POSE

Photo fashion mexico today

Guadalupe clown Witnessed by John McEnroe by Giancarlo CruzFoto Museo Cuatro Caminos

Pose: photo fashion Mexico today

In the vast world of photography, fashion photography is the field that has truly broken new ground and pushed the boundaries of images.

Collapse no. 01 (2015) by Juan HernándezFoto Museo Cuatro Caminos

In previous centuries, portrait painting abused the pose as a way to convey a character’s grandeur and highlight the face of a time-defying beauty.

P1, Juan Hernández, 2016, From the collection of: Foto Museo Cuatro Caminos
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Fashion photography does not claim to meet the standards of truth depicted in documentary photography, nor the psychological depths of staged photography.

Collapse no. 01, Juan Hernández, 2015, From the collection of: Foto Museo Cuatro Caminos
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As a result, it tends to be more playful, more light-hearted, and more experimental; it is the testing ground for new definitions of gender and a reflection of social change.

The Truth no. 01 (2016) by Juan HernándezFoto Museo Cuatro Caminos

Its motivations are beauty, style, and the essence of fashion.

Collapse no. 01 (2015) by Juan HernándezFoto Museo Cuatro Caminos

With the decline of print editorials, this type of photography is now as free as the pictures on Instagram, and can compel an audience to like, share, and personalize it endlessly.

Loverboy, Lover magazine (2016)Foto Museo Cuatro Caminos

Despite the disruptive nature of fashion photography, if you want to make a living in Mexico as an editorial fashion photographer, your images will inevitably end up being “vanilla.”

Libertine, Lover magazine (2015)Foto Museo Cuatro Caminos

Clear-cut images of happy, rich, white models on a yacht, on the beach, or in the trendiest neighborhoods, with an imagination as limited as a soap opera.

GianinaFoto Museo Cuatro Caminos

A form of indoctrination dictates that these are the images that the audience, the media, and brands want to see.

Gianina, From the collection of: Foto Museo Cuatro Caminos
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In contrast, an alternative kind of Mexican fashion photography is being produced that looks both outwards and inwards at the same time, thanks to the dynamic culture of the Internet.

Gianina, From the collection of: Foto Museo Cuatro Caminos
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The aim of Pose is to chart the current panorama of Mexican fashion photography in its most innovative form.

Loverboy, Lover magazine (2016)Foto Museo Cuatro Caminos

Fashion photography differs from its peers: it is more like a demiurge. Rather than being a collector of moments, it is the Dr. Frankenstein directing the scene: the styling, fashion, lights, makeup, and models.

Alexandro, Lover magazine, 2016, From the collection of: Foto Museo Cuatro Caminos
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These many parts come together to form the modern-day titan of images: fashion photography.

Candy Ken (2016)Foto Museo Cuatro Caminos

The artist is collaborative, creating aesthetic constructions in which the pose and the artifice appear as Photoshop layers.

Candy Ken (2016) by CROM MagazineFoto Museo Cuatro Caminos

In these images, each accessory and embellishment is created in the laboratory. Images of bodies in staged scenes are created, not in a strictly three-dimensional space, but on a computer screen.

Dylan (2015) by Tony SolisFoto Museo Cuatro Caminos

The stage and the body come together in fashion, transgressing the conventional in search of beauty in what is exceptional, unique, and different.

Ferpection no. 3 (2015) by Tony SolisFoto Museo Cuatro Caminos

What differentiates it is that it is not the traditional image of fashion, even when it appears to be. Instead, it is a different way of interpreting the body as an aesthetic in its own right, qualified by the fashion that is used, and seen through the identity it is given by the staged scene around it.

Low budget fashion story, Tony Solis, From the collection of: Foto Museo Cuatro Caminos
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Fashion photography enables the artist to rebel and break the mold, or simply repeat, when it comes to choosing or constructing locations and scenes.

Low budget fashion story with cheetos, Tony Solis, 2016, From the collection of: Foto Museo Cuatro Caminos
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Fashion is everywhere, not just in perfect conventions.

