L I V
H A R R O U L D
WRITTEN, CREATED AND CONSTRUCTED BY LIV HARROULD
8 WHOS WHO IN FASHION
74 BRANDING AND PROMOTION
198 CREATIVE PRACTICE
Image Source: Zara TRF Autumn Winter 2018 Campaign
UNIT AIMS INTENDED OUTCOMES
AREAS OF SPECIALISM
C H A PT E R D E B R I E F : P R OJ E CT OV E RV I E W S Heading into our final ever university unit - BA3B, this chapter will supply the reader with a thorougher overview of what I intend to explore this unit. Having channeled my creative practice into two specific area’s this year, this chapter will indicate to how i intend to produce a finalized professional piece of work - as part of my final major project. In order to supply the reader with an overview of each element I intend to explore, I will use a variety of different visual elements such as symbol’s and suggestive images to effectively convey my plan of action. With examples to this unit’s project aims, intentions and purposes, the reader will gain a detailed understanding of the fundamental element’s I wish to portray throughout my final major project and body of work.
CHAPTER 1 : PROJECT OVERVIEWS
PROJECT OVERVIEWS: SYNOPSIS
Heading into our final university unit and final major project, this unit’s - project’s overviews focus on conveying three specific elements: Fashion Film, Narrative & Emotion and Art Direction. Having trialled, tested, developed and executed a variety of different skills and techniques over the last three years at university, this sketchbook focuses mandatory on highlighting my chosen area of specialism and refined body of work. Focusing my attention on the visual medium - Fashion film and how it’s attributions are beginning to play fundamental role in the way that fashion brands promote and advertise their up-coming and latest collections, this sketchbook acts
Image Source: Pinterest - Unknown
2 YEAR OF STUDY:
PROJECT OVERVIEWS: THE THREE C’S.
Over the last three years of studying Fashion Communication and Promotion, I have trialled, tested, created, developed and explored a variety of different area’s within the fashion sector. Moving in to my final major project and last ever university unit, it’s extremely important that I am not only able to effectively communicate my area’s of specialism but make record of how I managed to get to this end place. To the left is a diagram that I created to highlight how I’ve worked independently over the three years to get to this final stage. Entering year 1, I viewed the whole experience as a ‘Test and Create’ challenge. This involved Getting acquainted with the way’s that the Fashion world revolved as well as learning about the industries unique and individual characteristics. By having the opportunity to experiment with testing and creating with variety of different medium’s, I was able to develop a taste for what I enjoyed and felt enthusiastic about exploring. Heading into Year 2, I viewed this year as an opportunity
to begin exploring different ways of conveying and communicating my area’s of interests. This involved developing my own unique fashion campaign for H&M x Vivienne Westwood and teaching myself about important social and environmental issue’s such as sustainability. Finally heading into yeah three has been focused on taking my passions and interests and finding the most appropriate, successful and effective ways of communicating an idea or concept. For this I have explored some of fashion industries most contemporary ways of visually communicating strong idea’s to consumers such as fashion film and how being able to digitally advertise to consumer’s is perhaps more effective than more traditional endeavors. To remind myself of this journey, the diagram to the right not only act’s as a way to outline the last three years of studying but also how far I have come in terms of developing my passions for particular areas.
PROJECT AIMS: W H AT T H I S U N I T W I L L CO N S I ST O F
VARIETY OF IMPACTFUL
To make sure that this unit focuses on creating, conveying and communicating particular element’s, Its important that both I and the reader have a strong understanding of what this project and body of work will consist of. With this unit’s main purpose being to create a professional finished product for hand in, graduate fashion week and the end of year degree show - this project will solely focus on three specific elements.. these being: Fashion Film, Art Direction and Advertising. In order to create a refined piece of work, its crucial that all the elements highlighted throughout my body of work are all perfectly executed. To the right is a diagram which i created that highlight’s each area that Im going to be exploring throughout this unit.
MARKETING AND DIGITAL STRATEGIES
EFFECTIVE VISUAL COMMUNICATION
Image Source: Pause Magazine / Zara Man Editorial 2016
INTENDED UNIT OUTCOMES:
A CURATED, CREATIVE AND PROFESSIONAL FINALIZED PRODUCT WHICH E F F E C T I V E LY CO M M U N I C AT E S A N I M PA C T F U L A N D I M P O RTA N T M E S S A G E
TO CRATE A FASHION FILM WHICH HIGHLIGHTS THESE KEY ATTRIBUTIONS
TO E F F E C T I V E LY CO M M U N I C AT E A N D E D U C AT E CO N S U M E R S O N IMPORTANT ENVIRONMENTAL ISSUES
IN EXTENSION TO LAST UNIT PAV I N G T H E WAY F O R M Y F M P
Clear on my final major project vision from the beginning of year three, I spend the first half of the year during unit ba3a exploring the relationship that genre - fashion film has with the fashion advertising and marketing industry. Having noticed both a shift and a rise in fashion film early on during ba3a, I was able to report on my findings by writing my research report around the subject. Becoming an appropriate advertising method used in the fashion industry for exhibiting their latest seasonal campaign’s, many brands have adopted fashion film as one of their main advertisement techniques. Where fashion film’s intentions have always been extremely obvious - to focus on the clothing elements, they were viewed more as a moving editorial as opposed to a creative film, however - fast forward to 2017/2018, many fashion brands
have now adopted a more creative and conceptual film direction and are creating anywhere between 50 seconds to half an hour long movies. To show how narrative and emotion are two emerging techniques used in film to convey strong and impactful messages, the success of The Tale of Thomas Burberry clearly indicates to how successful its becoming. With over 15 million views online social media platform youtube, the film has gained media attention after its strong use of narrative and ‘trailer movie feel’ was seen by millions of fashion professionals. Noticing its success, I have thoroughly paved a way for what I intend to produce for my final major project, this being - a fashion film, by thoroughly analyzing the medium solidly for the last 7 months.
D I S S E RTAT I O N : H O W D O E S T H E U S E O F N A R R AT I V E A N D E M OT I O N I N V O LV E D I N FA S H I O N F I L M A I D I N B R A N D P R O M OT I O N
Image Source: Craig Green x Nick Knight Fashion Film Campaign Show Studio
Image Source: Vain Modesty / Film Director: Joe Murrary / Art and Creative director: Liv Harrould / Model: Ellie Sayer
FINAL MAJOR PROJECT
CAMPAIGN AIMS CAMPAIGN EXECUTION
CONDUCTING PRIMARY RESEARCH
C H A PT E R D E B R I E F : F I N A L M A J O R P R OJ E CT With this units sole purpose being to produce a professional finalized piece of work to be submitted and exhibited at graduate fashion week and end of NUA exhibition, This chapter will draw on all aspects of the chosen final major project product. To educate the readers on the campaign overview, this chapter is dedicated to outlining everything to do with the concept, from initial research to design development and the finished result. With this unitâ€™s main mission being to effectively communicate an important message through the use of visuals , this chapter will focus heavily on how the campaign concept will thrive to allure consumers attention digitally as apposed to physically. With research analysis on the chosen brand - Stella McCartney and noticing a gap in the market for a digital advertising campaign, this chapter will aim to outline how I intend to create an effective future campaign for her brand. By focusing my attention on conveying a strong use of narrative and emotion, the chosen medium for the digital advertising campaign to be
YEARS OF STUDY: 1-3
YEAR 1: INTEREST IN MARKETING & ADVERTISING
YEAR 2: FOCUS FASHION SUSTAINABILITY
YEAR 3: FOCUS FASHION FILM
FMP OVERVIEW In extension to last unit - Ba3a’s finding’s, for my final major project I have chosen to further explore the medium of fashion film and how it’s particular techniques of - narrative and emotion are being used effectively to fully engage consumers attentions. Having channeled my third year of studying to exploring the relationship that moving image has in the fashion industry, my passions have veered me towards understanding its advertorial and promotional values. Focusing my attention on the growing medium of ‘story line’ infused films, my final major project will focus on conveying a strong use of narrative and emotion throughout a digital campaign concept for a brand. Having developed an interest in fashion marketing during my first year of study, I focused my attention on exploring fast fashion retailer H&M and how they promote and advertise their on going commitment to - sustainability. Heading into year two, I continued exploring the topic of sustainability from a promotional aspect and launched a collaborative campaign for Vivienne Westwood x H&M. With my year three focus being driven towards the visual genre - fashion film and how it’s being used effectively within the fashion industry to convey impact-ful and important messages, I have developed a hunger for combining the two sectors - sustainability and fashion film together to create one finalized professional product.
FINAL MAJOR PROJECT: C A M PA I G N OV E R V I E W
For my final major project, I have decided to create a digital film advertising campaign for luxe fashion brand - Stella McCartney that focuses on highlighting her on going commitment to sustainability. The purpose of the film campaign is to educate future or pre-existing consumers on Stella’s sustainable principles, displayed in a luxury and visually engaging way. The focus of the film is to highlight Stella and her brands on going commitment to sustainability and how ethical fashion is just as luxury, beautiful and aesthetically pretty as non ethical fashion. The film’s intention is to use techniques - narrative and emotion as a way to effectively communicate the brands strength in a visually engaging way. With the chosen subject being sustainability, the film will be just under 2 minute’s long to obtain a strong purpose the whole way throughout. With the project being a digital advertising campaign, the film will be visible on all digital elements of the brand’s presence including their website
and social media channels: Instagram and Youtube. To make sure the campaign is Stella inspired, I will work closely with analyzing Stella McCartney’s current visual techniques and way’s of expressing her content through film and imagery to make sure that my concept similarly mirrors her identity. In order for the project to be obtainable, its crucial that this chapter focuses on highlighting the journey of collaborating with creatives and working professionals, such as a film maker and model in order to produce a professional and finalized piece. To the right is a diagram that I have created that showcases my chosen medium: fashion film, chosen focus: narrative and emotion and chosen topic: sustainability.
Image Source: Image one: Fashion Film Still - Vain Modesty / Image 2: Zara Man Pause Magazine / Image 3: Unknown
CHOSEN MEDIUM: FASHION FILM
CHOSEN FOCUS: NARRATIVE AND EMOTION
CHOSEN TOPIC: SUSTAINAIBILITY
Image Source: Stella McCartney Spring Summer 2018 Fashion Film campaign
TO C R E AT E A N A R R AT I V E LY D R I V E N A N D E M OT I O N A L LY C A PT I V AT I N G S H O R T F A S H I O N F I L M F O R S T E L L A M C C A R T N E Y, F O C U S I N G O N H E R O N G O I N G C O M M I T M E N T S T O S U S T A I N A B I L I T Y.
TO EDUCATE FUTURE CONSUMERS ON MCCARTNEYâ€™S TRAITS AND BRAND
I D E N T I T Y.
TO EDUCATE CONSUMERS ON MCCARTNEY’S BRAND TRAITS
PROMOTE HER NEW AUTUMN / WINTER 2019 COLLECTION
By creating a film for luxe fashion brand - Stella McCartney that draws on her on going commitments with sustainability, the main purpose for this campaign is to educate future or existing consumers on her brand identity and ethos. By communicating these beliefs through the advertising genre - fashion film, the message will be easily digestible through the use of visuals and tap into a consumers mentality. By capturing the attention of these consumer’s, the film will also aim to promote Stella’s newest collection of 2019 womens wear clothing and generate future sales. Eager to use film as an effective way to convey McCartney’s principles, it will entail a humorous angle which exhibits the topic of sustainability.
STELLA MCCARTNEY BRAND IDENTITY & PRESENCE
Launching her own fashion house back in 2001 in a joint partnership with Kering, splitting the venture by 50/50, McCartneyâ€™s label is committed to delivering sustainably sourced, cruelty free and vegan clothing for mens, kids and women. Renowned for her clean eye, tailored and feminine edge, Stellaâ€™s brand demonstrates a variety of classic and mature clothing with a modern twist. In extension to her clean aesthetic, McCartney has ventured into creating fragrances and sports performance wear and has collaborated with some of the worlds leading sports brands such as - Adidas. With a passion for delivering high quality products that are entirely sustainably sourced, Stella works confidently to challenge the fashion industry and make influential changes.
Image Source: Stella McCartney herself - pinterest
Image Source: Atlas Magazine / Pinterest
TAILORED, TIMELESS AND CLASSIC CLOTHING M A D E E N T I R E LY F R O M S U STA I N A B L E M AT E R I A LS
Although Stella McCartney may be one of the only sustainable luxury fashion brands in the world, her on going commitments are conveyed in a contemporary manner that keeps the brand firmly up against their competitors - Gucci and Yves Saint Laurent. With stellaâ€™s brand values always remaining the same throughout the evolution of the brand, the way they chose to advertise their content is both visually compelling and luxury. To highlight the brands personality and traits, to the left is a diagram that i created that outlines their aesthetic. With the brand thriving off of it ethical traits and sustainable establishment, the brand are contemporary, tailored, timeless and classic. Although Stella McCartney likes to use humor and light hearted comedy throughout her advertising campaigns, her brand aesthetic is very much approachable, timeless and classic.
FUR FREE FUR
E T H I C A L LY S O U R C E D M AT E R I A LS
To showcase McCartney’s efforts in remaining entirely sustainable throughout her brand, you can learn about it all online her website under category ‘Stella’s World’. Eager for their whole system to ooze innovation and originality, its broken down into four digestible categories which are labeled the following: Respect for people, respect for nature, respect for animals and circular problems. The first ‘Respect for people’, follows the positive relationship that her workers have with the brand through the supply chain and receiving a fair wage. Her second category ‘Respect for Nature’ focuses solely on supplying ethically sourced material such as viscose from protected forests and area of land.
To make sure that its completely sustainable, they work closely with managed land owners and people to ensure 100% effectivity. Thirdly - To respect and protect animals by working with them to make greater alternatives that doesn’t harm them in the process. By supplying consumers with fur free fur coats, the brand are responsible for using innovative technology to offer alternatives to properties which practice on animals. Finally, to remain ‘Circular’ - the brand focuses it’s efforts on regenerating and re-imagining the fashion industry for the future of sustainability and making positive impacts for the years to come.
Image Source: Stella McCartney Womenswear summer campaign 2018
RESPECT FOR PEOPLE
A I N A B
RESPECT FOR NATURE S
T E L L A
RESPECT FOR ANIMALS
Image Source: Vain Modesty / Film Director: Joe Murrary / Art and Creative director: Liv Harrould / Model: Ellie Sayer
A COMBINATION OF STILL AND MOVING IMAGERY
With Stella McCartney always choosing to communicate their latest advertising campaigns through the use of visuals, they equally balance the content between still and moving imagery. For the launch of each campaign, the brand work thoroughly to not only supply the viewer with an detailed overview of the campaignâ€™s content through an editorial shoot but also through a short fashion film. Publishing 3/4 videos on to their youtube channel a month, Stella McCartney make sure that they are active on youtube to gain as much exposure as possible. With the hope of creating a fashion film for Stella McCartney that highlights the brands on going commitments to sustainability, itâ€™s important that I create just as much still imagery and moving to post on social media channels.
YOUTUBE CONTENT ADVERTISING TECHNIQUES
To outweigh Stella McCartney’s main advertising techniques, I decided to monitor their fashion film analytics and statistic count online social media channel Youtube. With Stella McCartney’s film content split into three separate categories, it seems they purposefully try to keep their sustainable commitments separate to their seasonal campaign editorial look books. To the right is a diagram that I created to showcase which category gains the most amount of views and exposure. As you can see to the right, the winning category is their ‘seasonal look book campaign videos’, scoring a staggering 313,000 views so far in 2018, it has almost triple the views than any other category. Coming in last was their sustainable film section which has only received a maximum of 18,000 views, it seems they are not gaining as much attention as they could be to the topic sustainability. Noticing that they could be projecting a much stronger sustainable presence through their campaign editorial lookbooks, Im interested in creating a film that encapsulates both.
ALL THINGS STELLA
2018 ST E L L Aâ€™ S V I D E O C AT E G O RY E X P O S U R E P E R FO R M A N C E S
ALL THINGS STELLA
VIEWS ACCUMULATED IN 2018
PROPOSED CAMPAIGN CONCEPT
Noticing a gap in the market for Stella McCartney being able to broadcast her sustainable commitments to a larger audience, I’ve decided to combine the forces of both her separate film categories: Sustainability and campaign lookbooks and create a film that equally highlights both these area’s together. Where the brands Look-book’s perform the best on You-tube compared to her other two categories, there is a clear indication that this is what a consumer likes engaging with the most. There for, The fashion film I intend to create will be a film that entails both of these elements in a light hearted and comical manner as a way to get her consumers talking about the important topic - sustainability. By making the clothing involved in the film as desirable and luxury looking as possible, the film will not only aim to generate awareness for ethical principles but also generate profit for her newest womens-wear clothing collection. To make sure that the film is effective, it’s important that I focus my attention on using a strong use of narrative and emotion to effectively communicate to large quantities of consumers.
Image Source: Atlas Magazine - Vitality Issue 2018
CONDUCTING PRIMARY RESEARCH I N STAG R A M STO RY Q U E ST I O N N A I R E
To make sure that the proposed concept is an appropriate campaign for Stella McCartney, I decided to launch an Instagram story questionnaire, asking for consumer’s feedback on what they think about the way fashion sustainability is talked about in the fashion industry. Acquisitive whether the topic is being talked about as effectively as it could be, throughout this questionnaire, I was most interested in developing an understanding to how I could create the most impactful film possible. To the left is four screen shot’s that I took of the questions that I asked on Instagram. To get a clear understanding of both the way that consumers best engage with visual content and sustainability, I wanted to begin the opening question with asking whether ‘you more likely to interact with a brand if they have a particularly strong brand presence?’.
With the first question on my Instagram story being viewed a maximum of 1030 times in 24 hours, you can see that the result of 83% saying that they are more likely to engage with brands with a particular strong presence was clear. To also gain a clear understanding to whether a consumer thinks sustainability is talked about enough in the fashion industry, a staggering 92% said they do not think it is. Considering Stella McCartney is a completely sustainable and ethical sourced brand, it’s disappointing to know that they are one small percentage of a the fashion industry that is doing everything in their power to do well. With 83% saying that they are more likely to interact with a brand with a particularly strong brand presence, their is no reason why Stella McCartney should not be paving the way.
CONDUCTING PRIMARY RESEARCH I N STAG R A M STO RY Q U E ST I O N N A I R E PAG E 2
To make sure that the way I chose to advertise this campaign is as effective as humanly possible, I wanted to ask some more refined questions such as ‘how do you prefer to learn about a brands personality - through the use of social platforms or magazines?’ to gather a strong understand of the best ways to advertise it. As you can see to the right, all four screen shot’s fully support why fashion film is an effective way to communicate impactful and important issues. Drawing attention to question 5, 90% of the people who took part in this questionnaire said they prefer learning about a brands personality, commitments or traits through social platforms as apposed to magazines etc. To make sure that the best way to advertise this campaign is through the chosen medium - fashion film, I decided to close the questionnaire with a question
Which clearly indicates to what I was trying to achieve with creating this questionnaire. Asking my viewers whether they find ‘talking about an important issue through film, an effective way of communicating’, 89% of them agreed yes, Supporting why I think creating a film lead digital advertising campaign for Stella is an appropriate marketing strategy. Reflecting on gathering primary research based around whether my vision is appropriate and a good fit for Stella McCartney, it has not only reassured me that it’s something definitely worth talking about but also that its something people are genuinely interested in engaging with. Aware that the topic is extremely important about talking about in the fashion industry, I will now begin piecing together the film and how it will feature online Stella’s Website.
