Miller's work draws its spark from her extremes of experience, the reincarnation of the top model and fashion photographer as front-line reporter. She lived the glorious irony of being on the battlefront as the representative of Vogue. Her portrait of the Leipzig burgomaster's daughter, who committed suicide as the Allies took the town, is essentially a corpse as fashion shot - statuesque, soigné and beautifully lit. Miller's photograph is alarming in a way that Bourke-White's more straightforward reportage of the same scene of suicide is not.
It is Miller's high style that reveals the full banality of the Third Reich's leadership. In Munich, finding herself in Hitler's former residence in Prinzregentenplatz, she has herself photographed nude in Hitler's white enamelled bath, surrounded by his kitsch. Moving on to Eva Braun's former lodgings, a few streets away, the one-time photographer of Vogue's "Choice of the Month" casts aspersions on the décor, castigating Hitler's girlfriend for her department-store taste. Her revulsion at the dowdiness of evil gives her portraits of the Nazis a particular intensity of rage.
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