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مسلسل The Super Models مترجم - Episode 1
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00:03All right. I don't think I'm going to be able to do it because I'm at work, so I don't
00:08think it's going to happen today for me.
00:12This will be really easy to stuff on.
00:15The shoes work, I think.
00:16Yeah, so this one. Okay.
00:18It's magic fabric, isn't it?
00:20It's perfect. It's shiny. It's perfect.
00:25Well, people always are like, you look just like Kaya. I'm like, no, she looks like you.
00:28Exactly.
00:29She looks like you.
00:30I had it first.
00:30Come on. Yeah, exactly.
00:35I think it might be Dior from New York Vintage. Chic, right?
00:40I heard you wanted maybe company, Linda.
00:42Oh, yeah, now they came to fit.
00:44Okay, when you're done.
00:46Oh my God, this feels so 90s, this camera. Where did this come from?
01:11How do you define the word super mom?
01:15I don't.
01:18I like to be simple about things like call a spade a spade, model a model.
01:26Christy's like the most beautiful.
01:31It was never a dream.
01:32I never really thought about it.
01:33It just sort of happened and then it became much bigger than I ever expected.
01:37She's a classic beauty.
01:41You see our photo, our image, so you feel that you know us, but there's no words that go
01:51with our pictures.
01:53People don't just see this part of us. They don't know what we're like inside and they
01:57have a whole different idea of what we are.
02:03Naomi is like this fierce goddess.
02:10We were the physical representations of power. Like we looked like strong women.
02:17And we would look in the mirror and we started believing that.
02:23I mean, I was ambitious. I wanted to do something. I wanted to make my mark, but I didn't know
02:26doing what, so I guess I got my chance.
02:31Cindy was the all-American girl.
02:35I think she was one of the first to really start to plan for a future that she would have
02:42more of a voice in.
02:46You know when your dream comes true and then you get to do it over and over?
02:58Linda's a chameleon.
02:59She could really become whatever the photographer wanted her to become.
03:12I dreamt of being a model. I wasn't discovered. I chose.
03:25We had to earn our stripes and take our stepping stones.
03:30It was insane. Like, we're not the Beatles.
03:41In 50 years time, I'll think of it as a very good experience and most of my friends I'm sure
03:45I will keep.
03:47This is my class. This is the group that I came of age with.
03:54That's what a supermodel is.
03:56That's what a supermodel is.
04:21Hello.
04:23Hello.
04:24Hello.
04:26Hello.
04:26How are you?
04:27Hello. Well, good enough.
04:29You used to have all the records in this back room here.
04:32Yes.
04:32Yeah.
04:33Are they upstairs now?
04:34I guess so.
04:39Careful.
04:40So now, Linda.
04:41You're here.
04:42Next to you?
04:43Yeah.
04:44You can do backwards.
04:46Right.
04:48Come closer.
04:49Yeah.
04:49Closer than this?
04:50Okay.
04:50No.
04:52I think you're ready to model again.
04:56So, you haven't changed.
04:59Now, there.
05:01That's very right.
05:01Oh, God.
05:01I have to lift you, Charlie.
05:03No.
05:03Okay.
05:04Then, oh, yeah.
05:04Do that.
05:05I lifted you.
05:06Stay.
05:06Uh, I think I'm doing...
05:08Yeah, I can't, though.
05:09Okay, sorry.
05:10I don't want to break her.
05:11I really don't.
05:12You can come closer, by the way.
05:13I don't want to break you this way, either.
05:14Could you come closer?
05:15Oh, too.
05:16Closer to you?
05:18Keep going.
05:19Now.
05:19Now stop.
05:21Yeah, that's it.
05:25Good.
05:26Ready?
05:27I'm going to lift you.
05:27Ready?
05:28One, two, three.
05:31Oh!
05:32No!
05:32Oh, God.
05:34Do it again, because I missed it.
05:36I'm going to do a massage after this one.
05:38One, two, three.
05:41Ah!
05:43Ah!
05:43Ah!
05:44Not, not.
05:46Notorious, Notorious.
05:48Ha!
05:50I was really young when I started working.
05:53Notorious.
05:56The only thing I'd done before modeling was babysit and clean stalls.
06:02As a teenager, I just remember that feeling of being in the suburbs and going to school
06:07every day thinking, like, there's gotta be something better out there than this.
06:14No, no.
06:16Notorious.
06:16My mother is from Central America.
06:18She's from El Salvador.
06:21And she and my father met on a flight, because my mother was a flight attendant for Pan Am.
06:28And my dad was a pilot who was from Northern California.
06:31And so, um, we ended up settling in the Bay Area because of that, really.
06:37My dad did not believe in spending money on things like clothing.
06:45He heard us talking about, like, designer jeans, and then he would take a trip to Asia
06:49and come back with, like, counterfeit Calvin Klein jeans and think that we'd be so excited
06:54to have the brand.
06:55And we were like, uh, these aren't real, Dad.
07:03When I was about 14, I was at the stable after school.
07:08And at the barn, there was a photographer.
07:10He walked over to my mom and he asked her if, you know, we had ever thought about modeling.
07:17And my mom said, no.
07:20Um, but I think she was intrigued.
