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1990 Sonrasi Türk Moda Fotoğrafinda Genel Eğilimler

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1990 Sonrasi Türk Moda Fotoğrafinda Genel Eğilimler T.C. DOKUZ EYLÜL ÜNİVERSİTESİ GÜZEL SANATLAR ENSTİTÜSÜ FOTOĞRAF ANASANAT DALI YÜKSEK LİSANS TEZİ 1990 SONRASI TÜRK MODA FOTOĞRAFINDA GENEL EĞİLİMLER Hazırlayan Handan DAYI Danışman Yrd Doç. Dr. Sadık Tumay İZMİR - 2006 Yemin Metni Yüksek Lisans Tezi olarak sunduğum “1990 Sonrası Türk Moda Fotoğrafında Genel Eğilimler” adlı çalışmanın, tarafımdan, bilimsel ahlak ve geleneklere aykırı düşecek bir yardıma başvurmaksızın yazıldığını ve yararlandığım eserlerin bibliyografyada gösterilenlerden oluştuğunu, bunlara atıf yapılarak yararlanılmış olduğunu belirtir ve bunu onurumla doğrularım. …../…../…… Handan DAYI ii TUTANAK Dokuz Eylül Üniversitesi Güzel Sanatlar Enstitüsü’nün ……./……/…… tarih ve ……sayılı toplantısında oluşturulan jüri, Lisansüstü Öğretim Yönetmeliği’nin ………. maddesine göre Fotoğraf Anasanat Dalı Yüksek Lisans öğrencisi Handan Dayı’nın “1990 Sonrası Türk Moda Fotoğrafında Genel Eğilimler” konulu tezi incelenmiş ve aday ……../……./………. tarihinde, saat ………’da jüri önünde tez savunmasına alınmıştır. Aday ın kişisel çalışmaya dayanan tezini savunmasından sonra ……….dakikalık süre içinde gerek tez konusu, gerekse tezin dayanağı olan anabilim dallarından jüri üyelerine sorulan sorulara verdiği cevaplar değerlendirilerek tezin ……………….. olduğuna oy……….……. ile karar verildi. BAŞKAN ÜYE ÜYE iii YÜKSEKÖĞRETİM KURULU DOKÜMANTASYON MERKEZİ TEZ/PROJE VERİ FORMU Tez/Proje No: Konu Kodu: Üniv. Kodu * Not: Bu bölüm merkezimiz tarafından doldurulacaktır. Tez/Proje Yazarının Soyadı: DAYI Adı: HANDAN Tezin/Projenin Türkçe Adı: “1990 Sonrası Türk Moda Fotoğrafında Genel Eğilimler” Tezin/Projenin Yabancı Dildeki Adı: "The General tendencies in Turkish fashion photography after 1990" Tezin/Projenin Yapıldığı Üniversitesi: Dokuz Eylül Üniversitesi Enstitü: GSE Yıl: 2006 Diğer Kuruluşlar: Tezin/Projenin Türü: Yüksek Lisans: Dili: Türkçe Doktora: Sayfa Sayısı: 204 Tıpta Uzmanlık: Referans Sayısı: 270 Sanatta Yeterlik: Tez Proje Danışmanlarının Ünvanı: Yrd. Doç. Dr. Adı: Sadık Soyadı: TUMAY Türkçe Anahtar Kelimeler: İngilizce Anahtar Kelimeler: 1. Türk Moda Fotoğrafı 1. The Turkish Fashion Photgraphy 2. Fotoğraf Eğilimleri 2. The Tendencies of Fotography 3. Moda Fotoğrafı 3. Fashion Photography 4. Nihat Odabaşı 4. Nihat Odabaşı 5. Hasan Hüseyin 5. Hasan Hüseyin Tarih: İmza: Tezimin Erişim Sayfasında Yayınlanmasını İstiyorum Evet Hayır iv ÖZET Fotoğrafın keşfinden hemen sonra batıda portre geleneğinin ardından gelişen moda fotoğrafı kısa zamanda branşlaşarak bu alanda önemli bir yer edinmiştir. Toplumda yaşanan ekonomik, politik ve sanatsal akımlar yardımıyla kendine ait estetik bir dil geliştiren moda fotoğrafı moda sektörünün ayrılmaz bir parçası haline gelmiştir. 1980 sonrası Türkiye’de değişen ekonomik şartlar, tekstil ve reklam sektörlerinin gelişmesine olanak tanımış ve Türkiye’de moda fotoğrafçılığının branşlaşmasında etken olmuştur. 