• 1968-1969 NYC | Behind the Picture

    Posted by Willy Permalink

    Dear friends, Here I am again with my "story behind the picture" and this time we are going to New York!

    We arrived there in 1968, Salvador, our baby Alejandro and I. We first stayed at the Chelsea Hotel which was already a trip. New York was amazing at that time, so much going on (you can read more about that in my blog). My agency was Eileen Ford whom I knew from my visit there with David Bailey so in that way I was set up. Soon we found a place of our own in 92nd Street between Madison and 5th Avenue which could not be better, few steps away from Central park and the Guggenheim, we even had a garden, how good can it get? Soon we got to know people that we either knew from before or that we met there. We were hanging out a lot with the "Living Theater" whom Salvador knew from Paris and Rome and we had the most incredible parties with them. Honestly there was so much to do that modeling really came in second place for me. We were making leather clothes because a very kind young man invested in us because he liked what we were wearing when he saw us in Central park one day and there was our baby Alejandro, and so many new people to know and so many parties. NY was "hot" at that time, there was a lot going on and the mind expanding drugs were very popular with the people we knew. I have some funny stories about that...


    In our leather designs for Twen magazine article about me, pictures by Andres Holmquist.


    One day walking in the street with our friend Myroslava we met her friend Arthur Elgort who was just starting out taking pictures and he asked us if he could photograph us right then and there... he later gave us all the original prints and this is one of them:


    Picture of Myroslava, Salvador and me with baby Alejandro by Arthur Elgort.


    To model in NY was very different for me than modeling in Paris, London or Milan because they knew me there but here I was sort of unknown and had to go on "go sees", that is going with your book to see photographers and eventual clients, something I did not like and in my book I had mostly pictures by Newton and that did not help as he was not that known in the US at that time. I did some very nice pictures with young photographers we met for tests shots though...


    Here one of the pictures of test shot... sorry don't remember the name of the photographer, he probably became famous...


    But lucky for me there was Harper's Bazaar magazine, in my opinion the best then, and they liked me so once you get booked with them things start flowing. I cannot remember the name of the editor but she was very good and so I worked with Chris von Wangenheim, with whom I had worked before in Milan for Italian Vogue...


    Pictures by Chris von Wangenheim for Bazaar 1968-9.


    and a lot with the great, kind and spiritual photographer James Moore. I just loved to work with him, he was so kind and always so relaxed. He booked me for Bazaar and the New York Times and he also booked me for publicity which was great because the magazines paid next to nothing but it was of course good to be seen so you also got some commercial jobs although I was not that commercial kind of model that was fashionable at that time.


    Pictures by James Moore for Bazaar 1969.


    ... and the pictures here below have a funny story because I was booked with an other model, wish I remembered who it was. I do remember her image but not her name but who knows maybe she reads this? She had 2 acid trips and gave me one so we took it, wow. Usually I did smoke weed, or rather hashish but never on a job, leave alone an acid trip, but she convinced me and soon it started to work and we were going on location for the New York magazine with James Moore and the editor some where near a beach. After a while the other model got so stoned that they were wondering what was going on and they sent her home so now I was alone and completely stoned, I was hallucinating and felt as if I was disappearing in the sand but I made it, I really don't know how but here are the pictures...


    Pictures by James Moore for New York Times color magazine 1969.


    An other funny story was with a very nice photographer, sorry again but don't remember the name and the wonderful model Margrit Ramme. It was a great session for an editorial called " Gypsies" but in this case it was the photographer who gave us the acid trips and we had so much fun. I don't think Margrit took one but the photographer and us we did. At the end of the session he took us to a airport where you could fly small planes. The pilot in the back and you in the front in the open air, OMG it was so scary and specially when Salvador went up and made all kind of acrobatics in the air and me on the ground freaking out, it was amazing, Love the pictures of that session and here are some, maybe someone recognizes the photographer, very nice memory and I only recently found the pictures via Margrit...


    The Gypsy Series.


     Well, I also worked with Bert Stern once and with Scavullo but don't have the pictures but I do have this one by Neil Barr...


    Picture by Neil Barr for Bazaar 1969.


