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cindy crawford richard gere

Cindy Crawford interviews actor and boyfriend Richard Gere at the Gianni Versace AIDS Benefit in 1991.
Photo: MTV

Season: 3 Episode: 7
Title: Spring Edition
Original Airdate: 3/6/91
Appearances: Naomi Campbell, Claudia Schiffer, Christy Turlington, Richard Gere, Gianni Versace, Sylvester Stallone, Betsey Johnson, Andre Leon Talley


This clip is a jewel, not only for its peek into the Versace archive at a time when the clothes were at the apex of mixed-print, bold-hued richesse, but because you get to hear Gianni talk (albeit briefly) about a cause that was important to him. For the Friends of AIDS benefit, Cindy and the supermodels descend upon Chateau Marmont for a Versace fashion show attended by the most A-list Hollywood types. Cindy does double-duty for the evening, shooting a segment (with a “Cindy Cam” while she’s backstage) for House of Style, and walking in the show. Maybe it’s because Gianni Versace was a personal favorite of mine, or perhaps because he died so tragically, but the footage is notably bittersweet. Seeing how much the supermodels loved him and witnessing again how active he was, at the peak of his career, in the fight against AIDS is poignant — especially since this was at a time when the disease was swiftly destroying whole communities, and those who were HIV-positive were stigmatized by ignorance and hysteria. “For the problem of AIDS,” says Versace, “for the problem that touches many friends. I did this with the heart.”

Naomi serves formidable hair flip as she bounds down the runway. Claudia says she always feels pretty in Versace’s clothes. And in an odd transformative note, ever notice how Gianni Versace's Italian-ness rubs off on Christy Turlington? Her Versace billboards in the opening shot are a vision of sun-kissed, smoky-eyed, Sophia Loren-esque goodness.

Everyone backstage is calm, and the show runs smoothly. We’ve been seeing a lot of early ’90s Versace lately: Lady Gaga had a field day with the archive for a media blitz earlier this year, there isn’t a tony vintage store worth its salt that doesn’t carry a couple of pieces, Drake wore a printed Versace button-up to his birthday, and the ornate-bordered shirt has been knocked off countless times, but the differences are palpable when you’re seeing the clothes in this context—on the backs of these models—when Gianni Versace was alive.

The magic lies in the movement. Versace mixed polka dots and houndstooth, filigree and floral, with everything in electric, hyper-saturated tones, all on the finest fabrics. Watching the silk suits glide down the runway is unreal because the prints undulate and billow. Gianni Versace knew how to cut: The precision and structural integrity of what would otherwise be too-whimsical in its cavalier opulence make his clothes compulsively wearable. I never thought I’d type these words, but Sylvester Stallone says it best: “Versace has his feet firmly planted in traditionalism. But every now and then, he brings about an air of theatricality. So if you feel like being a bit bold, his clothes kinda bridge that gap.” The fact that Stallone is wearing a silk lapel, wing-collar shirt and has his nails buffed to a high sheen makes this pop culture nugget that much more satisfying. Another quotable tidbit comes from Sandra Bernhard: “I think the war has gotten Bush off the hook for a while, but AIDS is an ongoing war and battle that really hasn’t been properly fought.” And, of course, there’s Naomi Campbell, who displays startling honesty about the “most embarrassing thing in [her] closet." Let's just say, she talks about something of a deeply... um... penetratively... personal nature.

We also see Andre Leon Talley snap photos of our host, and for Cindy superfans, this is the first moment where Richard Gere (Cindy's first husband) has ever seen her in this role. He’s gobsmacked. You can tell he thinks himself the luckiest bastard in the world for having landed this woman (in super-sexy, head-to-toe Versace, having just MODELED it) holding an MTV mic cube and interviewing him like a real-life journalist.

“This is amazing because we’ve known each other for two and a half years and I’ve never seen you do this before,” Gere stammers. “This is incredible. I’m just kind of floored.” From Steven Seagal in a band collar with Kelly LeBrock (dressed like a sad clown) in tow, to a photo of Michael Landon and Rod Stewart and Rachel Hunter in matching teased coifs, this was a wonderful collision of worlds, and we’re lucky that MTV was there to capture it.



betsey johnson

Designer Betsey Johnson in 1991.
Photo: MTV

The term “babydoll dress” may have not been coined by Betsey Johnson, but she can certainly lay claim to popularizing the '60s silhouette in the '90s. (The thing I love most about her floral versions is that they had pockets!) “This shape… à la maternity/pregnancy, I’ve been calling the babydoll,” she says. “It’s very naive, very sweet, very young, very innocent look. It’s a mystery after the bust. And that’s what’s interesting, because it’s got a very sexy little top part, and then after that it’s like, who knows? Is she hippy? Is she skinny? What is she under there?”

