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Paola Mattioli's work in fashion photography is characterized by keywords such as "portrait," "canon," and "representation of women." Through collaborations with prominent magazines like "Amica" and the feminist publication "Grattacielo: Women's Eyes on the World," Mattioli establishes herself as a key figure in feminist photographic practices. Transitioning from socio-cultural reflections of the late '60s, she began publishing fashion spreads in Italian magazines in the '80s, continuing into the 2000s, culminating in collaborations with Christian Dior. Mattioli's fashion photography during the 1981-1991 period encompasses two types of projects: collaborations with magazines and direct partnerships with brands like Enrica Massei and Nanni Strada. She delineates two approaches to her fashion photography: one focused on portraiture and the other on scene creation, both aimed at redefining cultural models, particularly those of femininity. A critical exploration of fashion photography requires moving beyond viewing fashion as mere clothing, as it embodies attitudes, linguistic forms, and lifestyle choices. Fashion serves as an identity vehicle, contributing to identity formation, as discussed by Lars Svendsen and Roland Barthes. Mattioli engages in sociological and aesthetic perspectives, particularly addressing the concept of identity in relation to subjectivity. Operating in a predominantly male-dominated context in fashion photography, Mattioli challenges the male gaze and redefines female representation through her lens. Her work intersects with feminist discourse, in line with Eugenia Paulicelli's view that fashion provides a vital space for identity construction and resistance against stereotypical images. She consciously subverts traditional fashion poses, offering new perspectives rooted in feminist concepts. |
