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[jet engine roaring]
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[pilot, over P.A.] Welcome to
New York City, the capital of the world.
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[Naomi Campbell]
I remember when I got to New York.
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Coming from the airport,
you see the skyline,
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you just go, whew! This energy.
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It was more than what I imagined it to be.
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["Good LIfe" by Inner City playing]
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[horns blaring]
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[indistinct chatter]
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New York was just jumping.
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[talking, indistinct]
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[Naomi] People singing on the corner.
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- [saxophone playing]
- [car horn honking]
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[Naomi] As a dancer,
the first thing I wanted to do
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{\an8}was go to the Alvin Ailey School of Dance.
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New York was vibrant
and the energy was incredible.
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- [man yelps]
- [horns honking]
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[Christy Turlington] I thought that
New York City was like magic.
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It had a little bit of that,
kind of, grittiness that it's known for.
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There was a lot of graffiti,
especially downtown.
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[woman] Here we go, off to the Limelight.
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[Naomi] I love that everyone
got dressed up to go out,
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and that's how it should be! [laughs]
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We were supposed to
have dinner together...
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[loud kissing]
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[Linda Evangelista] We liked
going to Times Square
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before Times Square got cleaned up.
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When there were peep shows,
we didn't go to the peep shows,
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but I'm just saying
New York was a different place.
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A little seedy, a little-- It was fun.
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[Cindy Crawford] My time in New York,
in the fashion world,
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I do think it was kind of
the golden age, but...
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if it wasn't, don't tell me.
Don't ruin the illusion.
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[indistinct chatter]
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[Mayor Koch] How am I doing?
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[man] You're doing terrific!
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Thank you!
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[Cindy] When I got to New York,
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I was twenty.
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I'd been in Chicago, so I knew
a little bit what a city felt like,
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but New York is its own thing.
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I remember trying to take the Subway,
but being a little intimidated by that.
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I would try to get taxis.
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Sometimes they would stop
and sometimes they wouldn't stop,
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and I could not for the life of me
figure it out until one day I realized,
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"Oh, the light has to be on".
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[Naomi] I'd put out my hands many times
on New York City streets,
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and the taxis would fly by.
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Then Christy would put out the hand
and then they would stop.
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The guy would be like,
"I don't wanna go to Brooklyn."
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I was just like, "Why is he saying that?"
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It didn't strike me until Christy
would have to stand out in front of me,
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get me a taxi to get to work.
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It was all new to me.
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It was exciting. It was challenging.
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Stand here for us...
You just made my day.
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[Cindy] I had a really good friend
who was a makeup artist,
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and she let me stay on her couch.
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After about three months, she's like,
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"I think you need to get
your own apartment."
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[Christy] I got my first apartment
before I turned 18
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and then moved in straight away.
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And had that kind of, like,
big lofty thing,
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but without any food in the fridge
or any furniture, really.
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And I was working constantly
but your agency is taking a lot,
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and also, just rent
and all of the other things.
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[Naomi] Christy and I lived together.
We were roommates.
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We would just be silly
and have a laugh and have fun and...
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- felt so comfortable with all of them.
- Okay...
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- Mmm!
- [laughter]
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They're my sisters.
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[Christy] When I started working
in New York,
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it was so very much this, like,
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nine to five, it's just a job job.
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It felt very much like Working Girl.
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[Cindy] I had to make
my own way in the world.
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Mommy and Daddy were not bailing me out.
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Like, if I rented an apartment
and I couldn't pay my rent, guess what?
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I'm getting evicted and moving back home.
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There wasn't that cushion,
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which gave me a lot of drive,
and I hustled.
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Francesco Scavullo booked me
for Cosmopolitan.
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He liked me because I reminded him of Gia.
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{\an8}Gia was, like, a favorite
of so many photographers
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and so my agency said, "We have baby Gia."
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{\an8}Those girls worked hard,
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and they worked constantly.
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There was a feeling about them,
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that they wanted more
than just what was there,
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but they were driven to...
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...be better all the time.
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They were constantly seeking
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and wanting and curious and knowledgeable,
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and just driven.
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- [man] When's it gonna be on? Tonight?
- [Christy] Yeah.
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- [man] Oh, great.
- If you stay up that late, 12:30.
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- [man] Oh, no.
- [woman] Oh, no! Yeah!
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[laughter]
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I have to work early tomorrow.
I don't think I'm gonna stay up.
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[Christy] By the time I started to work
a lot with Vogue,
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I would say to the editors,
you know, like, [gasps]
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"Well, I wanna work with Steven Meisel,
can I work with Steven Meisel?"
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And I remember Polly Mellen
telling me like,
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"I don't think you're his type, really."
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I was like,
"What do you mean I'm not his type?"
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Steven is one of
the great artists of our time,
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because he would look at a model,
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and he will see through the model
to what they could be.
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[Anna Sui] When we started hanging out,
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Steven and I would go out
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{\an8}and with a Polaroid camera,
take pictures,
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{\an8}and you knew right then and there
that Steven had the eye.
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He could spot somebody,
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he could make them pose
the way he was imagining.
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He just had such a vision.
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Steven started photographing
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{\an8}in the very, very, very, early 80s.
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And he had gotten a studio
on 23rd Street.
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We used to call it "The Clinic,"
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[laughing] 'cause the girls would come in
and Steven would teach them how to model.
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The girls would change completely,
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and the ones that were great
would come out as superstars,
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{\an8}'cause they just took it,
they were absorbing all of it.
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{\an8}They wanted to learn.
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[Fabien Baron] Steven Meisel
had a mirror in the studio
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for the models to look at themselves,
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giving the girl the authority
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to push herself to the nth degree
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because they would know
if the foot was in the right place or not.
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[Linda] I remember...
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when I get called to work
with Steven Meisel for the first time.
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I was so hoping Steven would like me
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and he said,
"Can you walk? Like a big stride?"
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And I was like, "Yeah."
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And he said, "But do you think
you can hit the mark and stay in focus?"
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And I said, "Yeah."
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I did it over and over.
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{\an8}And then that was the beginning
of my relationship with him.
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{\an8}And we all got to be part
of the process.
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[faint chatter]
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{\an8}[Christy] It was my, like, my school.
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{\an8}He was very tactile always, as well.
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Like, come over
and actually hands on your hair.
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Help do the makeup.
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It was kind of our own little factory vibe
in that we played.
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We'd come to the studio
and if we didn't have a plan
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of what was gonna happen,
we all kind of got to
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work together and figure out
what that was gonna be,
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what the look was gonna be.
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It was just constant building,
destroying, building again.
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[man's voice directing, indistinct]
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{\an8}[Christy] He really created this very
intimate and safe environment on the set.
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{\an8}I felt like he really looked after me.
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You know, I just feel like
he cared how comfortable I was,
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or recognized maybe when I wasn't,
when I wouldn't have said anything, maybe.
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It was really, really a special, um,
family kind of bond.
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[Naomi] I was 16 when I got to work
with Steven Meisel for American Vogue.
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[Carlyne Cerf de Dudzelle]
She arrives, her legs was already
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as big as they are now,
three meters.
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So, immediately Steven called her Bambi
because she was Bambi.
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She was all shy, she was like...
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[vocalizing]
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Well, she is not at all
but that doesn't matter,
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and she was a dancer
so she'd use her legs and everything.
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I'm trying to think.
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Very first one is the dancing pictures
and I don't know if they're in there.
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Mmm.
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Working with Steven Meisel
is like an education.
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{\an8}He molds you, in just such a subtle way,
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{\an8}that you almost were like,
"How did he get that out of me
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because I didn't think I had that in me."
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I was very lucky
to meet this wonderful man
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who's still family in my life
and I love him dearly.
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And I understood
that you can have chosen families.
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I didn't meet my father,
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my mother had me at 17.
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I think he was the same age.
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That feeling of abandonment...
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It's nothing she could have done
to change that feeling with me.
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I also believe a lot of that
was part of my drive, too.
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Not having my father figure in my life.
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But then I got blessed.
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When I was 16, I was working in Paris
and I was on my own.
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But one day, my purse was stolen,
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I'd had all my money stolen.
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My traveler's checks, I should say.
Mum gave me traveler's checks.
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I was going to dinner with another model
'cause she felt pity on me,
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and that's when I met Azzedine Alaïa.
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{\an8}Azzedine Alaïa
was a very enigmatic designer.
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Azzedine really loved
playing with the female form.
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{\an8}[in French]
Femininity is a whole thing.
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{\an8}[interviewer, speaks French, laughs]
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{\an8}I don't know, I can't define some things.
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[Beker] I think his clothes were
very slinky, very sexy, very seductive.
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There's an architectural feel
to some of these pieces.
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But very comfortable. They moved with you.
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And he was just a sweet, sweet man.
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And he doesn't speak English.
I don't speak French.
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But there's something.
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And then he gave me an outfit,
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and he asked me to put it on,
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to see what his clothes looked like on me.
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[laughs]
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And I put it on,
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and he liked how it looked.
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And then he asked me where I was staying,
and I told him, at the Hotel Lenox.
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He then said to me, "Where's your mother?"
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And I said, "My mother's in London."
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My mother speaks French.
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So, he said, "Call her."
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So, I called my mum, and they spoke.
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And he told to my mum
that he would take care of me,
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that I would stay under his roof
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and that I would be safe to stay there.
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My mother did not know
who she was talking to,
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never met him, but trusted him.
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And so the next day
or the next two days later,
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I moved into Rue du Parc-Royal.
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{\an8}[woman] Oh, I love this dress.
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- I've worn this.
- [woman] Oh, really?
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- Piece of art.
- [woman] Yeah.
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My papa was a genius.
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[woman] Yes, he was.
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[Christy] There you are.
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[indistinct chatter, laughter]
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[woman] Mm-hm.
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I thought my papa was gonna live forever.
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- I never imagined...
- [woman] Mm.
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I never imagined...
even thought about him leaving.
