Fashion Photography Research Articles

Fashion Photography and Festival Culture: What Glastonbury’s Space Does to the Imagination

Les photographes de mode ont souvent privilégié la configuration spatiale des festivals d’art et de musique comme lieu de campagnes publicitaires. Cet article cherchera à montrer comment ces artistes se sont approprié l’espace du festival de Glastonbury depuis sa création dans les années 70, jusqu’au succès mainstream remporté à ce jour. L’espace festivalier est source d’inspiration dans tous les champs artistiques-musique, sculpture, performance, body art, innovation vestimentaire, et photographie de mode. Glastonbury est un lieu récurrent dans les travaux de trois photographes contemporains, Tim Walker, Corinne Day et Venetia Dearden. Il appartient pleinement à l’expérience artistique et ne peut être réduit à une simple toile de fond utilisée dans le cadre d’une séance photographique. À travers les premiers clichés de Tim Walker en 1998, les images hippie-chic de Corinne Day pour Vogue en 2005, ou les photographies réalisées avec un studio portatif en 2010 par Venetia Dearden pour isoler les personnages incongrus ou les célébrités présentes sur le lieu du festival, le spectateur découvre un portrait unique d’une communauté temporaire et de la culture festivalière. Glastonbury est un espace certes associé à l’expression de ce qui relèverait de la contre-culture, mais c’est aussi un espace qui est de plus en plus rationalisé. Il est ré-imaginé dans la photographie de mode, qui est elle-même un art codifié, et cette confrontation participe de la construction de la culture et de l’imagination britanniques.

Types and Expression Characteristics of Model Poses in Modern Fashion Photographs -Focused on Patrick Demarchelier's Fashion Photos-

Abstract This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashionphotos as well as expression characteristics. The conclusions of the study are as follows. The type of modelpose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper andlower body part, minimized type of upper and lower body part, maximized type of upper body and minimizedtype of lower body part, minimized type of upper body and maximized type of lower body part, basic type ofupper and lower body part. In case of having examined the correlation between body movement and costume,the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette,which was formed by decorative elements or full drapery. In the model poses included in the reduction of thebody, the costume tended to expose many parts of the body to provide a simple or structural silhouette form.The costume was expressed in colorful form and poses assumed without body movements. The expressioncharacteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, andsimplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturallyemphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to theimage as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused theeffect of paying attention to clothes or other incidental elements rather than the image expressed by the bodyof a model by excluding body movement.Key words

“A clonar, a clonar que el mundo se va a acabar”: imagen digital y subjetividad en la obra fotográfica de Cecilia Avendaño"

Among current young Chilean artists, the photographer Cecilia Avendano is known for exploring, in an extreme manner, the game between real and visual, through the intensive use of technology. Focusing on Avendano’s work Pride , a series of digital photomontage-portraits of children and adolescents, inserted within fashion photography conventions, this article analyzes the construction of digital body image through fragment, and its relationship with the processes of subjectivity construction in the context of globalization. Initially, it studies how the process of digital recording, cutting and assemblage produces body images without real referents, tending to indetermination; idea that refers to the construction of a floating subject, according to Sociologist Gilles Lipovetsky. Also, it addresses the connection of photomontage with processes of body normalization in a time dominated by mass media and advertising.

The Study of Expression Types and Aesthetic Meanings of Domestic Fashion Photographs Adopting Parody Storytelling

The purpose of this study is to analyze the expression types and aesthetic meanings of fashion photographs adopting parody storytelling. The expressions of parody storytelling in advertising into the following five 5 types: parody of literature, movies, TV programs, art, and social issues. Therefore, in this study, we analyzed fashion photographs adopting parody storytelling from literature, movies, TV programs, art, and social issues, in fashion magazines. The meanings of fashion photographs adopting parody storytelling are as follows: First, the photographs adopting parody storytelling create new meanings with respect to a changeable narrative by transforming the original. Second, the humor of deviation comes from fun and interest generated the play of intent transformation and reconstruction of the original. Third, the photographs adopting parody storytelling of social issues suggest current messages. There is a growing tendency toward the value and the meanings of storytelling, and the various contents that have become the motive of the parody have important meanings. In particular, the analysis of expression methods and meanings of storytelling will contribute to raising the brand image through an effective fashion photographs project strategy. A story can be used as a source of inspiration and can contribute various ideas for a fashion photo-shoot and for fashion marketing. Keywords: parody, storytelling, fashion photograph, advertising

