Tag Archives: typologies

Jason Evans “Strictly”

This series provides an opportunity for me to sort out some of my thoughts on identity, following listening and reading a couple of OU OpenLearn courses, namely Understanding Identity and Identity in Question.

The courses posit that our identities are partly formed from the inside (how we perceive ourselves) and partly from the outside (how society sees us). Much of each of these is unconscious and we have little control over it, but a portion (they mention 10%) is something we are aware of and have agency over. Identity is about both belonging and differentiation, and we show both through actions and symbols which have meaning to others. Think of teen groups, such as punks and emos as examples.

How we prioritise the elements of our identity depends on the situation (place) we inhabit at any one time, and also where we are in our lives. Two personal examples are shown below, where I have listed some of the more important elements of my own identity in that time and place, in order of their priority at the time.

Some of these elements of identity are externally applied, such as manager, or woman, but others, which may be more important on a personal level, are internal parts of that identity (pregnant, in a relationship).

When applied to Jason Evans’ work Strictly, which was published in the journal I-D in 1991, things get very complicated. Evans was working at the time as a fashion photographer with Simon Foxton and took the typological series for a fashion magazine. The subject is black urban dandies, which is a very particular niche identity, where symbols (eclectic and daring clothing ensembles) are used to express a particular sense of style. I have no idea as to Evans’ ethnicity, but whether or not he is black, it seems highly likely that he has appropriated black dandyism as a means of fashion advertising. The images mix fashion photography with documentary photography in a topological style which has a (false) air of authenticity. Here, we have advertising using identity to both create and sell a certain style, which will apparently make one part of an exclusive group. A great marketing ploy. Fashion, big business and marketing are intrinsically linked in a way that makes people feel both individual and part of a group at the same time.









August Sander and typologies


In photographic terms, typology refers to the grouping together of images on a particular theme, which could be anything from water towers, facial types and signposts, through to ideas, trees and indeed anything else that a photographer feels the desire to collect. Most of us have objects that we feel the need to document whenever we see them, and my own are windows, doors and abandoned farm machinery. I cannot pass an interesting example of any of these without taking a picture. It is impossible to say why I do this, but it must appeal to the inner collector within us.

Below is a very small sample from my windows collection as an example.


I have already considered the background surrounding typology in a previous post and so will move directly on to Sander and his version of the genre. However, it is worth mentioning some of the photographers who I have come across lately who work in this field, including Ed Rushka, Thomas Struth, Thomas Ruff and Gillian Wearing. Most recently, I saw a fascinating photographic installation at the Strange and Familiar exhibition at the Barbican, produced by Hans Eijkelboom, which looked at fashion typologies, Taking the idea to its logical conclusion, the Polish photographer Zofia Rydet, who died in 1995 tasked herself (inevitably unsuccessfully) with the enormous project of photographing every house in Poland.

Sander’s most famous series, People of the 20th Century was a set that he hoped would create a visual record of the elements of German society between the wars, ranging from manual workers through to the elite. One can argue at length about how successful or not he was in this venture, but the images themselves are interesting from a technical point of view, and we are asked to consider their similarities.

The subject(s) tend to be looking straight at the camera, in a serious and unsmiling way. They are carefully posed and many show elements of their work-life in the background, although often blurred out. In images where there are no background cues, the subject is often carrying something that tells the viewer his (mostly) job. The images are often beautiful, with a clear sense of the subject’s personality shining through the blandness of their expressions.

Sadly, most of Sander’s work was destroyed, either by the Nazis or in a devastating fire, but we are still able to see over 10,000 of his images, and he was clearly a prodigious worker. I have include a few of his People of the 20th Century images below, as examples.

Interestingly, to modern eyes it is often difficult to make any sensible guesses about some of the people’s professions as even the lowliest worker would often wear a suit.




Ang, T. (2014) Photography: the definitive visual history. Dorling Kindersley. pp.152-3.