ColourInWhite X Tim Walker. ‘A Fashion Fairy-tale’

FMP Essay- ColourInWhite X Tim Walker.

‘A Fashion Fairy-tale’ Jessica Vels (1910218) 3,467 words

Down The Rabbit Hole...

Contents: 01. Introduction.

02. Who is Tim Walker?

03. The Process.

04. My FMP Vision & Collaboration.

01. Introduction For my final major project, I will be surrounding the current problem within the Luxury market. This is addressing the new formed marketing methodology and rebranding of the luxury market in a 3D conceptually visualised aspect, whilst directly identifying the step-by-step changes of the top brands which have led to this loss of the once esteemed luxury market.

Whilst accommodating that of the Generation Z consumer, the ‘New Luxury Market’ will be a progressive market level where the metaverse is a key component. I will be doing a brand collaboration of my very own brand ColourInWhite x Tim Walker. Where illusion and proportion will be fully introduced, maintaining the new viewpoint of the future luxury market.

My FMP Has drastically changed since my 360 modules. Where my concept remained the same, but rather the from in which I will be documenting and visualising my collaboration has shifted. I originally wanted to use 3D software which would be a full 360 scan of my model, however with a digital makeup of clothing made up upon layering, textures, and 3D papier-mâché. However, upon more research, and the progression of what indeed I really wanted to do to visualise this problem-solving issue the luxury market is facing, I found a full shoot collaboration of with both brand styling imput, and then rather bringing the digital 3D component to be photoshopped, thus opening many more possibilities for production. My current and redirection plan is a photoshoot collaboration between the two stated brands, Tim Walker and ColourInWhite, where I will be the pushing the concept of illusion, body figuration and proportion change. I found such inspiration from Walker’s Fashion Fairy Tale shoot, and his Alive in Wonderland one specifically. Where this unpinned world was visually represented, props fully abused to create this rounded narrative of authorial paradise. As a brand, I have always without fail found Walker to be my biggest inspiration, bringing to life otherwise nonthinkable storytelling, additionally how a the imagination can be warped into the new reality. Like the growing popular metaverse, this will be the new realm for the reality we are digitally creating, however unlike seen before.

Upon an interview I read, Walker said, “I only shoot on film. I think real film and shooting sets up a wall of parameters you can work within. Already, life itself offers so much scope. I have a rhythm and it’s a rhythm of 12 exposures on a roll of film. I really think about the picture when I take it. I’ve experimented a lot with a digital camera, but when I take a picture on my 6×7 camera that gives me a negative about that big,” he says, holding up the palm of his hand, “and I blow it up for a big print in a show, that’s what I love, that’s what I signed up for.” (Films, 2022).

What I found so striking within this interview, was how walker managed to produce his imagery. His fantastical imaging must be digital. His constant work in Vogue and other periodicals must be digital. His high-end campaigns must be digital. After all, what art director would let him shoot film at that level? Well, it’s film. Mostly 6×7 employing a Pentax 67 camera. And, yes, he does shoot digital at times. It’s not a big deal. This gave me a pivotal direction for how I wanted my shoot to be photographed and displayed.

Personally, I have yet to see an image by him that doesn’t inspire. He is probably one of the most creative photographers today. Words like magical, creative, whimsical, and exquisite are always part of the wording used when describing this British photographer’s work. The word Whimsical, is one which fully resonated within me, as for my brand itself much like Tim Walker, is heavily conceptual and unlike many earthly edited productions. That was something I strongly wanted to play into throughout my FMP.

02. Who is Tim Walker Best known for his transparent persona within his work, and additionally Tim Walker is a world known fashion photographer and film maker. He is markable by his over distortion pictures, and fantasy like settings. In an interview I read, Walker stated, “I’M NOT SO MOTIVATED BY FASHION AND BRANDS,” (Smith, 2022). one of the world’s leading fashion photographers. Given that Walker’s work is most frequently found between the glossy covers of high-end fashion magazines – LOVE, I-D and of course the myriad international imprints of VOGUE, to name but a few – this statement makes for an interesting juxtaposition. The incongruence is only exacerbated in context of our meeting at Somerset House to mark the opening of his Mulberry-sponsored exhibition (and recently published book) Story Teller. Collating the dramatic dreamscapes of Walker’s photographs, not just in the large format pictorial form to which photography is so often consigned in gallery spaces but rather in an immersive and tactile pseudo-reality enabled in part by the inclusion of the props and design that set them apart, Story Teller is Walker in microcosm: a bridge between two worlds.

The transcendence of Walker’s work – which cannot be confined to, or labeled solely as a product of the fashion industry – is marked by its appreciation in the wider field of photographic arts. While it is true that the 42 year old Briton’s work has been featured more than that of any other photographer, almost month by month, in the pages of VOGUE, there are also images from his portfolio hanging as permanent fixtures at the Victoria & Albert Museum and National Portrait Gallery in London. In 2008 he staged his first major solo exhibition, in conjunction with the publication of his first book PICTURES, at The Design Museum and in 2009 received an Infinity Award from the International Center of Photography in New York. Indeed, Walker’s work is more than the sum of its parts. Like the artist Mark Rothko, whose expansive canvases leave room for the viewer’s thoughts to fill, the photographer’s dreamlike fantasies are a world created not just for himself but for his audience.

