
Advert for the Piero de Monzi boutique in Fulham Road.
Scanned from Vogue, April 15th 1975.
The main attraction of this summer’s printed dress is their little-girl, Sunday-best quality. The star fabric is floral crepe-de-Chine, now beautifully revived, featuring softly shaped skirts, Peter Pan collars and puff sleeves.
Another flawless example of early Seventies nostalgia for the Thirties and Forties, which might seem frivolous or twee if it wasn’t in the talented hands of Mr Peccinotti.
Photographed by Harri Peccinotti.
Scanned from 19 Magazine, March 1971.
“You love your boyfriend and he’s left you. You’re alone in a big city and an empty apartment.” Kane had not yet picked up his camera, but Margrit Ramme was working on the sadness. She was also scared of the snake. The editors of Queen magazine had asked for an entire issue to be called “Art Kane’s New York,” including fashions, and he had said all right—but don’t expect to see laughing girls running down Fifth Avenue. He had just divorced his second wife, had not yet met Jean Pagliuso or photographed Larry Rivers, and felt fairly bitter.
If you want to call it Art Kane’s New York, he told Queen, you’ll have to accept pictures showing that the place right now is kind of empty for me. Righto, they said.
He left the studio and rummaged around for real-life locations. He had found the apartment on Gramercy Park, and decided to shoot the fashions there before the furniture came in. Truth is, he wasn’t motivated entirely by a desire to display his mood. Not only does training as an art director make him look for a theme when he has space for an essay, as against a bunch of random shots that just present the merchandise; Art Kane loves almost more than anything else to tell a story.
He also loves snakes. The first boy scout in the Bronx to get a Reptile Study merit badge, he kept 32 of them at home despite a mother who tried to make him flush the first one down the toilet.
This story would reflect the dilemma of a lovely woman—always beautifully dressed, of course—searching for a man, for identity, for something. A snake would be not only an obvious male symbol but also a reminder of a Garden of Eden to start it off. Since Kane had given, his collection to the Bronx Zoo when he was drafted, he called All-Tame Animals, a pro-vider of non-human performers in New York. They referred him to a snake owner in one of the city’s residential hotels, asking that he be discreet; she would be evicted if the manage-ment discovered that she kept a boa constrictor and a python in her room. So Kane was Uncle Joe when he called to ask about Cousin Bea: “She must be a really big girl by now. Oh, six feet six, that sounds good.” And Patricia? “Over eight feet tall? My goodness.” He went over to see them. Their owner showed him the boa in her bathtub and pulled the python out of a closet. “Terrific,” he said. “Bring them up to my place at 10 o’clock tomorrow.”
When she arrived with the snakes in a laundry bag, Kane was moving white window shades up and down, studying the way they filtered the natural light he would use all day. Morning light came softly through the west-facing windows of the living room. He arranged the python, then stood back to peer through a Nikon. Moving forward, back, left, right, he kept the model close to the center of the frame. He was using a 24mm lens, not only for depth of field that would keep the picture sharp from front to back but also to make objects near the edges seem to lean away, focusing attention on the center.
“Okay, Margrit, you’re unhappy, unaware, the two of you can never really come together. . . .” Bracketing—one shot at a normal exposure, one above, one below—he redesigned the picture as he moved. “That’s it, keep it, keep it,” he told her when he liked what was happening. “Now, hold every pose for three clicks and then change … Beautiful. Now keep that until I say stop. I want to explore this until we’ve eaten it up.”
Ninety minutes later he had eaten up the male-female situation (above) and moved to the bedroom (below) to set up an identity problem. A second model had arrived. “You’re clothed and you’re naked,” Kane said, “you’re really the same woman, trying to figure out who you are.” This time he wanted to stretch the image more alarmingly toward the edges, so he put on the 21mm lens that he had used to shock the editors of Vogue on his first fashion assignment.
Images originally published in Queen magazine .
(date not given but looks circa 1969/70 to me, especially given Queen merged with Harpers Bazaar in 1970).
Clothes are uncredited here but both look like Thea Porter to me.
Photographed by Art Kane.
Scanned from Art Kane: The Persuasive Image, 1975.
Ski pants, socks and hot tops – a fresh look for the future with a little help from the past.
Photographed by Roger Charity.
Scanned from Honey, May 1975.
This is what eyebrows used to look like, kids!
Hair by John at Leonard. Make-up by Richard Sharah.
Photographed by Eric Boman.
Scanned from Vogue, April 15th 1975.
Slip a shawl over summer and dream the days away in a land of your imagination. There couldn’t be a more beautiful way of letting a long sticky heatwave slip by than with these gentle colours made by a bleaching sun and these homespun clothes in soft country shapes. Whether you make it all the way to a shady plantation or just as far as the nearest cornfield, the scenery around any home this summer should look pretty good. Build up layers of cotton checs, sand suede overslips and warm rainbow knit waistcoats because even the sun can havee tantrums sometimes. Pack a pair of laced sandals and one huge-brimed straw hat.
Fashion by Sue Hone.
Photographed by John Carter.
Scanned from Petticoat, 22nd May 1971.
Victoria Tennant, an Afghan hound and a jacket of real patent leather, caramel brown and shiny. She is a drama student at the Central School. The jacket, 39 gns, was made with wide lapels and a belt, by a new boutique, Kenneth Vard, 90 Marylebone High Street, W.1, who makes anything in any colour and any suede or leather.
Photographed by Patrick Lichfield.
Scanned from Vogue, May 1969.