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25-08-2013
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Talk about "worth the wait", finally an epic Sept covers! They all great, but I'm here for Evangelista, she never looked better!

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25-08-2013
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Quote:
Originally Posted by LucaNatashaFan View Post
This is what i call FASHION ORGASM, omg
I'm surprised Natalia Vodianova isn't involved in this covers, she belongs to this group of girls
As well as Gisele.

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25-08-2013
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Amber and Daria's covers are amazing, Naomi's is pretty striking there too.

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25-08-2013
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Oh my God!!! This is absolutely divine!

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25-08-2013
  35
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Quote:
ABOVE: LINDA EVANGELISTA IN NEW YORK, JULY 2013. STYLING: LUDIVINE POIBLANC. COAT: CHANEL HAUTE COUTURE. SLIP: WOLFORD.

INTERVIEW: Did you ever keep a diary during your early days as a model?

LINDA EVANGELISTA: I used to keep a diary in the beginning. I had my agenda with my appointments in it, and used to put Polaroids in there from the shoot and make a note. That lasted a couple of years. When my son was born, I thought, I will never forget this moment, and I thought that every day after. And recently he asked me, "When did I lose my first tooth?" And I said, "I don't remember." [laughs]

INTERVIEW: So you're not planning to write a memoir anytime soon.

EVANGELISTA: To do that, I would have to ask people about what the hell went down.

INTERVIEW: But you must remember starting out and all of the work it took to get to the top.

EVANGELISTA: I remember doing the rounds of go-sees in New York with Elite. I remember meeting John Casablancas, who I adored.

INTERVIEW: In his obituary, he was quoted as saying that you were the only model who ever thanked him for helping her become such a big success.

EVANGELISTA: That's so sad. We butted heads a few times, but he's right. I'm not self-made. I can't take full credit for where I am today. There have been so many people behind me—supporting me, pushing me, advising me, guiding me. I didn't get here on my own.

INTERVIEW: How did you first get into modeling?

EVANGELISTA: I took a modeling course in my hometown, St. Catharines, Ontario, Canada. It was sort of a scam. In order to work as a model, you had to pay for the classes. My mom paid for me. They sent me there at 16, and I was chosen by a Japanese agency to go over to Japan for the summer to work. My parents were strict Italians who didn't let me go out past 10 o'clock, and I had to choose between going out Friday or Saturday night and was not allowed to have a boyfriend. But they said okay. I got there and it was a catastrophe. They wanted me to take my clothes off and shoot me naked. It was a nightmare and I panicked and basically the Canadian Embassy helped me out. I was there about two days and went home, saying, "I don't want anything to do with this ever again." But how I got my start was that my modeling agency insisted I enter the Miss Teen Niagara Pageant.

INTERVIEW: Like a beauty pageant, with a swimsuit competition and a segment where you're forced to give a speech about bettering humanity?

EVANGELISTA: Yes, all of that stuff. It was a full-on pageant. I wore a gown that my friend Christina made for me. I didn't even place, but a scout from Elite who had found Kim Alexis and Dawn Gallagher was there and he gave me his card. I had finished early from high school and didn't have much to do before going off to college, so my mom suggested I call him. I did, he took pictures of me, sent them off to New York, and New York wanted to meet me. That's when I met John Casablancas. He said I looked like Joan Severance. I said, "What?" I knew exactly who she was. I had her up on my walls.

INTERVIEW: Did you do well in New York?

EVANGELISTA: New York kept me around for about a month—I did, like, eight or ten go-sees a day to see if someone would test me. A few did but nothing really happened there so they sent me to Paris. I went with a bunch of models. We stayed at L'Hotel rue des Beaux-Arts, the one where Oscar Wilde died. We all got bed bugs there. My mom said that she would pay the extra money to go into the Hotel La Louisiane. Those were the two hotels where all the young models stayed.

INTERVIEW: Was it a stressful trip because you knew you had to land some jobs or get sent packing?

