CONCLUSION

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.