Archive for October, 2010

Personal Entry 2

Where to go from here…

1. Closer look at Nan Goldin

2. Who is Tara St HillBy?

3. Who is Pushermen?

4. Who is the Girl in the Photograph (Georgina, Brixton)?

5. Link to anyone elses work?

6. Look at more of Corinne’s work, other models Corinne Day worked with.

7. Diary 2002

8. Who is Melanie Ward?

9. More previous work

10. More on Kate Moss

Recap so far…

1. Background information on Corinne Day

2. How and Why she died.

3. Her drug history.

4. Mark Szeszy.

6. Some preivous work.


Fashion Family

Created on 23/10/2010

Personal Entry 1


When I first decided to do Corinne Day’s Georgina Brixton, I wasn’t really sure what I was going to find or how I would go about collecting  information about the photograph, the photographer and the world of fashion photography.

However I feel like I have managed to find my stride and as I’m researching, I’m finding more and more questions that I wish to answer to discover as much about this all as possible.

My biggest worry at the moment, is that I am not very confident about how I am connecting all of the information gathered and if I am making the correct links between them.

Mark Szaszy on Corinne Day

Interview with Mai Meksawan for The Independent Film Quarterly.

(I was unable to find a date for this interview)


Some questions and answers relating to Corinne Day and her work.


When was the starting point of the project and how long has it taken you to finish the film?
The earliest record of filming was some b/w Super 8 of Kate Moss aged 15 in 1990. I couldn’t really call it a project at that stage, as I was just shooting for the love of filming. Over ten years passed before that accidental archive fitted into the jigsaw puzzle of Corinne’s career in the 90’s. Actual post-production began to put all the pieces together r around Feb 2002 and was completed in May 2002.
Was it hard for you to film someone who is so close to you in such a vulnerable state?
I just got on with it because I knew I had to do it for various reasons.
Corinne said that after she got ill, she asked you to start filming and taking photographs of her to “keep her mind off what’s going on”. What is your take on it? Would you say that the process is kind of like a therapy for you?
The toughest time was taking the pre-surgery photographs in Whitechapel Hospital, but the fact that it gave Corinne something to take her mind off the reality of the situation helped me do it. I guess the normality of taking snaps took the edge off the situation for both of us.
Did you have any preconceived direction of what you would like the film to be, or did it all come quite spontaneously?
In the beginning I thought I was shooting a rockumentary about the band Pusherman, who in the end split up because of drug problems around 1997 and left me wondering what to do next. I had introduced Corinne to the band in 1994 and she loved to photograph them and their lifestyle, so it was a natural spontaneous decision to shift focus from band to Corinne and connect her work and play with the band into a story about her photography.
Corinne has a legendary status in the fashion and photography world. But your film has a very personal touch. What kind of impression you hope that the film would have on the audience, both for those who are and are not familiar with Corinne’s work?
I hope the film inspires people in all walks of life to appreciate their lives and people close to them and hopefully appreciate life itself and celebrate it in any way they can, even if it looks crap, you can’t give up. Corinne is a very tenacious, positive person, who has never complained to me about dealing with what she has been through, which has been a great source of strength and inspiration for me, which I hope people can share in seeing the documentary.
How did you finance the film? And how did it get to air on the BBC?
Waldemar Januszczak at ZCZ films told me he showed Roly Keating, the BBC FOUR Arts commissioner, some of my videos of Kate Moss and that was it, the BBC commissioned it.
How was the public response in the UK? Was the film well received?
The other day Corinne and I were having a beer outside a pub on the street when a bicycle courier did a U-turn and came straight over to congratulate Corinne, who told me this happens all the time, since the doc went to air. The BBC caned it on BBC-FOUR and has recently started showing it on BBC2 so yes, thankfully it has been very well received.
Do you think that you are satisfied with the finished work overall?
I did want to edit a longer version, but I couldn’t find anyone who would cut it for just the credit, so I think I’ll let it be.
Are there a lot of things that were left out off the final cut? Are there things in particular that you weren’t able to put in the film?
There was the Raygun Magazine episode that should have been included and some great Pusherman material and other stuff, but that’s filmmaking for you and anyway it’s good to leave a little mystery.
What was it like filming Kate Moss? In the film, you have two of the most iconic figures in the fashion world reunited after a long history together.
Kate’s like a friend, even though we hardly ever see her, but when we do it’s easy filming her because of the time we’ve known her I guess and of course she is used to having cameras around her. I love filming people in natural situations and when Corinne and Kate get together, it’s easy because they’re friends.
You have an extensive background in music videos, notably for Oasis and Everything But The Girl. Did the experiences help you with the filming of the documentary?
Every filming experience is always a good learning experience for me. Sometimes you may have a tight schedule and things can get stressful but even when its bad it’s good.
The whole project has quite a wide span – there’s also the Diary book and the exhibition at the Photographer’s Gallery. Do you also have more things up in the agenda?
Yes, there are some other projects I’m working on.