EVANGELISTA: Well, I ended up getting work. I got catalogs and a couple of editorials, but it was three years in the making. I wasn't an overnight success. I didn't dream higher than what I was doing. I just felt fulfilled that I was working and doing things and being paid for it. I never imagined Vogue or doing Versace. I didn't think I qualified for that. [laughs]

INTERVIEW: You probably just thought, I'll do this for a little while before moving on with my life.

EVANGELISTA: I was told it would last about three years—that's what the agents told you. A good career was three years.
Quote:
INTERVIEW: You opened the Versace couture show this past June—26 years after you first started working with the house. Did it feel the same backstage as it did all those years ago?

NAOMI CAMPBELL: For me, absolutely. I didn't do it for 14 years, and I had to keep my appearance a secret for many months. When I walked in to do my fitting, it just felt like being around the family again, like no love had been lost. Donatella and Allegra—it was her birthday—and all the people that I've known for many years. It was very emotional. I had been wishing I could do Versace one more time.

INTERVIEW: You recently posted a photo from 1994 of you and Gianni Versace on Instagram.

CAMPBELL: I did. Every 15th of July, no matter where I am in the world, I always go to church and light a candle.

INTERVIEW: Does the fashion world still feel like a family to you?

CAMPBELL: Yes. I love the relationship that I have with Azzedine, with Donatella, with Stefano [Gabbana] and Domenico [Dolce], with Marc Jacobs, with Anna Sui. When I started out modeling, there weren't casting directors and there weren't stylists, so you just dealt directly with the designer. We were all much closer back then—we had direct communication with each other, and we all hung out when we weren't working. Obviously, now that's changed, but I believe I've kept it that way.

INTERVIEW: Do you think young models today are missing that connection with designers?

CAMPBELL: Yes, I've noticed that. They have to deal more with the casting directors and the stylists.

INTERVIEW: You advise young models on your reality show The Face. Does it feel like you are talking to young women in an entirely different business than the one you started out in?

CAMPBELL: Yes, I do feel that I'm talking to someone who's in a totally different place from where I was when I started modeling. I was fortunate enough to have the wonderful designers and amazing photographers around me, and editors that I knew, and if I wanted to ask a question, I asked them. So that gap has broadened a bit.

INTERVIEW: But one quality of modeling you brought to the fore was doing a zillion different projects far beyond the magazine page and the runway. You've done acting, music videos, charity work, you wrote a book. Were those projects offered to you during your career or did you intentionally go out and try to find as many new avenues as you could?

CAMPBELL: It wasn't planned, to be honest. In terms of my charity work, I did it for, like,15 years without anybody ever knowing. I did it because it was something I wanted to do, not for public adulation. When I wanted to change the concept of what I was doing, I needed to be more public because it involved more people to collaborate. And I'm doing television now. I have to be honest, I was very afraid to do TV. I said no for 10 years.

INTERVIEW: Oh, really? Why?

CAMPBELL: The word reality scared me. I just looked at reality as everybody follows me around with a camera, and I'm not that kind of person. I fought for my privacy in England. And I didn't see another way it could be done. So when this opportunity came up through Elisabeth Murdoch and her company Shine, to be an executive producer and actually be part of the show, I liked the idea because I like the word mentor. I don't want to judge someone. I like sharing my knowledge with my girls, and anything they ask me I'll try to do to help them. Any of my real friends who know me, know that's how I really am.

INTERVIEW: You always seemed so confident, even early on. Is that an innate quality or something you had to assume to do the job?

CAMPBELL: They always say, "Fake it till you make it." [laughs] No, I'm determined, and I'm passionate and driven about whatever I commit myself to do. If I don't know something, I'm going to ask, and I've got no problems in asking questions. I never have. People ask me, "Are you nervous when you go on the runway? You don't look it." Yes, I am.

INTERVIEW: Linda Evangelista and François Nars were recently talking in the magazine, and Linda said you have an amazing memory, that you never forget a thing. Is that true?

