Miles Aldridge : Fake Housewives


There is a significant difference between something that is glamourous, and something that is glamourized. The women in Slim Aarons’ photographs were rich and beautiful, they were the epitome of glamour. Miles Aldridge captures something rather different, he mocks the traditional image of the woman in the domestic environment, particularly the perfect housewife of the 50s and 60s. These photographs are from his series I Only Want You To Love Me. The hyper-saturated colours create an environment which is falsely cheery, like an advert for a cleaning product that solves all your problems. The props Aldridge uses add to this perfection with their bright, clashing colours. The images all feature an aspect which breaks through this perfection; dropped food spills across the floor and light bounces off the cracks in a shattered window.

However, the women are the main ‘stars’ of the photographs. Their make-up is flawless, their hair is glossy and their clothes belong to pages of a fashion magazine. Yet these women are all dressed up with nowhere to go, they are obliged to fulfil their domestic duties – perhaps they dress this way to please their spouses? Yet the key aspect which differentiates these images to those created during the 50s and 60s is the expressions. These women are bored, frustrated and fed up – it is plastered all over their faces, just like their heavy make-up.

Es gibt einen Unterschied zwischen den Fotos von Miles Aldridge und den Fotos von Slim Aarons. Die Frauen in den Fotos von Slim Aarons sind reich und hübsch, aber Aldridge veralbert das traditionelle Image der Hausfrau. Die Farben sind so intensiv, dass sie unnatürlich wirken, und die Requisiten sind auch farbenfroh. Aber die Frauen spielen die Hauptrollen in diese Fotos. Ihre Schminke ist lupenrein und ihre Kleidung ist modisch. Aber ihre Gesichtsausdrücke erzählen eine unterschiedliche Geschichte, es sind ihnen langweilig.

All photos/ Die Fotos:

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