Deborah Turbeville is remembered today as a pioneering figure in fashion photography, known for her melancholic, dreamlike imagery that diverged from conventional standards. Born in 1932 in Stoneham, Massachusetts, USA, she initially pursued acting before being discovered by fashion designer Claire McCardell, who employed her as an assistant and model. Through McCardell, Turbeville met Diana Vreeland, then editor of Harper's Bazaar, which launched her editorial career. However, she soon lost interest in conventional editorial work, turning instead to photography as an outlet for artistic expression and experimentation. 

In the 1960s, after buying her first camera, Turbeville began early experimentation in photography. Her creative direction was refined through a workshop with photographer Richard Avedon and art director Marvin Israel. Moving from fashion editing to photography, she worked for magazines like Vogue and Harper's Bazaar, though she always insisted she was not a traditional fashion photographer. Rather, she used fashion within her work to tell emotionally charged stories, setting herself apart from the industry’s glamorous norms. 

One of her most iconic works is the 'Bathhouse' series for Vogue in 1975, featuring models posed in a dilapidated bathhouse. The images conveyed vulnerability, decay and isolation, starkly contrasting with the glossy fashion photography of the time. Although controversial, the series exemplified Turbeville's atmospheric aesthetic - soft focus, grainy textures and muted tones. She often distressed her photographs to give them an aged appearance, blurring the lines between fashion photography and fine art. 

Turbeville’s work rejected the conventions of fashion industry ideals, choosing instead to explore themes of memory, loss and feminine vulnerability. Her approach stood in contrast to contemporaries like Helmut Newton and Guy Bourdin, whose images typically celebrated female sensuality. In contrast, Turbeville’s subjects appeared introspective and distant, encouraging viewers to engage with them on a deeper, emotional level. 

In 1981, Turbeville was commissioned by Jacqueline Kennedy Onassis to photograph the abandoned rooms of the Palace of Versailles, which resulted in the book Unseen Versailles. The images of faded grandeur reflected her fascination with decay and received critical acclaim, winning an American Book Award. 

Her body of work extended beyond fashion to other notable publications, including Studio St. Petersburg, The Voyage of the Virgin Maria Candelaria, and Newport Remembered. Throughout her career, she consistently merged fashion with fine art, creating images defined more by atmosphere and emotion than style alone. 

Her photocollages show her experimental approach to constructing compositions. Her photographs are just one element among several. She builds up mysterious narratives through overlapping layers of pinned, ripped, cut, creased and taped images, found objects and printed texts. These layers are built up on heavy brown paper - a complete departure from the glossy white pages of fashion magazines. Her Passport series of collages, which accompanied a novella she wrote with the same name, demonstrates her very cinematic, narrative approach to photography. 

Turbeville’s influence on future generations of photographers is significant. She opened doors for more experimental, avant-garde approaches to fashion photography, transforming it from a commercial medium into a space for artistic exploration. Her rejection of industry norms allowed her to create a distinctive visual language that continues to inspire photographers and artists today. 

Turbeville once remarked that she was more interested in creating "atmosphere and mood" than simply photographing clothes, a sentiment that underpinned her career. By embracing imperfection, decay and the passage of time, she redefined fashion photography as more than a vehicle for selling clothes. 

Turbeville’s career represents a turning point in fashion photography. Her dreamlike, melancholic style and innovative approach broke industry conventions, transforming fashion photography into a medium for personal and artistic expression. Her legacy continues to inspire, and her influence remains enduring long after her death in 2013.