- Baggy jeans: originate from the 90s. Skinny jeans are no longer the only jeans sold.

- Flares: bell bottoms, a symbol of the 70s counterculture and hippie movement. Originally worn

by sailors for practical reasons, they became the epitome of cool during the 70s. They're now

making a comeback in a variety of fabrics and styles, from classic denim to modern material.

- Platform shoes: from boots, heels and sandals to chunky trainers, Summer 22 runways saw

footwear reach new heights with stacked loafers and slip-on flatforms, whilst celebs such as

Olivia Rodrigo and Florence Pugh have all embraced bold platform heels with their looks.

- Round glasses: this trend originated in the 1920’s and had a comeback in the 70’s due to the

large influence of people such as John Lennon and Janis Joplin.

- Cargo pants: not the cargo pants worn in the 90s- the new ones are much for edgy. Slim-fit

cargos are in paired with trainers and graphic tees for a cool and casual look.

- Denim skirt: 2023 is the year of maxi skirts. They are becoming more popular and are being seen

more and more seen on Instagram and the streets, with denim and jersey styles being the

chosen textiles.

80’s Fashion

- Leather (coats, blazers): the original denim and leather clothing style was popular among

musicians and fans of more extreme and niche metal bands.

- High waisted denim: the 1980s were the reigning decade for high waisted jeans. They were

then derided as mom jeans in the 2000s and popular again in the mid-to-late 2010s and are now

popular in competition with low-rise jeans.

- Oversized blazers: oversized, unisex and with the optional power shoulders, they're already a

hit.

- Long socks (visible above shoes)

- Miniskirts:

- Button up blazers

- Graphic tees

- Big sunglasses

- Denim jackets: always in style, go with everything and can be easily layered under heavier coats

for colder days.

90s Fashion

- Cropped shirts: a runway hit in the 90’s, especially when paired with high-waisted jeans. Saw a

revival in the 2010’s after Madonna’s music video for “Lucky Star”.

- Layered clothing

- Track suits: popular trend in the 1990’s often worn as casual or athletic wear.

- Little black dresses: timeless closet staple

Fashion never stands still. Whether it's something new or the return of a long-forgotten style, the

industry is constantly evolving and adapting that are inspired by changing tastes, popular culture, social

media and world events. Some trends are associated with certain groups of people like musicians and

movie stars, whilst others emerge because of a shift in attitude, ethics or social movements, such as

MeToo or the shift towards sustainability.

Fashion changes over time because people and circumstances change. As well as expecting shifting

preferences, the fashion industry must quickly react to all kinds of events, from WWII which saw a rise in

functional fashion to the Covid-19 pandemic which made us grow to love living in loungewear.

In modern day, politics, technology, celebs and social influencers all have an impact on the

contemporary fashion trends. The emergence of social media and tech has made trends catch and

spread faster than ever before, with different and new styles becoming increasingly accessible and

wanted.

Old trends coming back?

Although new designs are always being made, they often take inspiration from trends we’ve seen before

and reinterpret them in new, fresh, and imaginative ways. In the 2020’s, the fashion landscape may feel

like a time machine, with many of the popular styles evoking trends of decades in the past. Blazers and

slogan tees are reminiscent of popular 80’s looks, whilst early 2000’s fashion is back with low-rise jeans,

cut-out details and wide legs.

The 20-Year Trend Cycle

The rule is often referred to within the fashion industry- a cyclical movement suggesting that today’s

popular trends will see a resurgence in the next twenty years. The 20-year cycle explains why Y2K is

seeing such a comeback on catwalks, across social media and in popular high-street stores. A fashion

designer always looks to past references for inspiration and considers how to bring these into the

present, whether that’s rediscovering forgotten moments in pop culture or exploring archives.

Manipulating images, through physical or digital alterations, can undermine trust in the images and

reduce their impact massively on the audience. Maintaining integrity in photography includes:

- Respecting privacy and consent

- Being aware of any cultural sensitivities

- Being open and honest about any modifications and changes to images

- Avoiding misrepresentation or false imagery in photos

Responsible and considerate photography can include:

- Always getting consent from people

- Respecting culture, religion and social norms

- Not taking advantage of vulnerable people or situations

- Avoiding any harm or exploitation in taking the images

Authenticity vs Manipulation

Fashion photography has been criticised for its often-excessive use of editing and retouching. It is

essential that photographers are honest about how they edit and retouch, especially with their models.

Models have the right to know that their image has been altered and any changes to their appearance.

By being transparent about this, photographers can build trust with their subjects and avoid

representing unrealistic beauty standards.

