Ep. 008: The Naomi Exhibit at V&A
Whether you idolize her or despise her, everyone has heard of Naomi Campbell. Known for her hypnotising walk, Naomi took the fashion world by storm only weeks after she was scouted whilst walking with her friends in Covent Garden at just fifteen years old.
I’ll admit, my knowledge of Naomi past her being part of the Big Five (Campbell, Crawford, Evangelista, Turlington and Schiffer), and her controversy under the startling limelight of 90’s supermodel fame, she has remained somewhat of an elusive character, almost mythic in my mind.
But after exploring her illuminating exhibit at the V&A Museum, I feel like I’ve been given a peek into stardom. Even if you know nothing about fashion or the runway, I can’t recommend the Naomi exhibit enough.
For most people, it is the closest you will ever get to the MET Gala. Naomi Campbell cat-walking towards you is anything but dull, as you enter her world. The collection, co-curated by Campbell herself, consists of everything from iconic couture, her first headshots and Vogue covers, to documentary style videos guiding you through the exhibition.
The exhibit is split into two floors. The first consists of biographic material, including a mock of a dressing rooms from the 1990’s, the floor scattered with pairs of Louboutins, biography books and Louis Vuitton suitcases.
Her first Vogue cover, shot by the one and only Demarchelier, was placed next to the blue and gold Chanel piece she wore during the shoot.
As you might have clocked by now, I am an accessories girly: especially when it comes to iconic footwear. So seeing the Vivienne Westwood electric blue platforms that Campbell made historic through her graceful fall was surreal.
As was the lesser known but still prominent AlAÏA shoes with the moulded heel of Campbell’s own legs was also breath-taking.
A piece I did not expect to see, yet felt was perhaps the most important of the collection was Campbell’s Dolce&Gabbana Community Service Dress. After being convicted of assault on four occasions, Campbell’s community service was followed closely by press and paparrazi. Campbell explained her decision to wear the silver gown was an act of defiance to the press, wanting to leave with her “head held up high” . Her morally grey history almost adds to her untouchable status. If a member of the public tried this, would it be seen as callous and uncaring towards the victims? Or is her throwback aimed more at the unfair scrutiny celebrities, particularly female models, faced at the time? Whichever way you look at it, this moment reinforces the fact the Naomi had, and will always have, the “it” factor.
After gazing at a hundred tiny snapshots of Campbell’s “runway-ography”, step up into the second floor, and enter the world of the catwalk. Campbell’s curated playlist fills every corner with Beyoncé to Bob Marley.
Couture is everywhere. It is rich and shiny and glorious. Iconic outfits, spanning Campbell’s career line the walls, recognisable by even the most fashion-shy visitor. The blossoming Valentino MET Gala gown, the Olympian inspired golden Alexander McQueen for Vogue 2012… The amount of fashion history in one room is astounding, and a little overwhelming.
After circling the room for as long as I could, I came away starstruck, and even moved. As you observe the outfits, you can’t help but think of the hours of work, artistry and dedication by the thousands of people who collaborated to create these pieces, and make them the historic items they are today.
I think fashion is often brushed aside in socio-politic conversation, treated as a by-product of culture and other media outlets. This exhibition massively disproves this idea. Of course, we have to remember one of the most important factors in making these clothes legend. Anna Wintour famously described the 90’s supermodels: “You looked at them not because of what they were wearing, but because of who they were”. Without Naomi Campbell, are the pieces just… clothes?
xoxo,
She Wrote Her Twenties
