Fashion Photography

April 2013 marked the centenary of the birth of Norman Parkinson, and the retrospective exhibition Lifework at the National Theatre until celebrated a career which forever changed British fashion photography. This exhibition review was first published in Photomonitor.

The fashion exhibitionist: an insightful look at Vreeland’s iconic life. One of the legenday figures of the fashion world, Vreeland began her career at Harper’s Bazaar, where her monthly column, "Why Don’t You?," dared her readers to take control of their lives, take risks, and live dreams they didn’t even know they had. Her talented eye introduced us to the new beauties of the 1960s: Twiggy, Anjelica Huston, Marisa Berenson and Lauren Hutton. In collaboration with the twentieth century’s major photographers—Irving Penn, Richard Avedon, David Bailey, Horst P. Horst, Bert Stern, Lord Snowdon—Vreeland paved the way for a revolutionary transformation of fashion and photography. During her leadership of Vogue, the magazine became a vehicle destined to open the eyes of people from all walks of life. The book is divided into four sections dedicated to Vreeland’s origins and her taste; to her homes and the development of her style; to the magazine years; and finally to the years ...

(Capítulo de libro) Mediante la combinación del análisis literario y de la imagen, este artículo abre una perspectiva esencialmente práctica, interdisciplinar y diacrónica sobre la reutilización y resignificación del personaje shakespeariano de Ofelia, de una parte, por el pintor Prerrafaelista John Everett Millais (1852) y, de otra, en montajes fotográficos contemporáneos realizados por Alas & Piggott (2011), McGinley (2012) y Oh Joong Seok (2013) para la revista Vogue. Por motivos obvios de extensión, y para favorecer un análisis más detallado de estas muestras contemporáneas apoyado sobre estos icónicos referentes, no se persigue una revisión exhaustiva de todas las aproximaciones a esta malograda doncella, sino plantear una medida reflexión sobre la durabilidad y mutabilidad del personaje literario y la función de la obra de Millais como mediadora entre el texto teatral y estas reencarnaciones fotográficas. Nuestro análisis explorará la transposición del medio literario al pictórico y de este último al fotográfico, con el fin de precisar si estas recurrentes rutinas de apropiación y proyección de nuevos significados han terminado diluyendo y desvirtuando las características del personaje literario o, por el contrario, contribuyen a reforzar su presencia en la mente de los espectadores actuales y a reafirmar la durabilidad de la obra de Shakespeare.

Fashion photography reflects not only the desires and fantasies of the consumer, but also the changing face of cultural values in society as a whole. Fashion Photography: The Story in 180 Pictures charts the evolution and glamour of the genre. Featuring names from classic photography alongside those from more recent generations, its draws upon myriad archives and sources to provide a comprehensive and accessible exploration of the subject.

Fashion Photography: The Story in 180 Pictures charts how fashion photography flourished with the rise of illustrated magazines, how influential art directors collaborated with photographers to shape epochs of style, and how generations of fashion photographers have built upon one another to expand this genre over the past 150 years.

Through 180 key images, Fashion Photography: The Story in 180 Pictures surveys the important figures and movements to provide an essential primer to fashion photography.

Mémoire d'étude, sous la direction de Monsieur Denis Bruna.

Cette étude propose de revenir sur le lieu commun qui érige au XXe siècle la transition de l'illustration de mode à la photographie de mode, en lui redonnant toute sa dimension. Les premières photographies de mode, qui apparaissent peu après l'invention du médium, manifestent une forte influence de l'illustration de mode, en vogue dans la presse. Ensuite, à partir du début du XXe siècle, l'illustration, en plein âge d'or, se voit rattraper par la photographie de mode. Le photoreportage de mode en  consiste  une  extension,  fixant  sur  l'objectif  des  modèles  sur  les  lieux  de villégiature,  et  annoncent  l'émancipation  de  la  femme.  En  fin  de  compte,  la divulgation  de  la  photographie  de  mode,  qui  s'accompagne  de  sa  légitimation progressive, s'installe dans les années 1930 face à une illustration de mode toujours surreprésentée. C'est pourquoi l'objectif de cette investigation vise à démontrer en quoi les photographies de mondanités ont opéré la transition d'un médium à unautre, tout en dégageant les principaux enjeux.

