Focus: Footnotes

The Sexy, Secret, Sometimes Sordid World of Fashion Photographers

Introduction: Welcome to Terrytown

8 Peck would later  write  of  the  moment:  Jamie  Peck,  “Terry  Richardson Is Really Creepy: One Model’s Story,” March 16, 2010, http://www.thegloss. com/2010/03/16/fashion/terry-richardson-is-really-creepy-one-models-story/.

8 At the same event: Jenna Sauers, “Meet Terry Richardson, the World’s Most F— ked Up Fashion Photographer,” March 16, 2010, meet-terry-richardson-the-worlds-most-fked-up-fashion-photographer.

15 By 1880, more than a dozen fashion journals: Seebohm, Man Who Was Vogue, 36.

Part 1: Innocence

24 The company was named for: Seebohm, Man Who Was Vogue, 28–33.

24 It was founded in 1867: Rowlands, Dash of Daring, 143–44.

25 Hearst’s modus operandi: Chase and Chase, Always in Vogue, 164–66.

25 “had a policy that a photographer”: Steichen,  Life in Photography, Part 7.

25 “fashion photography had become a routine”: Ibid.

25 “The creative life of a commercial photographer”: Livingston, New York School, 295.

26 When she shared her impressions: Rowlands, Dash of Daring, 53–54.

26 “Steichen and I immediately clicked”: Snow with Aswell, World of Carmel Snow, 42.

26 “as inscrutable  as a cup of black coffee”: Ibid., 69.

26 “considered a traitor”: Ibid., 75.

27 “dull and monotonous”: Ibid., 87.

27 “the first action photograph”: Ibid., 88–89.

27 she was introduced to a neighbor: Frissell, untitled manuscript.

28 “I thought, why not take pictures out of doors”: Ibid.

28 Its rise began with Munkácsi”: Davies, “Martin Munkácsi.”

29 “and I saw a fresh, new conception”: Snow with Aswell, World of Carmel Snow, 90.

29 “Brodovitch was to be marked forever”: Purcell,  Alexey Brodovitch, 12.

30 Brodovitch served with the royalist White  Army: Alexey Brodovitch (Philadelphia: Philadelphia College of Art).

30 lived in a “cheap, dirty room”: Purcell,  “Ballet,” unpaginated.

30 “executing décor”: “Alexey Brodovitch Workshop Session Notes.”

30 immersed himself in the great art movements: Purcell,  Alexey Brodovitch, 22–25.

30 Thirty-six  years old when he joined: Alexey Brodovitch (Philadelphia: Philadelphia College of Art),

30 “spat in the face of technique”: Remington and Hodik, Nine Pioneers, 44.

31 “I learned from his impatience”:  Alexey Brodovitch (Philadelphia: Philadelphia College of Art),

31 Brodovitch’s students would gather: Livingston, New York School, 293.

32 “You got no rules or laws”: Finke, “Pro.Files.”

32 “You have remarkable ability”: Alexey Brodovitch (Philadelphia: Philadelphia Col- lege of Art).

32 images that got “under your skin”: Tourdjman and Porter, Alexey Brodovitch.

32 Brodovitch “liked so few of my pictures”: Reynolds, “Focus on Alexey Brodovitch,” 80.

32 “The best writers, the best photographers”: Behar and Guerrin, “Avedon,” 25–27.

32 “It is largely due to Brodovitch”: Grundberg, Brodovitch, 23.

32 “I could have told him”: Ray, Self Portrait, 109.

33 “the stranglehold of reality”: Baldwin, Man Ray, 189.

33 “Louise, who has a healthy ego”: Snow with Aswell, World of Carmel Snow, 99.

33 Snow wanted more color: Rowlands, Dash of Daring, 207.

33 “She developed color photography  to its ultimate”: Snow with Aswell, World of Car- mel Snow, 98.

34 “to prove to myself”: CECOM, Women in War.