Respecting cultural sensitivities

Cultural appropriation is a significant concern in the fashion industry. When capturing fashion that is

influenced by a particular culture, photographers should try to include and collab with individuals that

are a part of that culture, ensuring that it is represented authentically. It is important that cultural

elements are not reduced to mere fashion trends and are given credit and recognition.

Photography in public places

It is important to respect the privacy, dignity and consent of individuals who may appear in photos taken

in public spaces. Photographers should be mindful of their surroundings and any potential discomfort

that may be caused by photographing unaware individuals. Getting consent when possible, blurring

faces, and avoiding exploitative imagery can help maintain ethical standards.

Consent in the studio

The types of photographs taken in the studio can vary widely. Some will be taken with the model

completely covered in layers and layers, say for a winter shoot. However, when the photographer is

given the brief, they may decide that a more revealing shot would fit best, for example the shoulders

and collarbone out. These shots are fine, but it is vital that the photographer has the model's consent,

like with any shots they may want to do. This ensures the model is comfortable with the images being

within the public eye and builds trust between photographer and subject.

-Take inspiration from fashion photographers before picking up a camera. Advice from professionals

could help with the shoot and give you an idea of what works and help create a good shoot. You must

look at work and find what you like and see as attractive and incorporate this into your own style and

work.

- Begin with casual fashion shoots using friends or family as models. With practice, lighting and styling

skills will improve, and it will become easier. Trying different lighting set ups, compositions, angles and

poses will help to see how they look, and which is the most effective for the images.

- Keep lighting simple. Lighting can make or break your photos and is as easy as using one light source

and a simple white reflector. If it is possible to shoot only with daylight, then do this and use a reflector

to enhance it. If extra light is needed, use either a constant artificial light or a strobe, and never mix the

two. When using natural light, ask the model to stand no more than two meters from the window. Take

test shots from all angles and sides to understand how the light falls on the model and how it affects the

whole image. To achieve even light, turn the model to face the window and stand with your back facing

it. However, to create dimension, turn the model 30 degrees and this will create interesting shadows

which emphasise the face shape of the model- a 45 degree turn will make you see even more dimension

and a change of contrast.

- Go dark in the studio. To create a studio environment, make the space as dark as possible so that

daylight doesn't interfere with the setup. A strobe light will help focus interest onto the model, and light

from a studio lamp will help see where the shadows and highlights are. It is common to shoot in the

studio at a shutter speed of about 1/125 seconds.

- Experiment with artificial light. Constant studio lights or studio strobes are commonly used, but a ring

light can also be useful for shooting fashion and beauty. Lighting accessories such as soft boxes,

umbrellas and reflectors can affect the appearance and intensity of the light. A useful technique is to

play with the direction of the light and the distance between it and the model. For soft light, you can

position soft boxes close to the model; for hard light, you can use reflectors around 15-20cm. The larger

the soft box, the softer the light will be, the smaller the area, the harsher the light.

- Adjust white balance. Before beginning to shoot, adjust the white balance and reset it every time you

move to a new location. The colours you see in person will then be the same as you see on screen and in

print.

- Manual vs semi-automatic modes. Manual mode gives you greater control of how the image turns

out. If shooting on location on a cloudy and windy day with frequent changes in light intensity, switching

to Aperture priority mode (Av on the mode dial) gives you the ability to automatically adjust the

exposure, meaning you can focus on other technical factors, such as the model’s pose, the feeling and

emotions you want to convey, and the overall composition of the shot.

- How to focus? When shooting fashion and beauty photography, the focus is always mainly on the

model. This could mean a full body shot if there is a focus on an outfit on a fashion shoot, or just an area

of the model if you're shooting shoes, accessories or make-up. Autofocus is reliable and helpful. If the

subject is moving (jumping, walking away or dancing), Tracking AF helps follow the model and keep

them in focus. Autofocus speed in fashion photography is important, as often you must take constantly

changing photographs.

- Getting the best out of the model. Begin with nice, natural and simple poses and assure the model

that it is going great. After a while the model will begin to pose more natural and flow easily compared

to when they started. The key is to make the model feel comfortable, else they will tense up, feel

uncomfortable and be unable to pose in an effective way. Some photographers prefer to use fast

continuous fire modes; however, you can create images with intervals between. This creates a more

calm, thoughtful process, which can help to settle the model into their poses. Starting with a longer

lense could also provide a little more space for the model, and once confidence is gained you could

move on to a shorter lens with a wide aperture.

highlight their important qualities. Fashion photography isn't just taking pictures of clothes, but

more the feeling they create about your work and your brand as a whole.

