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Diana Vreeland

Lauren Bacall – a dream come true

Lauren Bacall poses for John Engstead
Around 1943. Lauren Bacall poses for John Engstead. Read more.

Lauren Bacall’s incendiary debut on screen in To Have and Have Not brings to pulsating life a fantasy of legendary Hollywood director, Howard Hawks.

He has created a new kind of heroine – one who is every bit the equal of her leading man. At the same time he has launched the career of a movie legend and lit the touch paper to one of Hollywood’s most celebrated off-screen romances. But even as the chemistry between Bogart and Bacall begins to fizz, it threatens to derail Hawks’ ambitions for his new star.

After a slow start, Lauren Bacall’s life is careering along at breakneck speed.

Lauren Bacall, lost girl

Rewind the clock a couple of years to 1942, and Lauren Bacall (then Betty Joan Perske, 17 years old, ambitious and totally unknown) is sitting in a movie theatre with her Mother and an aunt:

One Saturday morning in 1942, Mother and Rosalie took me to the Capital Theatre to see a movie called Casablanca. We all loved it, and Rosalie [Lauren’s aunt] was mad about Humphrey Bogart. I thought he was good in it, but mad about him? Not at all. She thought he was sexy. I thought she was crazy. Mother liked him, though not as much as she liked Chester Morris, who she thought was really sexy – or Ricardo Cortez, her second favorite. I couldn’t understand Rosalie’s thinking at all. Bogart didn’t vaguely resemble Leslie Howard. Not in any way. So much for my judgment.

She’s determined to be an actress (she has the stage rather than the screen in mind though she worships Bette Davis) and has been doing some pretty unglamorous modeling for the garment trade to earn a few cents. She’s had little success but things are about to change…

This year she has been introduced to Diana Vreeland, the fashion editor at Harper’s Bazaar, who organized a test shoot with Louise Dahl-Wolfe, one of the leading fashion photographers of the day. It was the first of a series of sessions for Bazaar, including a tricky one with George Hoyningen-Huene.

The following year (1943) Lauren’s career ignites:

In January I posed in a blue suit with an off-the-face hat, standing before a window with “American Red Cross Blood Donor Service” lettered on it. It was a color picture and would be a full page.…

About mid-February Diana called my mother to tell her there were stacks of letters on her desk asking who I was and where I could be reached. She said, “Listen, Mrs. Bacall, I think Betty’s too young to make these decisions, so I’m sending it all on to you.” Diana was always terrific to me and about me. She was so smart, had such wisdom. Also it turned out that the Blood Donor picture was going to be on the March cover. The cover! I couldn’t believe it when I heard; there’d be no living with me now.

Inquiries flood in. Lauren is invited to meet the head of David O Selznick’s office in New York. Columbia Pictures want her to be the Harper’s Bazaar cover girl in Cover Girl – an offer enthusiastically endorsed by Diana and Carmel Snow (the editor at Bazaar). Howard Hughes expresses an interest (well, there’s a turn up for the books!). But it is an invitation from Howard Hawks that Lauren accepts on the advice of her uncle Jack. So, age 18, she boards the train with her mother and heads for the West Coast.

Lauren Bacall, dream girl

To prepare for her screen test, Howard Hawks takes Lauren Bacall to see Perc Westmore.

He walked me over to make-up so that Perc Westmore could have a look at me and said, “You know, Perc, the test is tomorrow morning, see what color Betty will need, and that’s all.” Westmore took me into his room, sat me before his make-up mirror, and examined my face. He said, “Umm-humm” and pushed my hair back. “We can pluck your eyebrows and shave your hairline, straighten your teeth.” I was terrified and very upset. I said I’d like to call Howard, which I did practically in tears and repeated it all. I said, “You don’t want that, do you?” He said absolutely not and spoke to Westmore, saying, “I want her exactly as she is, nothing changed, a light natural make-up for tomorrow.” Perc understood, he only thought some of those touches would be an improvement. But no, Howard had chosen me for my thick eyebrows and crooked teeth and that’s the way they would stay.

[As an aside, this is a perfect example of how the studios, even back in the 1940s, were geared up to manufacture identikit stars – Lauren Bacall’s graphic eyebrows are one of her most distinguishing features.]  Then there’s a portrait session with John Engstead, a photographer who works for the Hollywood studios and for various fashion magazines:

John Engstead arrived with cameras, and my first portrait sitting began. … He was marvelously easy to work with—not unlike Dahl-Wolfe. … The portraits were the best I’d ever had, and still are.

