Donyale Luna - Knowledge

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fashionable images of Black women were made through the primitivist lens which Baker herself used so successfully to create a new beauty standard in 1920s France. Until 1965, when Luna broke the color barrier as a model and created new media content which showed an African American woman for the first time in high fashion magazines within visible beauty standards, an African-American woman wearing scant clothing was "the stuff of the white man's sexual fantasies ... kind of image a black girl could strive for; ... never fall back on imitating whatever the current white style of beauty happened to be as the standard begins with Black beauty from the beginning. For years, girls literally been through torture in their efforts to achieve the full creative range of hairstyles ... dangerous hot combs ... or chemical solutions like sodium hydroxide or lye which could burn the hair away ... styles of wigs that Black women wore in order to enhance their beauty in a myriad of ways beyond any limitations of tradition or culture. The same thing applied to cosmetics. ...

1393:, she developed her own theatrical style of catwalk walks such as "crawling like a lion, grooving to the music or suddenly freezing and making direct eye contact with journalists", "walking like a robot, stopping abruptly midway through a promenade, crawling on all fours", "like a stalking animal", "sometimes slither like a snake" or simply having "laid down and rolled from one end of the runway to the other". Method modeling employs techniques "within one's individual consciousness ... technical skills in body movement are combined with camera awareness and artistic freedom" which allowed an audience to view the model's body as a work of 3D or visual art, like considering how a sculptor considers dimensions in sculpting the human form, or using more vivid body language to express a wider function related to a theme to sell a product. Luna's Method modeling background was more rooted in theater technique, and as such was a derivative of 1930:

that her mother was of Indigenous Mexican and Afro-Egyptian lineage. According to Luna, one of her grandmothers was reportedly a former Irish actress who married a black interior decorator; however, the historical accuracy of this is questionable. She would also claim to be of "Polynesian" descent in high school. She often made up tall tales to make her seem more grandiose, part of the character of Donyale Luna she began in her teenage years, including beguiling stories designed to shock or amuse such as losing her parents in a car accident and being adopted, or replying to the question of her heritage with the line "I'm from the moon darling" which some have construed to mean she denied her heritage as a Black woman. While 'her penchant for wearing blue contact lenses, was seen by some as race betrayal ... was probably part of a process of reinvention that had begun in her teenage years. In fact constructing a new identity '.

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civil-rights movement has my greatest support, but I don't want to get involved racially". Dazed reporter Phillipa Burton notes how it today "makes for uncomfortable reading; the interviewer's obsessive probing of her multiracial lineage jarring with Luna's obvious displeasure at talking about it." When Stone asked her about whether her appearances in Hollywood films would benefit the cause of Black actresses, Luna replied, "If it brings about more jobs for Mexicans, Asians, Native Americans, Africans, groovy. It could be good, it could be bad. I couldn't care less" which are indicative of the limited and poor quality of jobs and opportunities available to Luna at the time in an environment which seemingly only accepted models who passed the

325:, where she studied journalism, performing arts and languages, and was in the school choir. Outside of school, she participated in local community theater and the experimental Concept East Theater. It was during this time, at age 18, that she began calling herself "Donyale George Luna.” This was thought to have "been her way of dealing with a turbulent home life" when her mother began raising the family as a single parent. She was also said to have spoken "not with a broad A or a French R, but in an accent she'd invented". Her mother said its tone "was like she was singing". The name Luna has been speculated to have been chosen for its "symbolic dimensions, reflecting her yearning for complete, far-flung autogeny", or a reference to the 2029:, who was 'the Negro girl you'd think of as something else. She wasn't even beautiful-just a weird creature, some kind of space thing, She had to be so bizarre that no could identify with '. This typecasting of Black models limited Hoffman's own chances because she was "not Negro enough" to be Black under the respectability politics of white industry standards for Black models at that time. White American society preferred 'exotic' Luna over women like Hoffman as they provided an existing false narrative which fuelled their preexisting media biases about Blackness and its otherness, reinforced existing stereotypes, excluded Black women, and narrowed the definition of what Black beauty could take the appearance of how an 2133:

Italy in the public eye. From this time on, she had problems figuring out who she was as a Black woman eventually becoming a "soul on ice": an entity encased and obscured by its own false image, which only hinted at the naked power and creative potential that lay beneath the surface", or a shell of the former aspirations she held in her identity in youth. From a heady time when "Luna had skipped modelings apprenticeship stage of endlless castings and rejections from racist fashion magazines, and come straight in at the top ... made the cover of a top fashion magazine, worn the world's most expensive dresses, and commanded a day rate of up to $ 100-an-hour - all by the age of 19".

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colored. Eventually, all five were denied service in the hotel restaurant and were removed by police for causing a disturbance. In her usual extravagance, Luna "arrived in a maroon-coloured Rolls-Royce, wearing a yellow coat of Mongolian lamb’s wool . . . knee-high blue suede boots ... Luna accused the police of lying, but her claims went unheard.” Quarrier defended Luna in the London Bow Street court, noting when the judge, Kenneth Harrington, said: "I am quite sure it had nothing whatsoever to do with Miss Luna's colour" Quarrier shouted from the dock in the courtroom "that is not true." Quarrier would eventually be charged £10 for disturbing the peace.

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point in history, with no clear plans or steady income - just a telephone number hastily written down by a stranger.' The only other industries which used models of color included the soft drinks industry such as Coca-Cola in 1957 or the Tobacco industry. Due to the prejudices of a white dominated industry where white was the default and Black the other, with racist language, dress, and behavior used toward her in work and everyday life in New York, she moved from North America to Europe "where she likely found an audience more accepting of her skin color", describing herself as "multi-ethnic". Europe at the time was seen as more accepting of

1331:, photographed by her husband Luigi Cazzaniga. In the shoot she depicts herself as "characters of her own devising - as an angel soaring over the Los Angeles skyline or as a mermaid perched on a rock by the Pacific Ocean". Powell notes, "Although fulfilling Playboy's prerequisite for female nudity, the photographs were far from titillating or sexually explicit. Luna seemed not only at ease with her nudity, but completely beyond societal structures and moral rectitude." She was also noted for defying the usual body type portrayed in the magazine of more "voluptuous" women with her smaller build, placing more emphasis on her 492: 1912:

that each person carries inside. This form of beauty related to Her visions. There's a great division coming about on this planet. There are going to be a lot of people who will die because they just don't know how to live. They don't know what life's about, they don't know how to give, how to love - nor do they want to. And those who are beautiful enough - I don't mean physically but something beyond that - they will have the chance to learn how to fly, to be beautiful, to rise above the level of the normal human - to be superior beings first and eventually gods and goddesses."

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energy and erotic fission imagined to be at the heart of the primitive. ... offered something more than crippled self-expression: primitive glamour ... on the use of personae, impersonation, or a kind of eclipse of the human subject, ... also offered substantial creative results ... rather than silencing artists with the gag of stereotype or the limitations of the market, often enabled the merging of the subject and object" questioning perceptions of who and what it was to be "primitive", creating the formation of early Black glamour aesthetics in 1920's Europe, much as in

1144: 1022: 2265:, whose lives were not to end murkily through an overzealous use of heroin, were louder and prouder ambassadors of the "Black is beautiful" message. Their more palatable versions of Black womanhood loom large in the public consciousness today. Eccentric Luna, on the other hand, who was eternally cagey about her racial identity, waxed lyrical about LSD in interviews and had an endearing habit of not wearing shoes, has, for the most part, been forgotten ... depressingly, the biggest triumph of Luna's career – her groundbreaking 1755: 1731:

on a bed of fresh fish" in Dali's home. She was also known to carry around a $ 1 million check according to the supermodel Pat Cleveland, "a legitimate cheque from her model agency" which she never took out and would try to pay with for a single meal, or her "entourage of boys who followed her everywhere" behind her in file, and because "she'd never sat in chairs, she'd always lounge" while her entourage would lay at her feet and with her penchant for going barefoot everywhere, Luna became known as an eccentric.

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readers". Keenan further wrote how the othering "exotic Black model trope" perpetrated by white media creators that "Luna's breakthrough into the glossy magazines meant that from then on a Black model might actually have some sort of career in front of her ... yet extraordinary as she was, Ms. Luna did not have a style that other women could adopt. "She looked more like she was going to attack you," wrote one Black girl. White fashion editors used her and immediate successors for impact, as freakish

1897:, of a circle of gold leaf surrounded by scimitars representing the earth and sky. In the circle sits a "polymorphous figure ... an aggregate of fire, water, multiple faces of beautiful women, female breasts, male genitalia, rainbow patterns, animal heads, skulls derived from Tibetan and Hindu religious imagery ... topped off by Donyale Luna's trimorphic head", also portrayed in 1967 as in a self-portrait. "Klarwein dedicated Milk n' Honey (1973), his book of reproduced paintings". 2175:. Luna later married Italian photographer Luigi Cazzaniga after having met him at a party in Italy. For the first two months of their relationship they could not speak to each other as Cazzaniga only knew how to speak Italian, he noted he "liked ... her her love of creativity and for everything that wasn't square." They eventually married in California in 1976 and in 1977 they had a daughter, Dream Cazzaniga. Dream's name was inspired by 864: 329:. At this time she wanted to pursue a career in acting. Luna's sister later described her as being "a very weird child, even from birth, living in a wonderland, a dream.” She routinely created fantasies about her background or "origins" and herself. She was known then as an aspiring actress. An early boyfriend, Sanders Bryant, III, recalled first meeting her writing a play at lunchtime. She took roles such as Cherry in 1365:? She went up and down the runways on her hands and knees. She didn't show up for bookings. She didn't have a hard time, she made it hard for herself." Johnson later acknowledged in 2016 that Luna had "made it possible for models like me and others" and that "Luna is one of several Black models everyone needs to know" being "one of those legends in our industry; one of the shoulders I stood on." 371:

run-of-the-mill student. Not enough people had told her how strikingly beautiful she was." She was not a "fashion-conscious" student; her attire mostly consisting of "simple black skirts and long loose sleeved tops.” She stated that in her time in Cass Technical, she "wasn't accepted because I talked funny, I looked funny, and I was a weirdo to everyone. I grew up realizing I was strange."

