Anna Lee (ana_lee) wrote,

F.C. Gundlach. Vol. 2.

50189-mgb09_04_JudyDent

Siv Benno und Pierre Hogard, Cocktailkleid von Pierre Cardin

Karin Mossberg auf den Champs Elysees, Ensemble von Jean Patou
© F. C. GUNDLACH


50189-mgb09_04_JudyDent
FC-Gundlach-1960

c522

c160

gal_02

Lizzy at the Brandenburg Gate (1961)
Lizzy at the Brandenburg Gate (1961)

Karin Mossberg und Karl Fehrmann, Abendkleid von Nina Ricci
Karin Mossberg and Karl Fehrmann, evening dress by Nina Ricci, Paris 1966

Yorn twistet mit einem seiner Fotomodelle

Karin Mossberg, Mantel von Nina Ricci

Sommerpelze, Gloria Friedrich fur SWA Persianer
“Summer furs”, Gloria Friedrich for SWA
Baalbek/Lebanon 1964

Kleid von Lanvin

Karin Mossberg, Kurzmantel von Nina Ricci
Karin Mossberg, short coat by Nina Ricci
Paris 1966

Cocktailkleid von Dior 
Cocktaildress by Dior, Paris 1962

Jerseymantel von Lend
“Op Art-Silhouette”, coat by Lend
Paris 1966
108_gundlach 109_gundlach
by André Courrèges
Paris 1965

112_gundlach
Shorts by André Courrèges

Antonia 117_gundlach

118_gundlachGitta Schilling, Kleid von Jean Patou
Gitta Schilling, dress by Jean Patou
Paris 1962

Gitta Schilling, Mantel von Nina Ricci
Gitta Schilling, coat by Nina Ricci

Gitta Schilling, Ensemble von Pierre Balmain
Gitta Schilling, ensemble by Pierre Balmain

Gunel Person auf der Place de la Concorde, Ensemble von Pierre Cardin
Gunel Person on the Place de la Concorde, ensemble by Pierre Cardin
Paris 1963

Gitta, Wilhelmina und Ingeborg auf der Place de la Concorde
Gitta, Wilhelmina and Ingeborg on the Place de la Concorde
Paris 1966

Gitta Schilling in einem Cardigan
Gitta Schilling in a Cardigan
Paris 1962

Entwurfe von Pierre Balmain, Nina Ricci und Lanvin-Castillo
Ensembles by Pierre Balmain, Nina Ricci and Lanvin-Castillo
Paris St. Germain des Prés 1966

266_gundlach
“P Rankestraße”, Biggi, costume with mink applications by Uli Richter
Berlin 1963

Lissy Schaper fur Triumph marocco
Lissy Schaper for Triumph
Tanger/Marocco 1964

Siv Benno und Pierre Hogard, Cocktailkleid von Pierre Cardin
Siv Benno and Pierre Hogard, cocktaildress by Pierre Cardin
Paris 1962

Cathy, Birgitta und Sunny fur Falke Feinstrumpf
Cathy, Birgitta and Sunny for Falke Fashion
Hamburg 1969

Wilhelmina3
“Paris Collections”, Wilhelmina
Paris 1963

187_gundlach 
“Dress for fall”, Hamburg 1965

Cathy Dahmen, Pepitakleid von Falke
“Op Art-Fashion”, Cathy Dahmen, dress with hound's tooth design by Falke
Hamburg 1969

Op Art-Badeanzuge
Op Art-bathing suits
Hamburg 1966

Inger, Minikleid aus Cloque von Betty Barclay
“Everything glitters”, Inger, mini by Betty Barclay
Hamburg 1966

Judy Dent, Kleid von Heinz Oestergaard
“The little black dress”, Judy Dent, dress by Heinz Oestergaard
Berlin 1962
197_gundlach 198_gundlach
“Rain coats for any weather”, Mareike
Hamburg 1966

