PHOTO: © Rico Puhlmann, Karen Alexander in Yves Saint Laurent Rive Gauche, Long Island, 1991 © Rico Puhlmann Archive / Grafik LMN>FEC

Rico Puhlmann. Fashion Photography 50s–90s

In the organizer's words:

Rico Puhlmann (1934-1996) was one of the most renowned fashion photographers internationally and shaped the fashion image of his time over the last four decades of the 20th century. The exhibition pays tribute to Puhlmann's career and in particular his graphic and photographic work for fashion journals from the 1950s to the 1990s. It looks at various aspects of fashion, photography, press and cultural history.

The exhibition offers a comprehensive insight into the graphic and photographic work of Rico Puhlmann, who worked for over 40 years, first as an illustrator and then as a fashion photographer, for major magazines such as "Brigitte", "petra", "Constanze" or international "Vogue", "Harper's Bazaar", "Glamour" or "GQ". The most sought-after models of their time stood in front of his camera: Gloria Friedrich and Gitta Schilling, Cheryl Tiegs and Jerry Hall, Cindy Crawford and Naomi Campbell. His photos appeared on numerous magazine covers and his photo spreads on glossy paper filled several double-page spreads in a row.

The majority of the exhibits come from Rico Puhlmann's extensive estate, which is managed by his brother Klaus Puhlmann and his wife Anne Puhlmann and has been generously made available for the exhibition.

Berlin chic of the post-war period

Puhlmann began his career as a fashion illustrator in his native city of Berlin, where "Berlin chic" reached new heights after the Second World War. He was repeatedly commissioned to draw the designs of fashion houses and then increasingly to photograph them - for journals and company publications. He shaped the image of this West Berlin fashion in the same way as his colleagues F. C. Gundlach, Regi Relang and Helmut Newton. Their photographs are visual testimonies to an unwritten dress code around 1960.

Changing fashion and technical developments

Op and pop art, enthusiasm for space travel, the London swinging sixties, the adaptation of dress forms and fabric patterns from a wide range of cultures changed fashion in the 1960s and at the same time the image of it. Editors sent photographers to ever more distant places to take fashion shots. Technical developments such as flash technology, the emergence of color film, Polaroid and the more flexible 35mm gradually expanded the scope of photographic design.

American look of the 1970s and new freedom

Due to the decline of the upscale Berlin fashion industry and the resulting loss of importance of fashion in Berlin, Puhlmann reoriented himself and moved to New York in 1970. He received his first photo assignments in his new place of work from the magazines "Glamour" and "Harper's Bazaar". At the same time, he shot fashion films for the "Modejournal" produced by Sender Freies Berlin (SFB), making him one of the pioneers of the "American look" in Europe.

By the mid-1970s, Rico Puhlmann had established himself as a fashion photographer in New York. His photos tell of a new freedom. It is no longer the stilted poses, the accompanying gentleman, the cultivated and cultivated metropolitan dream, but naturalness, movement, spontaneity, informality and interpersonal closeness that determine the pictorial themes. In the two models Cheryl Tiegs and Patti Hansen, Rico Puhlmann found the perfect counterpart to convey this new attitude to life.

Changing image of women and men

Rico Puhlmann worked continuously for "Harper's Bazaar" until the early 1990s and his work contributed to the change in the image of women, who presented themselves with increasing self-confidence. Around 1980, he received exclusive commissions for various issues of "Fashions of the Times", the fashion supplement of the "New York Times". For the men's magazine "GQ" in the early 1980s, he described the new self-image of men in terms of fashion, styling and body care in a subtle, sensitive visual language.

Puhlmann's work in a media world based on the division of labour

In the meantime, ever larger editorial teams were working on the fashion image. In addition to Rico Puhlmann, fashion and accessories editors, art directors, make-up artists and hairdressers were involved in creating the images. Back in the 1960s, Puhlmann and the respective editors selected the designs for the fashion shows themselves, as well as the locations and models. He checked the styling and make-up after the models had done their make-up and dressed themselves. He directed poses and gestures and selected props and accessories.

Future plans and an abrupt end

Puhlmann died in a plane crash in 1996. A book publication on his work was already being planned. A return to Berlin with a teaching position at the Berlin University of the Arts was also being negotiated and a first digital camera had already been purchased. Even after more than 40 years of creativity, Rico Puhlmann still had plans.

Curatorial team

The exhibition is curated by Dr. Britta Bommert, Head of the Fashion Image Collection, Kunstbibliothek - Staatliche Museen zu Berlin, and co-curated by Hans-Michael Koetzle, Munich, in close collaboration with the Rico Puhlmann Archive (Anne and Klaus Puhlmann), Berlin.

Catalog

The exhibition is accompanied by a comprehensive catalog published by Verlag Kettler, Dortmund, with contributions by Britta Bommert, Gerlind Hector, Hans-Michael Koetzle, Adelheid Rasche, Marie Arleth Skov and Christine Waidenschlager.

A special exhibition of the Kunstbibliothek - Staatliche Museen zu Berlin

This content has been machine translated.

Price information:

Admission Museum of Photography: €12.00, concessions €6.00; free admission for children and young people up to and including the age of 18.

Location

Museum für Fotografie Jebensstraße 2 10623 Berlin

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