Blog 2 – The impact of Better Lives
Since reflecting on the Better Lives lectures, I have been motivated and inspired by the ways in which we are each able to make small changes contributing towards a big development within fashion. In doing so, I have considered how I can do my part.
Within my Better Lives course, contemporary portrait photography, I have recognised ways in which I can be more ethical during my project. For example, educating myself on where garments originate from and the implications of me buying them has on the market and developing countries, which prior to attending Julia Crew’s lecture on power, I hadn’t given much thought about. Upon reflection, I have since explored different ways of consuming fashion through second-hand sites such as Vestiaire Collective and The RealReal. However, it almost seems as if an equal society is impossible. Although attempts to improve economic disadvantage in developing countries, such as the Made with Love Project, are progressive and positive, “the crisis-prone nature of capitalism means it would likely be plunged into deep recession by radical attempts to modify the degree of surplus value extracted from labour in a sector such as clothing.” (Brooks, 2015)
Moreover, the sensitivity required with regards to representation is a factor I intend on prioritising throughout. Especially when photographing very distinct cultures, I feel it is important to appreciate and respect their individual aesthetics not only from an ethical point of view, but to remain socially relevant and avoid an online ‘cancel culture’. This can be achieved by researching the history and connotations behind each decision I make with regards to styling, location, make-up and hair, and direction of the shoot. An example of such being US Vogue’s April 2008 cover staring Gisele Bundchen and Lebron James, whereby the image “provoked allegations of racial stereotyping, with some critics saying the image of James, his teeth bared in a mixture of a roar and a growl, is ‘ape-like’.” (Sherwell, 2008) Similar was found in the controversial 2018 H&M campaign. Evidently, a lack of knowledge and understanding of history and the connotations that can be implied from minor details, such as facial expressions and casting, has resulted in severe backlash. Although, it can be argued the lack of inclusion amongst high fashion luminary has caused such poor judgement; with little diversity at the top, there is limited perspective.
When completing my project for contemporary portrait photography and others in future, I intend on continuing to be inquisitive with all my decisions; considering different perspectives and outcomes. I feel it is imperative to encourage inclusivity to ensure my work is respectful and representative by working alongside creatives from different backgrounds, as well as ethical and sustainable by using second-hand garments, contributing towards a more circular industry.
Bibliography:
Brooks, A. (2015) Clothing Poverty: The Hidden World of Fast Fashion and Second-Hand Clothes (pg. 153) Zed Books. Available at: ProQuest Ebook Central (Accessed on: March 31 2020)
Sherwell, P. (2008) Race row over ‘King Kong’ Vogue cover. Available at: https://www.telegraph.co.uk/news/worldnews/1583333/Race-row-over-King-Kong-Vogue-cover.html (Accessed on: March 31 2020)