1990’larda ise moda fotoğrafı masa üstü yayıncılığın ve fotoğraf tekniklerinin de gelişmesiyle moda sektöründe yön veren bir duruma gelmiştir. Dünyada 1900’lerin başında branşlaşan moda fotoğrafı, Türkiye’de neredeyse bir yüz yıl kadar sonra kavramlaşma sancıları çekmekte ve kendine ait bir üslup arayışını içerisine girmektedir. Newyork’ta Modern Sanatlar Müzesinde 28 haziran 2004’de açılan “Fashioning Fiction in Photography since 1990” sergisi 90’lı yılların moda fotoğrafçılığını inceleyerek bu yıllara bir tarz biçebilmemiz için önemli bir adım atmıştır. Türkiye’de ise yeni kuşak moda fotoğrafçılarıyla başlayan batıyla eş zamanlı ilerleyen moda fotoğrafında yeni bir dil oluşturma çabası günümüzde bazı fotoğrafçılarda kendilerine ait üslup olarak ortaya çıkmış, 90 sonrası gelişen yeni pratikleriyle kataloglarda, magazin dergilerinde, televizyon kanallarında görsellik kazanmıştır. Günümüzde ticari anlamda kendini ispat etmiş olan Türk moda fotoğrafının sanatsal yaratıcılık anlamında sorunlar yaşadığı görülmektedir. 1990 sonrası fotoğrafta gelişen üsluplara parelel olarak Türk moda fotoğrafında eğilimlerin ortaya çıkmasına olanak tanıyacak gelişmeler olmuş ve moda fotoğrafı önemli bir yol almıştır. Moda fotoğrafı üzerine yapılan bu çalışmada Türk Moda Fotoğrafında tarihsel süreç değerlendirilirken 90 sonrası oluşan eğlimler de ortaya çıkarılacaktır. Bu v anlamda bu tezin, Türk moda fotoğrafıyla ilgili gelecekte yapılacak çalışmalara da ışık tutacağı düşünülmektedir. vi ABSTRACT The fashion photography which developed soon after the discovery of photograph and portrait tradition in the West has separated into branches in a short while and acquired a significant place in this area. The fashion photography that developed its own unique aesthetic language by the help of economic, politic and artistic movements took place in the society, has become a significant part of fashion sector. The economical conditions of Turkey which changed after 1980, allowed textiles and advertisement sectors to enter in the foreign markets and played a key role in branching of fashion photography in Turkey. In 1990’s, by the developments both in photograph techniques and in desktop media, fashion photography has become a part that guides the fashion sector. The fashion photography which branched in the beginning of 1900’s across the world, has involved in the searches of its own language in Turkey after about a century. The “Fashioning Fiction in Photography since 1990” exhibition which was opened in The Museum of Modern Arts in New York in June 28, 2004, has taken a significant step forward for defining a style for these years while studying the fashion photography of the 1990’s. In Turkey, the efforts to form a new language which began with new age fashion photographers and improved syncronized to the West, has appeared as an owned style of some photographers and with the new practices developed after 90’s, obtained visualization in catalogues, magazines and tv channels. Nowadays, the Turkish fashion photography which proved itself in commercial means, faces some problems in creative means. Parallel to the developed styles after 1990, there has been some developments which enables the tendencies to appear in Turkish fashion photography and fashion photography has taken a significant step forward. In this study made on fashion photography, the tendencies occured after 1990’s will be revealed while the historical process in Turkish fashion photography has vii being studied. In this sense, it is thought that this thesis will light the way for the future studies on Turkish fashion photography. viii İÇİNDEKİLER 1990 SONRASI TÜRK MODA FOTOĞRAFINDA GENEL EĞİLİMLER YEMİN METNİ…………………………………………….