Chris Von Wangenheim and the Insta-Aesthetic

Chris Von Wangenheim was undoubtedly the most forward thinking fashion photographer of his time. Wangenheim quite literally invented the 'instagram' aesthetic in the 1970's which is finding its way back into the limelight today, it is perhaps no coincidence that his work is being republished for a new Photo book Gloss. The book of course features Wangenheim's most notable works that define him as a photographer and the era in which he worked. 

A white horse has become a symbol of the 70's, as photographs of Bianca Jagger seen riding a horse in Studio 54 have become an icon for that age, Wangenheim also explores this commonality with this sexual image featuring two models and a white horse. When thinking of the 70's one tends to forget about the lingering sexual liberation that continued from the 60's due to the conservative imagery produced however Wangenheim successfully captures the overly sexualised photographs that we have since been desensitised to.  

1975, Chris Von Wangenheim

His images of past fashion ironically seem to influence future fashion, for example Wangenheim's campaign for Dior featuring Lisa Taylor and a dog bears resemblance to Givenchy's infamous Rottweiler print. Yet again selling sex with a hint of beastiality.

Lisa Taylor for Dior, 1976, Chris Von Wangenheim

Another trend from the 1970's seen in many of today's fashion photography, and also donned by celebrities such as Lady Gaga, are the bleached eyebrows. As many people today may think the look is completely original, Wangenheim's talent goes uncredited. 

Donna Jordan, 1977, Chris Von Wangenheim

Chris Von Wangenheim died in a car crash in 1981, after having created some of the most forward thinking and forever relevant images ever taken with a camera lens. Through his use of sexual liberation on film, Wangenheim created his own style, a style that many people, more so today than ever, attempt to adopt on their instagram accounts to gain more likes, without knowing the true meaning of why.

Chanel SS16

In true form, Chanel SS16 was shown at Paris fashion week last week in a traditionally elaborate setting, this time transforming Paris's Gran Palais into a utopian airport. Whilst usually somewhat obnoxious, this specific transformation, in a time where airports have become a dreaded reality felt like a real commentary on issues surrounding national security and the privacy we are willing to sacrifice in order to feel a sense of safety. 

Gran Palais for Chanel SS16

Another positive from the well thought out choice of scenery was the manner in which this was also communicated into the clothing, looks which encompassed airplane prints, relaxed fits and printed suitcases, the whole collection seemed to work together to create a real sense of luxurious air travel. 

Chanel SS16

Whilst usually layering countless prints over one another would contribute to an over-designed look, Chanel managed, through the use of simple silhouettes and clean tailoring of the knitted fabric, to create a casual, modern outfit which had many standout pieces. The most memorable of these, for me, was the playful knitted plane print tee, it combines a very current and stylish knitted tee with a slightly vintage pattern which gives the look a contrast between modernity and vintage. The minimal blue, red and white palette adds a sense of French patriotism which is refreshing when these colours are so often associated with the United States of America. 

Chanel SS16

Other standout garments from the collection include the reinvented tweed ladies suit, a piece that launched Chanel as one of the most influential design houses back in the early to mid 20th Century. The modernised suit, weaved from more vibrant colours, such as the cool blue and white, is reminiscent of the abstract paintings of Gerhard Richter but with a urban and geometric edge, a total image of reinvention. 

Chanel SS16

Chanel SS16 managed to convincingly use an extravagant stage to support their designs instead of showing them off and often distracting away from them. This allowed the clothes to fully be appreciated and the vast differentiation between the silhouettes, fabrics and patterns to represent a larger portion of the woman market. 

Versace S/S 16

The decision to break tradition and to present the Spring / Summer 16 collection at a concrete warehouse styled location on the outskirts of the city of Milan, replacing the usual venue, set the appropriate tone of surprise in the audience for the following show. To me Versace always has a predictability about it, mostly so in their Spring / Summer collections, following the same simple silhouettes just with varying prints and occasionally fabric and conforming to the same brash Versace logo displayed at least once in the backdrop. Despite this however, the surprise not only came from the new location but also to the rehashing of military styled clothing and the tailoring. One piece in particular stood out to me, a khaki green oversized blazer, worn as a dress with a belt used to define the shape, transforming this otherwise masculine piece into one that evokes femininity. This represents what Donatella Versace advocates, that a woman should always have the right to feel feminine. 

