TASCHEN Gallery, Los Angeles recently welcomed the radiant Naomi Campbell who called by to view her new TASCHEN Collector’s Edition, including artwork box by Pop Art luminary Allen Jones.
Naomi’s signed edition includes two volumes. Volume 1 presents the very best of shots from her supermodel portfolio, spanning the length of her luminous career and including such unforgettable shoots as Jean-Paul Goude’s stunning composition of Naomi racing a cheetah for U.S. Harper's Bazaar. Volume 2 features exclusive autobiographical material, in which Naomi recalls her childhood; the beginning of her modeling career; her rise to stardom; and her work with fashion’s greatests, including Azzedine Alaïa, John Galliano, Marc Jacobs, Karl Lagerfeld, and Gianni Versace.
In a dazzling meeting of art and fashion, Volume 1 is presented in an acrylic box by British pop art luminary, Allen Jones. With stylized contours and smooth surfaces, this piece functions both as a presentation box and as a unique Pop Art piece, invoking a sense of touch, while exploring the role of the supermodel in contemporary culture.
Naomi comments: “This Collector’s Edition is a timeline of my career, and has allowed me to remember and give credit to all the wonderful people I’ve had the pleasure of working with over the years. It took quite a few years to put together, because we didn’t want to rush it. It was important both to Benedikt Taschen and I to find all of my pictures and compile them into two really beautiful books…The result is a dream come true.”
Best known for his sculptures Hatstand, Table and Chair, Allen Jones has maintained a uniquely striking visual language ever since the emergence of Pop in the 1950s. In sculpture, painting, and lithography, he merges female figuration with the iconography of city life, consumerism, and spectacle. Jones’ work has been exhibited in solo shows around the world, most recently in a major retrospective at the Royal Academy, London.
Jones describes his artwork for the Naomi Campbell Collector’s Edition as “a box that did not attempt to illustrate Naomi, but to encapsulate her.”