Saturday, 27 September 2014


Below shows the body copy which sits alongside chosen imagery for the book. I have decided to only add body copy to key pieces of imagery which add further context, information or vital facts in relevance to the change. This is due to the images being selected with body copy being highly prominent and important and the photos overall speaking for themselves, provoking thought and conversation by the reader/s.


A 20-year-period spanning from the late 19th century to the early 20th century, boasted The Gibson Girls, whose ideal image was a synthesis of prevailing beauty ideals at the turn of the century, as illustrated by Charles Dana Gibson.

This represented thousands of American girls, demonstrated by models such as Camille Clifford and Evelyn Nesbit.


Sofia Papazoc celebrates the early Flapper Girl image, rejecting traditional Victorian Style. The styles echo a disagreement with the Prohibition movement of the time. 


WWI was in full swing, and women were dressing more conservatively, using layering and drapery, to add shape and movement, whilst enhancing their figures also.


Photography by Edward Steichen for Vogue US.

Traditional Flapper dresses were worn to show off the legs and thighs whilst dancing adding daring and glamorous sexuality at the time.


Photography by Edward Steichen for Vogue US. July. The first ever photographic cover of Vogue Magazine.

Conde Nast began replacing fashion drawings on covers with photo illustrations, which was seen as an innovative move for the time.


Cover by Bruehl-Bourges, Vogue US June. Tennis season arrives, allowing sportswear to be worn, subsequently showing off the female physique more.


Ascot season ran throughout the month of July, and allowed for women to be and feel both sexy, and glamourous. 

Dresses worn were often figure hugging to emphasise ideal, petite, curvaceous figures.


Test Shoot Photograph.

As the flapper season wore off, and the novelty of 
being thin disintegrated, allowing advertisers to jump in, and encourage women to be more voluptuous and to avoid being seen as too thin.


Women were becoming more confident with their bodies, expressing themselves in a new light with the introduction of cosmetics and curves being regarded as an equal beauty.


Rita Hayworth, Vogue US.

Female icons of the time such as Rita Hayworth were being spotted and photographed in two-piece swimwear, in a lightly sexual manner, encouraging others to be confident in themselves also.


Marilyn Monroe.

Monroe was seen as the ideal women by many around the world and adored for her sexy, full-bodied figure.


Marilyn Monroe, Playboy US.

Further to being adored by her film and modelling fans, she had a large male audience and made it as a worldwide sex-symbol, as well as into Playboy.


Margie Harrison, Playboy US.

Margie Harrison also made it as a Playboy model, showcasing a curvy figure, with large breasts, keeping in-line with the sex-object in fashion. 


Audrey Hepburn.

Hepburn remained a solid icon of beauty and of the movie screens, with a naturally slender figure many envied. 


Twiggy, Vogue UK.

First appearing in the 60s, Twiggy remained an icon in terms of her style, and her figure. 

Some claimed she was too thin, and had an eating disorder whilst others have argued that Twiggy was naturally blessed with a perfect body.


Photograph by Helmet Newton

Women continued to smoke to reduce their appetites in order to maintain their slim figures. 


By the late 70s, sexuality was in full-swing, and women were proud to freely show off their assets and sexualise themselves.


Photograph by Guy Bourdin.

Photoshoot promoting Chanel Cosmetics for a Chanel Calendar in association with Pentax.

This particular image advertises their signature red.


Nastassja Kinski and the Serpent, 14 June 1981 for Vogue US. Photographed by Richard Avedon.

This photo shoot reflected natural beauty, and seduction. Nastassja was heavily pregnant reflecting a different type of ideal body image.


Bonnie Berman for Vogue US.

The cover reflected the ideal sporty look, and healthy body image which was both prominent and heavily promoted throughout the 80s.


Elle Macpherson and the Skyscraper. 

Elle was known as the ideal young beauty of the time, recently being noticed as a supermodel.


Cordula Reyer, Vogue UK.

A modern day take on Victorian corsetry in an overtly sexualised manner.


Kate Moss, photography by Corrine Day. Vogue UK.

One of Kate Mossí earlier photographs showcasing her slender, youthful, boyish and androgynous figure which would become heavily sought after for years to come.


Clueless the movie was now a cult film, and lead to groups of girls for the first time shopping, styling, eating, dieting and living together, causing rivalry and competition.

The introduction of the mean girls was apparent allowing for bullying and torment in regards to weight at school and college to begin.


Charlize Theron.

Modern day film stars were taking to modelling for magazines and other publications more and more, adding a further realm of body shapes and sizes to identify as the ideal ëoneí.


Photograph by Mario Testino.

This photograph shows the modern day bikini body women are becoming more accustomed to aspiring to, and considering as the ideal of the 21st century.


This photograph epitomises the Size 0 trend which became an epidemic, causing women to be almost emaciated, with a 22inch waist. That of a 7 year old.


Rosie Huntington-Whiteley

The supermodel Rosie Huntington-Whiteley promoted a super-slim, and almost unrealistic figure in her early photoshoots.


With the amount of people who are suffering with an eating disorder is rising yearly, yet models seem to be getting thinner and thinner over time regardless of statistics and proven medical facts.