Curatorship Task & Dissertation Notes.
Fashion Photography: A study into how fashion editorial has responded to cultural and social influences.
My curatorship task & dissertation revolves around the idea of the change constantly taking place in fashion photography and the impact society has on this change. For the curatorship task, my exhibition will have four rooms with four different photographers. As you move through the rooms, you enter a new time period in which the difference between each room will become apparent and highlight the continuous shift in fashion photography. This idea will also feature in my dissertation, however it will have a higher amount of detail. My dissertation will explore the differences in male and female photographers and the social events surrounding the time period the photograph was taking in and how it effects the picture. I will also look at similarities within the genre and the role new technology plays within the change. So far, these are the photographers and style of photography that are possible choices for my dissertation. From this I'll select my four photographers that will feature in my gallery for the curatorship task.
Dissertation Rational. (1st draft)
My dissertation will explore the constantly evolving genre of fashion photography. I aim to take a further look into the cultural and social changes present in each decade while studying their effect on content and techniques. Fashion photography stands out among any other type for me due to its ability to push through boundaries while at the same time, I like the idea that it is remote, polished and consistent, breaking down and challenging pre-conceived ideas yet we can only imagine doing something similar. I also admire its capability to to adapt and conform to latest technologies such as moving picture. Many factors have contributed to my passion for fashion photography. When exploring many different branches in AS, the influence of fashion always dominated my work and I have always preferred working in studio conditions with a model over shooting still life or landscapes. Although the majority of my previous work meerly touches on the theme, I plan to use this opportunity to look deeper into the transition from the earliest fashion photographers (Cecil Beaton), to work which takes the idea of unconvential photography to a whole new level, (Oliviero Toscani). I feel that these observations will highly benefit my practical work. When writing this dissertation, I must keep in mind individual photographer's objectives and reasoning behind each shot, as somebody photographing an editorial for Vogue magazine with a specific brief given from the editor, will undoubtedly have different motives to another who is shooting an advertisement for a large incorporation. Therefore when witnessing these changes, I must take into account these differences.
My dissertation will explore the constantly evolving genre of fashion photography. I aim to take a further look into the cultural and social changes present in each decade while studying their effect on content and techniques. Fashion photography stands out among any other type for me due to its ability to push through boundaries while at the same time, I like the idea that it is remote, polished and consistent, breaking down and challenging pre-conceived ideas yet we can only imagine doing something similar. I also admire its capability to to adapt and conform to latest technologies such as moving picture. Many factors have contributed to my passion for fashion photography. When exploring many different branches in AS, the influence of fashion always dominated my work and I have always preferred working in studio conditions with a model over shooting still life or landscapes. Although the majority of my previous work meerly touches on the theme, I plan to use this opportunity to look deeper into the transition from the earliest fashion photographers (Cecil Beaton), to work which takes the idea of unconvential photography to a whole new level, (Oliviero Toscani). I feel that these observations will highly benefit my practical work. When writing this dissertation, I must keep in mind individual photographer's objectives and reasoning behind each shot, as somebody photographing an editorial for Vogue magazine with a specific brief given from the editor, will undoubtedly have different motives to another who is shooting an advertisement for a large incorporation. Therefore when witnessing these changes, I must take into account these differences.
Dissertation layout.
Chapter one: Excess
- Leibovitz and Tim Walker, Narrative
- La Chapelle and Tyler Sheilds, Shocking, Sexual, Objectifying. - playing with celeb personalitys
- over the top, we are not shocked, celebrity
Chapter two: Anti-Fashion
- Toscani, Beneton effect, Death row, issues
- Politics in fashion, Steven Meisel, controversial
- Heroin Chic, Corrine Day, Juergen Teller
Chapter three: Techno age
- Alexander McQueen, Hologram
- Dior advert.
Chapter one: Excess
- Leibovitz and Tim Walker, Narrative
- La Chapelle and Tyler Sheilds, Shocking, Sexual, Objectifying. - playing with celeb personalitys
- over the top, we are not shocked, celebrity
Chapter two: Anti-Fashion
- Toscani, Beneton effect, Death row, issues
- Politics in fashion, Steven Meisel, controversial
- Heroin Chic, Corrine Day, Juergen Teller
Chapter three: Techno age
- Alexander McQueen, Hologram
- Dior advert.
Gallery.
Room 1.
Cecil Beaton.
Fashion and portraiture photography - 1930's.
