IN TASHKENT we uncover Natasha with her high cheek bones and tiger eyes, her long feline limbs and animal grace. She is the quintessential NEW NUDE Girl, a barefoot princess, not quite European, not quite Oriental, but a potent blend of east and west.
Natasha is the poster child for globalization, as relaxed in Dolce and Gabbana as she is among the Stalinist relics of another time, the tapestries and embossed papered walls, the embroidered curtains that soften the winter sun as she lounges, languid and pale on silken sheets idly pondering, “Where is my American flag bikini?”
Her classical features remind us that Alexander the Great led his legions this way on his long march across the world, and Natasha after the Hegre shoot made the journey in reverse, along the ancient catwalks that lead west to Paris and Milan.
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