Eye contact on We Heart It -

Yuichi Ikehata 
The world of reality and non-reality. They are very intimate, so it is not too much to say that they are almost one. We touch non-reality with reality as a key and sometimes touch reality using a key of non-reality. Reality is beautiful, sad, funny and completed, but happens nothing there. Fragments that cut out of reality already show a fictitious world. I collect the fragments, edit, arrange and capture them. It is just a “pure myth.” – Artist’s Statement



Deborah Turbeville was known for the way she turned fashion photography from a clean, well-lighted thing into something dark, brooding and suffused with sensual strangeness. She was a photographer in the early 1960’s. Before photography, Deborah was a fashion editor, but realized her passion belonged in photography. She primarily taught her self, but enrolled in a six-month workshop taught by the photographer Richard Avedon and the art director Marvin Israel. Her editorial work appears regularly in such publications as American, British, French, Italian, and Russian Vogue, L’Uomo Vogue, Zoom, W, and Mirabella. in newspapers including The New York Times; in advertisements for clients like Ralph Lauren, Bruno Magli, Nike, Macy’s and Bloomingdale’s; in exhibitions worldwide; and in books, including “Unseen Versailles” (1981), a collection of her photos of the hidden, dusty spaces underpinning Louis XIV’s grand palace. Her fashion photography was more of an art piece then about the clothes. In some of her pictures the garments are barely visible. She used techniques like faded color, black-and-white and sepia tones, prints were often deliberately overexposed, rendering her subjects spectral. Her images exude an almost palpable sense of longing, with questions about the woeful women they depict. She rarely shot celebrities, but when she did she portrayed them in a shocking way. In 1975 she produced a picture that was said to be “one of the most famous fashion photographs of the last 50 years.” It was a swimsuit shoot for Vogue, it showed five listless women leaning against the walls of a shower room in a condemned New York bathhouse. Deborah turbeville has produced several book “Wallflower” (1978), a collection of misty, death-imbued fashion photographs; “unseen Versailles” ( 1982), “Studio St. Petersburg” (1997), shot in Russia; “Casa No Name” (2009), shot in Mexico, where she long had a home; and “Deborah Turbeville: The Fashion Pictures” (2011). She passed away in 2013 at age 81, but will always be remember for her impact on fashion photography.

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