PL: Why did you feel that it was important to create the dressed sets, or ‘Amy Worlds’ in the book?
NP: First and foremost – speaking as her stylist – this book is about celebrating Amy’s style and music. I had access to her archive, which had been in a lock-up for the last 10 years, hidden away from the world. I had always wanted to shoot it, but it was quite difficult, because she is no longer here. I wanted to breathe some life into this archive and show it in a way that really embodied Amy. You put it on a mannequin and it’s just a dress; you put it on Amy and it becomes a whole other thing. I felt like it needed Amy there and if we couldn’t have her physically, we were going do it in another way. So, the idea of the sets came from this desire to show the archive in a way that felt very Amy.
PL: When we were doing the shoots, the clothes just didn’t hang right on the mannequins.
NP: Exactly. The way that she wore the clothes was so important. On the shoot we hitched the clothes up at one side, just to style it so it felt a bit more like her. The clothes didn’t sit in the same way on the mannequins as they did on Amy. I wanted the sets to become more like art pieces, where the observer could pick out the details in objects that belonged to Amy, all in one image.
PL: Have you got any favourite items that ended up in the book?
NP: The Moschino heart bag is my all-time favourite item of Amy’s. It’s from one of the first events I did with Amy – the Brit Awards in 2008. I think that event was when we came into our own, when Amy’s style solidified. We managed to get the full Tina Kalivas outfit from the Elle Style Awards into the book, as well as the Grammy outfits and Vivienne Westwood’s dress. I am so grateful to Vivienne and Tina for loaning those pieces for the book.