In this segment, we explore “warm weather dresses” and it’s a romp through Central Park with models in different versions of the summer staple, intercut with designers in their work rooms. There is a beautiful version by New York designer Carmelo Pomodoro, whose promising career would be cut short the following year when he died of AIDS-related pneumonia at just 37 years old. He calls this his “princess dress”: it features a demure, boxy, clavicle-skimming neckline (“I have a personal relationship with the clavicle. I think it’s the sexiest part of the body”) and a plunging back.

There is also a flowy, versatile, tank, A-line dress from Stacey Pecor at Hendris. The designer would go on to become a retail success story, founding the popular New York chain Olive and Bette's.

The final “picnic in the park” scene, with daisies and a somewhat slapdash “peace” flag, calls to mind an article entitled “Fashion: Baby Dolls, Naughty and Nice” by Anne-Marie Schiro, in an October 1990 issue of the New York Times. Schiro interviewed Kalman Ruttenstein, a senior VP for fashion direction at Bloomingdale’s, and Terry Melville, a VP and Fashion Director of the Junior/Contemporary category at Macy’s. The executives parsed the general silhouette of a baby doll (“high waist, high yoke, more fabric”; the textiles used: “chiffon, challis, stretch velvet and stretch lace”; and the predominant print: “florals… next in importance are dots, then geometrics and solid-color lace’). Melville and Ruttenstein also situated the dress as a revival of the “symbol of the 1960s youthquake.” I remember these dresses. We would wear them over tights with combat boots and a choker and your hair up in a French twist, or we’d wear them over a long-sleeved bodysuit; but I did not then or now consider them to be anything but very ’90s.

Even in 2012 with the high-waisted, floral print/lace ’90s dress enjoying a resurgence and the rising popularity of the choker on people born too recently to remember the decade—like Chloe Moretz and Sky Ferreira—I can’t help but wonder whether they know that the ’90s dresses are an homage to an earlier era. I certainly didn’t. If you show me a pair of silver clogs, I won’t think '1960s' I’ll always think '1991' because of the color and the execution. It’s the fingerprint that a decade leaves on a borrowed trend as it’s repeatedly revived in the future and I wonder what the effects will be as we look back on '80s trends from 2012 in 2032. Especially since these cycles shrink as technological innovations get faster and we become more peripatetic in pulling temporal inspiration. Colors change, mills introduce things like stretch lace, 3D printing becomes a reality and the price points for trends dip and democratize. Fashion is getting crazy accessible and it's fascinating. It's also interesting to see what’s picked up again with fondness and what’s left alone on each go 'round. We haven't yet seen the sleeveless white turtleneck bodysuit and the macramé flared-sleeve, calf-length duster but I’d bet money that they'll return. And I can't wait to see how they've changed.



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jean paul gaultier

Designer Jean Paul Gaultier at Paris Fashion Week in 1991.
Photo: MTV

Season: 3 Episode: 12
Title: Paris Edition
Original Airdate: 12/18/91
Appearances: Jean Paul Gaultier, Linda Evangelista, Christy Turlington, Naomi Campbell, Karl Lagerfeld, Ellen Von Unwerth


From his TV interviews last fall with Lady Gaga to his current role as creative director of Diet Coke, few designers have become pop culture icons quite like Jean Paul Gaultier. It’s a marvel that the platinum-tressed couturier, who blazed onto the fashion scene in the '70s (he apprenticed under Pierre Cardin, launched his first prêt-à-porter collection in 1976 and went onto couture in 1999), has retained relevance and notoriety as the enfant terrible of the French fashion industry for over 30 years. In 1985, he introduced sharply cut, midi-length skirt suits for men; in the ’90s, he famously created the cone bra for Madonna’s Blonde Ambition tour. This year, the two tow-headed stars have joined forces again: Gaultier outfitted her Madgesty for the MDNA world tour.

