Fashion Editorials, at their core, are a series of images linked by themes or characters, much like a comic book. This article explores the intriguing parallels between fashion editorials and comics, analyzing their shared visual language and narrative techniques. We’ll delve into a specific example, Elle’s “Retro-fitted” editorial (April 2013), shot by Mariano Vivanco and styled by Beth Fenton, to dissect these connections.
The Splash Page Effect in Fashion Editorials
Comic books often utilize splash pages – full-page illustrations – for dramatic effect, mirroring the grandeur of gallery art. This technique draws attention and establishes a visual hierarchy. Similarly, fashion editorials frequently employ full-page images, each functioning as a splash page. In “Retro-fitted,” the opening image, featuring Melody Monrose, with the title and credits artfully placed in the negative space, evokes a comic book’s title page. This prevalence of splash pages in fashion editorials raises questions about their role in conveying not just artistic merit, but also commercial appeal. Are these large-scale images a nod to high art or a reflection of advertising’s bold aesthetic? The answer likely lies in the complex relationship between fashion photography and both high art and commerce.
Fashion Editorials and the “Literary” Debate
The debate surrounding comics and their relationship to literature often centers on the perceived hierarchy between highbrow and lowbrow art forms. Fashion editorials, with their emphasis on visuals and lack of traditional narrative, complicate this discussion. While a sequence of images suggests a potential storyline, the narrative is often implied rather than explicitly stated. In “Retro-fitted,” the images themselves, dominated by patterns, composition, and the model’s pose, seem to prioritize visual impact over literal meaning.
However, the presence of text, often detailing price points, introduces a commercial element, grounding the abstract aesthetic in the reality of consumerism. This juxtaposition of high art aspirations and commercial intent mirrors the ongoing tension within the comics world, where the visual language constantly negotiates its relationship with both artistic expression and commercial success.
The Gaze in Fashion Editorials and Comics
Fashion photography often presents bodies to be looked at, predominantly female bodies viewed by a predominantly female audience. In “Retro-fitted,” the inclusion of a male model looking at the female model reinforces this dynamic, mirroring the reader’s own gaze. This interplay of gazes extends to the realm of superhero comics, where idealized male bodies are frequently depicted, often alongside scantily clad female characters. This raises questions about the eroticization of the gaze in both mediums and its connection to audience identification and desire.
Bodies, Time, and Space in the Fashion Narrative
Both fashion editorials and comics rely heavily on the depiction of bodies. While comics use repeated depictions of bodies to convey action and the passage of time, fashion editorials, lacking a conventional narrative, utilize repetition to establish familiarity and explore variations on a theme. “Retro-fitted” showcases this through a sequence of images featuring Melody Monrose in different poses and settings. The repetition and variation of the same model create a sense of intimacy and allow for a nuanced exploration of style and visual impact.
The shift from full-body shots to close-ups, from vibrant colors to muted tones, generates a visual rhythm and suggests a subtle narrative progression.
This concludes our exploration of the fascinating intersection between fashion editorials and comics. By analyzing their shared visual language, we gain a deeper understanding of how both mediums construct narratives, engage with their audiences, and navigate the complex relationship between art and commerce.
