fashion and visuality - the origins of fashion film

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1 NEM HITELES FORDÍTÁS – OFFI CSOPORT Traduction non certifiée – Groupe OFFI, Hongrie * Non-attested translation – OFFI Group, Hungary 19583#.doc Fashion – At the Border of Media Fashion and Visuality in the 21 st century Noémi Varga Thesis Design and Art Theory BA Consultant Bálint Veres MOME 2012

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I have completed this thesis as a requirement of my education at the Moholy Nagy University of Art and Design in 2012.

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Fashion – At the Border of Media Fashion and Visuality in the 21st century

Noémi Varga Thesis

Design and Art Theory BA

Consultant

Bálint Veres

MOME

2012

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TABLE OF CONTENTS

FASHION AND THE “CINEMA OF ATTRACTIONS” ______________ 4 PROTOTYPES ___________________________________________ 9 CATWALK AS FASHION THEATRE _________________________ 17 FASHION COMING TO LIFE _______________________________ 21 TENDENCIES ___________________________________________ 26 BIBLIOGRAPHY _________________________________________ 28 SOURCES OF ILLUSTRATIONS ____________________________ 29 SPECIAL THANKS _______________________________________ 29

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“Fashion doesn’t have to be something people wear, fashion is also an image.”

Victor & Rolf (Browne, 1990)

Fashion and visuality have always formed one single unit. This has some trivial

reasons, primarily, that fashion itself is a basically visual phenomenon since as a

product it needs visual representation so that the widest possible audience could

be reached thus boosting consumption. However, in addition, fashion typically

steals the show in various visual media. This is not a recent phenomenon as

already in 1892 fashion illustrations appeared in the columns of the first Vogue

magazine, and these illustrations transformed into fashion photographs as

photography gained ground and at the turn of the millennium, digitalisation started

to penetrate the new media.

Fashion is consumed, first of all, visually. This has further intensified with the

appearance of Internet though fashion has always used the tools of image

technology in all ages. While at the turn of the century, only a few privileged people

were given the chance to see fashion shows live, today an increasing number of

fashion houses broadcast their fashion shows digitally, too, simultaneously with the

real event; that is without any subsequent modification, live.

This is just one example of the set of tools that fashion uses in order to stimulate

consumption. If we set off from the starting point of the first fashion illustrations,

going through the crowd of fashion shows, fashion photos and videos, arriving at

the intertwining of fashion and the new medium, an issue arises: facing such a

massive quantity of image production and worship, this phenomenon must be

observed by all means in deeper registers, too.

The latest archetype of this process is fashion video, also known as fashion film

which is getting more and more popular these days. This serves as a great starting

point for the thorough examination of fashion and image since, concerning its

genealogy; it reveals several new layers of the genre by its current tendency to

expand unstoppably.

The visualisation of fashion was born together with fashion itself. However, we tend

to image this process in a linear manner from a medial perspective. i.e. that the

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representation of fashion is related to the development of the medium, starting with

graphics, expanding over to photo, and finally arriving at digital film. The situation,

nevertheless, is much more complicated. Fashion is primarily sustained by novelty

and is sensitive to react to the technical innovations of the given age, starting

continuous experiments with such innovations thus trying to sustain the false

image of its own renewal capacity. The other definitive attribute originating from the

fact that fashion basically exists only in its images, is the continuous urge to call

attention to itself. Fashion exists depending on its own representations which is

responsible for its advertisement all over the world. This results in the competition

between fashion houses and transforms catwalks into attractions, a fashion theatre

similar to circus, trying to cause as great sensation as possible.

The first meeting of fashion and film dates back to the dawn of fashion shows in

the 1890s thus refuting the public belief that fashion has recently started to occupy

film.

Fashion and the “Cinema of Attractions” Tom Gunning published his influential study bearing the title “The Cinema of

Attractions: Early Cinema, Its Spectator and the Avant-garde” in 1986. According to

this study, the films made before 1908 (films before Griffith, as John Fell said) do

not operate as narratives but are objects presented to the audience. In his own

words, “the cinema of attractions directly solicits spectator attention, inciting visual

curiosity, and supplying pleasure through an exciting spectacle – a unique event,

whether fictional or documentary, that is of interest in itself. The attraction to be

displayed may also be of a cinematic nature, such as the early close-ups just

described, or trick films in which a cinematic manipulation (slow motion, reverse

motion, substitution, multiple exposure) provide the film’s novelty.” (Gunning In

Vajdovich 2004). To put in a nutshell, the relation between attraction and narration

in early films can be summarized in three aspects, according to Gunning: the

basically non-narrative films, gags and one-shot mini narratives, and films in which

show, spectacle and attraction take precedence over narrative. Two films by Meliés,

just to mention some concrete examples of this era, are the documentation of

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depicting woman in film, on the one hand, and on the other hand, these films

reveal that at the dawn of cinematography, motion picture soon found its partner in

fashion1. In his “La Parapluie fantastique” (1903) ten women stand before the

camera in neoclassic attire, then their clothing transforms into garments

fashionable in that era and they leave the scene in a single file just like models at

the end of fashion shows.

Meliés’s other film made in the same year, “La Lanterne magique” shows ten ballet

dancers twirl out of a magnified magic lantern. This kind of uniformity also appears

in today’s fashion videos, for instance, in the film produced for Louis Vuitton’s

exhibition in Paris or “Eme Molas” presenting Tamás Király’s creations, on the one

part, but at the same time it indicates the problem that the image of woman is

reduced to a simply repetitive, reproducible image stripped of personality (Williams

in Evans, 2011:116).