07:24And my mom brought us to meet this agent.
07:27And she kind of looked at my sister and I, sort of sizing us up.
07:31And then she said to my sister, you're too little.
07:34Like, you're not gonna work.
07:35But you, you can, you can probably work.
07:38And let's, let's see what we can do with you.
07:41And my sister was devastated.
07:47So when I was in school and starting to model, I think I probably shared that with just really close
07:52friends.
07:53I didn't really talk about it too openly.
07:56You know, to be 15 years old, modeling bridal dresses is kind of funny.
08:05Sometimes I would say yes to a job.
08:07And then, of course, I didn't want to do that job if I had a more promising or fun thing
08:12to do with my friends.
08:13So I remember there were a few times when my dad was driving me to something, saying, you know,
08:17well, you made a commitment and this is what you have to do.
08:22Modeling was not cool at all, except that I had money.
08:26That gave me a lot of independence right out of the gate, just based on that.
08:33My next guest began her own modeling agency 24 years ago and is now the biggest one in the world.
08:38Will you welcome, please, Eileen Ford.
08:42Can a lady survive without being in your favor in modeling?
08:45Since you are the most powerful, certainly.
08:48It's not a very feminine word, but let's face it, you are powerful.
08:51We do a lot more of the work than anybody else.
08:53And we get more of the cream of the work than anybody else.
08:58I was probably 15 when I met the Fords.
09:07I came to New York.
09:10The Fords lived in this big townhouse on East 78th Street and Lex.
09:15And it was dormitory style.
09:17And my mom was planning on going home and letting me stay on my own.
09:22I think everybody was there for a week or two.
09:24There was like a cycle, a constant cycle.
09:30If you went on a casting or on a go-see, they call it, you'd have like your list of
09:34appointments.
09:36And then you could have somebody just with your portfolio, open it and close it and just like send you
09:41off on your way.
09:45On one of my castings, the sittings editor said to me, hey, I want to send you down to Arthur
09:52Elgort's studio.
09:53And that's sort of like when everything changed.
10:01I just knew this is going to be a star.
10:08Arthur's style is very much, you know, where you're always in motion and always in action and not super stylized,
10:15just very kind of free.
10:17He photographed a lot of dancers and musicians.
10:22He taught me a lot about like how to be comfortable in front of a camera and like move and
10:27what to do with my hands.
10:29I called the booker.
10:31I said, I have a job coming up for Vogue magazine and I want Christie.
10:38And it was funny at the time because the booker said, oh, you think Christie's good?
10:44We have better.
10:45I said, you did your part.
10:47I'll stick with Christie anyway.
10:55Now, this is the first picture I took of Linda.
10:59This picture.
11:00The first one?
11:02Yes, yes.
11:03You remember it?
11:05I do remember.
11:06Was it in Paris or here?
11:07No, in Paris.
11:09Now this one, do you remember that?
11:11It was raining out.
11:13Did I do that many times or just once?
11:16No, no, twice.
11:18Twice I did it?
11:18And you said, I know what to do.
11:21So I just made sure I was in focus.
11:25And she did that.
11:26You always were.
11:27No, not recently.
11:29We always got a picture.
11:31Oh, Cindy.
11:33That's a gorgeous one.
11:34I feel like I remember that one too.
11:37There's baby Omi.
11:38Uh-huh.
11:39For the editing book.
11:40Now, I haven't seen Naomi in years.
11:44No.
11:44Does he look the same?
11:47Better.
11:47Better.
11:48Better.
11:49Really?
11:49She just gets better and better.
11:52After that first Vogue shoot with Arthur, I went to London.
11:56Went straight to the studio and then Naomi came in.
12:04She was like, not in her school uniform, but she was basically also in school.
12:10And, you know, just super excited to be there.
12:13Just adorable.
12:14When I first met Christy, she was so kind.
12:17And we had such a great shoot.
12:18I didn't want it to end.
12:20It didn't feel like work.
12:21Come on, everybody.
12:22Come on, everybody.
12:23Come on, everybody.
12:24Come on, everybody.
12:24Don't leave this crap.
12:28We were playing Wham, I remember.
12:31Say Wham.
12:34We would just be dancing and dancing and hanging out, having such a good time.
12:39After a few days and just the hours they had us there, you know, you just get to be sort
12:43of delirious.
12:47From that moment on, Naomi and I stayed close.
13:11We're done, we're done, we're done, we're done, we're done.
13:15Okay, first outfit.
13:19I know you, I know you, you makeup artists love to put it like a lip brush, but I'm like,
13:25straight up with the lipstick.
13:30Nine?
13:31I love it.
13:31Okay, cool.
13:33Okay, I don't know how many hours late I am, but I'll just knock out the pictures.
13:41You know, let me tell you this.
13:42By the time this comes out, I will not be smoking.
13:46I hope not.
13:47I am stopping to smoke on the 31st of January, and now this is documenting it, so I'm going
13:52to be held to my word.
13:53I have to stop.
13:54I'm going to be here.
13:55I have to stop.
13:56Steve, it's so bad for you, Lin.
13:58I know, it's terrible.
14:00It's really bad.
14:01And none of the other three smoke.
