Evelyn Hofer’s approach to fashion photography was characterized by a profound sense of stillness and structural integrity that set her apart from the kinetic, high-energy style of her contemporaries.
Eschewing the frantic snapshots of the runway, Hofer treated her fashion subjects with the same meticulous dignity she applied to her portraits and landscapes, often utilizing a heavy 4x5 view camera that demanded patience and absolute precision. Her work for publications like Vogue and Harper’s Bazaar is noted for its sophisticated use of color, clean lines, and a monumental quality that transformed garments into architectural forms.
By prioritizing the soul of the model and the geometry of the environment over mere trends, Hofer created timeless, painterly compositions that bridged…
Evelyn Hofer’s approach to fashion photography was characterized by a profound sense of stillness and structural integrity that set her apart from the kinetic, high-energy style of her contemporaries.
Eschewing the frantic snapshots of the runway, Hofer treated her fashion subjects with the same meticulous dignity she applied to her portraits and landscapes, often utilizing a heavy 4x5 view camera that demanded patience and absolute precision. Her work for publications like Vogue and Harper’s Bazaar is noted for its sophisticated use of color, clean lines, and a monumental quality that transformed garments into architectural forms.
By prioritizing the soul of the model and the geometry of the environment over mere trends, Hofer created timeless, painterly compositions that bridged the gap between commercial editorial and fine art.
| Model in pale diaphonous nylon nightgown permanently pleated with thin lace edgings by Carter’s, photo by Evelyn Hofer, Harper’s Bazaar, October 1950 |
| Carmen Dell’ Orefice in housecoat of pink dotted Swiss with great balloon sleeves by Dorian, photo by Evelyn Hofer, Harper’s Bazaar, May 1950 |
| Theo Graham in slim white Heller jersey dress with a white ribbed cuff for a collar by Young American Deb, photo by Evelyn Hofer, Junior Bazaar, January 1950 |
| Dorian Leigh in a sheer Hope Skillman cotton dress in orange and white by McMullen, photo by Evelyn Hofer, Harper’s Bazaar, January 1951 |
| Model in a white cotton satin dress with black velvet stripes and collar by Anne Fogarty, hat by Mr. John, photo by Evelyn Hofer, Harper’s Bazaar, January 1951 |
| Sandy Brown in fitted coat with wide skirt and velvet collar in black rayon and cotton by Oppenheimer Franken, straw hat by Chanda, photo by Evelyn Hofer, Junior Bazaar, March 1951 |
| Georgia Hamilton in late-day heathery black-and-white jersey dress with rhinestone polka-dotting on the bodice covered with a shaped jacket by Hannah Troy, photo by Evelyn Hofer, Harper’s Bazaar, July 1953 |
| Georgia Hamilton in striped jersey sweater dress with a widened turtle-neck by Lampl, photo by Evelyn Hofer, Harper’s Bazaar, July 1953 |
| Isabella Albonico wearing two five-strand chokers of faux pearls clasped with two large faux rubies by Marvella, photo by Evelyn Hofer, Vogue, November 15, 1959 |
| Jessica Ford wearing a choker of great-cut ruby beads and chunky rhinestones by De Mario, photo by Evelyn Hofer, Vogue, November 15, 1959 |
| Lilly Mor Roy wearing a seven-strand choker necklace by Castlecliff, photo by Evelyn Hofer, Vogue, 1959 |
| Lisa Bigelow in green mohair sweater by Anne Rubin, large green stone brooch by Van S Authentics, photo by Evelyn Hofer, Vogue, November 15, 1959 |
| Model wearing a black silk maline attached to a circlet of black velvet by Lilly Daché, rhinestone streamer earrings by Eisenberg, photo by Evelyn Hofer, Vogue, November 15, 1959 |
| Sara Thom wearing a daisy-chain of fake emeralds and rhinestones and matching earrings by Trifari, photo by Evelyn Hofer, Vogue, November 15, 1959 |
| Anna Carin Bjorck’s long American bob is achieved here with on-the-bias brushing, without a part, by Coiffures Americana Salons, photo by Evelyn Hofer, Vogue, January 15, 1960 |
| Model in bare-backed pink bathing suit of Orlon Cantrece by Catalina, photo by Evelyn Hofer, Vogue, January 1, 1960 |
| Model in yellow and white striped cotton beach dress with poufed and dropped sleeves by Polly Hornburg, and on right a halter dress of pink and white stripes of Supima cotton by Cabana, photo by Evelyn Hofer, Vogue, January 1, 1960 |
| Model’s bouffant coiffure is bias-blown with a side swoop curl designed by Enzo da Perugia, photo by Evelyn Hofer, Vogue, January 15, 1960 |
| Model’s cap or cloche coiffure with sleek waves is designed by Kenneth of Lilly Daché, photo by Evelyn Hofer, Vogue, January 15, 1960 |
| Model’s lightly frothed coiffure is designed by the Maison Antoine’s Salon, photo by Evelyn Hofer, Vogue, January 15, 1960 |