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In the 1990s, something strange began to happen with the construction of the fashion

image. Following the close of the ‘80s – a period where sex was glamorized within an inch
of its life – our representations of fashion went through somewhat of a paradigm shift. Gone
were the constructs of the highly glamorized fashion shoot, replaced with intimate snapshots
of day-to-day life. Whilst the fashion photograph’s aim of story telling remained, these
stories weren’t that of fantasy. Instead they became about the every day.
It was the likes of Corinne Day, Nan Goldin and Jürgen Teller that helped shape the visual
identity of a generation – telling the stories of the people of that time and shattering the
illusion of previous fashion imagery. “Behaving like ‘human beings’ and documenting
‘realistic’ activities became a prominent feature of contemporary ‘90s fashion photography,”
wrote fashion theorist Elliot Smedley. Those images took to realism in order to be more
reflective of daily life
Subcultures such as punk, mod and soul - that had increased in popularity in the precedent
90s eras – had subverted into new cultural groups, creating a hybrid generation that is much
more difficult to identify to its precedent styles. As such, fashion photography needed to
reflect that spirit of individualism in order to remain commercially viable within magazines.
Publications such as i-D and The Face rose to success as a result, due to a growing desire
to see what was happening on the streets as opposed to heavily constructed shoots in the
studios.
Let’s think about the term ‘to be in fashion.’ For something to meet that requirement, it has
to be of the moment, so great fashion photography has to capture the spirit of that time.
With the ‘90s demonstrating a time of economic, political and social unrest, the fashion
photography of the time had to reflect this. Those constructed tableaux therefore of
photographers past, no longer met those requirements. Instead the “artless, the unstaged,
the semiconscious, the sexually indeterminate and the pubescent” had to be captured in
order to demonstrate the zeitgeist.
It was to be a young Kate Moss, captured by the lens of realist photographer Corinne Day
that remains the visual signature of that stance. Day’s work captured a young Moss long
before she had acquired her supermodel status, posing topless in several black and white
photos, youthfully smiling and seemingly innocent. Her underdeveloped body and ordinary
appearance epitomize the teenage experience – a time of freedom and senseless frivolity.

and catapulted the term ‘heroin chic’ into the sentences of national newspapers. the then image-editor of Vogue at the time. “the explosion of the private into the public”. The fashion image of the present day indeed throws back to that ‘90s aesthetic – with photographers now using the instancy of technology to share that snapshot moment. But why? It goes back to that intimate moment between Kate Moss and Corrine Day. it began to align itself more ubiquitously with that of the work of art. Fashion photography began to reflect notions of the Flaneur – the modern day photographer who wanders the city. . It was. Put simply. as Barthes described. That’s a notion that’s reared its head again today. that human connection is something we as a generation crave. Robin Muir. its about a connection between people. well then the fashion photograph will be able to convey something very beautiful indeed. It was argued that this type of photography glamorized low-culture. Whatever they were. Look at Instagram – the app that facilitates just that – and the addition of the iPhone into the arsenal of the modern day fashion photographer. with the images causing grave concern amongst the fashion pack and indeed the wider fringes of society. they weren’t fashion photographs. capturing his surroundings as he discovers them. And if that’s a photograph that doesn’t shock us anymore. sexual promiscuity and substance abuse. described the photos as “eerie stills from a gritty documentary or freeze frames from someone’s home movie.The pair were to become friends – sharing vacations over long summer days at Corinne’s flat by the sea. Perhaps in today’s world that seems so governed by technology and the fast pace that fashion has found itself in. The fashion photography of the 1990s was poised so ambiguously between that of fashion and art that the fashion image began to find its way onto the walls of the gallery space.” with the fashion photograph so accurately reflecting a specific moment in time. Sounds innocent enough? Perhaps not so much at the time.

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