Judy Dent, Dark Mink Mantel von Saga
Judy Dent, dark mink coat by Saga
Berlin, Avus 1962

Ingeborg Prinz
“At the Avus”, Ingeborg Prinz
Berlin 1962

Jet-Age, Gunel Person
“Jet-Age”, Gunel Person
Hamburg 1963

Antonia, Nerzjacke von Saga
Antonia, mink jacket by Saga
Hamburg 1962

Marie-Louise Steinbauer, Ensemble von Topp + Franck
Marie-Louise Steinbauer, ensemble by Topp + Franck
Hamburg 1961

Ann Zoreff, Pullover von Heinzelmann
Ann Zoreff, pullover by Heinzelmann
Kenya 1966

232_gundlach

Gunel Person
“...on a distant planet...”, Gunel Person
Brasilia 1964

234_gundlach

Saison am Nil, Janni vor Ramses-Statuen, Abendkleid von Uli Richter
“Season at the Nil”, Janni vor Ramses-Statuen, Abendkleid von Uli Richter
Luxor/Egypt 1961

243_gundlach
“Caribbean cruise”
SS United States 1965

50189-mgb09_12_Gizeh

 247_gundlach
"The Cheops pyramids", Karin Mossberg and Micky Zenati in Op Art-Fashion, Gizeh/Egypt 1966

Karin Mossberg, Nairobi Kenia 1966
Karin Mossberg, Nairobi Kenia 1966

50189-mgb09_20_Badeanzug
Brigitte Bauer, Op Art-bathing suit by Sinz, Vouliagmeni/Greece 1966

50189-mgb09_11_Avus
“Après Ski on the Avus”, pantsuits by Staebe-Seger, Berlin 1956

W700

Modeschopfer Heinz Schulze-Varell mit den Fotomodellen Rita, Lissy und Eva
Couturier Heinz Schulze-Varell together with models Rita, Lissy and Eva

Modeschopfer Heinz Schulze-Varell, Foto-Model Tanja Mallet und Schriftsteller Gregor von Rezzori

Sabine Sinjen

Astrid Schiller in Minimode von Andre Courreges
Astrid Schiller, mini by André Courrèges, Paris 1967

Sophy Derly mit Perlenschmuck
Sophy Derly with perls, Hamburg 1963
c415

Antonia in the Fitting Black Evening Dress, Hamburg 

 Bernadette, Kleid von Lanvin
Bernadette, dress by Lanvin
Paris 1966

Simone d’Aillencourt, Minikleid von Falke Fashion
Simone d’Aillencourt, mini dress by Falke Fashion
Hamburg 1967

Leben_02

Ìîäåëü Äåáîðà Äèêñîí (Deborah Dixon), àýðîïîðò Áåéðóòà, 1964 ãîä. Deborah Dixon, Poncho aus Breitschwanz fur SWA
“The summer in furs”, Deborah Dixon, broadtail poncho by SWA, Beirut/Lebanon 1963

Gitta Schilling, Abendkleid mit perlenbesticktem Bolero von Uli Richter
Gitta Schilling, evening dress by Uli Richter

Ìîäåëü Ìèðåëëà Ïåòòåíè (Mirella Petteni),1963 ãîä

Maggy Eckhardt, sportliche Jacke aus Persianer mit Kapuze
Magical Snap - 2010.02.23 21.19 - 001
Nicole de la Marche, Paris 1967

Karin Mossberg auf den Champs Elysees, Ensemble von Jean Patou Karin Mossberg, Ensemble von Jean Patou
Karin Mossberg pn the Champs Elysées, ensemble by Jean Patou
Paris 1966

Heinz Schulze-Varell, Abendkleid mit Nerzbolero
Heinz Schulze-Varell, evening dress with mink applications
Hamburg 1962

Magical Snap - 2010.02.23 22.22 - 004
“The big horizon”, ensembles by Schulze-Varell
Hamburg 1961

