Fashion Photography Research Articles

Rethinking fashion photography: reconstructing identities, decolonising bodies and resistance in postcolonial Morocco

Fashion photography in Moroccan magazines, newspapers and social media finds a favourable environment to incubate, develop and theorise on Moroccan cultural identity. Such areas of fashion photography have become sites of the female body, dream and fashion. In this paper, I investigate different articulations of postcolonial fashion critique by focusing on photography as a space where conflicting ideologies occur, where cultural encounters escalate different agendas and different ideas about gender, nationhood and cultural identity. Deploying Foucault’s concept of docile bodies, this paper reads fashion photography as a space of women bodies exposed to different structures of power, ready to be ‘manipulated, shaped, and trained’ (135–136). Affected by the history of colonial domination and the postcolonial condition, fashion photography emphasises not only the process of alterity by contributing to the reservoir of produced oriental fantasies but also fosters and frustrates western imperial hegemony. This paper examines the transition of fashion discourse from traditional paper-based media to the digital realm, with a particular emphasis on the perpetuation of hegemonic narratives within the fashion industry. It explores the role of fashion photography as a medium through which these discourses are conveyed, specifically in its endeavour to redefine Moroccan cultural identity.

Daddy, horse, fashion: Masculinity and self-performance in the work of Jeff Koons and Michael Zavros

Juxtaposing the work of artists Jeff Koons and Michael Zavros, this article examines the link between the performance of heterosexual masculinity and menswear. Notable early work of Zavros includes black and white, hyper-realistic duplicates of men’s fashion. Yet, in Zavros’s work, masculinity becomes unbound and absurd with a series of illustrations by Zavros in which the torsos of models wearing Burberry and Gucci are combined with the lower halves of horses. Koons, well-known for his fashion collages and subsequent lawsuits from fashion photographers, places himself at the centre of his Made in Heaven series, in which he is depicted having sex with his ex-wife, former porn star La Ciccolina, in a variety of graphic positions. Zavros, in turn, re-imagines himself as a mannequin in his series Dad, and poses with his family in settings both banal and exotic. Zavros uses his family within his work often, including his children in paintings as well as video works. When performing masculinity in art depicting oneself, how does fashion, family and fame come into play? This article will examine not only how Zavros continues the legacy of an artist like Koons, but also how this transformation effects the self-performance of the male artist.

Fashioning Frankenstein: Deathliness, technology and the body in contemporary fashion photography

The deathly aesthetic of Heroin Chic caused a moral panic in the late 1990s for its aestheticization of cadaverously pale and skeletally thin models. Subsequent photographers have experimented with the female body as a prop, staging high-fashion crime scenes and mimicking the passivity of corpses in prone posture. Fashion photography offers an arena to explore daily life and the national imagination by materializing concepts through a focus on corporeality and compelling stylized visuals. These images therefore represent a commercialized articulation of broader cultural concerns surrounding mortality. Steven Klein’s 2015 fashion editorial ‘Love machine’, published in W magazine, will be analysed to argue that this represents a cultural response to the shifting relationship between the human body and technology. The discourse of human–machine coexistence presents the transhumanist stance as idealized with the fashion field’s agenda of body modification, wellness and leisure assisted and instigated by technology. However, the tone of this shoot presents a less optimistic vision of a posthuman future. Whilst posthuman ideology is decisive and assured in its deference to technology, Klein’s use of Frankensteinian and cyborg motifs evidence the uncertainty and unease with which biological and technical forms begin to blur. The styling of the model as cyborg and the invocation of Frankenstein’s monster are a logical vehicle for personifying the ontological anxieties coming to the fore of public conscience as debates on digital immortality and artificial intelligence become more prevalent.

