“Working with Nick Knight is always really special. He’s such a brilliant artist. One of the first times I collaborated with him, we shot a fashion editorial with all of this tailoring – including a suit by John Galliano, who had just started to become a name at that point. The lighting reminded me of the kind Nick used in Christy Turlington’s Jil Sander campaign for autumn/winter 1992. It felt cool and androgynous and sexy at the same time.”
“Photographers loved shooting Shalom and I together in the ’90s. We’ve always been super connected. Her boyfriend at the time actually came on location with us for this, and I remember him coming down the beach in a full leather jacket – very Rebel Without a Cause and in no way weather-appropriate.”
“Looking back now, I remember being particularly excited to shoot on location with Nick, because nine times out of 10 he’s in the studio. All I heard about the concept before I arrived is that Shalom [Harlow] and I would be wearing these enormous ballgowns on a Caribbean beach.”
“Modelling now is different in a lot of ways. The size of the productions have more than doubled. For this editorial, there were maybe half a dozen people there, shooting over a few days. You had to be so present, in the days of film – there were no easy PhotoShop fixes back then. Models also never had any idea how a shoot would turn out really – we’d have been lucky to see a Polaroid! Here, Nick deliberately smudged his camera lens, in a reference to the romantic ’70s style of fashion photography. Again: genius.”