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[Baron] Naomi became Alaïa's muse,
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you know, like, almost like family.
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[Naomi] He introduced me
to so much in the world.
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I met so many amazing people.
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I learned about art, architecture, design.
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Most importantly, I got to watch him work.
I got to be part of his work.
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And he really treated me like a daughter.
237
00:13:35,108 --> 00:13:38,695
I mean, like, made me breakfast,
made me dinner.
238
00:13:40,947 --> 00:13:43,533
[voice breaking] I mean, we used to fight,
don't get me wrong.
239
00:13:43,533 --> 00:13:46,369
I would sneak out the window, go clubbing,
240
00:13:46,369 --> 00:13:48,246
they'd call and tell him
I was in the nightclub.
241
00:13:48,246 --> 00:13:49,998
He'd come down to the nightclub.
242
00:13:49,998 --> 00:13:53,251
And before he would take me home
he'd say, "You wore the outfit wrong,"
243
00:13:53,251 --> 00:13:55,086
and he'd be fixing it.
244
00:13:55,086 --> 00:13:57,589
And, "You should have put
the belt like this and..."
245
00:13:57,589 --> 00:13:58,840
[vocalizing]
246
00:13:58,840 --> 00:14:00,217
And you know,
247
00:14:00,217 --> 00:14:03,803
'cause you have to imagine
the boutique was my closet.
248
00:14:04,471 --> 00:14:07,182
What girl of 16-years-old
249
00:14:07,182 --> 00:14:10,227
has an Alaïa shop as her closet?
250
00:14:12,562 --> 00:14:14,314
[crying] When he passed away,
251
00:14:15,941 --> 00:14:18,652
{\an8}it was a shock to the system. [sniffling]
252
00:14:19,778 --> 00:14:22,614
{\an8}My life would have definitely
been different without him.
253
00:14:23,949 --> 00:14:26,493
He protected me in this business,
254
00:14:26,493 --> 00:14:28,286
he guided me.
255
00:14:29,537 --> 00:14:32,082
I mean, once, uh...
256
00:14:32,082 --> 00:14:36,962
art director felt the need to tell me
that he thought my breasts were perfect,
257
00:14:36,962 --> 00:14:39,381
but he felt the need
to have to touch them.
258
00:14:40,090 --> 00:14:42,884
I called papa immediately,
259
00:14:42,884 --> 00:14:46,596
I called papa right away
and papa called him up
260
00:14:46,596 --> 00:14:48,473
and read him.
261
00:14:49,099 --> 00:14:51,226
Never came near me again.
262
00:14:51,226 --> 00:14:55,522
It served that I opened my mouth
and would speak my truth
263
00:14:55,522 --> 00:14:58,108
because I believed that protected me,
264
00:14:58,108 --> 00:15:01,570
as well as who I was surrounded by.
265
00:15:02,404 --> 00:15:03,280
[indistinct chatter]
266
00:15:03,280 --> 00:15:04,739
[man speaking French]
267
00:15:04,739 --> 00:15:06,074
Hi, everybody.
268
00:15:06,074 --> 00:15:07,200
- Hello.
- Hello.
269
00:15:07,200 --> 00:15:08,743
[man speaking French]
270
00:15:09,828 --> 00:15:11,705
[woman, in French]
In his fifties, Jean-Luc Brunel
271
00:15:11,705 --> 00:15:14,583
allowed himself to be filmed
during a casting in Florida.
272
00:15:15,500 --> 00:15:17,294
It's his favorite exercise,
273
00:15:17,627 --> 00:15:18,753
"chasing models"
274
00:15:18,753 --> 00:15:20,005
as they say in the business.
275
00:15:21,840 --> 00:15:25,635
Courtney Powell landed
at the Karin Models agency in Paris.
276
00:15:26,595 --> 00:15:30,891
"He started talking about sending me
for a bathing suit campaign.
277
00:15:32,976 --> 00:15:36,229
He told me that my measurements
had to be perfect,
278
00:15:36,938 --> 00:15:39,482
and that you have to have a certain look,
279
00:15:40,525 --> 00:15:42,777
and he wanted me to pull up my shirt.
280
00:15:42,903 --> 00:15:44,863
He started touching me."
281
00:15:45,238 --> 00:15:48,283
Courtney says that she
resisted him several times.
282
00:15:49,159 --> 00:15:52,037
"From the moment I said no
to Jean-Luc Brunel
283
00:15:52,037 --> 00:15:53,872
I no longer got any work."
284
00:15:53,872 --> 00:15:55,749
[Christy] I met Jean-Luc Brunel,
285
00:15:55,749 --> 00:15:58,710
who's the infamous French agent
286
00:15:58,710 --> 00:16:03,256
{\an8}who was running Karin's agency
in Paris at that time.
287
00:16:03,256 --> 00:16:07,719
{\an8}And they were like partners,
the Fords and Karins.
288
00:16:10,347 --> 00:16:11,473
{\an8}I would go to Paris
289
00:16:11,473 --> 00:16:16,353
{\an8}and the Fords would have it set up
that I would stay at Jean-Luc's apartment.
290
00:16:19,856 --> 00:16:22,776
I think most of us are young.
291
00:16:23,485 --> 00:16:26,529
You're put in an environment
that you probably...
292
00:16:27,197 --> 00:16:29,199
is completely new to you, right?
293
00:16:30,951 --> 00:16:34,454
You know,
you're overpowered by a older man
294
00:16:34,454 --> 00:16:36,790
that's, like, going to guide your career.
295
00:16:36,790 --> 00:16:38,166
You trust him.
296
00:16:38,166 --> 00:16:40,794
You know, same old story.
297
00:16:43,672 --> 00:16:44,881
[Christy] Nothing happened.
Most of the time
298
00:16:44,881 --> 00:16:46,299
he wasn't really even there.
299
00:16:47,551 --> 00:16:51,429
I got angry at just looking back
and thinking, like, survival sk--
300
00:16:51,429 --> 00:16:53,557
Like I can't believe that I'm okay.
301
00:16:59,396 --> 00:17:01,690
Nothing really surprises me about anybody.
302
00:17:01,690 --> 00:17:03,108
I feel like even people you know,
303
00:17:03,108 --> 00:17:05,360
you just don't know
what they're capable of.
304
00:17:06,861 --> 00:17:08,487
President of Elite Europe,
305
00:17:08,487 --> 00:17:12,449
{\an8}who coordinates the efforts
of the Elite offices on the continent...
306
00:17:12,867 --> 00:17:14,535
...Mr. Gérald Marie.
307
00:17:14,535 --> 00:17:16,537
[applause]
308
00:17:18,497 --> 00:17:19,916
I married my agent...
309
00:17:22,669 --> 00:17:24,295
...Gérald Marie.
310
00:17:28,341 --> 00:17:30,969
Who I thought was, like, so charming,
311
00:17:30,969 --> 00:17:33,430
I liked how assertive he was.
312
00:17:34,264 --> 00:17:37,017
[in French] When she has Elite
on her back, the girl must be good.
313
00:17:37,017 --> 00:17:41,688
If an Elite girl doesn't bring in
$200-$250K a year
314
00:17:41,688 --> 00:17:44,274
we won't keep her.
315
00:17:45,942 --> 00:17:48,028
[Christy] She was only 22, she was young.
316
00:17:49,571 --> 00:17:51,281
I never really saw him in New York.
317
00:17:51,281 --> 00:17:54,534
And when I met Linda,
she was already engaged to him.
318
00:17:57,662 --> 00:17:59,331
[Linda] He really pushed me...
319
00:18:00,165 --> 00:18:02,000
...to work, so much.
320
00:18:04,461 --> 00:18:07,881
He... felt like a great guy.
321
00:18:09,466 --> 00:18:13,929
He told me he was
a German photographer's assistant.
322
00:18:13,929 --> 00:18:16,806
- [chuckles]
- And I thought he was obnoxious.
323
00:18:16,806 --> 00:18:19,684
[woman laughing] But something happened!
324
00:18:19,684 --> 00:18:22,187
And the next time I met him
I found out he wasn't.
325
00:18:23,605 --> 00:18:25,065
And I fell in love.
326
00:18:25,065 --> 00:18:26,566
[woman] Aw, aww...
327
00:18:26,566 --> 00:18:29,277
See, it's very good to be
a German photographer assistant.
328
00:18:29,277 --> 00:18:30,487
[woman laughs]
329
00:18:30,487 --> 00:18:33,698
I just wanna live happily ever after,
that's all.
330
00:18:35,075 --> 00:18:37,744
[Linda] I lived in Paris
about three years...
331
00:18:38,828 --> 00:18:41,039
...and climbed the ladder slowly...
332
00:18:41,998 --> 00:18:44,626
...before I felt like...
333
00:18:45,335 --> 00:18:46,586
...I really made it,
334
00:18:46,586 --> 00:18:48,672
I could start saving money.
335
00:18:49,214 --> 00:18:52,634
I started working with
really the top photographers.
336
00:18:54,052 --> 00:18:56,221
But I wanted to be on a cover of Vogue.
337
00:18:56,221 --> 00:18:59,015
Any Vogue, it was a dream for me.
338
00:19:01,309 --> 00:19:03,937
I went on a trip with Peter Lindbergh.
339
00:19:04,854 --> 00:19:08,108
Peter saw the androgynous side of me
340
00:19:08,108 --> 00:19:11,861
and he really wanted me
to cut my hair off.
341
00:19:12,904 --> 00:19:16,866
He explained to me, "We already did
so much with your long hair.
342
00:19:16,866 --> 00:19:20,662
I think you really need to do this
to go further."
343
00:19:22,706 --> 00:19:25,208
I asked my mother what she thought.
344
00:19:25,208 --> 00:19:28,753
She said, "But why?
You'll be the only girl with short hair."
345
00:19:28,753 --> 00:19:31,590
And I went,
"Well, that's not a bad thing."
