FIGURE 1- MASKS
FIGURE2-LADY WITH HORSE
FIGURE 3-LITTLE GIRL IN NEST
FIGURE4-MY OWN INTERPRETATION OF ALICE AND WONDERLAND
FIGURE5/6-GRACE CODDINGTONS FOR VOGUE'S INTERPRETATION OF ALICE AND WONDERLAND

An analysis of Fashion editorial photography with reference to Narrative theories.

Fashion illustration can be thought of in terms of photography as well as traditional media such as graphite and watercolour drawings. Fashion magazines develop a narrative around the clothes they are showcasing which directs the viewer/consumer's attention to the garments and holds their attention often via the setting up of a visual narrative within the photograph or series of photographs.

Such devices allow the creator/maker to target more directly specific demographic sectors within society and also to encode the visual images in a way that is relevant for a specific audience. This essay seeks to examine contrasting ways in which designers target their audience, encode the visual narratives they present. An examination of contrasting Fashion periodicals will enable a comparative analysis that will explore the various narratives being used. It will also draw upon the work of Roland Barthes for his understanding of the cultural codes being used within the encoding of visual images, semiotics of fashion and his work on narrative theories.

The main case studies will be fashion editorials from Vogue and Harper's Bazarre as representative of more high end mainstream fashion narratives contrasted with fashion editorials from ID magazine, Dazed and Confused and Pop magazine as examples of more avant-garde, cutting edge fashion narratives. The target audiences are very different for these publications so will show the variety of narrative devices being utilised. I will also make reference to my own work in creating visual narratives around a styling photography project will also be discussed.

The more abstract editorials such as I.D, Dazed and Confused, believe themselves to be more than fashion photography and more image makers, using more abstract photographers, some being fine art based pushing new and varied stylistic approaches as to what most high end photographers would use. Stylists have their own language and identity in which they bring to the shoot or campaign. For example, in figure one (Dazed and Confused), this image denotes two females, one on each page on a double page spread in Dazed and Confused magazine, although each female is on separate page this is still a strong connection and relationship between them when being presented along side one another to the viewer. This is because all, if not most of their face is masked. Black and white is only used in the entire shoot, one model being styled in black and the other styled in white. This idea, a conscious metaphor, is put into place perhaps to provoke the idea of good and bad. This in itself provokes a narrtive theme as such conventions are always found in narrative as a whole. There is always a good character and an evil charcter. Not only this but we tend to associate the ‘good’ as being white and angelic as opposed to the ‘evil’ whom we’d normally associate with blacks or reds, colours that typically connote bad things or danger.

The codes and conventions of this image strongly suggest an art-based focus, we can tell this by the ‘off the wall’, avant guard, spontaneous styling of the photo shoot. Another reason to suggest it is an art-based photo- shoot, is that only heads and torsos in both models are shown, there is no promotion of product or clothing, the image is merely an expression of creativity provoking thought to an audience. So much so, that one of the models only appears to be wearing a mask and the other is fully covered only revealing one eye. The lack of clothing and masking of these representations of female form connotes loss of identity transforming the females from pure beings to sexual objects suggesting vulnerability especially in the image on the right. This brings me to talk about the ‘Hermeneutic Code’ by theorist, Roland Bartes. The ‘Hermeneutic Code’ refers to ‘any element of the story that is not fully explained and hence becomes a mystery to the reader’ (Changing Minds, 2002); this can be depicted in the image in the way that people would interpret the images differently and generate a unique understanding from them. This leads me to explore critical theory such as the ‘Male Gaze Theory’, developed by Laura Mulvey this has been developed to depict the imbalance between men and women. The theory analyses the way women view themselves and other women, and also how men see women. The ‘Male Gaze Theory’ also suggests that women are denied human status; therefore they are looked upon as merely objects. In this instance male gaze theory applies but not only through the sexualisation of the female form but that the women featured are oddly beautiful, and this is an example of how women in society today aspire to be.

In Figure 2, the creators have completely different intentions; it is there for the sole purpose to advertise. Vogue can be, for the most part, recognised as a magazine which promotes wealthy lifestyles and costly top designer products, therefore this image in particular is a fine example of a wealthy, powerful female adorned in expensive fur, garments and standing with a horse in tow. In contrast to Figure 1, the codes and conventions of this image strongly suggest a fashion-based focus. Figure 2 highlights the ‘Semantic Code’ by Roland Barthes, the code refers to ‘connotation within the story that gives additional meaning over the basic denotative meaning of the word’. Whilst the image itself is relatively basic, horse and lady, the meaning of the image can be greatly explored and extended. The posture of the model denotes a strong sense of power, the stance of her raised chin displays confidence and her separated legs pushes a military pose. The body of the model is mostly exposed in a sexual manor, this could also relate to another issue Laura Mulvey considers to occur in the way text the text is read and sexualised. The theory argues that in examples such as advertising, the women’s body is sexualised and people are encouraged to gaze at this text even when the women’s actual body is unrelated to the product being advertised (Chandler, 2000).

