In a BBC documentary in the 1980s, the renowned photographer Eve Arnold made a thought-provoking statement about the invasion of privacy that comes with being a photographer. She specifically referred to her professional relationship with Marilyn Monroe and the intimate portraits she captured of the iconic actress. However, this sentiment could just as easily be applied to another lesser-known project of Arnold’s early career: her year-long study of backstage scenes at community fashion shows in Harlem during the 1950s. These captivating black and white images are currently on display at the Newlands House Gallery in Petworth as part of the retrospective exhibition “To Know About Women: The Photography of Eve Arnold.”
At the time when Arnold documented the Harlem fashion shows, the mainstream fashion industry was predominantly white, and black women were not considered potential clients. The models in Arnold’s photographs were responsible for creating their own garments and organizing shows that were attended by paying black audiences. It was a thriving and professional scene, and Arnold was present throughout, blending into the background while capturing every moment.
The Harlem series marked Arnold’s first major assignment, and it showcased her ability to capture style, elegance, and self-reliance just before the civil rights movement in the United States. Her photographs depict models in the midst of changing clothes and the teams of agents, dressers, makeup artists, and security guards that surrounded them. These images are infused with energy and action, and they stand in stark contrast to the static, posed editorial images of white models taken in studios by other photographers of that era, such as Nina Leen and Richard Avedon.
Arnold’s photographs of Harlem often evoke an intimate and slightly unsettling feeling, as she acknowledged the invasion of privacy inherent in her work. One of her standout subjects is Charlotte Stribling, a young model known as “Fabulous” who is instantly recognizable by her meticulously styled hair. In one particular shot, Stribling is captured in a moment of uninhibited action as she changes costumes, her back turned to the camera. Despite her nakedness, there is a sense of confidence and playfulness, as she and her dresser share a laugh. Arnold later observed that Stribling altered her gait when she first encountered the camera—an indicator of how intrusive Arnold’s presence could be.
In another remarkable image from the series, Stribling waits backstage at a fashion show held in the Abyssinian Baptist Church in 1950. She stands in the shadows, wearing an exquisite evening gown, her hair framing her expectant face, while a security guard quietly watches over her. It is striking that Arnold achieved such a powerful effect without the use of artificial lighting. Through skillful use of available light and her artistic vision, Arnold transforms the dark church into a dramatic backdrop for her subjects.
Born into a working-class Jewish family in Philadelphia in 1912, Eve Arnold pursued her passion for photography later in life. As a student in New York, she enrolled in a short course led by Alexey Brodovitch, an esteemed art director who had also mentored photographers like Richard Avedon and Irving Penn. Arnold’s interest in fashion drew her to the bustling Harlem scene, and she sought permission from modeling agencies to document the fashion shows. Her age, which set her apart from other photographers, may have contributed to the ease with which she built rapport with her subjects, many of whom were much younger.
Through Arnold’s lens, we become invisible participants in the world of her subjects. Standing at only 4’10”, Arnold was a reticent figure who preferred to let her subjects take center stage. Her focus was on capturing the essence of her subjects rather than drawing attention to herself—a quality that allowed her subjects to let their guard down and reveal themselves. Arnold submitted her Harlem images to various American fashion magazines, including Harper’s Bazaar, but they were consistently rejected. Luckily, the UK magazine Picture Post published the series, albeit with text that Arnold believed misrepresented the shows.
Despite the initial rejection, Arnold’s Harlem series caused a sensation among readers and played a pivotal role in her invitation to join Magnum Photos, the esteemed photography agency. This opportunity set her on a path to a successful 60-year career, during which she became a prominent photographer for publications like the Sunday Times. Arnold returned to documenting black American culture multiple times throughout her career, often when mainstream magazines showed little interest.
The Harlem fashion shows that Arnold captured in the 1950s continued to shape African-American fashion, even after the organizations responsible for organizing them closed down. The legacy of these shows lives on today through agencies like Harlem’s Fashion Row, which represents black designers and brands and opened New York Fashion Week in September 2022.
In their pursuit of telling the story behind Arnold’s Harlem series, the curator Maya Binkin and Newlands’ director Nicola Jones attempted to track down the people involved in the shows. Unfortunately, they were unable to locate many of them, as they would be in their 90s by now. However, Binkin did discover that “Fabulous’s” agent formed a friendship with Arnold, staying in touch until the photographer’s death. Through Arnold’s memoirs and the recollections of her son, the curators pieced together the stories behind these powerful images.
Throughout her career, Eve Arnold alternated between capturing portraits of famous personalities—most notably Marilyn Monroe—and engaging in photojournalism that echoed the spirit of her first assignment. She had a unique ability to turn ordinary people into extraordinary figures, making lasting contributions to the field of photography. The exhibition “To Know About Women: The Photography of Eve Arnold” at Newlands House Gallery celebrates her groundbreaking work and runs until January 7, 2024.
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