Tag Archives: Bill Cunningham

VINCE ALETTI’S ISSUES

Who better than Vince Aletti to organize and aggregate a virtual tour of his massive and coveted collection of periodicals into the pages of a deluxe art book?

Something like this awaits the readers of ISSUES, a new publication from Phaidon.

The book includes work by Diane Arbus, Corinne Day, Richard Avedon, Cecil Beaton, Edward Steichen, Toni Frissell, Irving Penn, Horst, Collier Schorr, Inez Van Lamsweerde, Vinoodh Matadin, Bill Cunningham, and Cindy Sherman.

VINCE ALETTI—ISSUES: A HISTORY OF PHOTOGRAPHY IN FASHION MAGAZINES (London: Phaidon, 2019).

From top: Horst P. Horst, Vogue, June 1, 1940, cover model Lisa Fonssagrives; Melvin Sokolsky, Harper’s Bazaar, March 1963, model Simone D’Aillencourt; Vince Aletti‘s apartment, photographed by Jason Schmidt, courtesy of the photographer and Phaidon; Corinne Day, The Face, July 1990, model Kate Moss.

ANTONIO LOPEZ

“Antonio didn’t record—he rendered.” — Joan Juliet Buck

ANTONIO LOPEZ 1970—SEX, FASHION & DISCO—an exquisite time capsule directed by James Crump—takes viewers back to the would-be golden age of the early 1970s for an exploration into the lives of artist Antonio Lopez (1943-1987) and his personal and creative partner Juan Ramos (1942-1995) as they navigated the art and fashion worlds of Manhattan and Paris.

With the flashy exuberance that characterized Antonio’s life as well as his drawings, the documentary features extensive on-screen interviews with Antonio discoveries Pat Cleveland, Donna Jordan, Jane Forth, Patti D’Arbanville, Jessica Lange, and Corey Tippin.

Editors Grace CoddingtonJoan Juliet Buck, and Bob Colacello explain Antonio’s various entanglements within the distinct yet overlapping Yves Saint Laurent and Karl Lagerfeld “families,” and the late photographer and Lopez-Ramos confidante Bill Cunningham walks away with the film, giving the last word on Lagerfeld’s final betrayal and Oscar de la Renta’s heroism.*

ANTONIO LOPEZ 1970—SEX, FASHION & DISCO

Through Thursday, October 4.

Laemmle Royal, 11523 Santa Monica Boulevard, West Los Angeles.

 

Through Thursday, September 27.

Laemmle Playhouse, 673 East Colorado Boulevard, Pasadena.

 

Post-screening Q & A with director James Crump, Corey Tippin and artist and Lopez estate-director Paul Caranicas

Friday, September 21, at 7:30 pm.

Laemmle Royal

theantoniolopezbook.com

bookdepository.com/Antonio-Lopez-Instamatics

* See Alicia Drake, The Beautiful Fall: Fashion, Genius, and Glorious Excess in 1970s Paris for an in-depth look at the Antonio LopezJuan RamosKarl Lagerfeld saga.

From top:

Antonio Lopez in Paris, 1970. Photograph by Bill Cunningham.

Corey Tippin, Donna Jordan, Jane Forth, and Jay Johnson in Paris, 1971.

Lopez in the Jardin du Luxembourg, 1971. Photograph by Juan Ramos.

Cunningham and Lopez. Photograph by Ramos.

Jessica Lange. Photographs by Lopez.

Lopez, Tippin, and Jordan.

Image credits: The Estate of Antonio Lopez and Juan Ramos, and Film Movement.

BILL CUNNINGHAM

“The only way to last is to never let anyone really know you, for society is only friendly to new faces, out of fear that you’re better than they…

“One of the snags of high fashion is that it attracts the most ambitious social climbers: show-offs, snobs, bigots, and egoists. These women consider themselves as “social”—I think of them as miles of phony society fringe. They are the snake pit of the high-fashion business.

“By contrast, the [American] customers who gave me the most pleasure were the out-of-towners, especially the westerners. These women have no ax to grind and indulge in fashion purely for personal expression and the joy it brings their families.” — Bill Cunningham

 

Bill Cunningham, Fashion Climbing: A Memoir with Photographs

Preface by Hilton Als (New York: Penguin Press, 2018).

 

THE TIMES OF BILL CUNNINGHAM

Thursday, October 11, at 6 pm.

Alice Tully Hall, 1941 Broadway (at 65th Street), New York City.

Sunday, October 14, at 2:45 pm.

Walter Reade Theater, 165 West 65th Street, New York City.

New York Film Festival 2018

 

CELEBRATING BILL CUNNINGHAM

Through September 9.

New York Historical Society, 170 Central Park West (at 77th Street), New York City.

Bill Cunningham in Central Park in 1967.

ANDRÉ LEON TALLEY AT LACMA

“The late seventies, when André Leon Talley came into his own, is the period when designers like Yves Saint Laurent and Halston produced the clothes that Talley covered at the beginning of his career at WWD, clothes often described as glamorous. It is the period referred to in the clothes being produced now by designers like Marc Jacobs and Anna Sui. ‘It was a time when I could take Diana Vreeland and Lee Radziwill to a LaBelle concert at the Beacon and it wouldn’t look like I was about to mug them,” Talley says.

Daniela Morera, a correspondent for Italian Vogue, has a different recollection. ‘André was privileged because he was a close friend of Mrs. Vreeland’s,’ she says. ‘Black people were as segregated in the industry as they are now… André enjoyed a lot of attention from whites because he was ambitious and amusing. He says it wasn’t bad because he didn’t know how bad it was for other blacks in the business. He was successful because he wasn’t a threat. He’ll never be an editor-in-chief… No matter that André’s been the greatest crossover act in the industry for quite some time. Like forever.’ ” — Hilton Als, 1994*

Talley—Anna Wintour’s legendary right hand man—has been captured on film in Kate Novack’s new documentary THE GOSPEL ACCORDING TO ANDRÉ, presented this week by Film Independent at LACMA. The director and her subject will be on hand for a conversation after the screening.

 

ANDRÉ LEON TALLEY and KATE NOVACK—

THE GOSPEL ACCORDING TO ANDRÉ

Thursday, May 10, at 7:30.

LACMA, Bing Theater

5905 Wilshire Boulevard, Los Angeles.

* Hilton Als, “The Only One,” The New Yorker, November 7, 1994, 110. (Reprinted in Als’ White Girls, 2013.)

Top: André Leon Talley and Yves Saint Laurent. Image credit: Getty.

Middle: Talley and Diana Ross dancing at Studio 54, circa 1979. Photograph by Sonia Moskowitz/Getty Images.

Below: Diana Vreeland and André Leon Talley working at the Costume Institute at the Metropolitan Museum of Art in New York City. The model is Marlene Dietrich in the show Romantic and Glamorous Hollywood Design, 1974. Photograph by Bill Cunningham.