Velocity - the process by Tess Halliwell

VELOCITY COLLECTION: THE MAKING

BY TESSA HALLIWELL

COMING SOON

SPRING SUMMER

PHOTOSHOOT

THE PLAN So since my strategy, the next steps in my campaign is to execute the production and

finalisation

concept. process referring

of

my

Throughout

this

I

am

constant[y

to

my

previous

components

and

adding

research

consistently.

In

doing this I am ensuring that my work is strong and cohesive, and my concept has a strong outcome.

THE COLLECTION TO KICK OFF THIS PROCESS, I WENT OUT AND SOURCED MY OWN

PRIMARY

IMAGES

TO

BUILD UP MY RESOURCES. I ACTUALLY TOOK A TRIP TO PARIS. AS I

AM BASING THE

MAJORITY OF MY CAMPAIGN ON PARIS, THIS FELT MOST BENEFICIAL TO ME AND TO THIS WORK. WHILE I WAS IN PARIS

GAINED

A

LOT

OF

PRIMARY IMAGERY TO WORK WITH AND WHILE I WAS THERE I VISITED THE CHRISTIAN DIOR EXHIBITION

AND THE SAINT

LAURENT

EXHIBITION.

IN

DOING THIS I REALLY GAINED A LOT OF INSPIRATION FOR THE

STYLING

AND

POSING

PROCESS OF MY PROJECT.

CHRISTIAN DIOR- PARIS

SHAPE

TEXTURE

POSE

CHRISTIAN DIOR

STYLE

GOLD

EDITORIAL PIECE

behind THE PHOTOSHOOT SCENES

THE LOOKBOOK THESE ARE SOME IMAGES I TOOK FROM MY VISIT TO THE CHRISTIAN DIOR EXHIBITION IN PARIS, IT WAS SUCH A SURREAL EXPERIENCE. THIS PORTION WAS THE GOLD EXHIBITION THAT WAS DISPLAYED, AND IT WAS A BEAUTIFUL DISPLAY, AND IT ALSO LINKED REALLY WELL WITH EVERYTHING THAT I HAVE BEEN PLANNING FOR MY FMP.

BY CHRISTIAN DIOR

concept board

Mannequin styling

Having some practice styling on my mannequin at home was extremely beneficial to me. Being able to use different textures and materials to expand on my own styling skills, and developing my progress file.

Further mood bards of makeup and expressions I want to test on my model.

Further mood bards of makeup and expressions I want to test on my model.

Colouring and posing concept board in preparation of my final shoot.

A croqui created by me, using images found in magazines and my own styling from my test shoot.

CROQUI A croqui created by me, using images found in magazines and my own styling from my test shoot.

A croqui created by me, using images found in magazines and my own styling from my test shoot.

COMING SOON

SPRING SUMMER

PHOTOSHOOT

A croqui created by me, using images found in magazines and my own styling from my test shoot.

A croqui created by me, using images found in magazines and my own styling from my test shoot.

Croqui’s created by me, using my own images from my Paris trip and my styling test shoot. To help me understand my vision for my final images.

Croqui’s created by me, using my own images from my Paris trip and my styling test shoot. To help me understand my vision for my final images.

A croqui created by me, using images found in magazines and my own styling from my test shoot.

WHY YSL? YVES SAINT LAURENT IS ONE OF THE MOST FAMOUS AND INFLUENTIAL FASHION DESIGNERS OF ALL TIME, NOT ONLY DID HE PUT THE TUXEDO IN THE WOMEN'S CLOSET, YVES ALSO WAS A MAJOR FORCE WHEN FASHION WORLD’S OUTDATED VIEW HAD TO BE CHANGED. DESPITE THE MAJOR SUCCESS, SAINT LAURENT’S LIFE WAS VERY COMPLICATED BUT HE DID HAVE SOMEBODY THAT WAS THERE FOR HIM NO MATTER WHAT - HIS LIFELONG COMPANION PIERRE BERGÉ WHO HAD NEVER LOST FAITH IN YVES’ TALENT. SAINT LAURENT DIED AT 71 IN JUNE 2008, LEAVING A HUGE LEGACY FOR THE INDUSTRY. HE HAD ALWAYS BEEN A PROVOCATEUR AND ENJOYED TESTING THE LIMITS OF SOCIETY WITH HIS BOLD CREATIONS AND IMAGES. GOLD, FROM ITS USE AS A SIMPLE DETAIL TO A TOTAL LOOK, WHETHER THROUGH A PLAY OF MATERIALS (SUCH AS LAMÉ, LEATHER AND BROCADE) OR BY THE TECHNIQUE INVOLVED (BRAIDED FABRICS, EMBROIDERY OR QUILTING) OR BY COMBINING IT WITH OTHER COLORS, PUSHED FEMININITY TO ITS FULLEST EXPRESSION. THE YVES SAINT LAURENT MUSEUM IN PARIS IS CELEBRATING THE 60TH ANNIVERSARY OF THE COUTURIER’S FIRST COLLECTION WITH AN EXHIBITION HIGHLIGHTING HIS LOVE AFFAIR WITH GLITZ AND GOLD. THE ‘GOLD BY YVES SAINT LAURENT' EXHIBITION IS OPEN UNTIL MAY 14, 2022, AND EXAMINES THE ROLE GOLD HAS PLAYED IN THE COUTURIER’S WORK. IT FEATURES MORE THAN FORTY HAUTE COUTURE AND READY-TO-WEAR DRESSES, ACCESSORIES AND JEWELLERY AND HIGHLIGHTS HOW THE COLOUR GOLD HAS BECOME ESSENTIAL TO THE YVES SAINT LAURENT SILHOUETTE. FROM THE VERY FIRST BUTTONS ADORNING HIS PEA COATS TO DRESSES THAT APPEAR ENTIRELY FASHIONED FROM GOLD, NO COLLECTION HAS ESCAPED THE COUTURIER’S “GOLDEN” TOUCH. SAINT LAURENT'S MASTERY OF GOLD IS SEEN THROUGHOUT HIS USE OF BROCADE, LACE, SEQUINS, LEATHER, AND EMBROIDERY, WHETHER THROUGH FABRIC, JEWELLERY, PERFUME, OR GOLD SPARKLES. “I LOVE GOLD, IT IS A MAGICAL COLOUR; WHEN REFLECTING A WOMAN, IT’S THE COLOUR OF THE SUN,” SAID SAINT LAURENT. THE COLOUR GOLD IS PERCEIVED AS A SIGN OF WEALTH, POWER, AND PRESTIGE, AND SAINT LAURENT USED THAT SYMBOLISM TO CREATE PIECES FOR A MODERN WOMAN. THE COURTIER SHOWED THAT GOLD WAS MORE THAN ABOUT PROVIDING AN AESTHETIC EFFECT, HE TURNED GOLD INTO A MANIFESTO OF FEMININE POWER. HE USED GOLD AS A SIMPLE DETAIL IN A TOTAL LOOK, SUCH AS IN GOLD BUTTONS, OR THROUGH A PLAY OF MATERIAL SUCH AS LAMÉ, LEATHER AND BROCADE, OR BY THE TECHNIQUE INVOLVED FROM BRAIDED FABRICS TO EMBROIDERY OR QUILTING. STANDOUT LOOKS INCLUDE THE JEWELLED DRESS DESIGNED FROM HIS AUTUMN-WINTER 1966 COLLECTION AND PHOTOGRAPHED BY DAVID BAILEY, SEQUINNED DRESSES WORN BY ZIZI JEANMAIRE AND CATHERINE DENEUVE AND A MOLTEN METAL EFFECT EVENING DRESS WORN BY VIOLETA SANCHEZ IN THE SPRING/SUMMER 1981 HAUTE COUTURE COLLECTION. SO IT WAS EASY FOR ME TO TAKE INSPIRATION FROM THIS BRAND THROUGHOUT MY CAMPAIGN. ESPECIALLY THE GOLD ASPECT, AS IT IS ASSOCIATED WITH LUXURIOUSNESS WHICH IS WHAT I AM STRIVING FOR.

