Critical Analysis: Fashion Constructed Image Group Six
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Transcript of Critical Analysis: Fashion Constructed Image Group Six
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FashionConstructedImage
RPHC4004
Summa%veAssessment
Group6
MollyFarmerConorGalloway
ChrissieKirk
GemmaNorton
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EarlyConcept
andOriginalAims
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ORIGINALAIMS
Focusonanorganiccrea%veprocessandcollabora%onthatwillencourageanewpercep%onoffashion.
Conceptualexperimenta%onwithnewformsoffashionrepresenta%onwithanaimtopossiblyproduceafashionfilmtoaccompanythes%lls.
Emphasisontheatricality,abstrac%onandtheavant-garde.Themergeofartwithfashion.
Theproduc%onofimagerythatcommentsonapar%cularnewsorculturestorycurrentlyrelevant(e.gTheOccupyMovement99vs.1).
Useofsocialmediatoenhancethepoten%aloftheproject(Instagram,Tumblr,Facebook)andencouragedemand.
Crea%onofambiguous,surrealandeven-dreamlikeimagerythatimmersestheviewer;theyareforcedtoviewtheimagesmul%ple%mesfromdifferentanglestocomprehendwhattheyareseeing.
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INITIALREFERENCESTOACCOMPANYAIMS
NickKnightDarkAnnie(A/W2009)
AnnMclarenHodgson
StevenKlein(VogueMarch2012)NickKnightUnbelievableFashion(BrishVogueDec2008)
Emphasisonabstraconandmovement.
StevenKlein(InterviewSummer2011)
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CONCEPTDEVELOPMENT:DYSTOPIANVISIONS
Ini%alcrea%onofanelaboraterealis%cstorylinetoachieveauniqueandcohesivenarra%vewitheachimageadifferenteventtogetherwithinthesameuniverselinkingtothepreviousimage;decideduponfocusingonthethemeofa
nuclearblast,fromdetona%ontonuclearwinter.
Crea%onofatwo-partshoottoachieveasuccessfulnarra%ve.Firstpartafocusonthenuclearblastwithemphasisoncolour,abstrac%onandmovementin
whichthemodelappearstotakeontheformofthebomb;secondpartmore
sombreands%lltofocusontheaermathwithemphasisoninkycolours.
Construc%onofaminimalsmallsetconsis%ngofawhatappearstobethedestroyedfounda%onsofabuildingwithinarubblefilledwasteland;movement
totakeplacewithinseparatesetconsis%ngoflightsandcolourama.
Focusonpreciseuseofligh%ng,smokeandwindtocreatemovement,senseofscaleandatmosphere.
Carefulandconsidereduseofpost-processingtocreateuniqueimagery.
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INITIALREFERENCESTOACCOMPANYCONCEPT
PartOne:NuclearBlast(Day101/05)
PartTwo:NuclearWinter(Day202/05)
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ROLESANDRESPONSIBILITIES
ConorandMolly:ArtDirec%onandShootCo-Ordina%on(Conor)
VisualResearch
Cas%ngandCollabora%onStylingandDressDesign
CameraMaster(Molly)
ChrissieandGemma:HealthandSafety(Gemma)
PropSourcing
Ligh%ngLeadBuildingLead
BudgetController(Chrissie)
Post-Produc%onLead(Chrissie)
DigitalTech(Gemma)
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ROLESANDRESPONSIBILITIES:CONORARTDIRECTIONANDSHOOTCO-
ORDINATION
Oversawprogressionandproduc%onofen%reproject;workingasagroupadvisedanddirectedgroupmembersofwhatneededtobedoneatanyspecificpointintheproject
development.
Organisedagendaandscheduleofgroupmee%ngs,takingnotes.
ResponsiblewithChrissiefordrivingini%alideasintoamoredefinableandachievableconcept.
Specificinputintocrea%ngthevisualstyleoftheshootwithafocusondesigningaspeciallycommissioneddresstoaccompanyboththeconceptandset.
Direc%ngthemodelonbothshootdays.
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYVISUALRESEARCH(NUCLEARBLAST)
Theteamworkedtogetherduringtheprojectsini%aldevelopmentinthecrea%onofmoodboardsdetailingthechosenthemeofdystopiaandapocalypse.
ConorandMollythenworkedtogetheronsourcingvisualresearchfromvariousmul%-mediaresourcestoaccompanytheprojectsmorefocuseddevelopment.Whenithad
beendecidedtofocussolelyonnuclearwarenoughimageryofaermathhadalready
beencollectedforthemtobeabletoconcentrateonthefirstpartoftheshoot:the
NuclearBlast.