Fashion Photography Ontology through a Methodological Approach to Pictures of Gucci and Balenciaga’s e-Commerce

Fashion Photography Ontology through a Methodological Approach to Pictures of Gucci and Balenciaga’s e-Commerce

Basics Fashion Photo Editing Module for Fashion Design Students Based on Indonesian National Work Competency Standards

The limitations of the learning media on fashion photo editing materials become the main obstacle to achieving basic digital photo editing competence in the Fashion Photography course. Therefore, it is necessary to develop relevant modules. This study aims to develop an SKKNI-based basics fashion photo editing module for fashion students that can be used in the learning activities of fashion photography. This study is a research and development conducted using the ADDIE model. The subjects of this study were 30 students of the Fashion Design Study Program. The data were obtained from product evaluation by material experts and media experts as well as field trials involving research subjects. These data were analyzed using descriptive quantitative techniques. The result of this study is a basic module for fashion photo editing based on the basic digital photo processing competency sub-unit materials in the Indonesian National Work Competency Standards of Photography. From the material aspect, the developed module was considered valid (0.85) and reliable (0.742). The media aspect of the module was also regarded as valid (0.82) and reliable (0.714). Thus, it can be concluded that the module developed was of expert quality and feasible to use. Based on the percentage of students achieving the minimum passing grade, the developed module is categorized as effective (80%) as a learning media in the basic materials of fashion photo editing.

Styling Concept In Fashion Photography Process

This study aims to investigate and analyse the production process of fashion photography. Fashion photography is a subset of commercial photography that conveys a product's identity and seeks to attract consumers for marketing and public information purposes. Photography techniques and graphic approaches corresponding to the session's theme and concept can significantly influence and captivate the audience. This study's findings will provide new insights and creative ideas for module development in fashion photography. Conclusion: The findings of this study have the potential to impact the direction of high-quality style and fashion photography, as well as the method by which photography professionals can improve their skills and work efficiency.

Inovasi Media Sosial dan Pengaruhnya terhadap Penerapan Fotografi Fashion

The development of information technology brings a change in society. The birth of social media caused people's behavior patterns to experience a shift in existing culture, ethics and norms. The use of social media, especially Instagram, is currently the focus used in providing information. Almost all levels of society use social media to communicate. There are many new ideas that can be used to utilize social media, one of which is as a promotional medium in the field of fashion photography. The increasingly developing fashion industry must of course also be balanced with fashion photography. Therefore, one of the industries in the field of photography, namely Photoin Studio, continues to innovate using social media to play an important role in influencing society. By using a qualitative approach and semiotic analysis from Charles Sanders Peirce, you can find out and understand this research.

A study on the influence of fashion advertising style on consumer perception based on big data technology

Abstract This paper establishes a dataset through big data mining algorithms, obtains data objects in the subspace according to data outlier characteristics, and derives the subspace outlier probability formula. This paper establishes a dataset through big data mining algorithms, obtains data objects in the subspace according to data outlier characteristics, and derives the subspace outlier probability formula. The data distribution characteristics are analyzed using entropy detection, and the multi-information entropy data are extracted for clustering detection by inputting the number of database samples for differential evolution. The adaptive search method is used for feature extraction of big data information flow, and text data with similar characteristics are divided into uniform fuzzy clustering centers to mine the optimal clustering indicators. Four categories of fashion photography styles were obtained by clustering fashion advertisement photos through data mining. Big data technology positively impacted the influence of consumers' consumption concepts, as their social self-concept increased from 4 to 10 points.

Visual strategies of luxury and fast fashion brands on Instagram and their effects on user engagement

This study aims to examine what makes the image content of fashion brands successful on Instagram, while comparing between luxury and fast fashion brands. A quantitative analysis of a massive collection of fashion photos posted by notable luxury and fast fashion brands was therefore conducted to identify specific patterns in these images based on four important visual content variables: the use of a brand name, brand logo, text, and hashtag. This study also examined how user engagement levels vary depending on each visual content variable. This study made several interesting findings: (1) luxury brand images with logos and brand names had higher user engagement whereas fast fashion brand images did not show this same trend; (2) the size of the brand name and logo in an image was negatively related to the user engagement or had no effect, regardless of the brand category; and (3) the use of embedded text within an image positively influenced user engagement for luxury brands whereas it negatively influenced user engagement for fast fashion brands.