These films are, however, interesting from two aspects and these two factors thus

presume that the cinemas of attractions and contemporary shows as well as

fashion films are closely interrelated. To begin with, in the first film, the closing

scene of “walking out” imitates what is seen at fashion shows. Secondly, the

illustration of woman as a uniform character in the second film equals mannequins

of that era. At the beginning of fashion industry, models did not enjoy such high

social prestige as it is common today. The mannequins of the 1890s functioned

simply as kind of moving clothes hangers with no name. Their individuality could

not be asserted in the haute couture salons of the time, and they were particularly

subject to the instructions of the designer’s and the potential customers’ attending

the fashion shows.

The above-listed examples are not well-supported in themselves, so four additional

factors, characterising both the cinema of attractions, both fashion shows of the era,

need to be examined which Caroline Evans highlights after Richard Abel.

First and foremost, films as well as fashions shows of the time were presentations

rather than narratives, in which the female heroine or model was present as an

1 Here the category of fashion is extended over the application of film and costumes, as this is indispensable to historic overview.

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Illustration 1. Scenes from the “La Lanterne Magique”, the Louis Vuitton

video and Eme Molas (in order)

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‘attraction’ not as a person or individual. The already mentioned uniform

appearance and movements were those of the actresses’ and fashion house

mannequins’ own.

Secondly, the cinema of attractions preferred homogeneous spaces which did not

change with the change of scenes, similarly to the interiors of couture salons in

which models were walking up and down while spectators were sitting in a fixed

position, just like in the cinema. The third factor is that, as a consequence, the

spectator of the fashion show could enjoy the show from one viewpoint only,

similarly to the fixed camera of the cinema of attractions.

According to the last and fourth factor, early films were unfinished products as

during the specific show the buyer of the film decided whether it should be

accompanied by music, commentary, and so on. This evidently parallels with the

method of fashion shows having musical accompaniment or the old practice, not

implemented any more, that the spectators could even beckon the mannequin

closer to better view the dress2.

All these examples do not only support that there are several parallels between

contemporary films and fashion shows but also presume that while film moved

towards the direction of narrative, fashion is still ruled by “the cinema of attractions”.

Today’s fashion videos mostly rely on trick films, vaudeville and spectacular effects

dominant at the turn of the century, in addition to the above-mentioned example,

though attraction is also behind narrative films but serve the action (Musser In Kiss

2011: 125-141).

In addition, the turn of the century can also present similar relevant examples in

terms of archetypical marketing tools for films as well as fashion. Paul Poiret who

was, in many aspects, the forerunner of today’s fashion designers, recognized

already in 1903 at the opening of his salon in Paris that popular visual culture is

easily applicable to surround his creations with the magical aura of excitement and

expectations through various attractions. For instance, at one of his fashion shows

mannequins appeared from secret doors similarly to the stop trick of contemporary

films appearing out of the blue among the surprised spectators. He also recognized 2 Examples also from Evans (2011).

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the significance of film and in June 1911 he filmed his mannequins at his party

entitled “One Thousand and Two Nights”. Unfortunately, this recording which

formed part of a feature film intended to present his life’s work, was lost. A little

while later, in September 1913 he was preparing for a promotional tour in the

United States where he planned to take not the clothes but a film showing his latest

models thus avoiding customs costs. Similarly to the film mentioned above, this

film is also lost to posterity, and we only know of its existence from newspaper

articles. Sources are contradictory concerning whether the film was finally shown in

the US or not as certain authors report that the film was confiscated by the

customs authority without hesitation, while several other sources confirm the fact

that Poiret did actually use these recordings in his promotional tour and presented

them to American customers accompanied by his presentations.

It is easy to spot the parallels with modern fashion videos which are also prepared

by commission of fashion houses. Similarly to the Poiret example, it is primarily

financial considerations that play a key role. In 2010, instead of a show Gareth

Pugh presented a video shot with Ruth Hogben to the audience in Paris. Suzy

Menkes reported on the event in a detailed article in the New York Times, in which

the question arises: are fashion shows still necessary in the era of digital film?

However, beside videos aspiring to be commercials and promotions, a group of

author’s films also appear – similarly to the tradition of films – independently, out of

self-motivation. Before elaborating on this differentiation, though, another

significant example of the turn of the century era must be mentioned, in which

fashion and motion picture met.

At the time when Poiret’s films were shot, fashion was depicted in a documentary-

like manner in contemporary newsreels. Although newsreels themselves were

really short at the beginning, and an even shorter time was dedicated to fashion, in

1911 Pathé had a series of short films made which was entirely dedicated to

fashion. Simultaneously, greater and greater publicity was given to mannequins in

novels, the press and social events. Similar newsreels also appeared in Hungary

in the 1930s, and the National Audiovisual Archive lists titles such as “The Latest

Masterpieces of Parisian Fashion for Afternoon and Evening” or “Spring Fashion

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Show in May Fair Hotel, London”. According to Hanssen, these fashion newsreels

are also related to the cinema of attractions since in that era cinema had already

turned towards the narrative but newsreel preserved the features it inherited from

the cinema of attractions and instead of the story it operates with only the

spectacle and the magic of novelty (Evans 2011, 125).

Prototypes Fashion videos, however, do not only use the traditions of the cinema of attractions.

Though we are inclined to regard it as a new trend, the traditional alloy of motion

picture and fashion has not actually broken after the above-mentioned Poiret

example. What is more, several prototypes can be identified in earlier decades.