Cathy Dahmen (Lopez) im Bougainvillea
“Embroidered and flowered”, Cathy Dahmen (Lopez)
Tenerife 1968

Wilhelmina Wilhelmina2
Wilhelmina, Paris 1967

Magical Snap - 2010.02.23 22.45 - 008 Wilhelmina mit Blaufuchs-Hut
Wilhelmina, dark mink coat by Berger
Hamburg 1964

Wilhelmina1

Mickey Belverger, sommerliches Abendkleid von Christian Dio 
Mickey Belverger, evening dress by Christian Dior, chair by Airborne International
Paris 1967
fc_gundlach_gizeh_1966 

Micky, Karin und Ann
“Op Art-Fashion at the beach”, Micky, Karin and Ann
Kenya 1966

Magical Snap - 2010.02.23 22.47 - 011

Strandanzug von Guitare
Beachsuit by Guitare
Gizeh 1966

Gitta Schilling, sommerliches Cocktailkleid von Schulze-Varell
Gitta Schilling, cocktaildress by Schulze-Varell
Cathy Dahmen Cathy Dahmen 2

Magical Snap - 2010.02.23 23.03 - 034

Beschka im Gipsy-Look
Beschka, Gipsy-Look
Cape Town 1969
Minikleid von Daniel Hechter vor David Hockney-Motiv
Mini dress by Daniel Hechter in front of David Hockney
Hamburg 1969

Minikleider von Chiwitt vor David Hockneys A bigger Splash
Mini dresses by Chiwitt in front of David Hockney's “A bigger Splash”

Grace Coddington, Minikleid von Daniel Hechter
“Pop Art-Fashion”, Grace Coddington, mini dress by Daniel Hechter
Hamburg 1967

Magical Snap - 2010.02.23 22.50 - 016
“Pop Art-Fashion”, Grace Coddington, mini and blouse by Missoni

Abendkleid von Lauer-Bohlendorff
Evening dress by Lauer-Böhlendorff

Ingrid in Strumpfhosen von Christian Dior und Pelz von Dieter Zoern, Hamburg 

James-Blond-jagt-die-schone-Maske-1966-F.C.-Gundlach
“James Blond is chasing the beautiful mask” carnival with Wilhelmina
Hamburg 1966

Francoise Rubartelli
Francoise Rubartelli
Rio de Janeiro 1969

Auf der Place de la Concorde
The Place de la Concorde
Paris 1962

Gunel Person, Strandkleid in der Villa Sergio Bernardes
Gunel Person, dresses, Villa Sergio Bernardes
Rio de Janeiro 1969

Mickey, Crepekleid von Pisanti
“Pop Art-Fashion”, Mickey, crêpe dress by Pisanti
Paris 1966

Gitta Schilling, Ensemble von Schulze-Varell
Gitta Schilling, ensemble by Schulze-Varell
Hamburg 1962

Simone d’Aillencourt, Kapuze aus Blaufuchs
Simone d’Aillencourt, cape made of polar fox
Hamburg 1960

Strickkleider
Knitted dresses
Gran Canaria 1969

Den ganzen Tag am Strand
“All day at the beach”
Gizeh 1966

Alles glitzert, alles glanzt, Inger, Ensemble von V de V
“Everything glitters”, Inger, ensemble by V de V
Hamburg 1966

Beschka fur Falke Fashion

Lissy Schaper, Strandanzug von Schulze-Varell
Lissy Schaper, beach ensemble by Schulze-Varell
Hamburg 1961

Birgit Larssen und Ina Balke pop art
“Pop Art-Fashion”, Birgit Larssen and Ina Balke
Hamburg 1967

FASHION OF THE 1970s
Gunel Person1  Jeannette Christiansen im Poncho 1973

50189-mgb09_16_BuenosAires
 Sunny von Fürstenberg and Birgit Larsen for Falke Fashion, Buenos Aires 1970

