1
2
WHAT IS THE FUTURE OF FASHION IMAGERY AS A MEANS OF COMMUNICATION? 3
FIGURE 1: Photoshop collage by Heleena Houston
4
6-7 INITIAL MINDMAP 28-29 THE ROLE OF STYLIST’S 8-10 INTRODUCTION 30-31AUTOETHNOGRAPHY 11-15 MAGAZINES 32-33 CONCLUSION 16-22 PHOTOGRAPHERS 34-35 REFERENCES 24-27 WHO ARE THE FUTURE 36-37 IMAGE REFERENCES
IMAGE MAKERS?
5
INITIAL MIND-MAP...
6
7
8
What is the future of fashion imagery as a means of communication? “A good photograph is one that communicates a fact, touches the heart, leaves the viewer a changed person for having seen it. It is, in a word, effective.” – Irving Penn Fashion clothing trends can be seen as ephemeral, but what about the images using the clothing? They can remain iconic and instantly recognisable. Photographers can create stories that take you into another world or dimension through images that convey and evoke emotion both within the audience and the creative. Today, fashion imagery can be located through the likes of magazines, the internet including social media, film, and television and out of home advertising such as billboards etc.
What better way to explore the future of my practice by looking through the lens? This essay will investigate the future of fashion imagery, in the sense that they do not have to be a physical component, as magazines move to more digital locations. How can images become even more immersive? How will we source our imagery? Will Artificial Intelligence allow us to saturate ourselves into these ever-growing imaginary worlds? Who helps create these images and what is the future of their role and who are the future image makers? What is the future of fashion imagery as a means of communication? Photographs are static images that help visualise ideas that are trying to be communicated. They aim to bring forth emotion which can cause powerful and overwhelming reactions from the audience, yet they can transpire unimaginable worlds into imaginary worlds. 9
10
Fashion magazines or magazines in general are a great tool for finding out recent information as they tend to stay up to date on topics relating to their subject. In particular this essay will focus on fashion magazines as one may say they are quite literally a pandora’s box for hosting some of the best fashion images to date. They often pay homage to designers and photographers who have paved the way and continue to remain relevant after many years of business. Not only are fashion magazines able to dissect and discuss designers and the latest trends, but through communication, they are also able to write about and cover areas of culture, social change (after all they are often influenced by social change), community and more (Vosper-Woghiren, 2013), ultimately providing a bigger picture of what is happening around the world and around the reader – a sign of the times perhaps. FIGURE 2: Vogue front cover June 1919 by Helen Dryden
11
Fashion imagery (photography) can be dated back to the 1850s , however it wasn’t until 1867 that Harper’s Bazaar was published and Vogue in 1892. In 1909, Condé Montrose Nast purchased Vogue and British Vogue launched in 1916. Fashion photography became more popular in the twentieth century where magazines were aimed at women who could escape their everyday roles of mother and wife and would instead be liberated and given inspiration of new trends that were surfacing. Vogue is a leading magazine that has always remained prominent at the forefront of fashion magazine publishing. It is a monthly fashion and lifestyle magazine that covers areas including fashion, beauty, culture and runway. It informs us on current issues and there are also 27 international editions of Vogue covering different countries. This is important as although we should unite together to create, it reinforces the importance of culture and inclusivity. We can also read up on and educate ourselves on what is happening across the world more globally than what we may receive in our own monthly editions.
12
Fashion magazines and those especially evolving around the world of editorial are heavily packed with imagery from latest collections, designers themselves, actors and actresses, royalty, athletes, everyday life etc. There is a plethora of varying types of photographs and subjects within magazines. Publications such as LOVE and POP magazine are intended to be used as inspiration for designers and creatives and are both published biannually. Vogue on the other hand is published once a month and is often a thinner magazine due to biannual magazines packaging up 6 months of hard work. Pre-pandemic, magazine publications had websites and often offered online subscriptions, however in the midst of the Covid-19 lockdowns, the world of digital and online sharing was accelerated dramatically as the only way to communicate was through online. Not only did this mean companies having to adapt and work socially distanced, publications also found the time to appreciate the new front line workers where we were visually able to see who was helping and risking their lives for us. The images in the July 2020 issue of Vogue focussed on our reality (Enninful, 2020) which showed magazines tackling current issues, that were being faced on a global level. Fashion imagery is able to confront us with a harsh reality, but it can also take us to an innovative place and one that can help us escape our everyday lives.