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Out of the unknown

Out of the unknown

1944. Lauren Bacall emerges from obscurity into the limelight. She's modelling the vermillion dress she wears in some of the posters for To Have and Have Not. Photo by John Engstead.

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Best foot forward

Best foot forward

1944. In this publicity shot for To Have qnd Have Not, both the tilt of her head and the spotlight are designed to highlight 'The Look' that will become Lauren Bacall's trademark. Photo by John Engstead.

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Sitting pretty

Sitting pretty

1946. The geometry of the lighting in this portrait of Lauren Bacall is quite superb. She's modelling the fabulous metallic jacket she wears in The Big Sleep.

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Full metal jacket

Full metal jacket

1946. Another shot portrait of Lauren Bacall modelling the fabulous metallic jacket she wears in The Big Sleep.

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The sleeve

The sleeve

Around 1945. Is it too far-fetched to conjecture that the photographer might have been inspired by Titian's portrait of a man with a quilted sleeve? Whatever. With the sleeve itself slightly out of focus, the eyes definitely have it. Photo by Eugene Robert Richee.

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Girl with a pearl earring

Girl with a pearl earring

Around 1945. Lauren Bacall is quite the classy dame pairing a pearl necklace and earrings with an off-the-shoulder black gown.

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Glossy image-making

Glossy image-making

Around 1944. The make-up team (headed perhaps by Perc Westmore) haven't stinted on the lip gloss for this portrait of Lauren Bacall. Photo by Bert Six.

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Returning the look

Returning the look

1946. A caption on the back of the photo reads:

RETURNING
Lauren Bacall, here demonstrating that “look” which made her famous, returns to the screen this September in Warner Bros.’ romantic mystery thriller, “The Big Sleep.” In it Humphrey Bogart portrays the man she’s after, just as in their original triumph, “To Have and Have Not.”

Howard can see Lauren’s potential to become his dream girl and offers her a personal contract.

I learned much later that he had always wanted to find a girl from nowhere, mold her into his dream girl, and make her a star—his creation. He was about to begin. … Howard’s idea was always that a woman should play a scene with a masculine approach—insolent. Give as good as she got, no capitulation, no helplessness. … A perfect example of Howard’s thinking was His Girl Friday, which was a remake of The Front Page, but changing the star reporter to a woman – Rosalind Russell. And it couldn’t have worked better.

Howard doesn’t go for shrinking violets. To complement the look and the attitude he has in mind, he tells Lauren to cultivate a lower, more throaty voice, which she does by finding a spot on Mulholland Drive where she can read The Robe aloud, keeping her voice lower and louder than normal (the smoking probably helps too). So Lauren’s voice becomes what Howard calls “a satisfactorily low guttural wheeze”. He insists that in future she should always speak naturally and softly. Above all, she should ignore suggestions for “cultivating” her voice.

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Hello, soldier

Hello, soldier

1944. Lauren Bacall and soldiers in a scene from To Have and Have Not.

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Chemistry lesson

Chemistry lesson

1944. Harry approaches "Slim" in a scene from To Have and Have Not. Photo by Max Julian.

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Taking the lead

Taking the lead

1944. Lauren Bacall acting as Howard Hawks' dream girl in the notorious whistle scene from To Have and Have Not. The caption on the back reads:

On your mark! Apparently, Lauren isn't afraid of Bogart, the Bogie Man.

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Making all the right moves

Making all the right moves

1944. Bogart and Bacall are totally in synch on the set of To Have And Have Not. The caption on the reverse reads:

STRONG ARM METHOD – If this picture is any indication, there's nothing very subtle about Humphrey Bogart's love making to Lauren Bacall in Warner Bros. "To Have and Have Not." The bewitching Bacall, former model, makes her film debut in the Bogart starrer.

It all comes together in her screen debut opposite Humphrey Bogart in To Have and Have Not. In one of the movie’s most memorable scenes, Lauren’s character says to Bogart’s:

You know you don’t have to act with me, Steve, you don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and blow.

Her acting, with its insinuating sexuality and offhand independence, causes a sensation. For Howard, it’s a dream come true. The Big Sleep will follow.

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What to do with Carmen?

What to do with Carmen?

