From left: Naomi Campbell, Linda Evangelista & Christy Turlington
Possibly the background: Polly Mellen, David Lynch & Isabella Rossellini
Plaza Hotel, 1989
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US Vogue December 1989
Elaine Irwin wears a lamé bodysuit and a sequined and embroidered jacket, both by Jeanette Kastenberg. Jewelry, Verdura.
Hairdressing, John Sahag. Makeup, Sonia Kashuk. Fashion editor, Polly Mellen.
Elaine Irwin porte un body en lamé et une veste pailleté et brodée les deux, par jeanette Kastenberg. Bijoux, Verdura.
Coiffure, John Sahag. Maquillage, Sonia Kashuk. Rédactrice de mode, Polly Mellen.
Photo Sheila Metzner
vogue archive
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All-American Volume Twelve A Book of Lessons
Editors Bruce Weber, Nan Bush, Nathaniel Kilger, Matthew Richards, Skylar Pittman
teNeues, Augsburg 2012, 192 pages, Housed in slipcase, 26 x 32 cm, ISBN 9783832796679
euro 38,00
All-American Volume Twelve: A Book of Lessons presents an eclectic lineup of American talents whose potent personalities and creative works exemplify freedom, conviction and inspiration. The “lessons” of the book are discovered through their individual journeys, actor and activist Danny Trejo narrates his unlikely path to fame, Polly Mellen speaks to the importance of curiosity throughout her illustrious career as a fashion editor, and musician/producer Nile Rodgers sheds light on his hit-making alchemy. The evolving art scene in Detroit is considered from two perspectives; first through an examination of student works and the craft tradition at the Cranbrook Academy of Art, then through conversations with prominent arts organizations in the downtown area. The book also features tributes to the late Grove Press publisher Barney Rosset, the Chicago-based oral historian Studs Terkel and the socialite turned Taos activist Mabel Dodge Luhan.
In addition to extensive original photography and interviews by Bruce Weber, “All-American Volume Twelve: A Book of Lessons” includes commissioned work by Poppy de Villeneuve and Carlos Charlie Perez, previously unpublished photographs by John Derek, and poetry by Frank O’Hara and Danielle Faith Green, a young Brooklyn-born writer.
This is the first year that “All-American” is published in conjunction with teNeues Publishing Group, bringing Bruce Weber’s book to a much broader international audience.
This book is dedicated to the memory of Anna Piaggi
24/07/22
twitter: @fashionbooksmi
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Beautiful Polly Mellen by Richard Avedon
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Photo Albert Watson
Editor Polly Mellen
Model Rosie Vela
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wait you study fashion?? that is literally so cool!!! i really want to get into fashion more, could you recommend media, books or anything that could help? (if its not too much obviously hehe)
thank you!! of course I would love that!
movies & documentaries:-
The devil wears prada (2006) (it's a classic)
Cruella! (2021)
Mahogany (1975)
Funny face (1957) (audrey hepburn is stellar in this!!)
Who are you, polly maggoo? (1966)
Catwalk (1995) (personal favorite)
Westwood: punk. icon. activist (2018) (I did a shoot on Vivienne Westwood few months back and it is one of my personal favorites)
McQueen (2018)
Books:-
Supreme Models: Iconic Black Women Who Revolutionized Fashion
The Little Dictionary of Fashion - Christian Dior (I have this with me and I kinda like this)
Vogue: The Editor's Eye - (I have this with me too and this basically shows how important the role of editors has been in fashion and alsostudies the work of some of Vogue's legendary editors, including Polly Allen Mellen and Grace Coddington)
Grace: A Memoir (speaks of the aforementioned Grace Coddington and her rise to the fashion industry from her beginning days of being a model to her work with Anna Wintour)
The Battle of Versailles - when I learnt about this in class, I'll tell you, my jaw dropped! this was an iconic event that catapulted American fashion into worldwide fame!! it's one of my favorite events and I can go on and on about this!!!
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Legends of Hollywood
Nicole Kidman, Catherine Deneuve, Meryl Streep, Gwyneth Paltrow, Cate Blanchett, Kate Winslet, Vanessa Redgrave, Chloe Sevigny, Sophia Loren, Penelope Cruz
by Annie Leibovitz, April 2001
fashion editor: Polly Mellen
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AZZEDINE ALAÏA / ARTHUR ELGORT / FREEDOM
Together, Azzedine Alaïa and Arthur Elgort shaped the freedom of the 80s. At the same time as the fashion
designer saw his feminine ideal embodied in the street and by the ever-increasing number of clients, the
photographer left the studios, took over the movement and the cities as a natural and new setting. Both
actively contributed to renewing the representation of the now assertive, determined, independent woman.
The exhibition presented at the Azzedine Alaïa Foundation compares timeless photographs essential to the
designer’s iconography, as well as more confidential shots, with Alaïa’s most iconic clothes.
Elgort swapped his Polaroid for a Nikon. He developed a true passion for all types of new and vintage
cameras whose techniques and unique features he appreciated. He became a master of the camera. The
chief editor of Vogue, Alexander Liberman, saw a few photographs by the newcomer and encouraged him
then introduced him to the editors of his illustrious magazine. He did his early shoots in collaboration with
Polly Allen Mellen and Grace Coddington.
