The following is an excerpt from a piece originally seen on The Style Con:
There is something about the way the eye of a woman falls on one of her own kind. It is full of an awareness of experience, devoid of accidental exploitation or perplexed observance—that distanced watching of flamingos wander about a cage, beautiful birds in a gilded zoo. That knowing gaze is something documented, purposefully or otherwise, by female photographers. You’ve been there. I’ve been there. We know. All of it, encapsulated in a simple frame.
While male photographers can gamely attempt to encapsulate the experience of what it means to be girl, too often it’s a mere piecemeal projection of the various things women are capable of being. There are Steven Meisel’s powerhouse vixens, Juergen Teller’s blown-out and over-exposed icons and ingénues, Paolo Roversi’s beautiful ghosts. These all represent parts of women told in stories too brief. And no matter how close these guys come to getting it—I meanreally getting it—there is always a sense of distance, a mark just barely missed.
And then there’s Corrine Day.