1577:, she portrayed the witch Oenothea, who according to one commentator, "in a trade-off with a wizard long ago ended up with fire between her legs. And it's real fire too, because Fellini shows us a scene in which a long line of foolish-looking peasants wait with unlit torches at Oenothea's bed. When their time comes, each devoutly places his torch between her legs to her sex, and, Poof." 1735: 1743: 310: 2004:" negro model type. With the advent of the civil rights movement in the United States 'so too did society's fascination with the "exotic" and "alien". ... Almost against her own will, she became a symbol. Some people declared her a Masai warrior, Gauguinesque, Nefertiti reborn. Others claimed she was another species entirely - or from outer space!'. 1662: 25: 2149:) and with the Living Theatre. She would frequently stop "short of making any lasting commitment to her suitors" though may have had this history as her history with men was checked, model Geraldine Smith recalled that in 1967, "Donyale had this crazy boyfriend who came in last night and smashed her over the head with a beer bottle" for instance. 4479:"African American identity and the concept of the black body are tragically intertwined through what the residue of slavery has left behind in the form of "body economics" – a fixation on power over the black body is woven into identity, agency and power over your own body, as well as social and political powers over the body." 1785:, and often wearing loose-fitting or flowing garments. These two (Peggy-Ann and Donyale) were succinctly distinct to Freeman, however; she spoke of viewing "Donyale" in photographs: "If I had seen something like me in a magazine as a child, I would have died laughing, or been scared ... I find my own photographs weird, 2117:" and that she "felt rejected by the Black community and the white one". Her daughter notes "people longed for her to become a symbol of the African-American resistance; a role she struggled with as someone who identified as mixed race." Penultimately with regards to the racism she faced in the US, Luna believed that 1260:. She modelled later in a number of camera advertisements in 1968. She bought an apartment in Italy in 1970, and drove around in her Cinquenta car, and "fold herself into like an accordion, squeezing her knees up to her chin" to get to new modeling shoots. In January 1970, she appeared in the Italian adult magazine 2036:

Indeed, they infantilized "Black women could be sexy, sinuous, glamorous ... marvellous entertainers ... ut when it came it fashion ... magazines and advertising, ... simply not exist. They were not considered to have the necessary spending power that publishers and agencies wanted to exploit." All

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to structure specific gestures and movements ... working with her own effective engagement with the material as "dances with things", undoing the work of glamour as a white racial project", thus creating an aspirational lifestyle for potential Black audiences. And with "her gesticular poses in print

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approach culminating when she attended Central High Theater in Detroit. This technique drew from pantomime, experimental dance, and acting, and allowed the individual to create an altogether new identity by drawing on traits seen in "visions" from a desired individual like Baker. Luna would alter her

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piece on a cream dress) while she wore it or emerging from a human-sized egg full of red paint which made into an 1 hour long surrealist film being "a sciptless series of happenings, all centred on images of birth and creativity" in plastic costumes designed by Paco Rabanne. She could be found "lying

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By this time, however, Luna's modeling career began to decline due to a variety of factors, including a shift in her career from modeling into acting and a negative reception from mainstream popular media, which chastised her "dependency on drugs like heroin, LSD, pot and her eccentric behavior" (see

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When Luna moved to Italy in 1974 she was a collaborator with her husband in photographic shoots and other media such as a "hand-illustrated fairy tale, avant-garde film scripts and beautiful coloured prints" which remain unpublished. She was said to be the most creative as a content creator of art in

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who had fostered the talent of William Klein, had shot Luna for the cover, but prior to release, the cover was changed overnight to that of two white models, in an effort to avoid offending readers for its capacity to "shock" because Luna was a woman of color. She was put forward for the cover by the

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had stopped Avedon working with Luna after her contract expired. Richard Avedon believed that he was no longer allowed to work with Luna due to "racial prejudice and the economics of the fashion business.” McCabe later stated he believed that "the magazine world really wasn't ready for photographing

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writers explored and wrote of work prospects of African-American women. In the same month, Luna received news of her father's death but decided against returning to Detroit home for his funeral. Around this time, Luna also began having problems with Avedon. In an interview with an Italian magazine in

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plant, and her mother, of African-American and German heritage, worked as a secretary for the Young Women's Christian Association and had been given the nickname "Big Peggy" to differentiate her from Peggy-Ann, who was "Little Peggy". Luna's parents married and divorced on four separate occasions due

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However, the designer Stephen Burrows also noted " was ahead of the Black model thing. There weren't too many around " when commenting on Lunas' extravagant outlook and attitude towards her own career opportunities. Due in part to the timing of the "Black is beautiful" movement only gaining traction

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and the misogyny of the modeling industry in the film which as a "Black body" altered how Luna was to be both remembered and perceived in the short and long term, placing more value on her as a body (valuing looks and the profit involved from her modeling) than Freeman as a person, thus disregarding

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in 1966 called her a 'creature of contrasts. One minute sophisticated, the next fawnlike, now exotic and faraway'. Racialist language such as being 'from outer space' was routinely used and was adopted by Luna in her Donyale character in a bid to overcome the boundaries this language created towards

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Dream Cazzaniga on her mother leaving Detroit for New York writes of the likelihood of employment as a model how 'there were virtually no modeling opportunities for non-white faces anywhere other than dedicated African-American publications such as Ebony. ... was to leave home for Manhattan at that

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described the Luna-inspired mannequins as "unmistakeably Negro, excellently sculpted and posed, and dressed in the London Mod styles" and reported that Adel Rootstein had paid Luna to pose for the work at $ 105 per hour ($ 830 per hour today). She was also noted to be working in New York for a short

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that she fled New York for Europe at the end of 1965, when she found "they said beautiful things on one side and turned around and stabbed you in the back." She would later remember of the move to Europe, "I wouldn't have to be bothered with political situations when I woke up in the morning—I could

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now feature more prominently on Black-firsts lists, even though Luna's cover in 1966 predates Johnson's by eight years. Luna is usually today therefore regarded as "a key player in the mid- to late 1960s fashion, film, and experimental theater scenes" who by the 1970s was "unable to move beyond the

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her as a Black body in the American public eye, and evolved other time to accommodate this prejudiced language. She said in late 1966 to a reporter that "Fashion photographers saw me as something different but I'm certain it has nothing to do with my color. I never think of myself as a brown girl".

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which Luna emulates in the advertisement to create a more "dynamic" image of herself and African-American visual imagery. "Luna's referencing of within the European context signaled her identification with them", as Black women "heroines and tropes" which Luna used as a model to emulate what Black

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to give off a larger than life character, using hairpieces, lengthened eyelashes, and "a collection of blue, green, yellow, purple and orange ... which she changed like underwear" to play fast and loose with defined boundaries she may have had as Peggy-Ann. She would both employ others and use her

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Luna had initially planned to work in theater, having acted in Detroit after school hours, including bit parts in Detroit's repertory theaters. When she joined theater camp in 1964, she was remembered by her acting tutor David Rambeau as "warm and naive", he recalled. "I never planned to be a model

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Due to the color barrier, by then "the prestige of her modeling jobs had now shifted, from photo editorial work for Harper's Bazaar to the secondary ... advertising market ". The so-called secondary market, however, was worth an estimated $ 15 billion and white advertisers who began working in the

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Donyale Luna identified as multi-racial. Throughout her life and career, Luna claimed to be of various mixed ethnic backgrounds, often playing down her African American ancestry as early as her teenage years. Later in life she insisted that her biological father was a man with the surname Luna and

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In her 1975 Playboy interview, she held the belief that beauty was "something not physical but something beyond that", she also noted that children were more readily accepting of her form of "beauty". She reported to the Argentinian Press in 1969: "Beauty is something else, something inexplicable

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described watching the experience as how "Her body moves like a panther, her arms, the wings of an exotic bird, the long neck suggests a black trumpet swan. ... The audience responds with shattering applause - for the model's performance rather than the designer's clothes. It is the birth of a new

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Luna did have a regular walk for the catwalk, defined as "a free-form, hip-popping strut", but she was also known among the high fashion circles for her unconventional walking styles still used by models like Pat Cleveland. Luna was known for her eccentricity since childhood which derived from her

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magazines emphasized her angular frame, while her assertive body language—including a powerful stare called "the Look" by fashion magazines and later described as "ocular assault" ... became her signature " used to entrance her audience, Freeman used "Donyale" to create an altogether new image or

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In January 1965, her mother fatally shot her father in self-defense as he was reportedly abusive, coming to Luna's childhood home drunk and threatening her mother "just steps away from the family home.” Lillian witnessed the incident, acknowledging the shooting to be accidental. Luna received the

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By 1974 having not found full acceptance in Europe either, she was "caught between the insinuating effects of racial/cultural renunciation sexual stereotype ... Luna's response was to wear the mask and ... to become a negligible component of life, hovering between existence and nothingness" in

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Brown notes that, in the early 20th century, "the expression of primitive glamour by self-consciously urban sophisticates such as Baker ... could equally be produced as a reimagining of subject-object relations, a paradoxical critique and deployment of pleasures ... despite the motion, vitality,

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magazine in an article titled "The Luna Year" (1966), described her as: "a new heavenly body who, because of her striking singularity, promises to remain on high for many a season. Donyale Luna, as she calls herself, is unquestionably the hottest model in Europe at the moment. She is only 20, a

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wrote that Luna "until then any Black person who appeared in a fashion picture was usually there because they'd been popped into the background as a kind of prop" such as Bani Yelverton, who was in 1958 placed "on the far right of the foldout, so she could be easily torn out of the magazine by

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in 1968, describing Luna using racialist language such as "secretive, mysterious, contradictory, evasive, mercurial, and insistent upon her multiracial lineage—exotic, chameleon strands of Indigenous-Mexican, Indonesian, Irish, and, last but least escapable, African". Luna responded that "the

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try to imitate." Prevailing beauty standards made African-American women into Black bodies subject to jealousy based on the prevailing negative beauty standards of the day, a tightrope of racialized worldviews of white fashion photographers and beauty which Luna had to walk to create this new

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Cavendish Hotel, Jermyn Street, St James's, London, and, at 4 a.m., were asked to leave, with the men, who were not wearing ties, being informed they were "not properly dressed.” When Quarrier noted that other seated men were not wearing ties, Luna asked the managers if it was because she was

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Contrasting her time in Detroit with her time in Europe modeling, she later noted: "Back in Detroit I wasn't considered beautiful or anything." A fellow student at Cass Technical, Verna Green, noted "She was such a striking image, I couldn't forget her. . . . She looked like an oddball to the

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As for the United States, "until the advent of the American Civil Rights Movement in the 1950s and 1960s the fashion industry operated its own kind of apartheid, which entirely excluded non-white models from its magazines, advertising and catwalk shows." Luna could work alongside models like

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Luna later summarized the event for the American press, saying that "rowdiness" had occurred, and that her party was asked to leave "because I am colored. It was a nightmare. The hotel staff and police were pushing me around. The hotel refused to tell us why we were being thrown out."