1946. Private detective, Philip Marlowe (Humphrey Bogart) and his client's daughter, Vivian Rutledge (Lauren Bacall) confer about the antics of her nymphomaniac little sister (Martha Vickers) in this scene from The Big Sleep.

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Banter

Banter

1946. Vivian (Lauren Bacall) gives Marlowe (Humphrey Bogart) a cheque in an attempt to get him off the case he's investigating. But business quickly turns to flirtation in this classic scene from The Big Sleep.

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Dénouement

Dénouement

1946. Marlowe (Humphrey Bogart) and Vivian (Lauren Bacall) prepare for the final showdown in this scene from The Big Sleep.

Lauren Bacall, gone girl

Humphrey Bogart and Lauren Bacall cut their wedding cake
21 May 1945. Humphrey Bogart and Lauren Bacall cut their wedding cake. Read more.

Lauren’s first encounter with Bogie, set up by Howard, is unpromising.

He wanted to use Humphrey Bogart as the male lead. Bogart was making a film called Passage to Marseille at the time and Howard said, “Let’s go down on the set and see what’s going on.” Not a word about the possibility of my working. … He introduced us. There was no clap of thunder, no lightning bolt, just a simple how-do-you-do. Bogart was slighter than I imagined—five feet ten and a half, wearing his costume of no-shape trousers, cotton shirt, and scarf around neck. Nothing of import was said—we didn’t stay long—but he seemed a friendly man.

Perhaps that’s not surprising. Bogie is 25 years Lauren’s senior and married to Mayo Methot, a stage and screen actress but also an alcoholic and a depressive. Their relationship is, to put it mildly, stormy.

As filming gets underway for To Have and Have Not, Bogie and Bacall begin to fall for each other, they organize surreptitious rendezvous and they share private jokes in their scripted exchanges. Indeed their very real palpable mutual attraction is one of the factors that contribute to the film’s success with audiences.

Their happiness alternates with despair. Howard becomes increasingly jealous and warns Lauren not to risk ending her career just as it is taking off. He can see that Bogie does not want her to be actor first and wife second. Meanwhile, Bogie returns to Mayo several times, leaving Lauren in desperate suspense. All this is going on during the filming of The Big Sleep, with Bogie drunk, depressed and missing days on set.

Finally, he makes up his mind, and as his divorce edges forward, he sends Lauren a wire: “Please fence me in Baby – the world’s too big out here and I don’t like it without you.” The couple are married on 21 May, 1945 at Malabar Farm in Lucas, Ohio, the home of Bogie’s close friend, the writer Louis Bromfield.

Angry and resigned, Howard accepts that he’s lost his dream actress and sells Lauren’s contract to Warner Brothers.

Lauren Bacall on the silver screen

In To Have and Have Not and The Big Sleep, Bogie and Bacall played some of the greatest scenes of the era (and arguably in movie history). The atmosphere is electric, the dialogue sizzles. This is the stuff of Hollywood legend, as recognised at the time by Warner Brothers’ spoof, Bacall To Arms.

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bacall whistle scene

1. The whistle scene

In this notorious scene from her debut movie, To Have and Have Not, Bacall is all over Bogart. She's 100 percent vamp, totally in control and the realisation of a dream for director, Howard Hawks. Watch this and then the parody, Bacall To Arms.
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bacall to arms

2. Bacall To Arms

A re-edit of the 1946 Warner Bros cartoon Bacall To Arms, directed by Bob Clampett. This is just a superb parody of the "whistle" scene in To Have and Have Not.
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the big sleep

3. Restaurant repartee

If you want a quick insight into what made the Bogart-Bacall onscreen partnership so fantastic, take a look at this scene from The Big Sleep: 0:00–0:20 Bacall makes her entrance. 0:20–0:45 She greets Bogie and they make their way to a table. 0:45–1:45 They talk business – highlight at 1:14–1:20. 1:45–3:00 They flirt, with Bacall in the driving seat. 3:00–4:05 Bogie turns the tables. 4:05 Electric moment as she's knocked into his arms.

Postscript

Had she not married Bogart, Lauren told The New York Times in 1996, her career would probably have flourished, but she did not regret the marriage.

I would not have had a better life, but a better career. Howard Hawks was like a Svengali; he was molding me the way he wanted. I was his creation, and I would have had a great career had he been in control of it. But the minute Bogie was around, Hawks knew he couldn’t control me, so he sold my contract to Warner Bros. And that was the end.

