Is our

lifestyle

influenced by

fashion

photography?
 List of Illustrations:

YSL, Helmut Newton,1975 Janice Wakely,

Helmut Newton, 1959

Josh Hartnett, Mario Testino, 2005

Diana, Princess of Wales, Mario Testino, 1997

Mario Sorrenti, ‘Document 3’, 2017

lifestyles. I have explored several, varying photographers which connect to these elements and chosen specific

pieces of work which communicate these integral ideas and engage with these studies. I will be analysing three

photographers whose work covers the history and ideologies of fashion photography. Helmut Newton is the first

photographer that I will be researching. I felt his work fitted in well with my investigation as Newton has been

labelled the most iconic fashion photographer to have lived due to his distinctive style when it came to fashion

photography. Newton also has the earliest work I will be investigating therefore it provides me with a broader

perspective of the work he portrayed in the era of his lifetime. The next photographer I will be investigating is

Mario Testino who is a Peruvian contemporary photographer as well as being known as today’s most influential

fashion photographer. Analysing Testino’s work will aid an up-to-date viewpoint on fashion photography and in

turn lead to a well-rounded conclusion to my initial question. The last piece of work I will be investigating is

produced from the photographer Mario Sorrenti. Sorrenti investigates the personal relationship between art and

photography from today’s generation. This enables a futuristic representation on the influence of fashion

photography which will then help to gain further knowledge into my personal investigation. In terms of

theorists, I will be referencing John Szarkowski as he will allow me to critically look and read into the

techniques used in the photographs. Graham Clarke is another theorist I will be mentioning in my studies due to

his dependence on understanding the meaning and value behind an image, whether that be historical, cultural,

social or technical contexts. Lastly, I will be referencing Roland Barthes semiotics theory as this will enable me

to decode and understand meanings behind the signs and signifiers in the images. Throughout the investigation,

I intend to find a correlation in the portrayal of how fashion photography can influence lifestyles from different

time periods.

Initially, I will be analysing work from Helmut Newton (1920-2004). I decided upon Newton’s work due to his

importance in shaping the way fashion photography was taken through black and white images, during the 20th

century. I was particularly intrigued by his piece for Yves Saint Laurent which was published in French vogue.

Composed from his collection in 1975, this photo showcases a woman standing alone in a dimly lit street

holding a cigarette. Wearing a suit, and hair in a slick-back style, this particular image sparked controversy as at

the time people were not used to seeing women in trousers. Newton has emphasised the model’s androgyny with

the masculine stance and smoking. The exposure to this image allowed people to view women differently by

exploring their masculine side and influenced the acceptance of women’s masculinity, especially glamourizing
smoking for women as this was seen as a male-driven activity. The blurred and out-of-focus background

juxtaposes the focal point of the model with the lighting creating sharpness defining her bold features and

creating a main focus. This photograph has influenced aspects of people’s lifestyle, particularly during the mid

70s but also currently, as it is an important demonstration of what it means to be an independent woman.

Women have been influenced not only by what the model is wearing but also the lifestyle of celebrating choice

and freedom to live their own lives, creating a legacy for future generations. Another photograph I will be

analysing was taken for American vogue in Melbourne, of Janice Wakely wearing a black top, a checked

woollen skirt and a handbag in her outstretched arm. The relaxed and composed expression and posture, in

contrast to the busy street in the background depicts a strong sense of a casual-business look. Bringing fashion

photography to the streets enabled a new perspective on fashion, transforming it into what we know today as

street-style. Using Szarkowski’s theory and looking at the focus, an element controlled by the camera, Newton

has used a shallow depth of field to maintain focus on the model. It allows a blurred yet still visible background

of the long street behind her and fitting the car in the spacing she has made in order to keep the image

proportionate. The darker clothing is also another way in which the model remains the focal point as the

background’s colour tones are muted greys. Newton’s photography has influenced and shaped the way in which

women were viewed in the workplace with outward signs of independence, anticipating the women’s rights

movement in the 60s.

