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Paul Getty Museum, who is also the book's author, wrote. 'Long overlooked, the gradual integration of fashion photographs into museum collections will make it easier for these pictures to be evaluated in terms of the larger history of the medium of photography.' What¿s so funny, William? Duke of Cambridge struggles to contain his giggles during RAF Centenary service ¿ but a cool Kate manages to keep her composure A different style: This frame shot by Sheila Metzner in 1986, titled Uma in Dress by Patou, shows how versatile fashion imagery produced over the course of that decade could be Iconic: Kate Moss appears in this playful snap taken by British photographer Glen Luchford in Times Square back in 1994 Artistry: The book reflects the impact of technological progress on photographers and their work. British photographer Richard Burbridge created this black and white silhouette in 2007 Expert: French photographer Sarah Moon, who became the first woman to ever shoot the Pirelli calendar in 1972, took this vintage-looking image in 2000 Modern: The shots reflect the rise of fashion bloggers with the inclusion of frames by The Sartorialist's Scott Schuman The book is divided into five parts, each reflecting a different moment in the history of fashion photography. Its first chapter, From Contrivance to 'Naturalism', stretches from 1911 to 1929. In it, Anne McCauley, a professor of photography history and modern art at Princeton University, analyzes the works of photographers such as Adolf de Meyer and Edward Steichen and their role in shaping modern fashion imagery. McCauley also examines the impact of magazine tycoons Condé Nast and William Randolph Hearst in creating fashion photography as we know it. A second installment, titled 'Style in the Face of Crisis' and covering the years 1930 to 1946, see Martineau reflect on the evolution of the industry amid the Great Depression, which saw photographers use an increasing amount of color. That chapter also documents how the fashion world turned its attention to the United States, rather than London and Paris, during World War II. The period extending from 1947 to 1969 is told in a chapter called Letting the Skirts down, in which Susanna Brown, a curator of photographs at the Victoria and Albert Museum, takes a look at the post-World-War-II era as well as the transition from 1950s-style femininity to the explosion of styles that marked the 1960s. Michal Raz-Russo, an assistant curator of photography at the Art Institute of Chicago, analyzes the next period, which is dubbed From Rebellion to Seduction and goes from 1970 to 1989. The ongoing sexual revolution was reflected by the works of photographers such as Helmut Newton, Guy Bourdin, and Herb Ritts, while fashion photography also bore the mark of the movement for women's empowerment.
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