Jonathan Mannion Tells All: The Stories Behind His 25 Favorite Album Covers

#18. Kelis, Kaleidoscope (1999)

Jonathan Mannion: “What’s funny is that this was actually a reshoot of a shoot that one of my old bosses had done. It wasn’t Avedon, but one of the other ones. They had gotten some cool pictures, but they felt like there was another level to hit.

“That let me know that I was onto something, and that I had to keep it up. I was now reshooting people that I’d supported.

 

We got Joanne Gair—the person responsible for the Demi Moore tuxedo shot on the cover of Vanity Fair—and we made history.

 

“I had photographed her once before, on my birthday. She brought me a bottle of Hennessy, and we shot in the house and had a great time. She was really cool. So when this came about, I wanted to take her from the image of that giant, pink-hair chick in Harlem to an iconic image that was going to last.

“I came up with the concept when I thought about looking through a kaleidoscope. I responded to the colors. It reminded me of a stained-glass window. So originally I wanted to shoot against a stained-glass window, but her personal wishes and wants were more important.

“She told me hummingbirds were important to her, and certain colors and things like that. So we decided that instead of doing the stained-glass window, which would have taken forever to create and shoot through, we were going to paint her. We got Joanne Gair—the person responsible for the Demi Moore tuxedo shot on the cover of Vanity Fair—and we made history.”

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