Studies in Communication Sciences 18.2 (2018), pp. 365–381

Body in fashion films: The new net-aesthetic era Simonetta Buffo, Università Cattolica del Sacro Cuore Milano, Istituto Marangoni Milano [email protected]

Abstract With “fashion film” we mean those online videos that are peculiar to fashion industry and are developing their own language and new types of brand narration. The field of study presented here to is related to lan- guage. The objective is indeed to better understand how this new communication tool has influenced the conventional language of fashion images through the development of new codes or a transformation of the existing ones. The object under examination is, in particular, the body as a preferred communication code within this industry. This body is not viewed by fashion as a simple object to dress, but rather as a mediating channel between the individual’s individuality and their need for communication, or better to say, their need to establish a relationship within its context. To do so, it seemed appropriate to start with the examination of the history of fashion images by concisely analysing how the body has changed its communicative role over the decades. Further analysis was then conducted in order to focus on the new meaning undertaken by the body in fashion films. As a consequence, the result is a complex and extremely rich picture.

Keywords fashion film, fashion language, codes, , fashion images

1 Body in fashion: codes therefore leads the individual to live his and languages own body with awareness and self-deter- mination, even more in modern times - Body as social product (Bourdieu, 1987) the individual is inspired by patterns com- is an important communication tool that ing often from images of the various media builds and conveys its own identity: the he is subjected to, so as to feel comfortable body mediates every relationship between in his own social relationships. the individual and the social context he In particular, fashion images have in- belongs to, as well as it primarily establish- terpreted the woman and her body over es a self-relationship to gain identity. the years – through these images one can In a semiotic perspective, the body understand how women have been con- reveals the form of the individual-signifier ceived, what has been and is still trans- also through garments, which then trans- gressive and what are the stereotypes re- late the individual-signified’s being and lated to body. essence, that is his values. Garments represent the language the In his book The Fashion System, body adopts to communicate itself: gar- Barthes (1967) starts from the question: ments redefine and narrativize the body “… but which body is the Fashion garment by contextualizing it. Besides the fashion to signify?” (p. 269). of garments, there is therefore the fashion Body and garment mutually generate of the body, which is continuously re-se- meaning: body and fashion attract and re- manticized as a bearer of quintessential pel each other, in a constant game of new values in different historical, social and significations for new significances. costume periods. Indeed, fashion images French semiologist Greimas (1983) are not about general but alive clothes – states that body is the place where we find body’s aim is moulding and giving fashion values, which moderate the relationship world a soul. More specifically, we could between subject and him/herself. This re- say that body in fashion becomes a narra- lationship results from a process, which tor through the use of images – we can in

https://doi.org/10.24434/j.scoms.2018.02.011 © 2019, the authors. This work is licensed under the “Creative Commons Attribution – NonCommercial – NoDerivatives 4.0 International” license (CC BY-NC-ND 4.0). 366 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 fact experience a dream when looking at been able to structure an authentic lan- those women shown in the pictures from guage over time, which is as highly recog- the early 20th century to the present day. nizable and clearly characterized by rules, Fashion images’ primary purpose was to symbols and intrinsic codes as any other translate the idea of beauty by showing a kind of language. perfect beauty of a perfect woman for a In the introduction to this book, we perfect dress. That body was consequently read: perfect. By retracing the history of fashion In order to formulate this opinion, I have images, we see how the body interprets spent many days browsing through the pages this abstract model of perfection over the from the old editions of the premier fashion years and, especially, how these images magazine , and collecting the yes- have always made a dream of perfection terday’s and today’s ad campaigns. Likewise, I come true by codifying the idea of beau- have watched the online short movies of the ty into ever-changing languages. Body is leading brands. This was the beginning of an the place of life, experiences, feelings; it extremely fascinating and interesting experi- is also the object and instrument used to ence which allowed me to outline the journey communicate and seduce the others, and made by fashion, even if it was not always a it is forced to adapt, at least partially, to a conscious path yet clear anyway. (p. 9) (trans- changing gaze. lated by author)

