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Georgina (full name: Georgina Ellen Cooper) is a British fashion model, born in Wellington, UK. She began modeling aged 15 where she appeared in a music video for Bon Jovi. Since then she has gone on to feature in advertisements for Banana Republic, Burberry, H&M, Paul Smith and Triumph to name a few, as well as walking the catwalk for Karl Largerfield, Missoni, Kenzo, Empirio Armani and many more. She is currently signed to Premier Model Management, and features in many of Day’s photos, as well as on Fashion TVs first face:

Georgina Cooper, Elle Grande-Bretagne, 2001

Georgina, 1994

I feel that Georgina fits Day’s notion of imperfect beauty. Although a gap in the teeth is currently fashionable with Lara Stone, and Trya Banks widening an aspiring America’s Next Top Model Cycle 15 contestants gap, it is considered a flaw non-the -less and Georgina’s strong jaw-line challenges ‘conventional beauty’ mentioned by Day when discussing her work. She presents the 5ft 10 model in a less glamourous scenario, dirty and under dressed. Whilst I may not be able to fully uncover what was actually happening in the scene, it seems as if by selecting the photo, it can be used directly to reflect the model according to Day’s real life documentary intention of fashion photography.

Knowing how Day works on a personal and intimate level with her sitters, I imagine that she and Georgina had a relationship of some kind, thus allowing Day to photograph her on a ‘close to real life’ level. One could ask if her friendships with models had an alterior motive to fit her photographic intentions, however this claim may be negated as Day doesn’t seem to have numerous models in her work as may be thought if there was a manipulative aspect. And the candid and frank nudity in some of the shots suggests a deeper and more genuine friendship. I think that Georgina’s imperfect beauty may however have worked in Day’s favour, perhaps choosing her to feature in her exhibitions more so than other model friends she might have had at the time. The less conventional beauty of Georgina adds to that angst and gritty feel of the work, stripped down and made ironically less attractive. When comparing photos of Georgina by Day and then those in Elle by Thiemo Sander, it juxtaposes the model at two extremes, and Day tackles the more ugly. One can also ask about how real these are in the context of an experience model being able to take direction and give a certain pose. Maybe less so in the Brixton photo, however some of the photos of Georgina in 1994 hint some inentionality and less candicity, whilst adhering to an ugly-beauty style. Is it not then that her photos simply become a new form of fashion with a creative directive that whilst aesthetically different from standard fashion photography, maintaining the same concept? Day’s work in this style was featured in Vogue suggesting some remaining constructs in her photography which would allow it to be featured alongside her fashion contemporaries.

References:

Georgina Cooper, Elle Grande-Bretagne, 2001 [online image] available from: http://snarkerati.com/galleries/index.php/Georgina-Cooper/0001-Georgina-Cooper.jpg?action=big&size=resize

Georgina, 1994 [online image] available from: http://www.corinneday.co.uk/exhibitions.php?action=zoom&id=161&exhibition_id=1

    *From looking at the dates in Day’s work, and Georgina’s first appearances on high profile magazines and catwalks, it can prove Day’s influence on Georgina’s career, giving her more recognition. She may not have had the same influence as she did with Kate Moss, but influence non-the-less.

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