Vogue

I

THEN

WANTED

TO

TAKE

INSPIRATION FROM THE MAGAZINES AS THE LIKES OF VOGUE, DAZED, ANOTHER MAN AND OTHERS, I DID THIS

TO

SOURCE

SOME

PRIMARY

IMAGERY TO BUILD MY CROQUIS AND RESEARCH UP. I LOVE TO DO THIS AS ITS ANOTHER WAY OF BUILDING UP MY

WORK

MAINLY

AND

TO

I

WAS

SUPPORT

LOOKING

THE

GOLD

ASPECT I WAS LOOKIG FOR. BEING ABLE TO MANIPULATE THESE TO MY OWN

ADVANTAGE

IS

A

REAL

STRENGTH OF MINE AND THEY HELP ME

TO

WITHOUT

FILL

OUT

MY

RESEARCH

HAVING

TO

SOURCE

SECONDARY IMAGERY. I USE THIS STYLE A LOT THROUGHOUT ALL OF MY DIFFERENT MODULES, AS THIS IS ,MY LAST MODULE I FEEL I WANTED TO PUSH THIS AS FAR AS I COULD. I WANTED TO MAKE SURE THAT MY RESEARCH AND DEVELOPMENT IS AS FAR AS I CAN GET IT TO MAKE SURE MY FMP MAKES SENSE. IT IS AN EVER CHANGING THING AN I WANT TO MAKE SURE THAT MY WORK REFLECTS THAT.

SCHIAPARELLI THE FASHION DESIGNER ELSA SCHIAPARELLI WAS A PROVOCATEUR WHO TOOK PLEASURE IN CHALLENGING TYPICAL NOTIONS OF DRESS SHE WORKED WITHIN THE CONFINES OF TRADITIONAL TAILORING BUT PLAYED WITH CLASSIC SILHOUETTES THROUGH THE ADDITION

the collection

OF SUBVERSIVE DETAILS, BE IT PRINT, EMBROIDERY, EMBELLISHMENT OR UNUSUAL MATERIALS, WHICH TRANSFORMED HER GARMENTS INTO UNIQUE FASHION STATEMENTS. THESE DETAILS WHICH APPEAR AS BIZARRE, OFTEN HUMOROUS, INTERVENTIONS INVITE THE VIEWER TO LOOK AND LOOK AGAIN. "IN BOTH SURREALISM AND FASHION THE BODY WAS WOVEN IN FANTASY AND LITERALLY REIMAGINED." GHISLANE WOOD, THE SURREAL BODY: FETISH AND FASHION SCHIAPARELLI WAS DRAWN TO THE IMAGINATIVE FREEDOM IN THE WORK OF THE SURREALIST ARTISTS WHOM SHE BEFRIENDED ON THE PARIS SOCIAL SCENE, LEADING TO NUMEROUS COLLABORATIVE DESIGNS. SURREALISM’S FIXATION WITH THE CORPOREAL AND DEPICTIONS OF THE BODY CREATED NATURAL TANGENTS WITH THE WORLD OF FASHION.

add text

SCHIAPARELLI’S COLLABORATIVE PROJECTS WITH THESE ARTISTS VARIED FROM PHOTOGRAPHY TO DESIGNING ACCESSORIES, PERFUME BOTTLES, FABRICS AND GARMENTS. THEY STRETCHED HER CREATIVE BOUNDARIES BEYOND THE COMMERCIAL CONCERNS OF THE FASHION WORLD AND EXCITED HER "WORKING WITH ARTISTS LIKE BEBE BERARD, JEAN COCTEAU, SALVADOR DALI, VERTES, VAN DONGEN; AND WITH PHOTOGRAPHERS LIKE HOYNINGEN HUENE, HORST, CECIL BEATON AND MAN RAY GAVE ONE A SENSE OF EXHILARATION. ONE FELT SUPPORTED AND UNDERSTOOD BEYOND THE CRUDE AND BORING REALITY OF MERELY MAKING A DRESS TO SELL." THIS DARK BLUE SILK JERSEY COAT WAS A COLLABORATIVE DESIGN BETWEEN SCHIAPARELLI AND ARTIST JEAN COCTEAU. IN HER AUTOBIOGRAPHY SCHIAPARELLI RECALLED: "JEAN COCTEAU MADE SOME DRAWINGS OF HEADS FOR ME. I REPRODUCED SOME OF THESE ON THE BACK OF AN EVENING COAT AND ONE, WITH LONG YELLOW HAIR REACHING TO THE WAIST, ON A GREY LINEN SUIT".

