After the war, in 1947 the family moved to Milan. It was there, as a 15-year-old student, that Horvat first took an interest in photography, selling his stamp collection to buy a Kodak Retina 35mm camera. Horvat studied art at the prestigious Accademia di Brera, Milan. Here his affiliation with image-making became more pronounced after a friend convinced him it would help him “get closer to girls,“ as Horvat later revealed. “It didn’t. But it did help me to learn something about composition.” After his studies, Horvat secured a job at an advertising firm and familiarised himself with the Rolleicord, then one of the sine qua nons of being a professional photographer. Soon, he was successfully freelancing for various Italian magazines.
In the 1950s, Paris was still considered the global heart of photography. Horvat had met Henri Cartier-Bresson, the pioneer of street photography, when he first visited the city in 1950 and developed a deep fascination with his work. Cartier-Bresson advised Horvat to concentrate on photojournalism and swap his Rolleiflex for a Leica. He did so. Then, in 1952, Horvat embarked on a two-year journey across Asia, spending much of his time in India and Pakistan. The young photographer created images that captured everyday life, selling his work to Life magazine (American weekly), Picture Post (UK-based photojournalistic magazine), and Paris Match (French weekly news journal), among others. Notably, in 1954 one of his photographs (Mohammedan wedding: the bride, Lahore, Pakistan), which depicted a Pakistani bride beneath a veil, her face reflected in a mirror on her lap, came to the attention of Edward Steichen, the then director of the Department of Photography at New York City’s Museum of Modern Art (MoMA). Steichen exhibited the image as part of The Family of Man (1955), an exhibition ruminating on humanity and life, which remains one of the most successful and renowned international photographic shows of all time.