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Working together alongside her daughter on a fashion line Kate had designed demonstrates her work ethic coming full circle. Not viewed as just a model but rather an entrepreneur in fashion and a generational signifier of beauty.

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Both articles display evidence of the detrimental effect of her drug use on her career as a result of the Daily Mirror articles.

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Interestingly, the conscious choice of Kate to use social media only to promote her agency and work projects rather than for personal use remains cohesive to the mystery of her character, significant in regard to her allure. The lack of personal life shares of the star perhaps contributes to the public desire to know more as she remains this curious icon of beauty.

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It's a Monday afternoon and I'm asking Kate Moss why she thinks she's stayed at the top for so long. "I don't consider myself a rule breaker," she tells me.

"I just follow my instincts and there's absolutely no agenda. It helps that I still really enjoy modelling, even after all these years."

Kate is at her modelling agency in Soho, London - the Kate Moss Agency, that is, launched in September last year. She's wearing black jeans, a plain T-shirt, a Saint Laurent blazer and Alaïa boots. "These are the basics that I always reach for," she says, "and after so many years I've realised what I feel comfortable in - there's nothing worse than feeling restricted or conscious of what you're wearing."

No surprises there. But what is striking for a supermodel who will turn 44 next month, who has embodied the phrase "style icon" for almost three decades, is that she wears very little in the way of make-up and, I soon realise, has a refreshingly low-key attitude to beauty.

Born and raised in the London suburb of Croydon, Kate was discovered in 1988 at the age of 14 by Sarah Doukas, the founder of Storm Management, while at New York's JFK Airport with her father. But it was a series of images of her shot by Corinne Day for The Face magazine in 1990 that signalled a change in the look the fashion industry wanted. The pendulum swung away from the curvy, Amazonian models of the late '80s (think Linda Evangelista, Christy Turlington and Cindy Crawford) to the waifish grunge look epitomised by Moss in the early '90s.

Kate fronted a Calvin Klein underwear campaign alongside actor Mark Wahlberg (at that time the rapper Marky Mark), then John Galliano booked her to open his spring/summer 1990 show, describing her as his "rough little diamond".

Over the last 30 years, Kate has fronted campaigns for almost every luxury brand, including Chanel, Dior and Burberry, as well as gracing the cover of British Vogue 40 times.

However, at the Versace show at Milan Fashion Week in September, she was noticeably absent from the line-up of supermodels ending the show, which featured Helena Christensen, Naomi Campbell, Cindy Crawford, Claudia Schiffer and Carla Bruni.

"I thought the girls looked amazing," says Kate. "Donatella paid the perfect tribute to Gianni. I was away on a trip, so missed the fun. But seeing the show brought back great memories."

Kate has never been more in demand. There have been deals with beauty brands in the past, most notably highstreet giant Rimmel, but she's now the face of upmarket Japanese beauty brand Decorté.

But as we all know, it hasn't all been plain sailing for Kate. There were the drug accusations that prompted several brands to drop her as a campaign model, although no charges were ever upheld.

And there were the relationships: Johnny Depp, whom she dated for four years from the age of 20; Jefferson Hack, father of her 15-year-old daughter Lila Grace; Libertines frontman Pete Doherty, whom she dated for two years; and Jamie Hince, the Kills guitarist she met in 2007 and married in 2011 in a beautiful English country wedding, wearing custom Galliano and with 15 bridesmaids. (The couple divorced last year.) Currently, Kate is said to be dating 30-year-old photographer Count Nikolai von Bismarck.

She notoriously did her best to not give interviews for years, becoming perhaps the most famous enigma in fashion. And even today, very little of her personal life makes it into the public arena. Especially in a time of social-media over-sharing, which Kate isn't involved with. She doesn't even have a personal Instagram account, which is as bold as statements get in the fashion world.

"The whole modelling scene is completely different to when I first started out," she says. "Everything now is so instant with digital photography and there's no mystique. I don't have any personal accounts on social media, I'm just not into posting about personal stuff online."

Also, she resolutely refuses to allow questions about Lila Grace. "I like to live a normal life away from work," she says. "And it's really important for me to have friends around me who go way back. I like hanging out together with my friends and our children who have all grown up together, and we love holidaying together too. It makes it all fun."

Kate is godmother to Iris Law, the 17-year-old model daughter of her close friend Sadie Frost and Jude Law.

I do chance one question, though: Lila is around the same age Kate was when she began modelling. Does this give her a different perspective on just how young she was when she started? "Yes. I was very young when I started modelling so I really support recent changes in the industry to protect the wellbeing of models," she says. "It's something I feel passionately about for the models at my agency. I don't want them to feel pressured in any way."

She has told magazine that "from the beginning, photographers always got me to take my clothes off, even though I don't like my body at all. I just had to get comfortable with being naked."

Despite her discomfort about young models, Kate's younger sister Lottie has followed in Kate's fashionable footsteps. "Discovered" at the age of 13 at Kate's wedding to Jamie Hince, the 19-year-old has since fronted her own campaign for Calvin Klein. "I just hope that I can be half as successful as [Kate] is," Lottie told Tings magazine earlier this year. "My sister and I are two different people, and she is on her path and I am on my own."

So what is the secret to Kate's longevity? "I love the creative process and I get to work with some of my oldest friends, so we always have fun. Setting up the agency and my role as an editor for British Vogue has also given it a new dimension. [She is now a contributing editor there.]

"It's great being on the other side of the camera and helping develop new talent. I'm very lucky to have worked with some of the best photographers in the world and the best creative teams." This passion for good projects is what has drawn her to her partnership with the beauty brand Decorté, which gave her another opportunity to tour Japan.

"I've had such amazing experiences there and I can't wait to go back. For long-term relationships, it's really important to believe in the product and like the people I work with." Of course, Kate is a supermodel and, of course, she has that bone structure. But before modelling, her first introduction to make-up was much like any other child of the '80s - Rimmel lipstick in Heather Shimmer and Anaïs Anaïs perfume.

She now just relies on a good cleanser and face cream to keep her skin in check, rather than a lot of cosmetics. "I spend so much time wearing a lot of make-up at work, so I tend to keep it simple when I'm not," she says, and I believe her - she is wearing just a little bronzer and mascara today.

"Even though I'm low-maintenance, I do still like a facial and massage when I can." (It's rumoured that Moss sees the popular London facialist Teresa Tarmey, who also attends to models Poppy Delevingne and Suki Waterhouse.)

And her biggest beauty tip learnt from all her years of modelling? "The ice plunge is the best trick. Fill a sink with ice cubes, cold water and slices of cucumber and hold your face in for as long as you can. It instantly reduces puffiness and tightens up your skin."

What does she think about the beauty ideal so many social-media stars now push on Instagram - full-on make-up, heavy contouring and selfie-worthy looks? "It's quite amazing what some of these girls can do," she says. "They use really professional techniques to transform features, but it's not an everyday look I go in for.

"As I said, I don't like selfies - my favourite picture of myself is the portrait that Mario Testino took of Lila and me for American Vogue. It's timeless. I have it hanging in my bathroom so I look at it every day."

At 43 and approaching her third decade in the spotlight, she seems thoroughly normal. "My perfect weekend is in the country," she says, "walking with the dogs, doing yoga, cooking a roast dinner and catching up on the TV I've missed in the week."

But the Kate Moss we all think we know is still in there. Pressed about her style outside the off-duty uniform of skinny black jeans, T-shirt and blazer, she tells me, "At night it's heels and either a super-short dress or a low neck, but never both." Style advice from one of the greats.

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Why Kate Moss steers clear of social media and selfies

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It's a Monday afternoon and I'm asking Kate Moss why she thinks she's stayed at the top for so long. "I don't consider myself a rule breaker," she tells me. "I just follow my instincts and there's absolutely no agenda. It helps that I still really enjoy modelling, even after all these years."

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The idea of a serial dater can be marked as progressive feminism. Rather, Kate is in control of her sexuality.

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O'Neill, Lauren (2015) The representation of Miley Cyrus and Taylor Swift as postfeminist celebrity musicians: Image, Text and Audiences. Honours thesis, Murdoch University.

Abstract

It is hard to escape the phenomenal reach of contemporary pop artists. Their songs are cycled across commercial radio stations, their music videos occupy our screens and we can mostly likely see the artist perform live in our nearest city. This thesis examines two of contemporary pop music's most well-known and successful artists, Miley Cyrus and Taylor Swift, in terms of their selfpresentation, media representation and audience engagement. Billboard rated Cyrus and Swift in the top 10 artists of 2014 (Billboard 2014). Swift's most recent album, 1989 (2014), "topped iTunes sales charts in over 95 countries on its release and has sold over 8.6 million copies worldwide to date" (IFPI 2015). Cyrus' total album sales stand at 15.9 million, including her work as "Hannah Montana" (Caulfield 2014). This thesis analyses the artists as postfeminist celebrity musicians who present many contradictions in their identities via the assorted channels through which their persona is expressed. Both musicians display the notion of 'slippage' (Genz and Brabon 2009) in relation to their persona, behaviour and creative content; their identities constantly shift and change. I introduce the notion of the postfeminist celebrity musician as a figure that identifies as a feminist, however displays certain behaviours that contest traditional feminist ideals. This thesis analyses Cyrus and Swift as postfeminist celebrity musicians in three main ways. Firstly, a selection of the artists' music videos released between 2009 and 2015 are examined with regards to the artists' choices concerning their image, lyrics and themes of the songs. This thesis also explores the key transitions and various stages of both artists' creative careers. Secondly, the mediated identities of Cyrus and Swift are considered through an analysis of selected magazine feature articles published between 2013 and 2015. The feature articles gauge the artists' presentation in popular print media texts as public feminists and celebrities. Lastly, this thesis investigates audience responses to Cyrus and Swift through an analysis of selected parody videos. Overall, this thesis argues that single representations of identity cannot accurately convey the complete character of the postfeminist celebrity. Cyrus and Swift exemplify postfeminist celebrity musicians as complex and often contradicting individuals.

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Downloads per month over past year

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The representation of Miley Cyrus and Taylor Swift as postfeminist celebrity musicians: Image, Text and Audiences

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O'Neill, Lauren (2015) The representation of Miley Cyrus and Taylor Swift as postfeminist celebrity musicians: Image, Text and Audiences. Honours thesis, Murdoch University. It is hard to escape the phenomenal reach of contemporary pop artists. Their songs are cycled across commercial radio stations, their music videos occupy our screens and we can mostly likely see the artist perform live in our nearest city.

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The analysis of celebrity mums identifies the role of social media, gossip sites and self-branded ventures exposes the postfeminist demand within society. The celebrity introduction into motherhood is vital in propelling success stories, engaging with a newfound audience as the fulfilled adult womanhood. It is suggested that the failure of celebrity mothers paves the way for a new inclusive feminism.

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This book analyzes the intersections of celebrity, self-branding, and "mommy" culture. It examines how images of celebrity moms playing versions of themselves on reality television, social media, gossip sites, and self-branded retail outlets negotiate the complex demands of postfeminism and the current fashion for heroic, labor intensive parenting. The cultural regime of "new momism" insists that women be expert in both affective and economic labor, producing loving families, self-brands based on emotional connections with consumers, and lucrative saleable commodities. Successfully creating all three: a self-brand, a style of motherhood, and lucrative product sales, is represented as the only path to fulfilled adult womanhood and citizenship. The book interrogates the classed and racialized privilege inherent in those success stories and looks for ways that the versions of branded motherhood represented as failures might open a space for a more inclusive emergent feminism.

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Postfeminist Celebrity and Motherhood | Brand Mom | Jorie Lagerwey | T

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This book analyzes the intersections of celebrity, self-branding, and "mommy" culture. It examines how images of celebrity moms playing versions of themselves on reality television, social media, gossip sites, and self-branded retail outlets negotiate the complex demands of postfeminism and the current fashion for heroic, labor intensive parenting.

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Moss's choice to retire from the runway in 2004 perhaps acts as a signpost of Kate being solely viewed as an image rather than a person. The concentration on her image suggested a transcendence of Kate being unattainable, almost not real, a commodity to be sold.

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Kate Moss bid farewell to the catwalk back in 2004, save for a handful of post-runway retirement appearances for Louis Vuitton, Fashion for Relief, and of course, London's 2012 Olympic Opening Ceremony. Still, Kate's runway legacy lives on on Pinterest and dedicated '90s Instagram feeds and Tumblr pages, all lapped up by a generation that continues to idolise the supermodel's mesmerising looks and inimitable sense of style.

Spotted at the age of 14 in New York's JFK Airport by Storm Management founder Sarah Doukas, the Croydon-born beauty swiftly became a household name, and has graced countless international magazine covers, ad campaigns and catwalks.

Many fashion designers cite Kate as their muse: her angelic yet playful presence was an inspiration for visionaries including Gianni Versace and Alexander McQueen. The latter made history when he projected an ethereal hologram of Moss at his autumn/winter 2006 "Widows of Culloden" show at Paris Fashion Week.

Read more: Kate Moss Shares The Stories Behind Her Favourite Slip Dresses

As she stars on her 43rd cover for British Vogue, revisit some of Kate's most memorable catwalk moments, below.

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15 Times That Kate Moss Ruled The Runway

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Kate Moss bid farewell to the catwalk back in 2004, save for a handful of post-runway retirement appearances for Louis Vuitton, Fashion for Relief, and of course, London's 2012 Olympic Opening Ceremony. Still, Kate's runway legacy lives on on Pinterest and dedicated '90s Instagram feeds and Tumblr pages, all lapped up by a generation that continues to idolise the supermodel's mesmerising looks and inimitable sense of style.

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Academic Reseach into Kate Moss as the Child- Woman 

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Academic Reseach into Kate Moss as the Child- Woman 

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According to Ferreday (2013), Moss acted as a symbol of fantasy for young girls, looking at her waif figure as an opportunity to rise above the likes of eating, ultimately damaging to their body image. This extreme thinness is commented to be significant in regard to negative body image and the ideology that are assumed to be especially vulnerable. Her image is suggested to be paedophilic in relation to her ability to seduce her young viewers into imitation. Her features, such as her boyish figure and large eyes gives the impression of the 'fuckable child'. Her image suggests a warped image of the disability of the child.

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This paper draws on a case study of media images of the British model Kate Moss to think through questions of affect, ideology, and pleasure in relation to fashion imagery. The question of whether and to what extent media images affect spectators is central to contemporary feminist media studies. The "turn to affect" has revitalised the debate about the extent to which media images can be held accountable for oppressive effects on the spectator's body image, with affect theory often being pitted "against" feminism in this regard. As Clare Hemmings states, affect theory emphasises how emotions place individual bodies in a circuit of feeling and response, connecting them to one another in ways that are potentially transformative. Through a critical reading of Kate Moss as a highly visible figure of projection, anxiety, and fantasy, I aim to show that whilst affects may be unpredictable, in that some media images become particular objects of attachment and anxiety, they are also mediated and political: that they engage us in intimate relations with ideologies of gender, power, and embodiment.

Additional information

Notes on contributors

Debra Ferreday
Debra Ferreday is a Lecturer in Media and Cultural Studies at Lancaster University. She has published widely on feminist cultural theory, drawing on a heterogeneous archive which includes digital media, social networking, celebrity, film, performance, new media, and literature. Her latest book, Hope and Feminist Theory (co-edited with Rebecca Coleman) appeared in 2011. She is currently working on two projects: a monograph on femininity, feminism, and technology, and a project on new feminisms and digital media. E-mail: d.ferreday@lancaster.ac.uk

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This paper draws on a case study of media images of the British model Kate Moss to think through questions of affect, ideology, and pleasure in relation to fashion imagery. The question of whether and to what extent media images affect spectators is central to contemporary feminist media studies.

