Fashion features ample things and ideals. It challenges and incites ontological and philosophical questions. It encourages insightful thinking and inquisitive pondering. It is easily a very cyclical phenomenon and so enigmatic, as it is composed of binary elements, such as inclusive versus exclusive, skinny or slender versus plus-sized, subtle or simple versus extravagant and showy, minimal versus baroque, and mainstreams versus hipster.

Fashion is not only an expansive, multidimensional field of aesthetics and artistic beauty blended with social and cultural and philosophical elements, but it serves social, psychological, and cultural functions, like iconisation through models, photography, and themes and consumerism through branding and commodification. It establishes and reinforces codes and stylistic conventions.

According to Mauss and Bordieu, “how we clothe the body” is an active process or a technical means to create or represent a bodily self. The body is naturally trained to inhibit and internalize postures, movement, and gestures. Bodies are worn through technologies of movement, gesture, projection, and restraint.

You can have personified fashion. You can find yourself through it, no matter what you image is. Chanel Park, who never expected to fit into her fashion world’s realms, reflects she did not fit the image. She, however, is in the fashion world and she finds depth and diversity in it.

Models like Marquita Ping, Sabina Karlsson, and Georgia Pratt, walked on the runway that featured a notable amount of plus-size models, according to Parks. She reflected that gender identity has been played with but that racial and cultural identity and diversity was more prominent and dealt with this year at New York Fashion Week.

Seeing fashion is everywhere; it is unavoidable. Relating to it is made easier by diversity, depth, and breadth and meaning becomes more evident.

Bill Cunningham, the fashion photographer who died earlier this year, was paid tribute to at New York Fashion Week (NYFW.) Photographers dressed reminiscent to Cunningham, donning a blue overshirt that he was known for wearing, according to Erica Schewigerhausen at NYMag.com.

His absence was prominently felt at NYFW this time, since he was not there to do his job. The touching tribute to the late and legendary photographer was enacted by 75 photographers. On the morning of Friday, Sept 9, 2016, the blue smocks were distributed and the tribute took place.

According to Rosemary Fietelberg at WWD, a memorial for the photographer has also been set up at Bryant Park. Upon the late shutterbug’s death, he can also be recognized for his use of the bicycle and for his incredible and profuse contribution to New York’s fashion scene and documentation.

The visionary lensman’s work will also be on display, running from Sept 21 to Sept 25, according to Feitelberg’s article at WWD. It will take place at the fifth yearly Photoville event, at the Brooklyn Bridge Plaza.

It is important to appreciate Cunningham’s work, especially in the fashion world and how he conducted his photography. His strive to highlight the main issues in fashion in commendable. He illuminated that individuality and self-expression are both immensely important in fashion.

Of course, being a journalist in ways as a photographer, Cunningham proved that photography is indeed vital to the documentation of fashion—the field it thrives in and its life-cycle. Timeless fashion, past and present was a theme evident is his work, creating a timeline in his 40 years in the field!

Epitomizing an enigmatic vibe, the genuineness of using actual models and the idea of representing fashion features through undisclosed imagery and photography resonates an imaginative approach to editorial trends this season.

That is why journalism is so intriguing and unrestrained a field, it is where you can be infinitely playful and innovative. Irony is embedded as faceless and lifeless accentuates life and authenticity!

The impossible is envisioned as possible in these editorials, whether it is with make up or anything else you might wear. Accessible and communicative, the editorials showcase whimsical, ingenious, and envision the impractical as real and doable, thus contributing a characteristic newness to journalism, fashion, and art.

The editorials feature gothic streetwear and retro streetwear along with obscured, blurry portraits. The editorials additionally play with age, showcasing grandparents as models. This use of regular people and actual models adds a validating feel.

With dramatic beauty editorials to be complemented by intangible, unfeasible make up schemes, the editorials this month shine through with engaging fan photography included. They are notably expressive, with rocker style showcased along with retro and candid sportswear. Collages and active suburban wear showcased in the editorials, is added to by the abstract concepts complemented by body paint.

Some models are personified in a chameleon-like adaptability, where they encase a range of looks. Metamorphic, forthright, and open-ended, these concepts are open to interpretation, and not only that, but are also susceptible to insight and discussion. Paradigmatic shifts in fashioning of fashion, itself, art, and journalism, or other ways of communicating, can be subtle and go unnoticed, but they can bring excitement, novelty, and newness.

To access the entire list, go to Trendhunter.com!

Vogue Fashion Editorial from Turkey.

Pop Art Editorial Photography.