Cindy Crawford’s 1991 Vogue Shoot: A Rare Polaroid Reveals Untold Moments

What This Polaroid of Cindy Crawford Reveals About a 1991 Swimwear Shoot

The first time Cindy Crawford collaborated with the provocative fashion photographer Helmut Newton, she shed her all-American image for a glamorous rendezvous in Monte Carlo. The iconic swimwear shoot, published in the November 1991 issue of US Vogue, captured Crawford in a dark one-piece swimsuit and heels, standing confidently on a public monument in the opulent Monégasque district. Another striking image from the session featured her reclining seductively on stage before three blindfolded musicians.

However, a lesser-known Polaroid from that shoot is now resurfacing, offering a rare behind-the-scenes glimpse into the creative process. The image, part of a broader exhibition showcasing Newton’s Polaroids, depicts Crawford in a black swimsuit and trench coat cinched with a wide gold belt, descending the steps of a grand opera house. This preliminary shot, which ultimately did not make it into Vogue, provides an alternate perspective on the celebrated collaboration at the peak of the supermodel era.

Polaroids as a Creative Tool

“It was more or less used by (Newton) as a sketch,” explained Matthias Harder, director and curator of the Helmut Newton Foundation, in an interview with CNN. The foundation is presenting the exhibition Polaroids as part of the European Month of Photography festival in Berlin, running until July 27.

Harder highlighted Newton’s reliance on Polaroids in the 1990s to refine composition, lighting, and overall visual storytelling. These unique snapshots have since gained recognition as standalone works, featuring in exhibitions and publications such as Newton’s 1992 monograph Pola Woman and a 2011 anthology by Taschen.

‘I’m Never Putting on a Saddle’

Renowned for infusing his work with sexuality, Newton often staged noir-inspired, intimate portraits of women in studio spaces, hotel rooms, and even cars. His infamous fetishistic image of a model wearing a horse saddle on a bed remains one of his most talked-about pieces.

Despite his provocative style, Crawford fondly recalled working with Newton. “I loved working with Helmut… He had a sense of humor about his photographs, even some of the more sexualized ones,” she shared in a 2021 Vogue video.

She embraced his distinct aesthetic, understanding his ability to push boundaries without crossing into vulgarity. “I wanted to do Helmut Newton photographs,” she stated. “I didn’t want him to photograph me looking like the Madonna—not Madonna, the Madonna—because he’s one of the few people who can get away with it, and it doesn’t look raunchy.”

The Art of Storytelling

Newton was known for weaving elaborate narratives into his photographs. During the Monte Carlo shoot, he envisioned Crawford as a wealthy widow in mourning, accompanied by a younger lover. Another captivating image, where she posed on stage with blindfolded musicians, evoked Newton’s idea of “when elegant people used to have private elegant orgies.”

Monte Carlo: A Grand Stage

In the 1980s, Newton relocated to Monte Carlo with his wife, June, though they would spend winters in Los Angeles. The glamorous setting of Monaco frequently served as the backdrop for his work, adding an element of luxury and voyeurism to his compositions.

For his first shoot with Crawford, Newton had her stroll the streets in high-fashion swimwear, drawing the attention of unsuspecting tourists, construction workers, and onlookers—many of whom inadvertently became part of the images. According to Harder, “This is probably the clue to all of his pictures—he changes everything into his stage.”

A Priceless Keepsake

June Newton documented much of her husband’s work, including moments from the Vogue shoot in her 1995 short film Helmut Newton by June. One scene captures a candid exchange where two men, enamored with Crawford, offer to pay for Polaroids with her. Seizing the opportunity, Newton asks how much cash they have, and Crawford playfully strikes seductive poses for their personal souvenirs.

Reflecting on the moment, Crawford quipped in House of Style, “A Helmut Newton photograph for 1,000 francs? These guys are making a good bargain.”

This rediscovered Polaroid not only sheds light on Newton’s meticulous creative process but also immortalizes a golden era of high fashion, where the line between art and reality blurred under the lens of one of photography’s most daring visionaries.