The following examples all serve the purpose of highlighting the genealogy of

fashion video as a genre since it may be regarded as hybrid art, by all means,

dissolving many motion picture forms from before. It is especially so since using

the term from Jerrold Levinson’s essay “Hybrid Art Forms”, fashion videos belong

to the fusion sub-genre of hybrid art forms in which caste crossing genres lose their

own identities to a certain extent. In the case of fashion video, we can talk of the

synthesis of fashion and motion picture, in connection with which it must be

mentioned that though the examination of the role of fashion as costume in motion

picture is a discipline that looks back a long way, and the opposite is true of this

approach in the case of fashion videos. This is because enduring works of art born

of the marriage of fashion and film, such as “Last Year at Marienbad” in which

Coco Chanel designed the costumes, the dress is always subordinated to

character. Fashion videos turn this relation system upside down and the attire

becomes the indicated while the characters are those indicators. Its hybrid nature

must by all means be emphasized as the interaction of various components in such

cases is the most attractive part of the work, and in this case this serves as its

starting point of analysis, too.

The earliest examples can be found in the era of the cinema of attractions

scrutinized in the previous chapter, but those are slightly different from the

parallelism previously so much emphasized. At the very beginning, films were

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dealing with recording movement; the ability that primarily made it a medial novelty.

Some of the earliest films offer examples which experiment exactly with this. The

“Danse Serpentine” (1896) and the “Danse du Papillon” (1900) are alike and both

films embody that recent interest in the possibility to record time sequences instead

of space with the help of a camera.

Both films show a female figure whose dress swirls around in a fascinating manner.

Although the reason for making these films are completely different from the

reason why today’s fashion videos are made, still, essentially, in many cases this

astonishment at the recent possibility to record a flow of movement is repeated. It

is not an accident that various dance films have a long tradition in experimental

films, as well. This enthusiasm is shared by modern fashion video industry, too,

and for instance, in the Chloé Spring-Summer 2011 Ad Campaign models are

substituted by dancers. Obviously, the fact that these films are made for a

commercial reason cannot be ignored, and the conscious image building is always

lurking in the background starting from spectacle until the selection of characters or

models. This is particularly true in terms of fashion houses. In case of Hedi

Slimane’s film starring Oscar Nilsson, though, we can talk about an author’s film

which proves that the digital cinema is moved by the same original topoi as

celluloid; the illustration of movement, among others. Bare interiors in which these

scenes are generally shot also play off on this.

The next example is taken from among experimental films. “Puce Moment” by

Kenneth Anger was produced in 1949. It was intended to be a feature film with

different women impersonating various parts of the day (morning, noon, afternoon,

etc.). The whole film was eventually not made due to the lack of sponsorship; what

remained is basically a screen body. Still it may be observed how great emphasis

is laid on costumes which were borrowed by Anger from his grandmother who

worked as a costume designer (MacDonald 2006:31). This early example may

seem somewhat arbitrary in the light of Kenneth Anger’s life’s work, but when

considering that all throughout his life Anger has been fascinated with the

observation of subcultures and the exploration of his own sexuality, additional

thematic concordances may be found. Last but not least, this example seems very

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much justified from the aspect that he directed a Campaign Movie for Missoni in

2010. Furthermore, his “Scorpio Rising” is usually mentioned as the forerunner of

video clips as it uses contemporary popular music in an innovative manner as the

musical accompaniment of the motion picture. Many fashion videos are mostly not

more than a form of video clip in which the emphasis is on clothes rather than

music.

Fashion video uses almost all the features of experimental films, even its more

modern name ‘fashion film’ refers to these roots. This is how the avant-garde

cinema has found its way back to mainstream in fashion, too. When all definitive

elements in the history of experimental films are observed chronologically, these

can be seen forged into narrative and fashion films, as well.

The formal tradition created by surrealist films can also be found opposing big

budget, more spectacular films, emphasizing its own otherness by looking cheap,

personal and amateur. This tradition is also inherited by the type of video art which

imitates home video. Citing a fashion example, the short video starring Kate Moss

evokes exactly this quality with an incredibly poor picture quality but the qualities of

authors (Inez van Lamsweerde and Vinoodh Matadin) and of the character, i.e. the

model make it a fashion video.

On the other hand, early avant-garde films did not only use the already existing

genres of cinema, but also its traditional art. As still lives (Hollis Frampton-Lemon,

1969), landscapes (Michael Snow- La Région céntrale, 1971), cityscapes (Sheeler-

Strand-Manhatta, 1921) and portraits (Andy Warhol) all become the topoi of

experimental films, fashion films cannot escape either, and embody this tradition,

too (Rees, 1999:2). Still life is hidden is the Fashion Object project films, landscape

is transformed in the 2010 campaign film Day for Night by Vanessa Bruno, and

finally, cityscape has served as the background of fashion photos for decades,

recalling the iconic picture by Helmut Newton.

A great example of portrait is the fashion video paraphrase of Andy Warhol’s

screen tests, the work of art called “#Screentests” available on SHOWstudio,

though in this film it becomes evident that the source of inspiration is often

misinterpreted; here for instance, by the addition of music – the lack of which was a

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key element of Warhol’s work thus forcing the spectator to focus on nothing but the

imagery. A more fortunate implementation of the same theme has been made by

Adam Kimmel in collaboration with Gerard Malanga producing the original screen-

tests.

In addition, all those formal innovations which appear in experimental films, the

emergence of stills, painted or etched films, long fade-ins, long exposures, lens

flare, split screen, fake dubbing, expired filmstrips, found shots, out-of-focus shots,

picture-in-picture (Rees 1999:6) are all incorporated in fashion videos, as well.

