A Quote by Robert Gottlieb

'The Leaves Are Fading' had something of a vogue when Antony Tudor made it in 1975, largely because of Gelsey Kirkland's ravishing performance. — © Robert Gottlieb
'The Leaves Are Fading' had something of a vogue when Antony Tudor made it in 1975, largely because of Gelsey Kirkland's ravishing performance.
Gelsey Kirkland has had more than her share of demons, as her two distressing memoirs - and her violently checkered career - attest.
I embody 'Ravishing.' I come out in the most ravishing dress. I have a ravishing entrance. I'm ravishing people's hearts.
Everything I was being shown was ABT, so I grew up watching these videos of [Mikhail] Baryshnikov, Gelsey [Kirkland] and Paloma [Herrera]. Paloma and Angel [Corella] were the first people I ever saw dance live.
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
Sometimes I spend all day in my dressing gown. But if I do dress, I make myself ravishing because then, I feel ravishing.
Vogue Magazine does something really interesting here: They make it look like I know exactly what I'm doing. Because Vogue made it look like I knew exactly what I'm doing, stores from all over started calling.
Patrick Demarchelier was the one who got me my first 'Vogue' cover. It was French 'Vogue' - I think in '87 or '88. I think I was the first black model to be on the cover of French Vogue, which was shocking to me because when I asked them about it, they were like, 'Oh, no. We've never had that before.'
Patrick Demarchelier was the one who got me my first Vogue cover. It was French Vogue - I think in ’87 or ’88. I think I was the first black model to be on the cover of French Vogue, which was shocking to me because when I asked them about it, they were like, "Oh, no. We’ve never had that before."
My father's rooms, as a child, were a very exciting place to be. Not only because of the beautiful models who were coming to be photographed for Vogue or The Sunday Times but also because of the very avant-garde furniture that he had made. He made designs for the investiture of the Prince of Wales in 1969 at Caernarfon Castle.
When I graduated from school, World War II was still going on. At the time, my eldest sister, Nancy, was working in New York City at Lord & Taylor, and she had a great friend named Sally Kirkland who she worked with there and who later went to work as an editor at Vogue. 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.
I wouldn't dream of commenting on Hilary Mantel as a novelist, frankly I'd be grateful if she stayed off my patch as a historian. She is intelligent, she is bright, she is an admirable writer. I happen to find her Tudor novels unreadable, but that's because I am a Tudor historian.
It was 1975. I had spent the year at the Boston Museum School doing some very bizarre performance works. The last one included going to the North Magnetic Pole and spending all of my money.
African famine is not a visitation of fate. It is largely man-made, and the men who made it are largely Africans.
We are not telling Tudor history; we are creating ' Wolf Hall ' from novels, which are already a rereading of Tudor history.
When I made 'Polly Maggoo,' it was more or less the end of this collaboration with 'Vogue' because I made a caricature of the editor-in-chief and the fashion people, so they didn't really adore me.
She made a ravishing corpse.
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