FROM WORLD FAMOUS FASHION ARCHIVE.. JUST SOLD THIS NEGATIVE TO PETER LINDBERGH ESTATE SUMMER 2019 IT WAS A HONER R.I.P Famous Vogue cover 20x30 print In the Hbo documentary In the editor's eye Sweater Christian Lacroix https://youtu.be/ZbTHTmRd94E • Peter Lindbergh, photographer, born 23 November 1944; died 3 September 2019 PeterLindbergh’s elegant, emotive and cinematic aesthetic, typically shot in black and white, has led to campaigns for Calvin Klein and David Yurman and editorial work for fashion’s greatest publications.Lindbergh moved to Paris in 1978 and started working for #Vogue, shooting for the Italian, English, French, German and American editions. Later, the photographer shot for The New Yorker, Vanity Fair, Allure, and Rolling Stone.In 1988, when #AnnWintour arrived at American #Vogue, the editor-in-chief swiftly signed Lindbergh for the magazine. He shot Wintour’s first, and at the time revolutionary, #AmericanVogue #cover, featuring a model in a #ChristianLacroix #couture sweatshirt and jeans. #art #photography #peterlindbergh @voguemagazine @vintage_vogue@britishvogue @vogue @lacroixofficiel The portrait photographer Jane Bown used to grumble that nobody had faces any more, that people had become afraid to let the camera capture their true character in their visages. But the photographer Peter Lindbergh, who has died aged 74, could persuade even those whose image was their fortune – actors, musicians, fashion models – to show their real face to his lens, to reveal their identities and natural forms. Lindbergh probably did not mean to change, radically, how fashion was shown in print, bringing it closer to the black-and-white photography he admired, Dorothea Lange’s portraits of the American poor, and photojournalism à la Henri Cartier-Bresson, but that’s what happened. Not all at once, though. He began to work for US Vogue in the mid-1980s, and told its editorial director, Alex Liberman, that he didn’t like the way the women on its pages seemed to be there to display their husbands’ wealth. Liberman challenged him to show what he liked instead, and in 1988 Lindbergh did just that, shooting half a dozen models in nothing but white shirts and a happy mood messing about on Santa Monica beach, adding only a little light to the scene. The images were glorious, about how you wanted to feel more than how you desired to appear, but Liberman and the then editor, Grace Mirabella, consigned them unused to a drawer. Soon after, Anna Wintour succeeded Mirabella, found the rejects, and one cropped image made it into the magazine; she commissioned from Lindbergh her first cover, November 1988, of a model, Michaela Bercu, in couture jacket and cheap jeans slung low to expose a soft, bare belly. It broke all rules: Bercu’s hair was blown about, her eyes were almost closed and she was smiling, she wore marginal makeup and zilch jewellery. The worried printers rang Wintour to ask if there had been a mistake: was that the right pic? It so was. When Liz Tilberis, editor of UK Vogue, asked Lindbergh to shoot the woman of the decade for a January 1990 cover, he replied there couldn’t be just the one. So he got a couple of the beach band back together for a shoot in downtown Manhattan, and added newcomers. Cindy Crawford, Naomi Campbell, Linda Evangelista, Tatjana Patitz, and Christy Turlington were shown as their forceful selves, all “quite undone … like being photographed right when you wake up in the morning”, according to Crawford. The tight grouping has been imitated by many hen-party snaps since: Lindbergh caught early the new social phenomenon of all-female parties out for their own good time. His portraits of men are just as below-the-skin deep, but “women are more open and courageous, they have more guts and take many more risks”. How he achieved the truth in his pictures explains his success. Several famous images, such as of Kate Moss no longer capitalising on her youth, came out of long conversations with the model, asking how she felt about life, about herself. “I look at women for who they really are,” he said, “perhaps this is what leads them to trust me.” Those women then willingly revealed characterful faces, aged hands, bodies that might be judged imperfect. Lindbergh’s goodbye was the current cover of UK Vogue, guest-edited by the Duchess of Sussex: portraits of 15 women, among them the activist Greta Thunberg; the New Zealand prime minister Jacinda Ardern captured by video link (although Lindbergh always preferred actual film to digital work); and original muse Turlington. All raw, and all different. Lindbergh’s first marriage to Astrid ended in divorce. He is survived by the photographer Petra Sedlaczek, whom he married in 2002, and by four sons, Benjamin, Jérémy, Simon and Joseph.