Fashion Constructed Image Presentation Team 3

7/30/2019 Fashion Constructed Image Presentation Team 3

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Fashion ConstructedImageTeam 3 (Agne Bekeraityte, Claire Smith, Dan Paul, Robert Young)


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Feminism and its DevelopmentThroughout History

The first wave took place in late 19th-early 20thcenturies. The goal of it was to open upopportunities for women, with a focus onsuffrage.

The second wave began in the 1960s andcontinued into the 90's. Much of the movement'senergy was focused on passing the Equal Rights

Amendment to the Constitution guaranteeingsocial equality regardless of sex.

The third phase of feminism began in the mid-90's.


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The "girls" of the third wave have stepped ontothe stage as strong and empowered, eschewingvictimization and defining feminine beauty forthemselves as subjects, not as objects of a sexistpatriarchy.

The original feminists wanted equality for women;they did not want extra rights for women, nor totake rights away from men. In the eyes of agrowing number of people, modern feminism hastaken the banner of equality, and used it as a

smokescreen for radical activities. However feminism in practice is not always about

equality because it often ignores the rights ofmen.


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Concept Our idea is to represent the womens change in

position within the society and family life.

According to the contextual research we want toreflect three different stages of the growth instrength.

In the first stage - a woman which is hidden by manand social prejudice.

Seconda woman who is fighting for her rightswithin society. (The beginning of the feminism)

Third - a woman who has overcome feminist ideasand is now wanting more than equality over man.


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Garments

Sallys Barbaras

Sallys garment, a hooded coat madefrom a military blanket.

Can be worn in 14 different ways We saw this as a strong, more masculine

and strong garment which gave us theidea to use it in the latter part of thenarrative.

Barbaras garments were more feminine which fitwith the narrative of the womans strength and rolewithin society transforming.

They were also quite monochrome except for onegarment, the yellow dress above which we intendedto use in the first shot, as the most feminine.

The grey dress on the right fits well with the coat so

we decided to use this for the last outfit.


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Feminism Translated to Set Design

We got the idea for geometric shapes from theshapes of the garments.

We used influences from cubism.

The shapes should come together and gradually

uncover the model to represent the womansgrowth in power.


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Set Design Influences Jean Helionre-enforces a

sense of implied space.Overlapping shapes mark

out a rhythm.

Frank GehryHow thesections of his architectureseem to interlock perfectlyto create a bigger, abstractstructure.


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Picasso 1909Transformation and dislocationof form. Strong and bold lines and shapes yetthey possess a sense of vulnerability.


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Soviet Union Posters

Used to promote thestrength in their falsepolitics system. They usestrong and bold lines withgeometric shapes.

Martin MargiecaAfashion designer who hasused interior design.Playing with geometrywithin a space. Strongangular forms andtransforming shapes.


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Barbara HepworthFeminist

Sculptor. In a wider context,Hepworth also represented alink with pre-war ideals in aclimate of social and physicalreconstruction. She was verypresent within the modernist

community.

3 D PuzzlesWooden blocksand how they interlock to

create a larger shape. Alsorepresentative of how moralsare piecing together withinfeminism.


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Cerise DoucedeA photographer that spends 3 days

creating environments of hanging objects to create a scenewhere the subject almost becomes an inanimate object.These photos are from a series but both involve geometricshapes. It really gave us a sense of how a subject can fitwithin them and how the subject can appear hiddenwithout being obstructed from our view. There are too many

shapes here but we already know that we need a lot morethan we initially intended.


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Shapes and ConstructionThese shapesare thetemplates weare using to

hang aroundthe model.Most areangularbecause wefeel they would

best representthe tensionswithin feminism.


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3D Models Of Set


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Lighting ideas We like the idea of effectively emphasized

shapes what makes model look more sculpturaland more interesting.

The shadows on the shapes should also bringmore depth within the set.

We wanted to define the shapes so that they

represent the tension within feminism. The shadow can also be used in order to hide

something that is not perfect etc.


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Lighting Influences Richard Avedon

The references form theAvedons works stronglyrepresents the idea ofsculptural model look.

The shadow isemphasized down theone side of the modelgives more strength to theaccentuated half.

Strong shadows also givedefinition to the posturewhich helps tocommunicate ourconcept.


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Irving Penn

In Penns pictureswe foundeffectivelyemphasizedfigures, contours.

It helped us to findout that eventhinner shadow onone side of themodel can definethe posture andexpressions whichhelp us to reflectthe concept.


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Test shoot 1

During our first test shoot we were

trying to create the initial

lighting structure and find out how

that works with the garments and

background.

We found out the clinical white

background and the light whichuncovers everything is not really

useful for our project.

Moreover, we were using seven light

sources so the interesting sculptural

effect was not achieved.


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Test shoot 2

During the second test shoot wefound out that the single lightsource worked better and let usto create the sculptural look.

