The first time Cindy Crawford worked with the provocative fashion photographer Helmut Newton, the supermodel shed her all-American persona for a dalliance with Monte Carlo for US Vogue. The swimwear shoot, published in the November 1991 issue, famously featured Crawford in a dark one-piece and heels standing on a public monument in the luxe Monégasque district, as well as erotically laying on stage in front of three blindfolded musicians. But a lesser-seen Polaroid image of the shoot will soon go on view, part of a wider showing of Polaroids by the late German-Australian photographer and his peers. The outtake of Crawford shows her in a black swimsuit and trench coat cinched with a wide gold belt, descending the stairs in front of a grand opera house — one of many times she did so in front of an audience of passersby, out of frame. It’s a more casual, preliminary image for a scene that ultimately didn’t make the cut in Vogue, providing an alternate view of a formative collaboration at the height of the supermodel phenomenon. “It was more or less used by (Newton) as a sketch,” Matthias Harder, director and curator of the Helmut Newton Foundation, told CNN. The foundation organized the show, “Polaroids,” running as part of the biennial European Month of Photography festival in Berlin, until July 27. “Especially in the ’90s, he was using a lot of Polaroids to prepare the shoot, control the composition and the lighting, and so on,” Harder added. The one-of-a-kind images have since become a set of works all on their own, featuring in both exhibitions and books, including a monograph by the photographer, titled “Pola Woman,” in 1992, and a second anthology by Taschen in 2011. ‘I’m never putting on a saddle’ Newton was known for bringing sexuality to the fore of his images, from his noir, nude studies of women in his studio space, hotel rooms and cars to his infamous fetish portrait of a model wearing a horse saddle on a bed. “I loved working with Helmut… He had a sense of humor about his photographs, even some of the more sexualized ones,” Crawford said in a 2021 video for Vogue. Reflecting on Monte Carlo, she said: “I would always say, ‘Helmut, I’m never putting a saddle on, don’t even ask me.’” At that time, Crawford was the host of the MTV show “House of Style,” and she took along the crew to film her shoot with Newton. “Coming to work with Helmut, I mean, I wanted to do Helmut Newton photographs. I didn’t want him to photograph me looking like the Madonna — not Madonna, the Madonna — because he’s one of the few people who can get away with it and it doesn’t look raunchy,” Crawford said in a clip from the show. Newton continuously concocted stories around the scene as he was making the picture, she told Vogue. For one image from the shoot in Monte Carlo, she played the role of a wealthy widow in a black veil who had taken a new young lover. Meanwhile, the titillating image of her on stage with blindfolded musicians referenced “when elegant people used to have private elegant orgies,” Newton said in the “House of Style” clip. The world’s a stage Newton relocated to Monte Carlo in the 1980s with his wife, June (though they would return to Los Angeles during the winter months), and the luxurious district of the tiny 0.8-square-mile microstate, Monaco, became the backdrop of many of his shoots. For Newton’s first project with Crawford, the model posed and walked the streets in glamorous bathing suits with an unofficial audience of tourists, construction workers, and the like looking on (they subsequently appeared in the photos, too). “This is probably the clue to all of his pictures,” said Harder of Newton’s work. “He changes everything into his stage.” In video clips taken by June, which appear in her short film from 1995, “Helmut Newton by June,” she captures a moment where the invisible fourth wall is broken. As Crawford descends the stairs of the Opéra Garnier Monte-Carlo, Newton is sitting on the ground, Polaroids spread out before him (possibly including the one featured here), and two men ask to pay for snapshots with Crawford. After Newton asks how much cash they have, she and the photographer oblige them, with Crawford striking seductive poses before they are sent off with their priceless keepsakes. “A Helmut Newton photograph for 1,000 francs?” Crawford said in the “House of Style” clip. “These guys are making a good bargain.”
