In a de facto commentary on fashion’s manipulation of women, Ms. In some images the outfits are barely visible the same is often true of the models, resulting in an elegiac landscape defined more by absence than by presence. In her fashion work, clothes are almost beside the point. Turbeville’s photos, by contrast, were unsettling, and they were meant to be. They looked, as often as not, as if they had just come from tennis at the country club, though reassuringly free of sweat. The clothes, vividly lighted, were front and center, with the models chosen for their well-scrubbed, patrician femininity. In mid-20th-century America, fashion photography was about precisely that: fashion. “Fashion takes itself more seriously than I do,” she told The New Yorker magazine in 2011.
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