In this segment, Cindy goes to Paris to discuss taboo, the origin of Gaultier's fixation with corsetry and his reasons for making gender-bending fashion. Jean Paul Gaultier is honest and affable with zero pretension and it’s easy to see why, all these decades later there’s still joy to be found in Gaultier’s designs. It's unsurprising that new and exciting talents like Gaga still clamor to work with him.



linda evangelista

Model Linda Evangelista in Chanel at Paris Fashion Week in 1991.
Photo: MTV

Maybe it’s because it’s the Paris fashion episode, or because it’s a couple of years after our first supermodel interview, but Linda is the first model we speak to who has a firm grasp on how famous she is. Also, it strikes me that she speaks in technical terms regarding her work not unlike an actor talking to James Lipton on Inside The Actor’s Studio. Linda always wanted to be a model, even as a child, and in this segment she makes the interesting claim that models—especially the supermodels of the time—are like actresses, except that they are captured in still images rather than moving pictures. It should also be noted that the distinction is important—some would go on to pursue successful acting careers and others would have more trouble with dialogue.

During the ’90s, as the names of models, photographers and even fashion editors became more well-known, the magazine cover was the domain of the model, and not of the actress, as it is these days. Linda cites her versatility as a reason she’s such a cover and ad campaign mainstay. Legendary photographer Steven Meisel (in a rare on camera interview) confirms this assessment, and praises how completely she immerses herself in each character. We see that a change in hair color and clothes alters her look drastically. Linda also says that her mercurial appearance makes up for her lack of “All-American appeal” since she doesn't have the “button nose” or the “wheat-colored hair” that was so popular when she was growing up in Ontario, Canada. It's funny because it never occurred to me that looking like Linda Evangelista could ever be a crutch. Especially in Ontario, Canada. JKJKJKJK.



paris fashion week

Model Naomi Campbell in hair and makeup backstage at Paris Fashion Week in 1991.
Photo: MTV

We're backstage again, this time to unveil the secrets of Paris Fashion Week. There's a tangle of cameras jockeying for position on the press risers, and the close quarters reveal crews of models in various stages of preparation. Cindy dubs it as “glamorous as a supermarket sale,” and breaks down the math of how much the event costs: the invitations to “1800 fashion editors and 600 buyers in 42 countries,” the ushers, the location, the presents and, of course, the models. A single show can set a designer back $150,000, and the top-grossing girl can make upwards of $5,000 per show (this is, of course, in 1991 dollars and only an indication as to how much designers spend now). Christy Turlington justifies the math thusly: “When you look at it in terms of business and how much money we’re bringing in for companies, I think that our couple of thousand dollars are meager.” Karl Lagerfeld agrees: “They are the image-making persons of today," he says. "They are like the goddesses of the silent screen.”

Backstage, models are crammed beside racks, and everyone is smoking. On the runway for Spring 1992, we see frou-frou lace dusters for the pin-up, campy lingerie look. This is the year Chanel showed staid, predictable, box-suit silhouettes, but in cheeky pastel terry cloth. It’s also the season of Herve Leger’s first show. Michael Hutchence of INXS describes the prepping for such pageantry as “a hundred women getting ready for dinner—it’s terrifying.”



ellen von unwerth

Photographer Ellen Von Unwerth in 1991.
Photo: MTV

This is a beautiful, fun segment that illustrates at several points, the difference between a fashion editorial with actresses and one case with models. If you’ve ever been on-set for a celebrity fashion shoot, you can immediately see the difference. Models know what they look like. If you’ve ever seen America’s Next Top Model, you’ll know how challenging it is for a subject to look fantastic, while engaging in an activity and how critical it is to be able to command body language and facial expressions according to the demands of the photographer. It's in intuition, experience and anticipating that shutter snap. Here Karen Mulder plays a raven-haired Jane Russell and Eva Herzigova plays Marilyn Monroe. They romp around in cars, lounge in a hotel room, and pose with loads of cigarettes. The models are in their element.

Ellen's easy way with models may stem from her starting her career as one. A burgeoning interest in photography led to a campaign with British designer Katharine Hamnett. Ellen is generally considered one of the most dynamic photographers in the fashion industry (both then and now), and it’s fascinating to see how relaxed and personable she is behind the camera. She smiles a lot and her instructions are either casually gestured or a single word left open for interpretation (like "flamenco"), and you can see why, when you’re half naked on a set or in public, Ellen’s style might be confidence building. It’s also what gives Ellen Von Unwerth’s photographs an immensely voyeuristic appeal. She lets the actions run while she chooses what to capture. The end result is often like a scene from a movie, and this Italian Vogue spread that's inspired by the movie Gentlemen Prefer Blondes may be stylized in costume but appears totally spontaneous.