Great fashion photographers can work with various brands and objectives to showcase exactly

what each brand stands for and who they are as a brand.

Each brand has a story to tell and fashion photography can be used to capture this.

Fashion photography has been proven to be one of the most effective mediums, not only for

promotion but for widening the overall brand identity. The typical fashion photography shoot

includes models, hairstylists, makeup artists and fashion artists; therefore, it isn't hard to

imagine how brands can create this level of expertise required to achieve the best results.

In order to find your target audience as a photographer, you must establish your value as a

photographer first. An issue that you’re likely to come across is that you're only talking to your

client about what you do in a generic way. Explain to them what you are strongest at, and what

your work focuses on mainly. An important first step is trying to uncover the emotional core of

the idea so that you can know exactly what emotions and themes you are trying to visually

represent. As a photographer, you capture moments that make your clients happy but that they

can also look back on and feel satisfied that the work will help them expand their brand, whilst

also helping you with your own.

Thinking about search intent is also important. When a client searches for a photographer for

an event, you want to be the first result that comes up with the criteria they are looking for.

You must ensure that these are included on your website or advertisement so that they know

exactly that you are what they are looking for without leaving them unsure.

When starting a business and looking for clients, the smallest possible market is the best place

to start and sustain your business as it grows. Beginning with close friends and peers can be a

good place to start to get good reviews and begin to practice with clients and find your feet

with your techniques- bring focus to speaking to the smaller circle to build up your target

audience.

Establishing your strengths as a photographer will help you start to understand your ideal

target audience and where to aim your work for it to reach the perfect clients.

Fashion photography is a critical component in the fashion industry as it promotes clothing

lines, accessories, and lifestyle. It is a way to capture the essence and mood of a fashion line,

and images produced can have an impact on consumer behavior. The goal is to create a visual

narrative that highlights unique features of the products and attract potential interested

customers. The overall aim of this area of work is to start small, spread your brand and slowly

expand into larger and more popular clients, and produce work that increases brand

recognition, showcase products in an attractive way, promote new collections and ultimately

drive sales- they may have the power to create and shape trends, influence consumer

behavior, and establish a brand’s image and reputation.

Steichen could be seen as the founder of modern fashion photography. After a supposed dare, he

undertook the task of promoting fashion via the medium of photography. To do this, he took a series of

photographs of the gowns created by renowned French designer Paul Poiret, which were published in

the April 1911 issue of Art et Decoration magazine.

They conveyed the aesthetics, movements and details of the clothes. His style focused heavily on the

model, in typical portraiture style, but used lighting and carefully planned setups in the studio to focus

on the clothes and make them appear elegant and lavish indicative of the time.

In 1909, Conde Nast purchased American lifestyle magazine Vogue. By doing this, he created the world’s

premier fashion publication, giving photographers such as Steichen a platform to showcase their work to

a larger audience. Following this, in 1913 he launched Vanity Fair.

Steichen and Vogue gave blueprints for all fashion advertising that was to come. Steichen’s use of

models, lighting and experimental studio techniques were revolutionary, and contemporaries had no

choice but to follow his path- his innovations are still being used to this day.

1934-1994: Revival of Harper’s Bazaar and The Design Laboratory

For many years, Harper’s Bazaar lacked the edge it needed to compete with the Conde Nast

publications. However, in 1934 the fortunes changed with the appointment of Alexey Brodovitch to the

role of artist director. Harper’s Bazaar started down a new path that would forever change fashion

photography. He implemented new layout concepts, used typography in new ways and had a vivid new

approach to imagery.

In 1993, he began a course at the Pennsylvania Museum School of Industrial Art called the “Design

Laboratory”, where he taught the full spectrum of modern graphic design. Young photographers such as

Irving Penn, Eve Arnold and Richard Avedon attended- it was these students that went on to shape

fashion photography for decades to come.

1944-1960: Avedon and The Great Outdoors

Avedon began his career in 1944 as an advertising photographer. Brodovitch spotted his talent and sent

him to Paris in 1946 to cover the latest collections from the premier fashion houses.

Avedon’s style was about movement. He replaced the static and lifeless poses of the Steichen era with

new and alive photographs. He didn’t use the studio, preferring to work outdoors or on location.

Capturing lively street scenes and parties, his models were photographed in the moment, showcasing

natural femininity.

This set a new course for fashion photography, and throughout the 50’s his style was very imitated and

used as inspiration. Motion and spontaneity were the main focuses of this new direction.

