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Experimenting using motion tracking in moving image

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Experimenting using motion tracking in moving image

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Experimenting using motion tracking on a digital model in cinema 4D software

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Experimenting using motion tracking on a digital model in cinema 4D software

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Experimenting turning the spheres red in Cinama 4d, bringing in a metalic look.

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Book "A fashion reader" chapter 8 Fashion Art part 42 Author Linda Welters Page 302

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Book "A fashion reader" chapter 8 Fashion Art, Part 41 Fashion  page 296 Author Linda Welters/ Valerie Steele

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Key Text - Pierre Cardin , Balenciaga Post war fashion designers 

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Key Text - Pierre Cardin , Balenciaga Post war fashion designers 

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In this chapter of the book " fashion reader" Valer steele talks about the famous post war french designers Peirre CArdin, Balenciaga and Yves saint Laurent who were widley recognise for their garments. These french designer brought art and silhoutte shape into their fashion designs.

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Book "A fashion reader" chapter 8 Fashion Art  page 298 Author Linda Welters 

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Key text- Japanese influencial designers 

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Key text- Japanese influencial designers 

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Linda Welter expresses in this paragraph from the book " The fashion Reader"  that designers Issey Miyake, Rei Kawakubo designs were rejected by global fashion press, but their garments were of great impact on pushing fashion forward, looking at fashion as art. These designers brought a new creative relationship between body and clothes

This book was really useful in my research looking at designers and influences that brought in geometric abstract shape into there designs

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Book "A fashion Reader" chapter 8 part 41 Fashion Art,  page 299 Author Linda Welters

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Key texts- Influencial designers Issey Miyake and Rei Kawakubo 

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Key texts- Influencial designers Issey Miyake and Rei Kawakubo 

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Linda welters talks about influencial designers who brought the art of performance and silhouette shape when designing their garments Artist such as Issey Miyake , Rei Kawakubo of Comme des Garcon.

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Book "A fashion reader" chapter 8 Fashion Art  page 297 Author Linda Welters

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Key text -  Fashion Designer Balenciaga 

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Key text -  Fashion Designer Balenciaga 

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Book "A fashion reader" chapter 8 Fashion Art  page 297 Author Linda Welters

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Book "A fashion reader" chapter 8 Fashion Art  page 297 Author Linda Welters  

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Key Text -  Artist Mondrian art intersecting fashion designer Yves Saint Laurent 

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Key Text -  Artist Mondrian art intersecting fashion designer Yves Saint Laurent 

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In this chapter written by walters, she explanes an influencial time when art intersected with fashion.  That in 1965 Yves Saint laurent presented these modrian dresses inspired by piet modrian's painting. Walters also explaines that Saint Laurent was a designer who took the more planer aproach in the 1960's creating A -line his siloutte shape in his dress designs.

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https://www.veniceclayartists.com/sculptural-couture/

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Classic Christian Dior - 1947
Convergence of fashion and sculpture
Most famous fashion designers interact with art and reflect trends through their designs. The modernist curved art forms and abstract lines of the 40's, 50's and 60's could be clearly recognized in the avant-garde and Space Age designs of Pierre Cardin, as witnessed in his trapeze coats, bubble dresses, hat-sculptures and asymmetrical collars. Designers of this era adapted minimalist art forms with sleek, definitive lines to express striking chic styles which were aptly supported by the refined aesthetic of the models and photographers at that time. Elegant fluid silhouettes were prevalent, supported by higher heels, long gloves, hats with sweeping curved brims and form clinging waists. Cardin collaborated with the design of Christian Dior's "New Look," a style intended to enhance the feminine in women's clothing, particularly after women had adopted traditional masculine roles during World War II. When Christian Dior unveiled his début haute couture collection in Paris on 12 February 1947, it heralded the demise of the austere, masculine styles, and ushered in a triumphant return to femininity.

Cardin, who had studied architecture, also used bold geometric shapes and motifs in his designs that sometimes overshadowed the female form. However, despite the form not being as overtly expressed, it had the effect of enhancing the feminine mystique. He was the first to display a designer's logo on his garments in the 60's and he expanded his repertoire into new design markets such as home decor which was regarded as heresy by some other Paris fashion designers. He acquired a contemporary bubble home in Côte d'Azur, to reflect his fashion designs.
Christian Dior ran an art gallery where he sold the works of Picasso and other famous artists, before he began fashion in 1937 with his mentor Robert Piguet. He valued this association for learning " the values of simplicity through which true elegance must come." He later mixed with artists like Dali, Max Ernst, Alexander Calder, Picasso, Otto Dix, Albert Giacometti, Raoul Duffy , Joan Miro, Jean Cocteau and designer Rene Gruau who all were an influence on his styles. Similarly, designers like Balenciaga, Jacques Fath, Givenchy and Lanvin all went in a similar direction with their chic style.
The modernist, contemporary forms continued to inspire fashion into the 60's and 70's where it became more minimalist, while the photography became more free, spontaneous and less formal. The images here reflect that association between art and fashion during that unique era of timeless elegance and some current designers like Philip Treacy and Serge Lutens, who also integrate modernist elements into their fashion with other original contemporary statements. An exploration of texture, line and form presented in fabrics, threads and design brilliance.

