Book Review: Photography, Fashion, and Film by George Hoyningen-Huene
George Hoyningen-Huene, Erna Carise and models around a Michelin push-ball, 1930.
Written by Lauren Levesque
The evolution of photography, fashion, and film can be seen through the many trials and errors of designers and artists throughout the years that the human species has existed. From manipulating lighting, colors, models, and scenery, the way an artist interprets their ideas and the reality of them coming alive forms is unique to their individuality. George Hoyningen Huene is no exception. Huene always pushed artistic boundaries but worried he had exhausted his potential. It is also understood from his writing that he had Romantic doubts about the excesses of ‘civilization’ and that the fashion world's frivolities would sometimes exasperate him. In his book, George Hoyningen Huene: Photography, Fashion, and Film, it is learned that Huene’s writing is sharp and vivid. Not surprisingly, clothing inspired him, as he had a vivid imagination and a desire for the beautiful, sinful Parisian designs that were evident throughout his career.
His designs are founded on a world of transparent form, color, and light, creating luminosity without shadows. This unique perspective adds an intriguing layer to his work. Another theme that permeates the vivid pages is his inclination for elegant order, a testament to his meticulous approach to his craft. George Hoyningen Huene’s career began in the creative space of 1920s Paris, and influences from both the classical world and the new machine age shaped his early photographs for Vogue. An important distinction about Huene is that his work was seldom exhibited during his lifetime. Still, in the summer of 1965, it is featured in the Museum of Modern Art’s ‘Glamour Portraits,’ a show of fifty-three pictures by fourteen photographers. The exhibition, which focused on "mythical women," was curated by John Szarkowski.
George Hoyningen-Huene, Harper’s Bazaar
The retro-inspired image transports the viewer to Huene’s time. The woman is seen holding a phone and posing dramatically. She seems annoyed, exasperated, and possibly on the phone with a man. Huene's personality is ignited throughout this photograph, as the bold and burnt reds and oranges paint a scene that is rich in personality. The clothing choice is also crucial as it seems to be a play on a flight attendant uniform; however, the viewers are left to their own vivid imaginations.
George Hoyningen-Huene, Portrait of the Dalis in l’instant sublime, 1939
The above scene is such an incredible example of Huene's whimsicalness. Nothing about this seems natural, and it is quite a vivid display of Huene’s individuality and how he could push the envelope when capturing dream-like narratives. The man behind the woman almost seems to have a devilish grin, with a dramatic hand on her shoulder, while she is looking in awe into the landscape around her. The snail observing a hand-like object adds to the comedic air of the art.
George Hoyningen-Huene, Divers, swimwear by A. J. Izod, 1930.
The isolation that is captured between these two individuals exudes contentment and loneliness. Everything about this image seems meticulous, crafted, and profound. The photographer's perspective is looking into a type of abyss with individuals he may or may not know. The overall mood could be described as isolating tranquility, with the light shadows displayed across the image, and the black and white color allows for an overall peace to encapsulate the image.