Cecil Beaton is an English photographer born in 1904, he specialised in fashion and portraiture photography while also working as a costume designer and interior designer. Regarded as the "greatest fashion photographer of his time", Cecil Beaton is a perfect example of early fashion photography due to the "sophisticated" portraits of women in the public eye as a response to the cult of the celebrity taking place at the time. The inspiration behind the majority of his work comes from postcards he viewed as a child of famous actresses at the time, in particular Lily Elsie. Beaton's work focuses initially on the beauty and form of the women herself while using relevant props and backgrounds. For the majority of Cecil Beaton's career he worked as a photographer for magazines "Vogue" and "Vanity Fair" Some of his most well known photographs are of icons such as Marilyn Monroe, Audrey Hepburn and Twiggy and for the time, Beaton used advanced techniques to capture his subjects. Cecil Beaton cleverly used these to slightly alter the sitters appearance such as photographic plates used to lift eyelids or tighten jawlines proving that even the earliest of photographs have experienced slight alterations however not on the scale of todays due to the technology not being developed. Not only a photographer, Beaton's costume designs for the musical adaptation of pygmalion were seen to be typically overblown interpretations of historical dress associated with Hollywood Blockbusters of the 1950's and 1960's, however still maintained links with contemporary trends, this idea is a popular reoccurrence in the fashion industry even to this day.
Room 2.
David LaChapelle.
Fashion Photography - 1990's.
"My pictures are about getting as far away from reality as possible. Dreams should be part of our everyday life." - David LaChapelle.
David LaChapelle is one of the most powerful American fashion photographers of the moment and is ranked in the top ten of the most important people in photography. known for his twist on the typical glossy high fashion shots, LaChapelle often incorporates humour and sex into his pictures, often taking a controversial and shocking turn. The first photograph he ever took was of his mother, Helga LaChapelle, on a family vacation in Puerto Rico, wearing a bikini and held a martini glass on a balcony. LaChapelle has directed many advertisements for major brands such as Tommy Hilfiger, Nokia and Diesel along side photographing a host of over fifty famous faces. David LaChapelle's work acts as a good contrast from the conventional fashion photography previously shown by Guy Bourdin, Horst P. Horst and Helmut Newton, for example, due to the very shocking and straight forward approach. By using celebrities, LaChapelle explores modern culture and issues around it. Even though a lot of his photographs at first sight are fun and explosive, a lot approach the objectifying of women and the view of women as sexual objects. In some ways, David LaChapelle could be shedding a light upon this issue, or he could be playing with how ordinary nudity has become. I chose this set of pictures due to the dominating colour in each one being pink. This links to the use of women in each one and the objectifying nature. The colour itself, "shocking pink" is significant due to it being very bright and outgoing, a key aspect in LaChapelle's photos. It also makes them look quite plastic, that each scene is almost taken place in a barbie house. The use of make up, props and costume emphasises this point, for example the over the top synthetic looking wigs or the use of body oil to create a plastic effect, especially in the bodybuilding photo shown above.
Room 3.
Oliviero Toscani. - 2000's.
Unconventional Fashion Photography.
Italian photographer, Oliviero Toscani's campaigns for "united colours of benneton" act as a great contrast to the stereotypical "fashion photography" and advertisement we are used to seeing day by day. Toscani's work is a perfect example of the effect that culture and society has on photography. This peticualar concept explores apects of anti-fashion or unconventional fashion photography and aims to make the audiance/ consumer think, at the same time attracting attention. Toscani is known for implications to social situations such as racism (such as the three hearts line up next to each other, were actauly pig hearts, not human), religion, war and capitalism. However, Oliviero Toscani's most contravesal campaign by far involved the photographing of prisioners sentanced to the death penality lanched in 2000. The campaign not only featured a photo of each of the 26 prisioners, but also the phrase, "Sentenced to Death," with their name, description of the crime they had committed and most shockinly, the method of execution they would be facing. Toscani's advertisments had resulted in not only finacail but legal issues to deal with, causing him to resign shortly afterwards. Proving the controversial nature of these images, a victims' rights group produced their own Benetton-style ads featuring the victims, along side the Benetton logo with a cross through it as a backlash against the rememberance of the murders as aposed to the victims. Similarly, many have boycotted the shop due to the campaign. In defence, Benneton claimed that Toscani's images were supposd to remind people that these people are human beings and explores a topic that in America was quite relevant for the timing. Its is arguable that Toscani's leave ended Benneton's controversial anti fashion and began the use of basic "ordinary" fashion advertisement shoots featuring a lot of colour mostly shot by photographer David Sims.
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Room 4.
Alexander McQueen.
Holographic.