During muy research into not simply who Walker is, but rather the breakdown of his work, what his inspiration is, how he got to where he is now and most importantly, why he does what he does. To which an interview read, casting light on some of my biggest questions was, “I’m the sort of photographer who won’t ‘finish’ a picture until I’ve taken it as far as I can take it. Every picture I’ve done, these are the best ones obviously, but with every picture you have to force it to be the best picture it can be in the situation that you’re in.

As a photographer, I work on a scale. It is as if there is a sort of bell, and some pictures will ring that bell louder than others. I think all the pictures in the STORY TELLER exhibition are pictures that have always instinctively been valuable to me for one reason or another. They really hit something personally for me. If someone else was going to curate a show of pictures I’ve taken in the last five years they might not choose these – but, for me, this is it,” (Smith, 2022).

This interview was specifically eye-opening for me, as a creative myself, my source of inspiration comes from colour, emotion, and storytelling through feelings. By so reading an eye into Walker’s mind in other words was fascinating. One comment which really incorporated his work entirely was, “every picture is a fantasy,” this was a pivotal interview for me, as it began my direction for my FMP, this element of fantasy within the new redirection of the luxury market, additionally having a component of romance. My final major project was my final chance to fully exhibit my skillset and personal brand image.

While I was looking into which specific areas of Walker’s work I wanted to incorporate within this collaboration, his use of colour and textures also jumped out at me.There are lots of pastel, off colours which are affected by the light and shadows. The textures aren’t obvious but with the soft focus of the camera, I recognise the soft fur and ruffles which produces this simplistic fairy-tale essence. I feel that I can connect to the story and understand the main subject of the rabbit ballerina looking lady specifically in his ‘Alice in Wonderland’ imagery. Going by what I learnt through research, I believe that Walker has cleverly used the rule of thirds, as well as some off composition elements. My eyes automatically look at the model’s arm in relation to the frames. I then notice the leading line of the frames, and how it complements the lines on the wall, and the models’ legs. By following the lines, the space between the frame, model and the wall becomes more apparent and, again, produces this simplicity. Proving effect of illusion, a huge part to play within his productions, (Going, 2022).

On a personal level, as this FMP is that indeed, a personal reflection of ourselves through industry problem solving, was how honest about the reasons Tim Walker does what he does.

In an article, I read the personal approach he takes to his work, making me fall in love with his standpoint even more. “Walker has never been interested in clothes. We talk to him about making his dreams reality,” (Fox, 2022). However, upon reflection this statement fully summed up why the world loves Walker, for his unconventional way of thinking, and most importantly his open-minded approach, which to me I thought was a common necessity to thrive within this industry, however after studying someone who thinks nothing of creating a dinner party suspended in a wood, or of crashing a giant doll through a forest, or of faking a snowdrift inside a stately home which proves exactly that.

03.The Process

Surrounding the concept of process, I found test shoot, research and most importantly research into h photo shoots and fashion films. I began with research into how Walker goes forward with his shoots. I re passage, “Walker has a very specific take on fashion photography. His work is theatrical, bordering on s obvious about a man who once dyed Persian cats’ pastel – incredibly romantic. Every fantastical scene all the meticulously crafted tableaux existed at some point,” (Fox, 2022).

Walker strives to create his pictures within what he calls “the parameters of the impossible” – some rather than digitally, possible for the picture to register with the viewer. Otherwise, the ring of truth goe are instantly recognisable as Tim Walker pictures, whether they feature fashion models or not. He see are fortunate enough to acquire a style that is recognisable, you end up taking the same 10 pictures for if you think it’s a new picture.

Now, as briefly spoke upon previously, the journey of where I am now currently, was extremely different my vision of my 360 campaign. After some re-reading of my past content and in turn vision for my end g look like, how I wanted to get there and how I managed to come to this vision was an entirely different Upon reflection, my original vision was that of a 3D software makeup, to which the reader could themse uncover a new angle and styling with each side. Thus, representing the ‘4 sides of the luxury market. to be achievable through 3D software, 3D scanning of my papier-mâché models I was going to create through Adobe software. However, this was something that did not push me out of my comfort zone, nor hypothetical brand collaboration within my ColourInWhite X Tim Walker. The concept of what I was origin after reflection hardly a way of reflecting this new and out the box way of problem solving within this cr rather it was a more hands on approach which is not the new way forward the direction the industry is ta one of the most prominent articles that began this journey of directional change was that reading of, work, he’s a conjurer, and he conjures up scenes of make-believe.” He is also, importantly, a collabora like a conductor of an orchestra, coaxing the best out of them. He has a shared vision with his collabora a portrait or creating a fashion fantasy,” (Baker, 2022).

