OP IN VOGUE

ELENA GALLEANIELENA D’AGLIANO 2020 Op in Vogue Elena Galleani d’Agliano Op in Vogue Master Thesis by Elena Galleani d’Agliano Supervised by Jérémie Cerman

Printed at Progetto Immagine, Torino

MA Space and Communication HEAD Genève October 2019 Vorrei ringraziare il mio tutor Jérémie per avermi seguito in questi mesi, Sébastien e Laurence per il loro indispensabile aiuto al Musée des Arts Décoratifs, Oliver and Anna per avermi dato una mano con l’inglese, Alexandra e gli altri tutor per i loro incoraggiamenti e la mia famiglia per il loro instancabile supporto.

5 10 18 34 43 87 108

88 A glimse of the Sixties 90 The Optical Woman Portfolio The diffusion of Architectural 91 64 prêt a porter Defining Op 44 The Guy visions in Mulas 18 92 Economic impli- fashion Bourdin’s elegance 67 Who are you, 34 Fashion pho- cations 11 Definition of The relation- 48 The youth quake William Klein? 21 tography in the Basis for further Op Art according to Bailey Franco Rubar- 96 ship with the Sixties 70 experimentations: 13 The influen- source 52 The female telli, the storyteller 36 Defining Op the Space Age Style ces Op art and emancipation throu- 74 Swinging with 27 photography 102 The heritage 108 Epilogue 14 Exhibitions its representation gh the lens of Hel- Ronald Traeger 83 Advertising mut Newton today 111 Bibliography and diffusion on Vogue 78 Others 57 Monumentality in Irving Penn 60 In the search of other worlds with Henry Clarke

Prologue The Op Op Fashion Sociological Epilogue fashion photography implications

7 8 9 Prologue

early sixty years ago, mum diffusion, 1965 and 1966. The Then, the structure of the work has piece about the upcoming exhibition 1. Anonymous, “The 2 avant-garde”, New an artistic move- choice of focusing on the European been subdivided into three big blocks: The Responsive Eye, changed Optic in Op. York Herald Tribune, ment known as editions rather than on the US situa- the definition of the Op fashion in On the other hand, the term Kinetic Art special 17th May 1964, p. 4. Op(tical) art became tion, is due to the fact that in the Sixties relation to Vogue magazine, the analysis (from the greek κινητικός, der. from a mainstream phe- Europe had become the actual core in of the images- which is the real core κινέω «to move»), was used originally 2. BORGZINNER Jon, nomenon in mass terms of experimentations and creativ- of this mémoire-, and the sociological by the Spanish group Equipo 57, and “Op art: Pictures Nculture, significantly influencing until ity in fashion, and therefore it guaran- implications that derived from it. In then “adopted” by the Italian designer that attack the eye”, Time, vol. 84, n 17°, the following decade the aesthetics of teed a more fertile ground to explore the last part, I extended my research Bruno Munari. 23th October 1964, p. many other fields, such as publishing, (although Vogue US will be mentioned in order to gain better understanding 78-86. For this paper, I will use the term Op cinema, design and architecture. In in more occasions). This also allowed of the impact that a new kind of fash- 3. GRANZOTTO instead of Kinetic to distinguish the opposition to the American and figu- to make frequent parallels between the ion could have on the society. I could Giovanni; MARGOZZI artistic phenomenon from its diffusion. Mariastella, Arte rative Pop art, the Op art was instead different Vogue, discovering the differ- assume that the success of the prêt à programmata e This choice is motivated by the fact that cinetica: da Munari interested in the perceptive and kinetic ences and the choices in fact of con- porter and the various imitations of the Op art was the denomination through a Biasi a Colombo phenomena. tents and graphic, as well as providing Op fashion made it more accessible and e...,Roma, Il Cigno, which it was internationally known, and 2012, p. 36. diversified material to analyse. As for therefore, most widespread. This research will focus on the influ- therefore, the use of this term to refer the images, after an early research on ences of the Op art in fashion, and in Before starting, I considered it neces- to a popular trend is more precise. internet (which was obviously impre- particular on how fashion photography sary to introduce the Op/Kinetic art, in An accurate definition of Kinetic Art cise, lacking and unreliable), it was nec- contributed to his diffusion, by creating order to better understand the elements was provided by Umberto Eco in the essary to go directly to the source, in in response his own aesthetic language, and the forms that inspired the patterns catalogue of the exhibition Arte Pro- order to historically contextualize those through the medium of the fashion of the Op fashion creations in that grammata (1962), defining it as « a form pictures. The issues of British Vogue and magazine. period. of plastic art, where the movement of Vogue Paris have been consulted in the forms, colours, plans is the medium to For this analysis, I have selected photo- archive of the Musée des Arts Décora- Definition of Op art obtain a changeable wholeness. The graphs and articles published in Vogue tifs in Paris, while the complete Vogue The Op(tical) art was originally known aim of Kinetic art is to obtain shifting Paris, Vogue British and Vogue Italia (the Italia was available online. in the art field as Kinetic Art:Op was a forms and not definitive artwork ».3 most known and international mag- The mémoire begins with the Kinetic art term coined by the press in the United Among the most known exponents, we azine at the time) between 1964 and and how it became popularly known as States. It appears for the first time in remember the Italians Gruppo T (Milan), 1968. 1964 issues did not give many Op art, attempting to identify the ele- 1964 on the New York Herald Tribune Gruppo N (Padua), Bruno Munari, Get- results, allowing though to identify with ments that inspired further applications as Optic art.1 A few months later, the ulio Alviani and Franco Grignani, the more precision the beginning of the in other fields. Time reporter Jon Borgzinner, in a French group G. R. A. V. (Paris) and trend and the two years of his maxi-

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8. MELONI Lucilla, 4. DORFLES Gillo, Victor Vasarely (Hungarian adopted ley and Victor Vasarely, who translated «The scientific research is the guide for exemplars. Victor Vasarely, one of the Gli ambienti Ultime tendenze French), the Yugoslavian group Nove his ideas about a new kinetic language the kinetic artists in their work. But the most known artists of the movement, del Gruppo T: nell’arte d’oggi, arte immersiva Milano, Feltrinelli, Tendencije, the British Bridget Riley, the into the Manifeste jaune (1955). This am- purpose is different and the artistic and considered art as a social phenomenon, e interattiva, 1961, p. 86. German Zero (Düsseldorf), the Venezu- biguity was also made possible by using scientific research can’t be dependent to where the piece of art is conceived to Cinisello Balsamo, Silvana, 2004, p. 84. 5.WERTHEIMER Max, elan Carlos Cruz Diez. malleable materials such as aluminium each other»8. be reproduced and multiplied through Gestalt Theory, Vol. and generating effects with the light, the modern resources. In contrast to 9. ECO Umberto, 21, n. 3, November Within the kinetic movement, it is nec- In occasion of Arte Programmata, the Opera Aperta, Milano, 1999, pp 181-183. as experimented by Bridget Riley, that fully disagreed with Bompiani, 1962, p. essary to make a dis- Italian art critic and writer Umberto 153. The Getulio Alviani.The the unauthorized replication of her 6. SEITZ William, tinction between the Eco introduced the concept of Open responsive Eye, New kinetic artists were pieces, he approved their diffusion 10. MUNARI Bruno, York, The Museum of real kineticism and the Work, Opera Aperta in Italian, that’s also 11 Artista e designer, Modern Art, Library influenced by psy- among the masses. kineticism perceived the subject of the homonymous essay Bari, Editori of Congress, 1965, chology and other Laterza, 1971, p. 72. p. 30. by the spectator.4 he wrote.9 The idea is that the artwork theories of visual The Influences In the first case, the is an open field, that leads the spectator 11. MARI Pauline, Le 7. VERGINE Lea, perceptions, for ex- voyeur et l’halluciné Art on the cutting movement is created to variable and not definitive interpreta- To fully understand what Kinetic Art is, : au cinéma avec l’op edge: a guide ample the Gestalt art, Rennes, Presses to Contemporary physically through tions. He also claimed that through the it is necessary to take a step back to the theory,5 and they at- Universitaires, 2018, movements, Milano, the support of ma- Kinetic art, the movement has entered lesson of the avant-garde of the XXth p. 22. Skira, 1996 p. 92-93. tempted to transfer chines and mechanic art in a more successful and radical way century. In the 1920s, the Dutch group those suggestions 12. Ibid., p. 93. systems, as well as than before, as soon as it started to De Stijl, headed by Theo Van Does- on their works, in 13. POPPER Frank, through the con- include the spectator to complete the burg, theorized for the first time the L’art cinétique, order “activate the struction of spatial artwork. term Concrete Art to designate a type of Paris, Gauthier- vision” besides the Villars, 1970, p. 37. geometric-oriented artwork, free of any ambiances: this ap- 6 aesthetic effects. Another important aspect of Kinetic 12 proach, known as Arte references with the external world. However, Lea art is the idea that the piece of art can Programmata, was born The notion of movement in the static Vergine pointed out exist in multiple versions, and the qual- and experimented in material was explored both by Futurism how this scientific ity of the object does not rely to the Italy, in particular by and Dadaism: the futurists attempted aspect had been deeply misunderstood choice of the materials.10 At this pur- Munari and exponents from Gruppo T. to translate the motion into their bidi- from his supporters, that elevated and pose, Bruno Munari coined the term In the second case, the movement is mensional paintings, by decomposing celebrated the Op art as a scientific art: multiplo, an object designed by the artist not real, but is created by playing with the images in repeated photograms like the critic accused the Op art because it to be produced in series according to human perceptions, that are driven to in Dinamismo Muscolare from Giacomo was based on suppositions and not on the principles of industrial design or 13 perceive the motion in a bidimensional Balla. The Dadaists, instead, worked a real scientific research.7 The dilemma eventually hand-made, but always with painting. This intent is observable, for physically on the ambiguity and the is in part explained by Carlo Argan: the intention of producing identical example, in the artworks of Bridget Ri-

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14. Ibid., p. 59. process of elaboration, by creating were invited to show their works to- different visual effects. Duchamp’s gether in several exhibitions throughout 15. Ibid., p. 66. Rotorelief is generally considered as the Europe, and in a second time in the 16. GRANZOTTO Giovanni; MARGOZZI first kinetic object of the history of USA. Among them, we remember Nove Mariastella, op. art.14 Scientific research in art had been Tendencije, that took place in Zagreb in cit., 2012, p. 12. previously explored in the work of the 1961, Arte Programmata curated by Mu- Pointillists, that towards the end of nari in 1962 and hosted at the Olivetti’s XIXth century found a technique that space in Milan, Kunst Licht Kunst held consisted in dividing the brushwork in Eindhoven in 1966, and last but into little dots of pure colours which not least, The Responsive Eye by William blend directly into the viewer’s brain. Seitz, presented at MOMA in 1965, col-

