WHAT IS BEAUTY?
63% of women think that the body image represented by the fashion industry is unrealistic 47% say fashion magazines give them a body to strive for.
CONTENTS
1. 2. 3-4. 5-8. 9-10. 11-12. 13-14. 15-16. 17. 18. 19. 20.
CONTENTS INTRODUCTION THEME INSPIRATION TECHNICAL INSPIRATION PRELIMINARY SHOOT THE FINAL IMAGE. CONTEXT MAGAZINE PUBLICATION REFERENCES picture references bibliography model consent form
BeautyRedefined(2011)
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"Beauty is how you feel inside and it reflects in your eyes. It is not something physical." (Sophia Loren)
Our concept aims to portray inner beauty of the individual, challenging the conventional aesthetic of beauty emphasised by the beauty and fashion industry. Our theme captures the realms of internal and external beauty blurring the boundaries set between the two ideals. From our research to producing our own image, we aim to focus on the ways in which beauty is seen, portrayed and interpreted. Our image is a visual representation of how inner beauty is often concealed.
Fig.1. What is Beauty, (2013)
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THEME INSPIRATION
We began research into art and photography, focussing on elements such as scale and composition, to encourage the viewer to look at an image in a different way. One example that particularly inspired us was Martin Schoeller’s seven-year portraiture collection called ‘Big Heads’. Produced in 1998, the collection depicts a number of large-scale headshots of celebrity and non-celebrity faces. As some faces are familiar and some are not, the viewer is encouraged to not just look, but to absorb the complexity of what and who they see. We were inspired by the way that Schoeller had enforced such intimate compositions in conjunction with disproportionate scale. This adds a stripped back sense when interpreting raw emotion and expression from such a close angle. Similarly, the scale and composition disrupts the viewer’s full understanding of the subject and its surroundings controlling the visual hierarchy.
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David Remnick asserts that “they give the face human expression and a new dimension and that’s why we keep looking at them”(Schoeller, 2005). Schoeller has captured the faces as unguarded individuals reducing the aesthetic surface and revealing honest identities. Remnick adds, “celebrity is all about surface and saturation and the big heads push those qualities to the limit”. When relating Schoeller’s work to our theme we were inspired by the way he had incorporated a range of faces that have familiar identities to some. For instance, the first portrait that stood out for us was that of Angelina Jolie’s. This encouraged us to question why we were drawn to her image first and whether it was due to her iconic identity, her aesthetic beauty or her stripped back expression. This inspired our focus to explore the theme of a hyper reality within images published in the media and the effect on the current notions of beauty as a result.
Fig.2 Angelina Jolie, (2004)
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TECHNICAL INSPIRATION Fig.4. The Girl with the Dragon Tattoo, (2011)
Fig.5. Distortion, (1933)
Fig.6. Distortion, (1933)
Secondly we looked at the ‘Distortion Series’, 1933 by film photographer Andre Kertesz. In Figure 4 and 5, he has used a blurring technique to physically distort the formal structure of the subject. This reinforced our thinking for potentially using blur by means of physical movement or in post-production to literally fuse formal line.
Fig.3. The Girl with the Dragon Tattoo, (2011)
juxtaposing layers of her personality. As the silhouettes and shapes are cut, layered, and merged they create a mysterious and eerie form that hazes identity and visual familiarity. We thought this would be an interesting method to convey our portrayal of how beauty is defined from many aspects of a person.
In order to portray our theme visually we began by considering blurring and layering effects to convey our message of blurring the lines between the internal and external factors of beauty. We first looked at editorial images from the 2011 film ‘The Girl With the Dragon Tattoo’ where layering of silhouettes and images are used to represent a character and the
Fig.7. Distortion, (1933) 5
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Fig.10. Tom Ford Eyewear, (2013)
the gaze is often intentionally enforced where the subject is at eye level with the viewer and predominantly face on. However, the use of asymmetrical and cropped framing limits a balance between foreground and background, enforcing a sense of vulnerability and ambiguity to his images. Roversi has adapted the gaze to complement a rendering of light. In effect, the mood of the image is intense and as engaging as a fashion spread intends to be, whilst obtaining an organic edge. This naturalistic approach enforces the viewer to interpret the image in a more realistic manner, perhaps with a contrasting perception to images, such as Figure 10 and 11, where the gaze is hypo-sexualised, exemplifying this hyper-reality.