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For Kate Moss, an evening in early September spent at the side of boyfriend Pete Doherty, the front man of the rock group Babyshambles, must have felt like just any other jam session. The 31-year-old model sat in a corner of a recording studio in West London, looking impossibly glamorous in knee-high black boots and shorts, her 100-pound, five-foot-seven-inch frame as ethereal as ever, her hair wavy, with a golden tinge, falling just below her shoulders. Doherty, 26, was sitting nearby, exposing his somewhat meaty upper torso.

Quiet and friendly, cracking jokes, as she likes to, Moss reportedly cut lines of cocaine, passing them round to the people present. Holding a cigarette and drinking shots of vodka and whiskey, she snorted five lines in the 40 minutes recorded in a grainy video by a hidden camera. Those images subsequently made their way onto the front page of the Daily Mirror, a British tabloid. Its sister paper, the Sunday Mirror, was successfully sued by Moss last summer after it alleged back in January that she had passed out in a cocaine-induced stupor following a charitable event in Barcelona in 2001. (She was seeking between $25,000 and $350,000.)

According to the Daily Mirror, in one scene of the video-circulated on television and on the Internet since then-Moss teasingly withholds some of the drug from Doherty, saying, "It's just gone now. You've missed it." The vignette, an acquaintance feels, sums up the dynamic of the couple's relationship-a desperate struggle on her part to control Doherty's open use of crack cocaine and alcohol. Until he met Moss, in January of this year, at her 31st-birthday party, it was also heroin.

"The fatal attraction for Kate-a woman who is always told she is beautiful, wonderful, and has everything-was that she could never completely control him," says this person, adding that he thinks Moss has always known that she had a lot to lose because of the relationship, characterized as a hopeless love affair for her. Right from the start friends of Doherty's, described by one of the inner sanctum as "hangers-on," sold pictures of the two to the tabloids.

Moss told Doherty at the beginning of their romance that he had to quit heroin, the acquaintance says. "She knew that there was a tightrope she mustn't cross, and she did have in the back of her mind Courtney Love, and she said to him, 'You must get this . . . implant [a naltrexone implant inserted into the abdomen which nullifies the effects of opiates]. I can't have you around if you're this out of control because it's going to get me into trouble,'" says this person.

It did, and that is something Moss is not accustomed to. Since she shot to fame, at age 18, when Calvin Klein first put her waif-like figure in his underwear ads alongside singer turned actor Mark Wahlberg, Moss has been given the benefit of the doubt by both her colleagues and the companies that hired her. She has rarely given interviews-and then usually only to top magazines, such as American Vogue, which focused on her unusual style, mixing bohemian and classic.

When stills from the fuzzy video first appeared, a defiant Moss, working in New York with the photographer Mario Sorrenti on a shoot for W magazine's November issue, wondered who could have taken the video. She was shocked at the invasion of her privacy. "Fuck off! Fuck off!" she reportedly told a reporter who followed her and Doherty to the Mercer hotel one afternoon.

On another occasion she tried to have dinner with Sorrenti, a close friend, at SoHo's Omen restaurant. Sorrenti, whose own brother died of a drug overdose eight years ago, was appalled at how they were hassled by the press as they tried to get into a car. "It was like rats over the garbage," he says. "She got pushed and shoved. So did I."

Doherty stayed in New York with Moss for a few days and then flew back to England for a concert, reportedly causing a disturbance on the plane. A week later, following a performance in a music hall in Shrewsbury, in central England, he was arrested on suspicion of drug possession. He claimed that the police had mistaken the implant for narcotics, and he was released. Meanwhile, Moss stayed in the Mercer hotel, receiving calls and text messages from friends around the world-many of whom were in London for that city's Fashion Week. Her mood, people say, shifted from shock and fury to devastation as the significance of what had happened slowly settled in. Magazine publisher Jefferson Hack, 34, an ex-boyfriend and the father of her young child, Lila Grace, was on the phone offering his support. So were such friends as artists Sam Taylor-Wood and Tracey Emin, fashion designer Bella Freud, designer Fabien Baron . . . many of the most influential people on the creative side of the fashion world.

The night the story broke, David Lipman, the advertising guru, went to her hotel suite, hugged her, and said, "Kate, this is going to be a storm. You are going to need to stand strong and stand tough. This is not going away." He says now, "I knew that the English media were going to be brutal."

Sure enough, as if according to a script, the London newspapers began to question whether Moss was an appropriate role model for 17-year-old girls. Reporters were sent to various stores that carried products she endorsed to survey young shoppers on their views about her. The Independent reported that the head of the Metropolitan Police, Sir Ian Blair, who has been leading a campaign against a burgeoning cocaine epidemic in Britain, said the police would be questioning Moss. In the ensuing weeks the Evening Standard reported that traces of cocaine had been found in the bathrooms of hotels where the British Labour and Conservative Parties had held conferences. Journalists started to write columns about their own experiences with the drug. The Kate Moss story took on a life of its own.

It was, says one of Moss's closest friends, the London hairdresser Sam McKnight, reminiscent of what had happened to the late Princess Diana, whose hair he styled. "This singling someone out, we haven't seen that for a long time. I guess it's because a powerful, strong woman is a bit of an enigma, aren't they?"

There were false reports that social services would consider taking away Moss's daughter, pictured in the press attending her third-birthday party, dressed as a fairy, in the arms of a nanny. Around the same time, it was reported that once she returned to England Moss would be arrested for drug use. (The veracity of both rumors was denied by her lawyer Gerrard Tyrrell.) According to reports, the recording studio where Moss had been videotaped using cocaine was raided for drugs.

Moss met in New York with a representative of the fashion retailer H&M-the company declines to say who it was-and, by now having realized the enormity of what had happened and having abandoned her defiance, she gave a heartfelt apology. Sorrenti says that only a "few days before H&M was begging for her to design a new line of clothing for them." ("H&M never comments on speculations or rumors," the company says.) Lisa Sandberg, a spokesperson for H&M, says, "We thought we were going to go in one direction. After looking at it more closely, the management team in Sweden took time over the weekend to analyze the situation and decided after meeting with each other that it was better to cancel the campaign at this point." But, according to Sandberg, the store has not ruled out working with Moss again. "The statement we released a couple of weeks back is more or less the same stand that we have right now. We haven't announced any changes to the planned campaign either, publicly, so right now we're kind of sitting between decisions and actions, and more or less still standing by our original statements," she says. Asked why H&M hired Moss in the first place, given the fact that she has long been associated with an edgy lifestyle, Sandberg replies, "We believe in people."

The British media reported that Moss has been dropped by Burberry, H. Stern, Chanel, and others, but, comments Alexandra Shulman, the editor of British Vogue, "everybody knew that they were buying into the Kate Moss bad-girl thing, and then suddenly it's like, 'Actually, we can't be seen doing this.'"

At his show, during the weekend finale of the Paris collections, the designer Alexander McQueen took a bow wearing a T-shirt that read, WE LOVE YOU KATE. And some in the notoriously inbred and blinkered world of fashion are dismissing the entire incident as "ludicrous."

Burberry, a public company, did not have an exclusive contract with Moss, but has worked with her in 9 out of its last 15 advertising campaigns, going back seven or eight years. It was scheduled to shoot a new campaign in the fall featuring Moss, but decided to drop it. The company put out a statement that said, "We wish Kate all the best," but it did not rule out using her again. Fabien Baron (who, as creative director for Harper's Bazaar in 1992, introduced Moss to Calvin Klein) spoke to Rose Marie Bravo, Burberry's C.E.O., and suggested the company keep her. He was hopeful, he says, because Bravo had "always adored Moss. . . . My personal advice to the company was: Stay on." Baron was upset with their decision to cancel the campaign, but told Moss not to worry. "They will bring her back," he says of the British press. "And the fashion business will support her." The December edition of French Vogue, of which Moss is the guest editor, is running as planned, with "some changes," according to Baron, "due exclusively to her availability, and not to her current situation."

Was she addicted, or was she just having fun? With Moss it was hard to know, particularly as she never let up on her furiously driven work ethic. "I do know if Kate says, 'Come out tonight,' or whatever, or 'Meet here,' or 'Come out, I'm doing this . . . I'm doing that,' I do know that I'm not going to be going home at 12 o'clock at night," says Tracey Emin. "I do know that it's going to be a good three or four o'clock in the morning. I do know there's going to be a lot of dancing. I do know it's going to be a lot of fun. I do know it's going to be related to music. I know this." Emin adds, however, that "I have never done a line of coke in my life, and there's no need to in her presence."

In recent years Moss has shown signs of maturing, choosing as the father of her child not one of the wilder men she dated but Jefferson Hack, the editorial director of the British magazine Dazed & Confused. He is reputed to be a stable, clever man-"a sort of academic," according to Emin, and he is universally described as "nice."

Even though Moss and Hack dated for several years, it was not a relationship destined to last. "He fell in love with her, and I think he [thought] the habits of that person will change . . . and I don't think that's what she's about," says someone who knows the couple. This person says Hack is more likely to settle down to watch TV with Lila Grace while Moss is getting ready to go out partying. "It was clearly doomed," the person says.

Bella Freud (the daughter of the artist Lucian, who painted Moss's portrait in 2002) says Moss has a voracious appetite for life. "She really does pay attention to art. . . . She's really interested in everything. She somehow amazingly just doesn't miss stuff. Being her, people will invite her to check things out, so you'll find that she's actually seen all these amazing performances of some incredible ballet. . . . I think, God, how the hell did she think of doing that, but then, she's really clever in checking things out." Freud adds that her 83-year-old father hit if off famously with Moss, "largely because of Kate's intelligence and the fact that she's not afraid to say exactly what she thinks."

Moss's range of acquaintances is far broader than one might imagine. Last year she went with artist Sam Taylor-Wood to Buckingham Palace to meet the Queen, who was greeting Britain's "women of achievement." "She is always pitch-perfect in these things," recalls Taylor-Wood. "She wore a kind of vintage royal-blue dress. I think it was the same color as the Queen's. . . . She pushed me in first. I felt a sharp hand in my back as I was thrust forward by her."

At the christening Moss held two years ago for Lila Grace in the countryside, with around 50 guests, "she had on something like a pale-yellow or white kind of 50s-style dress, you know, with a strapless bodice and then a chiffon skirt, like to just below the knee . . . like a real lady dress," remembers Freud, who marvels that Moss looked so "fresh" one afternoon soon after she had given birth to Lila Grace.

Once again, however, the image belied the reality. Although Moss is not the type to pound a treadmill, according to Hoare, she was forced to work to regain her figure following the birth of Lila Grace, ultimately accompanying Hong Kong businessman David Tang and his wife, Lucy, to Thailand, where they worked out and ate healthily. "We had a really great time," says Tang, who notes that Moss "has a great sense of style-if she goes into a room she doesn't like, she'll change the furniture around or drape fabric over a lamp." Lucy Tang adds, "She certainly wasn't doing drugs then."

Tracey Emin recalls a peaceful time spent recently with Moss and her daughter in Italy. "She sat there reading the novel Poor Cow, by Nell Dunn-about a woman who falls in love with a young criminal while her husband is in jail. I jokingly said to her, 'I'm not sure I agree with your choice of reading.'"

Moss herself has been portrayed in the British newspapers and by some acquaintances as quite the libertine. Tabloid reports of a threesome with Jude Law and Sadie Frost drove another wedge between Law and his ex-fiancée, actress Sienna Miller, the allegation coming after Miller had learned Law cheated on her with their nanny, Daisy Wright.

The bad-girl reputation was enhanced when Moss met and was drawn to Britain's most notorious rock 'n' roll bad boy, Pete Doherty, who had co-headed a band known as the Libertines. Following two months in prison for stealing from a bandmate, and after a second Libertines album, he formed the group known as Babyshambles. Its forthcoming album is reportedly to be produced by Mick Jones. Doherty has a notoriously out-of-control lifestyle, but, as a former choirboy who, according to a friend, got into Oxford, he professes to be inspired by the mysticism of Blake.

To Moss, he was irresistible. "She thought he was like Byron or something," says an acquaintance of hers. Mostly, though, some friends saw very quickly that the relationship spelled trouble for Moss. Even loyal Mario Sorrenti says, "Maybe that is not the best relationship that she has ever been in." Jefferson Hack's parents told the Daily Mail that when they first heard about the relationship they thought it so incredible it must be a joke. Sam Taylor-Wood, on the other hand, says that Doherty, in person, is not like his public image. "He's much taller than you imagine, and he has buckets of charisma," she says. "She was probably attracted to that, because she's not a dumb model."

The relationship with Doherty was obvious fodder for the British tabloids-in particular The Sun and the Daily Mirror, which ran photograph after photograph of the couple, making them seem like the modern incarnation of rockers Sid Vicious and Nancy Spungen or Keith Richards and Anita Pallenberg. Doherty's hangers-on would, according to one person, alert the photographers when the couple was likely to show up-in particular at the Boogaloo, a pub in North London-and get paid handsomely for their efforts.

Moss, who is used to the attention, took it in stride. According to Gerrard Tyrrell, she has always had a "pretty frank relationship with the Daily Mirror, " particularly when it was run by Piers Morgan, who was fired when he unwittingly printed fake photographs of British soldiers abusing Iraqi detainees.

In January-against the advice of David Tang, who told her not to bother-she sued the Sunday Mirror, which printed allegations that she had passed out on cocaine. Tyrrell says that Moss was actually with Nelson Mandela at the time she was supposed to be lying in a drug-induced stupor-and that there were many witnesses to prove it.

Who did shoot the infamous video? Moss's legal team would surely like to find out. James Mullord, Doherty's former manager, says he became a suspect after he was fired because he questioned Mick Jones's production style. "I said, 'Mick, clearly you like a very raw and natural production style, whereas your albums, as a member of the Clash, other than the first one, were nicely and relatively well produced and refined. How did you resolve that at the time?' He [Jones] just looked at me and walked off and the next day said, 'How the fuck do you dare question me? Who do you think you are?' I said, 'Mick, I'm just asking a question . . . '" (Jones did not respond to requests for comment.)

Mullord, who was in the recording studio that night, claims he was initially blamed by Doherty and Moss. He says he pointed out to Mick Jones's wife, Miranda, that the video must have been shot by whomever Kate was talking to, because the camera is pointed directly at her face. According to the Evening Standard, the culprits may be two drug dealers who came to the studio that night.

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Kate Moss's Rehab Story: How the Supermodel Fared Her Cocaine Scandal

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Inside the "heroin chic" legacy of Kate Moss.

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Article detailing the turbulence of their relationship, trashing hotel rooms and their public disputes. It displays both the intense passion of their relationship but also the vulgarity and wildness of both parties.

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They are a couple of serious young actors. It was a sensitive movie, directed by the renowned Swedish director Lasse Hallstrom. So naturally the cast and crew of last year's What's Eating Gilbert Grape could speak of nothing but whether Leonardo DiCaprio would accept Johnny Depp 's $500 dare and sniff a rancid pickled egg. "Finally," recalls Darlene Gates, the 520-lb. actress who played Depp and DiCaprio's mother in that tale of a deeply dysfunctional smalltown family, "we are sitting around a dinner table, and Leo unscrews the lid. I have got my eyes squeezed shut, holding my nose. Then I hear this 'aaaggghhh!' I look up, and Leo is gagging and running out the back door."

And so goes, by all accounts, a typical day in the life of Johnny Depp -no doubt the only actor who ever asked director Hallstrom how to say, "I have a rat down my throat" in Swedish. Depp has said that he's an "equal opportunity sniffer," who enjoys the "150 varieties of smell on every movie set," not even minding when "the grip stinks like a gut wagon."

The star of TV's 21 Jump Street and the movies Edward Scissorhands and Benny & Joon has, reportedly, wiled away at least one L.A. evening hanging by his fingertips from a fifth-story parking garage at the Beverly Center alongside close friend Nicolas Cage. And then there is Depp's Bart Simpson-esque penchant for checking into hotels under ribald pseudonyms. Why would a 31-year-old man tell a front-desk clerk that he is "Mr. Donkey Penis"? Because, you see, it makes for such interesting wake-up calls.