14:03Linda doesn't smoke, Chrissy doesn't smoke, and Cindy doesn't smoke.
14:13I've lived most of my life in front of a camera.
14:18I studied theater arts in London.
14:21Dance was my main thing.
14:23And that's all I wanted at that time, was to make it in theater arts.
14:28That was my focus.
14:31I tell my mum I have an audition, and my mum will say, OK, but how many kids do they
14:35want out of this audition?
14:36I'm like, maybe six or seven.
14:38And we'll get to the audition, there'll be like 600 kids.
14:41And she'll be like, oh my God, Naomi, I don't think you're going to get this.
14:44And I'll be like, yes, I am.
14:45I'm getting it.
14:49What part do you want to read for?
14:51Snow White.
14:52We're not doing Snow White, we're doing Cinderella.
14:54Cinderella, then.
14:55You can be a footman if you like.
14:57My mother did all her best to put me in a place where I could study and learn and get
15:03educated.
15:06She sent me to this private school, and I was called the N-word when I was five.
15:15I wasn't going to accept to be bullied at school for the color of my skin.
15:20My mother was paying my school fees just like everybody else.
15:23I had every right to be there, so go take your bullying somewhere else, is how I felt.
15:32I remember Don Letts walking into my school and saying, I need children for a Bob Marley
15:38video.
15:40Bob Marley's walking down the street holding a little girl's hand, a little boy's hand.
15:43I'm the little girl.
15:49Bob Marley for a Jamaican, it was like a God.
15:53Couldn't believe it.
15:58I was in a Culture Club video.
16:03I lived for Boy George, I lived for Culture Club.
16:06I thought Boy George was just like, he didn't care what people thought of him and how he dressed
16:13and if he put on makeup and if he was a boy in makeup, I loved it.
16:20In 1984, I didn't want to go home directly, so a bunch of my school friends and I stopped
16:26in this great kind of artsy area we have in London called Covent Garden.
16:33There was the square, music in the streets.
16:36There was always artsy things happening.
16:39American lady said to me, did I model?
16:44I was a bit taken back because some of my school friends had beautiful, long, silky,
16:49golden hair and there was me just like, you know, a little awkward in the sense of I always
16:56wanted to shrink myself a little bit because I felt a little lanky.
17:01And so I took the lady's card and I didn't call her for weeks.
17:06And then I called her.
17:08Her name was Beth Bolt.
17:11She sent me on Go-sees.
17:14I had three pictures in my book.
17:17Gotta start somewhere.
17:21I did not know how to model.
17:24I didn't have money to buy fashion magazines.
17:28So I used all the dance training I had.
17:31So jumping in the air, splits, laughing, you know, all that stuff.
17:37Well, Martin Braden gave me a break.
17:42I started with her when she was 15.
17:45But she was old for her age in some way.
17:47She was quite clever, smart.
17:49She knew what was going on.
17:51She liked having a photograph taken.
17:53You could feel that.
17:56At the time, modeling was kind of looked down on in my family.
18:02My mother had no idea that I was doing any of it.
18:12He sells the pictures for charity, right?
18:16We want him to sell for the most amount of money possible.
18:20So sometimes the more recognizable I am,
18:24like, it shouldn't be like, who's that girl in the picture?
18:26It should... girl.
18:28Who's that woman in the picture?
18:29It should be, oh, that it's Cindy Crawford.
18:33So, like, if he wants the hair up,
18:35but we really don't think it's the most flattering for me,
18:37we should fight for it.
18:44See you tomorrow.
18:46Woo!
18:48Brr!
18:52It is, like, small town, isn't it?
18:54I mean, it has that vibe.
18:56I grew up in the Midwest,
18:57so I grew up with snow and weather.
19:06Every kid in my town,
19:08once you were either, like, a certain height
19:11or a certain age,
19:13you could work in the cornfields in the summer.
19:18You'd come home covered in pollen and dirt and bugs.
19:22Like, my mother would hose us off
19:23before we were allowed into the house.
19:27I grew up in DeKalb, Illinois,
19:31a small town.
19:33Blue-collar family.
19:35I actually had a very, I think,
19:38idyllic kind of all-American childhood
19:41until I was nine years old
19:44and my brother got diagnosed with leukemia.
19:47He passed away a year later.
19:52While my brother was sick,
19:54obviously that became the focal point
19:57of my whole family.
20:00And then when he passed away,
20:01it's like, how do you grieve as a family?
20:06My sisters and I kind of felt like,
20:08oh, it should have been one of the girls.
20:10Like, as opposed to the only boy.
20:13I think we felt pressure to be perfect kids,
20:17which probably served me well in life.
20:22My parents split up when I was in high school,
20:25so that was kind of like
20:26the second reminder that fairy tales
20:30are, you know, not real.
20:35My mother was like
20:37the model of unconditional love.
20:39Oh, you got an A?
20:41Oh, that's so great.
20:42You got a B?
20:42That's great.
20:43You got a C?
20:44That's great.
20:44I never got a C, ever.
20:48But my dad rewarded success.
20:53He was like my ambition
20:54because that's how you got his attention.
20:59I never felt like I looked special or different.
21:05If anything, I wasn't like the ugly duckling,
21:08but in my high school,
21:09the pretty girls were like
21:11the little petite cheerleaders.