FIGURE 3: Vogue front cover July 2020 photographed by Jamie Hawkesworth
FIGURE 4, 5 & 6: Hunger Magazine Front Covers
FIGURE 6.
FIGURE 5.
FIGURE 4.
unger is a biannual magazine which launched in November 2011 and offers a platform for uncompromised self-expression, innovation and discovery. It covers areas of fashion, photography, beauty, art and culture, film and music. It is accompanied by hungertv.com which offers a different insight to shoots with behind-the-scenes film. Rankin notes that he loves the internet and the potential it has and “it’s like the magazine has come alive in film, rather than pictures and words” (Milligan, 2012).
FIGURE 7 (series) : Screenshots from Hunger Magazine Instagram
They have a large following of 217k followers of their Instagram account and seem to post on most days. More recently for their beauty issue, they have incorporated animation into their front covers/ posts for Instagram. Frank Nitty is credited for such creations as he has enabled pieces of the face to be sliced, bounced, swirled and boomeranged back to the starting point through short clips. It deconstructs and re-constructs the subject of the photograph, highlighting areas makeup would be applied. It is innovative and creative and fashion imagery is about being one step ahead of the game. The integration of animation and film, demonstrates publications are utilising the digital realm to capture attention and grow their audience. Posting on Instagram allows followers to be informed regulary compared to waiting every six months to see what’s inside the magazine pages.
13
With the surge of online presence that magazine publications have, will we source our fashion imagery all online? To counter-argue the impact of the digital sphere, it can be viewed that it takes away the tangible elements that hardcopies of magazines have. The glossy or matte textures of pages would merely become a one tone screen appearance that perhaps wouldn’t do the image justice. In the future with online magazine subscriptions already being a thing, we could have to order magazines so they are essentially made to order. This could reduce surplus magazines in stores that fail to sell out and the impact the print industry for magazines on the environment could be reduced as well. However, this could then remove the in-store excitement of picking up a magazine you hadn’t seen before or discovering an interest in a new one. Although more and more people move online today, such as Generation Z and Generation Alpha who are tech savvy, there will always be people who want something tangible, something sentimental and magazines could become even more special collectables in the future. We could also see all fashion magazines move to bi-annual publications as this could also reduce waste, the fast-paced industry could slow down and have time to breath and it could further improve engagement and sentimentality readers have to the publication. Nonetheless, it seems that 14
the online world demands faster turnarounds all the time and Instagram platforms are all about content creation and providing new content regulary to keep up with attention spans and capture audiences. This only increases editorial shoots and images being created behind the scenes of the magazines which in turn means more money and more regular shoots which can sometimes cost hundreds of thousands of pounds to create. Within the heart of many fashion magazines, contains editorial shoots. Sometimes 16 page spreads showcasing a variety of approaches, stories and poses that have been captured. British fashion photographer Tim Walker uses photoshop to help distort and accentuate proportions of the subject. His photoshoot sets are usually pieces of art themselves, as from figure [] it is noticeable how the set is very creative and far from a plain background. Walker loves the fantasy side which is evident through his work, what if we were able to plant ourselves virtually into the editorial sets in the future. Artificial Intelligence could be used through headsets to access a 360º look. Links could be placed inside of the magazine pages so they are easily accessible. Looking at figure [], this is the work of Elizaveta Porodina, a Munich based photographer. She is able to showcase essences of dark romanticism and her work has a melancholy touch to it. . Escapism is a word that can be used to describe how looking
at her work can make you feel, the haziness of how the image has been re-worked takes you to a different world. In the future, there could be filters that allow you to take photographs of yourself and other people that have a similar appearance to that of your favourite photographer.
FIGURE 9: Photograph for Pop Magazine photographed by Elizaveta Porodina (2021)
Fashion magazines will always be pinnacle when it comes to fashion imagery as a means of communication as the visuals help tell the story and the journalism can work in harmony with what the writer, photographer and designers are trying to portray. FIGURE 8: Harry Styles (2019) photographed by Tim Walker
15
Fashion photography; a genre of photography which has become an industry of its own due to its devotion to a different side including the likes of clothing, accessories, shoes, lifestyle etc. It is fun, fantastical, sensuous, glamour fuelled and more and is above all very different compared to that of photography. Prominent fashion photographers with the likes of Edward Steichen, where his portraits for Vanity Fair brought him new fame; Baron Adolf de Meyer, American Vogue’s first official fashion photographer; Richard Avedon, the most influential fashion photographer of the post-war era; Erwin Blumenfeld, an imaginative visionary who claimed to have “smuggled art” into his body of work and later on, David Bailey, considered one of the pioneers of contemporary photography. Just to name a few. Themselves and others have contributed to the world of fashion photography, being responsible in taking the viewer into a dreamy state, something more surreal, unimaginable, and setting the pattern pieces for today’s fashion photographers and image makers. Tim Walker; Miles Aldridge; Juergen Teller and Elizaveta Porodina are a handful of fashion photographers I have looked into that have created iconic and memorable fashion images as well as paving the way for the future fashion visionaries.
