Morocco, Vogue 1971

This is written next to these two photographs. Vogue. I thought to myself, what a strange title to a piece that’s appears the complete opposite, but perhaps it’s an expression, a way to make you think – or perhaps in Morocco this was the embodiment of vogue, that this was their fashion. I later learned that the gallery entitled it Vogue because it was featured in the famous fashion magazine. This still came as a shock, these pictures do not seem in the style of Vogue, they in fact it seem far from it. For a fashion magazine that normally idolizes models in revealing clothing and make-up, it seems strange to feature women in full length, head-to-toe traditional clothing, with their accessory as bread.

As we study and attempt to understand the women in these photographs, it can be difficult. These women’s bodies are hidden, specifically the most expressive part – the face. The women have become indistinguishable and seemingly emotionless, these women can be anyone – their expressions can range indefinitely. It’s saddening, but it seems as though these women have been simplified to sheets, likened to mute statues. However, despite this simplification, by looking at the photograph, I can almost feel their pain. The black and white filter creates an eerie quality and an overall gloomy tone. All I can do is try to feel and surmise their thoughts or concerns. And what I feel, is their oppression: their constriction of clothing, their lack of breath and perhaps, lack of free speech. The social implications presented in these photographs are vast, and the insight they provide into Morocco in 1971 is perhaps far greater than we realize. I believe that with these pictures, Irving Penn gave these women a voice, and perhaps what each of us will hear, will all be quite different.