Tag: kate moss
KATE MOSS IN JULIEN MACDONALD | PHOTOGRAPHY JUERGEN TELLER | FASHION EDITOR TIINA LAAKKONEN | VOGUE UK | DECEMBER 1997
KATE MOSS | PHOTOGRAPHY TERRY RICHARDSON | FASHION EDITOR ANDREW RICHARDSON | POP | AUTUMN/WINTER 2004
Extract from 'My Photo Album', Book, Tracey Emin, FUEL, 2013
Nan Goldin, Kate Moss
Here, three of the biggest names in their fields team up as fashion editor, photographer and model on a unique shoot for Vogue. The result is a special set of images in which fashion and art converge to spectacular effect
"I wanted to create something that would stand the test of time - rather than the cliché of the fabulous fashion moment," explains Stella McCartney of her work as Vogue's guest fashion editor for this shoot with the photographer Nan Goldin. "I saw an exhibition of Nan's images called Nan Goldin: I'll Be Your Mirror five years ago at the Whitney in New York. It was a beautiful body of work, a personal journey about her inner self, what she feels and the way she sees people." Nan Goldin's sensuous and highly emotive "diarist" style has influenced a generation of photographers. "I love her sensibility and the effect of the tension between the delicate and the beautiful, the hard and the worn," adds Stella. It's a description that could also apply to the fashion designer's own aesthetic.
When the two met in Nan's New York apartment at the start of this collaboration, they found they shared a similar taste for the dark, antique and slightly disturbing. The meeting gave rise to ideas for the shoot - Highgate cemetery, a white stallion (both are obsessed with horses), the gothic interior of Sir John Soane's Museum in Holborn and, of course, Kate Moss. "She's the greatest model of my generation and Nan had always wanted to shoot her," says Stella. They wanted the pictures to be about Kate, the environment and the atmosphere, so the fashion was kept to a minimum. Stella chose only vintage clothing, including a piece from her own collection. A beautiful blue satin corset, an antique beaded dress she bought at Christie's years ago, and a tattered ivory silk dress - all highly evocative pieces. Both Stella and Nan brought their own antique jewellery to use. Rather than minutely plan each picture, the shoot naturally evolved as the day progressed - the surreal, ghostly setting, Nan's sensuous take, the mix of bright and dull colours all coming together to create intense images.
"Nan is not used to working within a fashion environment, and I'm only used to styling models for ad campaigns, so it was a challenge," says Stella. "Nan takes a photograph with no assistant and no lighting - that natural approach is part of the charm. She's relaxed enough to work like that - it's the way my mother used to take pictures, too. The images also capture beautifully a day spent together and the coming together of three personalities." HQ
Overthe next I I pages, Kate wears: Victorian corset, £275. Nude silk slip, £95.
Both from a selection, at Sheila Cook. Antique coral necklace and earrings, from a selection, at Grays Antique Market. All other jewellery, Stella's own.
Silver-beaded pinksilkdress, Stella's own. For stockists, all pages, see Vogue Information.
Hair: Bruce Libre. Make-up: Max Delorme. Fashion editor: Madeleine Christie.
Guest fashion editor: Stella McCartney
KATE MOSS AND TRISH GOFF | PHOTOGRAPHY CRAIG MCDEAN | MARTINE SITBON BACKSTAGE | PARIS | i-D MAGAZINE | JANUARY 1996
KATE MOSS AND EUGENE ON SET SHOOTING CALVIN KLEIN | STYLIST EDWARD ENNIFUL | NEW YORK | 1996 | POLAROID | INDUSTRIE MAGAZINE | ISSUE 8
FRANCESCA TOLOT | BRIDGET HALL AND KATE MOSS BEHIND THE SCENES OF 1994 FASHION SHOOT BY HERB RITTS FOR VOGUE | 1994
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