Generation Y: The Male Consumer

Born between 1980 and 2000 (Viswanathan and Jain 2013) Generation Y are the children to baby-boomers and are widely recognised as the “next big generation” (Cui et al. 2003 p. 310). Eisner (2005 cited in Shaw and Fairhurst p. 367) believes Generation Y to be the “the most technically literate, educated and ethnically diverse generation in history”. Often referred to as ‘trophy kids’ (Viswanathan and Jain 2013), due to their many accomplishments, Generation Y are characterised as “goal-driven” (Viswanathan and Jain 2013 p. 484), “trustful” (Valentine and Powers  2013 p. 598), “individualistic” (Valentine and Powers  2013 p. 598) and “visually sophisticated” (Hawes 2010).

Generation Y are concerned with self-expression and communicating their identity (Valentine and Powers 2013). They are likely to seek inspiration from magazines as a result of their interest in celebrity endorsements, branded products (Baley and Seock 2010) and their preference, and enjoyment, of visually rich information (Viswanathan and Jain 2013). Furthermore celebrity style is relied upon for fashion choices and leadership (Baley and Seock 2010; Bakewell, Mitchell and Rothwell 2006). This, coupled with their “high brand awareness” (Viswanathan and Jain 2013 p.484), has lead to an influx of male celebrity-brand collaborations and endorsements. In particular, sportsman that Generation Y males idolise feature in contemporary fashion brand advertisements and magazine photoshoots (Bakewell, Mitchell and Rothwell 2006). David Beckham and Andy murray regularly endorsee fashion product and are viewed as cultural leaders (Bakewell, Mitchell and Rothwell 2006).

David Beckham: WSJ Magazine 2009 

David Beckham: WSJ Magazine 2009 

David Beckham, photographed by Paul Wetherell, for WSJ (Wall Street Journal) magazine's first dedicated menswear edition in 2009 appears sophisticated, stylish and confident (Camber 2011), appealing to Generation Y’s desire for status (Valentine and Powers  2013; Viswanathan and Jain 2013). He wears leading luxury brands such as Dolce & Gabbana, Prada, Hugo Boss and Ralph Lauren (Camber 2011), thus illustrating his affinity with fashion. It is this type of synergistic fashion photography that encourages Generation Y males to view fashion more favourably (Bakewell, Mitchell and Rothwell 2006). Generation Y males place emphasis on the relationship between social value and appearance and associate fashion and style with success (Bakewell, Mitchell and Rothwell 2006). 

Andy Murray photographed by Mario Testino for Vogue 

Andy Murray photographed by Mario Testino for Vogue 

Fashion magazines are able to achieve greater loyalty from Generation Y consumers by including celebrity fashion photography (Baley and Seock 2010). Particularly, celebrity athletes are perceived by Generation Y males as role models (Buksa 1999). Strategic alliances, like the ones shown above, appeal to Generation Y male consumers. It is their concern with continuous learning and their goal-driven, growth-oriented, mindset (Viswanathan and Jain 2013) that aids their attraction to these celebrity athletes (Buksa 1999) and encourages them to view them as reliable and valuable fashion leaders (Bakewell, Mitchell and Rothwell 2006). 

‘Dress to Win’ 

Generation Y males have been proven to be more materialistic than generation Y females (Bakewell, Mitchell and Rothwell 2006). They embrace the concept of ‘dress to win’ whereby they utilise fashion to display their symbolic identity and financial worth (Bakewell, Mitchell and Rothwell 2006). They seek to communicate authority and affluence (Bakewell and Mitchell 2003). Key influencing factors include wealth showcased on television, the availablity of credit cards for young consumers and the adoption of shopping as a recreational activity (Bakewell and Mitchell 2003). It is argued that fashion photography and advertisements that appeal to this male need will encourage greater loyalty from Generation Y consumers (Baley and Seock 2010).  As a major consumer group (Cui et al. 2013) it is important fashion photography, especially in magazines, address these favourable attributes. The following examples of contemporary mens fashion photography arguably convey these desirable attributes and characteristics that shape Generation Y’s perceptions of fashion and style. 