Fig.8. Dark Beauty, (2013)
We also studied the work of fashion photographer Paolo Roversi and his adaptation of compositional and lighting elements when creating a fashion orientated image. ‘The Business of Fashion’ described Roversi in their ‘BoF 500’ to use a “manipulation of light” in order to exemplify “haunting, unguarded shots that strip away the façade of subjects and draw out the raw selves, offsetting fashion’s tendency to conceal and recast.” Roversi’s work was inspiring to consider his simultaneous depiction of the subject in a natural posture whilst projecting the gaze within the theme of fashion publication. Noticeably in a number of his images, there is a sense of confrontational spontaneity. For instance in figure 8,
Fig.9. A White Story, (2010)
Fig.11. Dior Addict, (2011)
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PRELIMINARY SHOOT
tion spira
d Boar d o Mo
In
Fig. 15, Powershift, (2013)
In our test shoot, we experimented with the use of double exposures in order to create blurred and layered imagery. These initial images, using slow shutter speeds, combined light and shadow to blur against the structural form of the subject. Guided by our original research, we intended our final composition would employ headshots, with limited background, which we felt would enforce a more confrontational yet inclusive layout. Our aim is for the viewer to engage and interpret the dynamics of beauty through diverse visual paths. We felt that the use of motion blur through hair swings detached the power of the gaze, which weakened the message. As a result, we conducted a more portraiture based shoot, where we felt the clarity of the motion in conjunction with the asymmetrical framing, close up composition and overlooking, gave a successful, more striking result.
Fig. 14, Unknown
Fig. 12. Layering, (2013)
Fig.16, Abbey Clancy,Powershift, (2013) Fig.13. Double Exposure, (2013) 9
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Fig. 17, Study after Velazquez’s Portrait of Pope Innocent X, (1953)
THE FINAL IMAGE Fig.18. What is Beauty, (2013)
Our final image is split into three merging layers. The first layer suggests a representation of external beauty. The gaze in this layer reflects John Berger’s investigation of the female gaze in which he describes, “women watch themselves being looked at” (Berger, (1972). In this sense, the model is posing, yet avoiding eye contact with the viewer, as if to overlook. This is to represent the hyper reality within images in the media, whereby aesthetics are digitally manipulated, effectively confusing notions of beauty through forming a criteria for the ‘perfect’ aesthetic. Figure is an example of this displaying an H&M campaign where the models’ heads have been superimposed onto digital bodies suggesting that the models cannot exhibit the idealised aesthetic. (H&M Swimwear, (2011)
The second layer is the middle layer where the model is in still focus and her hands cover her face and therefore her visual identity. The sense of masking and hiding is a representation of hidden inner beauty that is merging with the external. The central positioning of this layer signifies a response to the viewer’s visual hierarchy. This is important as our concept aims to consider the viewing process and interaction between the image and the viewer. As this layer is the most significant and represents the concept, it is therefore central and more lucid.
Fig.19. Blurry Mind, (Unknown)
In terms of composition and colour the black and white separates tone and shadow, applying a mood of distortion and transparency between the layers. The asymmetrical composition incorporates juxtaposition between positive and negative space. The black background, frames the subject matter, emphasising a tonal contrast. Moreover, the negative dark space reintroduces the connotation of current imagery promoting a fake reality.
The third layer displays the use of motion blur. This layer aims to emulate the literal blurring of the lines between internal and external beauty creating a visual of the fusion between the different notions of beauty. Through movement of the subject, light and form is caused to reject its original structure and reinvent its identity. The motion reflects a sense of presence and the essence of a person but the aesthetic is unfamiliar. This reinvented aesthetic symbolises how beauty should be an overall depiction of the individual.
Fig.20. 29, (Unknown) 11
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CONTEXT The key message of this image is to visually present how outer beauty is a representation of how you appear and inner beauty is a direct representation of you. The imbalance between the concepts of real beauty has been prevalent within the industry itself. For instance, Alexander McQueen, a pioneer of fashion design, addressed his belief in the notions of beauty within the concept of his Spring Summer show of 2001. Heavily inspired by natural form and the earth, his visions of humanistic beauty were similar. He is captured by something natural, raw and aesthetically unattainable. “…It was about trying to show that true beauty comes from within.” (McQueen). This show was McQueen’s creative way of expressing his rejection of what it is to be conventionally beautiful now. Figure 21 displays the finale where the model is trapped in a box and finally exposed,
represents the way notions of beauty are hidden or forcibly unnoticed as a result of the way beauty is perceived today. McQueen’s political views on the concept of beauty are significant in this show, symbolising vanity and obsession even with regard to surgery through the use of bandages. Controversial and in order to shock, McQueen’s work reflects themes of realism, similar to the works of artists such as Lucian Freud, Jenny Saville and Francis Bacon. All who present realism in a medium that reflects an extreme raw depiction of the human form, in such a way that ugliness is almost emphasised in order to question pre conceptions of what defines beauty. These references all approached realism through different mediums and present visual dimensions for what comes from within or is organic.