    One day we got arrested because a friend, Alejandro Vallejo, the same friend that is in the pictures with Newton in Morocco when I met my husband Salvador, was staying with us at that time in NY and he had a friend send him some Hashish from Morocco. It was in a suitcase in a double bottom but the rest of the suitcase was empty, so Hello? when the postman rang the bell and said he had a parcel for us we opened the door and right behind him were 2 plainclothes police men with guns in their hands. Wow, they came in and found some other paraphernalia and arrested the 3 of us and brought us to the police station. At a point they told us to go down the stairs and there was a strong lighting like in the studios and several camera men at the bottom so we went down making the peace sign with our hands and smiling. Yes, it was on all the news channels and Eileen Ford who was quietly watching the news got a big shock. It was all a lie though, they said we had arrived at the airport with 60 pounds but it was 1 pound in the mail. Immediately all my jobs were cancelled except for Harper's Bazaar and love them eternally for that. I any case we got out of it by just paying a lawyer a lot of money and it was time to move on. It had all been a great experience, New York so exciting, we met so many people and even went to Woodstock, all that you can read in my blog. This is all for now, told you a lot I think and next time we go to Ibiza and than to Paris.....

    LOVE and PEACE,


  • Valley of the Dolls | Behind the Picture

    Posted by Willy Permalink

    Willy was a darling of some of the best designers the world has ever seen and worked with iconic photographers during one of the most exciting eras in fashion history. Her face has graced every major fashion magazine on the planet that was in circulation during this time period. This month Willy takes us behind the scene and shares the story of how she became a mannequin! It is sort of funny actually because British Vogue actually ran a story along this lines in their January issue but they did not delve down into how it all actually happened to the girl it actually happened to! You can only find that here though you might not find its the happy ending you are expecting.

    Dear friends, wishing you all a healthy and happy 2014, let's make it a year to remember with a smile.

    The other day a friend sent me a scan of a double page in the latest UK Vogue (above - from the January 2014 issue) with the pictures I did with Helmut Newton for the UK Vogue in 1968 with my window dolls. These pictures are illustrating a very nice article by Charlotte Sinclair called " Valley of the Dolls". The article has nothing to do with me but I was going to talk to you about my window dolls anyway because that is where we left off in the last post. I think this is a funny coincidence.

    2 Pages of the Original Vogue spread by Helmut Newton - 1968


    A page from a book about Helmut Newton in which he explains how his fascination with window dolls started

    When I did this pictures with Helmut I had specially come down from Morocco, where I was happily living a dream, because they were also going to officially launch my window doll and that was a big thing. As I told you in my last post, Helmut told me later that if I would not have come to London for that shoot, he would have broken the heads of the dolls and photograph them like that. I don't know if he would have because I did go to London and we did the series for Vogue.

    In the meantime, I was getting a lot of publicity about my Dolls in newspapers and magazines.

    An English paper

    From Stern Magazine. Article by Florentine Bapst and pictures by Bockelberg - Hamburg 1968

    After the shoot with Helmut, I disappeared and went back to Morocco and from there to Sardinia (Italy) and finally to Milan where I had a lot of bookings and did some nice work for Vogue with Chris von Wangenheim and Barbierri. I also did a lot of work with Oliviero Toscani, who was just starting as a photographer and made the pictures in his small living room that he transformed into his Studio during the day.

    While I was in Milan, a Dutch newspaper "De Telegraaf", came to see me and dedicated an entire page to me and my dolls with the head line "Mysterious Willy now Millionaire".


    The Dutch newspaper "De Telegraaf"

    Yes. I was going to be paid one English pound for every doll sold, as stated in the contract made up by my agency "Peter Lumley", and this would go automatically to a special account I had opened in the Barclay bank and they gave me a lovely little dark red bank book. My window dolls traveled a lot and so did I. After Marbella, where I discovered I was pregnant, we went to Sardenia and than back to Milan, where I was working until I started to show. From Milan we decided to go to South America and we ended up, after a long story, in Brazil, in a magic place called Parati. In Brazil I tried to use my bank book but there was no Barclay bank and believe me banks were much more complicated than they are now and because I was so far away from London I did not want to think of it.

    Because my baby was due soon I could not stay in Parati as there was no hospital or doctor to speak of, as a matter of fact I had not seen a doctor anywhere during my entire pregnancy so I was going to LA while my husband, Salvador, stayed in Brazil to do a reportage about the Amazon river for "Paris Match". My time in LA is a fantastic story but will tell that one another time.

    At the last minute I ended up going to Vancouver, Canada, where my sisters were living and had the baby there with all the wonderful care one gets in Canada. Then from Canada back to LA with our baby Alejandro and from there to NY ...all adventures for future posts...