2000년 이후 보그 이탈리아 에디토리얼 패션 사진에 나타난 광기이미지

Modern society attaches great important to state of the technology, but, unconscious desire and subconscious are also discussed in an important value. In the social background of such madness is acting as an artistic inspirational to the many people. At such a time, fashion photographs also being used medium which speak for people's desire. Editorial fashion photographs with unusual stories or including experimental visual elements unlike fashion advertising have increasing. The subject of this study is the formative characteristics in recognition of madness from ancient times until now and find out new meaning of the unusual and informal form of editorial fashion photographs showed in Vogue Italia since 2000. The analysis data of this study, we used 36 photographs of editorial fashion photographs taken by Steven Meisel, Tim Walker and Miles Aldriege. The final process of analysis made in with agreement of 10 major people. We used photograph's basic visual elements as analysis to avoid arbitrary interpretations. The content of this study is drawing in editorial fashion photographs from the viewpoint of Michael Foucault's Madness theory, Deleuze and Felix Guattari's Madness as the aspects of desire. The madness images in the editorial fashion photographs were showed as Decadence, Blindness, Violence and Grotesque based on the analysis results from above. The formative characteristics of editorial fashion photographs enabled the awareness on the value and importance of madness in modern society. These editorial fashion photographs can be the source of our wider perspectives for changing recognition of madness.

Erwin Blumenfeld: photographs, drawings and photomontages

A revelatory book about the life and work of an important fashion photographer and artist Erwin Blumenfeld (1897-1969) was one of the most influential photographers of the 20th century. His work offers a unique perspective on the society and politics of the 1930s through the 60s. Born in Berlin, Blumenfeld's peripatetic career took him first to Amsterdam and then to Paris, where his work in fashion photography began at Vogue in 1938. After two years in a French concentration camp, he made his way to the United States and established himself as an eminent fashion photographer. Over one hundred of his photographs featured on the covers of prominent fashion and general interest magazines, including Vogue, Harper's Bazaar, Life, Look, and Cosmopolitan. Often minimalist, mainly in color, these photographs testify to Blumenfeld's lifelong interest in experimentation. This landmark publication broadens our understanding of Blumenfeld's innovations, reuniting all the media used by the artist throughout his long career: drawing, photography, photomontage, and collage. The motifs of his experimental, sometimes overtly political, black-and-white photographs appear alongside numerous self-portraits and celebrity portraits, as well as the fashion photographs for which he is most known. Presenting some 150 images, this book provides a fresh understanding of Blumenfeld's photography for the commercial worlds of fashion and advertising.

Fashioning Cosmopolitan Citizenship: Transnational Gazes and the Production of Romance in Asian/American Bridal Photography

This article explores bridal makeovers, the visual production of bodily transformations in these practices, and the documentation of those transformations through bridal photography. It argues that photography performs three main intertwining functions. First, wedding photographs naturalize gender, emphasizing youth and beauty of the bridal body. Second, fashion photography taken of Asian American couples prior to the wedding functions simultaneously to demystify race by incorporating the subjects into narratives of heterosexual romance. Third, in creating these images, Asians and Asian Americans fashion themselves as cosmopolitan, global bodies able to traverse class, race, and nation through their participation in consumer capitalism.

Madness images shown in editorial fashion photographs in Vogue Italia since 2000

Madness images shown in editorial fashion photographs in Vogue Italia since 2000

Selling whose dream? A taxonomy of aspiration in fashion imagery

Abstract Scholars and practitioners assume that women aspire to fashion photographs of idealized models. It is unknown, however, what makes a fashion image aspirational because previous researchers have not explored the various dimensions that evoke this concept. In this article, I share the development of a taxonomy that explains the evaluative criteria and image elements that elicit aspiration in fashion photographs based on data gathered in focus groups with 100 women. Findings reveal that women aspire to a fashion image according to their evaluations that it is honest, empowering and socially responsible. The models, creative direction and visual cues in the image trigger these three aspirational criteria. My research contributes the first taxonomy of aspiration in fashion photographs and to the enhancement of knowledge about consumer engagement with images. Industry professionals are encouraged to incorporate promotional photographs into their corporate social responsibility agenda and produce imagery that represents women’s diverse beauty and character alongside glamour and artistry.

Impacts of Photographic Lighting Technique on Determination of Makeup and Beauty Image - Focusing on the Advertisements of Fashion, Cosmetics and Editorial Beauty Photographs Published in Fashion Magazines -

Impacts of Photographic Lighting Technique on Determination of Makeup and Beauty Image - Focusing on the Advertisements of Fashion, Cosmetics and Editorial Beauty Photographs Published in Fashion Magazines -

Selective List of Recent Dress Exhibitions

This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2013. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.

보호용 기능성 마스크를 응용한 패션 마스크 분석

This study analyzed the fashionable characteristics of functional fashion mask types. This study reviewed the literature on masks and analyzed fashion photos found in fashion books, fashion collections and on internet fashion sites. The results were categorized into four characteristics. Integration of structure and function showed mask designs that connected to the hood and portable items. It represented the reflection of nomadic life, liberation, obscurity and the consciousness of discomfort. Signs of playfulness showed mask hybrids and animal images, the mask hybrids and humanoid images, the printing of animal characters, body parts and unusual material hybrids. It represented the liberation from a fixed identity, the loss of seriousness, the reduction of tension and the pursuit of pleasure and freedom. The duplicity of aggression and protection showed a futuristic or aggressive helmet facemask, an enclosed mask of intensive color, and the morphological hybrid of a disgusting or aggressive motif. It represented the end of human weakness, the desire of new self-expression and the longing of superhuman power. Fanciful decoration showed masks with glittery decoration, sunglasses with luxury decoration material, a medical facemask made of lace material and fanciful printing. It showed one facet of extreme consumption, the creation of new personality and value, the pursuit of high quality and a mutual coexistence of status and anonymity.

