Another adventure. Instead of shooting in Paris The Collections of that season, Cannes was the location, a fantastic site that offered many opportunities. It was a special occasion, and with Polly Mellen as our editor and a brilliant support team. My challenge was how to create a narrative out of these fashion pieces. Polly did everything to help with her inevitable enthusiasm. However, there were times when the occasion did not lend itself to a narrative. Then instead, I concentrated on presenting the inner emotions of my subjects, with each image telling its own story, hoping the ensemble would give a fragrance of the place. These weren’t my most satisfying shoots, but on this occasion, in particular, I received a letter complimenting me on what I had achieved. It was gratifying.
Polly just returned with your wonderful pictures of the Paris Collections. Congratulations are due, of course, to all concerned – but your handling of the girls and locations made for the most modern and stylish sitting to come into the magazine in a long time. Both fashion and girls come across with such attractiveness and intelligence”.
Anna Wintour, Vogue, Jan, 1986
When Anna took over the direction of Vogue, she invited me to lunch to discuss where I wanted to go with my work. I presented my enthusiasm to create narrative fashion images. It did not seduce Anna, and consequently, she never followed through on my way of wanting to work. Everything went in the opposite direction. Today I suspect the narrative possibilities with fashion are coming into the foreground and becoming more prevalent and relevant.
I was a little too early.
Christy Turlington 7
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