The Fashion & the Senses Symposium held at LCF on 27th March 2015 was an international multi-disciplinary forum for industry professionals, practitioners, academics and postgraduate students with a shared interest in this emerging field - fashion and the senses. It was co-organised by Sara Chong Kwan, Associate Lecturer in Cultural and Historical studies at LCF and a final year PhD candidate, and Bethan Alexander,  Course Director of the MA in Fashion Retail Management at LCF.

Abstract: The paper discusses the work of Instagram artist Douglas Abraham as a techno- cultural construct, and how the intersections between fashion and art photography in his work reveal some of the conditions for image practices embedded in Instagram. His profile name on Instagram is bessnyc4, having been expelled from the platform four times. A close study of Abraham’s work informs our understanding of how cultural practices relating to fashion photography, brand management and censorship are performed on the platform. Close attention is given to artistic approaches to the mediation of fashion, as this is central to Abrahams’ artistic practice. The article analyzes a selection of Abraham’s works published on Instagram. The analysis is rooted in a media aesthetics approach to mediation. In such a perspective, attention is given to mediation as processes involving the perception and sense-making activities of a situated subject, and encounters between the spectator, the work and its cultural and meditational references. The very materiality of the media involved - in this case, Instagram - is central to the analysis. The article also draws on design theorist Anne Balsamo’s notion of techno-culture, as she predominantly conceives communication technology as cultural artefacts. Instagram as such a cultural artefact is thus central in providing the conditions within which fashion photography is negotiated.

Deborah Turbeville, the American photographer whose works appear in illustrated magazines like Vogue, Harper's Bazaar, Mademoiselle, Esquire and Art Forum, certainly belongs to the group of authors who are considered unavoidable in any serious study of modern photography. Together with Helmut Newton and Guy Bourdin, she represented a part of the new wave in the photography of the seventies: feeling the anxiety-ridden atmosphere of turnover, characteristic of the time when we were abandoning the visions of Woodstock and John Lennon and peace-making emancipatory humanistic thinking at the global social level, as well as consolidation of power elites, which turned the ideas of the sixties into parlour exhibits of the established social milieu, they reacted in a specific manner (epatez les bourgeois – make the bourgeois marvel), using elements of mystery in their pictures, creating photographs which stressed their surrealistic, decadent aspect, evoking the spirit of the 20-ies and the 30-ies. This nostalgic evocation thus became a paradigm of fashion photography in the seventies. This paradigm shows a couple of elements which should be pointed out:

1. frozen time
2. almost hypnotic empathy with place
3. anxiety
4. monochrome

Resumen: Pueblo fue uno de los diarios más importantes durante el franquismo. En los años sesenta, documentó la aparición de los nuevos ritmos musicales y los cambios en las formas del vestir para llegar a una nueva juventud urbana que demandaba mayor libertad. Entre estos re-portajes, destacan los trabajos fotográficos de Juana Biarnés sobre Mary Quant y la irrupción de la minifalda, midifalda y maxifalda. Mediante una práctica de archivo y el empleo de una metod-ología de carácter historiográfico, se pretende hacer una narración en base a los relatos y repre-sentaciones que Pueblo llevó a cabo sobre la irrupción de estas nuevas prendas en la moda joven y el impacto internacional de la revolución Quant. Abstract: Pueblo was one of the most important newspapers during the Franco regime. In the 1960s, it documented the arrival of new musical rhythms and changes in the way of dressing in order to reach a new urban youth that demanded greater freedom. Among these reports, the photograph by Juana Biarnés on Mary Quant and the irruption of the miniskirt, midiskirt and maxiskirt stand out. The research on archives and the use of a historiographic methodology present the stories and representations that Pueblo carried out about the irruption of these new garments in young fashion and the international impact of the Quant revolution.

This chapter surveys the recent history of fashion photography and provides an introduction to current scholarship and scholarly debates on the topic. It argues for the centrality of the image to fashion and explores the changing world of the fashion photograph. Drawing on Roland Barthes’ two distinct representations of the garment - image clothing and written clothing the author provides a close analysis of the street style fashion photography blog, The Sartorialist. The unclear status of fashion photography as art is also explored.

