Starting May 15 the The International Center of Photography will showcase “Avedon Fashion: 1944-2000” as the centerpiece exhibit for the ICP’s Year of Fashion.

This is the first time the ICP will devote an exhibit solely to Richard Avedon, a photographer who through a career of nearly seven decades became one of the most influential fashion photographers.

The exhibit, which was organized by ICP Curator Carol Squiers and Adjunct Curator Vince Aletti, will occupy the main galleries of the museum with about 175 photographs on display. It will also include original magazines showcasing his work and materials that show the creative process.

Avedon’s career included artistic collaborations with the likes of Alexey Brodovitch, Diane Vreeland and models such as Twiggy, Veruschka, and Lauren Hutton. His photographs were known to reflect the mood of the moment. From the postwar optimism that started his career to the provocative late Sixties and Seventies revolution that lead to the “Avedon blur” trademark.

The ICP has organized this exhibit with the cooperation of The Richard Avedon Foundation, Fraenkel Gallery and Pace/MacGill Gallery. The exhibit will be on display through Sept. 6 at the ICP, and will run concurrently with “David Seidner: Paris Fashions, 1945.”

Seidner’s photographs, which were taken in 1990, are of a collection of couture-dressed dolls that were originally made for the Thèâtre de la Mode in Paris in 1945. The two-foot tall, wired dolls were a solution to expose the designs of popular designers after fabric regulations were imposed in the post World War II French economy. The Chambre Syndicale de la Couture Parisienne exhibited the 230 dolls and then sent them all over Europe and the United States. After reviving French fashion, the dolls were archived in the Maryhill Museum near Portland, OR.

In 1990, the dolls were rediscovered and sent back to Paris where they were restyled for another exhibit in the Thèâtre de la Mode. Shortly after, photographer David Seinder requested to photograph the dolls in their historic dresses to capture postwar French fashion.

—Alexandra Gonzalez