Catalogue/ Product Photography
Ghost Mannequin/ Invisible Mannequin effect
- Disappearance of the body
- Fashion still life
Age of the fashion magazine
•Improvements
in the halftone printing (dot) process means photographs can be reproduced in
magazines•First
ten years of the 1900’s•Before
this drawn illustrations were used.
Petersons magazine plate , 1888
Paul Poiret (1879-1944)
•House of Worth (Charles Worth, father of haute couture)•Freedom from corsetry•Signature shapes- hobble skirt, harem pants•Clothing cut along straight lines•Influenced by antique dress- draping
Though perhaps best known for freeing women from corsets and for his startling inventions including hobble skirts, "harem" pantaloons, and "lampshade" tunics, Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past. Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles. The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history.
•Leaders
in fashion photography in the 1920’s and 30’s•Hoyningen-Huene for
HB (photographs for Madame Vionnet)•Horst
P. Horst for Vogue•Cecil
Beaton for British Vogue
•British
Vogue and Vanity Fair•Photographed
and was a member of the “Bright Young Things” of the 1920’s/30’s•Photographed
British Royals•Prolific
diarist•designed
sets, costumes, and lighting for Broadway
Petersons magazine plate , 1888
Paul Poiret (1879-1944)
•House of Worth (Charles Worth, father of haute couture)•Freedom from corsetry•Signature shapes- hobble skirt, harem pants•Clothing cut along straight lines•Influenced by antique dress- draping
Though perhaps best known for freeing women from corsets and for his startling inventions including hobble skirts, "harem" pantaloons, and "lampshade" tunics, Poiret's major contribution to fashion was his development of an approach to dressmaking centered on draping, a radical departure from the tailoring and pattern-making of the past. Poiret was influenced by antique and regional dress, and favored clothing cut along straight lines and constructed of rectangles. The structural simplicity of his clothing represented a "pivotal moment in the emergence of modernism" generally, and "effectively established the paradigm of modern fashion, irrevocably changing the direction of costume history.
Early
modern fashion shoot
Edward Steichen photographs Paul Poirets designs for Art et Décoration, 1911 |
He
was a photographer for the Condé Nast
magazines Vogue and Vanity
Fair from
1923–1938, and concurrently worked for many advertising agencies including J. Walter Thompson.
During these years Steichen was regarded as the best known and highest paid
photographer in the world
While
at MoMA, in
1955 he curated and
assembled the exhibit The Family of Man.
Adolf de Meyer, 1920’s |
Women
look like models
In
Pictorialist
tradition:
- romantic soft focus,
- wistful character
- theme of nature
Martin Munkacsi, early to mid 1930’s |
News
and sport photographer
Introduced Casualness
Unlike
the romanticised or statue-esque previously
Edward Steichen in High Fashion, The Conde Nast Years, 1923-37 |
‘Steichen
redifned
fashion photography using the avante garde
framework of sharp focus modernism: directional lighting, graphic effects
unusual angles an interest in geometry and a desire to inject a sense of
contemporary life into his images’ Kate Rhodes The elegance of the everyday
Models
are assertive eg: Marion Morehouse – socialite
Sculptural-
art associations
Vogue vs Harper Bazaar
Hoyningen-Heune, 1931, Madame Vionnet |
Horst P Horst Costume for Salvador Dalí’s “Dream of Venus”. 1939 |
His
method of work typically entailed careful preparation for the shoot, with the
lighting and studio props (of which he used many) arranged in advance. His
instructions to models are remembered as being brief and to the point. His
published work uses lighting to pick out the subject; he frequently used four
spotlights, often one of them pointing down from the ceiling. Only rarely do
his photos include shadows falling on the background of the set. Horst rarely,
if ever, used filters.
Costume for Salvador Dalí’s
“Dream of Venus”. 1939
Installation for the 1939 worlds Fair
which features semi nude bathers.
Cecil
Beaton (1904- 1980)
Vivien Leigh for Vogue, mid 1930’s |
Stephen Tennant by Cecil Beaton |
- (21 April 1906 – 28 February 1987)
- was a British aristocrat known for his decadent lifestyle.
- It is said, albeit apocryphally, that he spent most of his life in bed.