Secondly, I will be looking into Mario Testino, whose work involves photographing celebrity culture within the

aspect of fashion. To begin with, I will be analysing a photograph which is known to be the most iconic image

of Princess Diana, taken for Vanity Fair, as well as gaining Testino universal exposure ever since. Testino

describes what he originally intended for the photoshoot: 1“My original idea was to photograph Princess Diana

in her tiara. But then I thought, am I interested in seeing another picture of her as a royal person, or would I

rather see what she is actually about? And that's why I decided to do her without jewels, without shoes, without

trimmings”. This allowed the world to view Diana in a new light, with the natural setting and makeup showing

off her natural and raw beauty, as well as suiting the new non-ceremonial life she had started to lead. Princess

Diana is also wearing one out of her 79 dresses from her past marriage with the future king, to auction, which

1
Mario Testino, https://www.brainyquote.com/quotes/mario_testino_612170
sends a powerful message of independence and her changing life. Diana has been seen as one of the most

influential women in history and still remains carrying this legacy, therefore this photograph influenced many

people’s lifestyles from the way people portrayed themselves to the world. Testino has photographed Diana in

such a way to demonstrate that her clothing presents a strong message to her past-self and life, while still

maintaining elegance. Testino used a shallow depth of field to keep a focus onto the Princess’ face and draws

your vision to her eyes. The laying-down position shows a relaxed demeanour and the shadowed creases in the

dress suggest connotations to the life she used to live while once wearing the dress. Historically photographs

with dresses were often taken in a formal portrait, dating as far back as the 1600s, and Testino’s technique has

enabled a change in style and the way women are photographed in dresses. This corresponds with Clarkes

theory as the dependence on these contexts establishes and communicates the deeper meanings of Diana in the

image. The last image I will be analysing by Testino is a photo taken of Josh Hartnett for VMAN magazine in

2005. I was particularly intrigued by this photograph due to the masculine subject view. The main focus is the

bold red lipstick smeared around the models face which pops against the rest of the black and white image. The

masculinity shown through the white tuxedo and facial hair, contrasting with the makeup used in the photo

which confronts toxic masculinity. The rich lighting creating shadows on half of the model’s face corresponds

with the idea of one life being split into two from the damages in society that men should hide their feminine

side whereas Testino has turned this theory around. Relating to Barthes signs and signifier theory, the makeup

seen on the model and used as a prop, conveys and signifies a challenge in gender fluidity. During the beginning

of the decade men in makeup was still something people were not used to seeing and even today is not fully

accepted in society. However, Testino discusses his own opinion towards the portrayal of men in photography

and whether there has been a significant shift throughout his own career: 2“Not only in photography, in the

portrayal of men, full stop. I grew up in a society where you were supposed to fit, whereas today men are

supposed to be”. Testino challenges society by taking photos that will strike controversy, but in-turn, will

change the worlds perspectives.

Lastly, I will be discussing the work of Mario Sorrenti who is known for his intriguing and bold images with

sophisticated use of colour. The first photograph I will be analysing is “Document 3” which presents a layered,

textured composition, resembling an art still-life, relating to one of Sorrenti’s passions. The model laid over top,

blends in with the vibrant reds, oranges and blues. The photo can be associated to a springtime narrative and the
2
Mario Testino, https://www.vogue.com/article/mario-testino-interview-sir-book-release
abundance of objects involves many symbolic references. For instance, although the photograph radiates with

colour and lively objects, the model’s position and facial expression is lifeless. Thinking about Clarke’s theory

on establishing meanings, Sorrenti may have purposely done this to decode the idea that life can sometimes not

be how it looks and is rather much more complex, hence the business in the photo. The way in which Sorrenti

has photographed the fashion in this image is through an eye-catching and intriguing manner, taking a spin on

wild fashion of the future. Next, I will be analysing another photograph from the ‘Document 3’ collection,

however this image differs from the first due to the emotion-heavy subject and main focus on the model.

