Bill Cunningham
Explore the life of Bill Cunningham (1929–2016), the American street-style and fashion photographer known for chronicling New York on the bicycle, his weekly columns On the Street and Evening Hours, and his ethos of beauty, modesty, and authenticity.
Introduction
William John “Bill” Cunningham Jr. (March 13, 1929 – June 25, 2016) was a singular figure in photography and fashion. Best known for his candid street photography and his long-running fashion columns in The New York Times, Cunningham built a legacy not by chasing glitz, but by chronicling how real people dress, how trends evolve, and how personal style expresses identity.
His life was quiet in many respects: he rode a bicycle across New York, lived modestly, refused paid favors, and insisted that fashion is not just for the elite but for all—fashion as an anthropological observation as much as art.
In what follows, we’ll trace his early years, his photographic career, his philosophy and style, his influence and legacy, including some of his memorable statements.
Early Life and Background
Bill Cunningham was born on March 13, 1929, in Boston, Massachusetts, into an Irish Catholic family.
From early on, he showed an aesthetic sensitivity. He recalled that during Sunday church services, he would find his attention drifting to hats and clothing rather than sermons.
He enrolled at Harvard University on scholarship in 1948 at the age of 19—but dropped out after only a couple of months. New York City where he worked in advertising and then began to design hats under the name “William J.”
He was drafted during the Korean War and stationed in France. It was there he encountered European fashion firsthand.
His hat business found clients in high society—Marilyn Monroe, Katharine Hepburn, Jacqueline Kennedy (then Bouvier). Women’s Wear Daily and then for the Chicago Tribune.
Career & Photographic Work
Transition to Street & Fashion Photography
Though self-taught as a photographer, Cunningham began capturing candid images of people on New York streets, especially those who had personal style—artistic, unusual, trendsetting. 1978, when he photographed Greta Garbo in an unguarded moment; that image brought attention to his work.
His first published set of impromptu images appeared in The New York Times in December 1978. That led to his long-running column “On the Street”. “Evening Hours”, covering social events, galas, and debutante traditions.
Cunningham’s focus was on capturing real style rather than staged fashion: people wearing outfits that reflect their character, not borrowed or mass-produced costumes.
Façades Project & Other Work
One of his most ambitious undertakings was the Façades project. Starting in 1968, he collected vintage clothing—many from thrift shops—and paired them with historical city buildings as backdrops, creating period-themed fashion tableaux.
He also contributed photo essays and commentary to Details Magazine, sometimes writing collection reviews and cultural fashion commentary.
Cunningham officially became an employee of The New York Times only in 1994—primarily so he could receive health insurance after an accident.
He maintained a consistent visual identity: his uniform was a blue workman’s jacket, khaki pants, and sneakers. He traveled mostly by bicycle—even photographing while biking.
Ethics, Philosophy & Style
Cunningham held strong convictions:
-
He refused to accept gifts, food, or favors from those he photographed, to remain independent and uncorrupted.
-
He often quoted: “You see, if you don’t take money, they can’t tell you what to do, kid.”
-
He described fashion as “armor to survive the reality of everyday life” — an assertion of the deeper meaning of clothing.
-
He said: “Money is the cheapest thing. Liberty is the most expensive.”
Cunningham also kept much of his work private; many of his photographs were never published.
His columns ran weekly from 1989 until near his death in 2016.
He also participated in a documentary, Bill Cunningham New York (2010), which offered a rare window into his worldview, his routines, and his devotion to his craft.
Impact & Legacy
Bill Cunningham’s legacy is rich and distinct. Some highlights:
-
He is often credited as a pioneer (if not the original) of street style photography—fashion documentation outside the runway, in real life.
-
He transformed how fashion journalism is perceived: not just runway spectacle, but what people wear and live in.
-
In 2008 he was named an Officier de l’Ordre des Arts et des Lettres by France.
-
In 2009, he was declared a “living landmark” by the New York Landmarks Conservancy.
-
After his death, The New York Historical Society acquired his archive—tens of thousands of photographs, negatives, slides, and memorabilia.
-
In recent years, the “Bill Cunningham Archive” has become accessible to the public, ensuring his work will continue to be studied and appreciated.
-
His influence persists in street fashion movements, fashion blogging, and how people document style in everyday life.
After his death on June 25, 2016, in New York City (after a stroke), tributes reflected the fashion world’s recognition that an icon had passed. Fifth Avenue and 57th Street (one of his favored vantage points) as “Bill Cunningham Corner.”
His posthumous memoir, Fashion Climbing, was published in 2018 from a manuscript he left behind.
As one observer put it: “We all dress for Bill.”
Memorable Quotes
Here are a few of Bill Cunningham’s more memorable statements (or paraphrases) that reflect his philosophy:
“You see, if you don’t take money, they can’t tell you what to do, kid.”
“Money is the cheapest thing. Liberty is the most expensive.”
On fashion: “I think fashion is the armor to survive the reality of everyday life.”
“I am not fond of photographing women who borrow dresses. I prefer parties where women spend their own money and wear their own dresses.”
“We all get dressed for Bill.” (often quoted from Bill Cunningham New York)
These lines respect his integrity, his view of fashion as personal and expressive, and his resistance to the transactional nature of celebrity.
Lessons & Reflections
From Bill Cunningham’s life and work, we can draw some thoughtful lessons:
-
Authenticity over celebrity
He chose to photograph real people in real clothes rather than chase big names or glitzy events. That grounded his influence. -
Consistency and modesty matter
He wore the same workman’s jacket, traveled by bike, and often lived simply—yet produced a vast body of work over decades. -
Independence is powerful
By refusing gifts and favors, he preserved his editorial and artistic freedom. -
Beauty is everywhere
His lens taught us to look at everyday fashion choices, not merely designer runways. -
Legacy built quietly
He didn’t seek fame; it found him. His work is now a resource and inspiration for photographers, designers, and cultural historians. -
Passion sustains long careers
He worked into his 80s, not out of obligation but delight—still riding his bike, still scanning corners for style.
Conclusion
Bill Cunningham’s life is a testament to how observation, integrity, and quiet dedication can reshape a field. He captured not just fashion, but the spirit of New York, the pulse of daily life, and how we express identity through clothing. His images, his ethics, his humility—they continue to inspire those who believe that deep artistry need not demand spectacle.