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Fashion History
1° – Mert & Marcus
Mert & Marcus, who are Mert Alas & Marcus Piggott, top the list for multiple reasons — the breadth of their work across publications (Vogue USA, Vogue Italia, W Magazine, Pop Magazine, Numéro, and more) and brands (Louis Vuitton, Missoni, Giorgio Armani, Roberto Cavalli, Fendi, Kenzo, Miu Miu, and more), their unique style since joining forces in the mid 90s, and their ability to make innovative use of digital technology. Their work boasts perfection, both in their photography and in the presentation of their subjects, which is a result of fine-tuned craft and attention to appearance. In the genre of fashion photography, where perfection is paramount, Mert & Marcus are undoubtedly, and continually, at the top of the game.
2 ° -Nick Knight
Nick Knight came up through fashion, beginning with a book of photographs titled Skinheads that he released in 1982 while still a student in the U.K. He was soon noticed by i-D Magazine, Yohji Yamamoto, and Peter Saville, and has now shot campaigns for the likes of Alexander McQueen, Calvin Klein, Christian Dior, Jil Sander, Lancôme, Levi Strauss, Yves Saint Laurent, and more. He’s shown work internationally and was even appointed Officer of the Order of the British Empire in the 2010 Birthday Honors.
In November 2000, Knight launched SHOWStudio.com, a site dedicated to cutting-edge fashion media. It’s been recognized as a huge contribution to the fashion world in its experimental nature and its wide variety of top-notch, influential contributors.
3 ° – Inez & Vinoodh
Inez van Lamsweerde and Vinoodh Matadin have been unstoppable since they joined forces in 1986. Their talent was noticed by the fashion world after they created successful fine art projects together, notably for Lawina, MoMA PS1, and BLVD Magazine. They’ve challenged, reinvented, and rejuvenated fashion photo Let us now explore the first path, meeting tales, magazines, photography, cinema, television, music, sport and a few other fields. All of them have in common that they nurture (fashion) imaginaries, and provide a domain within which personal and social goals are presented and negotiated. In particular, we will find there (aspirational) models, benchmark of success, (proto)types for self-identification. The above-presented layers of “habit” – ranging from the body itself up to lifestyles – are on the stage, from moral ideals and negative examples in tales, to beauty models, idealized characters and typified stories in photography, cinema, TV and sport. Even if not visible in itself, music provides the soundscape where bodies, clothes and other fashion-related items do move and get alive. It’s not by chance that in the prototypical fairy tale of Cinderella clothes and shoes are first of all enacted in a dancing context, where humans can find harmony within themselves, with others, and with their environment. While presenting each domain, starting from photography, we will briefly address its current digital transformation, so to explore it at two main levels: production/editing and distribution/fruition. Fairytales within the context of pop-culture are among the areas that can be more easily connected to fashion (Cantoni, forth.). A fairy tale that should be mentioned due to its strong relation with clothing and the dress sense is Hans Christian Andersen’s The Emperor’s New Clothes (Andersen, 1998). The tale tells the story of two cunning tailors, who were able to take advantage of the emperor’s narcism, by convincing him that they were able to sew a suit that could be seen only by smart and intelligent people. The emperor’s narcissism prevents him from understanding that the dressmakers were only simulating their work, and they were not making any special su . Digital Fashion Communication
1.2 Popular Culture and Fashion
1.2.1 Tales