bunni how we first met not working anywhere

And from the beginning, which is very interesting, she was telling people that they didn’t have to buy clothes they didn’t need something new all the time. One of the main things is that Caroline used clothes as a statement. So, what’s Caroline’s appeal for you, Iain? Why is she so relevant? And I just said, ‘No, it has to be about just you. Caroline wanted it to be about both of us, because we had sort of parallel careers in the ’80s, especially in our approach to fashion and styling. It has been about seven years in the making! The first conversation, we met up in a cafe in Notting Hill. So then we became almost contemporaries and have remained friends ever since. At that point Caroline was working for i-D and The Face and I was at Blitz. Then, in the ’80s, I jumped ship from the design side to journalism, and that’s when the Blitz magazine thing happened for me. She used to do interviews for Ritz as well she did an interview with Bill Gibb in the first issue, which I remember so well. And when I first started at art college at Saint Martins in London, which would’ve been in ’76, I saw Ritz, and that was one of the biggest inspirations for me. I used to go to stay with my older sister and she would have the occasional copy of Nova lying around. She basically wrote to me and said, “You’re more likely to get a job if you’ve worked from the bottom up, rather than coming out of college with a communication degree and thinking you can write.” And I was kind of like, “Whoa!” īut you’d been aware of her much earlier, right? I wrote to Caroline at Cosmopolitan in 1981, just after I had left college. And Caroline’s somebody that I’ve always known. It’s sort of, I don’t know, giving credence to those that came before, who paved the way for what we are doing now. I think I’ve got a natural bent towards people who are unsung and need to be celebrated, and who have been sort of forgotten.

Not about all of the usual conventions of the fashion industry-status, wealth, exclusivity-rather they were a creative dialog which was about a rawer, truer, but no less beautiful, vision of real life. The images Baker created across the years and decades for such magazines as Nova, Deluxe, The Face, i-D, Ritz, Cosmopolitan UK, French Elle, You, and, very briefly, at British Vogue in the mid-’70s, and with the likes of Helmut Newton, Sarah Moon, Saul Leiter, Terence Donovan, Hans Feurer, and Harri Peccinotti, et al, are a virtual primer in the art of making clothes speak. (The book is published by ACC Art Books and is out now.) Webb of hyperbole, let’s make it clear from the get go: Never was a truer word spoken-or, for that matter, incorporated into the title of a book, which celebrates someone who should, quite frankly, have legend status.

Its subtitle is The Woman Who Invented Street Fashion. Rebel Stylist celebrates the work of the maverick British fashion editor Caroline Baker.

Bunni how we first met not working anywhere