- Relationship with Siegfried Sassoon
Queen Elizabeth II in 1968 |
In
the White Drawing Room in Buckingham Palace
Lee Miller (1907-1977)
Photographed by Steichen
American photographer and fashion model
at age 19
She
was stopped from walking in front of a car on a Manhattan street by the founder
of Vogue magazine, Condé Nast,
thus launching her modeling career when she appeared on the cover of the March
1927 edition in an illustration by George Lepape.
Became one
of the most sought after models in New York.
Louise
Dahl Wolfe
•From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals.•“Environmental” fashion photography
In
1928 she married the sculptor Meyer Wolfe, who
constructed the backgrounds of many of her photos.
Night bathing, 1939 |
Panorama of Paris, Suzy Parker in Jacques Fath Gown, 1953 |
Suzy Parker was a 50’s
supermodel
In
1935, American Kodak
introduced the first modern "integral tripack" colour film and called it Kodachrome.
Cindy
Sherman
40’s
50’s hollywood
glamour, retouching lighting- more to do with portraiture and celebrity
William
Klein, 1950’s
In
BBC doumentary he
says that he doesnt see
himself as a fashion photographer, it was just something that he was asked to
do.
His
documentary style comes through in the informality, known for his use of blurr and
movement in doc, here using a long lens.
Multi
–disciplinary approach comes from his art school training see doc and
exhibition at tate.
David Bailey, Mick Jagger |
British
Vogue
The
film Blowup
(1966), directed by Michelangelo
Antonioni,
concerns the work and sexual habits of a London fashion photographer played by David Hemmings and
is largely based on Bailey.
he
"Swinging London" scene was aptly reflected in his Box
of Pin-Ups
(1964): a box of poster-prints of 1960s celebrities and socialites including Terence Stamp, The Beatles, Mick Jagger, Jean Shrimpton, PJ Proby, Cecil Beaton, Rudolf Nureyev, Andy Warhol and
notorious East End gangsters the Kray twins.
Terence Donovan Spy Drama 1962 |
For
the October issue of Town magazine
Bond
like
Brian Duffy Jean Shrimpton on the Edgeware Road, 1960 |
Three
working class ‘lads’ of swinging london
Picturing
the 60’s ‘everygirl’ who
has a part time job and there for enough money to spend in boutiques, socialise and
enjoy sexual liberation.
Richard Avedon (1923 -2004) |
Avedon
did not conform to the standard technique of taking fashion photographs, where
models stood emotionless and seemingly indifferent to the camera. Instead,
Avedon showed models full of emotion, smiling, laughing, and, many times, in
action.
Tina Turner, 1971 |
Helmut Newton (1920-2004) Vogue and Harpers Bazaar |
Sado maochistic element to some works
Treatment of the nude
Self portrait with wife and models
1981
Guy Bourdin for Charles Jourdan shoes |
During
his military service in Dakar
(1948–1949), he received his first photography training as a cadet in the French Air Force.
In
1950 he returned to Paris, where he met Man Ray, and
became his protégé.
His
first fashion shots were published in the February issue of Vogue Paris in
1955. He continued to work for the magazine until 1987.
An
editor of Vogue
magazine introduced Bourdin to
shoe designer Charles Jourdan, who
became his patron, and Bourdin shot
Jourdan's ad
campaigns between 1967 and 1981
the
suicides of his wife and two of his girlfriends, and the cruelty in which he
treated his models.
Jamel Shabazz, Back in the days, published 2002 |
Brooklyn
born photographer
Photos
from the 80’s
August 1980 |
Ridgers-
books on skin heads, documentary project
1995 |
1997 |
1990,s
Magazines
reflected pop culture- music
film, clubbing
Derek Ridgers and Steve Johnson- subjects against a brick wall rather than white studio backdrop- ‘sraight-up’
Juergen Teller
•Photos in The Face, Vogue
•Has worked with Vivienne Westwood and Marc Jacobs
•Works with musicians
•Annie Morton , 1996
Teller
studied at the Bayerische Staatslehranstalt für Photographie in
Munich, Germany (1984–1986). He emigrated to London, England in 1986.
