Seven Photographs That Changed Fashion - Rankin Film

Rankin's 'Seven Photographs That Changed Fashion' was a highly inspiring piece of film that thoroughly investigated the development from post war conservative beauty into the sexualised  modern representation of 1970s Vogue throughout Europe, Britain and the USA. The first image recreated by Rankin was that of Cecil Beaton's 'White Panama Hat' Vogue 1934 Beaton's work focused on creating something that didn't really loo like a photograph therefore his images were famous for their quirky surroundings. In the 1930's he joined Vogue and set the floor for fashion photography with the concept of "selling a dream" and creating a fantasy state of aspiration. Beaton's 'White Panama Hat' became an iconic fashion photograph through the fact that the clothing piece begin modelled actually became second to the beauty of the image itself, by placing the model as the focus of the image within the hatbox it created a somewhat futuristic artistic essence. A hybrid of fashion and portraiture The image was taken on a 10 by 8 camera which was repeated within the modern image to enhance the level of authenticity, also the fact that the image viewer is upside down meant that the layout of the photo also had to be far more structured and conservative. The process of creating this photograph was also much slower and the image couldn't be seen until fully developed, therefore adding an element of suspense to the piece. Rankin's image was recreated using the model and singer Sophie Elis Baxter and by using the original camera equipment the timeless authenticity and sense of sadness within the original photograph was effectively recreated. Another image featured was that of Erwin Blumenfield's Lisa Forissagives on the Eiffel Tower, Vogue 1950. This image is to this day considered wildly precarious with the model hanging off the edge of the tower hundreds of metres above the city of Paris. Yet within the photograph there is no sense of danger or fear, let alone concern for safety therefore the image has never truly been recreated in the same sense. However Rankin's chosen recreation was actually the January 1950's Vogue cover which embodied surrealism, capturing the essence of a society moving forward into the second half of the century. Heidi Klum was the model for this image as her eye and lip shape almost mirrored that of the original, however Klum's version featured a far more cheeky pose with the mouth adding a modern twist on the original. The use of shadow within both these images was highly artistic with much of the face being whitened out and elements of shadow and colour being painted onto an originally greyscale photograph to add an extra artistic element. Blumenfield described the creation of the image as "art in its own right" as it embodied a mass variety of media from makeup to photography to paint for its final creation. Rankin's version represents a 21st century adaptation of this very same concept, to create an image that despite being a shadow of the original remains "art in its own right". We can see this through the extra element of cheekiness presented through Klum's expression with her mouth.

Devima with Elephants, Richard Avadon,
Harpers Bazaar, 1955
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However the image that stood out to me the most was created by Richard Avadon. This photograph entitled 'Devima with Elephants' featured in Harpers Bazaar 1955 is a personal favourite, I find the image both captivatingly beautiful and saddening as the glamour of the model is dramatically contrast against the blatant fear of the elephants. The image remains one of the most iconic photos in fashion as it was the first embodiment of classic elegance and utter creative spectacle, breaking the previous conventions of fashion photography with the city of Paris and the world. Rankin's version featured the model Erin O'Conner who like Devima is tall and sleek in stature, however Rankin's remake lacks that same sense of emotion felt within the image. This image stands out to me predominantly not due to the glamour and sophistication of the model, despite her being positively stunning. But it is more to do within the reaction of the elephants, this photograph was taken during a time period where circus animals were still common place and the concept of 'animal cruelty' was one that was positively non-existent. Therefore to a contemporary viewer the reaction of the animals within this photograph really stand out. The first thing I noticed was not the model but the chains around the elephants ankles, this saddened me as it enhanced the concept of despite the shoot being beautiful there is an underlying element of pain. This was something that also stood out to Rankin. Also the fact that the elements have their trunks and feet raised and are pulling away from the model, these are all behaviours of fear and submission therefore it leads me to question what was going on behind the scenes of this photograph that cause such a dramatic juxtaposition between the beauty of Devima and the fear of her elephants.

By the 1960's fashion photography had changed again with the introduction of energy, life and sex. Photographers such as David Bailey introduced a whole concept of spontaneity into their work producing photographs that captured a mood and sense of narrative, rather than just a pretty image. Bailey's piece 'Jean Shrimpton' for Vogue 1963 is a wonderful example of capturing a sense of life as the model Miss Shrimpton was actually his lover. The image embodies the sense of flirtatiousness and desire that surrounded them as a couple and by working with your partner within an image that sense of unity is apparent within the image. As a result for Rankin's recreation to work as a piece he too had to use his girlfriend Tudy (also a model). Bailey used a Rolliflex camera to take his photographs, allowing him to create that harsh contrast of dark and light within the final photograph. By using old technology it also meant that Rankin like Bailey had to get closer and more intimate with his model advocating Bailey's expression that "photography is sexual.. they are the object of my love for that brief encounter".