7 posts tagged "Deborah Turbeville"
Olivier Saillard has struck again. For Papier Glacé, the second exhibition he has curated at Paris’ newly renovated Musée Galliera, Saillard riffled through one hundred years of Condé Nast’s photography archives, pulling mainly from a handful of international Vogues (American, British, German, French, and Italian), to spin a selective history of fashion-as-dialogue. The 150-image show scans like a who’s who of 20th-century lensmen: Images by De Meyer, Horst, Clark (above, right), Schatzberg, Penn, Man Ray, Parkinson (above, left), Beaton, Blumenfeld, Lindbergh, Meisel, Turbeville (below), and Weber, among others, feature in the show. The snaps are accompanied by a dozen or so dresses and accessories, such as an evening coat by Doucet (1913), a Mondrian cocktail dress by Yves Saint Laurent (1965), and a red molded bustier on loan from Issey Miyake (1980).
“Fashion-related exhibitions so often tend to run chronologically, looking toward the past,” offered Paris Vogue editor Emmanuelle Alt, “whereas a magazine comes out every month, it’s life, and it’s constantly changing. [With this show] you see what each brings to the other.” Saillard concurred, noting that fashion magazines are akin to archeologists.
For Alt and for Paris Vogue, the eighteen months spent collaborating on Papier Glacé was far from an end in itself. Rather, it marked the beginning of a new chapter for the nearly one hundred-year-old publication, with the establishment of the Vogue Paris Fashion Fund—a new initiative that will allow the Galliera to make new acquisitions, be they photographs, garments, accessories, or beyond. Launched with a contribution of 100,000 euros, the fund will be renewed annually and receive additional backing via fundraising.
When asked for his wish list, Saillard offered names ranging from Margiela to Corinne Day, Comme des Garçons, Junya Watanabe, Iris van Herpen, and Jurgen Teller. “I am always interested in auteurs. To look at our archives, you’d think that everyone has always worn Balenciaga,” he quipped. “I plan to shop myopically: Sometimes the exceptional can be found in an ‘ordinary’ shirt.”
It’s a fair bet that spending the Galliera’s first windfall won’t be too difficult for Saillard, but new acquisitions will be kept under wraps until July 9, the night of the first Vogue Paris Fashion Fund gala event, during haute couture.
News broke late last week that photographer Deborah Turbeville died in Manhattan on Thursday from lung cancer at the age of 81. Having served as a fit model for Claire McCardell and an editor at Harper’s Bazaar early in her career, Turbeville introduced a personal, heady, and refreshingly feminine aesthetic to the world of fashion photography when, with the support of Richard Avedon, she began seriously taking pictures in the 1970s. “My photographs are extremely feminine,” she said in an interview with Style.com last year. “But it doesn’t have to do with any kind of conviction on my part. It’s all instinctive and spontaneous with me. There is a certain approach that women have. They do get into some kind of inner thing more than the male photographers do.”
That approach landed her editorials in publications like Vogue, W, and The New York Times. She worked alongside icons such as Diane Arbus, Polly Mellen, and Isabella Blow and even got arrested with Bob Richardson during a shoot for Harper’s Bazaar in Texas. Her legacy will live on through her moody, sometimes controversial images, which have been inspiring editors, stylists, and fellow photographers for decades. Here, a look back at the legendary lenswoman’s most memorable shots.
In a new series, Style.com sits down with the best in the field of contemporary fashion photography to talk about both the process and the product. Here: Deborah Turbeville.
Considering the high romance of Deborah Turbeville’s work, it might seem odd to think of her as a little bit punk rock. But to hear the 73-year-old photographer describe her untrained, just-go-for-it DIY beginnings, comparing Turbeville to Sid Vicious doesn’t seem so far off. “There would be a strange cropping or one girl in focus and three out or a blur,” she said at a recent interview at her Upper West Side apartment. “But I would end up liking the mistakes and incorporating them into my work.” Well, and there’s also the time she got arrested in Texas with Bob Richardson, with whom she worked with regularly while a stylist at Harper’s Bazaar.
It was actually Richardson and his “cinematic” way of working that precipitated her eventual leap from fashion editor to fashion photographer in the early seventies. (She also had encouragement from Richard Avedon and Harper’s Bazaar art director Marvin Israel.) But even though she’s shot editorials for Vogue, Italian Vogue, and W and campaigns for Barneys New York, Oscar de la Renta, and Valentino—for whom she did the current Spring campaign—Turbeville still bristles at the F word of fashion. It’s one of the reasons it’s taken her so long to put out her most recent book, Deborah Turbeville: The Fashion Pictures ($85, www.rizzoliusa.com). Style.com caught up with Turbeville to talk about being Claire McCardell’s fit model, what’s so great about St. Petersburg, and the very Hollywood shoot for her new Valentino campaign.
Why do The Fashion Pictures now?
I have difficulty with realizing that’s what I’m supposed to do. [Laughs.] I don’t really think of myself as a fashion photographer. I’m kind of in denial about it. People kept saying, “You should do a book of fashion pictures. We’d like to see them, after all.” A friend of mine was doing books with Rizzoli, and he said, “You know, that would be a fun little airy project, to do something on my house in Mexico.” I knew I had a lot of photographs hanging about. So I made an appointment to go in to see Charles Miers, the publisher, and he said, “I’ll do the book, but would you also do a book on your fashion pictures?” And that’s how it happened.
They did a nice job. I like the scrapbook format.
Well, the book is really a way to show how my work developed. How it all started. It goes chronologically. It just shows more or less the progression of my work. It’s a bit autobiographical. And I always do that anyway, putting pictures together in a narrative way.
It’s funny, I never realized that your first job was working for Claire McCardell for three years.
Yes, I was a fit model but I also did the shows. But because I had such a long waist, it was hard for the other models to fit the clothes. In the end, she said, I’m going to fire you and hire you back as my assistant. So I was very happy. She was one of the few designers who would use a lot of European fabrics. She used incredible fabrics. She was really a Renaissance woman. She designed shoes for Capezio. She was probably the first one to put girls in flats, in ballet slippers. We all wore flats. Or we wore tiny little heels that were stacked, made out of lizard. She did jewelry, this Chanel kind of jewelry. She was like the Chanel of the United States at that point. It was an incredible learning experience. Continue Reading “The Image Makers: Deborah Turbeville” »