Because a fashion photo is more than a pretty picture…
Dissected by Nicole Clinton.
The print advertisement for leading Italian Design House, Giorgio Armani’s women’s fragrance Acqua di Gioia simply portrays a beautiful model, Emily Didonato, starring at the viewer from a bed of tropical greenery. The image captures a scene that occurs after the culmination of the television commercial, which sees the model running through an exotic island location in the lashing rain. The image is only really properly brought to three-dimensional life if the viewer is familiar with the motion picture advertisement that is sublimely enhanced by an epic, romantic score. However, the image-maker’s ability to instil the cinematic aura of the moving commercial in the fixed visual flawlessly embodies what a good fashion photograph encapsulates in that it feels like a still from a film. It conveys a glimpse of a narrative of a dream that the designer aspires for their product to induce in the minds of the public.
The colour scheme employed in the photograph takes its inspiration from the ‘Acqua’ or water of the perfume’s title as various shades of blue dictate the image. The luscious foliage upon which Didonato rests is a petrol-blue colour, darker than what one would usually expect to witness in a jungle setting. The greenery is loaned bright tinges by the way that the light illuminates it in certain areas. These hints of illumination are also observed on the model’s skin through cosmetic high-lighting of her nose, neck and arm. Her make-up look features mainly metallic tones, perhaps an homage to the elements to which water belongs. Her metallic pink lips and gold shimmered eye-shadow subtly add a glow to her matt skin. Didonato’s eyes additionally adhere to the water tone colour palette. Her piercing eyes contain three shades of blue, with the lightest tone possessing a shiny radiance. The idea of moisture is not just injected into the visual through colour association, but also through the physical appearance of water droplets on the model’s skin and in her damp, tousled hair. While, this primarily asserts the prominence of water, it also establishes a sense of sensuality in the visual.
The framing of the photograph is skilfully constructed with the model being framed by the rich greenery. The dark foliage fills in the left hand side of the image and cushions this whole side of the models face and figure, hence allowing for her bright skin to shine in contrast. A thin row of leaves lines the opposite side. The space between this and the right hand side of the model’s body presents a dull turquoise sky, shrouded in mist and fog. Perspective is created through the faded image of similar plant-life behind the model. This adds density to the picture and the damp climate further suggests the theme of water. The significant status of moisture and vegetation in the aesthetic illustration of the advertisement, distinguishes the prominent role of nature. Nature’s reputation as a mother figure or for being feminine in general, aids the promotion of the product as a womanly product, despite the cool, harsh tones of the colour scheme.
The perfume bottle and accompanying caption also contain many interesting allusions. The shape of the bottle is curved and is tinted in aqua tones, hinting at the liquidity and continuity of water. It displays the name of the fragrance, Acqua di Gioia, and the name of the designer, Giorgio Armani, thus demonstrating a play on words as many of the same letters are employed to construct both terms. The title of the perfume could be seen to use the poetic technique of assonance with the euphonious repetition of vowel sounds forming a fluid effect, again summoning the notion of water. The caption attached to the product “The Essence of Joy” highlights a slight paradox as the general colour scheme and expression of the model does not appear to imply happiness.
In fact, the overall atmosphere of the image is quite eerie as there is a sense of lifelessness in the model’s gaze and an alternative idea of exoticism is presented as an undercurrent of peaceful melancholy reigns in the visual. The image’s triumph is the way it balances this cold aura with the glamorous treatment of the natural setting, the illuminating glow of the model and the focus on water as a refreshing element. Perhaps, the vision is drawing on water’s dual ability to give life and to take it away…
The Vagabond Quarters 