The central theme of the diploma thesis is fashion photography on the cover pages of Vogue magazine international editions. In the empirical section, the author uses a combination of quantitative content analysis and qualitative semiotic analysis based on the concept of the French semiotics Roland Barthes. The quantitative section of the analysis works with a sample of 87 photographs, from which 8 images are later selected for the semiotic part. At the denotative level, the analysis looks for common and different signs of individual editions. At the level of the connoted image, the author tries to decode the contained signs and their meanings. The semiotic analysis traces linguistic messages, the narrative, the paradigmatic and syntagmatic arrangement of photography, or the presence of national identity. Part of the work is also a theoretical section dedicated to fashion magazines and changes in the aesthetics of fashion photography. This part contains an excursion into the history and present of fashion photography and presents prominent personalities in the field. In the theoretical part, the author defines the terms that form the ground for empirical research. At the end of the work, the results of the analysis and their interpretation are presented.

In this thesis I consider photographs of the mannequin by Vogue's fashion photographer, George Hoyningen-Huene. Little scholarship has been written on Huene, as well as many other fashion photographers of the twentieth century. I examine four of Huene's works and his appropriation of the surrealist aesthetic, specifically the use of the mask and mannequin, which were directed at female spectators during the interwar atmosphere and development of the identity of the interwar modern woman. These images include Life-mask of Dolores Wilkinson (1933), Antoine with One of His Creations (1933), Scarf and Gloves by Chanel, Mannequin by Pierre Imans (1934) and Mauboussin Diamond-and-Topaz Corsage Clip, Mannequin by Pierre Imans (1934). I argue that his use of the mask and mannequin legitimates his work as he draws from the artistic milieu of nineteenth and twentieth-century high art.My survey describes photography's theoretical affinities with fashion and surrealism, the surrealist aesthetic and Huene's adoption of it in his fashion photographs of the mannequin, primitivism and Huene's adoption of high art themes and use of the mask, the interwar modern woman in a consumer society, female spectatorship and Huene's surrealist images functioning through a female gaze.

Fashion embodies what is accepted and valued in a given culture or society and empowers individuals by building self-confidence, enabling them to express themselves authentically through their bodies and garments. The gender binary, perpetuated by the mainstream fashion industry, marginalizes individuals who do not conform to it. In Rebelution 17, I utilize clothing design and photography to empower and liberate individuals who do not conform to the standards of beauty in regards to gender identity and acceptability. The finished works are featured in a Lookbook – a digital and physical collection of photographs used to market fashion – designed to promote awareness of gender-neutral fashion and deconstruct industry norms. Rebelution 17 can be viewed online at www.francescainocentes.com.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-15T12:20:30Z No. of bitstreams: 1 Rogério D`Avila Ortiz.pdf: 55411837 bytes, checksum: 5d47f29fda9db072eb3c3a935ce6d7fe (MD5) / Made available in DSpace on 2018-08-15T12:20:30Z (GMT). No. of bitstreams: 1 Rogério D`Avila Ortiz.pdf: 55411837 bytes, checksum: 5d47f29fda9db072eb3c3a935ce6d7fe (MD5) Previous issue date: 2018-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study sets out to problematize the expressions “fashionable body shape” and “fashion-conscious body shape” from the hypothesis that media-flooding fashion photography disseminates a homogenizing body standard that functions as a control agent, in a surveillance system, in which the model agency acts as a panopticon (Bentham).The question we raise is: how to make bodies domesticated by what fashion photography disseminates in the media unique again (Foucault, 1975)? The goal is to show that a model-subject can cease to be a mere tool for maintaining what has been cemented in beautiful, lifeless bodies. To that end, a methodology was developed to turn this vulnerability into power. Models and photographers were heard, experiments were conducted, and recent occurrences are narrated within the fashion context, in which the mediatization of a certain body type can be observed. The theoretical foundation is mainly supported by the Bodymedia Theory (KATZ and GREINER) to explain the body-environment relationship, and by Sibila (2016), to deal with some of the body’s communication processes. The relevance of this study is justified by the fact that in order to change the status quo, it is necessary to provide information where it is not available / Esta dissertação propõe-se a problematizar as expressões “corpo da moda” e “corpo na moda” a partir da hipótese de que a fotografia de moda, que inunda as mídias, difunde um padrão de corpo homogeneizante, que funciona como um agente de controle, em um sistema de vigilância, no qual a agência de modelos atua como um panóptico (Bentham). A pergunta da qual se parte é a seguinte: como ressingularizar corpos docilizados (Foucault,) pela obediência ao que está publicamente midiatizado pela fotografia de moda? O objetivo é demonstrar a possibilidade do sujeito-modelo deixar de ser um mero instrumento de manutenção do que se cristalizou em corpos belos e sem vitalidade. Para tal, foi desenvolvida uma metodologia para capacitá-lo a transformar a sua vulnerabilidade em potência. Foram ouvidos modelos e fotógrafos, foram realizados experimentos, e são narradas ocorrências recentes, no contexto da moda, nos quais se pode observar a força da midiatização de um certo tipo de corpo. A fundamentação teórica se apoia, sobretudo, na Teoria Corpomídia (KATZ e GREINER), para explicar a relação corpoambiente, e em Sibila (2016), para lidar com alguns processos comunicacionais do corpo. E a justificativa para a importância da realização desta pesquisa é a de que para mudar o que está posto, é necessário disponibilizar informação onde ela não circula

The aim of this work is the qualitative analysis of the new wave of female gaze photographers with a comparison of the female gaze pioneers. For this purpose, there were used photographs by Arvida Bystr​öm​, Petra Collins, Harley Weir, and Cindy Sherman, Nan Goldin, Corinne Day, which were published in fashion magazines such as ​Vogue, Harper's Bazaar, i-D, Dazed, and ​Vice​. The theoretical part examined how female identity has been shaped by western culture and dominant ideology, and how patriarchy paradigm has influenced the visual representation of women in art, pop culture, and advertisement. It is shown through key feminist concepts including Simone De Beauvoir, Betty Friedan, Judith Butler, John Berger, Laura Mulvey, theory of young girl, gagafeminism, and xenofeminism. The second part of the thesis is dedicated to social semiotics analysis of each photograph and the results of this research, which show changes of topics in the female gaze content and the shift to social media-related topics and the virtual representation of women. The work could enrich further research in the field of feminist aesthetics, fashion journalism, photography, advertisement, and social media.

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