We are considering only one code of this 2 Fashion body through the time: language, because it is probably the most a short history crucial in building fashion brand imager- ies: the body code and its evolution over Albert Liberman, Vogue’s artistic and ed- time. itorial director from 1941 to 1994, stated Our findings lead us to identify four that fashion photography is not a photo different ways of living and interpreting about clothes, but rather a photo about a the body in the last millennium woman (Angeletti, Oliva, 2012). a Art Body Starting off with this suggestion and b Narrating Body adopting a semiotic approach, our at- c Free Body tempt is to interpret the body, which is d Desire Body. narrated by fashion photography as shape of a (fashion) content, both content and Each of these bodies had its own expres- shape being seen over the time. sive peak in a given historical, socio-cul- For this reason, we have seen the body tural and even artistic context. This is the as code, which communicates the classic reason why each body characterizes and fashion luxury exclusivity and distinctive- is characterized by its period of origin ness. and development. All these categories are It is certainly true that photography however not limited to their development is often outlined in semiotics as indexical period, but rather they are still enriching sign, or just index, due to the so-called the fashion language over the decades, as physical continuity between sign and ob- it is evident by looking at the contempo- ject rary photographers. In order to provide a better insight into each category, we will (…) The current presence of photography in- therefore take several contemporary fash- forms us that, in a certain moment, the pho- ion photographers as an example, whose tographed object was in front of the camera style recalls one of these four interpreta- lens. (Volli, 2003, p. 28; translated by author) tions of the body code, and without for- getting that fashion language is so rich In my previous study (Buffo, 2012), I have and unique thanks to the contamination however shown how fashion images have Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 367 and combination of these great masters of icality in favour of a polite and timeless photography through the times. femininity. Let’s see them one by one. Just a few years after De Meyer, Horst The first is Body as Art, which first ap- P. Horst (1906–1999) will be however the peared in the U. S. on the pages of the re- first fashion photographer to celebrate the cently born Vogue magazine. body by recovering its true authenticity – Indeed, Vogue meant to be the first model of the other great photographer fashion magazine to serve as trends lov- G. Hoyningen-Huene (1900–1968), at the er and promoter through fashion images, beginning it was only as photographer and it started as a magazine addressed to that Horst turned De Meyer’s sculptural a special, feminine, elitist, cultured and body into pure sensuality, a body in con- highbrow audience. stant balance between image and imagery. In 1913, Mr. Condé Nast (just a few One of his most famous images portrays years after the purchasing of that small a woman on her back, wearing a corset magazine, i. e. Vogue), decided to confide drawn by Mainbocher. This image, struc- in a photographer so as not to simply show tured as a trompe l’oeil, shows only the garments but rather create trendsetting back chest of the girl, without legs, as if images in terms of taste, clothing and any she were leaning against a shelf. The light other topic to arouse interest in this nar- effects and the malicious slip-on corset, row, selected and exclusive female audi- with its ribbons lasciviously falling on the ence belonging to the American high so- shelf, are in harmony with this perfect and ciety. The photographer’s name was Adolf tonic (though not too muscular) model’s de Meyer, the first to establish a close rela- body, thus creating a soft aura of fascina- tionship between art and fashion, between tion. This is one of the first images to cel- pure research and what will be later called ebrate the body and an idea of beauty as a cultural industry. He infused not only his harmonious balance of shapes. photographic skills in fashion images but Begun by Horst, this trend then took primarily his sophisticated style, which on different but always consistent ele- became firmly popular during those years. ments through other great fashion pho- Thanks to him, an aesthetic taste took on tographers’ lenses, such as Irving Penn a broader meaning for the first time, thus (1917–2009) in the Fifties and Sixties, who allowing us to talk about aesthetic massi- completely sacrificed the model’s identity fication. and personality in his quest for contem- His images depicted imageries where plation and aesthetic gratification – the the dream was directly exhibited and bodies he chose are therefore the result women looked ethereal and unreal, un- of an exquisite and formal exercise made conscious models of the new fashion up of lines, volumes, silhouettes and chro- world. Neither their body nor their gar- matic values. ments were the protagonists, but it was The same pleasure in the body’s aes- rather the dreamlike atmosphere able to thetic contemplation, still in perfect bal- turn every woman into a model to create ance between image and imagery, can be that desire always needed by fashion. found today in the Peruvian artist Ma- As mentioned before, this photo- rio Testino, born in Lima in 1954. He was graphic signature didn’t fade out com- indeed absolutely able to portray celeb- pletely, as we still find the same dreamy rities with magistral skills, thus restoring environment in some important con- their most authentic identity: his famous temporary fashion photographers: one of exhibition showing the pictures of Prin- them being of course Paolo Roversi (1947). cess Diana is an evident example, but we His style is also blurred and surreal and also have to mention his fashion shots decisively pictorial, where bodies seem where the body shapes (and garments) celestial and impalpable creatures, noble- are celebrated in their harmonious natu- women of past eras deprived of their phys- ralness, which is sensually provocative yet never vulgar. 368 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381

