After being discovered in 1985 at the age of 15, Naomi Campbell quickly rocketed to stardom, becoming one of the most recognized faces for some two decades among five globally celebrated supermodels who transformed the industry.
In 1992, she took the world by storm, poising for the hundredth – anniversary cover of American Vogue, and appearing nude alongside Madonna and rapper Big Daddy Kane in the Queen of Pop’s contentious Sex book, she become a favorite of designer Azzedine Alaia and photographer Peter Lindberg.
The 22 – year – old South London – born Afro – Hamaican and Chinese – Jamaican stunner emanates prominence and fuerce femininity in dazzling black and white shots by the German fashion photographer and film director from 1992. At 5’10”, Campbel was the ideal living canavas for the Tunisian couturier’s signature modern, body – conscious silhouette. Alaia’s bodycon quickly style become a symbol of feminine empowerment, emphasizing Campbell’s likker curves.
Alaia’s passion for black fabric, monochromatics, and metallics married magically Lindbergh’s aesthetic.
This explosive collaboration is chronicled in TASCHEN’s new monograph, simply titled Peter Lindbergh Azzedine Alaia. From the matte cover that invites fingers on a tactile exploration, to the oversized quotations, the lush coffee table book is a sensory delight.
‘I saw her metamorphose become the huge personality that she still is today, still on top of the world’, says Lindergh in a quote featured alongside the cover image. The book, which accompanies the exhibition Azzedine Alaia, Peter Linbergh at Fondation Azzedine Alaia in Paris, includes contributions by Fabrice Hergott, director of Musee d’Art Moderne de la Ville de Paris, Paolo Roversi, photographer, and Olivier Saillard, fashion historian and director of the Foundation Azzedine Alaia, Paris.
Alaia has long been regarded as a fine artist among fashion designers, wothy of a solo exhibition at the Groninger Museum in the Netherlands in 1998, which debuted at New York’s Guggenheim Museum in New York in 2000, 17 years before the master’s death at age 82. Always a trailblazer, he lied about his age into the Tunis Institute of Fine Arts, where he began his lifelong study of the human form and sculpture.
He is a designer of choice among world – leading, statuesque woman, from Grace Joanes, who wore his creations in A View To A Kill, to Michelle Obama, who donned a black knit sleevelss dress with a ruffled skirt to the NATO dinner with heads of state in Strasbourg, France, and another Alaia masterpiece to the American Ballet Theatre’s opening – night Spring Gala in New York.
Coming of age in the late 1980s, the 5’2′ Alaia, who proudly posed alongside models a foot taller than him, for me has long been a towering figure at the intersection of fashion and fine art.
Lindbergh, who died in 2019 at age 74, immortalized the era of supermodels with his group portrait of Linda Evangelista, Campbell, Tatjana Patits, Cindy Crawford and Christy Turlington for the January 1990 British Vogue cover. He created spectacular music album covers, including Tina Turner’s seventh solo studio album, Foreign Affairs, in 1989.
The Queen of Rock ‘n’ Roll, now 81, is captured by Linbergh at the heigh of her career in 1989, her arm draped around the diminutive Alaia. Her long, lithe legs, amplified by the ubiquitous stilettos, Tuner exudes confidence in a flounch, filtry minidress.
German – born Patitz strikes an elegant, mysteious pose enveoped in a luxurious black coat and gloves, gazing to the viewer’s left and drawing us bacl to the decadence and gamor of 1986. The larger – than – life model is pictured far from the catwalk in the small seaside town of Le Touquet in northern France. Breaking past glossy spreads, she appeared in George Michael’s jaw – fropping 1990 music video Freedom! ’90 along with her Big Five colleagues on Lindbergh’s iconic January 1990 British Vogue cover.