It’s also worth noting that Lauren was not quite as confident filming as she appears on screen. In her autobiography, June Allyson, a close friend, remembered working with her in 1954:

I had seen the real Betty when we filmed Woman’s World together and we were doing a scene in which we each had to pick up champagne glasses and turn and survey the room. I looked at Betty’s glass and her had was shaking – I couldn’t believe it. She saw my look and whispered, off camera, “I am so nervous.” That was when I realized Lauren Bacall did not have the inner security she displayed to the world. Inside she was very vulnerable.

Want to know more?

The quotes are from Lauren’s autobiography, Lauren Bacall By Myself. For an overview and appreciation of her life and work, there are obituaries worth reading in The Guardian, The Telegraph, The New York Times and Variety. There’s also a fascinating article about The Big Sleep on Cinephilia & Beyond.

Other topics you may be interested in…

Ava Gardner – the journey to Hollywood
Martha Vickers, Lauren Bacall and Humphrey Bogart in The Big Sleep
Martha Vickers – the starlet who dared to upstage Lauren Bacall
Movie stars of the 1940s – talent, savvy, looks and luck

Filed Under: Films, Stars Tagged With: Diana Vreeland, Harper's Bazaar, Howard Hawks, Humphrey Bogart, John Engstead, Lauren Bacall, Louise Dahl-Wolfe, Perc Westmore, The Big Sleep, To Have and Have Not

Veruschka and Rubartelli – a fashion legend

Veruschka and her sisters
1968. Veruschka (second from left) and her sisters – Gabriela, Nona and Catharina. Photo by Franco Rubartelli. Read more.

Of all the 1960s models, none has a stronger presence, more distinctive looks or greater charisma than Veruschka. Franco Rubartelliʼs photos of her helped to create a fashion legend.

Diana Vreeland, US Vogue’s exotic, no-holds-barred editor-in-chief, gave the couple (and they were a couple, living together in a loft in Rome) carte blanche and they repaid her with some of the era’s most iconic editorial shoots, epitomizing late-sixties boho chic.

Veruschka’s story

The story starts in 1963 with Veruschka’s mother approaching Dorian Leigh. Leigh was one of the great models of the 1950s and has set up her own modeling agency. Her verdict:

She looked like a deer, awkward and yet so graceful. Her mother wanted me to take Vera’s younger sister as a model. The sister was smaller, blonder, prettier, but not magnificent like Vera. The next day Charlotte March took pictures of her, and they were incredible.

But Veruschka, still using her real name – (Countess) Vera von Lehndorff – is well over six foot tall. So in spite of Dorian’s advocacy, she has a tough time breaking into modelling. Nevertheless, there’s interest from a few photographers, among them Franco Rubartelli. Like Veruschka, he has yet to make a name for himself. But he’s mesmerized by her and the attraction is mutual. They are destined to become lovers.

1964 and 1966 are the turning points in Veruschka’s modelling career. In 1964 after an abortive visit to New York, she decides to take matters into her own hands and create a new persona:

Veruschka – contact strip
Around 1968. Veruschka by Rubartelli.

I said to myself, “You have to think of something,” … You shouldn’t just go to a photographer and show your book. Hundreds of girls do that. You have to do something so they will not forget you, so they will say, “That girl was really something different.” I had no doubts about myself. I knew I had something which was interesting and I wanted to work with that. So I said, “OK, now we have to find a way to make sure that others see it too.”

So I thought, “I’m also going to be a whole new person. And I’m going to have fun. I’m just going to invent a new person; I’m going to be Veruschka.” Veruschka was a nickname I had when I was a child. It means “little Vera.” And as I was always too tall, I thought it would be nice to say that I’m little Vera. And it was also nice to have a Russian name because I came from the East.

I decided this person has to be all in black. At that time everybody wasn’t wearing black. So I bought myself a cheap copy of a Givenchy coat — very narrow and just a little bit flared on the bottom, quite short, just covering the knee — a black velvet hat, and very soft black suede boots, which at that time people didn’t have. You could really walk like an animal in them. I thought I had to have this very beautiful walk. When I come in, it should be really very animallike.

So when I came back, I went right away to see Barbara Stone. I said to her, “You must tell all the photographers about this girl coming from the East, somewhere near Russia. Never be too clear from where exactly. She wants to travel to the States, and she wants to meet you because she likes your photographs. She’s very interested in photography. She’s really quite extraordinary. You should see her.” So of course they always said yes, because they were interested in another kind of girl.

