By Cally Blackman
A visible dinner party of four hundred miraculous pictures, this can be a complete survey of the style over the past century. The booklet additionally bargains an outline of the improvement of style, as obvious in the course of the eyes of the best illustrators of the day. Early within the century model representation mirrored new, releasing currents in paintings and tradition, corresponding to the exoticism of the Ballets Russes, whereas the postwar interval observed concept from the good Parisian couturiers. After the dominance of the fame style photographer within the '60s, a brand new new release of illustrators emerged, embracing the medium of the pc, whereas many again to extra conventional concepts.
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Additional info for 100 Years of Fashion Illustration
Brands as Assemblages In this section we want to argue that it would be fruitful to think of the model neither as an image (a representation that circulates and has effects) nor a real body (the labouring model). Instead, following a number of currents in contemporary thought about cultural industries—loosely connected to Actor-Network Theory in the main— we propose that we need to think about the model as a different kind of object or thing, as an ‘assemblage’ composed of heterogeneous elements—images, practices, relations, settings—that is dispersed over time and space.
Moor, for example, properly emphasizes that design was probably more central than advertising to the evolution of branding—the very ability to attach an identifying mark to a good already required and presupposed major surgery on the body of the good itself (and its packaging), and the credibility of the logo depended on the stability and durability of the designed object itself. This is obviously a far cry from the way in which many academics and marketers understand a brand. ) and which are themselves part of a general transition from a more material to a more cultural economy (for a critique of this view see Slater 2002b).
The central category of ‘the look’ is crucial here. The look is what model agents commodify and sell to clients, and combines the model’s physical self and the photographs he or she appears in. It is therefore materialized in various ways—in the body of the model, how he or she presents himself or herself and how he or she is photographed. It goes without saying that all models are ‘photogenic’ but that is only the start of it; models have qualities they ‘project’ in an image, an ‘individual’ look that is appropriate for particular sorts of clients and markets, as calculated by their model agent or ‘booker’, and then ‘read’, evaluated and further calculated by photographers, fashion stylists, editors and a host of other industry players.