The late 1940s moved away from wartime fabric rationing toward Christian Dior’s extravagant “New Look” of 1947, featuring ultra-feminine, cinched-waist silhouettes that required wider, more grand studio framing. Compositions shifted away from the cluttered, theatrical prop sets of the 1930s toward clean, minimalist paper backdrops that emphasized pure silhouette, form, and line.

Photographers heavily experimented with optical illusions, mirrors, sandwich printing, and avant-garde darkroom techniques to turn clothing into abstract art. While black-and-white dominated serious photography, Vogue pioneered technical masterclasses in early color processing, utilizing rich palettes to capture the luxurious textiles of haute couture.

While the studio remained the anchor for pristine couture documentation, the early 1950s laid the groundwork for a major industry shift. Photographers like Norman Parkinson and later William Klein began spilling out of studio confines onto bustling city streets and New York rooftops, blending high-fashion elegance with raw, spontaneous photojournalistic realism.

Filming occurred from January to March 1975, primarily on location in Guernsey (Channel Islands) for the Halifax scenes, with Barbados sequences shot on Île de Gorée in Senegal. It was an intense shoot.

Adjani was known for her dedication and method-like approach. She reportedly screamed in the shower at night to strain her voice for the role and immersed herself fully, often avoiding rehearsals. Truffaut described the experience as challenging, calling it “daily suffering” for him and “almost an agony” for her due to her intense commitment (he also developed feelings for her, which she rebuffed). He praised her genius and total devotion to the craft.

The production emphasized close-ups on Adjani’s face and expressions, with cinematography by Nestor Almendros creating a moody, intimate atmosphere (often dark or earth-toned lighting to match her character’s turmoil).

Photos from the set typically show a young, strikingly beautiful Adjani with long dark hair, often in period costumes (Victorian-style dresses, bonnets, or simpler attire reflecting Adèle’s declining state), alongside Truffaut directing. She appears focused, ethereal, and sometimes haunted even off-camera, embodying the role’s emotional weight.