………………………II TUTANAK…………………………………………………………………………III YÖK DOKÜMANTASYON MERKEZİ VERİ FORMU ………………………...IV ÖZET….…………………………………………………………………………....V ABSTRACT………..………………………………………………………………VII İÇİNDEKİLER………………… ………………………………………………....IX ÖNSÖZ…...………………………………………………………………………..XI GİRİŞ..………………………………………………………………………….....XIII BİRİNCİ BÖLÜM MODA KAVRAMI VE GELİŞİM SÜRECİ 1.1. Moda Kavramı ...........…………………………………………………….....1 1.1.1. Modernite ve Moda………………………………............................... 2 1.1.2. Değişim ve Moda …………………............................….……………...6 1.1.3. İletişim ve Moda...................…….……………………………..............8 1.2. ModanınTarihsel Gelişim Süreci.............................................................................9 1.2.1. İlkel Toplumlarda Giyim Anlayışı……………………………………10 1.2.2. Ortaçağda Giyim Kültürü…………………………………………….13 1.2.3. Yeni Çağda Moda……….……………………………………………15 1.2.4. Yakın Çağdan Günümüze Moda Anlayışı……………………………20 1.2.4.1. 1900 - 1945 Dönemi Dünya’da Modaya Yaklaşım...............23 1.2.4.2. 1945 – 2005 Dönemi Dünya’da Moda Anlayışı……………31 1.2.4.3. 1923 – 1980 Türkiye’de Giyim Anlayışı………………...…45 1.2.4.4. 1980 – 2005 Türkiye’de Moda Anlayışı…………………....70 ix İKİNCİ BÖLÜM MODA FOTOĞRAFI ÜZERİNE 2.1 Dünyada Moda Fotoğrafçılığının Gelişimi......................................................78 2.1.1 1900-1945 Dönemi Dünya’da Moda Fotoğrafçılığının Gelişimi..........79 2.1.2.1945-2005 Dönemi Dünya’da Moda Fotoğrafçılığı..............................90 2.2.Türkiye’de Moda Fotoğrafçılığı……………………………..………………109 2.2.1. Türkiye’de Moda Fotoğrafçılığının Tarihsel Gelişimi…………...…109 2.2.1.1. 1923-1980 Yılları Arasında Türkiye’de Moda Fotoğrafçılığı....116 2.2.1.2.1980-2005 Yılları Arasında Türkiye’de Moda Fotoğrafçılığı.....122 ÜÇÜNCÜ BÖLÜM 1990 SONRASI TÜRK MODA FOTOĞRAFINDA ÜSLUP ARAYIŞLARI VE GENEL EĞİLİMLER 3.1.Moda fotoğrafında Üslup Sorunu…………………………………………….129 3.2. 1990 Sonrası Türk Moda Fotoğrafında Eğilimler...........................................134 3.2.6 Tamer Yılmaz Fotoğaflarında Zanaatkar Duyarlılık.........................141 3.2.1. Hasan Hüseyin’in Fotoğraflarında Melankolik Yaklaşımlar…........143 3.2.2. Şenol Altun’un Fotoğraflarındaki Post- Expresyonist Tavır…........148 3.2.3. Nihat Odabaşı ve Sinematografik Öykünme……………………....152 3.2.4. Bennu Gerede ve Kavramsal Yolculuklar………………………....156 3.2.5. Emre Doğru’nun Fotoğraflarında Deneysel Arayışlar………….....158 SONUÇ………………...………………………………………………………..161 KAYNAKLAR…………...……………………………………………………. 165 ALBÜM ANAHTARI………………………………………………………….178 x ÖNSÖZ Moda fotoğrafı günümüzde ticari anlamda moda sektörü ile bütünleşen bir olgu olarak kabul edilirken, öte yandan sanatsal anlamda çağdaş sanatın dilini kullanan görsel bir sunumdur. Moda fotoğrafının bu iki yönlü etkileşimi günümüzde bu branşa olan ilgiyi arttırırken çok farklı kesimlerden de talep görmesine neden olmuştur. 1985 yılında Fotoğraf öğrenimime başladığımdan itibaren tanık olduğum moda fotoğrafının bu gelişim süreci
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