Double Checking: Photographer Damian Foxe

Photographer Mile McMilan: 'An Obsession' for Vogue

Photographer Marie Schmidt for Harbour Magazine

Gucci Spring/Summer 2014 Menswear Campaign photographed by Mert and Marcus 

Religion in Contemporary Photography: Celebrity Obsession

Celebrity worship is prevalent in contemporary society (Caldwell and Henry 2009; Ward 2011) and intense celebrity worship is on the rise; psychologists term this disorder Celebrity Worship Syndrome (Faye 2013). Today research shows at least one in three people worship celebrities (Caldwell and Henry 2009). Maltby et al. (2001 p. 1157) have recognised a “(r)elationship between celebrity worship and religiosity”. God-like characteristics are often associated with celebrities, despite today’s meaning of celebrity deriving from “the fall of gods, and the rise of democratic governments and secular societies” (Rojek 2001 p.9). Giles (2000 cited in Maltby et al. 2001 p. 1158) argues that celebrity is a way of “preserving a unique part of the self for eternity”. This creates illusions of immortality, highlighting a parallelism between celebrity status and that of a god. While Ward (2011) in his book “Gods Behaving Badly” argues “(c)an our fixation on and devotion to celebrity culture itself be considered a religion?”  

Celebrities achieve and record their god-like celebrity status through “(c)ultural intermediaries” (Rojek 2001 p. 10) such as fashion photographers. Fashion photography presents a staged representation of the celebrity’s ‘front’ whilst regulating the real self on display (Rojek 2001). Through these engineered and manipulated photographs celebrities are able to convey connotations of god, heightening their god-like status and associating themselves with religion.  

Madonna: “I won't be happy ‘till I'm as famous as God” 

Madonna photographed by Marcus Piggott and Mert Alas for Interview Magazine 

Madonna has long established her relationship with religion in contemporary mass media; her key ‘accessory’ being the cross (Interview Magazine). In Madonna’s ‘daring’ 2013 article for Harper’s Bazaar she states “I decided I needed to have a spiritual life. That’s when I discovered Kabbalah” (Madonna 2013). Some recognise her as having a casual, romantic relationship with faith while others believe she encourages religious tolerance (Huffipost Celebrity 2013). Additionally, she arguably achieves her god-like status from the worship she receives from her mass fan-base (Caldwell and Henry 2009).

Madonna’s use of religious symbols permeates the fashion photography she features in. This reinforces her relationship with God and implies an affinity with God (Detweiler and Taylor 2003). Despite this, today, ‘Madonna catholic’ is a term used to refer to someone who “decides to keep their catholic status only for cultural/image reasons” (Urban Dictionary 2013).   

Madonna for Interview Magazine 

Madonna for Interview Magazine 

Dita Von Teese: A Religious Juxtaposition 

At Christmas 2009 Harper’s Bazaar Russia’s cover photoshoot by photographer Marcin Tyszka staring Dita Von Teese, an american celebrity burlesque dancer, utilises religion to convey superiority, opulence and godly qualities (Another 2013;). Von Teese wears a Christian Lacroix wedding gown, rosary style beads (Jocelyn 2013) and white headscarf that “hints at the Madonnas taken out on the street during Spanish processions” (Gorgan 2009) as part of the ‘Sinner or Saint’ photoshoot. 

Dita Von Teese: Haper's Bazzar Russia 

Dita: Harper's Bazaar Russia 

Religion: A Prevalent Theme Throughout Fashion Photography 

Following on from this theme Vogue is declared to be the “fashion bible” (Conde Nast International 2014) while many other fashion publications aspire to be so. Contemporary fashion magazines and fashion photography have embraced conceptual religious themes as the “various ways we construct identity becomes increasingly important” (Hancock, Woods and Karaminas 2013 p. xii). The following fashion photographs highlight the prevalent theme of religious inspired fashion photography in contemporary media. 

Biblical fashion photography by Pisid Whangvisarn

Vogue: model wears Dolce & Gabbana 

Kate Moss for W Magazine 2012

Kate Moss for W Magazine 2012

The Way of Byzantium :Photographer  Marco D'Amico for Vogue Italia

Photojournalism, Feminism and Kate Moss

From a photojournalism perspective, it is important to understand the affect feminist photographs have on the viewer. “The concept of affect has been productive for feminist theory” (Ferreday2013 p. 4) as it relates to the recognition of feelings of “pleasure, repulsion, ambivalence” (Ferreday 2013p. 3) that naturally arise in relation to the image being viewed. Photojournalism with feminist undertones is argued to evoke these emotions. 

