A good starting fashion book will have a minimum of four images of each fashion category. Shooting a fashion portfolio is not about shooting a beautiful girl just standing there. Fashion is a lifestyle and an extension of our personalities. The model should have a confident look in her eyes and pose. The accessories must make sense. This where the wardrobe stylist helps out. You should cast the best models and styling crew that you can find locally. I wrote all about this here and here.

To build a high-fashion portfolio one needs to plan in advance. Locate established local clothing designers that sell at local boutiques. Target designers that create evening, wedding, and prom dresses. These are high dollar items that sell well and the images will always have a strong market value. I approach designers first by email or better yet, by attending one of their runway shows and handing them a promo piece stating that I will contact them in a few days. Runway shows are their night so remain low key and brief. During the show I make notes on which designs I would like to shoot, not every design will shoot well. Once an appointment to meet is scheduled, I bring my wardrobe stylist along, and a few images of the model that we are considering. At that point, the designer sees that we are serious, and they may even suggest certain designs that may work better.

I do not ask for 10 designs at once, start with 2. The designer is much more likely to lend you 2 items than multiple items. They may wish to drop off the items themselves to see your studio. Perhaps the designer had a bad experience with another photographer before, I hear this quite frequently. Always insist that the designs be wrapped in a protective plastic sleeve and I go over the design beforehand to inspect for any damages. Runway shows tend to stress an outfit and it may have a small tear or blemish. It is always best to point this out beforehand.

Once the designs are selected, ask if certain features should be highlighted and what side to show. You would be surprised how many photographers shoot the dress from the wrong side and forget to point out the key features that make this particular gown unique. Assume nothing, and if you don’t know, just ask. Designers love their pieces and are more than happy to make suggestions as well as what accessories may work best. If I don’t agree with a pose, I do not argue, instead I shoot it both ways and make everyone is happy. However you approach this, find the most amazing designs you can.

Next we have designers that create accessories such as belts, scarves, purses, and jewelry. These are items that can be shot creatively on body parts or by themselves, use your imagination and pick up a real NYC fashion magazine for inspiration. Designs can also be shot as high-fashion if we assume an abstract approach. A belt does not have to be shot the way one normally wears it, for example, wrap several around the model like an outfit.

Editorial fashion is a favorite of mine. Here I put the model in a role and have them act out a theme or story. Example, the wardrobe may consist of all swimsuits and show the model wearing different suits and lounging around a yacht. Or, we follow a model throughout the day wearing different looks. They may start out in a nice robe for the morning, switch to a dress for late morning activities, change to a business suite for an afternoon office meeting, and end up in an evening gown for the cocktail hour. What is important here is that we show a continuity. The wardrobe may come from several boutiques.

I ask that the model not always stare into the camera, rather I am capturing slices of life and filming a story one frame at a time. This is fun for the model too and gives them something to do. The poses are less static and facial expressions should reflect the models emotion.

Finally, we have catalog style images. Catalog does not have to be boring. Yes we use simple background colors, but we can add drama through the poses or the lack of emotion in the models face. What is important is that we show the wardrobe as informational. I am referring to the unique details and texture of the materials. For the most part, I do not change the makeup or hairstyles, maybe a lipstick color for different dresses or slight hair changes, but nothing dramatic.

What I do not shoot for my portfolio is what I call, the standard hands on waist, hips out, face smiling into the camera pose. Let the client hire you to shoot that for them. Remember my comment of “shooting the cool stuff to get hired for the boring work”. I use very clean lighting and if I can get away with it, then interesting shadows. My wardrobe stylist may elect to use a few well placed accessories. My lighting will remain consistent throughout a particular catalog shoot series, again, this is continuity.

A few great places to get wardrobe for catalog is H&M, TJ Max, Marshalls, and other discount clothing stores that have a variety of labels. My wardrobe stylists have relationships with the managers of these stores and may pay a 10% restocking fee upon returns. Nordstom has this 10% return policy in Seattle as well as other cities, just ask.

My next statement will sound harsh yet, I base it from personal experience. I stay away from brand new and fledgling student designers, simply for the fact that the designs are unproven and the level of frustration that may be encountered. Yes there is always an exception to the rule. One can always ask the department head at a local fashion design school who the most promising student is, you may be pleasantly surprised, as I have been. I also stay away from what I call designs that have a clandestine cult following. This sounds horrible as I write it, LOL, but I am referring to tiny boutiques that have a very select following. Hey, I am here to make money, not to shoot for a charity cause that will leave me as poor as them. I want to shoot for upscale boutiques and designers that can pay my bills.