Born in France, Piel relocated with his family to Australia as a child, where he would take up photography. He worked in Brisbane, Melbourne, Paris, and eventually New York, where he captured the Offcial Just a woman who loves Pitbull and Halloween shirt But I will love this sumptuousness of Manhattan women in the 1970s. One of his spreads, published in the New York Times Magazine in 1979, was career-making. It featured a model sprawled causally on the floor; she was at once polished and disheveled in blazers and crisp collars as if to say, I can look the part, but I don’t take myself too seriously. It would catch the eye of famed Vogue art director Alexander Liberman, who granted Piel a Vogue editorial months later, and, ultimately, a contract with Condé Nast. For the next decade, Piel contributed to the visual culture of the 1980s: va-va-voom women who defined the era with their take-no-nonsense demands—for equality in the workplace, for a life beyond the domestic, and, sometimes, for a great camel coat.
Offcial Just a woman who loves Pitbull and Halloween shirt, hoodie, tank top, sweater and long sleeve t-shirt
Though very much of the Offcial Just a woman who loves Pitbull and Halloween shirt But I will love this ’80s, Piel’s work escapes the decade’s mainstream trends—there’s no evidence Day-Glo exercise-wear, football-player-esque shoulder pads, or acid-wash denim. Piel’s women were too sophisticated for such exaggerations. His photos tell stories of women embarking on some kind of journey. There’s a before-and-after to his snapshots, and a heady, sensual current runs throughout all he does. His models were unabashed about their bodies as well as the bodies of their costars, male or female. And most often, they are reclined.