346
00:19:33,508 --> 00:19:36,094
[Lindbergh] She just walked
into the studio and said, "I'm ready now,
347
00:19:36,094 --> 00:19:37,721
I want to cut my hair."
348
00:19:38,263 --> 00:19:41,391
And then Julien,
Julien who was her hair dresser,
349
00:19:41,391 --> 00:19:45,270
just took her whole hair back,
and said, "Is everybody okay?"
350
00:19:45,270 --> 00:19:48,231
And she said "No, no,"
and she start crying, no?
351
00:19:48,231 --> 00:19:50,275
And he took the scissors, and whap!
352
00:19:52,319 --> 00:19:54,529
It was gone in one zip, no?
353
00:20:00,869 --> 00:20:03,788
After that I went to Milano
354
00:20:04,331 --> 00:20:06,458
to do the fashion shows
355
00:20:06,458 --> 00:20:10,295
where I was booked for 20 shows.
356
00:20:10,837 --> 00:20:12,339
As I was doing my fittings
357
00:20:12,339 --> 00:20:14,633
and as they were seeing me,
358
00:20:14,633 --> 00:20:16,509
they all started canceling me.
359
00:20:17,177 --> 00:20:18,887
I only did four shows.
360
00:20:20,722 --> 00:20:22,515
Done. [laughs]
361
00:20:23,975 --> 00:20:25,977
And the next day,
362
00:20:27,020 --> 00:20:28,647
instead of doing the shows,
363
00:20:28,647 --> 00:20:32,400
{\an8}Franca Sozzani put me
on the Concorde to Steven,
364
00:20:34,986 --> 00:20:36,488
who photographed me.
365
00:20:39,491 --> 00:20:41,576
And, like, two weeks later...
366
00:20:42,911 --> 00:20:44,913
{\an8}...I'm on the cover of Italian Vogue.
367
00:20:45,872 --> 00:20:48,583
And then, I was doing all the Vogues.
368
00:20:48,583 --> 00:20:50,126
I was doing British Vogue,
369
00:20:50,126 --> 00:20:52,504
French Vogue, Spanish Vogue,
370
00:20:52,504 --> 00:20:54,089
American Vogue.
371
00:20:55,215 --> 00:20:57,884
And this is, like,
the moment I thought I made it,
372
00:20:57,884 --> 00:20:59,719
after three years.
373
00:20:59,719 --> 00:21:03,682
I think that's where
I really gained confidence,
374
00:21:03,682 --> 00:21:06,935
and it just kept going from there.
375
00:21:08,353 --> 00:21:11,565
I think when you're a kid, you don't like
anything that makes you different,
376
00:21:11,565 --> 00:21:14,818
so having a beauty mark,
377
00:21:14,818 --> 00:21:18,655
[chuckling] which I tried to call it, um...
378
00:21:18,655 --> 00:21:22,242
You know, I didn't like it
and my sisters would tease me that
379
00:21:22,242 --> 00:21:23,868
a beauty mark is on this side,
380
00:21:23,868 --> 00:21:25,745
that it's on the left side
it's an ugly mark.
381
00:21:28,623 --> 00:21:30,041
Then when I started modeling,
382
00:21:30,667 --> 00:21:32,669
it was always a discussion.
383
00:21:32,669 --> 00:21:34,337
"Like, should we cover it with makeup,
384
00:21:34,337 --> 00:21:36,923
we can't really cover it with makeup
'cause it's not flat."
385
00:21:39,175 --> 00:21:42,971
{\an8}My first British Vogue cover,
they retouched it off.
386
00:21:42,971 --> 00:21:45,265
The jury was still out.
387
00:21:45,265 --> 00:21:46,474
Richard Avedon,
388
00:21:46,474 --> 00:21:50,061
the first time I worked with him
was for my first American Vogue cover.
389
00:21:50,061 --> 00:21:53,440
I'm a portrait photographer
as well as a photographer of women.
390
00:21:53,440 --> 00:21:57,193
{\an8}And the clothes are elements
that I can use for design,
391
00:21:57,193 --> 00:21:59,613
{\an8}as are the women, for form,
392
00:21:59,613 --> 00:22:02,574
{\an8}for a way of expressing, uh...
393
00:22:02,574 --> 00:22:03,825
{\an8}certain things, I feel.
394
00:22:04,784 --> 00:22:09,080
{\an8}Avedon is a legend among photographers,
395
00:22:09,080 --> 00:22:11,249
{\an8}a legend in the history of art,
396
00:22:11,249 --> 00:22:13,460
{\an8}within the history of photography.
397
00:22:14,461 --> 00:22:16,713
{\an8}[Charles Decaro] Richard Avedon's work
has always been
398
00:22:16,713 --> 00:22:20,800
what continues to resonate.
He's the master.
399
00:22:20,800 --> 00:22:24,846
{\an8}One of the most famous photos in the world
of Dovima with the elephants.
400
00:22:25,388 --> 00:22:28,850
{\an8}You've seen an Avedon before
even if you don't recognize it.
401
00:22:30,310 --> 00:22:33,980
{\an8}[Cindy] With Avedon,
it's a very different kind of energy.
402
00:22:33,980 --> 00:22:36,191
It's not like click, click, click.
403
00:22:36,191 --> 00:22:38,735
It's like, "Okay," and... click.
404
00:22:40,904 --> 00:22:43,698
{\an8}I think he liked that
I was a good student of his.
405
00:22:43,698 --> 00:22:45,450
{\an8}[laughs] I paid attention.
406
00:22:45,450 --> 00:22:49,120
{\an8}He taught me how to, like, bring it.
407
00:22:50,497 --> 00:22:52,707
{\an8}For, like, that spark.
408
00:22:53,667 --> 00:22:56,378
And it ended up that from that shoot,
I got two covers.
409
00:22:58,088 --> 00:23:02,133
{\an8}August,
and an October of 1986.
410
00:23:02,133 --> 00:23:05,387
{\an8}American Vogue left the mole on.
411
00:23:06,096 --> 00:23:08,098
And that was it,
it was never a discussion again.
412
00:23:08,098 --> 00:23:10,517
'Cause, it was kind of like,
the Vogue seal of approval.
413
00:23:10,517 --> 00:23:13,436
If it's good enough for Vogue,
it's good enough for everyone.
414
00:23:21,069 --> 00:23:23,238
[Naomi] Let's talk about the structure
of this issue.
415
00:23:24,864 --> 00:23:27,367
When's this issue need to be
ready to print?
416
00:23:27,367 --> 00:23:28,493
What's our deadline?
417
00:23:28,910 --> 00:23:31,663
- [woman] The end of February.
- [Naomi] Perfect.
418
00:23:31,663 --> 00:23:33,957
So, we're gonna to put Kehinde Wiley
419
00:23:33,957 --> 00:23:37,460
'cause he's doing my portrait for
the National Portrait Museum this year.
420
00:23:38,253 --> 00:23:40,297
I love this, but I love this picture.
421
00:23:40,297 --> 00:23:43,508
I love it, because we see Christy.
You see Kate.
422
00:23:43,508 --> 00:23:45,260
Bridget Hall.
423
00:23:45,927 --> 00:23:47,512
Oh, my God, you see everybody
424
00:23:47,512 --> 00:23:48,430
[indistinct murmuring]
425
00:23:48,430 --> 00:23:50,015
I don't want this one. No.
426
00:23:50,015 --> 00:23:51,892
We've got no models here.
427
00:23:51,892 --> 00:23:54,227
[man] We got big sister Iman,
I was gonna say, yeah.
428
00:23:54,227 --> 00:23:56,021
I think Iman and Katoucha.
429
00:23:56,021 --> 00:23:57,022
Yes!
430
00:23:57,022 --> 00:23:58,356
And Farida.
431
00:24:06,907 --> 00:24:09,534
[Naomi] I appreciate the work
that Beverly Johnson, Iman,
432
00:24:09,534 --> 00:24:11,828
Naomi Sims, Donyale Luna,
433
00:24:11,828 --> 00:24:14,080
Gail O'Neill, Karen Alexander...
434
00:24:14,080 --> 00:24:17,459
I appreciate the work
of the ladies before me.
435
00:24:20,545 --> 00:24:22,047
But I wanted to take it more,
436
00:24:22,047 --> 00:24:24,799
I wanted to go further,
I wanted to push the envelope.
437
00:24:24,799 --> 00:24:29,638
I wanted what the white model was getting,
I wanted it too.
438
00:24:30,388 --> 00:24:32,515
So, in 1987,
439
00:24:33,016 --> 00:24:35,477
I asked for my first Vogue cover.
440
00:24:35,477 --> 00:24:38,813
It's like they don't know how to
answer me, they don't know what to say.
441
00:24:38,813 --> 00:24:42,400
And I felt a little awkward,
and I felt a little shrunken,
442
00:24:42,400 --> 00:24:45,403
like, I shouldn't have opened my mouth,
443
00:24:45,403 --> 00:24:47,489
I'm not gonna get a yes.
444
00:24:48,073 --> 00:24:49,241
[Enninful] There were so many restrictions
445
00:24:49,241 --> 00:24:52,661
on what it meant to be a black model,
and she had to really fight
446
00:24:52,661 --> 00:24:55,956
a system that essentially said
you had to be white
447
00:24:56,665 --> 00:24:59,167
to succeed on the runway
or in fashion magazines.
448
00:24:59,167 --> 00:25:01,586
[indistinct chatter]
449
00:25:01,586 --> 00:25:04,381
[Naomi] So, I was at the time
working for Mr. Saint Laurent,
450
00:25:05,465 --> 00:25:06,466
so I told them.
451
00:25:08,510 --> 00:25:10,720
[Bethann Hardison] Mr. Saint Laurent
had always been supporting
452
00:25:10,720 --> 00:25:13,265
the idea that black models
are valuable too.