The 1947 "New Look" Bar Suit - Christian Dior

Photo - Patrick Demarchelier
Staley.Wise Gallery
Jacques Fath outfit - Vogue 1951 Vintage elegance

Photographer Willy Maywald,

Photo Helmut Newton

Lanvin 60's Space Age outfit

Jacques Fath design 1952, model Bettina

Photo- Richard Rutledge

Albouy designed hat - inspired by the Spanish Civil Guard

Photo - Georges Saad - 1952

1956 sleek silhouette

dovima is devine II on Flickr

Pierre Balmain - 1957

Manguin wool suit

Photo Philippe Pottier 1957

Scarlet starfish spikes-Yegor Zaitsev - Autumn/Winter

2010-2011

Ava Gardner - 1954

Fiona Campbell Walter in an outfit by Jacques Fath

Paris Vogue 1952

Ralph Lauren, 2008

Photo Nathan Copan

Balenciaga - Harper's Bazaar

1968

Model Bettina Graziani wearing Jacques Fath dress

50's Paris Joan Miro Show - photo Georges Dambier

Jacques Fath outfit

Cappello Hoeden Speciaalzaak

Cappello.nl

Model China Machado, Harper's Bazaar February 1959

Photo Richard Avedon

Christian Dior - Couture Spring 2007

Lizica Codreanu modelling futuristic fashion design by Constantin Brancusi

1924

Pierre Balmain, 1961

Pierre Cardin - 1968

L'Officiel magazine, 1956

Serge Lutens

Gabriela Ligenza 3D printed hat

Photo - Josh Shinner

Maggie Eckhardt - Harpers Bazaar-1964

Photo - Jeanloup Sieff

Christian Dior, 2008,

Photo by Patrick Demarchelier

Harper's Bazaar - 1964

Photo-Jeanloup Sieff

NY milliner and street photographer Bill Cunningham
"The hat thing was really, as I say, it was like sculpture," he said. "It's the most wonderful, freeing, relaxing experience. I had a lot of fun, even if I didn't make money. But I did pay my bills."
Hat From Russian Fashion Week - 2013

Getty Images

Horst P Horst - 1949

Model Jacky Mazel wearing a tweed-suit-by Lanvin Castillo,1956

Photo - Philippe Pottier

Jean Patchett photographed by Irving Penn

New York-1949

Katherine Pastrie in wool dress by Pierre Cardin

photo by Philippe Pottier-1962

Lilly Dache hat

In 1939 Westingtonhouse created one of the first time capsules for the New York World Fair which had a futuristic theme.. Included was a woman's hat designed by Lilly Dache. The capsule is meant to be unearthed in the year 6939.

50's chic

miadelarue.blogspot.com

Capucci outfit

Photo by Georges Saad -1961

Retro shoot - Natalia Vodianova by Steven Meisel for Vogue US 2009.

Paper Couture by Alexandra Zaharova & Ilya Plotnikov

Paquin outfit - L'Officiel magazine 1956.

Philip Treacy hat

1954 Christian Dior from the book Dior Couture by Patrick Demarchelier

Pierre Cardin - 1959

Philip Treacy - Haute Couture Fall/Winter 2001/2002 collections shows in Paris France.

Pierre Cardin 60's

Serge Lutens

Model Georgina Grenville in a Thierry Mugler mask hat

Model in tweed suit with matching tweed hat by Pierre Balmain photo by Georges Saad

1962

Hat by Irish Milliner Philip Treacy

Issey Miyake

Philip treacy

Dorian Leigh- dressed in a Jacques Fath outfit

Photographed by Georges Dambier for Nouveau Femina magazine, 1954

Serge Lutens , 1942

Christian Dior Spring 2007 haute couture by Galliano

Serpens collection lookbook is the product of the collaboration between the Chinese fashion designer Qui Hao and the Shanghai based, French photographer Matthieu Belin.

Philip Treacy, UK

Beijing Fashion Week - design by Pierre Cardin

Sculptural hat - Phillip Treacy

Shiseido - photo and styling Serge Lutens

Visco, NL

2011

Stylist - Efi Davies & Costume - Kate Forbes

Photo - Danilo Giuliani, 2010.

Exhibition-Alexander McQueen-Savage Beauty

Outfit design - Catherine O'Leary

The Iteration II - Lisa Shahno

British Vogue, Zulu warriors - 1951

Photo Norman Parkinson

Serkan Cura Haute Couture

2014

photo - Shoji Fujii
More fashion with a chic jazz groove -
'So Yesterday' by the Mark Fitzgibbon Quartet - Amazon link

Sunny Harnett, 1951

photo - Norman Parkinson, UK

Harper's Bazaar; Photography by Richard Avedon

1949

Dana and Stephane Maitec photography

Hyuna Shin photography

Dorian Leigh in a Lilli Ann outfit

1955

Lady Gaga wearing a gown designed by Alexander McQueen

Milan Borovička photo from the Women series

1979

Mongolian Princess in full regalia

designer Elin Johansson

Yasmin in a Chanel Evening Dress, photo by Horst B Horst

British VOGUE, London, 1986

Sculptural knitwear from Hege Midtun Larsen

Christian Dior Haute Couture 2000 Spring Summer

Serpens. autumn winter 2001 fashion collection by Chinese fashion designer Qiu Hao

Medieval Tatar - Nomadic Fashion Show

Mongolia

Alexander McQueen: Paris Fashion Week Ready-to-Wear A/W 09 by Pascal Le Segretain on Getty Images

Yojiro Kake

Giorgio Armani dress -model Adama Diallo

Gilbert Adrian costume with phoenix headpiece

USA 1936

Model Eva Strangelove by photographer Alessandro Saponi

Adele Simpson gold dress

Harpers Bazaar -1947

Photo Tejal Patna, Art direction Mohanad Shuraideh for Burjuman

Octopus inspired theme with Renata Litvinova in a photo shoot for the magazine SOBAKA.RU

Black art couture

Photo - Henrique Gendre

Vogue China September 2014

Amato haute couture - spiral turquoise mermaid

Jacques Fath

Photo by Willy Maywald.

