Too serious
Exploring playful approaches to photography!
Migle Svagzdyte
A-level photography
Personal investigation
2021-22
Thomas Tallis School
A-level photography
Personal investigation
2021-22
Thomas Tallis School
My personal investigation explores and questions the conventions of fashion photography, particularly the requirement that models have serious or impassive expressions. I often feel frustrated, even alienated, by endless photographs of models with deadpan expressions. It’s as if they are being treated like human coat hangers with no agency or personality. The particular convention of the serious expression is something I have attempted to deliberately undermine in my own work.
In this investigation I have used my skills to create photographs that poke fun at fashion such as using images we would tend to think of as failures, blurry images, or pictures in which my models are posed in humorous positions or contexts. I have explored the implications of Threshold Concept #8, which states that ‘Photographs have their own visual language and grammar’. In photography, shape, repetition and balance are some of the visual elements which communicate meaning. But there are also features such as flatness, frame, time and focus, which refer to the specific grammar of photography. Breaking the ‘rules’ of photography could be thought of as the deliberate questioning of these rules or conventions. This would be something like breaking a grammatical rule, for example, having a blurred image. For some people, however, this is not incorrect, and the accidental image turns out to be more interesting.
In this investigation I have used my skills to create photographs that poke fun at fashion such as using images we would tend to think of as failures, blurry images, or pictures in which my models are posed in humorous positions or contexts. I have explored the implications of Threshold Concept #8, which states that ‘Photographs have their own visual language and grammar’. In photography, shape, repetition and balance are some of the visual elements which communicate meaning. But there are also features such as flatness, frame, time and focus, which refer to the specific grammar of photography. Breaking the ‘rules’ of photography could be thought of as the deliberate questioning of these rules or conventions. This would be something like breaking a grammatical rule, for example, having a blurred image. For some people, however, this is not incorrect, and the accidental image turns out to be more interesting.
Fig. 1 Lean Lui - Dior Cruise campaign, 2021
I have explored some of the expectations of fashion images that we have in society, such as well-composed pictures of models with beautiful bodies and clear skin. I am a fashion insider in terms of both the consumption of fashion magazines and also of clothes. However, I prefer secondhand clothes to fast fashion. I have a good understanding of what might attract a consumer. I'm drawn to fashion photography for reasons other than the composition of photographs or the colours utilised. I am interested in the visual conventions related to idealised‘ perfection’. Fashion photography is a type of commercial photography. In these images, there are sometimes elements of art, but the main agenda is to sell a ‘product’. This product could be a variety of things, ranging from clothes, make-up, a lifestyle or a foreign location. John Berger, in his famous TV series and book ‘Ways of Seeing’ says that ‘Publicity both promises and threatens, plays upon fear. Often the fear of not being desirable, of being unenviable. It suggests that you are inadequate as you are, but it consoles you with a promise of a dream, and that is exactly what fashion images are created to do, ‘sell us a dream’.
Commercial photography aims to sell a dream of the future to an audience. It wants to convince individuals that the dream is achievable, no matter what the dream is (Fig. 1). People are made to feel sad about where they are in their life, what they look like, what they do, and commercial images sell a false idea that if they buy a product, they will be living the dream that is being advertised, that their lives will be transformed and they will be happy. Photography is the main method used to sell a dream of the future to individuals. This is because photographs are more persuasive than paintings or sculptures. They look the most realistic, and the individuals only just manage to recognise the difference between photographs and reality, whereas paintings are more abstract. Although photos are just as fabricated as fine art, they look like reality. These images are presented as a vision of a better and more beautiful world that does not actually exist, and probably will never exist. We believe in this dream and vision because we are able to see it in the photo, but the majority of us cannot actually have it. This synthetic image promoted by the photograph is not healthy as individuals will always feel frustrated and upset for not living in this ‘dream’. This personal investigation is my attempt to think about what characterises the qualities I see repeated in fashion photography and what bothers me about them. I have thought about the change I would prefer to see in the way fashion photographs are made so that we are not made to feel as though there are idealised appearances and materialistic goals dominating our daily lives.
I have conducted an investigation into magazine photographs to back up my claim. In a copy of a Vogue magazine from October 2021, I found that only 11.1% of images used a model who was smiling and only 11.1% of the images were less serious, using more humorous compositions (Figs 2 & 3). Also, the cover image of the magazine features a model who was not smiling. This was from a sample of 45 images, as I used the front section of the magazine. I also looked at a copy of Vogue from January 2019, for a representative sample, and found only 10% of the images showed models smiling and 3.3% of the images had a less serious/silly composition. The cover for this magazine was also serious and the model was not smiling. I have included some other visual examples of what I mean by less serious images that I found in the magazines (Figs. 4 & 5).
