After leaving high school at sixteen, Bert Stern works at the postal department of Look magazine where he meets Stanley Kubrick for whom he would later serve as a set photographer for the film, Lolita. In 1955, he is engaged as a photographer for an advertising campaign for Smirnoff vodkas and thanks to his shot of the a glass in front of Gizeh’s pyramid, his career as ‘the original Mad man’ is launched. During the 1960s, he is a fashion and celebrity photographer for Vogue while he admits that ‘women and photography are two passions, by becoming a photographer for Vogue, I got the chance to combine both passions.’ From Elizabeth Taylor to Audrey Courrèges’ designs as well as Romy Schneider and Alain Delon, his images are insolent, dynamic and natural while they reflect the freedom and youthful explosion of the era, perfectly illustrated by Veruschka and David Bailey’s double portrait mimicking one of Bert Stern’s favorite shooting techniques. On the 21st June 1962, Vogue asks him to meet Marilyn Monroe at the Bel Air Hotel where the actress plays with her nudity, veils, scarves, paper flowers or pearls as she entirely delivers herself to the camera, relaxed and joyful. Thrilled by the images, Vogue sends Bert Stern for another session, three days later, for black and white pictures this time, and thus collide illustrations of Marilyn Monroe’s nude sensuous body shimmering behind a sparkling veil and the same body covered with elegant garments, adorned with pearl necklaces and a brunette wig like a cruel and ironic incarnation of her rival, Jackie Kennedy. Such legendary photographs that the American photographer will recreate the chiffon roses scene with Sophie Dahl in 2002. And within the 2751 striking images of Marilyn Monroe, the frontal nudes heavily marked by a red cross by the actress refusing to see them published, vibrate as incongruous manifestation of the cruel destiny awaiting for her a few weeks later and that will turn their encounter into the Last Session.