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Amyl and the Sniffers Amy Louise Taylor in 'Champagne Problems' for Vogue Portugal by Jamie Nelson

Amy Taylor of Amyl and the Sniffers in a series titled 'Champagne Problems' for Vogue Portugal by Jamie Nelson

Amy Taylor of on the cover of Vogue Portugal wearing a furry coat in the back of a vintage El Camino.
A blonde woman with a 70s style hair cut with the words 'Cunt' written on her teeth as she sticks her tongue out. She is wearing a SEX Vivian Westwood high fashion necklace.
A retro 80s style photo of a blonde woman being lifted by a muscular man wearing vintage aviator sunglasses. They stand in front of a large green hedge background.
A close up image of a woman's face with the word 'CUNT' written on her teeth in black writing as she sticks her tongue out. She is wearing black eyeshadow and red lipstick, reminiscent of an 80s rock star.
A woman sit fully clothed in a big furry jacket in a vintage gold tiled sunken bathtub eating fried chicken. Quirky props sit on the edge of the tub including a vintage television set and an ashtray.
A woman and a man sit in a vintage El camino car. She is screaming out the window as he is calmly driving. It appears that he may be on a date with a crazy woman.
Blonde fashionista wearing a feathered coat and black sunglasses leans out of the back of an El Camino gold vintage car.
A blonde woman sits on top of a pink rooftop wearing the world's long jeans that start from the roof and extend down to the ground.
Woman wearing a large garden hat with a veil draping down to her feet. She poses between two green hedges as she flips the camera off in defiance.
An old Hollywood styled woman wearing a vintage black veil while smoking cigarettes.
A rock and roll styled woman with blonde 70s style hair wearing a large feathered marabou jacket and black sunglasses. Blurred trees are in the background.
A close-up of a woman's pink lips holding a miniature bucket of ice with a miniature bottle of champagne inside. The words 'Champagne Problems' can be read on the label of the bottle.
A woman sits poolside in a fancy sequin dress as she is laughing and multiple hands come into the frame, serving her multiple glasses of champagne.
Close-up of a blonde woman with blue eyeshadow applying pink lipstick. The lipstick is a phallic, penis shape.
Blonde 70s style woman wearing pink gloves and a sequin bikini top while licking a big ice cream cone.
A nighttime image of a blonde woman throwing up out of the back of a vintage gold colored El Camino car
Amy Taylor, front woman of Amyl and the Sniffers, mooning and flipping off the camera out the window of a gold vintage car.
A grid of images of a blonde girl flipping the camera off. Her middle finger has the word "Vogue" written on it and she is wearing glossy red lips with black eyeshadow.
A blonde rock and roll style woman flips off the camera as she moons the camera outside the window of a retro 80s car.
A close-up of a nude butt out of a retro car window as a woman moons out the window. She is wearing a leather belt with the words "Sniffers" written in studs with rhinestone fringe dangling.
Blonde rockstar style woman wearing a white head-to-toe veil as she flips off the camera and sticks her tongue out.
Woman in hedge garden wearing giant white marabou feather hat and a black leather punk rock outfit as she sticks her tongue out rebelliously.
Close-up of a blonde retro style woman wearing black eyeshadow and magenta lipstick. The word "CUNT' is written on her teeth in black writing.
Close-up portrait of a woman with a teethy smile wearing black eyeshadow and pink glossy lipstick. Her teeth have the words "CUNT' written on them in black marker.
Blonde woman wearing a white tank top that reads "Mother Fucker" as she is flexing her muscles in front of a buff man wearing aviator sunglasses.
Blonde woman wearing a wife beater and flexing her muscles in front of an 80s styled muscular man. They are standing in front of a large hedge wall.
A woman showing her buttocks through the window of a retro car. Her belt reads "Sniffers" made out of small metal studs. Rhinestone fringe dangles in front of her buttocks.
A pink mansion surrounded by green hedges. A woman sits on the roof wearing the longest jeans in the world that go all the way to the ground from the 13 foot tall roof.
A pink Los Angeles mansion with pink roses in the foreground and palm trees in the background. A blonde woman sits on top of the roof flexing her arms as she wears the world's longest inseam jeans that drape all the way to the ground.
A woman squatting in a black leather punk outfit and a giant white feathered hat with veil. Her expression gives off tough girl vibes.
A blonde woman flipping off the camera with "Vogue" written on her middle finger. She has flipped out 70s styled hair and red lipstick with heavy rock and roll style black eyeshadow.
A blonde woman exposing her buttocks as she moons out a retro gold car window.
A blond woman wearing a pillbox hat and veil with a black cocktail dress. She sits on the hood of a retro car smoking a cigarette as someone serves her a tray of multiple cigarettes from a vintage cigarette vending device.
A blonde girl wearing a white "Mother Fucker" shirt flexes her muscles in front of an 80s style buff man wearing vintage aviator sunglasses. The background is a wall of hedges.
An 80s style muscular man stands poolside as he lifts a blonde woman with one arm.
A woman stands on a neighborhood street in Los Angeles at dusk while wearing a white fluffy jacket, a blue bikini, and blue shorts. She gives the middle finger with both hands as she wears dark sunglasses and sports a 70s style blonde flip-out hairstyle.
A blonde woman with a 70s style haircut winking and smiling as she holds up her middle finger that has the word "VOGUE" written on it. The background is black.
A blonde rockstar style woman wearing a choker necklace, dark black eyeshadow, and red glossy lipstick. She flips off the camera with her middle finger that has the word "VOGUE" written on it.
Blonde rocker style woman wearing dark black eyeshadow and red glossy lipstick. She is giving the middle finger. Her finger has the word "VOGUE" tattooed on it.
Blonde woman lounging on a chaise lounge wearing a sequin dress as she spits out champagne. Multiple hands come into the frame as they try to serve her champagne.
A blonde woman in a gold retro tiled bathtub fully dress in a white fluffy feathered jacket. She is screaming on a gold vintage phone as she eats fried chicken.
A blonde woman wearing a black pillbox hat and veil. She is outdoors at dusk with blurry trees behind her. She is smoking a cigarette, exhaling smoke as someone serves her a tray of multiple cigarettes from a vintage dispenser.
A blonde rocker style woman wearing a choker necklace and red glossy lipstick as she gives the middle finger. She is wearing heavy black eyeshadow set against a black background.
Close-up of a woman snarling with the words "CUNT" written on her teeth in black marker. She has black greasy eyeshadow on and bright magenta lipstick.
A blonde woman with a teeth smile and the word "VOGUE" tattooed on her finger. She is wearing heavy rockstar makeup including black greasy eyeshadow and red glossy lipstick.
A blonde woman with rocker style heavy black eye makeup makes a crazy expression on her face as she flips the camera off and sticks her tongue out. The word "Vogue" is written in black on her middle finger.