    I did not think about the window dolls, did see them in NY in the windows and did not think more about it at all. I was doing other things and did not know to whom to turn, could not find my bank book anywhere and except for the few times I had used it in Europe, I had not been able to use it ever. I had, in the end, lost that little book.

    It was not till 35 years later that I was reminded of my dolls while I was working in a super wonderful fashion store of a friend in Amsterdam. Apart from making some jewelry for the store and going on the buying trips to Paris for Yōji Yamamoto, Issey Mayake, Comme de Garçons and Galliano and to Milan for Dolce & Gabbana, Romeo Gigli, Marni and some new designers making interesting things. I also made the window displays.

    One day I decided to have the make up of the window dolls (not mine) redone and looked for the best known person or company around and went to see them. I rang the bell and an older man opened the door. He stood as if nailed to the ground and said my name! Wow!

    He then told me that had painted my face on more than 250,000 of my window dolls! They would come from England, without make up, and he painted all the faces for the ones sold to the BeNeLux. ( Belgium, Netherlands, Luxembourg).

    The man who painted my face more than 250,000 times


    Pages from a little photo book by a Dutch photographer -1968

    How in the world could he still recognize me? But ....wait a minute, 250,000 in the Benelux alone??

    I had seen them in Department stores everywhere else over Europe, in Germany, Spain, Italy, England and who knows where else besides America? All together this could add up to at least half a million or more and a pound for each of them? That's a lot of money which should be there for me if everybody has been honest about it, right?

    I started by contacting the Barclay's Bank in London where I used to have my account and after some back and forth it came out that electronically they could not go back more than 30 years and further back it has to be done by hand and is very costly, better to contact a lawyer.

    Well, that is exactly what I did in and around 2004 and they wanted money up front and there it gets complicated for me as I don't know if I can trust that person that far away and if that person is really is knowledgeable on that subject.

    Salvador in front of the "American Store" in Amsterdam where they still had my window doll - 2005

    Voila, my "Valley of the Dolls" story that has no happy ending. The only thing I can think of, (and would be fun - because if it is not fun it is not worth it for me), is to make a documentary and call it "Finding the money" where I am followed to London to try and recover the money that is due to me. That could be a fabulous document I think and even if the money won't get recovered, because of the dishonesty of some people, we can still show the movie and sell it to TV.

    What do you think? Maybe the Dutch newspaper "De Telegraaf" could be right after all!

    LOVE and PEACE like always.    

  • meeting my husband on a Helmut Newton photoshoot

    Posted by Willy Permalink

    Willy was a darling of some of the best designers the world has ever seen and worked with iconic photographers during one of the most exciting eras in fashion history. Her face has graced every major fashion magazine on the planet that was in circulation during this time period. This month Willy takes us behind the scene and shares a very special and personal story on meeting her husband on a Moroccan photo shoot with Helmut Newton. And yes she is still married to her Spanish love :)

    It is still 1967, November to be precise and I am booked with Helmut Newton for 3 weeks in Marrakech, Morocco. There were several different jobs to be photographed, some that were commercial and some editorials for the Observer, which was a color weekly. For part of the publicity pictures I was booked to shoot with Kecia Nyman and for 3 issues for the Observer I was booked to shoot by myself.

    To be in Morocco was already a wonderful thing. I love Morocco and Marrakech. It is just so amazing! The smell of herbs, especially the cumin which I love, and there was cooking everywhere and Oh my… all these incredible beautiful things in the markets...

    For the first job we were staying in the Hotel Mamounia, the best hotel to be in at that time. After a week we had to change hotels because that job had us booked somewhere else and after another week we went back to La Mamounia where we stayed until the end of the three weeks. It's just wonderful to be on location with nice people in such a fairytale place. Great dinners and lovely evenings.

    June, Helmut's wife, was there, along with a whole crew of French people that were taking care of the publicity. One evening after dinner they decided to do a séance and talk to the dead. They got a Ouija board and after a while I just got the inspiration to act like Helmut's mother and I changed my voice and said in German: “Ach meine kleine Helmut, ich liebe dich so”... and wow! Helmut freaked out because that is apparently how his mother used to call him... so funny, he was totally believing it and me too because I don't know why I said it.

