![]() ![]() ![]() Streisand’s powers of self-reflection are still very much front and centre throughout Release Me 2, which is far from a thrown. That extraordinary face, almost dead center in the frame, is done, but not too done: “The only real color Barbra ever uses on her face a luminous, un-blatant purple powder eye shadow,” one caption reads, “so subtle you’re aware only of how blue her eyes look.” She’d found her dress at a shop in Sausalito, California. Barbra Streisand sings Yentl Medley at Arrowhead Pond, 1994. (And isn’t Barbra’s voice a little like that too?) Streisand’s mane, cut and colored by her then hairstylist/boyfriend/producing partner Jon Peters, is halfway between its early ’70s sleekness (see her locks in What’s Up, Doc? and Up the Sandbox, both released in 1972) and riotous, late-’70s curlicues (note her turns in 1976’s A Star Is Born and 1979’s The Main Event). This photograph is, I think, the very definition of a glamour shot so casually beautiful that it verges on the absurd. Taken together, these recordings reaffirm Streisand’s pre-eminent position among the great singers of her time. As a set-a diptych, if you will-the pictures go a long way toward explaining who I am and what I care about, but for now, I’ll narrow my focus to the Scavullo, published in the magazine’s April 1975 issue. The other, by Francesco Scavullo, is the glorious portrait of one Barbra Joan Streisand seen above. Charles Koppelman, Streisand’s producer at the time, brought in Jay Landers. One, by François Halard, sees two riders clearing a hedge in verdant Warwickshire, England, as Sophia Davies, American transplant Amanda Brooks, Vogue contributing editor Plum Sykes, and Antonia Davies all look on. ![]() In “Nice Things,” a folder that I keep on my work computer, there are two very different Vogue images. This story is part of a series, Past/Present, highlighting images and articles from Vogue that have personal significance to our editors. ![]()
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