34 On her return to the States: Frissell, untitled manuscript.

34 Dahl-Wolfe objected: Rowlands, Dash of Daring, 332.

35 “I developed and printed all night long”: Blumenfeld,  Eye to I, 251.

35 “I started life as a sexless sexual maniac”: Ibid., 99.

35 “he seemed to make no headway”: Ewing and Schinz, Blumenfeld Photographs, 83.

35 “Every Friday I would wait”: Blumenfeld,  Eye to I, 266.

35 “The doors to the drawing-room of the world”: Ibid.

36 “I haven’t a clue about photography”: Ewing and Schinz, Blumenfeld Photographs, 89.

36 “I still could have fled”: Blumenfeld,  Eye to I, 56.

37 After borrowing money to buy a suit: Ibid., 328.

38 “a useful method of documentation”: Kazanjian and Tomkins, Alex, 8.

38 “scored points”: Rowlands, Dash of Daring, 190.

39 Alex showed his first artistic inclinations: Kazanjian and Tomkins, Alex, 57.

40 Her first marriage was crumbling: du Plessix Gray, Them, 130.

40 Liberman was fired after a week at Vogue: Kazanjian and Tomkins, Alex, 107.

40 Crowinshield declared the newcomer: Ibid., 115.

41 He was expert: du Plessix Gray, Them, 301.

41 “I was cheaper, probably”: Maier, Newhouse, 54.

41 “more imaginative and refined”: Kazanjian and Tomkins, Alex, 137.

41 “Elegance was Brodovitch’s strong point”: Ibid., 143.

41 “one of Alex’s finest achievements”: du Plessix Gray, Them, 305.

42 “At eleven  o’clock at night”: “Alexey Brodovitch Workshop Session Notes.”

42 Penn bought his first camera: Penn,  Passage, 10.

42 “much too evolved for the job”: Ibid., 14.

42 “So close has their working relationship been”: Szarkowski, Irving Penn, 21.

42 “they just gave me the back of the hand”: Kazanjian and Tomkins, Alex, 139.

42 Liberman suggested another route: Szarkowski, Irving Penn, 21.

44 they traveled across France together:  Rowlands, Dash of Daring, 308–9.

44 “a confused world of novices”: Snow with Aswell, World of Carmel Snow, 153.

44 “I was brought up on Harper’s Bazaar”: Collins,  “Avedon,” 278–87.

45 “When I was a boy”: Avedon, “Borrowed Dogs,” 52–64.

45 “The family emphasis was on survival”: Michener, “Avedon Look,” 58.

45 “a manic autograph hound”: Ibid.

45 “I was a family gag”: Richard Avedon, directed  by Whitney.

46 “I’m such a Jew”: Ibid.

46 “The longings of my almost  adolescence”: Livingston, New York School, 337.

46 “We all photographed Louise”: Michener, “Avedon Look.”

46 “grew up with not just a sense”: Hodenfield, “Richard  Avedon,” 20.

47 “a mire of muddy paths”: Beebe, “This  Is Sheepshead Bay.”

47 “I must have taken pictures”: Livingston, New York School, 337.

47 “His wiry body”: Bosworth,  Diane Arbus, 221.

47 “I couldn’t speak, I couldn’t  cope”: Michener, “Avedon Look.”

48 He then reportedly hired: Sargeant,  “Woman Entering,” 49–84.

48 “The management decided to hang them”: Avedon, “My First Sale,” 6.

48 Avedon “tried to weasel out of it”: Livingston, “Art of Richard  Avedon,” 12.

48 “A slim, dark, eager young man”: Snow with Aswell, World of Carmel Snow, 155.

48 “neurotic completely”: “Alexey Brodovitch Workshop Session Notes.”

48 “If you can bring that tension to fashion”: Michener, “Avedon Look.”

49 “I tried to do what I thought Harper’s Bazaar wanted”: “Alexey Brodovitch Work- shop Session Notes.”

