New Fashion Age Rule

Street pads, fashion diaries, SNS, the new media has changed our fashion life. If we haven't been caught by the Sartorialist or Garance Dore into their cameras, and have not shared their photos on the Internet, is our fashion still meaningful?

In fashion photography, there is a special faction called "private photography", or "Snapshot Aesthetic", which revolts the exquisite, elegant and dreamlike works, and quickly captures the instant of life with an indifferent style.

Photographers such as Terry Richardson, Juergen Teller, Wolfgang Tillmans and so on were all brilliant in the 90s London border fashion magazine "the Face" and other publications.

Its original revolutionary nature is to make fun of the traditional fashion photography with real life. Just like the Heroin Chic style created by Nan Goldin, in the snapshot aesthetics and the marginal life style, it has found another value for fashion.

However, as early as 100 years ago, Joseph August Lux, a Austria construction critic, wrote a book called the art secret of Kodak, pointing out that a large number of "amateur photographers" produced by cheap films can record their lives in their own way, which is a way to stabilize the modern wonders society.

In short, Shanghai is being laughed at as "the devil capital", and the daily image in this city is a good weapon to balance this magic feeling.

What is really worrying is that this amateur photography style, once stylized by fashion media, and through the Internet media into a more common communication channel, has a magic trend.

"Snapshot aesthetics" was originally a record of everyday life, but today's snapshot logic is reversed. Life is not important. Image is the center of life; fashion is not important, and it is good fashion to be able to mirror.

Therefore, a good person made the strategy of "how to be photographed by Sartorialist", and summed up the key points such as "putting up expensive accessories on the body", "adding a vintage bike or cigarette", so as to create a dress that can successfully seduce Sartorialist mirror head.

And a few days ago, a dialogue between Han Huo Huo and Wyman Wong on micro-blog was more inspiring: Han quoted a friend's encouragement - "never mind, let's do something better. You don't like me today, and I want you to like me tomorrow."

Huang: "don't worry, let's do something better. You don't like me today. I want you to like me tomorrow, and you have to pay twice the price to enjoy it!" they invariably point out "recognition" to "tomorrow".

Obviously, in this logic, "today" is not important, and the linearity of time is also not important.

The image has the power to squash time on a super plane.

Tomorrow's recognition may come from images that are not recognized today.

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Hongkong fashion columnist Li Jianhui's masterpiece "fashion time" can be regarded as a typical case of image deconstruction of time.

For decades, she pformed her appearance and looked at it as a "fashion video diary". Its significance lies not in the daily disguise itself but in the daily record.

Over the years, the reality presented in the same volume of books is more shocking than the real world that follows the linear time.

We can finally come to a conclusion that has hardly been taken seriously: fashion is meaningless without the attention of camera.

And 100 years ago, fashion was meaningless without the attention of men.

We are now in a society that has upgraded the fashion system centered on sex and body to the core of replication and dissemination.

As a result, in the numerous fashion stars blog, the most famous bloggers have the following characteristics: they do not need beautiful pictures, but they must show a bad imitation of the traditional images in the pictures of the daily life of the bloggers, including modeling, posture and so on.

You can see in Bryanboy's photo the S posture similar to that of sister Furong; in the photos of Tavi, you can see the high fashion shape that does not match her age.

Even Street filming can not escape the stereotype of "anti snapshot aesthetics": under the seemingly casual impromptu capture, there is a stable composition and light and shadow effect, and has been stylized in the spread of globalization.

But the question is, can it be true?

We need not criticize this. This is the reality of the moment.

If we picture the image as a virtual reality, the clues of future life indicate that the virtual world may be a super reality.

The fashion that exists in the image is reflecting this advance and avant-garde. When people are faced with the general anxiety in the future, the fashion people will smile and say to themselves, "Hey, tomorrow! We have made full preparations."