1960-1970: the divide

Avdeon’s style of shooting models in the moment was a real turning point in fashion photography.

Artists such as David Bailey used this style to capture the new and exciting times of swinging London in

the 60’s. Bailey’s work for Vogue built on Avedon’s ideas but gave them a youthful feel.

However, some such as Iriving Penn continued to stick to using the studio for their work. His famous

cover for the April 1950 edition of Vogue featured Jean Patchett in black and white with tone and angle,

the result was dramatic yet tranquil and overall sums up his approach to fashion photography. Although

his style started to fall out during the 60’s, he changed the face of fashion photography in subtle but

extensive ways.

1970-1980: Return to the studio and the rise of sexual controversy

By the start of the 70’s, a resurgence in studio work began. Beginning with work from Steichen, Beaton

and Penn, the new movement was defined by its use of female nudity, open sexuality, and surrealism.

Again, Richard Avedon began taking part in this new movement. Having signed a deal to move from

Harper’s Bazaar to Vogue in 1966, he decided to return to the studio for much of his fashion work.

Referencing the glamour of the first two decades, his shoots for Versace throughout the ‘70s and ‘80s

were inventive and exciting. His trademark use of movement was still active, as was his celebration of

confident female sexuality.

There was Guy Bourdin, a Parisian who relied on sexual imagery to tell a story. Whilst critics say that he

reduced the female body to only its erotic parts, often promoting violence and misogynistic views, his

supporters argue that he created his own brand of surrealism. His advertising work in the late ‘70s often

portrayed women as weak and controlled. However, his imagery is undeniably captivating, and the use

of bright colors, staged surrealism and sex has influenced the work of many fashion photographers.

1980-2000: the age of commercialism

Commercialism, a force that was more hidden in the previous 60 years, began to make an appearance.

Fashion was beginning to have more of an appeal as Europe and America’s middle class began to take

more of an interest in what they wore. They had more money to spend, and fashion labels such as Calvin

Klein, Levi’s and Ralph Lauren were happy to take it.

A standout campaign from 1981 featuring 15-year-old Brooke Shields presented this perfectly. Shot by

Richard Avedon, the ad for Calvin Klein saw Shields proudly declare that nothing came between her and

her Calvins. Almost overnight it made Calvin Klein jeans an extremely popular product.

Throughout the late ‘80s, Irving Penn teamed up with Japanese designer Issey Miyake for a ground-

breaking set of advertising campaigns. Taking influence from Steichen’s simple approach and

incorporating his own surreal tones, Penn took Miyake’s futuristic designs and exaggerated them with

large, embellished silhouettes, using the pattern of the fabric and the human body to showcase

Miyake’s creations in a unique and brand-new light.

The ‘90’s produced a range of classic ads. From the strong female role models portrayed by Donna Karen

to the American dream presented by Ralph Lauren, the ‘90s were known as the golden age of the ad

campaign. Alongside sex, labels used supermodels to focus their campaigns around, building a link

between their natural beauty and the labels products.

Once again, Calvin Klein was the forefront of this movement, and heightened expectations in a famous

campaign from 1992. Featuring Mark Wahlberg paired with Kate Moss, the black and white shoot by

Bruce Weber captured the essence of this new direction. The simple image of them both topless and

sporting clearly branded underwear was all that was needed to spread the message. And it worked,

Calvin Klein saw an increase in sales, turning them in a globally popular brand.

2000s: Hypersexuality

As mankind has thoroughly established, sex sells. But while people like Guy Bourdin have used imagery

for sex appeal extensively, the 2000’s ushered a new age of hypersexuality that was designed as much

to shock as to sell clothes.

One man not afraid of using flesh to promote his products was Tom Ford. The iconic campaign for his

first fragrance, For Men, was shot by Terry Richardson in 2007 and blended Ford’s sexual imagery with

Richardson’s identifiable flashbulb aesthetic. Bourdin was clearly a huge influence on this work; the

studio shots, use of color and portrayal of female sexuality are visible. Strategic placement of the

perfume bottle left little to the imagination, and the campaign caused a lot of controversy, however a

lot of exposure for Ford.

Another campaign from Tom Ford was released in 2003 whilst the designer was working for Gucci. This

ad, shot by Mario Testino, gained a lot of attention as it featured a female model with the Gucci ‘G’

shaved into her pubic hair. It was a bold move for Ford, but it proved there’s no such thing as bad

publicity.

Marc Jacobs strode a different path in the 2000s alongside Juergen Teller. Teller’s distinctive style

played a huge part in Jacob’s promotional campaigns and differed from the glamorous, stylised shoots

of his contemporaries.

