MIRROR MIRROR - RESEARCH FILE

Grace Coddington is a Welsh stylist, former model and former Creative Director of Vogue Magazine. Grace Coddington is best known for her personal dramatic and bold flare that can be visusalised through her vast approaches to styling shoots, concepts and creative direction. Coddington’s styling ‘hook’ can be percieved to be dramatic, eccentric and influencial when describing the stylist’s unique perspective on visual communication and multi-sensory imagery. Grace Coddington is a considerate stylist, as within her visual work, she considers all aspects of styling and piecing together a conceptual message, not solely focusing on clothing garments alone. I believe Coddington’s role as Creative Director at Vogue Magazine has excelled Coddington’s creative ability to conceptually communicate a visual narrative.

To explore Grace Coddington’s styling ‘hook’ further, we can consider the different semiotics that are used within her media communications, as the Welsh stylist carefully considers the idea that a visual narrative or message can be open to different interpretations depending on the context, situation or culture. The idea of semiotics acting as a method of symbolism within Coddington’s styling can allow us to understand on a deeper level the different meanings behind each individual styling shoot and concept. Many of Coddington’s styling shoots follow a base theme or influence, such as Alice in Wonderland, old fashioned stories and suburbian lifestyles. The stylist’s own personality can be visualised within her work also, as her love for cats and flowers can often be seen within her styling and communications.

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Grace Coddington’s styling and conceptual imagery is often described to be an accumulation of multi-sensory concepts merged together to create an impactful and poetic narrative. Many of the Welsh Stylist’s photoshoots and creative direction pieces are created through considering a variety of elements which compliment each other and collectivley tell a narrative and visual story. For example, Coddington’s popular use of flowers and natural elements within her styling can aid in creating a fairy-tale, romantic aesthetic to her work, whilst combining this with a romantic style of clothing and wardrobe choices.

We can visualise this narrative through one of Grace Coddington’s styling shoots for American Vogue Magazine, titled, ‘Hothouse Flowers’.

Many of Grace Coddington’s styling shoots follow and adhere to this featured trend of incorporating different types of items and staging in order to collectivley create this visual view on storytelling. Whether this be through flowers, animals, props or photoshoot location, each artistic element of Coddington’s styling all compliments each other when envisioing the final photoshoot outcome. I have been inspired by this method of visual storytelling and this method is somthing I am considering taking forwards within my own styling shoot which will be inspired by Grace Coddington’s styling in collaboration with Bi-Annual British Magazine, Love Magazine.

“Coddington began her career as a model in London’s swinging sixties. Having won a Vogue modelling competition she was featured in the magazine’s “young ideas” section. Coddington, or “The Cod” as she became known, soon established herself on the London scene, thanks in no small part to Vidal Sassoon creating his iconic five-point cut on her “incredible bones, and marvellous neck.”

However, a car accident at the age of 26 cut Coddington’s modelling career short. But since Coddington worked in front of the camera at a time when models were responsible for their own hair, makeup and accessories, her ability to improve a shoot by styling herself was such that British Vogue editor Beatrix Miller offered her a job as a junior fashion editor at the publication two years after the car accident.

Coddington immediately excelled and continued to do so, working her way up the ranks at British Vogue to the position of senior fashion editor in 1976. In 1987 Coddington left Vogue to become design director at Calvin Klein . Klein would later go on record saying that Coddington was the first European fashion editor to fully appreciate American design.”

(BOF, 2022)

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“Grace Coddington’s remarkable contributions to contemporary fashion and image-making have shaped the public understanding of fashion as art and propelled her to a status enjoyed by only a mere handful of editors and stylists throughout the history of magazine publishing.

Coddington holds the rare distinction of having worked with some of fashion’s most celebrated photographers both in front of and behind the camera.

She worked initially as a model, appearing in editorials photographed by Helmut Newton, Norman Parkinson and Guy Bourdin, among others. In 1968, she began working as a fashion editor at British Vogue, where she remained for nineteen years, rising to the position of Fashion Director and initiating her long-term working relationship with Anna Wintour.