1951 - National Museum Krakow

'Syntheitc Oceans' Wetsuit couture by Alba Prat - Spanish Fashion Designer from Barcelona

photo © fotoDiMatti

yatzer.com

John Galliano for Christian Dior Fall/Winter Haute Couture

2010

'We must never confuse elegance with snobbery' - Yves Saint Laurent

Geometric outfits by Viscoe

'The Tarot Reader' Jean Patchett and Bridget Tichenor, photo by Irving Penn

New York 1949

Model in black and white tweed dress with half overskirt by Staebe Seger photo by Hilla Korn

Germany 1960

Theo Graham in Dior' s evening gown called Junon l and Dorian Leigh in a gown called Venus

photo by Richard Avedon at Le Pré Catalan

Paris, 1949

Warrior costume design - Kate Forbes

Photography - Troyt Coburn - kateforbes.com

Sonia Biacchi and Elise Cowin collaboration

Sonia Biacchi

Jasmine Sanders in H&M attends The Metropolitan Museum of Art's Costume Institute benefit, 2018

photo AP

Jolande photo by Gian Paolo Barbieri

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Classic Christian Dior - 1947 Convergence of fashion and sculpture Most famous fashion designers interact with art and reflect trends through their designs. The modernist curved art forms and abstract lines of the 40's, 50's and 60's could be clearly recognized in the avant-garde and Space Age designs of Pierre Cardin, as witnessed in his trapeze coats, bubble dresses, hat-sculptures and asymmetrical collars.

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Book "A fashion reader" chapter 7 the post modern age 1960-2020 pGE 90

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In reading the book "A fashion reader" third edition written by Professor Linda walters it had useful information for me to explore designers like Pierre Cardin and influencial times where the silhouette in fashion became prominent.

Welters, Linda and Abby Lillethun, eds. A Fashion Reader. Third Edition, London and New York: Bloomsbury, 2022. [First edition 2007; second edition 2011]

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Issey Miyake, Kawakubo, and Yamamoto: Japanese Fashion in the Twentieth Century

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Issey Miyake, Kawakubo, and Yamamoto: Japanese Fashion in the Twentieth Century

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Text research on  designers Issey Miyake and Rei Kawakubo

https://www.metmuseum.org/toah/hd/jafa/hd_jafa.htm

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Issey Miyake, Kawakubo, and Yamamoto: Japanese Fashion in the Twentieth Century

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Issey Miyake, Kawakubo, and Yamamoto: Japanese Fashion in the Twentieth Century

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Text research on  designers Issey Miyake and Rei Kawakubo

https://www.metmuseum.org/toah/hd/jafa/hd_jafa.htm

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https://www.vogue.co.uk/news/article/gareth-pugh-spring-summer-2021

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Absence of commercial pressure meant that Pugh was able to enjoy a liberated process, and was given free rein when choosing fabrics and silhouettes. Thirteen looks, 13 songs, 13 explosive movies shorts and stills feature in the project, which Pugh mentions is best described as a "visual album" entitled, The Reconstruction.

Activists and change-makers from across the UK comprise the cast of the project. Musicians Rina Sawayama and IAMDDB; artist and activist Sakeema Crook; The Royal Ballet's principal dancer Matthew Ball; artist and performer Jenny Bastet; dancers Travis Clausen-Knight and James Pett; performers Finn Love and Georgie Bee; the model Jade O Belle and Georgia Moot bring unique dynamism to the garments. "We wanted people with a point of view," Gareth says. "They're people you'd wanna hang out with or have next to you in a fight."

True to his distinctive aesthetic, the fashion pieces boast shapely, battle-like design tics. The opening look, for instance, worn by his model muse Maggie Maurer, features a slinky, bias-cut dress worn with a rigid, structural vest. In Emmony's AR space, a virtual version of Maurer can be seen in a deserted expanse standing alongside a fire. Apocalyptic references are rife in the accompanying imagery, though the overall message wasn't intentionally dark. "It's the first time I've ever done a collection where there's zero black in it," Gareth observes. "We just wanted to do something that was with a little bit more of a positive spin."

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Gareth Pugh Returns To LFW With An Explosive Visual Album In Collaboration With Nick Knight

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After showing his spring/summer 2019 collection, Gareth Pugh decided to take a 2-year period to focus on creative projects. On 16 September, he is set to make a return to London Fashion Week in the form of a visual album, entitled The Reconstruction, which he made in collaboration with famed SHOWstudio founder and photographer, Nick Knight, and digital artist, Jon Emmony.

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Creating moving spheres in blender from a single point

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Learning new Software Skills - Blender and cinema 4D

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Learning new Software Skills - Blender and cinema 4D

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While doing this master project I have also been teaching myself and learning how to use blender software watching youtube tutorial as I want to come away from this masters knowing 3d skills software.

I hope to bring my knowledge of blender to my future work outside of this university and create moving images with floating moving spheres around my model. I have also been experimenting with motion tracking on a human in blender with my course mate Diana a 3d artist .

My sphere work can be found on my photography instagram highlights on @helenvictoriaphotography.

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Books looked at as part of this masters research  

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Books looked at as part of this masters research  

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https://www.vogue.com/slideshow/pierre-cardin-from-the-archives

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The indefatigable Pierre Cardin, creator of space age and unisex looks, avid businessman, and early proponent of ready-to-wear, has died. He was 98. "I did it my way," might have been the motto of this always forward-thinking polymath who broke with convention on every front. "What I am now never existed before," the designer declared in Vogue in 1982.

Born in Italy in 1922, his family, escaping Fascism, relocated to Saint-Étienne, France, when he was just 2 years old. Postwar, Cardin, who had trained with a tailor in Vichy, set out for Paris, where he worked for the houses of Paquin and Schiaparelli, and helped design costumes for Jean Cocteau's La Belle et la Bête.

Offered a place at Christian Dior in 1946, he worked on the history-making New Look collection. Monsieur Dior commissioned Cardin for his personal wardrobe after the young designer left the house. Cardin established his own business in 1950.