Daya Tarik Dan Makna Elegan Bagi Pecinta Fashion Persepsi Anggota Komunitas Hijabi Tentang Foto Fashion Di Majalah

This research is motivated by the existence of photography which cannot be separated, especially in the world of fashion. Because fashion, make-up and photography are one unit that always go hand in hand and both need each other. Fashion Photography, Photos that focus on depicting and presenting various clothing and other fashion items related to lifestyle. Creating fashion photos requires experts in their fields, such as professional photographers and models, but also other fashion lovers, be they buyers, fashion experts, bloggers and fashion vloggers. As a community that the author wants to study, namely the Yogyakarta Hijabie community which gave birth to a generation of Muslimah model labels and raised fashion lovers who are good at creating without forgetting to convey their da'wah through fashion da'wah, we preach. syariah This research is a qualitative descriptive research. The results of the observational analysis research to focus on attractiveness and elegance in fashion photos are the perceptions of members of the hijabi community, namely first, the mindset is relatively the same, namely according to individual perceptions of attractiveness and elegance in fashion photos in magazines. Second, connecting the concept of chic objects as a whole which makes it elegant. Third, elegant or glamorous as a form of feeling more confident.

Mothers’ self-representations and representations of childhood on social media

PurposeThe purpose of this paper is to examine mothers’ social media accounts that focus on children’s fashion. The authors probed children’s fashion photo practices as representations of the mothers’ extended self and the kind of childhood representations produced by the social media accounts. They also investigated mothers’ perceptions of children’s privacy when engaging in sharenting – the sharing of information about children or parenting online.Design/methodology/approachThe study is based on 16 semi-structured interviews with Finnish mothers who had Instagram accounts focusing on children’s fashion.FindingsChildren’s fashion photos play a diverse role in mothers’ identity work. The photos can be used to express a mother’s taste and aesthetic skills, to express values, to fit into peer groups and to store memories of oneself and the children. Through the photos, representations of the prevailing Finnish childhood ideals, such as authenticity, naturalness and playfulness, are reproduced. The mothers perceived the children as part of their extended self and justified sharenting with mother- and child-centered arguments.Originality/valueThrough shedding light on the practices of social media fashion photography, this paper provides insights into how commercialism and social media shape cultural expectations for both motherhood and childhood. The paper contributes to previous research on sharenting, extending it to the context of fashion photography.

Semantics of Nudity in Fashion Photography of 20th Century

The purpose of the article is to analyse the semiotics of the body in visual culture of the late 20th and early 21st centuries using the example of fashion photography; to find out how the body has turned from a passive screen for displaying socially and culturally significant markers into an active agent of shaping fashion trends. The research methodology is based on a combination of different approaches to describing the semantic nuances of the body image in modern fashion photography. In particular, with the help of the historical and genealogical method, the evolution of the narrative focus of fashion photography is shown, since at first attention was paid first of all to the beauty of the thing being sold, then to the idealised body. A structural approach was applied to analyse the multiple contexts of fashion photography, such as the perception of a material thing, its photographic representation and expert review. All of them are components of the fashion discourse. Using the epistemological method, the semantics of the concepts of nakedness (as acquired vulnerability) and nudity (as harmonious integrity) are distinguished. The scientific novelty of the study consists in revealing numerous semiotic contexts of the phenomenon of nudity in fashion photography, which is always aestheticised compositionally, colouristically, and cosmetically depending on the cultural environment and cultural era, and therefore naked physicality is a discursive phenomenon, like fashion in general. Conclusions. Corporeality in fashion photography of the 20th century expresses the incessant processuality of postmodern semiosis – the recoding of the world of things into the dimension of signs. The human body becomes a screen for the projection of these signs, the principle of an ongoing game, the eternal engine of advertising discourse to multiplicate visual images. The devaluation of things in the European culture of mass consumption of the second half of the 20th century, caused by their overproduction, contributed to a change in the critical focus of fashion from the clothes in which the human body is wrapped to the body itself. Elitism is no longer defined as a set of precious or luxurious things that a person desires to own and that require a financial investment. Instead, the signifier of exclusivity in late modern Western society is a healthy and attractive body. It requires competent care, medicalisation, sports training, and, therefore, in addition to financial, also investments of time and knowledge. Thus, the fashion photography of the end of the 20th – the first quarter of the 21st century shows the shift in the focus of the fashion discourse from the aesthetics of things to the aesthetics of lifestyle and self-creation, for which the human body serves as a screen.
 Key words: fashion, fashion photography, corporeality, nudity, nakedness.