Fig.23, H&M Swimwear, (2011)
Fig.22, H&M Swimwear, (2011)
"This illustrates very well the sky-high aesthetic demands placed on the female body. The demands are so great that H&M, among the poor photo models, cannot find someone with both body and face that can sell their bikinis." Helle
Vaagland (2011
go as far as to use digitally produced bodies to model their clothes. ‘Dove Evolution’ is a video exemplifying the extreme efforts that go into post-production. Dove’s self esteem project aims to expose how the digital manipulation of imagery is a hyperreality and is confuses how beauty is defined today. “No wonder our perception of beauty is distorted” (Dove, 2007)
This advanced our thinking on our subliminal message and the way our model would visually portray something that is not objectively recognised. Images in the media are presented within a clone-like standard of aesthetic, reaching a level whereby the concept of beauty is measured to a common ideal. Current projects such as the Dove Self Esteem Campaign publicises companies such as H&M that
Fig.21. VOSS, (2001) 13
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MAGAZINE PUBLICATION The magazine publication we wish to place our image within is Another Magazine, owing to its creativity and thought provoking content. Similarly, it is not just a fashion and style magazine; it attracts lifestyle readers and its literature content is more demanding than the average monthly magazine. Advertisements such as the 2011H&M campaign and digitally manipulated images are consistently displayed and glorified in monthly fashion, style and beauty magazines. As our image is a visual protest and a rejection of images similar to these, our image would devalue its message if it were to be printed amongst them. However Another Magazine’s content includes more lifestyle features alongside its fashion-based articles reaching out to a wider interest. We feel as an international magazine and a bi-annual issue, the image would reach out to the people who would empathise, reflect and respond to the connotations of our image.
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The visual communication in our image is strong, and in terms of aesthetics it would reflect the general appeal of this magazine. As a bi-annual publication, as opposed to a monthly issue, it epitomises towards a bespoke publication enforcing its readers to see relevance in all its content at any time of year. Aimed at both men and women the target age range is 22-45 (BRAD-Insight, (2013), this meets the core demographic at which people are not only concerned about how they look but are observant and aware of the changing notions of beauty and the impact on society. Moreover, its minimalist layout amongst a sense of naturalistic, raw imagery relates to this audience as well as the aesthetic. Our image does not reflect a specific stylised theme in terms of fashion or beauty, which makes it more relevant to a magazine such as this, as it coheres with the artistic edge Another Magazine consistently displays.
Fig. 25. There’s no Place Like Home, (2013)
Our image aims to convey the message of how inner beauty is as important as physical beauty. Furthermore, we aim to show a visual interpretation of how inner beauty can be visually perceived. The image is successful in its aesthetic development building from various reference points and communicating its message with consistency. Additionally, the image is not a direct representation of beauty, more importantly, it enables the viewer to interpret and consider inner beauty as a visual concept.
"Because images generally have a greater emotional impact than words, the potential to mislead with visual messages is higher" (Lester, 1995, 208)
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REFERENCES
picture referencing
Alexander McQueen(Andrew Bolton) (2011). Savage Beauty, New York: The Metropolitan Museum of Art. p142. BRADInsight. (2013). Another Magazine. Available: http://www.bradinsight.com/BRAD/Profile. Last accessed 20th November 2013. Dove. (2004). The dove campaign for real beauty. Available: http://www.dove.us/Social-Mission/campaign-forreal-beauty.aspx. Last accessed 17th november 2013. Helle Vaagland (2011). http://www.huffingtonpost.com/2011/12/05/hm-fake-model-bodies_n_1129864. html?ref=style Hugh Honour, John Flemming (1984). A World History of Art. London: Laurence King Publishing. John Berger (1972). Ways of Seeing. Middlesex: Penguin . 45-47. Martin Schoeller (2005). Close Up. New York: teNeus Publishing Paul Martin Lester (2013). Visual Communication:Images with Messages. 6th ed. USA: Wadsworth. P37. TRU. (2009). Beauty Redefined . Available: http://www.girlscouts.org/research/pdf/beauty_redefined_factshee pdf. Last accessed 15th November 2013.
