The present Horst exhibition is a showcase of the numerous ways fashion photography reveals not only sartorial ideas and aesthetics but also offers important information about design, society, and art history. The show is spread over several rooms; it showcases the first time that German-born Horst Paul Albert Bohrmann (known simply as Horst) was into Europe’s interwar artistic scene before launching his work in America and the United States, where he was an American citizen in 1943 and grew immensely.
Summer Fashions, American Vogue cover May 1941. (c) Conde Nast / Horst Estate
In terms of a body, the work of Horst illustrates fashion photography’s growth as a form of art. It is crucial to note the role that fashion publication major Conde Nast played in this evolution, and the exhibit highlights this collaboration. Fashion editors and models who played an important role in the development of Horst’s aesthetic are emphasized. The striking photographs are carefully organized to highlight his ties with other notable photographers of the time, such as Hoyningen-Huene as well as Cecil Beaton, his close friendship with the model Lisa Fonssagrives, and Vogue editor Edna Wolman-Chase’s backing for his works.
This is a clear indication of the meticulous selection process involved in choosing the ideal photographer for a specific project and also the best fashion editor. The entire mix of clothes, people, and accessories should be in harmony with the art direction and set to ensure that a common vision is realized. The show cleverly brings the hidden complexities of work to light and the laborious process hidden behind the shiny final product being revealed.
The pictures are breathtaking. The famous 1939 photograph of the rear view of a model dressed in an unassuming Mainbocher corset can be seen here, and so do his pictures of Coco Chanel, Salvador Dali, and an array of screen, stage, and fashion actors, ranging from Gary Cooper to Rita Hayworth and ballerina Irina Baronova. In examining this array of stunning images all in one location, Horst’s deep knowledge about the human body and his admiration of its curly lines is revealed. The majority of his photographs are focused on meticulously arranged posture and gesture – not only to show the trendy silhouette but also to search to find a balance in the components of each composition.
Fashion editors are notorious for demanding detail. This is to satisfy designers who wish to see their work properly showcased and also to promote visually and, in the literal sense, the clothing and accessories displayed. Horst employs light and shadow to achieve this goal. Faces can be obscured by dark mornings, but shimmering jewelry is visible, and more intense light and poses enhance the flow of a dress.
Horst’s work was instrumental in creating some of the myths that surround high couture. His ideas are of Lanvin, Vionnet, Molynuex, and Schiaparelli. Designs are viewed through the lens of modern art. Romantic and classical inspirations are incorporated into architecture and juxtaposition. A surrealist dismemberment of the body provides a modern lens.
