{"id":113353,"date":"2017-08-02T11:00:46","date_gmt":"2017-08-02T15:00:46","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=113353"},"modified":"2017-08-05T14:26:29","modified_gmt":"2017-08-05T18:26:29","slug":"deborah-turbevilles-anti-fashion-magazine","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/08\/02\/deborah-turbevilles-anti-fashion-magazine\/","title":{"rendered":"Deborah Turbeville\u2019s Anti-Fashion Magazine"},"content":{"rendered":"
\"\"<\/a>

Deborah Turbeville. Spreads\u00a0from The Paris Review<\/em>, issue no. 70 (Summer 1977).<\/p><\/div>\n

 <\/p>\n

Earlier this summer, Staley-Wise Gallery presented an exhibition<\/a> of Deborah Turbeville\u2019s fashion photographs, including her photos of famously \u201canti-fashion\u201d Comme des Gar\u00e7ons clothing, in conjunction with the Metropolitan Museum\u2019s Rei Kawakubo retrospective. In 1977, we published Turbeville\u2019s \u201cideal fashion magazine,\u201d where women are vulnerable, perhaps a little fallen, and oddly not fashionable.<\/em><\/p>\n

In the left-hand corner of the second spread of \u201cMaquillage<\/a>,\u201d there\u2019s a handwritten note that reads, in part: \u201cI feel that New York is a house of Death\u2014people shatter there so easily\u2014evil gets into the bloodstream\u2014unhappiness is more catching than laughter \u2026 \u201d In the duplicate images underneath, we see three women in white, their faces obscured: one is standing with her foot on a stool, looking out of a large, bright window; another sits facing the camera; a third rests behind the sitting woman\u2014we can only see her elbow, which stabs out from her side like a lance (her hand is on her hip). Her foot rests next to her, delicately slipping out of a shoe. Their clothes are in shadow, but the light from the windows is blinding. They are women in a dream.<\/p>\n

Often in her photos, Turbeville would scratch, tear, and otherwise distress her negatives, an aging effect that makes the young models in their fresh wardrobes, standing in barren rooms, seem to have been flown in from outside time. Vince Aletti wrote last year that, thanks to her rough textures and uneven borders, \u201cevery picture has a spark of life.\u201d<\/p>\n

The notes in \u201cMaquillage\u201d\u2014taken from letters written by her models\u2014make characters of the women whose faces we can\u2019t see. \u201cI\u2019m in a blue haze at the moment,\u201d one writes. \u201cI\u2019ve been thinking about you these rainy grey days,\u201d says another, introducing another faceless character\u2014possibly the viewer, or the photographer herself.<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Subscribe<\/a>\u00a0now to view the whole portfolio\u2014and everything else we\u2019ve published\u00a0over the past sixty-four years.<\/em><\/p>\n

Caitlin Love is an associate editor of\u00a0<\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1977, we published Turbeville\u2019s \u201cideal fashion magazine,\u201d where women are vulnerable, perhaps a little fallen, and oddly not fashionable.<\/p>\n","protected":false},"author":973,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1188],"tags":[29850,29848,538,29849,29854,29853,29852,2350,1234,124,100,29851],"class_list":["post-113353","post","type-post","status-publish","format-standard","hentry","category-from-the-archive","tag-comme-des-garcons","tag-deborah-turbeville","tag-fashion","tag-fashion-photography","tag-fashionable","tag-form-the-archive","tag-maquillage","tag-met","tag-metropolitan-museum-of-art","tag-new-york","tag-photography","tag-rei-kawakubo"],"acf":[],"yoast_head":"\nDeborah Turbeville\u2019s Anti-Fashion Magazine<\/title>\n<meta name=\"description\" content=\"In 1977, we published Turbeville\u2019s \u201cideal fashion 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