Sorrenti has used a flamboyant colour palette to incorporate art alongside fashion, this technique is very

contemporary which many fashion photographers are scared to experiment with, although it could be the future

of fashion photography. Using Szarkowski’s idea of focus used as an element controlled by the camera, the

dramatic lighting hitting downwards on the model, intensifies the bold makeup and colours used and the

provocative position juxtaposes her relaxed side profile. The red dress with the thigh high teal boots and lilies

spilling out behind her head, resembles to me the fashion of a peacock due to their signature flower-like feathers

growing from their body. Sorrenti may have purposely done this as peacocks are known to be admired for their

human characteristics, whereas he has reversed these positions by giving the model the beauty of a peacock as

this is what they are idolised for. This connotation could be linked with Barthes semiotics theory as this

photograph agrees with his theory of ‘a message without a code’, due to drawing my own denotations from the

image. The face paint smeared on the model’s face is also similar to artwork from artists such as Monet, tying in

with the artistic approach to fashion photography.

In conclusion, through looking initially at Helmut Newtons work, I was able to draw analysis from photographs

taken at an earlier time, paving the way for a development in the portrayal of fashion photography. His work

relates to trends released through the decades and thus influencing lifestyles of those generations for people.

Newtons rare and distinctive style has also enabled me to think about the different ways I can depict fashion

photography through everyday life while making it casual yet sophisticated, much like his piece for YSL. Using

Testino as a comparison, he takes a more current approach to fashion photography, using elegance and

integrating personal messages in his work to strike a change. Testino photographs many well-known and

respected celebrities and has utilised this culture in order to influence his audience as well as society. This has

led me to think about making my project themes meaningful so that controversy and different opinions can be

bought about from my work. Finally, Sorrenti’s work has given me an insight into where fashion photography
has been taken from a futuristic viewpoint, linking art with fashion. He has used his artistic abilities to compose

technical pieces that include editorial pieces with many denotations and connotations. Sorrenti has demonstrated

a journey to the future of fashion photography where experimentation and freedom are all explored, influencing

people’s lifestyles to become more personalised and creative. I believe analysing all three photographers and

relating them to associated theorists, has aided me to grasp the ideologies of fashion photography and how the

influence of it has evolved massively throughout the history. Relating back to the question, I believe fashion

photography has and does still play a massive role on the influence of not only lifestyle but society as a whole. I

have learnt valuable lessons including the point that fashion photography is more than the clothes laid on the

model. Fashion trends are influenced by popular figures in culture like celebrities, musicians and other high-

profile individuals. Current fashion is often cyclical, taking cues from decades past and re-working them to fit

within modern tastes.

Bibliography:

Anderson, K, (2015), [Man, Oh Man!], Vogue, [05.07.20], https://www.vogue.com/article/mario-testino-

interview-sir-book-release

Helmut, N, (2007), [Janice Wakely, 1959], National Portrait Gallery, [Viewed: 12.08.20],

https://www.portrait.gov.au/portraits/2007.5/janice-wakely

Horyn, C, (1997), [Diana Reborn], Vanity Fair, [Viewed: 04.07.20],

https://www.vanityfair.com/style/1997/07/princess-diana-reborn
Picton, S, (2019), [The Photography of Mario Sorrenti: A Democratic Celebration of Beauty], Beautiful Bizarre,

[Viewed: 18.08.20], https://beautifulbizarre.net/2019/05/14/the-photography-of-mario-sorrenti-a-democratic-

celebration-of-beauty/

Sayej, N (3.04.15), [Mario Testino: “I was always better at photographing men”], The Guardian, [27.08.20],

https://www.theguardian.com/artanddesign/2015/apr/03/mario-testino-i-was-always-better-at-photographing-

men