The question of what a fashion photograph is – its ontology – is a key concern. Traditionally a commercial image created by professionals in the service of the fashion industry, fashion photography now exists in numerous forms, contexts and functionalities. This has not altered its fundamental nature. Inventing something other, something new and the endless quest to imagine the future while creating desire for a soon-to-be-forgotten present, fashion cannot be understood without fashion photography.

"A Magazine", "Dutch", "joe’s", "Purple", "Self Service", "Six" and "Visionaire" are some of the magazines on which the book focuses in order to investigate the functioning of niche periodicals founded by groups of people who have cultivated a collaborative dimension and chosen to carry out experiments in the two-dimensional space of the page.Magazines seen as places of inquiry, means for presenting the discourse of fashion and nurturing it through the languages of art direction, graphic design, photography and styling. Deeply rooted in the 1990s, they link the culture and system of fashion with artistic practices, shining a spotlight on the work of hitherto unknown authors. The visual essay at the beginning reflects on the performativity of these publications and, like an exhibition on the page, brings together the work of six contemporary photographers: Benoît Béthume, Elizabeth Bick, Alan Chies, Paolo Di Lucente, Estelle Hanania and Dario Salamone.

Book details: https://www.marsilioeditori.it/lista-autori/scheda-libro/2970874/publishing-as-curating

"A Magazine", "Dutch", "joe’s", "Purple", "Self Service", "Six" e "Visionaire" sono alcune delle riviste privilegiate per investigare il funzionamento di periodici di nicchia fondati da gruppi di persone che coltivano la dimensione collaborativa e sperimentano nello spazio bidimensionale della pagina. Riviste intese come luoghi d’indagine, dispositivi che mettono in scena il discorso della moda e lo alimentano attraverso i linguaggi dell’art direction, del graphic design, della fotografia e dello styling. Connesse in profondità agli anni novanta, allacciano la cultura e il sistema della moda con le pratiche artistiche manifestando il lavoro di autori prima sconosciuti. Il saggio visivo in apertura riflette sulla performatività degli oggetti editoriali e, come una mostra in pagina, tiene insieme il lavoro di sei fotografi contemporanei: Benoît Béthume, Elizabeth Bick, Alan Chies, Paolo Di Lucente, Estelle Hanania e Dario Salamone.

Scheda: www.marsilioeditori.it/component/marsilio/scheda-libro/2970873/editoria-come-curatela

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In April 2019, on the occasion of the twenty-fifth anniversary of the six-monthly fashion magazine Self Service, Ezra Petronio, its co-founder and current editor-in-chief and creative director, designed and curated an exhibition in Dallas’s Design District, staged in the spaces of the Dallas Contemporary art museum. The title, “Self Service: Twenty-Five Years of Fashion, People and Ideas Reconsidered”, makes Petronio’s intentions clear from the start: re-examining the history of Self Service through an exhibition, bringing back into circulation the contents and authors—photographers, stylists and fashion designers like Mark Borthwick, Jane How and Helmut Lang—that have contributed to the definition and consolidation of the magazine from the second half of the 1990s to the present day. Here the printed material, which often constitutes the endpoint of an exhibition project, was the starting point and the exhibition was seen as a place in which to think in three dimensions about the making of the magazine and about the editorial process conducted up until that moment. The curator formulated a multi-voiced discourse, one that brought many perspectives and languages together and played on a sensibility developed in the field of publishing, deploying means and modalities typical of the production of a magazine.Starting out from this experience, and introducing other examples, the essay investigates the slippages between the two-dimensional space of the page and the three-dimensional space of the museum, and the ways in which editorial practices and propensities can help mould practices and propensities in exhibition-making.

