FASHION photography has just one aim: to show clothes to best advantage. That's the theory, anyway. The reality, of course, is often very different. Many memorable fashion images by the greatest names in the industry seem to include clothing as an incidental extra rather than the raison d'etre of the shot.
Last month's edition of Italian Vogue, for example, contained a remarkable spread by American photographer Steven Meissel. Called Fashion Marathon, it was inspired by Sydney Pollack's 1969 film They Shoot Horses, Don't They?, which looked at dance competitions in the 1930s. Meissel's images impressively caught the sweat drenched hysteria of that picture. If you were looking for a few helpful ideas on how to wear this spring's floral print ruffle dresses, then these photographs were of little assistance. On the other hand, the arresting succession of shots will unquestionably prove more unforgettable than many other magazine spreads in which every item of clothing is clearly visible. Good fashion photography goes beyond overt commercial concerns to suggest the spirit of the work being shown.
That's why the pictures on today's page are so refreshing. While all details are in sharp focus, photographer Barry McCall's shoot has its own distinct character. This is the second season McCall's services have been called on by designers Claire Garvey and Gertrude Sampson, and on each occasion their wish for something a little bit out of the ordinary has yielded strong results. "Both Claire and I are into theatrical images and a bit of drama, really," explains Sampson, Just in case their intentions weren't already quite clear.
Although the two designers have separate businesses, their strong friendship is based at least in part on a common attitude towards design. "We get lots of ideas from each other," Sampson says. "It's nothing concrete, but we definitely feed off one another." Both are interested in using new fabrics and yarns, Garvey creating her own materials using techniques such as hand texturing, embroidery, dyeing and fringing. Their mutual desire to find a fresh approach to fashion includes looking at "innovative shoots and marketing techniques." Venturing outside the established norms always carries a certain risk, of course: it may be that public taste doesn't respond favourably to what is being shown or finds the images confusing. In this case, however, Garvey and Sampson seem to have got the balance right. Clothes and photographs share exactly the same imaginative spirit.