An example from 2003 featured Hollywood actress Winona Ryder. Having recently been arrested for

shoplifting, Ryder arrived in court wearing a Marc Jacobs dress. Jacobs hired her, and the photoshoot

encapsulates his take on design with a reckless attitude.

The most dramatic shift in modern fashion photography, however, is the way in which campaigns are

consumed. Between 2006 and 2013, the number of pages dedicated each year to advertising in Vogue

decreased by 16%. In the age of Instagram and blogs, it's clear fashion marketers have a new strategy-

one that accepts that images may never be near a glossy magazine page, and only be consumed on a

social media feed. Content now is created to be shared and liked, and for many brands lookbooks are

the new campaigns- cheaper to produce, easier to consume and better suited for distribution.

Birmingham City Centre, I found it quite difficult as my focus is fashion

photography, and I work best when in the studio. After talking to my lecturer, I

decided I could give street fashion photography a go, as this could help me

produce some effective images of people's everyday fashion. However, I knew this was going to be challenging

as this was unlike studio work, as it had the addition of moving subjects at a much

faster speed and had outdoor lighting, which I wasn't used to shooting in.

As we walked through the city center, I struggled to find subjects that I wanted to

photograph, as nothing really caught my eye. I ended up mostly photographing

architecture, however I did manage to capture the occasional person in which I

thought would produce effective images. My main aim was to catch

clothing that I thought were keeping up with trends, and that any young person

could see and easily recognise- I thought these would be good as a juxtaposition

to my final idea where I would use models to showcase fashion items that were

popular a while ago but are now making a quick return, and compare these to

newly discovered fashion now.

The only issues I had whilst on this trip were things such as lighting. As these shots

were taken outside, I found it difficult to change settings so that they were

suitable for the conditions I was shooting in. Outdoor shots can play a big part in

fashion, so if I were to do a shoot outside again, I would make sure to remind

myself of what settings I need to use and how to change these.

The shots which are crossed out are the ones that I thought didn't work, as the model either wasn't looking at the camera, there was blur or the images were simply not clear enough, and therefore wouldn't be effective to present as a final image.

I used a soft box directly behind the camera to maker sure that the models face and body were lit up equally, whilst shadowing her features effectively and lighting up her face to create a smooth finish.

A range of angles were used to experiment with eye contact, which created a connection with audience and model, but also to capture the full essence of all components of the outfit and present the cargos in a more trendy and recent fashion.

The model brought in her own outfit that fit the vibe of 90s fashion, and styled these pieces with her knee high black boots which channelled the 90s flare and added to the juxtaposition of retro and modern fashion trends.

Due to the main focus being a mini skirt, I aimed to get the basic shots, but also get some shots from the back as I believed that showing the skirt from all angles would help if I was to promote it. However, in terms of ethics, these shots may not be seen as suitable due to the angle of the shots and the clothing the model is wearing. Before taking these shots, I took full consent from the model, and only used these images as testers to see if the angle would work- after looking over the images again, I decided the photos didn't work and wouldn't be used in my final project.

I did not like the first draft, as I thought that the page was slightly too full of negative space, and then looked empty. The images I used in these were not overall giving the retro effect I wanted, so didn't really work. Additionally, the final draft I created wasn't as successful as I would have liked. The brighter areas of light worked well as they fit with the theme of the 80's, however I believe that the writing was overbearing and made the image not really fit in the frame.

My best outcome was the second draft I created. I think that the vibrant colours worked with the retro feel I was going for, and added to the 90s vibe I wanted to create. along with this, the outfit that the model created channelled the fashion style of the 1990s and made it appear as though it was taken straight out of this era.

Even though I believe this shoot was successful, making these drafts helped me to decide that this wasn't a pathway I wanted to continue down. I discovered that I was more interested in creating an editorial spread, or something similar that required less text and more imagery. so thought that being inspired by these and creating my own may be the best option.

Instead of using basic poses where she was stood up, I decided to incorporate a range which included walking, kicking towards the camera, and crouching. I believe that the shots taken on the chair were the most successful because keeping the models own focus on the shoes helps draw the audience's attention to them aswell, and as a result of the positioning of her feet, the jeans are slightly raised which therefore makes the shoes visible.

If I were to do a shoot again with the focal point being footwear, I would like the theme to be more of a sports theme, rather than general casual footwear theme. I feel that this would enhance the footwear's appearance and help with showing the shoes in the setting they're most commonly seen in, helping to sell them.