However, outdoor photo shoots were not unheard of. It has been noted that these outdoor photographs "carried an allusion of authenticity and spontaneity that made the fashionable clothes appear more vibrant than the sculptural effects of studio photographs could achieve" (Grossman 1).
With the impact of World War II, specifically with Germany invading France in 1940, American fashion magazines had to close their Paris locations and only a small amount of information was able to pass from occupied France (Grossman 1). Some fashion photography began to take on the "documentary" type feel of the war footage. However, these wartime fashion photographs were not made available to an American audience until after the war had ended (Grossman 1). From the conclusion of World War II, a new generation of fashion photographers emerged. The photographs of Richard Avedon and Irving Penn were typified with spontaneity and motion, yet still remained quite focused on elegance (Grossman 1).
The 1960s, with its cultural emphasis on sexuality and "free-loving," saw an increase in the sexual depiction of the photographer-subject relationship (Grossman 1). However, towards the end of the 1960s, an economic recession yielded many reductions in magazine budgets, and a new emphasis was placed on dark, violent eroticism (Grossman 1). "After the sexual revolution, photographers worked hard to shock an audience that had grown accustomed to nudity, by incorporating sexual innuendo, homosexuality, cross-dressing, voyeurism and scenarios suggesting rape and murder into their images" (Grossman 1). Additionally, the 1970s saw a distinct shift to emphasize the female body as an object of fetish and sexualization (Jobling 10).
This emphasis on shocking sexuality developed into an even more shocking and compounded depiction of sex and gender in the 1980s (Jobling 10). The 1980s saw men's and women's bodies become objects of desire (Jobling 10). Fashion photography in the 1980s became more daring and diverse (Jobling 17). This new bold and audacious style of photography gave way to an even more courageous style of fashion photography in the 1990s.
Subsequently, the 1990s saw the development of a new "heroin chic" style of fashion photography (Jobling 2). Fashion photographers explored the dirty, gritty, and grungy realities of life. "The shift to a neo-realist style of representation in 1993 by photographers like Corinne Day and Davide Sorrenti and the concomitant debate concerning their imputed celebration of heroin chic is an illuminating case in point. For such photographers the most important thing has been to portray the streetwise attitude of young people and the contempt may of them have for high fashion" (Jobling 2). In other words, the emphasis and purpose of fashion photography became concerned with life on the street, and the true feelings and attitudes of the younger generations.
Thus, this development of fashion photography over almost a century has signified fashion photography's focus on social and political commentary. Scholars and critics both note that "…fashion photography can both make a profound impact on the social and cultural scene, and have the potential to make a lasting rather than fleeting impression on the consciousness of any individual" (Jobling 3). People who buy or even just fleetingly view fashion magazines in passing are being more affected by the fashion photography on each cover and within. "If we look beneath the surface of the fashion magazine, therefore, a whole cluster of more complex and serious issues emerge concerning the objectification of sex, gender, race and class, as well as the politics of consumption and pleasure" (Jobling 3). Accordingly, the modern state of fashion photography has developed into a long-lasting, highly effective means of reaching different types of people across the social spectrum. It is in this way, in addition to being highly relatable to fine art, that fashion photography must be considered true art and not mere advertising.
II. Recent Developments of Fashion Photography Advertising
Currently in modern fashion photography, there are three main categories to be acknowledged: editorial, advertising and documentary (Grossman 1). Understanding these three types of fashion photography is important because it helps understand the motivation and approach each photographer takes in creating the work.
In editorial fashion photography, a magazine or other publication commissions a photographer to provide the source with the most recent updates in fashion for its readers. In advertising fashion photography, the designer or manufacturer or retailer of the apparel commissions the photographer to produce works featuring their products to help create brand identity. The designer, retailer, or manufacturer typically pays for the space in which the advertising photograph appears. Lastly, in documentary fashion photography, designers commission photographers to document their specific...
Here�is an example of a personal statement essay that a student provided to a University where they were�applying to their fashion design school. �This document should�serve as a�template or guideline in completing your own personal statement. �A personal statement is usually a requirement when applying for college or a job. Personal Statement I am a passionate fashion designer and advocate of good grooming. I perfected this art from the vast knowledge gained
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