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The term “street casting” might feel reductive given the various avenues Venditti now works across—today, her offices in New York and Los Angeles mostly deal with film and television, but she still dips her toe in fashion from time to time—but it was Venditti’s pioneering (and hugely influential) approach to scouting models that first made her name. As a student in Chicago in the 1990s, she was obsessed with vintage clothing. Her idols at the time were Marc Jacobs and Anna Sui, and upon learning the latter designer would be coming to the city for a trunk show, she convinced her model boyfriend at the time to find them a way in. After shamelessly introducing herself to the designer—foreshadowing a lifetime of shamelessly introducing herself to people, you could argue—Venditti got the contact details of Keeble Cavaco & Duka, the influential PR firm that ran Sui’s shows. Weeks later, she was in New York City, interning for Nian Fish at the company and stepping onto her first fashion studio set.
After two years, Venditti moved to work under the celebrated stylist Lori Goldstein; her first shoot was with Shalom Harlow, photographed by Steven Meisel. It was around then, though, that she realized she wanted more from the creative experience than the clothes themselves, and became frustrated by the narrow definitions of beauty the industry upheld. “I was working with all the best photographers and designers traveling all around the world, but I started to see a pattern of what they considered beautiful, and it was boring—it was all about everyone looking the same,” she says. When Kate Moss burst onto the scene in the early 1990s—the “heroin chic” waif as an alternative to the statuesque supermodels, but still just one variation on the standard model body type—it felt radical to many in the fashion industry. Not to Venditti. “It really bothered me, as it just didn’t feel creative,” she adds. “For me, the desire was to show all the different ways you can be beautiful.”
Around the same time, W broke away from WWD, and with encouragement from its founding creative director, Dennis Freedman—known for bringing art photographers like Philip-Lorca diCorcia, Alec Soth, and Juergen Teller into the fashion editorial fold—Venditti’s off-kilter eye for front-of-camera talent was able to shine. She was commissioned to cast, among other things, a story by Peter Lindbergh staged in the Appalachian mountains: Instead of his usual supermodel muses shot in studio, the emphasis was on real people cast within the towns at the mountain range’s foothills. In another project, the then white-hot London photographer David Sims turned his lens to the campus of Penn State University. “I was like: Wait, this is a job?” Venditti says, before breaking into a guilty laugh. “I’m just going to be sent to all these places where I get to walk around and go up to people and say, ‘I think you’re beautiful?’ ”
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