A pioneer when it came to ready-to-wear, Cardin offered off-the-rack clothes-for men and women-as early as 1954, selling them in boutiques called, respectively, Adam and Eve. The designer is best remembered for the futuristic work he created in the 1960s. (And Betty Catroux's black-and-white-striped fur wedding ensemble.)

In Cardin's work, romance was always aligned with rigor, as is evidenced in the photos William Klein took of the designer's muse, Hiroko Matsumoto, for Vogue.

Cardin was a masterful tailor who played with the contrast between geometric strictness and voluptuous curves. He had a penchant for asymmetric closures, soft jerseys with precision cuts, sleeveless coats, and tunics worn over tights or bodysuits.

Cardin was the subject of a recent documentary, which revealed his forward-thinking optimism. He was a man of action, telling Vogue: "I'm most happy that I remained in creation, always remaining popular and always continuing to create."

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Remembering Pierre Cardin With His Best Looks in American 'Vogue'

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The indefatigable Pierre Cardin, creator of space age and unisex looks, avid businessman, and early proponent of ready-to-wear, has died. He was 98. "I did it my way," might have been the motto of this always forward-thinking polymath who broke with convention on every front.

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“We must invent futurist clothes, hap-hap-hap-hap-happy clothes, daring clothes with brilliant colors and dynamic lines. They must be simple, and above all, they must be made to last for a short time only in order to encourage industrial activity and to provide constant and novel enjoyment for our bodies.”

Giacomo Balla, Manifesto Le Vêtements Masculin Futuriste, 1914. Fashion History.

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helen-victoria.format.com
Instagram @helenvictoriaphotography

Here are my socials where you can see my images of TAk garments

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Highlighted key points of Heidi Burcher work and inspirations behind her Body Shell art work

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https://carlbucher.com/en/work/

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Book Fashion 150: 150 Years / 150 Designers

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Book Fashion 150: 150 Years / 150 Designers

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Book Fashion 150: 150 Years / 150 Designers

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Useful information on what Cristobal balenciaga inspiration was for his garment ( Image my finger hi lighting important research) Balenciaga started creating garments out of simple geometric shapes then added volume and structural form into his designs.

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How do fashion designers use geometry in fashion 

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How do fashion designers use geometry in fashion 

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https://www.itm.edu/blog/idm-how-do-fashion-designers-use-geometry

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Do you wonder what’s the use of geometry in designing? If you have an idea of fashion designing, you must have seen designers using rulers and calculations.

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https://medium.com/@adititalreja/space-age-era-of-1960s-d673b2ed6333

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INTRODUCTION:
Space Age. It sounds so cool and fascinting when one first hears this term. You think of Star Wars, or sci-fi inspired fashion. Imagination is limitless for this style. True to its name, Space Agewas heavily influenced heavily by the Space Race of the Cold War, in addition to popular science fiction paperbacks, films and television series such as Star Trek, Dan Dare, or Lost In Space.

People had become fascinated with outer space and sci-fi in the 1950's so during the 60's a really fun trend had progressed. It revolved around the idea of exploration - of pushing boundaries further than ever before, whether that meant with materials or silhouettes. It truly felt new and exciting because the "future" everyone imagined of flying cars and men on the moon was still far off.

ELEMENTS OF THE SPACE AGE LOOK: Makeup:
Eyes were the main features high-lighted. Heavily done mascara-ed eyes, bold liner, adorned with bold, shiny and metallic eyeshadow. Fancy decoration inspired by clothes or accessories, was done around the eyes, like little sequences or discs were stuck which enhanced the make up. Lips were done in pastel and pink shades. The colour was sometimes subdued due to extravant eye make up.
Accessories:
Space Age' white-and-silver colour scheme, were worn with astronaut-style accessories like flat boots called 'go-go' boots goggles and helmets, shiny gloves.
Shoes:
The French designer André Courrèges introduced the "space look" in the spring of 1964 included go-go boots. Go-go boots eventually became a staple of go-go girl fashion in the sixties. The boots were defined by their fluorescent colors, shiny material, and sequins. The go-go boots were one of the items that presented in the collection, and became one of the must-have item for go-go girls during the sixties.

INFLUENCIAL DESIGNERS:
a. ANDRE COURREGES:

In 1964 Andre Courreges launched the 'space-age' look. Chin-strap space bonnets, flat ankle boots, and sleek, plastic-like tech fabrics typified the space-age look as women readied themselves for a new sartorial stratosphere. His dresses, suits, and trouser suits might be fitted, semi-fitted, or tubular, but they presented a bold, graphic and geometric silhouette. His fabrics were flat, tailored wools, more unimaginable than what ready-to-wear was adopting. He preferred a restricted palette of monochromes and pastels, and was partial to aggressive checks and stripes. Courrèges used white a great deal.

Among his fans were celebrities such as Brigitte Bardot and Catherine Deneuve, and he created the iconic look worn by Audrey Hepburn in How to Steal a Million.

b.) PACO RABANNE:
Another big name in the space age, Paco Rabanne pushed space age fashion toward wearable art. For him the new and ultimate frontier of fashion had become "the finding of new materials." His investigation of plastics and other hardware proclaimed a new epoch of clothes so intricately constructed that they could stand on their own.

Paco Rabanne created his signature metallic chain-metal dresses, which gained a lot of fame and popularity. This extreme look caught on commercially in the form of chain link belts, heavy metal necklaces and disk like earrings. His metallic dress were eye-catching but impractical. It was made of discs or metal which were joined together with metal hoops. They looked great but apparently the discs could easily nip your nipples, or cut you with their sharp edges, or just be unpleasantly cold.