In 1988, Coddington joined Wintour at American Vogue, embarking on a creative odyssey incomparable among living fashion editors. Coddington’s onset collaborations at Vogue have brought about many of the most iconic photographs in fashion history.

In 2012, Coddington published Grace: A Memoir, an insightful and witty chronicle of her life and observations gleaned over nearly six decades working at the highest levels of fashion and media. Much of Coddington’s signature work as a stylist and editor appear in 2002’s Grace: Thirty Years of Fashion at Vogue and 2016’s Grace: The American Vogue Years. In 2006, Coddington published The Catwalk Cats, a comic depiction of her fashionable cats, Henri, Coco, Baby, Puff and Bart. Her latest publishing collaboration, Marc Jacobs Illustrated, features Coddington’s illustrations of iconic looks from every Jacobs collection between 1993 - 2019.

Coddington’s namesake fragrance, Grace by Grace Coddington, was created in 2016 in collaboration with Comme des Garçon Parfum. The fragrance, inspired by her lifelong love of roses, is packaged in a distinctive bottle alluding to her fondness for cats.

Coddington has received two lifetime achievement awards, one from the CFDA in 2002 and another at the Clio Awards in 2016. In 2009, Coddington received the prestigious Isabella Blow award.

Coddington is currently a contributor to British Vogue and W Magazine. She is based in New York City.”

(Art & Commerce, 2022)

Grace Coddington’s styling and editorial creations often shares a similar theme of visual storytelling through multiple avenues of creative and visual narratives. Many of her styling editorials with American fashion magazine, Vogue, in particular all have their own individual narratives and personal stories that allows both readers and creatives to generate and form their own personal interpretation of the photoshoot’s message. Grace Coddington’s personal aesthetic and use of semiotics when creating visual and compelling story narratives allows her styling to consider the whole picture and message when creating editorials. Semiotics that Grace Coddington considers when creating visual narratives includes use of setting or location, props, lighting, clothing garments, posing, shapes and camera angles; all of which is considered when creating captivating, bold and eccentric visual fashion communication.

This American Vogue styling editiorial in particular, titled ‘Alice’ was creatively directed by Grace Coddington, and from which, readers can discover and visualise how Grace Coddington encorporates location and setting, use of props and camera angles and techniques to achieve and portray the classic, wellknown tale of Alice in Wonderland. Grace’s sense of styling illustrates subtle nods to classic stories, whilst also creating new personalities and looks of characters to collectively portray a new perspective of these stories within the fashion industry.

“Fashion has transformative power; it can move people in more ways than one. In December 2003, for example, Vogue took its readers on a journey down the rabbit hole with “Alice in Wonderland,” a stunning editorial which has been called the greatest of all time. In this episode of In Vogue: The 2000s, stylist Grace Coddington, photographer Annie Leibovitz, and model Natalia Vodianova, aka Vogue’s Alice, share the backstory of this history-making sitting.”

- (Nast. C, 2021)

“The accidental celebrity of 2009 documentary The September Issue and “unsung hero” of American Vogue spent nearly 30 years working at the publication, where she remains on the masthead as creative director at large, and is behind some of the most iconic and intoxicatingly romantic images in fashion history. Now, a new book is being released which celebrates the huge body of work she’s responsible for.

Out on September 5th, Grace Coddington: The American Vogue Years focuses on the last 15 years of the stylist’s tenure at the publication, with over 300 images that chronicle her collaborations with the industry’s most feted photographic talents. From legends like Tim Walker, Arthur Elgort and Steven Meisel, to rising stars such as Jamie Hawkesworth and Karim Sadli. The book also contains a foreword by Academy Award-nominated actress and former Dazed cover star Saoirse Ronan and an introduction by photographer Annie Leibovitz.”

- (DAZED, 2016)

“As a model, Grace Coddington could morph from bohemian waif to Helmut Newton hottie in the bat of an eye. She brought that talent to her work as a stylist and editor for Vogue, too, and her range is astounding. There are tales of suburbia, explorations of the American West, fairy tales, and reimaginings of cinematic classics. But no matter the season and whatever the plot, Coddington herself remains a fixed axis: sure in herself and her style, and with her fiery mane and all-black uniform a beloved beacon of excellence.”