Finally, similarly to avant-garde films, dialogues are avoided and script and the

spectacle are in focus. Nevertheless, the intention is clearly different now as the

aspiration is not to make it clear to the spectator that it is an illusion making stills

transform into movement on the screen. Instead, these tools are degraded to tricks

and operate hidden to create spectacle and attraction.

In the 1960s Guy Bourdin, one of the most popular fashion photographers of the

age started to use motion pictures, too. These recordings were also published by

SHOWstudio, which is not at all surprising as this website cannot be bypassed

when dealing with fashion videos. It can be observed in these films that this is

merely experimentation; each film can clearly be connected to one concrete photo

shoot, so these early attempts are only of secondary importance. From this aspect

they are related to behind-the-scene videos so popular today aiming to create the

atmosphere of a specific photo shoot.

Still it is those films from the 1960s that first saw the transformation between photo

and video. The shots show that Bourdin treated the video camera very much like a

camera, almost scanning the model’s body. The problem arises whether and how it

is possible to find a way between these two media by one single person, i.e.

whether the special style characterizing his photographs works within the

framework of the motion picture. Although from this aspect these work are really

naïve and experimental, this has become a trend. Most fashion film directors have

previously worked as fashion photographers. This shift is often not too successful

as motion picture requires a different kind of visual thinking than stills. However,

these are examples to illustrate just the opposite. Ryan McGinley’ film prepared for

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Nowness3 contains all those style elements that are generally associated with him,

though it may be observed that with the slow motions applied he oriented the video

expressly towards still picture.

There are two Hungarian films from the 1970s that must be mentioned in terms of

fashion and visuality. The approach, though, is rather problematic as the films are

so closely related to the context of the political system and the art life of the age,

that special attention must be dedicated to their analysis, and consequently this

essay also focuses only visual description.

One of the two films is “Self Fashion Show” by Tibor Hajas from 1976. The problem

is that this work is basically an odd one out from Hajas’s life’s work but by itself, as

an independent experiment it cannot be interpreted except if approached from the

co-author, Miklós Erdélyi’s oeuvre, though that would lead quite far. Fashion plays

a role in this film, by all means; still it does not fit into the traditional pattern. Its

analysis is possible by examining the socialist system and fashion as the

manifestation of individualism, but that would be the misinterpretation of Hajas’s

legacy which was primarily manifested in creating myths and extreme self-torturing

performance art4.

The short film prepared by Gábor Bódy in 1978, entitled “This Is Fashion” offers a

more logical example. Even though this film plays an insignificant role in his life’s

work compared to his feature films, still it gives a foretaste of those innovations in

visual design language that Bódy used in his later films and moreover, this is such

a striking example that it must simply be included in this thesis. It is also a fact that

at the memorial exhibitions organized in 1987 in the Ernst Museum and in 2006 in

the Ludwig Museum the film was part of the screening programme (Beke, Peternák,

1987, and Ludwig archives).

3 Nowness portal is financed by the conglomerate LMVH uniting several reputable luxury brands and was also launched by the commission of this company. Its structure is in many ways similar to SHOWstudio which may be regarded as its prototype. 4 The 2011 Fashion Video Festival (Budapest) also included BBS films in its programme, but Kata Oltai, Art Director of the Festival justified it with sameness based on attitude rather than actual similarity.

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Illustration 2. Scenes from “This Is Fashion” a film by Gábor Bódy

Unfortunately, the film is currently only available in the National Film Archives and

hardly any studies were written on it. What is known for certain that it was prepared

on order by the Hungarian state, more precisely the Hungarian Fashion Institute

and Ministry of Light Industry, in the propaganda studio of MAFILM (Hungarian

Film Studio). Additionally, only Bódy’s film plan and a quite short text from the

monograph published in connection to the 1987 exhibition in Műcsarnok

(Kunsthalle Budapest) survived. The monograph says: “Bódy undertakes the

renewal of the genre of commercial. He sets a framework for his task, the

presentation of new outfits: he creates extreme environments and situations where

conventional scenes of fashion photos create an ironic effect. The director uses

and tries several effects known from his earlier and later films. The whole structure

of the film makes it a forerunner of video clips.” (Beke, Peternák 1987, 117) and

this makes the parallelism clear. What makes the film even more interesting is that,

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according to the director’s own notes, he imagined it all within a science fiction film.

The 1978 “This Is Fashion” is fraught with the characteristic features of fashion

videos of later years, and all this is set within the framework of a consistent picture

theory but only their description can be relied upon due to the lack of the digital

version of the film. The fundamental idea of Bódy’s film plan, i.e. “A 12-15-minute

fashion show must, by all means, be supported by a basic motif in order to spark

interest. This, however, does not necessarily have to be a story.” (Zalán 2009, 218)

might also be applied to campaign films of our time, in a canonical manner. This is

nothing else than evoking the cinema of attractions, where the narrative does not

appear in itself but as a series of attractions. In this case this is manifested by the

background framework motif clearly separating from the object appearing before

the background. This immediately creates a mise-en-scene that marks the

Expressionist era of German cinema and spectators are aware all the time that

they see a set. Thanks to the characteristics of cinema, this also refers to the

representation problems of fashion photography where the virtual space of a studio

acts as a real space.

On the other hand, the selection of the genre (science fiction) also requires some

explanation. In his film plan Bódy reasoned that science fiction creates such

peculiar dimensions in its interaction with commercials that would make a more

memorable and long-lasting experience.