Kate Moss: Sexuality, Empowerment and Individuality 

Kate Moss, conforms to the third-wave feminism movement; concerned with empowerment, reclaiming sexuality, the body and individuality (Shugart, Waggoner and Hallstein 2001). Moss is recognised by her female supporters as a “heroine who survives to transcend the pressures of femininity and fame” (Ferredy p.3 or 4). This highlights the perceived empowerment she commands. Furthermore, a key characteristic of third wavers is their desire to seek and embrace sexual desire. This is evident in many of Moss’ phootshoots. 

Mario Testino for V Magazine: Only Girls in The World

Mario Testino for V Magazine: Only Girls in The World

Mario Testino’s ‘Only Girls in The World’ photoshoot for V Magazine, staring Kate Moss and Rihanna, communicates intense sexuality and desire. V Magazine states that Moss and Rihanna are “fearless females in a saucy, hypersexualized photoshoot” (V Magazine 2013). This S&M inspired fashion shoot conforms to third wave characteristics. 

Iain McKell for V Magazine: Kate and the Gypsies . 

Moss’ sense of empowerment is captured above by V Magazines' in house photographer Iain McKell. The stag antlers arguably signify power and status while her revealed body in an exposed landscape shows confidence.

These photoshoots are prime examples of third wave feminism establishing and concerting itself in postmodern mainstream media through fashion photography. Shugart, Waggoner and Hallstein (2001) argue that third-wave feminism has embedded itself in popular culture; the fashion industry acting as a significant catalyst. In turn, contemporary mass media has embraced this movement. It showcases images of “vibrant, assertive, and powerful young women” (Shugart, Waggoner and Hallstein 2001 p.195) thus deifying our contemporary culture.

Kate Moss features in McQueen advertising: Strong, powerful female

All of Moss’ fashion photography is believed to feature gender issues, particularly androgyny as highlighted in the CK One campaign (below). This conforms to third-wavers “resistance to a binary concept of gender” (Shugart, Waggoner and Hallstein 2001 p.201). These photographs effectively show the “blurring of boundaries between masculinity and femininity” (Shugart, Waggoner and Hallstein 2001 p.201) whilst communicating Moss’s confidence with her sexuality. 

1994 Calvin Klein One advert by Steven Meisel 

HBD Kate Moss: V Magazine

Above Moss combines her feminine sexuality with comic-like fake facial hair in another photoshoot of V Magazine, photographed by Inez & Vinoodh. As earlier discussed these photographs command emotion from the viewer. Photojournalism aims to communicate and engage with the viewer and evoke a reaction. A juxtaposition of gender is a prevalent theme throughout third wave feminist photojournalism.  

Fashion Photography Embraces TV Celebrity

This post aims to explore the portrayal of television celebrities in fashion photography with reference to realist fashion photography and art fashion photography.  

Realist Fashion Photography 

Realist fashion photography differs from documentary fashion photography and art photography (Smedley 2013) as it portrays, in this analysis, TV celebrities ‘accepting’ an often unsatisfactory reality (Hein 2009). This consequently puts the viewer at unease as the realist photograph appears “disquieting and uncomfortable” (Smedly 2013 p.154). It is argued that realist fashion photography continues to create the desired ‘shock’ impact that photojournalism has lost (Smedey 2013). In this analysis the impact is heightened by the attention these celebrities command in today’s society (Fairchild 2007). Furthermore realist fashion photography is argued to provide aesthetically pleasing and commercial imagery that “represent(s) what refuses to be seen” (Baudrillard 2000). 

