Pamela Hanson Captures the '90s With Her Fashion Photography

Summary

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Episode Overview

Podcast: All Of It (WNYC)
Host: Alison Stewart
Guest: Pamela Hanson (fashion photographer)
Air Date: September 26, 2025
Title: Pamela Hanson Captures the '90s With Her Fashion Photography

This episode delves into Pamela Hanson's new book, Pamela the 90s, an evocative collection of her influential fashion photography from the 1990s. Hanson, a trailblazer as one of few women in high-end fashion photography at the time, reflects on her career, personal approach, transition from analog to digital photography, and the enduring relationships built within the fashion industry. The conversation explores themes of authenticity, intimacy, and the cultural context of fashion imagery from that era.

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Key Discussion Points & Insights

The Culture and Intimacy of 1990s Fashion Photography

• Intimacy and Collaboration

  • Hanson highlights the familial atmosphere of 1990s fashion shoots:

    "We were all grew up together. We were kind of like a family and we ate together and we shot on the streets and when we felt like eating, we'd go eat." (01:35)

  • The absence of smartphones led to deeper trust and less self-consciousness in front of the camera.

• The Pre-Digital Advantage

  • Without instant playback or behind-the-scenes content, there was more freedom and privacy:

    “There’s not a lot of time to develop a relationship now … We had time, we hung out all day, I hung out with the girls … we were very, very lucky.” (02:09)

The Analog Versus Digital Debate

• Shooting on Film

  • Hanson emphasizes the tactile, emotional quality of film:

    “The quality of film is more intimate and more beautiful … there’s no retouching in the book at all.” (02:55)

  • The process of waiting for contact sheets added excitement and allowed for thoughtful image selection.

• Retouching and Authenticity

  • She’s conflicted but leans toward minimal intervention:

    “It’s really hard to do nothing. I really try to do nothing … But I think it’s really hard to do absolutely nothing.” (03:39)

  • Her guiding philosophy:

    “I love people for who they are … it’s like trying to show the authenticity and the intimacy as much as possible.” (04:16)

Tools and Aesthetic Influences

• Camera and Film Choices

  • Favorite camera: Nikon, especially shooting with transparency (slide) film for its cinematic quality.

    “It was a Nikon. And I also shot transparency film… I was very inspired by film, by movies, and that was what inspired me more than other still images.” (05:03 – 05:13)

• Cinematic Inspiration

  • Key films influencing her style:
    • The Graduate
    • French Nouvelle Vague, e.g., A Man and a Woman, Breathless

    “That was my inspiration at the beginning – more cinematic.” (05:51)

Light and Place: How Cities Shape Imagery

• Distinct City Light
  • Paris: “beautiful, warm light” from stone buildings

    • “In Paris… it reflects that beautiful, warm light.” (06:15)

  • New York: “an edge to your pictures,” “bouncing off of mirrors or shiny skyscrapers.”
  • Los Angeles: Brighter, harsher light, “really hard to shoot in for some reason.” (07:01)
  • Miami: Early days marked by Deco buildings and unique subculture.

Process, Collaboration, and Archive

• Roles on Set

  • Hanson focuses on teamwork and storytelling:

    “My job was kind of to give it my own point of view, but also respect what the magazine needed or respect the clothes…” (08:05)

  • The collaborative dynamic of stylists, editors, hair/makeup.

• Archival Practice and Selection

  • Her vast archive lives in a New York City storage unit and her studio.
  • Selection for the book was emotional and intuitive, with a willingness to accept thoughtful outside editing:

    “I had to let them [the creative team] do it because I was like, my baby, don’t throw that picture out.” (10:34)

Artistic Evolution & Roots

• Origins

  • Early start with her sister, yearbook photos, and building a darkroom as a teen.
  • Influenced by a background in art history, but photography is described as visceral and emotional rather than intellectual:

    “Photography’s so visceral for me… it’s a really emotional thing.” (14:52)

• Entry into Fashion Photography

  • Inspired by her friend Lisa, networking, and persistent effort in Paris.
  • Driving force:

    “I just had a drive, and I just wanted it. … I would just go to see these art directors in Paris, and it was a different time.” (17:00)

Gender in the Industry

• On Being a Woman Photographer
  • Hanson acknowledges a gender divide with few women like Sarah Moon, Annie Leibovitz, and Ellen Von Unwerth active at the time, but places greater emphasis on personal drive:

    “I just say to everybody, just work really hard, keep your… and do what you feel. … make sure that it comes from you.” (17:47 – 18:39)

The Book, Gallery Show, and Notable Subjects

• Exhibition Synergy

  • The Staley Wise gallery show happened organically, as a companion to the book. Picture selection for the show was delegated to the gallery:

    “I let them choose because I think they know what people are interested in seeing.” (19:43)

• Favorite Collaborators

  • Close personal and professional relationships with models, especially Christy Turlington, Naomi Campbell, and several lesser-known figures.

