В фильме Стэнли Донена «Забавная мордашка» Фред Астер играет модного фотографа. Считается, что это Ричард Аведон, но на самом деле главный герой практически списан с другого мастера – обаятельного парижского американца, галантного и куртуазного Генри Кларка.
Когда 74-летний Кларк последний раз появился в лондонской редакции Vogue в 1992 году, он забрал несколько оставшихся там ещё с 1950-х годов негативов. С этой славной декадой Кларк ассоциируется безошибочно и моментально. В последующие лет тридцать карьера его была вполне успешной, но тогда, в послевоенном, истосковавшемся по красоте мире, он, как никто, смог показать, какими тонкими и изящными могут быть талии и лица.
Editors of fashion magazines carried it on hands. With a command of models and stylists it has traveled all over the most exotic corners of the Earth. Thanks to Henry Clark of beauty and graces in our world became more.
In Stanley Donena's film «Amusing attractive face» Fred Aster plays the fashionable photographer. It is considered that it is Richard Avedon, but actually the protagonist it is written almost off from other master – the charming Parisian American, gallant and courtois Henry Clark.
When 74-year-old Clark last time has appeared in the London edition Vogue in 1992, it has taken away some the negatives which have remained there still from 1950th years. With this nice decade Clark associates unmistakably and instantly. In thirty its career subsequent years was quite successful but then, in the post-war world which has yearned on beauty, it as anybody, could show, what thin and waists and persons can be graceful.
Текст: Робин МюирЕго прелестные, надменно-скуластые модели – Дориан Ли, Сьюзи Паркер, Анн Сент-Мари, Cтелла Оук, Ловима, хоть и кажутся чересчур экстравагантными, но существуют в реальном мире: вот Дориан Ли в вечернем платье от Jacques Heim, белых перчатках и широкополой шляпе – в музее Petit Palais, на фоне картины Гюстава Курбе. Довима в платье с фестонами на рукавах, шляпке и черных перчатках прилегла на тахту и делает послеобеденные телефонные звонки. А любимица Кларка Анн Сент-Мари выгуливает свою огромную овчарку – выбрав для этой прогулки крепдешиновый леопардовый ансамбль от Dior. Принимаясь изучать моду, фотографии Генри Кларка каждый берет за образец: за ними – великолепное знание предмета, прекрасный вкус, гениальное чувство кроя и материала – ни одна складка одежды в его фотосессиях не случайна.
Сам Кларк был необычайно элегантным человеком, обаятельным, с безупречными манерами – собственно, как раз таким он нам и представляется по своим снимкам. В редакции британского Vogue ходили легенды о том, например, как он вслух вопрошал, что это за глупость «молодежная» или «уличная» мода и кто будет носить эти нелепые спортивные туфли, именуемые в Америке sneakers, а Англии – trainers (а в России – кроссовки).
The text: Robin MjuirEgo charming, is haughty-with high cheek-bones models – Whether Dorian, Sjuzi Parker, Ann Sent-Mari, Cтелла Ouk, Is caught, though seem too extravagant, but exist in the real world: Whether here Dorian in an evening dress from Jacques Heim, white gloves and a wide-brimmed hat – in museum Petit Palais, against a picture of Gjustava Kurbe. Довима in a dress with scallops on sleeves, a hat and black gloves has lain down on an ottoman and does after-dinner phone calls. And Clark Ann Sent-Mari's favourite walks the huge sheep-dog – having chosen for this walk крепдешиновый leopard ensemble from Dior. Beginning to study a fashion, everyone imitates Henry Clark's photos: behind them – magnificent knowledge of a subject, fine taste, ingenious feeling of a cut and a material – any fold of clothes in its photosessions isn't casual.
Clark was extraordinary elegant person, charming, with faultless manners – actually, just such it and is represented to us on the pictures. Legends went to editions British Vogue about that, for example, as he aloud questioned that it for nonsense "a youth" or "street" fashion and who will carry these ridiculous sports shoes called in America sneakers, and England – trainers (and in Russia – trainers).
It for ever remained in 1950, in that epoch, when as Clark's close friend writes, the chief of the Parisian bureau American Vogue Susans Trejn, «always precisely knew all as where to put on: what dress to choose for a lunch, and what – for a supper or a cocktail; what fabric and color approach for what time of days … These private rules were exact, as minuet figures».