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The first of any type of catwalk show originated in Paris around the 1800s. They were called "Fashion Parades", and would take place in small lounges promoting up and coming French couture. However, it was only until the 1940's that runway shows really came into their own, catching the attention of fashion editors for magazines such as "Vogue" and "Harpers Bazar". If we fast forward a half a century, fashions shows appear to be constantly changing and evolving due to new and innovative technology and materials being so available. It seems that in terms of set designs, each season becomes bigger and better than the last, with more extravagant concepts of displaying clothing. These ideas include Chanel's huge gold carousal in which the models would use to enter the runway. For AW10, Karl Lagerfeld created a huge ice structure which acted at as a type of cave for the models to appear in and out of. However, its not only Chanel that pulls out all the stops for their runway shows. In recent years, Alexander McQueen has created a whole new level of catwalk. By using holograms, McQueen could reach out to the audience and place models (Kate Moss) on the run way without her actually being there. He also explored with different textures and sculptures that would be impossible if on a real person. The hologram of Kate moss on the runway was shown as a tribute to the model who at the time was recovering from a previous cocaine scandal. The idea was based on Kate appearing like a "phantom on a solitary road", an almost dream like creature. This tension is reflected in some of McQueens work. This concept is clear evidence of the transformation that runway shows have taken and this hologram idea has gone as far to inspire other shows. At coachella 2012, Snoop dog brought 2pac "back from the dead" by the use of holographic technology. |
Possible photographers.
Horst P. Horst.
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Sante D'Orazio.
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Gallery Visit.
Tim walker: Storyteller, Somerset House.
Fashion photographer Tim Walker's exhibition "Storyteller" currently at Somerset house until january 2013, proved a great opportunity to gather inspiration on my theme of unconventional fashion photography. As the title suggests, Walker's work is primarily narrative/fantasy with the occasional celebrity portrait and has featured in British, American, French and Italian Vogue as well as many other leading high fashion publications. The thing aspect of the exhibition that sets this one apart from others is the oversized props in each room, so as you walk around you see giant bugs and dolls to name a few. This really works well as the viewer really gets a sense of scale in each photograph, comparing themselves to the size of the prop. In every section of the gallery there are quotes written on each wall, I feel this enhanced the fairytale/storytelling atmosphere even more while getting an insight on Walker's ideas and motives. Each photo is so extraordinary that we cannot wrap our heads around the techniques and ways in which Tim Walker achieved them. This adds to the fantasy theme, and is what really earns him the tittle of Storyteller, as the pictures are so incomprehensible to everybody else. It is this and the fact that the ideas are there impossible, yet if we try to understand them, it takes away from the fun, childlike innocence. Therefore in a way, I feel that Tim Walker's photographs reflect the transition of childhood to adulthood. My favourite set of pictures in the gallery were his editorial for Italian Vogue, "Mechanical Dolls" (the whole spread can be found here). I was instantly attracted to these as they hold a great relevance to my Illusion vs. Reality strand of practice work.
Chapter one: Excess
Narrative.
American photographer, Annie Leibovitz, is perhaps one of the most iconic fashion photographers of our time. As well as shooting major advertising campaigns for brands such as “Gap” and “American Express”, Leibovitz has been chief photographer at a number of different leading publications including “Rolling stone” (she shot 142 covers), “Vogue” and “Vanity Fair”. Leibovitz is renouned for her narrative style of photography, her most popular being her collaborations with Disney. She combined the classic and recognisable stories with famous faces such as Penelope Cruz and Russell Brand. This creates a sense of relevance to the photographs as our society responds so well to the celebrity. In many ways, Leibovitz is influenced by this demand and modern concept.
In 2003, Annie Leibovitz photographed model Natalia Vodianova in the style of Alice in Wonderland, another example of her narrative style. The series were shot for American Vogue, therefore the clothing was a key focus. What makes this set stand out is Leibovitz focus on the designers themselves as much as the model wearing the clothing. Marc Jacobs, Karl Lagerfeld, Jean Paul Gautier and Donatella Versace were just a few of the well-known designers featured in the spread, each taking on the role of a character from the tale. In each scene, Natalia Vodianova who constantly played Alice throughout would be photographed in the designer’s dress who featured alongside her. Leibovitz successfully captured the designer’s personality and style within one shot. Similarly to her photographing celebrities, the focus on the individual designers suggests movement in the industry, there is much more focus on the fashion designers as personalities instead of just their clothing. Therefore, Annie Leibovitz is evidence of a photographer to responds to cultural changings within fashion.
Another example of Annie Leibovitz responding to cultural and political events is in one of her most recent shoots for Vogue. The editorial was based on Hurricane Sandy and featured those who are considered “bravest and brightest” help contributors. The glossy spread contained models dressed in New York designers such as Marc Jacobs and Donna Karen, while standing among the air NYPD, firemen and police dogs. However, the shoot, similarly too many of photographer Steven Meisel’s, had been branding “tasteless” from New York residents. There have also been claims that Vogue is exploiting and profiting of the natural disaster and that there was simply no need for the models as the real heroes on their own would be more powerful. The text that accompanied the shoot read, “When Hurricane Sandy hit, the city’s bravest and brightest punched back. With the area now on the mend, we paid these stalwart souls a visit, dressed up in the best New York collections. Call them New York’s other finest”.
Sex sells.