CAMPBELL: Supposedly. I don't know if that's a good thing or a bad thing ... You know what? It's a good thing. It's a blessing. People always say, "Do you want to write a book?" I'm like, "Not yet." "How will you remember it all?" I say, "It's in my head. It's there. I remember." I've been asked about a book a lot recently. It's a possibility. Put it that way.
interviewmagazine.com

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25-08-2013
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Quote:
ABOVE: KATE MOSS IN LONDON, JUNE 2013. STYLING: KARL TEMPLER. DRESS AND BRACELET: VERSACE.

INTERVIEW: You were really the first model where it was acceptable for any kid to put a picture of you up on their bedroom walls—straight girls, gay girls, straight boys, gay boys. Everyone had Kate Moss up and everyone agreed you were beautiful. Before you got into this business, who did you have up on your walls in your bedroom in Croydon?

KATE MOSS: I had David Bowie and Rob Lowe. I had boys. But I met a friend who had Linda Evangelista on her wall. Those famous Peter Lindbergh pictures.

INTERVIEW: Did you copy her and start putting up fashion images?

MOSS: No, I was always more into boys. But I think I had a Marilyn picture up.

INTERVIEW: Before you got into modeling, were you interested in fashion? Did you covet any clothes?

MOSS: I was more into music, but I also liked fashion. The first time I went to New York, I went with my first boyfriend, Clark. His dad had just bought an apartment in New York and my dad dropped us off and we were there for a week on our own. I must have been 15 or 16. I remember I went to Harlem and bought a goose jacket. That was the hip, hot thing. It was all about a goose. "Oh, she's got a goose." It was a leather goose, and it was so cool.

INTERVIEW: Were you excited to be in New York for the first time?

MOSS: Yeah, I was terrified.

INTERVIEW: Well, New York was terrifying back then.

MOSS: I'd only seen it in movies. With all the fire escapes that people would run down. I was so scared.

INTERVIEW: It was on a trip to New York with your boyfriend at the time, Mario Sorrenti, that you met the people that would later be your agents—Paul Rowland and Jen Ramey. You were on your way to L.A. to work, right?

MOSS: I met Jen and Paul after I'd come back from L.A. Mario and I were in L.A. because we were doing a music video together. And then we ended up staying there for a few weeks. Do you know Sharon Gault? She was "Mama Makeup" in the Madonna Truth or Dare documentary.

INTERVIEW: The one who was roofied and didn't remember how she got back to her hotel room?

MOSS: Yeah. She was the makeup artist on the video we did. Me and Mario were really young. I was 17 and he was 18 or 19, and she said, "Just come and stay with me." So we ended up living with her in L.A. for a while. We loved her. We were her babies. She was like, "My children," and kind of adopted us.

INTERVIEW: Did you like L.A.?

MOSS: Not really. Because we weren't 21 so we couldn't rent a car. We finally found someone who would rent a car but it turned out to be this old banger. So we drove around in that. We had fun.

INTERVIEW: You ended up making London your home. Which makes sense because you're British. Did you always think that would be your home?

MOSS: Yeah, always. But I've lived other places. I lived in New York for seven years, although I was always in denial about it. Even though I had an apartment there, I always pretended I was just visiting. I do love New York. But I'm a Londoner at heart.

INTERVIEW: Does that mean you, like your fellow countrymen and women, were excited beyone belief about Prince William and the Duchess of Cambridge delivering a future king to England?

MOSS: I love the Royal Family. The Queen, she's fabulous.

INTERVIEW: Have you met the Queen?

MOSS: Yeah, I have.

INTERVIEW: Were you intimidated at all as a teenager when you first found yourself in a world populated by supermodels like Naomi Campbell, Linda Evangelista, and Christy Turlington? Even just height-wise that must have been a little intimidating.

MOSS: Yeah, but they were nice. And I was quite streetwise. I still knew things. I even knew about some things that they didn't.