Birgitta, Gloria und Patrick

Im Damensitz, Falke Fashion 1970
"Side-saddle”, Falke Fashion
Buenos Aires 1970

Strandsegler 1971
“Sand yachts”
St. Peter Ording 1971

Lisa, sommerlicher Hosenanzug von Lagotte 1978
Lisa, pantsuit by Lagotte
New York 1978

Chichinou in der Stierkampfarena, Kleid von Gigi-Modelle
Chichinou in the bullfighting arena, dress by Gigi-Modelle
Lissabon 1979

Algarve 1974
Pantsuit by Benger-Ribana
Algarve 1974

St. Marie de la Mer 1977 2

St. Marie de la Mer 1977
Falke Fashion
St. Marie de la Mer 1977

Hamburg 1977
“The red line”
Hamburg 1977

1

Kleid von Pierre Cardin
Dress by Pierre Cardin
Paris 1970

Sue, Wollrock und Cape von Nina Ricci 
Sue, skirt and cape by Nina Ricci
Paris 1970

01 02
© F. C. GUNDLACH

F.C. Gundlach – A Master of Fashion Photography
 F.C. Gundlach ranks as the most significant fashion photographer of Germany's post-war years. His name has gone down in the pages of fashion history and even today he still wields great influence on photography in Germany – as an initiator of exhibitions, a collector and as a patron.

A passion for the medium
In Hamburg's Harvestehude district there is a residential street called Parkallee in which one mansion is more splendid than the other. This is where the F.C. Gundlach Foundation has its headquarters. It is the control centre for all the projects organised by F.C. Gundlach and his team. Born in 1926, he became Germany's leading fashion photographer of the 50s and 60s and one might think he would now like to rest on his laurels – no way. “I am still out there – on the edge,” he says. Although Gundlach has not actually done any professional photography since the beginning of the 90s, he is still obsessed with the medium – a passion he cannot let go of.

 A impressive showcase of the master's work
His current project is the exhibition, F.C. Gundlach – Das fotografische Werk (The Oeuvre of F.C. Gundlach). It was on in the House of Photography at the Deichtorhallen galleries in Hamburg in September 2008 and will be shown in the Martin-Gropius-Bau in Berlin from 20 November 2009 until 14 March 2010. The project brought together four curators who have compiled an impressive showcase of the master's work (350 exhibits) which also serves as an excellent overview of the development of fashion photography from the 1950s to the 1980s.
“In 1950/51 I was in Paris. That was so important for me as back then Paris was the cultural hub of the world,” F.C. Gundlach tells enthusiastically. He did his training at a private school of photography, he worked as an assistant, then as a photo-journalist. In Paris he soon came into contact with film; he did some portrait photos of stars and had them published in what was then a very popular magazine – Film und Frau. “Then the editor-in-chief said he would like me to do some fashion photos. He was convinced that I could photograph fashion and that is how my career as a fashion photographer started.”
A career as a fashion photographer
With the help of German film stars like Ruth Leuwerik and Nadja Tiller Gundlach managed to give fashion a dramatic touch. Whenever the new collections were to be presented in Berlin, the photographer moved into a studio on the Kurfürstendamm for three weeks. He attended the shows in Paris - Dior, Jacques Fath. “The shows back then were almost like sacred rituals. No choreography, no music and nobody was allowed to take photos or make sketches.” In fact the world of fashion photography in the 50s was a completely different one to that of today. There were no stylists, no visagists at fashion shoots. “I had to do it all myself,” says Gundlach. The models were almost always the mannequins for whom the clothes had been tailored and who modelled them in the salons.
When it came to the collections the utmost secrecy had to be preserved. The shoots often had to take place in the immediate vicinity of the fashion house. When shooting on location the models had to drape the clothes in white sheets that were then removed for a few minutes for the shoot. You had to be quick. Not the most ideal working conditions, you might think, but F.C. Gundlach developed his own visual language. He does not simply project a fashion image, he interprets it. His photographs are full of dramatic ideas and yet still manage to impart a formal severity of composition.

