Shirley Freed

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Story=The Times of Bill Cunningham is a movie starring Bill Cunningham. A new feature film documentary about legendary NYTimes photographer Bill Cunningham year=2018 26 Votes Directed by=Mark Bozek &ref(https://m.media-amazon.com/images/M/MV5BODkyOTg0NDctOGRkYS00ZGZhLWE2YjAtOGNlOTVkZDhjY2ZjXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_UY190_CR0,0,128,190_AL_.jpg) Documentary. ¡ÈIt¡Çs not work, it¡Çs pleasure, ¡É Bill Cunningham said a few years ago. ¡ÈThat¡Çs why I feel so guilty. Everybody else does work ? I have too much fun. ¡É That was typical of the man, one of the greatest and most distinctive fashion journalists of the past 50 years. Cunningham, the longtime New York Times photographer, died over the weekend at the age of 87. Cunningham had suffered a stroke in his apartment on Central Park South about two weeks ago, and was hospitalized. Beloved in fashion circles, Cunningham, who is best known for his candid and street-style photography, was a fixture at fashion shows and on the streets of New York where he was often seen riding his bicycle to events. On early mornings, Cunningham, who habitually sported a blue button-down smock, would be spotted snapping photos of fashion-forward passersby on Fifth Avenue near Bergdorf Goodman. His passing was immediately felt in the fashion community. Before his men¡Çs show began in Paris Sunday night, Thom Browne spoke on the PA system and said: ¡ÈGood evening everyone. Before we start, I thought it would be appropriate to observe a moment of silence for the incomparable Bill Cunningham. ¡É Backstage after the show, Browne told WWD: ¡ÈHe was the original¡ÄI think he meant so much to people who didn¡Çt even realize. It¡Çs not just that he was around for so long, he was just the pure version of what is going on today in reverse to people just taking pictures on the streets and bloggers and all of that. He just cared about being behind the camera, not becoming the celebrity himself, which made him even more of a celebrity. ¡É Although Cunningham¡Çs status had grown in nonfashion circles, following the release of the 2011 documentary ¡ÈBill Cunningham New York, ¡É the photographer generally eschewed the spotlight, preferring to be ¡Èinvisible, ¡É as he told WWD in 2008 during a retrospective of his work. That year, Cunningham had been honored with France¡Çs L¡ÇOrdre National des Arts et des Lettres in Paris where he teared up and spoke about his career and love of fashion, offering: ¡ÈI¡Çm not interested in celebrities with their free dresses. Look at the clothes, the cut, the silhouette, the color. It¡Çs the clothes. Not the celebrity and not the spectacle. ¡É Rick Owens was among designers including Sonia Rykiel and Gareth Pugh who attended Cunningham¡Çs Legion of Honor ceremony. ¡ÈI remember tearing up when he spoke about his primary purpose being the pursuit of beauty in a trembling cracking voice, ¡É he recalled. ¡ÈAnd then when Jean-Luce Huré, his French equivalent, embraced him with them both in tears. ¡ÄWell, I am tearing up right now, just thinking about it. ¡É ¡ÈHe was very popular, just as much in Paris as in New York. He was very modest. He didn¡Çt always have the best seat [at fashion shows], but was always in a great mood. He loved fashion in an incredible way until the end. He jumped for joy after a show he liked, ¡É said Didier Grumbach, then president of the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode, who awarded Cunningham the French legion of honor. It¡Çs Grumbach who asked the French culture ministry to make Cunningham a knight of the Legion of Honor. ¡ÈHe did a lot for Paris. He attended the first Christian Dior show in 1947; he saw the beginning of Yves Saint Laurent, the beginning of ready-to-wear. He was a witness like almost no other. ¡É In an industry characterized by extravagance, status and largess of oversize egos, Cunningham, who chronicled the fashion industry for The Times since the late Seventies, was something of an anomaly for his singular, almost monastic focus on the clothing, not the personalities. Karl Lagerfeld remarked on that and Cunningham, the man. ¡ÈPoor Bill. He was such a mysterious person, ¡É he said. ¡ÈI met him with Antonio Lopez and Juan Ramos around 1970; I had always the feeling they were his closest friends. Everybody liked him but he was not into social life and had no other close friends. No dinners, nothing. He appeared and disappeared after he had done his job. Not many people knew where and how he lived; he was an extremely discreet person. His presence will be missed. What will happen to his incredible archive? ¡É Readers of The Times experienced that passion in Cunningham¡Çs columns ¡ÈEvening Hours¡É and ¡ÈOn the Street, ¡É which included the photographer¡Çs audio commentary. Born on March 13, 1929 in Boston, Cunningham came to New York after dropping out of Harvard University at the age of 19. He got his start at Bonwit¡Çs in the advertising