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the full article is here: http://www.showstudio.com/projects/d...er_saville.php
haha@the mario approach... agreed wholeheartedly with this paragraph:
Pornography's Influence On Fashion Imagery
To be a good fashion photographer you need to put something of yourself into the picture. There are two types of fashion imagery. The first is achieved by what we might call 'the Mario approach', where the photographer identifies with a women, with her personality, with how she looks, with a dress. The other side of fashion is created by what might we call 'the aggressively heterosexual approach'; the Bailey/Donovan approach. Those are the two types of men making the strong statements about women in fashion. The latter type, those that want to fuck the girl more than identify with her, is an obvious contender for a consumer of pornography.
The weird thing about pornography is that for years and years is that it's been an influence that people have imagined was pretty much their own territory. Artists and image-makers have believed that that they are tapping into was, not necessarily a secret, but a relatively unshared image bank. I quite frequently take stills from porn films, quite confident that most people wouldn't have a clue where that came from, or would be surprised by that content, since it's not commonly accessible. It's quite easy to look at pornography and see fashion shoots, the more heterosexual ones, all day long. It's brilliant. There is no point in looking through Italian Vogue when you're shooting for Numßro. The history books, which were once a fabulous source, are now commonly available and everybody's got those. Watch a Seymour Butts film, though, and you think 'hang on, that would make a really great shoe shoot'.
We have seen phases of quite non-commercial editorial in magazines recently. Italian Vogue goes through cycles of cult positioning. The work that Guy Bourdin was doing in French Vogue in the 1970s was a case of using editorial to do whatever he liked and believed in at that time: not an attempt at selling frocks. It is now totally different. There is no Condß Nast magazine on earth that is engaged self expression: that's how the business has changed. Quite clearly, Bourdin and Newton were on a mission to challenge social stereotypes and barriers. Nobody is doing that now. The work that pastiches their photography is meaningless, it's just karaoke. It's the comfort zone of retro or nostalgic. It's familiar. Most of our popular culture these days is based on familiarity. It's good business. Challenging is not good business.
I don't think that there is anything of any interest whatsoever in fashion media now. There is nothing for it to pioneer. It's done. The audience has learnt it. As pretty much with music. It's on auto repeat. I feel that fashion is on auto repeat. Pornography has gone through its phases of challenging moral codes. I think it's past this in any kind of liberating way. My engagement with pornography now is occasional. More than anything, I got bored with it because it's in a lull stage. It's difficult to know what its next stage could be. Currently, it's in a phase of degenerating social behaviour.
haha@the mario approach... agreed wholeheartedly with this paragraph:
Pornography's Influence On Fashion Imagery
To be a good fashion photographer you need to put something of yourself into the picture. There are two types of fashion imagery. The first is achieved by what we might call 'the Mario approach', where the photographer identifies with a women, with her personality, with how she looks, with a dress. The other side of fashion is created by what might we call 'the aggressively heterosexual approach'; the Bailey/Donovan approach. Those are the two types of men making the strong statements about women in fashion. The latter type, those that want to fuck the girl more than identify with her, is an obvious contender for a consumer of pornography.
The weird thing about pornography is that for years and years is that it's been an influence that people have imagined was pretty much their own territory. Artists and image-makers have believed that that they are tapping into was, not necessarily a secret, but a relatively unshared image bank. I quite frequently take stills from porn films, quite confident that most people wouldn't have a clue where that came from, or would be surprised by that content, since it's not commonly accessible. It's quite easy to look at pornography and see fashion shoots, the more heterosexual ones, all day long. It's brilliant. There is no point in looking through Italian Vogue when you're shooting for Numßro. The history books, which were once a fabulous source, are now commonly available and everybody's got those. Watch a Seymour Butts film, though, and you think 'hang on, that would make a really great shoe shoot'.
We have seen phases of quite non-commercial editorial in magazines recently. Italian Vogue goes through cycles of cult positioning. The work that Guy Bourdin was doing in French Vogue in the 1970s was a case of using editorial to do whatever he liked and believed in at that time: not an attempt at selling frocks. It is now totally different. There is no Condß Nast magazine on earth that is engaged self expression: that's how the business has changed. Quite clearly, Bourdin and Newton were on a mission to challenge social stereotypes and barriers. Nobody is doing that now. The work that pastiches their photography is meaningless, it's just karaoke. It's the comfort zone of retro or nostalgic. It's familiar. Most of our popular culture these days is based on familiarity. It's good business. Challenging is not good business.
I don't think that there is anything of any interest whatsoever in fashion media now. There is nothing for it to pioneer. It's done. The audience has learnt it. As pretty much with music. It's on auto repeat. I feel that fashion is on auto repeat. Pornography has gone through its phases of challenging moral codes. I think it's past this in any kind of liberating way. My engagement with pornography now is occasional. More than anything, I got bored with it because it's in a lull stage. It's difficult to know what its next stage could be. Currently, it's in a phase of degenerating social behaviour.
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