What this Polaroid of Cindy Crawford reveals about a 1991 swimwear shoot
TruthLens AI Suggested Headline:
"Exhibition Features Polaroid of Cindy Crawford from Iconic 1991 Swimwear Shoot"
CNN
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TruthLens AI Summary
Cindy Crawford's collaboration with famed fashion photographer Helmut Newton marked a significant moment in the world of fashion photography, particularly during the supermodel era of the early 1990s. Their first project together, a swimwear shoot for US Vogue published in November 1991, showcased Crawford in a striking dark one-piece swimsuit paired with heels, set against the opulent backdrop of Monte Carlo. The shoot included provocative scenes, such as Crawford reclining on stage in front of blindfolded musicians. However, a lesser-known Polaroid from this shoot, featuring Crawford descending the stairs of the Opéra Garnier in a black swimsuit and trench coat, is set to be displayed as part of a larger exhibition on Newton's Polaroids. This particular image, described by Matthias Harder, director of the Helmut Newton Foundation, as more of a preliminary sketch, offers a glimpse into the creative process and the informal, spontaneous moments that characterized their collaboration. It captures the essence of a formative partnership during a pivotal time in fashion photography, emphasizing the behind-the-scenes dynamics of their work together.
Newton, known for his provocative style and ability to blend sexuality with fashion, often utilized Polaroids to refine his compositions and lighting before finalizing his shots. The upcoming exhibition, titled "Polaroids," is part of the European Month of Photography festival in Berlin and will run until July 27. Crawford reminisced about her experience working with Newton, noting his unique sense of humor and creative storytelling that shaped their photo shoots. She highlighted how Newton transformed everyday scenes into theatrical narratives, where even casual interactions with onlookers became part of the artistic process. This blend of high fashion and public spectacle was a hallmark of Newton's work, capturing the allure of the glamorous lifestyle he often depicted. As a result, the exhibition not only celebrates Newton’s artistry but also reflects on the cultural significance of his subjects, like Crawford, who played a vital role in defining the supermodel phenomenon of that era.
TruthLens AI Analysis
The article sheds light on a nostalgic moment in fashion history, specifically focusing on a Polaroid image of supermodel Cindy Crawford from a 1991 swimwear shoot by renowned photographer Helmut Newton. It highlights the artistic process behind the shoot and the significance of Polaroids in Newton’s work, serving both as a preparatory tool and as standalone art pieces.
Aim of the Publication
The intention behind this article seems to be to celebrate the legacy of Helmut Newton and the supermodel era of the 1990s. By showcasing the lesser-known Polaroid of Cindy Crawford, the piece aims to illustrate the behind-the-scenes creativity involved in fashion photography. Moreover, it helps to contextualize the significance of the upcoming exhibition of Newton's Polaroids, thereby generating interest in both the exhibit and the era it represents.
Perception Creation
The article attempts to create a perception that fashion photography, especially during the 1990s, was not just about the final image, but involved a complex artistic process. It elevates the discussion around the aesthetic and cultural impact of Newton's work, inviting readers to appreciate the nuances of his art.
Hidden Agendas
There doesn’t appear to be a significant hidden agenda in this article. Instead, it largely focuses on celebrating the artistic achievements of a prominent photographer and a supermodel. However, one could argue that it subtly promotes the Helmut Newton Foundation and its initiatives.
Trustworthiness of the News
The article is credible, as it is sourced from a reputable news outlet and quotes Matthias Harder, the director of the Helmut Newton Foundation. The contextual details about the shoot and the exhibition lend additional authenticity to the content.
Societal Implications
In broader terms, this article may influence public interest in vintage fashion and photography, potentially impacting the collectibles market for fashion memorabilia. It also serves to remind audiences of the cultural narratives that fashion photography has constructed over the decades, which could resonate with discussions on body image and representation in media today.
Target Audience
The article seems to target fashion enthusiasts, art lovers, and those nostalgic for the 1990s cultural scene. It appeals to individuals who appreciate the historical significance of photography and its interplay with fashion.
Market Impact
While there may not be immediate financial implications tied to stock markets or global economies from this article, it could have a positive effect on businesses related to fashion exhibitions, art galleries, and vintage fashion sales.
Global Relevance
From a global perspective, the discussion of fashion photography is always relevant, especially in today's context of evolving beauty standards and representation. This article connects with ongoing debates about the portrayal of women in media and the artistic expression within that lens.
Artificial Intelligence Involvement
It is plausible that AI tools may have assisted in organizing or editing the article for clarity and style. However, there is no clear indication of AI-generated content influencing the narrative. The language used is reflective of traditional journalistic standards rather than a specific AI-driven approach.
The manipulation potential in this article is minimal, as it primarily serves an informative purpose rather than attempting to sway opinions or create controversy. The straightforward presentation of facts about the exhibit and the historical context of the shoot does not suggest any overt bias or misleading information.