453
00:25:13,265 --> 00:25:14,349
[applause]
454
00:25:14,349 --> 00:25:17,352
[Naomi] I didn't know what type of power
Yves Saint Laurent had.
455
00:25:18,979 --> 00:25:20,313
[woman, faintly] Bravo!
456
00:25:21,189 --> 00:25:23,483
[Naomi] I didn't know
that Yves would say something.
457
00:25:24,776 --> 00:25:27,153
{\an8}That is one of my best collections.
458
00:25:27,153 --> 00:25:29,531
{\an8}It was very hard to do,
459
00:25:29,531 --> 00:25:34,786
and when it's hard to do, it's better.
[chuckles]
460
00:25:34,786 --> 00:25:37,664
And the next thing I knew,
I was in New York
461
00:25:37,664 --> 00:25:39,833
with Patrick Demarchelier.
462
00:25:44,337 --> 00:25:47,507
{\an8}I had no idea until it came out
463
00:25:47,507 --> 00:25:51,136
{\an8}that it was the first time a black person
had been on the French Vogue cover.
464
00:25:51,887 --> 00:25:54,097
I didn't look at it as breaking a barrier,
465
00:25:54,097 --> 00:25:56,224
I just looked at it as,
466
00:25:56,224 --> 00:25:57,893
"This can't stop here.
467
00:25:57,893 --> 00:26:00,061
This just can't be the one token."
468
00:26:01,062 --> 00:26:03,732
But then I shot
my first American Vogue cover,
469
00:26:03,732 --> 00:26:06,985
and I had no idea
that it was for September
470
00:26:06,985 --> 00:26:08,361
'cause, you know, I'm still...
471
00:26:09,154 --> 00:26:12,574
What I did learn
about the magazines in America was
472
00:26:12,574 --> 00:26:14,993
February was Black month,
473
00:26:14,993 --> 00:26:17,287
and every February on all the magazines
474
00:26:17,287 --> 00:26:18,705
was a Black person.
475
00:26:18,705 --> 00:26:20,749
That I knew. That I got.
476
00:26:20,749 --> 00:26:24,669
But I hadn't realized that March
and September were their big selling...
477
00:26:25,670 --> 00:26:27,631
I was just going from job to job
478
00:26:27,631 --> 00:26:29,382
and just living my life.
479
00:26:30,634 --> 00:26:33,428
[Cindy] Once you're on the cover
of American Vogue, especially then,
480
00:26:33,428 --> 00:26:35,722
that was it.
Like, then we started doing runway shows,
481
00:26:35,722 --> 00:26:37,432
which was a new thing.
482
00:26:37,432 --> 00:26:41,603
Back in the day,
you were either a print model
483
00:26:41,603 --> 00:26:43,271
or a runway model.
484
00:26:45,148 --> 00:26:47,859
[Isaac Mizrahi] Fashion shows were like
very quiet little affairs
485
00:26:47,859 --> 00:26:51,071
and the only people attending were,
you know, fashion executives,
486
00:26:51,071 --> 00:26:54,491
people buying clothes
and the fashion press and that was it.
487
00:26:55,951 --> 00:26:58,286
[Linda] There was a shift when
488
00:26:58,286 --> 00:27:01,373
the print girls started doing runway.
489
00:27:01,957 --> 00:27:03,541
[applause]
490
00:27:07,546 --> 00:27:09,464
[Tonne Goodman] When designers
put all the girls on the runway,
491
00:27:09,464 --> 00:27:11,967
{\an8}it changed the caliber of a fashion show.
492
00:27:16,096 --> 00:27:18,348
[Karl Lagerfeld] Now, the print girls
you see in the magazines,
493
00:27:18,348 --> 00:27:19,516
you have them in the shows,
494
00:27:19,516 --> 00:27:22,352
so it's like seeing
movie stars in the real.
495
00:27:23,311 --> 00:27:24,980
[Cerf de Dudzeele]
Everything was exciting!
496
00:27:24,980 --> 00:27:27,232
The girl was exciting on the runway.
497
00:27:27,232 --> 00:27:31,194
They were not walking like asparagus,
"Boom, boom, boom, boom," you know?
498
00:27:32,571 --> 00:27:36,533
[Suzy Menkes] These models were
very strong in the way they strutted out.
499
00:27:36,533 --> 00:27:39,869
{\an8}They showed their personality.
That was the whole point.
500
00:27:39,869 --> 00:27:42,247
[Naomi] Most of the time
I just looked straight ahead,
501
00:27:42,247 --> 00:27:45,834
and think about walking straight,
and putting a pleasant look on my face
502
00:27:45,834 --> 00:27:48,295
and looking at people who I know,
and going...
503
00:27:50,338 --> 00:27:53,508
[Linda] I remember at one of
the Versace fashion shows,
504
00:27:53,508 --> 00:27:57,470
three photographers came backstage
and they said, "Could we speak to you?"
505
00:27:57,470 --> 00:27:59,306
And I thought I was in trouble.
506
00:27:59,306 --> 00:28:01,600
And they showed me pictures of me,
507
00:28:01,600 --> 00:28:05,270
and my eyes are down in all the pictures,
508
00:28:05,937 --> 00:28:10,233
because I'm looking at the front row,
and at my colleagues, my friends.
509
00:28:10,233 --> 00:28:14,529
And they said, "Can you please look at us
510
00:28:14,529 --> 00:28:16,740
when you get to the end of the runway?"
511
00:28:16,740 --> 00:28:20,410
And I said, "I'm so sorry, of course."
512
00:28:23,163 --> 00:28:25,498
So, when I looked up...
513
00:28:27,167 --> 00:28:28,668
...I was like, "Whoa!"
514
00:28:28,668 --> 00:28:29,586
[cameras clicking]
515
00:28:29,586 --> 00:28:33,298
I couldn't believe how many photographers
were there. I had no idea.
516
00:28:36,927 --> 00:28:39,471
[Christy] The backstage vibe
is very intense.
517
00:28:39,471 --> 00:28:40,972
[Naomi] But we loved it that way.
518
00:28:40,972 --> 00:28:44,517
We loved being hectic and the adrenaline.
519
00:28:45,644 --> 00:28:47,354
Girls, standby on this side of the stage.
520
00:28:48,897 --> 00:28:51,483
[Cindy] We all think,
"Wow, I'm the only imposter here,"
521
00:28:51,483 --> 00:28:54,861
like, I can pretend,
"Oh, yes, I, I'll have that wine,"
522
00:28:54,861 --> 00:28:57,572
or "Oh, Hermès, I love Hermès."
523
00:28:57,572 --> 00:29:01,910
I didn't even know what Hermes was
or whatever when I was a kid, right?
524
00:29:01,910 --> 00:29:04,913
But you quickly learn to fit in and adapt.
525
00:29:06,790 --> 00:29:09,668
[Naomi] Cindy was definitely
the more serious,
526
00:29:09,668 --> 00:29:13,088
but we knew how to get her
to loosen and have fun.
527
00:29:13,088 --> 00:29:14,089
Tequila.
528
00:29:19,386 --> 00:29:21,972
[Mizrahi] The thing you have to love
about these women
529
00:29:21,972 --> 00:29:27,561
is that they didn't do this,
kind of, fake bullshit,
530
00:29:27,561 --> 00:29:30,397
kind of, walk, you know?
They just had fun.
531
00:29:33,984 --> 00:29:35,360
Nobody walked like Naomi.
532
00:29:35,360 --> 00:29:39,072
She had a walk that basically said,
"Get the fuck out of my way,
533
00:29:39,072 --> 00:29:42,158
'cause I'm owning wherever I'm going."
534
00:29:44,494 --> 00:29:46,580
[Mizrahi] I remember one show, my mother,
535
00:29:46,580 --> 00:29:50,208
who is, like, the straightest,
sort of, middle-aged woman.
536
00:29:50,208 --> 00:29:52,711
At this point,
she was probably in her mid-sixties.
537
00:29:52,711 --> 00:29:54,296
After the show,
she came up to me, she said,
538
00:29:54,296 --> 00:29:57,215
"Darling, I would have sex
with Naomi Campbell."
539
00:29:57,215 --> 00:29:59,134
[faint chatter]
540
00:29:59,134 --> 00:30:00,594
[Linda] The glory days!
541
00:30:01,261 --> 00:30:04,806
But, remember, in those glory days...
542
00:30:05,765 --> 00:30:07,601
...it wasn't perfect.
543
00:30:07,601 --> 00:30:08,935
Because...
544
00:30:10,812 --> 00:30:14,024
Because Naomi wasn't always booked
to do the shows.
545
00:30:16,568 --> 00:30:18,653
See, I didn't understand.
546
00:30:19,446 --> 00:30:23,033
Naomi, I thought was more beautiful,
547
00:30:23,617 --> 00:30:27,746
had a much more rockin' body than I did.
548
00:30:27,746 --> 00:30:30,206
And a better strut.
549
00:30:30,832 --> 00:30:33,877
And I'm, like,
"Why aren't they booking her?"
550
00:30:36,338 --> 00:30:39,925
[Enninful] When Naomi came,
designers were still, you know...
551
00:30:40,884 --> 00:30:43,553
"We only have one Black girl this season."
It was that time.
552
00:30:44,804 --> 00:30:46,765
"Black girls can only do shows
in the summer.
553
00:30:46,765 --> 00:30:49,684
Black girls can only wear
the bright-colored clothes."
554
00:30:49,684 --> 00:30:52,771
I said to them,
"If you don't book her, you don't get me."
555
00:30:54,814 --> 00:30:58,193
[Naomi] Linda and Christy absolutely
put themselves on the line.
556
00:30:58,193 --> 00:31:01,196
They stood by me, and they supported me.
557
00:31:01,196 --> 00:31:02,948
And that's what kept me going.
558
00:31:03,698 --> 00:31:05,158
[horns honking]
559
00:31:06,243 --> 00:31:09,621
I would do all these great shows,
wear all these beautiful dresses,
560
00:31:09,621 --> 00:31:11,623
but then it would come time
for the advertising,
561
00:31:11,623 --> 00:31:13,667
and I would not be included.
