Showing posts with label Terry O'Neill. Show all posts
Showing posts with label Terry O'Neill. Show all posts

Friday, 30 September 2011

SMOKING

Brigitte Bardot, Terry O'Neil
I was nearly sixteen when I smoked my first cigarette, deep into the old gardens at school, under a tree. It was pouring down, as ever, and we went through an entire box of matches trying to light the damn thing, and even now the smell of smoke hanging heavy on cold damp air conjures the ghost of stolen pleasures.

The cigarette was Dunhill, which at the time seemed the apogee of glamour, filched by my best friend from her parent's cocktail party one exeat, and carefully smuggled back, hidden in a box of tampax. Neither of us had much idea how to smoke, which added to the difficulty of lighting it because it took us a couple of goes to realise that you had to suck in at the same time as holding the match to the end, and we shared the cigarette in a series of jagged, exaggerated puffs, wrists held stiffly like dowagers, neither of us inhaling, even accidentally. Had I inhaled, I'm quite sure I'd never have smoked again, but as it was, that first time had all the allure of the illicit, and we were determined to acquire the sophistication we felt sure smoking would confer on us. We may have been two schoolgirls huddled together, in our woollen kilts and gabardine macs in the clammy air, but in our heads we were Jean Seberg in A Bout de Souffle, Joan Collins in Dynasty, Faye Dunaway in The Thomas Crowne Affair, Catherine Deneuve in Belle De Jour. Life had never seemed so daring. This was what it felt like to be a proper grown-up.

A little less than ten years on, when I was trying to give up, I realised that it was the pose of smoking I was addicted to, rather than the nicotine, or trying to stay thin, or the sheer habit, or the social smoking, or whatever other reason one usually gives for smoking. Cigarettes were less of a psychological prop than a literal prop: they simply complemented whatever role I was inhabiting at the time. I spent my mid teens smoking brightly-coloured Sobranie Cocktails, the perfect accessory for a New Romantic. At university, I imagined myself a left-bank intellectual circa 1968, and carried a pack of Gauloise around with my copies of Barthes and Baudrillard: Fortunately for my health and my wallet, I found them so revolting I could only ever smoke one a day. A little later on at university, when I was briefly a placard-waving socialist-culturalist-feminist, I smoked roll-ups in a print frock and clumpy Doctor Martins and later still, in my first job, I had shoulder-pads in my nipped-in, double-breasted, pencil-skirted suit, and in the pub after work I propped twenty Marlborough Reds on top of my outsize Filofax.

Anyway, I managed to quit, partly by curing myself of the need to be such a hopeless poseur. And an ex-smoker I remained until almost twenty years after that first fag when, on holiday with my Godbrother in Tuscany, sitting outside a chic coffee bar, espresso in hand, Prada sunspecs glued to our faces, he remarked idly that the only thing we were missing to make the experience truly contextual, was a cigarette. Did I demur, or point out that we were, at thirty-three, far too old and sensible to take up smoking again? I did not. 'We'll give up in the departure lounge,' I said, and promptly lit up.

Of course, we didn't give up at the airport at all but passed customs with 200 Marlborough Lights in a Duty Free carrier bag.  I managed to wean myself off what quickly became a twenty a day habit by the winter of that year, but still scabbed a fag whenever I had a drink in my hand.  I gave up properly when I realised I was pregnant with Trefusis Minor, but took it up again the minute I returned to work, keen to prove to myself I was still a bit of a rebel, not merely a pinny-wearing, carrot-pureeing mummy. But my heart wasn't really in it.  And by the time the Tiniest Trefusis came along, smoking gave me up altogether - tipsy after a supper-party, I took a cigarette from Mr Trefusis' emergency stash, and it tasted so unutterably vile in a way smoking never had at anytime during the preceding twenty five years, I immediately ground it out, taking a huge belt of someone's after-dinner whisky to try to take the horrid taste away.

Of course, the thing about smoking is that one has one's first fag in an attempt to look more grown up, and by the time one is an actual bone fide adult, you realise that it's neither big nor clever. I don't miss smoking, but I miss the camaraderie of smoker's corner, the gang membership of the ashtray, and I never mind keeping a friend company as they shiver outside a restaurant or the office. But I won't smoke again.  Not even if someone offered me a More Menthol, a la Joan Collins, or a Sobranie Black Russian, like a character from James Bond.