49 “So I  took my  own  models”: Ephron,  “Big  Name   Photographers:  Richard Avedon.”

49 a six-page spread resulted: Squiers and Aletti, Avedon Fashion.

49 “technically very bad”: Sargeant,  “Woman Entering.”

49 “The humanity came from Carmel Snow”: Richard Avedon, directed  by Whitney.

49 Bazaar “paid less than anybody”: Rowlands, Dash of Daring, 345.

50 “She was damaged by her beauty”: Collins,  “Avedon.”

50 “The conspiracy between her beauty, her illness and her death”: Livingston, “Art of Richard  Avedon,” 101.

50 “When I began to photograph”: Richard Avedon, directed  by Whitney.

51 “And then I simply felt I couldn’t publish”: Livingston, New York School, 339.

52 “After that first ‘secret’ trip”: Bussard, Unfamiliar Streets, 37.

53 “There was no sleeping”: Richard Avedon, directed  by Whitney.

55 “arsedirectors”: Man Who Shot Beautiful Women, directed  by Watson.

58 “I do photograph what I was afraid of”: Richard Avedon, directed  by Whitney.

60 “Everything that happened to Suzy”: Jacobs, “Everyone  Fell for Suzy.”

60 make them “look like real women”: Battelle, “‘Scarecrows’ Sell Clothes.”

62 “Also, I have to control what I shoot”: Sargeant,  “Woman Entering.”

62 “Maybe the Marquis”: Avedon and Thurman, Made in France.

62 “He may be assigning to the Marais courtyard”: Bussard, Unfamiliar Streets, 196.

63 She didn’t like McKay: Buchwald, “The  Horse-Faced Girl.”

63 Reginald Kernan, a sportswriter: Buchwald, “Real Doctor’s  Dilemma,” 5B.

63 “Our rapport was built from sitting to sitting”: Avedon and  Thurman, Made in France.

63 “When you were working with Dick”: Michener, “Avedon Look.”

64 they started rocking a car: Richard Avedon, directed  by Whitney.

64 Avedon would later compare himself: Avedon and Thurman, Made in France.

65 “offering to work hard and cheaply”: Steinbicker, Assisting Avedon.

67 “He had no compunctions”: Ibid.

69 Snow became “more and more peremptory”: Snow with Aswell, World of Carmel Snow, 203.

70 “I was established by then”: Rowlands, Dash of Daring, 471–75.

70 His marriage was loveless: Ibid.

70 It “established a new standard”: Livingston, New York School, 267–69.

70 both of them were impelled to: Ibid., 270–71.

71 he and Brodovitch concocted a spy camera: Ibid., 297–98.

71 “The waves that went out from Harper’s Bazaar”: Livingston, “Art of Richard Avedon.”

71 Vreeland was “a brilliant fashion editor”: Dwight,  Diana Vreeland.

71 “a very good typographer”: “Alexey Brodovitch Workshop Session Notes.”

71 “The new art director”: Dahl-Wolfe, Photographer’s Scrapbook, 145.

73 A transcript of those sessions: Except  where  otherwise noted,  the  source  of all quotations in this section is “Alexey Brodovitch Workshop Session Notes.”

73 “I was much more sour”: Miller, “Striking  Addiction to Reality,” 346.

74 “those silly LV emblems”: Steinbicker, Assisting Avedon.

73 “The march on the war”: Hodenfield, “Richard  Avedon,” 20.

73 “its white background”: Livingston, New York School, 269.

76 Both were “very insecure”: Bosworth,  Diane Arbus, 222.

Part 2: Experience

82 “Her beautiful body shone”: Stern,  Adventures, 15.

82 “How’s this for thirty-six?”: Bert Stern, directed  by Laumeister.

83 “for the sake of an image”: Stern,  Adventures, 16.

83 his name would be “lost to history”: Ibid., 8.

83 “My life was nothing”: Bert Stern, directed  by Laumeister.