16
To compare and contrast two photographers who have played leading roles in fashion photography and image making would be an interesting way of visualising them. With Irving Penn who has passed away and Juergen Teller who is still very much working, what qualities overlap and what qualities differ from one another? Fashion photography was the first method of producing fashion related imagery in capturing the ideas of both designer and photographer.
Irving Penn began his creative career in the early 1930s and during his studies, Alexey Brodovitch saw Penn’s potential, inviting him to work on some projects for Harper’s Bazaar. Later in 1943, Art Director of Vogue, Alexander Liberman, hired Penn as his assistant. Irving Penn went on to photograph 165 covers for Vogue over sixty years (David, 2021). Penn was one of the early creatives who helped define fashion photography, but was someone who also knew the importance of having other hobbies outside of fashion including art and still life, nude photography and portraiture which all contributed to his unique style. Irving Penn helped to bridge the gap between art and fashion commerce to ‘redefine the language of fashion photography in the process’ (Woodward, 2017). FIGURE 10: Irving Penn (1950) photographed by Cecil Beaton
17
FIGURE 11: Juergen Teller Self Portrait
16 18
Juergen Teller studied photography in Munich for two years and then made the move over to London in 1986. He found his way within the industry through new British culture magazines, particularly i-D and The Face which were locations best for Teller’s work. He has shot advertising campaigns for Marc Jacobs, Louis Vuitton, Céline and Vivienne Westwood to name a few. More recently, Teller has compiled a collection of editorial imagery called Donkey Man and Other Stories, Volume 1 published by Rozolli. This is essentially a compilation of the past thirty years of Teller’s outcomes (Nowill, 2021).
19
20
Irving Penn can be seen as one of the first minimalists who introduced studio shoots with a plain background. His portraits were always in black and white, whereas photographing fashion and still life, he would opt for colour. For Penn, it was about less is more, simplifying the subject and eliminating unnecessary components perhaps to focus on precisely what was being captured and have no other distractions. It was about capturing the authentic side to subjects, creating dramatic outcomes naturally through the high contrast printing through dark and light. Similarly, to Penn, Juergen Teller also believes the simplest ideas are the best ideas and that things shouldn’t be overcomplicated. Comparing the two photographers, Teller also recognises the authentic self is the best self. Like Penn, Teller also understands the importance of taking time out for other hobbies so that when they come to capturing imagery, they immerse themselves in it to their upmost and it doesn’t become mundane and unenjoyable. Teller likes to create space and a Teller trademark is ‘a seemingly random image surrounded by vast expanses of blank page’(Anaya, 2015). Perhaps it can be imagined that Teller’s use of visual space on pages can replicate the minimalistic approach of the late Penn’s approach to the subject being the only element in focus.
Equally, Teller has never really shown an interest in ‘selling a glossy, fantastical version of reality’. It is about being raw and real and even though the majority of his photographs are set up, they feel very real and relatable. Irving Penn certainly continues to inspire and influence today’s fashion imagery and throughout his career he too integrated new ways of working, demonstrating to us that time moves and so does the industry. However, he remained tied to his roots in being a minimalist. The trends changed, but he did not. Nick Knight has acknowledged the parts that Penn played in fashion photography and how this later informs the landscape of modern day fashion photography and image making.
During Penn’s working years, photoshop wouldn’t have been around for him to edit his work to create enhanced images or more abstract pieces.
FIGURE 12: Jane Patchett (1950) photographed by Irving Penn
21
Photographers and magazines have an intertwined relationship on helping one another showcase recent and iconic work to help tell the stories of the time, address cultural issues and to visually demonstrate how the industry is changing each time something new is published. Juergen Teller believes the growth of online and digital platforms such as Instagram has damaged the uniqueness of fashion images. The online environment, specifically Instagram is a photo-based app that we scroll and scroll and half the time don’t take in what we are looking at. As emotion and feelings are imperative to Teller’s work, this could damage and fizzle out the strength of fashion photography and imagery in becoming an everyday sight, rather than a luxury insight into another world. For Teller, he would much rather celebrate magazines over social media.