Celebrities he designed for were Rabanne also designed the costumes for Barbarella, a sci-fi film starring Jane Fonda. The outfits and signature hairdo continue to inspire designers till todays age. Other celebrities were Francois Hardy, Donyyale Luna.

c.) PIERRE CARDIN:
He designed streetwear collections with a combination of an avant-garde approach. His famous space age looks are the helmet, short tunics, and goggles. His shapes might resemble floral abstractions that devoured conventional clothing dimensions. His enormous collars and frequent use of vinyl evoked outer-space gear.

Pierre Cardin were already fashioning dresses from white leather and plastic disks . His 1966 "Cosmos" collection, included wool-shift mini-dresses with huge cutouts. The short knitted dresses worn with warm tights were easy to move around in, even though the helmets that went with them might have hindered freedom of movement a bit.

MEDIA AND COVERAGES:
The Space Age look was used and promoted in many advertisements, hoardings, newspaper clippings, books, etc. in the 1960. A few of those ads are listed below:

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INTRODUCTION: Space Age. It sounds so cool and fascinting when one first hears this term. You think of Star Wars, or sci-fi inspired fashion. Imagination is limitless for this style. True to its name, Space Agewas heavily influenced heavily by the Space Race of the Cold War, in addition to popular science fiction paperbacks, films and television series such as Star Trek, Dan Dare, or Lost In Space.

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Melvin Sokolsky was another famous influencial photographer who I greatly admired for his use of radical staging using a big sphere. Sokolsky has been a inspiration throughout out this master in how I went about stanging my own images.
It is his images from 1962 that he did of models in plastic bubbles floating in different cityscapes that are of great interest to me and inspire me to use sphereical geometric shapes in staging my own final MA images. The inspiration behind why sokolsky used a bubble was from the painting Hieronymus Bosch’s “Garden of Earthly Delights. Sokolsky also was inspired by his recurring dreams of him floating over city spaces in a sphereical bubble then used this in his own phtoography.

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https://www.worthpoint.com/worthopedia/kazu-herb-ritts-1995-hard-cover-1992642440
-hard back
-simple front cover
- no writing
-picture book

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Photographs of Kazu, famous Japanese football star, taken by Herb Ritt.Title: KazuPhotographer : Herb RittPublisher/Date: Herb Ritts, Kazuyoshi Miura and Parco Co., Ltd., 1995Condition: Very goodWhen you purchase this item, you are supporting the Friends of the Cascade Library. Of the proceeds, 100% goes to the Friends, a non-profit organization helping to provide books, AV materials, and programming for adults, teens, and children at our library.· We will combine shipping for multiple purchases and refund any excess postage paid.· The images are of the item you will receive.· Feedback will be left for all sales; please do the same for us.· We ship after PayPal payment is received. We carefully package our products but are not responsible for packages once we mail them.· Shipping is done 3 times weekly on Mondays, Wednesdays, and Fridays. Every package has a tracking number· Returns are accepted only upon agreement between buyer and seller that there has been a misrepresentation of the item.· Please ask any questions before buying an item.

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Kazu - Herb Ritts, 1995 hard cover, photos of the body, no text | #1992642440

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Photographs of Kazu, famous Japanese football star, taken by Herb Ritt.Title: KazuPhotographer : Herb RittPublisher/Date: Herb Ritts, Kazuyoshi Miura and Parco Co., Ltd., 1995Condition: Very goodWhen

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 Historical Fashion photographers research 

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 Historical Fashion photographers research 

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https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-photography

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A fashion photograph is, simply, a photograph made specifically to show (or, in some cases, to allude to) clothing or accessories, usually with the intent of documenting or selling the fashion. Photographs of fashionable dress, in existence since the invention of photography in 1839, are not fashion photography. The distinguishing feature-and the common denominator in the enormous diversity of style, approach, and content-is the fashion photograph's intent to convey fashion or a "fashionable" lifestyle. At the end of the twentieth century, the Calvin Klein advertisement featuring only Calvin's portrait changed the very definition of a fashion photograph from a picture of the featured clothing to the selling of a glamorous lifestyle identified with a specific logo.

Fashion photography has sometimes been called ephemeral, commercial, and frivolous, and its importance has been called into question. That fashion photography has a commercial intent implies to some that it lacks photographic and artistic integrity. In reality, it has produced some of the most creative, interesting, and socially revealing documents and revealed the attitudes, conventions, aspirations, and taste of the time. It also reflects women's image of themselves, including their dreams and desires, self-image, values, sexuality, and interests.

The psychology behind a fashion photograph as a selling device is the viewer's willingness to believe in it. No matter how artificial the setting, a fashion photograph must persuade individuals that if they wear these clothes, use this product, or accessorize in such a way, the reality of the photograph will be theirs. The fashion photograph can offer a vision of a certain lifestyle (from glamorous to grunge), sex, or social acceptance (via the most current, the most expensive, or the most highly unattainable), but it is the viewer's buy-in that makes the photograph successful.

Early Fashion Photography

The earliest fashion photographs were made, probably in the 1850s and 1860s, to document fashion for Parisian fashion houses. Reproduction in fashion journals occurred much later, between 1881 (with the invention of the halftone printing process by Frederic Eugene Ives) and 1886 (when the refinement of the process made it financially practicable). This breakthrough made it possible to reproduce photographs and sell to a large audience through the medium of the printed page.

In the late nineteenth and early twentieth centuries, distinctions between fashion photography, portraiture, and theater photography were often blurred. The idea of using professional models was initially considered shocking, and it thus became fashionable in the early years of the century for society celebrities, such as Gertrude Vanderbilt Whitney, to model. The result was that fashion photographs were strikingly similar to society portraits. The idea of using an actress such as Sarah Bernhardt is not unlike the vogue in the early 2000s for using Gwyneth Paltrow or Madonna or the tennis stars Venus and Serena Williams to model current fashion.