David LaChapelle is one of the top ten of the most important people in photography today and is no stranger to controversy. His shoots often question our preconceived ideas of what a fashion photograph should look like and in a society where there is very little that still shock us; he still manages to produce questionable twists on his glossy high fashion images.
The majority of LaChapelle’s images incorporate humor, sex and at times, violence. His images released in the 90s’ show a clear sense of progress and change in the genre compared to conventional photographers such as Helmut Newton and Guy Bourdin for example, due to the very shocking and straightforward approach.
Even though a lot of his photographs at first sight appear fun, exciting and explosive, a large amount approaches the objectifying of women and view women as sexual objects. In some ways, we could look at this aspect of his pictures as an attempt to shed light upon the issue. Other interpretations could suggests that LaChapelle could be playing with how ordinary nudity has become and that very little is seen as truly shocking at the present.
It seems that in a large majority of LaChapelles pictures, pink is the dominating. This could again be interpreted in different ways: the use of women in each one and the objectifying nature, the colour itself, "shocking pink" is significant due to it being very bright and outgoing. It also makes them look quite plastic, that each scene is almost taken place in a Barbie house, again adding to the idea of viewing women as objects or dolls. The use of make up, props and costume emphasizes this point, for example the over the top synthetic looking wigs or the use of body oil to create a plastic effect.
Chapter Two: Unconventional Fashion Photography
Politics in Fashion.
Fashion photographer, Steven Meisel, is know in the industry for his controversial, unconventional fashion editorials. In several of the shoots he has executed for fashion magazine “Vogue”, Meisel addresses current affairs while at the same time advertising high fashion items of clothing to the consumer. It is for this reason that he is a perfect example of how fashion photography adapts to social events taking place.
Due to the controversial issues explored in his work, a large amount of his shoots have not been very well received in the past. These include the Iraq war, 9/11 and police brutality. Even though many photographers experiment with these issues outside of the fashion industry, Meisel’s have been criticized for his timing. For example, his spread on terrorism named “State of Emergency”, shot with an airport security backdrop, was printed five years after the 9/11 attacks in New York.
The way Meisel places women in his pictures has also ben a topic for discussion. In “Make Love, Not War”, a set of photos situated in the middle of the war in Iraq, has been said that Meisel was glorifying rape and violence against women done through the models being portrayed as “play objects” for the male soldiers to play with.
This was also the case in his “Supermodels Enter Rehab” set, which features famous faces such as Agnes Dene and Lara Stone, pictured being roughly handled. Due to the “heroin chic” style of image, many have said that the photos glorify drug abuse too. Comments similar too these have been found in Emine Saner’s article for “The Guardian”, written in 2007. The review was perhaps one of the worst Meisel had ever received, critising not only his style of photography, but Italian Vogue editor, Franca Sozzani, for allowing them to appear in the magazine.
The journalist branded the “Make love, Not War” images “a tasteless line in the battledress from Vogue”, “nauseatingly tasteless fashion pictures ever” and that it takes “some talent to simultaneously glorify rape, violence while selling this season’s Roberto Cavalli”.
The comments Meisel receives are nit down to the subjects he explores, but the juxtaposition of the glamorous, desirable clothing next to the violent, rational environments. It is also the way in which he places the women in these shots as weak ornaments as opposed to allowing them to look strong and accomplished.
However, while some brand Meisel’s images as discussing, others believe them to be stunning and bring light to recent events that as a society we are unsure of just how to discuss. Meisel himself claimed in an interview with Berlin based fashion magazine, 032c, (who is Steven Meisel?), that “the only way of getting peoples attention is by trying to do something outrageous”. He also responded to comments about his work, “I hate violence, I hate violence against women”. He also claimed that he “hates war” and was “not trying to glamourize it”.
Toscani For Benetton.
Italian photographer, Oliviero Toscani’s campaigns for “United Colours of Benetton”, coincide with Meisels work as a contrast to the stereotypical fashion advertisements we are so used to seeing each day. Toscani’s work is another example of the effect that culture and society has on the fashion industry. The theme of his work is not fashion, but “curiosity”, a concept that explores the ideas of the audience more than the subject itself.
Toscani’s approach looks at aspects of anti-fashion and aims to attract attention to issues he feels we as a society, do not look deep enough into. Toscani is known for his implications to social situations such as racism, war and the effects of capitalism. However, perhaps his most controversial campaign so far is one that highlighted the use of capital punishment in the U.S.
The series involved photographing American prisoners sentenced to the death penalty. The campaign launched in 2000 and not only featured an individual photograph of each of the 26 prisoners from 6 different states, but also the phrase “sentenced to death”, along with their name, description of their crime and, perhaps the most controversial, the method of execution they would be receiving.
Toscani’s advertisements had resulted in bot financial and legal issues for the brand, causing him to resign shortly afterwards. A lawsuit after the events settled that Toscani had to write letters of apology to the families of the inmates while at the same time the company donated $50,000 to the Missouri crime victim’s compensation fund.
