Miles Aldridge – ‘Dinner Party’ 2009, Framed.
British Fashion Photographer, miles Aldridge proposes a world of opulence and luxury, as well as sex. in these women or his images, are disregard the camera entirely, manipulated into static poses, looking trapped in the artist’s frame, as stagnant and unmoving as mannequins in a fashion showroom. it’s clear that the artist’s relationship with the fashion world has solidified for a particular lighting, with using the female body. a woman, crumpled on a linoleum floor amongst a tray of shattered dishes, attests that even Aldridge perfects of form and aesthetic over the reality of an event. This suggests the perfections until exhaustion at the Dinner Party, his subjects are falling asleep at the table or dropping on their knees and still carry themselves with the utmost of glamour. most of the models with empty vases makes their skin shiny like plastic or poses then as sex dolls or transgender. The colour and lighting give a strong detail and clear image, however, the structure is unclear, confused and unique on what exactly happen including the objects on the table. not all dinner parties are perfect or glamorous and have a splendid party in which cases the beauty brings ugliness to imperfections.
William Klein ‘Smoke + Veil, ‘Paris’ (VOGUE) 1958
William Klein is an American photographer, filmmaker and painter also blurry and bold street photographer. He took fashion out of the studio into the streets, trying anything, stopping traffic, photographing models in the way to work. Klein’s work is monumental street art, far removed from the mainstream documentary style of the fifties. ‘Smoke + Veil, Paris’ 1958 image show her hand gesture, nails and the veil known as very fashionable or luxurious women. The colour is set in black and white, very simple to which contrast brightness and darkness. the face posture and makeup stand out on the model’s face to her beauty, however, it seems to have a storyline as if it was a murder story. Lastly, very good quality in 1958.
Tony McGee & Kate Moss Photographed in London, 1988. In David Hocking Mercedes Benz 280 Cabriolet.
In ’60 years of Fashion Photography’ exhibition at Atlas Gallery,London. Tony McGee’s image of Kate Moss in a car from 1988. Tony’s iconic image part of one of the most exciting collections of images in London, involving styles of photography depiction of the female form and making of icons. This image demonstrated the differences between the more natural photoshoot, opposed to stupid photography. Illustrated in black and white photograph by Helmet Newton and Kate Moss age 14 years old. It’s interesting on the lighting and the exposure. The contrast to their faces makes them stand out the most.
‘Identity’ Inspired by the creation dutch Republic, 1588.
‘Identity’, was insipired by the Dutch Republic in 1588, understanding the history behind this painting in the 16th century, Netherlands led by William I of Orange, revolt against the king of Spain because of high taxes and persecution of protestants by the government. This was the start of the eighty years war between netherlands and Spain. The Dutch provinces became a Republic, 1588. It encourages participants to contemplate their identity to be able to define and express themselves. the painting is very clear and detailed that it is clear it is set in War at sea.