Brad Pitt and Steven Klein

Brad Pitt, who has both a successful TV and film career (Robb 1996), features in Steven Klein’s ‘Domesic Bliss’ fashion photospread for W Magazine (W Magazine 2005). It can be argued that this photoshoot is underpinned by realist fashion photography theory due to the visible underlying theme of ‘truthful reality’, despite its staged and manipulated presentation. Dumenco (2004) believes Klein to be “the most influential (and busy) fashion photographer in the world right now” and states Klein’s “sexually ambiguous, quasi-commercial transgressivness is the new fashion frisson”. It is this new approach, developed by Klein, that reinforces the widely accepted conclusion that fashion photography now reflects current societal issues and trends (Walther 2000; Fox 2013; Smedley 2013) rather than the creation of idealistic “mindlessly glam” images (Dumenco 2004). It is Klein's affinity with the truth and reality that encourages him to work closely with the celebrities he photographs and his ability to “re-contextualise” them whilst representing an important aspect of their personality in his work (Ward 2009). 

 Domestic Bliss: Pitt wears Burberry, Jolie wears Miu Miu

Domestic Bliss: Both wear Alexander McQueen

Domestic Bliss: Both wear vintage 

TV Celebrities in Fashion Photography

Brad Pitt is one among many TV celebrities who have featured in fashion photography.  Notable examples include Sarah Jessica Parker (Cary Bradshaw of Sex and the City) and Blake Lively (Serena van der Woodsen of Gossip Girl) whose characters have a profound interest in fashion and define their identity through the labels they wear (Warner 2014). Their TV character’s fashion choices often harmonise with the actor's own fashion sense. This arguably aids their progression from TV to fashion photography subject as a powerful affinity exists with fashion and style both on and off screen (Warner 2014). Their celebrity style status (Gibson 2012) heightens the fashion photography's believability and credibility as these celebrities are regarded as an expert source (Atkin and Beltramini 2007). 

Blake Lively for Marie Claire 2012

Blake Lively for Marie Claire 2012

Blake Lively features regularly in Marie Claire photospeads. The above photographs formed part of Lively’s cover photoshoot and interview spread for Marie Claire October 2012. In the interview Lively states “I dress the same as my character”, when referencing Gossip Girl. This encourages the audience to draw parallels between her on and off set character, heightening her credibility as a style expert (Atkin and Beltramini 2007). This photoshoot can be described as ‘art photography‘ rather than ‘realist photography’ as it adopts a traditional commercial and promotional approach to photography showcasing an idealistic fantasy (Smedly 2013).

Like Lively, Sarah Jessica Parker is also often featured in glossy magazines. Here (below) she is photographed by Simon Upton wearing Dolce & Gabbana in Harper’s Bazaar Russia, June 2013. The commercial underpinning of these photographs highlight the style endorsement from Parker.

Sarah Jessica Parker Harper's Bazaar 2013

Sarah Jessica Parker Harper's Bazaar 2013

More commonly Parker is featured in fashion art photography (below) that conveys an idealistic lifestyle to the consumer, often focusing on opulence and timeless style. This conforms to the prevalent theme of ‘lifestyle’ art photography genre within fashion photography (Wells 2000). 

Sarah Jessic Parker: Vogue 2010

Vogue 2003: photographed by Steven Meisel 

An Era of Change for Fashion Photography: The 1950's and 1960's

The post-war 1950s experienced exceptionally strong economic growth as a result of the previously suppressed consumer demand (Crafts and Tonilo 2002; Sandbrook 2014). The UK media placed pressure on the newly affluent society to ‘repopulate’ post-war Britain (BBC 2014; Cosslett 2012). Furthermore, in line with this goal, magazines showcased the desirable ‘domestic goddess’ stereotype of this time (Littler 2013) to encourage what would later be referred to as the ‘baby boom’ (Blastland 2012). The hourglass body shape became popular for woman (Glamour Daze 2013) as a reflection of the societal pressure on woman to “conform to a traditional female role” (Demarest and Garner 1992 p. 357). This figure type was endorsed by many fifties celebrities, inclusive of Betty Brosmer and Marilyn Monroe. These admired women were both regularly featured in ‘50s fashion photography. Many of these fashion photographs remain iconic photographs today. 

1950's Betty Brosmer: "the best hourglass figure"

Ultimate style icon: Marilyn Monroe 1954 

Furthermore, youths began to enjoy unprecedented financial independence, in-turn, influencing the emergent and rising youth culture (Sandbrook 2014). Sandbrook (2014) states “(i)n their carefree hedonism and economic assertiveness, they often shocked their elders”. From this the 60’s were born.  