El amplio desarrollo y popularización del uso de las tecnologías digitales en el campo de la fotografía ha sido aplicado, de forma muy notable, en el campo de la fotografía de moda y ha dado resultados muy evidentes en la construcción de la imagen de la mujer en el discurso publicitario. En efecto, la herramienta de postproducción digital en fotografía más popular, el conocido programa Adobe Photoshop, ha pasado a ser la herramienta de trabajo habitual entre los profesionales de la fotografía, que ha contribuido a construir una imagen absolutamente idealizada e irreal del cuerpo femenino. Este trabajo propone realizar una exploración preliminar sobre la problemática con el objetivo de elaborar unos niveles de intervención que permitan constatar los mecanismos de creación de un cuerpo femenino idealizado a través de las nuevas tecnologías. Como respuesta a esta tendencia analizaremos también propuestas alternativas que ponen en valor la belleza real de la mujer. La hipótesis de trabajo de la que partimos es que la intervención digital en la fotografía de moda es, en parte, responsable de la creación de un canon de belleza femenina alejado de realidad con la que se busca dotar de espectacularidad la imagen para generar una imagen de marca más potente y reforzar el estilo del propio fotógrafo. Los resultados permitirán preparar la segunda fase de la investigación, donde se realizarán entrevistas en profundidad a profesionales del sector y agentes sociales. El trabajo concluirá con una reflexión sobre la importancia de la fotografía como potente constructora de imaginarios y la responsabilidad del discurso publicitario ante estas prácticas.

William Klein’s interest in the grittiness of urban life laid the groundwork for his career as a street photographer, fashion photographer for Vogue magazine, and as an avant-garde
filmmaker. Klein’s body of work addressed the mass media’s role in postwar society with his depiction of ordinary people in compositions that blurred distinctions between everyday life and “high” culture aesthetics. Each genre that Klein utilizes, the photobook, fashion photography, avant-garde film, share and develop ideas concerning contemporary consumer society. This thesis explores Klein’s confrontational acknowledgment of mass media ideologies and its powerful methods that penetrate daily life.

Helmut Newton was one of the main photographers who changed the way femininity was
portrayed in the history of fashion photography, particularly in the 1960s and 1970s, by
showing women who were sexually empowered. During the second wave of feminism,
he depicted a concept of femininity that feminists were developing and looking for society
to recognize: the idea that a feminine woman was not just a delicate mother or housewife,
but a whole human being with her own voice, will, and desires. This thesis explores
Newton’s photographic style and the use of female sexuality as a tool of empowerment
to understand how Newton changed the portrayal of femininity in fashion photography,
by analyzing fashion photographs from magazines and campaigns from the period,
articles about Helmut Newton, femininity and sexual empowerment, and books about
feminism and fashion photography. Understanding how this transformation happened in
the past is relevant because it leads to a reflection on what can be done in photography
today to create a more faithful and contemporary representation of women and femininity
in the media.
Keywords: Fashion Photography. Helmut Newton. Femininity. Women. Representation.
Sexuality. Empowerment. Portraiture.

This thesis examines the female gaze in conjunction with fashion photography. It incorporates a multidisciplinary theoretical framework, embracing feminist and psychoanalytical discourse and semiotics. 'In Search of the Female Gaze: Women as Practitioners of Fashion Photography' uses the imagery of photographers Helmut Newton, Miles Aldridge, Deborah Turbeville, Corinne Day and Maisie Cousins as case studies in order to investigate the nuances between the way men and women look at and photograph women.

The aim of this paper is to explore the underlying meanings behind traditional representations of women in the fashion photography milieu and to evidence how fashion photography mirrors culture, thus carrying symbolic value and ideological codes. Additionally, through a descriptive approach, it intends to showcase fashion photography as a vehicle to debate gender and sexuality within patriarchy. A central idea of this paper is to emphasise that femininity is a social construct and to present the manner in which the female gaze eschews its conventional stereotypes.

As a foundation to my argument, I draw a parallel between the depictions of women in film studies and in art history, taking in consideration the discursive fabric of theorists such as Laura Mulvey, John Berger, Mary Ann Doane, Linda Nochlin, Rosalind Gill and Rosemary Betterton. French feminists Luce Irigaray and Hélène Cixous are also of great influence in this thesis, as well as Sigmund Freud and Jacques Lacan. By engaging critically with the representation of the female body and how meanings are mediated between producers and viewers, 'In Search of the Female Gaze: Women as Practitioners of Fashion' Photography. An Analysis of the Politics of Representation promotes a discussion of fashion iconography within gender and media research.

