Finally have internet back, and finally can upload the little examples of my photography essay that I've been playing around with. The theme for me is how as couples, how their style evolves to match each other, and whether that statement is actually true. However there is a twist, and the pictures here will show you what I mean…
I've taken it a step further, and used a stylised approach to exaggerate the trend of couples 'merging' into one another. This particular example is my face on my boyfriend's head and I do find it rather hilarious. This is just one of the methods I'm going to use on photoshop.
This is just a very small preview for now, don't want to give it all away too soon, but I will more than likely upload the entire finished photo essay.
As a sort of nice easy task before Christmas, we were set the brief The Object of Desire; to create a photo that somehow was linked to this theme. For me when I think of desire I think of what is it that we desire the most. For a lot of us it's the desire of beauty, to be perfect in our appearance. The theme also brought to mind the idea of sexual desire. I think a red lip epitomises these two reflections perfectly, with the red lip being considered quite a sexual and provocative image as well as the seductive way in which the lips are parted. I think it also demonstrates how we use makeup to beautify ourselves, showing how we are never happy with our bodies natural appearance (something I explored in much more depth in a previous blog post on body image.) I also used the mirrored affect as a way of reflecting the vanity that this desire causes. The repetitive nature of it I think comments on the 'selfie society' that we live in, that this photo reflects that moment before a hundred selfies.
As well as trying to create a photo that really screams desire, I also found it a good opportunity to have a play around on Photoshop, using skills such as blur and brightness enhancing, as well as discovering some new ones. I'm really trying to get in as much practice with using Photoshop as possible, as it's going to be something I'm going to rely on for my street style photo essay brief (of which I will post the finished product here), as well as countless other assignments in the future I'm sure.
My favourite museum in London, and a showcase of one of fashion's favourite photographers. The Victoria and Albert Museum payed tribute to Horst P. Horst in an exhibition of his work from his illustrious career spanning 6 decades. A legend in his field as well as in general, his photographs have become iconic statements of elegance, style, and classic movie star glamour. Much of his style reminds me of a lecture we had on icons of fashion. That old fashioned Hollywood charm speaks through his many of his images, especially the very elegant, black and white portraiture photos. Everything about his photos are dramatic and memorable. The black and whites are so minimal, just concentrating on contrast and light to achieve the perfect picture. The simplicity of the images makes the skill behind them even more admirable and the results even more beautiful.
I find there is something very romantic about his style. When walking through the gallery I couldn't help but be transported back to a time of sophistication, refinement and champagne saucers. 94 original Vogue covers shot by Horst were displayed at the exhibition, each of them beautifully preserved, more like pieces of art under the glass cabinets, not magazine covers. His sketch books were also laid out on display, like windows into the workings of the mind of a truly talented and creative genius.
Vogue cover August 1957
There was a lot to take from the exhibition, the fact that I had only ever regarded Horst as a fashion photographer before, and knew nothing about his work with Surrealism, Nude Photography, Travel documentation as well as prints and patterns that he also photographed. It definitely gave an interesting insight into all of his work, and walking around the actual exhibition room an incredible visual experience that left me feeling a sense of longing afterwards…I want to be photographed by Horst. However that's not possible, so in the meantime I'm just going to satisfy my desire by learning and absorbing as much as his work as possible. Ultimately I would highly recommend visiting the exhibition, even if you aren't interested in fashion, you can still appreciate the remarkable talent of a man that provided so much influence to photography today, and that's something pretty special.
One of my earliest memories of Christmas shopping probably goes back to when I was about 7(ish), with my parents taking my brother, sister and I to London on a cold December Saturday, wrapped up to our eyeballs in wooly scarves and hats and ambling us round the streets of Knightsbridge, Leicester Square, Oxford Street and all the major shopping haunts of Ye Olde London town. Back then I was probably more interested in Hamleys then Harvey Nicks, but the common factor that provided so much appeal has always been the Christmas window displays. Every year without fail gazing into shop windows at the gorgeous Christmas displays always leaves me feeling so festive. And who does it better then London’s most luxurious department store Harrods. This year I loved how they really embraced what I would consider a traditional Christmas, but of course with a glamouous Harrods twist. From the little mice having their own festive celebrations to Santa and his reindeer, I thought it was an extremely cute way of showcasing products and enticing passers by to come have a closer look, after all who can resist those sort of classic holiday scenes. It was almost like projecting a Christmas jumper into a rather huge shop window, and that would be a jumper I would want to wear!
Scenes from the Mouse household
A Christmas Ballerina
Mr and Mrs Mouse
Eerily beautiful
Wouldn't mind one of those on my tree!
Patchwork rocking horse
Harrods: The land of make believe
I don't know about anyone else, but looking at these is definitely getting me in the Christmas spirit. Not long now!
‘The best fashion show is definitely on the street.’ Bill Cunningham
Set on the pulsing streets of Manhattan, this documentary follows the life of fashion photography veteran Bill Cunningham. It portrays a man passionate about his work to the point of obsession, principled in his approach to it, and humble in his recognition of it. One of the most significant characteristics this documentary portrays of Bill is his utter disdain with the glamour of the fashion industry. Celebrities and socialites are not the focus of Bill’s lens, but instead he favours photographing everyday people on the street, who he thinks are interesting. Bill himself states ‘I am not interested in celebrities and their free dresses, I’m interested in clothes.’ His outlook on the fashion industry is refreshingly simple. It doesn’t matter who you are or where you’re from, if what you’re wearing is innovative and exciting, then you are a true style icon in the eyes of Bill Cunningham.
It is clear how highly respected Bill is within the industry and amongst his peers, as being one of the most enduring fashion authorities of today, with Vogue Queen Anna Wintour herself stating that: ‘We all get dressed for Bill’. It is his stamp of approval that any fashion enthusiast would be seeking, and to be featured in his New York Times style column would be the highest honour, something most would aspire to achieve in the style careers.
One of the main things I took from this film was how vital photography, imagery and just general visual aesthetic is within the fashion industry. It captures the art of fashion as it’s happening, and in its most raw entity. With Bill Cunningham, it is not so much just about taking pictures, but telling stories, and depicting peoples lives through the medium of photography.
Despite the sea if digital equipment available to him, in the film Bill prefers the medium of good old fashioned film roles. There is something about film that is so much more raw and organic in its appearance. Digital is too perfect; it lacks the essence of what’s real, probably why Bill uses it; someone whose approach to story telling is so sincere, with all his photos dedicated to discovering something authentic and beautiful. It fits perfectly against the back drop of New York City, a concrete jungle harbouring so much life and vision within its walls, pavements and streets.
While Bill is very keen to create photo narratives of other peoples lives, he is very reserved when it comes to his own story. The film concentrates very much on his work, with very little insight into his personal life. We learn very little about his background, his family or his relationships. We get the impression that even those who have known him for years know very little about him. He is a closed book, hiding behind the disguise of a camera lens and an old, navy rain mac. His pictures alone stand as the testament to his life, the decades spent devoted to capturing, and worshiping the style of New Yorkers.
The film is a fantastic and fascinating insight into one person and their passion. Bill is a humble man whose enthusiasm and joy for his work is utterly contagious. If Bill loves it, you can’t help but love it too. It is a simple story of a simple man, but one that is funny, uplifting and ultimately inspiring.