1960's Mod style derived from a London youth subculture in the 1950's 

During the 1960s David Bailey and Terence Donovan were two influential fashion photographers. It is argued they “did not merely record the era, they helped to shape it” (BBC 2002). Up until the ‘60s fashion photography remained staged and static however this did not compliment the changing values of British society. Vogue editor Marit Allen claimed the 60’s was “the first time young people wanted to be themselves” (BBC 2002). It was this attitudinal change that influenced the developing fashion and cultural scene (De La Cruz 2012), consequently it had a positive influence on fashion photography.

Terence Donovan for Harper's Bazaar 1964

Bailey, as previously mentioned, pioneered fashion photography throughout the 60’s, directly influencing today’s fashion photography. He is argued to be “one of the most dynamic and influential fashion photographers of the era, from his heyday in the ‘60s until today” (Roy 2001 p.57). His photographs first appeared in Vogue in 1961 (Vogue 2014) and in 1962 he produced his iconic ‘Young Ideas Go West’ photoshoot (below) featuring model Jean Shrimpton (Vogue 2014; Magoo 2012).

'Young Ideas Go West': 1962

In 1963 Bailey photographed his first cover for American Vogue. Only 11 years later in 1972 he photographed his last, during this time he produced a total of 18 covers (Vogue 2014). 

Vogue cover 1965 by David Bailey featuring Jean Shrimpton

Bailey photographed many 1960s celebrities such as supermodels Twiggy, Jean Shrimpton and Penelope Tree. His contrasting back and white photographs “made the celebrities he photographed into cultural icons” (Roy 2001 p. 57). His early fashion photographs often featured Shrimpton, emphasizing her ‘in vogue’ waif look (Roy 2011). Despite the numerous iconic photographs he has taken of her over the past 50 years he now states, “I never understood why people like Jean Shrimpton so much’ (cited in Hudson 2014). 

The Birth of Fashion Photography

Fashion imagery and society, during the time period leading up to fashion photography's creation, will be explored and discussed to contextualise the founding and establishment of fashion photography. 

Magazines have been used to communicate fashion to consumers since the early 18th century. One of the first popular UK magazines was The Ladies' Diary (below), published from 1704 to 1841. The cover reads, “Containing many Delightful and entertaining Particulars, Peculiarity Adapted for the Use and Diversion of the Fair-Sex” (Perl 1979 p. 37). This highlights the divide of the sexes at this time.

The Ladies Diary front page 1738

Indeed, it was conventional for women to only read magazines tailored towards the female market. Additionally magazines such as The Female Tatler (1710) and The Lady’s Magazine (1770) were introduced, raising awareness of fashion among affluent and aspirational women (Graham 1937). As photography was not yet invented at this time fashion plates were used to convey the current fashions and attract consumers. 

Fashion plate 1775

Fashion plate 1787

This lead to heightened spending throughout the 19th century. Hilton states that the Victorians were “obsessed with consumption” (Hilton 2004 p. 101) and concludes that wealth was seen as a benchmark of progress. Furthermore the Victorians regulated consumption by controlling activities deemed negative, for example drinking and street betting, and counterbalanced this by encouraging people to attend art galleries, botanical gardens and read more refined literature to improve their mind (Hilton 2004; Perl 1979). It was at this time more consumer based and pragmatic magazines were introduced to the Victorian consumer; a reflection of the societal changes taking place. This, teamed with the growing demand from consumers, lead to an increase in magazine advertising (Hutchison 2008). To accommodate this growth fashion plates were steadily used to communicate designs to the consumer, informing consumers of the latest styles and trends. These fashion plates informed the composition and presentation of early fashion photography therefore they share similar characteristics (as seen below). 

Fashion plate 1778

1800's fashion photograph

Vogue has dated the earliest fashion photography back to 1856 (Fior 2014) and french photographer Adolphe Braun is claimed to be the first fashion photographer. This legacy is a result of the 288 photographs he published of aristocrat Virginia Oldoini, Countess of Castiglione (below). Despite this, other sources claim that Adolph De Meyer (1868) is the first fashion photographer. Fashion photography is subjective and recognition of what constitutes fashion photography can be debated. Consequently different interpretations of the first fashion photograph and claims of the first fashion photographer exist. 