562
00:31:13,667 --> 00:31:16,086
And that used to really hurt me.
563
00:31:16,753 --> 00:31:21,800
And then sometimes,
I was booked just to appease me
564
00:31:21,800 --> 00:31:25,095
or to make me think,
"Okay, we're gonna use her."
565
00:31:25,095 --> 00:31:27,430
Then I'd go to the shoot and sit there
566
00:31:27,430 --> 00:31:29,975
from nine till six all day
and not be used.
567
00:31:31,309 --> 00:31:33,311
It made me more determined than ever.
568
00:31:33,979 --> 00:31:37,816
Not to ever be treated that way,
not to ever be put in that position again.
569
00:31:45,657 --> 00:31:48,118
Can we hold a wall
that Christy can lean against?
570
00:31:48,118 --> 00:31:52,122
- [man] Um, yeah, totally. Black or white?
- White.
571
00:31:52,122 --> 00:31:54,374
[woman] We also have to do a Calvin Klein.
572
00:31:54,374 --> 00:31:57,627
With the cube, you mean?
It could just be the corner, maybe.
573
00:31:57,627 --> 00:31:59,254
- [woman] Yeah, or just like...
- [man] So she can lean...
574
00:31:59,254 --> 00:32:01,464
Leaning. Yeah, I feel like...
575
00:32:04,175 --> 00:32:05,010
[camera clicks]
576
00:32:05,010 --> 00:32:07,262
Christy, can we try profile a little?
577
00:32:07,262 --> 00:32:10,724
Like-- Yeah, beautiful. Calvin Klein vibe.
578
00:32:10,724 --> 00:32:12,809
[woman] Very Calvin Klein. Classic.
579
00:32:14,269 --> 00:32:17,272
[Christy] I worked for Calvin Klein
for 33 years.
580
00:32:20,233 --> 00:32:23,570
I was probably 17 or so
when I first met Calvin Klein
581
00:32:23,570 --> 00:32:26,990
and met the brand,
doing fashion shows and things.
582
00:32:29,284 --> 00:32:34,080
You know, it stood out for me,
I think even as a younger teenager, um,
583
00:32:34,080 --> 00:32:35,540
all the ads.
584
00:32:35,540 --> 00:32:38,668
I knew Calvin Klein jeans
and I knew Calvin Klein fragrances.
585
00:32:38,668 --> 00:32:40,962
Obsession was a big deal.
586
00:32:42,464 --> 00:32:44,466
[Calvin Klein] What you want to do
is create excitement,
587
00:32:44,466 --> 00:32:47,260
you want people to notice your ads,
588
00:32:47,260 --> 00:32:49,304
your print ads, or your commercials.
589
00:32:49,304 --> 00:32:52,474
In the kingdom of passion
the ruler is obsession.
590
00:32:52,474 --> 00:32:54,017
Calvin Klein's Obsession.
591
00:32:54,017 --> 00:32:55,518
[male voice] Oh, the smell of it.
592
00:32:55,518 --> 00:32:57,437
"Ah, the smell of it."
593
00:32:57,437 --> 00:32:59,731
Now, when you hear,
"Well, the smell of it,"
594
00:32:59,731 --> 00:33:02,943
your mind goes
right to a very specific place.
595
00:33:02,943 --> 00:33:07,656
[Klein] I have an effect on society.
596
00:33:07,656 --> 00:33:09,991
I mean, I can change attitudes.
597
00:33:09,991 --> 00:33:13,745
{\an8}I can make people feel a certain way.
598
00:33:13,745 --> 00:33:18,792
{\an8}He understood how to
use the tools at the time,
599
00:33:18,792 --> 00:33:22,796
You know, like,
the billboards, the magazines,
600
00:33:22,796 --> 00:33:28,134
to push his image in a very clean
601
00:33:28,134 --> 00:33:29,970
but controversial way.
602
00:33:31,221 --> 00:33:33,723
You wanna know what comes
between me and my Calvins?
603
00:33:34,182 --> 00:33:35,141
Nothing.
604
00:33:36,142 --> 00:33:41,064
{\an8}He always wanted everything
to be super erotic and sexy,
605
00:33:41,064 --> 00:33:43,650
{\an8}and everybody sleeping with everybody.
606
00:33:45,277 --> 00:33:47,237
And then there was AIDS.
607
00:33:47,237 --> 00:33:50,323
And they just wanted to chill
608
00:33:50,323 --> 00:33:53,076
{\an8}and they wanted to calm everything down.
609
00:33:53,994 --> 00:33:58,957
So, he had this perfume called Eternity.
610
00:33:58,957 --> 00:34:00,959
Which was about family.
611
00:34:00,959 --> 00:34:05,922
And he signed up Christy
as the face of Eternity.
612
00:34:07,340 --> 00:34:10,010
[Christy] I have so many memories
from that first Eternity campaign
613
00:34:10,010 --> 00:34:11,469
in Martha's Vineyard.
614
00:34:13,221 --> 00:34:16,807
The photos were shot by Bruce Weber.
615
00:34:16,807 --> 00:34:20,061
It was really bonding and super fun.
616
00:34:20,061 --> 00:34:21,980
[Bruce Weber] The sun's setting,
the light's really beautiful.
617
00:34:21,980 --> 00:34:25,191
{\an8}Look at these girls' pictures,
they have that desire.
618
00:34:25,191 --> 00:34:27,903
{\an8}The desire to stand alone and be somebody.
619
00:34:28,737 --> 00:34:29,653
[Grace Coddington] Bruce Weber,
620
00:34:29,653 --> 00:34:33,407
he really changed photography and fashion
through his cameras.
621
00:34:34,075 --> 00:34:38,371
He changed girls from
that much more heavy makeup
622
00:34:38,371 --> 00:34:41,082
to the more natural girl
623
00:34:41,082 --> 00:34:44,336
that was healthy and just glowed.
624
00:34:45,211 --> 00:34:48,757
[Christy] I made close to
a million dollars a year on that contract.
625
00:34:48,757 --> 00:34:53,428
I remember signing it, for some reason,
at night at some law office
626
00:34:53,428 --> 00:34:55,137
with my agents.
627
00:34:55,137 --> 00:34:57,349
I didn't have my own lawyer.
628
00:34:57,349 --> 00:35:00,185
I only had to work, like,
a hundred days a year,
629
00:35:00,185 --> 00:35:02,145
which is not a lot of work, really,
630
00:35:02,145 --> 00:35:04,356
and, of course,
I couldn't work for anybody else,
631
00:35:04,356 --> 00:35:07,025
and I couldn't-- Not even editorials.
632
00:35:07,025 --> 00:35:10,779
But the Eternity campaign
had a certain kind of visibility
633
00:35:10,779 --> 00:35:13,698
and so representing Calvin Klein
634
00:35:13,698 --> 00:35:18,328
felt very much like the pinnacle
of what was happening at that time.
635
00:35:19,746 --> 00:35:21,998
{\an8}[woman] Eternity, Calvin Klein.
636
00:35:22,999 --> 00:35:24,459
[static, music playing]
637
00:35:24,459 --> 00:35:26,503
{\an8}[woman] Revlon new complexion make-up.
Cindy--
638
00:35:27,379 --> 00:35:30,590
{\an8}[man speaking French]
639
00:35:30,590 --> 00:35:32,133
[ad jingle playing]
640
00:35:33,885 --> 00:35:35,136
[Cindy] As a model,
641
00:35:35,136 --> 00:35:37,973
a cosmetic contract is the golden ticket.
642
00:35:39,099 --> 00:35:40,976
{\an8}It's, like, job security all of a sudden.
643
00:35:40,976 --> 00:35:42,185
{\an8}You're not waiting for like,
644
00:35:42,185 --> 00:35:45,272
"Oh, I might get that campaign,
I might not."
645
00:35:46,731 --> 00:35:49,109
[David Letterman] Please welcome,
the lovely Cindy Crawford.
646
00:35:49,109 --> 00:35:50,944
[crowd cheering, applauding]
647
00:35:50,944 --> 00:35:53,822
Hi, how are ya? Nice to see you.
Thanks for being here.
648
00:35:55,323 --> 00:35:56,616
[applause continues]
649
00:35:58,451 --> 00:36:01,288
She has just now been named
the spokesmodel for Revlon.
650
00:36:01,288 --> 00:36:03,123
What does that mean? Free lipstick?
651
00:36:03,123 --> 00:36:04,541
[laughter]
652
00:36:04,541 --> 00:36:07,878
Yeah. And that,
that and hopefully more freedom.
653
00:36:07,878 --> 00:36:09,379
More freedom to do?
654
00:36:09,379 --> 00:36:11,006
Anything I want.
655
00:36:11,882 --> 00:36:14,801
[Cindy] Things were really happening,
I was doing the right campaigns.
656
00:36:14,801 --> 00:36:16,970
[man] Flex your hair
and show off your body.
657
00:36:16,970 --> 00:36:18,763
[ad jingle playing]
658
00:36:18,763 --> 00:36:21,516
And then all of a sudden, in '88,
659
00:36:21,516 --> 00:36:24,519
I was asked to do Playboy.
660
00:36:24,519 --> 00:36:28,607
Everyone in my life at the time
thought I shouldn't do Playboy.
661
00:36:29,232 --> 00:36:32,152
My modeling agency
didn't feel that that fit into,
662
00:36:32,152 --> 00:36:34,404
you know,
the type of jobs I should be doing.
663
00:36:35,989 --> 00:36:38,283
I think the brand
still had a connotation to it
664
00:36:38,283 --> 00:36:41,077
that maybe scared some people off.
665
00:36:41,745 --> 00:36:46,333
I understood the platform of Playboy
and what that symbolized.
666
00:36:48,168 --> 00:36:52,297
It was definitely
outside the normal trajectory
667
00:36:52,297 --> 00:36:55,675
for a Vogue model at the time.
