Photo of the week
This is where we share our favourite George Hoyningen-Huene photographs and latest discoveries from the archive.
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Lee Miller and Agneta Fischer for Vogue, 1932
Hoyningen-Huene produced this magical image by combining two separate shots. The result is a photograph in which Lee Miller appears like a fortune teller, looking down at a miniature Agneta Fischer dressed in a diaphanous gown inside a shimmering crystal ball. Both models appeared frequently in Huene's pictures from the 1930s, and both became photographers themselves.
‘ON THE COVER — “Trois”: Three flannel tiers, three vivid colors — lemon, cyclamen, scarlet — a romantic cape to throw over a black afternoon or dinner dress. Created by Valentina. The cover is a Kodachrome by Hoyningen-Huene.’
Harper’s Bazaar, October 1941
Vintage magazine from the collection of @icp
Swipe to see an alternate version of this image, a vibrant Kodachrome transparency from the collection of @metmuseum
The life-size illustration is by the French master Marcel Vertès
‘VIONNET — Everywhere, a touch of gold or silver around the waist, sometimes in colour, sometimes on white - as on this Vionnet dress of sheer crepe romain where the gold leather is cut in flowers and leaves to bind soft folds around a slim waist.’
Harper’s Bazaar, November 1936
At first glance it’s hard to distinguish the living model from the static mannequin. They posed for #georgehoyningenhuene wearing Grecian-inspired gowns, their elegant arms intertwined.
‘They sweep down the stairs into the night club, into the party, into a whirl of gaiety symbolic of night life anywhere in the world. A flower-printed satin Alix gown, with a chiffon scarf. Salon Moderne, Saks Fifth Avenue. A dusty blue taffeta wrap, designed by Bergdorf Goodman. A black net and rayon taffeta dress from Paquin in Paris. The set, the sparkle, the ballet girls – all by courtesy of the Radio City Music Hall.’
Harper’s Bazaar, July 1935
Another stunning colour image by #georgehoyningenhuene
Bronze sculpture by Siegel, 1928
Published in American Vogue, July 15, 1928, 'Vogue's Eye View of the Mode'.
Siegel was a manufacturer of mannequins and other metal accessories hangers. In the 1920s and 1930s Siegel supplied the majority of clothing shops in Paris.
Photo by George Hoyningen-Huene, 1928.
Princess Natasha Paley was a Russian aristocrat who, like Huene, fled her homeland to begin a new life in Paris. She became a well-known socialite and house model for the designer Lucien Lelong, marrying him in 1927. In this image for Vogue, she wears a spectacular feather and paillette cape by Lelong. She posed for Huene’s camera many times and starred with Horst P. Horst in a movie that Huene began shooting in 1932 but never finished.
Photo by George Hoyningen-Huene from 1933.
Photographer George Hoyningen-Huene met Joseph Pilates in New York and became a Pilates enthusiast. Huene took the photographs for the Pilates book 'Return to Life through Contrology', first published in 1945.
Photo: Huene exercising by the Pilates method, part of a series of similar self-portraits. Undated.
Published in Harper’s Bazaar, September 1939
Maggy Rouff (1896–1971), opened her couture house in Paris in 1929, and opened a London outpost in Park Lane in 1937. The New York Times praised the beautiful drapery of her late 1930s ‘romantic Greek evening gowns [which] glorify the very feminine, supple, amphora figure.’ Her many famous clients included Princess Margaret and Grace Kelly. This ivory rayon lamé dress was available to purchase in the US at Bergdorf Goodman.
Photo by George Hoyningen-Huene in 1939
Swipe to see - A version of the dress survives in the collection of the Museum at FIT (Fashion Institute of Technology, New York, Museum Number: 92.149.2
Serge Lifar and Olga Spessivtzeva as Bacchus and Ariadne
The Paris Opera premiered the ballet Bacchus et Ariadne in May 1931. The ballet was choreographed by Serge Lifar, one of the greatest dancers of the twentieth century. It was performed to a score by Albert Roussel within a set designed by Giorgio de Chirico. Huene photographed Lifar with his partner Olga Spessivtzeva, their angular limbs arranged to form a star-like composition at a moment of high drama.