![]() No matter how artificial the setting, a fashion photograph must persuade individuals that if they wear these clothes, use this product, or accessorize in such a way, the reality of the photograph will be theirs. The psychology behind a fashion photograph as a selling device is the viewer's willingness to believe in it. It also reflects women's image of themselves, including their dreams and desires, self-image, values, sexuality, and interests. In reality, it has produced some of the most creative, interesting, and socially revealing documents and revealed the attitudes, conventions, aspirations, and taste of the time. That fashion photography has a commercial intent implies to some that it lacks photographic and artistic integrity. At the end of the twentieth century, the Calvin Klein advertisement featuring only Calvin's portrait changed the very definition of a fashion photograph from a picture of the featured clothing to the selling of a glamorous lifestyle identified with a specific logo.įashion photography has sometimes been called ephemeral, commercial, and frivolous, and its importance has been called into question. The distinguishing feature-and the common denominator in the enormous diversity of style, approach, and content-is the fashion photograph's intent to convey fashion or a "fashionable" lifestyle. ![]() Photographs of fashionable dress, in existence since the invention of photography in 1839, are not fashion photography. The juxtaposition of the velveteen softness of the fur and the hardness of the marble is enchanting.A fashion photograph is, simply, a photograph made specifically to show (or, in some cases, to allude to) clothing or accessories, usually with the intent of documenting or selling the fashion. Others instead center interactions between art and viewer, like in Sheila Metzner’s The Passion of Rome, where a model cloaked in furs reaches her face up toward a marble statue, about to press her mouth against the marble lips in a cold kiss. Not all of the images are direct references to famous works of art. 1, Winfield Estate, Long Island, New York, 2004 © Rodney Smith Smith’s photograph is remarkably painterly in form, the fabric of the white dress and the folds of the curtain in the background slightly blurred as if they were made of oil paints smudged together. Here, we see the natural bend and fold of the body. But the most striking difference between the two works is the curve of the model’s torso, which had been inaccurately represented in Ingres’s painting with an overly elongated spine. In Smith’s version, the model is twisting away, not looking at the viewer. 1 pays homage to Ingres’s La Grande Odalisque, the famed Romantic painting of a concubine draped languidly across royal blue cushions. Masters of Art, Masters of Fashion : Sandro Botticelli and Todd Oldham, 1996 © Howard Schatz Several images are direct reinterpretations of famous works of art, including a rendition of Botticelli’s The Birth of Venus among others. From Arthur Elgort to Deborah Turbeville, the exhibit ranges from traditional fashion photography to more experimental imagery where fashion happens to play a role. “ Art + Fashion”, a new exhibit at the Staley-Wise Gallery, showcases a collection of approximately 30 images ranging from the 1940’s to today, all playing with the relationship between fashion and art. ![]() As such, when fashion photography began to overtake fashion illustration, many photographers began to position famous artworks within their imagery. From Yves Saint Laurent’s famous Mondrian collection, to Elsa Schiaparelli’s collaborations with Jean Cocteau and Salvador Dalí, fashion has long sought to establish a connection between the applied arts and painting or sculpture. ![]() The fashion and art worlds have long been intertwined, as designers have collaborated with artists, or referenced their work directly. ![]()
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