Kinetic Art has also a huge debt to the 1 lecting a resounding success among the Bauhaus, and in specific to experiences international public. of the experimental preparatory classes The effects of The Responsive Eye were run by Johannes Itten, Lazlo Moholy huge, since it caught the attention of Nagy and Jozef Albers.15 international media for several months, Itten focused mostly on the study of creating a full-fledged mainstream phe- colors and their architectural and kinet- nomenon around it. ic function. Albers was a painter and This allows us to affirm that this exhi- former Bauhaus’ student and he used 3 bition had a decisive role in the diffu- to work with metal and glass, obtaining 3: Victor sion of the Op art in the mass culture, light variations. Moholy Nagy’s work Vasarely: Tau- Ceti, 1964, 2,50x including in fashion and his depiction. ranged from lighting design, photog- 2,50 Moreover, Vogue dedicated several ar- raphy, photograms and film to kinet- 4: Giacomo Balla: ticles to the Op art, besides the optical ic-constructive systems.16 Dinamismo Muscolare di collections. Within this research, my

un cane al goal is to define the relationship of the Exhibitions & diffusion guinzaglio, oil on canvas, 1912. Op fashion with his source and how In the early Sixties, the results of the 2 1: Cover from the photography was responsible of his kinetic groups started to be known Catalogue “The Responsive success. in the international art scene. Italian, Eye”. 2: Students from Jozef German and French avant-garde artists Albers’ class at Bauhaus. Study on paper (1928). 4

14 15 The Op Fashion

1 16 17 8 1. AMBROSIO Daniela, illusions each time the wearer Avenue, hired Julian Tomchin to design alongside the flourishing youth style. 4. BUTAZZI Grazietta, MOTTOLA Alessandra, “Non solo moda. was moving, elevating the dress a collection inspired by his personal Bianco e Nero, Nova- Germana Marucelli he Op art An interesting evidence of the success ra, Istituto geogra- e Getulio Alviani”, 4 to a full-fledged artwork. The collection of kinetic artworks. fico De Agostini 1991, th phenomenon spread of the Op aesthetic (and specifically Elle Magazine, 31 collection was officially presented p.75. January 2019 (from with a certain in the fashion sector), is given by the the website https:// in January 1965, on the occasion The collection benefited from the 5. LOBELTHAL Joel, www.elle.com, visited success across the French journalist Jacque Michel, who Radical Rags. Fashion in August 2019). T of the XXIX Manifestazione della success of the Responsive Eye exhibition fashion world: stylists, photographers, in his polemical piece L’Op dans la rue, of the Sixties, New Moda Italiana held in the Florence at MoMA opening just few months York, 1990, pp. 76 2. https://www.asso- and fashion magazines all took for a 2 released in 1966, speaks against this Op and following. ciazionegermanamaru- and was a great success. The after its release. About that exhibition, moment an Op direction, suggested by madness: 9 celli.org (visited in partnership continued with the Time stated that the visitors of the 6. Anonymous, “It’s August 2019). the innovative forms of Kinetic Art. « […] it’s a fact: what Americans Op from Toe to Top”, Aluminum line, which, according exhibition were nearly able to realize LIFE, 16th April 1965, 3.Ibid., (Visited in Fashion magazines such as Vogue, Elle, have called Optical art won the street, to the same principle of the with their clothes those same optic— p. 52. August 2019). and Harper’s Bazaar, were the medium entering the daily life so quickly that it changeability of the artwork, made kinetic effects as the artists.5 It is said 7. BUTAZZI Grazietta, of this diffusion between the masses leaves no doubt. Browse the women’s MOTTOLA Alessandra, light the protagonist in interaction that Bridget Riley, upon seeing her op. cit.,1991, p. 74. and elite world of haute couture that they newspapers, look at the shop windows with the metal. Some years later, patterns applied to clothes without intended to depict. along the boulevards: ‘op’ dresses, 8. This affirmation has she recalled her experiences during any authorization, claimed with been made by analys- op ‘earrings’, candy boxes op ‘... In ing the three differ- What is Op Fashion? It is the meeting the Sixties this way: 3 disappointment that her art «was sold London, op’ makeup and hairdressing... ent European editions of Op art with the fashion world «My meeting with the modern to hang on a wall, not on a girl»6. of Vogue (Italia, in Rome, Madrid or in the German Paris and British) that results in black and white fabrics artists from 25 years ago has led In January 1965, Andrè Courrèges, a between 1964-1968. cities, op’ handkerchiefs, kitchen towels decorated with geometric patterns. to a meeting with the artists of Paris-based couturier, debuted with a or raincoats as we were in the United 9. BORGZINNER Jon, the Nuova Programmazione and futuristic and geometric collection that “Op art: Pictures States, bathing suits, sunglasses or that attack the eye”, It is possible to start talking about Op in specific with Getulio Alviani, exploited black and white as dominant Time, vol. 84, n 17°, wrapping paper reproduce the paintings th fashion in the year 1964, when Getulio first with Op art and then with elements.7 23 October 1964, p. of artists that a large advertising 78-86. Alviani and Germana Marucelli began shining aluminum, that gave me campaign in the United States called their artistic collaboration.1 The result the opportunity to (experiment) The phenomenon of diffusion began Optical art ». was Optical Line, a harmonious match the magic dimension of the from 1965 under the reflectors of the between the proprieties of the fabric enlightened aluminum in order to Responsive Eye, that made the Kinetic art This feeling of indignation is and the optical patterns. The decision valorize a totally new woman» known to the rest of the world as Op unsurprising; many intellectuals and to combine the kinetic textures with a art. It is possible to establish 1965 as conservatives both in Europe and plissè soleil fabric (small folds radiating Meanwhile in the United States, the year when it started this diffusion United States disapproved of the from a center, usually the waist), Larry Aldrich, the most important and 1966 as the time of its peak; then success of this artistic phenomenon helped to create effects of optical manufacturer of New York’s 7th we can still find traces until 1968,

18 19 Aluminium line, Vogue Italia, September 1968.

10. MARI Pauline, op. that compromised itself as soon as it By the end, the author made an acute Who Are You, Polly Maggoo? a satirical 14. MARI Pauline, op. cit., 2018, p. 24. reached the streets, transforming into a prediction, about the Op phenomenon art-house film that criticizes the cit., 2018, p. 36. 11. BUTAZZI kitsch art for the masses.10 and its popularization: fashion world.14 The movie makes use Grazietta, MOTTOLA In the case of fashion, the effects of an optical language that reflects Alessandra, op. cit., « The Op art solutions seem to be 1991, p. 76. were imitated by a relevant number of the time’s mainstream aesthetic. The destined for vast consumption, and stylists, who found in black and white movie follows top model Polly Maggoo 12. LILLÌ Laura, certainly they have the possibility of “La nuova moda degli - the two and diametric non-colors - (played by Dorothy MacGowan) and abiti stile Op art being economically exploited. It is infinite possibilities of combination, her surreal participation in a weekly è appena arrivata a possible, therefore, that the Op-Art will Milano dall’America”, simplifying at the same time the TV program titled “Who are you?”. In CRONACHE PER LE 11 appear on the summer dresses of the DONNE- LA STAMPA, n. manufacturing (industrial) process. one of the most famous scenes, Polly rd girls of all social classes. Then it will 79, 3 April 1965. What was missing from the pages and other models are talking in a become so obvious that it would make 13. ANTONIONI of fashion magazines were the dressing room, all wearing striped Michelangelo, Blow the effect of a floral cretonne» Up, U.S.A - United perceptions of the the movement dresses against the backdrop of Kingdom - Italy, generated while wearing the dresses. The Op fashion phenomenon is also striped walls. This optical aesthetic 1966. Interesting evidence of how Op art observable in two films from that same appears in many details, such as in could be perceived in that time is given period. Michelangelo Antonioni’s Blow- the rounded banner of the crest by the Italian newspaper La Stampa, up released in 1966 is worth of note. It of the kingdom of the prince of in the Women’s Chronicles.12 The article is the story of a hallucinated experience the story. In some scenes it is also described one of the fashion shows lived by a rough fashion photographer, possible to see actual pictures from featuring the Marucelli’s Optical collection, directly inspired by David Bailey, Vogue and Harper’s Bazaar, showing as a big rendez-vous, where the creative within the bustle of Swingin’ London.13 Dorothy MacGowan posing in community in Milan was invited to A backstage of an optical shooting several Op clothes. attend. It consisted of an exhibition- has been recreated, with a group of The relationship with the vernissage, where instead of paintings models that stand up in series behind source and sculptures, there were living transparent panels, wearing futuristic artworks in fabric. The article points dresses. As soon as the films get Op art entered fashion and out the multitudes of effects produced more hallucinated, the optical motifs other sectors few years after by the dresses in motion, applauded by appeared later on the walls of an its creation: this differing of the public: underground club, emphasizing the times, and the diffusion in the sense of confusion of the film. mass culture when the avant- «the models were parading like delicate garde groups were at their end, living kaleidoscopes». That same year, William Klein released One of Larry Aldrich’s creation. Appeared on Life Magazine, 16th April 1965.

20 21 5, 6, 7: Some still-frames from Who are you Polly Maggoo? (William Klein, 1966).

4: Vogue Italia, October 1966. Photos shot by Franco Rubartelli.

1, 2, 3: Some still-frames from Blow Up (Michelangelo Antonioni, 1966).

22 23 15. BUTAZZI contributed to the separation of their to impose themselves for reasons Mondrian Collection, Vogue Italia, Grazietta, MOTTOLA destinies and their ideological values. related to the weakness of the textile Alessandra, op. cit., September 1965. Photo 1991, p. 76. Wearing Op art clothes in fact, didn’t industry.17 However, art can also be shot by D. Bailey and I.Penn. 16.DORFLES Gillo, mean embracing the principles of an element that ennobles the clothes, La moda della moda, kinetic art, nor did it mean wearing as is the case of prêt-à-porter. On Genova, Costa e Nolan, 1984, p. 13. an artwork. With the exception of a the other hand, fashion contributes few cases, the mass phenomenon was to the diffusion of art by its own 17. SEGRE REINACH Si- mona, La moda, Bari, instead a projection of how Op art was rules. Another consideration has to be Editori Laterza, 2005, p. 113. perceived by the masses and it often made for fashion photography, whose 18. Ibid., p. 115. translated into dresses that imitated relationship with art is much more 18 19. BARILLI Renato: others without considering the artistic undefined and hybrid. Il ciclo Postmoderno. sources. In Op fashion, there are not La ricerca artistica It is possible to talk of a Poptical degli anni Ottanta, rigid schemes or rules, nor is there a Feltrinelli, Milano, phenomenon, a term coined by real founder. In many occasions the 1987, p.86. Renato Barilli, that brought attention fashion magazines adopted from the 20. ANGELI Franco, to the frequent exchanges between La moda nel consumo art critic the vocabulary specific to the Op and Pop art in fashion.19 This giovanile. Strategie the artistic genre, such as «geometric & immagini di fine syncretism largely influenced the work millennio, Milano, rhythms» or «perceptive vibrations».15 advent of the ready-to-wear or prêt-à- art and Op fashion. William Seitz, in Franco Angeli edito- of Cardin, Saint Laurent and Krizia, porter, which was strongly supported the catalogue of The Responsive Eye re, 1999, p. 43. The relationship between fashion and as well as the vast production of by many exponents of Haute Couture, “affirmed that “color is unnecessary 21. MARI Pauline, op. art continues to be a topic of debate. unbranded clothes, accessories, cit., 2018, p. 35. including Pierre Cardin and Andrè for perceptual ambiguity, variability

