Jemma Heathfield | N0565547 | Fashion Communication and Promotion | FASH10105 | Visual Awareness
Visual Critique Essay
Photographed by Steven Meisel for Vogue Italia, 2012
Steven Meisel is known for his twisted narratives through theatrical storytelling. What first appears as a simple photograph unfolds to show layers of cultural and at times historical referencing. The photograph is taken from a fashion editorial for Vogue Italia for the September issue in 2012. The shoot was part of the leading article, named “Face of the Future”, showcasing a variety of garments for the upcoming season. The editorial also features on the front cover of the magazine with the title, “Multifaceted Women”. This photograph depicts a daily routine found in many women’s life in today’s society; applying make up to make themselves feel beautiful. However, there is a dark, macabre and twisted theme to the photographs, created by the use of a prop: a mask. The distorted, cynical mask is undoubtedly the first aspect of the photograph to capture the viewer’s attention. The dark, hollow eyes portray a sense of loss; the original facial features of the individual gone forever. Connotations of a lost, unsatisfied and empty soul immediately precede the viewer’s thoughts after the first glance. The absence of the eyes, only filled with black pits of sadness and despair create a chilling tone to the photograph. The cheekbones are chiselled and contoured to such a degree of accuracy,
and in this photograph manipulated into a seductive pout as the lipstick is carefully applied. The application of lipstick with a brush; despite a commonly used method in the beauty industry, in this context only reinforces and emphasises the precision and dedication that is taken to look “perfect”. The model in the photograph is masked and identity hidden, much intended given the name and theme of the editorial. The hidden identity of the model due to the mask creates a dark and unsettling tone to the photograph. Carolyn Murphy is the model of the photo shoot, with hair by Guido Palau, makeup by Pat McGrath, manicurist Jin Soon Choi, the stylist is Karl Templer and the set designer is Mary Howard. Following the fashion photograph theory of Roland Barthes, (Barthes, 1985) Meisel’s photograph sits within the romanticised category, with the subject and its surroundings offering viewers a story with a range of connotations. The idea that obsessing over personal appearance is also discussed by Barthes, who said, “… Fashion presents the woman as a representation”, and, “actually absorbs thus person’s entire being” (Barthes, 1985, p. 254). This photograph and editorial demonstrates how plastic surgery can completely transform an individual, losing their sense of originality and personal identity: wearing a mask.
Left: Steven Meisel for Vogue Italia, 2012 / Right: Steven Meisel for Vogue Italia, 2005 “[Fashion] is responsible for manipulating the physical structure of the body by methods that are, at the very least, ugly and, at the very worst, mortally dangerous” (De Perthuis 2008, p. 168) As with many things, if you abuse something and do too much, it can have serious consequences. This photograph demonstrates, even when perceived successful, the extreme results of plastic surgery. The individual is left empty and lost. The composition is framed looking over the model’s shoulder, viewing the reflection whilst she applies her bright pink lipstick. The model’s thick, 80s style bouffant hair conceals just under half of the image. With the hair covering the left of the image out of focus, all attention is bought to the reflection on the right. Despite the thought provoking nature of the photograph, it can be argued it’s power lies as part of a series, and not alone. Although the theme of plastic surgery and body image is evident, it is only when the whole editorial is seen that the message can be truly understood. On closer inspection, the head appears to be connected to the neck with a fixing found on a toy doll further anchoring the idea of a plastic lifestyle. The unnatural shine and sheen to the skin also demonstrates that nothing about this look is real or true. In August 2005 Meisel shot an editorial with Linda Evangelista, also for Vogue Italia named, “Makeover Madness” and is full of energy and excitement of the possibilities and outcomes of cosmetic surgery. This is greatly contrasted in the September 2012 shoot, where a series of disturbing outcomes are shown due to the over processed procedures. Whilst the August 2005 shoot shows hope and wonder, the September 2012 shoot shows the result of when this toxic procedure is overused. “It appears that the desire to have plastic surgery is no longer front page news but a reality in both the celebrity world and greater society.” (Capiaghi 2010). The editorial was created
for the September issue of Vogue Italia in 2012, the biggest issue of the year. Around the time of the photograph, a number of stories relating to plastic surgery were broadcast across the globe, with one in particular being very shocking. In the summer of 2012 Nadia Isle, a 14 year old victim of bullying due to the way she looked, went under the knife and had $40,000 of plastic surgery for free, pinning her ears back, as well as “fixing” her nose and chin. This quite worrying story is just one of many, and shows that plastic surgery can be introduced, which some would argue, far too early. The clothing worn in the photograph is very classic and timeless, being hard to pinpoint a date or era, however the bouffant hair connotes a time in the 80s. The fitted Alberta Farrett cardigan and pearls create a sense of timelessness and glamour, a presence of beauty is created. This is swiftly contrasted with the fake, unnatural face of the mask. A sense of being trapped is evident in the photograph, and the surgery has erased the natural face of a woman, and as she ages the face does not. No matter how much she tries to change her looks with clothing, she is stuck with her face. Her natural face and the process of ageing organically, gone forever. Produced for Vogue Italia, the audience of the photograph would lie with fashion savvy women aged 18-30. The age of the audience the magazine is intended for are known for being body conscious, especially in today’s society. This photograph, and editorial can be seen as a warning to those wanting or considering plastic surgery. Plastic surgery is irreplaceable, and by broadcasting such a strong message in a highly influential magazine can make readers think twice if they are contemplating going under the knife. This image is a demonstration of the drastic outcomes that the need to look a certain way to conform to our society can lead to. Where radical measures like plastic surgery are taken to make a woman in their eyes become “beautiful” or “perfect”.
References Barthes, R., 1985. The Fashion System, United Kingdom: Jonathan Cape Ltd. Capiaghi, A., 2010. Plastic Surgery. Vogue Italia. Available at: http://www.vogue.it/en/people-are-talking-about/ obsession-of-the-day/2010/12/plastic-surgery#adimage50233 [Accessed December 22, 2014]. De Perthuis, K., 2008. Beyond Perfection: the Fashion Model in the Age of Digital Manipulation. In Shinkle, E. 2008, Fashion as Photograph, I. B. Tauris. Available at: MyiLibrary [Accessed December 28, 2014].