Razvojni put modne ilustracije 20. i 21. veka – likovno predstavljanje mode (u slikarstvu, modnim tablama i modnim ilustracijama) / Development of Fashion Illustration during the 20th and 21st Century: Pictorial Representation of Fashion (in Painting, Fas

The theme of this study is pictorial representation of costume and fashion in painting, fashion plates and fashion illustrations. Fashion illustration of the 20th century, specific in terms of freedom of interpretation that is given to the artists when representing fashion trends, has kept those elements of painting that are almost lost in contemporary art movements (for instance figuration). Through several specific examples in art history I will try to demonstrate the artist’s approach to the representation of costume. In this study I will also try to define the role of painting when it comes to the fashion, the role of fashion plates and then the role of fashion illustration created in the early 20th century. Finally, I will take a look at the fashion photography that in the beginning has found its role-models precisely in the fashion illustration and today is returning to the visual characteristics of renaissance art, and to the painting in general, from which everything has begun.

Estampas del deseo y del desear: imágenes de moda en Argentina en las primeras décadas de 1900

El trabajo se propone indagar sobre el rol referencial de las fotografías de moda en el contexto argentino, en las primeras décadas de 1900. Estas imágenes no sólo difundían las transformaciones estéticas de un sector en avance sino que, debido a su "aparente verosimilitud" con la realidad, fueron un estímulo para los comportamientos de la época interpretándolos como ejemplares que, a la vez, se tradujeron en modelos que pusieron en tensión los valores de virtud largamente defendidos. Mujeres de la alta sociedad, maniquíes y estrellas de cine conforman el catálogo de figuras.

패션에 나타난 카무플라주 패턴의 시각적 표현특성

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

Fashion Photography and Hommage

Fashion Photography and Hommage

100 Years of the Fashion Film: Frameworks and Histories

This article outlines a preliminary history of the fashion film, a multifaceted form that can be traced as far back as the emergence of cinema but has only recently “exploded” thanks to advances in digital image production and dissemination. The article carefully negotiates the fashion film as a form that must be considered within multiple frameworks, namely cinema and the new media, fashion industry, entertainment, and art practice. Above all, the fashion film has come to embody a growing interest, within the realms of fashion promotion, image-making, and experience, in the expressive and marketing possibilities of movement and time. Unlike photography and other static imagery, the fashion film unfolds in time (as if somehow fulfilling a potential only suggested in photography or illustration), and, unlike the fashion show, it fixes fashion as image. Still, the fashion film is understood here not in isolation from these forms, but rather through their intermedial links, which have intensified in the “digital age”: fashion shows were among the vital early platforms for the exhibition of the fashion film, and fashion photographers were in the early 2000s their principal producers.

한국 패션에 나타난 한국미의 표현유형에 관한 연구

Korean fashion designs became important items in Korea in the middle of the 1980s, and it has advanced into the world market in the early part of the 1990s. To achieve success in global fashion world, it is necessary to analyze Korean fashion design thoroughly and prepare strategies to develop designs with mainstream acceptance in the global fashion world. The purpose of this study is to analyze the aesthetic characteristics and Korean beauties of Korean fashion designs. Fashion photos of Korean fashion designs from 2006 S/S to 2012 F/W were analyzed. 357 designs from 608 designs of 4 representative Korean designers were examined and design characteristics, expression styles were studied. The major conclusions of the study are as follows : 1. H Line, slim, fitted silhouette and loose look were applied. 2. 5 major traditional colors, red, blue, yellow, white and black colors were used. Brown color, neutral color, golden color and beige color of the textile material`s original color were used. Traditional textile materials like ramie fabric, satin and cotton, wool and metallic fabric were used. 3. Patterns of flower, traditional pattern and Korean letters were applied. Embroidery, patchwork and mother-of-pearl were decorated. 4. The three types of beauty were natural beauty, moderate beauty and decorative beauty. The types that were analyzed were realistic expression type, moderate expression type, image expression type and mixed expression type. To be accepted in global fashion world, Korean traditional design elements should be modified, broken down and reorganized so that Korean fashion design can be recreated.

Fotografia de moda: padrões e inovações no gênero

A partir da consideração da fotografia de moda como um gênero de imagens, este artigo investiga certos padrões instituídos ao longo do tempo e as rupturas que ocorreram na década de 1990, colocando essas imagens em diálogo com outros estilos de fotos. Alguns apontamentos sobre as imagens da publicidade da marca Marc Jacobs, criadas pelo fotógrafo alemão Juerger Teller, buscam explicitar certas características da fotografia de moda atual e o papel do consumidor no entendimento dessas imagens.

Selective List of Recent Dress Exhibitions

This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2012. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.