Industry Project- Promotion

I knew that I wanted plain, infinity-roll, background shots for our look-book so photographed these on a model too. I am confident that my front, back, side and detail shots would aid the press and buyers to better understand the collection.

I edited the shots from both the on location and look-book shoots and selected my favourite finals. I expected my peers to arrange them into a physical look-book but having delivered the files, received no indication that a look-book was underway. To ensure we met the assessment criteria I mocked up an electronic look-book and campaign.

I sent this to a peer to align, edit and finalise, which she declared was done properly, yet later discovered no alignment to have been done and very little by way of titivation to my original file. At this stage I felt further let down my promotion peers.

I enquired as to the concept behind our invitation to discover no invitation was in preparation. I was disappointed with the simple and basic invitation that was later produced knowing how creative contemporary fashion promoters are being in the industry with their fashion show invitations.

Come presentation day I felt a little drained and that this collaborative project had not been very collaborative. My tutor encouraged me however be proud of my own achievements on the project and this I felt was reflected by our second place award.

 

 

Industry Project- Fashion Shoot

With my garments ready and a shoot scheduled I was under the understanding we would be shooting in a old-fashioned house with clashing wallpapers and printed carpets- as this was the concept I had pitched and agreed upon with the promotion students of my group.

No menswear was created in time for our shoot, nor in fact at all, so we were not able to shoot the 'Gucci man' I was eager to include in the campaign.

A peer had discussed shooting the looks on film camera and I felt this would work very well- me having researched into the film-based photographer Nan Goldin for some of initial development.

I had also asked another promotion group member to source set for the shoot; bedsheets, lampshades, trinkets etc.

Upon arrival on location it emerged my peers had neither set nor film camera and that the rooms were neither wallpapered nor carpeted.

I felt at this stage, let down by my promotion peers who seemed to be delivering very little regarding the concept we discussed. In the absence of any decision making my them, I decided to take charge and the make the most of the day and resources we had available.

I styled an initial shot outside using the array of old chairs from a junk heap on site. I had brought my own DSLR and proceeded to photograph the entire editorial- something I am used to doing for own projects anyway. I was initially annoyed as this was supposed to be my peers' forte and a collaborative project, but in retrospect am quietly pleased that I was in more creative control over the photography of my own pieces.

I expressed however that the concept was to shoot in a higgledy-piggledy interior and that we had no interior shots. I was ready to leave when a peer at last stepped-up and noticed a piano in one of the rooms on our location. I proceeded to lift objects from around the South-east London Plumstead home and arrange them atop the piano to form a random, old-fashioned looking set for a second shot.
From this stage onwards the proceedings went smoother and a creative buzz arose. We left highly content with the shots.

I was very pleased with the accessory designer in my group who created amazing bags to incorporate in the campaign. I enjoyed mixing these items in with the random objects I was selecting.

Industry Project- Garments

Together with the textile designers of my group, we selected an oilcloth material for the Huysum inspired design to be printed on. I liked that the fabric would have a sensual/ sexy feel via its oily gloss and smooth texture but also felt certain, when worked in the right silhouette, it would be sellable as a s/s, showerproof, raincoat.

We also began looking at William Morris prints, which had the same dated and yet tasteful feel as some of our other reference material and I brought this into my design development also.

I was disappointed with the level of collaboration between myself and the menswear designer of my group, who presented very little to the table and worked at a painstakingly slow pace.

I was proud of my hasty work and my ability to manage the group and having produced three whole Womenswear looks felt I had made a succesful contribution thus far.

Industry Project- Briefing and Design Development

I elected 'Gucci' as my first choice, from a list of 9 labels, to work collaboratively towards elevating in new and considered direction. This was because I feel that many of the qualities 'Gucci' is synonymous with are being lost under the current, albeit innovative and exceptional, creative direction of Alessandro Michele. I knew I wanted to inject my own aesthetic into the brand whilst maintaining a sound and considerate understanding of Gucci past and present.