INTERVIEW: So you weren't some naïve girl from the country who found herself backstage at a fashion show.

MOSS: Exactly. But they were amazing. They showed me the ropes, really. If I hadn't been with them, I would have been screwed. They really protected me.

INTERVIEW: Still, a runway the first few times must have been daunting.

MOSS: When I started, a lot of the models were still doing their own makeup. Now that's just unheard of. Now you'd never go in and do your own makeup before a show. I never did that—I couldn't. The first time I went to Paris for John [Galliano]'s show, no one knew that I was even a model. All the girls were lined up, and I remember Stéphane Marais said to me, "Are you in the show?" I said, "Yeah." He's like, "Who are you in the show?" I said, "I'm Lolita." He's like, "Oh my god, get her done quick." [laughs] I was just sitting there all day. I'd been there since, like, 10 in the morning. They just didn't take me for a model.

Quote:
ABOVE: CHRISTY TURLINGTON IN NEW YORK, JULY 2013. STYLING: LUDIVINE POIBLANC. JACKET AND PANTS: DSQUARED2.

INTERVIEW: What was your relationship like with fashion when you were a kid? Were you into it?

CHRISTY TURLINGTON: I never looked at magazines before I started modeling. I was 13 or 14 and none of my friends were into magazines. We were into the fashion of the day, though. Designer jeans were really popular—Sasson, Gloria Vanderbilt, Calvin Klein, Jordache. Once I started modeling, I began to learn about these things, and magazines helped me to understand who was who.

INTERVIEW: What was your first professional modeling gig?

TURLINGTON: I lived in Miami for a few years and that's where I got "discovered." I'm not 100-percent sure what my first job was, but it was probably for the department store Burdines. I worked with them quite a lot until my family moved back to California. The photo studio was in the department store itself. My mom would drive me downtown at 13 and we'd get lunch or frozen yogurt before my booking. I started modeling clothes for my age group but quickly moved into doing cosmetic and jewelry ads, which was funny to me at that age. I noticed that older, more established models would come down from New York for "special bookings," so that became a bit of a fascination for me.

INTERVIEW: How did you get from Miami to New York and Paris? What or who redirected your career?

TURLINGTON: At 14, I met a scout from New York named Bibi Monnahan who was with Ford and another affiliated agency called Karen in Paris. Both agencies invited me to visit but I was moving with my family to California. But the following summer I went to Paris and stopped through New York on the way home. Both experiences were great. I loved being in big cities and getting to see how the industry really looked and what it felt like. I didn't work much, but I loved walking around the city and meeting photographers and shopping.

INTERVIEW: Eventually, you lived for a summer at Eileen Ford's townhouse on 78th Street. What was that like?

TURLINGTON: I returned to New York the next summer, at 16, and I stayed at the Ford's home. It was fun getting to meet other 16-year-old girls from other countries. I made some good friends there. Eileen and Jerry Ford were probably the only agents I had heard of before I started modeling, so I felt they were the best and I think my parents trusted the Ford brand. They were known to be tough and professional, which gave us a sense of security. Things took off for me that summer. I was working a lot with Vogue so even after I returned to high school in Northern California in the fall, I would come back to New York and fly to Paris or Rome for "special bookings." That happened until I turned 18 and moved into my own apartment downtown. That was in 1987.

INTERVIEW: You just did an underwear campaign for Calvin Klein, a brand you've had a long association with over the years. Then, on the flipside, you also just did the campaign for Jason Wu, a younger designer. How does it feel to be working on those different kinds of projects now?

