#Ormond Gigli

[henk-heijmans]

Gypsy dancer, Sevilla, Spain, 1952 - by Ormond Gigli (1925 - 2019), American

[fitsofgloom]

I Was Working In The Lab Late One Night

When My Eyes Beheld An Eerie Sight!

[voguefashion]

Maud Adams photographed by Ormond Gigli in Greece for Time magazine, 1969.

[joeinct]

Girls in the Windows, Photo by Ormond Gigli, 1960

[gacougnol]

Ormond GIGLI

Nude 1988

[conformi]

Ormond Gigli, Girls in the Windows, New York City, 1960 VS Colosseum | Amphitheatrum Flavium, Roma, Italy, 72-80 (reconstruction drawing)

[adreciclarte5]

by Ormond Gigli, 1952

[robertocustodioart]

Anita Ekberg by Ormond Gigli 1954

[patheticesque]

Girls in the Windows, New York City (1960), photographed by Ormond Gigli.

[silveragelovechild]

Justice League versus Starro. This illustration is based on “Girls in the Windows” is a 1960 photograph by Ormond Gigli. It depicts 41 colorfully dressed women standing in the windows of a brownstone building on East 58th Street on the Upper East Side of Manhattan.

[adreciclarte4]

Richard Burton by Ormond Gigli, 1961

[henk-heijmans]

Nuns, Rio de Janeiro, 1955 - by Ormond Gigli (1925 - 2019), American

[hannahleah]

Unknown model by Ormond Gigli, 1988

[voguefashion]

 Lyn Revson photographed by Ormond Gigli for Time magazine, 1971.

[joeinct]

Nuns, Rio, Photo by Ormond Gigli, 1955

[vintage-every-day]

In 1960, renowned photojournalist Ormond Gigli brought together a group of 43 women, each clad in chic, vibrant attire, and strategically placed them in the 41 windows of a traditional New York City brownstone. In the years to follow, this resulting image would gain recognition as Gigli's most iconic piece of art. In those days, Gigli operated from a studio on East 58th Street, nestled in the vibrant heart of Manhattan. Directly across the street was a row of townhouses marked for imminent demolition. Driven by the urge to encapsulate the beauty of these soon-to-be-demolished structures, Gigli was committed to creating a captivating image that would serve as a lasting tribute to the neighborhood he had grown so fond of. Gigli persevered despite lacking the financial resources to hire professional models or any budget for a non-commissioned picture. He negotiated with the building's foreman, convincing him to allocate a two-hour window for his endeavor and to ensure the window spaces were cleared. With a vision of his 'dream' picture, Gigli approached a modeling agency he had previously collaborated with. He appealed to models to volunteer their time to be a part of his ambitious project, asking them to dress as they wished and arrive during their lunch break.