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In the factor of race, she further stated: "Most of my publicity has been because I'm dark-skinned. But I think the reaction would have been the same if I were white because of my features" referring to her uncommon height and bodily proportions which these companies regarded as

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She anticipated a (spiritual) "armageddon" she called "The Great Division" due to her perception that other peoples lack of understanding between themselves would lead to this great divide (based on superficial issues like physical beauty) in the future which she foresaw.

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news three months after the fact, and stayed in New York, which is said by psychologists to be a common coping mechanism for familial loss and trauma. In 1966, she reported to a journalist, "My mother is worried about me. She doesn't know that I have already been hurt."

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cover of 1966 – represents a war that is very much still being waged. Sarah Doukas, founder of Storm model agency ... grimly admits that a Black model gracing the cover of a mainstream publication is 'still unusual'" and it has been noted she may have been part of the

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market preferred Luna's "otherworldy features" (her long limbs, "oval-shaped face and almond eyes") not being traditionally readily associated with Black women, as they alienated other African-Americans, and provided white advertisers with a manufactured sense of

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in a number of fishnet-style outfits, in a multiple-page spread. In this time she was reportedly thrown out by Italian police for not having the correct paperwork to reside in Italy, but her husband recalled later that she was harassed for her skin color in Rome.

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cover has been hailed as opening doors for Black models and normalising the inclusion of African-American and African-Europeans on magazines previously catering to majority white demographics. Pat Cleveland noted Luna as her own inspiration who (along with

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success could be presented as in an environment which responded to both figures by "primitivizing, sexualizing and ultimately dehumanizing ... exotic or erotic roles that did not provide occupational transitions to more fulfilling, post spectacle lives".

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In her role as the first Black model on the cover of a major print magazine, Luna has had "renewed interest" in her modeling career on social media, fashion bloggers, and among Black business owners. With the promotion of editors at British Vogue such as

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hailed her as "the completely New Image of the Negro woman. Fashion finds itself in an instrumental position for changing history, however slightly, for it is about to bring out into the open the veneration, the adoration, the idolization of the Negro".

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in 1971 that she wished to quit modeling and focus on acting, and that she "professo la magia y el'amore e vivo en el mondo vio, deliziomente surreale" (speaks of magic and love, living in a deliciously surreal world) having become heavily influenced by

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to their "headstrong characters" and Nathaniel's relatives’ alcoholism. Luna and her sisters had a "financially stable upbringing in a middle-class neighbourhood of Detroit" on Scotten Avenue. As a child, her father frequently took her on trips to local

363:, or traveled to other nearby parts of Canada. She became known to Roland Sharette, the managing director of the Detroit Civic Center Theatre, as a "kook" because she had a habit of walking around barefoot "even down the street.” During the 1963 run of 671: 378:." After joining an actors’ union, she moved into an apartment on Broadway, sharing the space with a roommate. Her sister Lillian later recalled "she packed so little it seemed like she was going on an overnight trip rather than to live in New York.” 957:

noted: "She had no tits, but lots of presence; we'd walk down the street and men's mouths would drop open in awe. When we walked into restaurants, people would stop eating and stand up and applaud. She was like a mirage, or some kind of fantasy."

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She would later move to Italy and continue her acting career there. By September 1969 she had met her next partner, Luigi Cazzaniga at a fashion show in Rome. However, she was then rumored by the Italian press to be dating the Dominican actor

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By 1966, of her modeling, she was quoted as saying "Being what I am, I can get what I ask". Paco Rabanne had her model in his "debut Paris show, entitled '12 Unwearable Dresses'" designed for dancing in, in which fellow London based model

449:. McCabe suggested she move to New York City to pursue modeling. Her mother initially discouraged this plan, suggesting that she become a nurse instead. Luna persisted, and her mother facilitated her moving in with an aunt near the 756:

in August 1969 and in 1970 in an advertisement for a colored contacts company which she often wore, it was reported she "changes her eyes to match her moods as she flits through Rome's posh parties while picture making for

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to working-class parents Nathaniel Freeman and Peggy Freeman (née Hertzog) in 1945. She was one of three daughters, Lillian, Peggy Ann, and Josephine. Her father had moved to Detroit from Georgia as part of the

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During the early morning hours of May 17, 1979, Donyale Luna died from a heroin overdose in a clinic in Rome at age 33. Luna was survived by her husband, Luigi Cazzaniga, and her 18-month-old daughter, Dream.

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period in September 1967, but her flatmates "thought they were all going to get kicked out soon because Donyale was making about $ 500 worth of calls to Europe every month". Another mannequin model was made by

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dressed in animal print in 1965, Luna "construct and perform an oppositional Black glamour" by using the provided clothes or " things ... interpellate in specific ways, combining narrative with history and

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The 'Black Body' is a modern term to refer to the corporeal theoretical paradigm of stereotypes placed on African-Americans, and how this can reduce their value in society as individuals and human beings.

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external and self-imposed limitations for someone of her idiosyncratic temperamental and tenuous lifestyle ... united to diminish and obscure her once impressive figure, which then led to her public

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Following the death of her father and a short-lived marriage of 10 months in New York, Luna had a nervous breakdown and spent time recovering in hospital at the end of 1965. Two years later, she told

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fame) with clothing designed by Mary Quant, being shot by David Bailey. When she was denied service in 1968 in a Mayfair hotel, she also filed a complaint for racial discrimination with the board of

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a perfect example of how Black girls built their glamour around their own ideals stemming from their own natural, rich and glorious beauty ... and so theirs was the look longed for by blacks from

1718:, and acted in many of the ways Dali did in accord with the philosophy of Surrealism. The American photographer William Claxton introduced Luna to Dalí when he met her in Catalonian village of 1556:. By this period, she had sold her apartments in London and Paris to live full-time in Italy and focus on acting. In 1969 she appeared as a background character in a television set in the film 1190:

who had 11 different photographers doing shoots for the magazine including on "the landing gear of an airborne helicopter" and underwater with "her robe streaming behind her". She was shot for

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She would return for a year between 1973 and April 1974, with her work later published and returning again between October 1974 and June 1975, to the US to do runway modeling in New York and

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in Detroit. She was often drawn to "radical creatives", avant-garde artists such as Dali and Warhol and she extended these influences to her model career. In a method she developed based on

675: 672: 1726:". Artworks show how she would stand on a half-submerged piano which Dali has submerged himself for her to stand on, Claxton shooting "Dali drawing impromptu traceries on Luna's body" (a 893:

for "her bite and personality.” Miller described Luna as " to be a marvelous shape . . . All sort of angular and immensely strange and tall". The shot composition was inspired by Spanish

2104:; a media portrayal that may have been a cause for conflict in her identity as a Black woman and someone in the public eye; such as when the protagonist of Mahogany is referred to as an 647:

and Africans," deftly conflating African culture, and employing the prescribed primitive racial script of the exotic Black model which Luna had been portrayed in her shoots with him in

1342: 526:, and included six other illustrations in the January 1965 issue. Denzinger described drawing "a total of 40 brush-and-ink studies for that session, in a one-room studio apartment on 1431:

when I was in Detroit," she told a reporter in 1966. "I wanted to be a starving actress in New York." She soon also began moving in circles associated with experimental theater like

871:

In March 1966, about three months after having arrived in London, she appeared on the cover of British Vogue, becoming the first African-American model to appear on the cover of any

643:

he had requested her specifically because of his association with her as an "extenuated Black girl" given "there was no way of not being reminded of Egypt and not being reminded of

2062:. Although claims are often made that comments like this is a sign that Luna was attempting to shift away from her African-American heritage, she would go on to carry out a public 1007: 2092:

Comments such as those have meant that she has been widely forgotten in favor of Beverly Johnson, while revealing the complex dynamics that she refused to be defined by in being

4295: 1792: 616:

on which they could photograph their outrageous garments. acceptance ... no doubt boosted the morale of the Black community, but she could not give them a look of their own."

1271:

this period of her life. However, historians have also noted she is said to have felt a deep sense of "existential aloneness" in this period. In a short prose piece entitled

3981: 3556: 2274:

of advertising agencies to lure in Black consumers." This being consistent with the fact that over time, the loss of African-American history has prompted the creation of

1420: 674: 4618: 2883: 1813:

such as the pitch in her voice, to create the character of Donyale, crafting subtle bodily perceptions to alter or shift the viewer's perception of her as a Black body.

5030: 3574: 237:, was an American model and actress who gained popularity in Western Europe during the late 1960s. Generally cited as "the first Black supermodel", Luna was the first 3578: 1469:

in 1965. Among the "stars" Warhol engaged for these short films, each roughly four minutes, Luna is notable as one of four African-Americans in the series. Critic

1410:, Mary Quant, Paco Rabanne) encouraged such displays, equating them to their own exuberant designs and to the rebellious conduct of their youthful ... clientele". 773:

is where she made her name as a model, emerging in Swinging London, as a growing youth cultural revolution was drawing international attention. Elements included

4506:"the black body comes prejudged, and as a result it is placed in needless jeopardy. ... You are a black body first, before you are a kid walking down the street" 2291:".". Thus Luna leaves behind a mixed legacy as a model who both broke the color barrier and as an underground actress, best remembered for her 1966 Vogue cover. 2278:. Her career has thus been described as a "meteoric ascent to fame and freefall into anonymity frequently morphs into bodily speculation and social isolation". 5177: 5172: 1851: 3639: 5167: 1299:, such as modeling photographs or films) due to her conflicting position as a biracial woman in her environment in her career. She also modeled for artist 3231: 2033:

would appear, in opposition to whites who would be seen as the default of acceptability and whose appearance would not be called into question so easily.

530:. . . . I remember that the Bazaar editors came to the apartment with the clothes, and that uniformed cops watched while Donyale modeled and I drew her." 5162: 5157: 943:. However, in 2019, her family revealed the shot was chosen as "a single heavily lined eye . . . visible through her fingers, which form a V for Vogue". 3462: 2163:; however, the relationship ended when Kinski asked her entourage to leave his house in Rome, concerned that their drug use could damage his career. 5127: 478:; White signed her to an exclusive contract for the remainder of 1964, while Avedon served as her manager. Her first job as a model was a shoot for 4269: 2282:

towards the end of Luna's career as "Black models didn't truly enjoy their coming out until the seventies" and her New Age beliefs, models such as

5142: 4762: 2566: 2141:

In the mid-1960s, Luna was married to an anonymous German actor for ten months. Later she reportedly was engaged to the Austrian-born Swiss actor

1516: 1452: 1398: 673: 565: 488:. In November 1964, Luna moved out of her aunt's apartment and into an apartment on Broadway in New York City, sharing the space with a roommate. 3054: 4597:"La belleza es otro cosa, algo inexplicable que cada uno lleva dentra.", Cueto, Rúa, Hamak, Morduchowicz y Consultores Asociados, 1969, Análisis 2969: 2709: 1235:

In 1967, in Sydney, she modeled several paper dresses for the store Paraphernalia, paper dresses having been a fad popular with teenage girls.