The images attracted such a large amount of attention that a victim’s rights group produced their own Benetton-style ads featuring the victims, along side a crossed out Benetton logo as a backlash against the remembrance of the murders instead of the victims. Similarly, many have boycotted the shop due to the campaign. In his defence, Oliviero Toscani told CNN news that “there are no shocking pictures, only shocking reality”. He also told his intentions to Time entertainment, “I try to strip away and strip away until I arrive at what is essential”.
Why did Benetton use these images rather than photograph the actual garment? It is obvious that we are just so used to seeing the same type of advertisements everywhere we look. It some ways, very few of use actually remember what we see, however with the Benetton campaigns, we are much more likely to remember an image that really makes us question our own thoughts.
The Heroin Effect.
The concept of “heroin chic” challenges the stereotypical fashion photograph due to its raw approach, which in effect, could not be more different to the typical glossy fashion images we are so used to seeing. It is because of this reason that heroin chic fits perfectly in to this study and highlights youth culture’s effect on the fashion industry.
Primarily, the typical heroin junkie image is made up of the following components; pale skin, dark under eye circles and an almost “wasting away” figure. As these seem to be present almost every time in these kinds of shoots, the look is very noticeable.
The movement began in the 1990’s, a time where most would agree that fashion photographers such as David LaChapelle and Annie Lebovitz were in their prime. Ultimatly, we must understand the contrast between these ultra glamorous, excessive photographers to the simple, sun down shoots following the heroin chic trend is huge.
It was not only the glamourizing of drugs and an unhealthy lifestyle that caused such controversy at the time, but the fact that high fashion had not seen anything quite like it until now. It was also a symbol for the backlash against the rise of the “healthy and vibrant” supermodel, the unrealistic ideal.
Corrine Day and other photographers, who shoot in this style such as Juergan Teller, found themselves at the receiving end of some of some of the criticisms. The most well known attacks on heroin chic came from politicians voicing concerns of the effects the trend could possibly have on young people idolizing the models. An article in the Washington Post, “Why Dole frowns on fashion”, published in 1996, expresses American politician, Bob Dole’s opinion and claims that the look was fuelled by the hit film “Trainspotting”. Dole also says that heroin chic promotes a “false and deadly message to America’s youth that drugs are harmless fun”. Former president of the U.S, Bill Clinton has also been known to condemn the trend.
The photographs below highlight just how simplistic the pictures were yet how recognisable the trend is, suggesting that to this day the trend had a large impact on the fashion industry. It is also suggestible that model Kate Moss played such a large role in the movement, that a very simple black and white image of her face can give off the message. This highlights that the way the model looked was key. The trend came to an end around the time of heroin chic photographer David Sorrenti’s death, who died of drug abuse himself. When Vogue magazine featured Gisele Budchen in a spread titled “The return of the sexy model” in 1999, it was apparent that the trend was fading.
Chapter Three: Techno Age.
The first of any type of catwalk show originated in Paris around the 1800s. They were called "Fashion Parades", and would take place in small lounges promoting up and coming French couture. However, it was only until the 1940's that runway shows really came into their own, catching the attention of fashion editors for magazines such as "Vogue" and "Harpers Bazar".
If we fast forward a half a century, fashions shows appear to be constantly changing and evolving due to new and innovative technology and materials being so available. It seems that in terms of set designs, each season becomes bigger and better than the last, with more extravagant concepts of displaying clothing. These ideas include Chanel's huge gold carousal in which the models would use to enter the runway. For AW10, Karl Lagerfeld created a huge ice structure which acted at as a type of cave for the models to appear in and out of. However, its not only Chanel that pulls out all the stops for their runway shows.
In recent years, Alexander McQueen has created a whole new level of catwalk. By using holograms, McQueen could reach out to the audience and place models (Kate Moss) on the run way without her actually being there. He also explored with different textures and sculptures that would be impossible if on a real person. The hologram of Kate moss on the runway was shown as a tribute to the model who at the time was recovering from a previous cocaine scandal. The idea was based on Kate appearing like a "phantom on a solitary road", an almost dream like creature. This tension is reflected in some of McQueens work. This concept is clear evidence of the transformation that runway shows have taken. The use of holographic technology at the show has also gone on to inspire its use elsewhere. In 2012, at music festival "Coachella", Snoop dog brought rapper 2pac "back from the dead", through the use of the technology.
However, It seems that this is not the last time we are to witness technology of this sort, with it slowly making its way as a permanent fixture in the fashion world. In 2012, from may through to july, the design museum in London played host to an exhibition on the French shoe designer, Christian Loubouton. The exhibition claimed to take the audience on a "magical journey of style, glamour, power, femininity and elegance". A key aspect that truly bought the show to life was the use of holographic technology in which the famous burlesque dancer, Dita Von Teese, magically appeared from a shoe.