Thursday, 4 February 2010

BEAUTY THROUGH A LENS: URSULA ANDRESS NUDE


In the days before personal trainers, Madonna and Rachel Zoe-inspired no-sugar, no-wheat, no carbs, no-food diets, it seems actresses simply sucked their stomachs in for the camera.
I like it. Ursula Andress would've been in danger of asphyxiating herself if she'd continued to hold the pose, but she looks sensational, and frankly an awful lot sexier than half the lollipop-headed hard bodies that seem to be de rigeur in Hollywood today. Take a look at the picture and think about how it makes you feel about the one-size-fits-all, identikit take on female beauty that we’re all being sold these days.

The image is taken from a new exhibition of Terry O’Neill’s photography at Chris Beetles Gallery, Ryder Street, St. James. Between 17th February and 6th March, Chris Beetles will show a collection of unseen images from the iconic photographer. It’s also the very first time Terry O’Neill has made his vintage prints available for sale.
One of the many wonderful things about the work is the extraordinary access O’Neill was granted: From the semi-nude Ursula Andress above (pictured, aged 43, on the set of The Fifth Musketeer in 1979) to Michael Caine posing with his ‘Get Carter’ shotgun or Audrey Hepburn taking a dip in a pool between takes, O’Neill charmed his way into taking shots that would give today’s celebrity publicists heart failure.

Look at the images online here, but if you’re in London, don’t miss what promises to be one of the year’s great photography shows.

Chris Beetles Gallery, Ryder Street, St James, London SW1

Opening Hours: 10am - 5.30pm, Monday to Saturday

Image: copyright Terry O'Neill.


NB: An apology... the second part of the On Beauty makeup post will come... I'm just being slow and distracted.

Tuesday, 6 October 2009

BURN THIS

Dubbed 'The Black Trinity' by Norman Parkinson and the 'Terrible Three' by Cecil Beaton, Terence Donovan, David Bailey and Brian Duffy redefined British photography in the 1960's, with their iconic portraits and revolutionary approach to fashion photography. Wildly successful and hugely glamorous, they also became a by-word for cool, swinging, sexually-liberated London - Bailey was even said to have inspired the character of Thomas in Antonioni's cult classic, Blow Up.

But it was Duffy who remained the most intriguing of the three, 'the mystery' as Terry O'Neill put it or, in the words of John Swannell, 'Donovan was the wit, Bailey was the creative one, Duffy was the intellect'. Yet after more than fifteen years at the cutting edge of the new British photography, he vanished out of sight, giving up stills photography completely to devote himself to big-budget, high-drama commercials. A rumour began to spread that he had burned his negatives.

The rumour was true: in 1979, Duffy decided to set fire to the photographs that had made his reputation. Fortunately, as he says, "The thing with negatives is they don't burn as fast as you think they will. I'd thrown them into this fire bin and I just had to stoke them and I was pouring white spirit in to try and keep it going. It was, to be honest, making pretty stinking black smoke." The smoke prompted a neighbour to complain to Hackney Council, who forced him to put out the fire, and the surviving negatives languished unharmed and uncatalogued in shoeboxes.

Nearly thirty years later, and after almost two years of painstakingly archiving the surviving images, Duffy will display his photographs for the first time at the Chris Beetles Gallery in London. The exhibition will contain sixty virtually unseen portraits, including this of the incandescently beautiful Grace Coddington, now Creative Director of US Vogue and co-star of the documentary film The September Issue,

and fashion photographs from agenda-setting magazines, like this of Verushka - the extraordinary model and star of Blow-up - for Queen


Emblematic sixties fashion figures - Jean Shrimpton, as seen at the top of this page, for example - and personal portraits of the famous and infamous are all Duffy classics from the 1960's, yet it was in the seventies, a few years before he quit stills photography altogether that he created one of his most celebrated works - the cover shot for David Bowie's 1973 album Aladdin Sane.

With such an pivotal part to play in documenting British culture, it seems fitting that, at 76, Duffy is not only the subject of a new BBC film and involved in a major new show, Beatles to Bowie: The Sixties Exposed, at The National Portrait Gallery, but has his own exhibition at the Chris Beetles Gallery where his works will be available to buy for the very first time. As Duffy himself says, "What's happened over the last twenty years is that photography, which was a trade, has now become art."


The show is on at Chris Beetles from 14th October until Saturday 7th November: The images are for sale in limited edition runs of fifty, signed by Duffy.


Chris Beetles Gallery
8&10 Ryder Street
London SW1Y 6QB
020 7839 7551


Images courtesy of Chris Beetles Gallery. Not to be reproduced without permission.