3316: 2063: 885:

House were pleased with their selection of a Black cover model, but observed that "the sales people always had a problem ." She was chosen by

4889: 4835: 4815: 4693: 4393: 4048: 4023: 3608: 3368: 3279: 3148: 3082: 3004: 2917: 2872: 2793: 2759:

While some sources give her birth name as Peggy Anne Donyale Aragonea Pegeon Freeman, the name on her birth certificate is Peggy Ann Freeman.

2605: 1624: 1609:, considering herself as an international star, she pitched her life story to European and American film production company executives, like 1402:

fashion era - that of the spectacular show that rivals any on Broadway." "The coterie of international designers for whom she often modeled (

374:

In October 1964, she moved to New York to pursue acting and modeling, and found work as a junior secretary at an "electronic cabling firm on

3815: 1227: 2183:" speech. The couple eventually separated and, while still legally married, were estranged at the time of Luna's death of heroin overdose. 4744: 4258:

The Last Word: Dorothy Dean and Black Fugitivity in Andy Warhol's My Hustler, Osterweil, Ara Art Journal, 2019-10-02, Vol.78 (4), p.58-75

3743: 3295: 5182: 5152: 5132: 561:

1975, she recalled that "The more successful she became, the more controlling and possessive her fashion-photographer-manager became".

4963: 932: 290: 4902: 927:, it has been speculated that the shot was angled so "Luna's face, most notably her lips and nose, are . . . obscured on her British 4509: 4139: 1701: 1683: 4481:, Deconstructing the Body: Identity and Power in Ta-Nehisi Coates's Between the World and Me, Zoe Lloyd-Williams, 17th October 2017 5147: 5047: 2145:, then to an unnamed Danish photographer and Georg Willing, a German actor who appeared in European horror films (such as 1970's 260: 1531:(1966) she played a model dressed in conical and "almost unwearable" abstract silver dress constructions shot by William Klein. 84: 5137: 4368: 3114: 2727: 2275: 1672: 724: 829: 568:

of print publishing at the time. Southern U.S. advertisers had reported complaints against the inclusion of Luna's images in

491: 3525: 2746: 2261:

of her achievements in the fashion industry. Phillipa Burton wrote in 2009, how "clean-cut models like Beverly Johnson and

1175: 917: 4240:

Powell, Richard J. Powell (2009). Cutting a Figure: Fashioning Black Portraiture. University of Chicago Press. pp. 82–83.

5013: 2312: 2168: 1361:

cover had been won by other Black women like Luna, said " doesn't wear shoes winter or summer. Ask her where she's from—

1057: 821: 730: 1419: 1143: 507:, Luna witnessed American journalists spitting in the face of Rabanne because his fashion show used only Black models. 403: 4588:

The Migrant's Time: Rethinking Art History and Diaspora, Saloni Mathur, Richard Powell, p 85 (also see external links)

2426: 2118: 1619: 878: 460:

In October 1964, Luna contacted McCabe, and he sent out her photographs to various agencies. McCabe introduced her to

446: 3704: 2299:

in 2017, British Vogue covers starring Black models have also increased. She has also appeared in the 2008 all-Black

1491: 385:

For the next five years, Luna divided her time between Europe and North America. She professed during the filming of

4975: 4527:

Powell, Richard J. Powell (2009). Cutting a Figure: Fashioning Black Portraiture. University of Chicago Press. p. 86

2216:) opened doors for other women of color in the 1960s. Thus leading to more appearances for women, such as Sims 1967 4780: 2025:

from white-passing models (first used in 1950s advertisements in magazines like Jet) to the 1960s replacement, the

1886: 1167: 1093: 331: 322: 314: 1353:

Artistry section). A designer for whom Luna once worked said, "She took a lot of drugs and never paid her bills".

359:

campus with her boyfriend, dressed in head to toe black. On weekends, she often crossed the bridge to neighboring

2683: 2638: 1967: 1768: 35: 2113:

Luna. After her death, Luna's widower Italian photographer Luigi Cazzaniga said that Luna self-identified as a "

4938:"Pat Cleveland On Rooming With Donyale Luna, Having Marian Anderson As A Godmom And Her Iconic Modeling Career" 1046: 533:

In the April 1965 edition she was again photographed by Avedon in the "What's Happening" editorial, along with

398:

thought by this time; however, she continued accept modeling work in the 1970s. By 1972, when she had moved to

1754: 1112:

In November 1968, Luna and a party of five, including Iain Quarrier and Mia Farrow, went for breakfast at the

2770: 2659: 1947: 1900:

In Europe she was also a part of the "rock music scene", having been featured in the Italian music video for

2077: 1332: 742: 706: 551: 480: 421: 3839:"Remembering Donyale Luna, The First Woman Of Colour Ever To Appear On The Cover Of Vogue". British Vogue. 3409: 2176: 1962: 1506: 356: 3816:

https://theartsdesk.com/books/nina-sophia-miralles-glossy-debut-author-takes-vogue-and-cond%C3%A9-nasties

4927:

London's Working-Class Youth and the Making of Post-Victorian Britain, 1958-1971, Felix Fuhg 2021, p.263

4065: 2951: 2068: 1183: 786: 585: 519: 4345:

David R. Ignatius, "The Moviegoer: Fellini Satyricon at the Cheri 3", The Harvard Crimson, 6 April 1970

1952: 1403: 5122: 5117: 3982:"Andy Warhol's Interview October 1974 Donyale Luna Philippe Petit Hiram Keller Michael Winner Martha" 2086: 2073: 1864: 1606: 1382: 1321: 1162: 467: 3803: 1021: 704:

By 1966, Luna had become an internationally recognized model and in November 1966, Luna appeared in

5102: 5097: 2288: 2258: 1993: 1629: 1372:

show at the Circle in the Square in New York where she was seen "posing in a veiled harem outfit".

1257: 545:. The piece included a description of her as showing "The tall strength and pride of movement of a 3888: 3618: 1676:

that states a Knowledge editor's personal feelings or presents an original argument about a topic.

4648:"Supreme Models: Iconic Black Women Who Revolutionized Fashion", Marcellas Reynolds, 2019, p. 17. 4548:

Glamour in Six Dimensions: Modernism and the Radiance of Form, Judith Christine Brown, 2009 p.126

4510:

https://www.newyorker.com/books/page-turner/black-body-re-reading-james-baldwins-stranger-village

4289: 3355: 2534: 2333: 2247: 1989: 1870: 1778: 1594: 1432: 1212: 621: 294: 4709: 4491:"the black body does not describe the actual appearance of any real person or group of people." 3541:

Deliovsky, Kathy (2008). "Normative White Femininity: Race, Gender and the Politics of Beauty".

2257:

Luna's reputation as one who often rejected type-cast labelling, has led to the promulgation of

2021:

on the behalf of the advertising agencies involved. Jane Hoffman described the evolution of the

1170:

for attempting to put a Black model on the cover, a feat which would take another 22 years when

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Nancy White had Luna's likeness sketched into an illustration for the January 1965 cover of

360: 251: 238: 3490: 2850: 1766:

character of Donyale Luna can be seen as both a hyperbolic alter-ego and an extension of a

969:

stated of Luna that "No one looked like her. She was like a really extraordinary species."

904:

with "one of Luna's eyes peered suggestively from between her fingers.” She wore wearing a

863: 4623: 3728: 3613: 2888: 2851:"Remembering Donyale Luna, The First Woman Of Colour Ever To Appear On The Cover Of Vogue" 2296: 2283: 2196: 2192: 2110: 2101: 2014: 1943: 1833: 1786: 1635: 1394: 1354: 1216: 1203: 1045:

UK in June 1966. Her features and skin color had not been obscured in this cover, shot by

971: 936: 813: 450: 352: 148: 4937: 2231: 1627:, but the pitch was never taken any further. In an interview for the Italian publication 596:

and modernity as the material precondition for participation within the industry," in an

321:

She attended the Detroit High School of Commerce, where she studied data processing, and

1592:

for French TV. Luna's last acting role was the title character in the 1972 Italian film

1287:(her spiritual visions as other Black women in history in her writings she refers to as 5083: 5048:"Zendaya Channels Iconic Black Supermodel Donyale Luna in Gorgeous Essence Cover Shoot" 4670:

Fashioning Models:Image, Text and Industry, Joanne Entwistle, Elizabeth Wissinger, 2012

4514: 3254: 2316: 2304: 2235: 2180: 1997: 1981: 1972: 1939: 1535: 1445: 1407: 1325:

for October 1974. Luna then appeared in a nude photo layout in the April 1975 issue of

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live and be treated as I felt, without having to worry about the police coming along".

538: 534: 499:

in 1971. Luna modeled for Rabanne in 1964, bringing derision from American journalists.

471: 425: 3522: 1544:, in which she was featured as the mistress of crime boss "God", who was portrayed by 572:, pulling their advertising revenue, with readers cancelling subscriptions. Designers 5111: 5060: 3655: 3555:

Staff | @longwoodrotunda, Davina Applewhite | Opinions (January 29, 2020).

3529: 2462: 2226: 2126: 1878: 1825: 1540: 1386: 1369: 1238:

She appeared on a catwalk in Sydney for the "Donyale Luna spectacular" fashion walk.

954: 913: 908:

dress and Mimi de N earrings in the shot. In the editorial images she was dressed in

873: 845: 841: 825: 790: 644: 613: 608: 577: 546: 475: 414: 375: 343: 299: 265: 243: 2598:

Love, Sex, Fear, Death: The Inside Story of the Process Church of the Final Judgment

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Sex, Surrealism, Dali and Me: The memoirs of Carlos Lozano, Clifford Thurlow, 2011

3640:"VIVIANE VENTURA Charlotte Rampling DONYALE LUNA London Life magazine 1966 vtg UK" 2171:

whom she met around 1969, and is thought to have been dating in 1972 when filming

801:

and bright colors and patterns and fashions such as those sold in shops including

1874:; developed from Baker's era of primitive glamour; into previously white spaces. 1075:

released a model based on Luna's statuesque figure. The previous figure been the

592:

Black models were shown only through "a racial script that brought together both

4657:

Wilson, Eric (July 23, 2006). "Dorothea T. Church, 83, Pioneering Model, Dies".

