Critical Analysis: Fashion Constructed Image Group Six

7/30/2019 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.

Documents

Critical Analysis: Fashion Constructed Image Group Six