How to evaluate Deborah Turbeville, a legendary photographer in fashion?

American female photographer Deborah Bouvier.

She can create an environment. Marcin Stawarz, the working partner of the legendary female photographer, said. Before Deborah, fashion photography has always been based on bright and moving light and color, rendering the beautiful yearning for elegant posture, exquisite materials and desire. And her appearance, like dissonance in a sweet melody, brings gothic melancholy and sadness to fashion photography.

Deborah Te Bouvier was born in a middle-class family in the United States from 65438 to 0937. When she was a child, she often went to Ogunquet, Maine for the summer with her parents. The vast and desolate seascape on the east coast left a deep memory for her. Deborah, a tall girl, became a dancer after completing the preparatory course in Boston. The training of theater art and tracing back to her beautiful childhood have made her personal aesthetic. Later, she dropped out of school and went to new york. She attracted the attention of fashion designer Claire McCardell with her aloof temperament. She not only became her exclusive fitting model, but also got to know Diana Frilander, then editor-in-chief of Haper's Bazaar, and entered the fashion magazine industry.

However, Deborah's eccentric personality didn't make her go too far in this career path. After being fired by Nancy White, the editor-in-chief of Harper's Bzaar at that time, Deborah gave some of her photographs to Richard Avedon, a famous photographer at that time, and embarked on the road of fashion photography under the guidance of the latter. While doing fashion modeling, she will propose to shoot and arrange scenes by herself, and gradually explore her own photography style in the process. "If I were a photographer from scratch, I would make many compromises." She once said.

1975, Deborah shot a set of swimsuit blockbusters for the American version of VOGUE as a photographer for the first time. In this group of images that look badly faded, models wearing swimsuits and bathrobes are stuffed into a public bathroom full of water stains and pose in various poses bored. This decadent atmosphere completely subverts all the world's perceptions of swimsuit blockbusters. Her unique Jiao Wai-like shooting technique, classical composition and pre-Raphael oil painting texture make people find a lost beauty of yesterday in fashion photography. After that, Deborah created classic works for VOGUE, such as Five Girls in a Room in Pigalle, and took many unique photos for designers such as karl lagerfeld, Paloma Picasso and Rei Kawakubo. While serving fashion magazines, Deborah also recorded the portraits of the declining Italian royal family, the ballet russes and the grand Venice Carnival with lenses and films, and created a world full of Gothic atmosphere with her unique lens language.

1979, at the invitation of Jacqueline Kennedy, she spent two years creating a gorgeous photo collection at Versailles. This photo album "The Invisible Palace of Versailles" comes from a dream of Jacqueline, and depicts the ghosts living in the magnificent and empty palace and the prosperous memories carried by the building. Deborah specially processed the negative in order to restore the fantastic colors. After being developed, the overexposed and rubbed film shows the visual effect of indifference and alienation. "After I finish the images, I will destroy them so that you can't see the whole picture." She explained her work like this. In the cold and foggy colors, the huge Palace of Versailles is like a sunken ship salvaged from the deep sea. In the damaged image, models in Bourbon Palace costumes stand or walk between empty palaces, with blank faces, just like the shapes of ancient Greek sculptures.

Deborah never admitted that she was a fashion photographer. In her 35-year photography career, she has left countless fashionable images close to art with a gentle and delicate female perspective and her perception of the relationship between space, environment and body shape. Before conceiving a series of blockbusters, she will take countless photos of Paulie, which is like a sketch before she finishes a painting. "I usually keep these photos in a box for a long time to see what interesting things will happen to them." She once said. This texture eroded by time also laid the foundation for her image style.

Deborah's photos seem to depict the body and clothing materials through light and shadow, which makes people feel the flow of time between still images. The models in her lens are either wrapped in exquisite clothes or walking in the shabby space like sleepwalkers. Dramatic pictures seem to come from the films of Allen Rey and Andreetta Kovsky, and the composition and control of the model's limbs have hidden narratives. All the images point to a sense of loss similar to "homesickness". However, Deborah never explained the story behind the photo. "You'll never know what happened in my photo. All the images are just hints, allowing the audience to organize their imagination at will. This is the metaphor of fashion. " She said.