«Glamour and grotesquerie; disco and punk; high fashion and low-life passion: the most conflicted and controversial decade in pop culture history blazes back to life in a gloriously decadent collection of images from the runway and the silver screen, the concert stage and the nightclub dance floor. The 1970s was an era when the glitter of old Hollywood was eclipsed by a gritty new sensibility-a time when legends like Elizabeth Taylor and Liza Minnelli mixed with rising stars from the worlds of punk rock, underground film, fashion, and art. Cutting the deck of glamour with a heady dose of hedonism, sex and violence, the stars of the Seventies-including David Bowie, Debbie Harry, Candy Darling and Sid Vicious-rejected stage-managed images in favor of experiment and self-determination. In Seventies Glamour, the acclaimed Hollywood photo historian David Wills (Marilyn Monroe: Metamorphosis; Audrey: The 60s) showcases the freewheeling, explosive parade that was the 1970s, highlighting its aesthetic of liberation, sexual freedom and defiant indulgence. Gorgeously reproduced, wittily curated, the photos in Seventies Glamour are as diverse as the decade they celebrate. From Halston posing with his «Halstonettes» and Divine making the scene at Xenon, to Elton John in his plumed excess, and Diane von Furstenberg wrapped around the Empire State Building, all the exuberance is captured by the superstar photographers of the decade, including Francesco Scavullo, Helmut Newton, Chris von Wangenheim, Michael Childers, Antonio Lopez, Norman Parkinson, Rebecca Blake, Gian Paolo Barbieri, Terence Donovan, Jack Mitchell, Ara Gallant, Anton Perich, Lynn Goldsmith, Brian Aris, Harry Langdon and many more. A full-length gallery as exotic and dazzling as the decade itself, Seventies Glamour illuminates a time when defying expectations became the quintessence of style.»

«Kodachrome film saturated the 1940s with an unprecedented explosion of color. Movie audiences, accustomed to seeing photographs of their favorite stars on magazine covers, billboards, and cinema marquees in monochrome or black-and-white, were suddenly enthralled as their idols came to life in vibrant hues as flesh-and-blood human beings. For the first time, the world was treated to the glory of Rita Hayworth's auburn hair, Gary Cooper's blue eyes, Betty Grable's rosy cheeks, and the multicolored fruit bouquets of Carmen Miranda's hats. Curator and photographic preservationist David Wills has amassed one of the world's largest private collections of original Kodachromes and color photographs from the 1940s. Now, in Hollywood in Kodachrome, he has gathered spectacular, museum-quality work from many of the great photographers of Hollywood's golden era — George Hurrell, Clarence Sinclair Bull, John Engstead, Paul Hesse, Ernest Bachrach, Bernard of Hollywood, Robert Coburn, Ray Jones, Bud Fraker, Frank Powolny, Eugene Robert Richee, and many others — to create this stunning portfolio of images that pays homage to the richest, clearest, most brilliant, and archivally dependable film stock in history. Among the highlights: Rare and classic images digitally restored from their original 4x5, 5x7, and 8x10 Kodachrome sheet transparencies, vintage Carbro and dye transfer prints, and modern Cibachrome prints. Never-before-seen publicity photos, scene stills, and work shots from many of Hollywood's most beloved films of the 1940s. Previously unpublished portraits of Clark Gable, Bette Davis, Cary Grant, Lana Turner, Errol Flynn, Lucille Ball, Frank Sinatra, Elizabeth Taylor, John Wayne, Marilyn Monroe, and many others. Rare «posed candids» and behind-the-scenes photos of stars at play, poolside, relaxing at home, and with family. Unpublished outtakes of stars in famous ad campaigns, including Max Factor, Lux, Lipton Tea, Lucky Strike, and Royal Crown Cola. Never-before-seen WWII patriot photography of stars in service uniform and posing with the American flag. Pairing more than 250 first-generation photographs with vintage magazine covers, advertisements, movie posters, quotes from photographers, and a personal foreword by Hollywood's «Queen of Technicolor», Rhonda Fleming, Hollywood in Kodachrome is an unforgettable showcase of a time when movies were truly glamorous and color photography reigned supreme at its most luscious.»