Continuing our historical journey, the cover pages he published on Vogue Ita- we find a new type of body code that was lia during his 20-years collaboration with first interpreted by (1923– the magazine. Through his shots, he nar- 2004), who was the fashion photographer rated many different stories (some relat- that turned models into actresses. ed to ethical issues) by showing frames of The situations represented by Avedon imaginary and hypothetical movies, such during the first phase of his career, which as in “Cinematic” which is focused on the we could consider as the most narrative violence against women (Vogue Italia, phase, nourished mythological imageries 2014) or in “State of emergency,” focused where reality and dream coexisted togeth- on the terrorism (Vogue Italia, 2016). er and complemented each other, whereas Coming back to the Sixties, we now the heroines populating these legendary find a body that changes its social role. In stories looked like celestial women of a fact, the youth movements, above all, pro- near but distant world at the same time. posed a new role for the body that became The goal of his images was subject of several battles for social and sexual emancipation – the body is exhib- that of being not so much a picture of a ited and sometimes paraded. One of the well-dressed beautiful woman as a revelato- greatest interpreters of fashion images was ry glimpse of a feminine psyche confronted the revolutionary David Baily, who is por- with a situation involving action or passion. trayed in the movie Blow Up by Michelan- (Sargeant, November 8, 1958) gelo Antonioni (1966), a personal friend of Mary Quant (the terrible girl who invented His storytelling ability was combined with the miniskirt) and Mick Jagger, voice of the a style compliant with the ongoing trends Rolling Stones. He was the photographer of fashion images of the second half of the who best interpreted this breathe of fresh Twentieth century, which aimed at setting air that London was able to express during a global style and life attitude rather than those years. In his pictures, uninhibited showing a simple parade of garments. bodies are charged with new expressions Thanks to Avedon, the Body becomes in and contents, thus resulting strongly erot- fact a Narrating Body: his images displays ic and decisively provocative. The body ever-young bodies with perfect shapes becomes Free Body, free to show up, ex- and movements. The body started to de- press itself and create a new language velop its own language, fully based on ele- while the model shows herself uninhibited gance and refinement, exclusivity and lux- under the lens of his camera (Lehndorff – ury. An example is the famous image for Trulzsch, 1986). Dior (1955), where the model Dovima (ac- The landmark is therefore the dis- ronym of Dorothy Virginia Margaret Juba, placement from a dressed body to a ma- 1927–1990) stands between two huge el- terialized body. Fashion begins to enrich ephants and spreads her arms upward in the body with more physical vibrancy and an extremely elegant gesture. The winding sexual connotation so as to acquire more body of the model and her refined compo- visibility and a completely different social sure communicate an authentic sensuality dignity from the past. Fashion photogra- in a surreal context. phy tends to develop an imagery oriented Throughout the years, the body exac- towards the transgression of sexual be- erbates even more its storytelling aptitude haviours while body becomes object and in photography, as it is evident today in subject of the Desire Body. photographers who show different styles Another fashion photographer imme- and photographic personalities, such as diately after the ’70s, and very well-known David LaChapelle, Peter Lindbergh, Ste- for his strongly erotic images, was the Pa- ven Meisel and Annie Leibovitz just to risian . In his photographs the name a few. product is independent – what matters is It’s worth mentioning the American provoking through sexual allusions mixed photographer (1954), and with violence and blood doses. His bod- Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 369 ies are conscious bodies involved in the During the Twentieth century, for example, scenic fiction that aims at nurturing the woman’s clothing has become more and more desire. A few years later, Helmut Newton reduced and simplified, more dynamic and made the woman’s body a conscious ob- ascending upwards. If in the early years of ject of voyeurism, a carnal body proud of the century the female body representations showing off its materiality. It’s worth men- were made up of corpulent silhouettes, which tioning a new and forerunner aspect of tended to recall the heaviness of the earth- recent trends, that is the body artificiality: ly wealth, in the following decades the body the paraded body is evidently moulded by has become decisively thinner and lighter. sophisticated beauty treatments and lined And slimming remedies and diets have pro- up with the artificiality frontier. A so cold gressively become the standard for both gen- perfection that bodies seem to be almost ders … (Codeluppi, 2012, p. 7) (*TN) bionic. He said: In this social process, technology plays an “In my work we operate a distinction between important role, also because images show models and real people. We never consider an artificial body that can crumble and mo­dels equal to real people” (Newton, 1984, then put back together itself. p. 13) (*TN). And he also added: “The fashio­ In the 1999 the movie “Matrix” con- nable woman is this: an infinite amount of tributed to imagine a pixeled body, in a gears.” (Newton, 1984, p. 10) (*TN) world where technology is the real protag- onist of an unreal life. This strong physicality of bodies visible in fashion images remains also in the Eight- ies and increasingly extends to male bod- 3 New millennium: between ies, which become at the same time object hyper-bodies and pixeled bodies and subject of desire – muscle-bound,­ gym built, perfect bodies. In his volume The Matrix (2010), the phi- (1952–2002) was one of losopher and sociologist Žižek observes the most iconic fashion photographers that the innovation of this movie is not wit- of the Eighties and Nineties – aloof from nessing the fortunes of a hero who acts in garments and completely focused on an artificial, manipulated and controlled both male and female bodies, Ritts shows universe, but rather that this universe be- nurtured and clean-cut bodies with mas- comes a virtual reality, thus marking a rad- sive workout and expensive beauty treat- ical reduction of our sensorial experiences ments. The artificial seems to clash with and acknowledging the images a huge se- the natural body look to then perfectly ductive power. blend together. The 1999 Pirelli calendar is Images do not simulate reality, but a clear statement of Ritt’s approach – the rather hide its incompleteness and incon- American athlete is covered with sistency: a shiny paint overlapping his body which enhances even more its perfection. The The film is not wrong when highlighting the body becomes a dress. EXISTENCE of the Real beyond the simula- If we consider the contemporary pho- tion of the virtual reality – as Morpheus says tographers, it’s absolutely worth mention- to Neo when showing him the ruined land- ing the German photographer Ellen von scape of Chicago: “Welcome to the desert of Unwerth (1954): the most authentic New- the Real” (…) the function of every single Ma- ton’s heir, given her voyeuristic style and trix is to conceal this inconsistency … (Žižek, the way she treats the female body. Dif- 2010, p. 16) ferently from Newton, the location of her pictures plays a greater role and the scene The film Matrix was able to foresee the theatricalization becomes much more current, real trend of 2018 – the dichotomy filmic, but the body is a conscious protag- between real reality and virtual reality. Im- onist pleased with the desire. ages mediate between these two univers- 370 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 es and serve as bearers of new stories and of the photographers who mainly contrib- generators of new suggestions. uted to narrate artificial, manipulated, ab- The individual completes the search stract bodies. for an abstract aesthetic perfection to These body images animate and mo- become a body-image, an envelope that tivate the consumption experience by makes use of the aesthetic surgery to nurturing fictional imageries that escape achieve its own goal and become a body to the uncertainty of what is real, thus trans- be displayed on a shop window, precisely a lating the individual’s fulfilment into the “shop-windowed body” (Codeluppi, 2007). certainty given by the purchased objects. Today’s individual only wants to like Therefore, the body dissolves into image, himself even more than being liked by in the enchantment of the mise-en-scène. others. This absolutely matches with the The idea of Beauty has evidently current post-modern or hyper-modern changed and fashion market is exploring society, where the individualism trend is new frontiers: five years ago, Miuccia Pra- fully underway and every choice made by da said: the individual privileges the self to the det- riment of the surrounding. Today we seek “Ugly is attractive, ugly is exciting. Maybe be- refuge in ourselves to satisfy personal and cause it is newer,” she said. “The investigation immediate pleasures, in a mood of com- of ugliness is, to me, more interesting than the mon mistrust in the social fabric and fu- bourgeois idea of beauty. And why? Because ture. Selfies are the apologia of this trend. ugly is human. It touches the bad and the Codeluppi also says about the body: dirty side of people. You know, this might have been a scandal in fashion but in other fields It is therefore inevitable that individuals of art it is common: in painting and in movies feel able to freely manipulate their body to it was so common to see ugliness.” (Duffin, achieve those communication goals they 2013) set for themselves. This gives life to the “flow body”, namely a body in a state of per- In reaction to the New Millennium con- manent change, having no fixed bound- sumption models and this hyper-modern aries nor identities and attempting at not (or post-modern) individualist individu- having to depend on the laws of biology. al, fashion suggests an anti-model: fash- (Codeluppi, 2012, p. 114, translated by author) ion does not seek the Beauty anymore, but rather different ideas of beauty (even The artificial invades the natural, the body achieving the ugliness sometimes), be- often becomes a hyper-body. Since the be- cause there is not only one Beauty to be in- ginning of the new Millennium, body has spired by but everyone is free to interpret, become a flow-body: nothing is fixed and mould and express his/her own beauty. body looks like a packaging that can be Fashion films play a crucial role in transformed and manipulated. The body this body evolution, especially because becomes a malleable surface on which to they were born for the web. Moreover, new draw its identity. Artificial invades the nat- technologies are so much influencing the ural, and the body becomes a hyper-body. body perception and representation that This hyper-body often becomes the we can easily state fashion films are devel- protagonist of fashion images – motion- oping a new net-aesthetics by using new less bodies featuring unnatural poses, in- codes and creating new kinds of language. expressive eyes, masks deleting the faces Indeed, bodies in fashion films do not or even covered and hidden faces to cancel appear as a model to strive for, that is the their identity. idea of a contemplated beauty. Fashion Slender, hybrid bodies between man- films rather show Post-Modern or Hyper-­ nequins and dolls or even puppets that Modern bodies: they reflect those indi- only live virtually weightless, transsexual, viduals who are focused on themselves, feeble creatures. Craig McDean, Tim Walk- determined to state their individuality er, Miles Aldridge, Steven Klein are just few and uniqueness, confident of being able Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 371 to be true to themselves without compro- seriously rethink what role the moving image mises, living for emotions. Therefore, in can play within fashion (…). (p. 118) the fashion film’s dreamy world there are no right nor wrong models: what emerg- The clear trend (or the need) of fashion es is the possibility to always be authentic communication is therefore to develop thanks to fashion and regardless of age, a new language for those moving images sex, gender and species. There is no “right where the body code is acknowledged a beauty” in the represented body as this is key aesthetic and narrative role. a body that is not apparently interested in We therefore try to understand if there its physicality. are some recurring types of body in these Showstudio.com, an interactive fash- fashion films that affect the world of the ion platform, nowadays famous as House fashion images in general, to then re-think of Fashion Film, also investigated the idea at the language of the images in the New of the Ugly in a fashion film. The fashion Millennium, which can be above all iden- film title is “Beyond the glass” by Ruth Hog- tified as fashion images, whether static or ben. In this short-movie, woman’s body moving. does not appear in its physicality but is rather the simulacrum of itself, continu- ously committed in a chameleonic meta- 4 Body in fashion film: the new morphosis – a body that continuously net-aesthetic era moves, escapes and chases, that is fright- ened and frightful (bearing in mind nu- (…) fashion media partecipate in the nor­ma­ merous Hitchcockian quotations). This lization and codification of the body. (Shinkle, body is unreal and pixeled, which leads us 2013, p. 176) into the Other cyberspace world ruled by some Matrix. Fashion films are a particular category of It is precisely from the fashion films online videos, whose origin is really uncer- that new images showing moving bod- tain. “100 years of fashion film: frameworks ies emerge as interpreters of new fashion and histories” is one of the Uhlirova’s arti- tales. cles (2013), whose name is given to the fact Over the last decade, fashion films that: have indeed become a strongly relevant phenomenon for fashion industry: we The article carefully negotiates the fashion find those made by brands to show their film as a form that must be considered within collections, as well as fashion films dedi- multiple frameworks, namely cinema and the cated to create new brand narration forms new media, fashion industry, entertainment, (such as the Miu Miu’s with the “Women’s and art practice. (p. 237) Tales” saga). Likewise, we also find fashion films made by some fashion e-magazines However, we will not hereunder consider like Nowness, or fashion e-commerce like the fashion industry videos as something Mytheresa.com in collaboration with sev- outside the web. eral fashion brands. Moreover, there are In fact, several communicative mod- some online created by some novice film- els (i. e. the Jakobson’s in 1963) state that makers and presented at the worldwide regardless of the communicative flow, the fashion film festivals or simply uploaded channel influences the message produc- on some target websites, such as a Vimeo­ tion both in the contents and form selec- channel, that is fully independent and tion, thus adapting codes and rules to the dedicated to fashion films. new context in which the message acts. As Uhlirova (2013) writes, We will therefore consider only the online fashion videos in order to under- Fashion film’s recent proliferation on the In- stand their features and influences that ternet and beyond has demanded that we may directly come from the virtual world of the web. 372 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381