- (Vogue, 2022)

Grace Coddington’s methodology within fashion creation and visual storytelling stems from the stylist’s ability to include semiotics and multi-sensory media elements to encapsualte and create different visual narratives within her editorials. This editorial in particular titled, ‘Little Pink Houses’ was shot for American Vogue in 2012, which creates a sense and feel of escapism within the image. This is due to the use of semiotics such as location or setting, use of props and use of space and shape styling within her perspective as a creative director. As a result of combining these visual elements of image capture and fashion communication, Grace Coddington creates a sense of escapism within her styling work, as each individual image can create a sensory feel of being realistic as opposed to solely a fashion editorial, as real life sensory is taken into consideration.

Grace Coddington’s styling generates a romantic, luxury and dramatic feel, particularly when creating a periodic or historical fashion editorial. Many of Grance’s periodic styling shoots feature stereotypical feminine attributes of fashion and styling, such as large ball gowns, floral and delicate patterns and materials, as well as the use of romanticised colourways, such as light pinks, reds and yellows. These floral and femminine elements featured within Grace’s styling allows her styling editorials to exude connotations to historical and famous fairytales, such as Alice in Wonderland, Mary Poppins and Cinderella. This romantic and feminine styling methodology is unique to Grace Coddington, as many stylists have moved away from this aesthetic when transitioning to a more contemporary and current method of fashion image making and visual image communication.

Grce’s styling editorials for American Vogue during her time as creative director in particular illustrates how sylists can create an individual identity for each of their editorials and fashion narratives. For example, one of Grace Coddington’s most well-known and diverse Vogue editorials titled ‘Alice’ was based around the Lewis Caroll early 1900s novel, ‘Alice in Wonderland’. The editorial featured many subtle nods to the classic story, such as using luxury designers such as Tom Ford to portray the story’s classic characters - the Cheshire Cat and the Mad Hatter. The Vogue editorial also featured connotations towards the story, such as using use of the shoot’s location, setting and use of props to further convey the visual and new way of creating a piece of fashion commuication through conceptual and narrative focused styling.

Grace’s form of eccentric fashion styling can be seen through her creative way of illustrating a fashion editorial that is bespoke and singular to her personal styling choices. Grace herself is also personally rather eccentric and bold, particularly through her own bright and vidid hair styling and colouring. It is interesting to visualise how Grace’s own personal style can be identified and reflected within her styling work. Grace’s iconic hair styling and voluminous texture is often featured within her styling of the models, featuring a similar and eccentric hairstyle of her own, which further conveys Grace’s ability and choice to portray her own sense of personal style and dramatic flair within her styling editorials.

Grace Coddington’s styling is often percieved as ‘ultra-feminine’, particularly due to her dramatic and luxury styling choices that further adds to create a classic, retro and vintage feel to her styling work. Grace’s ‘feminine’ aspect to her fashion styling often includes the vision of a ball or luxuorious event, connoting to often working with luxury fashion designers such as Tom Ford, Chanel and Louis Vuitton. The use of bold and distinctive colourways also contributes to this ‘feminine’ feel to Grace’s fashion imagery.

As part of my initial research into both Grace Coddington’s styling semiotics and Love Magazine’s editorial aesthetics, I was initially drawn to the idea of experimenting with flowers and the outdoors. The theme of florals and nature is often the main focus of Grace Coddington’s styling, in particularly her editorials where she is re-telling a classic story in her own visual and creative interpretation. American Vogue’s editorial featuring designers such as Tom Ford and Louis Vuitton’s ‘Alice’ editorial is Grace Coddington’s re-telling of the classic ‘Alice in Wonderland’ childhood story. As part of my first image capture workshops, I wanted to experiment with flowers and the outdoors, similarly to Grace Coddington’s Alice in Wonderland editorial. The idea of creating a floral and rurual inspired photoshoot aligns closely with Grace Coddington’s traditional and vintage aesthetic, whilst encorporating more of a visual and colourful aesthetic from Love Magazine as my main source of inspiration. Grace Coddington’s styling has the ability to create ambigious stories without the need for verbal explaination, therefore as part of my intial primary image capturing, I wanted to try to encapsulate a visual story that is left open for the reader’s individual interpretation.