En esta tesis se aborda la obra fotográfica de Steven Meisel (1954–), caracterizada por un posicionamiento activista dentro del mundo de la moda, en el que se inscribe, que lo hacen singular. En la hipótesis principal se señala cómo un discurso subversivo como el suyo aúna el enfoque comercial propio de la fotografía de moda y el artivismo. De este modo, en el análisis en profundidad de su producción se incluye un cuestionamiento sobre los impulsos que le han motivado a adoptar un discurso de este tipo, y se aborda comparativamente, entre otras, obras de LaChapelle, Knight, Leibovitz, Weber, Toscani o Avedon. También se alude a las teorías de Crane o Gans, que muestran la desarticulación de los modos de producción cultural, al tiempo que se compara las posiciones sobre el concepto mismo de arte en Krauss y Becker.
En el trabajo, estructurado en dos partes, se ha empleado una metodología inductiva y
correlacional que rastrea las correspondencias dadas entre las praxis plásticas revolucionarias y la fotografía de moda en una horquilla cronológica que va desde el invento del medio hasta la actualidad. Esto ha permitido identificar las connotaciones activistas, definir su dimensión plástica y creativa, además de estudiar su influencia sociocultural. Como conclusión, se afirma que su imaginario y estrategias creativas, cargados de crítica social, cultural y política, rebasan la mera función comercial propia de la fotografía de moda para establecerse en una alternativa creativa insurgente. Igualmente, el análisis semántico e iconográfico de su producción destaca el modo en el que sus imágenes interaccionan con conceptos y valores culturales diferentes según las temáticas que este autor trata.
This thesis deals with the photographic work of Steven Meisel (1954–), characterized by an activist stance in the fashion world, to which he belongs, making him unique. In the main hypothesis, we signal how a subversive discourse as his own brings together the commercial approach, characteristic of the fashion world, as well as artivism. This way, the in-depth analysis of his production includes a reconsideration of the impulses that have driven him to embrace such a discourse, and there is a comparative approach of, amongst others, the works of LaChapelle, Knight, Leibovitz, Weber, Toscani or Avedon. There is also an allusion to the theories of Crane or Gans, which show the dislocation of every mean of cultural production, whilst comparing the stands about the very concept of art of Krauss and Becker. The paper, structured in two sections, uses an inductive and correlational methodology that traces the correlations arising between the ground breaking aesthetic praxis and fashion
photography in the time spawn ranging from the invention of the medium up to presentdays. This has made it possible to identify the activist connotations, defining its plasticand creative dimension, as well as studying its sociocultural influence. To conclude, it’s claimed that its imaginary and creative strategies, loaded with social, cultural, and political criticism, surpass the mere commercial function intrinsic to fashion photography to stablish themselves in an insurgent creative alternative. Likewise, the semantic and iconographic analysis of its production outlines the way in which its images interact with concepts and cultural values that vary depending on the topic discussed by the author.

"Brief history of fashion photography", BA thesis, Polish-Japanese Academy of Information Technology, 2014, Language : Polish

Historia fotografii mody to, najkrócej ujmując, zapis fotografii stworzonych na potrzeby prezentacji lub sprzedaży odzieży i akcesoriów. W szerszym ujęciu, jest zjawiskiem dającym świadectwo artystycznych wpływów, uwarunkowań
społecznych, kulturowych i ekonomicznych konkretnego miejsca i czasu. Głównym problemem towarzyszącym analizie fotografii modowej jest jej ilość i transgresywny charakter. Określenie, czy dane zdjęcie mieści się w ramach fotografii mody czy (jeszcze) portretu albo (już) fotografii kreacyjnej niezawsze jest oczywiste. Pisząc niniejszą pracę, skupię się na obrazach powszechnie znanych, objętych komentarzem w literaturze tematu. Podobnie podejmę charakterystykę uznanych fotografów. Tutaj jednak dodatkowym czynnikiem
będą moje osobiste preferencje jako praktyka i adepta fotografii. Cytując Susan Sontag;
“Najdoskonalsza modowa fotografia to fotografia czegoś więcej niż mody”1.
Tą sentencją będę kierował się przy dalszych rozważaniach.
Celem pracy jest zarysowanie drogi, jaką ewoluowała dziedzina problemu.
W rozdziale pierwszym definiuję pojęcie fotografii mody, definicję niezbędną dla dalszej analizy tematu. W rozdziale 2 tworzę zarys ogólny danego dziesięciolecia biorąc pod uwagę stopień rozwoju fotografii jako takiej, czynników społeczno-ekonomicznych oraz panujących trendów w sztuce danej dekady. Rozdział 3 poświęcony jest opisowi sylwetek pięciu twórców, którzy mieli wyraźny wpływ na całą dyscyplinę . Rozdział czwarty zawiera materiał zdjęciowy na który powołuję się w całej pracy, podsumowanie oraz szczegółową bilbiografię i źródła materiałów zdjęciowych.

