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
http://www.computerarts.co.uk/in.../get_started_with_
www.stylist.co.uk
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_