![]() ![]() Their clothes are in shadow, but the light from the windows is blinding. Her foot rests next to her, delicately slipping out of a shoe. In the left-hand corner of the second spread of “ Maquillage,” there’s a handwritten note that reads, in part: “I feel that New York is a house of Death-people shatter there so easily-evil gets into the bloodstream-unhappiness is more catching than laughter … ” In the duplicate images underneath, we see three women in white, their faces obscured: one is standing with her foot on a stool, looking out of a large, bright window another sits facing the camera a third rests behind the sitting woman-we can only see her elbow, which stabs out from her side like a lance (her hand is on her hip). In 1977, we published Turbeville’s “ideal fashion magazine,” where women are vulnerable, perhaps a little fallen, and oddly not fashionable. ![]() 70 (Summer 1977).Įarlier this summer, Staley-Wise Gallery presented an exhibition of Deborah Turbeville’s fashion photographs, including her photos of famously “anti-fashion” Comme des Garçons clothing, in conjunction with the Metropolitan Museum’s Rei Kawakubo retrospective. ![]()
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