21:13That was what the idea of beauty was
21:15in my small town.
21:18I never even thought about modeling.
21:20I didn't even know it was a real job.
21:21I didn't know how I would get from DeKalb, Illinois,
21:24to a magazine.
21:29But then a local photographer asked me
21:32if he could photograph me.
21:35My dad really didn't understand
21:37that modeling was a real career.
21:39He thought modeling was like
21:41another name for prostitution,
21:43so they came with me
21:44to my very first modeling appointment.
21:53The agent was kind of like,
21:54well, I don't know,
21:56you've got a mole on your face.
21:59But she's like,
22:00let's do some test pictures.
22:06The pictures were really terrible
22:08and pretty unusable,
22:10except that the hairdresser,
22:12he saw something in me
22:14and he showed it to Elite in Chicago.
22:17And they called me in
22:19and they set up a test shoot.
22:29I got a job for Marshall Fields,
22:32which was a department store,
22:33for a bra ad.
22:36About two weeks later,
22:37I go to school one day
22:39and it's plastered all over my high school.
22:41And I remember like,
22:42kids are trying to tease me about it
22:43and make me feel bad.
22:44And I'm thinking,
22:44do they know I made like 120 bucks
22:48or whatever doing that?
22:49I didn't care.
22:49I was like,
22:50better than working in the cornfields.
23:00So you want to put a couple more earrings on one ear?
23:03Like a couple of those little guys?
23:05I want you to know,
23:07these two holes,
23:09I don't know what angle they are,
23:10but I did them when I was 12 years old.
23:14And I found a file in my father's toolbox.
23:19And I filed my hoops
23:22and I drove them through.
23:24And I got in so much trouble.
23:27She called me a streetwalker.
23:32My parents were so strict, yes.
23:34My mother in particular,
23:36they both immigrated from Italy
23:39to Ontario, Canada.
23:43I grew up very Italian,
23:46very Italian traditions,
23:47but I was always into fashion,
23:51obsessed with fashion.
23:54You know who this is?
23:55Uh-huh.
23:56But not the Barbie you know.
23:59This is new Color Magic Barbie.
24:01Her hair actually changes color.
24:04My poor Barbie dolls,
24:06they got dressed and undressed.
24:08I don't know how many times.
24:10And my Barbies got married a lot.
24:18I worked in a convenience store.
24:21We had a magazine rack.
24:25And in my free time,
24:26I would go through the magazines.
24:27And if there was one that I adored,
24:29I would use my minimum wage
24:33to buy the magazine
24:35so I could put the photos up on my wall
24:37in my bedroom.
24:40Everybody, it's a good thing.
24:42And it's true, it's a monumental good thing.
24:46I had curly hair and I got a perm.
24:49And then I cut my hair over the ear.
24:51I think they call that a mullet.
24:58I thought it was the cat's meow.
25:03My mother understood
25:05how important fashion was to me
25:08so my mother said,
25:10why don't we try modeling school?
25:13I learned how to take a jacket off
25:16with one hand.
25:18You pop your buttons with one hand,
25:20you start at the bottom.
25:22No one needs to go to modeling school
25:24to be a model.
25:28It's ironic that my parents
25:29let me go to Japan
25:31when I was 16 on a modeling contract.
25:34They wouldn't let me go
25:36on the school ski trip,
25:38but they let me go to Japan.
25:43When I got to Japan,
25:45first thing they asked me was
25:47about nude photographs
25:48and they wanted to take all my measurements
25:51and take your clothes off.
25:55And I'm like,
25:56I just made a composite
25:59and it had my measurements on it
26:02and I didn't want to take my clothes off.
26:07I kind of freaked out.
26:12I never should have went there by myself.
26:16I went home.
26:19I sort of gave up,
26:21but then my modeling agency
26:25insisted I enter the Miss Teen Niagara pageant.
26:30I was unsuccessful,
26:32but there was a scout in the audience
26:36and they introduced me to John Casablanca's
26:39and when he met me,
26:41he said,
26:42wow, I think you look like Joan Severance.
26:45And I almost dropped dead
26:47because I worshipped her.
26:50He said, yeah,
26:51we'd love to take you on.
26:53Maybe you should lose five pounds
26:58and we'll give it a go.
27:03John Casablanca's
27:05was an extremely charming man.
27:10He was the head of Elite Modeling Agency.
27:14You could tell he had,
27:16like, you know,
27:17he was that suave guy.
27:21I think by the time I met him,
27:23he did date,
27:25you know,
27:26someone my age
27:27or almost my age.
27:29I never saw him as that.
27:30Like, to me,
27:31he was like my agent.
27:36In my senior year of high school,
27:37Elite Agency
27:38signed me up
27:39for their
27:40Look of the Year contest.
27:41So it's like,
27:42it's like a model search contest.
27:46Me and about probably 200 young women
27:49were in Acapulco
27:51and that was more like,
27:52almost like you would
27:53think of a beauty pageant.
27:55My name is Cindy Crawford.
27:56I'm from Chicago, Illinois.
27:57But you didn't have to have any talent.
28:01This is a contest
28:02for the fun of it,
28:04for the beauty of it.
