancois-Premier. Paris

114
1

39

August 1955

Apartment 60. Hotel San Regis. Paris


August 1955

Ingrid Boulting
Hair !>\ Aia Gallant
New York studio
July

Evelyn Avedon

150

Elizabeth

New

115

1969

l-

Avedon

ork studio

October 1977

Liz Pringle
Bracelet by Schlumberger

10

Doe Avedon

Round

Hill. Jamaica
February 1959

New York

Fire Island,

151

New ork studio


December 195
\-

June L948

116
1

II

Priscilla Rattazzi
New oik Btudio

Ingi id Moulting
1

cuing dress

!>\

Gres

152

ina

Turner

New York

January 1970

Ma) 1977

Dress bj Vtxaro

Paris studio)

Gloria Yanderbilt

studio

June 1071
1

12

Maxinic. Comtesse de
Suil

and

i.i

li\

.i

Falaise

17

Fath

Hianca Jagger
Holhueod studio

153

13

Aujcliea Huston
Han li\ Serge Lutens

New > oik Btudio


November >72
(

i"

ork studio

Jannarx 1958

January 1948
1

Home

Lena
\i'

January L972

Paris studio

18

Diana \ reeland. l)o\iiua.


and Richard \\edon
Knru o CarUSO

Hair

l>\

New

\ oi k studio

Juiv

<>;,:,

151

Snaj Parker and Mike Nichols


Coal bj Saiat aurenl
l'be \niencan Hospital. Paris
1

tugUSl 1962

/-N
f

(%
\

* 1

-V

.A

155

158

157

160

159

Lauren Hutton

f
-.

mmM

156

162

161

159

Dovima with elephants


Evening dress by Dior
Cirque d'Hiver, Paris

Great Exuma, the Bahamas

October 1968

August 1955

156

Dovima
Dress by Claire McCardell
Great Pyramids of Giza, Egypt
January 1951

157 Zouzou
New York

160

Saint Martin. French

161

Marella Agnelli
New York studio
December 1953

162

June Leaf
Mabou Mines. Nova

October 1972

November 1976

West Indies

March 1978

studio

158 Marella Agnelli


New York studio

Renata Adler

July

1975

Scotia

Anna Avedon
Carmel Snow Alexey Brodovitch Diana Vreeland
Evelyn Avedon

John Avedon
Laura Kanelous

Marvin

Israel

Nancy White Marie-Louise Bousquet D. D. Ryan China Machado


Henry Wolf Ruth Ansel Bea

Feitler

Yvonne Petitgerard Marian Capron


Alexander Liberman

Grace Mirabella

Robert Bishop
Polly Hatch

Virginia

Pat Knack

Andre Gremela

Waldman

Suzanne Mosel

Betti Paul

Alicia Grant

Ingrid

Drotman

Norma Stevens

Frank Finocchio Earl Steinbicker

Yasuhiro Wakabayashi
Peter

Sidney Rapoport

Joanna Brown

Heyman

Polly Mellen

Jeff Niki

Alen MacWeeney

Eiishiro Sakata

Henry Mattison Kazutaka Nakamura

Sebastian Chieco

Gideon Lewin

74 1 039

if

II

fffj

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