    “Christy is an obvious lovely person and also an incredible person and still remains a really good friend.” (20:01)

  • Shot Beyoncé, emphasizing her professionalism and ease to work with:

    “First of all, I’ve never seen anyone who works as hard as she does. It’s not an accident that she’s who she is.” (20:41)

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Notable Quotes & Memorable Moments

• On The Unique Intimacy of the Era:

  “It was pre iPhones and it was pre Internet and I think that allowed a kind of intimacy… allowed you to have some privacy and the excitement of seeing the contact sheets when they came back in a week…”
  (01:35 – 02:55)

• On Retouching and Beauty:

  “If you look at old magazines, there’s Helmut Newton pictures. The girl has bloodshot eyes and nobody thought anything about it. But now I think our eyes train differently.”
  (03:39)

• On Her Photographic Style and Selection:

  “I was always really interested in life…what I don’t know. And I had an emotional reaction to the images.”
  (10:53)

• On Beyoncé’s Work Ethic:

  “It’s not an accident that she’s who she is… I could have gone on. She’s a very special person.”
  (20:41)

• On Motivation and Persistence:

  “I just had a drive, and I just wanted it. So I would just go to see these art directors in Paris…they started giving me little things.”
  (17:00)

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Timestamps for Key Segments

• Opening & Introduction: 00:09–01:25
• 90s Intimacy & Collaboration: 01:27–02:42
• Shooting Film, Analog vs Digital: 02:42–04:44
• Influences (Camera, Cinema, Cities): 05:03–07:55
• On-Set Role & Teamwork: 08:05–08:57
• Archive Search & Book Curation: 09:01–10:53
• Photographic Style/Selection: 10:53–11:47
• Early Career & Family/Lisa: 11:59–16:03
• Drive & Breaking into Industry: 16:37–17:37
• Gender Divide in Photography: 17:40–18:39
• Book-Gallery Relationship: 19:13–19:43
• On Models & Beyoncé: 19:51–21:20

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Conclusion

This episode offers an intimate look at Pamela Hanson’s journey through the 1990s fashion world, her creative inspirations, artistic philosophy, and enduring relationships. Through candid memories and reflection, Hanson provides insightful commentary on authenticity in photography, the magic of analog processes, and the collaborative heart of her work. Whether discussing the muted camaraderie among her models or the raw, unretouched honesty of her images, Hanson champions a deeply human approach to art and image-making—a perspective that still resonates in today's digital world.

Transcript

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. In a piece about photographer Pamela Hanson, the New York Times asked this question. How did Pamela Hansen become the photographer of choice for so many women? Well, perhaps she's very, very good at her job and because she strives to be empathetic in her own words and in the 1990, she's one of the few women making high end images. In her new book Pamela the 90s. It features Hanson's images of models like Naomi Campbell, Linda Evangelista and her good friend Christy Turlington. The pictures are fashion related from French Vogue to Mirabella, but also outtakes from shoots for Mademoiselle. And on the back cover of a book, a woman in stockings with seams running down the back. And she is running down a non gentrified street in the Meatpacking district. It is very 90s plus there's and a lot of smoking in these pictures as well. A sample of the photographs from the books are on our Instagram. You can check them out while you listen to this segment at olivenyc. And you can see some photographs from the book in person in an exhibit at the Stanley wise gallery in Soho through November 8th. Pamela Hanson is with me now in studio. It is so nice to see you.

[Pamela Hanson]

Nice to see you too, Alison.

[Alison Stewart]

When you were thinking about memories or feelings that you most associate with the 90s, what are they?

[Pamela Hanson]

I thought about it a lot and I hadn't really thought about it before the book came out. I think there was an intimacy and a kind of we were all grew up together. We were kind of like a family and we ate together and we shot on the streets and when we felt like eating, we'd go eat. I think there was just an intimacy and I was the only one with a camera because it was pre iPhones and it was pre Internet and I think that allowed a kind of intimacy and you didn't have to do, you know, now you go on set and there's like behind the scenes and there's video. So there's not a lot of time to develop a relationship.

