Models, including Naomi Wolf, have been depicted as the “heroines of adult women’s mass culture” in Naomi Wolf’s book The Beauty Myth. Thirty-three years ago, five of the world’s most beautiful women, featured on the cover of British Vogue, marked a significant shift in beauty standards. Photographer Peter Lindbergh, responsible for the iconic image, challenged traditional categorization by featuring models with diverse backgrounds, showcasing a new type of beauty. Clad in denim and bodysuits, the models represented a departure from the power suits and sharp ambition of the 80s. With Lindbergh as their mentor, the era of the supermodel took flight.
Apple TV+ recently released “The Super Models,” a four-part documentary series that explores the lives of four women from the Vogue cover (the fifth, Tatjana Patitz, passed away in January). As someone who grew up in the 90s, I remember seeing these models everywhere – Cindy Crawford on home-workout VHS tapes, Linda Evangelista in Pizza Hut advertisements, Naomi Campbell promoting her novel, and Christy Turlington adorning my brother’s bedroom wall. These women redefined the traditional mold of a model, infusing their personalities and flawless physical appearances into the industry. However, there is an underlying tension in the documentary. Campbell states at the beginning that people think they know the models based on their photos, but words are missing. Crawford adds that they were the physical manifestations of power, but what kind of power?
Fashion, as a creative outlet, constructs mythical narratives to sell products to consumers. Although “The Super Models” delves into the fashion history of the 90s, it only lightly touches on the controversial aspects of the industry. The directors, Roger Ross Williams and Larissa Bills, allow the models themselves to control the narrative, occasionally dropping comments that left me scrambling to search for more information. For instance, the first episode explores how the models’ careers took off, highlighting their early collaborations with the infamous Elite agent, John Casablancas. Casablancas, known for his relationship with Stephanie Seymour when she was just fifteen, has a history of alleged predatory behavior. However, the documentary glosses over these darker aspects to focus on the triumphs of women who changed the game. Crawford, for example, recalls how her bra ad was plastered all over her high school, intending to shame her. Yet, she proudly remarks that she made $120 from the ad, stating that it was better than working in the cornfields. These women’s stories highlight their resilience and determination in the face of adversity.
The documentary showcases the models as they define their own narratives, allowing us a glimpse into their lives and personalities. Campbell, who faced racism throughout her career, provides insight into her charm, wit, and dedication to promoting African designers within the fashion industry. Yet, the series selectively presents aspects of her life, omitting her four assault charges. This approach raises questions about the impact of immense fame on a person’s character.
While “The Super Models” occasionally touches on profound moments, it fails to fully explore them. For instance, Crawford discusses how some women are celebrated for their appearance, while others are made to feel less beautiful. These complexities offer a critical lens into the societal pressures faced by women. Turlington’s early experience of modeling wedding dresses at the age of fifteen provides further insight into the commodification of beauty and desire within American culture. The documentary misses an opportunity by not delving deeper into these thought-provoking moments.
Evangelista’s story, on the other hand, confronts the cruelty of an industry that prioritizes physical perfection above all else. Her cryolipolysis experience, which left her physically disfigured, underscores the damaging effects of societal beauty standards. She reveals her heartbreaking desire to like herself in the mirror, and how an advertisement promising self-acceptance led to losing her job and livelihood. Evangelista’s story forces viewers to reflect on the bombardment of imagery that dictates how women should look, perpetuating feelings of inadequacy. If even a supermodel like Evangelista wishes she had never seen retouched images of herself, how are the rest of us supposed to feel?
Despite its flaws, “The Super Models” captures moments of joy. Extraordinary beauty, in whatever form, feels almost divine, offering a respite from life’s difficulties. It serves as an inspiration to remember the power and influence of the supermodel era before the industry shifted to favoring the “heroin chic” aesthetic. The rise and fall of the supermodel mirrors the broader trajectory of women’s progress – a triumphant ascent followed by backlash as society perceives the group to have gained too much power. In the final episode, Crawford applauds platforms like Instagram for expanding the definition of beauty.
In conclusion, “The Super Models” presents a captivating exploration of the lives of iconic models from the 90s. While it occasionally touches on profound moments, it fails to fully explore them. The documentary allows the models to control their narratives, presenting empowering stories but sidestepping controversial aspects. Ultimately, it reminds viewers of the power of beauty but also raises questions about the industry’s impact on individuals and society at large.
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