Theyconcentratedonsourcinghistoricalwarimagery,violentnaturalevents,notablepost-warar%sts,abstractart,theatricalandcrea%vefashionshootsthatfocusedon
elaboratestyling,movement,anduniquepost-processing.
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYVISUALRESEARCH(NUCLEAR
AFTERMATH)
MoodboardScans(PutinMonday)
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYSTYLINGANDDRESSDESIGN
COLLABORATIONKeytothesuccessoftheshootwascollabora%on.Tocarrytheshootweneededatheatrical,
powerfulandiconicdressthatwouldbeflexibletolookdifferentacrossbothpartsofthe
shoot;thismeantcollabora%ngwithastudentsecond-yeardesigner(AlicePar%ngton)from
UOB.WedecidedagainstusingtheMAgarmentsaswefeltthatitwouldntfittheoutcomewewanted.
ThegroupestablishedwhattheythoughtwouldworkbestandConorworkedcloselywiththe
designerthroughouttorealiseourvision.Theini%albriefwasforadresstorepresenta
nuclearexplosionascloselyaspossibleinbothcolourandsize.
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYSTYLINGANDDRESSDESIGN
COLLABORATION
A.PsInialSketchesonpresentaonofbrief.
Referencingtheimagerysent,A.Psdesigns
representedareversednuclearexplosionwitha
slimtopandlayeredboomhalf.Thishalf
featuredheavyfabricsasasuppor%vebasewhichwerebuiltuponwithlayersofchiffron
thatwouldbeabletobeliedbywindmachines
tocreatethechaoswewantedinourimagery.
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A.PsDeveloped
sketchesandfinaldesign
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Themakingofthegarment
Shapingthedresswaseasybutcolourwasproblema%c.
Toomuchcolouranditwouldlookoutofplace,not
enoughandthedresswouldblendintotheset.A.P
carefullydyedallthefabricsamasmokygreybeforecarefullyworkingintothelayerswiththemoreintense
coloursworkingtheirwayfromtheboomofthedress
tothetoptorepresentthatreverseexplosion.Acrylicand
charcoalwasalsousedinaviolentmannerwiththeintent
toburnthedressforparttwooftheshoottocreatea
moreinteres%ngeditorial.
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYCASTING
Thedresswastheatricalandweneededatall,slim,strong,flexible,powerfulandlong-haired
modeltoincorporateourvisionofanuclearblast;anindividualthatalsodidnotlook
commercial.Findingallourcollaboratorswasverydifficultandtookmonthsofsearching
throughFacebookandwordofmouth.
Modelswerepar%cularlydifficulttofind.Allmembersofthegrouptookaproac%veeffortto
searchthroughFacebookwhilstConorandMollyworkedtogethertocontactmodeling
agenciesandsearchthroughfreelancemodelwebsites;unfortunatelywereceivednoreply.
Theneedtoshootacrosstwodaystomaximisethepoten%alofourshootmadenarrowedour
choiceofmodelstojustChloe;butslim,longhairedandsixfoottallfulfilledallourpreferences
Wemanagedtofindfourpoten%almodels:
GeorgiaKu BethArsco[ FreddyFuller ChloeDavis
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ROLESANDRESPONSIBILITIES:CONORANDMOLLYHAIRANDMAKE-UPCOLLABORATION
Wealsoneededacompetenthairstylistandmake-upar%sttoachievethelookwedesired:
PartOneWildwindswepthairandquiteminimalmake-up(bareface/nymphlikewithsmooth
andpaleskinandstrongcheekbones/jawlines)
PartTwoWetsleekbackhairandquiteminimalmake-up(bareface/nymphlikewithsmoothandpaleskinandstrongcheekbones/jawlines).
Victoriaguidedusintoconsideringquiteaminimalis%clookinordertoavoidaclashwiththe
theatreofthedressandtheset.
Findingbothhair/make-upandamodelwasverydifficultandtookmonthsofsearchingthroughfacebookandwordofmouth;butwefoundthreeindividualswillingtodevotetwo
daysoftheir%metohelpus.