[Interviewer/Host 2]

Oh, that's interesting.

[Pamela Hanson]

And then, you know, we had time, we hung out all day, I hung out with the girls and plus they were close, they were friends, they were closer to my age. And so as a team and with the editor, the stylists and the hair and makeup, it was just a very. And through this process I've run into so many old assistants and everybody was like it was a family. And I'm sure That still exists on a level today. But I think maybe that's what the girls were so comfortable and it was intimate. And, you know, we just traveled the world together. We had an amazing time. We were very, very lucky.

[Interviewer/Host 2]

The 90s were kind of the last analog decade. You shot on film?

[Pamela Hanson]

Yes.

[Interviewer/Host 2]

How do you think that affects the way the pictures. How we sort of absorb the pictures?

[Pamela Hanson]

Well, the quality's really different. I mean, there's no retouching in the book at all. It just. I mean, some photographers that shot in studio, like, you know, Richard Avedon, Steven Meisel, I think, did like, because it was very specific. They did a certain retouching, but it's not the same as now. And I just think the quality of film is more intimate and more beautiful. And it wasn't instant. And you didn't have people hanging around the computer looking at what you were shooting and, you know, allowed you to have some privacy and the excitement of seeing the contact sheets when they came back in a week and selecting the images and having just had much more time, which I think is true about everything today.

[Interviewer/Host 2]

How do you feel about retouching? Is it something you're.

[Pamela Hanson]

It's hard.

[Interviewer/Host 2]

I'm curious what you think about it.

[Pamela Hanson]

It's hard because it's really hard to do nothing. I really try to do nothing. Then I've started shooting on film again when I can. I mean, now the timing is different. Like, clients are like, we're shooting tomorrow and we want the images in two days because they're just used to. So sometimes it's hard. But I try not to because I really think. And if you look at old magazines, there's Helmut Newton pictures. The girl has bloodshot eyes, and nobody thought anything about it. But now I think our eyes train differently. So it's hard, but I'd really rather not. But I think it's really hard to do absolutely nothing.

[Interviewer/Host 2]

Why would you rather not? You want the image to appear just.

[Pamela Hanson]

Because I love people for who they are. And I think, you know, I think we've gotten into this world where things. This idea of perfection, which seems completely unreachable, which is why you see people that I'm just like, why are you doing that to yourself? Yeah. You know, age has got a whole different. So I think it's, you know, it's like trying to show the authenticity and the intimacy as much as possible, is something I like. Pamela.

[Interviewer/Host 2]

I'm speaking with photographer Pamela Hansen. We're discussing the book Pamela the 90s, which presents a collection of Pamela's fashion photography from that era. You can also see her show at the Stanley wise gallery in Soho through November 8th. What was your camera of choice in the 90s?

[Pamela Hanson]

It was a Nikon. And I also shot transparency film, which now when I shoot film, it's negative film.

[Interviewer/Host 2]

I don't even know you're gonna explain that to me.

[Pamela Hanson]

Transparency is like a slide.

[Interviewer/Host 2]

Okay.

[Pamela Hanson]

So I don't even know if they. I'm sure they still make it, but. Yeah, but, you know, I was very inspired by film, by movies, and that was what inspired me more than other still images. And I think we didn't have that many images now. Now there's so much of an overload. You can see things all the time, and then to be inspired. So that was really my inspiration at the beginning was more cinematic, and then it kind of. So it's giving the girl something to do and somewhere to go. And film gives it more of a cinematic quality.

[Interviewer/Host 2]

All right, I want you to give us three films that we should check out. Three films that were important to you.

[Pamela Hanson]

Well, the Graduate. I love the Graduate. Not even. It wasn't even so much the fashion and all the French Nouvelle Vague, you know, A Man and a Woman, Breathless. And I was living in Paris at the time, too, so obviously a lot of the films that I looked at were French and European that were. And the light in Paris is so beautiful. Ooh.

[Alison Stewart]

Is it different than any other place?

[Pamela Hanson]

Well, I think every city has its own light because this light reflects off the buildings a lot. So in Paris, you have those kind of warm, beautiful stone buildings. And so it reflects that beautiful, warm light. And it does change if you're shooting on the street in New York, it's much. It's also amazing, but it's just very different. It's more like bouncing off of mirrors or shiny skyscrapers. And it's interesting because it definitely gives an attitude or, you know, an edge to your pictures.