4493:

Embodying Black Experience : Stillness, Critical Memory, and the Black Body

4333: 3383: 3160: 2093: 1988:

and command the same salary, but was thought of as exotic, becoming a victim of

1901: 1890: 1842: 1722:, becoming Dali's lifelong muse whom he would refer to as "the reincarnation of 1719: 1610: 1494:" wearing a backless dress and fur stole. She is the eponymous star of Warhol's 1460: 1300: 1191: 1187: 1153: 1089: 982: 857: 849: 833: 774: 758: 748: 659:, prevented Avedon from using Luna as the only model in the shoot and suggested 593: 542: 514:, replacing a pre-planned cover—the first Black person ever put on the cover of 485: 417: 337: 255: 3463:"Donyale Luna, Naked Actors, and Hippies: A Wild 1967 Weekend in New York City" 1942:, who had modeled herself and had her own agency's models working in Paris, or 1820:

magazine, the iconography work was said to evoke the black and white images of

1742: 4512:"Black Body: Rereading James Baldwin's 'Stranger in the Village'", Teju Cole, 3952: 3787: 2308: 2213: 2097: 1747: 1734: 1614: 1521: 1499: 1312: 894: 778: 640: 573: 454: 391: 326: 2345:

was released in September 2023, co-produced by her daughter Dream Cazzaniga.

1000:, a monthly fashion magazine, in a shoot as a shop window display model at a 5092: 5031:"Thelma Assis, do BBB20, surge de cabeça raspada em capa de revista de moda" 4093: 3232:"BEST Donyale Luna Vogue Model Biography: 60s Fashion Beauty: Photos, Death" 1985: 1856: 1782: 1723: 1068: 798: 782: 660: 303: 4150:

Cutting a Figure: Fashioning Black Portraiture, Richard Powell, 2009, p 108

1092:, who made both a black and white version. She was also shot in Rabanne by 3921:

LA FAMOSA MODELO DONYALE LUNA SE CASARA A PRINCIPIOS DE 1974, Spain, 1974/

1996:) first by white then later the Black community-- compounded as both the " 83: 4427:

Cutting a Figure: Fashioning Black Portraiture, Richard Powell, 208 p 108

2271: 2018: 1727: 1450:

on May 1, 1966. On December 12, 1966 (11:15pm – 1:00am), she appeared on

1295:" (her desire to achieve her own form of beauty which she considered her 1105:

On the March 27, 1968, she appeared on the cover of the British magazine

905: 636: 4579:

Richard J. Powell (2009). Cutting a Figure: Fashioning Black Portraiture

4221: 4208: 3491:"8 Current Fashion Trends That Had Their Roots In The Feminist Movement" 687:

named her the Model of the Year. Living in London, she was described in

309: 293:. Her father, of African-American heritage, worked in production at the 5074: 3410:

https://wsimag.com/entertainment/16734-the-man-who-shot-beautiful-women

3187:

Cutting a Figure: Fashioning Black Portraiture, Richard J. Powell, 2009

3131:

Richard J. Powell, Cutting a Figure: Fashioning Black Portraiture, 2009

2338: 2328: 2311:

dedicated the Exhibit Sirens for her. She was also the inspiration for

2153: 2114: 2042: 1958: 1821: 1816:

Exemplified in a 1966 advertisement for a polyester peasant blouse for

1805: 1772:

persona which Luna may have thought of as a "metamorphosis". Luna used

1327: 1316: 1262: 1166:

French editor Charles-Roux who was subsequently fired on the charge of

1113: 1076: 946:

In March 1966, she appeared in a jewelry spread in the German magazine

897: 445:

In 1963, near Detroit’s Fisher Building, Luna met English photographer

395: 2331:

appeared in a photoshoot inspired by Luna for the 50th anniversary of

1135:

By 1969, she was again being paid "$ 1,000 a week" ($ 7,000 in 2020).

556:

Finding the language and comparison deeply prejudiced and racialized,

4763:"In 1975's 'Mahogany,' Diana Ross timeless, but the attitudes aren't" 4174: 3964: 3962: 3317:"The Model Who Broke Barriers as Vogue's First Ever Black Cover Girl" 2046: 1829: 1553: 1510: 1080: 770: 651:

which compared Luna to an animal as she was dressed in animal print.

3672:

Jet, 30 March 1967, p 60 Negro Mannequins in London Stir Controversy

3479:

Sepia Publishing Corporation, 1969, Sepia, Volume 18, Issue 11, p.46

2159:. Around 1969 Luna was also romantically involved with German actor 1486:

in 1965, Warhol's "satire of his own world" where she dances to the

1477:

as "pure diva, presenting a delicious mobile excess of mannerism".

697:

for position (and bankroll) as the model most in demand in Europe's

518:

in its then 98 years of publication. However, Luna was portrayed as

5037:, July 15, 2020. Retrieved August 21, 2020. In Brazilian Portuguese 4557:

Richard J. Powell; "Who's Zoomin' Who?: The Eyes of Donyale Luna".

603:

role which required Black models to present only as outsiders from

5087: 4270:""Andy Warhol: Screen Tests": Moma Qns, New York - Critical Essay" 4222:""The Eamonn Andrews Show" Episode #2.31 (TV Episode 1966) - IMDb" 3543:

Atlantis: Critical Studies in Gender, Culture & Social Justice

1791: 1753: 1741: 1733: 1341: 1226: 1186:

also appeared, working in the spring of 1966 she was modeling for

1142: 1020: 1006: 862: 669: 490: 429: 308: 4158: 4156: 3856: 3854: 3804:

https://www.thecut.com/2016/01/edmonde-charles-roux-obituary.html

3420: 3418: 2904: 2902: 2900: 2898: 1800:

The alter ego of Donyale Luna was created in what Freeman termed

1194:

for Match on a skating rink and by Charles Courrière (b.1928) in

4226: 4016:

Encyclopedia of African American History: 5-Volume Set, Volume 1

3209:"Black Excellence: The Legacy of Donyale Luna | V Magazine" 3070: 3068: 1362: 1283:, which is heavily present throughout the work in the motifs of 976:

Negro, hails from Detroit, and is not to be missed if one reads

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magazine as "the most photographed girl of 1966 ... challenging

399: 136: 90: 3889:

http://www.doucementlematin.com/archives/tag/elle/index-38.html

2747:"Donyale Luna, The First Black Model To Cover Vogue UK (PHOTO)" 1893:

in New York in 1964 where her likeness appears in his painting

1514:(1966), a satire of fashion photography. Luna also appeared in 1041:

in mod-styled luxury brands. She then appeared on the cover of

3942:

Popular Photography, Volume 76 CBS Magazines, 1975 pp.98 - 101

1655: 1549: 1335:"visions" which occurred on her photography shoots such as in 832:. Keen to join the London arts scene, she became friends with 18: 4639:: 5-Volume Set, Volume 1. 1. Oxford University Press, p. 351. 3595:: 5-Volume Set, Volume 1. 1. Oxford University Press. p. 352. 1174:

was put on the cover, but even then only on the grounds that

4745:"How the "Strong Black Woman" Identity Both Helps and Hurts" 2315:

for her sixth edition of her Mothership makeup palette. The

2982:

Radical Rags: Fashions of the Sixties, Joel Labenthal, 1990

1946:

in the 1950s and unmistakably African-American models like

1673:

personal reflection, personal essay, or argumentative essay

3744:"Mia Farrow at the witness box: archive, 16 November 1968" 3109: 3107: 3105: 3103: 3101: 3099: 3097: 3095: 3093: 3091: 3055:"Remembering Donyale Luna, world's first black supermodel" 3030:

Work!: A Queer History of Modeling, Elspeth H. Brown, 2019

2710:"Remembering Donyale Luna, world's first black supermodel" 2596:

Wyllie, Timothy R.; Parfrey, Adam; Nasr, Sammy M. (2009).

367:

she fed popcorn to pigeons when they rehearsed outdoors.

233:(August 31, 1945 – May 17, 1979), known professionally as 1011:

Yves Saint Laurent 1965; Donyale wears a blue version in

953:

photographed by Charlotte March. Fellow model and friend

50: 3290: 3288: 2970:"Donyale Luna, Cover Model Soars 50 Years Ago • FashCam" 1957:, who was the first Black model to walk on the European 46: 5001:

The Migrant's Time, Rethinking Art History and Diaspora

4903:"Metamorphosis: Peggy Ann Freeman becomes Donyale Luna" 4859:

Sharpest, Lowell Tarling, 2021, Vol.2, p.139, Australia

4537:

The Migrant's Time: Rethinking Art History and Diaspora

3999:

The Migrant's Time, Rethinking Art History and Diaspora

3969:

The Migrant's Time, Rethinking Art History and Diaspora

3931:

The Migrant's Time, Rethinking Art History and Diaspora

3255:"Donyale Luna – the fashion world's wayward moon-child" 2220:

fashion supplement cover and Beverly Johnsons American

1845:

aesthetics. For instance in her "primitive" shoot with

1679: 564:

Luna's career began to slow down when she met with the

549:." This description was picked up in an article by the 258:

beginning in 1965, and following the experimental film

241:

model to appear on the cover of the British edition of

42: 5014:"A New Pat McGrath Mothership Palette Is Landing Soon" 4799:

he Migrant's Time: Rethinking Art History and Diaspora

2551:

Il Festival del proletariato giovanile al Parco Lambro

1552:

for 3 years after she secured the role at a party for

1252:

in a number of animal print and fur coats in 1966 and

931:

cover, also somewhat hiding her race," a proponent of

432:, earning "$ 1000 ... for the day" ($ 6,250 in 2020). 4018:. Vol. 1. Oxford University Press. p. 351. 3705:"Stock Photo - Entertainment - Donyale Luna - London" 3353:

Judy Stone, "Luna, Who Dreamed of Being Snow White",

3249: 3247: 3245: 2660:"Donyale Luna: The first black supermodel in history" 1505:

In 1966 upon having moved to London, she appeared in

4703: 4701: 2946: 2152:

