‘We have to shoot in colour or they’ll kill us’: the day a young Kate Moss hit the fashion stratosphere

Kate Moss was only 20 years old when she embarked on a reportage-fashion shoot with British photographer Glen Luchford on a sunny day in June 1994. The shoot was set in New York and became an unforgettable capture of the young model's beauty and vitality as she was just starting to gain fame, while also showcasing the buzz and glamour of a city on the cusp of transformation.

Many pictures from that photo session have been released in a new book called Roseland. The shoot lasted for a day and required the use of over 200 rolls of film. The title of the book was inspired by the famous midtown ballroom where famous jazz musicians like Louis Armstrong and Count Basie used to perform.

The pictures portray the essence of a prior period, similar to the music. They exhibit a New York City day that showcases both its harshness and elegance, sensuality and sex appeal. These photographs represent the exceptional era when Moss became a superstar in fashion, making her the utmost influential supermodel of her time, as she hits a milestone of turning 50 next month.

Luchford spoke with the Observer about the book, stating that it is not only about Kate, but also about New York. He had watched Taxi Driver and was thrilled that the city still had an old-fashioned look. However, Luchford realized that New York was beginning to change and he wanted to document it. As a result, he and his team hit the streets and documented the city's transformation through their photos.

Luchford had been giving Moss money to take a taxi home to Croydon for some time. But now, things were different. Moss's widely recognized Calvin Klein advertisements were on display in the famous Times Square of New York City. Moss had gone to New York to meet with Steven Meisel and Calvin and returned home on a Concorde flight. Within just one week, Moss had made it big time in her career. This was an incredible and enjoyable moment in which everyone present got to celebrate her success. New York truly has the power to propel someone's career forward at an incredible speed.

The photo session didn't go well back then. Liz Tilberis was the editor of Harper's Bazaar and had requested colorful images. Images in black and white, or with even a small hint of underwear or nipple, couldn't be published. Despite this, Luchford was determined to stick to his approach. Gambaccini advised him to comply and take pictures in color to avoid any issues. However, Luchford had never previously shot in color before, and he refused.

The crew, consisting of makeup expert Kay Montana, embarked on a road trip across New York in a camper van alongside a pal of photographer Mario Sorrenti. During the journey, Moss received an impromptu boxing tutorial from Sorrenti's friend. The entourage made stops at popular tourist spots like Times Square and the Hotel Chelsea, as well as some adult stores located on nearby side streets.

Gambaccini remembers that they were in New York, a rough and tough city that Glen was eager to explore and experience. At that time, Kate Moss was making waves in the US and had just begun dating Johnny Depp, which made her very excited. Before arriving in New York, Gambaccini and Moss were in Mexico. However, when they were heading back, Moss made a request to stop in Dallas so she could purchase a Stetson hat.

I agreed to the idea and we made a quick stop to purchase a hat. I was carrying a bag of clothes that had a mix of sequined clothing that didn't match. I suggested to the model, "Why don't you keep the hat on and we can take some pictures of you wearing a cowboy hat in New York, as if you're ready for a showdown?" After that, we simply followed the model's movements and, as Gambaccini shared on Instagram, danced along to her beat.

The pictures reveal more than just the physical appearance of New York. They depict the people, sights, and demeanor of a city that no longer exists. In his book Times Square Red, Times Square Blue, Samuel R Delany, a literary critic, describes the changes and gradual loss of community spirit around Times Square. This transformation was driven by Mayor Rudy Giuliani's plan, supported by entertainment giants such as Disney, to clean up the area. Delany argues that this effort to embrace the new has resulted in the loss of much that was once beautiful, shoddy, dilapidated, pleasurable, inefficient, and functional.

Luchford remembers entering the world that Delany called "a complicated network of systems and subsystems." He found it fascinating. He went to Times Square to watch RoboCop, and to his surprise, he witnessed a prostitute in action and a man smoking crack right beside him. However, the most stunning part was that whenever RoboCop killed someone in the movie, the audience cheered, which he found unusual in England.

Luchford and Gambaccini's photo submissions did not receive a positive response. Luchford shared that despite feeling excited about their work, she was immediately let go from the magazine and never booked again. She was disappointed at first but now realizes that she was solely taking pictures without considering the fashion element involved.

Gambaccini remembers how the editors reacted when they saw her pictures. They were surprised and made negative comments about her appearance. They didn't like that her hair was dirty and thought the black and white photos weren't good enough. At the time, Gambaccini was about to go to the hospital, so she didn't say much, and left the decision to the editors. Eventually, the pictures were published with a colour wash to enhance them. This started a trend in the 90s fashion scene and created mixed feelings among editors who couldn't decide whether they liked or disliked it.

These images were a significant moment for Moss. They marked the transition from being simply Kate to Kate the supermodel. Additionally, the fashion industry was entering a new era of corporate brands, which Luchford refers to as the industrial period. Consequently, Moss and her friends needed to become more focused and serious. Prior to this shift, they enjoyed a carefree period of laughing, drinking, and smoking cigarettes together, which is reflected in the images' unprofessional and amateurish quality. Ironically, this lighthearted approach is also what contributes to the pictures' greatness. No one was taking themselves too seriously at the time.