Ferpection no. 2 (2015) by Tony SolisFoto Museo Cuatro Caminos

Fashion photography constantly offers new ways to approach beauty.

Ferpection no. 4 (2015) by Tony SolisFoto Museo Cuatro Caminos

Today, plenty of images rebel against established “white beauty” to construct identities, describe brands, and renew worldviews.

Ferpection no. 1 (2015) by Tony SolisFoto Museo Cuatro Caminos

Photography is used as a way to construct new, unique, and exceptional bodies, and fashion allows us to see these other body images as beautiful. Just a few years ago, these models would never have been included on catwalks, but now it is almost impossible to imagine the 21st century without semi-shaved heads and brightly colored hair.

Duality (2015) by Salvador HernándezFoto Museo Cuatro Caminos

The most interesting fashion photography in Mexico tends to be urban; the rural landscape is rarely portrayed.

You're Nobody by Salvador HernándezFoto Museo Cuatro Caminos

Curiously, the younger generation of fashion photographers, brought up among screens in the digital era, does not appreciate open-air fashion, and the commonplace prevails over rustic elements in their images.

Black (2014) by Salvador HernándezFoto Museo Cuatro Caminos

One common location that has been badly managed by Mexican fashion film and photography is that of the “abandoned ranch,” perpetuating the “popular” construct historically imposed by the elites.

Cut, Salvador Hernández, From the collection of: Foto Museo Cuatro Caminos
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Red (2014) by Salvador HernándezFoto Museo Cuatro Caminos

Polly (2013) by Iván AguirreFoto Museo Cuatro Caminos

Through the corselet reminiscent of Mr. Pearl, the cloud over the face in the style of Yamamoto, and the sexy body image prohibited in the 19th century, the tattoos point to the truth: piercings, scratches, and compresses are the essence of the digital body.

Altered States (2014) by Iván AguirreFoto Museo Cuatro Caminos

Internet culture has had a huge impact on fashion photography, moving it from the pages of magazines to purely online publications, with one eye on websites and the other on Instagram.

Avant (2013) by Iván AguirreFoto Museo Cuatro Caminos

The fluidity of online images has affected the depictions of identity generated in fashion photography.

Untitled (2013) by Iván AguirreFoto Museo Cuatro Caminos

And now there are images reclaiming the aesthetic of former subcultures.

Avant (2013) by Iván AguirreFoto Museo Cuatro Caminos

Avant (2013) by Iván AguirreFoto Museo Cuatro Caminos

Smoke (2014) by Iván AguirreFoto Museo Cuatro Caminos

A set of new identities is also being created, such as “kawaii” in Asia—put simply, the “cute” aesthetic.

Space (2014) by Iván AguirreFoto Museo Cuatro Caminos

Mass popular culture is founded in fashion. Innovation is derived from what happens on the street in fleeting, everyday occurrences, and is no longer the reserve of exclusive salons and stuffy gala events.

Sofia (2014) by Iván AguirreFoto Museo Cuatro Caminos

The Freak, Iván Aguirre, 2012, From the collection of: Foto Museo Cuatro Caminos
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Andrea Head, Iván Aguirre, 2012, From the collection of: Foto Museo Cuatro Caminos
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The mindblowing experience of Sunday supplement cartoons.

Him (2014) by Iván AguirreFoto Museo Cuatro Caminos

Ren and Stimpy, Cow and Chicken, and the villain known as “HIM” in The Powerpuff Girls: the attitude of the rascal or trickster must be adopted in order to live (well) in the on-screen world.

Distorsion, Iván Aguirre, 2013, From the collection of: Foto Museo Cuatro Caminos
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Changes I, L´Officiel (2015)Foto Museo Cuatro Caminos

Young photographers take innovative shots as a result of their more varied visual worldview: classical art, famous photos, and pop culture.

Changes II, L´Officiel (2015)Foto Museo Cuatro Caminos

There are images that remind us of Norman Rockwell or the Mona Lisa, but in a 21st century incarnation.

Credits: Story

Curator:
Gustavo Prado
Melissa Valenzuela

Text proof:
Samantha Urdapilleta

Design
Raúl Flores

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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