Metamorphosis; Edward Enninful Addresses Fashions Diversity Problem With His Debut Cover For British Vogue
British Vogue is addressing its diversity issue with new editor-in-chief Edward Enninful revealing his first ever British Vogue cover, featuring 25-year-old Ghanaian-British model Adwoa Aboah. The much anticipated December 2017 issue...
Edward Enninful Fashion illustration created by @fashionlawbusiness
British Vogue is addressing its diversity issue with new editor-in-chief Edward Enninful revealing his first ever British Vogue cover, featuring 25-year-old Ghanaian-British model Adwoa Aboah.
The much anticipated December 2017 issue - marks the beginning of a new era at the magazine, as Vogue takes a new turn - with Enninful having previously pledged that under his reign as editor-in-chief that more diversity will be embraced. The cover, starring Adwoa Aboah, styled by Edward Enninful and photographed by Steven Meisel, according to Vogue "will land on newsstands on November 10." And along with rising model Adwoa Aboah, feautures Victoria Beckham, Letitia Wright, Glenda Jackson, Grace Coddington, Millie Bobby Brown, Christopher Bailey, Gwendoline Christie and Jourdan Dunn, among more.
Enninful, awarded an OBE for services to diversity in fashion in 2016, has highlighted his desire to further increase diversity at the renowned high fashion publication and true to his word has done just that, with this months feauture cover.
Image courtesy of British Vogue; Photographer: Steven Meisel/Vogue
Speaking to the BBC Enninful said: “My Vogue is about being inclusive, it’s about diversity. Showing different women, different body shapes, different races, class...tackling gender."
"You are going to see all different colours, shapes, ages, genders, religions. That I am very excited about. You are going to see less of models who don’t look so healthy.”
Referring to his desire to "create a magazine that was open and friendly."
Signalling A Change In The Fashion Industry?
This comes as a momental juncture for the fashion publication, as Vogue has long been criticised for failing to represent diversity. In the past 12 years and 146 Vogue covers that have been shot under the reign of respected industry pioneer and former editor Alexandra Shulman - not one of those have featured a model of colour, and addressing this lack of diversity in fashion, Shulman previously has blamed this on the consumer arguing that: "in a society where the mass of the consumers are white and where, on the whole, mainstream ideas sell, it’s unlikely there will be a huge rise in the number of leading black models."
Yet however, other editors like the late Franca Sozanni have chosen to deal with the issue of diversity head on - using her position of influence and power as editor of Italian Vogue to inspire and change the face of the fashion - for example, producing an all black issue of Vogue Italia and winning the Swarovski Award for Positive Change in 2016 for taking on big issues such as “diversity, ecology and feminism” and also for her “tireless commitment to fundraising for local and international charities.”
"We cannot use only these girls who are the same," Sozzani says. "We go to the East Side and Russia. We go looking for tall, thin and blue eyes. But we have to scout in Africa, everywhere."
That brings us to the question of how and in what ways culture is produced?
Metamorphosis
Image courtesy of British Vogue; Photographer: Steven Meisel/Vogue
As scholar Sally Engle Merry writes, “every discourse contains a more or less coherent set of categories and theories of action: a vocabulary for naming events and persons and a theory for explaining actions and relationships. . . . Discourses are rooted in particular institutions and embody their culture. Actors operate within one or another available discourses”
But we forget that discourses are also constructed and as Barthes and Bourdieu would probably agree have the ability to construct and also reinforce culture.
Whereas, only a few years ago it was rare to see a model of colour featured in a runway lineup, today, the spotlight on models of colour is increasing. As Aleydis Nissen, PhD researcher at Cardiff University notes - "Enninful, is the first in a new generation of editors who understand the power they have to change the whole fashion industry."
#NOFREEPHOTOS Fashion Photographers Take A Stand For Their Rights
In Milan, this past weekend according to WWD, about 40 photographers have come together publicly to protest against the unauthorised use of their street style photography.Members of the group, which calls itself an "unofficial union" named "The Photographers," have begun adding the agreed hashtag #NoFreePhotos to images uploaded on their Instagram accounts to take a stand against the commercial use being made of their photos.
