The story behind Ormond Gigli’s “Girls in the Windows” iconic photograph, 1960

In 1960, photojournalist Ormond Gigli gathered 43 women, dressed them in sophisticated, colorful costumes, and placed them in 41 windows in front of a classic New York City brownstone. Years later, the image became his most famous artwork.

Back in the day, Gigli found himself working outside a studio on East 58th Street in the heart of Manhattan. Across the street stood a series of townhouses, ready for demolition.

Intent on capturing the beauty of the buildings before they are gone for good, the artist began working on creating the perfect image to memorialize the neighborhood he so thoroughly loved.

She didn't have the money to pay for a professional model - or access to the budget for a photo with no sponsorship.

So, he contacted the building's foreman and persuaded him to clear a 2-hour period to work - and remove the window jams.

He reached out to a modeling agency he worked for, and asked the model to volunteer to be in his 'dream' picture. They had to wear what they wanted and show up at lunchtime.

As the building burned down with electricity and gas - there was a huge hole on the sidewalk. So, unafraid to ask for a favor, he approached the city and asked permission to park the Rolls-Royce on the sidewalk for the time needed to install the picture.

He then tried to have the models, including his wife, loosely coordinate their outfits in 30 windows. Some were bold enough to stand on window jambs and some were framed by the window. The painting was completed with three additional models, two on the road and one on the ground floor.

In the end, Ormond gathered 43 women in their best formal wear and no two figures looked exactly alike; The pose and outfit each woman wore gave an indication of how her personality could be outside the picture.

To escape the fire of his studio, he was able to capture the action taking place across five floors. The final product turned out to be something surreal, reducing living, breathing women in a doll house to brightly colored toys.

No two figures looked exactly alike; The pose and outfit each woman wore gave an indication of how her personality could be outside the picture.

To escape the fire of his studio, he was able to capture the action taking place across five floors. The final product turned out to be something surreal, reducing living, breathing women in a doll house to brightly colored toys.

The richness of the picture stems from its ability to be appreciated in different ways: either as a whole, as a rhythmic composition of color and form, created by patterns of windows, human figures and colorful costumes; Or as the viewer sets out to explore different parts of it, each woman presents a different point of interest (Gigli's wife is on the second floor, on the far right and the demolition supervisor's wife is on the third floor, from the left) is the third).

This is how Ormond Gigli recalls the story (according to Time magazine): In 1960, when a construction crew destroyed a row of brownstones from their own brownstone studio on East 58th Street, I was, somehow, those Inspired to immortalize buildings. I saw 43 women in formal dress decorating the windows of the skeleton façade.

We had to work fast to get city permits, arrange for models that included celebrities, the demolition supervisor's wife (3rd floor, third from left), my own wife (2nd floor, far left), and a Rolls Royce. Had to be safe to park. on the sidewalk. Careful planning was a necessity as the photography had to be completed during the workers' lunch time!

The day before the buildings were demolished, 43 women appeared in their finest attire, walked into the buildings, climbed the old stairs and took their places in the windows.

I was set up for my fire escape across the street, with a bullhorn in hand, directing the scene. Of course, I was concerned for the safety of the models, as few dared to pose in the crumbling streets.

Photography went off as planned. What some people found too dangerous or difficult to accomplish, came true to my imagination, and became my most memorable self-assigned picture. It has since been an international award winner.

Most professional photographers dream of having a signature photograph that they are known for. "Girls in Windows" is mine.

Decades later, the image has stood the test of time. Immortalizing time and space, the photograph achieves exactly what Gigli intended and perfectly preserves the spirit of the city in a concise, colorful scene.

a short biography

Gigli was born in New York City in 1925. As a teenager, his father introduced him to his first camera. He graduated from the School of Modern Photography in 1942 and served in the Navy as a photographer during World War II. He spent some time living the bohemian life in Paris.

Gigli's career began in 1952 when a LIFE editor hired her to do a series of celebrity portraits and cover Paris fashion shows. He attracted attention when a photograph of him was published in the magazine's Center Prasar. This marked the beginning of a fashion photographer career spanning over four decades.

Through the years, Gigli shot Sophia Loren, Anita Ekberg, John F. Kennedy, Gina Lolabrigida, Diana Vreeland, Marlene Dietrich, Judy Garland, Louis Armstrong, Laurence Olivier, Alan Bates, and Richard Burton.