Image Source: Stella McCartney Clever Care - Sustainable Clothing Films
YO U D O N ’ T H AV E TO S H O U T A B O U T B E I N G S USTA I N A B L E , TO BE SUSTAINABLE
The chosen narrative and storyline for the film short is to highlight how one doesn’t have to shout bout being sustainable to be sustainable. Where Stella McCartney has been bought up by her parents to respect animals and care for the environment, its never been something she’s felt is questionable throughout the creation of her brand and ethos. However, whether all her consumers actually know about her sustainable principles is another question. The only way a consumer can effectively learn about McCartney’s on going commitments is by clicking the websites end category section labeled ‘Stella’s World’ or tuning into to specific social platform post’s on Instagram. In addition to this, Stella’s sustainable films do not entail any of the brands clothing. Instead,
they only spearhead outlining their fashion completely separate. Where their ‘campaign clothing’ look book’s statistically perform exceptionally well on their social media platforms (which accounts for a large proportion of their self promotion), my film will aim to encapsulate both the brands sustainable principles and luxury fashion in a light hearted and humorous film. Using a total of 2 character’s and a humorous script, the girl’s will interact with one another to suggest how sustainable fashion is important and how it doesn’t have to compromise style in order to look good or feel good. With two scenes - one outdoors and one inside, the film will thrive to keep the consumer fully engaged with multiple backgrounds
THE CHARACTERS / THE FILMS MAIN FOCUS
To continue Stella’s use of light hearted humour, the characters will act as the films main attraction in order to fully engage the consumers attention. To convey the message that ‘you don’t have to shout about being sustainable, to be sustainable’, the characters will be polar opposites from one another to clearly illustrate the message. The first character is called - Vegan girl, who likes to excessively express her commitments about being vegan and caring for the environment with others. The second character is - Strong Stella Girl, who’s approach is more relaxed, humble and quiet - proving that you don’t have to be the archetypal type to be sustainable. In utter contrast from one another, both will actually share similar interests deep down however will appear totally different in the way that they approach the topic. To demonstrate how Stella McCartney’s clothes are both luxurious and beautiful without harming the environment in any shape or form, the characters will convey this message by using humour and comedic elements.
BOTH ROLES TO BE PLAYED BY ONE MODEL
STRONG STELLA GIRL
FRANTIC, PASSIONATE, VOCAL,
H U M B L E , S T R O N G , C O N F I D E N T,
ASSURED, RELAXED, COMPOSED
SUSTAINABLE STELLA OPEN TO SHOTS OF FAKE NATURE Some shiny plastic blowing, fake model trees, cotton ball clouds. artificial nature sounds push through A whispering voice over imagery. BOHEMIAN GIRL (V.O.) I am the wind The trees The sky I am betterCut to a very bohemian looking girl, spread across the floor inelegantly surrounded by fake nature items. BOHEMIAN GIRL I am... Veegaaann Aren’t you? POWERFUL STRIKING/SIMPLE BACKGROUND A strong looking girl made up in a simple but extremely stylish outfit. Stood proud and with powerful posture, she looks to the camera with a mildly patronising stare. STRONG GIRL Seriously? A montage of tight shots of BG (Bohemian Girl) in a selection of dramatic backdrops fly through. Extreme close ups on her lips as she whispers and Wide shots as she spins and frolics. She comes across as childlike and dreamish yet bratty and self entitled. She’s better than you. slightly bizarre, overly complex music plays BOHEMIAN GIRL I am gluten free Toxin free Corporation free Vegan is old, I am fruitarian!
THE FILM SCRIPT C R E AT I N G A CO M I C A L A N D L I G H T H E A RT E D S C R I PT
With the films dynamic being to showcase a strong use of narrative and emotion, Joe and I decided to create a comical, whitty and light hearted script that would work perfectly alongside the film. To the left is page one of the script. As you can see by the films language and terminology, we opted for very short and snappy buzz lines that worked alongside a number of strong and short film clips. To make sure that the viewer gained a good understanding of each character, the way we have written the script is in response to their individual personalities. With Vegan Girl flaunting her passion for being sustainable and ethical, page one clearly indicates to how much she runs on about being sustainable compared to Strong Stella Girls lines.
With Strong Stella Girl only saying a couple of lines throughout the whole film and script, this was intentional for getting across to the viewers. New to directing, producing and creating a fashion film, Joe kindly took it upon himself to sit down and construct this script after meeting up earlier during the day to talk through the narrative of the film. Although the script is pretty short yet broad, itâ€™s really down to the visuals that are pieced alongside it to give a strong feel of the films chosen direction. Interested by how script is used when creating a fashion film, itâ€™s extremely valuable to have many copies of them printed out on the shoot day so that you can work through it - scene by scene.
CAMPAIGN EXECUTION FILM OVERVIEW AND EXECUTION PROCESS
FOCUSES ON THE
LIGHT HEARTED NATURE
LATEST WOMENS WEAR RANGE
Having outlined my proposed campaign concept earlier on in this chapter, I felt ready to begin shooting the short narratively driven fashion film. Choosing to represent her brand present through the use of comedy and light hearted humor, the film was divided into three separate scenes that focused on sustainability and the brands luxury presence. The opening scene featured both characters - Strong Stella Girl and Vegan Girl, in debate with one another about who’s better than the other. With the film message being to convey that you don’t have to shout about being sustainable to be sustainable, the film director and I decided to use a comical and light hearted script to make the film both enjoyable and easier to digest. With the focus being on both characters conveying the importance of sustainability, It also featured both characters in Stella’s newest womens wear collection. With scene two’s focus being solely on highlighting Stella’s luxury aesthetic and sustainable clothing, it did not feature any script or comical language.
Image Source: Vain Modesty / Film Director: Joe Murrary / Art and Creative director: Liv Harrould / Model: Ellie Sayer
SCENE 2 OVERVIEW
HIGHLIGHTING LUXURY SUSTAINABLE CLOTHING
For scene 2, the films focus was drawn on Strong Stella girls outfit and her enjoying the natural outdoor space - at one with nature, in a big to show how sustainable clothing does not have to sacrifice taste. With this scenes focus being driven on highlighting how her entire outfit is made from sustainably and ethically sourced materials, it’s aim was to allure consumers into buying clothes that help save the environment. To the left is a still image that I took on a hand held camera whilst on set for the first scene. With wanting to make the clothes look as desirable as possible, we opted for slow and delicate poses and body language. By opting for this scene to be outside and in complete utter contrast to scene 1, we wanted to draw attention to Strong Stella girls behavior and how she is humble, quiet and comfortable in her approach with being sustainable. Having split the focus of each character over both scenes, the viewer will hopefully gain a clear understanding of how you don’t always have to talk about being sustainable to be sustainable. With Stella’s approach to the subject being so deep routed, she has never felt the need to necessarily broadcast it loud and clear throughout her brand, however - this may be why many people don’t actually know about her sustainable morals and principles.
A LOOK AT THE FINAL FILM FILM CONTENT OVERVIEW
With all three of us: the film director, model and I - Art Director working extremely hard to make sure that the film breathes narratively driven sustainable fashion, I am extremely happy with the finished result. With my main mission being to show how important it is to entail a strong use of narrative and emotion in film to communicate strong and impactful messages to consumers, I feel we have accomplished it within the 2 minute short film. To highlight my favourite moments, I decided to include some stills from the film shoot that showcases both scenes and each character. With our intention being to create awareness surrounding the topic of sustainability, hopefully the films strong use of visuals, script and colour ways will effectively engage consumers. With Film Director - Joe editing the film, I need to make sure that we come up with an effective short and snappy title for the film that encapsulates the filmâ€™s narrative successfully. For this, I will intensely monitor the film by re-playing it a handful of timeâ€™s to spark my imagination.
STRONG VISUAL SCENES
STRONG LUXURY FASHION EDITORIAL AESTHETIC
STRONG SYNOPSIS OF
SHORT AND SNAPPY
THE FILMS CONTENT
One of the hardest elements to this whole project and process was trying to think of an appropriate film title. Having researched with Joe the film director into previous Stella McCartney campaign titles, we noticed that they like to keep the title a maximum of two words long and something short, sweet and snappy. Eager for the title to be a strong synopsis of the films direction and narrative, we decided to use both the films character’s contrasting personality titles - Vain Modesty. With the definition of the film being that you don’t have to shout about being sustainable to be sustainable, we thought just like the films light hearted humor, the title should represent the comical aspect of the film. Settling with the title ‘Vain Modesty’, I not only think this is a great summary of the films synopsis but also something you would see published on Stella McCartney’s homepage.
With the campaign being a digital advertising film, visible on all social and digital platforms, the brands most important channel to utilize is their website. As the main hub for educating their consumers on the campaign, the website will feature the most amount of content hosted on the project from the campaigns main message through to the clothing outfit links. To the right is a manipulated image that I mocked up on Photoshop to show how the campaign would feature on the landing homepage. With Stella McCartney featuring all her newest projects on the homepage, this campaign will do the same and will be begin playing the film sequence after 5 seconds after clicking through to her website. Eager for every landing consumer to be educated by Stella McCartneyâ€™s on going principles to sustainability, the film will hopefully visually engage the consumer into watching the whole film.
ADâ€™S AND BANNERS In extension to the film being published on all leading social media platforms, its important to gain a consumers attention from those who may be unacquainted with Stella McCartney. With the hope of this campaign being to attract consumers into buying sustainable luxury goods and gaining an understanding into sustainable and ethical principles, a series of promotional banners and ads will be visible online Facebook and other social media platforms. To highlight what the banners would look like, I decided to create a mock-up on Photoshop which shows the campaign imagery online social media platform facebook. As you can see, I decided to include an upload by Stella McCartney themselves alongside a small advertisement which features on the edge of the page. By hovering over each individual image, the consumer is able to tap the content and be directed through to Stella McCartneyâ€™s website.
ASSETS: SOCIAL MEDIA
With the campaign being visible on Stella McCartney’s website and Instagram, one of the most important platform to feature the campaign on is - Youtube. With an average of 1 billion active users per month, the film will definitely gain media attention, with the potential of reaching anybody around the world. Opting for a simplistic and minimalistic thumbnail image, I picked an image that I thought best summarised the campaign. Choosing a still from Strong Stella Girl scene on shoot day 1, the image highlights her strong personality and bold presence. To make sure that the video gain’s the most exposure as possible it will featuredas Stella’s main video, advertised on their youtube channels landing home page, which will indefinitely get viewed thousands of times.
Acting as Stella’s largest audience base, the brand will utilize their Instagram channel as one of their main advertising mediums. With a total of 4.7 million followers, publishing content onto their Instagram account is a critical part for this campaign for generating discussion and hype. In order to successfully engage a consumers attention, the published content will be broken into a series of different shots from both scenes of the film, showing a wide variety of different imagery. On the official campaign launch day, there will be a specific upload published and titled ‘NEW IN, WATCH NOW’ to fully engage the consumers attention, where they then have the option to click through the direct link in their bio to find out more. With the fashion film being a maximum of two minutes long, the full film will eventually be published (a week or so after the original launch date) to reach a large audience.
END OF CHAPTER
Image Suit wear Campaign Image Source: Source: Zara Zara Man Man Tailored Suit collection Spring Summer2018 2018Spring Summer
WHOâ€™S WHO IN FASHION
FASHION STYLISTS FASHION ART MAKERS
FASHION ART DIRECTORS
FASHION FILM DIRECTORS
C H A PT E R D E B R I E F : W H O S W H O I N FA S H I O N F I L M To express my passion for exploring, analyzing and acknowledging some of the fashion industries most creative talented individuals, this chapter is dedicated to showcasing a variety of working professionals with backgrounds in - Fashion Film, Art and Film Direction. Eager to continue my quest in staying up to date with some of the industries most up-coming and rising star s, this chapter not only indicates to how their work has helped inspire my creative practice but also how their individual characteristic’s are recognized across multiple mediums. By highlighting leading fashion Art Directors such as Christopher Simmonds, this chapter will inform the reader on my personal experience with each creative and how their talent’s have helped shape my final major project and portfolio of work. With strong example’s to their professions, job role characteristics and chosen area’s of specialism, this chapter will act as one of my main exercises for gaining inspiration.
CHAPTER : WHO’S WHO IN FASHION
WHO’S WHO IN FASHION OVERVIEW:
To continue my journey in monitoring some of the worlds most creative and talented fashion professionals, the following chapter is dedicated to highlighting some of this unit’s key motivators. Having developed a passion for including a who’s who in fashion chapter within every sketchbook since the beginning of year two, the process not only helps inspire me for future creative opportunities but also shape the way I consume fashion. Specializing in fashion film, art and creative direction this last year - the following page’s are dedicated to showcasing some of the industries most talented individuals. With detailed synopsis’s of their professional practice along side a personal statement on how each creative has helped inspire my work, the chapter will draw attention on the vitality of exploring inspirational talented individual to help shape your own creative journey. To showcase my particular interest in art, film and styling direction, the following highlighted professionals have been carefully selected to convey my passion for their particular area of specialisms and skills.
Image Source: Michelle Duguid / Styling - The Sunday Times - date unknown.
D I R E C T O R A R T F A S H I O N
CHRISTOPHER SIMMONDS Currently located and Living in London, Christopher Simmonds - a creative art director who’s whacky and diverse vision’s may be recognised since the launch of Gucci’s Pre Fall Spring Summer 2016 Campaign, has a wealth of established clients ranging from Alexander McQueen to JW Anderson. Born in the 1980’s, Christopher acknowledged his passion and interest’s in developing creative ideas early on whilst growing up in Birmingham - before heading to London to study a degree at Central St Martins. Having spent a couple of years focusing his attention on studying course - fashion promotion at UAL, once graduated, Simmond’s wasted no time in building up a rich portfolio of clients, before becoming creative director at Dazed & Confused Magazine. In an article published by Business of fashion
called ‘Christopher Simmonds: I think people get the message on Gucci now’ he explained how his love for being appointed director at Dazed & Confused was very much at the heart of having no ‘political allegiances’ and being able to be as free, controversial and confident as desired. Spending a total of 5 years being d&c’s appointed head, Christopher decided to end his journey with the publication before becoming freelance and owner to his own creative agency called Simmonds Ltd. Being employed as a campaign strategist and art director to luxe fashion brands, designers and companies such as Stella McCartney, Gucci and Burberry, Christopher has been working ever since to bring their individual aspirations, hopes and desires to life.
Image Source: Christopher Simmonds Zara Menswear Editorial Campaign - 2014
Image Source: Christopher Simmonds / Gucci Bag Campaign - Date Unknown.
H O W C H R I STO P H E R S I M M O N D S W O R K I N S P I R E S M Y C R E AT I V E P RACT I C E
Channeling and focusing my attention on becoming a future fashion art director, I first discovered Simmond’s work after watching Gucci’s most recent advertising campaign called ‘Gucci Hallucination’ on line video social platform Youtube. Noticing his undeniably incredibly eye for detail and exceptional use of stage and creative direction, I stumbled across his website Simmonds Ltd before becoming fixated by his diverse body of work. With clients ranging from high street retailers such as Zara, to luxe fashion brand Gucci, it seems that Christopher’s talent in creating idea’s based around each individual client, is at the heart of his personality, there for, his idea’s are never shy or expected. The element’s that most inspire me about Simmonds work are his attention to detail and creating an atmosphere which is so believable and real. This is brought to life in some of his most famously known work for client Gucci and their resort campaign which was released in 2016. Alongside directing Glen Luchford in creating a fashion film alongside a series of still’s for the campaign, Christophers talent’s in creating rich tones, a luxurious setting and strong narrative seems at heart of the campaign which showcases Gucci’s newest seasonal collection of clothing. What most interests me about Simmond’s abilities and body of work is the balance between the fashion and narrative that he convey’s throughout each campaign released. Where other fashion directors seem to specialise in either area, it seems Chris can entail both of them equally without deterring from each other. 83
Biting the bullet, I decided to contact Christopher by sending him a personalised email specifically requesting any work experience or shadowing opportunities that he and his company might currently offer. Explaining my interests and passion for his work, I tailored my email to coincide with what would I would expect an art director would be interested in reading. Attaching a few slides of my recent visuals and my up-coming fashion film for Stella mccartney, I sent my finest selection of images off alongside a tailored CV. Not hearing back in two weeks I decided to send a follow up email however I unfortunately still haven’t had a response to this day. At this point, I decided to use my initiative and take to Instagram story by tagging him in a post captioned “my favourite art director of all time”. Within minutes, I had an immediate response and thank-you from Simmonds, where we then began by exchanging contact details with one another about future possibilities of work experience from this August onwards (2018).
D I R E C T O R A R T F A S H I O N
Toni Hollowood, a current Fashion Art Director employed at Stella McCartney who currently lives in London, has left quite a mark in the way that Stella McCartneys brand communicates through strong uses of visuals. Studying a BA hons degree in Visual Media at London College of Communication before undergoing an MA In Fashion Communication at Central St Martins, Toni has utilised her talents in working for some of the worlds leading luxe fashion brands such as Burberry and Stella McCartney, as well as working for smaller and ‘more’ creative companies such as Nick Knight’s brand - ShowStudio. With an impressively creative website which houses her talents as well as examples of her work, you get the sense that Toni enjoy’s sharing and intertwining her style and aesthetic into whatever project she works on. In recent years, Toni joined the Stella McCartney’s company becoming their appointed art director after gaining experience in previously being hired as an assistant and freelance art director at Burberry and Stella McCartney. Working alongside Stella on her brand’s long lasting commitment of being completely sustainable and ethical, Toni has created numerous short fashion films, editorials and still’s that visit this element in a humorous, lighthearted and informative manner. One of her most recent pieces called ‘ Deforestation: a story of sustainable viscose’ which is visible on social platform Youtube, Instagram and her website, visit’s the relationship that the brand has with making their clothes 100% sustainable and in particular using viscose as their main material. With use of a comical script and product placement, the art piece is used cleverly to draw your attention to Stella’s sustainable principles in a light hearted manner.
Image Source: Stella McCartney Sustainable Fashion Film 2018 / Toni Hollowood Art Direction
Image Source: Stella McCartney Campaign - All Is Love - Pinterest
H O W TO N I H O L LO W O O D W O R K I N S P I R E S M Y C R E AT I V E P RACT I C E
Particularly interested in working for Stella McCartney - a brand who has a strong brand identity and sustainable ethos, I first stumbled across Toni Hollowood’s work after researching into the brand’s current employee’s on LinkedIn. On a search for ‘visual’ guided job role’s within the company, I noticed Toni Hollowood’s profile, who was listed as their current Art Director. Researching her further on Instagram and her website, I was amazed to see just how much work she has created in a short period of time. With an interest in sustainability, I recognise the challenge we face in the fashion industry, trying to make it an interactive, attractive and most importantly desirable topic of conversation, which is something I noticed in Toni’s work that she practices particularly well. Two element’s of her work that I’m particularly drawn to throughout her work at McCartney is her use of props & set design. Cleverly using props such as fake tree’s, miniature village’s or alive animals such as cats - she allures and draws in a consumers attention by using realistic or associated life like products that we as humans use on a regular basis. With my fashion film being for Stella McCartney and focusing on higlighting her sustainable
Principles, I have drawn inspiration from Toni Hollowood’s use of props such as miniature tree’s etc, and used similar props throughout my film to suit her aesthetic. Eager for my fashion film to breathe Stella McCartney’s brand aesthetic and identity, It was important for me to learn from her inside employee’s and extract certain elements of their style choices and intertwine them into mine to effectively convey her brand without using titles etc. Interested in finding out more about Toni’s journey in becoming an Art Director shortly after graduating, I decided to personally email her and make myself known. Labeling the email title ‘Art Direction Experience Request’, I began the email introducing myself followed by what I intended to create for my end of year university project and if she offered any shadowing opportunities. Receiving a reply 4 days later, she offered her help and to answer any questions I could think of as she unfortunately did not offer any work experience opportunities at this moment in time. Being in conversation with working professionals has has an extremely positive effect in shaping my studies and building valuable contacts for my future in fashion.
JULIA DIAS F A S H I O N
A R T
D I R E C T O R
Julia Dias, a fashion artist, set designer, creator and practitioner, who graduated from Glasgow School of Art in Fine art sculpture before moving to London to pursue her aspirations in working within the creative Industry. Finding her feet in the city, she quickly found a niche working with a variety of different working professionals such as: photographers, directors and cooperate clients from all different backgrounds and vowed to help create visually stunning sets to suit their visions and needs. With a rich portfolio of clients ranging from magazines such as Wonderland and GQ to commercial clients such as Jigsaw, the Outnet and Swarovski, Julia works from her studio based in Hackney, working on a wide range of different projects such as dressing bespoke sets, music videoâ€™s and London Fashion Week. With a body full of different stylistic shots such as product placement to front cover editorial shoots, she uses tones and colours as some of her main ways to express a brands individual identity from others. Specialising in set design and art direction, she tailors her aesthetic to fit in with each individual client, which is present throughout all the imagery produced. The use of lighting, props, location and clothing are all cleverly positioned to remind you of her talent and artistic flair. With a majority of her clientâ€™s being fashion brands and her work reflecting a strong clothing focus, it is easy to recognise her talent in building a strong relationship between the clothing and set design, which is undeniably attractive and glamorous.