28:06Judging is taking place
28:07all the time.
28:09You are being watched
28:11all the time
28:12because being a model
28:14is being a person
28:17who can be great at all times.
28:20When I look back on it,
28:22it's probably pretty not woke,
28:23but at the time,
28:24it didn't, you know,
28:25it just felt like
28:26it was an audition.
28:29We went around the world
28:31and we grabbed you.
28:33We found you.
28:34We brought you here
28:36and we hope
28:39that this is just
28:40the beginning of something
28:42that will make you
28:42great elite models
28:44and that we will make together
28:46a lot of money
28:48and have a lot of success.
28:52I got selected
28:53in the top ten.
28:55When you were in the top ten,
28:56then they kind of
28:57pulled you aside
28:57to interview you.
28:58Would you be willing
28:59to quit school
29:00and can you move to New York
29:01and blah, blah, blah.
29:01And I was still in high school
29:03and I wasn't ready
29:04to quit school
29:04and I said that.
29:09So I went back
29:10to high school.
29:13I was well on my way
29:14and did become co-valedictorian
29:18and I applied
29:19to Northwestern University
29:21and got a scholarship
29:22if I would go
29:23into chemical engineering.
29:27The summer
29:28before I went to college,
29:31I had been invited
29:32to New York by Elite
29:34and I went to see
29:36a photographer,
29:37Patrick Dumasch-Lie.
29:38He said, fine,
29:39I'll book her
29:40to go to Rome
29:42but I want her
29:43to cut her hair off.
29:46My agency and I
29:47decided, no,
29:48it wasn't worth it.
29:49So we said, no,
29:50she's not cutting her hair
29:51and they said, fine,
29:53we'll take her anyway.
29:56I was so excited.
29:58It was just
29:59a great opportunity.
30:07The very first night
30:08they send the hairdresser
30:10to my room
30:11to give me a trim,
30:13comb my hair,
30:14put it in a ponytail
30:15and chop my ponytail off
30:17without asking.
30:20I was in shock
30:22and I just sat there
30:24in a hotel room
30:24in Rome crying.
30:28And if people wonder
30:29why I've never really
30:30cut my hair since then,
30:31that's why.
30:32Because I was
30:33so traumatized.
30:39I really felt
30:41I was not seen
30:42as a person
30:44who had a voice
30:46in her own destiny.
30:49It wasn't that
30:50I didn't like my hair short,
30:52it was that
30:52I hadn't voted myself
30:53in to having short hair.
30:56If this is what it means
30:58to be a model,
30:59I'm just not ready for this.
31:17There's so much mythology
31:19that surrounds models
31:21and the job of that mythology
31:23is to kind of hide
31:25their humanity.
31:34When you look at the history
31:36of the model,
31:39the model's role
31:41was to basically
31:42be a living hanger.
31:44They were referred to
31:46as mannequins.
31:47Models typically are silent
31:49and their job
31:51is to make everything
31:53look effortless.
31:56You didn't necessarily
31:57know a model's name.
31:59I was lucky to be
32:01a model,
32:02runway model,
32:03but I really had always
32:04a full-time job.
32:10There were many other models
32:11who were famous,
32:13but most of them
32:14were famous really
32:15just for print.
32:17You know,
32:18whether it would be
32:18Twiggy back in the 60s,
32:21Lauren Hutton in the 70s.
32:24I think the model types
32:25tended to look like
32:27men's ideas
32:28about what women
32:29should look like.
32:30They were blondes
32:32like Cheryl Teagues
32:33or Christy Brinkley.
32:35I mean, gorgeous women,
32:36but they, you know,
32:37from 10 feet away,
32:38they kind of look alike.
32:43I think the fashion industry
32:44has created an illusion
32:47of glamour and sex
32:49because you're not
32:50supposed to know
32:51that perhaps that model
32:52who is supposed to
32:53represent this idealized woman
32:56is only 17 years old.
32:59The models were the ones
33:01ultimately responsible
33:02for selling the brands
33:04at the end of the day
33:05or certainly selling
33:06the magazines.
33:07So I think the pressures
33:08were incredible.
33:12You have to have
33:12great photographs
33:13or be great
33:14in a fashion show
33:15and then you have
33:16to slay it the next day.
33:23Like that?
33:24No, a little bit more.
33:26Actually, roll.
33:27Let me ask your question.
33:29Okay, go ahead.
33:29How important are your eyelashes
33:30to your total look?
33:32Um, it's very important.
33:34Without eyelashes,
33:35you're not familiar.
33:36Do you use your eyelashes
33:38to communicate at all?
33:39Yes, when you want something.
33:41Pardon me?
33:42When you want something
33:43adds to your charm
33:45when you bat your lashes.
33:49Is that a good answer?
33:53I didn't think I was beautiful.
33:56I thought I was pretty.
33:59And I knew I was tall
34:01and I was thin, very thin.
34:05So I thought I had most of the credentials
34:08to be a model.
34:13I believe I was almost 19 when I went to Paris.
34:18It was suggested that I maybe cheat on my age a little bit.
34:26I did get bookings, but at the bottom of the ladder,
34:31I wanted to be whoever they wanted me to be
34:36when I showed up at work.