THE COAT WAS WORN BY DORIS CASTLEROSSE, A GREAT CLIENT OF SCHIAPARELLI. SHE BOUGHT MANY OF HER PIECES FROM SCHIAPARELLI’S LONDON STORE WHICH OPENED IN MAYFAIR IN 1934. THE BACK OF THIS EVENING COAT FEATURES PROFILES OF TWO FACES WHICH FORM A ROSE FILLED VASE STANDING ATOP A CENTRAL COLUMN. THE COAT WAS EMBROIDERED BY THE HOUSE OF LESAGE, ONE OF THE TOP PARISIAN EMBROIDERY HOUSES OF THE HAUTE COUTURE INDUSTRY. GOLD METAL THREADS DEMARCATE THE THIN OUTLINES OF COCTEAU’S DRAWING. RED LIPS ARE WORKED IN FLAT METALLIC RIBBON AND BLUE EYES OF SATIN STITCH SILK THREAD TOPPED WITH BLUE PASTE JEWELS COMPLETE THE SIMPLE FEATURES OF THE FACES. SCHIAPARELLI HOLDING THIS CONNECTION TO GOLD, FELT LIKE THE RIGHT INSPIRATION FOR ME. CREATING MOOD BOARDS AND CONCEPT BOARDS WITH SCHIAPARELLI IMAGES AND GARMENTS CREATED FELT THE MOST FITTING TO ME.

YVES

Yves Saint Laurent’s gold exhibition

SAINT LAURENT'S INFATUATION WITH ALL THINGS GOLDEN PERVADED HIS CREATIONS, FROM BUTTONS AND JEWELRY TO GARMENTS AND OUTERWEAR. GOLD BECAME THE QUINTESSENTIAL ELEMENT INFUSING HIS DESIGNS WITH A UNIQUE ALLURE. PRESENTLY, THE MUSÉE YVES SAINT LAURENT IN PARIS FEATURES AN EXHIBITION CELEBRATING THE DESIGNER'S FASCINATION WITH GOLD, OFFERING VISITORS A CAPTIVATING EXPERIENCE IN THE CITY OF LIGHT. WHETHER IN PARIS OR ELSEWHERE, MADAME FACTION PROVIDES COMPREHENSIVE COVERAGE OF YVES SAINT LAURENT'S GOLDEN EXHIBITION, ENCAPSULATING A CAPTIVATING CHAPTER IN FASHION HISTORY. GABRIELLE CHANEL REGARDED YVES SAINT LAURENT AS HER RIGHTFUL HEIR IN CRAFTING POWERFUL YET REFINED FASHION FOR WOMEN. SAINT LAURENT'S TALENT LAY IN DRESSING THE MODERN, EMANCIPATED WOMAN WITHOUT RESORTING TO CARICATURED DEPICTIONS OF STRENGTH. THE YSL WOMAN EMBODIES YOUTH, CONFIDENCE, AND AUTHORITY, EXUDING CHARISMA WITHOUT RELYING ON OSTENTATIOUS OR THEATRICAL ATTIRE. THE INCORPORATION OF GOLD ACCENTS AND ENSEMBLES BESTOWED WEARERS WITH ATTENTION IN A POISED AND COMMANDING MANNER. GOLD, SYMBOLIZING AFFLUENCE, INFLUENCE, AND PRESTIGE, HAS HISTORICALLY DENOTED FINANCIAL, CULTURAL, AND SOCIAL SUPERIORITY. FROM ANCIENT DEITIES AND NOBILITY TO DISCO DIVAS AND CAREER-DRIVEN WOMEN OF THE '80S, GOLD HAS BEEN A HALLMARK OF ASSERTING SOVEREIGNTY, A QUALITY EXQUISITELY EPITOMIZED IN YVES SAINT LAURENT'S GOLDEN FASHION. CLEOPATRA'S ECHO DELVING INTO THE THEME OF "SOVEREIGNTY," A PARTICULAR DRESS WARRANTS SPECIAL ATTENTION. IN 1966, SAINT LAURENT CONCEIVED AN OPULENT EVENING GOWN ADORNED WITH SEQUINS AND GEMSTONES, EVOKING A MYRIAD OF ASSOCIATIONS. RESEMBLING MEDIEVAL ARMOR WHILE INVOKING MERMAID IMAGERY, THE DRESS'S PRIMARY INSPIRATION APPEARS ROOTED IN EGYPTIAN ART, CLEOPATRA'S LEGACY, AND THE OPULENT ATTIRE DONNED BY ELIZABETH TAYLOR IN THE ICONIC FILM "CLEOPATRA" BY JOSEPH L. MANKIEWICZ (1963).

GOLDEN REMINISCENCES "AN EVENING SHOULD RADIATE; OTHERWISE, IT APPEARS SOMEWHAT INCONGRUOUS." SAINT LAURENT'S WELLSPRING OF INSPIRATION WAS VAST. ALONGSIDE HIS LIFELONG COMPANION, PIERRE BERGÉ, HE CURATED A COLLECTION OF DECORATIVE ARTS, FOSTERING ONE OF THE MOST DISTINGUISHED INTERIOR COLLECTIONS OF THE 20TH CENTURY, SHOWCASING THEIR SHARED ADORATION FOR GILDED ARTEFACTS. THEIR ASSEMBLAGE INCLUDES GILT WOOD SCREENS AND AN ARRAY OF OTHER GOLDEN TREASURES AVAILABLE ON SOTHEBY'S. HAVING VISITED THE YSL EXHIBITION IN PARIS, I FELT THIS WAS SUITED TO ADD IN. THE EXHIBITION ITSELF WAS REALLY EYE OPENING AND IM EXTREMELY HAPPY TO HAVE VISITED. THE ILLUSTRATIONS AND GARMENTS IN THE EXHIBITION HAD SUCH ATTENTION TO DETAIL AND WAS REALLY INSPIRING.