“A fashion photo has to reflect the spirit of the times”

“A fashion photo has to have a fashion message, otherwise its purpose has been defeated,” this is still the way he thinks today. It was the clothes themselves that helped him to develop the ideas for his photos. “The cut of the cloth, the arrangement of the folds could be the subject of an image,” he says. He was able to show the cut of the cloth by making the model stride forth, but that is just one aspect among many. “A fashion photo has to reflect the spirit of the times.” And the spirit of the times was exactly the thing F.C. Gundlach had an unfaltering instinct for.
“At the end of the 50s I felt that the times were changing – society was in flux and, along with it, style as well,” he explains. “I bought one of those compact cameras that were uncommon at the time and did a series of photos for Nino Stoffe.” He positioned the model in a dockside bar, on the dockside steps, and included passers-by in the picture. This is how the fashion photo-article came about – a method that has not lost any of its impact even today. F.C. Gundlach, who first got the photo-article ball rolling, always managed to embrace these impulses in his fashion photography.

Many years of collaboration with the German women's magazine, Brigitte
If the 50s were the decade of the lady of elegance, of sophisticated clothes and haute couture, then the 60s heralded in the desire for political change, emancipation and the age of the prêt-à-porter collection. And F.C. Grundlach now had a new key account – the high-circulation German women's magazine, Brigitte. The magazine's role model was not the elegant lady, but the fashionable young woman who had both feet firmly on the ground. In collaboration with the magazine's editor, Barbara Buffa, F.C. Gundlach succeeded in capturing the tastes of the moment like no other.
Between 1963 and 1986 F.C. Gundlach produced more than 5,500 fashion pages as well as 180 covers for Brigitte. They sent him on jobs to Africa, South America and the USA. Alongside the photo-article approach he also became much more inspired by the fine arts – op-art and pop-art being two genres that he, as a collector of art, focused on. One series of his photos that was inspired by op-art came about in Egypt in 1966, where the models' heads, looking like round balls in bathing caps, were placed in stark contrast to the classic architectural form of the triangular pyramids.
This caused an almighty fracas. “The editor called me and said that the editor-in-chief found the series much too highbrow,” he recounts. Then that is the end of us working together, he replied, and hung up – as Gundlach tells the tale. The photos were then published under the title “All day long at the beach”. Apart from that F.C. Gundlach has nothing else negative to say about his employer. No rows. No dissatisfaction. He saw himself as a life-long “service provider” and member of the editorial staff and this enabled him to produce a huge amount of outstanding work.

F.C. Gundlach - the phenomenon
The phenomenon that is F.C. Gundlach and his influence on German photography is however not just restricted to the field of photography. First of all he set up a service company for photographers with a laboratory, rental services and rental studios – called CC that later became PPS. After his experiences in New York he wanted to create better conditions for photographers in Germany. In 1975 he established the PPS. Galerie, in which he exhibited the works of Irving Penn, Richard Avedon, Robert Mapplethorpe, Nan Goldin and Wolfgang Tillmans for the first time in Germany. In 1988 he became a professor at the University of the Arts in Berlin. He is still as curious as ever, as can be seen by the long list of magazines he has taken out a subscription with.
Gundlach was the initiator of the Triennale der Photographie, a photography festival in Hamburg, and he is the founding father and director of the Haus der Photographie (House of Photography) which he has endowed with his own collection of about 7,000 items on permanent loan – Das Bild des Menschen in der Fotografie (The image of the human being in photography). F.C. Gundlach's commitment to photography extends way beyond the boundaries of his own work. He has done so much for German photography in so many areas that even today's younger photographers reverently refer to him as “F.C.”.
Tags: 1960s, 1970s, photographers
  • Post a new comment

    Error

    Anonymous comments are disabled in this journal

    default userpic

    Your reply will be screened

    Your IP address will be recorded 

  • 13 comments