We used the big soft box andwhite panel which helped tospread the soft light on the modeland the set.

During this test shoot we finallyfound the simple but really

effective lighting idea.


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Characterisation We looked at strong

feminine figures withinpolitics, film and history

to help create acharacter for our shoot.

Our model should havean air of confidence,be strong anddominant but

maintaining some ofthe feminism andelegance of a woman.


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Posture To fit with the idea of an unconventional

beauty and also the idea of transformationwe were looking at quite distorted andunusual body positions and posture

This was also to re-enforce the idea of a

woman breaking the stereotype and beingstrong and masculine.

These are some extremes of thepostures but it gave us a good ideaas to what was too much and what

was not enough.


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Hair references Spring/Summer 2012 Wet

Hair TrendA feature onthe catwalks for the

Spring/Summer 2012collection was the wethair look.

Alexander Wang Chanel Thierry Mugler

Giambattista Valli Donna Karan


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Hair References

Mood Board,slicked back tonot hide anyfacial features.


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Hair References

BeyonceIf I Were A Boy - The whole videoplays on a role reversal between the man and

the woman. Beyonce takes on the role of theman of the house. To appear strong and incontrol, her hair is always pulled back awayfrom the face which allows her facial featuresto be accentuated and not hidden. She takeson the role of a policewoman. Her hair gets

pulled into a ponytail/bun on duty and in theparty scene, her hair is let loose. In thebeginning and end of the scene her hairappears wet and lacking the volume. She looksvulnerable. We want to play with the haircreating messages about being restricted.


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Make-upTo go with the idea of transformation wewanted two different makeup looks.The first should be quite minimal and femininelike the sketch to the left with nude lips andfor the latter part of the shoot she shouldhave eyeliner, emphasising her eyes,accentuated eyebrows and cheekbones toemphasize bone structure and power.


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Casting

We were looking for the unconventional beauty,

someone with accentuated facial features or a

quirky characteristic about them but stillmaintained the model characteristics.

These are just a few examples

We settled on Melissa, who we fill fitted this

criteria the most out of all available models.


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Shoot NarrativeDue to the change in the set scale and construction our initial story boardbelow has changed. We initially had a double page spread for the first imagebut we have now used it in the second image because of practicalities.

We also initially hadthe hooded portrait onthe last page butwhen placing theimages in InDesign, it

looked stronger on theleft page.


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Set Build

This is the finished constructed set in which we compromised the larger

width for a larger depth and to extend the background in postproduction.


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Contact Sheet 1

We chose thisfinal imagebecause ofher posture

and facialexpression.

Theintimidationand un-sureness of

hersurroundingsdidnttranslate inquite a few ofthe othershots.


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Final Image 1

In this image we wanted the womanto feel as if she was hidden andunconfident in her surroundings.

Her posture is slightly slouched and her

eye contact is direct but also lackingconfidence.

We wanted to create a sense of depthwithin the image to make it feel as ifthe woman is really in amongst thesexist ideas.

We also wanted to create the ideathat this is only part of a landscapeand that this extrapolates; that it is andwas not specific to this one woman.


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Contact Sheet 2

We chose the final image because ofthe air of confidence in the woman.

It was a combination of how theclothes looked and also the facial

expressions of the model thatexpressed the taking control andtransformation that we were lookingfor from the image.


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Final Image 2 By extending the background we increased the negative space which

emphasised the idea of the woman taking control and bringing theshapes together.

We have the modelpositioned to look in

state of flux. Stepping forward into

the light she is in hertransformation; awayfrom the shapes whichare metaphoric forsocial prejudices.

They no longer hideher and they arebecoming of a time inthe past. She is

ascending throughfeminism.


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Contact Sheet 3

The selectedimage from thiscontact sheetwas through a

combination ofthe modelsfacialexpression, howmuch of thehead is visible

and mostly theshape of thehood.


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Final Image 3

Taking the woman away from theshapes, this image places morefocus on the woman herself andher strength.

Looking away from the camera sheis no longer caring for who isviewing her and her expressionreflects this.

The hooded coat is a verymasculine garment so it really

emphasises the power and strengthof the woman.

The hood is an unusual shapewhich we wanted to highlight,symbolic of how the woman isflexible and is confident to be

unique and stand out.


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Contact Sheet 4

We chosethis finalimagebecause of acombinationof facialexpressionsand the waythe coat wasbeing wornthatexpressedthe narrativethe best.


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Final Image 4

This image is really representative of how thewoman is now in control.

There is distance between her and thesculpture, with her in the foreground. In

addition to this, less light falls on the sculpturereally emphasising the power of the womanin the image but also in todays society.

The woman in this image is wearing the coatas an accessory here which just shows howshe isnt afraid to be different and unique.

She is trying to stand out as opposed toblending in.

The direct eye contact with the camerareally shows her confidence and also a littleconfrontation, something that has beenmissing in previous shots. The transformationis complete.