Vasilyeva E. THE PHENOMENON OF FASHION PHOTOGRAPHY: THE ORDER OF MYTHOLOGICAL SYSTEMS // International Journal of Cultural Research, N 1(26), 2017, pp. 163-169.

In the systems of the twentieth century — social, artistic and mythological — fashion photography takes a very special place. On the one hand, its specifics is defined by a narrow-functional task: presentation and demonstration of clothes and fashion items. On the other hand, its basic principle is the creation of ideologies, the boundaries of which extend far beyond the practical tasks. In fact, fashion photography has played a central role in the creation of the phenomenon of fashion. It takes a major part in the creation of the environment, which we identify as the instrument of establishing values. Fashion photography forms the other than language or commodity economic of values, ignoring the principle of direct relevance and direct equivalent. It allows to consider fashion as a symbolic system, which is opposed to the principle of the dichotomy of sign. The article is devoted to fashion photography which could be recognized as an example of cultural industries — that reproduces not only the social stereotypes of a sign, but also support the regulation of mythological systems.

This album comprises works created by a Latvian photographer Janis Kreicbergs over 45 years (from 1960 to 2005) within a geographically vast area (USA – Europe – Asia) and under various political regimes (the USSR during the Khrushchev Thaw, Soviet bloc and Western countries on both sides of the Iron curtain during the Cold War, and the renewed independent Republic of Latvia). The album contains widely published and exhibited works along with first publications, i.e. the photos that art editor Zenta Dzividzinska discovered while working with Janis Kreicbergs’ photo archives. All of his works contain motifs (in subject matter and formal qualities) that make them unmistakeably his next to the work of many of his contemporaries. One such motif is “style”, interpreted by Barthes as an “organised network of obsessions” (Kreicbergs’ network of ideas consists of spontaneity, freedom and sensuality). There is also a thematic leitmotif: interpretation of the feminine image and individuality, shifting between the universal (sexuality) and the individual (personality). Another important element is Kreicbergs’ photographic manner with its set of unique features, which combines the principles of snapshot and staged photography (a blend of elements from 1960s studio photography, from so-called street photography, press and report photography, as well as fashion and advertising photo stylistics). These subjective qualities along with the ever-present historically documentary aspect make Kreicbergs’ selected works a unique value within the context of European and Latvian photographic art history.

Devoted to Italian fashion publications from 1971 up to 2001,  the essay focuses on magazines such as "Donna", "Mondo uomo", "L'uomo Vogue", "Vanity" and discusses the work of journalists, photographers and art directors such as Flavio Lucchini, Gisella Borioli, Franca Sozzani, Luca Stoppini; the essay opens an iconographic atlas, which has been built up from a selection of the most significant double-page fashion spreads published in Italian magazines over the course of the thirty years under examination - in "ITALIANA. Italy Through the Lens of Fashion 1971-2001", edited by Maria Luisa Frisa, Gabriele Monti, Stefano Tonchi, Marsilio, 2018 (published on the occasion of the exhibition, Milan, Palazzo Reale, February 22 - May 6, 2018).