TURLINGTON: While I haven't worked as a full-time model for about 20 years, I've always maintained a few relationships. Calvin and Maybelline are the two longest. I'm flattered by the offers I receive, but there's no real strategy to the way I choose what to do these days. If I'm in a good mood and have the time, I'm more likely to consider it. Often the photographer and team are important factors, too. I needed to think seriously about the CK underwear campaign, because I knew it would be everywhere, and I wasn't sure I wanted to be photographed in my underwear now that I'm a mother. But I knew the images would be tasteful and I liked the idea of continuing a relationship with a brand that I grew up with. The Jason Wu campaign was totally different. I've worked more with Inez and Vinoodh than with any other photographers over the last dozen years, and I trust their vision and instincts. I know the photos will be pretty and the day will go smoothly. I was worried about having two fashion campaigns out at the same time, and when I got the offer for Jason Wu, I had just shot Prada with Steven Meisel, and my kids were in their final week of school. But I'm happy I agreed in the end. People seem to really like them.

INTERVIEW: Who were some of the important people early on in your career?

TURLINGTON: There have been so many photographers and editors who mentored me over the years. At the very beginning, the person who taught me the most was Arthur Elgort. I always loved working with him. We traveled a lot together. I couldn't wait to work with Steven Meisel, and once we met, we did a lot together too. I remember some great years working with him and Paul Cavaco, Brana Wolf, and Carlyne Cerf when she first arrived in New York. I did a lot with British Vogue and loved working with Liz Tilberis and Grace Coddington. I started with Vogue during the Grace Mirabella years, but then Anna Wintour returned from London and quickly made her mark. I also loved working and traveling with Herb Ritts. I met Lori Goldstein in L.A. through him. I worked with Patrick Demarchelier, Avedon, and Irving Penn. There were teams with each photographer and those would change periodically—Sam McKnight and Mary Greenwell, François Nars and Oribe, Stephane Marais and Odile [Gilbert], Linda Cantello and Julien [d'Ys], Kevyn Aucoin and Garren, Christiaan [Houtenbos], and Sonia [Kashuk] ...
interviewmagazine.com

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Quote:
INTERVIEW: A lot of people imagine supermodels as overnight-success stories. But you worked for a long time before your career took off.

DARIA WERBOWY: Yeah. It was sort of like a shadow that followed me for such a huge part of my life. People wanted me to do commercials at 8 or 9 years old, but I first gave it a go when I finished high school. It was pretty much a disaster. Nothing really came out of it, so I gave myself six months and was living in Athens, Greece, and modeling in all of these random places. Nothing really clicked. It wasn't until I was 19 that I decided to revisit it because I wanted to make money to go back to school. I guess it was just the right time and right place for me. Everything started to happen.

INTERVIEW: Now you're 29. Are you ever surprised that you've been doing it for so long?

WERBOWY: Sometimes I am still surprised that I'm a model and that people think I'm good-looking. I've gone through a lot of different phases on what I do and why I do it—morally and ethically. I've tortured myself about it, especially in dealing with success and money. I just had to learn to look at it as a job, as opposed to identifying myself as a model and thinking of myself as a part of this industry. I just thought, Okay, this is an opportunity to learn and see and meet people. Still, I am a Scorpio and I'm quite competitive. If I'm going to do something, I'm going to do it as best I can. I'm going to give it everything.

INTERVIEW: What kind of a kid were you?

WERBOWY: I was really quiet and shy. The thought of attention made me want to hide in a closet. I wasn't a kid who liked attention. I liked solitude and I still kind of do. I go through spurts where I love being around people and I want to be loud, but mostly I don't mind being alone. When I was a kid, I was always around boys. I was always trying to keep up with boys—skateboarding and snowboarding. If my brother was mowing the lawn, I had to mow the lawn. If my brother was using a hammer, I needed to use a hammer. I've always been a little bit of a feminist.

INTERVIEW: Speaking of pushing yourself, it's been said that you set a record for opening and closing the most shows in one season.

WERBOWY: Yeah. I actually don't know if it's true. Someone would have to be really bored to actually want to go through that torture to re-count and verify that. I guess that was my second or third season. I mostly remember just never sleeping.

INTERVIEW: You're a real adventurer. You sailed across the Atlantic Ocean in 2008.