[Alison Stewart]

You're right, because I can. Now that you've said it, I'm thinking about photos that I've seen shot in la, right? And they're brighter and sort of. It kind of comes straight at your eye because of the light, the level of the buildings. That's so interesting.

[Pamela Hanson]

Yeah. The quality of the light's completely different.

[Alison Stewart]

Oh, that's so wild.

[Pamela Hanson]

I find LA really hard to shoot in for some reason. I mean, on the street, the LA is very much about the beaches and renting a location and a house or a studio.

[Alison Stewart]

What about Miami? What's the light like in Miami?

[Pamela Hanson]

Well, we used to shoot in Miami all along a lot. I'm sure they still do. But at the beginning of, like, the mid-80s, it was incredible.

[Alison Stewart]

It must have been, again, off of the art deco buildings.

[Interviewer/Host 2]

There's a certain.

[Pamela Hanson]

Yeah. In the beginning, that south beach, there was only old people's homes, and there was one hotel. And all the photo shoots that would be down there, we would all hang out together. And it was really. You couldn't even go, like, a block over because it was like gangs and gun violence. Yeah. And now, of course, it's completely different, but now Miami was great. Miami was a really good place. We used to go a lot in the winter because you have to shoot summer fashions in the winter and winter in the summer.

[Alison Stewart]

So what did you see your job as on a shoot, as the photographer? What was your job?

[Pamela Hanson]

Well, to get the best possible image, but to work together with. I mean, I really love teamwork, and I think that's what it just really appeals to me. And when you have a great team and you have a great fashion editor, and so she'll be. You know, it's a discussion and a discussion with the girls. Like, let's tell a story. Okay. Now you're downtown. Now you're running down the street. Now you're shopping. You have a baby in your arm. You're a busy mom. Or, you know, it was kind of. So my job was kind of to give it my own point of view, but also respect what the magazine needed or respect the clothes, because the editor would be like, yeah, that's great, but the clothes look terrible. So.

[Alison Stewart]

And also there you had the makeup.

[Interviewer/Host 2]

Stylist, you had the hair stylist. So it did seem like there was a whole posse involved.

[Pamela Hanson]

Yeah, there always was, which was so great, you know, because everybody was working to do the best possible image.

[Interviewer/Host 2]

As you went through your archives, first of all, where does your archive live?

[Pamela Hanson]

In the storage unit in New York City. Okay. And partially in my studio.

[Interviewer/Host 2]

So you go to the storage unit. You're gonna go through your archives. Were you looking for anything in specific?

[Pamela Hanson]

You know, I started going through it because I had. I was starting to scan all my archives, and I realized that I had so much stuff in stor that I was paying for that I probably didn't need, like, negatives from some random lingerie catalog, which, you know, so I started doing that, and then I started looking at the pictures. And often when you look back at things, at least for me, I was like, oh, that was a good picture. I didn't you know, so I started just pictures I loved. So as I was editing out and going through all these boxes and shoots with my archivist, I started taking out pictures that I. Because everyone was like, you should do a book. And part of me was like, does anyone care? And then I started looking, and I was like, yeah, that's a. I like that picture. I like that. And I started realizing. So I just started collecting them. And then when I was done, and it kind of ended at the end of the 90s because of digital. And I feel like when I started shooting digital, it was a struggle to find my point of view. It was definitely, for me personally, a difficult kind of adjustment. So then I stopped that, and then I gave it all to an incredible creative director called Joseph Logan and an amazing editor called Martinka at Rizzoli. And it was twice the size, so we had to edit it down. And it was very hard. I had to let them do it because I was like, my baby, don't throw that picture out.

[Interviewer/Host 2]

If you can do it with an objective eye. What pictures? And the pictures in this book, what do they contain? What is it that you like about them? Do you like the framing? Do you like the light? Do you like the action? What is it about the pictures that are in this book that you chose them?

[Pamela Hanson]

You know, I was always really attracted, like, I love this photographer called Jacques Henri Lartigue, who's a photographer from the turn of the century. He's French, and he was the first one that I was aware of that did like women running or jumping. So I was always really interested in life. Like, I'll see something, I'm sure a lot of people do, where you're just like, oh, that's cool. Oh, look at the light, or that moment, or so I think for me, it was kind of. What? I don't know. And I had an emotional reaction to the images. And it could have been the girl or it could have been the moment, or I was like, oh, that's really a great moment where she's jumping or, oh, yeah, you know, not all the girls are super active. Because that's what was so great, too, about the models is, like, you would. Some of them would just be amazing at just sitting around and looking incredible and eating an ice cream, and other ones would be much more animated and much kookier. So you kind of embrace that.