Following from my first intitial image cpature workshop, I wanted to experiment further with Love Magazine’s more daring, bold and colourful aesthetic to help me identify which direction I wanted my final editorial to look like. Taking influence from Love Magazine’s style of posing and movement, I wanted to represent these elements in my second attempt of developing my final concept for my editorial outcome. Although I feel that these images reflect Love Magazine’s playful and colour-driven aesthetic and style well, I felt that this conceptual direction was stepping away from Grace Coddington’s traditional, delicate aesthetic. Moving forwards from this second image capture session, I wanted to portray and illustrate more of Grace Coddington’s romantic and passionate themed aesthetic, in order to create a more clear connection between my two influencers of my final outcome editorial Love Magazine and Grace Coddington. My industry mentors, Tony Green and Christopher Shannon also preferred my new conceptual direction of following a more traditional and classic editorial concept following the influence of Grace Coddington’s romantic and delicate aesthetic.

“The Symbolism of Flowers” When researching further into Grace Coddington’s semiotics and methodologies of her styling editorials, a re-occuring theme of nature, flowers and plants often acts as a main feature within her visual imagery. I decided to research into more depth about different types of flowers and what each different type often portrays within fashion and mixed media publications. As Grace’s heritage stems from rurual Wales, I decided it would be interesting to potentially encorporate this idea of natural and floral symbolism in my final editorial styling shoot, which will be inspired by the work of Grace Coddington and Love Magazine, merging both aesthetics and methodologies to create my own individual visual interpretation.

The idea of researching into flower types, colours and connotations also shows a connection with Grace Coddington’s visual ability to convey tradtitional and vintage fairytales into her styling, such as Lewis Carroll’s ‘Alice in Wonderland’. There is a particular scene both in the novel and the film adaptation where Alice is in Wonderland, singing alongside a flower garden full of different flower types, colours and sizes. Therefore, I decided to follow this connection of visual story-telling through flowers, as this shows a correlation between Grace Coddington’s ability to visually convey a story and narrative through the use of natural elements, such as flowers and naturally occuring aesthetics.

To expand on my research into the symbolism of flowers, I decided to create some primary imagery that further expands on the connections that I percieve to be the embodiment of Grace Coddington’s styling aesthetic.

“The Symbolism of Flowers” “Rose is my favorite flower. If anyone says, ‘What shall I send Grace, it’s her birthday or something?’ I always say roses because I love them—I love them visually and I love the smell, so it comes from there. When I was very young, my mother was not someone who ever wore perfume. I remember she wore a lot of nail varnish, lipstick. When I first came up to London, I thought I would start exploring the perfume thing. I wanted to start in a very gentle way, so I went to Floris because I loved the whole old-fashionedness of just the experience of being in the shop itself. I love the gentleness of their Red Rose toilet water.”

- Interview Magazine (2016)

“The Symbolism of Flowers” When researching the symbolism of a rose, the most popular and re-occuring themes and connotations included passion, romanticism, love, beauty and courage. I personally percieve and associate Grace Coddington’s aesthetic as romantic and expressive, which does show a connection to the typical symbolism themes of a red rose. Many of Grace Coddington’s styling editorials convey a traditional and vintage aesthetic, often featuring traditional ball gowns, and large and eccentric colour palettes, which also aligns with the symbolism of traditional and delicate red and pink roses. The delicacy and detail of a rose can also share connections to the theme of innocence and youthfulness, which shows a connection to Grace Coddington’s methodology of re-telling classic stories through her visual and creative styling abilities.

LOVE Magazine is a British Bi-Annual magazine, that was founded in 2009 by British stylist and journalist, Katie Grand. LOVE is part of the Conde Nast Media brand of publicationd, alongside other well-known magazines, such as Vogue, Harper’s Bazaar and Glamour Magazine.

Since 2012, Lulu Kennedy has been editor-at-large and Alex Fury has been the editor. In 2020, Katie Grand was replaced by Whembley Sewell, as the publication has decoded tp move to the United States of America.

