Fashion and Its Sense of Place: History of People within Landscapes
Fashion and its Sense of Place
Landscape was the first photographic genre, but how influential is it in contemporary fashion? Photographic genres are forever blurring and more than ever we are seeing photographs from fashion shoots ending up in prestigious galleries. My own work is heavily influenced by the use of people within the landscape, and while I am starting to experiment with fashion within different landscapes. This essay gives me the chance to explore the history of people within landscapes and contemporary practitioners using the landscape to convey different meanings.
In the early 17th century Anthony van Dyck was one of the leading artists in England, having been commissioned by royalty. His portraits included King Charles I and his family. He would work either out of his own studio or a studio on location. Van Dyck’s paintings of Charles on horseback emphasised the grandeur of the King, but in his portrait of Charles dismounted, Levey explains how the use of the landscape is more effective. ‘Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that that he seems at first glance nature 's gentleman rather than England 's King’(Levey 1971, pp 128)
Antoon van Dyck, 1635. Louvre. [painting] Available at: http://en.wikipedia.org/wiki/File:Charles_I_of_England.jpg [Accessed10/03/11]
So, by using the landscape van Dyck has created a sense that the King is not much different from any other gentleman. However, there are still subtle differences that could still be interpreted to signify royalty; the white horse with the gold flowing mane, the servants looking after the horse and carrying clothing. This could also be perceived as a fashion statement; the clothing stands out from the surroundings and it seems that the focus is on the garments. It is hard to decide if this was in fact painted at this location or in the studio, as van Dyck was known to have created a few
Landscape was the first photographic genre, but how influential is it in contemporary fashion? Photographic genres are forever blurring and more than ever we are seeing photographs from fashion shoots ending up in prestigious galleries. My own work is heavily influenced by the use of people within the landscape, and while I am starting to experiment with fashion within different landscapes. This essay gives me the chance to explore the history of people within landscapes and contemporary practitioners using the landscape to convey different meanings.
In the early 17th century Anthony van Dyck was one of the leading artists in England, having been commissioned by royalty. His portraits included King Charles I and his family. He would work either out of his own studio or a studio on location. Van Dyck’s paintings of Charles on horseback emphasised the grandeur of the King, but in his portrait of Charles dismounted, Levey explains how the use of the landscape is more effective. ‘Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that that he seems at first glance nature 's gentleman rather than England 's King’(Levey 1971, pp 128)
Antoon van Dyck, 1635. Louvre. [painting] Available at: http://en.wikipedia.org/wiki/File:Charles_I_of_England.jpg [Accessed10/03/11]
So, by using the landscape van Dyck has created a sense that the King is not much different from any other gentleman. However, there are still subtle differences that could still be interpreted to signify royalty; the white horse with the gold flowing mane, the servants looking after the horse and carrying clothing. This could also be perceived as a fashion statement; the clothing stands out from the surroundings and it seems that the focus is on the garments. It is hard to decide if this was in fact painted at this location or in the studio, as van Dyck was known to have created a few
Bibliography: 4. Dembo, Ron S.; Andrew Freeman (2001). The Rules of Risk. John Wiley and Sons. p. 10 5 6. Lipovetsky, G. et al., 2002. Chic Clicks. Berlin:Hatje Cantz Publishers 7 8. Lipovetsky, G. et al., 2002. Chic Clicks. Berlin:Hatje Cantz Publishers 9 10. Cotton, C. (2004). The Photograph as Contemporary Art. London, Thames & Hudson Images Antoon van Dyck, 1635. Louvre. [painting] Available at: http://en.wikipedia.org/wiki/File:Charles_I_of_England.jpg [Accessed10/03/11] Thomas Gainsborouh, 1750