FIGURE 13: Photograph of a print, Cerith, Suffolk (2011) photographed by Juergen Teller
22
FIGURE 14: Victoria Beckham photographed by Juergen Teller for Marc Jacobs
23
24
Generation-Z are that born between 1995 and 2010 and are now at pinnacle points of their lives. They are interested in many topics, especially within identity, community, commerce, resilience and activism (Parry, 2020). They showed resilience through the pandemic as they were forced to adapt in relation to their education. This has set them aside for when they start to venture into the world of work as they are adaptable and have new ideas that generations beforehand may not have considered. As a growing consumer base, they understand what their generation needs, as well as others which makes them great assets to brands as they can help target correctly, the right ideas to the right people. According to US Youth Trends report, 83% of Gen-Z would describe their generation as ‘creative’ (Voxburner, 2020) and 9 in 10 Gen-Z’s in the UK see themselves as a creative. However, the term ‘creative’ has coined a different shape. It is no longer about being a painter or a photographer. Creativity comes in all shapes and sizes now and the communication methods of creativity is shapeshifting too. The rise of TikTok has allowed people to grow platforms of millions of people for creating short clips online each day. The moving memes perhaps and today’s platform of Vine. Even fashion brands have hopped on the TikTok bandwagon which means imagery can be accessed through new ways. Not so much advertising, but live streaming too. Anyone is able to tap into what their favourite brands are doing. Gen-Z primarily consists of the majority of TikTok users and they can use it as a platform to share their creations.
FIGURE 15: Photoshop Collage by Heleena Houston
25
FIGURE 16: Adidas Digital Collage by Poppy Campbell from Instagram
26
FIGURE 17: Weekday Digital Collage by Poppy Campbell from Instagram
Using Photoshop is a very common practice in the fashion industry which comes with a lot of juxtaposing connotations. To airbrush images could create unattainable body images for young girls. Fantasy based and dreamy fashion images are easier to understand as these are often out of the ordinary and tell more of a story to immerse yourself in, compared to that of a beauty shoot with a model who is photoshopped to have a smaller body with prominent features and airbrushed for flawless skin. Take Poppy Campbell, a digital collage artist from Perth. Signed each piece is ‘by Poppy’ and her work is recognisable within her followers. Using Photoshop Poppy is able to layer and produce collages of celebrities that she cuts out, whilst also crediting the original photographer. Her work has a Y2K feel and has a following of 20.2k followers. She has worked with and for brands to create content. Fashion imagery as a means of communication is changing and is being featured in different ways. Poppy Campbell is a creative member of Gen-Z who uses Instagram to share her work, a platform that could become more of an education and inspiration hub than a selfie app.
27
As well as designers, photographers, creative directors and magazine publications, the role of the stylist is also imperative to fashion imagery and the future of this through the stylists ever-changing role. The job role is not just about selecting a particular outfit and running with it, it is much more complex and within fashion they can have a more hands-on role. They are responsible for important jobs such as selecting props to help tell the story, they work with designers, photographers and make-up and hair to help convey the story to its maximum. They can also be very much involved in casting and bringing the story to life to communicate ideas but overall show entertainment now (Cavanagh, 2019). (Cavanagh, 2019) also highlights how a stylist’s role isn’t to just help the fashion houses now, but it’s for the consumers eyes too which will help engage people more into brands and their stories if they can be told creatively and effectively.
28
Stylists don’t just play an important role in fashion imagery, but the music industry is also growing at large scale. Music videos can be a place where artists visually show how they dress and what they believe in as it fits the image, they have curated for themselves. But much like the speed of fashion, music is too a very fast paced industry. Stylists working on music videos have to consider more as their creations in static images, will now be a film, a moving image with varying light sources (Is the Stylist the Most Important Role in Music Right Now?, n.d.). Also, fashion houses and brands are very much involved with music as they can be seen in music videos which reinforced the relationship and influence that fashion has on music.
The fashion film is an ever-growing area, where many brands are now opting for films over showcasing at traditional runways. In the future we could see the stylist’s role expand into larger workforces to help create bigger and better things.
