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.