15

A fresh-faced youth reclines against a barren wall in the Camber Sands, cigarette in hand. In a loose pullover and buckled sandals, she sits relaxed and somewhat gracelessly, gesturing with a hazy smile.

If there was ever an image that personified the beauty of youth it’s this one – or any for that matter within its collection from Corinne Day. For these were the photos that launched the career of arguably the greatest supermodel in the world, and the success of one of the most acclaimed fashion photographers in Britain.

Taken on one breezy day in 1990, this photo is part of an iconic set of prints entitled ‘15’, appearing in cult British magazine ‘The Face’ as Moss’s first ever editorial, and ultimately creating the ‘grunge’ effect.

Breaking away from the overworked ‘exotic location’ fashion spreads of the time, Day wanted the world to see the beauty of imperfection – a beauty without styling, makeup, or flattering light. Whilst most models would shudder at the thought of being shot without their safety net, this was no ordinary fashion shoot, and Moss’s striking natural beauty shone through the lens, taking her all the way to a contract with Calvin Klein.

Possessing the endearing awkwardness of adolescence, Moss here exhibits a certain rough yet tender quality that had been missing in magazines. Their intimacy makes them feel ‘off the record’, inviting us into the world of this inherently cool kid. The photo, in all its ambiguity, is actually brimming over with what it is to be human. Day brings out a touching vulnerability in shooting Moss at such an angle; squatted down on the floor looking up at the camera. Not many 15 year olds can pull of ‘innocent’ whilst clutching a cigarette, but Kate remains remarkably childlike. Her stance is gawky but her gaze is blissful, and in this way, she proves her innate ability to connect with the camera. There is a dreamlike quality that shades the photo, derived partly from Day’s decision to eliminate colour.

Firm friends, Day and Moss had built amity over their equally struggling careers, and for their love of The Stone Roses. As model and photographer they clicked instantly and went on to work together often, creating mesmering photographs that have appeared in everything from British Vogue to the National Portrait Gallery.

“Corinne just wanted to bring out everything I hated when I was fifteen. My bow legs, the mole on my breast, the way I laughed". Cut to 2009 and the Kate Moss bandwagon, despite some bumpy detours, rolls on apace.