Image Source: JuliaDias.com
Image Source: Julia Dias.com
H O W J U L I A D I A S W O R K I N S P I R E S M Y C R E AT I V E P RACT I C E
Eager to stay up to date with some of the U.K’s leading fashion practitioners, I regularly analyse website - Patricia McMahon for talented individuals. Scouring through the website’s individual sections ranging from Artist’s to photographers and set designers, I stumbled across Julia’s body of work under ‘Set Designer’s’. Immediately drawn to her whole body of work, I recognised just how much consideration she takes into account with tailoring her work to coincide in with each individual client. One of my favourite pieces from her portfolio of work is for ‘Wylde’ which is a series of fashion related shots which focuses on different parts of the models outfit, ranging from full body shots to close up shots accessories such as the bag or earrings.
Although the imagery is both visually and aesthetically compelling, what draws me to these images is in fact the use of set design. Using contrasting colour’s against the clothing such as rich fuchsia blue’s, emerald and blood red colours, your eye’s are veered towards the atmosphere that the models placed within, giving you a strong sense of personality. By using props such as fabric, draped behind the model, It makes the consumer feel intimate with the imagery. Inspired by Julia’s work and with wanting my portfolio to reflect at the work of an Art & Film Director, I would like to begin experimenting with dressing different sets and using different props to implement a persona or personality.
Image Source: Dua Lipa 2018 Art Work / Luc Coffait
P H O T O G R A P H E R F A S H I O N
CO IF FA I T Luc Coiffait, a young male fashion practitioner and professional - somewhat fell into the industry after discovering his love for styling and directing. Originally from Newcastle, Luc’s background was originally in football, however - after narrowly missing out becoming a professional player, he decided to go to university and study a degree in politics. Throughout his time at university, Luc acknowledged how his passion was in fact in photography, so dropping out of university he followed his dreams in becoming a free lance fashion photographer. Based in London and working internationally for a variety of well established fashion designers and luxury brands ranging from Burberry to Vogue and even no fashion related companies such as Sony Music, Luc has created a life time of jobs for himself. Represented by four international fashion agencies such as See Management - based in New York and Red Plus in China, Luc
regularly travels to create imagery for a variety of different clients. With a focus in photographing portrait’s of peoples upper frame, he has attracted the likes of celebrity singers such as Dua Lipa. Photographing both a large variety of female and male models, Luc embraces the use of each models facial expression by using complimenting colour tones & colour ways to reflect their mood and behaviour. With a website full of commissioned work, Luc also features his own individual work under a category labelled ‘personal’ which takes you to his own tumblr page. Not shy with experimenting with certain environments, locations and model positions - it seems Coiffait enjoys creating a wide variety of different imagery which suggests his creative nature however his style of photography and direction still seems to remains cohesive and fluid.
C R E AT I V E P RACT I C E
H O W LU C CO F FA I TS W O R K I N S P I R E S M Y Always eager to scout new fashion professionals and practitioners, I like to use Instagram and relevant hashtags as a way to guide me to new artists. After Hashtagging #fashiondirector into Instagram on my work account, I spent an evening searching for some new artists who I found inspirational. Clicking through onto a relatively new post, uploaded by Luc Coiffait - I was quick to notice his large social presence and array of imagery, working alongside pop singer and star - DuA Lipa. One element that immediately drew me to Luc’s work, was his use of stage direction and model positions to make each image feel personal and intimate. By using certain camera angles to capture positions such as: focusing up on a models body - it gives you a sense of connection between the camera and model and draws on particular emotions. He also specialises in taking a variety of fairly natural imagery which isn’t too staged and posed, by placing his models in busy locations & atmospheres. For example, an image he features on his website showcases a young male model standing alongside a fish market in a busy complex, wearing a white boiler suit with his hands in his pockets. The thing I find most endearing about Luc’s work is how he seems to create ‘real life’ moments throughout each image, which implements a sense of vulnerability and naturalness.
Image Source: Sam Smith / Cole Sprouse and Rushka Bergman 2017
RUSHKA BERGMAN F A S H I O N
New York based and Serbian born - Rushka Bergman works within a medium of creating all things fashion, art and culturally captivating, through the use of imagery. Free lance Fashion editor Rushka, has a particularly strong, sharp and sophisticated vision, in which her work draws upon through a timeless aesthetic. With an impressive body of work, playing part in several memorable projects, one being - Calvin Klein’s book called American Women, she mixes and liaises with important and recognisable figures within the fashion industry. Also participating in the creation of the lavish volume - Giorgi Aramarni, she has helped create exhibitions that feature in The Guggenheim Museum - New York and The royal Academy of Art in London. In extension to her innovative blood, Bergman is also a contributing editor for Vogue Italia where she works on creating each issue’s
E D I T O R
front cover working with some of the worlds most famous figure’s such as: Kim Kardashian, Michael Jackson, Madonna and Bjork. She also regularly collaborates with some of the industry’s most established photographers such as: Bruce Weber, Mark Seliger and Miles Aldridge and occasionally works as a costume dresser for some current film maker’s. In addition to her impressive portfolio of celebrity clients and work for multiple magazines, Rushka also is commissioned to create advertising campaigns for fashion houses both luxe and high street. ranging from Mango to Valentino. With a large social media following of 137,000 followers on Instagram, Rushka promotes both her professional content alongside more personal posts which include her recent trips and hiking expeditions.
C R E AT I V E P RACT I C E
H O W R US H KA B E R G M A N W O R K I N S P I R E S M Y
I first stumbled across Rushka’s work after researching through American actor and fashion practitioner - Cole Sprouse’s instagram account. With an interest in collaborating with internationally renowned creative figure’s, Cole has gained a large following, which attracts the eyes of fashion influencers such as Alexa Chung. With a majority of his instagram content being about capturing extremely beautiful and untouched scenic environments, he experiments with each shot by introducing a model into it - which are found posing in a variety of different stances and positions. Photographing a variety of models, all different sizes and races - Cole also photograph’s some well known figure’s such as, U.K Based singer - Sam Smith. Falling in love with a post that he shared of Sam Smith in the middle of a desert, kicking sand with a pair of big chunky boots, and a long beige trench coat, I noticed that he had in fact collaborated with two other artists to capture the shot, one of which being - Rushka Bergman. Analaysing both her imagery on her website and Instagram, I quickly become infatuated with Rushka’s body of work - which mainly features the most incredible and complex backdrops. What I find most inspiring about Rushka’s body of work is how she uses her model’s as subjects rather than the main objective in each image. With a majority of her content being shot outside in a desert or mountain area, it seems she uses her models as part of the beautiful scenery. What’s most refreshing about her body of work is how she uses the initiative of utilizing the outdoor space in a majority of her work in instagram. Moving forward, I would love to take the opportunity to create an editorial shoot outside in the countryside which draws on our worlds untouched beauty.
Image Source: Paris Jackson / Rushka Bergman.com
DAVID NOLAN F A S H I O N
S T Y L I S T
Represented by Patricia McMahon, London born - David Nolan who studied at The London College of Fashion, has worked for many different clients ranging from backgrounds in both fashion and music which include styling for: Calvin Harris, Kings of Leon, Chase and Status as well as fashion brands such as Newlook, Urban Outfitters, Harvey Nichols, Harrods and Adidas. Alongside being a contributing stylist for many clients, David is also currently the mens fashion director at Glass Magazine which is a physical and digital publication based on evoking a sense of clarity and simplicity to its readers through combining element’s from adventures, fashion, art, music and design to further our imaginations. Particularly gifted in creating a classic, tailored
and timeless stylistic approach throughout all of his styling choices, he works to convey a vintage aesthetic that runs throughout his portfolio of work. Interestingly, Nolan is menswear stylist meaning his portfolio only exhibits male based editorials and he does not style any female’s. In an industry where being a contributing stylist for clients and publication’s is at the heart of every fashion editorial produced, it seems that only styling menswear shoots doesn’t deteriorate his passion for the subject. With all his styling choices being fairly minimal and natural toned with a colour palette of mostly beige, white, light blue, navy and orange - he definitely creates a timeless feel and historical reference within each image.
Image Source: David Nolan.com
Image Source: Matt Smith / Zoo Magazine - David Nolan
C R E AT I V E P RACT I C E
H O W DAV I D N O LA N S W O R K I N S P I R E S M Y
Stumbling across Nolan’s work featured online digital agency - Patricia McMahon, I was intrigued by his - male only orientated body of work. Although in the fashion industry, styling is a highly sort by job, It can be some what rare to find a stylist who only cater’s to one gender only. Noticing his passion in styling menswear only shoots, I worked my way through his portfolio before coming across one shoot in particular that caught my eye. Against all his other featured work, its obvious he works to a similar tailored, clean, neutral and vintage aesthetic throughout each shoot apart from the occasional one. In a shoot for Kinfolk featured on his Patricia McMahon profile, his use of bright garment colours ranging from red, blue and yellow is almost garish in contrast to his neutral palette throughout the rest of his portfolio. Although the clothing choices are similar to the others exhibited in his work, the colour’s draw your attention in to the narrative of the art piece. Moving into the future, I would like to begin experimenting with using particular colours to create certain moods and aesthetics. In the past I have only experimented with using different stage and set design to create certain moods and atmospheres however, after visiting Nolan’s work, I feel inspired to begin creating these changes through use of clothing colours and garments.
S T Y L I S T
F A S H I O N
With a rich history of working for British magazine publications such as Elle and Vogue, Michelle Duguid has worked in many different sectors of the fashion industry ranging from writing, to styling fashion shoots, commissioning and producing. Graduating from Winchester School of Art with a degree in History of Art, Michelle first embarked on her career in fashion by assisting a menswear stylist called - Simon Foxton and womenswear stylist - Jonathan Kaye. Assisting for two established contributors with powerful connections to Nick Knight, Liz Collins and publications such as W and I-D, Michelle weaved her way into the styling industry before landing herself a job at ShowStudio , where she worked on various films and editorial styled shoots. Around 2004, Michelle then moved onto contributing at British Vogue where she was appointed fashion assistant and was given the opportunity to work alongside some of the industryâ€™s leading fashion practitioners which included top photographers and stylists. After 6 years, she then jumped ships to Russian Vogue where she became fashion editor but In recent years, left to pursue a freelance career in styling. Working on a variety of visual multi disciplineâ€™s within fashion, she has worked on both film sets and editorial styled shoots to create a rich body of work. Her clients include: Elle, Vogue, I-d, Sunday Times, InStyle, Glass and The Telegraph.
Image Source: Michelle Duguid - The Sunday Times Editorial
Image Source: Michelle Duguid.com
H O W M I C H E L L E D U G U I D ’ S W O R K I N S P I R E S M Y C R E AT I V E P RACT I C E
With wanting to create a rich portfolio of work before my hand in due this May, I came across Michelle Duguid’s work whilst searching for some inspiring imagery for an upcoming shoot later this month. Instantly attracted to one of Michelles images - which was a shoot for The Sunday Times - fashion section, I fell in love with her use of complimentary colours and clothing choices. With both her styling and overall composition being aesthetically beautiful, her work is a great example of the type of imagery I aspire to create for an up-coming menswear shoot I have planned. With the Sunday Times image showcasing three model’s, positioned in different radiuses from the camera - each outfit combination harmonised with the other without deterring your attention away from each model. One thing I deem to find extremely hard in the world of styling - is dressing and matching multiple models to coincide with the others looks. With my styling aesthetic being fairly similar to Michelle’s, I want to experiment and continuing my quest in push boundaries by dressing more than one model in a shoot and working with complimentary colour ways.
Image Source: Paris Mitchell Commissioned Work
PA R I S MITCHELL F A S H I O N
S T Y L I S T
New Zealand based and raised, Paris Mitchell has worked as a fashion stylist and designer since 2013, after graduating from Auckland’s top institute - Auckland University of Technology, with a degree in fashion design. Alongside her studies at university, Paris worked for a fashion brand called Karen Walker for 4 years where she then began a design apprenticeship with the Head Quarters where she shadowed the design team as their apprentice. A year later, in 2014 - Mitchell decided to follow her quest in being a freelance creative by moving to New York to find a variety of new clients in the vast city. Eager to excel in fashion, she got offered a position at American Vogue where she worked as the assistant to the design director head at the time called Real Martinez. Alongside working at one of the worlds most prestigious fashion design publication houses, Paris continued her passion in Styling by embarking on her free lance career, working with numerous
clients. In recent years, Mitchell has moved back to her home town in New Zealand where she still works as a free lance stylist as well as a co-founder to ‘The Mercantile Store’ - “an editorialized e-commerce of curated artisan and contemporary values” - parismitchellstylist.com, where she works on executing, promoting and selling clothes. Working for a variety of clients which are mostly a combination of contemporary womenswear clothing brands such as Georgia Alice and Kate Slyvester, her styling choices are fairly muted, classic and structurally tailored - which compliments each model and gives the viewer a sense of confidence and independence.
Image Source: Paris Mitchell Commissioned Work
H O W PA R I S M I TC H E L L’ S W O R K I N S P I R E S M Y C R E AT I V E P RACT I C E
With Paris’s styling choices being mostly about accentuating the female physique by using structured garments such as tailored trench coats and oversized clothing, it draws in the viewers attention into monitoring the models behaviour and emotion shown within their body language and facial expression. She also seems to stick to a fairly muted and neutral colour palette, which harmonies perfectly with all of her clients and their brands individual aesthetic’s. One shoot that particularly caught my eye, was a shoot she conducted for Client - Mi Piaci on the launch of their AW17 clothing collection. Visiting over 12 looks, each a separate outfit choice, it seems that she enjoy’s integrating a pop of colour into each look. For example, the image to the left shows a blood red sweater, paired underneath a patent dark brown trench coat and cream culotte trouser. With my styling aesthetic leaning towards using muted and neutral tones throughout each outfit, I struggle to integrate vibrant colours into each look. Having been exposed to Paris’s work and how she delicately places a pop of colour alongside a muted outfit, I feel inspired to begin introducing a pop of colour into an up-coming shoot with fashion photography student - Oli Stockwell.
TOM CRAIG F A S H I O N
F I L M
D I R E C T O R
Born in Cornwall - year 1974, Tom Craig is an acknowledged ‘documentary’ style photographer, film director & creator. Working in many different sectors of the industry including fashion, Tom has been employed by some of the worlds most renowned fashion brands and publications such as Gucci, Vogue and Louis Vuitton to create unique campaigns and editorials surrounding their newest clothing collections. In extension to working alongside globally recognised brands he has also been recognised by photography professionals, as one of ‘British Magazine Photographers of the year’ after being nominated for five consecutive years at the National Portrait Gallery. Winning two awards in 2001 for British magazine photographer of the year and Arts and entertainment photographer of the year, Tom works on capturing some of the world’s most eqesuite imagery, by travelling the world and capturing some incredibly beautiful & once in a life time photographs. In recent year’s, Craig has also been recognised in the fashion film field, conducting short promotional campaign videos for brands such as Gucci. With a desire and focus to tell a story through both still and moving imagery, Tom has proved successful in the fashion film industry - where he has worked as a contributing director for neta-porter on numerous occasions. In an exclusive short promotional video for net-a-porter which highlights Gucci’s newest womenswear clothing collection, the story follows a group of young women who meet up for drinks and dinner with one another whilst wearing the new collection. With a lust for life attitude and variety of soft and warm filter’s applied throughout the 0.56 second long film, It gives the viewer a sense of romance and femininity - tying into a luxury feel. With a background in creating these fairly short video’s, Tom proves very good at selling a brand’s identity and message in a short period of time.
Image Source: Tom Craig - Netaporter Gucci Campaign - Girls
Image Source: Vogue Poland . Tom Craig - CLM Photography
C R E AT E P RACT I C E
H O W TO M C RA I G ’ S W O R K H A S I N S P I R E D M Y
After stumbling across Tom’s work after seeing it featured on Melbourne Fashion festival’s Youtube Channel called ‘fashion film series 2017’ I was quick to notice Craig’s distinctive eye for creating romantic and timeless feeling fashion films. Researching into his body of work via his website, I was amazed to see just how much influence he has had in the industry with working alongside some of the worlds leading luxury fashion houses such as Gucci. With a background in photographing fashion related content, Its interesting to see how image makers such as Craig have began entering the industry of moving image as an additional way to showcase their talents. Although his content is heavily focused on highlighting each brands clothing throughout a series of short moving clips, It’s interesting to see that Craig still integrates a strong narrative and storyline into each piece. Where fashion film used to be viewed as a tool to purely show case a clothing’s movement, it now seems to be a complete genre of itself, where film directors have began experimenting with the medium and title ‘fashion film’ by introducing narratively driven elements in to it. With Tom touching on both area’s (narrative & look book ) within his films, it seems that it has proved a huge success by analysing his previous opportunities. It’s interesting to observe directors such as Tom Craig as it seems that fashion photographers are beginning to branch out into their sector into the world of fashion moving image and continue to pushing its boundaries in terms of what a fashion film entails.
FAU LKN ER
Graduating with a BA hons in Philosophy from King’s College London, Sam Faulkner still lives in London and is currently based in Islington. With a career change since graduating from university, Sam is now a well respected and recognized London based photographer and filmmaker working for fashion brands and publications such as Marc Jacobs, Dior and Tommy Hilfiger. Originally - only being a fashion photographer, Faulkner worked as a contributing visual creator for Vogue alongside photographer - Mario Testino to capture the life of one of the world’s most glamorous photographers in the run up to his portraits exhibition in London. Keen to bring his fashion stills to life, Sam took it upon himself to begin experimenting with the medium of film and slowly introduced it into his work after noticing how hungry companies and agencies were becoming for the content. Still picking up work as a photographer, Sam began recording a series of ‘behind the scene’ style short films in addition to his still photography work and in the years that followed has continued to do so - being commissioned as an film maker. Working as an independent creative, Faulkner and his team also offers each brand that they team up with a variety of different services which include: concept planning, in house editing, colour grading and retouching, music, behind the scenes and additional photography. They vow to help each brand tell a story through moving image by making it as meaningful and visually engaging as possible for their clients. Regardless of the budget, time or sizing of idea - His team and Sam work efficiently to deliver beautiful content. His impressive portfolio of clients also include: Dolce & Gabbana, Jimmy Choo, Versace, Gucci, Rimmel London and Dyson. 116
Image Source: Sam Faulkner.com
H O W S A M FAU L K N E RS W O R K H A S I N S P I R E D M Y C R E AT I V E P RACT I C E
One pieces of Sam’s work that is highlighted on his website that I simply adore, is a recording of a ‘behind the scene’s’ fashion campaign shoot for Mario Testino featuring super model Gisele Bundchen. Set in the scorching sun, using a variety of interesting props such as fabric and wooden boxes and submerged in sand, Faulkner captures the raw and natural moments in-between shooting the commercial. Capturing all different aspects of the shoot, he focuses on photographing the people involved behind the scenes which include: the makeup artist, camera men, set designers and assistants. What’s most inspiring about this recording is how he has managed to document something incredibly interesting to viewers that you would never get the honour of experiencing without somebody being behind the scenes. It reminds you as a viewer it is so important to document the whole process of a journey, as opposed to only having a finalized image to show for it. In an industry that is ridiculed for it’s fabricated nature, especially through the editing process, it reminds you that the process is still beautiful regardless of the finished product.
What most inspiring about Sam and his work, is his ability to cater to a variety of different clients by offering services which depend on the job at hand. Where certain film makers and directors work as a one person team to create content for a brand, Faulkner has his own organization which helps produce a diverse range of content depending for each brand, by taking their visions, hopes and ambitions and making it a reality. Similarly to some of the other film makers and directors I’ve explored, it seems that Sam was also originally a ‘fashion photographer’ who fell into the world of moving image and experimenting with the medium of film. Although his list of clients is extremely impressive, what I find most inspirational about Faulkner’s position is how him and his team work together to design and create masterpieces for fashion and or non related fashion clients and still sell a similar message and aesthetic.
