{"id":3517,"date":"2025-09-05T10:32:03","date_gmt":"2025-09-05T10:32:03","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/3517\/"},"modified":"2025-09-05T10:32:03","modified_gmt":"2025-09-05T10:32:03","slug":"what-is-the-relationship-between-fashion-photography-and-the-domestic-space-a-new-book-explores","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/3517\/","title":{"rendered":"What is the relationship between fashion, photography and the domestic space? A new book explores"},"content":{"rendered":"

Establishing the relationship between fashion and the domestic space in the introduction of his new book, The Domestic Stage: When Fashion Image Comes Home, Adam Murray inserts an image from Hulu\u2019s The Kardashians: Sat crossed legged in her closet room, Kim Kardashian appears flanked by rails of muted tones, potential outfits laid on the ground (a few weeks after we speak, I realise I have a near identical screenshot on my laptop). \u2018In this instance, the home and the decisions made in the presentation of this space are key components of an aspirational lifestyle,\u2019 writes Murray. Kardashian would subsequently feature in Balenciaga<\/a>\u2019s 2024 Closet campaign, shot by Inez & Vinoodh<\/a> in her wardrobe.<\/p>\n

While reality TV, and before it high-society portraiture, has long been a vehicle of access for identifying style and taste, less pored over is how photographers making work that exists in the fashion realm have used the domestic as a third space, in addition to the studio or the street. \u2018The basic start [of this book] was my interest in fashion image, and how that is often not dealt with in an interesting way,\u2019 explains the curator and MA Fashion Image Pathway Leader at Central Saint Martins. \u2018So it’s arguing that fashion doesn’t exist in isolation, that it’s just another part of visual culture.\u2019<\/p>\n

The Domestic Stage: When Fashion Image Comes Home\u00a0by Adam Murray<\/p>\n

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\"Corinne\n<\/p>\n

Kate Moss from Corinne Day\u2019s \u2018Underexposed\u2019 for British Vogue, June 1993<\/p>\n

(Image credit: Corinne Day)<\/p>\n

Indeed, not all of the artists featured are explicitly fashion names: Sarah Jones for example, came to prominence in the late 1990s with Francis Place\/Mulberry Lodge, exhibited at Maureen Paley (1997) and Anton Kern Galley (1999). In The Domestic Stage, her striking portraits of the women of the Hilton and Bush families, originally shot for an \u2018American Beauties\u2019 story for American Vogue in 2000, are presented alongside her A\/W 2024 campaign for Dior<\/a>; the models mirror the body language and arrangement of her earlier subjects, while the backdrop is similarly grand but lived in. \u2018I\u2019m interested in spaces that are domestic but not necessarily an actual home,\u2019 she told Murray in February 2024; another shoot, featuring then unknown actors, was made at the Ideal Home exhibition.<\/p>\n

\u2018I’ve always been outside of big cities and had a much more home based lifestyle \u2013 work that’s made outside of major cities has always interested me,\u2019 continues Murray, reflecting on the book\u2019s earliest genesis. Initially drawn to the menswear title Vogue Hommes International, and specifically the period between 1997 and 2001 when Phil Bicker was art director (\u2018the photography was the best, most interesting fashion photography you’ve seen\u2019), in 2017 he wrote a piece for Aperture about how the magazine had shaped style (primarily by producing fashion shoots where the clothes weren\u2019t the sole focus). The Domestic Stage was largely born out of this. A further tenet, he notes, was highlighting that image makers were engaging with the domestic space prior to Covid and the arrival of TikTok.<\/p>\n

\n

\"Joyce\n<\/p>\n

Seven Sisters, from 1 Granary, Issue Four<\/p>\n

(Image credit: Joyce NG)<\/p>\n

Designed by Ben McLaughlin, the new book wears a dust jacket that echoes the hard-wearing properties of a good tablecloth, bringing together 23 artists working between the 1990s (when the influential \u2018Pleasures and Terrors of Domestic Comfort\u2019 exhibition was staged at MoMa, and The Barbican put on \u2018Who\u2019s Looking at the Family?\u2019), through to the current day. Divided into three chapters \u2013 Relationships, Performance and Control, and The Imagined House \u2013 it features established names like Tina Barney and Nigel Shafran, as well as recent graduates, including Maya Golyshkina and Jesse Glazzard, mostly accompanied by interviews. \u2018I’m always interested in speaking to the people who\u2019ve made the work, rather than trying to make some kind of interpretation or assumption,\u2019 shares Murray.<\/p>\n

Perhaps the most familiar images are Corinne Day<\/a>\u2019s intimate pictures of Kate Moss, practically sans make-up, posing in T-shirts and pants in the model\u2019s own flat. When they were first published in British Vogue in 1993, the photographs came under heavy fire and were labelled \u2018tragic\u2019 \u2013 today they are widely considered as a seminal work that captured the zeitgeist of the time. \u2018The Corinne Day shoot was kind of a key turning point. It’s hard to grasp how jarring it must have been for audiences to see,\u2019 offers Murray, adding that he \u2018didn’t want [the book] to be this pure nostalgia thing. I wanted to make sure it was relevant to work being made currently, and linking it all back.\u2019<\/p>\n

\n

\"Carrie\n<\/p>\n

Carrie Mae Weems\u2019 Kitchen Table Series (1990)<\/p>\n

(Image credit: Carrie Mae Weems)<\/p>\n

Carrie Mae Weems, whose Kitchen Table Series appeared in both the MoMa and Barbican shows, and whose Portraits of Fatherhood work \u2013 featuring A$AP Rocky for a 2024 Bottega Veneta campaign \u2013 features on the book\u2019s cover, is maybe the best example of this. \u2018Her work was a constant reference [I found], though obviously that wasn’t in a fashion context,\u2019 says Murray, referencing Kitchen Table Series. \u2018When the Bottega campaign came out, it was a really nice turn on it; it’s not about her anymore, it’s about representations of Black men and fatherhood. By placing it in a fashion context, it\u2019s a great example of what a fashion image can be in terms of how it reaches an audience \u2013 I imagine more people have seen that than the original series. Exhibitions, books and galleries can be intimidating \u2013 and you have to know they exist; a fashion image, you’re just going to encounter.\u2019<\/p>\n

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<\/p>\n

The Domestic Stage: When Fashion Image Comes Home is published by Thames & Hudson, available at Waterstones<\/a> and Barnes & Noble<\/a>.<\/p>\n

<\/p>\n

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\"Book\n<\/p>\n

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