ABSTRACT
In the postwar period, fashion photography became increasingly freer and more democratic, and colour and outdoor shoots a regular feature, creating stories that placed fashion in the 'real' world. Klein's shots exemplified the continued importance of fashion photography for artistic expression and experimentation, as also seen in Lillian Bassman's distinctive use of very high contrast and bleaching techniques. The spirit and style conveyed by the photographer could be as important as capturing the garment's detail. Into the 1970s, fashion rediscovered its taste for high-octane glamour and femininity, which was reflected in Guy Bourdin's glossy, enigmatic colour campaigns, and Helmut Newton's sexually provocative black-and-white images shot for French Vogue; and subverted in Deborah Turbeville's solemn, ethereal compositions.
