Celebrating Bill Cunningham On view June 8 – September 9, 2018

Selected PR Images

Celebrating Bill Cunningham marks the New-York Historical Society’s recent acquisition of objects, personal correspondence, ephemera, and photographs that reflect the life and work of Bill Cunningham, one of the late 20th century’s most influential trend-spotters and style authorities. The legendary New York Times journalist and photographer was frequently spied on the city’s streets, at fashion shows, and elegant soirées capturing images of New York’s fashion innovators and cultural glitterati.

Savinien Caracostea Bill Cunningham, (part of the Friends Series), December 2014 Bill Cunningham (1929−2016) was one of New York’s most beloved public figures. A man of unquenchable creativity with a tirelessly inquisitive mind, he was equally passionate about politics and art, and maintained an unstinting devotion to his close friends.

Unidentified photographer Bill Cunningham with camera, October 1974 New-York Historical Society Library, Melanie Tinnelly Collection of Photographs of or by Bill Cunningham and Toni “Suzette” Cimino. Cunningham’s career as a photojournalist began in 1966. While in London covering fashion for the Chicago Tribune, he met the distinguished photographer, David Montgomery. Cunningham told the photographer about his interest in photographing the styles he observed at fashion shows. Several months later, Montgomery gave him this camera to record his observations.

William J. Beach hat, 1960; label, ca. 1960 Raffia, velvet, silk, rooster feathers, wire, silk; grosgrain Purchase, Coaching Club Acquisitions Fund, New-York Historical Society, 2017.63.1-.2 Cunningham began his long career in New York as a milliner. His stylish “William J.” hats mingled innovative forms with naturalistic ornament. Elegant and whimsical, his hats were favored by upscale clients who enjoyed wearing fashionable works of art. Cunningham’s beach hats were, in his own words, “a bit outrageous.” Woven raffia show-stoppers topped with cascading sprays of feathers or chiffon, the hats sported deep crowns created to fit comfortably over the high-piled bouffant hairstyles of the early 1960s.

William J. calling card, ca. 1960 New-York Historical Society Library Cunningham opened his first millinery shop in a brownstone on East 52nd Street, where he cleaned for his landlords in exchange for living and work space. He then moved uptown to West 54th Street and to West 57th Street, before relocating to the Carnegie Hall Studios. In addition to hats, he also made muffs and masks, often of feathers. Cunningham regarded feathers as the ultimate “objects of beauty.”

Unidentified photographer Bill Cunningham Photographing Five Models, ca. 1968−76 Gelatin silver print New-York Historical Society Library, Gift of Bill Cunningham A study in New York social history, Cunningham’s Facades project highlighted over 1,800 locations occupied by the city’s old and stately or sleek, modern buildings. Set amidst 1960s and 1970s New York, the series featured his muse, Editta Sherman, modeling period clothing. Cunningham mined the city’s thrift shops, auctions, and street fairs for the nearly 500 ensembles of antique clothing, shoes, and other accessories selected to enliven each historic location.

Bill Cunningham (1929−2016) 181 Madison Avenue Belmont Building (built 1924−25), ca. 1968−76 Gelatin silver print New-York Historical Society Library, Gift of Bill Cunningham Cunningham captured New York’s grand, surviving Art Deco architecture in this photograph. As he noted on the reverse of this print, the Art Deco-style leaf and flower motif displayed on the door of the building made an apt backdrop for Sherman’s 1920s felt hat.

Ciel Bicycles (est. about 1987), New York City, retailer Biria, Germany (est. 1976), manufacturer Bicycle used by Bill Cunningham, ca. 2002 New-York Historical Society, Gift of Louise Doktor, 2017.13.1 Cunningham circulated around the city on a bicycle. This bicycle is one of 30 he owned during his many years as New York’s trend spotter.

Camera (Nikon Model D5200) with 24 mm lens, used by Bill Cunningham, ca. 2012 New-York Historical Society, Gift of Louise Doktor, 2017.13.3 Cunningham turned to photography in 1967. He initially took images for his fashion articles, but became a full-time photojournalist after joining the New York Times. Typically clad in a blue French workman’s jacket, the unpretentious reporter never sought the status of an arbiter. Instead, he viewed his work as that of a record keeper.

France Jacket used by Bill Cunningham, 2000s Cotton New-York Historical Society, 2017.13.2 This jacket is one of the several French workers jackets Cunningham favored for its many pockets.

Bill Cunningham (1929−2016) Toni “Suzette” Cimino in New York City, 1974 New-York Historical Society Library, Melanie Tinnelly Collection of Photographs of or by Bill Cunningham and Toni “Suzette” Cimino In addition to photographing runway fashion, Cunningham captured how real people dressed by shooting candid pictures of them “on the street.” Attracted to unique expressions of personal style, he was equally fascinated by elegant uptown society and downtown club kids.

Antonio Alvarez Bill Cunningham photographing Tziporah Salamon, 2011 Courtesy Antonio Alvarez New Yorkers could reliably spot Bill Cunningham photographing street fashion, on foot and on his bicycle, at the corner of Fifth Avenue and Fifty-Seventh Street. After his death, both his personal acquaintances and the many avid readers of his column felt his loss equally.