At the same time science fiction enabled him to embrace some kind of philosophy

quasi replacing the narrative. A time traveller arrives in 1978 and exploring his

surroundings he feels the irresistible urge to try on the fashionable clothes of the

time. This also provided a great opportunity for the ‘time traveller’ to show the latest

functional fireproof workwear, seen more of an object clothing today, at the

beginning of the film. This desire of identification appears in the “almost forgotten

film tricks”, as well. The features of split screen and picture-in-picture are

continuously used. Certain visual sequences are repeated in the reflections on the

coffee maker, the fish tank, the test-tube and even in one female character’s eyes.

One last scene is shown on TV while the same scene is happening in the film.

Interestingly enough, as opposed to visual language, historic language is

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somewhat more didactic. First of all, at the beginning of the film a chronological

fashion summary is shown by marching couples; secondly, the scenes themselves

are rather archetypal, which is understandable concerning the prevailing

ideological system at the time such as a factory court, office, weekend house,

upper-middle-class interior. Still, thanks to their artificial nature, they function as

simply sets and have little significance to the events which merely imitate walks in

fashion shows thus connecting back to the cinema of attractions.

What makes this film of outstanding importance is that though it was made on

public order, it is absolutely penetrated by the same kind of experimentalism and

constant need for renewal as today’s fashion videos. It is not difficult to spot the

similarity that a vast majority of modern fashion film is also made on order, and

author’s films are really scarce in number. This manifests the contrast that

characterizes the opposition between art house and Hollywood in the narrative film

world, as perceived by public opinion. It must be noted, however, that irrespective

of their origin these works – and Bódy’s film is a great example – can be analyzed

in themselves as the confrontation between attraction and narration is manifested

in all, and thus create a microcosm in the cosmos of tradition that has been present

ever since cinema was born.

Finally, the last example is approaching author’s films. John Malkovich and Bella

Freud shot several films together between 1998 and 2002. Concerning their topics,

these films get closer and closer to today’s fashion films, considering the fact that

they are all about top models, beauty and fashion, briefly. Bella Freud is a fashion

designer herself.

In the new millennium, starting from 2000 fashion films and other, fashion-related

intermedial works made both before and after the establishment of SHOWstudio

have been systematically collected and catalogued. This collection though is far

from the traditional practice of museums; it is more haphazard, but is one of the

most significant interdisciplinary bases of the genre.

In addition to the examples mentioned above, video art – emerging beside

experimental cinema with the appearance of the new carrier – is used intensively

as a source. This is the reason why the names of fashion video and fashion film

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are used alternatively today. This primarily means formal innovations but direct

parallels (such as Kenneth Anger) are missing. On the contrary, music video clips

developed later exactly in association with Anger has much more to do with fashion

videos. This alignment can be observed even today. It is enough to mention the

collaboration of Nick Knight, founder of the above-mentioned SHOWstudio, with

Lady Gaga, or Dragonette’s clip from 2009 which takes place in Jean Paul

Gaultier’s studio and the designer himself appears in it. It was Partizia Calefato

who put her finger on the meeting of fashion and music, when she argued:

“Fashion and music are two intimately connected forms of worldliness, two social

practices that go hand in hand, sustaining one another in the medium of mass

communication and drawing on a common sensibility which translates into taste”

(quoted by Miller 2011:2). Therefore, as both music and fashion are primarily

cultural goods, their economic success can almost never be foreseen when a new

trend appears and consequently, their interdependence promotes their success in

the market (quoted by Miller 2011).

Catwalk as Fashion Theatre In addition to its interaction with motion picture, fashion possesses the elements of

performativity. In the era of Poiret and the cinema of attractions, the already

mentioned early examples of film dealt with exactly this theatrical gesture system in

fashion. The same alignment is observable in traditional art history, in performance

art and video interweaved. Moreover, there is performance art created without any

spectator being present, only a camera. Video, in this respect, is only present as a

documenting medium, definitely. This applies to fashion videos, as well from a

certain perspective, as its performative dimensions cannot be ignored, and are

many cases the expansion of the show-like feature of fashion shows. As Nick

Knight said, if catwalk is the theatre of fashion, then fashion film is the cinema of

fashion (Menkes 2009).

Art and fashion exist in eternal interdependence. By sustaining the tradition of

haute couture, fashion thus legitimizes itself as artistic manifestation. The artefact

of created fashion celebrates its own singularity and uniqueness thus partly

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separating fashion from being stigmatized by consumer society. Clothes created in

this manner extend beyond functionality and start to live a live of their own. Tamás

Király was its Hungarian representative. This “anti-fashion” fashion designer takes

this duality to extremity where it is dissolved by not selling his clothes.

Consequently, his fashion shows – unlike ordinary ones – do not serve

consumption but are coupled with performance art.

In 2000 the Hungarian television made an interview with the designer, and in this

report Tamás Király showed some of his latest creations, including a dress

installation in which the model’s body becomes the mould of a square-shaped form

while the object clothing surrounds her silhouette. As the designer put it: “The

concept is that the body and the dress meet along the seam on the stage, too. This

is how the dress also becomes an image.” And this takes us back to where we

started. On the catwalk, clothes are transformed into image5 especially in case of

shows where dresses are not for sale, where this is exponentially true. This is how

fashion shows enter the world of sport commentaries which are not focused on

presence but the observant look of the camera, such as in the 1999 performance

art by McQueen. The sight of robots painting the model’s white dress while she

was turning around must have been really spectacular in real life, but from the

camera’s perspective results in the exclusiveness that makes performance art a

simple spectacle. The participation at the event is replaced by the priority of the

awareness of the event. This is where the democratising trend reaches its peak by

the possibilities Internet has introduced in the world of fashion.