Audrey Hepburn charmed audiences in the 1950s as a new type of cinema personality — gamine, doe-eyed, and refreshingly casual. By the 1960s she had transformed into a trendsetting sophisticate and achieved unrivaled careers as an actress, model, movie star, and champion for underprivileged children worldwide. Curator and photographic preservationist David Wills has amassed one of the world's largest private collections of original Audrey Hepburn photographs. Now, in Audrey: The 60s, he has gathered spectacular museum-quality work from her key photographers — Richard Avedon, Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Terry O'Neill, Howell Conant, Bob Willoughby, Pierluigi Pratulon, Bud Fraker, and many others — to create this stunning portfolio of images that pays homage to the most beloved and enduring style icon of the decade of change. Among the highlights: Rare and classic images digitally restored from their original negatives and transparencies. Never-before-seen publicity photos and candids from the sets of Breakfast at Tiffany's, Charade, My Fair Lady, How to Steal a Million, and Two for the Road. Unpublished outtakes and rarely seen images from Vogue fashion sessions, some not published since their original appearance. Previously unpublished photos by Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Howell Conant, Bob Willoughby, Pierluigi Pratulon, and many others. Pairing more than two hundred first-generation photos with reflections and original quotes from friends, photographers, designers, work associates, and Audrey herself, Audrey: The 60s is an unforgettable showcase of the actress's timeless beauty and extraordinarily influential style.

Audrey Hepburn charmed cinema audiences in the 1950s as a new type of screen presence — gamine, doe-eyed and refreshingly casual. By the 1960s she had metamorphosed to become a trendsetting sophisticate, achieving unrivalled status as an actress, model, movie star and champion for underprivileged children worldwide. Curator and archivist David Wills has amassed one of the world's largest private collections of original Audrey Hepburn photography. Now, in Audrey: The 60s, he has gathered a spectacular selection of work from her key photographers — much of it digitally restored from original negatives and transparencies — to create a truly breath-taking portfolio of images which pays homage to the most beloved and enduring style icon of the decade that changed everything. Among the highlights are: Never-before-seen on-set photography from some of Audrey Hepburn's most cherished movies, including Breakfast at Tiffany's, Charade, My Fair Lady, How to Steal a Million and Two for the Road; Outtakes and rare images from fashion shoots, some not seen since their original appearance in Vogue; Previously unpublished work by photographers Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Howell Conant, Bob Willoughby, Pierluigi Praturlon and many others. Pairing over two hundred stunning images with reflections and recollections from friends, photographers, designers, close collaborators and Hepburn herself, Audrey: The 60s is an unforgettable showcase of the actress's timeless beauty and extraordinarily influential style.

«He was born Ira Gallantz in 1932 in the Bronx, but later changed his name to the more exotic-sounding Ara Gallant-and the life he led was indeed an exotic one. Gallant began his professional career in fashion as a hairdresser, working at Bergdorf Goodman department store in New York as one of the city's top colorists. In the mid-1960s, he was approached by Vogue and began to work exclusively on photo assignments, the first hair stylist to be paid to fulfill such a role. Gallant went on to work with many of the great fashion photographers of the period, Richard Avedon, Irving Penn and Bert Stern among them. Perhaps his most notable contribution as a stylist was the introduction of «flying hair», an effect he first used on an Avedon shoot with iconic model Twiggy in 1966, and which is still widely employed today. By the early 1970s, Gallant had begun shooting his own pictures, his first assignment being a set of celebrity portraits for Interview magazine. His work often juxtaposed classic Horst-like compositions with contemporary scenarios. In the early 1980s, Gallant moved to Los Angeles to pursue a directing career, which never happened; in 1990, he committed suicide in a Las Vegas hotel room. This new book tracing Gallant's life and career is edited by David Wills and features photographs by Richard Avedon plus a foreword by Anjelica Huston.»