83 “Superman was my only reality”: Stern,  Adventures, 9.

84 a commercial photographer nudged him: Ibid.

84 its “pseudo art director”: Bert Stern, directed  by Laumeister.

85 “I think Penn was right”: Ephron, “Big Name  Photographers: Bert Stern.”

85 “very dangerous . . . too beautiful”: Bert Stern, directed  by Laumeister.

87 “I couldn’t depend on him”: Kent, Once a Dancer, 109–10.

87 Their first night of marriage: Ibid., 118–24.

88 “stodgy and pedestrian”: Kazanjian and Tomkins, Alex, 143.

88 “Alex was careful”: Ibid., 204.

89 He joined Pat Patcévitch: Ibid., 219.

89 “Alex instantly jumped into the lap”: du Plessix Gray, Them, 309.

89 art director Miki Denhof walked him through: Felsenthal, Citizen Newhouse, 161.

91 The McCann Erickson agency hired them: Halebian, “Bert Stern Story,” 28–53.

92 Shooting Sophia Loren: Ibid.

92 “I’m trying to get at the way women are”: Ephron, “Big Name  Photographers: Bert Stern.”

92 From Allegra Kent’s perspective: Kent, Once a Dancer, 135.

93 Stern asked her to pose for a lingerie ad: Lisanti, Pamela Tiffin.

93 Bert visited Allegra in California: Kent, Once a Dancer, 150–53.

93 “There were certain unmistakable signs”: Ibid., 183.

98 “Shit, this is the game”: Duffy, Duffy, 21.

99 Lady Rendlesham was unlike: Ibid., 23.

99 “had a slightly effeminate approach”: Ibid., 18.

99 “People like myself”: Ibid., 17.

100  in “pre-swinging London”: Ibid., 14–15.

100  “We’ve all got different versions”: Ibid., 18.

101  “In a flash, I decided to end it”: Duffy, directed  by Brusasco.

103  “Bailey and I shagged ourselves”: Gross, Model, 170.

104  “We were just workers”: Duffy, directed  by Brusasco.

104  “after a night of drinking”: Dwight,  Diana Vreeland, 153.

110  “It was as though we were two brothers”: Livingston, Art of Richard Avedon, 35.

110  Israel was an avid promoter: Bosworth,  Diane Arbus, 199.

110  he was not only protected but pampered: Squiers and Aletti, Avedon Fashion, 177.

111  “He was a major influence”: Henry Wolf,  Hopeless  but Not  Serious (privately printed, n.d.).

111  a growing friendship with Arbus: Bosworth,  Diane Arbus, 223.

113  the countess’s mother had objected: Wilson, “It Happened Last Night,” 6C.

113  The easily shocked Nancy White: Squiers and Aletti, Avedon Fashion, 178.

113  “Dick Avedon often felt like tearing out his hair”: Bosworth,  Diane Arbus, 213.

114  “Henry Wolf allowed me to be personal”: Gross, Model, 231.

114  “a typical Vreeland pose”: Avedon, Evidence, 145.

115  Shooting over the Pont Alexandre III: Stopin,  “Sky over Paris.”

118  “I would start dancing in the air”: Ibid.

119  “the new Avedon”: Friedman, “Imposing Proportions,” 70–73.

119  He even asked to work with Deborah Turbeville: Eisner  and  Alonso,  “Trouble with Bob,” 68.

119  “to celebrate the cynicism, narcissism and boredom”: Livingston, “Art of Richard Avedon,” 50.

119  “Everyone read something different into the pictures”: “Alexey Brodovitch Work- shop Session Notes.”

121  the Stones came to America: Warhol and Hackett, POPism, 81.

121  Tom Wolfe covered the affair: Wolfe, “Girl of the Year.”

122  “the greatest fashion photographer in the world”: Shrimpton, Autobiography, 97–99.

123  A magazine writer was there: Friedman, “Imposing Proportions.”

124  “You can’t fuck and photograph”: Haden-Guest, “Richard  Avedon,” 46, 49.

