He brought in the stylist Sam McKnight to chop-snip her hair like model Linda Evangelista’s, albeit with a tiara atop, and reassured unconfident Diana of her glamour both were rewarded with memorable images that used supermodel visual language. The same year, he popped his young son Victor inside the huge towelling robe that Vanessa Duve was wearing on a beach, and caught them wind-ruffled and laughing together, another cover.ĭiana saw and liked it so much, the boy close in age to her sons, that she asked Demarchelier for a private portrait session. He took a few desultory frames of the teenage Christy Turlington lolling mussed after a day of many outfit changes in a Mexican resort, and voilà, a great cover, Vogue 1989. William Blake’s “ Damn braces, bless relaxes” was the principle of his best covers. When the editor of US Vogue in the 2006 film The Devil Wears Prada checks he has been booked, everybody understands that she means: “I want this tricky job with a diva delivered now, with no drama.” To catch it he worked pretty fast, especially in the era of small crews up to the late 90s, and could always be relied on to deliver a sellable cover to the newsstand.
Photograph: Patrick Demarchelier/Camera Work AG, Berlinĭemarchelier did not pursue his confreres’ full reportage style, but transposed their “lucky paparazzi catching a spontaneous moment” quality over to portraits of the beautiful famous: he believed the perfect picture was a “half-second accident”.
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