Can applied art be considered as a bracelets, and shoes.20 Op art, Courrèges.22 The same argument can and movement”.23 Op art is, in our full-fledged artform? Gillo Dorfles between 1965 and 1966, was already a be addressed to the images in fashion popular belief, a mainly black and white 21 claimed in his essay La Moda della Moda, mainstream phenomenon. magazines: they were shot to be artistic style. However, it could also be that there have always been intimate The perspective of a mass diffusion reproduced and viewed by hundreds the result of precise chromatic studies relationships between fashion and art, was already positively supported by of thousands of readers, making Op as can be seen, for example, in many but those interactions are not always Op art, which accepted the idea that fashion a popular and elite form at the Vasarely’s works. The same could be taken in consideration by the specialists same time. applied for fashion: if we consider- for creativity could be at the service of 22. cf. p. 31. of both sectors, «diffident from each example - the Mondrian Collection of 16 industry and that art works could exist A final consideration would be the other’s work». According to Crane, Yves Saint Laurent (accredited indeed 23. SEITZ William, in multiple versions. In the fashion role of black and white in both Op op. cit., 1965, p. art is an instrument, a market strategy 30. sector, this idea was represented by the as Pop fashion) or the Castillo’s dresses for those designers who struggle

24 25 Photo attributed to Guy Bourdin, 1965. in jersey, shot both in and without introduced the new kinetic fashion, 24. Anonymous, “L’Op- tique 65”, Vogue colours, we realize the deception accompanied by the title Eye View of Paris, March 1965, p. pursued by fashion photography. Hypnotical Illusions. The historical setting 137. The power of photography created is used as a pretext but has no a real 25. RAGON Michel, “Op 26 art? His place is on a perception of a black and white connection with the optical clothes. In the street”, Vogue trend, amplifying it through images. the following September, a frizzy title Paris, July 1965, p. 98. This meant that the Op fashion could introduced the new trend in a series 26. Anonymous, “Eye exist in colors as well, but in terms of of pictures shot by David Bailey. The View of Hypnotical marketing, it sold more in greyscale. photos were a mixture of the young Illusions”, British Vogue, July 1965, pp. British style with the geometries of Op 29-33.27. Anonymous, Op art and its representation on art: “Eye View. How to add Vogue black and white and Le jersey joue make more”, Brit- (Castillo’s geometric «How to add black and white and make ish Vogue, September The term Op appeared for the first dresses), Vogue Paris, more: positive new look. Black and 1965, p. 82. October 1965. Shot by time in all the three editions of Vogue in Irving Penn. white in new proportions, new textures. 27. Anonymous, “Eye 1965, but at different moments. Vogue View. How to add And the only dash of colors it’s you». Paris introduced the style as L’Optique black and white and In the next page, with the same tones, make more”, British 65 in March in an editorial entirely Vogue, September the title highlights the connection with 1965, p. 82. dedicated to the new Courrèges’ the Op style: «Jump in feet first: black collection.24 The title is a play on and white Op art. The black and white words referring to the (sun) glasses and the Op art go together with the worn by the models although there is accessorizes».27 no specific reference to Op art. The artistic movement would be presented Although Op art already appeared in an article released in July of the same within some descriptions, in October year: Op art? His place is on the street by Vogue Italy dedicated a two-page Michel Ragon, where he explained the spread, titled Moda Op, showing two movement and its diffusion beyond the creations from Valentino, in a mirrored, wall of the galleries.25 kaleidoscopic composition. A short text introduced it in this way: «The British Vogue followed suit in July. fashion noticed the Op paintings and An exotic feature set in Egypt and found that was a pity that their rhythms featuring Marucelli’s Optical line

26 27 28. Anonymous, “Moda were constrained to stay in the galleries. The prices were precisely listed, as were by the fashion designers of the three Op”, Vogue Italia, It would have been great to extend the locations. There was no big brand countries. In the UK, Op fashion October 1965, p. 66. them to the everyday life».28 The next anymore, but rather accessible options absorbed the influences coming 29. Anonymous, “Op- tic Boutique”, Vogue pages reprinted the aforementioned for everyone. This small column from the youth culture (and vice Italia, May 1966, p. British Vogue article (and the pictures), situated at the bottom of the magazine, versa) and it was mostly associated in 60. presenting this new «girlish, swinging, is probably the most truthful evidence relation with the new generation of that bewitches» style coming from the of the success of the Op fashion at a designers. In Paris, the influences of UK. mass level, during the very apex of its Courrèges, Cardin and Rabanne gave popularity. to Op fashion a futuristic and spatial Since the end of 1965, the identity. The Italian creations instead, term Op recurred alone This analysis attempts to figure out represented by Germana Marucelli and or in combination with when Op art appeared on the pages Roberto Capucci, as well as Roman compound words, such as of the three Vogue magazines, but it tailors, distinguished themselves for Oplà or Op Tic, suggesting a has thus far failed when it tried to their elegance and sophistication, diffused familiarity among categorize the phenomenon under a addressing a wealthier target. the readership. In 1966 specific name. Op art has been used Vogue Italia invented the at the beginning in relation with the Within this process, photography had a fictionalOp-tic Boutique, artistic movement, but then it loses key role in contributing to the success which recommended the importance, and begins to be used of the Op fashion, by building an right outfit for a dizzy simply as an adjective. Therefore, Op optical world around the clothes. summer season.29 «The designated everything that fulfilled boutique found out that the requirement of geometric, the summer is a continuous overlap of 30. Anonymous, hypnotic and black and white. “Cadeaux Noel”, Vogue black and white: in one word, is Op». However, more frequently Op wasn’t Paris , December 1965, used at all, but instead replaced by end pages. For Christmas ‘65, Vogue Paris geometry and other similar adjectives. recommended a series of Op theme- After a while, Optical fashion was On the opposite gifts to its readers, that included page: British Vogue, visually largely recognizable. September 15th, 1965. a pair of Op sunglasses, a striped Shot by David Bailey fur coat, a series of Op hand-made Moreover, the parallel between the Above: Cadeaux Noel, decorated balls, an Op winter hat and a three editions of Vogue highlights the Vogue Paris, December chessboard, sold as Op, made in Italy.30 differences and the directions taken 1965. At the side: Optic Boutique, Vogue Italia, May 1966. Shot by Leobruno Bodi

28 29 Vogue Italia, October 1965. Shot by Franco Rubartelli.

30 Op Fashion photography

2 32 33 Rubartelli, and Guy Bourdin. In the editors, were in charge of supervising 4. HALL-DUNCAN Nancy, 1.HALL-DUNCAN Nancy, op. cit., 1979, p. The history of sands of time. hen we look at the UK, Swinging London turned into the and unifying the vision of the maga- 161. fashion photography, most dynamic and creative hub for zines, as well as selecting and hiring the New York, Alpine Book history of fashion, we In the post-war period, fashion maga- 5. Ibid., p. 147. Company, 1979, p. 9. can also understand zines became a point of attraction for young professionals and the center of photographers. Alexey Brodovitch and W 6. Anonymous, “Alex- the contemporary youth scene. It was Alexander Liberman, the creative direc- 2. Ibid., p. 12. much about the costumes and the hab- the best photographers at international ey Brodovitch, 76, its of the people of the past. Fashion in this context that David Bailey, Ter- tors of Harper’s Bazaar and Vogue US Is Dead; Leader in 3. Term coined by level while simultaneously encouraging Fashion Photography”, Owen Edwards in photography are therefore a precious a new crop of talent. The search for rence Donovan and Brian Duffy, three respectively, were pioneers in their field The New York Times “Blow Out: the British men from the East End known and representative of the two biggest (Online archive), 24th decline and the document, a box containing the spirit, top-quality photos was very lucrative, April 1971 (visited 5 fall of the fashion the zeitgeist of the period in which those transforming the headquarters of the as the Terrible Three, became famous competitors of that time. Brodovitch in October 2019). photographer,” New for their excessive, unconventional and was also an influent teacher for many York Magazine, 28th images where taken. On the one hand, fashion magazines – usually based in 7. HERSCHDORFER Na- May 1973, p. 49. free loving lifestyle, embodying the promising students, including Avedon, thalie, Papier glacé fashion photography is a commercial London, Paris or New York – into huge : un siècle de photo- product, the primary goal of which is creative empires.2 In specific,Vogue and myth of the Sixties. Most importantly, Penn and Henry Clarke, through his graphie de mode chez they brought a different, sometimes legendary photography classes held at Condé Nast, Paris, selling clothes to people, following a Harper’s Bazaar, were both able to main- Thames Hudson, 2012, 6 market demand. On the other hand, it tain their presence in different coun- irreverent approach to photography, by the New School for Social Research. p. 17. reducing the distance between the lens can be creative and commercial at the tries at the same time, allowing them to The Sixties were a turning point for the and the model. The famous scene from same time, producing progressive and exchange each other’s materials and to Vogue brand: Vogue UK and Vogue Paris Blow Up in which Thomas is engaged experimental pictures on commission be updated about events on the global finally emerged from the shadow of in a wild and sensual shooting with the and representing elite High Fashion for scene. Vogue US, offering innovative content German model Verushka, was inspired the masses. that could compete with the flagship The Sixties was the period during by Bailey’s way of working.4 This allure edition for audacity and innovation.7 Photography depicting women in fash- which fashion photographers fully began to decline towards the end of the In the British edition, this growth ionable dress has existed since the birth attached themselves to fashion maga- decade, as the photo shoot transformed translated into experimental and joyful of the photography. Developing initial- zines. This union inaugurated the era into a more elite environment dominat- pictures depicting the youth movement ly as an extension of portraiture (1839), of the photographer-hero as coined by ed by few. fashion photography started to be used Owen Edwards.3 Within this context, of Swinging London, and into experimen- in periodicals around the second half the role of photographer became Alongside the work of photographer, tal/creative graphic layouts. In those of the XXth century, with the intention more importance in magazines and there is a huge, often-invisible amount years there was a succession of many of selling clothes to a large audience.1 his work started to be considered -and of work carried out by a team of hair- art directors, under the direction of the The goal could be achieved thanks to payed- differently. During this period, dressers, makeup artists, tailors and sce- editor in chief, Beatrix Miller. John Par- the invention and application of the a new generation of photographers nographers under the supervision of an sons, who launched the career of David halftone printing process, enabling the emerged including personalities such art director. These figures, along with Bailey (’62) was followed by Terence reproduction of the same picture thou- as Irvin Penn, Helmut Newton, Franco