Based on our previous studies, it also New Millennium when the web under- results that fashion films are a separate went a considerable development that is category of online branded videos, and still ongoing. not only because they have a distinctive This abovementioned new communi- name which makes them different from cative identity works on two aspects - the the others but rather because we think first is the new brand narrations, regard- (and will try to prove) they were able to less of whether the video develops or not develop their own communicative identi- a narrative plot; the second is represented ty to then become a communication tool by a new language made up of new codes. used also in other industries. It might be Indeed, fashion films are the natural worth considering that in 2014 the BMW evolution of the languishing fashion im- car manufacturer released the online vid- ages but, at the same time, they are their eo starred by Tilda Swinton and named the revolution. Fashion films have managed to movie just as fashion film. turn the traditional brand communication On the matter Uhlirova stated (2013)“ into bodies’ movements, which are often exciting and suggestive and sometimes As a heterogeneous cultural form with no purely aesthetical. clearly predefined stylistic criteria or conven- tions, the fashion film eludes any attempt at a The fashion image has been historically seen neat classification as genre. (p. 120) as static, but digital media offer a departure from the past by introducing a constant flow In our opinion, many signals lead us to- of moving images and active spectatorship. day to consider that fashion films are a full The idea of “permanent presence” suggests communication gender. fashion is constantly renewed and at the same As we already mentioned one year ago time caught in the here and now. (Khan, 2012, (2017), p. 248)

