Both types of women exist, JCrew 2009 and Terry Richardson 2009
Monday, March 29, 2010
Thursday, March 25, 2010
In this article Lennard’s reflections on her work reveal many of the ideas central to realism. When shooting models she looks to bring out a “personal quality” by being quiet and only directing their movements in an attempt to make them relax enough to be natural. She looks for a feeling of vulnerability. She prefers hair and makeup to be simple and unartificial and draws inspiration on how to pose models from real life, film, and paintings.
Reflecting the blend of between art and photography that realism takes she states, “I consider my fashion photography an extension of my own work as an artist.” And wants to portray women that others can relate to “instead of frozen hard sex symbols habitually seen.”
She also prefers to work in natural light, out in the direct sunlight. She finds magic in the ability of light to transform reality and wants to document what happens in a place when light falls in a specific way. All her pictures are done outside of a studio in the available light.
She also notes the difference between doing work for European magazines versus American magazines. In Europe, magazines give the photographer total freedom to choose models, locations, etc while the editor simply chooses clothes and oversees shooting. In America the editors want to maintain a certain look and models are chosen from a small group of typical girls used.
To understand why the style of realism in of the 1990s was so significant, we need to look back at the history of fashion photography. As a reaction to fashion illustration, photography grew extremely popular during the 1920s and 1930s. Readers of magazines wanted to see the fashions displayed thoroughly and faithfully rather than as a decorative art. Photographs were seen as realistic depictions without artistic distortion. However, it really just continued the trend of creating visual fantasy that women could aspire to. Also using aristocrats and socialites furthered this concept. Movements such as modernism and surrealism influenced fashion photography, introducing graphic and geometric, and dream-like photographs. Realism inspired a less formal approach, depicting models for the first time in motion. Static poses began to disappear, replaced by “moments of narrative, fleeting impressions and relaxed actions.” Also prevalence of commercial pictures over elitist imagery reflects the influence of sportswear and Hollywood on fashion photography. As their potential to be commodities increased, models became uniformly youthful and unblemished.
The 1940s and WWII was a pivotal moment for realism in fashion photos since displays of excess and frivolity were discouraged and fashion itself moved into a more austere realm to ration goods. Lee Miller was a key photographer of this period, praised for shooting women in wartime and everyday situations in British Vogue. During the 1950s Richard Avedon captured looks, mannerisms, and gestures, and Irving Penn focused on the anthropological and sociological elements of fashion photography. Trends that emerged included the “spontaneous snapshot” and the use of location rather than studio. Still many of these photos contained a “fiction of reality”, an imagined image of what a women would look like to others in this situation.
Bob Richardson, French Vogue, 1960's
In the 1960s the role of fashion photography became involve with discussions of race, sexuality, and class. The “Terrible Three”, David Bailey, Terence Donovan, and Brian Duffy emphasized sexuality in their photographs. Models like Jean Shrimpton and Twiggy, known for their ‘ordinariness’ became role models for the new generation as the dominance of couture dissipated. Fashion imagery of metropolitan youth culture reinforced the idea of the “liberated new woman”. Bob Richardson added a new side to this woman, creating snapshots of her despair and melancholy while located in wealthy and glamorous settings. He created a tableauz with realistic themes. Guy Bourdin and Helmut Newton continued these themes in the 1970s. They created highly stylized and explicit images, which embodied cultural debates like the eroticism of women and fantasies and myths of sexuality. They were accused of being exploitative and regressive.
Corinne Day, Third Summer of Love and Under Exposure
A major influence was Nan Goldin, who created a photodiary of her life and friends as an art piece. While Goldins snapshots convey an intimacy, the intimacy of Day’s photographs scould be seen as exploitative possibly because the role of fashion photography had always been to sell something and never a reflection of something really true. Rather than being seen as an art piece in revealing situations and needs of less fortunate, it might be seen as promoting a destructive ideal since fashion photography traditionally sells a lifestyle. Goldin faced this problem as well in her work for Matsuda and Helmut Lang. As art and fashion photography blend, it is difficult to keep the two from bleeding into one another. Validity of personal word can come under question, as if working in fashion somehow compromises its sincerity.
An image by Juergen Teller brings up another side to realism. In the photo the model, a bruised and battered Kristen Mcmenamy, is nude with the word ‘Versace’ written in lipstick in a heart shape on her body and set up against a very contrived backdrop. Teller seems to suggest the exploitation of women by the fashion image. However this almost comes off as a parody of realist fashion photography. By mixing realist snapshot aesthetic with the contrived backdrop, his ‘realist’ message is displayed as inauthentic, putting other realist images under question as well.
