The New York Times single her out as the only American in a threesome -also including Guy Bourdin and Helmut Newton-that bring “eeriness, shock, and alienation” to the formerly pleasant and pretty business of selling clothes. She becomes a sought-after photographer in her own right. It isn’t long before she begins working alongside the photographers she used to collaborated with as an editor. Had I been out on my own, I might have had to compromise my work.” “I never could have done that because I was too special. “That helped me, because I didn’t have to earn a living being a photographer at first,” she later recalls. She continues for a time to do both styling and photography. That’s how I built my portfolio at Mademoiselle, shooting my own sittings.”. “I was able to ask them if ever I could do a sitting of my own and take the pictures. In 1967 Deborah becomes an associate fashion editor at Mademoiselle. While working at Diplomat magazine, she begins to shoot her own pictures. Early Fashion Photographs/ Women in The Woods, 1977 In the mean time her love for photography grows on her and when she shows some of her amateur work to Richard Avedon, he invites her to attend some advanced seminars.
In 1965 Bazaar’s current editor in chief, Nancy White, tells her she has taken things too far. Having a fond interest in designer clothing, she becomes an editorial assistant at Ladies’ Home Journal in 1960 and two years later moves to Harper’s Bazaar to work as fashion editor.
The designer will later introduce her to Diana Vreeland, at this time a fashion editor at Harper’s Bazaar. She moves to New York in 1956, where Deborah becomes a sample model and assistant for Claire McCardell.
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