Versace SS16 

The military theme appears to have reappeared for Versace as the look was consistent throughout the collection, this includes a new interpretation of camouflage, one that does is creative and original. For this look Versace used sheer fabric as a foundation to build upon a trend that is still very much present to create an ingenious fabric that subtly evokes the military. 

Versace SS 16, Matteo Bazzi

In addition to camouflage the infamous cheetah print is also reinvented, presented on a cut dress that is reminiscent of rainforest tribal attire, it is not only the shape of the dress which does this but also the collection of greens and contrasting patterns. Although not revolutionary, the ensemble adds to the essence of the collection mixing military shaped garments and exotic animal prints to provoke a sense of colonial times, commenting on the migration of western society into its surroundings. 

Versace SS 16

Jamier Boatman / Pande / 2015

      Jamier Boatman shot by Pande

            These images act as evidence that fashion photography can not only be used to evoke desire from the viewer but aspects of this niche can be transferred to a broader sense of fine art photography to acknowledge cultural issues that exist at the time the photographs are taken. At a first glance these images exude fashion photography, the lighting used, the background and even the camera angle, however these photographs are not about the clothes the model is wearing, they are about the colour of his skin. 
To be oblivious about the issues facing racial inequality, particularly in the states right now, is to be oblivious to the world. The Guardian states that 183 black people have been killed by the police in the US this year and photographer Pande has captured the effects of racism in this shoot. In addition to this Pande has also managed to photograph subtle racism. The banana is a fruit which originates from tropical regions in which the people of these places are non-white, by painting and depicting the fruit as white, Pande has successfully portrayed how our majority white, western society neglects the origin and history of other cultures which we have used to develop our predominantly white countries therefore creating ignorance among white people to other cultures and ethnic backgrounds.  
Boatman holds a gun to his own head whilst tears fall down his face, displaying what initially appears to be a suicidal subject however this acts as a response to the previous image of the racism subtly placed in our western culture which portrays the repercussions institutionalised racism has on an individual. The gun immediately responds to the police's brutality towards non-whites, as if the people dying at the hands of the US police are doing it to themselves. 
A man crying is not unseen in fine art photography, Sam Taylor-Johnson published an entire series featured on this, Crying Men, 2004, however even today it is powerfully used. Due to the expectations of masculinity in our society it is still an unusual sight to see a man break down with emotion, this emphasises the fact that the subject has been broken by our racist society,leaving him exposed and vulnerable as his life is threatened and his culture is taken away from him. 
Upon immediate viewing these images appear to be from the niche of fashion photography, the lighting is soft which beautifies the model, the photos are minimalist and clean, this is what causes the viewer to look at them, the sophisticated message of racism is what engages the viewer provoking a thoughtful reflection on our societies values.

Gabriele Basilico / Contact / 1984

Gabriele Basilico / Contact / 1984

                 Contact is a photo series that portrays the different impressions left on the skin by various types of chairs, this is displayed in an archival manner, giving the sense that the series of images were taken as an experiment and the photographs produced are factual and also biographical. An imprint on the skin is usually formed by a pressure acting on the skin's surface however in this photo series the chair, the dependent variable, is the object which is being acted on by the constant, the subject, which is then documented to show the visible effect that this causes on the body. This allows the varying chairs to represent something greater, such as another person that is supporting the subject and feeding their dependence for them. The marks that are then viewed on the body afterwards, when the subject is no longer relying on the object, symbolises the pain and suffering that the withdrawal from that person inflicts upon them. 

Each chair embellishes the body with unique marks emphasising that the subject varied in their dependence on the object, with varying emotional situations relating to each different individual that the collection of chairs shows. Contact is a morbid biographical project which bluntly states that love always ends in heartache, whilst also highlighting the pain of dependence on an individual, especially when the individual withdraws and does not reciprocate the need.