Ellen von Unwerth, Lady in Red, Karen Mulder, Cannes, 1991. ULTIMATE: Ellen von Unwerth.
“It was shot in the South of France in the Côte d’Azur. I just caught Karen in a moment of pause, lounging in that vibrant red dress, book in hand and looking like a true lady of leisure. The vivid colours and relaxed pose are reminiscent of classic Hollywood glamour.”
—Ellen von Unwerth, 2024
Shot for Vogue Italia in October 1991, Ellen von Unwerth’s sun and crimson-drenched session with Dutch supermodel Karen Mulder wasn’t all Kir royales and negronis on the beaches of Cannes. A good glamour shot requires balance and posture; a good book gets us bent out of shape, and Mulder’s relaxed elegance is simultaneously candid and studied; effortlessly cool and playful in a way that only the South of France can offer, and only von Unwerth can create with signature panache. About midway through Siddhartha, where Mulder appears to be, she might come across Hesse’s words of wisdom: “Within you, there is a stillness and a sanctuary to which you can retreat at anytime and be yourself.”
Ellen von Unwerth, Can You Afford Me? Paris Hilton, Los Angeles, 2004. ULTIMATE: Ellen von Unwerth.
“A provocative play on glamour and desire. In this shot, Paris Hilton’s pose and attitude challenge the gaze, mixing allure with a hint of rebellion. We were going for a tease with a twist and she gave us that furtive smile like she knew exactly what we were thinking. Pure Paris. Here is the real question: is it hot?”
—Ellen von Unwerth, 2024
The answer is yes. In the era of dial-up gossip blogs, citizen paparazzi, and Los Angeles clubs that opened and closed in the same weekend, one name was on every guest list and listicle alike: Paris. Perhaps the most photographed socialite of the time, the heiress-turned-It-girl often turned to slogans on her clothing as a means to express a voice that was muted by still images and TMZ voiceovers. Those phrases, in turn, entered the pop culture lexicon as divisive cultural artifacts, but all press is good press, and it all brought eyes to Paris Hilton, as von Unwerth so brilliantly captures here in black and white.
Ellen von Unwerth, Royal Flush, Elizabeth Hurley, Las Vegas, 2001. ULTIMATE: Ellen von Unwerth.
“This was a shoot for Arena, and it was so great to be with Elizabeth Hurley in Las Vegas. We roamed the casinos and even had her arrested by two local policemen at the end of the shooting. When the game gets hard, you play harder, or you just have fun in a gold glitter dress with a Bloody Mary!”
—Ellen von Unwerth, 2024
In 2001, Elizabeth Hurley was interviewed for comedian John Cleese’s BBC series The Human Face, in which she recalled her embarrassment at looking at advertisements featuring her face and how she would go to lengths to avoid being seen glancing at herself in magazines on flights or billboards in public. Ellen von Unwerth, of course, thought she could cut loose and have a little fun in Sin City. The stakes are only as high as one is willing to gamble, and von Unwerth’s ability to capture her subject enjoying herself without the veneer of advertising or movie marketing adds a remarkably forthright quality to the work.
Ellen von Unwerth, Tango Night, Linda Evangelista, Paris, 1992. ULTIMATE: Ellen von Unwerth.
“In this shoot, Linda exudes a romantic and passionate energy, reminiscent of a classic tango night. The rich colours and poised posture draw from the drama of Latin culture. I remember the song ‘tango instrumental’ playing in the exact moment that I took the picture, and it was as if she had just stepped off the dance floor. The flowy outfit, the music and the way she moved was très, très chic!”
—Ellen von Unwerth, 2024
The Argentine tango is a form of poetry to Jorge Luis Borges, a style of painting for Carlos Gavito, an interpretation of time to Mikhail Baryshnikov, and a snapshot of chance and beauty for Ellen von Unwerth’s camera. Linda Evangelista’s intense glare is heightened by the hazy room, and we can practically feel the combination of generated heat and apprehension from whoever has to follow her dance. It is a celebration of the sensual, made all the more powerful by one of the ‘90s most iconic supermodels.
Ellen von Unwerth, Caramba, Kate Moss, Miami, 1993. ULTIMATE: Ellen von Unwerth.
“I remember this shoot like it was yesterday. Kate was still fresh to the scene and even then, she had that untouchable look. We put her next to this prickly, little cactus as a joke but in the end, it became a perfect match! Who has the sharper stare: Kate Moss or the cactus? Let’s just say it’s a prickly debate!”
—Ellen von Unwerth, 2024
At only 16, Kate Moss was a rising star in the industry and a force von Unwerth captures here with trademark intimacy and empowerment. Part of a 1993 shoot for American Vogue in Miami, the sharp angle and shot composition typify the photographer’s interest in capturing her subjects “before they know what their best angles are,” and highlights how her Polaroids are themselves works of art that embody this approach. The face that would launch a record 45 covers of British Vogue and campaigns from YSL and Burberry to artworks by Damien Hirst and Banksy is shown here with an almost knowing glance. At once inviting and wary, raw with rebellion and teenage uncertainty, Moss is at ease with von Unwerth’s world while finding her way within it.
Discover More from Photographs London >
Recommended Reading
Ellen von Unwerth: In Conversation >