These 1994 pictures of Kate Moss, Stella Tennant, and Milla Jovovich could've been iconic:
Fiddling with a few cameras—a Rolleiflex, a Pentax Spotmatic, a broken Pentacon Six—Jarrett began taking his own pictures, hijacking his friends’ shoots and mining the locations for unexpected angles and, above all, feeling.
“Living in West London with Mario, Glen, Tara Turner, and Lucia Peironi, with many creative and interesting people coming and going, we were very supportive of each other—we'd often put our personal film on jobs,” Jarrett recalled.
He chopped up his contact sheets and began collaging them into a rough book filled with street photography and impromptu portraits—loose compositions of Corinne Day and Melanie Ward on the beach at Camber Sands in East Sussex, England, or tumbling through the corridors of the Gramercy Park Hotel in New York, where, Jarrett said, they “lived for weeks on end.”
Driven to push the images further, Jarrett photocopied the original book, deliberately degrading the quality. “I loved the effect of the marks, lines, colors and messed-up vibe, it not feeling too precious or precise, things feeling a little off,” he said. “It was the beginning of establishing my own personal style and approach to taking pictures—less arranged and thought-out and more of a feeling and sensibility, a rawness and roughness.
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