I would arrive and say, “Hello, how are you?” And they would say, “Can we see some pictures?” And I said, “Pictures? I don’t take my pictures around with me. For what? I know how I look. I want to know what you do.” And then of course they got interested. I remember Penn saying, “Would you mind going over to Vogue?” He made the call.

My first trip to Vogue was very funny. I had seen Vreeland at Bazaar already, and she had made remarks. “Oh, you have wonderful legs,” or, “Your bone structure is wonderful,” or something. But then at Vogue she said, “Who is that girl? Put her name right on the wall. Veruschka,” she said, “Veruschka, you’re going to hear from me.”

Vreeland was after me all the time. So I called her and I said, “Listen, I would love to do a story about jewelry on the beach.” And she said, “Take everything and go,” and she would publish the whole thing. I could call up and say. “I would love to do this or that,” and she said, “Wonderful!” or often, “Maybe not,” but anyway you could talk. We were then becoming teams…

Rubartelli and Veruschka
Around 1970. Rubartelli and Veruschka relaxing. Photo by Pierluigi Picture Feature Service. Read more.

Rubartelli’s story

Born in Florence, Franco Rubartelli is a self-taught photographer, inspired by Swiss model Françoise Schluter, whom he meets, falls in love with and marries. His jealousy at his wife’s flourishing career prompts him to have a go at photographing his wife himself. He send the resutls to Vogue and gets the thumbs-up from Diana Vreeland. Soon the couple find themselves working for Vogue Italia but it’s not enough to save their marriage and in 1965 they part company.

Waiting in a hotel to meet a potential client, “a tall, skinny woman in a black cloak and long knee-high boots walked past and caught my attention.” No marks for guessing who she turns out to be. He asks Veruschka to drop by his studio with her portfolio, the two get on like a house on fire and the rest is history. They’re together for the better part of the next nine years.

The collaboration

There is no better team than Veruschka and Rubartelli. After a few shoots, Vreeland encourages Veruschka to come up with her own ideas. Taking her up on the offer, Veruschka poses in Japan’s snow country wearing a lynx coat and standing next to a sumo wrestler. In 1966 she does her first shoot wearing nothing but body paint (it will become a lifelong artistic pursuit). Most of the time she does her own make-up, hair and styling.

The most successful ones were done like that, because I was in charge of it. With the photographer we created the whole thing on the spot. We cut up the clothes even, if it looked better.

But Rubartelli remembers things a bit differently and highlights the contribution made by a third member of the team – Giorgio di Sant’Angelo, a textile designer turned stylist and designer.

Giorgio was unlike anyone else; his creativity was superior. He had been born in Florence, Italy, but had spent so much time outside of the country that he had forgotten the language a little; when he spoke, it was a funny [argot]. He was an original and very imaginative designer.

According to Rubartelli, the three would meet to develop themes and stories for shoots. The process involves many hours of thinking, sketching out ideas, doing tests, visiting museums, studying books and watching movies – sounds like fun.

For the next eight years, Veruschka and Rubartelli produce a series of editorial spreads that epitomize the free spirit of the late-60s/early-70s – fusing fantasy with glamour. It’s a partnership that calls to mind that of David Bailey and Jean Shrimpton in the early 1960s. But while Shrimpton was clearly the muse who sparked Bailey’s creativity, Veruschka plays a much more active, perhaps even the leading role in her collaboration with Rubartelli. She will go on to work with others such as Holger Trulzsch with whom she produces Veruschka: Transfigurations.

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Sant’Angelo collar

Sant’Angelo collar

1968. Veruschka models a collar by Sant'Angelo. Quite apart from the collar itself with its fetishistic overtones, there are so many wonderful things about this...

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The shirt dress

The shirt dress

1969. It's the year of Woodstock and this has to be the epitome of hippie chic with the gingham-print, suggestively-open shirt dress, beaded belt and...

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Romance in the air

Romance in the air

Around 1968. The earring is like a Christmas bauble. The bead-trimmed gauze shirt, the gently wind-ruffled hair and the parted lips make for a super-romantic...

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Shirt of the century

Shirt of the century

1968. It’s like a madcap, 60s take on Nell Gwynne, the celebrated mistress of Charles II of England, what with the costume, the wig and...