“Despite its glossy pages, the magazine has a raw look.

Black-and-white photography dominates, and most of the color photography has a muted palette, as if the pictures have aged and faded. Some images are clearly fashion photography; others are more like inventive snapshots.”

- Suzanne Weinstock, 2010 “Going beyond looking at the latest fashion trends, Love magazine examines the lifestyle and culture behind the catwalk creations for those with an appreciation of beauty and luxury. It also brings its readers the most exciting developments in music, art and film which will influence the fashion of tomorrow.

Featuring the most popular, current names across the fashion, music and film industries, Love’s editorial content is incredibly engaging. And, as you would expect, it is visually stunning, too.

Love features high-end images from the industry’s most sought-after photographers and intelligent articles devoured by designers, artists, buyers and fashion enthusiasts alike.”

- (Unique Magazines, 2020)

Love Magazine can be described as artistic, as many of their covers and editorials portray a personal, crafted and authentic approach to styling and visual narrative communication. Notable covers and features within their 2020 issue featuring American Supermodel, Bella Hadid, features hand-drawn graffiti and drawings on her face and the cover of the magazine as a whole. This almost childlike, artistic visual element helps to create an avant garde and conceptual perspective of Love Magazine’s methods of visually storytelling.

Love Magazine encapsulates unique, unseen and innovate ways of visual fashion narrative communication. Many issues and fashion features within the fashion magazine publication conveys an interesting visual perspective on image capture and digital and physical image making. The magazine combines different elements of styling, such as lighting, models, clothing, shapes, camera angles and poses to create unique, visual fashion narratives. Love Magazine visually communicates fashion particularly with the element of model posing to creating unique and interesting shapes which are then open for the reader to make their own personal connection and visualisation of what the image is and means to everyone as an individual.

Love Magazine is inclusive, progressive and accepting of different cultures, ethnicities, religions and different perspectives on fashion and the fashion industry as a whole. Many of Love Magazine’s most famous and well-known editorals features many different cultural backgrounds when it comes to styling choices, makeup design, clotthing choice, as well as posing and use of shapes. In contrast to other established fashion magazines and publications, Love Magazine always strives to create unity and a community for their readers , and the fashion publication achieves this through providing inclusive and engaging content for all of their readers.

Love Magazine has a conceptual methodology within their styling, aesthetic and branding image. Each issue of the bi-annual fashion magazine creates new ideas and persepctives on visually and conceptually creating new fashion narratives, and then creating new and innovative ways of visually communicating their fashion narratives.

Love doesn’t follow fashion - it sets fashion’s agenda.

Launched in 2009, Love magazine is a twice-yearly compendium of inspiration - for designers, for artists, for anyone looking for visual ideas, for anyone who loves fashion and design. Love publishes bi-annually, in print digital and online, as well as creating the annual and highly anticipated Love digital advent calendar.

- (C. Nast, 2022)

Love Magazine has a bold and avant garde method of creating fashion imagery and digital fashion storytelling. The magazine makes bold choices within their clothing and fashion imagery, but also within the Love Magazine branding itself. The magazine constantly changes their brand’s aesthetic and visual imagery, particularly within their logo by adapting use of colour, font manipulation and use of layering their content. Many of Love Magazine’s covers portray a scrapbook aesthetic with connotations to continously changing their look. This adds to Love’s brand narrative of being an artistic, progressive and contemporary avenue of fashion communication and styling.

Love Magazine can be described to be ‘playful’ in many different ways, as the fashion magazine often plays around with different elements of fashion photography. These different elements include but are not limited to: makeup, colour choise, posing, camera angles and use of photo distortion as displayed through this Love Magazine inspired visual imagery. The magazine creatively showcases different famous, well known fashion models such as Kendall Jenner and the Hadid sisters to experiment with playful facial expressions and facial distortions to create visually engaging and unique editorials.

This playful and unique flair that is featured within Love Magazine’s editorials and covers allows the media publication to convey a sense of drama and creating a new way of visually communicating a story without the need to include words or a verbal narrative behind these images.