In Tamás Király’s fashion theatres, this trend is also anticipated. His shows were

public and accessible to anyone. Approximately 10-12 shows are known of but only

three shall be presented here, which compile one independent unit: these are

Baby’s dreams, Boy’s dreams and Animal’s dreams. All three events were stages

in Petőfi Hall on 3 November 1983, on 6 July 1986 and in August 1987.

Baby’s dream poster of the time said: “Tamás Király’s shows are actually human

sculpture shows: all models are dresses in accordance with their respective build

and personality and the dress is created on the spot from the textile scraps, 5 Here: it loses its functionality, becomes simply an image, a visually coded feeling.

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materials, objects. (…) Tamás Király’s “fashion shows, clothes theatre ideas,

spectacular music shows in which the emphasis is not on clothes but on creating a

complete spectacle-experience. They are called fashion shows just to keep it

simple” (Artpool Archives).

What happens here is that fashion show seems to incline towards narrative.

Although the central theme is essential in all shows, in the 1980s it was a real

novelty. This might be the reason why the last sentence of the poster needs to be a

simplification for the audience’s sake.

However, while in Baby’s dreams there seems to be a storyline (Tamás Király

summarized it as follows: a small girl’s dream … what she dreams about … Prince

Charming on a white horse … and he did come, but the point is the little girl at

home wearing her mummy’s high-heeled shoes and clothes, standing in front of

the mirror … when she grows up … fashion)6, but still attraction is in focus. Women

with snakes, live animals on the stage, women wearing men’s clothes, men

wearing make-up, dressing up in real time. The cinema of attractions leaves the

screen and returns to reality. It returns in performance art.

György Kozma comes to a similar conclusion in terms of Animal’s dreams. He

argues: “The Király-show relates to the Szirtes-Böröcz-Révész avant-garde

happening (which was held the same night in the projection room of the

Szemlőhegy Cave) as a hit relates to a sonnet, for instance. (…) Performance art

accepts the narrative as a colourful patch, similar to peculiar objects and

movements – no external thoughts can be pumped into this genre. One look or one

gesture is enough to contain the idea, but no academic assembly could help, if it is

not there. This is Tamás Király’s advantage: he does not even attempt to convey or

express concepts. He is balm for the eyes.” (Kozma 1987). This is pure spectacle.

Some things please the eye, but not the mind. Still, from the historic perspective of

fashion the simple spectacle is of great significance in case it is continued. Tamás

Király used the opportunity that the political system of the time did not consider

fashion “dangerous” in this form, and he was free to create. What was an

outstanding example then, has found its context now among the similar but less 6 Based on an online interview with the designer, without editing. 27 April 2012

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neo-avantgarde examples of later times.

Illustration 3. Tamás Király’s silhouette dress Caroline Evans in her essay entitled “A Shop of Images and Signs” reminisces

about the 1999 Viktor & Rolf show when the designer duo was still working as

“anti-fashion fashion designers”, so the attire shown could not be purchased. That

year their collection operated only with black and white and was shown twice on

the catwalk; once in UV light making only the white parts of the clothes discernible,

then in the regular light it became clear that all clothes were variations of the

traditional tuxedo. This served as a great visual metaphor of the dual meaning of

vision: firstly, as a designer vision according to which clothes are not goods but

ideas materialized and secondly, as a literal vision on the catwalk. Consequently,

this collection and especially the way it was presented is typical concerning the

nature of modern fashion and spectacular marketing. It is so because fashion

reaches the masses via mass media and primarily in visual forms. Therefore, the

more sensational a show is, the more attention it attracts.

This special feature creates the situation when fashion enters the realm of products

in which it orbits not as an embodiment but as an image, a concept or a conceptual

work of art. Thus the image itself is no longer the representation of the original

work but becomes a product itself which is often consumed via digital or digitally

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manipulated media (Evans In Shinkle 2008:22).

When image itself becomes a product, the role of creation is necessarily assumed

by production and this, together with the vampirical characteristics of fashion

photography against representation7 will finally create today’s fashion films. These

works of art are many times at the same time nothing else that imprints of 19th-

century arcades from Paris in a new medium – the endless shopping centres of

visual identities8.

Fashion Coming to Life In 2005 Nick Knight said the following, related to his latest SHOWstudio project:

“We haven’t called this project ‘Fashion Film’ we’ve called it ‘Moving Fashion’”

(Martin 2005)9. This statement includes everything that can unite the border areas

of fashion and visuality in one single concept. The essential difference from the

visual representation of fashion before is the shift from static towards moving

fashion. Stills are replaced by motion picture but this category does not only

include film but all other tools that the new medium, digital universe, offers. This is,

however, a two-way relationship since not only the representation of fashion

changes but fashion itself though the new way of representation. From this

perspective the emergence of digital film is not merely a new tool to boost

consumption but a genre that changes the relationship between fashion and time.

Digital media makes it possible to access any work any time. This degree of

freedom is relevant concerning the relation between digital and time creating the

state of “permanent present” (Manovich In Khan 2012:237). Images are accessible

any time and this separates them from their function. Fashion film no longer

7 Zahm (2007:268): he calls fashion photography “a vampirism of representation, or representation in its vampiric form. It is an essentially impure and hybrid form of communication that assimilates, integrates, and fuses with all possible territories of reference, ruthlessly hijacking, recycling, and absorbing their characteristic signs in a manner not unlike what is called ‘sampling’ in electronic music.” This observation can be easily expanded over all visual presence of fashion. 8 From Friedberg (1994:122) who starts off from 19th-century Parisian arcades and arrives at shopping malls and postmodern cinema and their shared features which she sees in the shopper staring at shop-windows just like spectators in the cinema trying on various identities without any risk. 9 The original English sentence has been included also in the Hungarian version to illustrate the difference and because the faithful translation is quite problematic. The English word ‘moving’ also has the connotation that fashion itself must be moved; ’water must be stirred’.