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ROLESANDRESPONSIBILITIES:CHRISSIEANDGEMMASETDESIGNANDDEVELOPMENT
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Theini%aldesignforoursetwastobebasedonaprojectedimage:thatwe
wouldthenbuildoutfrom.Withinthisideathemodelwouldhaveacontext
andplaceofbeing,yetitwoulds%llobviouslybefakeandappearasadistant
memoryofthecharacter.Althoughtheideawasstrong,wehadissueswithprojec%onintermsoftheligh%ng(seeligh%ngslides).Alsooneofthemain
issueswasthatthemodelwouldhavetostandtothesideoftheprojec%on
unlesswewantedittobeplaceduponher:shewouldalsohavetostandquite
farawaytogetasenseofscale:intheimagesbelowsheisstanding31cm
away.Wethenlookedatusingaprintedfabricbackdrop:withthepricingfora
3mx1.4maround30max.
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Aerelimina%ngthefabricprint/projec%onidea,welookedatkeepingabackimage,butbuildingthisdestroyedbuildingthatwehadwithintheimages.This
wouldadddepthandbeercontexttothefinalimages.Havingtwowallswould
allowustohavealargershoo%ngarea,butforthebackimagetodropoutandnot
besoprominent,thereneededtobeagreatdistancebetweenthebuildingandthebackimage:sothesizeofthespacewasanissue.
Thematerialsforourwallswedecidedtobepolyboardsasthewerelightweightandeasytoassembleintoposi%on.
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Mocksetupofsecondbuildidea:twowalls,placedata90degreeangle.
Heightinthemiddleforscaleagainstthebackcanvas.Wemeasuredthisas12x12:
wewantedalargesetforthemodeltobesmallincomparisonandforthegreatwidthwewanted.Theproblemwethenfoundwiththissetisitdoesn'tt
giveusgreatdepth,sowethoughtaboutmovingthesettoanangle,
crea%ngthisvanishingpoint,andalsomakingthelargersec%onsofthewallstheouter
edgetoenabletobackdroptohavemoreofafocalpointandallowgreaterdepth.
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Wepushedthisideafurtheraeramee%ngwiththesetbuilddesigner:wespokeabout
addingmorelayerstothescene:buildingbackwardsintoavanishingpoint.
Thisaddedgreaterdepthandallowedforsepara%onwithintheimage:placeswherethe
modelcouldstand.Wealsodiscussedthecontextoftheset:thetypesofcolours,brickstylesandflooringwewouldusewouldcreatethesenseofaplaceand%mewithin
theimage,sothisallhadtobecarefullyselected.
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Wefurtherdevelopedthesetonthedayofthebuild,removingtheobciousvanisgingpoint
andwideningthecanvasandamdset,crea%ngmorerealsi%cwallstoaddevenmoredepth
totheimage.Thesizeofthesetdidmeanourshoo%ngspacewaslimited,butitallowedforustocreatethestyleofsetwewantedintermsofscale.
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ROLESANDRESPONSIBILITIES:CHRISSIEANDGEMMALIGHTINGDEVELOPMENT
Projec%on.Wediscussedthisideaofusingaprojectorsowecoulduseamovingimageand
create a really abstract feel to the set.Wewere unsure onwhat to projectaswe all had
slightlydifferentvisualideasfortheset.Wewantedittobeabstractandmaybeappeartobelike amemory, so like the images wouldbe aflash of thepast and thatwouldbe howa
narra%vewouldappear.
Weplayedaroundwithtwodifferentprojectorstoseewhatrangewecouldget,alsotryinga
a back projec%on to so thatwewouldnt get a shadow of themodel. The light, scaleand
shadows from the projector just meant it wasnt worth the hassle. Andwe thought up adifferentideausingacanvasbackdrop.
Wealsotriedoutsuingcolour jels,thiswouldgivemoreofanatmospheretothe ideaofa
blastperhaps.Butwithtryingthatitwasaclearthatitwouldntworkforus,itdidn'tgivethe
effectthatwasevidentintheresearch.Itwouldbeeasiertoscrapthatideaands%cktothe
basics.
Itwasback to thedrawingboardwith both of these, neitherworked to thewaywe,as a
group,visualisedsoitwouldbebeertojusttakeitbacktothedrawingboardandredoit.
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Theseexamplesshowthedifferentproblemsweencounteredwhen trying out the projec%on and colour Jels. Basically we
wanted the scale and distance so that she looked small
amongst her surroundings. Butwe also wanted the light. To
achievethiswecouldn'ttuseeitherasitstartedtoaffectitin
waysthatjustwontworkforwhatwewant.
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ROLESANDRESPONSIBILITIES:CHRISSIEMATERIALSOURCINGFORSET
Aswedecidedtousepolyboardsforoursetitwasacaseoffiguringouthowmanywould
beneededforthesetandhowmuchitwouldcost.Therewerealotofsourcesavailablefor
gengthepolyboardsanditwasjustacaseofgoingroundtotheshopstoaskfordealsor
lookingonlinetoseeiftheycouldbeatit.Alsowehadtostartsourcingrubble,thatcould
comefromaskiporanyothersourcethatdealswithrubble.Iftheskipwasonapersons
driveorlandwehadtoaskpermissionotherwiseifitwasjustonastreetitwasfinetojust
take.