"We've seen so many beautiful things in fashion throughout history, but it's really amazing that now we have this new technology It's important for designers to be aware of this and to use it to their fullest and show people something that has never been seen before." Dita Von Teese.
Director and Musion of the exhibition, Ian O'Connol, discussed the process behind such a project with Dezeen magazine. "It starts with capturing movement in a lighting space that creates shadows on the surface of the body. If you display the figure in a 3D space using emusion eyeline foil, you're creating what should be a 2D image that you're creating in a 3D space". It is clear from watching the short clip that the combination of live action and CG placed gems and glitter, is what creates such a magical feel.
Just like with Alexander McQueen's holographic Kate Moss, the Dita Von Teese illusion creates certain a sense of mystery and magic, allowing the audience to be drawn in by the product, a concept that could possibly be of great significance in the future. For example, once the technology is more accessible, it could be brought to the consumer (as apposed to bringing the consumer to the technology) through retail. Even though we are half way there with the use of video and film being everywhere we turn, the hologram itself is more effective in creating a mood amongst the audience, as seen at the McQueen show.
Narrative.
American photographer, Annie Leibovitz, is perhaps one of the most iconic fashion photographers of our time. As well as shooting major advertising campaigns for brands such as “Gap” and “American Express”, Leibovitz has been chief photographer at a number of different leading publications including “Rolling stone” (she shot 142 covers), “Vogue” and “Vanity Fair”. Leibovitz is renouned for her narrative style of photography, her most popular being her collaborations with Disney. She combined the classic and recognisable stories with famous faces such as Penelope Cruz and Russell Brand. This creates a sense of relevance to the photographs as our society responds so well to the celebrity. In many ways, Leibovitz is influenced by this demand and modern concept.
In 2003, Annie Leibovitz photographed model Natalia Vodianova in the style of Alice in Wonderland, another example of her narrative style. The series were shot for American Vogue, therefore the clothing was a key focus. What makes this set stand out is Leibovitz focus on the designers themselves as much as the model wearing the clothing. Marc Jacobs, Karl Lagerfeld, Jean Paul Gautier and Donatella Versace were just a few of the well-known designers featured in the spread, each taking on the role of a character from the tale. In each scene, Natalia Vodianova who constantly played Alice throughout would be photographed in the designer’s dress who featured alongside her. Leibovitz successfully captured the designer’s personality and style within one shot. Similarly to her photographing celebrities, the focus on the individual designers suggests movement in the industry, there is much more focus on the fashion designers as personalities instead of just their clothing. Therefore, Annie Leibovitz is evidence of a photographer to responds to cultural changings within fashion.
Another example of Annie Leibovitz responding to cultural and political events is in one of her most recent shoots for Vogue. The editorial was based on Hurricane Sandy and featured those who are considered “bravest and brightest” help contributors. The glossy spread contained models dressed in New York designers such as Marc Jacobs and Donna Karen, while standing among the air NYPD, firemen and police dogs. However, the shoot, similarly too many of photographer Steven Meisel’s, had been branding “tasteless” from New York residents. There have also been claims that Vogue is exploiting and profiting of the natural disaster and that there was simply no need for the models as the real heroes on their own would be more powerful. The text that accompanied the shoot read, “When Hurricane Sandy hit, the city’s bravest and brightest punched back. With the area now on the mend, we paid these stalwart souls a visit, dressed up in the best New York collections. Call them New York’s other finest”.
Sex sells.
David LaChapelle is one of the top ten of the most important people in photography today and is no stranger to controversy. His shoots often question our preconceived ideas of what a fashion photograph should look like and in a society where there is very little that still shock us; he still manages to produce questionable twists on his glossy high fashion images.
The majority of LaChapelle’s images incorporate humor, sex and at times, violence. His images released in the 90s’ show a clear sense of progress and change in the genre compared to conventional photographers such as Helmut Newton and Guy Bourdin for example, due to the very shocking and straightforward approach.
Even though a lot of his photographs at first sight appear fun, exciting and explosive, a large amount approaches the objectifying of women and view women as sexual objects. In some ways, we could look at this aspect of his pictures as an attempt to shed light upon the issue. Other interpretations could suggests that LaChapelle could be playing with how ordinary nudity has become and that very little is seen as truly shocking at the present.
It seems that in a large majority of LaChapelles pictures, pink is the dominating. This could again be interpreted in different ways: the use of women in each one and the objectifying nature, the colour itself, "shocking pink" is significant due to it being very bright and outgoing. It also makes them look quite plastic, that each scene is almost taken place in a Barbie house, again adding to the idea of viewing women as objects or dolls. The use of make up, props and costume emphasizes this point, for example the over the top synthetic looking wigs or the use of body oil to create a plastic effect.
