![]() John aimed to create seemed to me like it was inauthentic, totally staged, but still somehow greatly intriguing. This was aspirational imagery on steroids-for some reason, among pages and pages of glamorous-looking stuff, the world St. It was Gray, on her hands and knees on the beach on the back of a motorcycle riding a futuristic-looking ATV in the middle of the desert kissing a giraffe holding onto a baby tiger. The explicit power dynamics between the sexes were clear here: there was one woman who ruled them all. In a time when so many different people who looked eerily similar were being cast for fashion photo shoots, Gray emerged, in my eyes, as an outlier. They were attractive, but dully so, and they were, like the supermodels of the era, relatively homogenous. And in a truly iconic photograph, Gray is seen on the upper deck of a yacht, straddling a young blond man in tiny swim trunks.īut the men, however prominently featured, were never the focal point of the pictures. Sometimes, the guys were dressed according to theme: in an ad that was supposed to evoke a Scottish garden, they wore kilts. They were, at times, shirtless (one particularly memorable shot featured a man in a speedo, standing far in the background) in other instances, they wore traditional tuxedos and sunglasses while they opened the door to her limo or they were in all-white suits and matching cowboy hats. In almost every image, she was flanked by four or five men. ![]() Gray appeared in shimmery eveningwear, luxe furs, pantsuits with no shirt and no bra. John knit sweater in black with white piping in 1995). John actually made-twinsets and cashmere sweater-jackets worn by WASP-y socialites and politicians ( Hillary Clinton famously wore a Chanel-esque St. Gray was a glamorous woman wearing fashions that looked strikingly different from most of the wares St. In any given magazine, the brand would buy out six or eight ad pages at a time, each one featuring the same face in every photograph. And I aimed to know them all.Īnd then there were the St. They were instantly recognizable, more famous than some of the most well-known celebrities of the year-at least, in the fashion world. There was Natalia Vodianova, Liya Kebede, (one of few famous black models from the early Aughts-she was the sole woman of color on the cover of Vogue’s September 2004 “biggest issue ever”), Gemma Ward (whose face inspired agencies around the world to sign young women with a similarly otherworldly look), Daria Werbowy (Canadian!), and Gisele Bündchen. I stared at the doe eyes of the supermodels of the moment and memorized their names with the fervor of someone who might be quizzed on them later. ![]() ![]() Lying on the floor of my parents’ living room next to a basket filled with old issues of W, In Style, Vogue, and Harper’s Bazaar, I’d flip through pages from the books-which were thick and substantial at that time, heavy as a bible for the September and March editions. I was 11, entering 7th grade, and fully obsessed with fashion magazines. John spreads that dominated magazines during her pre-teen years. Here, Senior Digital Editor Maxine Wally looks back on the St. “ Stuck in My Head” is a new essay series that celebrates the highly specific moments in fashion history that we’re pretty sure will stay lodged in our brains forever, from film costumes to runway bloopers to the ad campaigns of our youths.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |