William J. Cunningham (1929–2016)

In this memoir (discovered after his death), Bill Cunningham recounts the childhood beginnings of his interest in women’s fashion, his perseverance to success as a milliner and then fashion journalist -- and, in the process, traces how “fashion climbing” became the social climbing of the mid-20th century and beyond.

And he does so in the most exuberant voice I’ve ever encountered! He doesn’t leave out the hard times or difficult people, but this is overwhelmingly a positive, show more enthusiastic and outright FUN tale of perseverance and success in the early- and mid-1900s. The passages I pulled to quote are 150 pages apart, but I realize now that they’re the designer and customer views of the same advice -- to be true to oneself:

The most difficult thing in designing is the long, hard years it takes designers to free themselves of others’ influences.

Most people acquire style for status, which never truly satisfies the personal desire to be your real self.

It’s an inspiring read for anyone interested in fashion or any creative field.

(Review based on an advance reading copy provided by the publisher.) show less

Born during the Depression to an Irish-American family with conservative values, Bill Cunningham’s penchant for fancy clothes and beautiful décor was discouraged- discouraged to the point of receiving a brutal beating when his mother caught four year old Bill wearing his sister’s organdy party dress. His interest- passion- couldn’t be kept down, however, and he devoted his entire life to fashion in one way or another. He worked in boutiques as a teen, became a sought-after hat show more designer in the 50s (who was put out of business by the fact that, come the 60s, no one was wearing hats anymore), crashed every high-profile party, became an on-the-scene fashion photographer- working for the New York Times at one point, and basically celebrated the beautiful. More than fashion, he was interested in style- the clothes and the hats and the jewels had to be worn with originality and elan.

The manuscript for ‘Fashion Climbing’ was found, neatly typewritten and put away, after his death. The memoir covers the years before he became a photographer. Even though he had his share of starving times he was always cheerful and greeted the world as a place of delight. He wasn’t all sweetness and light, though; parts of the last chapter ‘On Taste’ where he makes it clear that most women don’t have style, and that to carry of wearing high fashion one needs not just great posture and manners but ‘generations of good breeding’; after all, one ‘can’t slipcover a pig and expect it not to grunt’. Oddly, this opinion is in the same paragraph where he tells us that one of the day’s most elegant women was a prostitute not long before!

It’s a short book and a fast read, interesting to someone who loves fashion history. A number of black and white pictures (more would have been great!), of Cunningham and various fashionable women- these are not fashion show shots. Four stars. show less

I still miss Bill's street fashion reports on the NYT ipad version - I'd also enjoyed the documentary about him and his later life as a street photographer. This memoir that was discovered in his effects details the troubles and joys of his youth, discovering his eye for beauty and fashion. With luck and determination he was able to devote himself to observation and creation in post-war NYC as a milliner then as a journalist. He enjoyed himself and endeavored to spread joy and appreciation show more of beauty for as long as he lived. There are a couple of odd essays tacked on at the end, don't mind those... I would've like some more attribution to the people in the few photographs. show less

In the 1970s, photographer Bill Cunningham decided to photograph his extensive costume collection using architecture in New York City. He enlisted his friend Editta Sherman, a celebrity photographer with studios in Carnegie Hall, as his model. At the time Editta, born in 1912, was in her sixties with the mature figure to accompany age. She also had a playful and informal style which made reading the book fun. The photo of the Flatiron building was amazing with Editta in drawers. After taking show more thousands of photos, the result is this catalog to accompany an exhibit at the Fashion Institute of Technology.

Each black and white photo is accompanied by a caption explaining the architecture of the building and a short description of the costume. As expected, his costume is mainly from the late Victorian era to the period between the world wars but there are examples from 1766 to 1970. It was disappointing that the costume could not be photographed in color although he does mention color in some of the captions. But they were extremely clear and details in costume could be easily seen.

I cannot attest to the accuracy of the commentary on the architecture but the costume details and dating were accurate. My only criticism was the commentary of the 1903 dress which Cunningham states is crocheted. It looks like Battenburg or other net lace with a crochet trim on the hem.

In the interests of disclosure, I need to say that my mother-in-law had been a friend of Editta Sherman since the 1930s and, when Editta found out I was interested in costume, she sent this book to me. I thank her for the opportunity to study this remarkable book. show less