Figure 3/4/ are my own work I directed, styled and photographed my own photoshoot in response to the brief ‘Narrative’. I focused on the theme of ‘Eternal Youth’, based on JM Barry’s Peter Pan. To re-enforce my vision I also I also made a short piece of film to back up my photography and give the viewers a real insight as to what I was thinking in creation. Within this I made 3D props and created two sets in the theme of ‘Peter Pan and the lost boys’, in empty spaces. The sets were made to look as magical and childlike as possible, I wanted this to be a place of magical sanctuary to escape in, along with the idea that it was somewhere children will never grow up, a secure environment. Taking the brief title of narrative into account I had to give the viewer a true feeling of the story. This links to Roland Barthes’ theory of the ‘Semantic Code’. This theory outlines the relationship between the denotative meanings of subjects in comparison to their connotative meanings.

I thought hard about whom I’d like my target audience to be. My final outcomes were aimed to be consumed/viewed by a certain niche audience. The same audience that would be attracted to such abstract fashion editorials such as I.D magazine, Dazed and Confused and Pop magazine. Such editorials focus more on narrative using a more radical approach, showing the garments in a light in which they would not be perceived in more high end and mainstream magazines such as Vogue, Harpers and Grazia. This was less about fashion and promoting products and more about narrative. For the photoshoot I had to think carefully about the choice of model, the clothing worn, exposure, lighting, scale, camera angle, positioning and stance of model, in which to create the appropriate end result that could be featured in such avant-garde editorials. I decided the story, made storyboards, did lots of research on location, props were made, and constructed, clothes and models/actors had to be decided on. I had an extra pair of hands to help me with lighting and production on the day. It was careful consideration of each of these elements that led to my successful outcome as well as expose my own knowledge of connotative meaning to create an image that had depth.

Figure 3 (nest) For this photoshoot I aimed to create a large scale birds nest, taking influence from the wendy bird house from JM Barry’s ‘Peter Pan and the lost boys’. I created a nest scene, putting a slight twist on the original with the aim to capture a real sense of security and nurture, whilst still obtaining the youthful elegance of the model used. I think she portrays a strong sense of youth within, pushing the look of innocence which is often the case now with such magazines as Dazed and Confused and I.D using models as young at fifteen, where as Vogue and Harper’s Bazaar always use a more mature looking model that portrays power and sophistication, so to appeal to their demographic audience. The image is slightly more art based in what you would see in more high stream fashion editorials I feel as though it tells a story of magic and wonder more than promoting a brand or fashion designers new collection. The clock in the background is a strong element in the narrative as this plays a big part in JM Barrys ‘Peter Pan and the lost boys’, the fact that once your in Neverland time almost stops-you don’t age/grow anymore, this is also furthered by the models youthful appearance, noted in her flowing hair, natural makeup and all round childish stance, portraying a sense of vulnerability. The white wing in the background providing security for the children, a visual representation of the boys being under Wendy’s ‘wing’ and the books show connotations of a motherly figure in which Wendy proves to be for the lost boys teaching them all to read and write it also reflects the age and maturity of the model shown, reiterating the need for an education and to further her knowledge. The hat that is worn provides her with an angelic quality, the circular shape creates an aura around her head depicting connotations of a halo.

Figure 4, (My own interpretation of an ‘Alice in Wonderland’ photo shoot) this being for a different brief, furthers the ideas of Roland Barthes’ ‘Semantic Code’, however takes it to a wider scale, this he outlines in his ‘Symbolic Code’. In this code Barthes’ describes deeper meaning to be found more typically in the use of antithesis: where new meaning is found in conflicting ideas. I have employed this code in this image to create a fantastical environment. I chose and made large-scale colourful props that really stand out in the organic setting of the photograph; the clothing that was worn and made was also selected specifically for the same reason. The antithesis they draw with reality I think, give the photograph illusive qualities, making it appear almost magical and dreamlike. The photograph is particularly stark and highly exposed refining the vivid colour palette, I chose vibrant pinks and reds for clothing, a complete contrast to the lush green and woodland surroundings - giving an un-natural fantasy effect. This image in particular contains many of the correct attributes found in the more adventurous, avant-guard editorial works as previously mentioned (I.D, D&C). At the end of the day, "An artist or designer is someone who experiments with our understanding of objects and meaning." And this was exactly my intention in this instance. [A Middleton, 2011]

