Marpessa Hennick is a Dutch model who was a superstar on runways and in magazines during the 1980s. The American model agent Eileen Ford famously dismissed Marpessa as “too exotic,” but the Amsterdam native went on to become a legend and a favorite model of Antonio Lopez, Azzedine Alaïa, Gianni Versace, Karl Lagerfeld and Dolce & Gabbana. She starred in Bryan Ferry’s seminal '80s song "Slave to Love."
Marpessa spoke to Unforgettable Runway’s Ilius Ahmed, whose encyclopedic Instagram feed is a treasure trove of some of the most fabulous fashion shows of all time and the iconic models who ruled runways. Marpessa is one of Ahmed’s all-time favorite models and he was thrilled to talk to her about her glory days.
1984 was your first year in Paris as a model, what was it like being a new model on the scene?
Actually, 1984 was my first year in Paris as a runway model! I was already modeling in Milan and New York where Antonio Lopez took me under his wings, posing for him endless hours followed by glamorous dinners at Mr. Chow’s and meeting the fabulous people in his entourage. In March, my first French Marie Claire cover came out, just in time for Fashion Week. Antonio had contacted Karl Lagerfeld and Azzedine Alaïa about me, and they were the first ones who took me on, doing fittings and eventually booked me as well as 11 other designers, surpassing my wildest dreams!
What was your personal style like in the '80s, and do you have any treasured archive pieces?
My personal style then, and still today, is a mix of thrift store and vintage finds, boyfriend Levi’s, moccasins and designer’s gifts. I have kept and still treasure most of the latter, especially KL, Chanel, Alaïa and Gianni Versace.
When you reflect to the early '80s who inspired you?
Aside from Karl and Azzedine, who introduced me to the refined worlds of “les arts & métiers” and couture, I was very much inspired by the top models at the time — Janice Dickinson, Gia, Iman, Alva Chin, Dalma — as well as the club and house music scene, especially in Paris and New York.
As a young boy, I loved the '80s supermodels — how did it feel to be a part of the birth of the '80s supermodels era?
To me, it was just unreal that I was part of a new generation of top models: girls who were successful as both print and runway models who brought a fresh new vibe to fashion shows and leading the way for the '90s supermodels, especially since Eileen Ford had told me I would never make it if I didn’t “fix my ears, teeth and the bags under my eyes.
Tell me about the first ever runway show you walked in during Paris Fashion Week 1984, and how did you feel?
The first shows I did were for Azzedine who did several presentations in his atelier on Rue de Bellechasse over a few days. The intimacy of doing this in-house, along my idols Iman, Janice Dickinson and Alva Chin, who were so welcoming and supportive of me, gave me a boost of confidence. I was on cloud nine!
The couture shows were more theatrical than then the ready-to-wear, tell me about your first experience walking in a couture show.
The first couture show was for Chanel. I felt very much intimidated by the catwalk queens and tried to copy their oh-so-chic walks but Karl instructed me to do my own thing, getting inspiration from the collection and the fantastic sound score by Michel Gaubert.
Karl Lagerfeld has always been one of my absolute favourite designers, tell me about your first time meeting Karl in 1984?
The first meeting was in February, at the behest of Antonio, and we hit it off right away. Karl and the people in the studio made me feel very much at ease. He told me he loved my Dutch spontaneity which reminded him of '70s models Apollonia van Ravenstein and Willy van Rooy, whom he both loved dearly.
Take me back to working with Karl. What was it like walking in the KL and Chanel shows during 1984?
As I mentioned before, Karl was essential in bringing out my personality and encouraging me to experiment with different walks. Which developed into “my walk,” adapting it to the outfit worn and the mood of a collection. Oftentimes, he would also ask my opinion on certain designs and how I would accessorize them, making me participate in the design process before they were shown on the runway. It was the beginning of a much-treasured friendship and collaborating on a variety of projects for many years to come.
What is one of the most significant unforgettable runway or backstage flashbacks you recall from 1984?
Honestly, there were so many! Maybe the most significant: the camaraderie I found between the models, helping each other out with make-up, fixing a hairpin or a garment before going out on the runway, the pros teaching me how to unbutton and take off a jacket while on the catwalk, exchanging both hilarious and horrible stories while preparing. One of those was about a certain diva pushing new kids off the runway if you got in her way, but thankfully she never came close to me!
What is the one piece of advice you would give yourself in those days?
Go for it, and give it your all with passion. Boyfriends can wait!
Finally, last question, when I reflect back to 1984, my personal creatives that I loved and inspired me are the following. Please tell me your thoughts on each of them.
Yves Saint Laurent: I only modeled one time for Mr. Saint Laurent, thanks to Amalia Vairelli. The “Chef de Cabine” wasn’t very welcoming and kept my meeting with him to a minimum, unfortunately.
Azzedine Alaia: The Master. Wicked sense of humor. Family first. Always made sure we were nourished and challenged!
Mila Schon: The Grand Dame of Italian craftsmanship and kindest lady.
Mugler: The sweetest guy who had the vision of staging the most outrageous theatrical shows. My first one was when Pat Cleveland descended from heaven whilst pregnant! I only had a minor role as a cherub seated on the podium in that show but also had some of my most iconic runway moments thanks to Thierry, playing the bondage Dominatrix.
Karl Lagerfeld: Karl was my true mentor. I learned more from him than anyone and could have ever imagined.
Gianni Versace: As a teen obsessed with fashion Gianni was my idol (those Avedon campaigns!) and the reason I decided to go to Milan instead of Paris after my kickstart in Amsterdam.
Unfortunately, our first meeting was a quite a disaster. I was booked to shoot the cover of Panorama (a news weekly) with him and had to pinch myself that I wasn’t dreaming, wearing his exquisite designs! At some point however, the photographer instructed me to uncover my breasts (little did I know those covers always featured topless girls in order to sell the news), and even though far from prudish, I refused as I had seen the publication at my dad’s place. Needless to say, both Gianni and the photographer got very irritated with me, and I got dismissed. Not until after my first big show season in Paris did we meet again, and I reminded him of the episode. We had the biggest laugh and became the best of friends.
Claude Montana: My first two seasons walking for Claude were so very daunting to me, having studied all the images of his shows (as was my habit for all designers, even sneaking into a Complice show he designed back then in Milan), and I knew his were theatrical and static poses, which I felt awkward to assume.
The castings and fittings on Rue St. Denis would go on till the wee hours, and once it finally was my turn, I was surprised to meet a very shy man who firmly showed me how I should pose! With the help and encouragement of his longtime partner Bobby Butz I finally managed and adored interpreting the Montana woman!
Calvin Klein: Calvin was always a joy to work with. Just as his collections transpired, he was all about unpretentious, relaxed refinement. Love Calvin.
Photos via Getty Images
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