668
00:36:55,675 --> 00:36:59,930
The offer came through Herb Ritts,
a photographer.
669
00:36:59,930 --> 00:37:02,724
Herb Ritts was someone
that I worked with a lot,
670
00:37:02,724 --> 00:37:07,187
and I stayed at his house
and we were very good friends.
671
00:37:07,187 --> 00:37:09,481
[Herb Ritts] Part of what I do
that's very important
672
00:37:09,481 --> 00:37:13,985
{\an8}is being able to suss something out,
to be a diplomat of sorts.
673
00:37:13,985 --> 00:37:16,196
So, you really have to be
one-on-one with someone
674
00:37:16,196 --> 00:37:20,075
and realize what they're about
and try to get what you want.
675
00:37:20,075 --> 00:37:22,994
I don't know. There was just something
about it that intrigued me,
676
00:37:22,994 --> 00:37:27,123
so against the advice of my agents,
I said yes.
677
00:37:27,123 --> 00:37:30,460
But I said, "You don't need
to pay me a lot of money
678
00:37:30,460 --> 00:37:32,629
as long as I can have the control
of the images."
679
00:37:32,629 --> 00:37:36,174
And I wanted the right to
kill the story if I don't like it.
680
00:37:36,716 --> 00:37:39,511
Herb and I combined it
with another trip that we were doing
681
00:37:39,511 --> 00:37:41,555
for French Vogue to Hawaii.
682
00:37:42,013 --> 00:37:43,807
{\an8}We would shoot a picture for French Vogue,
683
00:37:43,807 --> 00:37:45,600
{\an8}and we would shoot a picture for Playboy.
684
00:37:46,726 --> 00:37:49,604
{\an8}I mean, you almost couldn't tell
which pictures were for French Vogue...
685
00:37:50,313 --> 00:37:51,731
{\an8}...and which pictures were for Playboy.
686
00:37:51,731 --> 00:37:55,652
{\an8}It was very organic, and...
687
00:37:55,652 --> 00:37:56,903
I loved them.
688
00:37:58,488 --> 00:38:00,115
That's the whole thing for me is
689
00:38:00,115 --> 00:38:03,868
even if I make choices that
other people disagree with or don't like,
690
00:38:03,868 --> 00:38:06,788
if they're my decisions
and I have control of it,
691
00:38:06,788 --> 00:38:09,833
that's empowering to me,
even if it's doing Playboy.
692
00:38:11,585 --> 00:38:14,087
I never felt like
a victim of that decision.
693
00:38:26,016 --> 00:38:29,227
I don't feel like when I'm nude,
that I'm nude.
694
00:38:31,062 --> 00:38:33,857
It really depends who I'm shooting for.
695
00:38:33,857 --> 00:38:37,027
I could feel totally clothed,
696
00:38:37,027 --> 00:38:39,237
it's the concept and the way
697
00:38:39,237 --> 00:38:42,324
when it's tastefully done
you don't feel like you're nude.
698
00:38:49,664 --> 00:38:50,832
Might have made people think,
699
00:38:50,832 --> 00:38:52,709
"Oh, she really feels
comfortable in her skin."
700
00:38:52,709 --> 00:38:55,128
Not necessarily, I didn't.
701
00:38:58,548 --> 00:39:01,635
Just because I was not thinking of me,
702
00:39:01,635 --> 00:39:03,428
Naomi, showing myself,
703
00:39:03,428 --> 00:39:06,932
I felt like I was in some other character.
704
00:39:07,474 --> 00:39:09,976
So, I didn't necessarily
feel like I was... [inhales]
705
00:39:10,685 --> 00:39:13,563
I felt dressed, if you can believe that.
706
00:39:22,572 --> 00:39:25,742
[Christy] I respect and admire people
who can be comfortable in their bodies
707
00:39:25,742 --> 00:39:27,535
and comfortable naked.
708
00:39:28,411 --> 00:39:30,956
If I'm working with somebody that I trust,
709
00:39:30,956 --> 00:39:35,126
and that I have respect for,
and I understand their vision,
710
00:39:36,711 --> 00:39:38,672
then I can take some risks.
711
00:39:40,048 --> 00:39:42,926
If I can trust that person capturing it,
712
00:39:42,926 --> 00:39:44,386
and I know what they see
713
00:39:44,386 --> 00:39:48,640
and I know that my comfort
is gonna make that image
714
00:39:48,640 --> 00:39:52,060
that much more exciting,
interesting, whatever,
715
00:39:52,060 --> 00:39:54,229
then I can, kind of, go there.
716
00:39:56,106 --> 00:39:59,818
But if that trust isn't there
and there's this sense of well, you know,
717
00:39:59,818 --> 00:40:02,571
like, [laughing] "Go!" "Do it!
718
00:40:02,571 --> 00:40:04,739
You do your thing, I'm gonna capture it."
719
00:40:04,739 --> 00:40:05,991
I can't do that,
720
00:40:05,991 --> 00:40:10,412
like I can't, I can't just, like,
do all my... the things.
721
00:40:10,412 --> 00:40:13,582
That takes time and trust,
like, for any camera.
722
00:40:17,168 --> 00:40:20,297
[Cindy] Herb had the...
723
00:40:21,006 --> 00:40:25,552
I just never once felt even remotely
uncomfortable in front of his camera.
724
00:40:25,552 --> 00:40:27,679
There we go, and yeah,
there we go, that's it.
725
00:40:32,017 --> 00:40:34,853
The thing I love about this,
it's not about fashion.
726
00:40:34,853 --> 00:40:37,981
Obviously, they're nude,
but they were great friends
727
00:40:37,981 --> 00:40:39,983
and all of a sudden,
to just put them together
728
00:40:39,983 --> 00:40:41,902
and have them knowing each other.
729
00:40:41,902 --> 00:40:45,447
There's a great heart that comes
when I look at that picture.
730
00:40:45,906 --> 00:40:47,741
It's not overtly sexual at all.
731
00:40:47,741 --> 00:40:50,452
There's a true soulfulness
coming from these girls.
732
00:40:51,161 --> 00:40:54,372
You can feel their eyes. It's really
about their eyes and their looks.
733
00:40:55,707 --> 00:40:59,419
[Cindy] It's such a Herb picture because
we were naked but we weren't being sexy.
734
00:40:59,419 --> 00:41:04,591
There was, like, a simplicity to being,
you know, without clothes.
735
00:41:06,092 --> 00:41:08,762
But we shot it with and without Christy
736
00:41:08,762 --> 00:41:12,724
because Christy couldn't be
in the Rolling Stone edition at the time.
737
00:41:13,767 --> 00:41:16,728
I was working with Calvin and
I couldn't do anything with anybody else,
738
00:41:16,728 --> 00:41:19,689
so when Herb was like,
"Just get in for a couple of shots,"
739
00:41:20,690 --> 00:41:25,403
I realized that the desirability
of having a model in a campaign
740
00:41:25,403 --> 00:41:27,948
was because of all the things
that you're seeing out there
741
00:41:27,948 --> 00:41:31,368
and seeing somebody do interesting,
more edgy kinds of things.
742
00:41:31,368 --> 00:41:33,662
And then to kind of cut all that off,
743
00:41:34,120 --> 00:41:36,623
I don't know, it just, kind of,
wasn't that exciting anymore.
744
00:41:44,548 --> 00:41:46,383
[Christy] All right. [chuckles]
745
00:41:50,303 --> 00:41:53,139
- It is so long, Mom.
- [mom] I know.
746
00:41:53,139 --> 00:41:55,267
I had to come all the way
from New York to cut your hair?
747
00:41:55,809 --> 00:41:59,104
{\an8}It's a little tricky with the mask,
I gotta say, working around your ear.
748
00:41:59,104 --> 00:42:01,648
[mom, laughing] I know.
How short are you going?
749
00:42:01,648 --> 00:42:03,358
[both laugh]
750
00:42:03,358 --> 00:42:06,236
[mom] I was telling my friends
this morning at coffee,
751
00:42:06,236 --> 00:42:09,072
and I said, "Yeah, she cuts hair."
I said, "Yes!
752
00:42:09,072 --> 00:42:11,449
She used to cut even Oribe's hair."
753
00:42:11,449 --> 00:42:12,826
[Christy] That's my claim to fame.
754
00:42:12,826 --> 00:42:14,661
[mom] I know, and he let you.
755
00:42:14,661 --> 00:42:17,038
[chuckles] A hairdresser.
756
00:42:19,165 --> 00:42:21,543
{\an8}[Erin] Maybe you should, um,
do your hair short again.
757
00:42:21,543 --> 00:42:23,211
{\an8}[Christy] I think about it sometimes.
758
00:42:23,211 --> 00:42:25,255
And then I'm like,
it just takes so long to grow.
759
00:42:25,255 --> 00:42:28,216
- [Erin] I liked it. I thought it was good.
- [Christy] I do think about it sometimes.
760
00:42:28,216 --> 00:42:30,635
Like, "That was a haircut."
761
00:42:34,306 --> 00:42:35,974
[indistinct chatter]
762
00:42:35,974 --> 00:42:37,559
[photographer] Christy,
look this way, please. Beautiful.
763
00:42:37,559 --> 00:42:38,768
[Christy] I realized that...
764
00:42:39,644 --> 00:42:43,189
...I really hadn't been happy
with the Calvin Klein contract.
765
00:42:43,189 --> 00:42:45,108
It wasn't like a bad deal per se,
766
00:42:45,108 --> 00:42:49,237
but I hadn't really gotten to a place
of feeling burnt out or tired or anything.
767
00:42:49,237 --> 00:42:50,614
I was, like, ready to go.
768
00:42:51,114 --> 00:42:53,825
So, I sort of re-negotiated
my deal with Calvin...
769
00:42:54,701 --> 00:42:55,911
...by cutting my hair.