34 35 8. Source: British Whelan (’65) and ten Peter Stillwell under the direction of Franco Sartori for both aesthetic and economic rea- 12. BUTAZZI Vogue, n Jan. 1964- (’68), who was part of a transition away and the artistic direction of Flavio Luc- sons.12 The grayscale was more effective Grazietta, MOTTOLA Dec. 1968, London, Alessandra, Bianco ed. Condè Nast. from the youth styles to a more classi- chini. Despite its short history, Vogue at creating compositions halfway be- e Nero, Novara, 8 Istituto geografico De 9. Source: Vogue cal structure. Italia became in a short time the second tween abstraction and photography and Agostini 1991, p.78 Paris, n. Jan. 1964- most important edition for influence emphasizing the perception of the lines Dec. 1968, Paris, ed. Meanwhile, Vogue Paris was character- and revenue after Vogue US, outclassing and geometries of the clothes. Condè Nast. ized by a traditional visual. Nonetheless, the French and English editions. Fla- 10. HORWELL Veronica, it was able to alternate the new, very Photography was able to go beyond “Edmonde Charles- vio Lucchini, who operated there until well represented by the Courrèges and fashion by transforming colored Roux obituary”, The the Eighties, launched and promoted Guardian (Online Cardin’s proposals, with the classic style dresses into black and white images Version), 25th January Italian prêt-à-porter to the world and of the tailleurs and evening dresses, and exploiting every geometry and light 2016, (Visited in raised the prestige of the magazine by September 2019). addressed to a conservative audience.9 to build an optical environment. attracting big names in photography.11 11. PANIZZA Raffaele, Like at British Vogue, the Sixties saw a The scenography depicting Op collec- “Intervista a Flavio series of different art directors. Among Defining Op photography Lucchini”, Vogue.it, tions could be quite different. They 10th november 2018, them was Antoine Kieffer (’65-66),

Photography wasn’t just the main me- August 1965. ranged from exotic backgrounds to (Visited in September who worked first as a graphic design- 2019). dium that led Op fashion to be popular futuristic environments, as well as asep- er, served twice as the artistic director with the public. It actively participated tic geometric spaces that vaguely recall of Vogue, and launched the career of in the process of popularizing this some structures of the ambienti spaziali Andrè Carrara. There was also Jacques style. In this phase, it’s very important Vogue Paris, Shot by Guy Bourdin of the Italian avant-garde groups. Faure (’62), Daniel Dufour (’67) and to understand whether the Op fashion Charete del Castillo (’68). At the time approach used for shooting optical col- The majority of these pictures were phenomenon existed outside the pic- the editor in chief was Edmonde lections was also extended to other type shot in a studio and had no back- tures and magazine or if it was just a Charles-Roux, who supported through- of shots, so that in some cases, it is no grounds outside the white or occa- construction. out her career the work of great pho- longer possible to make distinctions be- sionally black page. Graphically, this tographers like Helmut Newton and In fashion, some stylists conceived tween what was made Op on purpose choice allowed the subjects to integrate Guy Bourdin. In 1966 she was abruptly their collection with an optical purpose, and what was not. For this reason, it is perfectly with the layout and the text removed from her role for having while others absorbed the optical in- also good to talk about Optical fashion of the magazine, by eliminating shad- published a black model’s picture on fluences more passively. That explains photography, alongside the Op fashion. ows or incorporating the white of the the cover. Her colleague Francoise de why we find traces of the phenome- Op photography uses primarily black dress within the blank page. The space la Renta replaced her for a short time non almost everywhere from clothes and white tones just like Op fashion, a created in the photo-studio thus be- 10 before later joining Vogue US. The to pictures of the period. The same choice which could be seen as strategic came undefined and artificial. This is Italian edition was founded in 1964, thing happened with photography. The

36 37 On this page: Vogue Italia, Mai 1965. Photos by Franco Rubartelli.

Opposite, above: Catherine Spaak, Vogue US, August 1st, 1965.

To the right: Optic Boutique, Vogue Italia, Mai 1966. Shot by Leobruno Bodi.

39 13. HARRISON, particularly evident in images shot by rarely points to the spectator – in some Martin, David Bailey Guy Bourdin portraying black ad white cases part of the visage is cut. monographie, Paris, The op- Ed. de La Martinière, fur, in which the black tones seem to be tical girls seem to belong to another 1999, p. 72. painted on the white page (picture). spatial dimension and another time, 14. HERSCHDORFER where we are not allowed to enter. Nathalie, op. cit., Within Op photography, it’s possible With the Op Wear, we are dealing with 2012, p. 152. to identify different type of represen- an innovative-experimental fashion tation of the Op fashion: we can find design that seeks to expose the body the situation optical dress on white to new modes of expression, shapes background, where the attention is and angles. The models were shot in fully focused on the subject/clothes; motion, and sometimes they even ap- a situation black and white dress/ peared to have fun, and they sat down accessories on optical background, quite informally. The rigidity, whenever where the visibility of the Op dress is it appeared, became functional to the reinforced by Op elements in the scene, geometry of the composition and it and a situation optical/dress on a served as a structural element. background that has nothing to do with it, in which the clothes The format of the pictures varied ac- are fit into different contexts. cording to the dictates of the editors The situation optical dress and it is possible that many shots that on optical background is we see in the pages of the magazines them a certain amount of freedom with definitely rarer and can be were conceived differently. However, regard to choosing models, clothes, and explained by the difficulty of the limits imposed could be instead a concepts.14 handling too many elements in creative way to create something new. the picture, that risked being too David Bailey, for example, used to put charged and kitsch. his shots into frames, purposely cutting Above, left: British the images to suggest other actions.13 In most of the optical pictures there is Vogue, Mai 1967. He, like Guy Bourdin and Richard Ave- Photo by Peter Rand. little attempt at realism. Barriers of any don, benefited from a good relationship Above, right: Vogue type – sunglasses that hide completely with the editors in chief (Edmonde Italia, Mai 1967. the eyes or even the cut of the frame – Photo by Bert Stern. Charles-Roux for Vogue Paris and Beat- are interposed between the model and rix Miller for British Vogue) that ensured At the side: Vogue the readers. The sight of the subjects Paris, March 1965. Photo by William Klein.

40 41 Portfolio Lunettes pour une vision autre. Julio Le Parc, 1965

43 Portfolio Guy Bourdin’s elegance.

15. BOURDIN Guy / Guy Bourdin was a French photogra- In another series dedicated to black introd. de Gilles de Bure, Guy Bour- pher, who spent almost 30 years work- and white shoes, he removed half of din, Arles, Actes Sud, 2008, p. 9. ing for Vogue. Before landing in fashion, the bodies of the girls, incorporating Bourdin was a post surrealistic painter the legs into an optical scenography, and former apprentice of Man Ray’s rendering it difficult to distinguish to (who also worked as a fashion photog- whom they belonged. The dynamism rapher for Vogue). His constant pursuit of beauty and poetic freshness in his shots led many to consider him an art- ist of fashion photography.15

In the mid Sixties he was one of the top photographers of Vogue Paris, realizing many Op-oriented pictures. He used to shoot in black and white (he moved to color photography in the Seventies) and he generally pho- tographed in the studio. Despite the lack of a real context, his pictures are is reinforced by the geometric patterns Above: Vogue Paris, September dynamic and natural, focusing attention as well as by the rims of the bicycle. In 1965. on the models and their movements, as another shot that was supposed to sell Bike shoes: Vogue with the jersey collection in January ‘66. Paris, February socks, he plays with the repetition of 1966. For that feature, he preferred a small a series of identical legs, creating one and framed format that evoked of the more time a confusion illusion for the form of polaroid and emphasized the viewer. effect of the stolen shot.

44 45 The three photos are part of the same series,Vogue Paris, January 1966.

46 Portfolio The youth quake according to Bailey

16. HARRISON David Bailey is today considered one of whom he had a four year long love af- Martin, op. cit., 1999, p. 15. the most influent photographers world- fair). He also shot the iconic portrait of

17. Ibid., p. 73. wide. A native of the East End of Lon- two key figures of his time, the stylist

18. HALL-DUNCAN don, he began to work as Jon French’s Ossie Clark in company of the model Nancy, op. cit., apprentice from whom he learned how Chrissie Shrimpton, who’s wearing an 1979, p. 161. to master light before moving on to optical black and white trench coat. a carrer at Vogue in the late Fifties.16 The images of those years express Because of his fresh and innovative all the vitality and freshness of youth approach, the magazine would regular- culture without going down on the ly assign him the newest trends in the streets. The subjects are dynamic and space Young Idea. He got along with the they abandoned any traditional static editor Beatrix Miller, who conviced him pose. Bailey was able to show an un- to come back after a period for Queen, edited point of view on Op fashion, supporting his proposal in terms of something less serious/dramatic and form and contents.17 His provokative more playful, exploiting the possibilities approach to photography (that he con- afforded by black and white. sidered most defenitly a sexual thing) and his rumored lifestyle outside the lights of the studio, elevated him to the level of myth in Swinging London.18

Bailey’s unconvential way of work led him to work with the same models.

Throughout the Sixties he discovered Above-left: British and collaborated with Penelope Tree, Vogue, September 15th 1965. Appeared also on Jane Birkin and Jean Shrimpton, (with Vogue Italia in October 1965.

Above-right: British Vogue, April 15th 1968.

On the side: Jane Bir- kin, British Vogue, June 1965.

48 49 Opposite: Ossie Clarke and Chrissie Shrimpton, British Vogue, March 1st 1966.

Above: Luna Donyale and unknown wearing some of Yves Saint Laurent creations, British Vogue, March 1st 1966.

51 The emancipation through the lens of Helmut Newton

19. NEWTON Helmut Helmut Newton was a German-born Another series is the V&V (=Vête- / introd. par Karl Lagerfeld, Helmut photographer (pseudonymous of ments de Vacances) series of Andrè Newton, Paris, Centre national de la photo- Helmut Neustädter). He worked first Courrèges that shows a fashion «almost graphie, 1986, p. 7. for Vogue Australia and then for Vogue ready to leave to the moon, effective, 20. Anonymous, “La Paris in the Sixties. From the begin- black and white and hyper-practical».20 pluie en blanc”, Vogue Paris, February 1965, ning of his career, he was interested in The atmosphere is dark, nearly toxic pp. 38-43. portraying women as he saw them: not and the whole scenario seems to be 21. Anonymous “La moda chiama Marte”, Vo- idealized and abstract but emancipated projected in a dystopian future. The gue Italia, September 19 1965, p. 42. and determined. back ground has been recovered by Rubartelli a few months later, although Differently from Bourdin and Bailey, with softer and less dramatic tones.21 Newton preferred to set his shots out- side the lights of the studio. In 1966, he realized one of the most interesting Op pictures, using the new Philarmonie Berlin designed by Hans Scharoun, as a background set piece for some Ger- man fashion creations. The porthole in frosted glass created the perfect canvas for a group of three identical women who are marching with bold steps. The composition is thus comprised of dif- ferent elements that are juxtaposed into a larger black and white geometry.