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There’s no denying the magical, fairy tale quality of Walker’s vision – a word often used to describe his work is ‘fantastical’. But at a time when the world is full of challenges – climate crisis, poverty, political instability – where does ‘fantastical’ fashion and photography fit in? It is an existential question facing the fashion world currently. Are such things merely an indulgence, frivolity, a form of escapism? No, in Brown’s view, “There’s space in the creative world for a broad spectrum of work,” (Baker, 2022), says the curator. “We need functional clothes, but we need to express ourselves, our personalities, our emotion, our mood – through our dress. And this exhibition is fantasy, yes, but it connects to the real world.”

For instance, all body types are shown here – small, big, fat, thin, all beautiful. It’s also a celebration of gay love, and of strong women, (Baker, 2022).

This was an aspect I really wanted to mimic in my collaboration, to which my first explained 360 proposal would not justify nor do justice for these deep running concepts, thus leading me to my change from my 360 campaign.

The process to where my final FMP outcome redirected, was lead primarily with the gender influenceable movement, while maintaining the new progression of fashion fantasy, thus fitting for this new movement of the metaverse. I began this redirection by reviewing my first-hand time and experience at the V&A back in 2019, where I went to London and was able to view Walker’s ‘Wonderful Things’ exhibition. I found such inspiration from the amount of storytelling through proportion and fantasy switch on. The specific display of ‘Box of Delights’, the idea was inspired by a 17th-Century embroidered casket and a court mantua from the museum collection. Heath created a chintzy sitting-room in which the photographs are displayed, as well as a large-scale secret garden, used in the shoot. As Heath explains: “It’s about a young man brought up in a [British] northern working-class world and feeling caged like a butterfly; he then flourishes and shows his true colours.

It’s about being transgender and the flamboyance – and the hardship – involved in that. The performers are not ‘styled’, these are their own personas. I was fully engrossed in the volume of influence and non-judgment within art. As someone who has always been a very conceptual thinker and worker, this FMP was my final attempt to reflect my problem solving in a no white and black approach.

04. My FMP Vision & Collaboration.

For my final major project, it was a crafted vision from all the research I explored throughout my journey. Where I wanted to symbolise my final shoot in a naïve methodical way, throughout this chapter, I will be explaining my choices made within the outcome from this final shoot as well as the details that bring it to life.

For my model, I decided upon my sister Victoria Vels, as I really needed my model to feel as comfortable in line with the camera as possible. Due to all the extravagant and conceptual poses I was requiring. These are as seen in my final chosen published images. Victoria additionally has the type of hair I needed for my shoot, long, thick, brunette. Which I could easily style in an unkept rustic style. This proved to work extremely affectively, turning out just how I planned. For my outfit choice, I chose each piece with the concept I wanted it to represent. Colours have always been the eay I express myself within my work, so this project was my final attempt as reconnecting and demonstrating this stance. The purple blazer was to signify royalty, representing that high fashion sought after aspect, as it was seen as the ultimate sigh of wealth in the 18000s. The skirt was a leather pleated, representing the animal side of unkept rough demeanour. As Walker has a lot of animal/nature touches in his work. And lastly the shows were deep maroon lace ups, similar to those Alice in Wonderland wore, bringing that whimsical nonreality world feel. All together bringing the finished styled outfit for my model. All my ite,s were thrifted, due to the respect of Walker’s work always look thrown together, however when broken down tells a story within each separate garment. Additionally, the concept of buying new fully reversed my theory of ‘remodelling the future of the luxury market from old’.

My setting was all white except for the hanging flowers I made. This was my choice to create a feel of lost time, untracked and unpredicted. I wanted to express the feeling of almost ‘falling into a black hole’, like the rabbit hole Alice did. Where there is no tell of time, location, and setting. Additionally, because I felt an already existing setting could be quite limiting for the loss of time aspect I really wanted to come through.

In addition, my choice of frame introduction was again to represent that of leaving one world behind, to join the next. This was surrounding my research area of leaving the corrupted luxury market behind, while the new improved one takes forward. Example, climbing through the frame with my model.

The makeup was that of the oversaturated, overly reshaped and whimsical take. I got a lot of my influence from the Whorsal Gummage show. A scarecrow that comes to life in midsummer and goes on various journeys. I loved the concept of this, and how farfetched it was of an object coming to life. Again, pressing the concept of nonreality takeover, where the ‘normal’ is seen as dated and left behind. Left behind in the old world we have all known for too long. Additionally, the country classical feel thus all tied together. Controversially moving away from the over digitalising of the new market, a more stripped back transparent aspect.

All these well-planned aspects opened the door to my end result, where a story is told of how the new luxury market could be displayed, a none copied industry going forward, where being one secular way is in a way frowned upon, and individuality is enhanced. No brand corruption, no ethical cover ups and stripping it way back to the framework the luxury market once represented to the brands below it. Making it this mode like part of the industry.