Mode

Fashion

 

Extravagant cuts, bold colors, and graphic patterns: these are the defining features of 1980s fashion. In this dazzling era, a wide range of styles coexists—from rebellious punk fashion and flashy aerobics outfits to refined couture in cashmere and pinstripes. The loosening of social norms and the struggle for equality lead, not least, to the introduction of unisex clothing and trouser suits for women. A silhouette shaped by shoulder pads lends women a touch of masculine presence and enters fashion history as “power dressing,” while young men suddenly begin wearing overalls and cardigans. In a time marked by fundamental transformation in the fashion world, numerous fashion houses and mail-order companies such as Marc O’Polo, Gerry Weber, and Bonprix emerge, offering affordable clothing to a broad audience. In Joachim Giesel’s fashion and model photography—distinguished in particular by carefully staged, almost absurd settings—the spirit of 1980s fashion is vividly reflected. Giesel is convinced that interest in the advertised object can be heightened through the use of unusual perspectives and visual or conceptual contrasts. By means of backdrops that often bear no direct relation to the actual subject, he aims to create striking effects. One photograph, for example, shows a model in an elegant outfit in the dunes of Gran Canaria. Preparation plays a crucial role: “I have to complete 80 percent of the work before I even pick up the camera,” Giesel explains. This includes assembling props and selecting an appropriate background—areas in which he demonstrates a keen sensitivity. In this way, he transforms the ordinary urban backdrop of Hanover into idyllic scenes intended to evoke a “springtime in Florence.” Establishing oneself in the advertising industry is a challenge, as major commissions are often awarded to already established photographers. For this reason, Giesel compiles portfolios with which he presents himself to advertising agencies. A look at his guestbook reveals that he works with (inter)national models who travel to Hanover to collaborate with him. He skillfully navigates between art and commerce by producing both independent work for his portfolio and commissioned projects published in fashion catalogs and brochures, including for local fashion houses such as “Liebe – Das Haus für Schönheit und Mode” as well as menswear retailers like Fabius or Reuker in Hanover. These catalogs are aimed at a more conservative audience with a preference for clothing made from high-quality materials such as cotton, linen, or silk. While men’s fashion is dominated by suits and wool sweaters in muted colors, women’s fashion often features combinations of skirts and blazers.

LAURA ZOË ROSENTHAL

 

| Kurt Walther, Modekatalog Orientierung. Frühjahr/Sommer ’88 (Fashion Catalog Orientierung. Spring/Summer ’88), Bayreuth, 1988

| Lady Kobbe – Modehaus am Kleinen Plan (fashion house at Kleiner Plan), Modekatalog Flirt mit dem Sommer (Fashion Catalog Flirt with Summer), Celle, 1989

| Liebe – Das Haus für Schönheit und Mode (The House for Beauty and Fashion), Modekatalog Liebe im Frühling … (Fashion Catalog Love in Spring …), Hanover, 1987

| Fabius – Der Herrenausstatter (the men’s outfitter), Modekatalog Masculin – Kompetenz für den Herrn. Frühjahr/Sommer ’88 (Fashion Catalog Masculin – Expertise for the Gentleman. Spring/Summer ’88), Trier, 1988

| Meyer am Markt, Modekatalog Mode kommt von uns (Fashion Catalog Fashion Comes from Us), Holzminden, 1986

| Erdmann, Werbeanzeigen Erdmann erkennt man (Advertising Campaign “Erdmann erkennt man” / “You can recognize Erdmann”), Hanover, 1978