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I love this one, Franco

I love this one, Franco

1966. “I love this one Franco” reads the inscription by Diana Vreeland on the original print. Regally (how often do we talk about Veruschka in...

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Arizona dreaming

Arizona dreaming

1968. Veruschka, Narcissus-like, contemplates her luxuriant locks in the clear waters of a rock pool. This is a variant of a photograph that appeared in...

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Extravagant nomad

Extravagant nomad

1969. Surely the peak of boho chic, a fabulous embroidered maxi-coat trimmed with ostrich feathers. The ensemble completed by a pair of golden boots and...

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Hair by Alba and Francesca Rona, clothes by Mary Quant

Hair by Alba and Francesca Rona, clothes by Mary Quant

Around 1970. Forget about the clothes, dig that hair! Veruschka has no qualms about supplementing her own tresses for a mod take on big hair...

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Abstract art

Abstract art

Around 1968. Perched in an abstract landscape, Veruschka’s perfectly toned and bronzed torso provides a suitably sculptural foil for serpentine braiding that adheres so closely...

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Uncompromising

Uncompromising

Around 1968. With such a regal profile (reminiscent, perhaps, of Queen Nefertiti), it’s hardly surprising that Veruschka was born a countess. This is a strong...

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Sunset idyll

Sunset idyll

Around 1968. Veruschka eclipses the setting sun as she poses on a rowing boat in diaphanous drapes. And who could resist her come-hither gesture? This...

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Ebbing hem

Ebbing hem

1966. Big, bold prints like this have enjoyed several revivals but there's nothing quite like the original, especially when modelled in such a romantic tropical...

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Fairy tresses

Fairy tresses

1968. Tresses that seem to have a life of their own – snaking, frizzing and meandering from foreground to background to frame Veruschka’s contemplative profile....

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Queen of the jungle

Queen of the jungle

Around 1968. The days before animal rights… A combination of animal furs and prints that makes for an ideal jungle camouflage and perfectly complements Veruschka's...

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The ultimate cat suit

The ultimate cat suit

1968. Love the geometry of this shot. And even more, the fashionista approach to keeping fit! This image was published in the 15 April issue...

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In 1966 Veruschka stars as herself in Blow-Up, Michelangelo Antonioni’s cult film set in swinging London. With a nonchalance and audacity that only she could carry off, the single line she utters in the five-minute scene in which she stars is: “Here I am.”

Blow-Up seals Veruschka’s status as a celebrity in her own right. Offers come flooding in. In 1967 she is one of the highest-paid models in the world and she appears on the cover of Life magazine. The accompanying feature is titled Bizarre, Exotic, Six Feet Veruschka – The Girl Everybody Stares At.

But success is the beginning of the end for her relationship with Rubartelli. Always possessive, he gets more and more jealous. Even as things are falling apart, he invests all his money in Stop Veruschka, a film that bombs. With a mountain of debt, he leaves Rome for Venezuala and disappears from the limelight.

And the arrival in 1972 of Grace Mirabella to replace Diana Vreeland as editor of Vogue spells the end of Veruschka’s stint as a fashion model.

Veruschka with cheetah
1967. Veruschka and Rubartelli collaborate with a cheetah. Read more.

Want to know more about Veruschka and Rubartelli?

Unfortunately, Veruschka’s own website is currently offline. As well as an article in Vogue, which includes a link to Rubartelli’s Instagram diary, there are various books, including an autobiography, in German (which unfortunately I can’t read). Here, to be getting on with,  are my main sources…

  • Michael Gross’s book, Model: The Ugly Business of Beautiful Women, for a great overview of Veruschka’s career as a fashion model (the lengthy quote above comes from here)
  • A.G. Nauta Couture’s article, Veruschka, the Amazonian Barbie, for a nice online summary (especially if you can’t get hold of Michael Gross’s book)
  • George Gurly, The First Supermodel-Veruschka, for an account of an encounter with the model
  • A.G. Nauta Couture’s article, Veruschka in perhaps the Most Epic Fashion Story, for an account of a shoot  in the mountains of Japan.

Other topics you may be interested in…

Donyale Luna – the fashion world’s wayward moon-child
Monica Vitti
Monica Vitti – a sad childhood, a glittering career and a bitter old age
The sixties – sex, drugs, rock and roll and a whole lot more

Filed Under: Fashion, Photographers, Stars Tagged With: Blow-Up, Diana Vreeland, Franco Rubartelli, Veruschka, Vogue

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