THE SIGNIFICANCE OF EVER SINCE ANCIENT TIMES, GOLD HAS NEVER BEEN FAR AWAY FROM THE COLLECTIVE FASCINATION OF MANY CULTURES AND CIVILISATIONS, OFTEN THOUGHT OF AS THE ULTIMATE SYMBOL OF WEALTH AND IMPORTANCE. FROM THE GOLD-SPUN FABRICS USED BY ROYALTY AND NOBILITY FROM THE 14TH TO 17TH CENTURY, TO EVEN OLDER EXAMPLES OF GOLD-EMBROIDERED CLOTH FAVOURED BY THE ANCIENT GREEKS AND ROMANS, NOT TO MENTION ITS SUSTAINED USE IN JEWELLERY OVER THE AGES, THE PRECIOUS METAL HAS AN UNMATCHED LEGACY WITHIN FASHION. FOR THE MAJORITY OF THE LAST 100 YEARS, THIS LEGACY HAD MAINLY BEEN ASSOCIATED WITH OPULENCE, INTERTWINED WITH ESTEEMED LUXURY FASHION HOUSES LIKE GUCCI AND LOUIS VUITTON, BUT TOWARDS THE LATTER PART OF THE CENTURY, ITS CULTURAL ASSOCIATION BEGAN TO SHIFT. WITH THE EMERGENCE OF HIP HOP IN THE 1980S, GOLD BECAME THE GO-TO ORNAMENTAL CHOICE FOR MANY OF THE PIONEERING MCS. LL COOL J, RUN DMC AND BIZ MARKIE WERE LEADING FORCES IN POPULARISING THE GOLD ROPE CHAIN AND FOUR FINGER BAR RING. SLICK RICK WOULD DON A GOLD CROWN AND SCEPTRE COMBO TO ACCOMPANY HIS MULTIPLE GOLD CHAINS, AND BIG DADDY KANE’S ‘LONG LIVE THE KANE’ ALBUM COVER DISPLAYED AN EVEN GREATER LEVEL OF REGAL IMAGERY, WITH THE RAPPER DRAPED IN GOLD CHAINS AND SAT ON A GOLD THRONE, IN A LOOK REMINISCENT OF ANCIENT AFRICAN RULERS. THOUGH THIS LAVISH ERA OF HIP HOP FASHION GAVE WAY TO A MORE CASUAL, WORKWEAR-INFLUENCED MODE OF DRESS IN THE EARLY NINETIES, WITH AN EMPHASIS ON TOUGHER BAGGY SILHOUETTES, GOLD JEWELLERY REMAINED A STAPLE, ALBEIT TO A MODERATE DEGREE. ARTISTS LIKE DR. DRE AND ICE T WERE OFTEN SEEN WITH A SIMPLE GOLD CURB CHAIN OR BRACELET, AS WELL AS THE OCCASIONAL ICED OUT ROLEX, WHICH COMPLETED THEIR CLEANER, ALL-BLACK ENSEMBLES. AS HIP HOP’S DOMINANCE ON GLOBAL POPULAR CULTURE INTENSIFIED IN THE MID 1990S, GOLD WAS BEGINNING TO SYMBOLISE SOMETHING NEW. BY THE END OF THE DECADE, HIP HOP STYLE HAD PIVOTED BACK TO MORE FLASHY, EXTRAVAGANT FORM, AS THE GANGSTA RAP ERA REACHED NEW HEIGHTS. GOLD CARTIER FRAMES, MEDALLIONS AND WATCHES ACCENTED OVERSIZED GET UPS, WITH AN EMPHASIS ON POWER AND MONEY. THE WEST COAST LABEL CASH MONEY PERHAPS TYPIFIED THIS NEW IMAGE THE MOST AS HIP HOP SURGED TOWARDS THE NEW MILLENNIUM, SETTING THE TONE BY NAME ALONE, PRODUCING BLINGEDOUT ALBUM SLEEVES FOR MANY OF THEIR ROSTER’S EARLY OUTPUT, NOTABLY LIL WAYNE’S 1999 DEBUT ‘THA BLOCK IS HOT’ AND B.G.’S ‘CHOPPER CITY IN THE GHETTO’, RELEASED THE SAME YEAR. ANOTHER HIP HOP FAVOURITE GAINING TRACTION IN THE 1990S WAS THE GRILL. ORIGINALLY SEEN ON THE LIKES OF SLICK RICK AND FLAVA FLAV IN THE PREVIOUS DECADE, RAPPERS LIKE ODB AND THE RZA OF WU TANG CLAN SHONE A NEW LIGHT ON THE ACCESSORY WITH INVENTIVE DESIGNS SUCH AS FANG SHAPED CANINES. ACROSS THE POND, DRUM N BASS GODFATHER GOLDIE LEARNED THE CRAFT OF CREATING GOLD CAPS TO BUILD AN IMPRESSIVE 24 TOOTH GRILL TO MATCH HIS NAME. GOLDIE’S STRIKING VISUAL IDENTITY OF BASEBALL CAPS, SHELL SUITS AND EXCESSIVE GOLD JEWELLERY COULD BE SEEN AS A PRECURSOR TO THE UK ‘CHAV’ ATTIRE WHICH WENT ON TO EPITOMISE BRITISH WORKING CLASS STREET CULTURE IN THE EARLY 2000S. THE GILDED EFFECT OF STREET CULTURE AROUND THIS ERA WOULD INEVITABLY BE FELT IN SPORTSWEAR. FOLLOWING THE RELEASE OF THE GROUNDBREAKING AIR MAX 97 IN ITS ICONIC ‘SILVER BULLET’ COLOUR SCHEME, NIKE SOUGHT TO FURTHER CAPITALISE ON THE BURGEONING INTEREST OF METALLIC PALETTES ACROSS ITS PERFORMANCE MODELS. IN ITS WAKE THERE HAD BEEN A SPATE OF SHIMMERING SNEAKER RENDERINGS, NOTABLY ON THE BLUE-HUED AIR FOAMPOSITE IN 1997, WITH ITS FOLLOW UP SILHOUETTES, THE AIR FOAMPOSITE PRO AND TOTAL AIR FOAMPOSITE MAX, ADOPTING SIMILARLY SILVERY TONES FOR THE UPPERS, AND THE METALLIC THEME WOULD EVEN SEEP INTO THE LIFESTYLE RANGE BY WAY OF THE ‘JEWEL’ SWOOSH, WHICH PLAYED A KEY ROLE IN REIGNITING INTEREST IN THE AIR FORCE 1 MODEL AROUND THE SAME PERIOD. 1998’S WORLD CUP HAD SEEN THE UNVEILING OF THE MERCURIAL R9 FOOTBALL BOOT, A PRO MODEL FOR THE SUPERSTAR BRAZILIAN STRIKER AND NIKE ATHLETE RONALDO, WHICH CHANNELLED WAVY SILVER ACCENTS INTO ITS SLEEK NEW LIGHTWEIGHT DESIGN. A STARK CONTRAST TO THE ALL-BLACK LEATHER BOOTS THAT HAD BEEN THE NORM FOR BRANDS AND PLAYERS UP UNTIL THAT POINT, AND A GLIMMERING SIGN OF THINGS TO COME FOR THE WORLD’S MOST POPULAR SPORTING INDUSTRY. I REALLY WANTED TO LOOK AT THE SIGNIFICANCE OF GOLD, AND WHY ITS SUCH A CULTURED FEATURE IN FASHION. AND I WANTED TO HIGHLIGHT THIS.