,February 1966 Vogue Paris

52 , February 1965 Vogue Paris 54 55 The monumentality in Irving Penn

22. WESTERBECK Irving Penn was an American fashion dynamism to the page. Penn also pho- Colin, Irving Penn: a career photographer who began working first tographed the elegant optical two piec- in photography, Chicago, The Art with Harper’s Bazaar and then later es made of ostrich feathers by the Ital- institute of Chi- ian designer Roberto Capucci, in a way cago, 1997, p. 12. for Vogue, first by becoming Alexan- der Liberman’s assistant. Throughout that recalls more a portrait of the XIXth 23. HALL-DUNCAN Nancy, op. cit., his long career as a photographer, he century in the background of aquarel- 1979, p. 154. experimented with different genres, lus, than a contemporaneous creation: ranging from reportage, still life and the woman seems to be painted and headless nude photos.22 He aimed to points her enigmatic look elsewhere. depict women in all their femininity by th Above: Vogue Paris, re-elaborating the classicism of XIX April 1966. century portraiture with a more mod- On the side: British ern interpretation but without any sort Vogue, May 1966. of eroticism.23

Penn portrayed Op fashion as well, but according to his specific codes. In a series that showcases Castillo’s geometric dresses in jersey - edited in different variations in both Italian and French Vogue – the models are static, like headless caryatids that seem to sus- tain something that we cannot see. An overlapping composition in addition to the hypnotic geometry of the dresses (in particular in the Italian version) adds

56 57 Above: Vogue Italia, No- vember 1965. Appeared in a different version onVogue Paris in October 1965.

On the side: Vogue Paris, January 1965.

Roberto Capucci Optical dress, Vogue Paris, September 1965. Appeared on British Vogue in a different version. 58 Opposite: Allegra Caracciolo, Vogue Italia, Mai 1965. In the search of other Appeared in April 1965 on Vogue Paris. worlds with Henry Clarke On the side: Princess Luciana Pignatelli, Vogue Italia, June 1966

24. VAL Wil- Henry Clarke arrived in the fashion of the Palazzo della Civiltà italiana. He liams, “Obit- uary: Henry world in the late Forties, starting his is not interestered in creating an Clarke”, Inde- pendent (Online career in the US Condè Nast studios. He evident connection between the Archive), 13th May 1996, (Vis- attended Alexey’s Brodovitch classes subjects and an optical background. ited in October where he learned «how to combine the He makes new stories, in which the 2019). fantasy of fashion with the energy of protagonists speak with their gaze rath- 25. cf. p. 23. photo-reportage».24 He understood the er than with their bodies: they look at importance of using smaller cameras, you or towards a specific point, hiding like the twin-lensed Rolleifel with which a mysterious message about which we he experimented, in order to keep pace are unaware. Clarke also portrayed sev- with the times. Clarke moved from eral noble italian women for Vogue Italia New York to Paris, collaborating for (but some of them appeared on Vogue the French magazines between the Six- Paris as well), surprising them in inti- ties and the Seventies.25 mate and domestic situations, inventing a sort of fashion reportage. Clarke used a very different approach to depict optical fashion. Instead of shooting in studio, he preferred real yetmethaphysical sourroundings. He set the kinetic collection of Germana Marucelli and Getulio Alviani among undefined Egyptian ruines forBritish Vogue, where the models leaned stat- ically on the hieroglyphs. The same approach is used for a series that he realized in Rome against the backdrop

60 Opposite: Eye view on optical illusion. British Vogue, July 1965.

Above: Vogue Italia, March 1966. Appeared also in March 1966 on British Vogue in a different version.

63 Architectural visions in Mulas

26. GROTE Laura Ugo Mulas has been one of the most which every stripe of the dresses be- Guilda, ModArte moda nell’arte, important Italian photographers of the comes an extension of the body, that Diploma Tesis II th level, Accademia XX century. His approach to photog- nearly doesn’t exist anymore. The wom- di Belle Arti di raphy began with reportage in the years en portrayed by Mulas are not no more Brera, Milano, 2019, p. 32. immediately after the war. He asserted human beings; they are like trapped in the need for depicting and criticizing the pictures, transformed into frozen the society that surrounded him. He be- statues. gan to work for magazines such as Do- mus and Rivista Pirelli, for which he re- alized a series of architectural pictures. Starting from the Sixties, he established artistic partnerships with both Italian and international artists, documenting the contemporary art scene and editing a series of books with his results.26 He had a strong preference for black and white because of its more ideological On the side: Vogue Another interesting series is the adver- Like Henry Clarke, Mulas portrayed Italia, July-August and therefore less realistic effect. 1966 tising made for the Taroni Store. The Allegra Caracciolo, realizing a fashion

reportage about the newest styles of Mulas’s approach to fashion photogra- Above: Marimekko, photographer chose a dark set for the cover costume, Vogue scene, placing the models inside trans- Roman couture. She wears an elegant phy appears quite varied and adapted Italia, June 1966. black and white suit that create an in- to each specific situation. He was able, parent boxes that work as a sort of vit- teresting modern contrast with the old with an architectural accuracy, to fuse rine. The darkness of the background - palace in the background, together model and dress, realizing one that occupies almost the totality of the showing us of the most succeeded optical pictures page- highlights the black and the white at the same time, how this popular in Vogue. He created a composition in of the clothes, illuminated by selective trend could be ennobled by the no- lights. bles.

64 65 Who are you, William Klein?

27. NAGGAR Ca- William Klein isn’t just a photographer: sition on the artificiality of fashion, he role, William Klein photographe throughout his life he has also been shows the real essence of Courrèges’s etc, Paris, Centre Georges Pompidou, painter, graphic designer, and film work. The pictures established a break- Herscher, 1983, 27 p.5 maker. He met Alexander Liberman ing point with any other images showed during an art exhibition. He offered before. The models are deliberately 28. HERSCHDORFER Nathalie, Papier him a job at Vogue after having seen his artificial, enigmatic as if they didn’t glacé : un siècle de photographie de pictures for Domus magazine. Despite belong to our planet, they wear matte mode chez Condé Nast, Paris, originally being from New York, he sunglasses and very short skirts (for the Thames Hudson 2012, p.148. spent most of his life in France, where time) above the knee. It was a radically he also collaborated with the French different approach from the playful and 29. cf. p. 3. edition of Vogue. He invented a new dynamic images of the same collection 30. Anonymous, “Cape Courreges”, language for fashion photography, shot by David Bailey. British Vogue, st choosing to work on the streets, exper- March 1 , 1965, He also portrayed the star Audrey pp. 107-109. cf. imenting with different cameras and p. 12 Hepburn wearing some of the Michèle angles.28 Rosier’s optical creations. Despite the Klein didn’t shoot many Op oriented absence of any kind of environment, pictures for Vogue, but he neither was a the series is incredibly real and natural. stranger to the phenomenon, as can be The first page opened with the actress seen in the aesthetic of his satiric Who sitting on the floor, looking towards are You Polly Maggoo.29 He realized the the reader, while playing with a dog. In famous opening series of the Andrè the following images she is shown in Courrèges collection, that appeared the act of buttoning a striped trench both in the Italian, French edition (in coat and in another she is pretending British Vogue it was shot by Bailey).30 to march with an ironic look. Like a Apparently at odds with his critical po- reportage, the pictures seem more like a

Above: Taroni Store adv, behind-the-scenes peak of an interview Vogue Italia, March 1967. rather than a fashion photo shooting.

On the side: Allegra Caracciolo, Vogue Italia, December 1965. 67 Portfolio

Above: Cape Courreges, Vogue Italia, March 1965. Appeared also on Vogue Paris.

Opposite: Audrey Heptburn, Vogue Italia, May 1966. Appeared also on Vogue US in January 1966.

68 Franco Rubartelli the storyteller

31. BORRELLI-PERS- Franco Rubartelli was a self-taught the absence of eye contact with the SON Laird, “Pho- tographer Franco photographer before starting to work models, reinforces the fiction, estab- Rubartelli Talks to Vogue About for Vogue. He was discovered by Diana lishing a barrier between them and the Love, Veruschka, and Diana Vree- Vreeland, the US Vogue editor in chief, readers. In La Moda chiama Marte (Fash- land”, Vogue US who decided to hire him after having ion call Mars), he created a space story, in (Online Version), 29th August 2017 seen some pictures of Françoise Schlut- which the protagonists are women that (Visited in Octo- ber 2019). er, Franco’s wife. The both moved to come from another world dominated 32 32. Anonymous “La Rome, where they worked alongside by lines and geometries. In another moda chiama Mar- te”, Vogue Italia, the Italian editor of Vogue, Consuelo shot, he transformed Verushka and September 1965, Crespi. Between 1964 and 1970 he Luna Donyal wearing the Marucelli’s p. 42. realized a great number of images for kinetic collection, into angels that are the different editions of the magazine, ready to fly (as well) towards celestial becoming particularly known for his worlds. shots depicting Verushka, with whom he had a long love affair.31

He didn’t own a specific artistic style, but he was able to adapt with extreme versatility to many different situations. However, it’s necessary to accredit to him a certain modern way of shoot- On the side: Germana Marucelli and Getullio ing that aligned with the trends of the Alviani’s Optical Line worn by Verushka and Luna international scene. The images of Donyale, Vogue Italia, December 1966. Franco Rubartelli tell ill-defined stories, Opposite: Verushka, Vogue captured in the core of the action. The Italia, January 1966. choice of using real backgrounds and

70 71 On this page: Vogue Italia, June 1965.

Opposite: “La moda chiama Marte”, Vogue Italia, September 1965.

72 Swinging with Ronald Traeger

33. WERNER Little is known about Ronald Traeger’s to distinguish where the fabric starts Thomas, The Fashion Image: life. He was born in America and later and ended. There is no perfection any- Planning and Producing Fashion moved to London where he met and more: the visages and the bodies of the Photographs and Films, London, married the fellow photographer Tessa models are cut, fusing with the clothes Bloomsbury, 2018, Traeger. His short but active career as and the compositions. With the same p. 1. fashion photographer for Vogue – he principles, he made a real optical- geo- died at the age of 32 - left us incredible metric series, like an alphabet, with just images of the Swinging London. He is the backs and the front of black and responsible for some of the most icon- white clothes. ic images of the British model Twiggy. Like the new generation of photogra- phers, he preferred the smaller format of the 35mm, which allowed him to shoot fashion in a very new way, free from the heavy tripod of the studio.33

He knew how to use black and white with absolute elegance, depicting the two opposite tones in all their purity. Traeger pointed selective lights on the clothes without leaving space for half- tones: the white of the dress fuses with the blank page and vice versa.

For a shooting of optical ski suits, he February 1966. expanded the background through a system of mirrors, so that it is difficult Vogue Italia,

74 75 Portfolio

Below: British Vogue, November 1965. Appeared on Vogue Italia in January 1966.