    When we were not working Kecia and I would investigate the Souks full of antiques and curiosities, especially the materials called my attention because I am one of those people who makes my own clothes. One early evening when Kecia and I were going around, a young man approached Kecia who was waiting for me at the door of a pharmacy while I was at the counter buying something, and asked her if she and I would have a drink with him and his friend. Kecia said "no, we are in company" and the young man left. I had not seen all this but she told me…

    Later that week when I was by myself in the Souk buying lovely materials, a handsome young man came up to me and asked me bluntly in which Hotel I was staying and I was so surprised that I answered and told him the name of the hotel, he said thank you and disappeared. I thought it was funny and he looked really nice. Anyway, we finished the publicity pictures and the Fashion editor Liz Smith came over from London to do the Observer editorials. Liz Smith was an editor with a very good eye and she always hired the best photographers like Newton or Guy Bourdin... The clothes were wonderful, the weather perfect and all went well. For the second shoot Helmut wanted to use for the pictures he was preparing, 2 young attractive looking guys with an Afghan dog that he had seen around in town. So he sent someone to find them and ask them if they would pose in the photographs he was going to take the next day. They would and so the next day while I was getting ready in the small bus we used for changing, they knocked on the door and there he was, my future husband!

    Little did I know at the moment but there he was, actually there they were but at the moment I only saw him when he introduced himself as Salvador, sat himself beside me and offered me a peace pipe with Kif which we smoked together. I thought he was really funny and saw he was the young man who had asked me in the Souk in which Hotel I was staying!

    The fact is that the 2 men and the dog called "Ruby" were from Spain and were spending some time in Marrakech and now they were here posing for Helmut Newton, although they did not have any idea who he was. Sitting beside him in the first picture made my heart beat faster and the vibrations were strong.... Now we have these far out pictures of our first meeting which I treasure.

    Only very recently I found the original magazine on eBay and was able to get it and the pictures you see here are the pictures from that day!

    Later that day we all got together for drinks and they got paid for the job they did so Helmut gave Salvador a stash of money and said to him, “count it" (Helmut is very precise with money ha ha) but Salvador just looked at the stash and said "looks good" and put it away, I really liked that and everybody was laughing. After the drinks we went dancing and being in his arms made me melt... but the real thing that blew me away after all were his drawings which he showed to me the first day when we, Kecia and I, went to visit Salvador Maron and Alejandro Vallejo Najara in their Hotel. I always had, and have a great love for painting and as a teenager I glued pictures of paintings and painters in my schoolbook while most girls would have their favorite movie stars ...so when I saw his work, I was sold. To this day I am full with admiration for his art.

    But back to the story...

    The very next day I was doing the last pages for the Observer and to make a long story short, I did not go back with the crew to London after that, but to the chagrin of Helmut I stayed in Marrakech! They could not believe I was not coming back and my agency kept calling because I was booked for months ahead as a lot of my pictures, like the Vogue cover by David Bailey and the French Elle with Helmut Newton in Canada. Other Vogue pictures by Helmut and some newspaper articles had just come out to so they tried very hard to have me come back!

    Salvador and I stayed a few months in Morocco in a small hotel where we had rented a room and had white doves flying around and musicians would come and play music for us. We would stroll around, we bought 2 horses and all together were completely in love. At some point I did have to go back to London because they just had made window dolls of my image and they were to be introduced to the public, and Helmut Newton was to do an editorial for Vogue of me and my dolls… “If she does not come”, he said, “I will break the heads and photograph them like that”. I don't know if he would have because I did go to London and we did the series for Vogue.

    Salvador went with me and we were so well received, stayed in a great Hotel, The Crown Hotel I think it was and had a lot of fun. From there we went to Hamburg, Germany for an interview with Florentine Bapst and pictures by Bockelberg... but let’s keep that for next time. Love and Peace dear friends and see you again in the new year.....


    PS. All pictures are by Helmut Newton except the picture in black and white where Salvador and I are together (my all time favorite), which is by a Moroccan friend.


  • NYC & David Bailey | Behind the picture

    Posted by Willy Permalink

    Willy was a darling of some of the best designers the world has ever seen and worked with iconic photographers during one of the most exciting eras in fashion history. Her face has graced every major fashion magazine on the planet that was in circulation during this time period. This month Willy takes us behind the scene to tell us about working with David Bailey in1967 and going to America for the first time! It's a remarkable glimpse into the story behind the picture! (and we sort of think Tyra Banks must have worked with David Bailey after reading Willy's story - Smizing much?)

