María Julia Alsogaray’s Cover: A Mystery of Argentine Icons

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Unveiling a Seminal Shoot: How María julia Alsogaray’s Iconic Cover Came to Be

The creation of María julia Alsogaray’s notable magazine cover, a moment that captured her in a now-legendary pose, was a process of creative negotiation adn unexpected appearances, as recounted by the photographer behind the lens. The aim was to achieve an image that suggested bare shoulders, a bold aesthetic for the time, and the shoot involved a specific approach to Alsogaray’s attire.

Initially, Alsogaray wore a shirt that obscured the desired look. The photographer instructed her to open it, but the shoulders remained partially covered. It was then that Alsogaray,understanding the objective,entirely unbuttoned the shirt,pushing it to the sides to fully expose her shoulders,thereby achieving the intended visual impact.

The session,however,was briefly interrupted by the notable figures Susana Giménez and Graciela Borges. Having previously photographed both for “Siete Días,” the photographer recalls them entering the living room. Seeking to maintain the integrity of the shot and prevent any shift in the artistic direction, the photographer asked Susana Giménez to compliment Alsogaray through the lens, reinforcing the desired aesthetic. This intervention helped ensure the final images conveyed the intended impression of bare shoulders, a look that was crucial to the success of the cover.

Regarding the specific garment, the photographer clarified that the cover featuring Alsogaray was, in fact, Graciela Borges’s idea. The magazine also included other images from the previous day’s shoot, where Alsogaray sported a slightly shorter cape-like garment. When questioned if this was the same item previously mentioned by Moria Casán,the photographer explained that Alsogaray already possessed the garment,likely her own coat given the winter season,and that Graciela Alfano was not present at that time.

Dispelling any notions of Alsogaray needing encouragement, the photographer firmly stated that the shoot took place during breakfast and with Alsogaray’s children present, ruling out any consumption of alcohol.The photographer asserted that the idea for the revealing photographs originated with Alsogaray herself, who reportedly felt comfortable with the direction and later adjusted her way of dressing.

The photographer also shared an anecdote highlighting Alsogaray’s satisfaction with the cover. The following week, at an event in Buenos Aires, Alsogaray proudly introduced the photographer as “the man who took my photos.” When asked about future productions, Alsogaray enthusiastically responded, “When you want, Dubi.”

Concluding his reflections, the photographer expressed surprise at the subsequent public dispute between Susana Giménez and Graciela Alfano over who should have graced the cover. Having photographed both celebrities for their initial magazine covers, he found the argument, after years in the profession, to be “pica pica” – a lighthearted yet perplexing contention over whose image was more prominent.

What was the meaning of choosing Sarah Moon, a photographer with a distinct style, for the cover shoot?

The Iconic Image & Its Origins

María Julia Alsogaray’s image on the cover of Para Ti magazine in December 1968 remains one of the most discussed and debated moments in Argentine media history. The photograph, taken by Sarah Moon, wasn’t a typical celebrity portrait. It depicted Alsogaray, then Argentina’s Minister of Social Welfare, in a strikingly unconventional pose – lying on a Persian rug, casually dressed, with a relaxed, almost defiant expression. this wasn’t the image of a politician accustomed too formal portraits. It sparked immediate controversy and continues to fascinate those interested in argentine history, fashion, and the evolving role of women in politics.

The choice of Sarah Moon, a British photographer known for her soft, ethereal style, was itself a departure. Para Ti, a leading women’s magazine, aimed to reach a elegant audience, and the cover aimed to present Alsogaray as a modern, relatable figure. However, the execution proved…complex.

The Political Context: Onganía’s Argentina

Understanding the cover requires understanding the political climate of 1968 Argentina.The country was under the de facto rule of General Juan Carlos Onganía, following the 1966 military coup. Onganía’s regime was characterized by authoritarianism, suppression of dissent, and a conservative social agenda. Alsogaray, appointed to her position in 1966, represented a somewhat surprising element within the military government.

Alsogaray’s Role: She was tasked with addressing widespread social issues, including poverty and housing. Her approach, while within the framework of the regime, often involved innovative programs and a degree of autonomy that ruffled feathers within the military.

the Regime’s Control: Onganía’s government heavily controlled the media, making the Para ti cover all the more unusual.The fact that it was approved at all suggests internal power dynamics and perhaps a miscalculation of public reaction.

Social Unrest: 1968 was a year of global protests and social upheaval. Argentina wasn’t immune, with growing student movements and labor unrest challenging the military government.

The Controversy & Immediate Aftermath

The Para Ti cover ignited a firestorm of criticism.The outrage wasn’t necessarily directed at Alsogaray personally, but at the perceived trivialization of her position and the perceived disrespect towards the seriousness of the political situation.

Military Displeasure: high-ranking military officials were reportedly furious, viewing the cover as undignified and damaging to the regime’s image. They felt it portrayed Alsogaray as frivolous and undermined their authority.

public Reaction: public opinion was divided. Some saw it as a refreshing break from traditional political imagery, while others found it inappropriate and scandalous.letters to the editor of Para ti were overwhelmingly negative.

Alsogaray’s Response: Alsogaray herself remained largely silent on the matter publicly.Privately, she reportedly expressed her discomfort with the image, feeling it didn’t accurately represent her work or her commitment to social welfare.

The Photographer’s Outlook: Sarah Moon’s Style

Sarah moon’s photographic style was crucial to the controversy. Her work, characterized by soft focus, muted colors, and a dreamlike quality, was a far cry from the stark, formal portraits typically associated with political figures.

Emphasis on Mood: Moon prioritized capturing a mood or feeling rather than a precise likeness. This approach, while artistically valid, contributed to the sense of ambiguity and unconventionality surrounding the cover.

Fashion Photography Background: Moon’s background in fashion photography influenced her aesthetic. The cover resembled a fashion shoot more than a political portrait, further fueling the criticism.

Intentional Ambiguity: Moon herself has rarely discussed the cover in detail, adding to the mystery surrounding its creation and meaning.

Lasting Legacy & Cultural Impact

Decades later, María Julia Alsogaray’s Para Ti cover continues to be analyzed and reinterpreted. It’s become a symbol of a turbulent era in Argentine history, a testament to the power of imagery, and a interesting case study in the intersection of politics, fashion, and gender.

Feminist Interpretations: Some feminist scholars argue the cover, despite its problematic context, inadvertently challenged traditional representations of women in politics. Alsogaray’s relaxed pose and unconventional attire subverted expectations and hinted at a more liberated image.

Iconic Status: The cover has been reproduced and referenced countless times in art, literature, and media, solidifying its status as an iconic image of Argentine culture.

Ongoing Debate: The debate over the cover’s meaning and impact continues to this day, demonstrating its enduring relevance and power to provoke discussion. It remains a potent reminder of a complex and frequently enough contradictory period in Argentine history.

Related Search Terms:

María Julia Alsogaray

Para Ti magazine

Sarah Moon photography

Argentine military dictatorship

1968 in Argentina

Women in Argentine