770
00:42:56,912 --> 00:42:58,955
When we were cutting it,
my friend Oribe cut it,
771
00:42:58,955 --> 00:43:01,499
we were laughing and saying,
"Oh, I'm gonna get in so much trouble,"
772
00:43:01,499 --> 00:43:03,335
but I didn't really think
I was gonna get into trouble.
773
00:43:04,211 --> 00:43:06,755
But it definitely was not received well.
774
00:43:06,755 --> 00:43:08,798
I think Calvin was really mad,
775
00:43:08,798 --> 00:43:13,345
because when you have a contract,
you have to continue that look.
776
00:43:13,345 --> 00:43:16,473
{\an8}So, to suddenly cut your hair off
in the middle...
777
00:43:17,140 --> 00:43:19,517
...was kind of a disaster.
778
00:43:20,018 --> 00:43:21,144
[Christy] When I re-negotiated...
779
00:43:21,144 --> 00:43:23,021
- I know, it's hard. It's hard.
- It's also...
780
00:43:23,688 --> 00:43:25,982
[Christy] ...I still was able
to stay close to Calvin
781
00:43:25,982 --> 00:43:30,237
and continue to work for Eternity
and actually opened his show
782
00:43:30,237 --> 00:43:33,240
the next season with my new haircut.
783
00:43:34,449 --> 00:43:38,036
It was sort of the end of an era
of those kinds of contracts
784
00:43:38,036 --> 00:43:40,121
because they just didn't make sense.
785
00:43:41,331 --> 00:43:44,918
Agencies have power,
786
00:43:44,918 --> 00:43:47,462
and yet they behave
like they don't have power.
787
00:43:47,462 --> 00:43:49,339
They're supposed to be working for you.
788
00:43:50,715 --> 00:43:53,468
Let's... I mean, like, let's be real,
this is not about personalities
789
00:43:53,468 --> 00:43:55,971
and, like, chemistry or,
like, we're really a family.
790
00:43:55,971 --> 00:43:58,181
This is, like,
this is a business for you all,
791
00:43:58,181 --> 00:44:01,101
and I never signed another contract
with any other agency since.
792
00:44:07,482 --> 00:44:09,859
[Klensch] This is Style
and I'm Elsa Klensch
793
00:44:09,859 --> 00:44:12,821
{\an8}reporting on the design worlds of fashion,
beauty, and decorating.
794
00:44:13,989 --> 00:44:18,034
[Cindy] In the late 80s,
there was an explosion of new media.
795
00:44:18,034 --> 00:44:20,036
All of a sudden,
there was cable television
796
00:44:20,036 --> 00:44:21,288
and they needed more content.
797
00:44:21,288 --> 00:44:25,333
{\an8}We start with a story that's been hot
since the spring fashion shows...
798
00:44:25,333 --> 00:44:28,044
There was this new, kind of,
interest in fashion that was brewing.
799
00:44:28,712 --> 00:44:30,797
[Beker] Elsa Klensch
was the first to look at style
800
00:44:30,797 --> 00:44:33,633
as a true fashion insider.
801
00:44:33,633 --> 00:44:36,094
[Klensch] Calvin Klein
experimented with silhouettes.
802
00:44:36,887 --> 00:44:39,890
{\an8}It's all close to the body,
they're very body-conscious clothes.
803
00:44:40,974 --> 00:44:43,101
[Oldham] And that started
changing everything.
804
00:44:43,101 --> 00:44:44,936
[interviewer] People think of models,
you know what the image of models is.
805
00:44:44,936 --> 00:44:46,521
But obviously you must be bright
if you're, you know--
806
00:44:46,521 --> 00:44:48,857
What is the image of models?
I'd like to know.
807
00:44:48,857 --> 00:44:54,321
You mean, that we have, like,
single digit IQs and stuff like that?
808
00:44:54,321 --> 00:44:55,780
- I'm not saying that to you.
- No, but I mean...
809
00:44:55,780 --> 00:44:59,868
Before cable, large parts of America
were really culture starved.
810
00:44:59,868 --> 00:45:02,579
In a way, cable took what was going on
811
00:45:02,579 --> 00:45:04,623
with that vibrant culture in New York City
812
00:45:04,623 --> 00:45:06,958
and pushed it out by satellite
813
00:45:06,958 --> 00:45:08,209
all over the country.
814
00:45:10,420 --> 00:45:13,006
{\an8}When we started MTV in the early 80s,
815
00:45:13,006 --> 00:45:14,424
it was not only to play the hits,
816
00:45:14,424 --> 00:45:17,260
it also exposed people
to all sorts of new things
817
00:45:17,260 --> 00:45:18,887
in the popular culture.
818
00:45:19,721 --> 00:45:22,390
So, we said, "Let's do some more stuff
on what's sort of coming up
819
00:45:22,390 --> 00:45:23,850
as fashion from the streets.
820
00:45:23,850 --> 00:45:26,228
Let's try for a new face, a new host.
821
00:45:26,228 --> 00:45:29,940
MTV spokesperson for fashion."
822
00:45:30,857 --> 00:45:34,027
[Cindy]
Fashion still was primarily female,
823
00:45:34,027 --> 00:45:37,906
and then all of a sudden,
Playboy was, like, primarily guys,
824
00:45:37,906 --> 00:45:39,157
it was a very different thing.
825
00:45:39,157 --> 00:45:42,202
I, like, doubled my audience
by doing that.
826
00:45:42,202 --> 00:45:47,082
And those two things together led to MTV.
827
00:45:47,082 --> 00:45:49,793
They wanted someone like a model
or someone from fashion,
828
00:45:49,793 --> 00:45:53,255
but they also wanted someone
that had male fans.
829
00:45:53,255 --> 00:45:57,342
That was like a 30 second
pitch meeting. "Let's do it.
830
00:45:57,342 --> 00:45:59,302
Can we get one on next week?"
831
00:46:00,887 --> 00:46:03,598
[Cindy, on TV] Welcome to House of Style,
I'm Cindy Crawford.
832
00:46:04,266 --> 00:46:06,685
It's like my first big piece for MTV,
right? I'm here by myself.
833
00:46:06,685 --> 00:46:08,812
[Cindy] I had no training in broadcasting.
834
00:46:08,812 --> 00:46:11,147
I'm gonna show, like, the whole look.
So, you walk down the runway,
835
00:46:11,147 --> 00:46:12,732
take the coat off.
836
00:46:12,732 --> 00:46:15,569
[Cindy] It was bringing together
music and fashion
837
00:46:15,569 --> 00:46:18,113
and pop culture
838
00:46:18,113 --> 00:46:21,825
and, like, putting it into,
like, a mixing bowl.
839
00:46:21,825 --> 00:46:23,326
And we didn't really care what came out.
840
00:46:24,828 --> 00:46:26,037
Hi, I'm Cindy Crawford.
841
00:46:26,037 --> 00:46:29,165
{\an8}Welcome to House of Style,
coming to you this time from Paris.
842
00:46:29,165 --> 00:46:31,209
She would mine and create episodes
843
00:46:31,209 --> 00:46:32,794
and bring in her friends
and acquaintances,
844
00:46:32,794 --> 00:46:34,296
people she knew from the business.
845
00:46:34,296 --> 00:46:36,423
{\an8}We don't like wearing clothes.
No, that's a joke.
846
00:46:36,423 --> 00:46:37,382
{\an8}Naomi, behave yourself.
847
00:46:38,300 --> 00:46:40,218
{\an8}She began to incorporate designers.
848
00:46:40,218 --> 00:46:41,803
{\an8}The length is a little bit long.
849
00:46:41,803 --> 00:46:44,222
{\an8}We definitely took the pads
out of the boob, too.
850
00:46:44,222 --> 00:46:47,183
I'm one of the old models that has boobs.
851
00:46:47,183 --> 00:46:49,644
It gave me an opportunity to talk
852
00:46:49,644 --> 00:46:53,899
and I was able to bring
a little bit more of myself
853
00:46:53,899 --> 00:46:55,567
to my public persona.
854
00:46:55,567 --> 00:46:57,319
It shows your little beauty mark.
855
00:46:57,319 --> 00:47:00,030
That all felt very empowering to me.
856
00:47:00,030 --> 00:47:02,699
That about wraps it up
for this edition of House of Style.
857
00:47:02,699 --> 00:47:05,327
I'm Cindy Crawford
and I'll see you again real soon.
858
00:47:05,327 --> 00:47:06,244
Bye.
859
00:47:07,746 --> 00:47:09,664
{\an8}[Cindy] British Vogue
wanted Peter Lindbergh
860
00:47:09,664 --> 00:47:12,375
{\an8}to shoot a cover to represent
861
00:47:12,375 --> 00:47:15,462
the new idea of beauty for the '90s.
862
00:47:15,462 --> 00:47:19,007
And Peter said,
"I can't do it with just one woman."
863
00:47:19,925 --> 00:47:25,096
He reached out to me
and to Cindy, Naomi, Linda and Tatjana.
864
00:47:27,140 --> 00:47:30,644
We all worked together in various
combinations a lot at that time,
865
00:47:30,644 --> 00:47:34,439
so we all came just in our jeans
and I remember being in Tribeca.
866
00:47:36,691 --> 00:47:39,277
Peter always gets super excited
when he shot and, like,
867
00:47:39,277 --> 00:47:41,947
you know,
"Ah, I'm so excited, so excited."
868
00:47:42,572 --> 00:47:45,116
And I was also just out of
my Calvin contract too.
869
00:47:45,116 --> 00:47:47,953
So, just to be together as a group,
870
00:47:47,953 --> 00:47:50,205
it just was so fun.
871
00:47:53,333 --> 00:47:54,626
It wasn't about the fashion.
872
00:47:55,835 --> 00:47:57,879
It wasn't about the hair and the makeup.
873
00:48:00,674 --> 00:48:01,925
It was about the women.
