In the spring of 1990 my then partner Jane and I were back in Paris with the photographer Bruce Weber’s production crew for a film project, never completed, on the great fashion editor Diana Vreeland. Jane had worked for Bruce as a line producer for a couple years, and I had gradually gotten to know him and his staff. By then I was a regular contributor to American PHOTO magazine and something of a tolerated outsider in what insiders affectionately called Weber World.
The crew stayed at the Hotel La Lousiane, and the first order of business was to document the runway show for Azzedine Alaia’s Fall collection before heading to a elegant maison du gentilhomme outside Paris for a one-day free-form film shoot with African-American and Afro-French models imaginatively enacting some of Mrs. Vreeland’s ideas of style and verve. At least that was the idea. (cont.)