Love Magazine and Grace Coddington’s sense of visual storytelling merge well together, as both visionaries and creatives can individually communicate stories, themes and narratives through creative and obscure methods of storytelling - from which leaves the readers and audiences to interperate and create a narrative of their own from these visual images.

Love Magazine further illustrates their ability to be influencial within the fashion industry by revolutionising the creative and artistic use of encorporating daring and explicit imagery, then merging this visual with an almost naive and child-like aesthetic. The fashion magazine’s use of bright and bold colours when creating their editorials creates a sense and feeling of youth and excitement within their visual narratives. Similarly to the methodology behind Grace Coddington’s styling, Love Magazine uses the semiotics of colour and radiance to further create an illusive and dramatic feeling when interpretating a visual story.

nd unique with hey create withots. The fashion plistic sense of as encorporaturther enhance vement. When and representaagazine’s playposes could be ly the elegance rk contrast beangelic posing and choice of visual experireates an interaposed styling.

Love Magazine is very experimental and unique with their posing, shapes and movement that they create within their fashion editorials and styling shoots. The fashion magazine often coveys a fluid and simplistic sense of movement within their editorials, as well as encorporating the use of unconventional props to further enhance their almost dance-like posing and movement. When researching Love Magazine’s aesthetic and representations, it was interesting to discover the magazine’s playful image, as these fluid movements and poses could be linked to the idea of dancing, particularly the elegance and delicacy of Ballet dancing. The stark contrast between Love Magazine’s soft and almost angelic posing and their use of harsh facial expressions and choice of clothing provides a unique and exciting visual experience for their readers, as the magazine creates an interesting take on experimenting with juxtaposed styling.

their posing, shapes and movement that in their fashion editorials and styling sh magazine often coveys a fluid and si movement within their editorials, as w ing the use of unconventional props to their almost dance-like posing and m researching Love Magazine’s aestheti tions, it was interesting to discover the ful image, as these fluid movements an linked to the idea of dancing, particul and delicacy of Ballet dancing. The s tween Love Magazine’s soft and almo and their use of harsh facial expressio clothing provides a unique and exciti ence for their readers, as the magazine esting take on experimenting with ju

The future of Love Magazine provides an interesting thinking channel, as the fashion magazine is quite unique in their aesthetic.

The engaging aesthetic of merging chaoatic colours, clothing and styling with soft and fluid movements is a unique element to the publication, and the magazine could progress this aethsetic further within the digitalisation of the fashion industry. As previously mentioned, my interpretation of Love Magazine’s posing and body movement is closely connected to the theme of dance and theatrical movement.

The magazine could encorporate this idea of movement within the digitalisation and the future of fashion publications by creating fashion Gifs and short videos of soft and fluid movement inspired editorials. rather than solely a still image. due to the rising success of short form videos, such as social media apps like TikTok, fashion publications could transition into this digital space and emerge in new and exciting ways of displaying a visual story through movement and sound, as well as still imagery. This transition from print publications into digitalised publications provides an exciting sense of interest for how magazines and print works could look in the future, as well as spark new converstions about further potential advancments within the digital fashion industry. This could also help the magazine to distinguish themselves from other publications, and be a first-mover in the cross over of print and digital fashion.

Love Magazine’s future could also be in line with the growing digitalisation of the Metaverse.

The Metaverse poses an interesting and exciting potential future for print publications, as the creative innovations and possibilities are endless with the amount of adaptations that are already taking place within the digital fashion industry, as well as the new potential advancements that are yet to come. For magazines in particular, the Metaverse holds the exciting innovations for the publication industry, such as creating digital avatars and brand representatives that can digitally model for the magazine, as well as creating the potential for immersive and interactive content that readers and audiences can benefit and learn from. The Metaverse holds a creative and prosperous potential future for magazine publications, as through operating within the Metaverse, magazines and publications can operate in new ways, such as allowing readers to shop featured products, share fashion trends and ideas, as well as interacting within their fellow fashion orientated community. The fashion industry is moving forwards in a digital direction, whether this be through social media, or digital runways - therefore it is important for magazines and publications to follow in this direction, operating digitally in order to remain accessible and relevent within their technology-minded consumer demographics.

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