874
00:48:10,267 --> 00:48:11,434
[Kurt Loder] Welcome back
to The Week in Rock.
875
00:48:11,434 --> 00:48:14,229
George Michael has a new video
just out for "Freedom! '90",
876
00:48:14,229 --> 00:48:17,816
the second single off his latest album
Listen Without Prejudice Volume One.
877
00:48:17,816 --> 00:48:21,403
Once again, Michael himself has declined
to actually appear in the clip.
878
00:48:21,403 --> 00:48:24,864
Instead, he's delegated a flock of
Elite and Ford agency fashion models
879
00:48:24,864 --> 00:48:26,616
to do his lip syncing for him.
880
00:48:26,616 --> 00:48:28,326
I made decisions a couple years ago
881
00:48:28,326 --> 00:48:31,871
to change the way my career was going
and my life was going...
882
00:48:32,289 --> 00:48:35,041
...by not appearing in videos.
883
00:48:35,041 --> 00:48:36,626
By not being interviewed.
884
00:48:36,626 --> 00:48:37,752
By not doing press.
885
00:48:37,752 --> 00:48:41,339
Basically, letting my music,
kind of, do what it's gonna do.
886
00:48:42,090 --> 00:48:45,635
We get this phone call
that George Michael wants to shoot us in--
887
00:48:45,635 --> 00:48:47,095
Wants us in his video.
888
00:48:47,095 --> 00:48:49,139
George was like,
"It has to be this group of women."
889
00:48:49,139 --> 00:48:50,140
It had to be all of us.
890
00:48:50,140 --> 00:48:51,600
So, we go talk.
891
00:48:51,600 --> 00:48:53,101
"Are you doing this?"
"Are you doing this?"
892
00:48:53,435 --> 00:48:56,104
I wasn't interested initially at all,
893
00:48:56,104 --> 00:48:59,149
because it wasn't fashion.
894
00:48:59,149 --> 00:49:02,319
And at some point, we made a decision,
like, a group decision.
895
00:49:02,777 --> 00:49:04,946
I said, "I will do it."
896
00:49:04,946 --> 00:49:07,073
- "I'm gonna do it!"
- I said, "Yes, okay, I'll do it."
897
00:49:07,532 --> 00:49:09,159
So, who's gonna tell George?
898
00:49:11,369 --> 00:49:14,122
Basically, I'm in a nightclub in LA.
899
00:49:14,122 --> 00:49:16,666
Roxbury's, actually, on Sunset.
900
00:49:17,292 --> 00:49:20,921
And George is there.
And he comes up to me and he says,
901
00:49:20,921 --> 00:49:22,881
"So, what is it that you guys want?"
902
00:49:22,881 --> 00:49:27,260
I said, "We want this much money
and round trip Concorde tickets!"
903
00:49:28,511 --> 00:49:30,680
He goes, "And that's it?"
I said, "That's it."
904
00:49:33,600 --> 00:49:36,019
[David Fincher] When George
pitched me his idea,
905
00:49:36,686 --> 00:49:39,564
he said, "What do you think
about doing the entire video
906
00:49:39,564 --> 00:49:43,568
with just amazing looking women
lip syncing?"
907
00:49:43,568 --> 00:49:44,945
So that he didn't have to.
908
00:49:44,945 --> 00:49:47,239
And I said...
909
00:49:47,239 --> 00:49:49,699
"Knock me over with a feather
and throw a sheet over me,
910
00:49:49,699 --> 00:49:51,534
that sounds like a great idea." [laughs]
911
00:49:51,534 --> 00:49:54,621
["Freedom! '90"
by George Michael playing]
912
00:49:58,917 --> 00:50:00,043
[Linda] When I got to the set,
913
00:50:01,503 --> 00:50:03,296
and they wanted me to lip sync,
914
00:50:03,296 --> 00:50:05,882
I didn't know the words.
915
00:50:06,967 --> 00:50:10,554
I had to learn them very quickly
in the trailer
916
00:50:10,554 --> 00:50:12,722
while they were doing my hair and makeup.
917
00:50:12,722 --> 00:50:15,559
[lip-syncing]
♪ Heaven knows I was just a young boy ♪
918
00:50:15,559 --> 00:50:18,478
♪ Didn't know what I wanted to be... ♪
919
00:50:21,189 --> 00:50:23,108
I just remember it being super dark
920
00:50:23,108 --> 00:50:26,319
and someone explaining to me
that I was gonna be in a bathtub.
921
00:50:28,446 --> 00:50:29,990
I was like, "Really?"
922
00:50:30,574 --> 00:50:32,784
I felt like everyone else
had a better part than me.
923
00:50:33,577 --> 00:50:35,287
[lip-syncing]
♪ I won the race, got out of the place ♪
924
00:50:35,829 --> 00:50:38,331
♪ Went back home, got a brand new face ♪
925
00:50:38,331 --> 00:50:40,417
♪ For the boys at MTV... ♪
926
00:50:40,542 --> 00:50:42,794
These girls knew
how to position their faces.
927
00:50:42,794 --> 00:50:44,296
They could find their light
928
00:50:44,296 --> 00:50:46,256
and when we gave them a character,
929
00:50:46,256 --> 00:50:47,924
they brought something to it.
930
00:50:47,924 --> 00:50:50,385
[lip-syncing]
♪ Now I'm gonna get myself happy... ♪
931
00:50:50,802 --> 00:50:51,970
They sucked you in.
932
00:50:54,723 --> 00:50:56,641
My very first scene that I shot was
933
00:50:56,641 --> 00:50:59,811
where you just see my eyes
through, like, this cutout.
934
00:51:00,770 --> 00:51:03,148
You see my mouth, then you see my eyes,
you see my mouth, you see my eyes.
935
00:51:03,148 --> 00:51:05,609
And anytime I dip down
it's because I don't know the words yet.
936
00:51:05,609 --> 00:51:08,361
[laughing] I'm not that great with lyrics.
937
00:51:10,864 --> 00:51:13,158
[Naomi] We were not knowing the impact
938
00:51:13,158 --> 00:51:15,535
that that video had at all.
939
00:51:16,953 --> 00:51:19,289
We didn't have time to know
because, honestly,
940
00:51:19,289 --> 00:51:21,666
we were just jumping from next country
to the next country.
941
00:51:23,418 --> 00:51:25,295
[Donatella Versace]
"Freedom" had just come out.
942
00:51:26,671 --> 00:51:28,632
{\an8}I was talking to Gianni and said,
943
00:51:28,632 --> 00:51:30,425
"Why don't you get the girls?"
944
00:51:30,425 --> 00:51:32,761
"The gorgeous girls on the runway?"
945
00:51:33,970 --> 00:51:36,848
[Christy] We got there,
saw our clothes, did our rehearsal.
946
00:51:36,848 --> 00:51:37,933
And then the song came on.
947
00:51:37,933 --> 00:51:41,144
And then it was like,
"Oh, I get what you're doing." [laughs]
948
00:51:41,144 --> 00:51:43,146
["Freedom! '90"
by George Michael playing]
949
00:51:43,146 --> 00:51:45,190
- [applause, cheering]
- [cameras clicking]
950
00:51:47,025 --> 00:51:49,444
[Menkes] You just can't
imagine the excitement,
951
00:51:49,444 --> 00:51:51,488
the energy, the sort of, madness
952
00:51:51,488 --> 00:51:53,198
of when Gianni Versace
953
00:51:53,865 --> 00:51:55,951
had all the supermodels together.
954
00:51:55,951 --> 00:51:58,036
I mean, he really caught that moment.
955
00:51:58,036 --> 00:52:00,622
[song continues]
956
00:52:03,041 --> 00:52:05,293
[Donatella] Each one of them
had this strong personality
957
00:52:05,293 --> 00:52:07,087
and they're not afraid to show it.
958
00:52:07,796 --> 00:52:11,049
The combination of fashion
and their personality was magic.
959
00:52:13,468 --> 00:52:14,719
[Menkes] It was a moment.
960
00:52:14,719 --> 00:52:16,513
It was the moment of Gianni Versace
961
00:52:16,513 --> 00:52:19,683
and the way he wanted
to produce sexy women
962
00:52:19,683 --> 00:52:21,142
who were also strong women.
963
00:52:24,604 --> 00:52:27,315
[Cindy] This incredible song,
this incredible designer,
964
00:52:27,315 --> 00:52:29,234
the moment of the women singing the song.
965
00:52:29,234 --> 00:52:30,902
It was just like it all came together.
966
00:52:30,902 --> 00:52:32,988
[song continues]
967
00:52:34,239 --> 00:52:35,365
[Christy] We could feel that moment.
968
00:52:35,365 --> 00:52:37,993
That is a moment that you kind of knew
would be iconic, actually.
969
00:52:37,993 --> 00:52:40,078
[song continues]
970
00:52:43,957 --> 00:52:47,168
Was like,
"Okay, that's what a supermodel is."
971
00:52:49,504 --> 00:52:52,632
[Linda] I didn't imagine
that it was going to
972
00:52:52,632 --> 00:52:56,219
catapult us to another level.
973
00:52:57,762 --> 00:53:01,516
{\an8}[Fincher] They were not like other people,
they weren't just beautiful.
974
00:53:02,559 --> 00:53:05,562
{\an8}[Baron] They stand out,
they were really becoming iconic
975
00:53:05,562 --> 00:53:06,980
{\an8}and, you know, memorable.
976
00:53:07,564 --> 00:53:08,690
{\an8}And important.
977
00:53:09,357 --> 00:53:10,901
{\an8}[Enninful] They became household names.
978
00:53:10,901 --> 00:53:13,320
And I think that
really solidified the supermodel.
979
00:53:14,487 --> 00:53:16,031
We looked powerful,
980
00:53:16,531 --> 00:53:18,658
and then we started believing that.
981
00:53:18,658 --> 00:53:20,577
[kettle whistling]
982
00:53:27,417 --> 00:53:29,211
[whistling fades]