Over the past century, photography has played a pivotal role in shaping and reflecting fashion’s evolving landscape, capturing iconic moments that continue to influence designers, models, and audiences alike. Some standout images from this period reveal the artistry and cultural significance embedded in fashion photography.
In 1963, Melvin Sokolosky produced one of his most memorable works, a twelve-page editorial titled “Bubble on the Seine” for Harper’s Bazaar. Inspired by the intricate details of Hieronymus Bosch’s 15th-century triptych "The Garden of Earthly Delights," Sokolosky portrayed French model Simone D’Allencourt encased in a transparent Plexiglas bubble drifting over Paris. The photograph featured D’Allencourt wearing a double-breasted suit and silk coat designed by Philippe Venet. Sokolosky, who passed away in 2022, left behind this enduring image that continues to inspire in the realms of fashion and photography.
In October 1971, American photographer Ron Galella captured Jacqueline Kennedy Onassis stepping out near Central Park, producing an iconic portrait often referred to as Galella’s “Mona Lisa.” The image marked a departure from the former First Lady’s formal style, showcasing her in more casual attire such as jeans and a ribbed henley. This candid portrayal has had lasting cultural resonance, influencing fashion and public perceptions of Jackie Kennedy in later decades.
The fusion of advertising and fashion was notably embodied by Richard Avedon’s 1980 Calvin Klein Jeans campaign featuring then-15-year-old Brooke Shields. The campaign, driven by a provocative script from copywriter Don Arbus, pushed boundaries with its suggestive tagline: “You want to know what comes between me and my Calvins? Nothing.” Despite controversy and broadcast censorship, the campaign significantly boosted demand for Calvin Klein jeans and is remembered as a milestone in edgy, quotable advertising.
French photographer and illustrator Jean-Paul Goude’s collaborations with Jamaican singer Grace Jones further blurred lines between fashion, music, and art. In 1981, Goude’s striking image for Jones’s “Nightclubbing” album cover captured her in a blue-toned, square-shouldered Armani tuxedo, accentuating her distinctive flattop hairstyle. This image has maintained considerable influence, inspiring contemporary designers like Anthony Vaccarello in his 2016 Saint Laurent debut collection.
The 1990 British Vogue cover shot by German photographer Peter Lindbergh assembled five models, including Linda Evangelista, for what would shape the era of the supermodel. The editorial emphasized natural beauty and relaxed styling, using Giorgio di Sant’Angelo bodysuits with faded Levi’s to create a casual yet iconic aesthetic. This image, alongside George Michael’s “Freedom! ’90” music video featuring the same models, cemented fashion’s deepening connection to pop culture.
By the late 1990s, British photographer Nick Knight was pioneering digital manipulation in fashion imagery. His 1997 Visionaire magazine photo of American model Devon Aoki featured digitally altered elements, such as a safety pin crossing out her forehead and floral accents along a fabricated gash. The surreal image influenced the cover art for Björk’s album “Homogenic,” further exemplifying how digital art forms began transforming fashion photography at the turn of the century.
Collectively, these photographs showcase how fashion photography over the last 100 years has both chronicled and propelled style trends, cultural shifts, and artistic experimentation, leaving a lasting legacy on visual culture worldwide.