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’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.
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.
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.
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.
