Corinne Day's photographs of a young Kate Moss caused a huge outcry – then became the defining fashion images of the 90s

So familiar, so utterly redolent of their time have they become, that it is hard to recall just how alien, shocking and strange Corinne Day's photos for the June 1993 issue of Vogue seemed at first. Edgier magazines (i-D, the Face, Dazed and Confused) had already documented the aesthetic that was sensationally labelled "heroin chic". But when the mighty Vogue published Day's pictures of a vacant-faced Moss clad in low-slung tan tights, posed next to a radiator which resembled her build, a hurricane of disapproval was unleashed.

Day died last Friday, 27 August, aged 48, from brain cancer. She will be remembered for her close association with Moss at the beginning of the model's career, and in particular for two specific photo stories: the Vogue shoot and, three years before that, a cover story for the Face featuring Moss's puckish, 15-year-old features grinning beneath a feathered headdress. The coverline read: "The 3rd Summer of Love". Inside, the magazine showed Moss in black-and-white: half-naked, larking about on the beach, giggling. Looking at them now, they seem as quaint and antique as Victorian postcards.

But it was that Vogue underwear shoot (the word lingerie seems too rarefied for the vests and pants she was shot in) that defined Day. The immediate reaction was ferocious. Susie Orbach, author of Fat is a Feminist Issue, described the photographs as "just this side of porn". Marcelle D'Argy Smith, then editor of Cosmopolitan, said: "The pictures are hideous and tragic. I believe they can only appeal to the paedophile market." The New York Times succinctly described Moss's look as "very young and very dead". Four years later, there was still fallout. Day's shoot was widely referenced when no less an authority than the president of the United States, Bill Clinton, opined that "fashion photos in the last few years have made heroin addiction seem glamorous and sexy and cool".

Then as now, Vogue editor Alexandra Shulman, who commissioned the shoot, finds it hard to comprehend the extremity of the reaction. "I remember being on holiday at the time," she said yesterday, "and I couldn't understand what the fuss was about. I thought they were lovely pictures, and we certainly weren't trying to do anything sensationalist. I felt that if you looked in the changing rooms in high-street stores, or if you looked in young girls' bedrooms, that's what you saw. Kate looked like the most beautiful version of girls at school.

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