In Clark's shootings never there will be «ridiculous sports shoes». The So-called street fashion there too won't be also a trace. But it is enough present exotic, especially in 1960 and 1970. For Vogue it there was an epoch of distant wanderings and great opening: Lebanon and Antarctica, Bali and Jordan, island Tasmania and the Dead Sea.
As regards integration of models into Henry Clark's exotic landscapes really wasn't equal – girls were ideally entered in a landscape. Or the impression as if the film crew casually «in bushes» has found out the local beauty was made; well and that, besides by mere chance, has appeared is dressed up in брючный «пижамный» a suit from Pucci. Landscapes on brightness didn't concede to dresses, and it was doubtless plus: those years the majority of readers, even such elite magazine as Vogue, could dream of the Atlantic flights and distant travel only. But in Henry Clark's shootings they in paints saw the countries and continents about which knew no more, than about the next galaxies.
In 1951 Clark has signed the unprecedented contract allowing it to remove at once for three editions – French, English and American Vogue. But also he gave all the best on the full. The well-known editor American Vogue Diana Vriland sent it in exotic business trips and ordered not to come back without twenty-tridtsatistranichnyh stories. Here that the editor British Vogue writes about shootings on Barbados Ejsla Garland: «it is Less than for ten days we needed to finish shooting – on models – seventy six things! Henry worked without ceasing, forgetting about a dream and meal, and has plunged into the sea only when the turn has come to remove bathing suits».
In 1960-70е Clark's favourite models there were Mariza Berenson and Verushka, they shone in tens photosessions with hot names: «the Fashion at the peak of the sun!» (Mexico), «the Fashion on rising» (India), etc. From each of shootings of Vriland came to such delight that there and then ordered the following. Here that she in the inimitable manner wrote to Clark in 1966: «Dear Henry, we are simply fascinated by yours« the lady in caftans ». All of them – and everyone – it is dazzling are good. Anybody, anybody, except you isn't capable to look at the woman such eyes».
Actually "such" eyes he looked at all around and when in the evening of life, in 1980, Clark was fond of shootings for House and Garden, nobody was surprised. «Removing a fashion, it was always very attentive to interiors, - remembers its model of Bettina. – He bought flowers, got somewhere period furniture, built a background, as a theatrical scenery. Imagination and taste to it was not to occupy – the certificate to that its own house: a private residence of XVI century with a view of the sea in Rokerbrjune».
In the house childhood as that at Henry Clark wasn't. He was born in 1918 in Los Angeles and moved with parents, the Irish emigrants, from place to place tens times while in 1932 the family hasn't settled in San Francisco. In 1946 Henry Clark, the set dresser of show-windows from Ouklenda, takes semi-annual vacation at own expense and moves to New York. Soon it already works in the publishing house «Konde the Ice crust» on a post of the assistant on accessories and, observing of work of great Horsta and Sesila Bitona, finds the true calling – a photo.
Henry has learned to address with the state chamber and has visited some lessons which were given in those days by the pioneer of graphic design in America, the well-known Alexey Brodovich, and further the destiny disposed itself. Clark didn't turn aside from it and didn't try объять immense – simply took that itself went to it to hands. And it was the fashion in her an elegant appearance. And celebrities – such, Whether as Radzivill, the baroness a background Tyler, sisters Ginness, Marella Anelli, stars of the Italian cinema of an epoch of neo-realism.
It hasn't got loud glory not only because of stars-contenders – Irvina Penn and Richard Avedona. The natural modesty and Clark's internal grace too have played a considerable role – the tremendous success would seem to it bad taste. Though it would hardly be afflicted, having learned that its big personal exhibition has passed in Parisian Musee de la Mode with the grandiose notice.
For us, today's, Henry Clark's works – history of semicentenial prescription. For fashion history is whole centuries. Today, when unloved Clark "street" style predominates not only in streets, and кутюр hurriedly retires, we look on плятья and persons from its pictures, on «all these ladies under veils, with swan necks and involved as at fleet stomachs» (so wrote about it journalist Sjuzi Menkes) as at relicts of the left epoch. Epoch when the fashion was High.