department, but soon began designing hats under his label ¡ÈWilliam J. ¡É His business, which was located on 52nd between Madison and Park, folded when he was drafted during the Korean War, and served a tour in the U. S. Army. Cunningham, who was the first journalist in America to write about Azzedine Alaïa and Jean Paul Gaultier, began his journalism career working for WWD under John B. Fairchild, who had just returned from Paris to New York, and later The Chicago Tribune before joining The Times. His first big break came when he took a chance photo of Greta Garbo, who wore a plain nutria coat that had a silhouette that caught his eye. Cunningham confessed he didn¡Çt notice who he was photographing, but his editors at The Times did. He showed his editor Arthur Gelb a trove of similar photos he had snapped, which Cunningham said in a 2002 piece for The Times called ¡ÈBill on Bill¡É included ¡ÈCornelius Vanderbilt Whitney, the king and queen of Spain and a Kennedy in a fox coat. ¡É Cornelia Guest, daughter of C. Z. Guest, recalled her first encounter with Cunningham. ¡ÈI was a little girl and I met him for the first time with my mother, ¡É she told WWD. ¡ÈWe were coming out of FAO Schwartz and he took our picture. I have known him all my life. He was always ¡ÆMr. Cunningham¡Ç and he always called me ¡Æchild. ¡Ç He was a true gentleman and he made the world a better place. ¡É In a 2002 article, ¡ÈThe Picture Subjects Talk Back, ¡É by Cathy Horyn, Gelb called the photographs a ¡Èturning point¡É for Cunningham. ¡ÈIt gave him recognition beyond fashion, ¡É Gelb said. ¡ÈAnd his street photography was a breakthrough for The Times, because it was the first time the paper had run pictures of well-known people without getting their permission. The Times had always been prissy about that. ¡É In 1978, Cunningham published ¡ÈFacades, ¡É a collection of 128 photographs of Editta Sherman in front of well-known Manhattan buildings. Years later, in 2008, he received the L¡ÇOrdre National des Arts et des Letters and in 2012 he received the Carnegie Hall Medal of Excellence. ¡ÈHe had such an eye, ¡É said Carine Roitfeld. ¡ÈHe paved the way for other photographers. We all dreamt to be featured on his page in The New York Times. It was the page to be on. ¡É Roitfeld recalled the photos Cunningham took of her wearing an Azzedine Alaïa coat in the snow during New York Fashion Week. ¡ÈThey were magnificent, ¡É she said. ¡ÈHe called me ¡Æmy child. ¡Ç ¡ÆHow are you, my child? ¡Ç When you¡Çre a grandmother, it¡Çs nice to be called ¡Æmy child. ¡Ç He was maybe the only person in the fashion world that everyone ??without exception ??liked. He¡Çll be greatly missed. ¡É Street style photographers outside the Lanvin men¡Çs show in Paris on Sunday morning in Paris expressed their sadness about Cunningham¡Çs death. Adam Katz Sinding, whose Le 21ème blog counts 446, 000 Instagram followers, said: ¡ÈI got to spend a day in New York with him at the Cloisters. I was on a train with my ex-girlfriend and he was there. We walked with him the whole day, and he was telling us about the Rockefeller parties that he used to shoot there. Everything that I said to him, I had to repeat two or three times because he couldn¡Çt hear. But it was very cool [to get to spend the day with him]¡ÄI knew who he was at the time I started this [street style photography]. He created the whole thing. There¡Çs no question. ¡É ¡ÈHe was wonderful, always smiling, curious about everything, passionate and so humble! ¡É said Sarah Andelman, creative director and purchasing manager of Colette, who also praised his ¡Èunique eye and incredible sense of observation. ¡É ¡ÈI asked him to do an exhibition. He would always politely answer yes, but clearly he didn¡Çt want to be in the spotlight, ¡É she continued. She said she always thought that he should do a book of his photography. ¡ÈWhen the documentary [¡ÆBill Cunningham New York¡Ç] came out, I saw that everything was organized and archived [¡Ä] I hope that there will be a book and that the next generations will know his extraordinary work, ¡É said Andelman. ¡ÈThere¡Çs no one else like Bill, ¡É said Tommy Ton, the Canadian photographer behind the Jak & Jil blog. ¡ÈIn January, it was pouring rain. The fact that he was willing to stand in the rain while all of us were taking refuge, I thought it was remarkable. Nothing would ever stop Bill. So when I started seeing less of Bill, I was concerned. When the news came, it was very shattering. ¡ÈI don¡Çt even know if this new generation of photographers even knows the imprint of Bill¡Çs work, ¡É Ton continued. ¡ÈHe loved clothes, that¡Çs what mattered. It wasn¡Çt about if someone was a celebrity or what they were wearing. He was interested in telling a story with his pictures. He saw things that no one else could see. ¡É ¡ÈHe was a cultural anthropologist: The fact that he was willing to stand in the cold or ride his bike, the numerous times I heard
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