Charlotte Rampling was a defining symbol of the swinging ‘60s– and in her 50s she became a muse for one of the fashion world’s most unique photographers.With her hooded eyes giving her a perpetually sullen gaze Charlotte Rampling radiated detached ‘60s cool. As an ennui-racked violinist in her debut film, 1966’s Georgy Girl, she ultimately agrees to marry her boyfriend simply because she’s bored. But her appeal extended well beyond Carnaby Street. In the two decades after Georgy Girl she appeared in films by directors as diverse as Luchino Visconti, Woody Allen, Sidney Lumet and Liliana Cavani.
This year she has been nominated for the best actress prize at the Academy Awards for her performance in 45 Years.In the late 1990s Rampling became a muse for the acclaimed fashion photographer Juergen Teller, whose portraits of Kate Moss had been revolutionary. Teller didn’t just take Rampling’s picture. He leapt into the frame with her, sometimes with both of them in states of undress.It’s a unique relationship, but a mutually beneficial one. Teller stresses he’s not interested in playing the role of the voyeur and sees himself on an equal footing with his subject. It’s a generous attitude toward that was challenged however when he had an encounter with OJ Simpson. He shares this story with former Tate Modern director Chris Dercon and explores just why Rampling has such a hold over him.