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16.03.2016 admin
Miller, who was born in 1907, was multi-faceted: “a war photographer and a fashion model, a Surrealist and a witness with a camera at the liberation of Dachau and Buchenwald concentration camps,” writes Becky E. Though she was described by Carolyn Burke, author of the biography Lee Miller: A Life, as “one of the most beautiful women of the twentieth century,” Miller’s name is surprisingly less-recognized when it comes to fashion photography. Despite her icon status, Miller happened upon a career in photography accidentally: she was hired to “make drawings of fashion details in renaissance paintings” for a fashion designer in 1929.
Yet despite her strong presence in the fashion world, Miller is most often recognized for her documentation of World War II.
Refusing to leave Europe during its time of crisis, Miller instead embarked on a career as Vogue’s war correspondent, as well as a correspondent for the U.S. She moved to England where she eventually abandoned her photography, partaking in only a few projects towards the end of her life.


The first of its kind, Conekin’s book highlights the part of Miller’s career that is most often overlooked: her work as a fashion model, and later, a fashion photographer.
Following her time with the designer, Miller’s multi-faceted relationship with American artist Man Ray seemingly shaped both her personal and professional lives. Although Miller passed away in 1977 at the age of 70, her legacy in both the fashion and photography realms (as well as the bridge between the two) has a long-lasting legacy. Both “members” of the Surrealist movement, their relationship—which soon became intimate—helped Miller develop her photographic eye. Her “lifetime” spent working for the American, French, and British versions of Vogue produced countless iconic fashion photos, including portraits of Elsa Schiaparelli, spreads of the late British actress Valerie Hobson, and countless photographs of models sporting the likes of Lanvin and Carli Gry.
Malo, the workings of the Normandy field hospitals, and the horrific remains of concentration camps.


Her images transformed models into high-fashion versions of the everyday woman – one unpublished photo for British Vogue in 1942 features a woman in a modest belted shirt-dress and a summer hat, admiring swans in a park, while another, Fur Bearers, from the magazine’s November 1941 issue shows a woman, clad in fur, posing with a Taxidermied bear.
Her images of such major international events captured the front-lines from a unique perspective—from the eye of a woman with a fashion background.
Some of Miller’s most iconic images include her every-day documentation of Paris following the liberation, the London Blitz, and most notoriously, Miller posing in Hitler’s bathtub.



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