Gleb Derujinsky was born in Russia and emigrated to the United States in the 1920s. He built his career as a commercial photographer and quickly made a name for himself with bold compositions and dramatic lighting. By the 1950s, his work was appearing regularly in Harper’s Bazaar, Vogue, and Life — three of the most widely read magazines of the era.
Sandra Nelson in white silk organdy dress with a little shawl around the shoulders by Mollie Parnis, photo by Gleb Derujinsky, Harper’s Bazaar, December 1952
Derujinsky’s fashion photography was defined by its elegance. He favored flowing fabric, strong poses, and a sense of controlled motion. These weren’t static clothing shots — they felt alive. He worked with top designers like Christian Dior-New York, Galanos, and Scaasi, translating their garments into carefully composed visual stories.
Eva Gerney in suit of Forstmann wool mixed with silver thread by Branell, beret by John-Frederics, llama calf bag by Coblentz, Wings Heirloom luggage, photo by Gleb Derulinsky, Harper’s Bazaar, December 1953
His subjects included some of the most recognizable models of the decade. Jean Patchett, Carmen Dell’Orefice, Evelyn Tripp, and Simone d’Aillencourt all appeared in front of his lens. Each model brought a different energy, and Derujinsky knew exactly how to capture it.
Jean Patchett in strapless top wrapped with a sash and a slim skirt with two pleats in back, photo by Gleb Derujinsky, Harper’s Bazaar, July 1954Carmen Dell’Orefice in summery shift of a dress dappled with wild flowers and sashed with a ribbon by David Crystal, photo by Gleb Derujinsky, the car is Chrysler’s Imperial “Southampton”, Harper’s Bazaar U.S., May 1956
Derujinsky often shot on location, adding texture and context that studio backdrops couldn’t provide. He photographed aboard Grace Lines’ Santa Paula, in Hawaii, and across France, among other places. These settings gave his images a sense of glamour rooted in the real world, not just a controlled studio environment.
Cherry Nelms in bare-backed white piqué sundress printed with roses, by Alex Colman, photo by Gleb Derujinsky aboard Grace Lines’ Santa Paula, Harper’s Bazaar, January 1956Harper’s Bazaar editorial shot by Gleb Derujinsky, 1956
Ruth Neumann, who later became Ruth Neumann Derujinsky, appeared frequently in his work throughout the late 1950s. She modeled for Harper’s Bazaar editorial spreads and Vogue, wearing everything from Tarnmoor beachwear to Galanos silk crêpe dinner dresses. Her recurring presence in his photographs suggests a close professional — and personal — working relationship.
Ruth Neumann Derujinsky (l) and Barbara Mullen in Tarnmoor’s exotic border print cotton beachwear by Greta Plattry, photo by Gleb Derujinsky, Vogue, January 1956Evelyn Tripp in navy blue suit with white blouse bowed at the collar, photo by Gleb Derujinsky, Harper’s Bazaar, February 1957
Derujinsky’s range extended well beyond editorial fashion spreads. He shot advertising campaigns for major brands, including Coty cosmetics, lending the same refined eye to commercial work that he brought to magazine editorials.
Harper’s Bazaar editorial shot by Gleb Derujinsky, 1957
Model is wearing printed cotton maillot by Cole of California, photo by Gleb Derujinsky in Pound Ridge, New York, Harper’s Bazaar, 1957
Ruth Neumann Derujinsky in gray flannel suit, jacket is folded envelope-style at the waist, skirt is lined with organdie to billow out by Marquise, cloche by Emme, photo by Gleb Derujinsky, Harper’s Bazaar, February 1957
Whether shooting a casual cotton sundress or a structured wool suit, Derujinsky brought the same level of precision to every frame. The details in his images — a beret by John-Frederics, a mantilla with a yellow rose, a cone hat by Emme — were never incidental. Every element was deliberate.
Ruth Neumann Derujinsky in red Wamsutta cotton dress by Jerry Gilden, photo by Gleb Derujinsky, Harper’s Bazaar, January 1957Carmen Dell’Orefice in deep green basket-weave wool suit with longer jacket and fringed scarf collar by Monte Sano & Pruzan, hat by Mr. Arnold, photo by Gleb Derujisnky, Harper’s Bazaar, September 1958Carmen Dell’Orefice in pebbly gray Forstmann wool dress and jacket, jacket has big kimono collar and deep cuffs by Christian Dior-New York, photo by Gleb Derujinsky, Harper’s Bazaar, September 1958
Carmen Dell’Orefice was one of Derujinsky’s most frequent collaborators. She appeared in his Harper’s Bazaar spreads across multiple years and locations, from New York fashion editorials to sun-soaked Hawaiian shoots. Her striking features and natural poise made her a perfect fit for his polished visual style.