On the left: Vogue Paris, April 1966. June 1966. Vogue Italia,

76 77 Others

34. Ellie, Vogue attracted and collaborated with a art to build a bicolour beam as the only “Swayne’s Swing- ing Sixties”, great number of photographers, some scenography, where the models could Telegraph (Online version), 25th of whom were forgotten over the many lay down.. April 2012 (vis- ited in October years. Photographers such Aldin re- 2019). alized a significant number of images

for Vogue Italia in the years 1964-1967 which characterized by an inner vi- brating energy. Erik Swayne, another photographer from the East End of London that used to hang out with the Terrible trio in the 60s, met the Rolling Stones and shot one of the most optical creation of Mary Quant.34 A beautiful striped trench on dark background was photographed by a certain Daiho, of whom there are no others traces.

Other photographers, like Norman Parkinson and Brian Duffy collaborated occasionally with Vogue as well as other fashion magazines. Duffy captured the energy of a vibrant robe in zigzag pat- tern worn by a presumably very young girl. Parkinson, a veteran of fashion photography that started his own busi- British Vogue, ness in the Sixties, attempts with optical June 1965. February 1966. photo by Dahio. Vogue Paris, 78 Above: Vogue Italia, March 1967. Photo by Aldin.

Below,on the right: Vogue Italia, February 1966.

Above: Vogue Italia, May 1966. Photo by Eric Swayne.

On the side: Vogue Paris, May 1966, Photo by Miralda. 80 81 Advertising

The last genre of fashion photography who often imitated the poses of the we find, and probably the least noble magazines photo shoots. Within the but no less historically important, is the Op phenomenon, we see a great num- advertising category. In some aspects, ber of boutiques that sold collections all fashion photography is advertising in prêt à porter, including Nina Ricci, since it responds to Ungaro, Cardin. It is interesting to see market demand – how the optical clothes and accesso- and this is probably ries advertised in the photos appeared its most criticized sometimes even more Op (and often British Vogue, May point – but it is al- kitsch) than the creations showed in the 1966. Photo by Norman Parkinson ways guided by an photographic services. artistic and editorial direction. While fashion brands to- day invest heavily in advertising, in the Sixties, it was most- ly boutiques and certain firms with a more direct sales tone that purchased advertising space. Many boutiques - often run by retail- ers that sold clothes under big names (sometimes under licenses) - used to have their own studio photographers

British Vogue, February 1967, Photo by Norman Parkinson. 82 83 Above: Vogue Italia, December 1966.

On the right: Vogue Paris, September 1967. April 1966 March 1966. Vogue Italia, Vogue Paris, 84 85 Sociological Implications

3 86 1. PALOMO-LOVINSKI the market demand and a conservative Sullerot wrote an article about the whose invention is still object of debate 8. HERSCHDORFER Na- Noel, The World’s 10 Most Influential Fash- between Courrèges and Mary Quant, target audience: this enabled the Euro- situation in France. She was the first thalie, op. cit., p. he Sixties were essen- 18. ion Designers, New marked the beginning of a new free- pean editions -that were initially in the woman to write on this subject in these York, Barrons Educa- tial years for the eman- tional Series, 2010, 4 background - to experiment and grow magazines with the authority of a spe- 9. HALL-DUNCAN Nancy, dom of expression. In those years op. cit. p. 54. cipation of women. , 1979, p. many stylists began to design clothes creatively, becoming trending leaders of cialist. In the article, titled Maintenant 158. A combination of events put the basis 2. TALMEY Allene, “La T the latest in fashion.8 que la femme travaille (Now that the woman for sport, including ski suits, tennis Pillola Oggi”, Vogue for the following feminist movements 10. SULLEROT Evelyne, Italia, January 1968, clothes, flat shoes. At this purpose, is working), she claimed that in the Six- « Maintenant que la p. 61. of the 70s, that demanded equal rights British Vogue depicted London as the femme travaille », Courrèges believed that the sportswear ties there were fewer female workers Vogue Paris, June and other fundamental requests such center of a contemporary youth scene, 3. POLAN Brenda, The than in the past - in 1920 there were 1966, p. 96. 1 had the potential of being used for great fashion design- as abortion and maternity. The inven- portraying free and independent young everyday use in everyday life: they just over eight million and in 1966 just six ers, Oxford, Berg, tion of the contraceptive pill –that was women. Models such as Twiggy and 2009, p. 123. should be ennobled by using materials -, but what now has changed is the actually prescribed to married women Jean Shrimpton became the icons of 4. PALOMO-LOVINSKI such as silk or wool and implementing quality of work. Before women worked Noel, op. cit., 2010, in first time and therefore they start the young generations, embodying new the elements that made the sport wears to survive -while women from wealthy p. 54. to talk about «family planning»- was standards of beauty and femininity.9 so comfortable.5 Ten years before, families didn’t work - and they were 5. POLAN Brenda, op. fundamental for their independence, Vogue Paris, instead, was still in part cit., 2009, p. 125. Coco Chanel already claimed the needs often low paid. In the Sixties, more allowing them to have more control of dominated by the elegant and classical for working women of wearing clothes 6. PALOMO-LOVINSKI their body and sexuality.2 The economic dresses of the Haute Couture Parisienne. Noel, op. cit., 2010, without constraints, designing in 1954 p. 53. boom of the Fifties and Sixties across On the other hand, free space was also 6 her response to the New Look of Dior. given to a new group of designers and 7. HERSCHDORFER Na- the major western countries, improve- thalie, op. cit., p. ment of living standards: job oppor- The role of female fashion magazines photographers, who portrayed women 17. tunities grew – including women - and within those transformations varied ac- wearing short and geometric dresses disposable incomes were available for cording to the country and their target that seemed to come from the future. everyone.3 People could economize and audience. In the Sixties, Vogue was one Vogue Italy was the most recent of the dedicate part of their salary to leisure of the most widely-read monthly maga- three (it was founded in 1964), but it activities, such as buying a car and get- zines at international level and was pub- started from the beginning to show the ting a mortgage for a house. lished in six countries including Aus- latest of both national and international tralia, New Zealand and South Africa.7 styles. In the Sixties, the fashion industry Among its competitors, only Harper’s traversed a new era: women afforded A glimpse of the conditions of the Bazaar was able to compete in terms of to buy more clothes for themselves, women in the mid-sixties can be found international influence.American Vogue, thanks also to the birth and diffusion between the pages of Vogue Paris, where which released over a million copies of the prêt-à-porter; the miniskirt, the feminist and sociologist Evelyne each month, was more susceptible to

88 op. 11. Anonymous and more women (especially from the transformation that fashion had un- sition. Sometimes only a single part of raphers, like Bailey, had no intention of 15. MARI Pauline, cit., 2018, p. 37. « Le point de Vue young generations) were pursuing a her body appeared - the leg, the front achieving . He believed that de Vogue- Ou al- dergone in a few years, more and more political topics lons-nous ? » Vogue higher education just like men, aiming stylists had begun to design clothes for or the back - making her part of a geo- fashion photography was a “portrait 16. cf. p. 25. Paris, March 1966, p. 159. to become journalists, economists, a new generation of women who didn’t metric picture. The images depicting of someone wearing a dress” and it 17. HARRISON, Martin, op. cit., 1999, p.34. diplomatic, etc. Toward the end of want to dress like their mothers, that Op dresses rarely try to go under the shouldn’t be political. For him, his apo- 12. POLAN Brenda, op. cit., 2009, p. 123. the article, she affirms that the change wore some variation of the New Look.12 surface. Even the most swinging image litical stance was a form of politics.17 is not easy: women have still to front The skirts became shorter, the dresses depicts the shadow of an exclusive 13. CALÓ Giorgia This aspect brings to light one relevant and SCUDERO Domeni- sexism and the male power on work, and shoes more comfortable, and the world we aim to be part of. co, Moda e arte. Dal fact: the lack of a female gaze. In the decadentismo all’I- particularly in certain fields such as pol- prices more accessible: the Op style ful- It’s precisely the superficiality of fash- Sixties, there were female photogra- permoderno, Roma, itic sciences, but on the other side, the ly embraced all those transformations, Giangemi Editore, ion that is one of the main topics in phers in fashion and some of them 2009, p. 175. interactions on work were increasingly bringing a breath of fresh air to the Who are you, Polly Maggoo? In one se- worked for Vogue as well, but they were Ibid. de-sexualizing. fashion system. Consequently, a new 14. , p. 175. quence, when the producer of the real- an absolute minority. However, the generation of fashion photographers The Optical Woman ity claimed that “this girl (Polly) doesn’t woman photographer among the Op modernized the genre, refusing static exist” and “it must be found the truth pictures was impossible to find. In the An editorial published in Vogue Paris traditional posing and experimenting under the makeup”, Gregoire, the optical images, women still struggle in March 1966, titled “Where are we with the possibilities offered by black director, answered that “the external to emerge as thinking beings rather than going?”, questioned which direction and white in the studio. However, we is also the reality”. Pauline Mari in Le objects trapped in the printed page. fashion was taking.11 Like a statement, it are still far from the realism of the Voyeur et l’Hallucinè asserts that Polly is An exception is however represented affirmed that it was moving “Towards Seventies, and in the optical images Op by nature and that she’s the essence by the celebrities that posed in optical a more fast, alive and daring woman”, there is no trace of any feminist or of the metamorphosis, just like Op art clothes, such as Audrey Hepburn and that shows her legs, “but also arms and sexual revolution.13 she changes her dresses and make-up women of the Italian aristocracy, best often the back”. The absence of a real context, replaced continuously and she’s blamed for her known to the public and therefore It was a kind of fashion that, like never by a white background or by exotic or presumed emptiness.15 became sort of ambassadors of the Op before, was made for the body, “We say futuristic settings, projected the models fashion. Certainly, there were different levels of no to the modifications of the female into another world, elevating them as realism in depicting women that varied The diffusion of the prêt-à-porter body, narrow sized, increased breast, divine entities rather than women to according to the photographer. Helmut puffed hip. The true female body, that identify with.14 The Optical model, al- Since its birth ready-to-wear, also Newton was probably the one that one that’s naked”. “We ask the stylist to though incredibly modern and athletic, known as prêt-à-porter, has been close- came closest to a realistic depiction, as help us, to give us our freedom back”. has nothing to tell us. She’s swallowed ly related to the industrial process. It is well as Traeger’s rare shot of Optical up by an optic vortex, that incorporates therefore unsurprising that it was born This announcement highlights the deep dresses on the street.16 Other photog- her into a pure aesthetic Op compo-