Colouring and posing concept board in preparation of my final shoot.

Colouring and posing concept board in preparation of my final shoot.

Colouring and posing concept board in preparation of my final shoot.

Development from my posing concepts in my strategy , so that i can have variety in my final shoot.

ORDERING CLOTHES\HUNTING PIECES TO

BEGIN

WITH

I

SET

MYSELF A BUDGET FOR THIS FINAL SHOOT, THIS WAS SO I

HAD

SOMETHING

TO

REFERENCE TO AND BE ABLE TO TRACK MY PROGRESS. IN DOING THIS I CAN TAKE NOTE OF WHAT IS NEEDED, AND

WHAT

TAKING

ROLES

ON

I

AM

MYSELF.

BY

TRACKING THIS I AM ALSO KEEPING

MYSELF

ACCOUNTABLE

FOR

WHAT

MONEY IS USED ON THIS SHOOT,

AND

HOW

THAT

BUDGET IS SPREAD. I BEGAN MY

SEARCH

GARMENTS

FOR

ON

WANTED

A

BUDGET

WITH

THE

VINTED,

FAIRLY A

I

LOW

LUXURY

LOOK. AS I HAD ALREADY CREATED

PLENTY

STYLING

AND CONCEPT BOARDS, I KNEW WHAT I HAD IN MIND. ONCE

I

WANTED

FOUND ON

WHAT

I

VINTED,

I

WENT TO BOOHOO FOR THE FINAL PIECES. TO FINALISE MY GARMENT PREPARATION FOR THE SHOOT, I TOOK THE LAST PIECES FROM MY OWN WARDROBE.

BUDGET Clothing & garments for photoshoot

£400

Props and set building

£100

Makeup

£50

Pins & clothing clamps

£25

Accessories

£30

Model

£40

Travel fee

£20

Studio

£00

Stylist

£00

Photographer

£00

Total

£645

The garments I selected for my final shoot, based on my mood boads.

The garments I selected for my final shoot, based on my mood boards. Including accessories and garments from my own wardrobe.

further concept board of my top inspiration, Tim Walker, and how he has styles some of his shoots.

further concept board of my top inspiration, Tim Walker, and how he has styles some of his shoots.

A croqui created by me, using images found in magazines and my own styling from my test shoot.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Photo documentation of my final photoshoot day and the outcomes of it.

Colouring and branding concept board in correlation of my final shoot.

vel SCAN QR TO ENTER

ocity

Playing around with campaign

concepts

for this project, using my illustrations.

Very first edit from my final shoot, with a clear background to serve the more editorial look.

Very first edit from my final shoot, and this progression to where I edited it to, I included these

all

together

to

show

development with photoshop.

the

image

An

edit

from

my

final

shoot,

and

this

progression to where I edited it to, I included these

all

together

to

show

development with photoshop.

the

image

An

edit

from

my

final

shoot,

and

this

progression to where I edited it to, I included these

all

together

to

show

development with photoshop.