Who is Mark Szaszy?


There is not a lot of information available about Mark Szaszy apart from interviews done with Corinne day.

Mark Szaszy directed Oasis’s ‘Definately Maybe’ Documentary

Above is only the first three parts. The rest can be found at:


As well as Directing some of their music videos.

Other Music Videos

Queen : You Don’t Fool Me

Everything But The Girl : Missing and Five Fathoms


More recently, He was the director for the Kooks ‘You Don’t Love Me, part 2’.


Mark and Corinne had been dating for thirteen years when they found out about her brain tumor. For more than ten years longer he stayed by her side, eventually marrying her, until she passed away. During this time she asked him to take photographs of her to add to what is now know as ‘Diary’.

Source: (accessed 12 & 15/11/2010) (accessed 8, 9, 12 & 15/11/2010)


To Be Considered…

1. Why is there so little about him available online?

2. Where is he now?

3. Has he done anything else since Corinne’s death?

4. What is ‘Diary’?

Previous Work

“Inside the Secret Garden…
On a cloudy November day…
Top Model Rachel Alexander
Photographer Corinne Day
And Video Director Mark Szaszy
Went to a beautiful Surrey farm house
To shoot a spring story for H&M Magazine
Between shots they enjoyed the beauty of the gardens and the surrounding landscapes.
All dressed in spring’s most beautiful gardenwear…”

Source: (Accessed: 15/11/2010)


Previous Work

The Face


The Face – No. 22 / July 1990 / The 3rd Summer of Love  

“The Daisy Age” – Photography: Corinne Day
Styling: Melanie Ward
Make-up: Shiralee Law
Hair: Drew Jarrett


“The team’s first published collaboration was for the visionary magazine The Face in 1990. The resulting images of an unknown 15-year-old Moss succinctly capture the zeitgeist of Generation X. They are hauntingly honest and celebratory of truth over perfection.”

Erin Dixon, posted on September 1, 2009 at 3:09 pm. The Untouchables: Corrine Day and Kate Moss


Source Accessed 10/10/2010


Corinne Day

Corinne Day was born in England on the 19th February 1965, where she lived with her husband of twenty five years Mark Szaszy, until she passed away on the 27th August 2010 after a long battle with an Oligo Astrocytoma.

After her own experiences as a fashion model, she became interested in photography and taught her self. Her first piece of well-known work was an eight paged fashion piece for the magazine ‘The Face’ in 1990 which she used model Kate Moss for. After this piece, she kept a close relationship to Moss and has used her many times throughout her career.

Day is known for her edgy take on fashion illustration and after her 1990 shoot with Moss she became internationally recognised for her grunge style which quickly became the style everyone was using.

In 1993 Corinne Day did another shoot with Kate Moss, this time it was shot in Corinne’s home for British Vogue. After this, she spent the next seven years working on her first book called ‘Kruse Verlag’ which was published in 2000.

By 2006 Corinne Day was holding exhibitions worldwide  and in 2007 the National Portrait Gallery recruited her to photograph Kate Moss again.

When a website released details of Day’s illness in 2009, fellow photographs and models including Moss, sold their work and prints in order to raise money so that Day could receive the best possible treatment. Although they raised more than one hundred thousand pounds under the campaign titled ‘Save the Day’ so they could send her to Arizona to receive IPTLD treatments, the treatment failed and Day returned back to London in February 2010.

“I never liked heroin that much. It’s a very overrated drug.” [1]


  • Brought up by her grandmother in Ickenham, London.
  • Mother :  ran a Brothel
  • Father : was always in trouble as a teen but then built a legitimate business empire.
  • Her fathers obsession with money was what kept them apart till she was older.
  • However it was her fathers love of money that made her less interested in it.

“My dad was incredibly driven by money, and I felt like I lost him to it. When I was a kid, he had a big house, but I hated going there. It never felt like home. There was no love there.” [2]


  • Didn’t learn much at school
  • Started working as soon as she could as a courier


  • A photographer suggested she became a model
  • Short for a model – 5ft 6in
  • Mainly got catalogue work
  • Lived in Japan for a while before moving to LA.
  • Met Mark Szaszy (Husband) in Japan

“I don’t have great cheekbones, or huge lips to pile lipstick on – it didn’t suit me. I wasn’t really a conventional beauty, I was quite plain-looking for a model. When I first saw Christy Turlington, all my hopes of ever getting on the cover of Vogue were gone. So I just made the best of it, and enjoyed it – I loved the travelling. We went to Australia, Spain, and ended up in Milan. That’s where I started to take pictures. Mark had a camera, and he taught me how to use it.” [3]