90 91 18. SEGRE REINACH Si- in the United States, the most advanced ety was extremely powerful, resulting possibilities of choice. displayed. There were different poli- 25. SEGRE REINACH Si- mona, op. cit., Bari, mona, op. cit., 2005, 18 country at the time of the late Forties. in a wide variety of offerings and a cies for each of the three editions of Editori Laterza, p. 79. However, this revolution in fashion, Curiously, in Europe and Paris specifi- general lowering of prices. Vogue Italy Vogue. Vogue Italia, for example, used to 2005, p. 115. 19. GRUMBACH Didier, (that should not be confused with the Vogue Italia Histoires de la mode, cally, ready-to-wear passed first through astutely defined the phenomenon as a indicate the prices only within specific 26. : Vogue Paris Paris, Editions du today’s fast fashion) still excluded a signif- 500 L; : the Haute Couture, that was facing in contemporary, agile, fresh trend that columns sponsored by the department British Vogue Regard, 2008, p. 149. icant sector of women that belonged to 4-10F; : those years a severe crisis. As a result, «satisfies in every moment the wish stores such as La Rinascente. The British 4s -/. 20. Cardin was ex- the working classes (including employ- Today it’s 5 €. pelled from the Cham- French prêt-à-porter tried to distance of obtaining immediately and holding 25 and French editions showed the costs ers, workmen etc) . An analysis of the 27. BUTAZZI Graziet- bre Syndicale Pari- itself from the American industry, by something new ».22 Vogue Paris affirmed more frequently, especially for those sienne (but shortly ta, MOTTOLA Alessan- average wages of that period demon- op. cit., after reintegrated) trying to be an updated deluxe version that prêt-à-porter is the only life-line clothes that could be found both in dra, 1991, p.78. after having launched 19 strates just that. his Boutiques sell- of the Haute Couture. Throughout for the survival of Haute Couture. In Paris and London. The following anal- ing collections in the fifties it was a relevant discussion this way, designers could both reach It must be also considered that Vogue, ysis of the costs of the clothes and prêt-à-porter (POLAN Brenda, op. cit., among the couturiers of the Chambre more people to dress and offer more like other fashion magazines, show- accessories extracted by Vogue has the 2009, p. 101). Syndicale Parisienne who worried about variety of choice. The tailleur is démodé, cased the latest styles from the world purpose of understanding, by com- 21. SEGRE REINACH Si- the dignity and future of the profes- and the trend should head towards a of Haute Couture and the most famous paring salaries and essential goods, the mona, La moda, Bari, Editori Laterza, sion. By the beginning of the Sixties, more uninhibited way of dressing that fashion designers, and therefore those effective size of the diffusion of the 2005, p. 79. almost everyone, with the exception of is not ashamed of showing legs, even dresses could be bought only by a lim- Op fashion. 22. Anonymous “Tutte Chanel and Balenciaga, had their own for the not-so-young woman. Fashion ited wealthy section of the readership. le luci sul pret- Vogue Italia (See the price list on the prêt-à-porter collection. should start existing and walking on the The majority of people purchased a-porter”, Vogue next page). Italia, April 1966, street.23 clothes in department stores or through p. 99. Not everybody had the resources to mail-order catalogues such as La Red- The price list shows an evident reduc- manage an industrial production which Economic implications 23. Anonymous oute in France or Postalmarket in Italy. tion in cost of dresses from the cate- « Le point de Vue led some of them to delegate to third de Vogue- Ou al- The revolution of prêt-à-porter em- However, unlike from the catalogues, gory of prêt-à-porter, considering that lons-nous ? », Vogue parties the manufacturing. Others, like Paris, braced entirely the optical phenom- Vogue’s aim was not just selling clothes, in 1965 a tailored dress cost around March 1966, p. Cardin, started to sell contracts of li- 159. enon, that by its side was well suited but also tendencies, articles, updates for 35.000 L. The clothes by Courrèges censes that turned into an increasingly 24. Cf. p. 4. to the idea of seriality and industrial an accessible price and without distinc- were instead above-average price, cost- common (and lucrative) business.20 To- production.24 Op fashion involved a tion of target.26 ing almost half of a worker’s monthly wards the Seventies, Italian prêt-à-por- different and younger generation of de- salary, (after all, he once admitted “I’m ter established itself in the international Vogue was a vitrine that gave the possi- signers, favorable to innovation in the perfectly aware that my prices are com- fashion system, toppling the Parisian bility of finding the addresses for who fashion system. On the other end of pletely crazy”).27 predominance.21 was interested in, but most of the time the spectrum, a new kind of clientele the costs of the dresses weren’t even In 1965, an Italian employee earned The impact of prêt-à-porter on soci- demanded affordable prices and more

92 93 Example of prices between 1965-1968 on Vogue Paris:

- Coat b&w by Jacques Heim: 1260F Paco Rabanne, t-shirt in black and white circles: 350F - Pullover in Cashmere: 130F - Op art shoes in white leather: 125F,139F - Sunglasses for Christmas: 60F - Coat in vinyl by Courrèges: 250F Example of prices between 1965-1968 - Ski suits in B&W: 350F on British Vogue: - Swimming suit: 82F - Summer dress: 7£ 9s - Op skirt: 150F - Striped Shoes: 3£ 9s 11d - Suit (Skirt+jacket) by Susan Small: 22 gns - Black and white Fur: 26 gns Example of prices between 1965-1968 on Vogue Italia: - Ski sport-anorak striped: 27 gns - Pant skirts for young ladies, - Streamlined shoes: 13 gns ideal for the bike, by Coin: 2.600 L - Swinging dress by John Bates: - Striped dress, in cotton, 11 gns by Cose: 25.000 L - Sunglasses: 5 gns - Striped shoes by Ferragamo: 17.500 L - Tailleur (Prêt-à-porter) by Marucelli: 24.000 L - Young dresses in tricel by Mary Quant: 14.000 L - Tailleur in gabardine by Courrèges: 42.000 L - White Gloves by Courrèges: 2.500 L

94 95 28. “Stipendi e Beni around 86.000 L monthly (today it The three price lists points out one di Consumo dal 1945 would be estimated 1200-1300 €).28 relevant aspect: Op fashion displayed al 2000”, extract from the Libro-Agenda In proportion, a kilo of bread costed in Vogue could never become a fashion “Fino al 2001 e …Ri- torno”, Francomputer. 70 L and a pasta package 250 L; lux for the masses. Even for the middle products like a Fiat family car and the classes it would have required a certain 29. www.storiologia. it/ the data are television ranged from 1.050.000L and economic effort, although the arrival of taken by the website 29 Leonardo.it, which 150.000L. prêt-à-porter and more efficient manu- analyses the salaries facturing processes made it more acces- and the life’s cost Vogue Paris between the 1945 and sible than ever before. This doesn’t take 2005. (visited in September 2019). In France, the average salary of a into account the ease with which these 30. Anonymous, « Les worker of the middle class was approx- styles could be copied and adapted by salaires de 1950 à 1975 », Economie et imately 1500F (a bit less for women), a large number of manufacturers and statistique, N°113, boutiques. After all, it was pretty rare July-August 1979, pp. while for an employee, it was around 15-22. 920F for a month.30 To make a com- that an Op dress in black and white ge-

31. https://www.thed- parison, a kg of bread cost about 1.30F ometries, realized by a famous couturier esignlab.co.uk: cost (2.05F in 1970, with the inflation). could be recognized as such; the large of living (visited in September 2019). diffusion made them similar and British Vogue 32. DARREN BOYLE, “A anonymous, since the optical forms window into the past: A British employee of the Sixties weren’t that original anymore. It’s A look back into the London of 50 years earned around 846£ a year (70£ c.a sufficient to look at the mail catalogues Two still frames from the video Anni 60 - Il fenomeno ago when the six- 31 of that period, that sold vague imita- ties truly began to monthly). The average house price Postalmarket - La politica in Italia swing”, Daily Mail was £2,530 while a pint of beer cost 8p, tions of the Cardin’s dresses, or also the . https://www.youtube. (Online Version), 11th com/watch?v=WPB3ozPPvJg May 2014 (Visited in a loaf of bread 5p and a packet of 20 “Cadeau de Noël” concealed at the end October 2019). cigarettes just less than 25p. In compar- of the magazine that suggested cheap 33. Anonymous, ison, a season ticket to see Manchester Op ideas for Christmas.33 “Cadeaux Noel”, Vogue United in 1960, when Sir Matt Busby Paris, December 1965, Basis for further experimentations: end pages. was manager and Sir Bobby Charlton a the Space Age Style star player, cost £8.50.32 It’s interesting to see how even the dresses designed Before Neil Amstrong and Edwin Al- for the young generations were proba- drin set foot on the Moon on July 20th, bly too expensive for them. 1969, fashion had already imagined a

Advertising from La Redoute, 1966. and Cover from Jours de France, 1967.

96 97 34. CALÓ Giorgia e future set in outer space. A group of and squared helmets. idea. (fig.). The space clothes were also 39. CALÓ Giorgia e SCUDERO Domenico, op. employed in several movies of that SCUDERO Domenico, op. cit., 2009, p. 144. artists represented by the previously cit., 2009, p 147. While in the Op style we still find el- mentioned Courrèges, Cardin and Ra- period such as The Tenth Victim, with 35. SOZZANI Fran- egant and feminine forms, the cut of ca, “Space Age”, Il banne launched in the mid-Sixties the wardrobe designed by Giulio Coltellacci Blog del direttore, the spatial style is taken to the extreme, and realized by the Fontana sisters, and Vogue Italia (Online lunar style, aiming to create a perfect th depriving it of any form of sexuality. Version), 31 August synthesis between design, architecture, Barbarella, in which Jane Fonda wears a 2012, (Visited in Cardin released Spatial collections 39 October 2019). and fashion.34 All superfluous elements Paco Rabanne creation. for both men and women, taking were eliminated in favor of squared and 36. Anonymous, “La a unisex direction with minimal One last point must discuss fashion moda chiama Marte”, functional cuts, designed with rulers Vogue Italia, Septem- differences between them. Paco photography and how the space age ber 1965, p. 42. and compasses.35 Synthetic and plastic Rabanne explored unusual ma- style offered an entirely new world to materials replaced traditional fabrics, 37. CALÓ Giorgia e terials such as metals, plexiglass explore. Contrary to the Optical style, SCUDERO Domenico, establishing a totally new style without op. cit., 2009, pp. and aluminum, held by pincers the space fashion recovered a context 145-6. any connection to the past. and hooks instead of wires and in which the photo could fit: aliens, the 38. PALOMO-LOVINSKI A comparison with the Op style is nec- scissors.37 This kind of fashion, moon and new planets. Noel, op. cit., 2010, p. 54. essary if we intend to fully understand which was clearly unwearable the aesthetic choices of the Space Age in an everyday life context, left style. The geometries of Op art were instead a significant heritage in resumed and applied to colorful fabrics, our fashion culture. In fact, it is replacing the use of black and white in that period that the concept (with the exception of Courrèges, who of sportswear was established, On the opposite page: Luna Dunyale, British Vogue, was always devoted to white). In Vogue which Courrèges pointed out as November 1968. magazine, this hybridization between the future of fashion; comfortable Above: Vogue Italia, The heritage today space age and Op fashion is evident in and practical clothes that liberate December 1967. Photo by the photo feature “Fashion calls Mars” women from uncomfortable con- David Bailey. In the last few years, there has been a by Rubartelli featuring models that straints.38 Stylists started to design At the side: British Vogue, booming rediscovery and reconsideration July 1968. Photo by Paul 36 of Optical art, leading to several exhibi- seemed ready to fly into space. The not just miniskirts, but also pants, flat Anthony. feature had a sort of post-apocalyptic boots, and squared headgears. ambience. The models interacted with The ski suits, transforming into futur- transparent- curved panels in plexiglass istic space suits and appearing in the while wearing striped ski suits, mantles, pages of Vogue magazine, reflected this

98 99 Above, on the left: Space clothes from Cardin, Vogue Paris, September 1967.