the

image

DIGITAL FASHION FASHION WEEK ALSO WENT VIRTUAL AGAIN (2021) AS THE FUTURE OF FASHION SHOWS HANGS IN THE BALANCE. IN ADDITION TO ALL THE GLOBAL CHALLENGES OF THE PANDEMIC, BRANDS ARE STILL WRESTLING WITH HOW TO FIND THE RIGHT BALANCE BETWEEN THEIR PHYSICAL AND DIGITAL BRAND WORLD TODAY. THE REALITY IS THAT DISTRIBUTION AND CONSUMPTION OF CONTENT IS LARGELY DIGITAL, AND MANY ARE STILL IN A STATE OF SHOCK WONDERING WHAT HAPPENED AND HOW THEY STARTED FALLING BEHIND. WHILE SOME BRANDS EXCELLED IN CREATING GREAT CONTENT, OTHERS ARE STILL SCRATCHING THEIR HEADS ON HOW TO TRANSLATE THEIR VIRTUAL COLLECTION INTO AN ENGAGING EXPERIENCE WITHOUT THE PHYSICAL COMPONENT AND KEEP THE BUZZ GOING WHILE BUILDING THE BRAND, EXTENDING THE REACH, AND ENABLING THE COLLABORATION WITH PRESS, BUYERS AND CONSUMERS. THE MAJOR PURPOSE OF FASHION WEEK HAS BEEN TO BUILD RELATIONSHIPS WITH THE GLOBAL ARENA AND HELP VISIBILITY. JOURNALISTS AND BUYERS COME TWICE A YEAR WORLDWIDE TO SEE WHAT THE LATEST COLLECTIONS AND TRENDS ARE BEFORE IT HITS THE PUBLIC – BUT NOW BRANDS ARE GRAPPLING WITH HOW TO FIND THEIR OWN DIGITAL AVENUES AND A NEW APPROACH TO BUILDING THEIR RELATIONSHIPS THROUGH DIGITAL PARADIGMS. ONE OF THE STRONGEST COMPLAINTS MANY BRANDS HAVE RAISED IS HOW TO FIND THE BALANCE BETWEEN CATERING TO THE FEW IN THE INDUSTRY WHO EXPECT TO HAVE A BIT OF EXCLUSIVITY, AND BUILDING THEIR REACH WORLDWIDE TO A LARGER PROFESSIONAL AUDIENCE. BRANDS STILL STRUGGLE WITH THE WHOLE IDEA OF HOW TO CIRCULATE THEIR COLLECTIONS SOCIALLY AND TO THE MEDIA AND ULTIMATELY HOW TO GET THE ATTENTION OF THE PRESS AND INFLUENCERS – AND KEEPING IT AUTHENTIC. EVERY FASHION BRAND HAS A USER EXPERIENCE WHEN IT COMES TO CREATING AND DELIVERING THEIR MESSAGE. AND THE PROCESS BEGINS WITH BRAND ASSETS – EITHER THE PHYSICAL SAMPLES, CLOTHES AND SHOES, OR DIGITAL CONTENT SUCH AS RUNWAY LOOKS, CAMPAIGN IMAGES AND E-COMMERCE CREATIONS. ALL THESE ASSETS ARE MEANT TO EFFICIENTLY COMMUNICATE AND DRIVE THE BRAND MESSAGE. FOR THOSE JUST STARTING OR WANTING TO TAKE YOUR DIGITAL PRESENCE TO THE NEXT LEVEL, YOU CAN BEGIN TO GATHER ALL VIRTUAL ASSETS IN ONE, EASY ACCESSIBLE LOCATION, COPY/PASTING ANY KIND OF CONTENT SUCH AS IMAGES, TECHNICAL SHEETS, VIDEOS, NEWS ARTICLES, ETC, AS WELL AS ADDING HASHTAGS AND HYPERLINKS FOR FANS, CUSTOMERS AND PRESS. THERE ARE DIGITAL ASSET MANAGEMENT SYSTEMS (DAM) THAT HELP YOU TO ORGANISE CONTENT BY MAKING IT SEARCHABLE AND ACCESSIBLE – NOT ONLY INTERNALLY, BUT ALSO EXTERNALLY FOR TEAM MEMBERS, PARTNERS AND AGENTS. IT’S VITAL TO CATEGORISE AND TAG YOUR ASSETS, MAKING SURE THEY ARE FILED AND NAMED CORRECTLY. LIBRARIES CAN EXIST WITHIN DIGITAL ASSET MANAGEMENT SYSTEMS AND DIGITAL SHOWROOM SOFTWARE, WHERE YOU CAN VISUALLY ORGANISE YOUR ASSETS AND MAKE SURE YOU CAN CONTROL WHO SEES WHAT VIA USER RIGHTS, WHICH AFFORDS YOU ULTIMATE CONTROL OVER END-USER VISIBILITY. AFTER ESTABLISHING A DAM STRUCTURE, THE NEXT STEP IS TO BUILD A 360° DIGITAL EXPERIENCE. BRANDS ARE SETTING THEIR SIGHTS ON HOW TO SHOWCASE COLLECTIONS IN NEW AND UNIQUE WAYS, AND NEW CHANNELS THAT ENABLE AUDIENCES TO CONSUME CONTENT THROUGH MINI-DOCUMENTARIES, VR EXPERIENCES, SITES AND GAMES. IT’S MORE IMPORTANT THAN EVER TO KEEP AUDIENCES’ ATTENTION IN THE DIGITAL SPACE.

DIGITAL FASHION

AN OBVIOUS CHALLENGE IS MAKING SURE TO ATTRACT AS MANY BUYERS AND MEDIA AS YOU CAN WHILE YOU ALSO MAINTAIN YOUR RELATIONSHIPS WITH THE PEOPLE YOU HAVE SPENT A LONG TIME WINNING OVER. WITH PHYSICAL DISTANCING IN PLACE, YOUR ABILITY TO BUILD YOUR BRAND BECOMES THE MOST IMPORTANT FACTOR OF ALL. THIS IS BECAUSE CREATING AN EXPERIENTIAL SETTING IN DIGITAL SHOWROOMS NEEDS TO BE ON POINT. GUESTS WHO HAVE BEEN INVITED TO THE SHOWROOM HAVE A LOCATION TO SEE YOUR COLLECTIONS. WHEN YOU CONNECT YOUR SHOWROOM TO OTHER TOOLS YOU’RE USING FOR PHYSICAL COLLECTION SAMPLES, YOU’RE GIVING YOUR GUESTS THE OPPORTUNITY TO REQUEST LOOKS AND COLLECT INFORMATION ON WHO IS VIEWING WHAT. A DIGITAL SHOWROOM IS AN EXTENSION OF YOUR EXPERIENTIAL OFFERING, ALLOWING YOU TO CONTINUE YOUR BRAND EXPERIENCE BEYOND THE ENDING OF THE LIVE SHOW. IN THE HOURS OR DAYS AFTER THE LIVE SHOW, YOU WILL WANT TO DISTRIBUTE ASSETS SUCH AS LOOK BOOKS FOR YOUR GUESTS TO CONTINUE YOUR RELATIONSHIP BUILDING. THIS IS A CRUCIAL PART OF DIGITAL FASHION AND ITS DEVELOPMENT. HOW I CAN APPLY THIS TO MY CAMPAIGN IS BY CREATING SOME FORM OF DIGITAL SPACE TO DISPLAY MY IDEAS FOR THIS CAMPAIGN.

