David Bailey famously described Fashion Photography as “a portrait of someone wearing a dress,” tracing its roots back to Victorian portraiture. As early as the 1840s, society figures posed for photographers in their finest attire, mirroring the tradition of painted portraits. However, fashion photography transcends mere documentation of clothing. Irving Penn, a legendary Vogue photographer, believed his role was “selling dreams, not clothes.” The most impactful images resonate with viewers’ aspirations and desires, going beyond surface details to evoke emotions and tell stories.
Fashion photography thrives on pushing boundaries. The interplay between artistic vision and commercial demands has fueled creativity and technical innovation. Whether in the form of editorial shoots or advertisements, these images mirror contemporary culture, global events, and the evolving roles of women throughout the 20th century.
In 1911, amidst Europe’s golden age, Edward Steichen photographed models in Paul Poiret designs for Art et Décoration magazine. These soft-focus images were declared by Steichen as “the first serious fashion photographs ever made,” marking a pivotal moment in the field. Prior to photography, fashion magazines like Le Costume Français and Journal des Dames et des Modes relied on engravings, reaching a limited audience. Advancements in printing in the 1890s enabled photographs to be integrated with text, expanding the reach of fashion magazines and transforming the industry.
Condé Nast’s acquisition of Vogue in 1909 marked another turning point. He transformed it into a prestigious international fashion publication. Vogue, along with the relaunched Harper’s Bazaar, aimed to capture the essence of style in New York, London, and Paris through groundbreaking fashion photography and a growing roster of glamorous models.
Surrealism profoundly influenced fashion magazines in the 1920s and ’30s. Paintings by Salvador Dalí and Giorgio de Chirico appeared in Vogue alongside avant-garde fashion photography by Man Ray. Some photographers embraced Surrealist principles, seeking to visualize the unconscious mind through innovative techniques and unexpected juxtapositions, challenging conventional notions of reality.
Baron George Hoyningen-Huene, as chief photographer for French Vogue and later Harper’s Bazaar, shaped a generation with his painterly approach to light, shadow, and classical forms. His protégé, Horst P. Horst, created similarly inventive images, blending surreal and classical motifs. However, Vogue editor Edna Woolman Chase prioritized showcasing the garments, famously stating, “Concentrate completely on showing the dress… if that can’t be done with art then art be damned.”
Post-World War II, a renewed desire for glamour and femininity found expression in Christian Dior’s New Look in 1947. Lillian Bassman’s elegantly sensual fashion photography complemented these new styles, prioritizing mood over detailed depiction of clothing, much to the chagrin of Harper’s Bazaar editor Carmel Snow. Erwin Blumenfeld, known for his vibrant Kodachrome images, also pushed the boundaries of experimental fashion photography.
The 1950s ushered in a dynamic era for fashion photography, with photographers embracing a spontaneous, photojournalistic style. Models were captured on city streets, replacing studio backdrops with urban landscapes. Richard Avedon’s iconic 1957 photograph of a model in a Cardin coat, titled “In Homage to Munkácsi,” exemplified this shift. Martin Munkácsi, a pioneer of outdoor fashion photography, had advised, “Never pose your subjects. Let them move about naturally.”
The 1960s witnessed the rise of the feminist movement and a shift towards youthful, liberated fashion. David Bailey’s documentary style transformed teenage models like Jean Shrimpton and Twiggy into international stars. From 1966 onwards, bold patterns and colors dominated, with Penelope Tree embodying the hippy aesthetic.
In the 1970s, fashion photography explored themes of femininity, sexuality, religion, and violence. Helmut Newton captured confident women in glamorous settings, while Guy Bourdin and Gian Paolo Barbieri created provocative images that emphasized the character of the woman. Black and androgynous models gained prominence, and photographers like Deborah Turbeville and Sarah Moon offered distinct female perspectives on beauty and objectification.
The 1980s saw the emergence of style publications that challenged the polished aesthetic of mainstream magazines. Steve Johnson’s full-figure portraits of punks and New Wave youth in i-D magazine captured a raw and authentic street style. This naturalistic approach continued into the 1990s with photographers like Corinne Day, David Sims, and Craig McDean, who celebrated the individuality and unique beauty of real people.
Today, fashion photography is characterized by elaborate fantasies and cinematic productions. Miles Aldridge describes his process as “taking something from real life and reconstructing it in a cinematic way.” Tim Walker, inspired by Cecil Beaton and fairytales, creates whimsical and opulent images. While women’s fashion has historically dominated, men’s fashion photography is gaining prominence, reflecting a broader spectrum of style and representation.
