Polly mellen biography templates
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Leave it in, don’t take it out! I just wanted to be with him.
I DO OCCASIONALLY FEEL A GREAT DISAPPOINTMENT IN SOME OF THE THINGS THAT I SEE FROM CERTAIN PEOPLE. I will never get tired of looking at work by Francis Bacon or Henry Moore or Francisco Goya. As I mentioned before, you need to make the model feel beautiful and interesting; you have to turn them on, because you’re about to send them downstairs in front of Irving Penn’s camera.
You obviously witnessed many changes in the magazine and fashion industries over the years you were working.
It was burlap or something.
GHESQUIÈRE: To cover them during winter. And she was quick to say, ‘I am the boss, I am the editor-in-chief, it’s my magazine, and I want you to re-do it Polly.’
Dick always refused to reshoot! And then it teaches you so many things that are important in your life, like being a good sport, and not thinking negatively, and always having a good feeling for your fellow man.
And you have to give that privilege back—it doesn’t belong to you. It belongs to the madding crowd.
YOU HAVE TO MOVE FORWARD. When the late photographer was first introduced to her, he didn’t want to work with her because he thought she was “too noisy.” But the spectacular and wide-ranging body of images they ended up producing together—including iconic pictures of up-and-coming models such as Penelope Tree, Patti Hansen, and Lauren Hutton, and their now-famous 1981 nude of actress Nastassja Kinski wearing nothing save an ivory Patricia von Musulin bracelet and elegantly wrapped by a boa constrictor—is not only a testament to the kind of creative chemistry they had, but also to their ability to visually and innovatively capture something singular about fashion, people, politics, history, and the white-lightning essence of a moment in their work.
Born Polly Allen in West Hartford, Connecticut, Mellen attended Miss Porter’s School for girls and later worked as a nurse’s aid during the end of the Second World War, before following her older sister, Nancy, to New York City, where Mellen got a job as a salesgirl at the department store Lord & Taylor.
I don’t mean with conceit, just with straightforward honesty. I mean, I don’t, although other people might.
The people who would have been able to give me my own magazine, they were not insulting me, but they would simply say, “It wouldn’t work for you.” And that was a big disappointment to me. She knew what she wanted, I’m sure, but what was the process when the three of you were working together on shoots?
MELLEN: Well, she would always come to the shoot in the beginning and she would start out by listening.
I’m going to throw up! But we will call it a feature; it will not be in the fashion pages, and that way I can get it published the way I want to.’ Grace knew that the pictures were special, but her point of view, which I obviously respected, was that they don’t belong in thie magazine. I loved it; I mean, I was sitting right there!
How was Mrs.
Vreeland about all this? Now 86, she spends much of her time reveling in the role of mother to her four grown children and grandmother to her five grandchildren—though her life is also filled with a robust physical regimen that includes a steady diet of golf, Pilates, skiing (she prefers downhill), swimming, and gardening.
I always told them, “I want to work in fashion like you do,” and finally, in the late ’40s, I got a job at Lord & Taylor, too. But I don’t know .