Missy Rayder entered the fashion industry via older sister Frankie in the late 1990s, both of them part of a new crop of All American models very different to the clean-cut, Cindy & Christy-type bombshells who had come before them. This group of mostly Midwesterners—Missy herself hails from Wisconsin—included names like Angela Lindvall, Danielle Zinaich, and Emily Sandberg; women who still had wholesome Americana going for them but added something unassuming and deeply quirky to the mix. These weren’t the high school prom queens but the arty outsiders. The particular magic Missy brought to the table was a vulnerability and warmth which quickly found favor within the upper echelons of fashion and still resonates today, over twenty years on. Here she takes us through her fashion journey, one image at a time.
Staying Power is an ongoing series celebrating models who have spent at least a decade working at the top of the industry. Through a selection of their most significant images, these household names and cult fashion favorites tell their stories.
Bottega Veneta, 1998
Looking back on this campaign, possibly one of my first at around age 19, I was incredibly nervous. Growing up, and during this time, I was introverted and shy. I didn’t know how I would get through the day! The kindness and generosity of spirit Steve Hiett demonstrated still stands out. We talked about music and his guitar — he was also a passionate musician. Back then Bottega wasn’t the same as it is now as the following was more subtle. He was able to capture a sweet earnestness in this image that I think quite matched the brand at the time. It was the beginning of many adventures and he quite emboldened me on this day.
Vogue Italia, November 2002
I remember this cover well. It was an initial collaboration between Steven Meisel and JJ (Jason Farrer) so the energy was palpable. JJ was the first “street style” inspired stylist, and Steven was able to elevate that and make it high fashion during a time it was not perceived as such. Pat McGrath and Jimmy Paul shaved my eyebrows and the sides of my head. At that point in my career, I was able to experiment with ideas and creativity-whatever the vision I leaned in. Creativity is the higher power. The cover is quite glamourous compared to the editorial which is more raw. We all went to a place of fresh glamour-stripping back what was typical during those times and building it back.
Vogue Italia, November 2003
Steven was always interesting because each shoot was only fully realized in person. This shoot in particular allowed me to connect with the animalistic part of myself- marrying the wolf and the person and allowing myself to connect in that way. The wolf was taxidermy, so all is metaphorical of course- but no less meaningful. I was in the desert outside of LA, which was incredibly hot and lent itself to the definite heat of the moment. There was always an openness to our shoots and a drive to explore. In this case, it was identifying the primal aspects hidden deep inside. The wolf inside.
i-D, 2004
Richard Burbridge shot this cover and editorial in 2004 in his studio in NY. It was a very intimate setting with an inspiring creative team – Edward Enninful, Pat McGrath, and Julien d’Ys. Richard has such precision in his photographs and he captured this iconic look they created inspired by Comme Des Garçons. Edward dressed me fully in their wardrobe. It was a complete collaboration and I really feel like I just got to experience such brilliance.
Vogue Paris, 2008
This image is from French Vogue. David Sims has his own divine energy. He is able to get you to give in a way that is wholeheartedly genuine. He is very expressive, and it lends to the subject feeling light and expressive. I played a few different characters in this story. Marie-Amélie styled each and in this, she gave the images a subtle twist of playful elegance. It felt very exquisite.
Love Magazine, 2018
A portrait by Alasdair McLellan for Love with Katie Grand when she was the editor. Katie is beyond talented, loyal, and takes risks time after time. This image was shot in 2018 and I was going through some things personally. It was an introverted, contemplative time in my life. I came to this shoot with no projections. No characters. Nothing but the quiet of my mind and how I felt in my life during that time. I feel a toughness in this image, a person who is coming to a few life realizations and not hiding them from the camera. When you shoot with Alasdair he allows you to bring the essentials and work with that. There is no pretense. I am very proud of this image and what it represents to me during this time.
Vogue Italia, July 2020
During the pandemic, Ferdinando Verderi, who I adore, wanted to work on an editorial for Italian Vogue. Sebastian Faena shot and Patti Wilson styled, the team created this character of a mad uptown woman. We were all feeling a bit wild at the time and it seemed fitting. The city was empty and eerie as if we had the whole thing to ourselves. We visited a few different outdoor locations Uptown, utilizing the notion of blurred boundaries. I had an idea to climb up this tree and they loved it. Of course, when you are working with brilliant people they make you feel like you can confidently do things that, otherwise, would seem silly. So there I am climbing the tree and the image seems to capture what we were feeling during that time in lockdown.
Vogue Italia, September 2020
It was such an honor to have Ferdinando Verderi and Mark Borthwick include me in the Vogue 100 covers. I have shot with them separately many times, and it was full circle to work with them together. Mark has such a creative perspective that draws from the artistic senses outside of fashion. Creating with him and Ferdinando felt like conjuring a painting. Ferdinando and I have a special bond and it never feels like work because he has a unique perspective on what he wants a concept to be and say. I felt very fortunate to be involved.