FIGURE 18: Unknown photograph of Musician Styled by Avigail Collins
FIGURE 19: Jo Malone London X Huntsman Saville Row Fragrance Campain Shoot captured by Andrew Nuding, Styled by Robbie Spencer
29
FIGURE 20: Screenshot from @heleenahoustonfmc Instagram Page
30
As a fashion marketer and communicator, myself, I am strengthening my communication skills through the use of visuals where I aim to tell stories without words with an emphasis on colour. I seek inspiration through social media and also share my work through Instagram which is a vital tool when it comes to having a constant flow of imagery. I use photoshop to build and layer images together to create new images or subjects. I am definitely in favour of luxury images, especially more visionary elements as I prefer to be more abstract and have less limitations to that of commercial fashion.
FIGURE 21: Screenshot from @heleenahoustonfmc Instagram Page
I am hoping in my final year at university I am able to collaborate with other creatives to create fashion images that are more impactful and through different ways combing photography and photoshop in a responsible way showing entertainment, not setting beauty standards. Much like other members of my generation (Gen-Z) I too use Instagram to share my work with other members, but also to form part of my digital portfolio in a way. I believe Instagram is moving away from being a selfie app and is now a place for education and inspiration. People are becoming less obsessed and focussed on what they are sharing; of course, each image you share must be considered, especially the impact this could have on people, but Instagram really is a great sharing tool for creative communities to meet.
31
32
In closing this essay, it is unarguable that fashion imagery has and will always be inviting and a way of visualising the work of designers and photographers alongside other roles including stylists who all help contribute to the aforementioned stories. The past, present and future signals an importance on photographers who have been and gone, but continue to influence the work of today. The future image makers of tomorrow are that of Gen-Z who are tapped into the world on a deeper level than that of their ancestors. They understand a lot and will be able to create content that tackles topics that aren’t always related to fashion. Equally, the future of fashion imagery is merely about integrating new ways of working through people and techniques such as photoshopping responsibly to create unimaginable worlds that are easy to depict are fiction, solely for entertainment, appreciation and to let the inner child in us all use our imagination. Nonetheless, they will continue to highlight moments of crisis and tell the harsher realities of the stories in our world today. We will always have the tangible and intangible, the analogue and digital ways of working through the future as the world makes space for the internet at an even larger scale.
The future of fashion imagery as a means of communication will be a constant one, as we oversaturate ourselves online through platforms such as Instagram, the future will be a time of finding sentimentality and appreciating the hard work of others who have been able to create such playful worlds through images that say a thousand words, but also a time of understanding how audiences can immerse themselves into such static images through artificial intelligence. The future is multifaceted, there is no one signal road ahead as each element takes its own course towards the future of fashion imagery as a means of communication.
33
Alice Cavanagh. (2019, October 7). The ever-expanding role of the fashion stylist | Vogue Business. https://www.voguebusiness.com/fashion/stylists-fashion-week-ss20-katie-grand-melissa-levy-carlos-nazario -alexandra-carl Daisy Woodward. (2017, April 24). How Irving Penn revolutionised fashion photography. Dazed. https://www.dazeddigital.com/fashion/article/35683/1/how-irving-penn-revolutionised-fashion-photography-met-exhibition David. (2021, August 6). Irving Penn: In Pursuit of Perfection. Photogpedia. https://photogpedia.com/irving-penn/ Enninful, E. (2020, June 1). The July 2020 Issue Of British Vogue Is Dedicated To The New Front Line. British Vogue. https://www.vogue.co.uk/news/article/editors-letter-new-frontline-july-2020 Is the stylist the most important role in music right now? – Kozzii. (n.d.). Retrieved 2 January 2022, from https://kozziimag.com /is-the-stylist-the-most-important-role-in-music-right-now/ Milligan, L. (2012, February 2). Rankin’s Hunger. British Vogue. https://www.vogue.co.uk/article/rankin-launches-hunger-magazine Parry, Caroline. (2020, November 3). Meet the next consumer: How Gen Z are taking on a new reality. The Drum.