That nineteenth-century fashion photography did not exist is a misconception. Many believe that Americans were first in this field, perhaps based on Edward Steichen's claim that he was the first fashion photographer. This has obscured the contributions of such important Parisian fashion photographers as Maison Reutlinger, Talbot, Felix, Henri Manuel, and Boissonnas et Taponnier as early as 1881. They worked in the studio, but charming outdoor fashion photography was also shot on the Parisian boulevards and at the races by the Seeberger Frères in the first decade of the twentieth century.

American Fashion Photography, 1900-1930

The first important American photographer of fashion was European-born Baron Adolf de Meyer, who had entered fashionable London society through his marriage to Donna Olga Alberta Caracciolo (the daughter of the duchess of Castelluccio and reputed to be the illegitimate daughter of King Edward VII) and was knighted by the king of Saxony. De Meyer changed fashion photography by disintegrating form and bathing his pictures in a limpid atmosphere and shimmering light, creating what Vogue in 1914 termed "artistic" photography. This approach changed the idea of what a fashion photograph should be, from an exacting depiction of a garment's detail to an evocation of mood.

In 1924, Edward Steichen replaced the soft-focus effects of de Meyer's style with the clean geometric lines of photographic modernism. Steichen rejected the rococo backdrops used by de Meyer in favor of unadorned, sleek settings and showed modern woman in the sports clothes that reflected a new, liberated sense of herself and her freedom from the corset. Many of Steichen's most important photographs featured his signature model Marion Morehouse, who epitomized the look of the "contemporary" woman, the flapper. Other important photographers who benefited from and were influenced by Steichen's innovations were George Hoyningen-Huene, known for his extraordinary use of negative space and passion for the Greek ideal, and his student Horst P. Horst, who used theatrical lighting and trompe l'oeil effects to great advantage.

Realism and Surrealism

Another startling change-and one that would have profound impact on future fashion photography-was the 1933 introduction of out-of-door realism by the Hungarian sports photographer Martin Munkacsi. Munkacsi's Harper's Bazaar photograph of the model Lucile Brokaw running down the beach-blurred, in motion, and possessing the naturalness of amateur snapshots-changed the course of fashion photography. The spontaneity was revolutionary, particularly when contrasted to Steichen's posed and static style that preceded it. Realistic fashion photography offered the modern woman a vision that she could apply to her own life. Munkacsi's snapshotlike realism influenced a long line of photographers, including Toni Frissell, Herman Landshoff, and Richard Avedon.

The artistic ferment of Paris in the 1930s, particularly the fantastic, mysterious, and dreamlike aspects of surrealism, had a profound influence on fashion photography. The painter and photographer Man Ray produced fashion photography as a way of earning money that enabled him to pursue "serious" painting and experimental photography. He was able to chart a new direction for fashion photography because he disregarded the conventions of fashion depiction, instead producing elongations, double exposures, and a "fashion rayograph" that simulated what a fashion would look like when radioed from Paris to New York. Other fashion photographers who incorporated surrealist-influenced ideas in their work were Peter Rose-Pulham, André Durst, George Platt Lynes, and Cecil Beaton.

Constant experimentation and technical virtuosity marks the fashion work of Erwin Blumenfeld, who used solarization, overprinting, combinations of negative and positive images, sandwiching of color transparencies, and even drying the wet negatives in the refrigerator, resulting in crystallization, to achieve his extraordinary effects. Also important in the 1930s was the appearance of Kodachrome, which arrived on the market in 1935. Louise Dahl-Wolfe was one of the first and most important practitioners of color in fashion photography, creating striking photographs of American fashion with the new color technology.

Fashion Photography After World War II

Fashion photography was severely affected at the outbreak of World War II in 1939, not only because of the lack of materials, models, and safe locations, but also because of a demoralization in attitude toward the medium: because fashion was seen as a frivolous and unnecessary form of luxury, fashion magazines stressed women's role in the war, rationalized fashion as morale building, published war reports instead of society columns, and featured the tailored, plain, and often drab clothing more suitable for a world subjected to daily reports of death and destruction. Studio photography with its complicated props and setups was almost eliminated. In general, photographers such as Lee Miller in Paris and Cecil Beaton in London turned to a straightforward documentary approach. Louise Dahl-Wolfe produced some of the most important American fashion photography of the 1940s using a clear, straightforward style.

With the end of the war, New York replaced Paris as the mecca of fashion photography. America's fashion design and ready-to-wear industry achieved its first international success in the postwar period. The time was thus ripe for the emergence of two young American talents who would dominate fashion photography for many years to come: Richard Avedon and Irving Penn.

The charming ease of Richard Avedon's fashion style of the 1950s was perfectly suited to a war-weary society. In this decade, Avedon staged his models as glamorous but "real" girls whose carefree exuberance was both sophisticated and appealing. Each was an actress of sorts, creating both a fashion look and a dialogue of emotions. By the 1960s, Avedon's fashion work had moved from the outdoor locations and softly beautiful natural light of this early work to his signature style of models running and jumping across a plain white background, illuminated with the harsh, raking light of the strobe.

The other major fashion leader whose work started in the 1940s is Irving Penn. Penn's work has no rival in terms of formal complexity, in the rich beauty of constructed shape, elegance of silhouette, and abstract interplay of line and volume. Compared with the white-hot moment of immediacy of Avedon's photographs, Penn's work aimed at the values of monumentality, formal clarity, and quiet truth. Perhaps his most extraordinary shots are those done in collaboration with his wife, the model Lisa Fonssagrives-Penn.