Image Source: GUCCI FARFETCH - ACE NORTON FASHION FILM
ACE NORTON F I L M
Directing over 80 music videos, television commercials, fashion shorts and short films, Ace Norton - Born and raised in Venice - California, is internationally recognised for his talented and creative input in the film industry. As a third generation film maker in his family, Ace grew up surrounded by creatives and began experimenting and creating his own film’s from an extremely young age. By the end of his high school career, he had already directed and written over a dozen film shorts which we’re published in the professional film world. Attending southern California university, he studied a production program where shortly afterwards, he launched his own small production company out of his garage at home alongside a number of close film school friends.
D I R E C T O R
Being scouted, Ace’s production company was quickly snapped up and signed to Partizan and subsequently Pretty Bird. In the years that have followed, he has undergone directing over 80 films from all different areas of the film industry including music videos and fashion films and his client list includes: Coca-Cola, Adidas, Vans and Gucci. His films and videos have also been shown at Festivals in Berlin, Venice, Japan and English as well as winning awards for best fashion films on multiple occasions. His use of cinematography, whitty scripts and scenic setting’s definitely haven’t gone unrecognised in the fashion industry, being commissioned by luxe brands such as Gucci when Norton shot their ’90 minutes store to door’ campaign collaboration with FarFetch.
M Y C R E AT I V E P RACT I C E
H O W S A M FAU L K N E RS W O R K I N S P I R E S
Image Source: Garrett Leight Fashion Film / Optical glasses
Searching through online video platform Vimeo, for new talented fashion film individuals, I stumbled across Ace Norton’s profile. With an extensive selection in fashion related content, I became fascinated with his style, genre and aesthetic. Researching into Ace’s work history, I was astonished to find that somebody so young and fresh to the film industry could have so much impact in the advertising field. Working for brands ranging from fizzy pop drink - Coca Cola to fashion luxe brand Gucci, it’s obvious to recognize how talented Ace really is with specializing in so many different areas of moving image. Narrowing my analysis into one specific area of his many featured categories online his website ‘fashion film’, one video that particularly caught my attention was for California Optical company - Garrett Leight, which is a 2 and a half minute short fashion film that follows a story of two identical twins and their obsession with doing everything as a pair. With dramatized classical music playing in the background that builds up a momentum throughout the whole duration of the film, it leaves the viewer intrigued with what the film’s purpose is right at the end, where in fact, the purpose was featured throughout the whole duration of the film- glasses. By using various film techniques, scripts, music and editing skills - the viewer is fully engaged with the campaign without necessarily realizing it. For my fashion film, I will draw inspiration on how he has carefully pieced together this fashion short by monitoring the production and execution process.
END OF CHAPTER
Image Source: RoAndCo.com
CHAPTER 4 :
BRANDING & PROMOTION
BUSINESS CARDS BRANDED BOXES
C H A PT E R D E B R I E F : B RA N D I N G / P O RT FO L I O Recognizing the importance of being able to communicate effectively with consumers, one element that is extremely important in alluring a cosumers attention is the way you present and promote your work. To explore the genre of branding and self promotion, this chapter focuses on showcasing my branded portfolio and drawing on the design processes for my last ever hand in. Promoting my work and creative practice as professional as possible, the following pages will supply the reader with a thorough examination of each design decision and final product. By creating both physical and digital elements for this unit’s submission, it will explore assets ranging from Business cards to an online website portfolio. Eager for my portfolio to reflect existing fashion professionals pieces of work, the following page’s will indicate to how I drew inspiration from a variety of different fashion creative’s and developed my own unique design encouraged by their content. Stumbling across some problems, this chapter will also focus on how I have worked efficiently to tackle them and create a variety of refined packaged goods.
CHAPTER : BRANDING / PORTFOLIO
CREATING A BRANDED PORTFOLIO: OVERVIEW
With this unit being about refining, developing and tailoring your work to coincide with your future job ambitions Its important that I thoroughly analyse, refine and create work suited for becoming a future Art, Creative or Film Director. Eager to communicate purely through the use of visuals, whether it be: film, typography or imagery - It’s important that my portfolio is a true representation and reflection of what an Art / Film director’s body of work would look like. For this chapter, Im particularly interested in monitoring current fashion professionals and their way’s of communicating their area’s of specialism through the visual language. By also adapting segments of last unit’s portfolio, I will aim to better my body of work to highlight my best pieces of work that best represent the industry that I’m eager to progress within. Alongside creating visualW and physical element’s for this unit such as printed and embossed boxes, I will also be exploring the different ways that one can brand and promote themselves. By working on creating both digital and physical artifacts such as: business cards and an online portfolio, I will aim to promote myself and my work in the most professional and presentable manner by using software such as Indesign and Photoshop.
Image Source: Liv Harrould / BA3A Sketchbook - Chapter: Whoâ€™s Who In Fashion Film 131
Eager for my portfolio to present an industry standard body of work, it’s important that I think carefully about which element’s I want to highlight through each piece of work created. On the right I have constructed a visual diagram which indicates to the four element’s I’m particularly interested in focusing my attention on developing. One of the four area’s is to make sure that my portfolio is both Coherent and Fluid. Where in the past, I was unsure with what route and area I was interested in progressing within, my body of work was both broad and brief, meaning it was hard for the viewer to gain a deep understanding of my best interests and passions.
V I S U A L LY E N G A G I N G
There for, with each promotional and advertorial element I create for this unit, I need to make sure that its coherent and fluent throughout each piece of work. The second element is to make sure that my work has a clean and tailored aesthetic. By analysing some of the U.K’s leading art and film directors, its clear to see that they all follow a similar format in the ways that they communicate and display their work that less is more. With my style being fairly minimalistic and plain, this should lend itself well when creating a website and business card. Lastly, I need to make sure that I communicate through the use of strong visuals. Tailoring my work to suit the work of an Art Directors, I need to make sure that I don’t rely on supported text or annotation to communicate my imagery - there for, my selection of visuals is extremely important.
BRANDED PORTFOLIO FOCAL AREAS
CLEAN TAILORED AESTHETIC
TAILORED TO ART DIRECTION
STRONG USE OF VISUALS
COHERENT AND FLUID
PACKAGING / PORTFOLIO ASSETS
Image Source: Liv Harrould / BA3A Sketchbook - Front Cover
THE BRANDED PORTFOLIO ARTIFACTS
With branding and self promotion playing a fundamental role for our final ever hand in, its important that the way I chose to present my work is both effective and strong. In order to create visually impactful branding elements and asset’s, Its important that I analyse an array of different physical and digitial content from existing creatives and professional’s to help with the formation of my final pieces of work. The four element’s I’m most interested in creating for this unit are: Business Cards, Branded Boxes, Website and crafted Sketchbooks. With our content being exhibited at our end of year university exhibition and Graduate Fashion Week - each element needs to be of particularly high standard. To focus my attention on creating these artifacts, the following pages will outline my journey creating each individual asset. From research analysis, initial designs and design development, the reader will gain a thorough understanding
of each design decision and final design. Eager to continue my journey in pushing boundaries, a majority of the content supplied throughout this chapter has been edited, adapted and crafted by me using professional software and photograph studios. Recognizing the amount of work I have created these last few years, it’s important that I visually record each design process to publish on my website.
Image Source: Liv Harrould / Business Card Mock-up : Photoshop
BRANDING ASSET ONE:
BUSINESS CARDS / BRANDING OVERVIEW
As a large proportion of our final hand in being based around presenting our work at Graduate Fashion Week and NUA exhibition, I wanted to create a professional branded business card that clearly highlights my area of specialism and personality. Specializing in art, creative and film direction, it’s important that my card act’s as one of my main advertising tools for promoting myself. In order to produce an effective card, the main areas I’m interested in highlighting is one image that encapsulates my personality and work presence alongside my personal details such as: website URL, contact number and title. Eager for the card to match the rest of my portfolio, I will experiment with different layouts on photo-shop to create the most visually engaging asset. To the right is an image from a photo-shoot that I creative directed with photography student - Holly Moore and Model: Hannah Gilmore. With the image colours and tones being muted, complimentary and neutral, I feel its not only a strong representation of highlighting my creative practice but also my personality.
A CLEAR SYNOPSIS OF MY CREATIVE PRACTICE
A STRONG REPRESENTATION OF MY PERSONALITY
Image Source: I See You - Creative Direction: Liv Harrould / Photography: Holly Moore 139 / Model: Holly Moore
Image Source: Business Card Mock-Upâ€™s / Liv Harrould
BESPOKE LOGO LANDSCAPE BODY ENLARGED CREATIVE TITLE
THREE DIFFERENT TEXT SIZES
V I S U A L LY CO M P E L L I N G I M A G E R Y COMPLIMENTARY / NEUTRAL COLOUR TONES
MOCK UP BUSINESS CARD
For my first business card mock-up, I decided to create a landscape card which features one of my images from editorial ‘I see you’. Thriving to create a visually engaging card, I wanted to experiment with different ways of presenting it. As you can see to the left, I opted for a muted colour scheme both for the imagery and supported text. Eager for the business cards to show an essence of my personality, I decided to include the Logo I created originally for BA3A. Using the initials of my first and last name, I created a bespoke logo on photo-shop which reads as ‘L H’. By developing the logo since last hand in, I wanted to play around with different colour way’s that supports the rest of my body of work. By creating a white Stella McCartney campaign booklet and reflective journal, It is crucial that all this projects body of work visually, harmonize with one another. Specializing in art, film and creative direction, I deliberately placed my working title at the top of page, located directly underneath my logo. The text that follows underneath my creative title is deliberately two font sizes smaller to give it another dimension
ADAPTED COLOUR WAYS
MOCK UP BUSINESS CARD
ADAPTED FONT SIZE
Concerned that my previous business cards mock-up colour scheme was too light against the white background, I decided to make a few altercations and adaptations to both my logo and text on photo-shop in order to compare the two against one another. With my heart originally set on having a light grey text on top of an off white background, I began to realize how difficult it would be to both produce and communicate with consumers. To overcome this issue, I decided to take to photo-shop in a bid to adapt my branded logo’s colour scheme and supporting annotation. By picking two darker shades of grey for the outline of my logo and supported text, I was surprisingly happy with the result. Worried that the darker text would deteriorate a consumers attention from the image on the back, I was pleasantly surprised that It didn’t, especially after pairing both the front and back of the business card together on photo-shop. Happy with the design, I began researching into different business card printing companies - where I stumbled across a company that offer luxury thick material cards. Eager for them to be strong and durable, I decided to go ahead with making an order from - Moo.com, where they offer a supply of 25 business cards for £30.00. Purposefully purchasing a minimum amount of 25 cards, I wanted to analyze them thoroughly in person before purchasing more - just in case of something was wrong with them.
Image Source: Business Card Mock-up / Liv Harrould
Image Source: Developed Business Cards Mock-up / Liv Harrould
DD DESIGN DEVELOPMENT
To monitor my business card development process, I decided to enlarge both the original and developed design on the left hand side page to observe it from a far. To gain the best understanding of whats more visually engaging, I decided to create a short questionnaire for my fellow course mate’s to fill out in order to notify me on what they thought was the most effective design. Eager to continue my journey in receiving regular feedback from working professionals and like minded people, I find receiving critique extremely beneficial for developing pieces of my work. To the left is a miniature diagram that I created in order to show the results of my questionnaire. By asking them questions such as ‘what business card do you find most visually compelling’ and ‘which one do you think is a better representation of my personality and other pieces of work’, 85% agreed that it was business card number 2. Satisfied with the results, I decided to go ahead and begin creating some postcards that included the same Logo and supported annotation on the reverse side.
85% AGREED THAT DESIGN 2 W A S M O R E V I S UA L LY COMPELLING
BEST REPRESENTATION OF MY PERSONALITY AND PRIOR WORK
P R O B L E M S O LV I N G STUMBLING ACROSS AN ISSUE WITH MY BUSINESS CARD DESIGN
Having sent off my business card design to Moo.com, I was slightly apprehensive for its arrival. Unsure whether my printed text and logo on the back was too small, I know it would either work or not. Receiving them in the post, unfortunately - the text was far too small in relation to the imagery. Thinking on my feet, the only solution that would help resolve the situation would be to re-order them. Taking to photo-shop, I made some changes to the size of my font before re-uploading it back on to Moo.com. Ordering the minimum amount of business cards that Moo offer, I made the decision to wait for their arrival to double check them before purchasing a larger quantity. Fortunately, the second batch of cards that arrived where perfect. At the top of the left page is the original business card that I received from Moo, as you can see the text was far too small in contrast to the second image supplied directly below. Satisfied with the second batch, Iâ€™ve made a larger order as well as some 6x4 postcard style cards.
FINAL BUSINESS CARD DESIGN
Having developed my professional business card and received them in the post from moo.com, I thought It would be beneficial to professionally photograph them. To the right is two images of the front and the back of my business card. Having stumbled across a problem after receiving my first batch in the post, I made some adaptations to the font and positioning before re-submitting them. Happy with the final outcome, I thought I would seize the opportunity to take some photographs of them in my back room with my professional backdrop set up. Featuring a graphic design category on my website, I will whittle down the final images into two of my favouriteâ€™s before editing them and uploading them to my website. Grateful for stumbling across a problem with my initial design, I feel I have a better understanding of the design process when creating a business card.
Image Source: Liv Harrould Packaged Portfolio BA3A
BRANDING ASSET TWO:
PACKAGING / PORTFOLIO PRESENTATION
Entering the beginning of year three, I was eager to explore ways of packaging and presenting my final pieces of work. Having become confident in getting my booklets professionally printed from exteiror companies outside of university, I felt I wanted to push boundaries in other ways of professionally presenting them for hand in. Researching into a variety of existing fashion companies packaging asset’s, I became infatuated by the ‘luxury’ experience that most mid market and luxury brand’s offer when purchasing something from their stores. Taking inspiration from companies such as Cos and Acne, I decided that in units ba3a and ba3b I would push myself to create, construct and execute two series of professional standard packaged portfolio’s. To share my experience with creating, developing and executing these packaged asset’s, the next pages are dedicated to supplying the reader with an in-depth overview of my design decisions and final product for BA3B.
Image Source: RoAndCo.com
ACNE / PACKAGING
To gain a clear understanding of what makes an effective, durable and aesthetically pleasing packaging experience for consumers to engage with, I decided to research into some leading fashion brands packaging designs who offer this luxury experience. Street Culture, art and fashion brand - Ance Studio’s, offers this packaging experience when purchasing one of their products online or apon request in their stores. With a strong brand identity and presence - often associated with the colour salmon pink, acne have done extremely well in selling their luxury heritage to consumers. Admiring their simplistic style decision’s, I am most interested in an how their packaging reflects their brand identity. When creating my own packaging assets, it’s important that both the design and content corresponds well with my work’s aesthetic and brand identity. The image to the right is one of my favourite packaging asset’s that Acne have produced in the past. With strong bold white titles that work harmoniously against the salmon pink wrap, It not only draws attention to their brand name but also their brand aesthetic. In order to supply my consumers with a similar luxury aesthetic, Its important that I explore and develop my own signature style on every final piece of work.
Image Source: Acne Studio 154Packaging - Pinterest / Source unknown
Image Source: Cos packaging - Pinterest . Source unknown.
COS To explore an array of different packaging designs, I wanted to analyze some with a similar aesthetic to mine. Cos - a fashion brand that is heavily influenced by architecture and design, creates minimalistic and neutral toned luxury boxes when a consumer purchases something from online or in store. As you can see by the image’s to the left, their asset’s are extremely classic, basic and clinical, much similar to the brands identity. In an article written by Dezeen, it explores Cos’s brand identity and aesthetic, with the managing director Marie Honda. Explaining how everything they create from clothing to accessories and even their packaging is down to their love for architecture and art, its definitely detectable with their unique packaging experience they offer. To begin creating my own packaging experience, I am interested in entailing certain elements from both Cos and Acne’s design choices. To visually communicate my brand identity with consumers, I will stick to a fairly similar design and colour palette to what I already feature in my books. 157
Image Source: Portfolio Packaging Mock-up BA3A / Liv Harrould
CLASSIC AND MINIMALISTIC DESIGN
DESIGNING MY PACKAGING PORTFOLIO
Having observed two different packaging experiences, I feel in a confident position to begin creating my own design. Following a similar design aesthetic to cos, the main elements Iâ€™m interested in highlighting are: a title and name. In order to achieve a professionally looking portfolio, I will use Illustrator and Photo-shop to mock up my logo and packaging designs. To the left is an example of the design Iâ€™m interested in printing on to a series of different size boxes. As you can clearly see, I have opted for a large title - LH, with smaller text supplied underneath it titled - BA3B Sketchbook. Interested in using two contrasting colour, I thought I would stick with a basic colour palette of black and white. To get a full effect of the contrasting shades, I opted to create my logo - LH in white and print it on to a black box. In order for the print to be detectable and full resolution, I will go over to the print unit at university and speak to Georgie whether she thinks this design is achievable on their printer set up. Being my first time printing on to anything physical such as porfolio boxes, Im apprehensive to see how well the tones and image quality comes out once finished.
THE FINISHED OUTCOME
PRINTED PORTFOLIO BOXES Having paid Georgie from the print design studioâ€™s a visit regarding my packaging designs, fortunately they were design appropriate for their UV printer. Showing her my design file, she worked with me on the computers to render the file and transfer it on to Illustrator. Adapting the file size and quality, we together got the sent off to the UV Printer for printing. Collecting them 4 days later, I was extremely pleased with the final outcome. As you can see by the image above and to the right, the contrasting colours work incredibly well for drawing attention to the design. With the LH logo being positioned perfectly in the middle with accompanied smaller text underneath, the design is both professional and easy to read. Confident with the final outcome for this design process, next time Im interested in exploring a different technique such as Embossing or De-bossing for my final major project hand in.
Image Source: Liv Harrould BA3A Portfolio Packaging Final Outcome.
BA3B BOX MOCK-UPS
DEVELOPING MY PACKAGING DESIGN
O N E O N LY CO LO U R W AY
this unit’s direction of work. To the right is two mock-ups that I created on photo-shop to try visualize what my final design will look like. Interested in using the same logo design - LH, I decided to use a plain white colour fill to display it on top of the box front cover. To make sure that you can clearly see the box, I need to make sure that the emboss is risen enough to be able to distinguish it from the box. Aiming to have a series of these boxes printed ready for my final ever submission on the 18th of may, I will head over to the design studio to talk to the design team about getting this design put into production. New to the field of embossing, I hope everything will work out.
To differ from last times packaged boxes, I wanted to create something similar yet bespoke and different. To make sure Im continuing a journey in pushing boundaries by experimenting with different techniques, this time I thought I would explore Embossing and De-bossing as an appropriate design method for this units hand in. Intrigued by the way it appear’s almost invisible when looking at it face on yet noticeable from side angle, I thought this unit I would experiment with the a pain white colour scheme. With a majority of this unit’s book work and editorials being simplistic, minimal and neutral toned, i thought this simple packaging design would be a good representation of
Image Source: Liv Harrould Packaging BA3B Mock-Up Design
ADAPTING MY FINAL OUTCOME
WORKING THROUGH A PROBLEM
H aving sent my boxes into production last week at the design studio’s, I was impatiently anticipating the finished result. Having run out of time to do a variety of different experiments with the printer, I put my trust in my design and the print studio staff to get it produced efficiently. Heading over to the design studio to collect my embossed boxes, i was unfortunately extremely disappointed with the outcome. Down to person preference, I was unhappy with how the ‘embossed’ title’s colour scheme came out against the white boxes. With the embossed print being a different material to the matte box underneath, it unfortunately appeared yellow to the eyes. Checking in to the office with Kat and Alex, I wanted to ask their opinions, advice and feedback regarding the final outcome. With kat suggesting that I purchase a white matte spray paint from jarrolds and give the whole boxes a once over thin layer of spray, it may remove the difference textures which are causing the design to appear slightly yellow. To the left is an image of the final outcome which clearly outlines the issue I’ve encountered.