But maybe it's time Depp got a serious wake-up call. Friends such as Gates insist that "Johnny is the most gentle, sweetest soul who ever walked the earth," and John Waters, who directed Depp in 1990's Cry-Baby, says he "is probably the best young actor working in America today." Yet these days the chain-smoking, tattoo-festooned, Viper Room-owning movie star seems to be dancing on the edge of danger. At 5:30 a.m. on Sept. 13, a green knit hat pulled down over his forehead, Depp was arrested on charges of criminal mischief after trashing his $l,200-a-night room at New York City's tony Mark Hotel. Police suspect he was drunk and had been fighting with his girlfriend, the superwaif supermodel Kate Moss, 20. After several hours in a holding cell, he was released and told that the charges would be dismissed if he stayed out of trouble for six months and agreed to reimburse the Mark $9,767.12 in damages and guest fees.

That was just the most highly publicized of Depp's recent problems. One week earlier, visiting Moss in her native London, he reportedly caused a ruckus in a pub when 27-year-old photographer Jonathan Walpole mistakenly picked up Depp's glass from the bar. "He pulled both my ears very hard," Walpole told London's Evening Standard, adding that "some ape" who was with Depp "leaped on my back, put his arm round my neck and tried to force my head to the floor."

To many of Depp's friends these incidents are, as one put it, "just Johnny being Johnny," the sort of outbursts they have come to expect on occasion from an actor who can be as otherworldly as the character he played in Scissorhands. "I think Johnny obviously has a temper, but this is a very minor incident," John Waters says of the Mark melee. "The room service must have been bad." However, Marlon Brando, who befriended Depp when the two shot the upcoming movie Don Juan DeMarco and The Centerfold earlier this year, was worried enough to place a phone call to Depp's lawyer David Breitbart when he heard about the arrest. "He said he was very concerned about Johnny's well-being," says Breitbart, "and if there was anything he could do to help, he would like to."

Surely it's time to take stock when you're eligible for counseling from Marlon Brando. Yet Timothy Leary, the '60s LSD guru who is the godfather of Depp's onetime fiancée Winona Ryder, says that Depp is both "wild and charitable." Most friends prefer to focus on the charitable side, offering tales of his kindness and generosity. Driving near the Austin, Texas, set of Grape during a downpour, Depp came across a homeless woman; he offered her a lift and gave her every cent he had on him. In a visit arranged by the Make-a-Wish Foundation, he brought a terminally ill, 11-year-old girl to the set of Ed Wood and hovered over her the entire day. He is said to wander, at 4 or 5 in the morning, outside the Viper Room, the Sunset Strip club where 23-year-old River Phoenix died of an overdose last Halloween, and hand out 50-and 100-dollar bills to the destitute huddled on the sidewalk.

But there is a darker side to Depp as well. Before he left the Mark Hotel in handcuffs, he had been arrested on three previous occasions: for getting into a tiff-with an L.A. police officer over a jaywalking ticket, for speeding in Arizona and for assaulting a hotel security guard in Vancouver, B.C. He has engaged since childhood in thrill-seeking escapades that seem downright self-destructive. In a caper that even he, looking back, described as "a really ridiculous thing," Depp blew on fire with a mouthful of gasoline. His face ignited, and it was only the quick moves of a friend that saved him from becoming a burn casualty. His arms bear rows of scars from self-inflicted knife wounds, each one commemorating what Depp considers an important life event. "I have," he once explained, "a funny relationship with my body.... Ah, it sounds so stupid, but for me there shouldn't be any halfway."

He has certainly been partying full tilt of late. The night after his release from jail, Depp, flanked by leather-clad, heavily tattooed bikers, was at Babyland, a Lower East Side bar filled with cribs and nursery paraphernalia. Jerry Price, a Manhattan pipe fitter, claims that Depp bumped into him at the club's bar, after which Price says he was pummeled by the biker bodyguards and hit with a rocking horse. Attorney Breitbart denies Depp's involvement, and Babyland regulars say it was Price who provoked the scuffle. Whatever the truth, the skirmish didn't dampen Depp's spirit. The next night he and the bikers hit the downtown nightclubs again, landing at the Limelight for the 3:30 a.m. pageant featuring drag queens, transvestites and transsexuals. And, at Dan Lynch, yet another hip watering hole, Depp recently directed and starred in a video for Shane MacGowan and the Popes. Their song? "That Woman's Got Me Drinking."

The woman who would seem to have Depp drinking these days is, of course, the ultrathin Kate Moss, who has appeared topless alongside Marky Mark in Calvin Klein ads. She and Depp met last February at the Manhattan bistro Cafe Tabac, and Moss has said, "I knew from the first moment we talked that we were going to be together." And they were: at the L.A. club Smash Palace just weeks after they met, when Depp previewed Banter, an eight-minute antidrug movie he made; vacationing on St. Bart's a few weeks later; at Manhattan's Fez club in April for a Johnny Cash concert. In July, after filming wrapped on Don Juan, Depp flew to Paris to be with Moss, who was strolling the catwalk at the couture shows. She gave him a ring-shaped platinum rattle filled with black pearls; he had already given her a strand of diamonds. Depp is even having his Winona Forever tattoo removed from his right bicep, a painful procedure that he's taking one letter at a time. At the moment it reads Wino Forever.

Moss and Depp, a friend says, "can't keep their hands, lips, mouths, legs off of each other." Nor are they always successful in keeping their brawls private. In June they shouted at each other in the dining room of Manhattan's Royalton Hotel. Says a longtime friend of Depp's: "Instead of hitting women, he just gets angry and lets off steam in other ways."

Depp seems to be the kind of passionate fellow who finds scant middle ground between picking someone up and proposing. He married Lori Allison, a makeup artist from Florida, when he was 20 and she was 25; they divorced two years later. He has since been engaged at least three times-to actresses Sherilyn Fenn, Jennifer Grey and Winona Ryder-and Tally Chanel, a B-movie actress, also says she got a shot at being Depp's fiancée. They met when she was working as a hostess at the Hollywood premiere of Die Hard 2 in July 1990. "I helped him out of his limo," the 27-year-old recalls. "Our eyes locked, and he asked me to marry him." They dated for a year, spending quiet nights at Depp's Hollywood Hills home, ordering in food from a Chinese restaurant.

Depp has also said that he "sort of had a crush," on Patty Hearst, when the two made Cry-Baby. Then there is Faye Dunaway, with whom Depp shot the yet-to-be-released Arizona Dream. "She's God in a way," he says. When he learned, somehow, that Dunaway harbored an unfulfilled desire to bounce on a trampoline, he and a friend drove 80 miles to a sporting-goods store in Tucson to buy one, then brought it back to the tiny town of Douglas, where they were filming. "We set the trampoline up in the middle of the desert," he recalls, "and we got Faye on it, and in about half a second she turned from this beautiful woman into this sweet, giddy 12-year-old girl on a trampoline. It was one of the most incredible moments I'd ever seen in my life." Even on the night of his recent arrest, Depp seemed most concerned not with the prospect of doing jail time but with the possibility that he had fallen out of favor with a woman, Officer Eileen Perez. "I don't think she likes me," Perez heard Depp say to her partner. Then he brightened and added, "But I bet if she saw me in a mall, she'd ask for my autograph."

Depp's devotion to women starts with his mother, whose name, Betty Sue, is tattooed on his left bicep. Depp recently bought her a $294,000, three-bedroom home north of L.A., where the former waitress lives with her second husband, Robert Palmer. "He's just the most precious boy," says Mrs. Palmer.

That boy has certainly come aways from Owensboro, Ky., where, the youngest of four siblings, he was born to Betty Sue and his father, John, now a city engineer living in Hallandale, Fla. When Depp was 7, his family moved to Miramar, Fla., and lived in a motel for nearly a year, until his father found a job. Johnny, meanwhile, started smoking at 12, lost his virginity around age 13 and, he has said, "did every kind of drug there was by 14." At 16, a year after his parents divorced, he dropped out of high school and joined a garage band, The Kids. "Puberty was very vague," he has said. "I literally locked myself in a room and played guitar."

Though The Kids became successful enough to open for the Talking Heads and the B-52s, Depp lived for months in a friend's '67 Chevy Impala, supporting himself, he has said, by selling pens for a telemarketing firm. In 1983, he and the Kids moved to L.A., and a year later, after Nicolas Cage introduced Depp to his agent, the would-be musician got his first movie role, in Nightmare on Elm Street, where, in a bizarre dream sequence, he was swallowed by a bed. By 1985, the Kids had broken up and so had Depp's marriage to Allison. His big break came in 1987: Cast as a high school narc in the FOX series 21 Jump Street, Depp was soon receiving 10,000 fan letters a month and became a regular on the cover of Tiger Beat.

Still, Depp's own heart throbbed only for Winona Ryder, whom he first spotted in June 1989 at the premiere of her movie Great Balls of Fire. "There's been nothing in my 27 years that's comparable to the feeling I have with Winona," Depp said. Five months after their first date, Depp gave Ryder an engagement ring; three years later they broke up. The end of their romance left Depp disconsolate. "He was so desperately in love with Winona," says a friend, "that when they broke up, he wouldn't admit it was over for the longest time."

Lately he has focused those same intense affections on Moss-even saying, according to one friend, "that he wanted to have a baby with Kate." One wonders if the two dream of a hotel room with a white picket fence. Moss herself doesn't have a permanent residence, and since Depp's Hollywood home was destroyed in the January earthquake, he has lived a high-class vagabond life, staying mostly in hotels. L.A.'s Chateau Marmont and Hollywood Roosevelt are two of his current favorites.

Depp's real home, in a way, is the Viper Room. When he bought the club in August 1993, along with two partners, he envisioned a "cool little underground place," he has said, where he and friends could listen to Billie Holiday, Frank Sinatra and Chet Baker over a first-rate sound system. Instead the club became the hippest stop on the Sunset Strip, with block-long lines of young Hollywood types and tourists who want to see the place where River Phoenix, convulsing on the sidewalk, spent the last moments of his life.

Are Depp's problems anywhere near as serious? His friends don't think so. "I am not worried at all," says John Waters. "Johnny is not killing himself. I think he is aware of that pitfall. He has certainly seen it." What's even more comforting to Darlene Cates is that she has seen Depp marvel at the wonder of new life, encountering her sleeping 3-month-old grandson during the Gilbert Grape shoot. "Johnny got down on his knees next to the bed," she recalls, "and looking over at my grandson, his eyes just softened. He said, 'Awesome, just totally awesome.' Most men don't realize what a miracle a baby is, but Johnny did."

SHELLEY LEVITT

KRISTINA JOHNSON, VlCKI SHEFF-CAHAN and DANELLE MORTON in Los Angeles, with bureau reports

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They are a couple of serious young actors. It was a sensitive movie, directed by the renowned Swedish director Lasse Hallstrom. So naturally the cast and crew of last year's What's Eating Gilbert Grape could speak of nothing but whether Leonardo DiCaprio would accept Johnny Depp 's $500 dare and sniff a rancid pickled egg.

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According to Arnold, the heroin chic phenomenon is highlighted as a major problem within the fashion industry marking it as the glorification of the drug. The criticism remains that the industry is not creative but rather is destructive and ugly. The ennoblement of death in this way is not good for any society.

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The path to stardom for Kate Moss began in 1990 at age 16, catching the attention of the fashion industry with a series of Un-stylised, exposed photographs taken by British Photographer Corinne Day. Having them appear in the youth style magazine 'The Face', Kate landed a campaign with American designer Calvin Klein (1992) subsequently appearing in a collection of advertisements for the brand that further accentuated her very thin frame. Her more natural, slender frame established a new era in modelling, the anti-supermodel, thus an icon was born.

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Being photographed only by then boyfriend Mario Sorrenti to photographs produced have an element of playfulness and romance to them, indicative of the product being sold. Kate perhaps intertwines with her innocence contradictory to her later shoot with Marky Mark.

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Kates initial campaign with Calvin Klein commoditised her image as a means to sell, establishing a more commercialised Kate Moss brand.

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Kate has made debuts campaigns with the likes of vouge and Dior and achieving ultimate supermodel status on the Catwalk.

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Dior, 2006

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Characteristics:
- immature
- child like
- irresponsible
- defenceless
- naive
- easily manipulated
- vulnerable

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Female equivalent of a man child; a woman child is a woman who constantly whines, complains, and always has to have things her way 24/7. A woman child doesn't take responsibility for her actions and blames others, very similar to the man child counterpart.

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A controversial look associated with the grunge style, consisting of a very thin physique, dark under-eyes and an unkempt choice in clothing and hairstyle. Arguably glamourising and promoting an unhealthy lifestyle of drug culture in order for consumers to achieve this look.

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These images of Kate sourced via 'The Face' magazine are synonymous with the publications brand of discovering new generational style. They show Kate as the fresh-faced, uncommercialised girl and in some respects her innocence to the modelling industry.

# data[].attributes.body
- innovator
- strong
- independent

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She looks smoking.

Supermodel Kate Moss has starred in campaigns for some of the world's most high-end designers, including Chanel, Gucci and Yves Saint Laurent. But, the Croydon born lass doesn't shy away from high-street stores either - remember those Topshop collections she designed that had noughties teens queuing round the block?

Well, the iconic model and style-setter is back with a smoking hot campaign for Zara. The Spanish retailer has just released the first drop of their capsule collection in collaboration with the French fashion editor Emmanuelle Alt and Mossy can be spotted in some great looks from it.

Photographed by legendary fashion photographer David Sim, Kate is seen in a number of glamorous evening looks. The first drop, entitled 'Into the Night', features silky camisole dresses, a fringed jacket, tailored blazers and a lot of rhinestones.

Zara presents Into The Night, the first drop of a capsule collection inspired by the Parisian night and comprised of timeless clothes to create a sophisticated basic wardrobe for special occasions https://t.co/usp6dyYOwu
Styled by Emmanuelle Alt
Photographed by David Sims pic.twitter.com/xwSngfUXrb

- ZARA (@ZARA) July 15, 2022

Zara describe the collection as being "inspired by the Parisian night" and of being "comprised of timeless clothes to create a sophisticated basic wardrobe for special occasions." As with any item of clothing associated with Kate Moss, word is that the pieces are selling fast.

INTO THE NIGHT. The collection's campaign stars the iconic Kate Moss photographed by David Sims https://t.co/usp6dyYOwu pic.twitter.com/iEjpVtR7lC

- ZARA (@ZARA) July 15, 2022

The £99.99 silver camisole dress, which Kate is pictured wearing in the campaign with a black fringed jacket, is reminiscent of one the model's most loved looks: a sheer silver slip dress she wore in the 1990s.

In another shot, the 48-year-old clutches a tailored white blazer around her, over an asymmetric metallic silver mini dress. As well as having drawn on Alt's signature love of minimalism and monochrome styling, the collection also feels very Kate Moss approved.

As well as being one of the best known British models ever, Kate Moss has long been a fashion icon, with fans keen to copy her style. From festival fashion looks to extravagant birthday dressing, Kate knows how to make an impact...in a classic cool and laid back way, of course.

17 times Kate Moss had the best festival style https://t.co/HsMZ7OpqHD pic.twitter.com/bCAEmyAnJK

- Marie Claire (@marieclaireuk) July 3, 2016

Her 19-year-old daughter, Lila Moss, has followed in her footsteps by modelling for British Vogue and walking the runway.

Speaking to Lila - who was signed to her mother's modelling agency, Kate Moss Agency, and landed her first campaign with Marc Jacobs at 15 - said: "My mum always put me off [modelling]. She was always like, 'If you wanna do it, you can, but I wouldn't recommend it.'

Lila also spoke about how she shares clothes with her famous mother: "In the last three or four years, I've realised that her style is actually really cool. I'm having to admit it now. She doesn't have a good trackies selection. She only has pyjamas. She probably would hate me saying that. She doesn't want anyone to know she wears trackies."

We'd bet Kate Moss makes those trackies look pretty cool though.