34:39So whether it was a designer or a photographer,
34:43I wanted to, to please them.
34:58I did a Chanel show very early.
35:16And I felt like, at that point, I still hadn't found myself.
35:21I felt like a little bit like an imposter.
35:36But I so wanted to be there.
35:40I so wanted to be there.
35:43I so wanted to be there.
35:48My agent thought I should start from the beginning again
35:51because my book was not impressing a single person.
36:01I think I looked awkward,
36:04and I thought I understood fashion,
36:07but I didn't understand fashion.
36:12Many people told me a good career is three years,
36:15and I did my three years.
36:20So when I went to see Peter Lindbergh on a go-see,
36:25I went without my portfolio.
36:30And he booked me.
36:40What I try to do is, like, to give respect to women,
36:44not to transform them into Mickey Mouses or things like that.
36:47Just leave them the way they are,
36:48and work with their personalities.
36:51And that's what, I mean, when I find somebody new to work with,
36:54they have to bring it, you know?
36:55I don't make it.
36:56They have to bring it.
36:57And that's what, at the end, in the image,
37:00that's what's left is them, you know?
37:04Peter Lindbergh was a craftsman.
37:05Peter Lindbergh was a craftsman.
37:06He had his technique down to the millimeter,
37:10getting a certain woman inside his camera.
37:15He had, you know, that very Germanic, Nordic look to his pictures,
37:20you know, like German industrial,
37:23always in black and white.
37:25Peter was raw and atmospheric.
37:28They were all very gritty, his pictures.
37:35I think if anybody captured the real me,
37:41it was Peter Lindbergh.
37:44Those are the ones that made me the most uncomfortable,
37:48because it's really hard to just be you.
37:52We've got some young models in today.
37:55Naomi, why does she make a good cover girl?
37:58She's got an amazing personality,
38:00apart from being very pretty.
38:01She's incredibly professional.
38:03I mean, even at 15, she was turning off on sessions
38:05with bagfuls of gear and, you know,
38:06with necklaces and makeup and everything like that.
38:09My agent goes,
38:10I would like to send you to Elle magazine
38:12because they would like to take me on this trip in America.
38:17I felt this real guilt.
38:21My mother had no idea that I was doing any of it.
38:26My mother was born in Jamaica,
38:28and she came to England when she was three years old.
38:33My mother was my mother.
38:34My mother was my father.
38:39I also believe a lot of that was part of my drive, too,
38:42not having my father figure in my life.
38:48I always wanted to make my mother proud.
38:53I know how hard she worked and sacrificed for me.
39:00So I finally go home,
39:01and I woke up the nerve to tell my mom she's pissed.
39:06It's not what she had sent me to school for.
39:08She's paid my school fees all these years,
39:12and now I'm just going to want to be in modeling.
39:19But she did say yes,
39:20but my mother couldn't come with me
39:22because she was pregnant with my brother.
39:25So off I went in April 14th to New Orleans.
39:44Naomi was very cooperative in those days.
39:48It was her first big job.
39:49It was a big adventure for her.
39:52We did two stories,
39:54one on the beach,
39:57and this other story called Land Girls.
40:02We were on a slave plantation
40:04when we did this picture.
40:06Six white people and a black girl.
40:09This is 30 years ago.
40:12Different world.
40:16My mom was nervous.
40:18She talked to me before I left.
40:20She told me about racism in America.
40:25She told me about the South,
40:27about the Ku Klux Klan.
40:30You know, that's what we knew
40:32about the South in England.
40:37I started to understand culturally
40:40that I was going to have to work really hard
40:44to feel accepted.
40:47There was no way I could go back home
40:49with my tail between my legs
40:51saying it didn't work out,
40:52I gave up.
40:54No way.
40:57I was going to go harder and further.
41:04About four months after I shot British L,
41:07there were some people that came to London
41:10because they heard about this young black girl.
41:13So that was a bit like,
41:15wow, they're flying over to England to meet me?
41:27I had a studio in East London
41:30and a very good friend of mine had run over
41:32and said, you've got to come over,
41:33you've got to check this girl,
41:35I'll check this girl,
41:35she's only 14, she's only 15,
41:38tap school or whatever.
41:39And that's when I first saw Naomi working,
41:41I think it was for British L.
41:45She has presence.
41:48Presence, grounded, it's like a magnet.
41:54The woman who had discovered her,
41:56she contacted me because she said,
41:57there's a girl I think you should take care of.
41:59Naomi was very respectful, very shy, quiet.
42:02I was so impressed with her.
42:05Just got to meet really good people.
42:08Eileen Ford started to come over to London,
42:10trying to get my mother to get me to sign with them.
42:16I loved Eileen Ford.
42:18I look back now,
42:20at her old-fashioned way of,
42:23her old traditional way of being a model agent.
42:26I think she was correct.
42:28I think she was the most correct of all of them.
42:31How did she approach her?
42:32It was different.
42:32I just liked the way she took care of the girls.
42:35We all had to live in our home with her
42:37and, you know, she made your parents feel very protected.
42:45At the time, there was like two big agencies in New York.
42:48There was Ford, which was Eileen Ford,
42:50which she was very, like, proper
42:53and, you know, expected all her girls to behave a certain way
42:59and they would stay in the townhouse.
