Part 3: Indulgence
He was sent to military prison: Heller, “Elle of a Life,” 34–45.
“unexpected and charming”: Vienne, “Hélène Gordon-Lazareff.”
Newton bought his first box camera: Newton, Autobiography, 53, 57.
Discharged in 1946: Ibid., 128.
“She could tell that I was a fan of the opposite sex”: Vienne, “Hélène Gordon-Lazareff.”
“I was followed by their hollow laughter”: Newton, Autobiography, 157.
encouraged by Man Ray: Haden-Guest, “Return of Guy Bourdin,” 136–46.
he reconstructed her death scene: Ibid.
She showed Brinkley’s pictures to Houlès: Dickinson, No Lifeguard on Duty, 140.
“You could think he was a sadist”: Gross, Model, 263.
“It was like trying to catch up with a wild horse”: du Plessix Gray, Them, 281–82.
Avedon’s trip to Japan: Dwight, Diana Vreeland, 158.
Vreeland sent Bailey to India: Mirabella, In and Out of Vogue, 131.
“I know how to handle those men”: Ibid., 133.
At a meeting with Si Newhouse: Dwight, Diana Vreeland, 183.
“I had a very bad dream”: Maier, Newhouse, 59.
“the $8 billion American fashion industry”: Christy, “Self Determination Applies,” A-13.
Condé Nast was actually quite generous: du Plessix Gray, Them, 284.
severance and a $20,000-a-year pension: Gross, Rogues’ Gallery, 378.
“He’s the villain”: Lerman, Grand Surprise, 144.
“monstrous . . . hard, hollow, cold”: Ibid., 357, 384.
“hated one another”: Brady, Superchic, 226.
“Fashion is out of style”: Christy, “Fine Definition of Style,” 19.
Bill realized taking pictures: Fried, “Fashion’s Dark King,” 109–24.
On a trip back to New York: Ibid.
Bill introduced Harry to one of them: Ibid.
“The last time I saw really great clothes”: Hyde, “Fashion Notes,” F3.
he went to Vietnam: Emerson, “Avedon Photographs a Harsh Vietnam,” 52.
“It was just criminal of me”: Wallach, “Richard Avedon Looks Straight,” P16.
Grace Mirabella preferred: Mirabella, In and Out of Vogue, 121–22.
When he summoned her: Ibid., 143.
“There was resentment”: Richard Avedon, directed by Whitney.
“The narratives were far fewer”: Squiers and Aletti, Avedon Fashion, 275.
But he was hobbled: Hodenfield, “Richard Avedon.”
“the definition of being a man”: Richard Avedon, directed by Whitney.
The magazine’s editors asked him: Avedon, “Family 1976.”
“a kind of closure”: Squiers and Aletti, Avedon Fashion, 275.
Mirabella wanted models: Mirabella, In and Out of Vogue, 154.
His ability to capture: Ibid., 155.
Peterson told him: Di Grappa, Fashion.
Part 4: Decadence
“slightly aberrational”: Morgan, “‘I’m the Biggest Model.’ ”
“pathological . . . clamorous and unsavory”: Kramer, “Dubious Art of Fashion Photography,” 100.
“This is a development likely to be disturbing”: Ibid.
In the months before that call: Newton, Autobiography, 194–98.
“Everything seems to cure itself”: Ibid., 202–3.
“My favorite photos”: Ibid., 270–71.
“one of the more bizarre photography books”: “Book Ends,” New York Times Book Review.
“typically European disdain”: Mirabella, In and Out of Vogue, 159–61.
Turbeville hated the job: Jobey, “Last Tango in Paris.”
In Turbeville’s telling: Image Makers: Deborah Turbeville.
“I was asked to leave the magazine”: Ibid.
“I went into a store”: Taylor, “Deborah Turbeville Look,” 27.
“If it hadn’t been for the two of them”: Goldberg, “Hidden Versailles,” 15–19.
“I was able to ask them”: style.com, Voguepedia.
“Her models loll about”: Dillon, “Deborah Turbeville.”
Alexander Liberman summoned her: Turbeville, Fashion Pictures.
“done in complete innocence”: Gross, “Turbeville,” 335.