Since the beginning of the new Millennium, What we are about to analyse is how the fashion has developed new types of messag- body is narrativized in these fashion films es concerning the contents, producing new (whether narrative or not), as the body is techniques and showing its ability to use new often their lynchpin. technologies with a greater eagerness and strength than other markets. (…) Several fashion films, which belongs to “The Fashion Body”, make this connection between Additionally, in all the main fashion cities photography and history of the moving image in the world we find Fashion Film Festivals. through a renewed focus on the body. (…) The There are at least 4 today considering only cinematic film creates a sense of linear time. London, of which the first in absolute was The photograph is forever locked in the past organized by Central Saint Martins in 2006, and the digital image offers a permanent pres- Fashion in Film; the second city that hosted ence. Fashion is caught in its own reflection – this event was Paris, with ASVOFF, organized locked in the past, it has begun to move and is by the fashion designer and blogger Diane part of a new and permanent presence. When Pernet, and a festival that has today achieved we watch the body films inside the frames its ninth edition. (Buffo, 2017, pp. 295–296) of “The Fashion Body,” we remember that a symbolic notion is created through move- Today there is even a fully independent ment – today fashion is no longer still. (Khan, Vimeo channel whose name is, indeed, A 2012, p. 249) Fashion Film Channel. It’s however hard to determine exact- For about 9 years (since we started to deal ly the time when the first fashion film was with fashion communication), we have put online. We therefore prefer to consid- been carefully observing this new com- er a timeframe when everything started munication object: we have looked at the to take shape, that is the beginning of the fashion films made by the most important Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 373 fashion brands, as well as the online fash- tial in a market that more than any other ion films of Nowness or ASVOFF, the Vimeo­ needs to create always new imageries. section fully dedicated to fashion films, The analysis leads us to detect two ap- and even the online fashion-mags that parently opposite macro-categories: often offer their own production, without A. Concrete Body mentioning all the rest offered by the net. B. Abstract Body One of the most stimulating aspects for As the code can influence a language, our curiosity is related to how the body is so each of the aforementioned codes treated and become a fundamental code mostly belongs to and characterises re- to produce fashion tales. We are also aware spective and different categories of fash- that our observation and categorization ion films. cannot fully complete the fashion films A. The first is the Concrete Body: we supply on the web and, in fact, this is not are talking about a real body as it appears our aim as we recognize the impossibility in its everyday life, where its individuali- of such pretension. The online language in ty – and not its appearance or shape – is general, and the fashion films language in shown. These characters do not show al- particular, is living a continuous experi- ways perfect bodies, even though they are mentation and transformation. models, because their personality is the As Uhlirova said (2013): real protagonist. This interpretation of body is the If we accept fashion film as a genre, we have equivalent in the filmic language of the to accept a notion of a genre not as a static set previously mentioned narrating body of of stylistic or material commonalities but as fashion photography. It’s a body that nar- an ever-evolving historically bound category rates and talks about itself, reveals and which is fluid and at time even self-contradic- shows itself. tory. (p. 122) Within this category, a further distinc- tion is possible between narrative body The result of our observation is however and hyper-realistic body. that these types of “bodies” represent the main current fashion trends, as they are A.1. A narrative body is typically cinematic:­ mostly recurring and often mark an im- it is a body that walks along the fashion portant change compared to the icono- film development, makes the sequence of graphic tradition of fashion. events possible, sometimes shows its evo- We think that this type of interpreta- lution, where the emotions of the charac- tion is useful to grasp and handle the fash- ter evolve as well. This body is character- ion communication of the New Millenni- ised by its actions and the choices that the um. Even less than fashion photos, fashion character makes. films do not reproduce clothes but rather Within this category, body carries out offer ways of interpreting the contempo- a storytelling project, with or without a rary women and men, thus showing their narrative plot. First of all, a narrating body contradictions and complexities and tell- shows us an individual’s story, be this a ing the ways through which the individu- woman or man, a personal story with the als perceive themselves and the surround- individual’s feelings and interactions with ings with their body. the context, as well as her/his interactions Analysing these videos will be also in- with the others. This individual is some- teresting to retrace the important history times shown while he is living an internal of the fashion images. or external conflict, but his moment of What immediately surprises is that redemption is rarely displayed. This body body in fashion films is declined in differ- often struggles and fights or simply shows ent and multiple kind of stories. Fashion the signs of its weariness, its face does not films have furtherly enriched the value smile, rather the emerging feeling is that and semantic content of the “body” sign, of individuals who are tireless fighters. An thus celebrating its communicative poten- example could be the fashion film by Peter 374 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381

