Claudia Schiffer adds curator to her résumé, with “Captivate!”, a new exhibition and book of what supermodel life in the 1990s was really like.
), which considers the art of 1990s photography in all formats—from test Polaroid to museum-quality print—and from many angles. Schiffer brought her experience as a model, collector, and movie producer, along with much heart, to this project.
The 1990s made fashion photography and photographers a driving force in visual culture. Because fashion photography is a democratic art form, circulating on billboards, digital platforms, packaging, and in magazines, it has an enormous sphere of influence. It was also the decade that made “me.” The 1990s was a watershed period. Campaigns became a valued part of visual culture [and] of our urban environment, and I wanted to devote a room to this subject and pay tribute to the graphic artists, copywriters, art directors, and photographers who developed such a bold language. The competition to create definitive global campaigns was fierce. Consider Kate Moss by Mario Sorrenti for Calvin Klein, with art director Fabien Baron.
Of course, previous eras had model stars—Lauren Hutton, Twiggy, Penelope Tree, and Iman to name a few—but as supermodels, we also became symbols of a self-made success, in an era that championed female ambition and that was also fueled by sex, power, and glamour. The 1990s was the last decade of the analogue era, so everything was shot on film and tests were in the form of Polaroids to gauge light, composition, and color. Because Polaroids were such an essential part of the process, I wanted to include these formats in “Captivate!” as well as unseen and backstage images. They have a lovely, fresh, candid charm. I see Polaroids as a predecessor to Instagram, which borrowed the iconic square format.
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