Marie Helene-Arnaud in a Coty Lipstick ad, photo by Gleb Derujinsky, 1958
Ruth Neumann Derujinsky in white bathing suit and straw hat, photo by Gleb Derujinsky, Harper’s Bazaar UK, July 1958
Ann Farrar, Instant Beauty by Coty ad, photographed in France by Gleb Derujinsky, Vogue, March 15, 1959
By 1959, Derujinsky’s output had grown to cover an impressive variety of subjects and settings. His January 1959 Harper’s Bazaar Hawaii feature included multiple looks for Dell’Orefice — a cotton shirtwaist by David Crystal, a two-piece swimsuit by Cole of California, and a blue evening dress by Jerry Parnis. The shoot demonstrated his ability to shift tone and mood within a single location.
Carmen Dell’Orefice in blue Supima cotton shirtwaist dress by David Crystal, photo by Gleb Derujinsky, Hawaii, Harper’s Bazaar, January 1959
Carmen Dell’Orefice in cotton two-piece bathing suit by Cole of California, matching cover-up by Leon Levine, photo by Gleb Derujinsky, Hawaii, Harper’s Bazaar, January 1959
Carmen Dell’Orefice in lovely blue evening dress of Supima cotton by Jerry Parnis, photo by Gleb Derujinsky, Hawaii, Harper’s Bazaar, January 1959
Evelyn Tripp in triangular black ottoman coat with a cardigan collar by Originala, mantilla with yellow rose by Emily Wetherby, photo by Gleb Derujinsky, Harper’s Bazaar, February 1959
Spring and summer 1959 saw Derujinsky shooting colorful, structured looks for Harper’s Bazaar, often pairing bold garments with equally bold accessories. Jan Rylander wore a vivid silk strapless dress with a wide-sleeved red coat by Scaasi. Simone d’Aillencourt appeared in linen sheaths, suede tunics, and tailored wool jerseys — each image precise and sharply composed.
Jan Rylander in silk strapless dress circled in vivid colors worn with a red gros de Londres coat with wide sleeves by Scaasi, hat by Emme, photo by Gleb Derujinsky, Harper’s Bazaar, April 1959
Model in pale Lapis Lazuli blue peignor of nylon tricot with ecru lace inserts by Van Raalte, photo by Gleb Derujinsky, Harper’s Bazaar, April 1959
Ruth Neumann Derujinsky in dinner suit of orange and yellow velveteen, matching cone hat by Emme, photo by Gleb Derujinsky, Harper’s Bazaar, April 1959
Ruth Neumann Derujinsky in ivory-white silk tussah dress, the sleeves flounce out and the waist is tied with matching ribbon by Larry Aldrich, organdy toque by Walter Florell, photo by Gleb Derujisnky, Harper’s Bazaar, April 1959
Ruth Neumann Derujinsky in silk crêpe dinner dress of yellow and black stripes on green with wide kimono sleeves by Galanos, leafy green hat by Mr. Arnold, photo by Gleb Derujinsky, Harper’s Bazaar, April 1959
Simone d’Aillencourt in blue suede tunic top and slim trousers by Samuel Robert, photo by Gleb Derujinsky, Harper’s Bazaar, August 1959
Simone d’Aillencourt in linen sheath of cocoa brown and white alternating blocks by B.H. Wragge, sandals by Evins, photo by Gleb Derujinsky, Harper’s Bazaar, June 1959Simone d’Aillencourt in nut-beige wool jersey suit, the short jacket has elasticized waist above slender gathered skirt by Ben Zuckerman, hat by Lilly Daché, photo by Gleb Derujinsky, Harper’s Bazaar, February 1959Simone d’Aillencourt in red linen top trimmed in black braid and skirt with inverted pleats by Sloat, red sandals by Mademoiselle, photo by Gleb Derujinsky, Harper’s Bazaar, June 1959
