When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears” ~ Philippe Halsman
The freezing of motion has a long and fascinating history in photography … But rarely has stop-action been used in the unlikely, whimsical and often mischievous ways that Philippe Halsman employed it. [B]ecause of Halsman’s sense of play, we have the jump pictures—portraits of the well known, well launched.
This odd idiom was born in 1952, Halsman said, after an arduous session photographing the Ford automobile family to celebrate the company’s 50th anniversary. As he relaxed with a drink offered by Mrs. Edsel Ford, the photographer was shocked to hear himself asking one of the grandest of Grosse Pointe’s grande dames if she would jump for his camera. “With my high heels?” she asked. But she gave it a try, unshod—after which her daughter-in-law, Mrs. Henry Ford II, wanted to jump too.
For the next six years, Halsman ended his portrait sessions by asking sitters to jump. It is a tribute to his powers of persuasion that Richard Nixon, the Duke and Duchess of Windsor, Judge Learned Hand (in his mid-80s at the time) and other figures not known for spontaneity could be talked into rising to the challenge of…well, rising to the challenge. He called the resulting pictures his hobby, and in Philippe Halsman’s Jump Book, a collection published in 1959, he claimed in the mock-academic text that they were studies in “jumpology.”
Images: 1. Marilyn Monroe, 2. The Duke and Duchess of Windsor, 3. Sophia Loren, 4. Shirley Maclaine, 5. Dean Martin and Jerry Lewis, 6. Hattie Jacques, 7. Audrey Hepburn, 8. Grace Kelly, 9. J. Fred Muggs.
The gown was originally a specially-made shade of “Wallis Blue” but has since faded due to instability in the dye. I found the blue dress in the picture on google somewhere. I’m not sure where it’s from, but it shows what the dress would have originally looked like.
Bal Masque; Ligne Trapèze - Cocktail dress Paris, 1958. Designed By; Yves Saint Laurent, for The House Of Dior. Silk tulle and boned silk, with bugle beads and satin ribbons.
The Duchess of Windsor patronised top Paris designers throughout her life. Christian Dior was a particular favourite. She was sixty-two years old when she selected this black evening dress. It was called ‘Bal Masque’ and came from the 1958 spring-summer collection designed by Yves Saint Laurent for the house of Dior. The style of the dress is influenced by the bell-shaped skirts fashionable in the 1860s. This influence can also been seen in the way it has been constructed. This dress has a tightly fitted boned corset and a bell-shaped skirt supported by a layered petticoat.The lightweight overdress is made of a double layer of spotted black tulle. It is studded with sparkling black bugle beads which are arranged in festoons caught at intervals by 42 bows of satin ribbon. The dress buttons down the back. | V&A
The Duchess of Windsor’s pearls: including a natural strand of pearls with a diamond clasp by Cartier Paris, a strand of cultured pearls by Van Cleef & Arpels, a natural pearl pendant mounted by Cartier, a pair of natural pearl earclips with diamond accents by Van Cleef & Arpels and a matching natural pearl ring mounted by Cartier.
The Balmoral tartan was created by Prince Albert the husband of Queen Victoria, and is the only tartan that is restricted to members of the royal family with the Queens permission, the only exception is The Queens personal bag-piper. Queen Victoria and Prince Albert loved Scotland and tartan and were responsible for building Balmoral, the tartan was designed to reflect granite of the region, and was used in the house after it was built.