In 1968, Luna was purportedly dating the Australian

1881:(who made psychedelic album covers for artists like 1809:

attire, appearance, social circles, mannerisms, and

4976:"All The Times A Black Model Covered British Vogue" 2944: 2942: 2940: 2938: 2936: 2934: 2932: 2930: 2928: 2926: 2319:TV personality Thelma Assis has also recreated the 1534:Luna's only mainstream Hollywood film was the 1968 216: 208: 200: 185: 162: 154: 144: 125: 99: 74: 4088: 4086: 3048: 3046: 3044: 3042: 3040: 3038: 3036: 1498:(1967), a 33-minute color film in which she plays 4276:. Archived from the original on November 14, 2007 3971:, Saloni Mathur, Richard Powell, 2009, pp. 81–82. 3933:, Saloni Mathur, Richard Powell, 2009, pp. 85–86. 3226: 3224: 3222: 2684:"The First Black Supermodel, Whom History Forgot" 2639:"The First Black Supermodel, Whom History Forgot" 2238:5 times between December 1987 - August 2002, and 1346:Mary Quant model at a show in 1969 in a miniskirt 1319:. She appeared on the cover of Warhol's magazine 635:in 1966) requested Luna again for a shoot around 4294:: CS1 maint: bot: original URL status unknown ( 3650: 3648: 3557:"We need to recognize featurism and its effects" 3203: 3201: 3199: 3197: 3195: 3193: 1777:own designs for her clothes, experimenting with 1520:(1968) as the assistant of a circus performer's 828:, Charlotte March (image in infobox, above) and 4635:Finkelman, Paul (2009). Finkelman, Paul (ed.). 4113:, Dennis Nothdruft, Zandra Rhodes, 2019, p. 61. 4014:Finkelman, Paul (2009). Finkelman, Paul (ed.). 3591:Finkelman, Paul (2009). Finkelman, Paul (ed.). 3518: 3516: 2845: 2843: 2841: 2839: 2837: 2835: 2833: 2831: 2829: 2827: 2825: 1796:Josephine Baker performing in Amsterdam in 1960 789:and Hazel Collins wearing the stylized bobs of 4810:Beauty's Enigma, Ben Arogundade, 2012, p. 10, 4310:Cutting a Figure: Fashioning Black Portraiture 4197:Cutting a Figure: Fashioning Black Portraiture 4123:Cutting a Figure: Fashioning Black Portraiture 3378: 3376: 3335:Cutting a Figure: Fashioning Black Portraiture 2997:Cutting a Figure: Fashioning Black Portraiture 2823: 2821: 2819: 2817: 2815: 2813: 2811: 2809: 2807: 2805: 2786:Cutting a Figure: Fashioning Black Portraiture 1633:, Luna claimed that Gordy based the 1975 film 1178:would otherwise withdraw advertising revenue. 992:, the British, French or American editions of 877:magazine, her image captured by photographer 5003:, Saloni Mathur, Richard Powell, 2009, p, 88. 4734:Daily Mirror, Wednesday 15 June 1966, page 11 4362: 4360: 4334:https://mubi.com/films/dillinger-is-dead/cast 4001:, Saloni Mathur, Richard Powell, 2009, p. 85. 3183: 3181: 3161:https://www.thejuanfernandez.com/053204149098 3115:"The tragic tale of Donyale Luna - Telegraph" 3026: 3024: 3022: 3020: 3018: 3016: 2728:"The tragic tale of Donyale Luna - Telegraph" 2654: 2652: 1161:when she arrived in Europe in December 1965. 45:. Consider transferring direct quotations to 8: 4679:Cutting a Figure, Richard Powell, 2009, p 96 4009: 4007: 3953:"DONYALE LUNA - FORMIDABLE MAG - Style Icon" 3573:: CS1 maint: multiple names: authors list ( 2867:Beauty's Enigma, Ben Arogundade, 2012, p 14 2633: 2631: 2629: 2627: 2625: 2623: 2621: 2619: 2617: 2242:in November 2015 as solo cover models under 2224:1974 cover for example. This continued with 1965:later became more accepted by the 1960s. In 867:An artists rendition of the March 1966 cover 580:refused to dress Luna in their clothes, and 5093:Patty Pravo Michelle featuring Donyale Luna 4688:Beauty's Enigma, Ben Arogundade, 2012, p 8 4111:Zandra Rhodes: 50 Fabulous Years in Fashion 4041:Model: The Ugly Business of Beautiful Women 3760:Beauty's Enigma, Ben Arogundade, 2012, p 22 3693:Beauty's Enigma, Ben Arogundade, 2012, p 19 3656:"Rootstein Display Mannequin: Donyale Luna" 3384:"Fashion Throwback Thursdays: Donyale Luna" 3337:, University of Chicago Press, 2008, p. 90. 3311: 3309: 3307: 3305: 2788:. University of Chicago Press. p. 87. 2307:in her CFDA acceptance speech in 2019, and 1459:Luna appeared in several films produced by 1124:In the same month she was shot for British 629:Avedon (who had moved over to the American 4177:April 17, 2011. Retrieved August 11, 2020. 3684:, Andy Warhol, Pat Hackett, pp. 299, 1980. 3577:) CS1 maint: numeric names: authors list ( 2352: 402:, she was working for Danish photographer 82: 71: 4872:Aufbau Verlag, Berlin, 2006, pp. 194–195. 4209:"Late Show London (1966– )|Episode #1.26" 2990: 2988: 2080:wrote a now-infamous profile of Luna for 1702:Learn how and when to remove this message 1573:, an Italian film portraying the fall of 1480:Luna also appeared in the feature length 769:Luna arrived in London in December 1965. 264:(1966), she appeared in Otto Preminger's 4637:Encyclopedia of African American History 3593:Encyclopedia of African American History 3349: 3347: 3345: 3343: 1877:She was believed to have met the artist 1025:Models in the Mod Style by Cardin (1966) 710:. In April 1967 Donyale also frequented 4134:Method Modeling, Valerie Cragin, 1980, 3603: 3601: 2588: 2577:Released posthumously (filmed in 1968) 2567:The Rolling Stones Rock and Roll Circus 2364: 1517:The Rolling Stones Rock and Roll Circus 1453:The Tonight Show starring Johnny Carson 5103:Donyale Luna in Sydney, News Broadcast 4287: 4064:Burton, Philippa (December 13, 2014). 3724: 3714: 3566: 2677: 2675: 2673: 1623:. Interest was sparked in relation to 1246:Luna appeared in the Italian magazine 1067:In 1967, the world-leading fiberglass 785:with other models of color, including 36:too many and overly lengthy quotations 4367:Arogundade, Ben (November 11, 2012). 4249:Richard Powell, 2009 Cutting a Figure 2323:photoshoot on the July 2020 cover of 2207:Since her death, Donyale Luna's 1966 1889:, at an "occupational gathering" for 1625:The Battle of Versailles Fashion Show 1151:Luna was initially supposed to cover 1052:In the October 15 edition of British 961:Luna also went on to work for French 7: 5178:20th-century African-American people 3742:Guardian Staff (November 16, 2015). 2195:as an adolescent, from her family's 923:In popular internet lore such as on 816:. She was photographed in London by 522:. The sketch was her first work for 355:, she visited coffeehouses near the 351:. After rehearsals, inspired by the 5173:20th-century African-American women 3848:TIME, The Lunar Year, April 1, 1966 2519:Soft Self-Portrait of Salvador Dali 2119:questions surrounding her Blackness 2064:anti-racial-discrimination campaign 2049:: there was simply no one else you 1586:Soft Self-Portrait of Salvador Dalí 852:. She rented an apartment near the 718:and covered a number of albums for 5168:Deaths by heroin overdose in Italy 4964:List of British Vogue cover models 4460:, Ben Arogundade, 2012, pp. 19–20. 4448:, Ben Arogundade, 2012, pp. 20–21. 4324:, Ben Arogundade, 2012, pp. 23–24. 4175:https://donyaleluna.w0rdpress.com/ 3769:The Press Telegram, November, 1968 2995:Powell, Richard J. Powell (2009). 2784:Powell, Richard J. Powell (2009). 2745:Wilson, Julee (February 1, 2012). 1832:, as well as the body language of 1198:for the Spring/Summer collection. 912:silk tunics, Mod-style dresses by 302:, and, in summer, to swim at the " 14: 5163:Cass Technical High School alumni 5158:American people of German descent 4850:, Andy Warhol, Pat Hackett, 2006. 4495:, Young, Harvey, 1975–2010, p. 7. 4369:"The tragic tale of Donyale Luna" 3437:Work! A Queer History of Modeling 3427:, Brigid Keenan, 1977, pp.173-178 3274:, Ben Arogundade, 2012, pp. 8–9, 1548:. Preminger also signed her with 808:or seen in the street culture of 204:6 ft 2 in (1.88 m) 4708:Dionne, Evette (July 11, 2013). 4539:, Saloni Mathur, Richard Powell. 3830:, The Lunar Year, April 1, 1966. 3425:The women we wanted to look like 2076:. The American print journalist 1758:Josephine Baker Poster from 1931 1660: 1463:, including his series of short 1418: 1357:in 1974 was asked about how her 667:shoot published in October 1966. 503:In 1964, working as a model for 23: 5128:20th-century American actresses 4884:, Ben Arogundade, 2012, p. 23, 4830:, Ben Arogundade, 2012, p. 13, 3794:, April 28, 1969, p. 17, see 6. 3617:. April 1, 1966. Archived from 3143:, Ben Arogundade, 2012, p. 18, 2999:. University of Chicago Press. 