The majority of fashion models have impassive or serious facial expressions. Why is this? There are explanations such as, it is harder to capture a perfect image when someone is smiling due to the creases on the face etc., but this to me is not a suitable explanation as you could always take pictures until capturing the perfect one. I think the explanation could be that when we look at the image and the model, advertisers want us to imagine we are the model, and think ‘If Ii had these jeans, I would look like that’. The model is acting like a reflection of us, of what we could be. It is easier for the viewer to project themselves onto an impassive model, imagining they were in her place, than it would be if the model was revealing more of her personality. Also, when we look into a mirror, we don't just laugh, we pose, so the model is a believable reflection. Throughout my investigation I have explored and addressed my relationship to the fashion photography industry, as both a consumer and a photographer. I have experimented with constructing my own fashion images, and analysed the criteria I have used.
My early work focused a lot on abstract, peculiar postures (Figs 6 and 7). I carried out a photoshoot at Peckham Levels, where I asked my friends and also a dancer I contacted through Instagram, to participate. I played jazz music and asked my models to respond to it, whilst I photographed them, as I wanted to experiment with the formation of shapes through the body.
Commercial photography aims to sell a dream of the future to an audience. It wants to convince individuals that the dream is achievable, no matter what the dream is (Fig. 1). People are made to feel sad about where they are in their life, what they look like, what they do, and commercial images sell a false idea that if they buy a product, they will be living the dream that is being advertised, that their lives will be transformed and they will be happy. Photography is the main method used to sell a dream of the future to individuals. This is because photographs are more persuasive than paintings or sculptures. They look the most realistic, and the individuals only just manage to recognise the difference between photographs and reality, whereas paintings are more abstract. Although photos are just as fabricated as fine art, they look like reality. These images are presented as a vision of a better and more beautiful world that does not actually exist, and probably will never exist. We believe in this dream and vision because we are able to see it in the photo, but the majority of us cannot actually have it. This synthetic image promoted by the photograph is not healthy as individuals will always feel frustrated and upset for not living in this ‘dream’. This personal investigation is my attempt to think about what characterises the qualities I see repeated in fashion photography and what bothers me about them. I have thought about the change I would prefer to see in the way fashion photographs are made so that we are not made to feel as though there are idealised appearances and materialistic goals dominating our daily lives.
I have conducted an investigation into magazine photographs to back up my claim. In a copy of a Vogue magazine from October 2021, I found that only 11.1% of images used a model who was smiling and only 11.1% of the images were less serious, using more humorous compositions (Figs 2 & 3). Also, the cover image of the magazine features a model who was not smiling. This was from a sample of 45 images, as I used the front section of the magazine. I also looked at a copy of Vogue from January 2019, for a representative sample, and found only 10% of the images showed models smiling and 3.3% of the images had a less serious/silly composition. The cover for this magazine was also serious and the model was not smiling. I have included some other visual examples of what I mean by less serious images that I found in the magazines (Figs. 4 & 5).
The majority of fashion models have impassive or serious facial expressions. Why is this? There are explanations such as, it is harder to capture a perfect image when someone is smiling due to the creases on the face etc., but this to me is not a suitable explanation as you could always take pictures until capturing the perfect one. I think the explanation could be that when we look at the image and the model, advertisers want us to imagine we are the model, and think ‘If Ii had these jeans, I would look like that’. The model is acting like a reflection of us, of what we could be. It is easier for the viewer to project themselves onto an impassive model, imagining they were in her place, than it would be if the model was revealing more of her personality. Also, when we look into a mirror, we don't just laugh, we pose, so the model is a believable reflection. Throughout my investigation I have explored and addressed my relationship to the fashion photography industry, as both a consumer and a photographer. I have experimented with constructing my own fashion images, and analysed the criteria I have used.
My early work focused a lot on abstract, peculiar postures (Figs 6 and 7). I carried out a photoshoot at Peckham Levels, where I asked my friends and also a dancer I contacted through Instagram, to participate. I played jazz music and asked my models to respond to it, whilst I photographed them, as I wanted to experiment with the formation of shapes through the body.
The shoot in Peckham Levels led me to read the catalogue of the exhibition ‘Performing for the Camera’ at Tate London. I read into the section on ‘Documenting performance’ and Yves Klein and his ‘Anthropometries of the blue period’, (Fig. 6) where he directed models to be live paint brushes and the models pressed their bodies against a canvas. Klein’s performance later inspired a dress design by Phoebe Philo for Céline (Fig. 7).