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She looks smoking. Supermodel Kate Moss has starred in campaigns for some of the world's most high-end designers, including Chanel, Gucci and Yves Saint Laurent. But, the Croydon born lass doesn't shy away from high-street stores either - remember those Topshop collections she designed that had noughties teens queuing round the block?

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- age-defying
- body confident
- resilient
- icon
- experienced
- celebrated

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Kate continues to defy the modelling agency standards in her 48 years of age. The ideology of restricted age limits amongst models and early retirements is completely overturned by Moss. Landing campaigns as the face of Kim Kardashians new line Skims, the model continues to work in the industry as a beckon of beauty, demonstrating body confidence at any age. She continues to set the tone for the modelling scene, once in her early career as the waif-thin supermodel and now as a boss, and iconic older model having recently celebrated 28 years from her vogue debut in 2021.

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Kate Moss showed off her age-defying beauty as she graced the cover of British Vogue's January 2021 issue on Monday.

The iconic model, 46, looked resplendent as she modelled in stunning snaps for the publication, which saw her pose for not one but two special covers, 28 years after making her debut on the front of the magazine.

Showing off her modelling prowess, Kate put on a stylish display as she slipped into a plunging black gown that had a sequinned neckline that showed off a glimpse of her cleavage.

Kate added a pop of colour to the dark ensemble as she accessorised with a red rose choker necklace and a gold chain bracelet.

On one cover, Kate oozed glamour in a sleeveless green chiffon dress that floated across her slender frame as she posed for the cameras.

Her golden locks fell over her shoulders in loose waves and she wore a light palette of make-up to embrace her natural beauty.

Kate embraced a boho chic look for her second cover as she wore a black beret over her blonde tresses and showed off her toned abs in a black crop top.

PROMOTED by NORDSTROM

Kate showed off SS21's visible underwear trend as her lingerie could be seen as her skirt fell low on her hip.

The model made her debut on the cover of British Vogue in 1993, at the age of 19, when she showed off her natural beauty in a striking portrait, and Kate has featured on 43 Vogue covers since that first moment.

In a special video for Vogue, Kate answered questions from a variety of stars as well as her daughter Lila Grace, 18, who asked what she does to relax after a busy day.

Calling her little one 'Lila belle', she said: 'I like having a hot bath and getting into bed for a cuddle with you if you are available.'

Editor-in-Chief of British Vogue, Edward Enninful said of Kate's cover: '2020 was a year of reckoning, and saw a series of firsts for the magazine.

'From covers honouring the key workers who kept the country stable during its first coronavirus lockdown to our oldest cover star (Judi Dench, resplendent at 85) and a 14-cover edition by Britain's leading artists on the theme of Reset, it was a time for new ways to inspire.

'It was a vital year for social justice movements, too, and for September we turned our attention to activism, photographing some 40 changemakers who faced the noise of a divided word and stood up to make a difference.

'Safe to say, it was a year of rethinking here at Vogue, just as it has been for everyone. If 2020 has taught us something of what we can expect from 2021, it is that it will be unpredictable.

'But I can say this much with certainty - there will always be Kate Moss. Almost 28 years since her Vogue debut, Kate's eternal chic once again finds its way onto our cover this month - a fact I find both thrilling and deeply comforting.

'Personally, as we face 2021, I have found myself returning to words by the great Margaret Atwood. "There will be another shore after the rapids: I promise."'

Read the full feature in the January/February 2021 issue of British Vogue available via digital download and on newsstands Friday 4 December.

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Kate Moss, 46, shows off her age-defying beauty in Vogue cover shoot

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Kate Moss showed off her age-defying beauty as she graced the cover of British Vogue's January 2021 issue on Monday. The iconic model, 46, looked resplendent as she modelled in stunning snaps for the publication, which saw her pose for not one but two special covers, 28 years after making her debut on the front of the magazine.

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Kate demonstrates herself as the ultimate boss with her own modelling agency, teaching and guiding young models through their developing careers.

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Kate Moss Agency is a British talent agency based in London and founded
in September 2016. Using KMA's unique connections and industry knowledge
to develop and nurture talent, the team provides personal management tailored
to each individual within the global media industry.

"I want to focus on managing people's careers, not just running an agency"

# data[].attributes.attachment_link.description
Kate Moss Agency is a British talent agency based in London and founded in September 2016. Using KMA's unique connections and industry knowledge to develop and nurture talent, the team provides personal management tailored to each individual within the global media industry.

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2007- Moss voted as the sexiest woman alive

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2007- Moss voted as the sexiest woman alive

# data[].attributes.body
Kate demonstrates resilience and the power of her desirability despite allogations.

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The Shockwaves NME Awards: full winners list

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As the aftershow party kicks off we run down who got your votes

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Kate Moss’ biggest fashion campaigns as she becomes the new face of Kim Kardashian West’s SKIMS

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Kate Moss has been hard at work since the early Nineties.

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KATE Moss is launching her own fashion label and her 16-year-old daughter Lila Grace is set to be the face of it.

The world famous supermodel, 45, - who had a sell-out Topshop range - is planning to create a brand that will last for years and bring in plenty of cash - using her own style as inspiration.

A fashion insider told The Sun Online: "Kate's label is called Rockeens and this is her Victoria Beckham move.

"She wants to firmly establish herself as a brand, and build an empire fast.

"It's mostly rock-inspired silk dresses and leather jackets - basically her 'look' and aimed mass market so everyone can buy it.

"Kate is planning for it to become a mainstream brand, and wants it still to be making her money in 30 years' time."

The catwalk star has been very hands on with the process and is planning on keeping it in the family.

The insider continued: "The clothes are currently in production in London, as she wants it to be a London-cool brand.

"She's involved in the designing but just not the technical side. Lila Grace will be the face of it and it's due out before Christmas."

Kate is one of the most famous models on the planet and has been gracing the catwalk since she was discovered in 1988 aged 14.

In 2007 she launched her Moss for Topshop collection of 50 coveted items, which she was reportedly paid £3million for.

She went on to do 14 ranges with the high street giant, with her last one being out in 2014.

Items from the range still sell on eBay for three times the original price, even years later.

Got a story? email digishowbiz@the-sun.co.uk or call us direct on 02077824220.

We pay for videos too. Click here to upload yours.

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Kate Moss launching her own fashion label 12 years after sell out Topshop range - and daughter Lila Grace, 16, will be the face of it

# data[].attributes.attachment_link.description
KATE Moss is launching her own fashion label and her 16-year-old daughter Lila Grace is set to be the face of it. The world famous supermodel, 45, - who had a sell-out Topshop range - is planning to create a brand that will last for years and bring in plenty of cash - using her own style as inspiration.

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Having secured the consistent support from Rimmel, Moss gained many campaigns including her own lipstick collaboration reported to be successful. These initial moves as an entrepreneur paved the way for Moss to design her own line of clothing alongside the brand Top Shop. The mass amount of support obtained by the public ensured her success, selling out. As a result, the star later collaborated with Top Shop once again to similar successes. Additionally, in recent years, Moss has initiated her own wellness line, Cossmoss. The line promotes a focus on meditation and self-care. Quitting drinking and taking on a more mindful approach to life, completely shifting her party girl image of the past. Moss as a Boss presents an independent, successful and mature, modern persona- an iconic role model of women today.

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Following in the footsteps of many, many a 21st century celebrity - Gwyneth Paltrow, Halle Berry, Beyoncé, Kate Hudson and Jennifer Lopez to name just a few - Kate Moss has launched her own wellness brand.

Despite being known for her hardcore partying ways in the past, recent years have seen Kate take a new, more mindful approach to life - quitting drinking, embracing meditation and now, launching a wellness brand.

Called Cosmoss, the brand was initially teased on Instagram via pictures of the 48-year-old model with her hair whipped across her face and a short black and white video of a naked Kate Moss walking into a pool of water. The captions described Cosmoss as 'soulful, sensual, self-aware... self-care created for life's modern journeys, drawing on the extraordinary experience of Kate Moss.'

Supposedly, 'Each COSMOSS product has been meticulously crafted with well-being in mind, using potent, natural substances,' and 'each ritual opens a door to balance, restoration and love.'

The current collection that's available to purchase (via cosmossbykatemoss.com) includes a cleanser, moisturiser, the Sacred Mist eau de parfum and an antioxidant oil. There are also two mood-boosting ritual teas for sale - a morning and evening blend.

Be warned, the A-list brand comes with an equally high end price tag. The teas are the cheapest items, priced at £20 each. The CBD pro-collagen drops are £105 for 30ml, while the face cleanser is £52. The most expensive product is the Sacred Mist eu de perfume, which will knock you back £120 for 100ml.

Is Kate Moss here to give Goop's own Gwyneth Paltrow a run for her money? Only time will tell.

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Kate Moss has launched her own wellness brand, Cosmoss

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Following in the footsteps of many, many a 21st century celebrity - Gwyneth Paltrow, Halle Berry, Beyoncé, Kate Hudson and Jennifer Lopez to name just a few - Kate Moss has launched her own wellness brand.

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Kate Moss reveals her own greatest hits at the Topshop launch in Oxford Circus, London.

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Moss continued as the face of Rimmel London creating her own line of lipsticks, cementing herself as a businesswoman rather than just a model. However, with her career exploding in recent campaigns Moss has been accused of photoshopping her image. The obvious smoothing of her face begs the question of the star's authenticity, drawing away from the natural image of her younger self.

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Kate Moss' quick ascension to icon status was in no small part due to her distinct beauty. So we're having a hard time wrapping our heads around why a makeup brand wouldn't play up her gorgeous face after doling out the big bucks to land the supermodel.

The 38-year-old graces the latest ad campaign for Rimmel looking a little... well, flat. Kate's shilling matte foundation in the ad, so it's understandable that she would look somewhat lackluster. But, aside from her signature wide-set eyes and a small semblance of her cheekbones, we can't seem to find the lively Kate we know and love ( even without a stitch of makeup).

Kate's going on her 11th year as spokesperson for Rimmel, so she's become pretty synonymous with the brand at this point. Plus, it's not uncommon for cosmetic companies to use Photoshop to enhance the effects of their products ( Taylor Swift's CoverGirl ad was even banned for that reason). So perhaps Rimmel went a little Photoshop-crazy with Kate this time?

Check out Kate Moss' Rimmel ad and tell us what you think. Is this a Photoshop fail?

Check out some magazine covers without any retouching!

Celebs With No Photoshop

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PHOTO: Did Kate Moss Get The Photoshop Treatment For Rimmel Ad?

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Kate Moss' quick ascension to icon status was in no small part due to her distinct beauty. So we're having a hard time wrapping our heads around why a makeup brand wouldn't play up her gorgeous face after doling out the big bucks to land the supermodel.

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The vast amount of celebrity connections Kate has could perhaps be a crucial factor in the maintenance of her image as a star, keeping her current and propelling her further into the world of stardom.

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The plethora and wide variety of celebrities contributing to her interview establishes Kate popularity amongst stardom further perpetuating her status as an icon. The involvement of fellow stars could be suggested to elevate Kate separating her from normality rather she is almost untouchable.

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Kate Moss Answers 28 Questions From Her Famous Friends & Family | Ask A Legend | British Vogue

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showcases the wide variety of celebrities in which Kate networks with

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As news emerges that Kate Moss has a starring role in the Elvis Presley music video, For The Wonder of You, we chart the numerous music collaborations she's undertaken over the years.

In chronological order, see the supermodel's music-video CV:

1. Johnny Cash, 'Delia's Gone', 1994

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Moss made her music-video debut with none other than the venerable Johnny Cash in 1994 when she played a Victorian corpse - an expectedly macabre image from the country singer.

2. Primal Scream, 'Kowalski', 1997

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The supermodel assumes the role of a leather-clad joy-rider, who beats up a man for reasons we can't fathom. She's a long-term friend of Primal Scream's Bobby Gillespie, so her appearance in his music video isn't a surprise.

3. Elton John, 'Something About The Way You Look Tonight', 1997

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She joined fellow supers Sophie Dahl and Alek Wek in Elton John's smooth ballad, in which she played herself.

4. Marianne Faithful, 'Sex with Strangers', 2002

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We couldn't tell you what on earth unfolds in Faithful's music video, which stars Moss. All we do know is that she goes to a party in a castle; there are Moss clones everywhere and lotus flowers, then the evening finishes with Faithful being transported from a television to meet Moss.

5. The White Stripes, 'I Just Don't Know What To Do With Myself', 2003

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Arguably the most famous of Moss' music cameos was her performance in The White Stripes' 'I Just Don't Know What To Do With Myself', in which she danced round a pole in her lingerie. Created by Sofia Coppola, it's one steamy video.

6. Primal Scream, 'Some Velvet Morning', 2002

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Moss makes her vocal debut on Primal Scream's cover of Nancy Sinatra's 'Some Velvet Morning'. She also appears in the video as a waif-like muse.

7. Johnny Cash, 'God's Gonna Cut You Down', 2006

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Moss collaborated with Cash for the second time with his melancholic track, 'God's Gonna Cut You Down' (don't listen to this one unless you're in the mood for feeling bleak). She appears alongside a host of high-profile cameos, including Kanye West, Keith Richards, Patti Smith and Owen Wilson.

8. Paul McCartney, 'Queenie Eye', 2013

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Moss was reunited with her ex, Johnny Depp, in Paul McCartney's music video - along with Tom Ford, Meryl Streep and Sean Penn.

9. Elvis Presley, 'For The Wonder Of You', 2016

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Proving that her magnetism has not waned, Moss starred in an Elvis music video looking nothing short of hot. In it, she wore four Elvis-inspired looks, including a leather jumpsuit.
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A timeline of Kate Moss' music-video cameos

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As news emerges that Kate Moss has a starring role in the Elvis Presley music video, For The Wonder of You, we chart the numerous music collaborations she's undertaken over the years. In chronological order, see the supermodel's music-video CV: 1. Johnny Cash, 'Delia's Gone', 1994 This content is imported from YouTube.

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Latest Oasis, Liam And Noel Gallagher News STOPCRYINGYOURHEARTOUT.COM

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Kate Moss held a predictably lavish launch party for her new book, Kate: The Kate Moss Book at 50 St James Street, London, this week.

After spending the early evening signing copies of the tome at Marc Jacobs' bookshop in Mayfair, Moss arrived at the bash to be greeted by the likes of Bob Geldof, Noel Gallagher, Florence Welch, Alison Mosshart and Donna Karan.

WWD.com's reporter said "It was hard to move at the party for Kate Moss' new book without coming nose-to-nose with a glass of Veuve Clicquot - or a famous person," and they caught up with Mr Gallagher to chat about the heady 1990s when his group Oasis and Ms Moss moved in similar circles. "She actually lived with me for a while," he revealed, "There would be more people waiting outside my flat to see her than there were for me. I would pop out to the shops and people would ask me, 'Is Kate in? Can you get me her autograph?"

The pair met at a part in 1994, though Manchester-born Noel had no idea who Kate was, despite her being the most famous model in the world. "I had just moved down from Manchester and was not that familiar with the London scene. Two weeks later, I was in America and her face was everywhere, on billboards, on every magazine."

As WWD.com's reporter moved downstairs, the party appeared to get worse. Quickly.

Source: www.contactmusic.com

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Kate Moss Lived With Noel Gallagher In The 1990s?

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Kate Moss held a predictably lavish launch party for her new book, Kate: The Kate Moss Book at 50 St James Street, London, this week. After spending the early evening signing copies of the tome at Marc Jacobs' bookshop in Mayfair, Moss arrived at the bash to be greeted by the likes of Bob Geldof, Noel Gallagher, Florence Welch, Alison Mosshart and Donna Karan.

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The high-street fashion chain H&M announced yesterday that it was dropping the model Kate Moss from its forthcoming advertising campaign, after the publication of photos last week which apparently showed her taking cocaine.

Despite having issued a statement last week pledging its support of the model, H&M has made a surprising volte face, releasing a strongly worded statement yesterday afternoon: "H&M will cancel the planned advertising campaign with model Kate Moss. H&M is strongly against drug abuse and for many years has actively supported the drug preventing organisation Mentor Foundation. After having evaluated the situation, H&M has decided that a campaign with Kate Moss is inconsistent with H&M's clear dissociation of drugs."