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walk like a runway model

A participant walks like a runway model at a New Jersey mall in 1992.
Photo: MTV

Season: 4 Episode: 13
Title: Winter '92
Original Airdate: 2/26/92
Appearances: Christy Turlington, Naomi Campbell, Iman


Unfurling a length of red carpet on the main floor of the Garden State Plaza Mall to teach shoppers how to “Walk Like a Supermodel” seems hokey, but you have to remember that this was back when girls were getting ripped off by fake modeling classes and sham photographers offering to take your head-shots for hundreds of dollars. It also predates the thousands of instructional videos and years of runway footage that we all now have at our fingertips on YouTube and happily take for granted. I’m not saying that this segment would’ve incited a quickening of spirit to the extent that some kid from Bumblefudgeville would have seen this and immediately thought, “Hey, wait a second, I can do that!” and then grow up to be Coco Rocha. I’m just saying that, were you thinking of pursuing modeling, it might be nice to hear the poised and gorgeous Christy Turlington talk about how angry she looked when she walked because she was nervous. Plus, there’s this great moment where you get to see how Naomi switches up her style each season, starting back when she was a wee n00b. We also get a priceless sit-down with the incomparable Iman, who has no idea what “learning to walk” implies. It’s a non-issue for her, because it’s all in the “presence.” Cue footage of Iman positively gliding down the runway in billowing Calvin Klein. It’s true: some people are born with it. Others are clearly space-alien paragons of perfection grown from spores and sent to marry other such stunning creatures named David Bowie. The rest of us have to learn in a mall.

Hitting the marble floor of a Jersey shopping center is just one of many ways in which Cindy Crawford shows she’s a mensch. Not only does she twirl and personably teach a bunch of random normalfolk how to do what she does, she even brings out Ellen Harth, President of Elite Runway, for further instruction. There are a pile of heels, a kid who’s a dead ringer for a young Eric Stoltz and even a darling proto-Glambert punk rock kid with a grip of wallet chains, who sells the bejesus out of his leather jacket by mimicking CC, and flinging it over his shoulders on his twirl. (Cindy is wearing a moto jacket, too. Though hers is much fancier. Naturally.)



colored denim

Colored denim for men by Moschino Jeans in 1992.
Photo: MTV

A piece on colored denim is the series’s first segment targeted towards men, and it does a surprising amount of heavy lifting. First of all, it cements the show as a fashion authority by granting dudes permission to wear something as adventurous as dyed jeans. It’s a fairly big deal considering how everyone wore pale blue dad jeans and faded black jeans at the time. I equate it to that moment when kids who listened to rap or skated understood that they had the go-ahead to wear tight pants despite the initial derision they'd experience. The styling is fantastic. Even though the models are very model-ish, with very model-looking hair and hyper-expressive mannerisms that make Delia’s catalog girls look natural (I have no idea why they are eating pie with their hands at the store), but the segment is laudable for its instructional elements. It basically teaches you how to style a bunch of looks. Some are great and some are comedy gold.

First of all, you have a Canadian Tuxedo (denim jacket plus jeans, a.k.a. a Texas Tux) with denim in two different, hyper-saturated colors. Then you have overalls that are fitted and cuffed, with boots and a printed button-up shirt (cloud print is huge at this point) that feels very Trad skinhead (not the racist kind). Then, you’ve got Cross Colours, which evokes all the very best memories, from TLC’s “Ain’t Too Proud to Beg” video to “What About Your Friends” and those ads from Dr. Dre and Snoop, many of which you can revisit on Tumblr. Sure, again, that one model guy in the shoot looks awkward, but Carl Jones, designer for Cross Colours, puts it beautifully: “Colored denim is something new. Clothing without prejudice. It also means colors without prejudice, to show something new and to excite men about fashion. We try to design in a way where, if a kid has $20, he could afford something.” This is why absolutely everyone (and their dads) owned a CC baseball cap, but it also allowed men to peacock with the comfort of a silhouette they already owned and a brand that was cosigned by the music industry. And then to show the trends as interpreted by the high-fashion brands, we go into Versace denim for the skinny fit, the op art swirls, the Betty Boop print and all the other detailing that I would pillage all of eBay for.