“I am totally different”: Reed, Fifty Fashion Looks.
he bought the right to publish: Fried, Thing of Beauty.
Mike Reinhardt liked to smoke pot: Gross, Model, 328.
Chris started taking pictures: Garner, “Most Underrated Photographers,” 61, 89, 102.
“I worked with shock effects”: Di Grappa, Fashion.
That had been the case: Ibid.
“The violence is in our culture”: “Sexes,” Time.
“a very erotic dog”: Zwingle, “Inside Advertising,” 102–3.
a growing cocaine habit: Fried, Thing of Beauty, 257.
“Violence in fashion is over”: Zwingle, “Inside Advertising.”
The CBS affiliate in Los Angeles: Reichert, Erotic History of Advertising.
“fashion hell”: Richard Avedon, directed by Whitney.
Avedon “cancelled his [Condé Nast] contract”: Squiers and Aletti, Avedon Fashion, 276.
“The fear of death”: Goldberg, “Richard Avedon’s Own True West.”
A brief New Yorker obituary: Adam Gopnik, “Richard Avedon,” New Yorker, October 11, 2004.
Part 5: Domination
she would lend him money: Muir, “All Is Finally Revealed,” 12.
“gay men and the gay sensibility”: Kamp, “It All Started Here,” 343–55.
Provocation got attention: Gross, “New Fashion Ads,” 52.
Bourdin was thrown in jail: Haden-Guest, “Return of Guy Bourdin.”
debilitating stomach pains: Ibid.
“It’s a world I know well”: Adam, Not Drowning but Waving, 439–40.
“The mouthwatering, handsome, narcissistic people”: Ibid., 380–82.
“brazen, stylish, sometimes vulgar”: Ibid., 402–3.
“It means I have one over on them”: Fried, “Fashion’s Dark King.”
make the cosmetics look like medical products: Tungate, Branded Beauty.
King’s housekeeper complained: Fried, “Fashion’s Dark King.”
He was regularly summoned: Deposition of John Daniel Turner.
“tried to boost his immune system”: Fried, “Fashion’s Dark King.”
King had continued to take cocaine: Deposition of John Daniel Turner.
“He would have done anything”: Ibid.
“A bad copy”: Conant, “Sexy Does It,” 62.
“Kate Moss in a rice paddy”: Aletti, “Photoshop,” 68.
“some high-school in-crowd”: McKenna, “Beyond the Ads,” C5.
“catching a kid at that really vulnerable time”: Halpert, “Bruce Weber,” 48.
“nothing remotely shocking”: McClure, “Relentless Paeans,” 15.
“I don’t think you sell clothes”: Lipsky-Karasz, “Memo Pad,” 3.
“Magazines are a rearguard action”: Kazanjian and Tomkins, Alex, 359.
Part 6: Disruption
“the fashion of no fashion”: Gross, “Paris When It Dithers,” 35–38.
they would later announce their engagement: Gross, Model, 421–24.
Wintour might return to America: Gross, “Notes on Fashion,” New York Times, May 5, 1987, C-12.
Steven gives her, her magazine basically: “Steven Meisel” (Photographers Lecture Series, International Center of Photography, New York, NY, February 19, 1992).
Day was the child of: Callahan, Champagne Supernovas, 1.
Day cooked up an idea: Ibid., 11.
“I’m not having as much fun”: Gross, “Madonna’s Magician,” 28–36.
“louche and dishabille”: Callahan, Champagne Supernovas, 71.
she was bitter: Ibid., 93–94.
Klein’s basement porn campaign: “Lowest M
oments in Advertising,” Adweek, 38.
“Girls treat rehab like a spa”: Walden, “Why Black Is ‘the New Black,’ ” 22.
“the most nauseatingly tasteless fashion pictures ever”: Saner, “Tasteless Line,” 3.
“Clothes are such shit now”: de Looz, “Who Is Steven Meisel?,” 61–86.
Bob Dole lashed out: Dowd, “Liberties; Plagues, Comets, Values,” 13.
the Times presciently predicted: Woodward, “Whither Fashion Photography?,” 55.
“Fashion is based on a whole series of quick about-turns”: Cotton, Imperfect Beauty, 16.