Wesourcedawoodenpalletfrombytheskipsatunitoalsouseasrubble,amixofbrick
andwoodwouldsufficeasbuildingrubble.
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Thiswouldbe
cheapestop%on
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ROLESANDRESPONSIBILITIES:CHRISSIEBUDGETSPREADSHEET
TheBudget.Thiswasfairlysimpletokeeptrackofasweallknewwhowasbuyingwhat.
Theboomgridisallabout
ROLES AND RESPONSIBILITIES: CONOR AND CHRISSIE - STORYBOARD
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ROLESANDRESPONSIBILITIES:CONORANDCHRISSIE-STORYBOARDOuroriginalstoryboardconsistedofsevenshots.Wewantedadrama%c,cohesiveand
interes%ngeditorialthatincorporatedbothrealismandabstrac%on.Becausewewereonly
usingonegarmentwefeltthatburningthedresswouldrepresenttheen%retyofanuclear
explosionwhilstappearingtobecomeanothergarment.Torepresentanuclearexplosionand
nuclearwinterwereallyneededtoshootacrosstwodaysinsteadofthestandardoneasthe
shotswouldtake%metoachieve.
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SETPREPRATIONANDBUILD
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SETPREPERATIONBEFOREBUILDWEEK
Weallcontributedinpain%ngandthewiththeprepbeforebuildingtheset.It
tookafairlylong%metogetallthepolyboardsdoneandtogetthemallcutand
madetolooklikebrickwork.Thepain%ngwasabittediousandboring,pain%ngthebrickworkandrubbletookaverylong%me.
S OO S O
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SHOOTWEEK:SETBUILDDEVELOPMENT
Thiswasaverylongweekof
sengup,playingaround
andmakingmistakes.There
werealotofproblemsbut
eventuallywegotthere.
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IMAGERY:CONTACTSHEETANDINITIAL
CHOICES
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IMAGERY: INITIAL CHOICES AS A CONTACT SHEET
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IMAGERY:INITIALCHOICESASACONTACTSHEET
Intotalwetook1500images,butonbothshootdaysweencounteredproblemswith
ligh%ngandfacesharpnesswhichmeantonlyaselec%onoftheimageswereactually
useable.Theimagesweresplitintosec%onsofsimilarityandthefinalthreechosebased
onacohesivelinkbetweenthemintheeditorialandalinkbacktoouroriginalstoryboardvision.
IMAGERY: IMAGES CONSIDERED TO TAKE FORWARD THROUGH TO EDITORIAL
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IMAGERY:IMAGESCONSIDEREDTOTAKEFORWARDTHROUGHTOEDITORIAL
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IMAGERY:EDITORIAL
EDITORIAL: INITIAL CONCEPT
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EDITORIAL:INITIALCONCEPT
EDITORIAL: DISCARDED CHOICES
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EDITORIAL:DISCARDEDCHOICES
Construc%nganeditorialwasfrustra%ngastheshootdaysdidntgoaswehadhopedandthe
storyboardwasnolongerpossible.Weoriginallywantedtogoforquiteafineartphotographic
magazineinspiredpresenta%onwhichwouldhaveallowedustobemorecrea%vewithourselec%onof
imageryandfitouroriginalaimtobeabstract,butweweretoldthataswewouldbemarkedonselec%onratherthanpresenta%on.Assuchtherewasnopointinpursuingsuchaneditorial.
EDITORIAL:DISCARDEDCHOICES
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Weneededacohesivenarra%veofsimilarimageryandourchoiceofasinisteropenerimageanddouble
spreadoverlaywiththemodelsfaceobscuredmeantthatareoriginalideasofincludingfabricimages
andportraitsofthemodellookingpowerfulcouldnotberealisedastheydidnotfit.Wekeptthe
modelsfacehiddenthroughoutanddecideduponasinisterbutsimpleandunclueredspreadwith
pagebreaks.Thiswentwellwiththesetdesignbutmeantouronceelaboratestoryboardhadbeengreatlysimplified.
EDITORIAL: FINAL CHOICE
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EDITORIAL:FINALCHOICE
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EVALUATION
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Groupdiscussionneeded,maybeeasiertodoaerall
individualcri%calanalysishavebeendone.