Here’s an image from a 2009 V Magazine fashion editorial entitled “Live From New York”. It was shot by photographer Mario Sorrenti, and the spread features two female models wearing a variety of structural garments whilst gallivanting around in New York City. I chose this theatrical photograph because there are a number of strong rhetorical features. The whole spread is shot in black-and-white, which does a number of things to set the strong, iconic tone. The black-and-white enhances the contrast between the many different shapes and lines within the scene. It also asserts a level of seriousness and uniformity which makes the models stand out from the busyness of the Times Square background. As an audience we often associate the iconic area with clashing colours, lights and signs. The iconic energy of the city is still captured, but the use of black and white subdues this backdrop and brings the attention to the models.
Another strong rhetorical choice made has to do with the camera angle. The photographer chose to shoot the models and the city from below looking up, which enhances the vertical orientation of the photograph, and the New York symbolism. Shooting the models from below works to heighten their place of importance or dominance over the viewer, in turn strengthening the overall argument of the photograph. It communicates the idea that fashion photography should be regarded as serious art. The height difference between the pair of models over the two “everyday people” also suggests that models and the fashion world are above the general population, and the crowds of tourists that flock to Times Square. This stance also legitimizes the character of V Magazine, which is known for its style of edgy fashion-forward photography. This impact also raises the status of the designer clothing, the models and the photographer.
This editorial takes on a big and bold statement by associating itself with New York City – arguably one of the strongest symbols of both fashion and American culture. This use of the city instantly allows the photograph to connect with viewers through pathos on a cultural level. It’s selling the popular ideal of New York urban sophistication – offering the viewer, along with the bystanders in the image, a glimpse into the trendy New York fashion scene of young beautiful models. The models’ questioning facial expressions invite the viewer to size them up as in-the-know members of fashion’s elite, while at the same time making the audience take in the brash consumerism of Times Square and the heavy set, high-rise buildings. The models seem to know their place in the fashion world and in New York as spectacle, while our presence is more in question. I find it's an interesting spread in terms of visual aesthetic with its play on textures and lines to say the least.
Another strong rhetorical choice made has to do with the camera angle. The photographer chose to shoot the models and the city from below looking up, which enhances the vertical orientation of the photograph, and the New York symbolism. Shooting the models from below works to heighten their place of importance or dominance over the viewer, in turn strengthening the overall argument of the photograph. It communicates the idea that fashion photography should be regarded as serious art. The height difference between the pair of models over the two “everyday people” also suggests that models and the fashion world are above the general population, and the crowds of tourists that flock to Times Square. This stance also legitimizes the character of V Magazine, which is known for its style of edgy fashion-forward photography. This impact also raises the status of the designer clothing, the models and the photographer.
This editorial takes on a big and bold statement by associating itself with New York City – arguably one of the strongest symbols of both fashion and American culture. This use of the city instantly allows the photograph to connect with viewers through pathos on a cultural level. It’s selling the popular ideal of New York urban sophistication – offering the viewer, along with the bystanders in the image, a glimpse into the trendy New York fashion scene of young beautiful models. The models’ questioning facial expressions invite the viewer to size them up as in-the-know members of fashion’s elite, while at the same time making the audience take in the brash consumerism of Times Square and the heavy set, high-rise buildings. The models seem to know their place in the fashion world and in New York as spectacle, while our presence is more in question. I find it's an interesting spread in terms of visual aesthetic with its play on textures and lines to say the least.
Sorrenti, Mario. Live From New York. 2009. V Magazine.
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