It's summer in the city and the photography galleries are all giving themselves over to fashion. This now annual summer parade begins at the Photographers' Gallery with an exhibition exploring and debunking the trends behind the images that surround and delight us. Works by 21 photographers are bookended by John Rawlings's 1949 debutante in a floor-sweeping gown and Juergen Teller's vast and threatening portrait of Vivienne Westwood clutching an axe.

Close behind Rawlings, the post-War generation posed an imminent challenge inspired by the new fashion and art. Sixties icon Terence Donovan added scrawled text to a close-up of Celia Hammond, decades before punk, and Norman Parkinson posed on a mirrored set that spins multiple images of the model into modernist geometry. His presence marks the growing narcissism among photographers, epitomised by the model-like Nick Knight, and Melvin Sokolsky's subtly beautiful, psychologically complex La Meninas, Isabella, Me, Nick.

The Sixties also introduced the arthouse trend of deconstructing the printed image. Jonathan de Villiers presents a spoof of the process in The Swim-Suit Issue, while Bob Richardson shoots Anjelica Houston on a Paris street, inspired by William Klein's Fifties classic. Here, Klein teases Karl Lagerfeld's narcissism, surrounding him with multiple images of himself.

There are a few over-familiar images in the show,but it also includes some surprises. Steven Klein's tamely homoerotic-The Valley of the Dolls, involving a besuited Tom Ford, plastic mannequins and robotic men in briefs may be a mild shocker, but more disturbing is Steven Meisel's Supermods Enter Rehab, a piece of reality TV decadence as offensive as bruise make-up.

Also at the Photographers' Galley is the genuinely stirring annexe exhibition, Them, by Danny Treacy - original portraits of Treacy modelling eerily beautiful, conceptual costumes hand-made with "found" clothing. Well worth a look.

Until 14 September. Information: 020 7831 1772, www.photonet.org.uk.