I threw myself right into the deep end and wanted a concept to develop on within the first hour of working. I was conscious to ensure group collaboration and to encourage a sharing of ideas. We all agreed that Gucci has always been a 'sexy 'luxury' brand and that a reintroduction of an aesthetic closer to that of Tom Ford's late 90's/ early 00's work, would benefit the brand. Very little passion and inspiration was voiced from my group peers, so I carefully assumed the role of leader within the group and pitched the following concept.

I wanted to create an eclectic 'Gucci' whose references are rich but whose silhouettes are more classic and 'feminine' in the more traditional sense of the word. 'Sex' was to be the primary driver for design whilst the 1970's 'good taste meets bad taste' look that dominates current collections should be carried through in some respects.

I looked to 1970's porn sets, where 'ugly' upholstery, seedy leather sofas and polyester curtains work within my current mood for the project. One image of a male porn-star in 'bad' denim trousers with a button- fastening all the way from the hem to the hip was particularly inspiring and became my first solid reference material.

I knew the print and textile designers in my team were working towards a floral print but was conscious of quite how much their initial work was grounded in a style very much the same as current Gucci. I felt the work would not move the brand forward and simply replicate what is already happening. I therefore encouraged my peers to look at Dutch and Flemish still life painting, namely that of Vermeer and Huysum, which I felt mirrored some of the upholstery I was looking at, yet would add a mature-feeling, luxury undertone to the more 'fun' and bad-taste references I was working on. I was extremely happy with all their work thenceforth thats maturity and elegance would ground my designs in a commercial and saleable realm.

I sketched with my peers' prints in mind and found a 00's silhouette was coming through naturally. I chose then to research further into the era. An haute-glam meets hip-hop character arose in my imagination- I felt the flesh-bearing, sex appeal of silhouettes inspired by this character would produce a well-needed break from the sexless, shapeless and casual garments that have been popular on the runway in recent seasons.

I could not avoid the over-branding of Gucci that happened in this era and how some of the merchandising associated with the label had become tacky or non-luxury seeming. I wanted therefore to take back ownership of the Gucci-stripe and give it a new lease of life, in very obvious way. I accented my initial collection ideas with the red and green stripe and believe it adds a fun, youthful touch, to some of the feminine looks I was working on.

For my final line up, I chose to focus on the low waisted hip-hop trouser of the 00's, the 70's pornstar trouser from my intial research as well as the Huysum/ Vermeer paintings which were informing the prints for the collection too.

Author's own

Three Words Project: Final Outcome

My final line up takes a feminine and light approach to my original inspiration. I have lifted specific tones and colour combination ideas from Bacon's work and have mixed this with the idea of his own studio palette. Thickly applied paint in many shades, as if worked over time, present the notion of history and narrative- that the piece has been stood, for Bacon to brush waste paint off on to, for years. Large, hand meets tentacle details are highly decorative and make for a surreal distortion of the human silhouette.  

Final Line Up- Author's own

When paired with simple, attentively-cut, tailored trousers, the overall look, although elaborate, feels wearable and glamourous whilst hand sewn bugle and seed beads add a touch of necessary luxury. 

Final Outcome- Author's own

Three Words Project: Design Development

Moving on from my initial ideas on octopus tentacles (derived from surreal imagery in my own dreams) I began to look at limbs and hands and how they might, in a dream like scenario morph into tentacles.

I am pleased with my experimentation with paint on my own hands and well this looks photographed then collaged.

I set myself the target to create more physical, textural samples and am happy with the 8 painted textile samples I have created both as colour studies in their own right and ideas for final product fabrications.

I have continued sketching in a prolific way and find sticking to the same colour palette a sure way to procure consistency throughout my project.

As my design process draws to a close I am refining my abundant research and design development material into a succinct collection that capitalises upon my original ideas of surrealist dream imagery (tentacles), Bacon texture and colour, and elaborate hand inspired decoration.

Design Development- Author's own