L’identità transgender della fotografia di moda negli anni Ottanta. I casi Newton e Scianna

At the beginning of the Eighties, the discussion around the photography’s issues is influenced by an anti-ideological climate. Core of this discussione is the difference between the so-called “pure” pho- tographers and the “artists” photographers, a difference which has become increasingly evident in the previous decade. We may define “pure” the photographers mostly interested in technical and lin- guistic aspects of photography, while the “artists” photographers are mostly interested towards the conceptual aspects of photography. The overcoming of this rigorous opposition finds a solution inside fashion photography, a field on- tologically suitable for hybridization process, thanks to two photographers who, in different ways, helped the medium in redefining its identity. The first one, Helmut Newton, ironically turned voyeurism, a photographic pathology, into a style, mixing pictorial and conceptual aspects. The second one, Ferdinando Scianna, a very pioneer of the anti-ideological turn typical of the Eighties, questioned his photoreporter skills accepting assigne- ments from the fictional world for excellence: the fashion communication.