This follows further revelations at the weekend in the tabloids regarding Moss's alleged drug use and her private life. Moss, who is arguably the most famous model in the world, will not be lacking work. She is still appearing in campaigns for Chanel, Christian Dior, Burberry, Roberto Cavalli and H Stern. But these are all expensive labels, whereas H&M has a much younger customer base. H&M was initially criticised for retaining Moss's services, with the argument that she is not just a model but a role model cited.

Moss is also the face of the lower priced makeup brand, Rimmel, which also is marketed to teenagers. A spokeswoman for the company said yesterday that she would remain in its campaigns. Chanel, Cavalli, Burberry and Dior all declined to comment, and a spokeswoman for the New York-based jeweller, H Stern, said: "So far there have been no changes, although things may alter in the future."

Moss, 31, has been modelling for more than half her life after being spotted when she was 14. Her image hinged on scandal from the beginning, when her skinny limbs and panda eyes kickstarted the trend for what newspapers dubbed "heroin chic", a look some designers exploited and fetishised in their advertising campaigns at the time.

Ever since, much of Moss's appeal has relied on her rock'n'roll lifestyle and unconventional behaviour: she is rarely photographed without a cigarette and she poledanced her way through a music video for the White Stripes in a bikini, all of which added to her glamorous image in the eyes of the fashion world. She has also admitted taking drugs in the past but had insisted that was no longer the case.

But it has only been since the start of her relationship with the rock star and self-proclaimed drug addict Pete Doherty that gritty details of her previously closely guarded personal life began to surface, as her friends and ex-boyfriends had always remained silent.

Soon after Moss and Doherty got together at her birthday party in January, it has been suggested he was soon telling tabloid reporters intimate details of their relationship. The photos of Moss apparently taking cocaine are widely assumed to have been taken by a member of his band, Babyshambles.

But it is unlikely her career will be too damaged. The fashion world has not changed much since her career began, and it still likes its glamour to come with tinges of scandal: Edie Sedgwick, Andy Warhol's muse, who died of an overdose, has been cited as this season's muse. In this context, Moss's career looks secure.

Chanel Moss is a French coquette in the current campaign, donning a cap, a dark wig, pearls, and little else

Dior She appears in sheepskin boots and hotpants

Burberry The ads play on her English origins; she has brought glamour to a once staid label. In the current campaign she strides down a windswept cobblestone street in a trenchcoat

H Stern Moss is known to love expensive jewellery, so she was a clever choice for a company wanting to widen its audience base

Rimmel Moss's collaboration with Rimmel has been a huge success

Cavalli The adverts play on the label's wild image

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Fashion chain H&M sacks Moss from new ad campaign

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The high-street fashion chain H&M announced yesterday that it was dropping the model Kate Moss from its forthcoming advertising campaign, after the publication of photos last week which apparently showed her taking cocaine.

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Two global luxury brands became the latest companies to sever ties with the model Kate Moss over concerns that her reported involvement with illegal drugs would tarnish their appeal to consumers.

The two companies, Chanel and Burberry, issued statements yesterday that they would drop Ms. Moss from ad campaigns after photographs of the model, reportedly showing her using cocaine, ran on the cover of a London newspaper.

On Tuesday, the mass retailer H&M canceled a campaign with Ms. Moss, 31, saying she had acknowledged her drug use and had apologized. H&M reversed an earlier statement of support for Ms. Moss after customers called to complain, a spokeswoman said.

Advertising executives said the companies were bending to unexpectedly harsh public reactions in the scramble to distance themselves from Ms. Moss, whose outré reputation once benefited their images.

"This is all due to the fact that customers, or at least some of them, are saying no," said Sam Shahid, an advertising art director who was responsible for the racy Abercrombie & Fitch catalogs that were canceled in 2003 after calls for a national boycott. "This all comes down to money. It's the fear of losing business."

Also yesterday, Scotland Yard in London said that British authorities would investigate whether Ms. Moss took illegal drugs.

Gerard Tyrrell, Ms. Moss's lawyer, declined to comment on the investigation or on Ms. Moss's troubles with fashion companies.

"Kate doesn't talk about her private life," Mr. Tyrrell said.

A spokeswoman for Chanel, which has featured Ms. Moss as the face of its Coco Mademoiselle fragrance since 2001, said the company had "no plans to work with Kate Moss on new advertising campaigns in the near future." The latest ads are due to finish at the end of October.

A spokesman for Burberry said Ms. Moss was scheduled to participate in a campaign this fall, but "both Kate and Burberry have mutually agreed that it is inappropriate to go ahead."

In many ways, Ms. Moss, who has appeared in at least eight Burberry campaigns since 1998, was ideal for the brand's reinvention as a luxury purveyor, playing off its stiff English heritage while translating its classic plaid raincoat lining into bikinis and crusher hats. The company's sales have grown to more than $1.3 billion, while Chanel, which has also had significant growth, has worldwide sales estimated at $2.2 billion.

Burberry's statement, however, noted, "We have never had a contract with Kate, or any other model, to be the 'face' of Burberry."

"Kate has always been a fantastic model and highly professional for Burberry," the spokesman said. "We are saddened by her current circumstances and hope she overcomes her problems as soon as possible."

Ms. Moss has not publicly acknowledged the accuracy of the reports of her drug use, which were first published by The Daily Mirror on Sept. 15. The newspaper described its report as an undercover investigation and included photographs of Ms. Moss, taken in a recording studio, apparently using cocaine through a rolled bank note.

This summer, the paper's sister publication, The Sunday Mirror, paid Ms. Moss libel damages after she successfully sued over an article that reported she had collapsed in a drug-induced coma in 2001.

The decision to dismiss a model over issues in her private life is all but unknown in fashion and is more reminiscent of cases of famous athletes who have lost endorsement deals, like that of Kobe Bryant, who was accused of sexual assault in 2003. Those charges were eventually dropped.

But the fashion labels' sensitivity to public opinion has grown with the consolidation of the apparel industry into several large multinational companies, which are often publicly traded.

"When companies hire a celebrity, they want people to recognize the celebrity and associate them with that product," said Deborah Cohn, a professor of marketing at the Sy Syms School of Business, part of Yeshiva University in New York. "When there's a controversy that they can't control, these companies are really trying to distance themselves from the celebrity."

Not all of the brands that use Ms. Moss have distanced themselves. Of her campaigns, which generated her an estimated $9 million in earnings a year, one brand, Christian Dior, has not yet said whether it will continue to work with her. A spokeswoman for Dior declined to comment yesterday.

Coty Inc., which owns the Rimmel London cosmetics brand and has a three-year contract with Ms. Moss, did not return calls.

"Some companies will try to look like they are sympathetic," Ms. Cohn said. "But mostly, it's just too expensive to pull their ads."

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Amid Drug Use Reports, 2 More Brands Drop Kate Moss (Published 2005)

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Two global luxury brands became the latest companies to sever ties with the model Kate Moss over concerns that her reported involvement with illegal drugs would tarnish their appeal to consumers. The two companies, Chanel and Burberry, issued statements yesterday that they would drop Ms. Moss from ad campaigns after photographs of the model, reportedly showing her using cocaine, ran on the cover of a London newspaper.

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After declaring her comeback, Kate plunged into a campaign with Rimmel London entitled 'Recover'- A foundation with its fatigue targeting properties. Her collaboration with the brand showed Moss able to look beautiful and flawless despite her publicly exposed partying lifestyle. She came back hotter than before with her 'bad girl' image reaching new heights as the publics existing suspicions had been confirmed. This image was key to the stars allure and further promoted her desirability as the epitome of beauty.

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Pure Production for Rimmel's 'Get Up & Glow' campaign featuring Kate Moss.

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McQueen showing his support for Moss during the final week of Paris collections:

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McQueen showing his support for Moss during the final week of Paris collections:

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With Tabloids having for fronted a decedent and damaged picture of Kate, the reconstruction of her star image took a copious amount of work. After the 40-minute, grainy video of Kate snorting 5 lines of cocaine emerged on the front pages of the Daily Mirror, it was argued that Kate was merely the Victim of the uncompromising media and her pre-established edgy lifestyle. Contextually, during 2005 Britain experienced a cocaine epidemic, common amongst the grunge partying scenes. Therefore, this suggests Kate to be scapegoat of a social evil rather than the irresponsible, damaged image the media shaped. Despite a gross loss of earnings through being dropped by various fashion campaigns, such as H & M, a vocal support system for Kate remained within both the fashion industry as well as the celebrity world itself. With the likes of Robbie Williams openly admitting using the drug too and Naomi Campbell claiming Kate did nothing wrong, the support of fellow stars cemented Kate as this victim. The statement of support from Alexander McQueen with the slogan t-shirt, "WE LOVE YOU KATE" finalised this idea the lucidity of the cocaine Kate scandal to the fashion industry. Kate's strong star links were perhaps crucial in rebuilding herself after her reported one-month stint in rehab, remerging as this more culturally complex figure, appealing to the likes of Rimmel London.

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12. Suing the Daily Mirror for Deformation

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12. Suing the Daily Mirror for Deformation

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After the sister paper of the Daily Mirror, the Sunday Mirror, published false allegations that Kate collapsed at a charity fashion show due to drug consumption, Kate successfully sued the paper. The Sunday Mirror issued an apology to Kate herself as well as paying substantial amounts in damages. This event in Kates career is massively powerful in regard to both her character and profession. Firstly, it suggests the idea that the media see Moss as newsworthy being beautiful, edgy, a representative of corrupt youth and sex. Her image epitomises power in a monetary sense and therefore implies this increase in her desirability levels. Additionally, her power as a woman is exuded through this act, demonstrating her lack of silence, standing up for herself unapologetically and speculates her as a good role model for young girls despite her scandals.

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The Sunday Mirror has apologised to Kate Moss and paid her "substantial" libel damages after falsely claiming she had collapsed into a coma after taking cocaine.

The model issued legal proceedings over the front-page story, published in January this year under the headline "Kate in cocaine coma".

The Sunday Mirror claimed that, during a visit to Barcelona in 2001 to appear in a charity fashion show, Moss had taken "vast quantities" of the drug before collapsing into a coma.

Moss's lawyer Gerrard Tyrrell said the article had "made a number of serious and defamatory allegations concerning Kate Moss, alleging that, in Barcelona in June 2001, she collapsed into a drug induced coma and had to be revived after taking vast quantities of cocaine".

In a statement delivered in open court today, he said the allegations were untrue.

Philip Conway, acting for the Sunday Mirror, said the paper accepted the allegations were false and apologised for the "distress and embarrassment caused" to Moss.

The Sunday Mirror's story was based on claims made by Naomi Campbell's former personal assistant Rebecca White in an interview for the Five documentary The Truth About Kate Moss.

Today, Mr Tyrrell said he had also been in contact with Five over allegations made in the course of the documentary.

However, it is understood not all the claims made in the Sunday Mirror's story were included in Five's documentary.

Today, Mr Tyrrell said he now planned to turn his attention to the broadcaster.

A spokesman for Five said Moss's lawyers had been in touch soon after the programme was broadcast in January. But he said Five's legal department had not heard from them since and the channel would wait to hear what Mr Tyrrell had to say.

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Sunday Mirror apologises over Moss cocaine story

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The Sunday Mirror has apologised to Kate Moss and paid her "substantial" libel damages after falsely claiming she had collapsed into a coma after taking cocaine. The model issued legal proceedings over the front-page story, published in January this year under the headline "Kate in cocaine coma".

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The 48-year-old supermodel gave testimony in her ex-boyfriend Johnny Depp's $100 million defamation case against his ex-wife Amber Heard on Wednesday

Moss appeared in the court remotely via video link and was only visible from the waist up; she was seen wearing a polka-dot pussy-bow blouse and $2,990 jacket

Style expert Robert Verdi said that Moss's ensemble gave the model an air of not wanting to appear as if she had 'tried too hard'

The TV personality added that her decision to leave the bow of her blouse undone helped her to look more 'easy and casual'

Her toned-down beauty look also added to this overall aesthetic, he said, noting that while her hair and makeup looked professional, they were very low-key

As one of the world's most famous supermodels, Kate Moss is typically synonymous with glamour and high-fashion.

But when the catwalk star took to the stand to testify on behalf of ex-boyfriend Johnny Depp on Wednesday, she seemingly made it a point to put as much sartorial distance between herself and her designer diva persona in what style experts suggest was a calculated move to bring more 'authority' and 'authenticity' to her testimony.

Gone were the glamorous dresses, opulent accessories, perfectly-undone locks, and smoky eye makeup.

In their place, the 48-year-old supermodel donned a 'smart' $2,990 Saint Laurent tuxedo jacket over a 'feminine' undone pussy-bow blouse, an outfit that one fashion expert said helped her to achieve an 'easy, casual, and authentic' aesthetic during her brief appearance in Depp's $100 million defamation case against Amber Heard.

According to TV personality Robert Verdi, Moss's look enabled her to look as though she wasn't 'trying too hard', all the while helping her to focus the attention on her face rather than her fashion.

'The black and white color combo was smart because when there's an absence of color it makes you look at the person's face,' Verdi told DailyMail.com.

The true meaning behind Kate Moss' 'authentic' court look

'The jacket has authority, while the blouse adds a feminine touch,' he continued, adding that Moss likely opted to leave the bow of her shirt undone in order to ensure she didn't look as though she had put on some kind of court 'costume'.

'Leaving the blouse untied [meant] it [didn't] feel fussy, [and gave Moss] an "I don't want to look like I tried too hard" look.

'If she were to have tied it in a bow, it would have come off looking like a costume. The way she's wearing it, it looks easy and casual.'

When it came to beauty, Moss further added to the image of herself as someone with authority and authenticity, with Verdi explaining that her 'very simple' makeup look was intended to be as natural as possible - although he noted that the supermodel likely worked with a professional makeup artist to achieve the perfect pared-back style.

'Her beauty is very authentic to her: her makeup is very simple, it looks like she has a blush pink lip, a little bronzer and a little mascara but probably still done by a makeup artist,' he said.

In stark contrast to Depp's ex-wife Heard, who has modeled a wide variety of perfectly-done 'dos throughout the weeks-long trial, Moss made a conscious effort to tame her normally-messy blonde locks - but not to the point where she looked 'overdone', Verdi continued.

'Her hair feels like she's trying to control how she's being perceived, it feels like she doesn't want to overdo it,' he said.

Still, Moss maintained one small connection to her 'party girl' image of old, eschewing a more traditional blazer in favor of a tuxedo-style jacket - a 'surprising' style that Verdi noted would be better suited to '5pm cocktails than court'.

Overall, her courtroom look was a world away from the overtly-glamorous image that she and Depp were famous for during their four-year relationship in the late nineties - when they were widely viewed as one of the most stylish couplings in the public eye.

'The shawl collar tuxedo jacket is a surprising choice,' he said. 'It feels more like 5pm cocktails than court.'

Moss' hotly-anticipated appearance on the stand on Wednesday lasted less than four minutes, during which she denied Heard's claim that her then-boyfriend Depp once pushed her down the stairs while on holiday in Jamaica.

Appearing briefly via live video from Gloucestershire, England, the famously-private model - who dated the actor from 1994 until 1998 - said that while on vacation in Jamaica she slipped and Depp came to her aid, insisting that her former beau 'never pushed me, kicked me, or threw me down any stairs'.

Questioned by Depp's attorney Benjamin Chew, Moss said, 'We were leaving the room and Johnny left the room before I did. There had been a rainstorm and as I left the room I slid down the stairs. I hurt my back. And I screamed because I didn't know what had happened to me and I was in pain.

'He came running back to help me, carried me to my room and got me medical attention.'

Moss was appearing as a witness for Depp during a stage of the trial known as rebuttal, where he gets to challenge Heard's allegations.