    Dear friends, I hope you are all fine and well and if you let me I take you now with me on a trip to New York...

    It is still 1967 and this all came about a few months after I arrived in London. David Bailey, who was going to work a week in New York for American Vogue, suggested to the magazine that I go as well to be introduced to America.

    Wow, I had been half around the world but never had been to America and New York seemed a big thing to me!

    When we arrived, David went off with his woman, the beautiful Catherine Deneuve, and I was sort of left alone. When we arrived at the airport they got me a taxi to the St. James hotel and they just disappeared! I remember that the beautiful skyline of New York impressed me a lot, it was just like in the pictures and movies I had seen of it. When I arrived at the marvelous hotel there were flowers waiting for me and a message from Eileen Ford inviting me to her house for dinner! Still, I felt lonely and a bit overwhelmed but went on my way. At Eileen's, who was very kind, I met some models, of which I remember one girl vividly because she was so kind to me and always smiling with that beautiful mouth, that was Maud Adams who later became an actress and was also a James Bond's girl.

    Since I was a bit lonely at the hotel, Eileen invited me to stay at her house (which was a mansion), instead of at the hotel, and that was nice but I did not feel that comfortable as I really did not know anyone there. The next day I was to be at the Vogue studio where David was working. I hung out most of the day watching Lauren Hutton in front of the camera, she made it seem like play and did incredible poses, which impressed me very much. Lauren was so beautiful and moved so well and everybody was so taken by her that they hardly looked at me which made me feel a bit insecure. I felt even more insecure when, by the end of the day David had taken only one picture of me! The best part of the day was Lauren herself, who was so kind to me, I still see her face when she said goodbye and told me "not to worry about anything". As it ended up that one photo did make it into the issue!

    The very next day I had an appointment with the Empress of Vogue, Diane Vreeland herself and of course I dressed the best I could, a white mini dress that I had made up myself and some incredible Italian shoes full of colors I had found, I don't remember where, and flowers in my hair. She received me in her office and asked me to stand about 4 yards away and looked at me like a photographer, putting her hands in a square and look through them. She asked me to turn slowly and observed me from all sides, it was very funny. She then sent me to Richard Avedon's studio and after a confusing trip to get there (that's an other story for another day), I rang the bell of his studio and an assistant opened the door and asked me what I wanted. I said I wanted to see Mr. Avedon and he asked me for my "book" as Mr. Avedon was shooting and.... Stupid me, I had not taken my book from London with me, what was I thinking? Usually when one goes to see an editor or a photographer you take your book with pictures of work you have done and your best pictures of course! Well, I came to NY totally unprepared and had not taken my "book" at all. I had nothing with me, but Diane Vreeland (or maybe it was Eileen) had given me one picture of the flying furs shot from Vogue and I was supposed to show that to Avedon. When the assistant opened the door and asked for my book I showed him that single picture but he dismissed it. I was very shy... and somehow in the clouds because I could have just bought some copies of UK Vogue even because around that time I was in all of them!

    He closed the door in my face before I could say Mrs Vreeland had sent me because that certainly would have opened the door...

    Ah, life goes where it has to go but is a pity that I was turned away because I know it would have been wonderful to work with him. I was not prepared for this trip to be honest, where was my head? Plus I was shy I guess.

    Once back in London I worked several more times with David Bailey that year and it was always a pleasure, he was very funny and easy. He did my British Vogue cover (above) and I always remember he said "smile with your eyes, try to smile with your eyes" and I tried to smile with my eyes...  so funny! I did my own make up (but don't remember the hair stylist) and at the time I remember thinking that this cover was so simple and I really would have liked something extraordinary and very glamorous instead, but as time goes by I actually like the simplicity of it. For the 1975 editorial we went to Wales to a very beautiful place and the pictures came out cool, everything was very simple, no "hush hush, quiet on set" and tons of people around. It was just David and I basically.

    Working with David was always a pleasure and very relaxed.I have lost many of the photos from the years that I worked with him. We did some in Paris in the 1970's when I was living there, but haven't got any pictures of that any longer. That was actually the last time I worked with him and was after the Wales shoot. I would have actually had more photo shoots with Bailey and with Helmut Newton if I would have stayed around more. I was always disappearing in those days. I went for a year to Ibiza, did a year in India and spent a long time in Brazil. I always had many bookings but I would just disappear at times and come back a year later so my pictures are very sporadic and jump years. It was very different then and a model could do this and still have a career.

