Post

The cover shows Björk in an elaborately styled outfit against a vivid, high-saturation background. Stéphane Sednaoui, a French photographer and director who also helmed several of Björk's music videos (including "Big Time Sensuality" and "Possibly Maybe"), captured her in a pose that radiates playful, extraterrestrial energy. The color palette is rich and almost overwhelming — bright blues, greens, and the warmth of Björk's skin tones create a visual feast.

Björk's visual identity has always been inseparable from her music, and Post — her second solo album after leaving the Sugarcubes — represented a significant expansion of both her sonic and visual ambition. The album incorporated trip-hop, industrial, jazz, and electronic music, and the cover needed to reflect this eclectic, boundary-crossing energy.

Sednaoui's photography captured a quality that is central to Björk's appeal: the sense that she is not quite from this world. Her expression is warm but slightly alien, joyful but unpredictable. The styling — which Björk was deeply involved in — drew from multiple cultural traditions without belonging to any single one, reflecting her status as an Icelandic artist working in London and engaging with global musical traditions.

The album title Post reflected both Björk's engagement with the postal system (she was fascinated by the idea of sending messages across distances) and a "post-" prefix suggesting evolution beyond categories — post-rock, post-electronic, post-pop. The cover's sense of visual overload matched this conceptual ambition.

The cover helped cement Björk's status as one of pop's most distinctive visual presences. Her collaborations with photographers, fashion designers (Alexander McQueen, Hussein Chalayan), and visual artists have made her as influential in the fashion and art worlds as in music. Sednaoui's photography for Post influenced fashion editorial photography throughout the late 1990s.