Simulacre means a copy of the original, an ostensible representation of someone or something. This study closely looks at the 2017 <VOGUE like a painting exhibition> hosted by the fashion magazine Vogue. The purpose of this study is to use both theoretical and empirical analysis to analyze the simulacre developed in fashion photographs inspired by famous paintings in the exhibition booklet. The booklet is divided into four sections: portrait, rococo, landscape painting, from avant-garde to pop art. It also contains 55 pieces comparing the original masterpieces to the works of 26 photographers inspired by them. The fashion photographs were analyzed using Jean Baudrillard’s four stages of simulacre transformation: represent, denature, dissimulate, and replace image change theory. The degree of simulacre expression was indicated three times on a four-point Likert scale by five fashion majors, and the results were integrated and analyzed. As a result, in fashion photography, simulacre— due to the development of photography technology and the photographer’s artistry— appeared in various ways; image denature was most preferred, followed by dissimulate, represent, and replace. This study shows that image analysis of fashion photographs and applying the perspective of simulacre when creating artworks can be a way to obtain rich qualitative data in the future.

This study is a theoretical research to investigate a methodological framework for analyzing the representation of women in fashion photography. For this study, this article attempts to develop a conceptual framework of the visual representation system through Lacan’s gaze theory, and analyze the representational aspects of women configured by gendered characteristics in the visual representation system. Structuralizing the visual representation system based on that theory, the gaze, the image/screen, and the subject of representation in the Lacan’s triangle diagram are replaced by the camera as the signifier of gaze, the representational image, and the seeing subject respectively. In the visual representation system, the camera creates a male-oriented visual field and structures a relationship of gendered power between male gaze as the seeing subject and female eye as an object to be seen. Looking into the representational aspects of women in this visual representation system structuralized by male gaze, women are represented in a way that reflects male desire through masquerade to comply with the patriarchal gaze, or differences that emphasizes the uniqueness and autonomy of women released from a patriarchal discourse. This study would be significant in that it provides theoretical basis for an analytic approach to the representation of women in fashion photography which we accept as a fixed one through the ideology of naturalization.

This study, which focuses on a masquerade, starts from the concept that all men exist as visual objects as well as visual subjects before discussing an issue of sexuality to inquire into masquerade characteristics of fashion photography. Masquerade is a concept that can describe various and multidimensional attributes of humans in social norms prescribed separately for men and women till now, and the concept has not yet been introduced in the field of fashion. However, it is considered a measure to analyze contemporary expressions of sexuality, on which a need for this research is raised. This study looks into the basic concept of the object and the ego through a psychoanalysis-related literature review. This study, then inquires into Jacques Lacan's notion of gaze and Roger Caillois's theory of mimicry through related specialty publications. This study reinterprets the concept of masquerade from Lacan's perspective and carries out an empirical analysis of masquerade characteristics in contemporary fashion photography based on the result drawn in parallel. Sexual masquerade shown in fashion photography based on the concept of masquerade is as follows: first, it appears as normative sexual description, divided into male and female by social norms; second, sexual ambiguity, obscuring the distinction between the sexes through playful and bombastic forms; and lastly, sexual subversion, disguising as the opposite sex through putting on clothes of the opposite sex.

본 연구는 2019년 메트로폴리탄 뮤지엄 전시와 멧 갈라에서 제안한 대표 키워드인 수잔 손택의 ‘캠프’의 관점에서 현대 패션의 유행 현상을 포토그래퍼 팀 워커의 패션사진을 통해서 그 특성과 의의를 살펴보았다. 연구의 목적은 다음과 같다. 첫째, 수잔 손택의 캠프와 팀 워커의 패션사진에 관한 이론적 고찰을 통해 연구 방법론을 모색한다. 둘째, 패션에 있어 캠프의 주요 의미를 규정하고, 그에 따라 팀 워커의 패션사진을 유형화한다. 셋째, 캠프의 관점에서 팀 워커 패션사진의 특성을 도출한다. 이에 따른 연구 결과는, 첫째, 수잔 손택의 캠프는 동시대 패션의 유행 현상을 이해하는 연구 관점이자 방법론으로의 적용은 타당한 것으로 나타났다. 둘째, 팀 워커의 패션사진은 캠프의 인공적인, 중성적인, 유머러스한으로 유형화 될 수 있었다. 셋째, 수잔 손택의 캠프 관점에서 팀 워커의 패션사진은 초현실적인 스토리텔링, 뉴트럴, 가벼움의 특성으로 도출되었다. 현대 패션에 나타나는 다양한 유행 현상을 이해하기 위한 연구 관점으로 수잔 손택의 캠프와 패션의 표현 매체로서 패션사진의 연구를 통해서 도출된 결론은 인공적인-초현실적 스토리텔링, 중성적인-뉴트럴, 유머러스한-가벼움으로 관련 후속 연구의 기초 자료로 활용될 수 있을 것이다.