Richard Avedon (1923-2004) revolutionized fashion photography starting in the post-World War II era and redefined the role of the fashion photographer. Anticipating many of the cultural cross-fertilizations that have occurred between high art, commercial art, fashion, advertising, and pop culture in the last twenty years, he created spirited, imaginative photographs that showed fashion and the modern woman in a new light.
One can't help but admire his iconoclastic stance in shaking up the chilly, static formulas that had been dominated by Europeans for years, injecting new stylistic innovations that would revolutionize fashion photography for years to come. By the 1950's his work was so influential he was the most imitated fashion photographer in the world.
THE DARK MISFIT
Thus far I've concentrated on Michael's fondness for classic cinema and
musicals, but there were most definitely darker influences as well. His
leather-and-buckle style emerged perhaps as Michael struggled with his
life of imposed near-solitude and the battle for privacy he fought from
the media and crazed fans. He seemed to identify with, and then
project, a kind of misunderstood misfit persona, even while continuing
grueling tours and recording sessions. April's auction of Jackson's
ephemera included many of his home furnishings, sculptures, children's
race cars, and many many spangly clothes, but what caught my special
notice were the Edward Scissorhands
(1990) prop hands.
JOHN GALLIANO (1960-) is one of the most influential fashion designers of our time. Born in Gibraltar, he grew up in London and launched his own label before becoming chief designer of France's haute couture flagship, Christian Dior, in Paris.
John
Galliano has created the most spectacular fashion shows of our time.
Since his 1984 degree collection, Les Incroyables, which metamorphosed
his London art school into a French Revolutionary street scene, he has
transported his privileged audiences to more exotic and sartorially
blessed places than they could possibly have imagined or experienced.
Lisa Fonssagrives: Her image appeared on the cover of many
magazines during the 1930s, 1940s and 1950s. She worked with top
fashion photographers including George Hoyningen-Huene, Man Ray, Horst,
Erwin Blumenfeld, George Platt Lynes, Richard Avedon, and Edgar de
Evia.
Since i have spent a lot of time collecting movie stills, lobby cards,
postcards and old tobacco cards of silent movie actors and actresses i
have a pretty good idea of what the silent movie actresses looked like
and what the style was of the clothes they wore. I have some antique 1920's dresses i bought at Vintage Fashion shows.
Here is a black and white picture of me,jazzgirl1920s,standing by a 1920's car. I had this picture taken in black and white because i was trying to look like a silent movie actress from the 1920s:
Here is a black and white picture of me,jazzgirl1920s,standing by a 1920's car. I had this picture taken in black and white because i was trying to look like a silent movie actress from the 1920s:
The first image in the book depicts a woman builder making repairs to
the roof of Berlin's town hall. Balanced on a ladder high atop the
city, this young woman physically intervenes in the urban built
environment with her hands and tools. A dense and vibrant urban
landscape unfolds beneath her. This extraordinary photograph, taken in
1910, succinctly captures the phenomenon of brave new vistas appearing
before women. As part of a series that documented women in male
professions, the image associated the ascent of women to new
occupations with the vertical rise of Berlin, linking female modernity
directly to that of the city itself.
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