take clothes for instance BOOK

I came across the work of fashion photographer Juergen Teller
and his depictions of Kristin McMenamy expressed a similar state
of awkwardness and unease. In their collaboration as part of
Marc Jacobs’ 2006 advertising campaign, the bizarre, the
grotesque, the abject, and the ugly feature strongly in the
photography. One is left feeling deeply uncomfortable. Indeed
these images are by no means unique today in using disquieting
imagery to sell clothes.
Eugénie Shinkle (2013), in a paper on “uneasy bodies” and their
representation in contemporary fashion photography, examines
these types of imagery and argues that they have an underlying
biological register and exists beyond the analysis of signs utilised
in the service semiology. She cites “Simulation theory’ and posits
that the human capacity for understanding the behaviour of
others is facilitated, in part, by the presence of socalled “mirror
neurons” (Rizzolatti et al. 1996). She argues that it “plays a crucial
role in the perception and aesthetic experience of images.” She
also states “This automatic, unconscious somatic activity provides
a framework for a variety of interpersonal relations, among them
the empathetic reactions that are so important to our perception
of images of the body.”
Her key argument is “The perception of images involves seeing
and reading, but also, importantly, it involves feeling.”
Notwithstanding all the other issues I’d looked at in my journal
which I felt were important in themselves, my strongest response
was based on my empathic visceral responses to the images I’d
created.