Q U I N T E S S E N T I A L S T Y L E

Q66/ FA L L 2 0 1 1

Ma

risa

Be

ren

son

: A

Lif

e i

n P

ictu

res,

Riz

zoli

Ne

w Y

ork

, 2

011

b y L i s a C h u n g

Captured in countless editorials, model Marisa Berenson was considered by fashion designers as the origi-nal modern muse, gracing covers of top fashion and luxury magazines throughout the world during the 1960s and ’70s.

In her upcoming book Marisa Berenson: A Life in Pictures (Rizzoli, October), intimate details of her life are shared in an introduction by European editor at large for American Vogue, Hamish Bowles, and in a revealing conversation with designer Diane von Furstenberg. Both are accompanied by a stunning collection of glamorous fashion spreads, numerous

A Modern Muse

magazine covers, and candid pictures shot by the industry’s leading photographers, such as Henry Clarke, Bert Stern, Ir-vin Penn, and Steven Meisel (guest editor of the book). These captivating images illustrate why Berenson was dubbed fash-ion’s “It Girl” by designer Yves Saint Laurent in the ’70s.

Although Berenson once said, “I never thought of myself as a beauty,” it is clear after thumbing through this visual biography that what started out as a young girl who—like any young girl—had self doubts, was transformed into a woman who was one of the most sought-after models of her time. u

Considered by fashion

designers as the original

modern muse, Marisa

Berenson sits casually at a

desk, posing for photogra-

pher Steven Meisel.

W I N T E R 2 0 1 1 / Q66

Q U I N T E S S E N T I A L S T Y L E

Q U I N T E S S E N T I A L S T Y L E

Berenson in fur trappings during

a shoot with photographer Steven

Meisel. Inset: the book’s cover.

Opposite: Dressed as a mermaid for a

Vogue shoot with photographer Henry

Clarke, Berenson shows her ability

to assume any character, earning her

the title as fashion’s “It Girl.” Ma

risa

Be

ren

son

: A

Lif

e i

n P

ictu

res,

Riz

zoli

Ne

w Y

ork

, 2

011

FA L L 2 0 1 1 / Q66

Q U I N T E S S E N T I A L S T Y L E