34
https://www.thedrum.com/news/2020/11/03/meet-the-next-consumer-how-gen-z-are-taking-new-reality
Rob Nowill. (2021, October 4). Juergen Teller Wants You to Pay Attention. HYPEBEAST. https://hypebeast.com/2021/10/juergenteller-book-interview Stat of the week: 83% of Gen Z would describe their generation as “creative”. (2020, June 28). Voxburner. https://www.voxburner. com/blog-source/2021/6/28/gen-z-creative Suleman Anaya. (2015, April 23). Juergen Teller’s Renegade Eye. The Business of Fashion. https://www.businessoffashion.com/ articles/news-analysis/juergen-tellers-renegade-eye/ Vosper-Woghiren, E. O. (2013). Translating the fashion story: Analyzing fashion captions in two women’s magazines. 147. https://digitalcommons.lsu.edu/cgi/viewcontent.cgi?article=1830&context=gradschool_theses
35
FIGURE 1: Photoshop Collage by Heleena Houston FIGURE 2: Dryden, H. (1919). Vogue Magazine Front Cover June 1919 [Photograph]. Vogue Archive. https://archive.vogue.com/issue/19190601 FIGURE 3: Hawkesworth, J. (2020). Vogue Magazine Cover July 2020. [Photograph]. The July Issue Is Dedicated To The New Front Line. https://www.vogue.co.uk/news/article/editors-letter-new-frontline-july-2020 FIGURE 4: Magwick, B. (2019). Maxim Magnus for Hunger Front Cover. [Photograph]. Models.com. https://models. com/work/the-hunger-magazine-cover/1090336 FIGURE 5: Rankin. (2016). Winnie Harlow for Hunger Front Cover. [Photograph]. PopSugar. https://www.popsugar. co.uk/fashion/Winnie-Harlow-Hunger-Magazine-Cover-October-2016-42479294 FIGURE 6: Hunger Magazine Front Cover. Magazine Café. https://www.magazinecafestore.com/products/hungermagazine?variant=39925600420029
36
FIGURE 7: Rankin (2021). Beauty Issue, Animation by Frank Nitty. [Instagram]. HungerMagazine. https://www. instagram.com/p/CWdlwPjDnkT/
FIGURE 8: Walker, T. (2019). Fine Line Album, Harry Styles. [Photograph]. Tim Walker. https://www.timwalkerphotography.com FIGURE 9: Porodina, E. (2021). Photograph For Pop. [Photograph]. Elizaveta Porodina Instagram. https://www.insta gram.com/p/CUZgENfA4w6/ FIGURE 10: Beaton, C. (1950) Irving Penn. [Photograph]. 100 Years of Penn. https://artsandculture.google.com/ex hibit/100-years-of-penn/_ALC-mHWdEnSIw FIGURE 11: Teller, J. (2015). Juergen Teller Self Portrait. [Photograph]. Juergen Teller’s Renegade Eye. https://www.businessoffashion.com/articles/news-analysis/juergen-tellers-renegade-eye/ FIGURE 12: Penn, I. (1950). B&W Fashion With Handbag B, Jane Patchett. [Print]. Irving Penn. http://www.artnet. com/artists/irving-penn/2 FIGURE 13: Teller, J. (2011). Cerith, Suffolk. [Photograph of Print]. Juergen Teller Featured Work. https://www.lehman nmaupin.com/artists/juergen-teller FIGURE 14: Teller, J. (2008). Marc Jacobs Spring/Summer 08. [Photograph]. Victoria Beckham Is Back Inside A Shopping Bag For Juergen Teller. https://i-d.vice.com/en_uk/article/bjage3/victoria-beckham-juergen-tell er-bag-campaign FIGURE 15: Photoshop Collage by Heleena Houston FIGURE 16: Campbell, P. (2021). Adidas Collage [Digital Collage]. By Poppy Instagram. https://www.instagram.com/p/CSUF-GthAfs/ FIGURE 17: Campbell, P. (2021). Weekday Y2K’ 21 Collection. [Digital Collage]. By Poppy Instagram. https://www. instagram.com/p/CKunQXMBEX2/ FIGURE 18: Collins, A. Untitled Photograph of a Musician. Who What Wear. https://www.whowhatwear.co.uk/mu sic-video-stylist FIGURE 19: Nuding, A. (2021). Jo Malone London X Huntsman Saville Row Fragrance Campaign Shoot. [Photograph]. Robbie Spencer Instagram. https://www.instagram.com/p/CW526P2sKh4/ FIGURE 20: Screenshot from @heleenahoustonfmc Instagram https://www.instagram.com/heleenahoustonfmc/ FIGURE 21: Screenshot from @heleenahoustonfmc Instagram https://www.instagram.com/heleenahoustonfmc/
37
38
HELEENA HOUSTON AD6603 - FASHION FUTURES