Image Source: Reflective Journal Front Cover Mock Up BA3B / Liv Harrould
BRANDING ASSET ONE:
CRAFTED SKETCHBOOKS / GRAPHIC DESIGN
Another important element to include within my branding portfolio is crafted sketchbooks. Having spent the last three year’s developing and refining the way I communicate and present my sketchbook’s with others, it’s important that for this unit, I’m able to draw on how I’ve tailored it to coincide with becoming a future art or film director. With graphics playing a fundamental role in the way that we observe and ingest fashion, its important that I’m able to effectively communicate everything I create through the use of visuals and supported annotation. The following pages will highlight how I’ve worked this last unit to continue pushing boundaries and develop my sketchbooks graphical designs from last unit. Thriving to create a refined body of work for graduate fashion week and our end of year exhibition, Its crucial that i’m satisfied with the final product.
Image Source: BA3A Bookletâ€™s / Liv Harrould - Bootcamps
Image Source: BA3B Sketchbook Pages - Liv Harrould BA3B Mock-ups
SUPPORTED ANNOTATION AND TEXT
GRAPHIC DESIGN / COMMUNICATION
Working on the way I create, preset and communicate my sketchbook’s these last three of years, it has definitely been a journey within itself. Having spent the first two years of university developing my in-design and photo-shop skills, I’ve headed into year three and my final major project with the ambition to refine my work to coincide with a particular job role. Tailoring my work to mirror that of an art of film director, I have worked with particular techniques and ways of displaying and communicating my work to create visually compelling and impactful content. To the left is two mock-ups that I created on photo-shop, that showcases some of this unit’s sketchbook layout designs. As you can see, I focus my main attention on conveying strong use of imagery. With a large proportion of the fashion industry communication being driven by the visual medium, I focus on projecting impactful and compelling imagery that tells the consumer a story. Supported with annotations and text, I’ve worked these last couple of year’s to push boundaries in creating industry standard inspired publication’s. Drawing inspiration from Gentlewoman, Vogue and Atlas magazine, I am interested in conveying a professional approach throughout everything I produce.
THE FRONT COVER
PUBLICATION ANALYSIS / ATLAS MAGAZINE With the front cover playing a fundamental role in the way that consumer’s buy or interact with a publication, it’s important that the cover is a strong synopsis of the issue inside. Drawing graphic design inspiration from magazines such as Vogue and The Gentlewoman in the fist 2 year’s of university, I’ve found myself intrigued by more creatively presented publications such as - Atlas Magazine in year three. Set up by two fashion graduates from the U.K, Atlas are a creatively lead independent publication that feature and promote the next generation of fashion creatives. With each bi-annual issue presenting a wealth of vibrant talented individuals, the whole imagery content is created by them. Eager for this unit’s sketchbook front covers to summarize my area of specialism - art direction, I am interested in creating a similar front cover such as Atlas to entice consumers into interacting with my content.
Image Source: Atlas Magazine Spring 2018 Vitality Issue
CREATING AN INSPIRED FRONT COVER
Inspired by Atlas Magazine’s latest issues front cover, I decided to practice laying out my reflective journals front cover. To the left are two mock-ups that I created on photo-shop to showcase my thought pattern. One thing I’ve always struggled with presenting on my front covers is titles - there for I wanted to experiment with different ways of laying it out alongside an image to observe its effectiveness. Eager to continue my journey in pushing boundaries, I thought I would experiment with creating an off centered title that differs from a majority of my other sketchbooks. Comparing the two designs against each other, I’m immediately more drawn to the second design - where the text is featured in the top right hand corner. Whether this is because it’s outside of my comfort zone or not, Im drawn to both the title and the image equally as much as one another. To the right is my reflective journal art work featured online printer company -mixam print. As you can see, the image and title work simultaneously to engage a consumers attention and spark interest. Moving forward, I will follow a similar process to this when mocking up my sketchbook and portfolio front cover.
Image Source: Reflective Journal Development - Liv Harrould Mockup 2018
Image Source: BA3B Sketchbook Pages Mock-up Liv Harrould
V I S U A L LY COMMUNICATIVE
Another important design element that I concentrate on displaying throughout each book is symbols. Using an online website called ‘noun project’, they house over 30,000 visual symbols of everything and anything ranging from letters to phone emoj’is etc. One way that I’ve been able to effectively communicate my concepts and ideas opposed to using imagery is through the use of symbols. To the left are two mock up’s that I created on photo-shop displaying some of sketchbook pages from both this unit and ba3a. As you can see, it’s not only a strong visual tool to use but also a great way to summarize data on the page. To continue my quest in creating visually engaging content, I will thrive to use a number of these symbols throughout each sketchbook that I create for this unit. With a large proportion of this project being veered towards creating our final major outcome, I will focus my attention on using a variety of different symbols within my Stella McCartney campaign booklet to communicate effectively. In extension to this, I will also thrive to use a large quantity of these symbols in my portfolio as both a design method and way to communicate each concept.
Image Source: Final Website - www.Liv Harrould.com 2018
BRANDING ASSET THREE:
A REFINED, INDUSTRY STANDARD ONLINE PORTFOLIO THAT HIGHLIGHTS MY CREATIVE PRACTICE AND BODY OF WORK
TO E F F E C T I V E LY CO M M U N I C AT E T H R O U G H T H E U S E O F V I S U A LS AND SHOWCASE MY ASPIRATIONS FOR BECOMING AN ART DIRECTOR
Image Source: Liv Harrould Stella McCartney Fashion Film / Model: Ellie Sayer
Another element that I am interested in exploring throughout this unit is creating a bespoke professional Online portfolio / website that highlights my creative practice. Graduating this summer and about to move into industry, it’s extremely important that I’m able to effectively communicate my area’s of specialism and passion with a variety of professional people. Recognizing the importance of having my own bespoke website, I’m most interested in focusing my attention on conveying a strong indication to my passion in creative, art and film direction. With hope of becoming a free lance art director in the future, it’s crucial that I’m able to effectively promote myself through the use of imagery. By researching into various existing art and fashion film directors online portfolio’s, I will draw inspiration from their accounts to help with the formation of mine. Thriving to keep all my branding this unit, fluent and cohesive, I want to make sure that I follow a similar colour palette to my final business card and branded portfolio boxes. By analyzing many online website creators, I’ve decided to use wix.com due to their variety and easy to locate tools.
VARIETY OF CONTENT
PARTICULAR FOCUS ON FILM AND ART DIRECTION
WEBSITE: TO INCLUDE
To make sure that my website is both a representation of my personality and creative practice, there are particular elements that are important to highlight. The first being - a wide variety of strong imagery from different categories of my practice, these include branding, marketing, styling, art and film direction. With imagery acting as the main vehicle for attracting consumer’s to your website, it’s important that I think carefully about the way I want to present my content. Another important factor to cover is an - About me, bio section. For consumers to understand my personality and area’s of specialism, I thought it would beneficial to include an about me section that outlines my area’s of passion, enthusiasm and aspiration. In order for them to get a good overview of these trait’s, I will leave a ‘fill out form’ at the bottom of the page - where consumers have the opportunity to write to me and start conversation. Thriving to be relate-able, approachable and friendly - I have taken inspiration off of art Director - Toni Hollowood in the way that she addresses future collaborations with anyone on her website. Specializing in Film and art direction, it’s extremely important that I’m able to highlight this sector compared to other categories of work. Lastly, I will aim to present my consumer’s a broad overview of my previous styling work. With a background in working for professional companies such as The Guardian, I think it’s important to promote ‘commissioned’ work.
A VARIETY OF STRONG IMAGERY
BIO - ABOUT ME
ART AND FILM DIRECTION
Image Source: RoAndCo.com - Testimonial
W E BS I T E A N A LYS I S / ROANDCO
To gather a good understanding of the way I intend to formulate my website, I decided to research into two graphic and art directors websites that Inspire me. To the left is an image from creative design company - RoAndCo Studio, who specialize in creating bespoke and tailored work for brands that encapsulates their brand identity and aesthetic. Having received feedback from BA3A about shooting my design work and eager to feature a graphics category on my website, gaining inspiration from talented organizations such as RoAndCo has made me think about different way’s that I could photograph, layout and edit my own imagery. Reflecting back on last unit’s body of work, I was disappointed with myself that I was unable to professionally photograph my work, there for - this unit I want to make sure it’s something I explore in my work and highlight on my website. As you can see by the content they have laid out on their landing homepage, their content is extremely eye catching. By using contrasting title colours against each image, it not only draws attention to each slide but also their logo. Having researched through their website for an hour, I decided to create a pages document in which I clearly outlined what I intend to include on my website. Having researched into their website, I now have a clear indication of the way I intend to take image’s of my final pieces of work and formulate my website.
Image Source: Screen Shot / Katciara.com - Landing Homepage 2018
W E BS I T E A N A LYS I S / KATCIARA
Interested in featuring fashion film on my landing home page, I wanted to gain some inspiration from Creative’s who feature it as one of their leading selling points. Kat Ciara - Fashion and Graphics creative and also my University tutor, features a wide variety of visual content on her website including fashion film. By clicking through onto Kat’s website from Google, you are immediately captivated by a large colourful moving image sequences that features at the top of her website. With her logo and title centralized on top of the film, your eyes are drawn to both her area of specialism and body of work. Working your way down her one page only - website, it’s obvious that Kat has deliberately decided to feature all of her content on one page to keep a consumer fully engage. By cleverly not featuring more than one page and separate categories - means that a much wider variety of consumers will observe all her content without getting bored or clicking through it. Moving forward, I will aim to take inspiration from her website and include elements of this in mine. By researching into two different working professionals Online portfolio’s, I now feel I have gained a good understanding of the way I want to formulate and display my website. I will also now begin mocking up my website and play
around with different ways of visually displaying it. Interested in the way that both Kat and RoAndCo display their main homepage, I will aim to create two mock-ups, one of which, will displays a still image and the other a moving image. Interested in using Wix.com due to it’s basic and visual layout, I will aim to spend the next two week’s formulating my website and developing it. Interested in gaining feedback and critique from others, I will formulate a mini questionnaire that I hand out to my fellow class mate’s and ask for their opinion on what they tink is the stronger design.
Image Source: Stella McCartney 2018 Fashion Film: Model, Ellie Sayer / Film Maker - Joe Murrary
STRONG VISUAL IMAGE
LOGO AND TITLE
CATEGORY 1: LANDING HOMEPAGE
With a landing home-page acting as your main promotional vehicle for alluring consumers to your website, it’s important that I highlight my area of specialism on this page. Specializing in film and art direction, I am eager to feature some of my most recent work from my Stella McCartney campaign film. Additionally to having a visually impactful image located on my landing home-page, It’s also important that I convey my title and logo. Having analyzed two art fashion directors website’s including Kat Easthope’s - my tutor, It seems having a large logo and working title placed on top of an imagery is a powerful element to include. To experiment with different way’s of laying out my website, I decided to take regular screen shot’s of my journey developing it. The next couple of page’s will clearly illustrate my journey in developing it with my main focus being on making it as visually compelling as possible. To to left, I decided to blow up a still from my up-coming Stella McCartney film with my final logo placed on top of it. Recording some behind the scene’s footage on my canon for the film, I’m interested in perhaps using part of it on the landing homepage.
DESIGN 1: STILL IMAGERY
CATEGORY 2: FRONT PAGE
DESIGN 2: MOVING IMAGE
To differ from the first design, I wanted to experiment with displaying some moving image that I recorded from my recent Stella McCartney campaign film. By featuring model - Ellie on the left hand side of the page, I dropped my logo and title beside her to draw attention to both elements. Having thoroughly observed both designs, I’m definitely most interested in design 2. To highlight my passion and enthusiasm for fashion film, what better way to highlight it on my landing homepage and draw attention to the subject. By using moving image as opposed to still, I think it is both something refreshing and diverse from other people’s online portfolio’s I’ve observed.
To gather a good understanding of how I want to present and communicate my landing homepage, I decided to create two mock-ups on photo-shop that showcase some of my most recent work and logo. Unsure whether I only wanted to only highlight one or multiple image’s, I decided to create two different design’s that featured these elements. As you can see by the top right image, I decided to use two image’s from a shoot with The Guardian - which I helped assist on. Unsure at this moment in time whether I am legally allowed to publish these image’s on my website, I thought it was wise to mock it up instead of publish it on my website.
Image Source: Website Landing Homepage - Livharrould.com Testimonials
ADAPTED LOGO POSITION
Having mocked up two different website homepage designs, Iâ€™ve decided to go with the content I feel best highlights my direction of work.. this being: Moving image. Having outweighed the differences of design 1 and 2, I not only feel that design two is a lot stronger in terms of visuals and tones but also the way itâ€™s positioned on the page. To the right is a home page mock-up that showcases my finalized homepage design, featuring model Ellie Sayer sitting on a stool in front of a light grey backdrop as part of my Stella McCartney film. Gathering critique from a variety of different people such as my tutors, work colleagues and family - I decided it better displayed my passions and aspirations of becoming a professional film and art director. Having mock-ed up my final design, I will now take to wix.com to upload and publish it. Happy with the finished result, I hope the moving image is compatible on multiple devices such as laptops, phones and tablets.
Image Source: Liv Harrould Final Landing Homepage Design and mock-up 2018
Image Source: Liv Harrould.com Website - Bio Category - Get to know me 2018
ABOUT: Experienced in liaising with professionals and working alongside team members, I have undergone a three year BA Hons Degree in Fashion Communication and Promotion at Norwich University of The Arts to learn about all the important elements and key characteristics needed for moving into the fashion Industry. â€‹ ith an interest in all things Fashion Film, Art Direction and Styling, my work truly reflects my perW sonality, interests and passions. Having gained experience in multiple areaâ€™s of the Industry ranging from: Marketing, PR, Styling & Art Direction, I am eager to continue my quest of exploring and experiencing parts of the forever evolving fashion world whilst constantly monitoring the positive changes that we will face in the future. Assisting for publications such as The Guardian and their Fashion department as well as being a social ambassador for Boohoo.com, I focus my attention on tailoring my work to coincide with clients and their individual visions.
CATEGORY: ABOUT ME
STRONG VISUAL CONTENT
ENRICHED BIO OVERVIEW
In order for each viewer to gain a good understanding of my personality and area’s of interests, I thought including a category ‘about me’ on my website would be beneficial. Having researched into many artists and fashion Creatives websites, it’s apparent that including a bio is a great way to introduce your viewers to your website. In order to convey my personality, I thought I would shoot an in-studio editorial image of myself to upload to my bio. Picking out an outfit and hair style I think best highlights my identity, I opted for something I wear a majority of the time. Alongside the image, I also included a brief over view of my interests, passions and enthusiasm for the fashion industry.
GET IN TOUCH FORM
To the right is a copy of the final text that is published on my website. Clearly outlining my prior experience in the industry as well as my direction of practice. Sitting alongside my other website categories such as styling, art direction, fashion film, competitions and homepage, I hope that my Bio is a strong representation of my content highlighted throughout my website. In extension to my Bio, I decided to include an application form at the bottom of the page to grant people the opportunity to get in touch with me regarding future collaborations etc. Eager for my website to convey me as an approachable and relatable character, I am excited for all future opportunities.
END OF CHAPTER
Image Source: Zara Menswear Editorial - Pause Magazine
THE DEGREE SHOW
EXHIBITION INTENTIONS FINAL EXHIBITION DESIGN
VISUAL MERCHENDISING RESEARCH
C H A PT E R D E B R I E F : T H E D E G R E E S H O W As part of unit BA3B, we are to exhibit our final major project and body of work at Graduate Fashion Week and NUA’S Degree Show during months June - July. Focusing my attention on creating a visual fashion film alongside a supported campaign documentation for Stella McCartney, it’s crucial that the way I present it to the public is effective. To gain an understanding on the allocated space for both event’s, the following chapter will supply the reader with an in-depth overview of the plan of action. To highlight my final major projects main intention’s, the following page’s will talk you through my initial thought process right through to self constructed photo-shop mock ups. To embark on my next journey in life - ‘life beyond uni’, it’s important that the way I communicate my work to members of the public are both effective and visually engaging. With my ambition being to exhibit my own flat screen tv to show my film at our end of year exhibition, this chapter will focus on working through a problem.
Image Source: Zara Menswear Editorial - Pause Magazine
1 8 / S H O W D E G R E E Y E A R O F E N D
DEGREE SHOW With the end of this unit’s task being to showcase our work at Graduate Fashion week and end of year NUA Exhibition, it’s important that I think carefully about the ways I best want to communicate and convey my work to different varieties of people, which include: working professionals, clients and members of the public. Specializing in Art, Creative and Film Direction, I want to make sure that whatever I exhibit as my final major piece, really draws and empathises on my ideal career choices and ambitions. By using appropriate tools and ways of displaying my work, I will aim to attract the attention of those who are within the fashion industry and specifically the art and fashion film sector. Having spent last unit thoroughly analysing fashion film and the effects and impacts it has on the fashion industry, my chosen medium that I will be exhibiting is a - fashion film. With backed up evidence to how film’s becoming an increasingly rich advertising and promotional method used for selling a brands message or story, hopefully the viewer will be drawn into the key factors of what a contemporary fashion film can or does consists of.
In preparation for the degree show, It’s important that I take the time to draw on some of the key element’s I will need in order to create and present a professionally standard film. This includes: Audio, equipment, typography, layout and set design. Throughout this chapter, the area’s I’m most interested in exploring are the different ways that I can best capture a viewers attention as well as drawing up some rough drawings for my designated area. With it also being our final ever university project I want to make sure that I’m able to obtain and produce a professionally and industry standard finalized piece that can act as an introduction into the world of self promotion and advertisement. Already under-going creating myself a professional website, Instagram and series of business cards, these asset’s that will take position next to my film and act as a way to contact me for any future collaborations or work opportunities. Eager to continue experiencing elements of the fashion industry, I want to make sure that although my film is the main attraction, the ratio of interacting with my assets is just as good as watching the film.
MAIN ELEMENTS TO HIGHLIGHT AT THE DEGREE SHOW
A CURATED, CREATIVE AND PROFESSIONAL FASHION FILM FOCUSED ON LUXE F A S H I O N B R A N D - S T E L L A M C C A R T N E Y. H I G H L I G H T I N G H E R S U S T A I N A B L E A N D ANIMAL FREE ETHOS & PRINCIPLES
A FINALIZED BRAND STRATEGY BIBLE FOR STELLA MCCARTNEY THAT SUPPLIES T H E R E A D E R O N T H E W H O L E C A M PA I G N I D E O L O G Y, F R O M T H E I N I T I A L I D E A S THROUGH TO THE EXECUTION PROCESS.
A VARIETY OF PHYSICAL PROMOTIONAL ASSETâ€™S THAT WILL SIT ALONGSIDE MY FILM & CAMPAIGN SKETCHBOOK. THESE INCLUDE: BUSINESS CARDS & VISUAL POSTCARDS.
Image Source: COS Press Day Store Pre Fall 2015 - Pinterest.
Image Source: Pinterest. Unknown
THE EXHIBITIONS IDEOLOGY AND PURPOSES
THE CRITERIA BREAK DOWN
TO V I S U A L LY
To make sure that the elements I include within my degree show are up to a professional standard, its important that I assess the specific assets and attributes that will be visible throughout the duration of the exhibition. Realizing the importance of supplying a consumer with a physical and tactile element, I want to make sure that I draw on the process that will happen when interacting with my designated area. Above I have created a visual diagram which highlight’s a step by step approach and drawing on the three main elements that I’m most hoping to illustrate. With number 1 being: To visually communicate, I intend to supply the consumer with a fashion film that focuses specifically on narrative and emotion. By using elements such as a script, speech and beautiful visuals, the aim of the film will be to communicate an important message - surrounding the topic of sustainability. By attracting a consumer’s attention through the use of visuals, the impact will lay in the message produced which will lead us on to the second element being:
PROMOTE & ADVERTISE
to illustrate an important message. Where different mechanism’s have been used in the fashion industry to promote or advertise an idea, in recent years - film has been introduced as a good way for communicating impactful messages. This will then lead us through to the third category, to ‘promote and advertise’. By visually communicating and illustrating an important message through visuals, I will then lastly have the opportunity to promote and advertise my body of work and self through self promotion assets such as business cards etc. By following a step to step guide such as this, I will be able to focus my attention on creating a relatively straight forward, tailored and refined exhibition piece, drawing on the most important elements needed for perusing my ambitions of becoming a fashion art or film director.