WERBOWY: Yes! That's a true, 100 percent. I grew up in a sailing family. My dad lived for sailing, and when we moved to Canada when I was a child, he really wanted us to learn. He found a junkyard boat and restored it, and it was his dream to sail across the Atlantic. So we did. It all came true. We had some funny issues along the way—like, not enough fuel at one point. It was one of the best experiences of my life. I would do it again in a heartbeat and I will.

INTERVIEW: That sounds kind of terrifying, to be honest. The open ocean is so scary.

WERBOWY: Yeah, but I like terrifying. [laughs] Modeling's terrifying to a lot of people too. Standing in front of a camera is terrifying. I like a challenge. Sailing really forces you to be present and in the moment. You kind of forget about the bullshit of life. Your thoughts go away because you're focused on making sure everything's working. I like being in that place.
INTERVIEW: Where do you spend most of your time when you're not working these days?

WERBOWY: I've been traveling a lot. I try to work it out so I get a couple months off and then I work for two months. I try to do it in chunks so I can actually start and finish something. Right now I'm in between New York and Ireland. But I spent three weeks in Iceland last summer. Then I went to India for two and a half months. Then I was in Peru for four weeks.

INTERVIEW: When your modeling career took off, did anyone show you the ropes?

WERBOWY: Oh, god, someone's going to read this and be like, "That's a lie. I helped her!" [laughs] Off the top of my head, I can't really think of anyone who really took me under their wing. You get advice from everyone. Kate Moss once said to me, "Don't worry about the past, just keep going." That has always sort of stuck with me. I couldn't have asked for better agents. They were amazing and very supportive of me wanting to take time off and stuff like that. I also learned a lot from Emmanuelle Alt.

INTERVIEW: You worked with Helmut Newton on one of his last shoots, in 2004. What was that like?

WERBOWY: I was sick and he was sick, so he made me keep a distance away from him. [laughs] Still, he was amazing. I remember one of the first things he said was that he couldn't believe how thin I was. He was like, "Whatever happened to women?" He also made me wear rubber nipples. He was getting quite old at the time, but he was wonderful. It was amazing to be in a situation where you have to create but you don't feel any pressure. He had such confidence that it made things really easy. Steven has that, Bruce has that. There's a natural sort of process of something coming to life, which I really liked. And with Helmut, it was so quick and easy. It was like, "We're here, and let's make you lay on a bed of nails." But it didn't seem contrived or overly thought-out. It was easy.

Quote:
INTERVIEW: You grew up in Oklahoma, right?

AMBER VALLETTA: I grew up in Tulsa, then moved to Europe to model when I was 17. Big difference.

INTERVIEW: How did you get from Tulsa to Europe?

VALLETTA: I got discovered in Tulsa at a local agency. My mom had paid for modeling classes, and some scout came through and discovered me. They asked if I wanted to come to Europe for the summer to model. I didn't even really know what that meant. I just wanted to go to Europe. So I went with another girl and her mom. Luckily, I had already traveled to Europe twice before I finally moved out at 17. In retrospect, I wish I had spent one more year at home. But my career was starting and people were calling and I kept getting pulled out of school to work anyway. It was like the call of the wild—I just couldn't not go anymore.

INTERVIEW: What was your first really big job?

VALLETTA: It was an advertorial for Italian Vogue. I cried on set because I didn't know what to do. That was two weeks after being in Milan for the very first time. I think I had one or two test shoots there. The other big break would have been a cover of French Elle with Hans Feurer. Then I cut my hair short and it basically changed everything overnight. I was about 18 when I cut my hair off—the little pixie haircut.

INTERVIEW: What prompted the new haircut?

