{"id":433625,"date":"2026-02-18T17:15:27","date_gmt":"2026-02-18T22:15:27","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=433625"},"modified":"2026-02-19T14:23:08","modified_gmt":"2026-02-19T19:23:08","slug":"william-klein-photo","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/william-klein-photo\/","title":{"rendered":"The William Klein Fashion Photo That Broke the House Rules at \u2018Vogue\u2019"},"content":{"rendered":"
\n
\"Antonia<\/a>
Antonia + Taxi, New York (<\/em>Vogue)<\/em>, 1962, by William Klein<\/a><\/figcaption><\/figure><\/div>\n\n\n

In Antonia + Taxi, New York (<\/em>Vogue)<\/em><\/a>, 1962, William Klein<\/a> recast fashion photography as an act of cinema v\u00e9rit\u00e9. Dutch model Antonia Boekestijn steps out of a Yellow Cab into the blur of Manhattan traffic, her body angled forward to cut through the whir of urban action surrounding her.<\/p>\n\n\n\n

\u201cShe appears filled with confidence,\u201d says Peter Fetterman<\/a>, whose eponymous Santa Monica gallery is currently showcasing the photo in \u201cWilliam Klein: In Your Face!<\/a>\u201d (up through May 16). \u201cThe image is distinctive of Klein\u2019s run-and-gun style<\/a> and his use of a telephoto lens to compress the energy and movement of the composition into the frame.\u201d<\/p>\n\n\n\n

Klein\u2019s fashion work for Vogue<\/em> upended the genre in the 1950s and \u201960s by refusing to insulate haute couture from the real world. Instead of staging models in phony-looking studio sets, he dropped them among the crowds, cars and cacophony of major cities.<\/p>\n\n\n\n

\u201cIt\u2019s not necessary to make order out of chaos,\u201d Klein once said. \u201cChaos itself is interesting.\u201d<\/p>\n\n\n\n

That idea is expressed throughout his groundbreaking street photography, films, graphic design, photograms and picture books, as well as in his \u201cno-rules attitude,\u201d as Fetterman puts it, toward shooting fashion.<\/p>\n\n\n\n

Born in New York City in 1926, Klein served briefly in the U.S. Army at the end of World War II and was stationed in Germany during the postwar occupation. Rather than return immediately after his service to the United States, he moved to Paris in 1948, studying at the Sorbonne and training as a painter, including a stint as Fernand L\u00e9ger<\/a>\u2019s assistant.<\/p>\n\n\n\n

He received no formal instruction in camerawork but felt a deep affinity for the speed and honesty of photography. Moving between New York and Paris, Klein developed a visual language that favored confrontation and wit, nimbleness and realism.<\/p>\n\n\n\n

Boekestijn was Klein\u2019s frequent collaborator and muse at Vogue<\/em>, and their rapport comes across in the ease and immediacy of Antonia + Taxi<\/em>. \u201cAntonia was one of Klein\u2019s favorite models,\u201d Fetterman says. \u201cThey knew there would never be a dull moment!\u201d<\/p>\n\n\n\n

The elegance of her outfit in the taxi shot, a head-to-toe black ensemble that may have been produced by Tiffeau & Busch, is not diminished by the gritty surroundings. Rather, it\u2019s sharpened by the contrast.<\/p>\n\n\n\n

\u201cIt challenges the conventions of fashion photography by bringing high fashion into the streets,\u201d Fetterman says. \u201cThat juxtaposition, combined with the energy of the city, gives new life to both the image and the clothes.\u201d<\/p>\n\n\n\t

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In Antonia + Taxi, New York (Vogue), 1962, William Klein recast fashion photography as an act of cinema v\u00e9rit\u00e9. Dutch model Antonia Boekestijn steps out of a Yellow Cab into the blur of Manhattan traffic, her body angled forward to cut through the whir of urban action surrounding her. \u201cShe appears filled with confidence,\u201d says 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