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Post Production


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In Design Layout

Our layout had to express our narrative inorder to communicate the changes withinfeminism.

The first page is a portrait among theshapes which represents how woman wasconfined.

The second image is a double page spreadwhich was suitable in emphasizing thenegative space which in turn emphasizedthe shapes coming together.

The third and fourth pictures represent thesolidity and confidence of todays woman.


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Overall Evaluation Despite the fact that we had individual roles we decided that everyone could do everything

if it were needed. However we do feel that there were people who have not attended theirroles fully and a majority the works were done by other members.

Overall we feel like we were successful in creating a fashion narrative and though the

process may not have been smooth, we feel the new contacts we have made in designers,artists and models plus the satisfaction of seeing the final product has made it all worthwhile.

We feel like this is something that was lacking within our group and in some circumstancescaused frustration and tension when there neednt be. Being able to be honest andconfront each other when we have a difference in opinion is something I have learnt whilstworking on this project and feel like this is something I need to keep working on.

We learnt that compromise is essential to group work and that we need to listen to

everyones ideas to find a solution to problems before just doing whatever one person thinks.

Despite the fact that we had individual roles we decided that everyone could do everythingif it were needed. I feel bad that there were people who have not attended their roles fullyand a majority of its works were done by other members.


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Agne EvaluationIn one of the first meetings we have all decided who is presenting one oranother role.

According to that I got the lighting lead and shoot coordinator positions. I

suppose that I have done everything what I could in order to achieve thebest result within it. My lighting structures and strategies were alwaysconsidered before ahead despite that not everything was effective for ourproject. The visual research helped me to represent my lighting ideas to theteam and achieve it during the final shoot. Moreover, in my view the shootcoordinator was supposed to organise the team. I feel I could have donethis better during the final shoot. There were some slips when the team was

stressed and unfocused on the main thing - connection and communicationwith our model.

I kept good communication going with stylists, designers, model and make-up artists so that all colleges were aware of what was going on.


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Claire EvaluationMy roles within the group were to take a lead on the casting and hair and makeup.

Overall I think I did quite well in that they were all completed and done well with regards to thefinal images. I feel like I was better at the hair and make-up role because we had a cleareridea of what we wanted our model to look like throughout the shoot. Research and reference

images I brought and that were discussed with the hair and makeup artist meant that what weachieved was what we wanted to help communicate our narrative.

Though we completed a characterization mood board and had ideas of what we wanted ourmodel to look like I felt like when we actually set out to cast, there was a bit of confliction inwho would be ideal. I should have helped to make the specifications clearer which comesdown to communication.

On the shoot day itself I felt like this communication became an issue again. Due to changes in

the set, the model was left sitting for quite a while without any interaction. My role wasdirecting the model and it was only later on in the shoot when we got the rate of productionup and a form of communication with the model going, that we started to get the results fromher. I feel responsible for this and it was something to learn from for in the future, to keep yourmodel happy and in the know because that is when they start to give you the images you areafter.


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Rob EvaluationAs set out at the beginning if the team project we each had a role to pic from thatwas best suited to our needs some. Initially I chose the role of Prop manager andHealth and Safety assessor. However I had no doubt that our roles may swaybetween one another; maybes this was due to a slight lack of communicationbetween the team or the roles just naturally merged i.e. set built and prop

management. Nevertheless I felt we still managed to progress productivity.

In terms of the prop-managing role I feel we as a team ended up sharing theresponsibility; as for a start our props were our set anyway.

Even though I was not the Hair and makeup lead I believe I played a fair part in thecommunication between the stylist and the team, in terms if finding out when theyare free meetings and decisions on the makeup products needed for the shootday.

The one role that I was solely responsible for was being the Health and safetySupervisor/ risk assessor. It may be a tedious task but we all know how the sayinggoes 'better to be safe than sorry'. Anyhow I feel I handled the role professionallyand produced assessments very aware to our practice; whether it be The final shootday or the production of props, I made certain of a hazard free workingenvironment.


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Dan Evaluation As we started out fashion project and became a group, we all

identified certain roles within the group that would be most suitable foreach person. We all decided on the roles and I became set build leadand lead photographer.

I feel that in terms of the set there were certain issues that we bumpedinto along the way however in the end we overcame these issues, andsolved them as a team. I feel like I took lead on the week of the shootas at times communication would get lost. However, I think from thiswe eventually worked well, erecting the set to our fullest capabilities.

Another thing would be certain issues during the shoot that we wouldthen have to use our initiative to overcome, which I felt was dealt withreally well. The minds and physicality of the team came together and

worked over these minor issues with certain ease at times.

I feel in terms of the shoot day it self I handled the shooting wellhowever It soon hit me that after shooting for 6-8 hours straight, issuesof sharpness and focus came up. This was overcome by simplychanging photographer for the last hour of shooting as I was nothappy with the results we were getting.

Documents

Fashion Constructed Image Presentation Team 3