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Supermodels Beverly Johnson, Linda Evangelista, Cindy Crawford, Christy Turlington, Naomi Campbell and Lauren Hutton gather for "A Model Conversation" in 1993.
Photo: MTV

Season: 5 Episode: 24
Title: A Model Conversation
Original Airdate: 7/93
Appearances: Beverly Johnson, Linda Evangelista, Cindy Crawford, Christy Turlington, Naomi Campbell, Lauren Hutton


In many ways, this one-hour special acts as a State of the Union for the modeling industry in 1993. It’s a roundtable discussion between two generations of models, and features Naomi Campbell, Christy Turlington, Cindy Crawford, Beverly Johnson, Lauren Hutton, and Linda Evangelista, along with short interviews with modeling agents like Bethann Hardison and Monique Pillard, and editors like Anna Wintour and Gabé Doppelt. The supermodels talk about their careers, how each got her start and the taxing aspects of their jobs. They break down the politics of becoming a successful model and assert that it’s largely based on relationships with photographers and magazines. It’s an interesting time to be discussing the shifting ideals of beauty: The supermodels were still very much in the forefront of the fashion industry, but their influence was beginning to wane in light of the waifish, gamine look embodied by newcomer Kate Moss.

On starting out:
The models take turns describing how they were discovered: Cindy met a local photographer in Chicago; Christy posed for a portrait when she was on the competitive horseback riding circuit(!); Linda competed in a Miss Niagara pageant that a scout attended; Naomi was playing hooky from school with a group of blonde, blue-eyed friends when an agent approached her. Beverly had visions of becoming a lawyer and Lauren Hutton got noticed the hard way—hitting the pavement for 7-9 months before she got her start. Linda mentions that she used to get paid $20 for modeling in bridal shows (she always played bridesmaid) and $8 an hour for local department store ads. Long before America’s Next Top Model, we learn the term “go see” (what it’s called when models hit up agencies, editors and photographers with a book of their photos) and Cindy mentions how humbling the process can be.


On being objectified:
The models talk about how frequently they’re mistreated. They’ve been on multiple shoots and sets where they’re often referred to as “it” and directed as if they’re not even in the room. In fact, when Cindy asks if her assembled peers have been objectified, Lauren scoffs, “Are you kidding?” Naomi talks about a time when, at age 16, she was felt up by a stylist for a Japanese client. Cindy recounts the time she asked to be let out of a steam bath; her protests went unheeded until she passed out.


On modeling contracts:
At the start of her career, Christy landed a major contract as the face of Calvin Klein, so she knows how and why it can be a mistake to take a contract too early. Beverly talks about how exclusivity to one client and aligning with one campaign can make a girl seem to lose access from other aspects of the business. The most salient point comes from Cindy, who readily admits how envious other models were when Christy landed her Calvin Klein contract. Cindy’s frank in acknowledging the pros and cons of any career decision, but you can tell from the exchange that it’s the first time Cindy admitted her jealousy to Christy in person, and it’s a revelation.


On degrading photos:
Cindy talks about the difference between choosing to participate in a sexy shoot now that she’s older, versus being manipulated into taking her top off for Elle magazine at 16 and having her parents and high school friends find out. She talks about how feminism doesn’t preclude steamier shoots, but that it’s about feeling empowered enough to choose.


On relationships with photographers:
It’s obvious that a good rapport and a level of comfort with a photographer makes for a more positive working experience, but Beverly notes that it’s the entire vibe on set — from the makeup to the hair — that’s key: A good shoot is a team effort. Beverly also talks about the back-and-forth that comes naturally when you’re working with a photographer you trust. She discusses being “turned on,” and you’re reminded again of how much the end result is reliant not just upon the model’s face, body language, and the photographer’s technical skill, but chemistry. It's that attraction that leads to truly transcendent photographs.


On eating and traveling:
For all the well-intentioned segments that House of Style aired on eating disorders, and on the societal pressure to emulate a certain idea of beauty, there’s something tremendously powerful in hearing Beverly talk about her dysfunctional relationship with food. She doesn’t go into any gory details, but she sounds rueful and tired. Linda admits that she could eat anything she liked until she was 25, at which point she had to actively start watching her intake. But Cindy brings up an interesting point that people rarely consider apart from the weight question: the awkwardness of looking like you’re 25 despite being 16. Cindy says that looking like an adult and being made to look like an adult can be extremely unhealthy — people assume it's ok to offer you drugs or ask you to remove your clothes. There are men coming on to you, and it's not considered gross or unseemly.

