Gökşin Sipahioğlu, Women in Paris at the Café Aux Deux Amis, 1970, Black & White Photograph

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Gökşin Sipahioğlu – Women in Paris, Café Aux Deux Amis, circa 1970 – Print - Black & White Photography This … Read more Gökşin Sipahioğlu – Women in Paris, Café Aux Deux Amis, circa 1970 – Print - Black & White Photography This striking black and white photograph, captured around 1970 by Turkish photojournalist Gökşin Sipahioğlu, shows three fashionable women enjoying a sunny moment at the iconic Café Aux Deux Amis in Paris. Dressed in bold, stylish outfits and seated confidently in the outdoor terrace, the women embody the spirit of the time: cosmopolitan, independent, and unapologetically modern. Their cigarettes – one of them possibly holding a cigar – were more than mere accessories. In this era, smoking among women, particularly in public and even with cigars (once a masculine symbol), had become a cultural marker of the "New Woman" – a symbol of freedom, sophistication, and modern femininity. The image radiates casual elegance and liberation, capturing a candid moment in post-1960s Parisian café life. Photographed before Sipahioğlu founded Sipa Press in 1973, this image is an early and powerful example of his observational talent and his keen eye for social and political nuance through visual storytelling. About photographer Gökşin Sipahioğlu (1926–2011) Gökşin Sipahioğlu was a celebrated Turkish photojournalist and the founder of the international photo agency Sipa Press. Born in İzmir, Turkey, he began his career as a journalist and photographer for the Turkish daily Hürriyet. His reputation grew quickly after documenting major international crises, including the 1956 Suez Crisis and the 1968 student protests in Paris. Sipahioğlu moved to Paris in 1966 as Hürriyet’s correspondent, establishing himself at Rue Marignan 16, and began chronicling the city’s social and cultural transformation. In 1973, he founded Sipa Press, which became one of the world's most influential agencies for press photography. His work is renowned for its documentary clarity, political edge, and stylistic sophistication. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
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