A group of fashionable jet setters pose elegantly at the French Casino Le Touquet as they contemplate their next move in a serious game of what looks like blackjack. The moment is captured for eternity by famed photographer Richard Avedon in August 1954. It was taken around the same time as his now iconic shot of Sunny Harnett at the same location wearing an evening dress by Madame Grès. The group photograph, however, is less dreamy and hazy. Both images feature model Sunny Harnett, yet here she is focused on the game. As she stands behind fellow fashion model Renee Breton the two form an intriguing team. Both otherworldly and aloof the slinky women are grounded through their undeniable involvement in this popular game. Talk about girl power!
Above: Richard Avedon, Sunny Harnett and Renee Breton in evening gowns by Balmain at the Casino Le Touquet, August 1954.
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Below: Screenshots from the 1955 Alfred Hitchcock film To Catch A Thief. Costumes by Edith Head.
The 1955 Alfred Hitchcock classic, To Catch A Thief, is one of my favourite films. When I saw the above Avedon photograph it immediately reminded me of the comical scene in the film, when Cary Grant strategically drops a token into the bodice of the lady sitting in front of him. He then claims that his was a "ten thousand franc plaque" and the lady, too embarrassed to draw more attention to her bust, hands him over her own. The scene takes place quite early in the film, soon after the female protagonist is seen for the first time. It serves to establish Cary Grant's character. Playing a former criminal his mischievous form of cheating seems to suggest that he is still in the business. Yet as the lady blindly hands over her tokens he thanks her saying, "I'll trust you too, I won't count it." Mocking himself Grant's character appears funny and relatable, adjectives that one would not use to describe the austere, highly contrasted Avedon photograph above.
Despite the busy scene portrayed in Avedon's image the eye is immediately drawn to the beautiful plunging necklines of the gowns in the center. The models' dresses almost glow among the bold black suits worn by the interested onlookers that surround them. Seemingly unstylized they pose artfully to best display the intricate leaf appliqué of their haute couture creations. In backstage photographs of the Balmain fashion show we can see the gown worn by Renee as it appeared in color. The pinky brown hue further enhances the autumn leaf motif. Why was it modeled by Renee in the Avedon photograph? Most likely because she was more recognisable, a veteran in the business who posed in the 1947 historic image of the Dior bar-suit by Willy Maywald. Read more about her rarely discussed life here.
Despite the busy scene portrayed in Avedon's image the eye is immediately drawn to the beautiful plunging necklines of the gowns in the center. The models' dresses almost glow among the bold black suits worn by the interested onlookers that surround them. Seemingly unstylized they pose artfully to best display the intricate leaf appliqué of their haute couture creations. In backstage photographs of the Balmain fashion show we can see the gown worn by Renee as it appeared in color. The pinky brown hue further enhances the autumn leaf motif. Why was it modeled by Renee in the Avedon photograph? Most likely because she was more recognisable, a veteran in the business who posed in the 1947 historic image of the Dior bar-suit by Willy Maywald. Read more about her rarely discussed life here.
Mark Shaw, backstage of the Balmain couture show, Paris, 1954.
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Although both the Avedon photograph and the Hitchcock scene take place within a similar setting their atmosphere could not be more distant. The latter portrays a scene full of laughter and cheekiness as the camera pans down just enough to show the décolletage of the lady without breaking any production code rules. It almost pokes fun at the seriousness with which the upper classes approach a casual game of roulette. The photograph instead depicts the luxury casino vision. The swift movement of gentlemen in the background, the pondering faces of opponents, invested gazes of onlookers and, of course, immaculately dressed ladies complete the ideal look. It all reminds us to not become victims of the manufactured image. Just like life in NYC is not full of all the views we see on instagram so too, the daily workings of a casino are not always as perfectly staged as this 1954 Richard Avedon photograph.
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