At the side: Vogue Italia, October 1968. Photo by Irving Penn.

Above: Paco Rabanne, Vogue Italia, April 1967.

, January 1967. Photo British Vogue by Irving Penn.

101 40. Enrica Morini tions such as The eye attack at Museum like the height of the skirt or the naked in Bianco e Nero, (Novara, Istituto Louisiana in Copenhagen (2016); The back, and innovative technologies offer geografico De Agos- illusive Eye at the Museum del Barrio in new space for investigation tini, 1991) affirmed that throughout the New York (2016); Vertigo, Op art and a history of fashion, An interesting example is represented History of Deception at Mumok of Wien the black and white by Gareth Pugh, a British fashion de- return periodical- (2019) and a major retrospective of ly in trend, but the signer who is known for «his dramatic, last case is repre- Vasarely at Centre Pompidou (2019). sented by the Optical often sinister, inflated and constructed style. In fashion the Optical style has been creations».41 For his 2015 collection he 41. https://www. cyclically imitated and reinterpreted showed a series of hypnotic black and vogue.co.uk/ Ga- reth Pugh biography by many fashion designers, but nev- white clothes, that are constructed to (visited in October ertheless there will never be a return conceal the wearer. Another designer 2019). of black and white as happened in the channeling the legacy of optical illu- 42. https://www.iris- vanherpen.com (visit- Sixties. The conditions that occurred sions and Op art is Iris Van Herpen, ed in October 2019). in this decade (kinetic art, the space a Dutch designer who explores the race, the youth movement etc) were so possibilities offered by non-traditional singular that no further aesthetic choice techniques such as the 3d printing. She justified such success.40 Alternatively, in conceives futuristic collections, focus- just two years, Op fashion exhausted ing her interest on the movement of itself and ran out of new things to say, the bodies, creating spectacular visual- and it was therefore necessary to find kinetic effects.42 new paths to explore.

In the following years, several styl- ists and photographers paid a tribute to Op fashion and to the art of the Sixties - although always in isolated instances - while others re-elaborated the forms and the principles to create something new. After over fifty years there are fewer limits to creativity, many of which have already been surpassed, At the side: Vogue Italia, March 2016.

Above: Emilio Pucci, collection Fall 2015.

On the right: Gareth Pugh, collection Spring 2015. 102 103 Louis Vuitton, Spring Collection Campaign 2013. Vogue Italia, June 2013. Photo by Greg Lotus.

104 105 , January 2013. W Magazine Iris Van Herpen, Spring Collection 2018 106 Epilogue

Op in Vogue ques- phy, under the artistic direction in the Sixties were intense years, full of socio- work of Iris Van Herpen. 1. DORFLES Gillo, op. cit., Genova, Costa e tions, resorting to magazines, was the main medium of logical changes, including the economic Nolan, 1984. After all, fashion suffers from obsoles- dozens of images, diffusion of the Op art in fashion and boom, the protests, the youth quake, cence, as Gillo Dorfles said “Fashion the actual role therefore it had a decisive impact not the mutation of the female condition. is like oil and not wine: aging does not of photography only on the creation of its own aesthet- Within those events, Op fashion be- improve but gets worse”.1 O within the diffu- ic language, but also of the Op way of came a diffused trend, that embraced sion of Op art in fashion. Op art was a being. It amplified its perception for a the policy of the prêt à porter and phenomenon with a remarkable media considerable period, defining a recur- modern and comfortable forms of coverage at international level, as it has rent Op aesthetic line in fashion maga- dresses, addressing a new type of wom- been for the contemporaneous Pop art, zines (in this case, Vogue) for over three an. defining a new relationship between years. Photography turned colours off, However, Op photography turned out media and art. creating black and white compositions to be only half interested communicat- even from coloured dresses. Despite However, we should only partially con- ing sociological and political changes the variety of styles of the different sider its application in fashion as an ar- that the society was traversing through- photographers, it could be possible to tistic expression: fashion took from the out the Sixties, remaining always on find common elements that identify Op art the most notable elements to a superficial and aesthetical level. But those optical pictures as such. More- use them to its advantage, keeping at a perhaps there was not really the need to over, two kinds of Op pictures can distance from the true principles of the achieve that purpose: the protagonists be found: those realized by the most artistic movement to create something were the optical patterns, that put the notable fashion photographers -and different. Those aesthetic forms started model in second place, transforming therefore characterized by a certain re- therefore to appear almost everywhere, her into an optical woman, objectified by fined aesthetic- and those shot with the among accessorizes, swim wears, ski a male gaze. primary purpose of selling. While the suits, shoes etc, often unbranded: this photographs that belong to the second Afterwards, Op fashion inspired over unification made the work of the single category highlight the real nature of the years several stylists that reinterpret- couturier of firm anonymous and less the mass Op phenomenon without any ed it: the forms and the cuts changed distinctive. Even the term Op art was particular sophistication, it is instead from the Sixties, but in terms of deco- used by the magazines without a real the first type of pictures that conveyed rations, there is hardly something new coherence and specificity, appearing as the Op art to the wider public. to say. However modern technologies simply Op with a certain frequency. and fabrics offered new inputs for fur- The third part is dedicated to the Within this context, fashion photogra- ther explorations, like in the case of the context where the Op art fit into: the

108 109 Bibliography

ANGELI Franco, La moda nel consumo giovanile. Strategie & immagini di fine millennio, Milano, Franco Angeli editore, 1999.

BOURDIN Guy / introd. de Gilles de Bure, Guy Bourdin, Arles, Actes Sud, 2008.

BUTAZZI Grazietta, MOTTOLA Alessandra, Bianco e Nero, Novara, Istituto geo- grafico De Agostini 1991.

CALÓ Giorgia e SCUDERO Domenico, Moda e arte. Dal decadentismo all’Ipermoderno, Roma, Giangemi Editore, 2009.

DORFLES Gillo, La moda della moda, Genova, Costa e Nolan, 1984.

DORFLES Gillo, Ultime tendenze nell’arte d’oggi, Milano, Feltrinelli, 1961.

ECO Umberto, Opera Aperta, Milano, Bompiani, 1962.

GRANZOTTO Giovanni; MARGOZZI Mariastella, Arte programmata e cinetica: da Munari a Biasi a Colombo e... Roma, Il Cigno, 2012.

GRUMBACH Didier, Histoires de la mode, Paris, Editions du Regard, 2008.

HALL-DUNCAN Nancy, The history of fashion photography, New York: Alpine Book Company, 1979.

HARRISON, Martin, David Bailey monographie, Paris, Ed. de La Martinière, 1999.

HERSCHDORFER Nathalie, Papier glacé : un siècle de photographie de mode chez Condé Nast, Paris, Thames Hudson 2012.

LOBELTHAL Joel, Radical Rags. Fashion of the Sixties, New York, 1990.

MARI Pauline, Le voyeur et l’halluciné : au cinéma avec l’op art, Rennes, Presses Universi- taires, 2018.

MELONI Lucilla, Gli ambienti del Gruppo T: arte immersiva e interattiva, Cinisello Balsa- mo, Silvana, 2004.

110 111 NAGGAR Carole, William Klein photographe etc, Paris, Centre Georges Pompidou, Filmography Herscher, 1983. ANTONIONI Michelangelo, Blow Up, United Kingdom- U.S.A - Italy, 1966. NEWTON Helmut / introd. par Karl Lagerfeld, Helmut Newton, Paris, Centre natio- KLEIN William, Qui êtes-vous, Polly Maggoo ?, France, 1966. nal de la photographie, 1986. PETRI Elio, La decima vittima (The Tenth Victim), Italy - France, 1965. POPPER Frank, L’art cinétique, Paris, Gauthier-Villars, 1970.

PALOMO-LOVINSKI Noel, The World’s Most Influential Fashion Designers, New York, Barrons Educational Series, 2010. Vogue

POLAN Brenda, The great fashion designers, Oxford, Berg, 2009. For researches and images, three European editions have been consulted for the years between 1964 and 1968. SEGRE REINACH Simona, La moda, Bari, Editori Laterza, 2005. Vogue Italia: n Jan. 1964- Dec. 1968, Milano, ed. Condè Nast SEITZ William, The responsive Eye, New York, The Museum of Modern Art, Library of Congress, 1965. Vogue Paris: n Jan. 1964- Dec. 1968, Paris, ed. Condè Nast

VERGINE Lea, Art on the cutting edge: a guide to Contemporary movements, Milano, Skira, British Vogue: n Jan. 1964- Dec. 1968, London, ed. Condè Nast 1996. British Vogue and Vogue Paris have been consulted at Musée des Arts Décoratifs, Paris WESTERBECK Colin, Irving Penn: a career in photography, Chicago, The Art institute (Mad) - Centre de documentation. of Chicago, 1997. Vogue Italia has been consulted on the online archive (https://www.voguear- chive.it, visited between July and October 2019).

Magazine and Newspaper

Daily Mail Credits for the other images Elle p. 12: Manifeste Jaune, (online) https://monoskop.org/Kinetic_art Independent p. 14: Fig. 1, Cover of The Responsive Eye, (online) https://monoskop.org/ La Stampa The_Responsive_Eye Life Magazine p. 14: Fig. 2, Study on paper (1928), from Jozef Albers’ class at Bauhaus. Telegraph Extract from POPPER Frank, L’art cinétique, Paris, Gauthier-Villars, The New York Times 1970.

The Guardian p. 15: Fig 3, Victor Vasarely: Tau-Ceti, 1964, 2,50x 2,50. Extract from Time Magazine L’art cinétique.

112 113 p. 15: Fig 4, Giacomo Balla: Dinamismo Muscolare di un cane al guinzaglio, oil on canvas, 1912. http://www.arte.it/giacomo-balla

p. 22 and 23: Still frames from Blow Up and Qui êtes-vous, Polly Maggoo ?

p. 26: https://www.theartstory.org/artist/vasarely-victor/

p. 42: Lunettes pour une vision autre, Julio Le Parc. https://www.artribune.it

p. 97: The two images of catalogues were found on announces from Ebay. https://www.ebay.fr and https://www.ebay.co.uk/(visited in September 2019).

p. 103: https://www.vogue.es/pasarelas/otono-invierno-2015-2016-pret-a- porter/emilio-pucci-

p. 103: http://www.my-lifestyle-news.com/2015/08/gareth-pugh-ss2015- collection.uk

p. 104: https://www.vogue.co.uk/gallery/daniel-buren-louis-vuitton-spring- summer-2013-catwalk-show

p. 106: W Magazine, January 2013. https://www.anneofcarversville.com/ style-photos/2012/12/15/ava-smith-bette-franke-are-optical-illusions-in-roe- ethridge.uk

p. 107: https://www.vogue.it/sfilate/sfilata/alta-moda-autunno- inverno-2018-19/iris-van-herpen

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