I’ll be the first to admit I’m a huge fan of fashion editorial photographs. There is just something about the combination of colour, the models, the clothes and the poses that tickles my aestheticism bone. And I know I can’t be the only one either because the fashion photography industry has been running strong for around a hundred years. There are people out there who follow (religiously, might I add) the latest issue of Vogue or Vanity Fair and have for years. Girls and boys everywhere grow up reading high fashion magazines and aspire to them despite any controversy that occurs within the fashion sphere. Photographers and models become celebrities in their own right because their works are consistently showcased in haute couture magazines such as these.
So what happens when you take those glossy images of models strutting their stuff in bright, beautiful clothing and stick them in a gallery setting? Can fashion editorial photography also contain some sort of (albeit loosely) conceptual idea? And is this ‘conceptualism’ only realized once these photographs are viewed in a gallery setting? Like a drawing or painting conjured from the artist’s mind, fashion photography starts off as an idea sketched out by the photographer before it is brought to fruition. True, there is a distinct commercial aspect to these photographs in order to sell a product, but it cannot be impossible to infuse a photographer’s conceptual intentions as well.
Miles Aldridge is one fashion photographer (among many) who has shown that this is, indeed, possible. Based in London, Aldridge (born in 1964) is well known for his breathtaking, surrealistic and mildly erotic fashion photography featured in countless fashion magazines such as Vogue, New York Times Magazine and Paradis.
Read More…