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a unique moment in the history of fashion photography,” says Sylvie Lécallier, head of photography at Palais Galliera, Paris’s fashion museum, and curator of a new exhibition, Outside Fashion: Fashion photography from the Studio to Exotic Lands (1900–1969), at the Huis Marseille photography museum in Amsterdam. After his death in 1996, Clarke’s entire archive was bequeathed to Palais Galliera. His work features heavily in the new exhibition, which traces the historical development of fashion photography over seven decades, from studio settings to outdoor shoots. Featuring more than 150 images from the fashion museum’s archives, it is a story of emancipation and liberation, both visually and geographically. Alongside Clarke, the exhibition includes the work of groundbreaking fashion photographers from 1900 to 1969, such as French snapper Jean Moral, who pioneered the use of outdoor settings and natural movement, and German-born Willy Maywald, who went on to become Christian Dior’s official photographer. They photographed the designs of couturiers such as Poiret, Schiaparelli and Balenciaga for magazines such as Fémina, Harper’s Bazaar and Vogue, with more than 30 original publications on display. “The selection was made in relation to this issue of the exit of the studio, a question that crosses fashion photography and one that has interested me for a long time,” says Lécallier. “The contrast is striking between the studio photos from around 1900 and the photographs [by Henry Clarke] in Iran in 1969. It reflects the evolution of fashion, from the constraint to the liberation of bodies, as well as that of photography, from black and white to colour, from immobility to movement. At the end of the 1960s, fashion photography could be produced at the other end of the world.” The exhibition also highlights the dramatic shifts in women’s roles throughout the 20th century. “Fashion photography is a reflection of changes in the place of women in society. We can see in the exhibition this evolution from a shackled mode – complicated, very decorative – to a practical, dynamic mode,” says Lécallier. Arranged chronologically, the first 26
These images constitute a unique moment in the history of fashion photography room is devoted to the formal studio setting. In the early 20th century, portrait photographers began using painted backdrops to simulate outdoor locations, such as the seaside or a wintery garden. Meanwhile, advancements in printing processes allowed photographs to be printed on the same page as text, which saw fashion magazines transition from fashion illustrations to photography. “At the beginning of the 20th century, we are witnessing a golden age of fashion magazines where photography is reproduced with a very high quality of print, some even in colour. The magazine Les Modes is a very good example. The photographs are sometimes coloured or painted with gouache for the sake of realism and greater luxury,” says Lécallier. Another room explores the medium’s first forays outside, as fashion photographers started to go on location. During the interwar period, lifestyle magazines began publishing photos of notable personalities and fashionable subjects on the streets of Paris, at society events such as the horse races and at seaside resorts, with a description of their attire. Static studio poses gave way to snapshots of moving models, and daylight became increasingly important, as photographers aimed for a more natural look. “Photographers and studios that specialise in fashion photography on the racetracks at Bois de Boulogne or Deauville are closer to reporters than studio fashion photographers and are less well-regarded,” says Lécallier. “Their influence will only be felt in the 1930s when fashion photographers organise outdoor shoots in Paris.” The exhibition includes a room dedicated to Jean Moral, who came from a documentary background and worked extensively for Harper’s Bazaar. In the 1930s, he was one of the
first fashion photographers to shoot on the move and on the street, favouring candid shots of laughing models and experimenting with unusual angles and strong perspectives. “Beyond fashion photography, the 1930s are the time for aesthetic experimentation. The technical evolutions of photography allow this change. The cameras are smaller, more manoeuvrable: Leica and Rolleiflex are adopted by photographers who want to work outdoors,” says Lécallier. “At the same time, for commercial reasons, fashion magazines – especially American ones – want to show fashion that is easy to wear and practical, so photography is staged in more realistic situations.” One room of the exhibition is dedicated to the city of Paris, which has provided an iconic backdrop for fashion shoots for decades. “The Second World War anchors fashion in a harder reality and photography reflects the difficult conditions in which women have to fend for themselves. “After the war, Paris gradually becomes the centre of haute couture and is the ideal backdrop for photographers to stage the new creations of French couturiers,” says Lécallier. Reflecting the post-war dynamism, photographers embraced a more spontaneous, photojournalistic approach. Models spilled out onto the streets and studio backdrops were replaced by city skylines, transforming conventional fashion photography. The last room is dedicated to travel and the notion of exoticism in the 1960s, exemplified by Clarke’s images. By 1971, the editorial reign of Vreeland was over, after she was fired from Vogue for spending too much on shoots, but Clarke continued to work for international editions of the magazine until the late 70s. One of the most accomplished fashion photographers of his time, Clarke’s influence can still be felt today. “His colour work done with Diana Vreeland opened the way to fantasy and excess. Even if the look of the so-called ‘exotic’ countries at the time has changed considerably, a certain fashion photography continues to be inspired by these extravagant productions,” says Lécallier. On show until March 8 at Huis Marseille, Amsterdam, huismarseille.nl