I learnt from the photographs of Klein’s performance that the camera was seen as a tool for documentation, as apart from the audience who witnessed the performance, the only traces left of it would be the documentary images.
I also discovered the work of Danny Treacy, specifically his project ‘Them’ in which he created life-size photographs of himself dressed in strange and abstract costumes, which he constructed from salvaged clothing found in abandoned flats. Consequently, my next photoshoot involved images and videos of my friend standing against a backdrop with layered pieces of clothing worn the ‘wrong’ way. This project created a comical response to fashion photography, as I played with the actual clothes and their use, bringing the audience's attention to the abstract use of the garments, rather than an ‘admired’ body, face or fancy bag (Fig. 8).
I also discovered the work of Danny Treacy, specifically his project ‘Them’ in which he created life-size photographs of himself dressed in strange and abstract costumes, which he constructed from salvaged clothing found in abandoned flats. Consequently, my next photoshoot involved images and videos of my friend standing against a backdrop with layered pieces of clothing worn the ‘wrong’ way. This project created a comical response to fashion photography, as I played with the actual clothes and their use, bringing the audience's attention to the abstract use of the garments, rather than an ‘admired’ body, face or fancy bag (Fig. 8).
To conduct further research about the fashion photography industry, I interviewed the model,Elliot Ransley. He has been in the industry for just over a year, and is a member of Menace Models. He stated that he enjoys modelling although, as with most things, there are downsides, such as when he flew out with Valentino, and 3 days before the catwalk, they decided he was not wanted anymore. I asked him about the directors and photographers in photoshoots, and if they are the ones who decide what models should do and decide if they smile. From his experience, photographers are the ones who control exactly what the model does, whereas directors are very laid back with what you do with your face. Photographers have often asked him for impassive or serious expressions.
“At the end of the day, as a model you are meant to be a canvas that photographers and designers put their own style
onto you. You are supposed to change your style for them.”
– Elliot Ransley, model
“At the end of the day, as a model you are meant to be a canvas that photographers and designers put their own style
onto you. You are supposed to change your style for them.”
– Elliot Ransley, model
Fig. 8 Migle Svagzdyte - from The Wrong Clothes, 2021
I shared with him my views about why I think the individuals within the fashion industry direct the images to be serious but I also questioned him. He believes that the photographer is trying to get a serious point across by telling the viewer not to look at the model but instead to look at the clothes. He thinks that having a straight face and being serious draws the attention away from the model and allows all attention to be directed to the clothes.
When I look at photographs by Mark Stuart or Viviane Sassen, I am instantly more fascinated by them because of the individualistic compositions and humour. Other photographers who particularly inspire me are Danny Treacy and Melissa Schreik. Neither are fashion photographers but their work explores our relationship to clothes and bodies in innovative ways.
Viviane Sassen took images for Louis Vuitton in 2020, in a location in Iceland. The image below (Fig. 9) incorporates birds, which disrupt the conventionally erect pose of a fashion model I find this image amusing since it appears as if the birds are pulling the person down as he leans forward, which would be absurd given his weight. I am fascinated by this type of photograph because it is more playful and irreverent.
Melissa Schreik’s work inspires me because of the movements that are created by the subjects in her images. Her project ‘The City is a Choreography’ explores individuals’ relationships with their urban environment. I am particularly drawn to the fact that the people in her images are not static, simply posing next to things in the city, but are moving around it and with it, creating abstract positions in a kind of dance.
When I look at photographs by Mark Stuart or Viviane Sassen, I am instantly more fascinated by them because of the individualistic compositions and humour. Other photographers who particularly inspire me are Danny Treacy and Melissa Schreik. Neither are fashion photographers but their work explores our relationship to clothes and bodies in innovative ways.
Viviane Sassen took images for Louis Vuitton in 2020, in a location in Iceland. The image below (Fig. 9) incorporates birds, which disrupt the conventionally erect pose of a fashion model I find this image amusing since it appears as if the birds are pulling the person down as he leans forward, which would be absurd given his weight. I am fascinated by this type of photograph because it is more playful and irreverent.
Melissa Schreik’s work inspires me because of the movements that are created by the subjects in her images. Her project ‘The City is a Choreography’ explores individuals’ relationships with their urban environment. I am particularly drawn to the fact that the people in her images are not static, simply posing next to things in the city, but are moving around it and with it, creating abstract positions in a kind of dance.
