Adam Murray’s ‘The Domestic Stage: When Fashion Image Comes Home’ documents – and interrogates – the use of the domestic space in fashion imagery, from the 1990s to present.

Since the 1990s, fashion imagery has evolved from the aspirational and glamorous into an experimental genre created by interdisciplinary artists, art directors, and photographers. The domestic space or where we live has acquired a key role as an intimate setting for this kind of playful exploration, in which personal stories are told, and fashion shots gain authenticity. Illustrated interviews with or editorials on twenty-two established and newer image-makers offer exceptional insights into this phenomenon.

For three decades, the fashion image has shifted its focus from high-end shoots to the idiosyncratic, Instagram-style practice of pictures taken at home. That home may be a house, apartment, or room—often, though not always, the antithesis of glamour and gloss. The Domestic Stage captures this fascination with the home as an “uncurated” setting for presenting an individual’s private life and relationships, and for professional commissions with edge. How this space merged with the fashion image is revealed through the words and work of twenty-two such image-makers.

The book’s chapters:
Relationships, with images by Sahal Babbar, Tina Barney, Tierney Gearon, Julie Greve, Moni Haworth, Takashi Homma, Clifford Prince King, Isabel MacCarthy, Michel Mansoor, Zara Mirkin
Performance and Control, with images by Alannah Cooper, Jesse Glazzard, Maya Golyshkina, Ottilie Landmark, Carrie Mae Weems
The Imagined Home, with images by Corinne Day, Rachel Fleminger Hudson, Sarah Jones, Malerie Marder, Joyce NG, Martine Rose - International Magic, Nigel Shafran