I went up to their office in New York, and they said, ‘You need test pictures,’ so I started testing. “In 1976 I was flying for Eastern Airlines as a flight attendant, and I met a girl named Hanne Friedman in first class, who invited me to meet with the Wilhelmina Agency. Dick and Polly put together a story showing different aspects of a relationship, both good and bad.īill curry Photo: (From left) Courtesy of Yves Saint Laurent Courtesy of Bill CurryĪrriving on the scene during the disco era, Curry was embraced by designers like Gianni Versace and Giorgio Armani, and countless photographers, who appreciated his athletic, easygoing style. You could never do a shot like that in magazines today, people would boycott, but the image was part of the story we were trying to tell. Within the double page spread there is a shot where I slap Rene Russo. I did another issue of Vogue with Avedon and Mellen that wound up becoming one of the most controversial issues. You see it still in some of the advertising-the Versace ads, and Chanel is just outrageous, I love all that it does-but back then it wasn’t the advertising that pushed creativity, it was the editorial. You can go on and on about that, but the creativity within the industry is what I miss most. Nothing stays the same forever, but I feel so fortunate to have been a part of the industry during that time, which was magical and magnificent.įashion has lost many of its most creative people-the Helmut Newtons, the Avedons, Horst, Scavullo, Penn-and while there are good photographers out there now, they don’t stick out in quite the same way. That has been lost in fashion, but you have to change in order to exist. The photographer was a director, and there was always a story, an action or a reaction within the photograph that made you want to look at it. It was a close-knit group and very professional everyone knew what they were doing. In the ’70s the business was much smaller than it is today.
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