    Till next time dear friends,
    LOVE and PEACE

    All photos by David Bailey / Top Photo: Vogue UK September 1967  / Below: The only photo that ran in Vogue US



    Below: Vogue UK December 1967



    Below: Vogue UK February 1968


    Below: Vogue UK September 1975

  • Flying Furs | Behind the picture

    Posted by Willy Permalink

    We are over the moon to have sixties & seventies supermodel, Willy van Rooy, join us here at Curate as a regular contributor! Willy was a darling of some of the best designers the world has ever seen and worked with iconic photographers during one of the most exciting eras in fashion history. Her face has graced every major fashion magazine on the planet that was in circulation during this time period. Here, in her debut column, she gives us the behind the scenes scoop on working with Helmut Newton to get these amazing shots that ran in British Vogue for the December 1967 issue. It's a remarkable glimpse into the story behind the picture!

    "Hi, I am Willy van Rooy and I love everything about fashion. I studied Fashion at the Academy of Fine Arts in my home country of Holland for 4 years. When I graduated at the age of 21 and before I started looking for work, I went around the world and ended up in Japan where I did some pictures and movies. Once back in Holland after 3 years of traveling I decided to seriously become a model and with a friend, prepared a "book" using all my own homemade clothes (I learned to sew when I was 9) and I even printed the pictures myself (I learned that when still in school). London was ready and so was I! Bang, it all went very fast!

    In this column I like to take you with me in front of the camera of some fashion shoots for Vogue and Harper's Bazaar done by some of the great photographers - Helmut Newton, David Bailey, James Moore and more....

    It's so funny for me to think that the clothes we were posing in then, are now vintage. When does something become vintage? In the 60's and 70's I loved the 30's and the 40's - the bags, the shoes, the jewelry and the marvelous silk dresses cut on the bias so that it would flow in the breeze around your legs - so sexy! Even my own shoe line from the 80's-90's is now vintage, and me and the pictures I am going to show you here are vintage too.

    We are going back to 1967 to start and the place we are going is "swinging" London.... it is more or less around October and this was not the first time I worked with Helmut Newton for English Vogue. I had always liked the fashion pictures of Newton so when I first came to London with my "book" to be a model in April 1967. I had just turned 26! I was invited by Vogue to meet their Editor In Chef, Beatrix Miller. I told Beatrix that I liked the pictures of Helmut Newton and would like to work with him. The next time he came to London, from his home in Paris, Vogue called me to their office to be introduced to Mr Newton. Ha ha, it was funny and I was sure he was going to book me, which happened. I believe that if you like the work of someone a lot, this person or company will like you in return because you somehow feel the same thing and so it was.

    Before these "Flying Fur" pictures, Helmut had booked me already several times for Vogue editorials and for the French Elle and French Vogue but this particular Vogue spread was quiet an experience.

    It was a sort of cold dreary English weather day and there we went, early in the morning, in a small bus with the clothes, the editor, the assistant, Helmut Newton and I, all on the way to a nearby small airport. No other model to chat with, I was all alone.

    In those days we did our own make up and hair, so that is what I did while he was instructing the pilot. When I was ready and dressed in gorgeous furs and amazing boots, he instructed me to run in front of the plane when it was coming down and to wait for the last moment to start running so he could get the plane near me. You understand we could not do too many takes because the pilot had to come down and go up... and there were 8 changes of clothes to film! How very uncomfortable changing in the car right? Good thing the clothes were wonderful which is not always the case!

    There I was, ready to jump and run... the noise of the motor of the plane was deafening and I was really scared in the end, but I was also very eager to do a good job so I put all my energy into it. Later when it was all done, the pilot told me it had been really very dangerous because once he was going down he could not see exactly how low he was... my goodness, the trouble we go through! But I think it was worth it. Actually it was all very fast and we did all these 8 pages in 1 day and all were published!

    Every time I open a book by Newton, or see an exhibition, I see these pictures. At the last exhibition in Los Angeles I saw they had a video where they mentioned this shoot and how it all had been an idea of June Newton, who was of course also known as the photographer, Alice Springs. Even I did not know that it was her idea and not Helmuts!"

    Love and Peace

    Top Photo - Helmut Newton at work on this shoot
    Below: The " Flying Fur" pictures that appeared in British Vogue, December 1967

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