124  “All photographers have their quirks”: Shrimpton, Autobiography, 132.

125  In 1960, Stern claimed: Stern,  Adventures, 17.

127  he met with Alex Liberman: Richard Avedon, directed  by Whitney.

129  She found dealing with Avedon’s ego: Mirabella,  In and Out of Vogue, 121–22.

130  she dashed off a note to Dick: Vreeland, Memos, 124.

130  she criticized a cover photo: Ibid., 130.

130  Avedon had, in fact, seen the writing on the wall: du Plessix Gray, Them, 240–42.

131  a young society girl named Penelope Tree: Davis, Party of the Century, 227.

134  “Somehow,” Kent wrote later: Kent, Once a Dancer, 184–86.

137  The Leipzig-born Freymann: Rensberger, “Two  Doctors Here  Known,”  48.

138  He’d leave Allegra at 7:00 a.m.: Kent, Once a Dancer, 197–99.

140  “Dian Parkinson didn’t exist”: Cornfield, Photo Illustration, 37–38.

142  On a visit to the studio: Ibid., 15.

142  “There’s never enough money”: Aronson,  “Stern,”  10.

143  Savvy customers, Stern among them: Rensberger, “Two  Doctors Here  Known.”

144  “Bert was headed toward a point of no return”: Kent, Once a Dancer, 216–17.

144  Then, he unexpectedly invited Allegra: Ibid., 219–20.

145  “Bloody well tell Mr. Stern”: Cornfeld, Photo Illustration, 21.

145  Vreeland made one of her rare visits: Ibid., 14–15.

146  Allegra Kent speculates: Kent, Once a Dancer, 226.

149  he fled while being taken to the dentist: Ibid., 232–33.

150  Bert had fired a starter pistol: Ibid., 235.

150  he got tossed out of his house: Ibid., 236.

153  “She ruined my life”: Ibid., 246–47.

155  And Allegra Kent showed up: Klemesrud, “Evening  Hours,” B8.

Part 3: Indulgence

173  He was sent to military prison: Heller, “Elle of a Life,” 34–45.

173  “unexpected and charming”: Vienne,  “Hélène Gordon-Lazareff.”

174  Newton bought his first box camera: Newton, Autobiography, 53, 57.

174  Discharged in 1946: Ibid., 128.

175  “She  could tell  that   I   was  a  fan   of  the  opposite sex”: Vienne,   “Hélène Gordon-Lazareff.”

175  “I was followed by their hollow laughter”: Newton, Autobiography, 157.

180  encouraged by Man Ray: Haden-Guest, “Return of Guy Bourdin,” 136–46.

181  he reconstructed her death scene: Ibid.

185  She showed Brinkley’s pictures to Houlès: Dickinson, No Lifeguard on Duty, 140.

194  “You could think he was a sadist”: Gross, Model, 263.

195  “It was like trying to catch up with a wild horse”: du Plessix Gray, Them, 281–82.

195  Avedon’s trip to Japan: Dwight,  Diana Vreeland, 158.

195  Vreeland sent Bailey to India: Mirabella,  In and Out of Vogue, 131.

195  “I know how to handle those men”: Ibid., 133.

195  At a meeting with Si Newhouse: Dwight,  Diana Vreeland, 183.

195  “I had a very bad dream”: Maier, Newhouse, 59.

196  “the $8 billion American fashion industry”: Christy, “Self Determination Applies,” A-13.

196  Condé Nast was actually quite generous: du Plessix Gray, Them, 284.

196  severance and a $20,000-a-year pension: Gross, Rogues’ Gallery, 378.

197  “He’s the villain”: Lerman, Grand Surprise, 144.

197  “monstrous . . . hard, hollow,  cold”: Ibid., 357, 384.

198  “hated one another”: Brady, Superchic, 226.

199  “Fashion is out of style”: Christy, “Fine Definition of Style,” 19.

