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"It's only in this generation that so many women have become important, because, I think, the old prejudices about the photographer's relationship with the model has finally gone," says Williams.
"Bailey's relationship with the models, that Blow-Up, Austin Powers thing. You can ask Tom Ford at the next Gucci Group shareholder meeting.
But while the Bailey legacy has been celebrated with a recent book, Birth of the Cool, and the photographer himself has shot a rare ad campaign for Bergdorf Goodman, the Bailey model is getting punched full of holes.
There's a new cadre of fashion photographers, all of them women and, refreshingly, all of them with nothing but a camera to grind.
As a pioneer of the vibrant, documentary-inspired approach to fashion photography in the 1990s and early 2000s, Constantine offered a joyous alternative to the gloomy grunge aesthetic and was soon a regular contributor to The Face.
And today's girls, or women, or whatever you want to call them since neither word seems quite appropriate, aren't as interested in playing the sex card, or, at the very least, not in using it as a trump.
"I don't look at them in a sexual way," says Nolan, referring to how she sees her models. I see them as individuals, the same way I see men as people.
"One thing that confuses me about this is why you should have to use the really big models," she says.
Since she prefers to use models with whom she feels some visual kinship, such demands are tough.
Even with Helmut Newton, when those girls were having a really great time, there was something underlying, an exploitative edge. But although sex still sells, it's not the only thing that sells.