VALLETTA: Nobody had short hair at the time. The waif thing hadn't even started. I was working with a well-known hairdresser, Yannick d'Is, on a French beauty campaign and had a bob down to my chin. I was working all the time but I hadn't done shows or real editorial work. So I said to him, "Let's cut my hair off! He looked at me and was like [mock French accent], "Why? How old are you?" I told him I was 18 and his eyes almost popped out of his head. He was like, "Oh my god, I thought you were so much older because of your haircut!" So, not too long after that, I was on castings for the shows, and I bumped into him and Ward Stegerhoek—another big-time hairdresser—and they looked at me and said, "Let's cut your hair off." We went back to my apartment in Paris and just cut it all off. Two guys cutting my hair at the same time. And then literally overnight everything changed. I worked with Steven Meisel within a month and a half and I booked every show. Then I got a Vogue cover—my first Vogue—and that came out a few months later.

INTERVIEW: Was there anyone taking you under their wing at the time?

VALLETTA: My agent, Didier Fernandez—who's been my agent since I was 18—has definitely been a mentor and a protector and a trusted friend. There have been a few people in the business: Paul Cavaco and Garren Defazio, both of whom I call "Papa." Peter Lindbergh and Steven Meisel, for sure. Those guys were great mentors. Carla Bruni was the first girl to say hello to me at a shoot. And then Christy and Naomi and Linda all kind of shepherded us and were good to us. We'd all hang out and get into trouble and stuff like that.

INTERVIEW: It's nice to know that all the models were running around together having a good time.

VALLETTA: We did! It was like a sorority. We got up to some serious shenanigans.

INTERVIEW: What was your family in Oklahoma's reaction to your sudden fame?

VALLETTA: There were different reactions. One of my little brothers felt that I had left him. My mom was proud but very hands off. She didn't really know enough about the industry, and she didn't have the time to stop her life to go chaperone me. I think she trusted me and ... Well, she was probably a little naïve. I think my dad was proud. My stepdad was definitely proud. I had weird reactions from other family. One of my half-sisters just couldn't deal with it. I think she saw me as someone she had a hard time relating to. We're super-close now, but I probably came home from Europe with weird opinions and attitudes and weird clothing. I probably looked so different to her, and I couldn't show up for things she would have liked me to. My life picked up speed, and I couldn't really stop the momentum.
INTERVIEW: If you hadn't become a model, what do you think you would have done instead?

VALLETTA: I thought of doing many things. I wanted to be an archeologist at one point, but I was a little kid. I wanted to be a social worker. I don't think I really had any idea. I don't even know what would have happened to me had I not become a model. I don't know if I would have gotten out of Oklahoma. I was so young when things started happening for me and I realized I could make a living. After the first summer modeling, I came home with almost as much money as my mom made in a year—after being away for about two months. I just decided to give it a shot, and if it didn't work, I was going to go to college.
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Quote:
INTERVIEW: For you, what kinds of people make the best collaborators?

STEPHANIE SEYMOUR: Well, I always had difficulty as a model just being myself. I can be very shy, and I used to have a lot of anxiety about working on set. But it was really after I worked with Avedon extensively that I learned how to deal with it better. Dick was both a great collaborator and a great director. He taught me a technique where I had to come up with a character each time I was on set. We would work on it together, and he would go to the extent of showing you pictures of your character and playing certain kinds of music. He would say things like, "What would your character be doing? Are you hailing a bus? Are you fainting?" So we would come up with these characters and these situations, and that changed everything for me. Suddenly, it opened up a lot of possibilities.

INTERVIEW: When did you first work with Avedon?

SEYMOUR: I did my first Vogue cover with Dick when I was 18. But I really got to know him when I did a class for him. He was teaching a class about the fashion end of photography, and he had asked Christy Turlington to be his model for it, but she couldn't do it. So then he asked Linda [Evangelista] ... I was his third choice. [laughs] But I was like, "Yes! Yes!" And that's where that picture of me lifting up my dress comes from. There were actually 12 or 15 students watching as we took that picture. Before every picture, there was this intense excitement from Dick, where he has these ideas. I know a lot of girls maybe thought that his ideas were a little crazy sometimes, but I would just go there with him. I loved working with him. When you work with someone like that over a period of time, I think you give each other something. Without that other, deeper kind of collaborative experience, I could not have kept going this long.