Both Avedon and Penn have each sustained careers over a period of five decades, a record of remarkable range and consistency. Avedon's ability to take inventive risks and his creative inspiration, with its kaleidoscope of techniques and ideas, are unequaled in the field of fashion photography. He always captures the "look" of the moment, in part because of his choice of the model who best epitomizes the time, from Dorian Leigh, Dovima, and Suzy Parker to Verushka, Twiggy, Jean Shrimpton, Brooke Shields, and Nastassja Kinski.

Fashion Photography in the 1960s

Fashion photography in the 1960s yielded to more socially oriented and exotic themes. In part this was due to the fact that fashion design began to show the influence of many diverse sources, from peasant and "street" styles to the women's liberation movement, the space program, and pop art. There was a break with convention, both in social mores and fashion itself: outrageous, seemingly unwearable outfits were designed, models reflected a new diversity of "look" and race, and fashion was redefined toward a defiant market dominated by the youth culture.

The 1960s was also a time when certain fashion photographers, including Bert Stern and David Bailey, enjoyed high-voltage lifestyles, skyrocketing fees, and lavish studio setups. At the opposite extreme, the influence of Penn and Avedon continued to attract serious young photographers from the world over to New York. Yasuhiro Wakabayashi, known professionally as Hiro, developed a monumental, clear, and memorably vivid style while Bob Richardson's work flirted with social concerns such as lesbianism. Other photographers working in the field of fashion in the 1960s included William Klein, Art Kane, and Diane Arbus, whose photography for the New York Times Magazine was among the most disturbing and uncharacteristic children's fashion images ever published.

Fashion Photography in the 1970s

In the 1970s, the tide again turned: Diana Vreeland resigned from her influential reign as editor-in-chief of Vogue, and in January 1977, American Vogue reduced the actual trim size of the publication. Meanwhile, French Vogue took the creative lead in fashion photography in this decade and offered their two leading photographers, Helmut Newton and Guy Bourdin, complete creative autonomy. Deborah Turbeville produced work that reflected psychological dislocation in the modern world, in part through her slouching and stylized poses. She was the first to use overweight and "ugly" models, pioneering a more diverse standard of model. Her "bathhouse" photographs published in Vogue (May 1975) created a furor by evoking the grisly aura of a concentration camp or the frightening vacuousness of drugged stupor.

Fashion Photography in the 1980s

Some of the most important editorial and advertising fashion photography of the 1980s continued to be done by Richard Avedon. His brilliant advertising campaign "The Diors," a story spun weekly in the pages of the New York Times Magazine, created the enduring vogue for narrative in fashion photography. Avedon's shot of Nastassja Kinski, her nude form sensuously entwined with a gigantic snake, has become a classic. Women's strength and independence was emphasized, from sporty and athletic to domineering and brutalizing. Numerous photographers, including Denis Piel, Bruce Weber, and Bert Stern pictured women threatening men with everything from pocketbooks to knives and chains. Fashion itself, particularly in the work of such designers as Jean Paul Gaultier, Azzedine Alaïa, and Issey Miyake (whose work was notably photographed by Penn), helped form the look of the decade's photography

Fashion Photography in the 1990s

In the last decade of the century, Herb Ritts, Steven Meisel, and Bruce Weber continued to produce some of the most interesting and innovative work, including Weber's hilarious hip-hop version of a black Snow White and the Seven Dwarfs and his seminal spread dealing with the impact of grunge on fashion in the 1990s (including the first post-punk nose ring in a Vogue fashion spread). Two of the greats of fashion photography, Irving Penn and Helmut Newton, continued to dominate the field. Ellen von Unwerth's romantic individualism and Sheila Metzner's spare but sumptuous style were also widely evident. Models were increasingly racially diverse, with a number of black models, such as Iman, Naomi Campbell, and Karen Alexander, achieving the status of celebrity superstars. As to the early years of the twenty-first century, one must await the knowledge of hindsight to assess the importance of very recent fashion photography as well as the development of such young talents as Christophe Kutner, Glen Luchford, Javier Vallhonrat, and Craig McDean. What seems certain is that fashion photography-whether published in Vogue, W, Dazed and Confused, or Sleaze Nation-will continue to reflect the society and the times in which it was made.

See also Actors and Actresses, Impact on Fashion; Art and Fashion; Richard Avedon; Cecil Beaton; Norman Hartnell; George Hoyningen-Huene; Helmut Newton.

Bibliography

Brooke-Adler, Isabel. "Baron von Meyer." Art Journal (1899): 270-272.

Chase, Edna Woolman, and Ilka Chase. Always in Vogue. Garden City, N.Y.: Doubleday and Company, 1954.

Edwards, Owen. "Blow-Out: The Decline and Fall of the Fashion Photographer." New York 6, no. 22 (28 May 1973): 49-56.

Ewing, William A., and Nancy Hall-Duncan. Horst. New York: International Center of Photography, 1984.

Frenzel, H. K. Hoyningen-Huené: Meisterbildenisse. Berlin: Verlag Dietrich Reineer, 1932.

Garner, Philippe, and David Alan Mellor. Cecil Beaton, 1920-1970. New York: Stuart, Tabori and Chang, 1995.

Goldberg, Vicki, and Nan Richardson. Louise Dahl-Wolfe. Foreword by Dorothy Twining Globus. New York: Harry N. Abrams, 2000.

Hall-Duncan, Nancy. The History of Fashion Photography. New York: Alpine Press, 1978.

Harrison, Martin. Appearance: Fashion Photography since 1945. New York: Rizzoli International, 1991.

Hayden-Guest, Anthony. "The Return of Guy Bourdin." New Yorker 70, no. 36 (7 November 1994): 13-46.

Kramer, Hilton. "The Dubious Art of Fashion Photography." New York Times, 28 December 1975.

Lehmann, Ulrich. ChicClicks: Creativity and Commerce in Contemporary Fashion Photography. Boston: The Institute of Contemporary Art in collaboration with Hatje Cantz Publishers, 2002.