Fashion week season,
Coverage of Paris, Milan, London, New York fashion weeks; communicating the codes of fashion culture in real time, through images - Street style photographers - arguably are the cultural intermediaries of the system that we call the fashion industry. At least four seasons a year, they help deconstruct and reconstruct the field of fashion. Documenting fashions sub-culture - backstage, in the shows and on the streets - they have a unique talent for their ability to capture all sides of the fashion world.
Through them, the system comes to life, verifying as the famed designer Chanel is known for stating: "Fashion is not something that exists in dresses only. Fashion [in fact] ..is in the street...it has to do with ideas, the way we live, what is happening." And during fashion weeks - the streets truly do become the unofficial documented runways of style.
Yet, in Milan, this past weekend according to WWD, about 40 photographers have come together publicly to protest against the unauthorised use of their street style photography. Members of the group, which calls itself an "unofficial union" named "The Photographers," have begun adding the agreed hashtag #NoFreePhotos to images uploaded on their Instagram accounts to take a stand against the commercial use being made of their photos by bloggers, brands and influencers at fashion events without correct remuneration or acknowledgement. As per a statement released to WWD on the matter, the group asserts that: "Brands, influencers and bloggers regularly make use of these photographers' copyright-protected photos to fulfil their responsibilities to the brands that pay them to wear and promote the garments and accessories which they wear to the fashion shows and events. The statement notes that the objective of the "collective action" is to put a stop to the "disproportionate gain being derived by the influencers."
Fashion Photographers take a stand
The statement establishes that there is "no malice intended with this action" however confirms that the photographers "simply wish to no longer be viewed as a passive entity in the equation of this industry." On Instagram one user commented that: "big/small designers use photos without permission to promote themselves and expect to use your work for free. This has happened to me every season!" Thus, along with the hashtag, group members are now adding to their Instagram bios: "My images are not to be used without express consent of license, contact me to obtain the rights, and more than three million followers, are said to have taken part in the movement across social media networks - Including Nabile Quenum, Adam Katz, Marcy Swingle, Tyler Joe and Eva Al Desnudo.
In response, some bloggers like Bryanboy maintain that many girls are not paid by the brands to wear their clothes, but agree to do so to be "well seen." On his Instagram account, he said: "I obviously understand the photographers' need to be compensated. But then again, when was the last time an influencer demanded a model release form from photographers who sell their images to magazines, retailer websites or the brands directly?Imagine if every influencer or editor or fashion person started complaining that their images are being taken and sold without authorization?" Adding: "I like to think that everyone should win in this symbiotic ecosystem. Think about it: girl gets famous online on her own, gains the attention of brands and starts to go to fashion week/month/circus looking like a clown. Street photos then starts shooting the said girl, often in borrowed clothes and uncompensated, and her images are sold to different outlets... where's the disconnect?"
But the issue here is not about image its about rights. Other influencers, like Shea Marie discussing the matter, maintained that she is not paid to wear the clothes of the brands, but recognised the work of the photographers "who are sometimes overwhelmed by a car, waiting in the rain or under a blazing sun for hours, weeks, and until the end of Fashion Week," she notes.
Notwithstanding the differing views on the matter, the collective action speaks to a larger problem for creatives and cultural entrepreneurs in the fashion industry and that is a lack of respect for rights. A major challenge for those operating in the creative and simultaneously cultural economy is how to sustain business growth. For many photographers the Internet has complicated the boundaries of ownership. Fashion images are cultural currency and operate as a form of symbolic and cultural capital that has the ability boost ones reputation as an icon in the industry. This is reinforced by data that highlights that for some bloggers a single street style shot during New York Fashion Week season could generate as much as $100,000 for them. So it makes sense that photographers are starting to take a stand for their rights. This Unionising marks a growing shift. Earlier this year, the well-known fashion model Gigi Hadid was sued by a fashion photographer for uploading an image of herself to her personal Instagram - without the photographer's consent to use it. Hadid according to court documents maintains an Instagram account, which has over 35 million followers.