WHO IN THE FASHION SPACE HAS UTILIZED SOCIAL MEDIA AND DIGITAL SPACES

the collection

GUCCI IS LAUNCHING A NEW METAVERSE WITH ROBLOX. THE LUXURY FASHION HOUSE GUCCI IS ESTABLISHING ITSELF FURTHER IN THE METAVERSE AND ON THE POPULAR GAMING EXPERIENCE ROBLOX. VOGUE BUSINESS ANNOUNCED AN EXCLUSIVE LUXURY COLLABORATION, WHICH ‘WILL INVOLVE AN ART INSTALLATION WITHIN GUCCI GARDEN, A VIRTUAL WORLD WHERE USERS WHO HAVE A ROBLOX ACCOUNT CAN EXPLORE A PASTEL WONDERLAND.’ THE NEWLY DIGITISED GUCCI GARDEN AREA ON ROBLOX WILL BE CULTIVATED FOR JUST TWO WEEKS. THE SIMILAR-LOOKING VIRTUAL INSTALLATION, WHICH LAUNCHES

ONLINE ON ROBLOX ON 17 MAY, IS DESIGNED TO ‘HELP GROW THE CONSUMER BASE AMONG A YOUNGER GENERATION’. IT FOLLOWS THE SUCCESS OF THE PHYSICAL GUCCI GARDEN ARCHETYPES INSTALLATION THAT TOOK PLACE IN FLORENCE. FAMED FOR PIONEERING A MIXTURE OF ANCIENT AND MODERN IN ITS LUXURY ACCESSORIES, GUCCI WAS ABLE TO RECREATE 15 OF ITS ICONIC ADVERTISING CAMPAIGN SETS FOR FANS TO INSTAGRAM. THE

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‘IMMERSIVE EXPERIENCE’, CURATED BY ALESSANDRO MICHELE, CREATIVE DIRECTOR OF GUCCI, HAS BEEN PLACED ON THE POPULAR METAVERSE PLATFORM ROBLOX. THE GUCCI GARDEN REPLICA WILL SHAPE THE METAVERSE ACCORDING TO THE NICHE LUXURY IT SERVES. THE NEWEST GUCCI CONCEPT EXISTS SOLELY IN A VIRTUAL WORLD. RATHER THAN WALKING THROUGH A GALLERY OF FLOWERS AND MARBLE IN THE BEAUTIFUL COUNTRYSIDE OF TUSCANY, FANS WILL STEP INTO A DIGITAL REPLICA ON ROBLOX. THE GUCCI GARDEN VIRTUAL INSTALLATION WILL BE STRUCTURED ALMOST IDENTICALLY TO THE ORIGINAL THE INSTALLATION WILL BE ARRAYED IN DIFFERENT THEMED ROOMS, JUST LIKE THE PHYSICAL GUCCI GARDEN IN FLORENCE. HOWEVER, ON THE METAVERSE, FANS ARE FREE TO ROAM BETWEEN THESE PLACES, CHANGING THEIR AVATARS INTO ‘GENDER-NEUTRAL MANNEQUINS’.

ON EACH RECONSTITUTED GUCCI GARDEN CAMPAIGN SET, AVATARS WILL TAKE ON A STYLE REFLECTIVE OF THAT ROOM. FOR EXAMPLE, IF VISITORS ENTER THE ‘FEVER’ ROOM BASED ON THE FALL AND PRE-FALL 2019 COLLECTION AD, THEY WILL BE GIVEN THE CHANCE TO WEAR A ‘POPSTYLE GINGHAM SUIT’. ROBLOX ADDS A RANDOMISED ELEMENT TO THE GUCCI GARDEN EXPERIENCE, SO PLAYERS WITHIN ANY ROOM WILL EACH HAVE THEIR OWN UNIQUE PERSONA CREATED USING AN ALGORITHM. AT THE END OF THIS PERSONALISED WALK-THROUGH THE EXHIBITION, USERS CAN RETURN TO THE OUTSIDE METAVERSE TO VIEW THEIR CREATED AVATARS AND SHARE THEM ACROSS SOCIAL MEDIA PLATFORMS. DIGITAL SUPERSTARS AND NEW INFLUENCERS, LIKE WEIRD WHISPERS AND GUS THE G AND ROBLOX’S CLARA.AI CURATED BANTER (ABOVE LEFT), WILL LEAD FANS ON A WALKING TOUR OF GUCCI GARDEN REPLICA À LA ALESSANDRO MICHELE’S PHYSICAL VERSION IN FLORENCE. THIS IS JUST SOME EXAMPLES OF DIGITAL FASHION SPACES.

ROBLOX

ROBLOX WANTS ITS USERS TO REALLY INVEST IN THEIR AVATAR, JUST AS MUCH AS THEY WOULD THEIR OWN BODIES IN THE REAL WORLD. ‘WE REALLY BELIEVE THAT ANYONE ON OUR PLATFORM WILL ULTIMATELY BE WHO YOU WANT TO BE AND WHO THEY WANT TO BE. AVATAR IS REALLY IMPORTANT. IT’S WHATEVER WE CAN IMAGINE. WE’RE BUILDING… A SYSTEM WHERE ANY PIECE OF CLOTHING WORKS ON ANY AVATAR,’ SAID THE FOUNDER AND CEO DAVID BASZUCKI IN THE COMPANY’S EARNINGS CALL LAST WEEK. IN THE ROBLOX GUCCI GARDEN, PEOPLE CAN WALK AROUND EXPLORING THE SPACE AND KICKING AROUND WITH OTHERS WHO ARE EXPLORING TOO THE GUCCI PARTS CAN BE PURCHASED BY ROBLOX USERS, AND THEY CAN BUY MORE THAN ONE. THE XBOX USERS WILL BE ABLE TO WALK AROUND

EXPLORING

THE

SPACE

AND

KICKING

AROUND WITH OTHERS WHO ARE EXPLORING TOO. THE GUCCI PARTS CAN BE PURCHASED BY ROBLOX USERS, AND THEY CAN BUY MORE THAN ONE. THE PARTS

CAN

EXPERIENCES,

BE

WORN

AND

IN

ARE

OTHER

ROBLOX

CONCEIVED

AS

COLLECTABLES, SAYS ROBLOX VICE PRESIDENT OF BRAND

PARTNERSHIPS

CHRISTINA

WOOTTON.