2769:Bourlin, Olga (June 30, 2014). 2017:and which may be considered as 1865:African-American visual imagery 1714:Luna was known to be a muse of 1613:, who was at Cannes supporting 1381:time in acting doing local and 1029:In April she appeared again in 175: 5143:African-American female models 5098:Donyale Luna for Mati Klarwein 4165:, Ben Arogundade, 2012, p. 16. 4043:. HarperCollins. p. 238. 3912:, Ben Arogundade, 2012, p. 23. 3863:, Ben Arogundade, 2012, p. 17. 3510:, Ben Arogundade, 2012, p. 16. 3077:, Ben Arogundade, 2012, p. 9, 1580:She then appeared in the 1970 1438:On British TV she appeared on 1039:This Summer's dancing patterns 284:Peggy Ann Freeman was born in 270:(1968) and Federico Fellini's 1: 4661:. Retrieved October 12, 2010. 4561:, November 1, 2016; pp. 14–21 3173:The Australian Women's Weekly 2682:Goff, Kelli (July 10, 2013). 1201:She appeared on the cover of 1147:Guy Laroche Mini-dress (1968) 1004:department store in London. 889:, then the editor of British 2771:"Donyale Luna (1946-1979) •" 2437:Qui êtes vous, Polly Maggoo? 2327:. In November 2020, actress 2303:issue and was recognized by 2066:alongside David Anthony (of 1863:, a new beauty paradigm for 1368:In June 1975 she attended a 941:Eurocentric beauty standards 752:. Luna appeared in American 474:, and senior fashion editor 261:Qui êtes-vous, Polly Maggoo? 5012:Stephenetta (isis) Harmon, 4781:"Th Multiracial Experience" 4710:"Do You Know Donyale Luna?" 4418:Cavalier Men magazine, 1967 4336:(Accessed 25 November 2020) 4268:Koestenbaum, Wayne (2003). 4195:Powell, Richard J. (2009). 4125:, Richard J. Powell, p. 87. 3900:British Pathe, 1967, Sport. 3642:. Retrieved August 11, 2020 2600:. Feral House. p. 68. 683:However, in 1966, American 5199: 5183:African-American Catholics 5153:African-American actresses 5133:Accidental deaths in Italy 4848:POPism: The Warhol Sixties 4400:. May 19, 1979. p. 10 4394:"Black fashion model dies" 3682:POPism: The Warhol Sixties 2427:Who Are You, Polly Maggoo? 1617:in promoting her new film 1588:, a biography narrated by 1389:known in internet lore as 1231:Pop-art paper dress (1967) 902:ocular-centric portraiture 605:primitive African cultures 495:Periana, a Black model in 323:Cass Technical High School 315:Cass Technical High School 16:American model and actress 4186:Life, Keith Richard, 2010 3887:, July 7, 1966, see also 2123:fit into American society 1968:the Sunday Times Magazine 1769:fake it until you make it 1502:, wearing blue contacts. 224: 193: 81: 5061:Donyale Luna: Supermodel 4725:, Colleen O'Brien, 1966. 3609:"Fashion: The Luna Year" 3439:, Elspeth H Brown, 2019. 2343:Donyale Luna: Supermodel 1961:. Darker models such as 1529:Who are you Polly Magoo? 1215:and in beach shoot with 1211:in a long toga dress by 1056:, she was featured in a 996:." She also appeared in 663:instead for the 27-page 639:featuring furs, telling 589:beautiful Black women”. 43:summarize the quotations 5148:American film actresses 4870:Kinski: Die Biographie. 4354:Panorama Magazine, 1975 4039:Gross, Michael (2011). 3452:, June 16, 1966, p. 28. 3400:Panorama Magazine, 1975 3175:, June 14, 1972, p. 25. 1948:Dolores Francine Rhiney 1811:paralinguistic features 1507:Michelangelo Antonionis 1307:Return to North America 860:she named Christianne. 856:River and bought a pet 552:Sarasota Herald Tribune 470:, fashion photographer 5138:Actresses from Detroit 3053:Spratling, Cassandra. 2749:– via Huff Post. 2325:Harper's Bazaar Brazil 2177:Martin Luther King Jr. 2137:Romantic relationships 1938:Black models, such as 1797: 1787:terribly sophisticated 1759: 1751: 1739: 1682:by rewriting it in an 1473:described Luna in the 1406:, Yves Saint Laurent, 1347: 1232: 1207:for July 1966 shot by 1148: 1026: 1018: 868: 680: 500: 357:Wayne State University 318: 3818:(Accessed 18.03.2021) 3806:(Accessed 18.03.2021) 3412:(Accessed 25.03.2021) 2096:in the roles such as 2074:racial discrimination 1795: 1757: 1746:Noire et Blanche; of 1745: 1737: 1345: 1291:) and "succumbing to 1230: 1146: 1024: 1010: 866: 678: 586:Hearst Communications 494: 312: 5029:ILCA MARIA ESTEVÃO, 4767:chicago.suntimes.com 4398:The Spokesman-Review 3469:. February 11, 2010. 3448:Charles L. Sanders, 3323:. February 12, 2018. 2958:. December 13, 2014. 2087:brown paper bag test 1859:of what constituted 1620:Lady Sings the Blues 1607:Cannes Film Festival 1383:experimental theater 1375: 1163:Edmonde Charles-Roux 1037:in a feature called 520:ethnically ambiguous 441:Detroit and New York 195:Modeling information 4982:. November 13, 2017 4909:. September 9, 2010 4785:pewsocialtrends.org 3778:Jet, November 1968 3621:on October 22, 2007 3333:Richard J. Powell, 3163:, Anna Bella, No.28 2489:Alternative title: 2435:Alternative title: 2230:using Black models 2109:her full worth and 1994:Dominance hierarchy 1605:In May 1973 at the 1527:In the French film 1258:Gian Paolo Barbieri 803:Barbara Hulanicki’s 413:, modeling for the 145:Cause of death 5020:, August 26, 2019. 4769:. August 21, 2015. 4723:Detroit Free Press 4659:The New York Times 4570:See external links 4518:, August 19, 2014. 4066:"Luna Space Model" 3727:has generic name ( 3561:The Rotunda Online 3532:- Coco & Creme 3523:Iconic Cover Girls 3495:www.refinery29.com 3390:. January 7, 2016. 3356:The New York Times 2972:. January 5, 2016. 2952:"Luna Space Model" 2248:Elizabeth Tilberis 2191:Luna converted to 2082:The New York Times 2015:racial superiority 1798: 1760: 1752: 1740: 1684:encyclopedic style 1671:is written like a 1433:The Living Theatre 1348: 1233: 1213:Galeries Lafayette 1149: 1027: 1019: 918:Yves Saint Laurent 869: 681: 679:ABC Jean Shrimpton 622:The New York Times 501: 428:on the streets of 319: 250:Luna made several 4907:Donyale Luna Blog 4890:978-0-9569394-4-9 4868:Christian David: 4836:978-0-9569394-4-9 4816:978-0-9569394-4-9 4694:978-0-9569394-4-9 4050:978-0-062-06790-6 4025:978-0-195-16779-5 3660:www.rootstein.com 3298:. March 21, 2015. 3280:978-0-9569394-4-9 3261:. March 29, 2016. 3149:978-0-9569394-4-9 3083:978-0-9569394-4-9 3006:978-0-226-67727-9 2918:978-0-9569394-4-9 2873:978-0-9569394-4-9 2857:. April 19, 2019. 2795:978-0-226-67727-9 2666:. April 28, 2020. 2607:978-1-932-59537-6 2581: 2580: 2502:Dillinger is Dead 2481:Fellini Satyricon 2471:Credited as Luna 2252:Alexandra Shulman 2143:Maximilian Schell 1738:Bust of Nefertiti 1712: 1711: 1704: 1584:documentary film 1570:Fellini Satyricon 1558:Dillinger is Dead 1488:Ramsey Lewis Trio 1471:Wayne Koestenbaum 720:Blue Note Records 716:Greenwich Village 676: 665:Great Fur Caravan 657:Alexey Brodovitch 286:Detroit, Michigan 252:underground films 247:, in March 1966. 231:Peggy Ann Freeman 228: 227: 118:Detroit, Michigan 104:Peggy Ann Freeman 68: 67: 5190: 5063: 5058: 5052: 5051: 5044: 5038: 5027: 5021: 5010: 5004: 4998: 4992: 4991: 4989: 4987: 4972: 4966: 4960: 4954: 4953: 4951: 4949: 4934: 4928: 4925: 4919: 4918: 4916: 4914: 4899: 4893: 4879: 4873: 4866: 4860: 4857: 4851: 4845: 4839: 4825: 4819: 4808: 4802: 4795: 4789: 4788: 4787:. June 11, 2015. 4777: 4771: 4770: 4759: 4753: 4752: 4741: 4735: 4732: 4726: 4720: 4714: 4713: 4705: 4696: 4686: 4680: 4677: 4671: 4668: 4662: 4655: 4649: 4646: 4640: 4633: 4627: 4616: 4610: 4604: 4598: 4595: 4589: 4586: 4580: 4577: 4571: 4568: 4562: 4555: 4549: 4546: 4540: 4534: 4528: 4525: 4519: 4503: 4497: 4488: 4482: 4476: 4470: 4467: 4461: 4455: 4449: 4443: 4437: 4434: 4428: 4425: 4419: 4416: 4410: 4409: 4407: 4405: 4390: 4384: 4383: 4381: 4379: 4364: 4355: 4352: 4346: 4343: 4337: 4331: 4325: 4319: 4313: 4306: 4300: 4299: 4293: 4285: 4283: 4281: 4265: 4259: 4256: 4250: 4247: 4241: 4238: 4232: 4231: 4218: 4212: 4206: 4200: 4193: 4187: 4184: 4178: 4172: 4166: 4160: 4151: 4148: 4142: 4132: 4126: 4120: 4114: 4108: 4102: 4101: 4090: 4081: 4080: 4078: 4076: 4061: 4055: 4054: 4036: 4030: 4029: 4011: 4002: 3996: 3990: 3989: 3978: 3972: 3966: 3957: 3956: 3949: 3943: 3940: 3934: 3928: 3922: 3919: 3913: 3907: 3901: 3898: 3892: 3882: 3876: 3875:, March 5, 1966. 3870: 3864: 3858: 3849: 3846: 3840: 3837: 3831: 3825: 3819: 3813: 3807: 3801: 3795: 3785: 3779: 3776: 3770: 3767: 3761: 3758: 3752: 3751: 3739: 3733: 3732: 3726: 3722: 3720: 3712: 3703:Limited, Alamy. 