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functions only as a commercial, as this message is valid only in the given season,

and exactly this separating line between consumption and representation is

intended to be cancelled by using the language of motion picture.

SHOWstudio, for instance, was created exactly due to this desire to become

independent, because in case of magazines almost all decisions – including such

seemingly trivial details, if the given dress is shown in itself or mixed with other

brands, in total or in detail depending on the advertisers’ wishes, but this constraint

does not exist in case of an interface created from own funds. Additionally, as the

interview made with Penny Martin, the former Editor in Chief of SHOWstudio

makes it clear, the founder, Nick Knight had realized the significance of the Internet

as early as in 2000 while the majority of fashion professionals did not necessarily

have a computer. According to the definition of this early period, the site is

launched as the collection of various editorial multimedia projects, the majority of

which is to do with fashion thanks to the professional experience of the founders

(Shinkle In Shinkle 2008). The site, however, has overgrown itself and separate

sections are dedicated to film and other interactive applications, and this kind of

separation is only observable in this site. This distinction is significant because

even the categorization of fashion films is problematic in itself, and the software

going beyond motion picture expand fashion devices towards the new media, as

well, which offers an opportunity for analyses in new depths.

Mark B. Hansen complaints about the following deficiency: “by restricting the

function of digital media t the manual construction of images, Manovich effectively

ignores another equally important element in the precinematic regime of visuality:

the manual production of movement. As art historian Jonathan Crary has

demonstrated, all of the precinematic devices involved some central element of

manual action on the part of the viewer.” (Hansen In Kiss 2011: 180-197).

According to this standpoint, though it is a fact that in Manovich’s interpretation

animation is a primary decisive factor in digital film, a new element is considered

which is none other than the problem of tactility.

Its most trivial example is the interactive software named Eniko in which the

celebrated top model of Enikő Mihalik is seen and by pressing various keys, she

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dances. Reflecting on the previous argumentation, emphasis is no longer on the

digital attraction itself, but on the observation that the spectator-observer can fell

his/her own body through a candidate. It creates the false illusion that via the

interface we unite with what we watch, in other words, it introduces the urge of

identification – which has characterised fashion for centuries – in new dimensions.

Furthermore, it is able to provide the fashion video with a feedback of tactility that

the clothes as product possesses.

Another great example is the digital fashion magazine, Post expanding on iPad

which is especially made for this interface, unlike its predecessors. There were,

however, earlier examples when some magazines realized the digital potentials in

its iPad publication, e.g. the Japanese issue of Vogue Homme in which the usual

static pictures moveable on the touch screen were replaced by gif-like, short but

moving, continuously repeated forms in one of the fashion materials.

On the other hand, the above-quoted Manovich essay examines digital film from

another perspective, as well, which is also manifested in certain fashion videos. In

his essay entitled “What Is Digital Cinema?” (In Kiss 2011: 158-179) he starts with

the thesis statement that the challenge which digital media poses to cinema

extends far beyond the issue of narrative. Cinema is regarded as the art of the

index, in which the indicated is always a part of reality while the indicator itself is

the recorded event. It means that the optical print made on the celluloid always has

an existing reality, even if in the form of a prop. Digital film, however, is much

closer to animation as all sequences can be modified in the post-production phase

or can even be completely created virtually. As a consequence, from this aspect it

is closer to painting than photography. Digital motion picture does not need reality

for its existence as the real shot footage is regarded only the first phase of post-

production.

This idea is used by fashion videos gladly. In Poor Celine by Zoltán Tombor the

falling female body breaks into pieces when it hits the ground. Obviously, it does

not hide the real essence but, similarly to animation, effect itself serves the

purposes of attraction. Still the assumption that a full-length video can be made in

the future, made up of similar, virtually animated scenes raises the question how

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much effect the emotional identification born even in case of a fashion photo

beyond perception and interpretation has on reality if created by virtual bodies.

“Where there is no body, there is no personality (…)” (Belting in Nagy 2006:53) and

this statement seems the most urgent is the area of fashion. This kind of fear of

virtual bodies calls for the creation of the separate category within the genre of

fashion film when only one model plays in the film thus attempting to sustain the

cult of personality and project this on the attire displayed. The selection of the

person easy to identify and fulfilling an independent role in popular culture also

gives a mythical aura to the clothes worn. Cult of celebrity appears in fashion

videos, too, and to take one examples out of the many, let us mention the etude

starring Lou Douillon which enhances the role of the muse inasmuch that the film is

accompanied by a poet reciting.

Naturally, this sort of intention aimed at myth-creation cannot be neglected when a

fashion product is analysed. Clothes are mere products by themselves, and the

marketing mechanism built around it – where also the campaign film is often also

included – creates a myth making the product attractive to the customer. This is not

accidental that in several fashion films such mythical, tale-like events provide the

backbone of the story.

This theme is nothing else, in many cases, than the classic duo of idol and idyll.