ROBLOX HAS NEVER REALLY OFFERED CLOTHES FOR SALE IN AN EXPERIENCE BEFORE, OUTSIDE OF A LIL NAS X CONCERT IT HOSTED IN NOVEMBER 2020, WHICH HAD 36.9 MILLION VISITS AND, ACCORDING TO THE COMPANY, MERCH SOLD IN THE MILLIONS. THAT EXPERIENCE WAS A REVENUE-SHARE. THIS IS JUST SOME EXAMPLES OF DIGITAL FASHION SPACES.

LUXURY AND THE META VERSE

WHILE PLATFORMS SUCH AS ROBLOX MAKE MONEY FROM INGAME PURCHASES, THEY ALSO OFFER BRANDS A ROUTE TO TAP NEW AUDIENCES. THERE ARE AN ESTIMATED 3.4 BILLION GAMERS WORLDWIDE, 27 PER CENT OF WHOM ARE BETWEEN 21 AND 30, ACCORDING TO A JULY 2020 REPORT FROM WARC. ROBLOX HAS MORE THAN 42 MILLION DAILY ACTIVE USERS, WITH ITS FASTESTGROWING DEMOGRAPHIC 17- TO 24-YEAR-OLDS, WOOTTON SAYS. GAMES HAVE BECOME A PLACE TO HANG OUT, SEE FRIENDS AND ATTEND EVENTS. “AS MORE PEOPLE COME TOGETHER THROUGH SHARED EXPERIENCES, THE MORE IMPORTANT [BECOMES] THEIR SELF-IDENTITY AND ABILITY TO EXPRESS THEMSELVES,” SHE SAYS. THE YOUNG ARE USED TO THE METAVERSE. “JUST LIKE YOU WANTED TO CATCH THE KIDS AT THE MALL, IT’S THE SAME THING. YOU BUILD THAT BRAND AFFINITY, AS THEY ALREADY INHABIT THE SPACE,” SAYS FUTURIST CATHY HACKL, WHO ADVISES LUXURY BRANDS ON THE METAVERSE THROUGH HER ROLE AS CHIEF METAVERSE OFFICER AT FUTURE METAVERSE LABS. FOR EXAMPLE, WHILE HER FIRST EXPERIENCE OF A CONCERT WAS IN A REAL-LIFE STADIUM, HER SON’S FIRST GIG WAS ON ROBLOX. SOMETIMES, HER CHILDREN WILL ASK FOR A NEW (DIGITAL) OUTFIT TO ATTEND A ROBLOX BIRTHDAY PARTY. “MOST OF THESE KIDS AREN'T ON INSTAGRAM OR OTHER PLATFORMS — THIS IS THEIR SOCIAL NETWORK,” SHE SAYS. TO THIS END, MANY LUXURY BRANDS ARE RACING TO STAY ON TOP OF THE GAMING AND METAVERSE ETHOS. P&G-OWNED SKINCARE BRAND SK-II JUST LAUNCHED ITS OWN VIRTUAL BRANDED WORLD, SK-II CITY, INSPIRED BY THE CITYBUILDING GAME SIMCITY, WHILE VALENTINO, BURBERRY, TATCHA, BALENCIAGA AND NET-A-PORTER ARE AMONG THE LUXURY BRANDS THAT HAVE CREATED VIRTUAL SPACES AMID THE COVID19 LOCKDOWNS. ROBLOX ISN’T THE ONLY SPACE IN WHICH GUCCI HAS BEEN PLAYING; IT HAS ALSO APPEARED ON ZEPETO, TENNIS CLASH, THE SIMS, GENIES, POKÉMON GO AND ANIMAL CROSSING. AT THE VOGUE BUSINESS AND TIKTOK TECHNOLOGY FORUM IN MARCH, GUCCI’S EVP OF BRAND AND CUSTOMER ENGAGEMENT ROBERT TRIEFUS SAID GUCCI FIRST CONSIDERS WHETHER ITS PRESENCE ON A NEW GAME WILL HELP PLAYERS OR USERS EXPRESS THEMSELVES. THEN, IT BUILDS RELATIONSHIPS WITH THE PLATFORM’S USERS AND CREATORS BEFORE CONTACTING THE DEVELOPERS OR OWNERS. IN THIS INSTANCE, GUCCI HAS BEEN IN CONVERSATION WITH ROBLOX FOR MORE THAN A YEAR. “WORKING WITH A PARTNER LIKE GUCCI THAT WANTS TO ENABLE PEOPLE TO EXPRESS THEMSELVES SEEMED LIKE A PERFECT FIT,“ WOOTTON SAYS. “THEY ARE SO FORWARD-THINKING. THEY WERE OPEN TO WORKING WITH THE COMMUNITY, OPEN TO WHAT WOULD WORK WELL AND TO LISTENING AND EXPERIMENTING. THEY UNDERSTAND THAT EVEN THOUGH YOU HAVE THIS MASSIVE BRAND, YOU HAVE TO ENTER A NEW PLATFORM AUTHENTICALLY, AND IT HAS TO BE ORGANIC.” HEARING AND SEEING PEOPLES OPINIONS ON HOW DIGITAL FASHION IS GROWING, IS A GREAT REFLECTION FOR ME IN MY PROGRESS FILE.