A counter-story to the rags-to-riches narrative: A Finnish male model wearing hobo style during the deep depression in the age of AIDS

As a former male model whose modelling career lasted 25 years (1988–2013) and as a researcher, I am interested in the production of meanings and knowledge related to representations of masculinity. As a gay former male model who was classified as ‘other’ but represented the normative ideal and passed for straight in fashion shows and photographs, I look back on images of myself differently and against the grain. I analyse three of my fashion photographs – taken for the Finnish tabloid City in 1993, when AIDS was considered the ‘gay plague’, but never published – in terms of critical studies of masculinities, gay and sexuality studies, and queer theory. I speculate and examine gestures, facial expressions and poses in the photographs that were still intolerable and prevented their publication 30 years ago. The publication of my photographs now is concrete proof that masculine gestured performances are becoming more inclusive and diverse.

Becoming-Amazon: Femininity, Embodiment, and Sexuality in a Photographic and Digital Breast Cancer Project.

In recent decades, digital and photographic life narratives by women living with breast cancer and mastectomy have gained public visibility. This article examines how a documentary and fashion photography project in contemporary Berlin rethinks normative concepts of femininity, embodiment, and sexuality through the performance of the breast cancer patient as Amazon warrior. Based on feminist theory, disability studies, media studies, and in particular Gilles Deleuze's concept of becoming, I coin the term "becoming-Amazon" for the process of relational subjectivity formation that the project opens up. Uta Melle's project shifts notions of post-mastectomy bodies as unfeminine, incomplete, or asexual and envisions and celebrates a multiplicity of relational femininities, embodiments, and erotic zones with difference. By combining digital cancer activism and an aesthetics and politics of visibility, difference, and intercorporeality, Melle's project intervenes in contemporary cancer discourse and unsettles what has been considered as redemptive cancer culture.

Fashion Photography is at the Crossroads of the Visual Arts (Fashion Photography as a Hybrid Art)

Fashion Photography is at the Crossroads of the Visual Arts (Fashion Photography as a Hybrid Art)

Implementing The Use of AI for Analysis and Prediction in the Fashion Industry

The COVID-19 pandemic has made all aspects of human life assisted by technology and big data. It starts from the education sector, economy, communication, health, and manufacturing to fashion. As we all know fast fashion has become one of the most significant contributors of waste. During the flow of developing a collection, for example; the production and distribution process can cause ethical issues and contradict sustainability matters. Several studies from 2010 to date have initiated AI (Artificial Intelligent) technology, a computer vision that alleviates the use of carbon footprints in the fashion industry. AI presents robust evidence to the audience, since it is visual and statically calculated, furthermore it is less costly and energy saving. AI abstracts the similarities or differences across all clothing and collections from the dataset. Its implementation can be used in many fashion careers with different purposes. By reviewing across the computer vision journals complemented with fashion management literatures, this article eventually provides insights of the implementation of AI for analysis and prediction from fashion photos or dataset.

Re-encoding Glamour from Ghana to England: Illustrated Magazines, Gender Norms and Black Identities through the Lens of James Barnor (1950s–1980s)

