Guinevere: Film Noir.

The fashion editorial is titled “Film Noir” simply enough, shot by Nathaniel Goldberg for Numero in 2017, styled by David Bradshaw and starring Guinevere Van Seenus as the platinum haired femme fatale.


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I’m sure it was shot for a fashion editorial, but model Pat Jones sure looks like a snoopy reporter or ‘stiletto gumshoe’ hard at work (and stylishly so) in this 1956 William Helburn photo.

Speed Trap.

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Presumably to promote their 2010 film The Bounty Hunter (guess I missed that one), costars Jennifer Aniston and Gerard Butler appeared in W Magazine’s 2010 photo suite “Speed Trap”, a desert noir lensed by Steven Klein.

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Claudia, The Club Chanteuse.

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I’m reminded of Maritta Wolff’s Petey Braun, the brassy nightclub singer from her 1942 novel Night Shift played by Ida Lupino in the 1947 Raoul Walsh film version The Man I Love. Come to think of it, let’s not forget Ida Lupino’s smoky voiced Lily Stevens doing “One For My Baby (And One More For The Road)” with her cigarette smoldering away above the piano’s keyboard in a northwoodsy Road House from the 1948 film of the same name.

But no, it’s Claudia Schiffer, looking a bit wistful but still mighty sultry in this 1990’s Chanel print ad.

Girl With A Job.

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This Erwin Blumenfeld 1942 photo comes from a Harper’s Bazaar fashion editorial, “Girl With A Job”, depicting ‘career girls’ getting the job done with effortless panache in various workplace and afterwork situations.

But I like to think of this model being a wartime ‘stiletto gumshoe’ working a case…maybe busting up a German-American Bund cell or tailing Axis saboteurs to a munitions plant. You know, just your everyday 1942 ‘career gal’ hijinks. Especially since lensman Blumenfeld, a native Berliner himself, fled the Nazis in the 1930’s, first to Paris, then expelled and interned in Casablanca with his family (they barely got out) and then to New York.

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With A $75 Beret.

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Liz Sullivan shoots Sveva and Jonathan Bella back in 1999 for a New York Post fashion editorial called “Bonnie & Clyde Inspired Fashion”. Let’s say ‘loosely’ inspired. Well, model Sveva is wearing a beret in a shot or two, and they did bother to rent a couple of 1930’s Fords and some weaponry. That aside, the link between the Depression-era southwest and clothes from Saks, Ralph Lauren and Emili Pucci is a bit thin. The sleeveless shell Sveva’s wearing at the top went for about $800.

BTW, the beret? Seventy five bucks at J.J. Hat Center, and that was twenty years ago.

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The Fashionable Felon.

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Five months after the release of Arthur Penn and Warren Beatty’s Bonnie And Clyde (soon to win two Academy Awards), Faye Dunaway posed for photographer Milton Greene in “Bonnie: Fashion’s New Darling – Faye Dunaway In A ‘30s Revival”, the cover story and interior fashion editorial in the January 12, 1968 issue of Life magazine.

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Love Story.

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The editorial may be titled “Love Story”, but it’s kind of a darkly noir-ish looking affair, dontcha think? Vincent Peters shoots models Du Juan and Edwin K in “Love Story” for Numero China in 2011.

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Love On The Run.

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Is it only a lover’s clandestine meeting? Or, is something more sinister going on here? It’s usually hard to tell with narrative style fashion photography, and in the end, who cares? The Mikael Jansson shots are deliciously dark in this vintage 2000 Donna Karan campaign photo suite, “Love On The Run”, starring Milla Jovovich and Gary Oldman.

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Through A Glass Darkly.

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“Through A Glass Darkly”: The phrase may be better known for its biblical roots (First Corinthians, Chapter 13) or even Sheridan LeFanu’s deliberate misquote for the title of his 1872 gothic horror story collection In A Glass Darkly, which included Carmilla.

Here the phrase is used for a particularly dark series with Natalia Vodianova as a sometimes sultry and sometimes disheveled femme fatale, shot by master fashion photographer Paolo Roversi for Vogue UK in 2002.

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