Lindbergh for Vogue, released at the end The narrative body often develops an of 2016. We are talking about Walking, the idea, which represents a key concept for Peter Lindbergh’s tribute to the late Editor-­ the brand’s visual identity. It’s the case of in-Chief of Vogue Italia, Franca Sozzani. Gucci, Pre-Fall 2018, and again directed by Its images show some of the most pop- Glen Luchford. ular models, who are more or less young, such as Mila Jovovich, , Michele along with lens man Glen Luchford Helena Christensen, Isabeli Fontana, Kar- and art director Christopher Simmonds, have en Alexander, and reflected on university campus protest of 1968 while they walk through the streets of New Paris for inspiration. That moment was ripe York. They walk among ordinary people with French Nouvelle Vague of the late Fifties and we feel like they want to be common and Sixties – a movement comprised of the people wrapped up in their thoughts. inspiration of rebellious filmmakers François Their unveiled thoughts, which are not Truffaut and Jean-Luc Godard. During the conveyed by their bodies nor by their ac- month of May 1968, radical change was tions, mostly fascinate the viewer who occurring in Paris as students, hungry for can be captured by this illusory normality change, marched on the Sorbonne Universi- and heaviness of their being wistful. They ty. This time of immense change was fuelled move and then stray from the camera and by the fresh cultural lingual of Jean-Paul Sar- again stare at it, thus offering us a close- tre’s existential philosophy of rock ‘n’ roll and up that talks about them as women. In a new era of participatory democracy. (Re- this fashion film there is no narrative plot, trieved from www.theimpression.com) meaning that no characters’ evolution is provided, but these bodies still allude These bodies speak about the history of to these women’ personal story by stag- a generation, about fights, protests and ing their different personalities and ways rebellions of the 1968 youth: they fought of feeling – the firm lines of the New York against traditions and clichés and told majestic buildings are opposed to the soft- their desire to change the world by prov- ness of their gestures and are sometimes ing their being different from the past. slowed down by an editing that expands These stories appear consistent to a brand the duration of their movements. Thanks that wants to address a young and cul- to the musical box that accompanies the tured public, which wants to go against entire video, this editing choice projects the grain. It’s a brand that is proposing its the viewer in a hybrid dimension, between revolution in fashion in terms of product, the real and the imaginary. target, and language. The narrative body is also that body The narrative body seems to be the that narrativizes and thematises, as we can direct emanation of that aforementioned see in fashion films with a narrative plot, narrating body of the fashion photographs for example in the Kenzo’s fashion film for starting from Avedon. With fashion films, the SS 2018, Yo! My Saint. In this fashion that body releases its communicative po- film, the director Ana Lily Amirpour pro- tential and completes the narration with poses a Japanese version of Blow Up (by movements and sounds thus becoming the aforementioned Antonioni) – it’s about story. It could be very interesting to inves- the seduction story between the photogra- tigate the new kinds of fashion stories. pher and his model, which is mediated by the camera. On the photographic set, the A.2. Different is the case of the hyper-­ dressed yet true girl’s body is opposed to realistic body. a mannequin’s naked, cold and still body, We consider the term “hyper-realism” which is unable to communicate and pro- in connection to art: hyper-realism means voke emotions (even if hostile and danger- an image so extremely faithful to reality ous), because emotions can create addic- up to the tiniest details, which embraces tion. a technical perfection often comparable Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 375 to the photographic quality, yet aggressive unveils their erogenous zones, as well as sometimes. their sighs and the desires of these bodies In a general backdrop of the routine that have changed so much over the years. aesthetisation, which is an attitude that It dwells with impunity and almost com- has been lasting for few decades (let’s placently on the folds of their old skin. No think at Pop art and Op Art of the ’60s), we full bodies are shown, but rather a puzzle move to a semiotic materialization of art – of images to recompose in our mind, thus culture officialises everything in terms of defiantly giving more room to the behold- signs and signs circulation and transcribes er’s imagination. These two bodies convey everything into cultural, aesthetic and eroticism to the limit of pornography and museographic terms. Baudrillard warns without any pleasure. against this risk and, in the art of disap- A body shown in its hyper-realism, pearance, he states: and therefore no beautiful nor ugly (as Baudrillard would say), is what we often In the images I see in America or Europe – be find in Saint Laurent’s fashion films. In the they video images, paintings, products of the Winter 2017 film by Nathalie Canguilhem, plastic arts, or audio-visual or synthesized the male models are shown in a sort of box images – are literally images in which there or squared room with numerous pipes like is nothing to see. They leave no trace, cast no those of the makeovers scaffolding. Every- shadow, and have no consequences. (…) The thing is surrounded by the darkness with a only feeling one gets from such images is that metallic blue light and alienating music – behind each one there is something that has the models move in this environment and disappeared. And they are but this: the trace have an exaggerated skinny body, on the of what has disappeared. (…) Once freed from borderline of anorexia. Especially in one reality, we can produce the “realer than real” – frame, the camera lingers on the bony ab- hyperrealism. It was in fact with hyperreal- domen of a boy by highlighting his bone ism and pop art that everything began, that structure and showing a small scar - the everyday life was raised to the ironic power models never smile and their gaze some- of photographic realism. (Baudrillard, 1988, times challenges and invites us to enter in p. 48–49, translated by author) that borderline dimension. We could do plenty of examples (it’s worth mentioning And fashion seems to have followed a sim- the fashion film “Brighton Sorts” made by ilar path in the New Millennium: a body Nick Knight and Britt Lloyd for a Vogue realer than real is shown in some fashion British Editorial published on April 2018), films, a body dissected, scanned, almost but what we would like to point out is how radiographed by the camera, unreservedly today the fashion images in magazines of- and shamelessly. ten use the same language. In fact, they dis- A perfect example is the fashion film sect and explore the human body from top by Rankin for the perfume S&X launched to bottom to generate types of images that in November 2017. Besides the recent were really rare in the last Millennium. We Hunger, Rankin is the British artist who co-­ can think at some Solve Sondsbo’s images founded AnOther Magazine with Jefferson (such as those published on November Hack in 2001, and even before gave life to 2017 in a Vogue editorial entitled “Utopia”) Dazed & Confused. or those by Toiletpaper, a creative labo- In his S&X unisex perfume, designed ratory founded by Maurizio Cattelan and by the award-winning fragrance design- Pierpaolo Ferrari, or some photographs by er Azzi Glasser, he tells three stories of Brigitte Niedermair (Wallpaper Magazine, touching bodies, no matter who they are, March 2018 editorial). because there is always something to Alongside these bodies narrated by share when skin touches skin. In one of the fashion films, whose human aspect the three, the bodies of an old man and and recognizable physicality are however woman cling to one another – the cam- shown, there is another way of narrativiz- era lingers on these bodies’ details and ing the body: the abstract body manner. 376 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381