THE SET UP SNAP SHOT
210 CM LONG
95 CM WIDTH
In preparation for setting up our end of year exhibition, I wanted to draw up a rough diagram of the space that’s been assigned to each student. With the whole of year three exhibiting their work at the same time spread across the whole of the university, the space we have been designated is the following measurements: 210 cm Long x 95 cm Wide. To ensure that each student is able to promote and advertise their end of year piece, we are allowed to experiment with our assigned space to ensure that our piece is as eye catching and visible as possible. With my content being based around Stella McCartney and her brand identity, its important that the way I chose to showcase my piece is in response to her ethos and her other visual displays. In extension to my work being tailored to coincide with Stella’s brand, I also want to make sure that the rest of my work harmonizes both graphically and visually with my fashion film. Eager to supply each viewer with the opportunity to pick up a business card or something tactile from my stall, I will also aim to tailor
each piece of work to showcase a professional and industry standard quality. With my campaign ideology being to create a digital advertising campaign for McCartney, I need to also think carefully about the ways that I can express this ethos through my exhibition set up. Moving forward, I will begin exploring into some of Stella’s current window and store displays to gain a good understanding of the appropriate ways and measures that I can advertise her campaign. Now also knowing the measurements, I will begin collecting props and product’s such as business card holders that I can position alongside my film and sketchbook. Being aware that I’m unable to drill into the mounted wall, I also need to work hard to find appropriate products that are free standing and relatively easy to move and adapt depending on the outcome.
CONDUCTING PRIMARY RESEARCH
Image Source: Top / Liv Harrould, Stella Mccartney Store Font 2018, Second - Pinterest, Unknown
STELLA MCCARTNEY’S VISUAL IN-STORE DISPLAY
M U LT I P L E D I S P L A Y T V ’ S
CLEAN, TAILORED AND
PLAYING THE FASHION FILM
MUTED AND NEUTRAL
work alongside her commitment’s to produce a similar fashion film. By visiting her store, it also’s given me a great indication to the way that I can display my work at the end of year exhibition. By entering her store and taking visual recordings of the way that she lays out and displays her clothing and bags, I now have a good indication to the way that I need to present my findings to suit her brand. Above is a break down of the four main element’s that I think are important in highlighting and remembering for setting up my exhibition stand. With her style being clinically clean, tailored and muted, I need to make sure that I follow a similar colour palette when displaying my exhibition stand, especially my sketchbook’s and tv screen. Moving forward, I will begin experimenting with the ways that I am interested in laying out and display my pieces of work.
To understand the ways that Stella McCartney physically display’s her brand, earlier this month I decided to head down to London to visit her Mayfair store to conduct some first hand primary research. Heading to her store, I immediately noticed this display window from across the road - which featured a series of large digital screens, exhibiting an advertorial fashion film. Walking across the street I noticed it was indeed Stella McCartney’s store which was playing her latest campaign video as part of the launch for her womens wear ss18 clothing collection. With each screen interlocking with one another, the film was spread across 7 screens, taking up a large proportion of her shop window. Realizing that Stella takes technology very seriously as part of her main advertising and promotional methods, I began taking snap shots of the display to make sure that I’m able to
Image Source: Aspirational Mock-up / Degree Show - Liv Harrould
To get a realistic feel for what my exhibition stand will look like, I decided to create a exhibition mock-up using Photoshop and Indesign, to get acquainted with the scale and size of my assigned area. Although at this point I’m still unsure whether I’ll be given a corner or middle wall, the mock up displayed on the left page, clearly indicates with what I’m hoping to present and achieve on my stall. Exhibiting a visual element as my main thesis, the most important medium that needs to be presented is my fashion film. For this, I would ideally like to have my own screen which loops my fashion film from start to finish, repetitively with headphones positioned alongside it. In addition to this, I would also like to have a minimalistic white shelf positioned underneath the tv which displays both my business and postcards. To make sure that each viewer understands my campaign ideology, I would also like to hire a white plinth which neatly displays my Stella McCartney campaign booklet, positioned
EXHIBITION LAYOUT MOCK-UP
a meter or two in-front of the tv. With context supplied within the booklet supplying the reader with a thorough analysis of my film & digital advertisement proposal, I need to make sure that my booklet is laid out appropriately and in an easy and digestible context. Keen for each physical element featured on my exhibition stand to resemble both Stella McCartney’s identity as well as mine, I need to work efficiently on branding my booklet’s and business cards to coincide with the white environment and atmosphere. Unsure whether this mock-up will be an appropriate and realistic representation of what we are allowed, I will continue creating some other mock-up designs to showcase Alex and Kat.
To make sure that I have explored multiple ways of displaying my exhibition stall, to the right I have mocked-up a potentially more realistic plan. Although I would ideally like to exhibit my film on a flat screen tv, I have found a smaller substitute that may be easier to cater for - an Ipad. Following a similar procedure for playing my film on a tv, the video would be looped repeatedly alongside a set of small headphones, allowing the viewer to clearly hear the scripted film. Additionally to having an ipad screen, I would like to blow up two a3 or a2 high resolution image posters that display some of my latest work. To the right I have chosen two different still’s from my stella campaign video which demonstrates two diverse scenes which are featured within the film. Similarly to mock-up (1), I would also intend to have my business cards featured alongside my film with detail’s linking my website, email address and telephone number. Aware that at our end of year exhibition we are responsible for any products
EXHIBITION LAYOUT MOCK-UP
object’s or element’s that aren’t NUA supplied, I need to begin thinking of a plan where I’m able to man and look after the ipad etc. Additionally to these elements I would also like to think about featuring some thick acrylic which magnifies stella mcartney’s logo. For this, I will have to explore my options over at the printing unit with the team and come up with an appropriate plan of whats the best way to exhibited this. With my film only presenting Stella’s logo twice throughout my film, I think its important to explore other options of getting her brand presence and identity across.
Image Source: Mock-up / Liv Harrould Degree Exhibition Mock-up
Image Source: RoAndCo.com
FINAL EXHIBITION MOCK-UP
Having taken the time to revisit each mock-up, I’ve decided to make a few changes to my final exhibition stall layout. With my Stella McCartney film acting as my main promotional medium, it’s important for the accompanied Stella McCartney campaign bible booklet that I’ve created to be sat alongside it. For this, I have decided to create a bespoke plinth which is double your standard plinth width. Although the films intention is to be able to clearly illustrate the message ‘that you don’t have to shout about it to be sustainable’, I thought it would be beneficial to place my campaign booklet alongside it, in case people are interested in learning more about the campaign. Additionally to these two mediums, I will also be exhibiting a series of promotional post cards and business cards which have a variety of different imagery on the forward facing front. With my intention being to spark interest in consumers surrounding the topic of sustainability, I hope they will pick up one of my business cards and click through to my website to learn about the campaign.
ADDITIONAL PROMOTIONAL ASSETS
To make sure that each consumer gains a strong understanding of the campaign, I purchased a series of bespoke business cards and post cards to sit alongside the campaign film and booklet. To the left is two examples of my printed assets. With the intention being to promote my creative practice and myself, I thought I would print out a series of editorial shotâ€™s that I have created throughout this unit. Although some are unrelated to the Stella McCartney campaign, I thought it would be a good way to showcase my passion for art and creative direction. With the hope of somebody scouting my work at graduate fashion week or our end of year exhibition, I will have my detailâ€™s visible on the back of each printed postcard and business card. With details to my contact number, bespoke email doman and website url, the hope is for consumers to interact with my content after each show.
BLOWN UP FILM STILL
POSTERS / EDITORIAL CONTENT
A STRONG SYNPOSIS OF THE FILM
In order for my degree show exhibition set up to be visually engaging, I want to include one large still image from my fashion film. To make sure that the image is both visually compelling and a good synopsis of the film itself, its crucial that the image quality is exceptionally high. Aiming for the poster to be a2/a1 size, I’ve made the decision to re-shoot a series of still imagery from the film during the next couple of weeks. Having originally planned for a photographer to be present on set during the creation of the fashion film, I decided to refrain from using one the week before due to intimacy and crowding issues. Although I am thankful that we kept the team both intimate and small (three of us in total), It would have been extremely beneficial having a series of still image’s when compiling my sketchbook, campaign booklet and campaign assets. To make sure that my chosen image is a good synopsis of my film, I will think carefully about the way I want to form each image. Being in conversation back and
fourth with model Ellie, we have come to the agreement that it would be best to only focus on photographing - Strong Stella Girl. Planning for the shoot to be between date’s - 28th - 1st of June, I will aim for the content to be edited and sent to print by the following week - arriving ready in time for the degree show. With hope of finding a suitable photographer, I will aim to shoot the editorial in Joe’s new Studio and utilize the strong daylight that enters the studio mid day. Already having an idea of each individual pose and aesthetic, I will inform Ellie at the beginning of the day with the shoots mood and character.
Image Source: Strong Stella Girl . The Image I wish to Re-create
EXHIBITION / DEGREE SHOW TIME-LINE
INITIAL DEGREE MOCK-UP
1-3RD: SHOOT FILM
OFFICIAL FILM SHOOT
EDITORIAL TIME FOR ANY ADJUSTMENTS & AMENDMENTS
3-6TH: GRADUATE FASHION WEEK
FILM SCENE 2 -RE SHOOT
6-7TH: FINAL EDITED IMAGES
SUBMITTED FINAL DEGREE SET UP
PRINT A1/A2 POSTERS
FINISHED FILM 11-15TH: DEGREE SHOW GRADUATE FASHION
WEEK SUBMISSIONS COMPLETE
EDITORIAL FILM SHOOT
25TH MAY: DEADLINE SUBMISSION
J U LY
4 T H J U LY: GRADUATION
5 T H J U LY: LAST DAY TO TAKE DOWN THE EXHIBITION
5 T H J U LY:
To make sure that I’m able to shoot my film editorial before the exhibition set up etc, I decided to make a degree show time line that clearly outline’s each important deadline and date. As you can see to the left, the window for shooting the editorial after deadline needs to fall before the exhibition set up dates. For this, I created a day by day plan throughout the beginning of June that show’s when I hope to shoot the film editorial shoot. In order to get the image’s edited and printed in time for the exhibition set up, I’ve allowed myself a window of three to four day’s after the official shoot in order to retrieving them back before the official set up date of the 11th. Eager for my set up to be visually compelling, it’s important that the image quality is to a standard that im happy with. During this next week, I will aim to visit the printing studio’s and speak to the design team about materials and paper styles. With the film’s colours being rich in tones - I am most interested in using a matte coated material which doesn’t change the saturation into anything brighter.
TAKE DOWN EXHIBITION
9 T H J U LY: VOGUE INTERNSHIP
END OF CHAPTER
Image Source: Gucci 2016 Spring Campaign - Creative Director - Glen Luchford / Art Direction: Christopher Simmonds
BOOK: FASHION PROMOTION VOGUE DIGITAL
BOOK: MARKETING FASHION
BUSINESS OF FASHION
C H A PT E R D E B R I E F : US E F U L R E S O U R C E S With the fashion industry renowned for its extremely fast pace nature, its important that one stays up to date with the latest fashion news and developments in order to remain relevant. Thriving to become an art or fashion film director, it’s also crucial that I’m enriched with the industries current position and up-coming trends and attributes. By continuing my journey in discovering and analysing a variety of different useful resources, this chapter is dedicated to exhibiting my findings. By digesting a variety of secondary research sources such as Websites, Books, Magazines and online articles, this chapter will help structure and mold the work I produce. Having gained an in-sight into how many fashion brands revisit old or historical context to help shape the way that they frame their upcoming campaigns, this chapter will observe the techniques and strategies they utilize in order to convey this. By delving into fashion marketing book ‘Fashion Promotion in Practice’, I will closely monitor their contemporary strategies for communicating effective messages with consumers.
USEFUL RESOURCES 1: FASHION PROMOTION BOOKS
Acknowledging both the on going and growing importance of brands being able to communicate, strong and impactful messages with consumers, its incredibly important to analyze the ways that brands are able to successfully achieve this. By analyzing Jon Cope and Dennis Maloney’s book - Fashion Promotion in Practice, the following page’s will clearly outline their used marketing and advertising strategies in order to fully engage a consumers attention. With the importance of being able to communicate effectively growing by the day due to factors such as - technological advancements, Its crucial that I’m able to distinguish different advertising strategies targeted for a variety of consumers. With a particular focus on their chaptes - Campaign Planning and Advertising and Public Relations: From Verbal to Viral, the chapter will draw on presenting the viewer with an in-depth overview on the current fashion industry.
Image Source: In The Frow / London Fashion Week 2018.
Image Source: Colour Crayon / Zara Womenswear 2018 Campaign
FASHION PROMOTION IN PRACTICE
B Y M A R C G O B E A N 232 D DENNIS MALONEY
A N A LYZ I N G FA S H I O N P R O M OT I O N I N P R A C T I C E
CAMPAIGN PLANNING: MAKING IT HAPPEN
To understand how a brand work’s on creating a successful campaign, it’s important to analyse their advertorial and promotional techniques. In order for a brand to successfully make profit, it’s important that the products they are promoting are - as desirable and satisfying to the customer as possible. For this, there are different strategy frames put in place for allowing successful campaigns. Exhibited in Jon Cope and Dennis Maloney’s book - Fashion Promotion in Practice in chapter 1. page 09 - Campaign Planning: Making it happen, they explore the importance of communicating effectively to different types of consumers. With creating my own digital advertising campaign for Stella McCartney it is crucial that the target audience I’m engaging with, is interested in the content I have produced. One frame work that both Dennis and Jon explore throughout the book is ‘AIDA and the path to purchase’. Although my campaign is more driven towards educating future consumers on Stella McCartney’s
Sustainable attributions and principles, another end goal is for people to buy her latest womenswear collection. Aida - the path to purchase diagram, is split into four separate sections, the first being - A: for attracting attention or raising awareness. With the main being to attract consumers attention, inform of a products presence within the market and make them aware of your message, you are able to achieve that through advertising, media relations and events and publicity stunts. The second letter - I: is to stimulate interest. By engaging consumers by providing useful information that chiefly highlights a products benefits, this can be achieved through media relations. The third letter - D: is to generate to desire. To persuade customers that the product will supply their needs. Finally, letter A is to prompt the consumer into taking action. By drawing customer in to make a purchase, this can be done through a variety of different techniques such as advertising and sales promotions.
DECODING ELEMENTS FROM CHAPTER 1: C A M PA I G N P L A N N I N G : P L A N N I N G F O R P R O M OT I O N
To make sure that the content Iâ€™m observing throughout these fashion marketing books are relevant to my final major project, its important that I decode elements from a chosen chapter and enrich myself with their knowledge. Inside chapter 1 - Campaign Planning: Making it happen, Dennis and Jon have created a planning for promotion diagram which helps you as the advertiser gain a good understanding of what both your current position and end goal is. In order to create an effective promotional campaign, its important that one is enriched with knowledge of how each stage works in response to the campaign aim. Firstly, Its important that you gain a detailed and thorough understanding of the current situation your brand is facing. By understanding this, there is many questions that you can ask yourself ranging from â€œwhat are your brands strengths and weaknesses? where are the opportunities and threats and what are your competitors doing?â€?. Secondly, its important that you establish where your brand wants to be as a result of promotional activity. As the company what is it that you are wanting to change through promotional activity? Thirdly, you need to decide who are the most useful people to communicate with to achieve your objectives. This may be by talking to the
creative team if the promotion your interested in creating is visual. Fourth and fifthly, you need to identify and clarify what you are going to say to your audiences and how and when you are going to do it. The end two categories are then to - divide your budget accordingly and evaluate your work and campaign success. By following this step to step frame work, you would have outweighed all possible situations, threats and alterations for your campaign concept in good time before putting it into production. This is an extremely valuable tool to analyze when piecing together my campaign.
1. GAIN A DETAILED UNDERSTANDING
CLARIFY WHAT YOU ARE GOING
OF YOUR CURRENT SITUATION
TO SAY TO YOUR AUDIENCE
2. ESTABLISH WHERE YOUR BRAND
DECIDE HOW AND WHEN YOU
W A N T S T O B E A S A R E S U LT O F
ARE GOING TO COMMUNICATE
THIS PROPOSED CONCEPT
6. DECIDE WHO ARE THE MOST
EVALUATE YOUR WORK
USEFUL PEOPLE TO COMMUNICATE THIS PROPOSED CONCEPT WITH
FASHION PROMOTION / DIGITAL ADVERTISING
Marketing Fashion a book written by Harriet Posner explore’s the relationship that marketing and branding has within the fashio industry. Thoroughly analyzing chapter 6 on page 171 called ‘Fashion Promotion’, I
we are able to build stronger relationships
have closely monitored the world of fash-
with our consumers. Under the sub catego-
ion promotion and advertising and the
ry of - Content Marketing, I found it inter-
different techniques to
convey a strong
esting learning about shoppable content.
message. Interested in evaluating more of
This is an element that has been introduced
the digital advertising methods and tech-
due to technology as it exists purely Online
niques, I have been interested in under-
only. It allows a consumer to click and buy
standing specifically what elements are ap-
directly through fashion video content. Re-
propriate ways of receiving good consumer
alizing just how much the fashion advertis-
engagement and desire. As Harriet rightful-
ing industry has had to adapt due to social
ly states during the first paragraph on page
media and the internet is mind blowing, es-
174, ‘digital and social media have made
pecially as we are constantly looking for the
advertising and promotion campaigns more
next best big thing. In the years to come,
interactive and participatory’ suggesting
I’m interested to see how we buy through
how as a result of technological advances,
shops both online and in store as I expect
we are able to build stronger relationships
the experience to change as a result of our
with our consumers.
behavior and technology advances.
Image Source: Mathias Lauridsen for Zara Fall Winter 2016
MARKETING FASHION BY HARRIET POSNER
TECHNIQUES HAVE / ARE
‘ C L I C K I T, B U Y I T N O W ’
THE IMPORTANCE OF
HOW TO CONNECT
COMPARED TO PHYSICAL
D I G I TA L LY
DECODING THE EFFECTIVENESS OF DIGITAL ADVERTISEMENT
Last but least, I have picked out four key area’s from thoroughly analyzing Chapter 6 - Fashion Promotion from Harriet Posner’s book called ‘Marketing Fashion’ that have great significance to my topic of interest - fashion marketing. Having explained how influential the Online space is in fashion branding, marketing and promotion now a days, The first element I thought was important highlighting is ‘How advertising techniques have / are changing’. This means how due to factors such as technology, we as brands or us as consumers have changed our relationship with how we buy or sell fashion. Secondly, the ‘shoppable click it and buy it now attitude’ is something that fascinates me after un-picking this chapter as it’s practically mind blowing. Where we view images Online on websites such as Pinterest and Facebook.. we are now able to interact with them by clicking on them and shopping the look directly. Thirdly, It was important to highlight the ‘importance of digital communication compared to physical’ and distinguish the positives and negatives between the two. This is an element I’m interested in re-visiting, especially with the idea of creating a campaign or re-branding a brand for ba3b. Their different attributions will play a vital part in the success rate of your campaign and how much it is viewed in person or Online, there for I’m keen to learn more about this. Lastly, ‘how to connect with a consumer digitally’ is something that fascinates me as you clearly have different ways of speaking to a person online as opposed to in person.
Image Source: Zara Man 2018 Autumn Winter Campaign
ONLINE DIGITAL RESOURCES
USEFUL RESOURCES 2: DIGITAL RESOURCES
In extension to educating myself with a variety of physical book’s, another great way to stay up to date with the latest trends and current news affairs is - digitally. With a majority of fashion companies, brands and organization’s utilizing the online space as a large proportion for their promotion and advertising, it’ means us as consumers are able to stay up to date with them for free, 24 hours a day. With technology only becoming all the more mandatory for us viewers, fashion brands have powered both a lot of time and energy into creating a rich online body of work. Business of fashion - a Fashio news, analysis and business intelligence is one of the leading digital authorities present in the fashion industry. Housing career opportunities to the daily digest and latest news reports, the company work’s thoroughly to create interesting and intricate news stories surrounding the forever evolving fashion industry. On a quest to stay up to date with a variety of different useful resources, I find reading news articles digitally is by far the easiest and most inspiring for my current position.
