Using a Fashion Image, Explore the Strengths and Limitations of a Semiotic Analysis.

It is said that a picture is worth a thousand words, but maybe they are worth far more than that. Pictures, although seemingly simple in nature, are extremely complex. Far too often, people overlook what a picture truly is. When a person looks at an image, they most likely see only the image, nothing else. Many people do not look deep enough into an image to fully comprehend the true meaning of it. However, when an individual begins to truly study an image in an attempt to understand the true complexity of it, they will be surprised at what they overlooked before. As stated by French Realist Painter, Gustave Courbet, “Fine art is knowledge made visible.”

Day then draws a sharp criticism on the increasingly “commodified” nature of tattoos, as she derides them as a mere “fashion statement”. The words “fashion statement” insinuates that such tattoos are materialistic and transparent in meaning, upholding the notion that modern tattoos carry no purpose in today’s society, other than to impress others. The reader, as a result, may be invoked to feel annoyance and frustration at the ignorance of the general public, who are implied to be unaware of the previous meaning of tattoos. Moreover, Day compounds upon this pre-established notion of commodity by stating it is “fashion’s proprietary mark”. The word “proprietary” may position the reader to criticise the fashion industry, as it is suggested that the fashion industry has defiled body art out of economical greed. Day finds this “profoundly annoying”; the conviction in her statement, achieved through the use of brevity, may invite the reader to share similar sentiments,

The concept of image as presence refers to the concept that film can show the world as it truly is. Directors can choose to project the idea of image as presence in multiple ways, through the subjective viewpoints of the characters of the film, through an objective approach in which an omnipresent force that dictates to us about the facts that exist. In contrast, image as text, operates on the understanding that the world cannot be shown as it is, rather there is an understanding that what the viewer is seeing comes from an interpretive perspective. This viewpoint expects the audience to make connections between what they are seeing on the screen and other images that are already known. Making connections is part of the way that

Through visual anthropology, images, ads, and cartoons are constantly changing individual’s views and the world in which they live in. Images are not merely pictures to state the obvious, they are pictures that have a deeper meaning. Whether the meaning is shown or not shown, they convey representation of something more meaningful in the end. Stuart Hall

People tend to views an image based on how society say it should be they tend to interpret the image on those assumption, but never their own assumptions. Susan Bordo and John Berger writes’ an argumentative essay in relation to how viewing images have an effect on the way we interpret images. Moreover, these arguments come into union to show what society plants into our minds acts itself out when viewing pictures. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. Learning assumption plays into our everyday lives and both authors bring them into reality.

Image is everything in today’s society appearance of things have become more important that what they really are and these images are being constantly fed to us through the media. Image has both a positive and negative influence on the individual but most people have been drawn into

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

If we go back to the language of clothes or to clothes as a sign system we can see that this mater has been of interest since 1850 in literature (Balzac 1839), and later on by many theoretical figures such as Barthres, Simmel,Hegel or Goffmann. Refearing to Fashion as the language of sign it, its iconography goes from clothes to hats to hair to tattoos to other accessories. This turns the activity of fashion a

The fashion industry is rapidly growing and constantly generating new fashion trends almost weekly. Fashion for some may seem ridiculous and unnecessary; but fashion is not just a meaningless usage of article of clothing or farcical materials sew together for coverage. There is more to fashion than meets the eyes, fashion is precious and significant. It is a reflection of self-image, it speak the ream about who we are and how we review ourselves. Not only is fashion the reflection of self-image but also the reflection of our history as Coco Channel have said, “Fashion is not something that exist in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” Fashion

In a visually-oriented world, Images are the fount of representation. While already dominant in the past, image culture has become even more alluring, compelling the attentions of even the blind. In Practices of Looking by Marita Sturken and Lisa Cartwright, the first chapter, Images, Power, and Politics defines representation and addresses how images function as investments of power in modern day image culture. The authors examine the value of images by connecting representation to power dynamics within ideological and social contexts. While their ideas are concrete and supported thoroughly, their perspective is that of previous generations and as such, do not fully reflect reality of today.

Fashion is a form of expression and with its ever changing ideas and trends it explores and creates an array of identities. As Bennett, A. (2005) states “Fashion…provides individuals with a key means through which to manage their identities in the context of everyday life”. I wish to explore how fashion has developed to which identities can be created by oneself and what is around in everyday life and culture that may influence choice in dress. Is fashion a form of agency or structure? I will continue these ideas around gender and in particular fashion photography and how in which gender is represented within the popular mainstream media. Looking at if fashion photography plays a role in challenging gender roles, and therefore creating new ideologies of identity. Or, does fashion photography intertwine with the rest of media in its representation and stereotyping of both genders? Helmut Newton will be used as a case study and the interpretation of his work. This study will also look at the theory behind androgyny and continuing by also looking at dandyism and if these concepts are being constantly played with in the fashion media.

Ever since their invention many centuries ago, clothes have been used as a way of communicating. The message communicated relies on a number of factors including the social background of both the communicator and the receiver, and the context in which the message is communicated. Although at times the exact message or symbolism one is trying to portray may not be clear, it is evident that clothing has long been embraced as one of the best ways to project one’s desired personal image to those around them.

“Fashion, as noted above, is a product of class distinction and operates like a number of other forms, honor especially, the double function of which consists in revolving within a given circle and at the same time emphasizing it as separate from others.  Just as the frame of a picture characterizes the work of art inwardly as a coherent, homogeneous, independent entity and at the same outwardly severs all direct relations with the surrounding space, just as the uniform energy of such forms cannot

Have you ever taken a picture or been looking through a photo album and felt a sudden rush of emotion? Do you wonder what caused that emotion? Many find themselves captivated by a photograph and overwhelmed by the emotions that the photograph arouses. Believe it or not the arousal of emotion from those photographs was not caused by the content of the picture but by certain elements within the photograph. When a photograph is viewed it is not only the subject that triggers the overwhelming emotional response, it is the length of time that the film was exposed to sunlight, the way lighting is used and played with, and the strong detail of colors or lack thereof. While many believe that the subject acts as the primary stimuli to emotions, the

After Reading Camera Lucida written by Roland Barthes, I was both confused and interested by his ideas. Though I did not understand much of the book, I was able to take a couple of his ideas and really think about how I see photos. In the future, I intend to use these ideas when I look at photos. One of his ideas that I was able to understand is the way he looks at pictures. The other one is his second definition of punctum.