These era-reflecting images range from the earliest elegantly feminine shoots Avedon shot after being released from active duty as a merchant marine for New York ladies stores B Weistein and Peck & Peck in the mid-Forties, to the highly saturated, energetic and carefree campaigns he shot for Versace in the 1990s. Now, Avedon Advertising, published by Abrams Books, brings together the cannon of Avedon’s advertising campaigns for the first time. Shortly before his death in 2004, Avedon had just wrapped up a campaign for Harry Winston, who he first began working with in 1952. He also had decade-long relationships with a host of luxury brands. From 1962 to 1964, Avedon worked on an astonishing 400 sittings for Du Pont. The only personal record of his campaigns were shoot dates recorded meticulously in calendars by Avedon’s assistants. ‘The wrly wrought surface of fashion photos, that was what we were taught to love,’ Gopnik writes.ĭespite a sixty-year career of producing pivotal and at times controversial advertising campaigns for over 600 clients, including Du Pont, Revlon, Calvin Klein, Dior and Versace, Avedon distanced himself from his commercial work. Gopnik records the debates he had with the photographer around his conviction that Avedon's fashion images were more powerful and existential than his more critically acclaimed visual explorations of American identity, which included the 1985 portrait series In the American West. In his memoir At the Stranger’s Gate: Arrivals in New York, writer and journalist Adam Gopnik recounts his longtime friendship with Richard Avedon.
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