3700: 3694: 3691: 3685: 3679: 3673: 3670: 3664: 3663: 3652: 3643: 3637: 3631: 3630: 3628: 3626: 3605: 3596: 3589: 3583: 3582: 3572: 3564: 3552: 3546: 3539: 3533: 3520: 3511: 3505: 3499: 3498: 3486: 3480: 3477: 3471: 3470: 3459: 3453: 3446: 3440: 3434: 3428: 3422: 3413: 3407: 3401: 3398: 3392: 3391: 3380: 3371: 3366: 3360: 3351: 3338: 3331: 3325: 3324: 3313: 3300: 3299: 3292: 3283: 3269: 3263: 3262: 3251: 3240: 3239: 3228: 3217: 3216: 3205: 3188: 3185: 3176: 3170: 3164: 3158: 3152: 3138: 3132: 3129: 3123: 3122: 3111: 3086: 3072: 3063: 3062: 3050: 3031: 3028: 3011: 3010: 2992: 2983: 2980: 2974: 2973: 2966: 2960: 2959: 2948: 2921: 2910:Beauty's Enigma' 2908:Ben Arogundade, 2906: 2893: 2892:, 8 January 1967 2881: 2875: 2865: 2859: 2858: 2847: 2800: 2799: 2781: 2775: 2774: 2766: 2760: 2757: 2751: 2750: 2742: 2736: 2735: 2724: 2718: 2717: 2706: 2700: 2699: 2697: 2695: 2679: 2668: 2667: 2656: 2647: 2646: 2645:. July 10, 2013. 2635: 2612: 2611: 2593: 2507:Background role 2432:Mannequin/Model 2353: 2106:inanimate object 2031:acceptable negro 2023:acceptable negro 1956: 1802:future visioning 1789:and different". 1750:by Man Ray, 1926 1707: 1700: 1696: 1693: 1687: 1664: 1663: 1656: 1565:Federico Fellini 1442:on March 14 and 1440:Late Show London 1422: 1289:Future Visioning 1130:Harry Peccinotti 1099:The Sunday Times 967:Bethann Hardison 737:A New Conception 677: 528:Lexington Avenue 412: 365:Paint Your Wagon 361:Windsor, Ontario 332:Paint Your Wagon 239:African-American 179: 177: 132: 113: 111: 88:Luna, in a 1966 86: 72: 63: 60: 54: 27: 26: 19: 5198: 5197: 5193: 5192: 5191: 5189: 5188: 5187: 5108: 5107: 5071: 5066: 5059: 5055: 5046: 5045: 5041: 5028: 5024: 5011: 5007: 4999: 4995: 4985: 4983: 4974: 4973: 4969: 4961: 4957: 4947: 4945: 4944:. July 20, 2017 4936: 4935: 4931: 4926: 4922: 4912: 4910: 4901: 4900: 4896: 4882:Beauty's Enigma 4880: 4876: 4867: 4863: 4858: 4854: 4846: 4842: 4828:Beauty's Enigma 4826: 4822: 4809: 4805: 4796: 4792: 4779: 4778: 4774: 4761: 4760: 4756: 4743: 4742: 4738: 4733: 4729: 4721: 4717: 4707: 4706: 4699: 4687: 4683: 4678: 4674: 4669: 4665: 4656: 4652: 4647: 4643: 4634: 4630: 4624:The Modesto Bee 4617: 4613: 4605: 4601: 4596: 4592: 4587: 4583: 4578: 4574: 4569: 4565: 4556: 4552: 4547: 4543: 4535: 4531: 4526: 4522: 4504: 4500: 4489: 4485: 4477: 4473: 4468: 4464: 4458:Beauty's Enigma 4456: 4452: 4446:Beauty's Enigma 4444: 4440: 4435: 4431: 4426: 4422: 4417: 4413: 4403: 4401: 4392: 4391: 4387: 4377: 4375: 4366: 4365: 4358: 4353: 4349: 4344: 4340: 4332: 4328: 4322:Beauty's Enigma 4320: 4316: 4308:Powell (2009), 4307: 4303: 4286: 4279: 4277: 4267: 4266: 4262: 4257: 4253: 4248: 4244: 4239: 4235: 4220: 4219: 4215: 4207: 4203: 4194: 4190: 4185: 4181: 4173: 4169: 4163:Beauty's Enigma 4161: 4154: 4149: 4145: 4133: 4129: 4121: 4117: 4109: 4105: 4098:warholstars.org 4092: 4091: 4084: 4074: 4072: 4063: 4062: 4058: 4051: 4038: 4037: 4033: 4026: 4013: 4012: 4005: 3997: 3993: 3980: 3979: 3975: 3967: 3960: 3951: 3950: 3946: 3941: 3937: 3929: 3925: 3920: 3916: 3910:Beauty's Enigma 3908: 3904: 3899: 3895: 3883: 3879: 3871: 3867: 3861:Beauty's Enigma 3859: 3852: 3847: 3843: 3838: 3834: 3826: 3822: 3814: 3810: 3802: 3798: 3786: 3782: 3777: 3773: 3768: 3764: 3759: 3755: 3741: 3740: 3736: 3723: 3713: 3702: 3701: 3697: 3692: 3688: 3680: 3676: 3671: 3667: 3654: 3653: 3646: 3638: 3634: 3624: 3622: 3607: 3606: 3599: 3590: 3586: 3565: 3554: 3553: 3549: 3540: 3536: 3521: 3514: 3508:Beauty's Engima 3506: 3502: 3488: 3487: 3483: 3478: 3474: 3461: 3460: 3456: 3447: 3443: 3435: 3431: 3423: 3416: 3408: 3404: 3399: 3395: 3382: 3381: 3374: 3369:Time (magazine) 3367: 3363: 3359:, May 19, 1968. 3352: 3341: 3332: 3328: 3315: 3314: 3303: 3294: 3293: 3286: 3272:Beauty's Enigma 3270: 3266: 3253: 3252: 3243: 3230: 3229: 3220: 3207: 3206: 3191: 3186: 3179: 3171: 3167: 3159: 3155: 3141:Beauty's Enigma 3139: 3135: 3130: 3126: 3121:. June 9, 2015. 3113: 3112: 3089: 3075:Beauty's Enigma 3073: 3066: 3052: 3051: 3034: 3029: 3014: 3007: 2994: 2993: 2986: 2981: 2977: 2968: 2967: 2963: 2950: 2949: 2924: 2912:, 2012, p. 15, 2907: 2896: 2889:The Modesto Bee 2882: 2878: 2866: 2862: 2849: 2848: 2803: 2796: 2783: 2782: 2778: 2768: 2767: 2763: 2758: 2754: 2744: 2743: 2739: 2734:. June 9, 2015. 2726: 2725: 2721: 2714:eu.usatoday.com 2708: 2707: 2703: 2693: 2691: 2681: 2680: 2671: 2658: 2657: 2650: 2637: 2636: 2615: 2608: 2595: 2594: 2590: 2586: 2576: 2468:God's Mistress 2351: 2297:Edward Enninful 2284:Beverly Johnson 2234:in March 1986, 2205: 2189: 2139: 2127:a quarter Black 1950: 1944:Dorothea Church 1927: 1925:Racial identity 1922: 1847:Harper's Bazaar 1834:Josephine Baker 1708: 1697: 1691: 1688: 1680:help improve it 1677: 1665: 1661: 1654: 1645: 1639:on this pitch. 1428: 1404:André Courrèges 1399:Bill Cunningham 1395:performance art 1391:method modeling 1378: 1355:Beverly Johnson 1309: 1293:VISUAL MISTAKES 1256:Italia shot by 1217:Jill Kennington 1157:before British 1109:in a headwrap. 1043:Harper's Bazaar 978:Harper's Bazaar 916:, and a silver 830:William Claxton 767: 714:discotheque in 670: 649:Harper's Bazaar 582:Harper's Bazaar 570:Harper's Bazaar 524:Harper's Bazaar 516:Harper's Bazaar 512:Harper's Bazaar 463:Harper's Bazaar 451:New York Harbor 443: 438: 436:Modeling career 406: 291:Great Migration 282: 181: 178: 1976) 173: 169: 168:Luigi Cazzaniga 149:Heroin overdose 140: 134: 130: 121: 115: 114:August 31, 1945 109: 107: 106: 105: 95: 77: 64: 58: 55: 49:or excerpts to 40: 28: 24: 17: 12: 11: 5: 5196: 5194: 5186: 5185: 5180: 5175: 5170: 5165: 5160: 5155: 5150: 5145: 5140: 5135: 5130: 5125: 5120: 5110: 5109: 5106: 5105: 5100: 5095: 5090: 5081: 5070: 5069:External links 5067: 5065: 5064: 5053: 5039: 5022: 5005: 4993: 4967: 4955: 4929: 4920: 4894: 4874: 4861: 4852: 4840: 4820: 4803: 4790: 4772: 4754: 4736: 4727: 4715: 4697: 4681: 4672: 4663: 4650: 4641: 4628: 4611: 4599: 4590: 4581: 4572: 4563: 4550: 4541: 4529: 4520: 4515:The New Yorker 4498: 4483: 4471: 4462: 4450: 4438: 4429: 4420: 4411: 4385: 4356: 4347: 4338: 4326: 4314: 4301: 4260: 4251: 4242: 4233: 4213: 4201: 4188: 4179: 4167: 4152: 4143: 4127: 4115: 4103: 4094:"Donyale Luna" 4082: 4056: 4049: 4031: 4024: 4003: 3991: 3973: 3958: 3944: 3935: 3923: 3914: 3902: 3893: 3877: 3865: 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171: 167: 166: 164: 160: 159: 158:Model, actress 156: 152: 151: 146: 142: 141: 135: 133:(aged 33) 127: 123: 122: 116: 103: 101: 97: 96: 87: 79: 78: 75: 66: 65: 31: 29: 22: 15: 13: 10: 9: 6: 4: 3: 2: 5195: 5184: 5181: 5179: 5176: 5174: 5171: 5169: 5166: 5164: 5161: 5159: 5156: 5154: 5151: 5149: 5146: 5144: 5141: 5139: 5136: 5134: 5131: 5129: 5126: 5124: 5121: 5119: 5116: 5115: 5113: 5104: 5101: 5099: 5096: 5094: 5091: 5089: 5085: 5082: 5080: 5076: 5073: 5072: 5068: 5062: 5057: 5054: 5049: 5043: 5040: 5036: 5032: 5026: 5023: 5019: 5015: 5009: 5006: 5002: 4997: 4994: 4981: 4977: 4971: 4968: 4965: 4959: 4956: 4948:September 10, 4943: 4939: 4933: 4930: 4924: 4921: 4908: 4904: 4898: 4895: 4891: 4887: 4883: 4878: 4875: 4871: 4865: 4862: 4856: 4853: 4849: 4844: 4841: 4837: 4833: 4829: 4824: 4821: 4817: 4813: 4807: 4804: 4800: 4794: 4791: 4786: 4782: 4776: 4773: 4768: 4764: 4758: 4755: 4750: 4746: 4740: 4737: 4731: 4728: 4724: 4719: 4716: 4711: 4704: 4702: 4698: 4695: 4691: 4685: 4682: 4676: 4673: 4667: 4664: 4660: 4654: 4651: 4645: 4642: 4638: 4632: 4629: 4626: 4625: 4620: 4615: 4612: 4609:, April 1975. 4608: 4603: 4600: 4594: 4591: 4585: 4582: 4576: 4573: 4567: 4564: 4560: 4554: 4551: 4545: 4542: 4538: 4533: 4530: 4524: 4521: 4517: 4516: 4511: 4507: 4502: 4499: 4496: 4492: 4487: 4484: 4480: 4475: 4472: 4466: 4463: 4459: 4454: 4451: 4447: 4442: 4439: 4433: 4430: 4424: 4421: 4415: 4412: 4399: 4395: 4389: 4386: 4374: 4373:The Telegraph 4370: 4363: 4361: 4357: 4351: 4348: 4342: 4339: 4335: 4330: 4327: 4323: 4318: 4315: 4311: 4305: 4302: 4297: 4291: 4275: 4271: 4264: 4261: 4255: 4252: 4246: 4243: 4237: 4234: 4229: 4228: 4223: 4217: 4214: 4210: 4205: 4202: 4198: 4192: 4189: 4183: 4180: 4176: 4171: 4168: 4164: 4159: 4157: 4153: 4147: 4144: 4141: 4140:0-8227-4045-1 4137: 4131: 4128: 4124: 4119: 4116: 4112: 4107: 4104: 4099: 4095: 4089: 4087: 4083: 4071: 4067: 4060: 4057: 4052: 4046: 4042: 4035: 4032: 4027: 4021: 4017: 4010: 4008: 4004: 4000: 3995: 3992: 3987: 3983: 3977: 3974: 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