202  Bill realized taking pictures: Fried, “Fashion’s Dark King,” 109–24.

202  On a trip back to New York: Ibid.

204  Bill introduced Harry to one of them: Ibid.

208  “The last time I saw really great clothes”: Hyde, “Fashion  Notes,” F3.

208  he went to Vietnam: Emerson, “Avedon Photographs a Harsh  Vietnam,”  52.

208  “It was just criminal of me”: Wallach,  “Richard  Avedon Looks Straight,” P16.

209  Grace Mirabella preferred: Mirabella,  In and Out of Vogue, 121–22.

209  When he summoned her: Ibid., 143.

209  “There was resentment”: Richard Avedon, directed  by Whitney.

209  “The narratives were far fewer”: Squiers and Aletti, Avedon Fashion, 275.

213  But he was hobbled: Hodenfield, “Richard  Avedon.”

214  “the definition of being a man”: Richard Avedon, directed  by Whitney.

215  The magazine’s editors asked him: Avedon, “Family 1976.”

215  “a kind of closure”: Squiers and Aletti, Avedon Fashion, 275.

216  Mirabella wanted models: Mirabella,  In and Out of Vogue, 154.

216  His ability to capture: Ibid., 155.

000  Peterson told him: Di Grappa, Fashion.

Part 4: Decadence

224  “slightly aberrational”: Morgan, “ ‘I’m the Biggest Model.’ ”

224  “pathological . . . clamorous and unsavory”: Kramer,  “Dubious Art of Fashion Photography,” 100.

224  “This is a development likely to be disturbing”:  Ibid.

224  In the months before that call: Newton, Autobiography, 194–98.

225  “Everything seems to cure itself ”: Ibid., 202–3.

227  “My favorite photos”: Ibid., 270–71.

228  “one of the more bizarre photography  books”: “Book Ends,”  New York Times Book Review.

229  “typically European disdain”: Mirabella,  In and Out of Vogue, 159–61.

231  Turbeville hated the job: Jobey, “Last Tango in Paris.”

232  In Turbeville’s telling: Image Makers: Deborah Turbeville.

232  “I was asked to leave the magazine”: Ibid.

233  “I went into a store”: Taylor, “Deborah Turbeville Look,” 27.

233  “If it hadn’t been for the two of them”: Goldberg, “Hidden Versailles,” 15–19.

233  “I was able to ask them”:, Voguepedia.

233  “Her models loll about”: Dillon,  “Deborah Turbeville.”

233  Alexander Liberman summoned her: Turbeville, Fashion Pictures.

234  “done in complete innocence”: Gross, “Turbeville,” 335.

235  “I am totally different”: Reed, Fifty Fashion Looks.

236  he bought the right to publish: Fried, Thing of Beauty.

238  Mike Reinhardt liked to smoke pot: Gross, Model, 328.

241  Chris started taking pictures: Garner, “Most  Underrated  Photographers,” 61, 89, 102.

241  “I worked with shock effects”: Di Grappa, Fashion.

241  That had been the case: Ibid.

241  “The violence is in our culture”: “Sexes,” Time.

242  “a very erotic dog”: Zwingle,  “Inside Advertising,”  102–3.

244  a growing cocaine habit: Fried, Thing of Beauty, 257.

244  “Violence in fashion is over”: Zwingle,  “Inside Advertising.”

252  The CBS affiliate in Los Angeles: Reichert, Erotic History of Advertising.

253  “fashion hell”: Richard Avedon, directed  by Whitney.

253  Avedon “cancelled his [Condé Nast] contract”: Squiers  and Aletti, Avedon Fashion, 276.

255  “The fear of death”: Goldberg, “Richard  Avedon’s Own True West.”

255  A brief New  Yorker  obituary: Adam Gopnik, “Richard  Avedon,”  New Yorker, October 11, 2004.

Part 5: Domination

272  she would lend him money: Muir, “All Is Finally Revealed,” 12.

