Heroin Chic

Arnold, Rebecca

doi:10.2752/136270499779151405

Cited by 24 publications

(11 citation statements)

References 1 publication

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“…For some critics, 'dirty realism' promoted unhealthy values and betokened a culture that has gone astray (Arnold, 1999). The labels 'waif model' and 'heroin chic' came to describe the style to which Corinne Day was so central.…”

Section: A New Visual Culture?mentioning

confidence: 99%

’About a Girl’

Hartley

Rennie

2004

Journalism

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Corinne’s friend Rose is sprawled on an old couch in Corinne’s flat in London. Surrounding Rose on the beer-stained carpet are a few mugs, an ashtray and a telephone cord. The photo is a record of Corinne Day’s reality from a time when she was still on the dole and partying hard. Her bleak but intimate photography became famous in the fashion pages of magazines like The Face and Vogue, where her early photographs of an unknown young model called Kate Moss created the visual style known as ‘dirty realism’ or ‘grunge’. As she describes it, ‘There we were struggling to pay the rent, living in a dump, surrounded by glamorous magazines that were so far away from our own level of living... Fashion magazines had been selling sex and glamour for far too long. I wanted to instill some reality into a world of fantasy’ (Cotton, 2000). Concentrating on British photographer Corinne Day’s work, this article explores the interface between photojournalism and fashion. Day’s photographs are documents of contemporary life but destined for fashion pages. Beyond its ostensible purpose, contemporary fashion photography in magazines like Vogue can be seen to continue and extend the purposes of photojournalism in the documentary tradition. Furthermore, the compulsion towards art and aesthetics found in photojournalism since the days of Picture Post indicates that the same boundary has been pushed from the other side too, ever since photojournalism’s ascendance. This article therefore traces convergences among some aesthetic, discursive and institutional oppositions that have long been kept carefully separated: ‘reality’ and ‘fantasy’ worlds; national identity and art; journalism and fashion.

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Section: A New Visual Culture?mentioning

confidence: 99%

’About a Girl’

Hartley

Rennie

2004

Journalism

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“…For instance, I noticed that parodic versions of the woman-child were common, particularly from the 1990s onwards, appearing in the nineties guise of "Kinderwhore" (Arnold 1999 Yet, as Judith Butler has argued, not all parodies will succeed in subverting gender norms. Instead, "parodic laughter, depends on a context and reception in which subversive confusions can be fostered" (Butler 2006: 189, emphasis added).…”

Section: The "Woman-child" In Fashion Photographymentioning

confidence: 99%

“…The discursive resources participants brought to bear on imagery proved particularly illuminating in relation to "Sugar 'n' Spite" (Figure 3): a feature on the British girl-band "Fluffy", active in the 1990s (i-D no.143, August 1995: 70-71). In my own visual analysis, I read these women through discourses on 1990s Kinderwhore and grunge (Arnold 1999). My own reading differed considerably from those in reception studies with four white British women, aged between 41 and 58, resident in rural…”

Section: Finding a Theoretical Frameworkmentioning

confidence: 99%

Between Image and Spectator: Reception Studies as Visual Methodology

Laing¹

2017

Fashion Theory

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This article makes the case for reception studies as a useful tool in the visual analysis of fashion photography. While there has been increased attention paid to methodology in the field of Fashion Studies of late, the study of audience reception—that is, the way viewers make sense of images—remains underdeveloped. This article lays down an experimental methodology for reception studies of fashion media, using the focus group format as sociological method and “discursive performativity” as theoretical framework. It presents a critical appraisal of this method, drawing upon the findings of research on the “woman-child” in European fashion magazines, from 1990 to 2015. In so doing, the study engages with debates on the “female gaze,” the active audience, polysemy and the “effects” of fashion magazines

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“…The literature review has revealed a strong linkage between architecture and commercial photography (Arnold 1999;Barrie-Anthony 2006;Hornbeck 1999;Steiner 2000). In the past not only spectacular, renowned architectural buildings which are easily identifiable to wider audiences, but also 'quiet' and 'remote' buildings known to limited, specialized audiences (such as the baths by Peter Zumthor in Vals) are used as backdrops for commercial proposes (Steiner 2000)).…”

Section: 2architecture Commercial Photography and Fashion Retail mentioning

confidence: 99%

Visual research methodologies, branding and magazine readerships

Trigoni

2016

Journal of Fashion Marketing and Management

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If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation.

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Heroin Chic

Cited by 24 publications

References 1 publication

’About a Girl’

’About a Girl’

Between Image and Spectator: Reception Studies as Visual Methodology

Visual research methodologies, branding and magazine readerships

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