Issue link: https://www.balharbourdigital.com/i/1507768
SOPHIE ELGORT: We could sit here all day and talk about photos, but we should pick one to begin with… Let's talk about that Wendy Whitelaw photo. ARTHUR ELGORT: I was shooting for American Vogue, in New York City—on Park Avenue. And it was hot as hell. SOPHIE: Tell us, who was Wendy Whitelaw? ARTHUR: She was a makeup artist. SOPHIE: So did she come to set in that dress? ARTHUR: Yes. Yes. SOPHIE: That's amazing. I love her gloves. ARTHUR: Yeah. She's perfect, she's like a model. So I used to walk with Wendy back to the trailer in between shots, and on that day I had my Leica camera, a 50 millimeter lens. SOPHIE: Wait, what about the doorman, was he just sitting on the car? ARTHUR: Of course. This was all real, this doorman worked there. He was just waiting for somebody to come. SOPHIE: Such a great shot. So was this your favorite shot from the day, and it wasn't part of the shoot? ARTHUR: Of course. That's what I'm famous for. SOPHIE: It's the in-between moments, right? ARTHUR: Kind of, yeah… I couldn't ask for more. I mean, we could have set this up, but it probably wouldn't be as good. Wendy Whitelaw, New York City, 1981, from "Arthur Elgort: Personal Fashion Pictures" (Conde Nast Publications) ON A LATE SUMMER'S DAY, SOPHIE ELGORT AND HER FATHER, ARTHUR ELGORT, GOT TOGETHER TO PORE OVER A PILE OF BOOKS AND COUNTLESS IMAGES THAT ARE FOREVER A PART OF THE FASHION CANON. THE LENSMAN—WHO RARELY LEAVES THE HOUSE WITHOUT A CAMERA AROUND HIS NECK—REVISITS SOME OF THE IMAGES THAT HOLD A SPECIAL PLACE IN OUR COLLECTIVE MEMORY. BEYOND THE FRAME BAL HARBOUR 127