Great photographers are often said to have a unique, unmistakable style—a claim that can sound exaggerated, but for a select few genuine originals, it’s completely accurate. Steven Klein is certainly one of them, an artist who seems to tap into the unconscious, giving shape to our deepest desires through his visuals. He is also a master interpreter of fashion’s language, as shown by the iconic photo shoots he has produced over his long career. The book Steven Klein: Vogue, released by Abrams this December, collects some of his most cinematic and memorable images commissioned by Anna Wintour for American Vogue between 2000 and 2019, created in collaboration with editors like Phyllis Posnick, Grace Coddington, Camilla Nickerson, and Tonne Goodman.
The subjects? Legendary models and contemporary icons. “With Steven Klein,” writes Wintour, “you give him a dress, and he gives you a girl in a dress with a robot in a garden. It’s clever, conceptual, and ultimately lyrical.” We spoke with him just before the book’s release in early December.
Vogue: Some of your boldest work has appeared in this magazine. What made that possible?
Steven Klein: It started with Vogue Italia and Franca Sozzani. Franca had a revolutionary instinct and gave me complete freedom to explore darker, more provocative themes. That freedom opened the door to a different kind of storytelling—using fashion to delve into complex ideas like identity, control, and seduction.
Later, working with Anna Wintour at Vogue US brought a new level of precision and visibility. Anna knew how to channel that same creative energy for a global audience. She never asked me to hold back. That rare combination of freedom and editorial clarity is what allowed my boldest work to happen.
Vogue: Looking back on your long collaboration with Vogue, is there a particular shoot that stands out? What made it unforgettable?
Steven Klein: Two come to mind right away. The first was for Vogue Italia, when I photographed Rihanna in couture for the first time, just as she was rising to fame (September 2009). We shaved the sides of her head, and she was completely open to transformation and experimentation. That kind of trust is rare. I’m always drawn to people who see photography as a process and understand that surrender and curiosity are key to creating something memorable.
Another unforgettable project was the entire issue of L’Uomo Vogue we did with Brad Pitt (May/June 2004). Part of it was shot on the set of Troy, and then we spent three more days in Los Angeles. Projects like that don’t really exist anymore—actors rarely give that much time or show such vulnerability. But Brad is different; he has a deep respect for photography and cinematic art. Working with someone who shares that visual language makes all the difference.
Vogue: Your images often come from intense creative dialogue. How would you describe your relationship with the stylists you’ve worked with at Vogue, and how have these collaborations shaped the final story?
Steven Klein: My relationship with Vogue’s stylists is built on deep synergy and mutual respect—it’s like a dance where each step leads to the next. Stylists are essential to my images; they’re not just picking clothes, they’re co-authors of the visual story. They need to understand how the camera sees—considering light, texture, and movement—not just to improve the composition, but to capture the narrative and the character, whether it’s one of delicate vulnerability or bold defiance. These collaborations are about pushing further; an intense dialogue might start with a mood board and evolve into unexpected choices that lift the final story, making it richer and more layered. Without trust and a shared vision, the images would lack that electric authenticity.
What continues to attrWhat draws you to fashion—visually or conceptually?
For me, it’s the cinematic quality of fashion that remains so compelling. It lets me craft characters and build entire stories in a single image, almost like directing a short film. Every photoshoot becomes its own universe, where every element—the clothes, the lighting, the model’s expression—adds to the narrative.
Many of my ideas come straight from cinema. For example, I once did a high-fashion editorial with Lara Stone inspired by Luchino Visconti’s film The Leopard. This approach allows me to explore concepts visually, turning cinematic ideas into still images that feel vibrant and rich with meaning.
In today’s culture, where political correctness often sets the limits for creativity, do you feel your artistic freedom has been restricted, or have these challenges pushed you to discover more subtle ways to provoke thought?
I’ve never seen my work as being shaped by external limits. Constraints, whether cultural or not, are just another layer in the creative process—a chance to create tension. They can actually fuel the imagination instead of stifling it.
To me, artistic freedom isn’t about having no boundaries; it’s about finding ways to create intensity within them—to provoke quietly, to suggest rather than declare. The real challenge is to navigate the subtle undercurrents of perception, crafting images that linger, unsettle, and resist easy understanding. In that way, limits aren’t barriers—they’re the hidden framework for innovation.
What have you let go of over the years as a photographer?
The belief that photography is all about perfection and control. Early on, I chased flawless compositions, exact lighting, and total technical command. While those skills matter, I’ve learned that the most powerful images often come from intuition, taking risks, and embracing the unexpected.
What stands out most in your memory of working with Franca Sozzani?
I started my career at Vogue Italia, and I’ll always be thankful for the opportunities and support I received there. At first, Franca intimidated me. She was incredibly demanding, but it was because she wanted to push you further—to make the work sharper, more impactful, and more original.
Franca had exceptional taste and an almost instinctive feel for photography. She knew how to make Vogue Italia not just the most thrilling fashion magazine, but also a stage for genuine artistic expression. Over time, we became friends, and I often visited her when she was in New York. Franca Sozzani was one of the most beautiful and generous figures in fashion—elegant, fearless, and endlessly curious.
What’s the first photograph that comes to mind when you close your eyes?
Brad Pitt’s iconic Blood Head from our L’Uomo Vogue issue.
Brad Pitt, L’Uomo Vogue, May/June 2004
Photo: Steven Klein
This conversation, originally published in Vogue Italia, has been edited and condensed.
Steven Klein: Vogue
$125 ABRAMS
Frequently Asked Questions
Of course Here is a list of FAQs about Steven Klein and his most unforgettable Vogue photographs designed to be clear concise and helpful for a range of readers
General Beginner Questions
1 Who is Steven Klein
Steven Klein is a highly influential and celebrated American fashion photographer known for his provocative cinematic and often darkly glamorous style
2 What makes his photography style so unique
His style is dramatic and narrativedriven He often creates surreal powerful scenes with strong lighting bold colors and a sense of mystery or edginess that goes beyond a simple fashion shot
3 Where can I see his work for Vogue
His work is featured in various international editions of Vogue magazine including Vogue US Vogue Italia and Vogue Paris You can also find it in Vogues online archives and in art and photography books
4 Has he worked with any famous celebrities
Yes extensively Some of his most famous subjects include Madonna Brad Pitt Lady Gaga David Beckham and Kate Moss
Specific Photographs Concepts
5 What is one of his most iconic Vogue photoshoots
His 2005 Bondage Ballet shoot for Vogue US featuring a powerful and androgynous Madonna is considered a classic It blended themes of strength control and high fashion
6 Can you give an example of his cinematic approach
His 2004 Mario Testino A Tale of Two Cities portfolio for Vogue featured Brad Pitt and Catherine Keener in a series of images that felt like stills from a mysterious stylish film noir
7 Does he often use props and sets in his work
Absolutely He is known for building elaborate immersive sets that tell a story From opulent decaying mansions to stark futuristic landscapes the environment is a key character in his photographs
Technical Advanced Questions
8 What are the common themes in his Vogue work
Recurring themes include power dynamics sexuality identity surrealism the blurring of reality and fiction and a fascination with subcultures and fetish aesthetics
9 How does he use lighting to create his signature mood
He masterfully uses highcontrast lightingoften with sharp shadows and dramatic highlightsto create a