43:01And then there was Eileen,
43:03which had a much different energy at that agency.
43:08They didn't feel like they were our parents
43:11or wanted to be our parents.
43:12You weren't their responsibility.
43:14They were your agents.
43:15That's how I felt.
43:16I didn't feel like I had a second parent in my agency.
43:19I was 20 years old.
43:22I had dropped out of college to model in Chicago
43:25and it was great.
43:27I was making $1,000 a day.
43:32The main business there was catalog.
43:37There was one big photographer, Victor Scribneski.
43:40He was the big fish in the little pond.
43:44Victor was definitely my first mentor
43:47in the fashion industry.
43:49He would tell you, you know,
43:50okay, right arm out, shoulder up.
43:53And when Victor said, don't move, you didn't move.
43:56You're like, okay, I'm not gonna move a muscle.
44:00I passed out there more than once,
44:02especially right before lunch.
44:04If you were hungry, you would faint
44:06and then they'd prop you back up
44:08and you'd do it all over again.
44:11It wasn't about, oh, wow, you're so pretty
44:14when you take pictures of you.
44:15No, it's like, your job is,
44:16you're helping me sell this jacket.
44:17Like, we're all here to sell this jacket.
44:20Straight from DeKalb, Illinois,
44:21please welcome Cindy Crawford.
44:24Did she always have this body?
44:26Stand up just a moment.
44:27Now this is what I call a bod.
44:30Did she have to go to that training period or no?
44:33Well, with Cindy, it was much more psychologically.
44:36She was not sure if she really wanted to model.
44:39I was like the chattel.
44:40It was a question of mental stability.
44:42Or a child, like, be seen and not heard.
44:44When you look at it through today's eyes,
44:46when Oprah's like, stand up and show me your body,
44:50like, show us why you're worthy of being here.
44:54In the moment, I didn't recognize it.
44:56Only when I looked back at it and I was like,
44:57oh my gosh, that was so not okay, really.
45:01Especially from Oprah.
45:03Little by little, her ambition is growing.
45:05She's getting a sense that she could be,
45:07and I'm saying it now on this program,
45:09if she wants to,
45:10she can be maybe the number one in the business.
45:13I felt good in Chicago.
45:14Like, the city didn't overwhelm me.
45:16I had my own apartment,
45:18and I could drive home and see my mother.
45:21I had this very safe situation with Victor Skribniewski,
45:25who I was working with every day
45:26and making a great living.
45:29I got offered a job in Bali,
45:32and it was like a 10-day trip.
45:33And in Chicago, the modeling jobs that we did
45:36were in Chicago.
45:38Like, we rarely got to go on location
45:40and travel and do anything exciting.
45:43Skribniewski Studio,
45:44they were holding one day in that 10 days,
45:47and I said, can you release me from this day
45:49so I can do this other thing?
45:51And they said no.
45:53And not only did they say no,
45:55they said, if you cancel this half-day catalog
45:59or whatever it was,
46:00we will never use you again.
46:03I was working four or five days a week,
46:06mostly with Victor.
46:07They were my bread and butter and everything.
46:11I was making more money
46:13than my parents would have ever dreamed of.
46:19When I was a kid,
46:20there was never enough to go around.
46:25And then when my parents split up,
46:28I had seen how my dad used money sometimes
46:30to try to manipulate my mother.
46:36I remember seeing that and going,
46:37that will never be me.
46:39As you mature,
46:42you know when it's important to say something
46:45and when it's not.
46:48I canceled the job.
46:49I went and did the 10-day trip in Bali.
46:55And that was it.
46:57And he never booked me again, ever.
47:00If you were modeling in Chicago
47:01and you weren't working with Victor Skribniewski,
47:05it was like taking a step down.
47:08Okay, well, I'm going to give New York a shot.
47:18So we're doing two covers.
47:20The main cover,
47:21their 75th anniversary cover
47:23and I think another online cover.
47:30Can the hand come up more to the neck somewhat?
47:32Yeah.
47:33And then I'll just go into it.
47:34Beautiful.
47:35Maybe that's it.
47:37Like that.
47:38That's better, isn't it?
47:39Oh, my God.
47:39Jesus, such good photography.
47:44Christy looks amazing as well, guys.
47:47I don't want to...
47:48Can we got that on camera?
47:49Christy Turlington will do her first Cosmo cover.
47:52She'll take home $500
47:53for only three hours of printing
47:56and 15 minutes of posing.
47:58Not bad for a girl
47:59who just graduated high school.
48:03Modeling is like a learn as you go,
48:06learn as you watch and observe.
48:10There's no real, like, teaching.
48:15Nowadays, all the magic happens in post-production.
48:23In the 80s and the early 90s,
48:26all the magic happened exactly at that moment
48:29that you heard click.
48:32A still image is sacred.
48:34We would take 100 frames to get that one.
48:42What we saw is what we got.
48:46Somebody was holding the end of a skirt
48:48with a fishing wire string.
48:51There was maybe a Coke can behind your belt
48:57to cinch in your waist.
48:59We had all these tricks,
49:01but the light...
49:02Photographers really worked on the light
49:04because there was no retouching then.