Amy Taylor of Amyl and the Sniffers  in a series titled 'Champagne Problems' for Vogue Portugal by Jamie Nelson

This fine art print series finds itself in the midst of a legal dialogue that pits an independent artist's creative vision against music industry moguls. As these images navigate the intersection of art and law, they invite you to reflect on the boundaries of expression.

Conceived, art-directed, produced, and photographed by Jamie Nelson, this series unfolds entirely within Nelson’s iconic pink mid-century modern home—an architectural environment that functions as both set and self-portrait.

The residence itself has become an infamous site in contemporary image-making. Nelson has photographed major cultural figures there, including Gwen Stefani, Maren Morris, and Kacey Musgraves—and the home has since entered a broader visual lexicon, having been used as a backdrop for high-profile subjects such as Kim Kardashian and Chappell Roan. More than a location, the house operates as a controlled visual universe—one defined by Nelson’s authorship, aesthetic rigor, and command of space.

At first glance, the world Nelson constructs appears hyper-feminine, glossy, and meticulously controlled. But beneath the lacquered surfaces and saturated color lies a harder framework—one built long before visibility, access, or permanence. The visual excess is intentional; it functions as both armor and declaration.

Conversely, growing up, Nelson was forced to shop at thrift stores out of necessity. She found early comfort and resonance in punk music and culture, not as style but as refuge. Her relationship to punk is not symbolic—it is economic, physical, and learned under pressure. Identity was built by hand: sewing patches onto jackets with dental floss, studding her own clothing piece by piece, constructing armor from scarcity. That early, tactile labor—resourceful, unglamorous, and self-authored—became a blueprint for how she moves through the world and makes work.

Punk, for Nelson, was never a costume. It was a method. It taught endurance, independence, and refusal. That sensibility carries beyond the frame and into lived experience. As one observer put it, “Nelson moves through the world like a badass—building her own machines, claiming her own space, and refusing to soften the edges.” She rides her own custom 1970s Harley chopper finished in pink glitter, a machine that mirrors her visual language: precision and force wrapped in unapologetic femininity.

Within this tightly authored world, Amy Taylor of Amyl and the Sniffers emerges as the perfect model to accomplish Nelson’s concept. Taylor’s raw physicality, confrontational presence, and refusal of polish align precisely with the tension Nelson set out to explore—punk energy refracted through hyper-controlled glamour, excess, and authorship. She functions not as the subject of biography, but as the catalyst through which the concept fully activates.

Drawing from her origins, Nelson uses saturated color, domestic fantasy, and stylized glamour to challenge inherited ideas of rebellion and success. The pink house is not fantasy—it is proof. A lived structure built through discipline, labor, and ownership rather than permission.

The work stages a deliberate collision between grit and polish. Punk energy is reframed through immaculate surfaces, gold interiors, and cinematic Americana, collapsing the false divide between underground culture and personal achievement. In Nelson’s universe, rebellion does not soften with success—it sharpens. It becomes infrastructure. It becomes authorship.

Ultimately, this series is less about portraiture than possession—of space, of narrative, and of image-making itself. By transforming her private home into a public stage, Nelson asserts a central principle of her practice: power can be pastel, glamour can be confrontational, and authorship, once claimed, does not ask for permission.


Photographer: Jamie Nelson

Model: Amy Taylor from Amyl and the Sniffers

Stylist: Shalev Lavan at The Visionaires

Producer and Casting Director: Daniele Carettoni at Espresso Productions Make up artist Tami El Sombati at The Wall Group using MAC Cosmetics 

Hair stylist: Kristin Heitkotter at The Wall Group using T3 and Oribe

Nail artist: Ginger Lopez at Opus Beauty using Apres Set designer Lucy Holt
Male model: Billy Reilich
Digitech: John Farrell

Photographer assistants: Aaron Morganstein, Pat Freyne Cinematographer Kinsley

Production assistants: McKenna Matus, Jen Lee George Stylist assistant Cassidy Mamula

Nail artist assistant: Juliette Valenzuela



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