The supermodel was at the height of her fame when she began her intense relationship with Depp who was a teen idol thanks to his roles in films like Edward Scissorhands.

Both of them were notorious for their drink and drug use and became known as the 'chicest, druggiest couple in LA.'

Among their favorite hangouts was the Viper Room in Los Angeles, which Depp owned, where they partied with the likes of Jared Leto, Keanu Reeves and Charlize Theron.

Moss later said that she 'cried for years' over the breakup, after which her drug use escalated and eventually led her to rehab.

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Kate Moss' court look helped her look 'authentic and authoritative'

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The 48-year-old supermodel gave testimony in her ex-boyfriend Johnny Depp's $100 million defamation case against his ex-wife Amber Heard on Wednesday Moss appeared in the court remotely via video link and was only visible from the waist up; she was seen wearing a polka-dot pussy-bow blouse and $2,990 jacket Style

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17. A glimpse of the old Kate- "I've always loved Coke!"

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17. A glimpse of the old Kate- "I've always loved Coke!"

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Kate's 2022 Coca-Cola collaboration firstly demonstrates the stars resilience, dedication and success, continuing to model for various campaigns against many conflicting factors, such as her age and scandals in her career. However, her slogan 'I've always loved Coke' cleverly plays on her past drug issues and is almost nostalgic of the fun-loving, humorous Kate of her early years into stardom. The unapologetic reminiscence Kate displays here suggests her power to overcome her past, showcasing how far she has come into a newfound maturity with glimpses of the free-spirited model that projected her to stardom. It further suggests how the stars trauma is now commodified.

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Before her cocaine scandal she was worth £4 million a year. Now she’s earning three times as much. Just what is Kate Moss doing right?

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The straddling of the nickname 'Cocaine Kate' stems from the media scrutiny of her partying lifestyle during September 2005 whereby the Daily mirror published articles regarding her drug use including images of the star snorting cocaine. Ultimately, Kate was led by her boyfriend at the time, Pete, who appeared to regularly abuse drugs. Being a mother, Kate came under scrutiny for both her choice in relationship but became further established as reckless and unprofessional subjecting her to a short stint in rehab away from her daughter. In an occupational sense, Kates career suffered resulting in a major loss of earnings and contracts with the likes of Burberry amongst other fashion campaigns, tarnishing her modelling name

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- responsible
- caring
- nurturing
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- settled
- teacher
- loving
- relatable

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Interestingly, the ways in which Kate presented herself as a mother evoked a variety of new impressions on her image as a star. A conflicted criticism of Kates parenting technique in her early stages of motherhood is a lacking involvement within her daughter's life, expressed via mumsnet. The claim pushes the ideology of Kate as irresponsible, speculating the disregard of her motherly responsibility/ duties. However, in the same breath Kate is praised for her ability to guard her child Lila Grace from the media, pinpointed as caring and protective in that regard. Following an interview with the Daily mail, Moss expressed her strict parenting techniques, which seemingly distracts from a once free-spirited and fun-loving image she once displayed to create this responsible modern image. Here Kate expresses a much more mature persona, which additionally displays her image as almost attainable despite previously not being so. The down to earth mother of a teenager, trying to raise her child creates this newfound relatability towards the model amongst the mothering community. Additionally, the beauty of Lila Grace and Kate's developing bond further accentuates Kate as nurturing, loving and as a settled figure as the pair navigate the modelling industry together appearing in vogue.

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Kate as a signpost of generational stardom- showing the power and status of her image.

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The group, which formed in 1905 and originally met for weekly drinks at the sisters' house in London's Bloomsbury, would become synonymous with the rolling East Sussex countryside where Bell set up a rural family home during the first world war. The farmhouse, known simply as "Charleston," rapidly became the group's social and artistic epicenter, and when the war ended, the Bloomsbury Set (linked by myriad love affairs as well as creative pursuits) had coalesced into country life as a kind of chosen family. Woolf would purchase a home nearby in 1919, close to where Jones (who grew up in the area) owns a tranquil retreat today.

For a couture collection which is, in essence, autobiographical, it's little surprise that Jones called in the talents of longtime close friend, Kate Moss, with whose help Fendi's spring 2021 couture show marks another first-a blockbuster debut mother-daughter runway appearance, alongside Lila Grace Moss.

The duo, who is typically spied in the throes of laughter or cuddled close, is the epitome of the positive energy we need in 2021-here are nine times we were really here for Kate and Lila's heartwarming mother-daughter bond.

The life lesson we're taking to heart from this couture season? When it comes to fashion, family matters.

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Kate and Lila Grace Moss Just Raised the Bar for Mother-Daughter Goals

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The group, which formed in 1905 and originally met for weekly drinks at the sisters' house in London's Bloomsbury, would become synonymous with the rolling East Sussex countryside where Bell set up a rural family home during the first world war.

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Kate Moss: crap mother? but the media choose to ignore it..... - Mumsnet

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OK, so Kate moss gets scrutinized for her hair, her weight, her boyfriends, her Top Shop collection, her friendship with that frizzy haired hairdresse...

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'You have to scare them': Kate Moss talks about her strict parenting style as she reveals her daughter Lila, 13, is not yet into fashion in honest new interview

She's illustrious for her fun-loving lifestyle.

But Kate Moss reveals she isn't quite so nonchalant when it comes to her parenting style as the 42-year-old supermodel confesses to being 'stricter than most parents' in a new interview with NET-A-PORTER.com's digital magazine, The EDIT.

Talking candidly about life as the mother of 13-year-old Lila Hack, the catwalk queen reveals she has a no nonsense policy when it comes to setting boundaries as a mother.

If you make a purchase using links on this page, DailyMail.com will earn an affiliate commission

Make like Mossy in a military jacket from her Equipment collection

Fashion industry heavyweights Kate Moss and Equipment are a match made in heaven and we're happy to say their new collaboration lives up to the hype!

Mossy has always been our number one style icon and it's down to that signature look she's curated. It's all about leopard print, skinny jeans and tuxedo blazers, which the new line has got by the bucket load!

There's also a military-inspired khaki jacket which is very Kate and we're head over heels in love. Check her out modelling it for The Edit! It's the perfect thing to throw on when you're bored of your biker jacket - simply style with leather trousers, a white T-shirt and ankle boots for that off-duty model vibe. Click the link (right) to buy it now at Net-a-Porter.

However, at $360 it is a little on the pricey side, so if you want to recreate Kate's look for less then check out our edit below. This shirt/jacket hybrid or shackett from Topshop is going straight into our virtual shopping basket!

...NOW GET ONE LIKE IT FOR LESS

'I'm really strict, but I think they quite like it. [Lila] says that I'm stricter than other parents.

Asked if she ever has to nag her daughter about completing her homework, Kate confesses: 'No, I don't, because she knows, she does it on her own.

'No, I'll go like this,' she adds before lifting her sunglasses and showcasing her stern stare, 'and I don't have to say anything. You've got to get a look down. Girls, you have to scare them, otherwise they will take over.'

Kate, whose style advice and enviable wardrobe is craved by fashion followers across the world, also revealed that she has already started saving items of clothing for her teen daughter to inherit - though admits the youngster is yet to take any interest.

Speaking about her extensive wardrobe collection and what she plans to do with it in years to come, Kate divulges: 'I've lost a lot of stuff over the years, but I've still got some.

'll save it for my daughter. I bought her an Ossie Clark dress, you know the one that Twiggy wore in that Richard Avedon [shoot], that white chiffon with leaves on? She doesn't like anything at the moment. Fingers crossed [she will].'

Kate shares her daughter with former partner Jefferson Hack, the editorial director and publisher of Dazed Group, with whom she is still good friends.

The beauty, who is rumoured to be in a relationship with 28-year-old toy boy Count Nikolai von Bismarck, also admitted that she can find adults 'so boring'.

A word she is never associated with, Kate adds that despite her free-spirit she is as normal as they come.

'I think I'm normal. I don't know why everyone makes out I'm mental,' she quips, before stressing that she simply loves the laugh.

And her most recent comical display sees Kate share a hilarious cameo in Absolutely Fabulous: The Movie, and the model had nothing but words full of sheer love and admiration when it came to discussing her time on set.

'It was just amazing to be in a room with [the characters] Eddie and Patsy and Saffy and Bubbles; it was like a dream,' she gushed.

'It was 10.30 in the morning and Eddie was opening bottles of champagne for me, real bottles. They were like, "We usually use ginger ale, but for you we got real Bolly!"'

Kate looks typically stunning in the photos that accompany her insightful new interview as she poses up a storm in a series of ensembles that emulate her nonchalant, rock chick demeanor.

One image depicts the beauty staring intensly into the lens in a leopard print jacket, while another shot shows her perched on a wooden stool in a silk LBD and khaki shirt, a print black scarf, one of her style staples, wrapped around her neck

A more romantic black-and-white shot sees the beautiful blonde recline on table, clad in a polka dot pussybow blouse and skinny jeans.

Though the most breath-taking look of all is arguably that donned in her cover shot, as Kate exudes her signature cool in a silk, leopard print pyjama suit.

Sitting on a wicker chair, her arm resting against the back of the outdoor seat, Kate purses her naturally plump lips and looks seductively into the lens, a fedora hat sat atop her light tresses.

To see The EDIT's full interview with Kate Moss go to www.net-a-porter.com or download the free EDIT app at the App Store and Google Play.

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Kate Moss reveals she is a 'strict' parent to her teenage daughter

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She's illustrious for her fun-loving lifestyle. But Kate Moss reveals she isn't quite so nonchalant when it comes to her parenting style as the 42-year-old supermodel confesses to being 'stricter than most parents' in a new interview with NET-A-PORTER.com's digital magazine, The EDIT.

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The consistent relationships in which Kate Moss finds herself in could perhaps suggest her characteristics to include being problematic, indecisive, clingy, daddy issues?, attention seeking- seeking male validation in the eyes of society as a result of her gender

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Seemingly Kate has found happiness in her most recent relationship, settling down with her family.

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The pair, initially set up through mutual friends, resulted in a marriage in 2011. The couple enjoyed a beautiful wedding, which included her daughter. Unfortunately for Kate the marriage came to a quick end in 2015 after only 4 years.

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Perhaps Moss's most troubled relationships. Her on again of again relationship ultimately ended with Moss's stint in rehab after being caught drug taking by the press.

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Her relationship with Hack resulted in the welcoming of her daughter, Lila Grace, in 2002. However, in early 2004 the pair decided to call it quits but ultimately remained friendly.

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A brief engagement with Langdon ended ultimately as Kate was simply not ready to commit

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This E! interview with Kate Moss further accentuates the extravagance and passion within their relationship. Reminiscing on receiving a diamond necklace from his bottom. This bizarre act of passion demonstrates both the lavish and luxury lifestyle of Kate but contradicted with a suggested vulgarity of both stars.

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Kate Moss Reveals SHOCKING Way Johnny Depp Gifted Her Diamonds | E! News

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Defence of Johnny Depp during his trail 

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Defence of Johnny Depp during his trail 

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Interestingly in recent events, Kate was seen to defend her former boyfriend Johnny Depp for counts of abuse during his infamous trail with Amber Heard. Kates involvement in the case cemented her as the saviour of his career, the surveyor of truth. Ultimately Kate can be suggested to be mature and self-less subsequently demonstrating her as a good person over time. Drastically different from her once immature, irresponsible and volatile star image.

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Kate Moss Explained Why She Chose To Defend Johnny Depp In His Defamation Trial Against Amber Heard

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In May, Moss testified against claims that Depp once pushed her down a flight of stairs while they were dating in the mid-1990s.

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Kate Moss Clarifies Johnny Depp Didn't Push Her Down the Stairs

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Circulation of Kate Moss's so-called mantra "nothing tastes as good as skinny feels" was key in supporting statements of anorexia and unhealthy lifestyles being adopted by pro-anorexia websites. Ultimately the statement further fuelled the extreme diet and beach body culture of her generation, detrimental to both mental and physical health of young people. However, in her recent interview, the star reflected on her statement claiming regret. Furthermore, demonstrates some shift in the stars image from carless and irresponsible to self-aware and mature.

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"Nothing tastes as good as skinny feels" - it's a line many of us will have heard at some point, particularly the generation that grew up reading magazines plastered with photos of celebrity 'beach bodies' and brands that encouraged diets that often consisted of nothing but cereal.

The phrase - which for many, became a mantra to be repeated whenever lunch or dinner time rolled around - has undoubtedly had an impact. But now, almost two decades on from when it was first uttered, the person credited with popularising the infamous line - supermodel Kate Moss - has spoken out about the criticism she received for it.

In fact, the 48-year-old says she didn't even come up with the phrase - which was adopted by pro-anorexia websites - but rather it was something she picked up as her motto after seeing it on the fridge of her housemate, hairdresser James Brown, who had put it there as a joke. Her use of the phrase further cemented her as the poster girl for 'heroin chic', an aesthetic described as "pale skin, dark circles underneath the eyes, emaciated features, androgyny and stringy hair - all traits associated with abuse of heroin or other drugs."

But Moss disagrees with how her name became synonymous with the 'heroin chic' look, this week saying on BBC's Desert Island Discs: "I think I was a scapegoat for a lot of people's problems."

She went on, "I was never anorexic - I never have been. I had never taken heroin. I was thin because I didn't get fed at shoots or shows and I had always been thin."

Previously, the supermodel revealed she regrets her "Nothing tastes as good as skinny feels" comment, adding that she welcomes how diverse the current modelling industry is in comparison to when she was at the top. "There's so much more diversity now, I think it's right," she told NBC (via ) in 2018. "There's so many different sizes and colours and heights. Why would you just be a one-size model and being represented for all of these people?"

Since opening her own modelling agency, Moss says she's changed for the better too. "I take care of myself now, I'm a good girl," she said. "I go to bed, I drink lots of water, not too much coffee, and I'm trying to cut down on cigarettes."
If you're worried about your own or someone else's health, you can contact Beat, the UK's eating disorder charity, 365 days a year on 0808 801 0677 or beateatingdisorders.org.uk.

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Kate Moss reflects on her infamous line: "Nothing tastes as good as skinny feels"

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"Nothing tastes as good as skinny feels" - it's a line many of us will have heard at some point, particularly the generation that grew up reading magazines plastered with photos of celebrity 'beach bodies' and brands that encouraged diets that often consisted of nothing but cereal.

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As of 1994-1998 Moss entered into a widely public relationship with Actor Johnny Depp. Together the pair engaged in volatile acts, trashing their various hotel rooms and establishing themselves as one of the most attractive and druggist couples of their time. Together the pair promoted this rock-and-roll lifestyle as desirable publicly displaying their sexual engagement with passion boiling over into brawls involving some vaporous language and occasional arrests. The chaotic nature of her relationship showed Kate to be reckless and further promoted claims of her 'heroin chic' persona, glamourising unhealthy choices in life but also standards within romantic relationships. But ultimately their fiery relationship came to an end, claiming the pair simply grew apart due to conflicting work schedules however speculated the star to be clingy.

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For Kate Moss, it was love at first sight when she met Johnny Depp.

"I knew from the first moment we talked that we were going to be together," she said in 1994, the same year she met the actor.

It wasn't long before things got serious between the two. "They can't keep their hands, lips, mouths, legs off of each other," a friend of the Pirates of the Caribbean star told PEOPLE in 1994.

The young couple dated from 1994 until they called it quits in 1997 after a few years together and a rumored engagement. Moss said in 2012 she cried for "years" after they broke up: "There's nobody that's ever really been able to take care of me. Johnny did for a bit. I believed what he said. Like if I said, 'What do I do?,' he'd tell me. And that's what I missed when I left. I really lost that gauge of somebody I could trust."

Depp and Moss' past relationship made headlines again in 2022 when Moss was called to take the stand during Depp's defamation trial with his former wife Amber Heard. After Heard referenced Moss while discussing an alleged altercation between Depp and her sister, Whitney, Moss stated under oath that Depp did not harm her during their relationship. Moss testified via live video that she fell down a flight of stairs while in a hotel but was not pushed by her then-boyfriend.