[Alison Stewart]

I'm speaking with Pamela Hanson. We're discussing her book, Pamela the 90s, which presents a collection of Pamela's fashion photography. When did you first pick up a Camera.

[Pamela Hanson]

I think I was like, 14 or 13. My sister was into photography, and I wanted to do everything she did. So I got a camera and then built a darkroom, and then I did, you know, the high school yearbooks. And I just always loved taking pictures. I think part of it was also. It kind of creates a boundary. I don't know. It was a way of observing life and capturing life. And I love people, and I love moments of life. So I just started taking pictures. And then, I mean, I didn't even realize in high school, I went to a reunion once, and they were like, you always had a camera. And I was like, oh, didn't even realize that.

[Alison Stewart]

When did you realize it could be artistry, that photography could be artistry?

[Pamela Hanson]

Well, I worked in a photography gallery after college. I studied art history. I wanted to be a curator. And I worked with a really, really. One of my best friends from high school worked in a gallery in Boston. I'd gone to school in Colorado, and we came to New York for the auctions, and we met this fashion photographer called Peter Strongwater in a bar. And I was like, what's a fashion photographer? How do you do that? Because I was kind of trying to figure out how I could make a more immediate living than being a curator. And he said, oh, you become an assistant. So I moved back to Colorado to live with a boyfriend that my parents didn't approve of. So he got kind of disowned in parentheses. And I just found the local photographer. And I was like, I'll do anything. So he was like, come and I don't need an assistant, but come and return some fur coats or something. And then I worked for him for a year, and then I started looking at fashion magazines, and I was like, oh, I like this photographer, and I like that. So Arthur Elgort was really who caught my eye, for obvious reasons. You could see his influence. And my best friend growing up, who wrote the introduction, who. We were friends since we were three, knew him because she was modeling and she was an artist that was modeling to make money. So I met with him, and he. I was on my way to Paris to visit her, and he said, you know, you wouldn't make a very good assistant, but you speak French and you have a driver's license. If you move to Paris, I'll hire you as a third assistant. I mean, he was incredibly generous. And so I went on a couple of shoots with him, like four or five as a third and as a driver. And I started seeing how it all worked, and Then I was like, this is fun. I like this.

[Alison Stewart]

It's interesting, though, that you wanted to be a curator at such a young age.

[Pamela Hanson]

I just didn't think you could make a living doing photography. So I was always interested in art history, and my dad kind of collected old masters. None of any huge value, but I was surrounded by it, so I kind of was always very interested in art.

[Alison Stewart]

Do you think your experience with art and your exposure to art transformed into your photography in any way, or.

[Pamela Hanson]

No. You know, I took a painting class in college and I was really bad at it. And my really good friend who's now a painter, was in my class and the teacher was like, what grade do you deserve? And I said, an A. She said a C. And she told me later. I was like, wouldn't you just say an A if you had a choice? So I don't know, you know, to be honest, I'm sure, maybe, but photography's so visceral for me that I don't. It's not an intellectual. It's a really emotional thing. So I just, like, take pictures. I'm always looking and reacting to things.

[Interviewer/Host 2]

It's interesting. You mentioned your friend Lisa in the book, and she wrote the forward. It's really lovely. And it's clear that you've been friends for a very long time.

[Pamela Hanson]

She was my first muse. I photographed her all the time when I first moved to Paris because she was a model and I started getting these little jobs that I had to do. She was my. What do you.

[Interviewer/Host 2]

What's the base of your friendship? Especially one that has lasted so long in an industry where people can be frenemies very easily.

[Alison Stewart]

But you and Lisa, it's clearly that.

[Interviewer/Host 2]

You have love for one another. What's the basis of the friendship?

[Pamela Hanson]

It's really like a sister. We met when we were three. We were both expats growing up in Switzerland, her family and my family. And there was just a bond, you know, we grew up in a kind of hectic, insane, but beautiful, but also maybe not the most straightforward childhood. So we just bonded and we just. I don't know, again, I think it's just like something stronger than we are because we've stayed. And she ended up, you know, working for Vogue in la, running the Vogue. And our lives have been incredibly parallel.