Image Source: Christopher Simmonds Ltd. - Art Direction / Zara Fall Winter
Image Source: Cos Womenswear Campaign / Unknown.
BUSINESS OF FASHION Business of Fashion, a fashion news, analysis and business of intelligence from the leading digital authority on the global industry, has taken the digital online space by storm. From blogging on the sofa in Nottinghill to settling the agendas for CEO’’s and the worlds leading designers, Imran Amed has built a truly 21-st century media empire that includes the digital bible of a multi-trillion dollar industry - Business of Fashion. In an article published by GQ called ‘The Business behind The Business of Fashion’, the article explores the CEO Imran Amed himself and how his ‘more than relaxed’ attitude towards his empire has left him feeling rather emotional. Almost ten years in the making, Irman has had a large impact in the way that consumers digest fashion online, catering to all types of different consumers. The company’s published articles consist of some of the fashion worlds most brutal, devastating and utterly realistic news ranging from - are physical magazine’s dying out and the lack of diversity in the industry. Irman himself, who ten years ago was an unemployed ex-management consultant from Calgary, decided to set up his own blog in a bid to spark creativity. “I couldn’t even get a standing ticket to a fashion show” he admits when speaking to the GQ interviewer. With a particularly strong vision and
level head, Irman works with a large team tucked away one of London’s most popular roads - Oxford street, where he states “People who work here understand we have a mission; its not just a job”, suggesting how his positive attitude and motivation for making a change in the fashion industry is very much at the present. Reaching global success - Business of Fashion is reached in over 200 counties and is frequently described as ‘indispensable’, ‘required reading’ and ‘an addiction’ by viewers. From unemployed to becoming CEO to one of the largest fashion digital empires in the world, Irman’s talents are gratefully recognizable
INSIDE CONDE NAST’S DIGITAL STRATEGY
In an article published by Business of Fashion called ‘ Inside Conde Nast’s Digital Strategy’ written by Chantal Fernandez April 2017, she explores the relationship that the - Conde Nast publication empire has with utilizing the online, digital space. Holding the title as one of the largest fashion publications of all time, Vogue, under Conde Nasts label, have always remained current through the release of each physical issue, until now. With the rise of social media playing an undoubtedly large role in our everyday lives, they have been warned by business intelligence agencies to up their game or they run risk of falling behind. Hesitant by the concept of powering huge amounts of their time into creating an online presence for the fashion publication, it has apparently been a careful and slow process. A statement outlined by Conde Nast Chief Executive Sauerberg -“If anybody is not leaning forward and trying to change with the marketplace, they’re going to get crushed” suggets how vitally important it is for them to stay up to date with fulfilling their online social duties. Having developed an interest in the ways that Brands and Companies communicate their concepts and messages through digital advertisement, It’s interesting to monitor how some of the leading fashion publications such as Vogue are falling behind because their lack of digital advertising input. This not only suggests how bigger role digital advertising is beginning to have with its consumers but also how leading fashion publication’s are having to constantly adapt their ways of communicating with their consumers in order for it to be still as effective.
Image Source: Conde Nast Fashion Studioâ€™s / Google Images
ARTICLE 1: BOF 247
Image Source: Nick Knight Show Studio / Craig Green 2013 Fashion Film
COMMUNICATING E F F E C T I V E LY W I T H CONSUMERS
BUSINESS OF FASHION
THE MOVE TO FASHION FILM
In a bid to understand what specific digital techniques fashion publications are adopting due to the rise of social media and having an online & social presence, I stumbled across an article written on Business of Fashion called ‘Future of Fashion Magazines / The move to Fashion Film’. Published as a three part installment feature on the future of fashion magazines, Business of Fashion have addressed the biggest online trend of all - the fashion film. Acting as a moving version of today’s fashion editorial, creatives such as Nick knight - co founder of ShowStudio, have been exploring with the medium as a way of expressing a clothings movement. Recently, publications such as Vogue have also began experimenting with the medium - especially after noticing how bigger role Youtube plays in promoting their upcoming issue’s. Stated by Nick Knight in the article “We are now entering the restless world of interactive, self-created, digital imaging: accessible, downloadable and constantly changing” suggests, how due to the ways that consumers now interact with fashion, companies are going to have to begin meeting a consumers requirements by adoptin these new ways of displaying their content
Image Source: Kaia Gerber / Pinterest - Unknown.
VOGUE DIGITAL OVERVIEW:
Having outlined the rise in genre- fashion film, leading fashion publication - Vogue, have worked profoundly to create visually engaging and impactful film’s online their digital channels such as Youtube, Instagram and Vogue.com. What started off as a trend has now become one of Vogue’s sole ways of advertising their latest issues with their consumers by creating fun, comical and light hearted content. To highlight how well their films perform, the next few pages are dedicating to observing fashion film’s current position and how they use a variety of different elements throughout each film to effectively communicate with their consumers. With examples to their current online video content such as The Met Gala’s dress code and 24 hours with Cole Sprouse, this chapter will also indicate to how they are pushing their initial characteristics and presence into another direction.
VIEW COUNT: 916,000
TOPIC: LIGHT HEARTED
IN ONE DAY
VOGUE YOU-TUBE: 24 HOURS WITH COLE SPROUSE
One of Vogue’s latest youtube video’s is a 2:23 long film featuring famous actor and fashion creative - Cole Sprouse. Receiving almost 1 million views in a day, the video has received media attention after following Cole Sprouse around for ‘24 hours’. Taking you as the viewer along with him to his favourite morning coffee shop and afternoon walk downtown New York, the content is both shot and edited in a way to make the viewer feel up close and personal with Cole himself. With comical music and dry humour narrated by Cole, the content’s success rate seems to be extremely positive. With 56,000 thousand thumbs up compared to 655 thumbs down, this gives you an indication to its success. What’s most interesting about the release of this content, is how the direction of Vogue seems to of changed and adapted since adopting a social and online presence. What used to be known as more the - prestigious publication, who would talk about the fashion industry from an academic and sharpened perspective, has now evolved into a far more relaxed
and whimsical brand. Remaining one of the leading publications of all time, Vogue has worked remarkably hard to create visually engaging and impactful digital content since falling behind with the times. Cole Sprouse’s film is only one small example of the media attention Vogue gain online their social channel on Youtube. With a staggering 607 million views altogether, their brand presence seems to be stronger than ever. Being able to view their content 24 hours a day also means that people around the world can tune into their channel and view their content whenever and where ever.
Image Source: Cole Sprouse / Unknown Source
Image Source: Selena Gomez - Unknown Source
73 QUESTIONS WITH SELENA GOMEZ
One of Vogue’s best performing video categories online their you-tube channel is their ‘73 Questions’ with current Celebrities and famous figure’s. 7 minutes long film with Music Artist Selena Gomez has received 17.2 million views so far and is still growing. With the videos content entailing asking each star a series of 73 questions ranging from personal question’s to all things random, viewers love getting to know each star in this light hearted and informal mannerism. Filmed in a single shot, Instagram’s biggest star Selena Gomez invites Vogue into her house in L.A where they ask her a series of unexpected questions. Leading the viewers through each question, the video is filmed by a hand held camera which follows the stars every move around their house or personal environment. By inviting Vogue into her house, it not only gives each viewer an exclusive feeling towards getting to know Selena herself but also a realistic look of what its like to be her on an every day basis. By having the opportunity to interview some of the worlds most famous celebrities and creative artists, Vogue have become recognizable in the public eye for doing this type of video and in response have started a large online trend where bloggers and youtubers are creating inspired video’s.
END OF CHAPTER
Image Source: Zara Man spring summer 2017 Campaign
FUTURE JOB ROLES
SHOOTING A MENSWEAR
C H A PT E R D E B R I E F : C R E AT I V E P RACT I C E Having spent the last three years experimenting, creating and developing a set of creative skills, I have refined my area’s of specialism into four main categories.. these being: fashion film, graphic design, styling and art direction. With the hope of becoming a future art director, It’s important that throughout this unit I have experimented with creating my own creative content for my website, social channels and portfolio of work. By analyzing each job roles individual set of skills, this chapter will draw on how I have refined elements of my work to coincide with their required job skills.With strong examples of project management, collaborations and creating editorials, this chapter will supply the reader with an indepth overview to my areas of passion and interest. Graduating July this year, it’s vital that my creative practice is a strong representation of my personality and future job aspirations.
CREATIVE PRACTICE: CONTENT OVERVIEW
Moving into our last university unit, developing my creative practice up until this point has been a extensive process. Having channeled my practice this year into Creative, art and film direction - I feel I have worked hard to present both my body of work and myself effectively. With a large proportion of this unit’s content being to create a final outcome, I have taken advantage of the time we have left to create some additional content for my portfolio of work. Having developed skills in graphic design, styling, creative, art and film direction - It’s important that I’m able to objectively reflect on my abilities and how they all play a fundamental role in the fashion industry. To showcase my area of specialism, the following chapters work is tailored towards becoming a future Art or Film Director. With examples of each individual job role and what is expected from me to creating a cv and personal statement, the viewer will gain a thorougher understanding of my future job aspirations - after graduating from university
Image Source: 2016 Zara Man Pause Magazine
CREATIVE PRACTICE: AREAS OF SPECIALISM
Having experimented with various different topics, area’s and elements over the last three years at university - this year I have refined my passions into four particular sectors.. These being: fashion film, art direction, styling and graphic design. Having gained work experience in the Styling sector working for The Guardian, I have been able to mold the key attributes associated with the particular disciplines and apply them to all four sectors. Having experimented with each category over the last three years, I have had time to refine and elevate my work into showcasing my best and most professional pieces of work yet. To highlight my passions for each element, this chapter will explore each area and how I have worked to create both narratively driven and captivating pieces of work. From collaborating with creative’s to directing a film and two photo-shoot’s, this chapter will identify each sector’s key characteristics and how I have refined each piece of work to an professional and industry
standard. By creating a rich portfolio of work which highlights my passions and strengths for these four sectors, I have been able to publish my work on my own website, social media channels and portfolio. In hope to become a future art director, this chapter will closely monitor the position of each job role and what is expected of you. To make sure that I am suitable for these required attributions and techniques, the following pages will highlight how I have worked thoroughly to cater to all expected skills. By guiding the viewer through ‘the four styling steps’ and how I collaborated with a team of 5 people for a menswear editorial, the chapter will include a lot of original content from a variety of different shoots.
Image Source: Photographer / Oli Stockwell. Stylist: Liv Harrould. Model: Connie Robinson 266
RESPONSIBLE FOR DRESSING CLIENTS PROVIDING FASHION ADVICE
SUPPLING CLIENTS WITH N E W LY S O U R C E D FA S H I O N T R E N D S
ADVISING CLIENTS ON FASHION STYLING FOR VISUALS
One job role that plays a big role in the way that campaigns and fashion editorials are created is - Styling. A hired fashion stylis is responsible for selecting clothing and accessories for published editorial features, print, advertising campaigns etc. Usually part of a large creative team, Stylists work along side the visual team such as art Directors and Creative directors to create visual content for brands. Collaborating alongside directors and make-up artists, itâ€™s important that the styling is a good representation of the brand and newest designs. Although a stylists job role may slightly differ depending on whether you are free lance or under a label, Stylists usually borrow and return clothing and accessories from fashion boutiques or fashion designers. In addition to their job role being to dress models, their job can also be expected to: liaise with fashion designers, the media and model agencies, advise and direct the photography of items and clothing selected for promotion and select items to appear in fashion magazines etc. In extension to these diverse roles, fashion stylists - along with any other creative are expected to be great at time management.
SUPERVISING SHOOTS / PURCHASING THE PRODUCTS
SELECTING THE MOST APPROPRIATE PIECES FROM COLLECTIONS AND RANGES FOR THE CLIENT
STYLING OVERVIEW: COLLABORATING WITH CREATIVES
Having spent the last three years of university exploring and practicing fashion styling, I have fortunately gained some work experience working for publication ‘The Guardian’ on four occasions. Learning what a stylists job entails both physically and mentally, I feel I have developed and refined the way’s I collaborate and style clients by being exposed to the industry first hand. With my direction of year three work being based around art and film direction, I also infact enjoy styling in my free time. To share my enthusiasm for the job, In year three I have not only began creative directing my own shoots but also styling each editorial myself. Interested in how the clothing works in relation to the chosen location or backdrop, I enjoy setting myself the challenge of scouting clothes and purchasing them myself. In extension to this, This unit I have also continued my quest in collaborating with other working creatives. Styling for a year three fashion photographer - Oli Stockwell on four occasions, I feel I have a variety of content that I can upload to my website and portfolio of work. To highlight my enthusiasm for styling, the next couple of pages will draw on two shoot’s that I worked on with Oli and how we worked collaboratively to produce some great content.
Image Source: Zara Woman 2017 Denim Collection Campaign
Image Source: Photographer: Oli Stockwell. Stylist: Liv Harrould. Model: Alicia Cordell272
Image Source: Zara Man Suit Spring Summer 2017 Collection
STEP ONE: CONTENT BRIEFING
STEP ONE: When employed to style for somebody’s shoot, there are four thing’s that I like to abide by in order for the process to straight forward, efficient and effective. Firstly, it’s extremely important that the photographer or creative director, properly briefs me on the shoots concept and direction. To make sure that I am able to channel my outfit idea’s into one specific area, it’s important that the photographer briefs me on the shoot’s vibe, colour ways and theme before I begin searching the Internet four outfit choices. In the past, I have unfortunately encountered a few issue’s where I have been mislead by the photographer to what I’m expected to deliver. To avoid this issue, I began a rule that all photographers/ creative directors that employ me as their stylist have to send me a pdf of the shoots theme mood board and clothing suggestions. To make sure that I’m able to stick to a fast and efficient time frame, this has been something that has worked extremely well when collaborating with others. With step two being to have direct contact with the model in order to gather appropriate sizing measurements, this helps speed up the process without it having to go through word of mouth.
DIRECT CONTACT WITH THE MODELS & DIRECTOR PLACING ORDERS WITH THE CORRECT MEASUREMENTS
STEP TWO: To save confusion when it comes to ordering clothes in the wrong size, I like to have direct contact with the models themselves to make sure that we can avoid this problem. When working with Oli Stockwell, I have asked with his consent for each models contact details. When purchasing clothes from different retailers online or in store, their sizing measurements are all different. Some appear in sizes: Small, Medium, Large, Extra large or by 6, 8, 10, 12 or even by waist measurements: 24 wasit, 30 leg. To make sure that I’m able to place an order as soon as possible, It is important that I gather this information atleast a couple of days before making an order. Depending on the clothing measurements, occasionally I also send over links or images to the model to gather their opinion on what size they will be based on the clothings material etc. In extension to this task, it’s all important that the clothing I find, I send over to the director/photographer efficiently to gain their opinion on the garments. In the past, I have encountered a few issue’s when it comes to picking appropriate clothing because the photographer wasn’t clear on themselves on what they wanted for the shoot. Regardless of if the director says they do not have any idea about styling and picking out outfits, they have more of an idea in their head then they let on, so fighting this issue early on has been something I’m extremely passionate about. By gaining a good indication from the director about the clothing choices, I am then given the green flag to go ahead and place an order - which leads me on to my third step.
Image Source: Pinterest . Unknown 2018
Image Source: Zara Women Spring Summer 2017 Campaign
STEP THREE: The third element I like to focus my attention on achieving when being hired as a stylist is money and placing orders. Where some would argue that its a stylists job to purchase the clothing with their own money, I like to do things slightly differently. Having encountered a few issues with clothing becoming dirty and un-returnable on some previous shoots, I like to avoid this situation by not paying unless its my own shoot. When Contributing to somebody else’s work, I think its only fair that the director pay’s for all the shoot’s material... This includes: locations, clothing and anything else for the shoot. Running the risk of the clothes becoming dirty due to many factors such
PURCHASING ITEMS / TERMS & CONDITIONS
as the weather or accidents, they should be responsible for their own content. Agreeing with directors or photographers in the past that these are my terms and conditions, I will always offer to retrieve and return the clothing in return. With some companies return policies being fairly tight, I always opt for the director either to either safely transfer me the money over or make the transaction with their own card details. This brings me on to my third and final step. To deliver the clothes in top condition - ironed and pristine.
IRONING, CORRECTING AND CATERING FOR THE GARMENTS
DELIVERING THE GARMENTS
STEP FOUR: To make sure my duty is complete, its important that I take pride and care in the delivering the garmentâ€™s to the shoot. Being exposed to creased or crinkled items in the past, I like to avoid this issue by making sure that I iron the garments both the night before and the day of the shoot. By hanging the clothes up on individual hangers, I will thoroughly iron each garment depending on its material qualities. In a recent shoot for Oli Stockwell, we had purchased a mustard yellow corduroy suit that was extremely delicate to iron. Using my initiative - I opted to place a tea towl on top of the suit and iron through that - so it wasnâ€™t directly damaging the material. Packaging them up in separate packaging, I gently place the items into the car or transport as straight as i can to avoid any crease marks. Arriving on the set, I will bring along with me a series of products such as baby wipes, socks, plastic bags and clips to make sure that we avoid all problems on set.
Image Source: Zara Man Pastel Spring Summer 2017 Campaign
STYLING FINAL OUTCOMES:
Image Sources: Creative Direction & Photography: Oli Stockwell / Stylist: Liv Harrould / Model: Alicia Cordell
Image Sources: Creative Direction & Photography: Oli Stockwell / Stylist: Liv Harrould / Model: Alicia Cordell
Image Sources: Creative Direction & Photography: Oli Stockwell / Stylist: Liv Harrould / Model: Connie Robinson
Image Sources: Creative Direction & Photography: Oli Stockwell / Stylist: Liv Harrould / Model: Connie Robinsonl
Image Sources: Creative Direction & Styling: Hannah Gilmore & Liv Harrould / Photographer: Isaac Hargreaves / Model 1: Alex Jones - Model 2: Alfie Linstetad
WORKING ON A BRIEF
B E T I M E E F F I C I E N T,
FLUENT WITH DIFFERENT
- SET BY A CLIENT
ART DIRECTOR: JOB ROLE & RESPONSIBILITIES
Another key job role in the fashion industry is: Art Direction. Responsible for creating content for a variety of different companies, clients and brands - Art Directors are responsible for what advertisements look and feel like. Involved in creating innovative and creative campaigns for brands, they aim to effectively communicate a message or concept through the use of visuals. To make a positive impact on consumers, they use a variety of different visual content such as fashion film, props, locations etc to create a successful campaign. To understand what the expected job requirements are for becoming an Art Director, I decided to analyze a few current job position vacancies on fashionworkie and indeed.com to get a good understanding of whats expected of you. To the right is a diagram that
I created, showcasing what I had found from each website. The first expected role is to Generate content for different brands and companies. For an art director to successfully create a campaign for a brand, its important that they are fluent with the brands identity, morals and values. Without this, both the company and art director would run risk of creating visual content that doesnâ€™t coincide with the brands personality and presence. Additionally to this role, a successful art director also needs to be extremely organized, efficient and flexible, to make sure that the campaign is created within a certain time frame. With companies creating campaigns to coincide with the launch of their newest seasonal products, its important that the art director allows time for any adaptations or changes
RESPONSIBLE FOR WHAT ADVERTISEMENTS LOOK LIKE PROVIDING VISUAL CONTENT
CAMPAIGNS AND CONTENT
GENERATING CONTENT FOR BRANDS AND COMPANIES
FLUENT WITH THE CLIENTS BRAND IDENTITY
O R I G I N A L LY A N D
C R E AT I V E LY V I S I O N E D
PROJECT PROCESS THE THREE MAIN AREAS TO COVER
Depending on whether you are a freelance art director or an art director for a certain brand or company, your responsibility and job role may slightly differ. Some may argue that a free lance art director has more responsibility as they are employed externally to the brand. Regardless of the role situation, each director has three key project elements that they have to abide by in order to create a successful campaign for a brand. The first one being, to be fluent with the brand’s identity, presence and aesthetic. With a brand’s identity being perhaps one of the most important elements among each company, it’s important that their campaign’s not only differ from any other brands but that the consumer’s viewing the content know what brand the content has been created for. Secondly, its crucial for art director to be confident with time and planning management. With each brand sticking to a strict deadline due to seasonal transitions, an art director is expected to come up with an appropriate campaign proposal in a fairly short amount of time. Thirdly, they have to be creatively visioned. Fashion Brand’s are constantly thriving to create original content that hasn’t been published before, making an art directors job all the more challenging yet rewarding. In order to stand out from the crowd, the director must draw inspiration from current trends and affairs without imitating anything.