Chapter Two: Unconventional Fashion Photography
Politics in Fashion.
Fashion photographer, Steven Meisel, is know in the industry for his controversial, unconventional fashion editorials. In several of the shoots he has executed for fashion magazine “Vogue”, Meisel addresses current affairs while at the same time advertising high fashion items of clothing to the consumer. It is for this reason that he is a perfect example of how fashion photography adapts to social events taking place.
Due to the controversial issues explored in his work, a large amount of his shoots have not been very well received in the past. These include the Iraq war, 9/11 and police brutality. Even though many photographers experiment with these issues outside of the fashion industry, Meisel’s have been criticized for his timing. For example, his spread on terrorism named “State of Emergency”, shot with an airport security backdrop, was printed five years after the 9/11 attacks in New York.
The way Meisel places women in his pictures has also ben a topic for discussion. In “Make Love, Not War”, a set of photos situated in the middle of the war in Iraq, has been said that Meisel was glorifying rape and violence against women done through the models being portrayed as “play objects” for the male soldiers to play with.
This was also the case in his “Supermodels Enter Rehab” set, which features famous faces such as Agnes Dene and Lara Stone, pictured being roughly handled. Due to the “heroin chic” style of image, many have said that the photos glorify drug abuse too. Comments similar too these have been found in Emine Saner’s article for “The Guardian”, written in 2007. The review was perhaps one of the worst Meisel had ever received, critising not only his style of photography, but Italian Vogue editor, Franca Sozzani, for allowing them to appear in the magazine.
The journalist branded the “Make love, Not War” images “a tasteless line in the battledress from Vogue”, “nauseatingly tasteless fashion pictures ever” and that it takes “some talent to simultaneously glorify rape, violence while selling this season’s Roberto Cavalli”.
The comments Meisel receives are nit down to the subjects he explores, but the juxtaposition of the glamorous, desirable clothing next to the violent, rational environments. It is also the way in which he places the women in these shots as weak ornaments as opposed to allowing them to look strong and accomplished.
However, while some brand Meisel’s images as discussing, others believe them to be stunning and bring light to recent events that as a society we are unsure of just how to discuss. Meisel himself claimed in an interview with Berlin based fashion magazine, 032c, (who is Steven Meisel?), that “the only way of getting peoples attention is by trying to do something outrageous”. He also responded to comments about his work, “I hate violence, I hate violence against women”. He also claimed that he “hates war” and was “not trying to glamourize it”.
Toscani For Benetton.
Italian photographer, Oliviero Toscani’s campaigns for “United Colours of Benetton”, coincide with Meisels work as a contrast to the stereotypical fashion advertisements we are so used to seeing each day. Toscani’s work is another example of the effect that culture and society has on the fashion industry. The theme of his work is not fashion, but “curiosity”, a concept that explores the ideas of the audience more than the subject itself.
Toscani’s approach looks at aspects of anti-fashion and aims to attract attention to issues he feels we as a society, do not look deep enough into. Toscani is known for his implications to social situations such as racism, war and the effects of capitalism. However, perhaps his most controversial campaign so far is one that highlighted the use of capital punishment in the U.S.
The series involved photographing American prisoners sentenced to the death penalty. The campaign launched in 2000 and not only featured an individual photograph of each of the 26 prisoners from 6 different states, but also the phrase “sentenced to death”, along with their name, description of their crime and, perhaps the most controversial, the method of execution they would be receiving.
Toscani’s advertisements had resulted in bot financial and legal issues for the brand, causing him to resign shortly afterwards. A lawsuit after the events settled that Toscani had to write letters of apology to the families of the inmates while at the same time the company donated $50,000 to the Missouri crime victim’s compensation fund.
The images attracted such a large amount of attention that a victim’s rights group produced their own Benetton-style ads featuring the victims, along side a crossed out Benetton logo as a backlash against the remembrance of the murders instead of the victims. Similarly, many have boycotted the shop due to the campaign. In his defence, Oliviero Toscani told CNN news that “there are no shocking pictures, only shocking reality”. He also told his intentions to Time entertainment, “I try to strip away and strip away until I arrive at what is essential”.
Why did Benetton use these images rather than photograph the actual garment? It is obvious that we are just so used to seeing the same type of advertisements everywhere we look. It some ways, very few of use actually remember what we see, however with the Benetton campaigns, we are much more likely to remember an image that really makes us question our own thoughts.
The Heroin Effect.
The concept of “heroin chic” challenges the stereotypical fashion photograph due to its raw approach, which in effect, could not be more different to the typical glossy fashion images we are so used to seeing. It is because of this reason that heroin chic fits perfectly in to this study and highlights youth culture’s effect on the fashion industry.
