Kate Moss Playboy Cover by Mert & Marcus
Supermodel Kate Moss Playboy shoot was revealed after days and says of speculations, and the one and only Moss teamed up with Mert Alas and Marcus Pigott. Moss was interviewed for the magazine by the legendary singer Tom Jones, who read quite a few already written questions for the supermodel.
Tom Jones: How do you credit your longevity?
Kate Moss: I think if you're an individual, it doesn't matter how old you are, as yourself can confirm.
Tom Jones: Yes! (reads off paper). Okay, we're going to play Marry, F*ck, Kill – Marc Jacobs, Naomi Campbell, Piers Morgan.
Moss: Oh, it's really easy. Kill Piers, marry Marc, f*ck Naomi.
(It get's a bit awkward when 74 year old Jones asks to join Moss on a naughty dinner party, let's skip that part).
Jones: Following up on that, in this era of the 24 hour news feed, are celebrities overexposed?
Moss: We've answered that already! I went to Portofino with my husband for our anniversary. We took a private plane from Glastonbury, and I didn't think anyone knew where we were going. We got there and what was there? F*cking paps. Bastards!
Jones: Yes. I had this house in Bel Air —
Read the rest and view the images we are not able to share, in the new issue of Playboy now on newsstands.
To stray off for the macho fueled interview in Kate Moss Playboy issue, we remembered an in-depth interview with Mert & Marcus from their cover story of Industrie magazine. Kate who is often in front of their lens, was partially to blame for their amazing career!
Mert Alas: It was always about the idea for us, it was never a dress or a buckle. Those came as part of it. And we respected that, we liked fashion . But we never started out like: Oh let's do fashion. Somehow we ended up there. So we had a little picture published in Dazed, and Visionaire called us up and said: 'We Saw this picture of yours, we want to commission you'. And I thought it was my friends taking the piss on the phone so I told them to f*ck off. (laughs).
Marcus Piggott: Then the fax came through.
MA: That was Cecilia Dean. She was like 'No, I promise, this is Visionaire'. They commissioned two pictures. We did these two pictures and then they wanted to do more. …..
Did you feel like you were part of that time? Because a lot of other people starting out in London at that time went on to become major figures in the industry.
MA: It was a great time in London. It was all about breaking rules, about expressing yourself. But in those days we never had a single campaign in mind. We never started the machine like that. Our start to the machine was the idea: a fire for art. a fir for a picture. I think what's happening now is a lot of commerciality. There's a lot of money out there – which is fine. But everything looks like everything else. because there is a formula which everyone can see works. And as it works for A it may also work for B and for C. So what happens is that we're losing the fire of the youth that we require. I don't remember a day when I was taking an editorial picture and thinking 'Oh if I do this, I'll get a campaign' or if 'I do that, Vuitton might like it'. We never dit that.
MP: Vuitton picked up on the most obscure pictures. The pictures of Kate Moss for Numero. Marc liked them and wanted to meet us. That's when we got booked, I think, wasn't it? The erotic ones. Her nude, smoking a cigarette…
Your style is definitely your own, but it's evident in your work that there are people from history that you like and respect.
MA: Of course! How could you not? It's so dumb and so dishonest if people say otherwise. From children we grew up with memories. If you have a certain type of brain which stores memories very well, as ming and Marcus's do, you remember everything. I remember an earring my mum used to wear when I was ten, you know? All these memories… I remember how the Mona Lisa's hands are, I remember what Guy Bourdin's hair was like in a certain picture. All of this becomes your inspiration and becomes you. So you interpret a certain language in your photographs this is a synthesis of all of it. Where does the expression of talent come from otherwise?
But It seems like you guys live life of fashion photographer in a way that a lot of people don't any more. Like Helmut did and like terry Richardson does. Mario Testino, he represents something, he lives the glamorous life of celebrity and he takes picture sof that life. And that's a thing that you guys have a swell,. I mean you obviously don;t like live in the studio.
MA: This isn't our job, this is our lifestyle. You know, sometimes, we'' be in my house drinking. Kate'll be there and we're like. 'Kate take your top off, let's take a picture.
What do you think of how the internet has changed the way people see you work? I see pictures online before I can even see them in a magazine.
MA: I do love the internet: I do love to search on there. My one reservation is that it makes the online generation dependent on it. We didn't have internet we had libraries and bookshops….
Extract from INDUSTRIE Magazine interview by Erik Trostensson.