Virginia Oldoini, Countess of Castiglione

Later in the century magazines such as Harper Bazar (1867) and Vogue (1892) utilised fashion photography as a means to present clothes to their readers. Vogue has pioneered fashion photography and has “launched some of the greatest fashion photographers”. Indeed, the earlier mentioned, Adolphe De Meyer found photographic fame working for Vogue along with many other pioneering fashion photographers at this time, inclusive of Horst P. Horst and George Hoyningen-Huene. Adophe De Meyer was the first staff photographer for Vogue, dating back to 1913, and is claimed to be “an arbiter of taste and trends who immortalised the first three decades of twentieth-century society and shaped the genre of fashion photography” (Vogue 2014). 

Adolphe De Meyer Vanity Fair 1932

To conclude fashion photography quickly followed the introduction of photography itself and was a natural progression from fashion plates. Today these original fashion photographs are still regarded as an inspirational resource, as are the pioneering photographers. 

Street Fashion Photography in Blogging

Street fashion photography is prominent in today’s bloggersphere. Unlike traditional media formats such as magazines and television that rely heavily on staged photography to communicate the desired image to the consumer/audience, blogging utilises street fashion photography (Crewe 2012). Due to similarities between street fashion photography and realistic snapshot genres the content of street fashion photography commands credibility and achieves believability as a result of its ‘realistic’ appearance (Engholm and Hansen-Hansen 2013). Scott Schuman, The Sartorialist, argues that, “while street-fashion photography is an easy world to join...it’s a tough one to stand out in” (Schuman 2011). 

Street fashion photography from FACEHUNTER

As included in The Telegraph’s ‘Top 10 must-read fashion and style blogs’ FACEHUNTER and STREET PEEPER remain two of the top rated fashion blogs. These blogs primarily focus on street fashion photography, capturing a single snapshot or a moment in time, and can be viewed as a documentation of life and style in today’s society. For a more polished approach Ben Trova and Fashion Photography Blog are credible fashion photography blogs, often underpinned by street fashion photography characteristics. Many similarities exist among these blogs, for example the subject is normally aware they are being photographed and posts often feature close-ups of key details. This provides the viewer with a comprehensive and holist understanding of the outfit, rather than a conceptual image type closely associated with fashion photography. 

Street fashion photography from STREET PEEPER

Street fashion photography inspired photographs seen on blog Ben Trova 

The Sartorialist is one of today’s most read blogs and has achieved the respect and admiration of the world’s fashion community. It is an influential source throughout the fashion industry and is arguably best known for its street style fashion photography of stylish ordinary people across the globe (The Sartorialist 2014; Davis 2009). 

Scott Schuman, The Sartorialist

Founded in 2005 by blogger and photographer Scott Schuman (above) The Sartorialist began life with the aim of “creating two-way dialogue about the world of fashion and its relationship to daily life” (The Sartorialist 2014). Since its humble roots The Sartorialist has gone onto pioneer street fashion photography in the bloggersphere (Davis 2009). This blog can be viewed as a document recording individual expressions of style as photographs focus on style rather than passing fashion fads. They capture personality, individualism, creativity and flair. Schuman beautifully captures the “varied sartorial tastes” (The Sartorialist 2014) of people he deems inspirational. This may be a man, a woman, a child, a pensioner or a celebrity; anyone who catches his eye.

'Art of the Trench' - Burberry

Arguably Schuman’s most famous photography project is the “Art of the Trench” for Burberry whereby he photographed people wearing the iconic Burberry trench across the globe as part of the brand’s rejuvenation strategy (Tokatli 2011). Once again street fashion photography is successfully employed by Schuman, strongly reflecting his photography style as seen on his blog. 

The Sartorialist 'blook' 

Inside The Sartorialist Closer

Complimentary to his blog Schuman has released a two ‘blooks’. The first under the eponymous title ‘The Sartorialist‘ and the second ‘The Sartorialist: Closer’. Both, like his blog, capture a variety of style from across the globe using street photography and the latter is said to “reflect Scott’s unique sensibility and vision” (The Sartorialist 2014).