275  “gay men and the gay sensibility”: Kamp, “It All Started  Here,” 343–55.

279  Provocation got attention: Gross, “New Fashion  Ads,” 52.

279  Bourdin was thrown in jail: Haden-Guest, “Return of Guy Bourdin.”

280  debilitating stomach pains: Ibid.

281  “It’s a world I know well”: Adam, Not Drowning but Waving, 439–40.

282  “The mouthwatering, handsome, narcissistic people”: Ibid., 380–82.

282  “brazen, stylish, sometimes vulgar”: Ibid., 402–3.

286  “It means I have one over on them”: Fried, “Fashion’s Dark King.”

286  make the cosmetics look like medical products: Tungate, Branded Beauty.

287  King’s housekeeper complained: Fried, “Fashion’s Dark King.”

288  He was regularly summoned: Deposition of John Daniel Turner.

295  “tried to boost his immune system”: Fried, “Fashion’s Dark King.”

296  King had continued to take cocaine: Deposition  of John Daniel Turner.

297  “He would have done anything”: Ibid.

301  “A bad copy”: Conant, “Sexy Does It,” 62.

304  “Kate Moss in a rice paddy”: Aletti, “Photoshop,” 68.

305  “some high-school in-crowd”: McKenna, “Beyond the Ads,” C5.

305  “catching a kid at that really vulnerable time”: Halpert, “Bruce Weber,” 48.

305  “nothing remotely shocking”: McClure, “Relentless  Paeans,” 15.

308  “I don’t think you sell clothes”: Lipsky-Karasz, “Memo Pad,” 3.

310  “Magazines are a rearguard action”: Kazanjian and Tomkins, Alex, 359.

Part 6: Disruption

313  “the fashion of no fashion”: Gross, “Paris When It Dithers,” 35–38.

315  they would later announce their engagement: Gross, Model, 421–24.

322  Wintour  might return to America: Gross,  “Notes on Fashion,”  New York Times, May 5, 1987, C-12.

324  Steven gives her, her magazine basically: “Steven  Meisel”  (Photographers Lec- ture  Series,  International Center of Photography, New  York, NY,  February 19, 1992).

327  Day was the child of: Callahan, Champagne Supernovas, 1.

328  Day cooked up an idea: Ibid., 11.

330  “I’m not having as much fun”: Gross, “Madonna’s  Magician,”  28–36.

336  “louche and dishabille”: Callahan, Champagne Supernovas, 71.

338  she was bitter: Ibid., 93–94.

341  Klein’s basement porn campaign: “Lowest Moments in Advertising,”  Adweek, 38.

341  “Girls treat rehab like a spa”: Walden, “Why Black Is ‘the New Black,’ ” 22.

342  “the most nauseatingly  tasteless fashion pictures ever”: Saner, “Tasteless  Line,” 3.

342  “Clothes are such shit now”: de Looz, “Who Is Steven Meisel?,” 61–86.

342  Bob Dole lashed out: Dowd, “Liberties;  Plagues, Comets, Values,” 13.

343  the Times  presciently predicted: Woodward, “Whither Fashion  Photography?,” 55.

343  “Fashion is based on a whole series of quick about-turns”: Cotton, Imperfect Beauty, 16.

346  “it is generally understood”: Sanders, Poynter, and Derrick, Impossible Image.

348  “Ten years, it was a hell of a lot of fun”: Madison,  “She’s a Politician.”

350  “Intensely image-conscious companies”: Lockwood, “Fashion  Advertising.”

351  “Almost overnight, rawness was replaced”: Linda  Watson, “Corinne Day: Pho- tographer Celebrated for Her  Groundbreaking Work  with Kate Moss,” Inde- pendent, September 6, 2010.

351  “What I found interesting”: Garrat, “I’m a Photography Junkie.”

Epilogue: Return to Terrytown

352  An older brother was an athlete: Richardson, Bob Richardson, 236–46.

352  “Being an outsider”: Ibid., 249.