“it is generally understood”: Sanders, Poynter, and Derrick, Impossible Image.
“Ten years, it was a hell of a lot of fun”: Madison, “She’s a Politician.”
“Intensely image-conscious companies”: Lockwood, “Fashion Advertising.”
“Almost overnight, rawness was replaced”: Linda Watson, “Corinne Day: Photographer Celebrated for Her Groundbreaking Work with Kate Moss,” Independent, September 6, 2010.
“What I found interesting”: Garrat, “I’m a Photography Junkie.”
Epilogue: Return to Terrytown
An older brother was an athlete: Richardson, Bob Richardson, 236–46.
“Being an outsider”: Ibid., 249.
“two young adults making a serious mistake”: Ibid., 255.
he suffered memory lapses: Sischy, “Exposure,” 45.
his wife had a drinking problem: Richardson, Bob Richardson, 256.
“a friend gave me a Rolleiflex”: Ibid., 248.
“I told him to go fuck himself”: Ibid., 256.
“I hated fashion”: Gross, Model, 230.
“When he got an assignment”: Zahm, “Terry Richardson’s Life Story—Episode 1.”
“That really clicked”: Ibid.
“Danger fascinated me”: Richardson, Bob Richardson, 239.
“We’d get stoned”: Gross, Model, 234.
“They would have a shot set up”: Zahm, “Terry Richardson’s Life Story—Episode 1.”
they started swinging: Richardson, Bob Richardson, 260.
“visions of him in a room”: Zahm, “Terry Richardson’s Life Story—Episode 1.”
“a beautiful, dangerous foreign movie”: Huston, Story Lately Told, 199.
“almost an out-of-body experience”: Ibid., 202.
“My mom pleaded with him”: Zahm, “Terry Richardson’s Life Story—Episode 2.”
had mistaken Bob’s need for dominance: Huston, Story Lately Told, 209–12.
Richardson’s Nikons were stolen: Ibid., 232.
“right in front of me”: Zahm, “Terry Richardson’s Life Story—Episode 2.”
“Where’s my mother?”: Ibid.
Terry tried suicide: Wallace, “Terry Richardson Shot Himself,” 28–35, 130.
“He was running wild”: Richardson, Bob Richardson, 264.
Huston invited them on a fishing trip: Huston, Story Lately Told, 241.
the trip turned out badly: Ibid., 247–48.
Terry ended up in a shower with a model: LaBruce, “Terry Richardson, 1998.”
“It was getting almost impossible to work”: Richardson, Bob Richardson, 261.
The end of the seventies were a jumble: Ibid., 264–65.
foggy streets at dawn: Ibid., 268.
Terry Richardson had been busy: Zahm, “Terry Richardson’s Life Story—Episode 4.”
“I inherited all the schizophrenia”: LaBruce, “Terry Richardson, 1998.”
“I tried to strangle him”: O’Hagan, “Good Clean Fun?”
“to get lost:” Sischy, “Exposure.”
“a hatchet job”: Ibid., 272.
“living with this millionaire”: LaBruce, “Terry Richardson, 1998.”
“because I was from Hollywood”: Wallace, “Terry Richardson Shot Himself.”
“got into more trouble”: Zahm, “Terry Richardson’s Life Story—Episode 4.”
“He would send me his contact sheets”: Richardson, Bob Richardson, 268.
“a motif of childhood defiled”: Wallace, “Terry Richardson Shot Himself.”
“Editing his work”: Richardson, Bob Richardson, 271.
“They ignored me”: Ibid., 268–69.
“How do these broads get their jobs?”: Ibid., 246.
“It’s great to have a son”: Ibid., 248.
“This is my life’s work”: Richardson, Kibosh.
he was working out “lots of stuff”: O’Hagan, “Good Clean Fun?”
“high as a kite”: Eaton, “Terry Richardson’s Dark Room.”
“I was single”: Holson, “Naughty Knave.”
“self-made images of Terry thrusting”: O’Hagan, “Good Clean Fun?”
a Richardson “side project”: Eaton, “Terry Richardson’s Dark Room.”
“That was the end of the story”: Picture Me: A Model’s Diary, directed by Sara Ziff, 2009.
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