“It wasn’t about me. It was about the clothes.” This statement from Naomi Campbell proves contentious in light of the V&A’s most recent fashion exhibition. The ‘Naomi: in Fashion’ tribute exhibition profiles the trailblazing cultural icon, Naomi Campbell, whose public image is so iconic, she is referred to by first name only.
The exhibition marks a notable departure in the fashion exhibition genre. In recent years, The South Kensington Museum has displayed unparalleled, record-breaking exhibitions dedicated to renowned iconic designers, such as Alexander McQueen’s 2015 ‘Savage Beauty’, Christian Dior’s 2019 ‘Designer of Dreams’ and Gabrielle Chanel’s 2023-24 ‘Fashion Manifesto’. ‘Naomi: in Fashion’ is one of the first exhibitions devoted to a singular model.
After being scouted on the streets of London when she was just 15 years old, the Streatham-born aspiring ballerina took the fashion world by storm. She became the first black model to grace the covers of French Vogue and Time Magazine, quickly rising to fame as the ‘it’ girl of runway for top designers such as Dolce & Gabbana and Yves St. Laurent.
‘Naomi: In Fashion’ chronicles an opulent display of career-defining outfits, showcasing the glamourous, yet somewhat superficial journey, of the supermodel’s 40 years in the fashion industry. The exhibition paraded a diverse array of runway looks and ephemera donated by Naomi to the museum from her personal archives, including the iconic sky-high Vivienne Westwood heels, which caused her glamorous runway fall in 1993, and the Versace gown emblazoned with Andy Warhol screen prints of Marilyn Monroe and James Dean’s faces. Every item catalogues a unique moment in her remarkable career.
Naomi’s support in curating the exhibition bears testament to her aim in promoting her authentic self over aesthetic perfectionism. From assisting in the writing of the additional text which goes alongside the donated garments to choosing the music, contrary to her previous statement, Naomi is evidently the beating heart of the exhibition.
The exhibition attempted to recreate one of her dressing rooms, which is ornately replicated with colourful paintings drawn by Naomi’s two children – and a pair of Christian Louboutin stilettos which are comically placed by a packet of Dettol wipes. A surprising element of humour permeates the glamourous façade of the show, drawing one's attention to Naomi’s renowned obsession with hygiene. By interjecting the exhibition’s glamorous façade with tokens of personality, her previous statement proves controversial. It is clear the exhibition wasn’t just about the clothes; it was about the woman who brought them to life.
Throughout the duration of her career, her reputation as a model has been complex. Whilst renowned as a trailblazing supermodel, she also faced many controversies, including allegations of assaults and incidents of erratic behaviour. The exhibition hints at Naomi’s well-publicised controversies and brushes with the law, particularly through the inclusion of the silver sequinned Dolce & Gabbana demi-couture gown she wore to complete the last of her five days community service at the District 3 Sanitation Garage in New York in 2007. Adding reflective nuance to the glamour, rather than concealing her scandals and erratic past, Naomi tributes all aspects of her life relevant to her timeless legacy.
Ongoing disputes regarding the exhibition’s canonisation of a model’s presence in the ranks of prestigious historical artists has sparked controversy in its reception in the media, particularly regarding discussion about representation and the fashion industry’s historical treatment of black models. While the exhibition celebrates Naomi’s activism and her role in promoting diversity, some critical conversations align the exhibition with perpetuating issues of tokenism. Despite the commemorative nature of Naomi’s career, the exhibition may inadvertently sideline the contributions and influences of other unrepresented black individuals. However, while Naomi has often been the prominent face of diversity in high-profile shows and campaigns, others claim the exhibition contends to challenge allegations of tokenism. The cataloguing of her achievements serves to reclaim the loss of agency experienced by other black models and contribute to the wider critique of the fashion industry as a whole, particularly brands and organisations who opt for superficial diversity rather than genuine commitment to broader representation.
By showcasing her personal journey, the exhibition emphasises her role as an advocate for diversity and serves to empower black female voices in light of systematic barriers. By featuring Naomi’s extensive number of collaborations with a wide range of designers, the exhibition challenges the industry to move beyond tokenism and strive for a more inclusive environment.
Undeniably a feast for the eyes, the exhibition catalogues Naomi’s perpetual legacy. Paving the way for future generations of black models, the curated pieces effectively define her evolution as a model and cultural icon. Embracing her controversies rather than hiding them away from the spotlight, the exhibition is both a homage to Naomi and a platform for opening up broader critical conversations regarding race and representation in the fashion industry.
Her faults are ultimately part of her myth. While the exhibition focuses on the fashion itself, her intricate weaving of personal narrative adds a unique and light-hearted sense of character. Acknowledging that models are part of a larger ecosystem in the fashion industry, ‘Naomi: in Fashion’ not only celebrates her extraordinary and unrivalled contributions to the runway but the exquisite artistry and creativity of the fashion industry as a whole.
