Italian photographer Gianni Penati was born in Turin in 1930. He built his craft in Italy before making a defining move to New York City in 1964. That shift changed everything. New York’s raw energy gave his work a pulse that studio photography rarely achieved.
Penati rejected stiff poses and artificial backdrops. He used natural light, shot on location, and placed models in motion — on city streets, against vivid sets, in real spaces. The results felt alive. His early Vogue work in 1965 showed exactly that, featuring model Donna Mitchell in a series of clean, structured looks by designer Iris.
Donna Mitchell in a white batiste dress with pink ribbon by Iris, Vogue, February 1, 1965.Donna Mitchell in a white tunic with blue bows by Iris, Vogue, February 1, 1965.Donna Mitchell in a white cloque nightdress by Iris, Vogue, February 1, 1965.Donna Mitchell in white batiste panels by Iris, Vogue, February 1, 1965.
By spring 1965, Penati was shooting for Vogue’s fashion spreads regularly. Model Hellevi Keko appeared in two distinct looks — a dotted Swiss paisley dress by Kasper for Joan Leslie and a paisley jersey dress by Loomtogs. Both images show Penati’s control of texture and pattern through the lens.
Hellevi Keko in a dotted Swiss paisley dress by Kasper for Joan Leslie, Vogue, May 1, 1965.
Hellevi Keko in a paisley jersey dress by Loomtogs, Vogue, May 1, 1965.
Penati’s Vogue collaborations brought him into contact with some of the most talked-about figures of the era. Editor Diana Vreeland’s bold editorial vision matched well with his dynamic shooting style. In 1966, he photographed Edie Sedgwick — a central figure in Andy Warhol’s Factory scene — alongside established names like Veruschka and Lauren Hutton.
Edie Sedgwick in a body shaper by Venus with stockings by Givenchy, Vogue, March 15, 1966.Lauren Hutton in a silver cloque dance dress, Vogue, July 1, 1966.
Veruschka in a black lace bra and white slip by Maidenform and Kickernick, Vogue, March 1, 1966.
Veruschka in a black long-line brassière by Lilly of France, Vogue, March 1, 1966.
By 1967, Penati was photographing Italian-born model Benedetta Barzini across multiple Vogue issues. Barzini was known for her striking presence, and Penati captured her in a range of looks — from a camel-wool dress by Wilson Folmar to a navy-blue jacquard by Galanos and a crisp Geoffrey Beene black-and-white design.
Benedetta Barzini in a camel-wool dress by Wilson Folmar, Vogue, February 1, 1967.
Benedetta Barzini in a black silk-and-worsted dress by Nat Kaplan, Vogue, February 1, 1967.
Benedetta Barzini in a navy-blue jacquard dress by Galanos, Vogue, April 1, 1967.
Benedetta Barzini in a black and white dress by Geoffrey Beene, Vogue US, April 1967.
Benedetta Barzini in a green wool jersey pantaloon dress by Galanos, Vogue, April 1, 1967.
Penati’s range extended well beyond any single model or aesthetic. His 1967 work included playful accessories shots with Editha Dussler and dramatic eveningwear with Samantha Jones in Donald Brooks black lace pyjamas.
Editha Dussler in a paper hat by Adolfo, Vogue, April 15, 1967.
Samantha Jones in black lace pyjamas by Donald Brooks, Vogue, September 1, 1967.
The year 1968 was among Penati’s most productive. He shot models including Ann Turkel, Françoise Rubartelli, Lauren Hutton, Windsor Elliott, Samantha Jones, Sondra Locke, and Naomi Simms — covering everything from Oscar de la Renta crêpe dresses to Yves Saint Laurent patent leather and Maximilian fur coats.
Ann Turkel in a black crêpe dress by Oscar de la Renta, Vogue, July 1, 1968.
Ann Turkel in a navy-and-white cotton shirtdress by Laurence Gross, Vogue, February 15, 1968.
Françoise Rubartelli in a brown taffeta dress by Anne Fogarty, Vogue, January 1, 1968.
Lauren Hutton in a chestnut-brown vinyl shirtdress, Vogue, July 1, 1968.
Lauren Hutton in a green wool knit dress by Junior Sophisticates, Vogue, March 1, 1968.
Lauren Hutton in a violet-dyed Swakara lamb coat by Chambers Sherwin, Vogue, November 1, 1968.
Model in an Edwardian-style lace dress by Anne Fogarty, Vogue, April 15, 1968.
Naomi Simms in a black-dyed Russian broadtail lamb coat by Maximilian, Vogue, November 1, 1968.
Princess Ira von Furstenberg in an ostrich feather coat by Bill Blass, 1968.
Samantha Jones in a pink crêpe tunic and pants by Nina Ricci, Vogue, November 15, 1968.
Samantha Jones in a white crêpe dinner pantsuit by Sport Sophisticates, Vogue, November 15, 1968.
Sondra Locke in a black velvet coatdress by Betty Carol for Mam’selle, Vogue, November 1, 1968.
Sondra Locke in a black velvet dress by Kasper for Joan Leslie, Vogue, November 1, 1968.
Windsor Elliott in a black wool coat and dress by Bill Blass for Maurice Rentner, Vogue, October 15, 1968.
Windsor Elliott in a black patent leather dirndl by Yves Saint Laurent, Vogue, November 15, 1968.
Windsor Elliott in a navy knit dress, Vogue, July 1, 1968.
Windsor Elliott in a gray wool pantsuit by Don Simonelli for Modelia, Vogue, October 15, 1968.
Penati carried the same momentum into 1969. His final year of the decade featured Jean Shrimpton in a striped denim mini-jumper, Leigh Taylor-Young in a black knit minidress, and Maud Adams in a hooded Alaska seal fur coat for Vogue. He also photographed Cynthia Korman in a sweeping Galanos chiffon cape.
Cynthia Korman in a chiffon cape by Galanos, 1969.
Françoise Rubartelli in a black crêpe dress by Mollie Parnis, Vogue, January 1, 1969.
Jean Shrimpton in a striped denim mini-jumper, Vogue US, March 1969.
Lauren Hutton in a black crêpe dress by Dalton, Vogue, January 1, 1969.
Leigh Taylor-Young in a black knit minidress by Maggi Browning, 1969.Maud Adams in a hooded Alaska seal fur coat, Vogue, 1969.
Kimberly Adams is passionate about classic movies, actors, and actresses. She offers a fresh perspective on timeless films and the stars who made them unforgettable. Her work is an ode to the glamour and artistry of a bygone era, and a tribute to the enduring appeal of classic cinema.