From the early days of their relationship to where things stand years later, keep reading for the complete timeline of Johnny Depp and Kate Moss' relationship.

February 1994: Kate Moss and Johnny Depp meet for the first time

Former Vanity Fair writer George Wayne told The Face in 2019 that he first introduced Moss and Depp at Café Tabac in N.Y.C.'s East Village.

"So, Kate walks in with Naomi," he said, referring to Naomi Campbell. "They walked into this ... room and Johnny Depp was sitting at the back of the restaurant having dinner with a few friends. I grabbed Kate's hand and I said, ​'Come. I'm taking you right now. I want you to meet Johnny.' I just grabbed her hand and took her back there."

He continued: "I said, ​'Kate, this is Johnny. Johnny, this is Kate.' And that was the end of it. I didn't think they would go on to destroy five-star hotel rooms across the globe for the next two years. But that's what happened. I just wanted to, you know, cause a little drama."

September 13, 1994: Johnny Depp is arrested after fight with Kate Moss

According to reports, the couple were spotted shouting at each other in public multiple times in September 1994, and one reported spat resulted in Depp's arrest.

At 5:30 a.m., the actor was arrested for criminal mischief at The Mark Hotel in New York City for allegedly trashing his hotel room. Police found Depp "in a state of possible intoxication" and Moss uninjured at the hotel.

The charge against Depp was dismissed by a criminal court judge on the condition that he stay out of trouble for six months. Depp paid The Mark $9,767.12, including more than $2,000 for damages, plus the bill for the remainder of his reservation.

"I think Johnny obviously has a temper," his friend, director John Waters told PEOPLE at the time of the incident. "But this is a very minor incident. The room service must have been bad."

September 24, 1994: Johnny Depp and Kate Moss attend Ed Wood premiere

Shortly after the incident at The Mark Hotel, Moss and Depp attended the premiere of Depp's new movie, Ed Wood, in New York.

January 21, 1995: Johnny Depp and Kate Moss attend the Golden Globe Awards

Depp and Moss attended the 52nd annual Golden Globe Awards in Beverly Hills together. Depp was nominated for a Golden Globe Award for best performance in motion picture, musical or comedy for his role in Ed Wood.

September 1995: Kate Moss and Johnny Depp open up about their relationship

The couple appeared together on UK's Channel 4's morning news show Big Breakfast in September 1995. They were asked about their relationship, and Moss said she wasn't fazed by the publicity surrounding their love: "They don't really know anything. They just presume all these allegations."

Depp added: "It makes for really good fiction. They write some really interesting stories."

Host Gaby Roslin asked the couple if it was "hard" to keep their relationship going, but Moss immediately said "no."

Depp was silent for a moment, prompting Moss to say: "Johnny."

"No, no. No," said Depp.

February 10, 1997: Johnny Depp and Kate Moss keep their romance alive with distance

According to Moss' agent John Gnerre, distance made the heart grow fonder.

He shared with PEOPLE: "When their schedules coincide, they are together, but work takes them in different directions most of the time. When Kate's free, she's with him."

1997: Johnny Depp and Kate Moss call it quits

It was reported that the couple split in 1997, but a clear reason was not shared at the time.

1998: Johnny Depp says he was to blame for split from Kate Moss

In an interview with Hello! magazine, the Viper Club owner spoke candidly about his split from Moss.

"I have never got that emotional over a woman before," he said. "I have been so stupid because we had so much going for our relationship. I'm the one who has to take responsibility for what happened - I was difficult to get on with, I let my work get in the way, and I didn't give her the attention I should have done."

He continued, "The whole thing was crazy because I should never have got so worked up over what people had to say about my work. Sure I should care about my movies, but when I get home I should try to leave that stuff behind. I couldn't do that and I was horrific to live with. Trust me, I'm a total moron at times."

January 1998: Kate Moss denies ordering a champagne bubble bath with Johnny Depp

After their split, reports circulated that the former couple had ordered a bathtub filled with 36 bottles of champagne at the Portobello Hotel in West London.

A rep for Moss' modeling agency denied the claims, telling The Independent: "It was not her. It was not Kate, it's not her style. She doesn't use the hotel anymore."

May 15, 1998: Kate Moss and Johnny Depp attend Cannes Film Festival

Though they announced the end of their relationship in 1997, Moss and Depp appeared together at the Cannes Film Festival in 1998, fueling rumors that they were back on.

In the hallways of the Hotel du Cap-Eden-Roc, Moss was reprimanded for wearing her bikini and reportedly trashed her hotel room in response, receiving a ban for life from the premises.

November 11, 2005: Johnny Depp defends Kate Moss after her alleged drug use

Depp came to his ex's defense after she received backlash when photos were released of her allegedly snorting cocaine.

"She's super sharp, really smart and ... got a great heart," Depp said on the British morning show Good Morning Television. "She's a good mum, and she just happens to be human, and the press wouldn't allow that, and that's unforgivable."

He added that he was "appalled and shocked at the kind of vicious attacks" Moss was facing.

October 31, 2012: Kate Moss reveals she spent "years" crying after split from Johnny Depp

In her cover story interview with Vanity Fair, Moss gave a bit of insight into what her relationship with the actor was like. "There's nobody that's ever really been able to take care of me. Johnny did for a bit. I believed what he said. Like if I said, 'What do I do?,' he'd tell me," she explained.

Moss continued, "And that's what I missed when I left. I really lost that gauge of somebody I could trust. Nightmare. Years and years of crying. Oh, the tears!"

May 25, 2022: Kate Moss denies allegations of being pushed by Johnny Depp during court testimony

Moss appeared via live video in front of a Virginia courtroom to address a reference Depp's ex-wife Heard made in previous testimony about Moss and "stairs."

Moss testified that the alleged incident occurred while vacationing with her then-boyfriend at a resort in Jamaica, and that he did not push her when she fell.

"We were leaving the room and Johnny left the room before I did. There had been a rainstorm. As I left the room, I slid down the stairs and I hurt my back," she said under oath. "I screamed because I didn't know what happened to me and I was in pain. He came running back to help me and carried me to my room and got me medical attention."

"He never pushed me, kicked me or threw me down any stairs," added Moss. She was not cross-examined by Heard's legal team.

May 31, 2022: Kate Moss attends Johnny Depp's performance in England

After her show of support for Depp in the courtroom, Moss showed support for him in person at a performance in England. Moss was snapped by photographers leaving her ex's performance at Sheffield City Hall after spending time backstage.

July 24, 2022: Kate Moss explains why she testified on Johnny Depp's behalf

Moss revealed what made her decide to testify on Depp's behalf during the defamation trial against Heard in an interview with BBC Radio 4's Desert Island Discs. "I know the truth about Johnny. I know he never kicked me down the stairs. I had to say that truth," she explained.

August 31, 2022: Kate Moss shares story of diamond necklace given to her by Johnny Depp

While breaking down 20 of her most iconic looks from 1991 to today, Moss shared a story about the first diamonds she ever owned, which were gifted to her by Depp.

Looking at a photo of herself from the 1995 CFDA Fashion Awards wearing a white John Galliano dress and black Manolo Blahnik heels, she pointed out: "That diamond necklace Johnny gave me, they were the first diamonds I ever owned. He pulled them out of the crack of his arse."

She continued, "We were going out to dinner and he said, 'I've got something in my bum, can you have a look,' and I was like, 'What?' and I put my hand down his trousers and I pulled out a diamond necklace. That diamond necklace."

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Johnny Depp and Kate Moss' Relationship Timeline

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Johnny Depp and Kate Moss began dating in 1994 and were together for three years. Here is a complete timeline of their relationship.

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Chanel Haute Couture, 1993

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Whilst in some respects the early star image of Kate Moss confound itself to her beauty, bringing a unique and desirable presentation of femininity amongst the modelling community and to society, there is perhaps evidence to suggest some tarnishing of the star being associated with themes of anorexia, paedophilia and 'heroin chic' as a result of these campaigns.
Her undernourished frame led to speculation of anorexia, with her body criticised as too skinny and unattainable for her consumers. With her thin frame mixed with the unapologetically sexual nature of the images produced in her campaigns it is further suggested she plays on ideas of child pornography. Promoting a prepubescent ideal of sexual desire, acclimatising and fetishising the woman-child amongst public consumption.

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In her interview, moss mentions being intimidated during her experience- relates to this idea of woman-child being dependant, perhaps somewhat shy and vulnerable despite her newfound commercialisation

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Kate Moss on Marky Mark Wahlberg, Her First Kiss, and David Bowie Crush | Screen Tests | W Magazine

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Credit... The New York Times Archives

This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

HERE is how Kate Moss looks in the picture: very young and very dead. Skin waxen, eyes unfocused, she's an amalgam of Laura Palmer in "Twin Peaks" and the young woman's corpse found abandoned amid the scrub oaks and yucca trees in the movie "River's Edge."

The picture is one of eight such images in this month's British Vogue, all shot by Corinne Day, a former model who is Ms. Moss's friend. Ms. Moss is pictured in her sparsely furnished apartment clad variously in T-shirts and underpants with the label showing, and panty hose that don't fit. She gazes into space; she looks out a window, she waits moodily -- a passive little match girl for the 1990's enfolded in a pale mauve comforter, wearing gray socks and a navy La Perla bra available at Nightingales for $:87.

In a culture where images generally wield more power than words, the public has become accustomed to the child-woman (a k a the waif, a near-ubiquitous form seen in fashion magazines for almost a year) as the mascot of backlash, the leading signifier that strong women provoke deep uneasiness among certain people. Yet, the reaction to these particular pictures has been intense. Accusations that they toy with child pornography have been leveled by a bevy of British psychotherapists and magazine editors. The Independent, the London newspaper, criticized the outfitting of Ms. Moss in what it called "see-through knickers reminiscent of sex-shop merchandise."

And what, exactly, are these pictures? Are they, as the photographer insists, an attempt at documentary fashion? Are they just part of the waif continuum? Or are they an attempt at not just child pornography but some sort of class porn, that is to say, the eroticizing of the low-rent girl?

These implications have a history. Think of Carroll Baker sucking her thumb, curled up in her crib in "Baby Doll," wearing the little nightgown that became synonymous with the movie's name; think of Brooke Shields's painted features in "Pretty Baby"; think of the slightly quizzical but cherubic face with the empty eyes on the poster for "Les Miserables."

All are images of the child-woman, fragile and vulnerable to the point of breaking. Like a piece of fruit, they are cheaper for being slightly damaged; like all little girls, they seem easier to manipulate than grown-up women. Societies define themselves not only by what they favor but also by what they deem beyond the pale. And while morality is subject to fashion, it always originates in the conviction that the strong are meant to safeguard the weak. Which means that pedophilia is the first taboo and that the official rejection of it is the nearest modern society comes to formulating an absolute.

The forbidden is titillating, of course, which is why the helpless young girl has always been eroticized for her tender age and shaky economic status, usually by people who would be appalled by the merest suggestion that they harbor pedophiliac leanings.

The crowds who stood on the piers at New York Harbor awaiting the next installment of Dickens's "Old Curiosity Shop," while calling out to the ship hands, "Is Little Nell dead?" must have believed that the interest they advanced was exclusively literary. Lewis Carroll must have believed he just happened to favor the company of young girls, purely because it was so pleasurable to take their pictures and tell them stories.

Or think of the good, wholesome fans of the equally wholesome Shirley Temple, who could watch America's blond-ringleted sweetheart bounce on the laps of grown men while belting out "On the Good Ship Lollipop" and never be sullied by a sexual thought because Shirley Temple was . . . well, she was Shirley Temple. In fact, an enraged outcry was prompted by Graham Greene, who had the temerity to suggest in The Spectator that Miss Temple's popularity was due to the fact that she was something of a nymphet.

At the same time, as noted by the critic Elizabeth Kendall in "The Runaway Bride" (Knopf, 1990), a study of Hollywood romantic comedies of the 1930's, there was "the stylization of seaminess" in which the poverty of the heroine is equated with virtue. In the 30's, when it was plain that the country had been ruined by the rich, poverty was a badge of honor. But in the 90's, somehow, it seems that poverty is equated with incompetence, and by extension, the absence of self and substance.

In the opening frames of the recent movie "Guncrazy," the young Drew Barrymore is discovered walking along a railroad track, near a grouping of tar-paper houses, as if to show that she is literally from the wrong side of the tracks, a prospect meant to be sexy and alluring. This is a major shift from pre-feminist days, when heroines from Galatea to Liza Doolittle to the Judy Holliday character in "Born Yesterday" became suitable objects for love only after they were raised from the gutter or -- at the least -- after being sufficiently well dressed to give the appearance of having been raised. But now it seems as if poverty functions as a corrective -- a way to equalize the ways that women have been "empowered."

But power was no option for the fevered romantic heroines of the 19th century, like Giselle or Annabel Lee, who were granted the eternal love they craved only as a reward for dying. "The most poetical topic in the world," Poe said, "is the death of a beautiful woman."

And so, the waif offers new images of passivity, in the process demonstrating the difference between what arouses women and men. Women may be thought by men to be at their most attractive when purely decorative, whereas men appeal to women in direct measure to their capabilities.

Basically, it's the Lady Chatterly syndrome: true, she was an upper-class woman with a passion for her gardener, but the gardener could, presumably, prune trees. Similarly, in "The Fountainhead," Dominique Francon falls in love with Howard Roark when she sees him working in a quarry, wielding his pneumatic drill like a buzzing phallus."

WORKING-CLASS men have power and machismo. A working-class woman is a victim, exemplified by the sweet and doomed Roberta, left to drown in the cold waters of Loon Lake by the feckless lover who impregnates her in Theodore Dreiser's "American Tragedy."

"The infantilized woman or womanized child is the impossible fantasy," observed Molly Haskell, the author of "From Reverence to Rape" (Holt, Rinehart, Winston, 1974), a study of the treatment of women in movies. "It's the sexy woman infused with the adoring, undemanding child; it's the antidote to the activist women being outside the home; it's the tabula rasa."

In that very spirit, the pictures of Kate Moss appear beneath the headline "Under-exposure," which refers to the pressing matter of underwear but suggests, however unwittingly, a more significant underexposure to life itself. Here is a young woman stripped of clothes, and her blank face says that she is also stripped of experience, ability, competence and achievement.

You may wonder to whom these pictures are meant to appeal. To some extent, men read fashion magazines, and these photos will be appreciated by those who regard a woman's assertiveness as anger, her strength as coolness, her independence as indifference. It's a common mindset: after the demise of his marriage to the emphatically unwaiflike Brigitte Neilson, Sylvester Stallone explained what he liked in women. The word "demure" cropped up a lot.

But ultimately, the pictures are meant for women. And the extent to which the waif is foam in the wake of The Year of the Woman is the extent to which what women want is at odds with what they say they want. Presumably, women want to be adults, which means they want to take responsibility for their own behavior. But this is not easily achieved, especially in the realm of sexuality, where yearnings for intimacy are larded with ambivalence, where desire is undercut by shame, and both men and women secretly believe that the perfect woman is both wanton and pure. In that sense, the appeal of the waif signifies that women live three lives: a public life, a private life and a secret one.

Indeed, the recent photos of Ms. Moss can be viewed as part of a continuum first noted by the photographer Helmut Newton. Recently, Mr. Newton recalled centerfolds of years ago in Hustler magazine. "Not of nudes, but of girls in shorts," he said. "Very sexy, very American." These pictures seemed to owe a little to the school of photorealism and a lot to Lil' Abner's Daisy Mae.

This same trend later produced television commercials in which Brooke Shields confessed that nothing came between her and her Calvins. These were ads for Calvin Klein jeans, and Mr. Klein, ever ahead of a curve that squeezes profit from sexual manipulation -- also presented the gorgeous Andie MacDowell as a sweet, white trash girl talking about her friends Dot and Earle, who live in Happy Valley Trailer Court.