353  “two young adults making a serious mistake”: Ibid., 255.

353  he suffered memory lapses: Sischy, “Exposure,”  45.

353  his wife had a drinking problem: Richardson, Bob Richardson, 256.

353  “a friend gave me a Rolleiflex”: Ibid., 248.

353  “I told him to go fuck himself”: Ibid., 256.

353  “I hated fashion”: Gross, Model, 230.

353 “When he got an assignment”: Zahm, “Terry Richardson’s Life Story—Episode 1.”

354  “That really clicked”: Ibid.

355  “Danger fascinated me”: Richardson, Bob Richardson, 239.

355  “We’d get stoned”: Gross, Model, 234.

357  “They would have a shot set up”: Zahm,   “Terry Richardson’s   Life  Story— Episode  1.”

357  they started swinging: Richardson, Bob Richardson, 260.

357  “visions of him in a room”: Zahm,  “Terry Richardson’s  Life Story—Episode 1.”

358  “a beautiful, dangerous foreign movie”: Huston, Story Lately Told, 199.

358  “almost an out-of-body  experience”: Ibid., 202.

358  “My mom pleaded with him”: Zahm,  “Terry Richardson’s  Life Story—Episode 2.”

359  had mistaken Bob’s need for dominance: Huston, Story Lately Told, 209–12.

360  Richardson’s Nikons were stolen: Ibid., 232.

360  “right in front of me”: Zahm,  “Terry Richardson’s  Life Story—Episode 2.”

361  “Where’s my mother?”: Ibid.

361  Terry tried suicide: Wallace, “Terry Richardson Shot Himself,”  28–35, 130.

361  “He was running wild”: Richardson, Bob Richardson, 264.

361  Huston invited them on a fishing trip: Huston, Story Lately Told, 241.

361  the fishing trip turned out badly: Ibid., 247–48.

361  Terry ended up in a shower with a model: LaBruce,  “Terry Richardson, 1998.”

362  “It was getting almost impossible to work”: Richardson, Bob Richardson, 261.

362  The end of the seventies were a jumble: Ibid., 264–65.

363  foggy streets at dawn: Ibid., 268.

363  Terry Richardson had been busy: Zahm,  “Terry Richardson’s  Life Story—Epi- sode 4.”

364  “I inherited all the schizophrenia”: LaBruce,  “Terry Richardson, 1998.”

364  “I tried to strangle him”: O’Hagan, “Good  Clean Fun?”

364  “to get lost:” Sischy, “Exposure.”

364  “a hatchet  job”: Ibid., 272.

364  “living with this millionaire”: LaBruce,  “Terry Richardson, 1998.”

364  “because I was from Hollywood”: Wallace, “Terry Richardson Shot Himself.”

365  “got into more trouble”: Zahm,  “Terry Richardson’s  Life Story—Episode 4.”

365  “He would send me his contact sheets”: Richardson, Bob Richardson, 268.

365  “a motif of childhood defiled”: Wallace, “Terry Richardson Shot Himself.”

365  “Editing his work”: Richardson, Bob Richardson, 271.

366  “They ignored me”: Ibid., 268–69.

367  “How do these broads get their jobs?”: Ibid., 246.

367  “It’s great to have a son”: Ibid., 248.

370  “This is my life’s work”: Richardson, Kibosh.

370  he was working out “lots of stuff ”: O’Hagan, “Good  Clean Fun?”

370  “high as a kite”: Eaton,  “Terry Richardson’s  Dark Room.”

370  “I was single”: Holson, “Naughty Knave.”

371  “self-made images of Terry thrusting”: O’Hagan, “Good  Clean Fun?”

371  a Richardson  “side project”: Eaton,  “Terry Richardson’s  Dark Room.”

372  “That was the end of the story”: Picture Me: A Model’s Diary, directed  by Sara Ziff, 2009.