By Alison Bancroft
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Indd 45 12/01/2012 12:28:26 4 6 f a s h i o n a n d p s y c h o a n a ly s i s language being represented within the photographic medium itself. At the same time, beauty, which under the terms of surrealism only occurs in the ‘marvellous’, the world of phantasy and the Lacanian imaginary, is also manifested in fashion photography. There is then a case to be made for fashion photography representing the interface between subject and object, as well as the interface between the three psychic realms.
The true representatives of fashion are often those whose surprising originality leads them to a very private outward expression of themselves. 42 Evidently, fashion is tacitly understood in terms of an identification that reinforces the self. 43 The fashion photograph is a very particular instance in visual culture. It is at once ubiquitous and ephemeral. It is found in glossy magazines and on websites, but is equally at home in museums and galleries, and it is reprinted in lavishly illustrated coffee table books and academic texts alike.
However, the discovery that hysteria is psychic rather than physical is not his only legacy. Charcot was, and remains, a controversial figure, and his studies in hysteria are as contested as they are legendary. His patients were called on to perform their hysteric fits under hypnosis at the weekly lectures Charcot gave in the amphitheatre at Salpêtrière, and he employed photographers and artists to record the seizures suffered by the patients during their time at the hospital. These photographs were published as the three-volume Iconographie Photographique de la Salpêtrière (1879–80).