49:08And you never knew what the picture was going to be
49:11until you saw it in the magazine.
49:13In the 1980s, kids,
49:15there was no internet.
49:17There was something called magazines.
49:24We didn't have Instagram.
49:26We didn't have Facebook.
49:29We had magazines.
49:32Back then, magazines were one of the primary ways
49:35of entering another world.
49:38And we had people who curated
49:40what culture should be.
49:43A magazine hopefully catches the reader
49:46who looks more deeply into the clothes
49:50than goes to the shop and buys them.
49:52Bazar avait style,
49:54Vogue avait style,
49:55L avait style.
49:56I don't know how to describe this.
49:58But they were all different.
50:01Harper's Bazaar was very tony.
50:04Elle magazine,
50:05we were doing everything fast.
50:08It was weekly
50:10because fashion is quick,
50:12you know what I mean?
50:13Vogue was always the crown jewel
50:16of fashion magazines.
50:17Vogue was very international.
50:20And then American Vogue,
50:21obviously, was the Bible.
50:23I think being in Vogue,
50:24it's something that basically every model wants
50:26and it helps a career.
50:28It gets her advertising campaigns.
50:30It gets her book together.
50:32I mean, there's other reasons
50:33that girls want to do Vogue beyond the money.
50:37I remember getting booked
50:39for American Vogue to St. Bart's.
50:42For a girl from a small town going to St. Bart's,
50:44I was like, this is heaven.
50:46And from that shoot,
50:49I got a cover try for Vogue.
50:53We were never guaranteed covers.
50:56Back then,
50:58it was a cover try.
51:00You would go in and you would do a few
51:02and then they would have a look at them
51:04and say, yes, this one's a go
51:06or no, let's shoot more on someone else.
51:09And you wouldn't know until like a month later
51:12if yours got selected or not.
51:14Like that was my dream.
51:17To be on a cover of Vogue.
51:19Any Vogue.
51:19Didn't care which Vogue.
51:21Any Vogue.
51:25My first Vogue cover was Italian Vogue.
51:29I remember loving the way
51:31that I looked in the mirror
51:32and I felt like such a princess
51:34walking to the set.
51:35And you couldn't get Italian Vogue everywhere.
51:37So, you know,
51:38when I went back to my life at home,
51:40it took me a long time
51:41before I got to see the magazine
51:42because it's something
51:43that I couldn't really find.
51:45My second Vogue cover,
51:46I think was a bigger deal
51:49in the sense that more people noticed it.
51:51And that was for British Vogue.
51:54Looking at it now,
51:54I look so young.
51:55I can't even believe
51:56that I'm on the cover of Vogue.
51:58I was probably 17 by then.
52:02Patrick de Marchier shot it.
52:04Donna Karan had just launched her new brand.
52:07And so it was a cover story
52:09and wearing her first collection.
52:13After we finished the shoot,
52:14we took a portrait.
52:18I had these extensions in my hair.
52:19So it was this very long hair.
52:21And we did like a portrait
52:23kind of, you know,
52:24where I was like this,
52:25like kind of the classic
52:26covering yourself.
52:28My arms went down
52:28a little bit lower,
52:29a little bit lower.
52:30Could you put your arms down
52:30a little bit lower,
52:31a little bit lower?
52:33And I remember being like self-conscious,
52:35but I didn't feel necessarily bad.
52:38I felt good from that shoot.
52:40I felt pretty in that moment.
52:43Patrick didn't give me the creeps per se,
52:45but I do remember being like,
52:47oh my gosh,
52:49I'm not supposed to,
52:50I shouldn't be doing this.
52:53Eventually,
52:54that image came out
52:56on the cover of a photo magazine,
52:58which is not like huge circulation
52:59or anything like that,
53:00but it was like,
53:01oh gosh.
53:02Because I don't know
53:03what I thought it was for,
53:04but I definitely didn't think
53:05it was for a cover of a magazine.
53:08I don't think there was any like age
53:11that you were supposed to be
53:12in order to have a nude picture at.
53:14Like I don't think
53:14there was anybody monitoring
53:15or regulating any of that.
53:18I can't say that I was so savvy
53:22the whole time,
53:23but I know my mom would say much later
53:28that, oh, you know,
53:29you were always going to be fine.
53:31I knew you had your head on your shoulders
53:33and you were going to be fine.
53:35But I don't know that there was
53:36every guarantee that I was going to be fine.
53:39It was just kind of, you know,
53:43go, good luck.
53:52Cindy Crawford is now
53:54the most recognizable
53:55and marketable celebrity.
53:56A man will get a pat on the back
53:57and say that job well done.
53:59I won't get out of bed
54:00for less than $10,000 a day.
54:03Tough the game, really.
54:06One day we'll come
54:08when it's over.
54:30I won't get out of bed.
54:31I won't get out of bed.
54:31I won't get out of bed.
54:32I won't get out of bed.
54:34I won't get out of bed.
54:36I won't get out of bed.
54:37I won't get out of bed.
54:37I won't get out of bed.
54:37I won't get out of bed.
54:37I won't get out of bed.
54:39I won't get out of bed.
54:41I won't get out of bed.
54:44I won't get out of bed.
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