Liberman, Alexander. The Art and Technique of Color Photography: A Treasury of Color Photographs by the Staff Photographers of Vogue, House and Garden, and Glamour. New York: Simon and Schuster, 1951.

Ray, Man. Self-Portrait: Man Ray. London: Andre Deutsch, 1963.

Sargeant, Winthrop. "Profiles: Richard Avedon." New Yorker 34 (8 November 1958): 49-50.

Steichen, Edward. A Life in Photography. New York: Doubleday and Company, 1963.

Thornton, Gene. "Turbeville Gives Fashion a Torture Treatment." New York Times, 24 January 1977.

# data[].attributes.attachment_link.description
A fashion photograph is, simply, a photograph made specifically to show (or, in some cases, to allude to) clothing or accessories, usually with the intent of documenting or selling the fashion. Photographs of fashionable dress, in existence since the invention of photography in 1839, are not fashion photography.

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Abstract and geometrical Shape staging in photography 

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Abstract and geometrical Shape staging in photography 

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Heidi Bucher Swiss artist interested in exploring architectural space and the body through sculpture.

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https://mendeswooddm.com/en/artist/heidi-bucher

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Being interested in the structural and abstract shape silhouette of clothes. I wanted to explore the influences and the time periods when this took place, going back to the 60’s.. a time where this was brought in, wheres shape silhouette intersected with fashion.

I am focussed on the womenswear silhouette shape of symmetrical shapes, geometric shapes, minimalism and exaggeration.
- a influence space age.

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symmetrical shapes, geometric shapes, minimalism and exaggeration.

along with the 1960s space race, were a major inspiration on 1960s fashion.

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What is Mod fashion?
The influences of Mod fashion was Escapism, feminism
Mod fashion stands for Modern/ modernist fashion.

How did it become to be?
Mod fashion emerged in the united states, Britain and France during the mid 1960. For women's wear the garments were simple geometric and bight the garments. The garments had a box like silhouette and a line mini dress.

Although women weren't originally included in the mod movement they became increasingly involved with the mod movement. Women used fashion as freedom in the 1960s. The 60s led to young people wanting to voice their liberal opinions and views, mod women did that through there clothes. Hemlines got shorter and the loose fitting shape was brought into garments. Mod clothes were easier to wear, then to were they were rebelling against the tight fitting dresses 50s fashion.
-It was the mod women that gave Mary quant ( influential fashion designer in 1960s) mini skirt exposure and popularity.

- space race, were a major inspiration on 1960s fashion.

I am focussed on the 1960's silhouette shape of womenswear symmetrical shapes, geometric shapes, minimalism and exaggeration. Which was influenced from  space age.

-space race, were a major inspiration on 1960s fashion.

Mod was not only "the first distinctively British youth culture" but "a popular form of modernism – that stream of creativity in Europe and America that began in the early 20th century as an avant garde reaction to mainstream aesthetics, morality and politics".

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Symmetrical shapes, geometric shapes, minimalism and exaggeration.

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Symmetrical shapes, geometric shapes, minimalism and exaggeration.

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I hugely admire Pierre work for that it consisted of symmetrical and asymmetrical shapes, geometric shapes, minimalism and exaggeration.

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My filming research of Ad Minoliti Exhibtion

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My filming research of Ad Minoliti Exhibtion

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Ad Minoliti Biosfera Peluche/ Biosphere Plush  Tate Artist exhibition information 

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Ad Minoliti Biosfera Peluche/ Biosphere Plush  Tate Artist exhibition information 

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This exhibition was inspired by the experiments being done to investigate humans living in space and on other planets, such as the Biosphere 2 which was the worlds largest earth research experiment based in Arizona , where a group of people were isolated for 2 years.  She pushes against the simple perspective of humans colonising elsewhere and explores this alternative view in her art, but uses the concept and experience of being completely enclosed as part of her creations, using a variety of influences from South American art.
In Moliti's Version of Biosphere values of all identities, experiences and even abstract forms. Humans co-create artworks and colour and shape apply to a form architecture or deconstruct gender roles

Ad Molini uses the rich legacy of geometric abstraction in latin America to present alternative universes influenced by feminist and queer thought.

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While looking around the Mordern Form exhibition at the Tate st ives and looking at artist work of Ben Nicholson's geometric shapes it reminded me of my research that I had done from Photo London 2022 in my cpp module and how Aniko Robvitz explored using bold colours and geometric shapes in her architecture photography.

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This is the box the garments cam in.

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Kat Hills Inspiration behind her TAK garments 

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Kat Hills Inspiration behind her TAK garments 

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In greatly admiring Kat Hill (TAK brand) I wanted to know where her inspirations were when creating these garments. So I asked her and this was her reply. Kat was inspired by 60 MOD fashion. The block colour and bold silhouettes space race. Kat was heavily influenced by designer Peirre Cardin who was a wellknown designer in that eira who used big sillougute shapes in his garments. Kat used silhoute shape in her garments in the same way Pierre did him his garments.

It was great to see that my research of designer Peirre Cardan that I did at the begging of this master project came back around with and was inspiration to the designer i was woking with.

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Ben Nicholson OM (1894-1982) 1934 (Relief) Oil painting on mahogany.

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Marllow Moss Balenced Forms in Gunmetal on Cornish Granite

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Marlow moss

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Marlow moss 20th century , their work remind me of Pet mondrian work. It wasnt untill I research their work that they were friends with Peit mondrian and they were part of a group called "Abstraction-Création" who made their work look more abstract like and not to look like ‘real’ people or objects. Marlow was more interested and was inspired in exploring the shapes and movements that make up what seems real to us.

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Trevor Bell Calshot 1970 acrylic paint on canvas

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Francis Baudevin 1964 Untiltled 2011
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