Bill Cunningham: New York

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and if they happen to be wearing

what you're photographing,

then you're in business.

He's caught me on a rainy day

jumping puddles,

the same way I did for Avedon,

but...

[Laughs]

It was much less painful...

when Bill photographed me,

and much more natural.

He catches you

crossing a street...

with boots and

blue jeans and this,

and he's so happy,

and he's much happier

when you're in this...

looking terrible and ratty,

than he is...

if he saw you in something

incredibly elegant and smart.

That's my poncho.

They're so cheap...

that you wear them once or twice,

and then they start tearing.

First at the neck, immediately.

Well, why buy a new one?

It's only gonna tear anyway.

So you repair the old one.

Damn you, New Yorkers.

You're all so extravagant and wasteful.

But I don't believe in one wear.

So a little tape.

And we're back in business.

I know this embarrasses everyone.

It doesn't embarrass me.

I think everyone

that knows Bill...

and understands who he is

and what he represents...

will always be thrilled

to be photographed by Bill.

I mean, I've said many times

that we all get dressed for Bill.

[Man]

Anna! Anna!

[Woman]

Anna, right here, please?

Anna, right here.

Can you stop for a moment?

- She stopped for you.

- [Woman] She stopped for Bill.

[Wintour] He's sort of

been documenting me for...

Since I was a kid, like in my...

19, 20 years old,

and it's one snap, two snaps,

or he ignores you,

which is death, you know?

But he's always doing it

because he has a point of view.

He'd take my picture

whenever he saw me.

Sometimes it got into the Times,

and most often not.

And then little by little,

he began to photograph me more.

I would come into a place.

And he would say, "Oh, thank God you're here."

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