Lauren quips that all models should be at least 30 years old before they start, and Naomi chimes in to say that she put a lot of pressure on herself to act mature because her mother had just had a baby when Naomi was 15 and starting out in the business.

Then each of the models discusses how lonely it can be to travel, despite the exciting cities they visit. Christy expresses how much she hates Paris. Naomi agrees that Paris can be brutal, because they don’t care whether you’ve worked 7 days in a row for 20 hours a day; she says she sometimes cracks up and cries because she works until she’s fried. Cindy admits that the money is a great incentive, and that she’s worked on shoots where the photographer and the clothes were awful and led to her doing division in her head to calculate how much money she’s making per second in order to make the experience worthwhile. Lauren then chides everyone who’s complaining about the long hours because being a model is a ridiculous, absurd, obscenely lucky job. It also becomes apparent that the savvier you are as a businesswoman, the better you are at controlling your career. Linda equates their work as a sort of commission taxed on the deals of multibillion-dollar conglomerates and Christy counters that their clients are not stupid and that they wouldn’t be making the sort of money were it not worth the companies’ while. Linda is clearly the one who wanted to be a model the most, and says simply that her job is a dream come true.


On ever-evolving standards of beauty:
The models talk about falling in and out of favor with photographers and magazines. They generally understand that this is a matter of course and seem nonplussed, but Naomi is visibly angry when the question of racism comes up. Without naming names, she says that certain magazine editors tell her, “You can’t be on the cover because you were on the cover three years ago and we can’t have another black model on the cover right now.” She also says she’s been told that an alarming number of times, and that she’s determined to change this thinking and behavior. She speaks of her gratitude toward Beverly and Iman for opening the door for younger black models, particularly the August 1974 issue of American Vogue, on which Beverly was the first African-American cover model.

Funnily enough Lauren Hutton played a part in Beverly’s historic Vogue cover. They were in Richard Avedon’s studio: Lauren had been called in for a cover try, saw Beverly and told Polly Mellen (legendary stylist and editor for a number of fashion magazines) to do a cover try with this “beautiful woman.” Lauren was also a pioneer in a manner of speaking: She refused to fix the gap in her teeth, which Cindy always admired (Georgia May Jagger and Lindsey Wixson also have Ms. Hutton to thank), since she was badgered to have her beauty spot removed from her face. Naomi confides that she’ll never remove the scar on her face. Lauren talks about how important their jobs can be to hold up different ideals of beauty, and then agrees that modeling in 10 hairpieces, after 5-hour makeup sessions, with taped boobs can be misleading.


On the fashion industry powers that be:
In this complementary segment, House of Style interviews the people who decide which girl is “it.” We speak to former model, now agent Bethann Hardison; agents Monique Pillard and Ann Veltri; editors Anna Wintour, Gabé Doppelt; and Polly Mellen; and photographer Sante D’Orazio. The industry insiders talk about that moment everything gels. The agent knows when he or she has met someone special, and sends her to meet editors. Those editors impatiently complain about why they’ve never met her before. That’s when the “go see” results in exposure in Mademoiselle (R.I.P.), Elle and Vogue, which in turn creates “miracles” seemingly overnight. American Vogue EIC Anna Wintour cautions viewers not to overestimate what Vogue can do (a notable and rare moment of candor about the limits of her power), explaining that the photographer often launches the career. Sante confirms this, and says there’s a moment behind the lens when you know that a model has never looked more beautiful, and that it’s often that instant or that point-of-view that clinches a model’s ascent. Anna also reminds us that, many times, a photographer can also end a career, noting the moment when Steven Meisel not only invented Naomi, Christy and Linda, but also decided when fashion needed new faces like Shalom Harlow and Amber Valletta.



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MTV Style follows how people express themselves through fashion and beauty, from our favorite pop culture icons to you, the reader. We cover the fun, loud side of the industry with news, trends, interviews, videos, and more — MTV Style is fashion at full volume.

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I love these two as a couple. What a festive way to celebrate two important events in their life. Mariah looks like a dream.

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