A further instance came last year, with Steven Meisel's photographs of Madonna in Vanity Fair, all pink and white, complete with checkered gingham and rubber toys. Seemingly Madonna's take on kiddie porn, the pictures were inspired by photos that ran in a 1967 edition of Playboy, though Playboy's photography director, Gary Cole, is quick to point out that his magazine avoids under-age girls, using instead women he described as extending "from 18 to Vicky LaMotta."

Waiflike models began appearing on fashion runways dominated by the regal beauty of Christy Turlington and Linda Evangelista last fall. "It reminded me of the difference in the art world," recalled Ingrid Sischy, the editor of Interview magazine. "In the 80's, all the paintings were huge; in the 90's, they're smaller."

As Ms. Sischy put it: "This was a movement against that Amazonian playmate-y type of image -- it was a move to the natural and the real. The waif is about being different from the image that was dominant in fashion; it was about something much more natural, an attempt to expand what had become yet again a rigid and very unrealistic formula of beauty. This is attempting the drama of real life, and when it works it's very good."

Still, it could be said that waifs like Kate Moss are studies in realism only for women who have yet to reach the stage when reality includes equal measures of gravity and cellulite. For others, these images suggest that there comes a point when the game must change, and at that strange juncture, the woman who fretted that she wasn't womanly enough may have to face the bizarre possibility that she isn't enough of a child.

Yet, that information is comforting in a sense, since women have long been taught that the most effective way to get what they want is to be a little girl. By this reasoning, being adult is the surest way to lose what you want, and indeed, ever since women began pressing to be independent, they worried that independence would make them undesirable.

The essence of independence is knowing that you can exist on your own. But there is, after all, a tyranny of the weak, and every achieved woman is apt to dread the woman who cannot take care of herself, who does not merely desire a partner, but needs one in ways that are basic and irrefutable.

"Men like that in a woman," said Bob Guccione, the founder of Penthouse magazine. "Men like the idea that a woman may need the power they can provide, the security they provide. A man wants to feel that he's giving something to the woman that makes him important and unique to her. Despite everything, men still have to feel needed."

Even Mr. Newton, who defined the sexy woman as "active and triumphant and victorious," reinforces the idea that men are not drawn to strong women. Not by accident is one of his recent collections of pictures titled "World Without Men." Mr. Newton photographs strong women to whom men are peripheral, who view men, by his own account, no more or less than "an accessory."

But in the end, how men perceive women doesn't matter. What matters is how women perceive themselves. But this is difficult to ascertain, since feminist dogma routinely negates the complexity of what women feel, -- the dark flirtation with submission, the ambivalence toward independence -- by claiming that these feelings only exist in men's sexist attitudes and fantasies.

So Kate Moss turns up in the pages of British Vogue offering a fantasy for women, one that endures -- like all fantasy -- because it is therapeutic. The fact is, the independent woman is disconcerting not only to men but also to women. And when there is confusion and disappointment about what feminism offers and what it takes away, the waif represents the contemporary woman's last retreat, her last reservation and her final equivocation.

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Send any friend a story As a subscriber, you have 10 gift articles to give each month. Anyone can read what you share. Give this article Give this article Give this article This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996.

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Vogue, 1993

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Despite the critical evaluation of Moss's physical image and the implications of such, within the modelling industry she remained highly regarded, positioning herself as one of the most sought after and highest paid models. She landed campaigns with the likes of Dior, Burberry, Channel and Versace grounding her star image as highly successful.

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4. Early Characteristics of Moss's physical image:

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4. Early Characteristics of Moss's physical image:

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(As a result of her early shoots)

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Part of an ongoing series of 29Secrets stories, taking a deep dive into the history of legendary beauty products and iconic fashion moments...
By Christopher Turner
Illustration by Michael Hak

Kate Moss is undoubtedly one of the greatest supermodels in fashion history. Arriving at the end of the so-called "supermodel era," Moss rose to fame in the early 1990s, leading the controversial "heroin chic" fashion trend and redefining the entire fashion industry with her waifish figure and natural beauty. Her initial collaboration with Calvin Klein turned her into an instant worldwide sensation and she dominated every major fashion week around the globe throughout her lengthy career, despite being one of the shortest models to ever walk the runway, standing at a "mere" 5'7″.

But how did the London native become a trailblazer and a cultural icon? That's thanks to two women: Sarah Doukas, owner of the modelling agency Storm, and famed British photographer Corinne Day.

Here's the story of how Moss became known as the "anti-supermodel" and launched a new era in modelling...though not without a little controversy, of course.

Sarah Doukas and airport finds
Kate Moss was born on January 16, 1974, in Croydon (a large town in south London, England) to travel agent Peter Edward Moss and Linda Rosina, a barmaid. She received her preliminary education from Ridgeway Primary School and later was enrolled at Riddlesdown Collegiate. In 1987, when Moss was 13, her parents divorced, devastating Moss and her younger brother, Nick.

The next year, Moss was "discovered" at JFK Airport in New York City after a holiday in the Bahamas. Moss, then 14, and her father had been waiting three days for standby seats back to England, where they were expected at a wedding, when she was famously approached by Sarah Doukas, the founder of Storm Model Management, and her brother.

"I was smoking," Moss recalled to Love magazine in 2018. "I was 14 and I'd just lost my virginity. So I thought I was the bee's knees. I was in the airport puffing away. I'd got on the plane and then Sarah's brother came up to me and said, 'Have you ever thought about being a model?'"

Doukas recalls their encounter slightly differently, remembering that she and her brother spotted Moss at the check-in counter where Moss's father was arguing with people, and then approached father and daughter on the flight back to London.

"As soon as the seat belt sign switched off, we rushed over," Doukas recalled in Model: The Ugly Business of Beautiful Women by Michael Gross.

Moss's father had seen Doukas on television and knew she was legitimate. So the next day, back in London, Moss's skeptical mother agreed to accompany her daughter to meet with Doukas at the Storm offices.

Moss admitted that she had "never, never, never" contemplated a career as a model. "I was short, I had bow legs and crooked teeth, and nobody thought I was the prettiest girl in the school," she said.

Despite Moss's insecurities, Doukas, a former model herself, saw potential and recruited Moss to join Storm's roster of models. She called all of the magazine contacts in her Rolodex and faxed photographs of Moss to everyone she knew.

"Nobody was interested," she said.

With that inauspicious start, Moss's career started slowly, with a few unremarkable photo shoots for a variety of different teen magazines.

"She was in school, and I don't ever agree with taking anybody out of school," Doukas said in 2015. "We worked on the holidays and stuttered along for a year. But she wasn't greatly interested in school, and then she left, and then we started. Every day I said, 'I'm going to make you a star.' I didn't know I was going to make her a superstar."

Doukas had started Storm just the year before with a handful of models she had scouted on her own, and her discovery of Moss - then considered "unconventional" in the age of glamazon supermodels - put the agency on the map. It's worthy to note that Moss wasn't to be Doukas's only discovery: she would go on to launch the careers of Cara Delevingne, Sophie Dahl and Jourdan Dunn, all of whom not only changed the fashion industry for the better, but also became multi-hyphenate talents in their own rights.

Moss's career really took off two years later in 1990, when Doukas booked her to pose for a few black and white photographs for the popular youth style magazine, The Face. Renowned British photographer Corinne Day was behind the lens for the shoot, titled "The 3rd Summer of Love." Day was one of the key players of the early '90s "grunge" period that was taking over fashion magazines at the time and, like Doukas, she spotted Moss's potential. She snapped the adolescent in a variety of outfits that had been pulled by stylist Melanie Ward.

"We went out to the beach at Camber Sands.... It was all very instinctual. It felt totally organic: friends hanging out, dressing up and taking photos. There was no grand plan to start a whole new Cool Britannia moment - we were just having fun," recalled Ward to The Face in 2019. "I always wanted the clothes to look effortless, real, character-driven - like the subject was wearing their own clothes and we were documenting them. I collected up a mix of clothes I liked - some mine, some vintage, customized, even some designer - and put them on Kate. I also remember using Birkenstocks for that particular editorial and buying the Amazonian feather headdress which we photographed on Kate."

The July 1990 issue of The Face presented Moss on the cover wearing the headdress, and inside the magazine, an eight-page spread featured captivating images of the 16-year-old Moss, including one of the adolescent topless. Quite simply...a Generation X icon had been born.

Those Calvin Klein ads
The fashion scene in the 1980s was a time when flaunting excess was de rigueur, with bold shoulders, big hair and a whole lot of bling. The more-is-more mindset was epitomized on the runways by designers like Gianni Versace, Christian Lacroix, Yves Saint Laurent, Oscar de la Renta and Chanel's Karl Lagerfeld, who piled on the pomp and pageantry with glamorous supermodels famous for their statuesque and curvaceous frames.

That supermodel phenomenon was defined by Cindy Crawford, Naomi Campbell, Linda Evangelista, Christy Turlington, Stephanie Seymour and Claudia Schiffer. Moss was a different kind of model - in fact, the exact opposite: she represented the beginning of a new era of waif-esque beauty and grunge. Grunge was dominating the airwaves at the time, with bands like Nirvana and Hole, and films like Kids (1995) and Trainspotting (1996) would soon follow.

In 1992, Moss signed a contract to appear in an upcoming Calvin Klein ad campaign, after famed fashion photographer Patrick Demarchelier met her and recommended her to Klein, comparing her presence to that of Twiggy.

Calvin Klein's infamous black and white TV reel was shot by the legendary Herb Ritts and starred Marky Mark (or, as we know him now, Mark Wahlberg) with his pumped-up bare chest and six-pack abs, alongside an 18-year-old Moss. The TV commercial, as well as the accompanying print ads, featured the teenager topless, wearing only Calvin Klein underwear and jeans and with her arms seductively wrapped around the hip-hop star. Even by today's standards, the ads are provocative and unapologetically sexual.

The ad campaign provoked an immediate media explosion, while inadvertently helping to change the fashion industry's obsession with bodacious bombshells and to launch Moss's career into the stratosphere. Looking back recently at the iconic campaign, Moss said simply, "That's when everything changed."

Moss's elfin, "underfed" frame caused some alarm. While some acknowledged and appreciated her waif-like appearance, others called her anorexic. She was too skinny, the arguments went, an unrealistic, unattainable role model for the young women the commercials were targeting. The racy ads even drew criticism from then US president Bill Clinton, who would later speak out against the "heroin chic" trend.

Still, her look redefined what the American fashion brand was all about and set new trends. Gone were the big boobs and glamorous looks. The new American sex appeal was all about natural beauty and minimal makeup. The advertisement gave Moss a major breakthrough as she was noticed all around the world.

"I wasn't the Amazonian girl that everyone in fashion was used to, with the big tits, all curvy and tall," Moss told Glenn O'Brien, the writer behind the famous Calvin Klein ad, in 2009. "I was small in comparison. It's funny, though, because I always thought I was as tall as, like, Christy [Turlington], and then I'd be doing her makeup in the mirror and realize that I was five inches shorter."

Years later, Moss would open up to the press about the 1992 shoot, revealing her inner reaction to stripping down and interacting with Marky Mark on camera while she was barely clothed. "I had a nervous breakdown when I was 17 or 18, when I had to go and work with Marky Mark and Herb Ritts," she told Vanity Fair. "It didn't feel like me at all. I felt really bad about straddling this buff guy. I didn't like it. I couldn't get out of bed for two weeks. I thought I was going to die.

"I was such a nervous wreck" during the Calvin Klein shoot, she recalled. "At the time, he [Mark] was such a d**khead. He wasn't very nice."

When those quotes were published, Mark fired back, telling Nuts: "It was okay. I wasn't into the waif thing. She kind of looked like my nephew.... I mean, she's beautiful - she's a very pretty nephew - but I'm more into curvy women."

Klein too in recent years has opened up about what went on behind the scenes. In 2013 he said of the campaign, "I didn't want anyone else. But [Mark] was trouble.... He and Kate couldn't stand each other."

Heroin chic
Less than a year later, Moss was everywhere. With her more natural look, street style, and slight build, she would be dubbed an "anti-supermodel" by the press, launching a new era in modelling. But the Calvin Klein ad campaign, as well as a high-profile spread in British Vogue (again shot by Day) that was released around the same time, caused a furor, as Moss was accused of promoting anorexia and pedophilia.

Her rise to fame was also accompanied by a controversial new fashion trend, which would become known as "heroin chic." This look, popularized in the fashion world, was characterized by pale skin, dark circles under the eyes, skinny body and angular bone structure - essentially, models looked like they'd been on several drug-fuelled nights out. The look had an air of androgyny to it and was partly a reaction against the vibrant look of the 1980s. A 1996 article in the Los Angeles Times stated that the fashion industry had "a nihilistic vision of beauty" that was reflective of drug addiction.

Supermodel Gia Carangi is remembered for being the origin of "heroin chic," but Moss was also a key part of the trend, thanks to her waifish look in the Calvin Klein campaigns.

The trend eventually faded due to its seedy associations and the drug-related death of fashion photographer Davide Sorrenti in 1997, but Moss's career continued to thrive...even after Vogue magazine declared that it was time for "The Return of the Sexy Model" in 1999 and dubbed Brazilian supermodel Gisele Bündchen the ambassador of a fashionable new era.

To be continued...
Moss and her waif-like characteristics didn't disappear with the end of the heroin chic trend at the turn of the century. In fact, she became one of the most sought-after and highest-paid models in the world. In the ensuing decades, she appeared in ad campaigns for Alexander McQueen, Dior, Burberry, Chanel, Versace, and Dolce and Gabbana, among countless others. With her iconic style, she also became a muse to a number of designers, including the late Alexander McQueen. Although many models retire by their mid-20s, Moss remained busy into the 21st century, by which time she had appeared on more than 300 magazine covers.

Her career has also withstood numerous good, bad and ugly personal scandals that have been well documented by the tabloids. One of the most notable occurred in 2005, when the Daily Mirror published photographs of Moss using drugs with her then-boyfriend, British musician Pete Doherty, and reported on her alleged cocaine addiction. The ensuing scandal resulted in a storm of negative press and most of her contracts being very publicly terminated. After a stint in rehab, she kept a low profile for six months until friend and long-time collaborator Alexander McQueen put her back on the runway - as a state-of-the-art hologram. At the show's finale, McQueen took his bow in a black T-shirt emblazoned with the slogan: "We love you Kate." All was forgiven by the fickle fashion world and Moss made a comeback, bagging more than 18 major modelling contracts in one season (a record), and once again becoming one of the industry's top-earning models.

Of course, Moss's career is still going strong today. She kicked off 2022 starring in an ad campaign celebrating the launch of Charlotte Tilbury's latest makeup product, the Beautiful Skin Foundation, alongside Bridgerton actress Phoebe Dynevor and model Jourdan Dunn.

Despite all this, Moss has confessed that she wasn't confident as a model at the start of her career, and didn't develop that confidence until much later. "It's not really until quite recently that I know - not that I'm good at it, but it is something that I can do. But that's probably years and years of training."

The training paid off. Moss is the ultimate fashion icon, who has proven that she is a force to be reckoned with. So, thanks to Sarah Doukas and Corinne Day for getting her started on that journey.

Want more? You can read other stories from our The Story Of series right here.

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THE STORY OF: How "Anti-Supermodel" Kate Moss Pioneered A Whole New Fashion Trend - 29Secrets

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Kate Moss is undoubtedly one of the greatest supermodels in fashion history. Arriving at the end of the so-called "supermodel era," Moss rose to fame in the early 1990s, leading the controversial "heroin chic" fashion trend and redefining the entire fashion industry with her waifish figure and natural beauty.

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Other articles where heroin chic is discussed: Gisele Bündchen: ...controversial look known as "heroin chic"-an extremely thin physique paired with pale skin, dark undereye circles, and often disheveled hair and clothing. In the same year, she was named Model of the Year, an honour jointly awarded by Vogue and the American cable-television network VH1.

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July, 1990: A then un-known 16-year-old model from Croydon, Kate Moss in The Face.