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Picture Referencing Figure 1. Own Photograph, (2013), What is Beauty, [Photograph] Figure 2. Schoeller, Martin, (2004), Angelina Jolie,[Photograph]New York: teNeus Publishing(Accessed: 20,11,2013) Figure 3. Fincher, David, (2011), The Girl With The Dragon Tattoo,[Film Cover] http://www.artofthetitle.com/title/ the-girl-with-the-dragon-tattoo/(Accessed: 20,11,2013) Figure 4. Fincher, David, (2011), The Girl With The Dragon Tattoo,[Film Editorial] http://www.artofthetitle.com/ title/the-girl-with-the-dragon-tattoo/(Accessed: 20,11,2013) Figure 5.Kertész, André, (1933), Distortion Series, [Photograph] http://www.lanciatrendvisions.com/en/article/atthe-origin-of-distortion/(Accessed: 20,11,2013) Figure 6.Kertész, André, (1933), Distortion Series, [Photograph] http://www.lanciatrendvisions.com/en/article/atthe-origin-of-distortion/(Accessed: 20,11,2013) Figure 7.Kertész, André, (1933), Distortion Series, [Photograph] http://www.lanciatrendvisions.com/en/article/atthe-origin-of-distortion/(Accessed: 20,11,2013) Figure 8. Roversi, Paolo, (2013), Dark Beauty, [Photograph] www.darkbeautymag.com/2013/02/paoloroversi Figure 9. Roversi, Paolo, (2010), A White Story [Photograph] http://www.vogue.it/en/magazine/fashionstories/2010/04/a-white-story#ad-image10120 Figure 10. Tom Ford Eyewear, (2013), Tom Ford Eyewear [Advertisement] Figure 11. Dior Addict, (2011), Dior Beauty [Advertisment] Figure 12. Own Photograph, (2013), Layering [Photograph] Figure 13. Own Photograph, (2013), Double Exposure [Photograph] Figure 14. Unknown, Pinterest.co.uk. Figure 15. Knight, Nick (2013), Powershift [Photograph] knight,2013,http://showstudio.com/project/powershift/ editorial_gallery Figure 16. Knight, Nick, (2013), Abbey Clancey, Powershift [Photograph] knight,2013,http://showstudio.com/ project/powershift/editorial_gallery Figure 17 Bacon, Francis (1953), Study after Velazquez's Portrait of Pope Innocent X [Painting] Figure 18. Own Photograph, (2013), What is Beauty, [Photograph] Figure 19. Unknown, Blurry Minds, [Photograph]www.buzznet.com Figure 20. Unknown, 29 [Photograph]www.pinterest.com Figure 21. Mcqueen, Alexander,(2001), VOSS [Show] http://www.elle.com/fashion/spotlight/mcqueen-forever432526-4#slide-4 Figure 22. H&M Swimwear, (2011),H&M [Advertisement]http://www.dailymail.co.uk/femail/article-2070393/HM-putting-models-heads-generated-bodies-sell-swimwear.html Figure 23. H&M Swimwear, (2011),H&M [Advertisement]http://www.dailymail.co.uk/femail/article-2070393/HM-putting-models-heads-generated-bodies-sell-swimwear.html Figure 24. Mcdeen, Craig(2010),Marion Cotillard:The Power of Performance, AnOtherMagazine [Magazine Cover] Figure 25. Vandeperre, Willy (2013), There’s no Place Like Home, AnOtherMagazine [Magazine Cover]
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MODEL CONSENT FORM
BIBLIOGRAPHY
ADULT MODEL/PERFORMER AGREEMENT RELEASE Photographic shoot: WHAT IS BEAUTY I, the undersigned model grant the photographer, and any licensees or assignees, the absolute right to use the photograph(s) and any other reproductions or adaptations, from the above mentioned photographic shoot I give my consent to the photographer to publish, republish, or otherwise transmit the images in any medium for all purposes throughout the world. Alexander McQueen(Andrew Bolton) (2011). Savage Beauty, New York: The Metropolitan Museum of Art. p142. Helle Vaagland (2011). http://www.huffingtonpost.com/2011/12/05/hm-fake-model-bodies_n_1129864. html?ref=style Hugh Honour, John Flemming (1984). A World History of Art. London: Laurence King Publishing. http://www.bradinsight.com/BRAD/Profile http://www.confidencecoalition.org/statistics-women http://www.imdb.com/ http://www.girlscouts.org/research/publications/girlsandmedia/beauty_redefined.asp http://www.ssc.wisc.edu/~jpiliavi/357/body-image.htm John Berger (1972). Ways of Seeing. Middlesex: Penguin . 45-47. Martin Schoeller (2005). Close Up. New York: teNeus Publishing Paul Ardenne (2004). Face to Face. Paris: Editions Flammarion Paul Martin Lester (2013). Visual Communication:Images with Messages. 6th ed. USA: Wadsworth. P37. TRU. (2009). Beauty Redefined . Available: http://www.girlscouts.org/research/pdf/beauty_redefined_factsheet.
I understand that the images may be altered or modified in any manner I hereby waive any right that I have to inspect or approve a finished product or copy I understand that the image shall be deemed to represent an imaginary person unless agreed otherwise, in writing, by myself. I understand that I have no interest in the copyright, nor any moral rights, in the photograph I am over 18 years of age
pdf. Last accessed 15th November 2013.
Name of model: ISABELLA CAWTHORNE Signature of model: ______________________________ Date: ____________ Nottingham Trent University School of Art and Design
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jennnifer cook no427042