[Interviewer/Host 2]

But, yeah, Lisa describes how hard you work. She wrote, as I returned home at 6am, she was often at the table making calls to photo editors. She was a pit bull hanging on until they realized she wasn't giving up. She being, you why did you want the gig so bad? Badly.

[Pamela Hanson]

I. I don't know. You know, I really love taking pictures. You know, when you're young, I think you just have. I just had a drive, and I just wanted it. So I would just go to see these art directors in Paris, and it was a different time. Like, you could show up at the magazine, and I was like, oh, I'm in the neighborhood. And they finally. They were just like. They started giving me little things, like doing a portrait of a woman's garden outside of Paris. And so I started doing that to kind of keep taking pictures. And Lisa was a model, so she'd always get invited out for dinner, and she'd always be like, I have to bring my roommate. And that's like, me.

[Interviewer/Host 2]

That's me.

[Pamela Hanson]

Maybe not what they had in mind.

[Interviewer/Host 2]

When you started taking pictures, was there a gender divide among fashion photographers?

[Pamela Hanson]

I think there was, but, you know, there were some, like, strong. There was Sarah Moon, there was Annie Leibowitz. Ellen Von Unworth started right after me. I actually photographed her when she was a model when I started. Yeah. So there were Deborah Tuberville. There were. But I think a lot of their photography, Ellen, I think, has similar sensibility to mine, but it was much more mannered and created. Ours was much. Yeah, I think there was. But I think it's true probably for everybody. If you've never been a guy, you don't. And I think there still is. And I think, as in everything. But I try not to think about that, because what's the point? I just draw. Like I just say to everybody, just work really hard, keep your. You know, and do what you feel. That's the other thing that's really hard. Make sure that it comes from you and not from something. You're trying to create somebody else's image.

[Interviewer/Host 2]

I'm speaking with photographer Pamela Hansen. We're discussing her book Pamela the 90s, which presents a collection of Pamela's photographs from the 90s. Some of the photographs are on view now at Staley wise gallery in Soho through November 8th. If you'd like to see some of the photos, you can go to our Instagram nyc. While we're having this conversation, let's talk about the gallery show. Staley Wise, 100 Crosby St. Why did you want the gallery show to be the companion to the book or the book to be the companions of the gallery show?

[Pamela Hanson]

You know, it just kind of happened organically. The book happened. You know, I'd been kind of ruminating in this book for a couple of Years and researching. And so then it just happened organically. And they offered this the time that they had the space for it. And we had talked about maybe having a show. So it all worked out. Yeah. No, I'm happy. It worked out really well.

[Alison Stewart]

How did you pick pictures for that show?

[Pamela Hanson]

Well, I had the gallery.

[Alison Stewart]

I was gonna say, come on now. This book is pretty large.

[Pamela Hanson]

I know, I know. I let them choose because I think they know what people are interested in seeing.

[Alison Stewart]

You worked with so many different women. Did you have one model that you really enjoyed working with? You looked at the call sheet and you're like, yeah, yeah, I'm glad I'm working with her.

[Pamela Hanson]

Well, you know, Christy is an obvious lovely person and also an incredible person and still remains a really good friend. I actually really like shooting Naomi, even though she was often, like, late, but she was still an incredible model. But all of them. I liked Nadia Auerman. I liked Anna Drummond, who was like a English model who didn't have, you know, they're not all supermodels, but just. I really. All the girls in the book I had a connection with.

[Alison Stewart]

You got to shoot Beyonce?

[Pamela Hanson]

I did, yes. She's also phenomenal.

[Alison Stewart]

I was going to ask you for a couple of adjectives to describe shooting Beyonce.

[Pamela Hanson]

Well, first of all, I've never seen anyone who works as hard as she does. It's not an accident that she's who she is. And I had shot her backstage a couple of times, so I knew her, so I understood how she works and what she likes and what she's comfortable with. I mean, needless to say, it's. But it was incredibly easy because I think she trusts me and I trust her and Sarah Moonves, who put that together, who owns W, who's also incredible. Yeah, it was really, really fun. It was so much fun. I mean, I could have gone on. She's a very special person.

[Alison Stewart]

Pamela Hansen's book is called Pamela the 90s. The show is at the Staley Wise Gallery through November 8th. Thank you for coming to the studio.

[Pamela Hanson]

Thank you for having me. I don't mean to interrupt your meal, but I love Geico's fast and friendly claim service. Well, that's how Geico gets 97% customer satisfaction. Yeah. I'll let you get back to your food. So are you just going to watch me eat?

[Commercial Narrator]

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