Tearsheets from a career in front of the camera
Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.
When Kate Moss began modelling in the ’90s, she brought an unguarded, down-to-earth kind of beauty that stood in contrast to the hyper-groomed supermodels that had dominated magazines in the ’80s.
Photographed as a rock chick with a cigarette and undone cuffs for French Vogue; in lipstick and a red tank top, playfully poking out her tongue as if caught mid-party by Juergen Teller; or sea-tousled in the Virgin Islands by her then-boyfriend Mario Sorrenti for Calvin Klein’s 1993 Obsession campaign, Moss had an on-camera persona that was “lovable and funny and honest”, says Sorrenti. “And I think people really relate to that.” She represented “rebellious counter-culture”, adds photographer Nick Knight, a longtime friend and collaborator. “She makes you feel she could be one of your mates.”
In 2016, Moss founded her own modelling agency, which routinely pays tribute to her visual legacy by posting collages of some of her most iconic images on its Instagram, @katemossagency. “No matter how many times I go through the mammoth number of boxes and pages to research whichever project we are working on, I find something new every time,” says the agency’s art director Patrick Hope, who compiles the montages. He sees them as “time capsules that sat on ’90s kids’ bedroom walls long before the age of Instagram”.
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