The law and fashion photographer rights
What legal rights do fashion photographers have to protect themselves? First and foremost, in terms of the legal position in the UK on the matter - photographs, illustrations and other images will generally be protected by copyright as artistic works.
Who owns copyright in an image?
The person who creates an image ("the creator") will generally be the first owner of the copyright. However, there are various situations in which this is not necessarily the case.For photos, it may depend on when the photo was taken, also if an image was created as part of the creator's employment, rather than as a freelance creator.
What rights does the copyright owner have?
UK copyright law, gives copyright owners of an artistic work has the following four exclusive rights:
1. Reproduction right, or the right to copy the work
2. Distribution right, or the right to issue copies of the work to the public
3. Rental or lending right, or the right to rent or lend the work to the public
4. The right to communicate the work to the public by broadcasting or electronic transmission.
Copyright is infringed when someone carries out any one of the copyright owner's exclusive rights without their permission (and an exception to copyright does not apply). This can be in relation to either the whole or a substantial part of the artistic work. This means that a user will usually need the permission of the copyright owner if they want to perform certain acts, such as copying an image, sharing it on the Internet or posting the images to social media sites.
Moral Rights
Along with copyright the law in the UK gives creators moral rights. However these rights need to be asserted. If you have 'asserted' your 'moral right' to be credited for creating the photo, then that user should acknowledge you as the creator. Such an assertion can often be embedded in the image with metadata. Sometimes uploading and downloading images causes the associated metadata to be removed accidentally. According to the UK Intellectual property office, metadata that is deliberately removed, that identifies you as the copyright owner is unlawful.
Jurisdictions
Copyright protection and subsequent ownership thereof, at least in the UK and most countries in Europe arises automatically, provided the work is recognised as such and is sufficiently original. This means that unlike the US, copyright does not need to be registered to be protected. While the position of ownership and rights in the UK is relatively clear, (the person who takes the photo is usually the owner of the copyright in the photo) in continental Europe - your rights to ownership may depend on whether your photo is taken backstage, during a fashion show or on the street.
France & Italy
The aspects of continental copyright law for creators in Italy and France is by definition more protective due to having an open non-exhaustive list of works that can be protected.However, according to French case law - this higher level of protection for fashion creations, also means that taking a picture of a designers fashion creation during a fashion show - and posting this image online for commercial use could in itself be an infringement.
For example, in France - according to the Fédération Française de la Couture, the French fashion industry's governing body - only certain organisations have the right to reproduce and communicate to the public fashion images taken during Paris Fashion Week. Roberts A. D. et al. v Chanel et al. - Court of Cassation, 5 February 2008 case confirmed this position, where several haute couture companies (including Chanel, Christian Dior, and Hermes) bought legal action against three fashion photographers, that were invited by various fashion houses to shows during Paris fashion week for taking unauthorised photographs of fashion shows and uploading those photo's (for commercial use) to their website. The Photographers were sued for copyright infringement and the Paris Court of Appeal (affirmed by Cour de Cassation) held that they had infringed the copyright of the fashion houses whose creations were featured in the disputed photographs, in the terms of both clothes and also the fashion shows.
Social Media
With Paris fashion week starting today - there seems to be a timeliness about raising the spotlight and conversation around visual artists rights and image use. After all, its a complicated digital landscape out there. Rights are important, and this includes photographers understanding their rights when joining and using social media sites - so that they are not allowing the platform to do something with their photographs that they do not like. Images are fluid currency - and borrowing the term from Hussein Chalayan in the LIKE" era, this (banding together, while albeit only a partial solution to the problem of copyright theft) comes as an important step for fashion photographers in the direction of making 'the insiders' of the industry more aware of their rights.
References
Ashby Donald and Others v France - ECHR, 10 January 2013
Bourdieu, Pierre. "But who created the creators." Sociology in question (1993): 139-148.
Bourdieu, Pierre. "The field of cultural production, or: The economic world reversed." Poetics 12.4-5 (1983): 311-356.
IPO, "Copyright Notice: digital images, photographs and the internet" 2014
Roberts A. D. et al. v Chanel et al. - Court of Cassation, 5 February 2008