Condé Nast: So much more than a pretty face

"Fashion photographs are part of our visual culture. Every picture tells a story and invites us to engage with him in a nice way, but it also summarizes some taste, desires and dreams of his time" So Nathalie Herschdorfer writes in the Introduction to Fashion come. A Century of Fashion Photography at Condé Nast. And she is right. While fashion magazines to see culture as a guide for shopping is relatively new, says the history of fashion photography a lot more about life, and in the case of glossy women's Vogue and in particular about the nature of femininity that. This despite the fact that sex is and always has been, financed the line and at least partially through the sale of clothing. Fashion photographers are often referred to as an artist - and her personal work can make good this status - but their contribution to mainstream fashion magazines makes economic sense. Chanel 2.55 But how Condé Nast Montrose started his empire in 1909 with the purchase of Vogue, the magazine commissioned and other securities of the publishing of the world's top fashion photographers, which allows them to express their vision of the fashion and clothing. This new book contains a whole edit elegance away from work by Edward Steichen in 1920 to portraitf Peter Lindbergh models for their reputation, style hard to see how the Beatles, Erwin Blumenfeld pioneer and abstract paintings in 1940 Sebastian Kim photographed appointed light and airy for pages and pages as fast windy Teen Vogue. Fashion photography is nothing if it does not. "Glamour, elegance and sensuality concepts that are constantly redefined," Herschdorfer further. "Every picture tells a story and invites us to engage with him in a nice way." Indeed, this is not always the case. Nevertheless, at least some of the big names - Man Ray, included Guy Bourdin, Helmut Newton, and more recently, Nick Knight, Mark Borthwick and Corinne Day - convey a picture of the world difficult and sometimes disturbing. Although Condé Nast titles basically are ambitious, it is a credit not only to the authors themselves, but also for the major teams that work together to create an image - designers, models, hair and make-up decorators, designers, , art directors and others - their impact is often more complex than that. "In the 1990s, in particular, they went along with their opposites - the ugly, shocking the unsightly ..." Herschdorfer grants. Ultimately, the most successful pictures in these pages - and many of them are the best of their kind in the world - a strong response. And it was positive or negative, the stuff of dreams or nightmares, attraction or repulsion, which is the point. More than any other company in the history of publishing, Condé Nast support the creativity that inspired these answers. His journals highlight the evolving genre of fashion photography and more efficient for the best than any other. Indeed, it may not an exaggeration to say that they make sure that the right people have the greatest visual impact on our world.E