Explanation
The reason that I offered that background concerning those three events—Richard Avedon’s groundbreaking fashion photography, the emergence of Lauren Hutton as a non-traditional model, and the broader cultural rise of supermodels in the 1970s—is because it helps me to explain what The Face of Change was doing socially, culturally, and politically when it was created.
These events mark a turning point in how models—and women in general—were represented in mainstream media. Avedon’s photography challenged the idea of the model as a passive, perfect figure. He brought movement, emotion, and personality into fashion imagery. In my piece, I respond to that legacy by emphasizing expression over perfection. The subject is not just posing—they’re participating. That sense of active presence was something Avedon championed, and it still feels revolutionary today.
Lauren Hutton’s rise as a supermodel was equally important. Her gap-toothed smile, at the time considered a flaw, became iconic. She disrupted narrow beauty standards and opened the door for greater diversity in modeling. In *The Face of Change*, I reference that disruption by leaning into asymmetry and individuality. The face I created isn’t conventionally beautiful—it’s meant to suggest strength through difference, a quiet confidence that resists standardization.
Finally, the 1970s saw the cultural elevation of the model to celebrity status, giving women in fashion more agency and visibility. But that visibility was double-edged—it brought both empowerment and objectification. My piece explores that tension. There’s an intentional ambiguity in the gaze: Is the subject being looked at, or are they looking back? That question lies at the heart of the piece, and it invites viewers to consider the ongoing dynamics of power in visual culture.
By situating The Face of Change within these three events, I hope to show how images don’t just reflect culture—they shape it. This work isn’t just about fashion history—it’s about reclaiming representation, honoring self-expression, and questioning the systems that define who gets to be seen and how.
work cited:
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