This is not a random selection, since as Dietmar Kamper argues “contrary to other

image types (e.g. icons, visions, fetishes and similar ideas) idols and idylls are

more palpable and may be mechanized to a certain extent” (Nagy 2006). This is

the essential motive of fashion industry; that it is never satisfied with reality and is

continuously trying to create it in its own image. This is the nature of simulacrum

which dissolves in the customer in the gesture of purchase. The clothes that I am

watching may become the dress that I own in a second (it has recently been

realized in case of the video clip). This is how the virtual body re-enters reality.

When examining the role of body and fashion from another perspective, an even

more important conclusion may be drawn. Elisabeth Wilson argues as follows in

her study entitled ‘Fashion and the Postmodern Body’ on Pierre Cardin’s exhibition

in the Victoria and Albert Museum in 1991: “Strangest of all were the dead white,

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sightless mannequins staring fixedly ahead, turned as if to stone in the middle of a

decisive moment. (…) The clothes themselves were brilliantly coloured, clear,

incisive of cut, fancifully futurist, yet simple. But without the living body, they could

not be said fully to exist. Without movement, they became both oddly abstract and

faintly uncanny. Nothing could have more immediately demonstrated the

importance of body in fashion, and this goes to support the assertion that the study

of fashion has an important role to play in bringing forward a consideration of the

body in cultural studies.” (Wilson 2004:15).

By realizing this movement in fashion video and other meeting points of fashion

and the new media, not only the clothes become its subject but also the body

created as fashion body. The visualization of body and fashion, by the fusion of

digitalism, it often replaces “fashion” to be displayed and becomes the fashion

object itself. In the film by Solve Sundsbo, ‘The Ever Changing Face of Beauty’

exactly this trend can be observed. The fragmented body appearing on the screen

is in continuous change just like fashion itself. As Mulvey (1992) stated that in

mainstream narrative films body becomes a fetish by its stylized fragmentation, as

close-up or cur this interpretation is inherited by fashion videos, too, and it may be

neutralized by equating illustrated fashion and illustrated body as image.

Illustration 4. Scenes from Solve Sundsbo’s film

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Tendencies Finally, two facts seem to be confirmed. Firstly, that the relationship between

fashion and visuality inherits all the discourses that have been made around

motion picture earlier, and gives them an answer from its own medium.

Consequently, the formal language of film and new media is created in its own

form and becomes the melting pot of earlier traditional genres which also serves as

its forerunners. As for the emergence of fashion video at the turn of the millennium,

its simple explanation is that digital film-making significantly reduces costs and

therefore, there is a means and demand on the market’s side to use film.

Secondly, though the essay does not attempt to prove whether fashion video is

regarded as art or not, but nevertheless it is a fact that this is a really relevant

cultural phenomenon. Although that was a precedent that it appeared in the

context of an exhibition, e.g. recently the Selfridges in London commissioned

seven directors to make a film each for the brands that were included in the new

female section of the department store. These seven films were shown in the Old

Selfridges Hotel and all of them received their separate rooms with specific

furniture adjusted to the given brand. However, and the above examples offered in

chronological order prove it satisfactorily, it is emphasized that the meeting of

fashion and film is not a recent trend; but each era creates the same spectacles in

its own technical dimensions.

It is undeniable, though that this seems to be institutionalized even though its

categorization is extremely difficult concerning that its layering is more of a matrix

and not by clear-cut genres, just like in case of films. Since SHOWstudio was

established in 2000 the number of portals dealing exclusively with fashion videos

and their frontiers is on the rise. Moreover, festivals are organized (for instance

ASVOFF or the FVF Budapest) serving also as professional reviews and

competitions at the same time. Apart from the commercial dimension, author’s

films also appear and counterbalance the possible counter-argument that if made

primarily for commercial reasons, it deserves less attention.

Besides, fashion magazines so far existing only offline realize one by one the

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significance of online presence, and they start to use the tools offered by the new

media thus further expanding the wide selection of fashion videos. As a

consequence of its novelty – since it only commenced in 2009 – it is characterized

by the same tendencies as the decades following the invention of classic film. It

has the duality characterizing the cinema of attractions and narrative films, but at

the same time it is pushing its own limits and as such, might probably serve as a

prototype of genres developing parallel.

Meanwhile, the border between the real and virtual worlds is crossed. For instance,

a few weeks ago at the opening ceremony of the latest Burberry shop in Taipei,

various weather conditions were simulated, and not long ago a magazine showed

how Prada ‘dressed’ the Final Fantasy characters (a really popular Japanese video

game). To sum up, the creation of new kinds of illusions seems almost

unstoppable and inexhaustible.

What A. L. Rees argues at the end of the book entitled ‘A History of Experimental

Film and Video’ is absolutely true of fashion video, as well: “As far as digital media

is concerned, where the new kind of fusion of text and image carries the promise of

the birth of new concepts, the medium-specific genres are far from becoming

redundant against it. (…) The blend of art and technology which characterized

early films becomes active now, as well – until the images digital form exploits in

their primitive forms (images of the body, dance, abstraction, moving text, multiple

spaces, unnatural voice, fade-in, superimpositions, and even the windows

appearing on the screen evoke early abstract avant-garde)”. (Rees 1999:210)

However, it would be early to celebrate the victory of motion picture over stills in

fashion. What needs to be realized is the significance of what is currently

happening around us. Fashion video and the new media carry the promise of a

new type of more expanded visualization together with all its advantages and

disadvantages.

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Special Thanks

Caroline Evans, Gyenge Zsolt, Halasi Dóra (Artpool), Hermann Veronika (Glass What), Nathalie Khan, Király Tamás, Kiss Imola, Oltai Kata, Seres Szilvia, Varga Katalin (MaNDA).