Naomi: In Fashion at the V&A

Naomi: In Fashion marks a notable departure in the fashion exhibition genre, focusing not merely on the garments but on the supermodel who brought them to life – Naomi Campbell. This exhibition at the Victoria and Albert Museum is a glamorous, if somewhat superficial, journey through Campbell’s remarkable career.

Upon entering the dimly lit first floor, visitors are ushered into the model’s world, beginning with a stark black corridor lined with video clips of her iconic runway walks. This sets the tone for a dazzling and glamorous show designed to bring visitors closer to Campbell – perhaps even make them feel like models themselves.

Turn a corner and you step into the tender years of Campbell’s adolescence. A few objects tell the story of a 15-year-old girl, like the ballet shoes she was wearing when discovered by Beth Boldt in Covent Garden. Narrated by Campbell herself, the display reveals her youthful mischief – playing hooky and borrowing her mother’s jacket and shoes. Her rise in the fashion world was swift and stunning: by 16, she graced the cover of ELLE; at 17, she had moved to New York; and by 18, she broke barriers as the first b=Black model on the cover of French Vogue. Amongst sentimental artefacts of a past life are Campbell’s old school photos, a Concorde boarding pass and a backstage pass from Yves Saint Laurent. 

Later, the exhibition captures the frenetic glamour of Campbell’s nomadic lifestyle with a recreated hotel room from Claridge’s. The space brims with dresses hung left right and centre, scattered fashion magazines and books, makeup and so on.  As you wander through, the sheer volume of clothes is staggering, offering fans of designers like Alexander McQueen, Azzedine Alaïa and John Galliano an absolute field day. All of her most iconic gowns and accessories are there – like the sky-high Vivienne Westwood shoes that famously caused her glamorous fall in 1993, the pastel-pink 1994 Barbie suit by Karl Lagerfeld or the 1991 Gianni Versace dress with multi-coloured prints of Marilyn Monroe and James Dean that Campbell wore on the runway and then out to dinner. Chanel tweed suits, Versace clubwear and Westwood corsets complete this sartorial treasure trove. There’s enough to analyse for hours.

On the top floor, Edward Enninful has curated a photography display showcasing Campbell in all her multifaceted glory. There’s Naomi with Dalmatians, Naomi halting Manhattan traffic as captured by Mario Sorrenti, Naomi with a radiant smile, Naomi in Playboy. A leopard print-clad Naomi races an actual leopard, photographed by Jean-Paul Goude. Each role, executed to perfection, shows that Campbell is far more than a mere model – she is a force of nature. She can make anything look good; every pose appears effortless. Her dedication is palpable; she’ll do whatever it takes to get “that picture”, even if it means crumbling to the ground in unwalkable shoes. “When you fall, you pick yourself up and keep going,” she says.

Among the opulent display of career-defining outfits, the show sometimes feels like it lacks the emotional depth that might render it truly revelatory. Campbell is presented not just as a pop culture fixture but as a meticulously curated image, somewhat resistant to any form of intimacy with the viewer. Everything is perfect, smooth, iconic. Campbell lent most of the clothes in the exhibition and was heavily involved in the curation process, so it is a shame that one doesn’t quite walk away feeling like we know her.

At times, there are hints at Campbell’s well-publicised controversies, such as the Dolce & Gabbana evening gown she wore while completing five days of community service for throwing a phone at an employee. This feels like a bit of an attempt to add nuance to all the glamour. It’s understandable why Campbell might not want to dwell on the specifics of her past run-ins with the law, but in front of this steely, impenetrable, chic glamazon, one can’t help but feel that we are still presented with yet another fashion show, not an exhibition about a person.

Naomi: In Fashion excels in celebrating the supermodel’s influence and iconic status, aligning her with cultural figures like David Bowie and Kylie Minogue who have also been honoured by the V&A. While undeniably a feast for the eyes and a tribute to a remarkable career, the exhibition leaves you wanting a bit more of unvarnished Naomi Campbell. As it stands, the diva remains, perhaps fittingly, an enigma wrapped in rhinestones and leopard print.

Constance Ayrton
Image: Peter Kelleher

Naomi: In Fashion is at the V&A until 6^th April 2025. For further information visit the exhibition’s website here.