B. Now we analyse the Abstract Body. of the past century. As it happens in Sur- The innovative choice is not to show realism images, this body seems to be far the body as expression of a concept, which from any aesthetic-related concern – its was already done by fashion in the past as ambition is not to show itself as an expres- we have also mentioned, but what’s inno- sion of beauty or reality or an excellence of vative in the Abstract Body of the New Mil- what is real, it is rather the protagonist of lennium is the absence of that aesthetical a beyond-reality, in a virtual or dreamlike pleasure typical of the history of fashion dimension. This body represents a new images. subconscious where everything is overtly The Abstract Body is an unreal and de- fake, as it is a product of the creator’s imag- materialised body whose representation is ination. This body is sometimes projected theatre-like dramatized so as to create an into the future at a high speed, changing intense gap between the observed and the constantly like some images of the ’20s Fu- observer. turism. The bodies defined here as mutant An artificial veneer invades the crea- bodies belong to imaginary and distant ture and creeps under the skin – in fashion worlds from reality, likewise they seem to images, the plastic body alternates with set up the fashion dream we are currently the real body, thus triggering a mashup of experiencing, between the need of run- the skin and the inwardness of the subject. ning away and the quest for a new balance. This body interpretation embodies In our view, the mutant body is de- also some artists and contemporary sing- clined in other two different interpreta- ers – it’s worth mentioning Lady Gaga for tions: the doll body and the cyber body. example who, even if often naked, has B.1.a The doll body is overtly and in- frequently displayed her body as a sur- tentionally created to be staged for a hy- face on which to draw her artistic vein. In perbolic world – it’s the body of the an- the fashion film related to her perfume by droids who have acquired human traits to Steven Klein, The Fame, she stages her av- replace them. The filmmaker and photog- atar: a provocative, fame-hungry woman rapher Tim Walker is certainly one of the who turns into a monster surrounded by a best interpreters of this sort of body. In dreamlike imagery that celebrates the aes- his fashion film Mechanical Dolls (2011), thetic criteria of ugliness and grotesque. a group of models are displayed not just The bodies belonging to this category do with the look but also the typical move- not emerge as bodies to dress but are rath- ments of the puppets, which seem to be er surface-bodies that translate the con- guided by a species of puppeteer who is in stant becoming. turn puppet. They are will-less doll-bod- We can also define two categories in ies, incapable of emotions and conscious- this sector – the mutant body and the il- ness. Their hard slap looks like a mask that lusion body. does not betray their true identity. In Like a Doll, another fashion film B.1. Within the first category we find the for Vogue Italia January 2012, Tim Walker mutant body, namely a body embodying shows us the model Lindsay Wixon mak- transmutation rather than disguise and ing human yet repetitive movements in a standing elsewhere with a sort of theatri- sort of dollhouse and evidently pleased in cal complacency. The effect on the viewer this woman-doll hybrid dimension. is similar to Brecht’s estrangement (1898– It’s worth mentioning Steven Klein, 1956) – a “distancing effect” that warns the another great interpreter of this type of viewer who no longer identifies himself bodies set in a urban and futuristic con- with what he is witnessing as it is evidently text. A perfect example is Kate Moss for Al- distant from his real world. exander McQueen SS2014, who is shown in A mutant body, in fact, is a fake body, a platinum blonde version holding a voo- an artefact, a sort of man-made avatar. doo doll, which is her duplicate that will This body reminds us of Surrealism, the be thrown in a bin by herself. The atmo- artistic movement born at the beginning sphere is definitely dark: the colours, en- Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 377 vironment, feelings inspired by the video is a frenetic and chaotic new dimension. accompany a kind of unsolved foreboding, But this game of shapes can eventually re- thus reminding us Alexander McQueen’s mind us something similar to everyday life world. It depicts a nightmare where emo- where every moment gets rapidly burned, tions, fears, anxieties of this woman are where the online/offline experiences the absolute protagonists rather than cause the endless and confused mix and the actions she does, which are instead match we live in, thus making us unaware quite incomprehensible. In this context, victims of a technological pleasure. it’s noteworthy to mention Philipp Plein’s It’s a body that physically experiences fashion films, such as that made for the its virtual dimension, as in the fashion film FW 2016–2017 by Steven Klein where me- Amazing and out of control (2014) by Love chanically animated toys mingle with hu- Magazine starring Cara Delevigne, where man figures of different genders and ages the protagonist lays on a bed of candies, and seem to join all together what looks sings and smiles while she interacts with like a game. The bodies displayed look the emoji appearing on the screen which mechanical and jerk, also due to an editing however seem to coexist with her inside choice that wants to highlight this aspect, the screen. and some of them are covered in tattoos. Likewise, in fashion film for Prada In this regard, the brand Philipp Plein Real Fantasies by Atlantis Film for SS 2016, states: or in another one for the FW 2016 collec- tion by fashion photographer and filmaker In a neon-lit future world, filled with turmoil Steven Miesel, the models move in a space and danger, the battle between good and evil between the real and the unreal. In both rages on. Under attack from invisible forces, movies, the models’ physical reality is in everyone must choose a side in this epic fight contrast with the strong artificiality of the to the end. The struggle is real but there is backdrops where their bodies take shape. hope. We need to search deep inside ourselves The frames taken from these fashion films to find the belief, strength and determination have then become the still images of the to become superhuman. We can harness hid- two advertising campaigns published on den powers within us all. Regardless of gen- fashion magazines. der, nationality or age, we can be heroes … B.2. The other main category of the Starring Chris Brown, Carmen Dell’Orefice, mutant body is the illusion body – a body Soo Joo Park and Crystal Renn as the ultimate that cancels the human figure and em- super team, the Autumn/Winter 2016 cam- phasizes the energy and force it gives off paign features a cast of diverse characters. in the space it moves in. This body is pure (Retrieved from Philipp Plein http://www. abstraction and is complacent about its youtube.com) shapes in quest of extreme aesthetics. We can define the abstract body as illusion B.1.b. On the other hand, the cyber-­body body, as it is the expression of a dancing reveals the merger between man and ma- dream or misleading metamorphosis. It is chine, a body that decomposes and re- often expression of an amplified and sec- composes, it melts and then restores its tioned movement, which is made possible image, it transmutes and then returns to by the latest hi-tech images. This body is itself. As in Matrix movie, this body is of- fully plunged into a virtual and dreamlike ten pixeled though in these fashion mov- “second life” where everything is a game ies it appears as expression of the brand’s that everyone can play. These bodies dance harmony or disharmony. An example is and fluctuate, thus supporting the musical the fashion film #asif by Nick Knight and notes of the fashion film soundtrack, as it Simon Foxton (2015) for Vman magazine happens in the Missoni SS 2018 fashion Here we find a mix and match of moving film, or better in the latest Rag&Bone fash- images with a psychedelic mood where ion film. The latter features an industrial each image appears and disappears in less shed location where all bodies, who are than a second under our eyes. The result no longer slaves of the daily life greyness, 378 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 unwind in harmonious dances and create making his body abstract. Likewise, it’s synergies with the super-colourful people impossible not to mention Adolf de Meyer, surrounding them. the first fashion photographer as well as This is the film Why can’t get along: the first to make an amazing photo shoot with the great dancer Vaclav Nijinsky en- “Can we all get along?” This question posed gaged in the rehearsals for the Après-­midi by Rodney King during the Los Angeles riots d’un Faune show. This show aroused a in 1992, which began following the acquittals huge controversy among the public due to of the four officers that beat him, remains a its intense eroticism, which was portrayed relevant question over 25 years later given the by de Meyer’s pictures. political turbulence and turmoil that we are However, some changes in the fash- experiencing today in the US. “Why Can’t We ion films were possible thanks to the new Get Along,” the latest rag & bone film feature media: just as the mutant body seems alters the quote slightly but asks the same like an avatar, so too the illusion body is question at a time where society appears to a body that was able to emancipate from be less in sync. (…) The concept started from the typical static nature of photography the way people spend too much time on their thanks to the filmic language of the online phones and do not really see one another, said videos, and thus becoming expression of Wainwright at the film premiere at The Metro- that movement and life that both clothes graph. “It morphed from there. We wanted and fashion need. The frames of these to do something that was cool and creative short movies are sometimes captured by and fun and visually very impactful. That’s all the fashion mags as static images and the we really cared about.” (Retrieved from www. result is a sort of ping pong between the impression.com) plasticity and dynamism typical of the Haute Couture. It’s worth mentioning the fashion film In short, our observations can be sum- Mine all Mine by Tell No One for Nowness. marised in a scheme that we call “Moving A wondrous ballet where clothes and bodies in fashion films”: music are the authentic protagonist is As we previously mentioned, we think showed – the music draws the soul of that these are the main current trends and garments and people are just their per- we believe that what herein examined formers. As in a theatrical performance, a could allow us to share some conclusions. merger of dress and individual is displayed What stands out the most is that fashion in order to reveal a state of mind. The end films’ net-aesthetics gives life to different is especially interesting as it gives us a pos- kinds of storytelling bodies which seem to sible interpretation – clothes can indeed emancipate both women and men from live without men or women, but men and old archetypes or beauty stereotypes. Ac- women are just lifeless without clothes. cording to us, the greatest novelty is that Likewise, the numerous fashion films the new bodies do not want to be admired by showstudio.com for Gareth Pugh de- nor liked as they do not show off flawless serve a mention, such as the film for body shapes and sizes nor look for accep- FW 2009 where women walk and move in tance or confirmations. The new body a sort of futuristic dance and their bodies achieves two different goals that are cov- look extremely bidimensional. ered in two different ways: The illusion bodies remind us the ›› the first one is the importance of being, ever-present close relationship between as it is evident when fashion films show dance and fashion as well as between a body that want to state a personality dance and cinema. This is why the danc- or simply her/his emotions, thus be- ing body properly finds its place also in the coming expression of a self-focused, online fashion film. In Dance Serpentine unique and, at the same time, change- by Lumiere Brothers (1897), Loile Fuller’s able individuality. The message leads body enlivens a magic display of colours us to think that there is not a right way with a continuous spiral movement, thus of being as the right choice is just being Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 379