Rolard Barthes said that this new movement creates a new social value in which the private becomes public in an attempt to “affirm what has been lost through virtual reality.” These images “seem to reinforce the bonds of human community by reclaiming lost areas of compassion and humanity”. In this way fashion photography has taken on the function that photojournalism has lost, with the ability to reach a wider audience than art or social documentary photography could. These images challenges conventional ideals, democratizes fashion, and forces us to ask questions and address wider concerns.
The contemporary result is Inez & Vinoodh, Before After for V magazine showing both real life and studio.
Tuesday, March 23, 2010
“Romantic”, Terry Richardson, Vogue Paris, 2007
“Mockery/Outrageous”, Steven Meisel, Vogue Italia, 2009
Guy Bourdin for Charles Jourdan
In the post-nostalgic times of the late 20th century, Deborah Turbeville emerged as a photographer focused on the reluctance between self-images. Instead of choosing archetypal and glossy models, like Newton and Bourdin, Turbeville chose models based on their divergence from the intended depicted character/form. In the divide between the model chosen and the message intended, Turbeville allows the viewer to discover the tense reality of acting/pretending in order to adhere to an expected self-image. Turbeville is aware of the hard-to-categorize tendencies of her images, for she claims, “I am not a fashion photographer, I am not a photo-journalist, I am not a portraitist” (pg 526). By separating herself, yet simultaneously drawing from the aforementioned genres, Turbeville allows her images to break up and redefine the structure of representation.
Deborah Turbeville, Bath Series, 1970's
“Extreme Beauty in Vogue” was a photography exhibit last year in Milan. It is currently now available as a book, published by SKIRA. The photo collection consists of various works by Richard Avedon, Helmut Newton, and most prolifically, Irving Penn. The photographs in the curation depict hyper-stylized and hyper-realized images of the body in relation to unusual cosmetic materials (i.e. tarantulas, diced fruit, etc.). The collection of images is also incredibly detailed-specific, showcasing the technical abilities and masteries of modern mediums and brilliant minds.
Irving Penn, 2002
Thursday, March 11, 2010
Monday, March 8, 2010
Moore and Birtwistle note that “the viability of a fashion brand is dependent upon the efficacy and the appropriateness of the decisions of those responsible for its management,” meaning that the success of a brand comes not just from the look of the clothes, but also from its internal organization. Thus it was Rose Marie Bravo’s appointment as CEO in 1997 that brought about a multitude of changes that effectively changed all aspects of the brand, bringing it into the contemporary fashion world. As a brand that has existed since 1856, Burberry was caught between its traditional, upper echelon clientele and the need to move into the fast-paced, fashion-forward lifestyle to which all luxury brands of the day have adapted.
Systematically, Moore and Birtwistle break down the Burberry model into four categories each with their own subcategories; products, manufacturing and sourcing, distribution channels and marketing communications. These four major governing sects of Burberry are united by the three major components by which any luxury brand must abide; brand management, product design and sourcing, and brand distribution. Brand management, meaning establishing a distinct logo and lifestyle was crucial in defining Burberry as a luxury brand through advertising and the creation of four flagship stores. Product design and sourcing allowed for the creation of six different Burberry labels, all under the creative direction of Christopher Bailey. Burberry also worked hard to ensure the integrity of their brand would remain the same by reducing its use of outside licensees. It owns all of its retail stores (except those in Japan), thereby making it easy to control the quality of its products. Finally, a change in brand distribution allowed Burberry management to really know where and how its products were being sold. As such an expansive empire, Burberry managed to centralize its management and maintain a tight control on all of its retail and wholesale chains.
While this article was extremely factual and concerned with numbers and methods of organization, a few points stand out. First, this type of business model for a fashion empire seems both effective and common across other brands. Gucci under Tom Ford is mentioned as an example of a company that also maximized its internal control and saw immediate success. A fashion brand cannot function if its management staff is uncoordinated and thrown off by globalization. It was interesting to see how the changes in fashion tastes were the impetus for this realization. The loss of Burberry’s so-called “cachet” (p.1) caused its internal structure to also fall apart. Thus a business strategy with a determined system of checks and balances is necessary to keep up with the times. The symbiotic relationship Burberry has achieved between its retail and wholesale chains also has contributed to its continued success in both the luxury and affordable markets. In order for Burberry to maintain expensive advertising campaigns and consumer interest, it needs wholesale chains for extra revenue.
The article highlighted the machine-like quality of a luxury fashion brand in its need to be organized and extremely centralized. The lavish lifestyle Burberry (and any other fashion brand) promotes is just as manufactured as any of its clothing. Brands are sold to us with all-encompassing packages of luxury yet we rarely think about the sourcing and licensing issues. Burberry’s model shows us that brand reinvention must happen on both internal and external levels, meaning management and direction, and the appearance of the clothes themselves.