Image Sources: Creative Direction & Styling: Hannah Gilmore & Liv Harrould / Photographer: Isaac Hargreaves / Model 1: Alex Jones - Model 2: Alfie Linstetad
PRACTICING ART DIRECTION 297
TO CREATE A MENSWEAR EDITORIAL IN STYLE OF ZARA MANâ€™S CAMPAIGN COLLECTIONS THAT FOCUSES ON PROMOTING THEIR AUTUMN WINTER 2019 CLOTHING RANGE
TO PUSH PERSONAL BOUNDARIES & CHALLENGE MYSELF BY PRACTICING ART DIRECTOR JOB ROLE ATTRIBUTIONS
EDITORIAL BRIEF: To understand how an art director is responsible for creating a physical and visual outcome, this unit I wanted to continue my quest in pushing boundaries and creating my own inspired content. Having delved into a directorâ€™s main job responsibilities, I wanted to similarly mirror their commitments by creating a mini campaign inspired by a brand. In order to show that I understand how they work independently or alongside a team to create a physical outcome, this campaign challenge will aim to broaden my knowledge on creating and physically executing a final outcome. To record this experience, I thought I would use the next couple of pageâ€™s to highlight the journey, from initial concept designing to executing the finalized concept. With strong examples of collaborating with creatives and scouting models, this chapter will aim to showcase my ambitions in becoming a future art or film director.
Image Sources: Zara Man Pastel Suit Collection / Spring Summer 2018 - Pause Magazine Autumn Winter Zara Man Pause Magazine
Developing an interest in menswear editorials over the last couple of unit’s, I have become intrigued in understanding whether the shoots focuses differ to working with females. To create my own mini menswear editorial campaign, I decided to extract some of my favourite previous menswear campaigns and use them as my main pieces of inspiration. To the left are two image’s from Zara man. The large image to the left is one of their Zara’s mans latest campaigns titled - ‘Spring Tone’s’, which explores the newest season’s key pastel pieces. As you can see by the direction of this editorial, the both the clothing and the background tones are complimentary to one another. With a similar colour palette interest and aesthetic to this campaign, I am eager to find a similar location which is both bright and airy to make sure that the clothing is effectively communicated. The smaller image to the right is a menswear editorial that Pause Magazine constructed for their autum winter 2016 menswear collection. Although the tones are similar to the larger image, the element that inspires me most about this image is the models position and behavour. With art direction being all about finding original and diverse ways of presenting fashion, I will try to step outside my comfort zone and use props throughout the shoot. 301
Eager for the menswear editorial to look as professional and industry standard as possible, I wanted to make sure that the team I employed were both a balance of professional and approachable. Having encountered problems in the past with collaborating with creatives, I wanted to make sure that the team I hired this time were on a similar wave length to me. Having heard via fellow class mate’s about Isaac Hargreaves work, I decided to contact Isaac to see whether he had any free time to shoot the editorial. Both agreeing that we would both benefit from doing a mens orientated shoot, Isaac and I bounced idea’s back and fourth with one another after sending him across an ‘inspiration mood board’. Agreeing that in order to accomplish a crisp and airy editorial, we would need light there for - we decided to begin scouting locations. Although I initially only thought of shooting a still editorial shoot, Isaac asked whether
we would be interested in letting his friend Matyas Paul do some filming. Passionate about the fashion film medium, I happily took him on board after getting acquainted with his work. Trying to mirror a high editorial menswear shoot by Zara Man, It was extremely important that the models were of a professional standard. Contacting my friend - Alex Jones who is signed by a london agency, I asked him whether he would be interested in modelling the editorial. Getting confirmation from his agency, we also decided to scout an additional model to add variety and diversity to the shoot. Hannah - contributing art and creative director fortunately found our second model Alfie Linstead through Sandra Reynolds books. On conditions that we got a series of test shots for both models, in return we were granted free access of using both models all day.
CREATIVE & ART DIRECTOR LIV HARROULD
CONTRIBUTING DIRECTOR HANNAH GILMORE
M AT YA S PAU L
OUTFITS: In order to create a successful Zara Mans Autumn Winter 2019 editorial, it was crucial that the purchased clothes appropriately tied in with Zaraâ€™s aesthetic, mood and theme. To the right is a mood board that Hannah and I constructed in class together having scoured high street retailer shops: Zara, Mango and Topman for muted garments. Unsure on the official location we wanted to purchase some clothing that would go well against a muted and neutral toned background. For this, we opted for a colour scheme of brown, navy and creams to accentuate the Autmnn / Winter theme. Purchasing two lots of cropped trousers, denim jackets, trench coats and socks, we thought we could swap outfits on each model to add slight adaptability to the shoot. Opting for two outerwear garments for each model, Hannah and I also thought that we could experiment with layering.
Image Sources: Moodboard created by Liv Harrould
Image Sources: Owned by Studio 20 - Google Images
LOCATION: STUDIO 20 - MAGALDEN STREET NORWICH
Having organized a team and each model’s outfit, the last thing to sort out was the location. Having been in conversation with the owner of the old shoe factory - Sam about using their warehouse unfortunately they didn’t have any availability for the next couple of months, there for the search continued. Realizing that I had helped style and assist a shoot for Holly Moore back in second year, I remember her telling me that the studio was rent-able for a 9-5 day. Getting in contact with the Studio ‘Studio 20’, I asked whether they had any availability for the following Monday and fortunately they did. Putting down a £50 fee, both Hannah and I decided to split the cost between us to ensure that our input was just as equal. Having finally secured a place, the only thing left to do was set props and organize each outfit for the day. Contacting the team and talking through transport with each of them, we all decided to meet at the studio around half 9/10 after I would receive the keys. Due to Hannah unfortunately traveling back from London earlier that day, she could not join us till 12.30 pm, so I used my initiative and decided to make a break down plan monday’s shoot. With each model needing a series of test shots in return for their input, I decided to get our first model Alex to arrive a couple of hours before Alfie to make sure that we would have time for each test shoot.
SHOOT ITINERARY CREATING A FUNCTIONAL TIME PLAN / PROJECT MANAGEMENT
To make sure that the shoot runs smoothly, I decided to devise a plan that clearly outlines the scheduled shoot criteria. With the studio hire being from 9.30 - 5.30, It was crucial that I - creative director was first one on site. Meeting the owner at dead on half 9.30, I got to the location by 9.20 to allow plenty of time to receive it. With Hannah bringing the second outfit with her, but not able to meet at the shoot till half 12, I decided to schedule her to arrive with second model Archie. Aware of the importance of getting a series of test shots for each model, I decided to meet Alex and the photographer earlier in the morning at around 10.30 am to begin doing his test shots. Getting Alex ready into his first outfit ready for 11.00, Isaac and I spent 10 minute’s briefing Alex on the shoot’s content and overview, before getting his test shots done. Spending 15 minute’s gathering different test shots, Isaac and I decided to begin shooting the first look. With a majority of mens
wear shoot’s having a variety of both single and shots together, I thought it would be a good idea to utilize the time before Alfie and Hannah arrived. Finishing up with Alex’s shots, Alfie arrived shortly afterwards and we wasted no time in getting his test shots under wraps. Changing him into his official outfit by 1.15, the joint shots started at 2.30. Spending the next 2 hours experimenting with different content including various props such as a ladder and table, we decided to move on to trying some additional content. Due to the daylight only coming through one window at the front of the studio - unfortunately, no other shots were suitable for the campaign. Calling it a day, we decided to clear up around 4.305.00 time before we said goodbye to each model. Finishing the shoot with a debrief with Isaac and Matyas, we decided how we were going to send each other the footage. Agreeing that we would use we-transfer, we would select a few of our favourite to edit.
I ARRIVE AT LOCATION /
MODEL 2: ALFIE ARRIVES
FINISH UP LAST SHOTS
HANNAH ARRIVES WITH
CHANGE MODELS BACK
MODEL 1: ALEX ARRIVES
AT THE STUDIO
PHOTOGRAPHER & FILM
MAKER MEET AT STUDIO
BEGIN GETTING ALEX IN
BEGIN SHOOTING TEST
BEGIN TIDYING UP
GETTING ALFIE IN HIS
BOTH MODELS LEAVE
ALFIE TEST SHOTS / ALEXS LUNCH BREAK
OUTFIT / BRIEFING
INTO THEIR CLOTHES
REELECT WITH THE TEAM
SCENE 1: SHOTS TOGETHER
FINISH CLEANING UP THE STUDIO
SCENE 2: SHOTS TOGETHER
HAND OVER THE KEYS AND LEAVE STUDIO
FINAL SCENE / LAST TOUCHES
Image Sources: Creative Direction & Styling: Hannah Gilmore & Liv Harrould / Photographer: Isaac Hargreaves / Model 1: Alex Jones - Model 2: Alfie Linstetad
Image Sources: Creative Direction & Styling: Liv Harrould / Photographer: Holly Moore / Model: Hannah Gilmore
PRODUCING WEBSITE CONTENT
In extension to creative directing a menswear editorial, I wanted to experiment with creating some additional content for my website. Having focused my attention on photographing models straight on as apposed to more experimental angles and using props, I decided to continue my quest in pushing personal boundaries by creating some more content for my social media channels and website. Fond of collaborating with professionals and creatives, for this shoot I teamed up with Holly Moore - a year three photography student to creative direct and style the shoot to the left. With my aim being to create a high editorial womens-wear shoot that one would see published online Mango or Zara, I will highlight my journey of working with props and a model to create a finished product.
TO CREATE A CONCEPTUALIZED WOMENS WEAR EDITORIAL THAT ONE WOULD SEE PUBLISHED ON A FASHION BRANDS WEBSITE
TO PUSH PERSONAL BOUNDARIES & CHALLENGE MYSELF BY PRACTICING ART DIRECTOR JOB ROLE ATTRIBUTIONS
EDITORIAL OVERVIEW: Eager to create a highly conceptual womens wear editorial, I wanted to experiment with using props. For this, I decided to purchase three full length mirrors along with a long piece of drapery. Thriving to turn an indoor studio into something a little bit different, I opted to use a large piece of drapery as the backdrop to differ from using a paper background. Wanting the shoot to symbolize purity and a luxury aesthetic, I decided to opt for a neutral and muted colour palette. In order to draw attention to the modelâ€™s emotion and body language, I wanted the sheer white tones to reflect against her complexion and skin tone, drawing a viewers attention to her facial expression. Using a variety of three mirrorâ€™s really helped create a different array of content and add a conceptual element to the shoot. Encountering a problem towards the end of the shoot, I worked professionally to make sure that the content was executed effectively.
EXPERIMENTING WITH PROPS
Image Sources: Creative Direction & Styling: Liv Harrould / Photographer: Holly Moore / Model: Hannah Gilmore
Having a extremely clear vision of how I wanted the final outcome to look like, unfortunately It differed from the photographer. One thing I have always made sure that I do every-time I Creative Direct with somebody is have a copy of the image’s myself, before the photograph begin editing them. There are two reasons why I do this: 1) So I am able to hand pick the strongest and best images, and 2) I am able to record my editorial processes in my book. Clear on the way I wanted the finished images to look, I wasted no time in mocking up an examlpe to send across to the photographer. By playing around with the saturation and making the colour’s less intense and beige, I opted for a neutral palette that didn’t distract a viewers attention from her facial expression. Sending it across to the photographer, unfortunately she was not satisfied with the colour scheme I had chosen. Under the impression that I wanted warm tones, the photographer demanded that we stick to the colour scheme chosen by her. Stumbling across an issue like this was not only frustrating but really devastating. Having realized how little control over an editorial that I have creative directed, I decided to tackle the issue. After discussing back and fourth the original issue, the photographer said that as an Art Director - I should of com e to her with a strict colour way scheme, unaware that this is what a photographer expect’s, I was unable to fulfil her requirement’s as she did not express this before hand. Coming to the conclusion that she would edit them in a cooler tone, I was unfortunately still extremely unhappy with the final result. This situation has taught me how incredibly crucial it is to approach a photographer with a terms and conditions sheet. Both Clearly outlining each element that you want fulfilled and have ownership over. On the following page is a terms and conditions that I made up for the future. 321
TERMS AND CONDITIONS SHEET TACKLING FUTURE ISSUES
Image Sources: Creative Direction & Styling: Liv Harrould / Photographer: Holly Moore / Model: Hannah Gilmore
Image Sources: Creative Direction & Styling: Liv Harrould / Photographer: Holly Moore / Model: Hannah Gilmore 327
Image Sources: Zara Spring Summer 2018 Campaign
FUTURE JOB ROLES & CAREERS
FUTURE JOB ASPIRATIONS
Having researched and explored into whats expected of you to become a film, art and creative director - I feel as though I have worked hard this unit to showcase these particular area’s. With the hope of becoming an art director for a creative company or brand, I would love to work alongside a close knit team in the creation of all things visual for their brand. Aware that I wont be able to enter the industry after university to become an art director, it’s important that I channel my search into gaining the best possible experience from similar job roles, in order to work my way up. Having already taking the initial step’s in shadowing an art direction team, this July I will be interning at British Vogue to shadow the art and creative team such as Phil Buckingham and Ben Evans. To make sure that I have a good understanding of what job’s I will be doing throughout my experience, this next month after handing in, I will try to prepare myself and get acquainted with software and
programmes before heading to London. Eager to continue pushing boundaries, I would like to record my whole process and what I learned from interning there as a note to myself to look back on in the future. Realizing how crucial it is to act professional at Vogue, I will aim to do my background research on a majority of the staff to make sure that I know their area of specialism at British Vogue.
MY SKILL SET
Entering university, my skill set was fairly basic. Only knowing photo-shop and how to lay things out on Key note, It’s clear to say that fast forward to three years later: my skill set has dramatically grown. To the left is a visual skill set sheet that I mocked up to visually communicate my skills through the use of symbols. As you can see, developing and refining my skills dramatically over the last, I now feel confident in 10 versatile area’s. With our course - Fashion Communication and Promotion being extremely broad - my skill set is a combination of all things visual and practical, an example of this is how I feel equally as confident in areas: Marketing to visually communicating. To outline my skill set on record for brands and companies to see when applying for a job, I will aim to re-adapt my CV and upload my new copy to both my website and sketchbook. What has been brilliant about this course is how much I feel I ave learned over the years from how to create marketing and advertising campaigns to editing, directing and visually communicating an editorial or film shoot. With the hope of becoming a future art director, I hope that the skills that I have gained at university will be a good starting point for working my way up to become one.
“ I N OW F E E L CONFIDENT IN 10 V E R S AT I L E A R E A’ S ” - LIV HARROULD
FINAL CV HIGHLIGHTING MY AREA’S OF SPECIALISM
To the left is a screen shot that I took of my CV that clearly outlines my previous / up-coming experience, skill set and personal overview. Having originally created a CV template in year two, I recently decided to make some changes regarding the content that is exhibited throughout the sheet. The first area that I changed was my personal bio and image located at the top of my CV. Having created an ‘about me’ page on my website that supply’s the reader with a brief overview of my areas of interests, passions and enthusiasm, I decided to copy and paste it on to my CV with the hope to allure consumers. Additionally to this, I also updated my previous and up-coming professional experience. Having gained experience over the last couple of year’s for a few different companies, I decided to whittle them down to the one’s I think are most tailored to Art and Film Direction. When applying for job’s, I’ve began to notice how extremely important your references are in comparison to your skill set and over all bio. Having had an interview recently at Simmonds LTD in Shoreditch London, I was astonished at how much they monitor your prior experience even though I have not yet graduated.
FASHION COMMUNICATION Experienced in liaising with professionals and working alongside team members, I have undergone a three year BA Hons Degree in Fashion Communication and Promotion at Norwich University of The Arts to learn about all the important elements and key characteristics needed for moving into the fashion Industry. With an interest in all things Fashion Film, Art Direction and Styling, my work truly reflects my personality, interests and passions. Having gained experience in multiple area’s of the Industry ranging from: Marketing, PR, Styling & Art Direction, I am eager to continue my quest of exploring and experiencing parts of the forever evolving fashion world whilst constantly monitoring the positive changes that we will face in the future. Assisting for publications such as The Guardian and their Fashion department as well as being a social ambassador for Boohoo.com, I focus my attention on tailoring my work to coincide with clients and their individual visions.
Norwich University Of The Arts - BA Hons Fashion Communication and Promotion 2015-2018
City College Norwich - Fashion and Textiles Extended Diploma Level 3 2013-2015 Triple Distinction DDD
Professional Practice 2018 WORK EXPERIENCE AT BRITISH VOGUE / SHADOWING THE ART & FILM DEPARTMENT (To take place July 9th - 4th August 2018)
2017 ASSISTANT STYLIST FOR ALEXA CHUNG’S CLOTHING COLLECTION WITH THE GUARDIAN -Responsible for collecting & delivering the clothing, liaising with the team, taking directions, steaming and organising the collection. 2017 BOOHOO.COM PR/MARKETING INTERNSHIP - Planning A/W Press day event, liaising with Companies, Sending style related mailers, processing orders to Influencers and managing social media channels
Awards 2012 - ’Fantastic Progress in Design and Technology’ Certificate.
2017 ASSISTANT STYLIST FOR THE GUARDIAN - Steaming garments, dressing models and assisting the photographer and team.
2015 - Certificate for Innovation, 2nd Prize, end of year show, City College. 2016 - Post-academic, Norfolk County Scholar Certificate.
2016/2017 BOOHOO.COM BRAND AMBASSADOR - Creating regular content for their brand across my Instagram and Youtube channels.
Contact Details Email: firstname.lastname@example.org
2016 YOGA CLICKS - DIGITAL MARKETING INTERNSHIP - Marketing their brand through social media and designing advertising campaigns.
Telephone number: 07802654038 Address: 23 Pelham Road, Norwich, Norfolk, NR33NG
To make sure that I have a thorough understanding of which job roles i’m most interested in applying for, I decided to create a diagram on the right that clearly indicates to which two categories I’ve refined my search in to. Online website: Fashionworkie.com, houses many current or future employability opportunities for a variety of designer and high street brands. With a straight forward easy application process, the website allows you to get in contact with the company by sending across your cv pdf and personal statement. In order to make sure that i’m applying for job’s that highlight my aspirations of becoming a future art director, to the right is a diagram that I created that exhibits which two categories I regularly analyze,, these being: Fashion photography and film and new media and digital. Directly below the job titles are also three area’s that I am most interested in working on that they have supplied in their ‘required’ job description category. To continue my search, I have now expanded my search on to other websites such as indeed.com.
CHOSEN JOB CATEGORIES
NEW MEDIA AND
WORK WITH THE EDITORIAL
HELP ASSIST AND RUN
TEAM ON VISUALS
VISUAL IDEAS FOR A BRAND
SHOOTâ€™S AND FILMS
ART OF FILM DIRECTOR
SOCIAL MEDIA SELF PROMOTION
To make sure that I stay current in the fashion industry, it’s important that I use social media channels as a way to regularly promote and advertise my profession. With opportunities nowadays arising over making contact with companies on Instagram, it’s crucial that I am setting a strong example of my best work online. For this, I have created my own professional website and Instagram page where I exhibit a collection of my best and most professional pieces of work. As you can see by the two image’s above, I have opted for a fairly classic and simple aesthetic which is easy for a variety of different companies to consume. With the hope of being hired in the future, It’s crucial that each category and piece of work exhibited shows off my best talents and elements that companies are interested in looking for.
END OF CHAPTER