Figure 1: Moving bodies in fashion films

Concrete Bodies Abstract Bodies Beeing Not Beeing

Narrative Body, the human body Mutant Body, the avatar

Body-Doll Cyber-Body

Hyper-realistic Body, the broken body Illusion Body, the soul of clothing

human, not perfect but authentic and ly avant-garde brand communication as living for feeling; its goal is to produce a distant engagement from the traditional logics of persuasion. ›› the second one is the free adventure of Therefore the body, as the key code not being, as it is evident when fashion of this language and market, is no longer films seem to be a sensory experience: an aspirational model nor a classic idea of in these films, the body enters in a sur- beauty, meant as a beauty of shapes. In- real dimension where everything is deed, it is rather a body that can tell sto- possible and the viewer can loose him- ries about an extra-ordinary personality, self/herself. as it is evident in the fashion images that often show us old women with a pecu- We fully agree with Uhlirova (2013) who liar private history (such as Joni Mitchell, states: 71, for Saint Laurent; Joan Didion, 80, for Celine; Jessica Lange, 65, for Marc Jacobs The fashion film does not always blatantly Beauty; Charlotte Rampling, 69, for Nars; implicate the viewer as a consumer and has, Catherine Deneuve, 71, for Louis Vuitton; generally, a greater degree of autonomy from and Anjelica Huston, 63, for Gap). the fashion it displays or connects, as it is What stimulates our curiosity, and less concerned with social and psychological that should be deepened by further anal- processes of identification, persuasion and ysis, is the Beauty paradox in the Western reassurance than is the case in more conven- countries, which is shown in these inter- tional marketing. And therein precisely lies its pretations of the body in fashion: now- appeal for brands who are certainly not blind adays the Real Beauty is extending to- to the new marketing trends that eschew wards a Transmuting Beauty, which goes conventional advertising in favor of a more beyond the traditional boundary of the authentic experience. (Uhlirova, 2013, p. 121) known and opts for the new post-modern or hyper-modern aesthetic world where Fashion films therefore sense the current nothing is set nor predetermined. This trends in society as well as the hyper-­ ever-connected and self-focused genera- modern consumer’s apathy towards the tion is producing a new era, which is char- traditional advertising, reason why they acterized by new aesthetics (intended as develop a new language for the online performed Beauty) and where the border communication, which is often a decisive- 380 Buffo / Studies in Communication Sciences 18.2 (2018), pp. 365–381 between real and unreal is weak: we call it 6(7), New York: David Publishing, 409–419. Net-Aesthetics. doi:10.17265/2160-6579/2016.07.005 In our opinion, it is still important to Buffo, S. (2017), Brand narration and fashion verify if this language, which is so strong- films. Journalism and Mass Commu- ly affected by the Western social and aes- nication, 7(6), New York: David Pub- thetic trends, could be well received by lishing, 292-304. doi:10.17265/2160- Countries where the consumption society 6579/2017.06.002 has recently developed. 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