Whilst it is successful in demonstrating fashion items and imaginative styling, it creates a narrative scene; in this case based around the story of ‘Alice in Wonderland’. Drawing on Barthes’ for mentioned theory on connotative meaning, I chose the most obvious symbols the audience would relate with in order to tell the story. The large-scale playing card being the central point is an iconic symbol from the story. Also, the hamper and cupcake in the foreground of the photo denote the ‘tea party’ scene, another key element of the well-known narrative. The un-naturalistic styling also helps to further the fantasy theme; hanging fish in the tree, pirate flags and the figure on the far left is dressed in a smart suit however is wearing the head of a donkey. With my approach being a more literal, vivid interpretation of the story there have been many different takes on Carroll’s infamous tale.

Grace Coddington

‘Alice in Wonderland’, containing many iconic symbols, has been taken on by many different photographers/stylists, as inspiration for work. Annie Leibovitz’s shoot for Vogue in December 2003 is a good example of how narrative photography can be interpreted in more high-end fashion magazines. Figure 6 is my favourite image from the shoot as it displays the narrative well whilst at the same being elegant, remembering its place in a high-end fashion editorial. As in my image, it is set in a natural outdoor environment taking full advantage of the natural lighting. Lit from behind, this makes for a far more subdued lighting effect contrasting to the vivacity found in my photograph - it is arguable that this makes for a more sophisticated outlook. The photo is also sophisticated in its styling approach, the iconic blue dress featured in the original narrative is still visible yet presented in a far more mature, (but costly!) elegant form. The bow in her hair depicts a youthful quality however the high heeled shoes show contrasting connotations of a far more sophisticated figure. Designer of the dress worn in the photo shoot, Jean Paul Gaultier, is also featured. Adorned in red and white stripes, and the huge smile of the Cheshire cat, he is found sitting in a tree looking down on Alice (Natailia Vodianova). His presence in the photograph is an interesting element of this shoot as rarely the designer would be featured along side his or her own creations, espaeciallly in the form of a fairytale character. Grace Coddington (artistic director at Vogue and stylist on this shoot) often tries to force Vogue out of it’s artistic comfort zones; broadening its demographic audience thus widening its appeal to readers looking for a more alternative editorial experience. Quoted by Anna Wintour (editor of American Vogue) as being “a magician”, Grace Coddington creates a cross over between avant-guard vivacity and high-end elegance; figure 7 proves most effective in doing this. Taken from this same shoot as well the photo draws many links with my work, its vivid colours used, styling and prop design, in particular the pink flamingos, best showcases this genius cross over Coddington successfully creates. The witty choreography of the models; (as well as a cross dressing John Galliano, as the Queen of hearts) is an aspect that would never normally be placed in a serious Vogue editorial. Natalia Vodianova is yet again styled in the iconic blue dress, which has again been transformed into an haute couture creation by fashion giant, John Galliano.

Throughout this essay, I have raised many different points about narrative theory in fashion photography. I have informed myself and have a broadened outlook on the subject and fully understand now, how the conventions of narrative can be encoded into fashion photography, whether it is more avant guard editorials or high-end fashion. I also understand how there is a fine line between the two, and Grace Coddingtons interpretation of Alice in Wonderland for Vogue is a clear example of the cross over yet strong divide between the two editorial genres.
Not only this, but ‘The Male Gaze’ theory but Laura Mulvey has helped me understand the use of the female form in editorial today. In fashion photography this is a big issue as the woman portrayed are more often than not what ‘society’ today aspires to be. This combined with Barthes’ semantic and symbolic codes, incurring depth of meaning, in this instance depth of meaning in fashion photography, as we denote and make sense and relate to what is presented to us.

Bibliography

http://changingminds.org/disciplines/storytelling/articles/barthes_five_codes.htm
http://www.garhodes.com/Semiotics_of_Fashion.pdf
http://trendland.net/wp-content/uploads/2009/06/alice-in-wonderland-by-annie-leibovitz-4.jpg
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www.changingminds.org.2002.barthesfivecodes
Taschen (2001), ‘20th Century Photography’, Italy
Roland Barthes (1989), ‘The Rustle of Language’, Translated by Richard Howard, France, ‘Le Bruissement De La langue’
Middle A (2011) lecture notes, Arts University college Bournemouth, www.computerarts.co.uk/in.../get_started_with_