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Despite Stella’s misconceptions, the fashion world was in turmoil. For Donatella Versace, Stella was “strong, cunning, opinionated and determined.” It was nominated for Jean-Paul Gaultier’s memorable exhibition in the Spring of 1994, which represented “a pleasing vision of cross-cultural harmony,” as Vogue fa-near. A season later she walked in 75 shows. Ever pragmatic, Stella would firmly admit that her reason for walking the airfields was that every step she took represented another acre of fantastic Scottish or Chilean estate. i to buy. The last nose ring was also worn – Stella was worn for a meeting with representatives from one of the world’s top beauty brands and had accepted that the group had mistaken the girl.
But her ability to embrace so many fashion idioms – from Helm Lang’s edgy minimalism to John Galliano’s madcap fantasy, from Versace’s high octane glamor, to hauteur hauteur Karl Lagerfeld – contributed with equal instability, and each made for herself, instantly a very small class of real fashion chameleons, up there in the Olympic pantheon with Linda, Naomi, Kate, Verushka, and Twiggy. And before she joined the fashion group, Stella was not a neophyte teenager, she was a very intelligent, intelligent young woman, with her own group and a balanced view of the industry. “She wasn’t trying to be a model,” Philip Treacy said, “being great, being cool, having a rock-n-roll boyfriend: She was upset about that. She didn’t care – in fact, that was part of the application. ”
The fact is, Stella didn’t have to try: She not only owned but explained the “unexplained thing”. “She looked like a fashion sketch from the 20s,” says Sykes, “with that little pixie-ish head, amazing bone structure, and the ectomorphic body type.” Karl Lagerfeld was one of those who loved her legion, matching her beauty, experience, and lineage, and in 1996 she won on a special Chanel contract, practicing in a new willow paradigm. for the house, a memoir of Ines de la Fressange in the 1980s, the result of the voluptuous blonde Claudia Schiffer. Meanwhile, Stella’s dream of a Scottish estate of her own became increasingly real.
Through it all, Stella, as I said in 2001, remained “one of the most fundamental people in the industry,” and her personal style was electronic. For the October 1995 story of “High-toned Tweeds”, taken by Arthur Elgort and shredded by enthusiast Grace Coddington, the caption notes that “Stella Tennant favors noses and bows over on long white gloves and a gown… When Vogue Stella wanted to model a country print that evoked her irresponsible sense of style. ” As a last-minute stimulus, Elgort and Coddington had dived into a swimming pool in her ICB print suit and Wellington boots. It was a one-shot moment, and Elgort captured that shot for an unmistakable image that explained Stella’s own strange charm. In 2001, Calvin Klein presented Stella with the VN1 / Model of the Year Award, which she dressed in a Nicolas Ghesquiere baby t-shirt, hip-slung khaki armor pants, and flat Jesus sandals, looking similar the most interesting girl. the planet. Who she is.