Fig. 9 Viviane Sassen - Louis Vuitton campaign, 2020
The image below (Fig. 10) is one of my favourite images of hers. It spoke to me because of the women curled up around the traffic cone. Compositions like this, which are more abstract and unexpected than conventional portraits like those found in many fashion magazines, are much more interesting and leave the audience asking questions. The interaction with the cone is both silly and creative. It’s as if the ‘performers’ are attempting to forge a relationship with mundane features of the cityscape, using them to choreograph their movements. This kind of movement is what I aimed to incorporate in my own images as I wanted to capture funny moves, to undermine conventions of ‘model poses’ in magazine images. In Fig. 10 I also like the inclusion of the two shadows of people on the left hand side of the image, as it reinforces the fact that the women’s actions are part of an ongoing performance and that the photographer has responded to their instinctive movements.
I messaged Melissa Schriek on Instagram, as I was interested in whether she posed her models in ‘The city is a choreography’, or if the images were a response to the model’s own ideas. She responded explaining that her process came from collaboration.
“I create a framework where something can happen. I give instructions but leave space for the
interpretation of the person in front of the camera. This gives a dynamic that I would not find
when staging everything from A to B.”
– Melissa Schriek
I messaged Melissa Schriek on Instagram, as I was interested in whether she posed her models in ‘The city is a choreography’, or if the images were a response to the model’s own ideas. She responded explaining that her process came from collaboration.
“I create a framework where something can happen. I give instructions but leave space for the
interpretation of the person in front of the camera. This gives a dynamic that I would not find
when staging everything from A to B.”
– Melissa Schriek
Fig. 10 Melissa Schreik - from The City is a Choreography, 2020
Whilst on my journey through my personal investigation, I experienced a failed attempt in using film. I took a roll of black and white film and also a roll of colour film. However, the film came out blank, which was a big setback. However, I feel that failures may quickly be transformed into new ideas. I saw an inspiring picture on Instagram from Gab Bois.
Fig 9. Gab Bois- Film objects
I decided to make jewellery out of my blank film, making earrings and a necklace by hand. I then photographed it worn by my mother and devised a photoshoot idea as if it were marketed but through my own style of photography. I saw visions of my mother in a bubble bath, glamorous but making deliberately silly expressions. I believe it turned out great in the end because I love the photographs and the contrast between the fancy setting of the image and the humorous poses and images used to advertise the jewellery, made out of blank film.
Throughout the investigation, I have experimented with my photoshoots and images and have developed my ideas for my final outcome. I have discovered more of what I did or did not enjoy within photography. Originally, I was aiming to take images which undermined the conventions of fashion photography, and create my own magazine, which would have been a challenge to conventional publications.
I created a mock magazine and, when reflecting on it, I was not keen on the diverse range of images in it. The film jewellery images were much more successful, capturing my attitude to fashion photography perfectly whilst also containing a humorous reference to a photographic failure. My mum is a great model and my images reflect her enjoyment of being a part of my photoshoots, which is also unique as a mum becoming a fashion model would not be seen so often.
I created a mock magazine and, when reflecting on it, I was not keen on the diverse range of images in it. The film jewellery images were much more successful, capturing my attitude to fashion photography perfectly whilst also containing a humorous reference to a photographic failure. My mum is a great model and my images reflect her enjoyment of being a part of my photoshoots, which is also unique as a mum becoming a fashion model would not be seen so often.
Fig 12 . Still image from the video of my mock magazine
I conducted another photoshoot with my mum wearing my film jewellery around the house (Figs. 13 and 14). I got some images of her sitting on the toilet, cleaning the garden, and standing in the shower. I decided to make a billboard advert using these images, editing them in the style of typical fashion photography and then adding my brand name. I called it ‘Sprocket’, which refers to the holes found on the side of a roll of film. I thought the word was funny, spoke about the material of photographic film and was quite unlike the kind of feminised, glamorous language that is usually used to advertise jewellery for women.
These images helped me to create more tightly focused, conceptually sound and high quality work for my final outcome. Alongside that, I am working to make my online exhibition more interactive by using videos, and making a fashion commercial inspired video of my jewellery.
The purpose of fashion photography is to sell a product, and fashion photography directors are serious about their work, wanting the focus to be on their product rather than anything else in the image. However, as part of my investigation, I wanted to break the cycle of consumption by mocking fashion photography.
The purpose of fashion photography is to sell a product, and fashion photography directors are serious about their work, wanting the focus to be on their product rather than anything else in the image. However, as part of my investigation, I wanted to break the cycle of consumption by mocking fashion photography.