How have gender and racial norms conveyed by illustrated magazines—whose circulation exploded in Africa in the 1960s—affected photographers’ local practices? And how, in turn, have they themselves generated this gendered visual order? This article aims to shed light on this two-fold question by proposing a diachronic analysis of the influence of models of femininity transmitted by the illustrated press on the visual imagination of a Ghanaian photographer—as seen in his photographs taken between the 1950s and the 1980s. It explores the links between the publications of the pan-African magazine Drum (the most widely circulated magazine in English-speaking Africa at the time) and its translation into the art of portraiture as practiced by James Barnor (1929-), a photographer with a transnational career, between Ghana and England. Because his professional and personal career path tracked the evolution of these gendered norms, James Barnor became both the repository and the instigator of an idealized vision of “the” African woman.By means of an intersectional focus, the issues of gender norms and of racial biases are examined in parallel to better understand how the photographer appropriated throughout his career the shifting codes of a “female glamour” reinvented for Africa during the post-independence period. While numerous studies have examined the modalities of this codification, in the present paper they are addressed through an in-depth exploration of the photographer's archives, now held in Paris, and combined with an analysis of early issues of Drum. The aim is to juxtapose images intended for publication, i.e. public, with private images in order to consider how the standards of fashion photography infused Barnor’s practices which lie at the crossroad of different social worlds. The corpus composed of portraits of young women is also informed by numerous interviews with the photographer and some of his models, which provide behind-the-scenes insights relative to the published images by exploring their political and social contexts.We first look at Drum’s editorial strategy from its launch in South Africa to its expansion throughout West Africa. While the magazine initially borrowed from white Western references such as Life, it gradually became, to some extent, a showcase for black pride on the continent and in the global diaspora. Then, we study Barnor’s early studio practice as already acutely aware of the codes of femininity enacted by the magazine: this is shown through his “recycling” of the poses and the composition of the images. During the ten years he spent in England, from 1959 to 1969, his collaboration with Drum gave rise to a gallery of portraits of anonymous young women, who became ordinary icons for an ideal African femininity in the context of the diaspora. Finally, in the 1970s, Barnor’s return to Ghana saw the reuse of these codes inherited from the globalized fashion industry combined with the emerging iconography produced by African-American models as a means to create social documentary. In this way, he contributed to an aesthetic of blackness that was constructed within a transnational framework.

Image expression of simulacre in fashion photography

Image expression of simulacre in fashion photography

ANALISIS KOMPOSISI FOTOGRAFI PADA FOTO FASHION EDITORIAL ‘SWARNADWIPA’ KARYA NICOLINE PATRICIA MALINA

One of the activities to express yourself is through photography. Photography is not just an activity to take pictures or take pictures. However, expertise is also needed to be able to apply the basic techniques and composition of photography properly so that the resulting photos are more interesting. One Indonesian female photographer whose works are very interesting is Nicoline Patricia Malina. Nicoline is very famous for her Fashion Photography work. Nicoline's Fashion Photography works are usually used for editorial purposes. One of them is entitled 'Swarnadwipa'. In this photographic work, Nicoline uses a photographic composition of leading lines, symmetry, fill the frame, and the rule of third in portrait and landscape photo formats. Nicoline also uses a combination of gold tones which is a concept from the 'Swarnadwipa' photo series, and there are several other colors such as brown, black, gray and silver. Apart from that, Nicoline also used the Borobudur Temple building as a background for the 'Swarnadwipa' photo. This analysis uses a descriptive qualitative method, which aims to find out what photographic compositions are used in the 'Swarnadwipa' editorial fashion photo as well as to find out what the relationship between the photographic composition and the concept of 'Swarnadwipa'.

An Overview of Current Commercial Fashion Photography

The presence of smartphones today has an impact on commercial photography, especially fashion photography. The presence of smartphones makes everyone able to become a commercial fashion photographer, which makes the role of a commercial fashion photographer even more questionable. Departing from this phenomenon this research was conducted. This research is a research with descriptive qualitative method. This study was conducted to describe the phenomenon of commercial fashion photography that is currently happening. In addition, this phenomenon can produce an idea for commercial fashion photographers in dealing with the world of commercial fashion photography today. The result of this research is that today's commercial fashion photographers need to have out of the box ideas which are the qualities of ideas and concepts that distinguish them from other commercial fashionphotographers. Although the need for tools in the process of creating photography today can be replaced with smartphones, the quality of ideas and concepts is something that is not necessarily owned by every commercial fashion photographer.