Within a year he became famous.
The paths of Azzedine and Arthur obviously ended up crossing in Paris. As they worked together on magazine
shoots, Elgort and Alaïa shared a dislike for superfluous sets and props, which got in the way of Elgort’s
photographic vision and Alaïa’s sculptural creations.
His black and white photos were intended to look like snapshots. He preferred explosive movement to the
clichéd poses of fashion models. He opened the windows of studios to let in the light and turned the street
into his theatre. Alaïa instinctly identified not only with his innovative but rigorous approach. When the
images were published, it was hard to tell who was acting as a foil for whom: was it the joyful photography
that invited to garment to move, or was it the figure-hugging, suggestive dress that provided the movement
captured in the image?
The models captured by Elgort’s lens and dressed by Alaïa became the ambassadors for new forms of
expression where two artistic approaches came together but never clashed.
Linda Spierings, Jeny Howarth, Janice Dickinson, Bonnie Berman, Veronica Webb, Frederique Van der Wal,
Naomi Campbell, Christy Turlington, Cindy Crawford, Linda Evangelista, Stephanie Seymour were like
divinities dancing on the frieze created by Alaïa and Elgort.
This osmosis consists of a unique exhibition in Paris dedicated to photography and fashion, whose revival
was orchestrated by Alaïa and Elgort.
Playfulness, intuition, and spontaneity were at work here. The future showed that this unbridled game would
mark a new chapter in fashion photography, demystifying couture creations to bring them within everyone’s
reach.
Arthur Elgort was born in New York. Azzedine Alaïa in Tunis. Both hoped that the practise of official art
would guide their destiny. Elgort aspired to become a painter and enrolled at Hunter College. Alaïa learned
the techniques of sculpture at the School of Fine Arts in Tunis.
Elgort did not feel fulfilled in the discipline he had adopted. Similarly, Azzedine refused to become a secondrate sculptor. While dressmaking work for a select clientele allowed him to finance his studies, the clothes
he made built him a reputation as a budding designer whose virtuosity was acknowledged. Alaïa took the
risky decision of going to Paris and, in the mid-1950s. His story began.
A similar story characterised the early career of Arthur Elgort. His artistic ambitions deviated when, in the
1960s, he went to a camera shop. He bought a Polaroid camera and learned how to use it, exploring his
environment, showing his pictures to his teachers, and abandoning the past. It became clear that his future
layed in lenses, dark rooms, and photographic papers. He would be a photographer.
The way they evolved in their discipline in exile was different, however.
While he was preparing to sit behind the gleaming sewing machines at the great Paris maisons, Alaïa’s
destiny led him to become a mysterious and sought-after private couturier. Simone Zehrfuss, Louise de
Vimorin, the Comtesse de Blégiers, Arletty commissioned bespoke garments from him. The women who
tracked him down and recommended him gave him a greater understanding of the body and allowed him
to perfect his technique. They would be his “school”, until Thierry Mugler, his leading admirer, persuaded him
to become a fully-fledged fashion designer.
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STUDIO 54
Together, Azzedine Alaïa and Arthur Elgort shaped the freedom of the 80s. At the same time as the fashion
designer saw his feminine ideal embodied in the street and by the ever-increasing number of clients, the
photographer left the studios, took over the movement and the cities as a natural and new setting. Both
actively contributed to renewing the representation of the now assertive, determined, independent woman.
The exhibition presented at the Azzedine Alaïa Foundation compares timeless photographs essential to the
designer’s iconography, as well as more confidential shots, with Alaïa’s most iconic clothes.
Elgort swapped his Polaroid for a Nikon. He developed a true passion for all types of new and vintage
cameras whose techniques and unique features he appreciated. He became a master of the camera. The
chief editor of Vogue, Alexander Liberman, saw a few photographs by the newcomer and encouraged him
then introduced him to the editors of his illustrious magazine. He did his early shoots in collaboration with
Polly Allen Mellen and Grace Coddington.
Within a year he became famous.
The paths of Azzedine and Arthur obviously ended up crossing in Paris. As they worked together on magazine
shoots, Elgort and Alaïa shared a dislike for superfluous sets and props, which got in the way of Elgort’s
photographic vision and Alaïa’s sculptural creations.
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US Vogue August 1973
Lauren Hutton wears a set, poplin, sweater and skirt, by Ralph Lauren. Shoes, Customcraft, scarf, Cisco, bag, Bottega Veneta, belt, Elegant, sunglasses, A.A Sutain, tights, Belle-Sharmeer. Editor Polly Mellen, hairstylist Rick Gillette.
Lauren Hutton porte un ensemble, popeline, pull et jupe, par Ralph Lauren. Chaussures, Customcraft, écharpe, Cisco, sac, Bottega Veneta, ceinture, Elegant, lunettes de soleil, A.A Sutain, collants, Belle-Sharmeer. Éditrice Polly Mellen, coiffure Rick Gillette.
Photo Richard Avedon
vogue archive
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Birthday Girl
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Photo Albert Watson
Editor Polly Mellen
Model Rosie Vela
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Nastassja Kinski
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