Beverly Johnson was a 21-year-old ingenue sleeping on a mattress on the floor of her midtown Manhattan apartment when she went into the photo studio with legendary photographer Francesco Scavullo 35 years ago this month.
The atmosphere, she remembers, was "magical." "You could kind of feel it in the air during the shoot," says Johnson. "I knew it was going to be a good picture."
But the rising model was stunned when she learned that an image from the session -- of her in a simple, powder blue sweater and a Mona Lisa smile -- would become the cover of Vogue in August 1974, making her the magazine's first black cover model.
Johnson became a poster child for the American civil rights movement practically overnight, her name mentioned in the same breath as that of the Rev. Jesse Jackson (who was, all of a sudden, calling her to discuss race relations in America).
"Everyone was like, 'Do you understand the significance of this?' " recalls Johnson, now 56. "They were making the comparisons with Jackie Robinson and what he did for the baseball league." At the time, she says, she was only vaguely aware of what they were talking about.
"When the magazine came out I had no idea at all that I was the first black woman to be on the cover of Vogue," she says. "I was just overjoyed to be on the cover because that's what you strive for as a model. That's when you know you have arrived."
Before the Vogue shoot, Johnson had already made a name for herself at Glamour, which had been featuring black cover models since 1968. Editors there were enamored of her wholesome yet modern "woman next door" look. "They were fascinated because the response was always positive when they put me on their cover," Johnson says. "Usually they got hate mail if a black model was on the cover." She still has a note from the late, great Ruth Whitney (Glamour's editor in chief for 31 years) congratulating her on her ability to transcend race barriers.
But Johnson had no illusions about the latent racism in her business -- things simply were different if you were a black woman in fashion. On shoots Johnson often felt like "the token black," she says. Hairstylists often "didn't have a clue about black hair -- I was always teaching the white hairdressers and makeup artists how to do me. There were no black hairdressers and makeup artists." On catalog shoots, her white counterparts would earn more, even though Johnson's photos often would be the ones that sold the most product.