  • Mainly photographer other struggling models
  • Fashion:  photographed in their own clothes
  • Location: the seedy hostels where they lived.
  • Showed her photographs to The Face’s art director Phil Bicker
  • Phil Bicker wanted a new generation of young, innovative talent.
  • Bicker asked her to shoot some fashion pictures for The Face.
  • She had no contacts with models, as she hadn’t lived in the UK for over five years

“I started to realise that it was ambiguous, the life. Even though you‘re surrounded by all this glamour, there was a lot of sadness. We couldn’t buy the clothes that we were photographed in, couldn’t afford to go out and do the things we would have liked to do as teenagers.” [4]


  • Spotted a Polaroid of 14 year old Kate Moss, a teenager from Croydon.
  • Bicker made Kate Moss the face of The Face
  • Corinne’s best images of her summed up the mood of British youth after the rave explosion.
  • Kate Moss and her agency weren’t happy with the photographs.
  • Kate Moss got bulled  at school for exposing her flat chest.
  • Kate Moss’s agency worried about the different ways that Corinne treated the photographs compared to the ways other photographers would have.

“She was a beauty, but there was also something quite ordinary about her: her hair was a bit scraggy, and with no make-up she just looked like the girl next door. I encouraged her to be natural. I’d chat to her and then take the pictures in the middle of the conversation. I was trying to get the person to just bring themselves to the camera.” [5]


  • Corinne Day, David Sims and a few others began using second-hand clothes for their photo shoots
  • Using ungroomed, unconventional-looking models discovered in the street.
  • Originally known as ‘waif‘, later known as the  US grunge scene.
  • At the Paris Fashion shows – the second-hand clothes they’d shot six months before being imitated on the catwalk.
  • Corinne wanted her success to grow so she shot some high fashion shoots the way they were originally intended.
  • Hated the photographs from the couture collections for Vogue that she did.
  • Linda Evangelista : found it pointless.
  • Her look added to the mainstream
  • Kate Moss signed to Calvin Klein
  • Melanie Ward (worked with Corinne Day) took a job at Harper’s Bazaar in New York.
  • 1991 –  Started photographing Tara St HillBy and her boyfriend.

‘It was something I just felt so deep inside, being a model and hating the way I was made up. The photographer always made me into someone I wasn’t. I wanted to go in the opposite direction.’ [6]

“She just didn’t excite me. Photographing someone you don’t know and never plan to see again is so impersonal. The photograph means nothing. When Kate and I did our first Vogue cover, that was exciting.” [7]


  • Didn’t like the fame or fortune
  • Turned to documentary art photographs (Nan Goldin).
  • 1993 : sad-looking Kate Moss for Vogue wearing cheap undies, baggy tights and no make-up.
  • The story provoked outrage. Claims that it was promoting anorexia, drugs, even paedophilia.
  • It was the end of her relationship with Vogue and Kate Moss.
  • 1993, Corinne Day and model Tara St Hillby and Boyfriend got involved with  British rock band ”Pusher man’
  • Corinne Day’s fashion family fell apart
  • Started taking drugs – cannabis, ketamine, heroin.
  • Corinne Day says she never developed a habit.


  • Next four years concentrated on the project Diary
  • Helped her move away from the drug world she had grown accustomed to.
  • Day and Szaszy Stopped doing drugs
  • Mark Szaszy started making a documentary about her work.
  • Corinne started taking  fashion pictures again.
  • Done a Vogue shoot with Kate Moss, seven years since the disaster shoot.


“My attitude is more businesslike, not so aggressive. I’m keeping within the boundaries. It’s interesting – I’ve actually come to a point in my life where I want to make money. I’ve realised that it can be quite useful.” [8]


[1-8] Quotes by Corinne Day (Taken from throughout her career) Sheryl Garratt – The Observer, Sunday 3 September 2000

All information taken from the following websites – accessed on 10/10/2010

Images – accessed from 10/10/2010


Day, Corine

1995 - Brixton, Georgina



Brixton. Georgina


(1) Source:


When looking at this photograph, you initally notice the female bent over the leather sofa in her underwear. However, when you start looking closer, you notice things such as the dull colouring, her dirty feet, the filthy floor and how her underwear matches the orange/red carpet and the black sofa. You also take into account that the rest of the photograph is empty. As if the photographer wanted to make sure you didnt get distracted by anything else, or as if they didn’t want to give too much away. The photographer didn’t take the photograph straight on, giving it a strange angle.

At first glance, I have already made many assumptions about this photograph. Including what I think is the possible reasoning behind it and the strange position/angle of it and the model.


To Be Considered…


1. Who is Corinne Day?

2. Who is the model in this photograph?

3. Why is she at such a strange angle? Is there something about her position or is there something she is looking at?

4. What is the significance, if any, for the dirty floor and her dirty feet?

5, Where is this photograph taken?

6.  Was I right about the conclusions I originally came to about  this photograph?

7. Influences?

8.Anyone else involved in taking the photograph?