Teller's
fashion photographs have been featured in The Face, Vogue (US,
France, England, Italy), Another, Index, W Magazine, Self
Service, Details, Purple, i-D, and 032c, among others. Since 2004, Teller has
shot campaigns for Marc Jacobs. He
has also shot campaigns for Vivienne Westwood. Teller has recently collaborated with Céline.
He
frequently works with the musician Björk.
•Vogue cover with Kate Moss credited with the beginnings of the trend for the ‘waif’ look.
Day
used Kate Moss as
the model in an eight-page fashion story for The Face, in
July 1990. The story showcased garments by Romeo Gigli, Joseph Tricot, Ralph Lauren, and
a feather head-dress from the now-defunct Covent Garden boutique World
Adobe
Photoshop
•Graphics editing program
•First launched 2003
Trend
for grittty
realism of the 90’s disappears
Return
to the idealised form
s and
bodies of the 1940’s 50’sHollywood glamour- sculpted by clothing, lighting hand
retouching.
Bodies
and skin can be made perfect, bigger or smaller at whim
Terry Richardson
•Has worked for Vogue, Vanity Fair, ID magazine. Harpers Bazaar
•Sisley, Diesel, Mango, H&M
graphic
sexual subject matter.
Line
between pornography and fashion erased
Shinkle suggests ‘spoof’
Nick Knight
•UK photographer
•Worked with Yohji Yammamoto in the 90’s and with Alexander McQueen, Christian Dior
•Shots for Vogue, Vanity Fair, Another Magazine
This image: with designer Gareth Pugh for Mercedes Benz
Fashion
and the fantastical
Woman
as super hero/ car
Transform-
body and machine
Pugh
architectural designs
American fashion blogger. She
began her blog, "Style Rookie" on March 31, 2008 at age 11. Initially, her parents did not completely know what Tavi was
doing until she asked for their permission to appear in a New York Times
magazine story. Since then, she has had as many as 50,000 readers.
In
August 2009, she appeared on the cover of Pop
magazine, which feature photographs by Jamie Morgan and
was designed by artist Damien Hirst. Since then, Tavi has
been featured in the View section of the December/January 2010 issue of Teen Vogue
magazine and February 2010 issue of the French Vogue.
Bloggers like Tavi have
been referred to as the "frontline of fashion". She
has also become a regular guest at fashion shows and a muse for designers in Tokyo. She
is also partly inspiration for Rodarte's line
at Target. Most
recently, Gevinson was
named a "Vogueista"
by Vogue
Italia with friend, Kristin Prim.
Ordinary
people/style
Versions
of the street style website from all over the
world
Founded 2007
Various bloggrs/photographers
eg Facehunter and
The Sartorialist.
Poppy
Dinsey,
2011
What
I wore today- outfit for every day.
UK,
24 years old
‘internet
sensation, book published
wiwt.com
Examples
of bloggers who have been head hunted etc.
Where
consumers- buyers of fashion also are
the models, the photographers, the fashion forecasters, the experts.
Is this a democratisation of
fashion photography or is it a loss for the industry, for fashion photography
as art?
Exacitudes- Ari Versluis
(photographer) and Ellie Uyttenbrock
(stylist)
Casettes
gang, London 2008
|
Neighbours,
Rotterdam 2008
|
Photographer
Ari Versluis and
profiler Ellie Uyttenbroek have
worked together since October 1994. Inspired by a shared interest in the
striking dress codes of various social groups, they have systematically
documented numerous identities over the last 16 years. Rotterdam’s
heterogeneous, multicultural street scene remains a major source of inspiration
for Ari Versluis and
Ellie Uyttenbroek,
They
call their series Exactitudes: a contraction of exact and attitude. By
registering their subjects in an identical framework, with similar poses and a
strictly observed dress code, Versluis and Uyttenbroek provide an almost scientific,
anthropological record of people’s attempts to distinguish themselves from
others by assuming a group identity. The apparent contradiction between
individuality and uniformity is, however, taken to such extremes in their arresting
objective-looking photographic viewpoint and stylistic analysis that the
artistic aspect clearly dominates the purely documentary element.
The
end of the illusion of individuality? Doc project, scientific in nature
•Shinkle, E (2008) Fashion as Photograph, I B Tauris and Co Ltd, London
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