Steven Klein and Phyllis Posnick share the stories behind some of their greatest Vogue images:
is just the thing you’d want to receive as a holiday gift this year. Even better if it’s gifted while you’re in some off-kilter, ever-so-slightly strange and menacing suburban home in Anytown, USA, where the egg nog is beginning to curdle and the tinsel is stripped of its luster.
I don’t remember what the story was actually about, the written piece, but what I do remember—and I don’t know if Phyllis has explained this—is the whole idea of the series of images we did. We always based them on…I’d call them, I always saw [the women we shot] as having grown up in America, as these ideas of contradictions and twists. Kind of telling fictional stories, but essentially suburban women in America.], the idea of breastfeeding [in public] is very taboo.
]—is that we had two pages to make people stop and read the article. If it’s just a nice picture, no one is going to read it. It needs a strong image, and sometimes just one or two things in the picture do it. This photo of a model in the kitchen [] was about a DIY home laser mask—you put it on and lights inside do the work of a dermatologist. What turns the picture is the red hair, the shape of the hair, and the red gloves; it almost looks bloody, and then there’s the knife.
At the last minute, Phyllis said, “Hold on a second,” and took off the coat, and that’s when the picture happened. That’s the great thing about working with an editor—and I would say this about Phyllis—is that they really help you make a picture. I think that when Phyllis was looking at this as we worked, she felt like it was a fashion image, and not a photograph. She’s daring enough to say, “Let’s just doThis was for treatment products that protect skin from the cold.
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