[9][10][11] In the book Models of Influence: 50 Women Who Reset The Course of Fashion, author Nigel Barker reviewed Patitz's career during the height of the supermodel era in the 1980s and 1990s, writing that she possessed an exoticism and broad emotional range that set her apart from her peers.

"[17] Author Linda Sivertsen noted that Patitz is greatly responsible for establishing the acceptance of statuesque and curvaceous beauty in an industry of extreme thinness.

[47] When Tiffany's celebrated its 150th anniversary in 1987, Patitz appeared on the cover of their magazine's special issue with ballet dancer Mikhail Baryshnikov and she was named the model discovery of the year for her gleaming and radiant looks.

[48] During this period, Patitz met Los Angeles-based photographer Herb Ritts, with whom she shared another significant and enduring collaboration in fashion, fine art, and commercial work,[49] like a muse playing any role he suggested—mermaid, sprite, surfer girl, plainswoman, movie star.

At just shy of six feet tall, Teutonically self-composed, and dominating any room she cared to walk into [sic], Tatjana was the biggest beast in the seething jungle; Vogue amplified the comparison by fixating on her lynx-like eyes, impossibly blue and curved around the temples like a cat's.In another 1988 Vogue article titled "Tatjana: Million Dollar Beauty", Patitz's creative team shared their impressions of her: "In pictures, her sensitivity is what comes through; something delicate, fragile, exciting.

[69] In an effort to live a healthier and more balanced lifestyle, Patitz began slowing down her modelling career to focus on other creative pursuits such as writing, acting, and meditation.

Maybe I'm dreaming, but I'm hopeful.In the final months of 1989, Patitz was photographed with her peers in two group portraits that would become defining images of the forthcoming supermodel era of the 1990s: Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood by Herb Ritts;[73] and Peter Lindbergh's cover of the January 1990 issue of British Vogue.

[74][75][76][77] The international press began recognising supermodels as the icons of the day, noting that female ideals were no longer only dictated by fashion editors or reflective of male fantasies – but representative of where women stand now and what they aspire to.

[82][83][84][77] The accompanying article proclaimed that each woman – in her early 20s and already million-dollar-plus a year earners – was emphatically individual, conforming less to a formula, and united by a confidence born of maturity.

[85] The January British Vogue cover inspired singer George Michael to cast Patitz, Crawford, Evangelista, Turlington, and Campbell in his music video for the song "Freedom!

"[95] "Like other famous beauties before her, Tatjana Patitz possesses a certain extraterrestrial quality, an aura of exquisite otherworldliness only too effortlessly capable of freezing mere mortals in their tracks...She's the fitting embodiment of the nineties ideal: a cool customer who knows what she wants and knows how to get it.

Rarely have blonde hair and blue eyes managed to look quite so exotic – with her trademark world-weary gaze and her loose-limbed aristocratic bearing, Patitz often seems as if she's just been awakened from a divinely decadent dream."

"[98] As the decade progressed, Patitz worked in advertising campaigns and on runways[99] for such top fashion houses as Chanel, Versace, Salvatore Ferragamo, Valentino, Karl Lagerfeld, Helmut Lang, Donna Karan, Jean Paul Gaultier, and Vivienne Westwood.

[100] Most notably, Patitz was the long-standing face of Jil Sander, representing the designer's minimalist style for a generation of fashion readers[101] in era-defining ad campaigns photographed by Nick Knight.

[105] In an interview with Harper's Bazaar, Monteil's Vice-President of Marketing Worldwide, Susan Wells noted that the cosmetics company searched for a woman with a globally recognised name and beauty who had an accessible face that women could relate to.

[106] That year, New York magazine named Patitz one of the top 10 supermodels in the world, epitomising modern beauty and grace – and changing monolithic ideals of perfection.

[108] Patitz began the new millennium continuing to work with top photographers at major fashion magazines such as the 2000 editorial in Vogue Italia titled, "Magnetic" by Paolo Roversi.

[109] In the May/June 2000 issue of V magazine, Patitz was photographed by Inez and Vinoodh in a series of portraits with fellow supermodels Christy Turlington, Stephanie Seymour, and Iman.

[119] The series of portraits is notable for the inclusion of fashion icons throughout different eras and decades, including Cheryl Tiegs, Christie Brinkley, Paulina Porizkova, and Shalom Harlow.

Still representing cosmetics brands and designers such as L'Oréal[121] and Uniqlo,[122] Patitz returned to the runway for Helmut Lang, including his Fall/Winter 2000 presentation, regarded by Vogue as one of the most unforgettable fashion shows of all time.

[123] In July 2008, Patitz's interior design style was celebrated in the publication Livingetc[124] for using recycled materials such as reclaimed timber and stone which she found by scouring salvage yards – from limestone kitchen floors to wooden ceiling beams and staircase.

[127] In the 2010s, the scope of Patitz's work focused on issues relating to inclusivity,[128] HIV awareness,[129] LGBTQ rights,[130] ageism,[131] and gender equality[132] while remaining in the pages and on the covers of Vogue, Marie Claire and Elle.

"[141] The following year, Vogue Paris included Patitz in a black and white portfolio with Lauren Hutton, Stephanie Seymour, and Daria Werbowy that celebrated examples of timeless elegance and beauty.

[146] The age-defying traits of femininity, strength of character, and enterprising talent were lauded the next year in a special issue of Vogue Italia titled "Women of Today" that placed Patitz among her colleagues such as Anjelica Huston, Julia Ormond, and Karen Alexander.

[147] In 2014, Patitz starred in an international advertising campaign with actress Jane Fonda and model Doutzen Kroes for L'Oreal Age Perfect that celebrated three generations of timeless women.

[151] As noted by writer Suzy Menkes in French Vogue, "This set of pictures ... seems more intense in the refusal to follow the tools of today's beauty trade – postproduction, a computerized smoothing, hair tidied, wrinkles removed.

Refusing to bow to glossy perfection is Peter Lindbergh's trademark – the essence of the images that look into each person's unvarnished soul, however familiar or famous the sitter."

[152][153][154] The following year, Lindbergh advanced his mission of expanding ideals of beauty and representation when he grouped Patitz with actress Andie MacDowell and models Helena Christensen, Karen Alexander, and Amber Valletta to front a campaign for cosmetics brand L'Oréal Paris, saying "It should be the responsibility of photographers today to free women and finally everyone, from the terror of youth and perfection.

[164] As one of the "Original Supermodels",[165][166][167] she remained in demand as of 2015 on covers and in campaigns – returning to the runway for select brands and designers, such as Etro, Jean-Paul Gaultier and Chanel.

[171] Patitz then starred in Chanel's 2010 Resort Collection as the picture-hatted Edwardian mother in "Death in Venice", walking the finale with designer Karl Lagerfeld.