Haute-y Gaudí: See Helmut Newton’s 1963 Vogue Shoot in Barcelona in the Lead-Up to Louis Vuitton’s Resort Show in Park Güell

Waves of white linen, starched still—like an ocean stopped by a quick lens. With it, a coat of carved white matelassé, puffed around a deep yoke. By Tiffeau Busch; of acetate and cotton. The hat, by Halston; to order. In the background, the still unfinished Sagrada Familia church, on which Gaudí worked thirty years: its towers quite stark, its carved-stone portal looking—in the words of one stunned observer—“as though the whole work had been arrested in an early stage of liquefaction.”

Flying pullover and skirt, left, in damask piqué, lashed flat in front by a white leather tie. By Sloat, of Benedek cotton. Shown with Mr. John’s colossal organdie turban on the roof of Gaudí’s Casa Mila, where ceramic-tiled ventilator covers loom like giant swirling sculpture. Wingspread of suit-jacket, right, in cotton sateen, whipped open at the front over an organdie blouse embroidered in silvery flowers. By Tiffeau Busch. Organdie bow, by Therese Ahrens. Gaudí rooftop here, the undulating collage of glazed tile mosaics and shattered china on the porter’s lodge, Parque Güell.

Jewel-fringed ottoman caraco, left, cut in one piece with a long rouleau-tied skirt. By Branell, of Herbert Meyer cotton. Casa Mila roofscape: windows with cement eyelids for awnings; clusters of chimney stacks like knights in armour—silent, watchful, portentous. Dotted-swiss shirtdress, right, at once blowy and crisp, like a child’s toy parachute. By N.S. Petites. Beret by Tatiana of Saks Fifth Avenue. Hansen gloves. Gaudí background: the wrought-iron dragon-gate of the Güell Villa.

Cloqué turnout, right. Billowing white coat with full, shirt-banded sleeves; navy-topped dress gathered under a satin sash. By David Kidd for Jablow, of Hurel cotton; to order. Hat: Bonwit Teller. Photographed on the roof of the Palacio Güell; through the tiny beaked windows of its cupola, sun flickers into the main hall, like starlight in daytime. Profile of buttons, far left above, on a piqué pullover, shirred skirt. By Townley, of Benedek cotton. Sally Victor hat. Background: the roof of the Casa Batallo—an iridescence of ceramics. Wedge-shaped pullover, far left below, with a surplice slashed across the front; straight skirt. By Junior Sophisticates, of cotton pique. Emme hat. Casa Mila chimney stacks in the background. White plaid raised—like bas-relief—on white cotton piqué, near left. Patch pockets, shirt-front closing. By Paul Whitney. Casa Mila mise en roof-scene. U-seamed jacket, left, peignoir-tied over an unsleeved sheath. By Nat Kaplan, of Fibranne (Chardon-Marche fabric). Hat by Miss Mary. Ceramic waves: roof of the porter’s lodge, Parque Güell. Pillar of cotton crêpe, above, shaped around a wide set-in belt; skirt folded into a panel. By Teal Traina, of Swiss cotton. Halston Breton, to order. Gloves, both pages by Hansen. Shown on a balcony of the Palacio Güell, where sunlight is sliced by an awning of iron bars.

Among Gaudí’s leaning columns in a Parque Güell grotto, more columns: Matelassé cardigan and dress, far left, with clean, untouching princesse lines. By Hannah Troy, in Swiss fabric of rayon, nylon, silk, by Fisba. Hat by Adolfo. Carved envelope of a coat, in cotton matelassé brocade, double-breasted. Enclosed: a matching dress. By Gustave Tassell. Hat by Lilly Daché. Gloves by Hansen.

Along the fluttery, waving roof-paths of the Casa Mila, two dresses without a thread of flutter in their bodies. Column of white, near right, with two rosettes where the seams begin. By Mademoiselle Ricci, of Herbert Meyer honeycomb cotton, rayon and silk. Piqué tailleur; sleeveless jacket over a bare dress. By Bob Bugnand for Sam Friedlander, of Stern Stern cotton.