Primarily, the typical heroin junkie image is made up of the following components; pale skin, dark under eye circles and an almost “wasting away” figure. As these seem to be present almost every time in these kinds of shoots, the look is very noticeable.
The movement began in the 1990’s, a time where most would agree that fashion photographers such as David LaChapelle and Annie Lebovitz were in their prime. Ultimatly, we must understand the contrast between these ultra glamorous, excessive photographers to the simple, sun down shoots following the heroin chic trend is huge.
It was not only the glamourizing of drugs and an unhealthy lifestyle that caused such controversy at the time, but the fact that high fashion had not seen anything quite like it until now. It was also a symbol for the backlash against the rise of the “healthy and vibrant” supermodel, the unrealistic ideal.
Corrine Day and other photographers, who shoot in this style such as Juergan Teller, found themselves at the receiving end of some of some of the criticisms. The most well known attacks on heroin chic came from politicians voicing concerns of the effects the trend could possibly have on young people idolizing the models. An article in the Washington Post, “Why Dole frowns on fashion”, published in 1996, expresses American politician, Bob Dole’s opinion and claims that the look was fuelled by the hit film “Trainspotting”. Dole also says that heroin chic promotes a “false and deadly message to America’s youth that drugs are harmless fun”. Former president of the U.S, Bill Clinton has also been known to condemn the trend.
The photographs below highlight just how simplistic the pictures were yet how recognisable the trend is, suggesting that to this day the trend had a large impact on the fashion industry. It is also suggestible that model Kate Moss played such a large role in the movement, that a very simple black and white image of her face can give off the message. This highlights that the way the model looked was key. The trend came to an end around the time of heroin chic photographer David Sorrenti’s death, who died of drug abuse himself. When Vogue magazine featured Gisele Budchen in a spread titled “The return of the sexy model” in 1999, it was apparent that the trend was fading.
Chapter Three: Techno Age.
The first of any type of catwalk show originated in Paris around the 1800s. They were called "Fashion Parades", and would take place in small lounges promoting up and coming French couture. However, it was only until the 1940's that runway shows really came into their own, catching the attention of fashion editors for magazines such as "Vogue" and "Harpers Bazar".
If we fast forward a half a century, fashions shows appear to be constantly changing and evolving due to new and innovative technology and materials being so available. It seems that in terms of set designs, each season becomes bigger and better than the last, with more extravagant concepts of displaying clothing. These ideas include Chanel's huge gold carousal in which the models would use to enter the runway. For AW10, Karl Lagerfeld created a huge ice structure which acted at as a type of cave for the models to appear in and out of. However, its not only Chanel that pulls out all the stops for their runway shows.
In recent years, Alexander McQueen has created a whole new level of catwalk. By using holograms, McQueen could reach out to the audience and place models (Kate Moss) on the run way without her actually being there. He also explored with different textures and sculptures that would be impossible if on a real person. The hologram of Kate moss on the runway was shown as a tribute to the model who at the time was recovering from a previous cocaine scandal. The idea was based on Kate appearing like a "phantom on a solitary road", an almost dream like creature. This tension is reflected in some of McQueens work. This concept is clear evidence of the transformation that runway shows have taken. The use of holographic technology at the show has also gone on to inspire its use elsewhere. In 2012, at music festival "Coachella", Snoop dog brought rapper 2pac "back from the dead", through the use of the technology.
However, It seems that this is not the last time we are to witness technology of this sort, with it slowly making its way as a permanent fixture in the fashion world. In 2012, from may through to july, the design museum in London played host to an exhibition on the French shoe designer, Christian Loubouton. The exhibition claimed to take the audience on a "magical journey of style, glamour, power, femininity and elegance". A key aspect that truly bought the show to life was the use of holographic technology in which the famous burlesque dancer, Dita Von Teese, magically appeared from a shoe.
"We've seen so many beautiful things in fashion throughout history, but it's really amazing that now we have this new technology It's important for designers to be aware of this and to use it to their fullest and show people something that has never been seen before." Dita Von Teese.
Director and Musion of the exhibition, Ian O'Connol, discussed the process behind such a project with Dezeen magazine. "It starts with capturing movement in a lighting space that creates shadows on the surface of the body. If you display the figure in a 3D space using emusion eyeline foil, you're creating what should be a 2D image that you're creating in a 3D space". It is clear from watching the short clip that the combination of live action and CG placed gems and glitter, is what creates such a magical feel.
Just like with Alexander McQueen's holographic Kate Moss, the Dita Von Teese illusion creates certain a sense of mystery and magic, allowing the audience to be drawn in by the product, a concept that could possibly be of great significance in the future. For example, once the technology is more accessible, it could be brought to the consumer (as apposed to bringing the consumer to the technology) through retail. Even though we are half way there with the use of video and film being everywhere we turn, the hologram itself is more effective in creating a mood amongst the audience, as seen at the McQueen show.