Irving Penn :: Cretan priest, Crete, 1964. One of the major projects of Penn’s career, which he pursued intermittently between 1948 and 1971, was a group of photographs made during his travels which he called Worlds in a Small Room. Following an experience in Cuzco working in a daylight studio, Penn sought out other opportunities to improvise or bring a studio with him to make portraits in a neutral environment. These encounters attempted to bridge the gaps of language, culture, and geography, to connect on a human level. / via

the–elusive–muse via irvingpenn.org

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I’ve always been curious about the above photo when it appears online or in books: it’s clearly an entirely different outfit to the black sequinned one Dietrich wears onscreen in “Hot Voodoo.” Is this shot a “wardrobe test” of a potential costume that got rejected? In his book, Bach provides a clue: production of Blonde Venus was a long rancorous ordeal with Sternberg (and Dietrich) feuding with studio heads. (At one point Paramount threatened to sack Sternberg and replace him with another director). There were so many script re-shuffles that “major sequences (including the “Hot Voodoo” number) were completely recostumed and reshot.” So, the famous version of “Hot Voodoo” we’re all familiar with is actually the second reshot version. This pic above was presumably what Dietrich wore in the original scrapped number that was resigned to the cutting room floor. / source: graham-russell 

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