In this chapter, I draw on a theory of visual consumption to show how art historical conventions inform contemporary marketing images, infusing them with visual, historical, and rhetorical presence and power. I invoke an analytical concept of consuming difference to describe a relational framework of contemporary brand identity campaigns that draw on what I call the ideology of the group portrait as a visual technique for representing identity. I treat advertising imagery much the way an art historian treats pictures as I proceed to analyze illustrative examples through the classic art historical techniques of formal analysis, compare and contrast, and interpretation—framed within representation understood as a cultural practice.

A década de 1960 nos revela rupturas nos padrões de representação de gênero, visíveis, entre outras, nas fotografias de moda, que passam a questionar o modelo hegemônico de sexualidade tradicionalmente associado ao masculino e ao feminino. Este trabalho objetiva-se ao exame da evolução do vestuário dos anos 1960 e das formas de sexualidade e exibição do corpo, por meio da análise dos editoriais de moda do jornal carioca "Correio de Manhã". Palavras-chave: Fotografia. Moda. Gênero. Fashion and fashion images in the 1960s Abstract The 1960s reveal us ruptures in the patterns of gender representation, visible, among others, in fashion photographs, which come to question the hegemonic model of sexuality traditionally associated with masculine and feminine. This work aims to examine the evolution of 1960s clothing and the forms of sexuality and body display, through the analysis of the fashion editorials of the Rio de Janeiro newspaper "Correio de Manhã".

The article proposes that Michelangelo Antonioni's films "The Red Desert" and "Blow Up" were deeply influenced by the director's enthusiasm for the abstract-expressionist paintings of Mark Rothko. 
It begins by recounting Antonioni's special visit to Rothko's studio when in New York for the premier of "L'Eclisse", and the film-maker's uttered responses upon seeing artist's vaporous abstractions in situ.  The article then discusses Antonioni's known use of values derived from modern art to compose with his cinecamera to that point, then carefully shows overt correspondances between Rothko's art and the handling of colour within his next film, "The Red Desert".  Specific scenes are used to demonstrate the points, indicating clear connections with Rothko's "misty" work.
The analysis then shows how the visual puzzles posed in Antonioni's next film, "Blow Up", directly connected with contemporary discussions of abstract art - including Rothko's work - as well as the phenomenology of perception.  Close attention is paid to the crucial scene set in an artist's studio featured within the film, and how the director presents the interpretation of blown up photographs.
6pp.

Man Ray’s enigmatic Noire et blanche is today a modernist icon with a celebrity status rare for a photograph. The dramatic pairing of an African Baule-style mask from the Ivory Coast with the famous face of Kiki of Montparnasse has been prominently featured in exhibitions and publications on Man Ray and surrealism. Owing to their beauty and rarity, Noire et blanche prints are highly prized in the marketplace, where they are sought by museums and private collectors alike. A new look at the trajectory of the image from its first publication as fashion photograph in the May 1926 issue of French Vogue to its position in the surrealist canon reveals much, however, about the place of the photograph and its creator within conventional modernist narratives. Th is essay proposes to correct some persistent misconceptions about the photograph—its extant negatives and prints—and to unmask, as it were, the Franco-American historical context behind the making of one of photography’s most recognized images.

In the 1930s, several key fashion photographers were practicing Surrealists: Man Ray, Georges Hoyningen-Huené, Horst P. Horst, Cecil Beaton, and Erwin Blumenfeld. Using surrealist experimental photographic techniques, each photographer drastically changed the way fashion was seen in the pages of Harper's Bazaar and Vogue magazine. While scholars argue that the assimilation of surrealist aesthetic devices in fashion photography commercialized Surrealism during the thirties, such photographic output has yet to be assessed in relation to surrealist thought and its photographic practice. This presentation reconsiders the association of fashion photography as a form of advertising and instead outlines its relation with the artistic avant-garde.

The aim of this master thesis is to find out how the everyday life is aestheticized through the
medium of photography in fashion brand imagery and what impact does it have on professional photographers, consumers, and products in focus. To present the perspectives of both professional photographers and consumers, the in-between method of triangulation was
used.

L' objectif de ce travail est de démontrer que les images photographiques n'appartiennent pas seulement aux arts de l'espace mais bien aussi – et surtout – aux arts du temps. Pour appuyer notre démonstration, nous prendrons en considération la photographie de mode et notre approche sera sémiotique.