INTERVIEW: So much of fashion photography—especially today—is about the image, the end product. But what, for you, is the most enjoyable part of it? Is it seeing that iconic picture? Is it the process?

SEYMOUR: Oh, it's always the process. I know that there is so much more that they can do now with computers, so making images has become a different process. But without the process, I don't believe that you can have that product of a photograph that is memorable. But in terms of retouching and postproduction, Dick was doing all of that stuff, too, swapping heads out and things—and way before computers. I did this photograph with him with these monkeys. It was a double-page and I was looking at the monkey and the monkey was looking at me. We had these two baby monkeys, which were on my arm, but they couldn't be separated from their mother and they were all screaming. So we did the picture where I'm screaming at the monkey, but we couldn't get the shot where I'm screaming at the monkey and the monkey is screaming back at me and we're both facing each other. So Dick shot the monkey separately with the mother where I was, and then he just put it together to create the image.

INTERVIEW: Monkeys sound difficult to work with.

SEYMOUR: But working with animals is exciting.

INTERVIEW: Have you worked with a lot of animals?

SEYMOUR: Oh, yeah. I've worked with Dobermans biting my arm. A bull. An ostrich. Boa constrictors. Snakes are really fascinating. But to relax and be able to have whatever expression you want to have on your face while you're naked and a boa constrictor is draped over your body is not an easy thing to do.

INTERVIEW: What, for you, makes an image iconic?

SEYMOUR: It's when something is memorable, but in a searing way—an image that becomes burned instantly into a person's memory and also brings back all kinds of personal memories for them at the same time. It's something that has that kind of effect on a large number of people.

INTERVIEW: Do you remember your first professional modeling job?

SEYMOUR: How could I forget? It was for Cosmo. I don't know if Cosmo still does this, but they used to do a thing called "Cosmo Tells All" where there were three or four pictures on a spread. They would take a picture of a girl and then write something like "How do you have the best orgasm?" or "How do you get your hair as big as you want it?" I was the picture of a girl with big hair. I was 14, and I remember going to the grocery store before school to get it when it came out. I was so excited ... Those pictures are pretty great.


INTERVIEW: Your mother was very into fashion when you were a kid. Were you into it, too?

SEYMOUR: I wanted to connect with it—and I definitely did connect with it—but in a very local-girl kind of way. I didn't have very sophisticated taste, but I was definitely really into it. When Flashdance [1983] came out, I cut up all my clothes. Everything.

INTERVIEW: Did you have a favorite outfit or piece of clothing when you were a kid?

SEYMOUR: Yeah, I had a couple: my red and black Norma Kamali cowboy boots, and my red mini skirt.

INTERVIEW: Did you wear them together?

SEYMOUR: Of course, I did. [laughs]
interviewmagazine.com

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25-08-2013
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haha, i love kate's interview, she's so monosyllabic.

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25-08-2013
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Such great covers to wake up to! After taking a while to digest them I've come the conclusion tha Daria's, Amber's, Naomi's and Stephanie's covers are my favorites eventhough all of them are great. The model issue featuring 70 models...well there's something for every tFSer in there, it's a dream come true! Interview and W are really showing this month everyone else how to do it.

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25-08-2013
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Quote:
Originally Posted by cottonmouth13 View Post
As well as Gisele.
I agree. Daria is the odd one out here imo.

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25-08-2013
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This is certainly a coup d'Daria to be listed as one of the supermodels. I'm not happy about it...it's just really sad there's nobody better. I guess Lara is out of the loop at the moment...I don't know....but of course it's better than Karlie or Cara, so I guess....if you have to pick a current model.

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25-08-2013
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need. to. buy. this. ASAP

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25-08-2013
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Absolutely epic! I wanna buy all the covers!

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25-08-2013
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VIVA LA LINDA Grate cover. She Looks AMAZING !!

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