Chasing Purple Hearts- Topshop Film

One of most interesting but challenging modules of this term is Fashion film. I have never done any form of filming before and although I am familiar with a lot of fashion films due to my obsession with Nick Knight and Showstudio, planning and executing one for myself is not so familiar.

Receiving the brief was very exciting. It instructed us to research, pitch and complete a fashion film for Topshop and the design for its full installation in the Oxford Street Store. Choosing the 60s as my initial inspiration I began researching the fashion and culture from this time.

It is important not to lose sight of the market and brand I am working with, full Topshop brand research was key in insuring my pitch was as strong as possible. I chose to base my film around the early modernist culture as there is an existing market for this style at Topshop; the Factory Girl range is very popular and embodies a lot of the influences I want to capture in my film.

This week is the official pitch of the ideas covering the general inspiration, concept, art direction, mood and plan for the film. There is a lot to think about when pitching as it is important to cover all the information without the client getting bored. I always feel comfortable with the initial section of the pitch, what I find scary is the question/ grilling to follow. My tutor will no doubt quiz me in all areas of research and planning and I must be able to provide all this information and seem as though I know what I am talking about.

Crits though scary always help to focus my mind on the areas to work on and the direction I am taking next. Here are the three pitch boards which include the intro, concept and interior. The interior board shows the designs I have done for the layout of the section of the store that will create the right retail space and atmosphere for the film/collection. Brands and stores invest a lot of money and time into their installations as it plays a big part in brand image and marketing. This is definitely an area of fashion communication I am keen to explore further.

 

Who's that girl?

Hair and make-up can radically change the look of an image. This week’s challenge was to use one model and create three dramatically different looks. This was a good way to make us push the boundaries of styling, I myself am guilty for keeping things classic and minimal as that is my personal preference. After this exercise I am now keen to try more adventurous looks in future shoots.

Here are the three looks created with one model.

Seeing Strips- styling shoots

The styling shoot for Fashion photography was a lot of fun. The steps taken when styling a shoot are simple, you start with one garment and work through the look sometimes this will involve several pieces and accessories and sometimes little is used allowing the garment to stand out.

The hair, make- up, mood, lighting, model, and expression will all contribute to the styling of a shot. As we have been working in the studio there is limitations with the set up but a lot can still be done around the composition and look of the shot.

Taking inspiration from numerous campaigns, magazines and stylist I put together a look for a lace coat. To avoid being clichéd I tried various fun ideas before settling with this theme.

Accessory Campaign

Our second brief is to do with fashion still life, and is perhaps one of the more challenging areas to get inspired by. When photographing or reading fashion journalism it is usually the personality behind the picture that captures me, you do not have this hook when photographing objects.

Therefore it is important to be creative. Using photographers such as Martin Parr and Sam Taylor Wood I began looking at how I could photograph accessories in a campaign that would be visually interesting while still showcasing the fashion items.

I chose to place the chosen items along with unusual situations for fashion advertisement. Heavily inspired by Sam Taylor Woods use of decay and Martin Parr's focus on everyday scenes I put together images that could be used as part of a shoe spread for the magazine Wonderland. This is one of the magazines I have been studying this term, it is an aspirational lifestyle magazine with a clear focus on new and emerging talent in the creative industries.

 

I am happy with the images I have produced so far but as we are only in week six these are just working examples as the final spreads will be more developed and hopefully more impressive.

Starting with the minimal

London Fashion Week now feels like a distant memory as exciting project briefs are now taking up all my time. As I have said before this term we are coving the creative aspects of the course with modules in Fashion photography, fashion film, Still life( advertising campaigns) as well as a continuous module in contemporary and contextual studies.

 

I have been really enjoying learning about the art direction though I would not say photography is one of my strong points nor the direction I want to pursue.

First up we have fashion photography and over the four weeks we have completed a minimal styling shoot, a styling shoot and a hair/wig/ makeup shoot. This involved a lot of research work before deciding the final direction of your shoots.

Minimal styling can be interpreted differently but if you think of Stella McCartney, Celene or Chloe they are all famous for their minimal styling as brands. Minimal can mean the amount of clothing, detail or backdrop etc used.

It is also a good exercise to explore lighting effects and mood in capturing the brand, collection or idea. Minimal styling is surprising versatile as you can see in the two very different images I have chosen to show.

A day with Louise Gray

In the short time I had in London I was determined to fit in some experience to complete what has been a very interesting summer of placements.

When hearing I would be working with Louise Gray at her catwalk show, I only just managed to remain composed, ok I didn't. I have followed Louise's career closly from the beginning as her work is incredible and she is flying the flag for the Scots in the Industry.

Working for Louise Gray meant spending a day at the Topshop Space. The venue was exactly how I had imagined a show space to look with large white tents containing numerous tall rails, tall models and tall lattes. I was not nervous once I had arrived as there was too much to see from hair and makeup artists working like machines eight to a model and the huge dress bags being arranged by busy interns.

What I was not expecting was how calm it all was. Perhaps Louise and her team were just organised but there was none of the screaming, throwing or swearing- if I am honest this was slightly disappointing.

Louise appeared from behind a rack, running orders in hand and walked straight towards me. You can imagine my astonishment when I smiled and she smiled back before asked me if I would help her with something.

team Louise

 Following her out onto the catwalk I felt as though I was dreaming, as she explained the task to be done I struggled to listen and not think about the fact that LOUISE GRAY was talking to me and calling me hun!

 Some say you should never meet an idol as you will only be disappointed but Louise Gray proved this theory to be wrong as she is one of the nicest people I have ever met, furiously thanking us for our help with organising the catwalk display. Being out front pre show also allowed me to witness the lighting, sound and run through checks. How do these things happen to me?

Louise was so professional and friendly even minutes before the show that she had worked tirelessly on for the past season; I do not think I would be breathing standing in her position with the world press and fashion heavy weights eagerly waiting on the other side of the catwalk.

When the lights went down the action picked up, models ran from rail to stage with one being sliced out of a dress. The team were focused and I appreciated how important it was for team members to be capable and confident during this time.

 The collection was sensational, with 90s mash ups and Barbie influences.

Within minutes the show was over, the appreciation ear shattering and the press furiously flooding back stage for an interview.  It was a great opportunity to experience the planning, organisation and detail that is put into the short show. Within minutes all social media was inundated with pictures, quotes and reviews.  There is a short and intense period of time where the Louise Gray collection is top of fashion then the models grab their suitcases, the press run and editors disappear to the next show, the next big thing and leave Louise and her team to pack up six months of work before celebrating the huge success of the collection.

Heading home happy.

 

Obviously the collection will receive attention for some time but for the design teams it is history, when Monday morning comes around this amazing collection will be old news moving onto the next exciting project that will no doubt continue to capture the hearts of the industry once again.

I felt incredibly lucky to be part of the event, Louise is still part of Topshop’s  Newgen project but when she is a fashion legend, which I know she will be I will look back and remember every second of that day. As a communication student it will be interesting to follow the press and upcoming editorial on the collection and see what garments are picked up and what trends are sustained throughout the season.

Reflecting on my time with Louise Gray I feel I learnt three important lessons; leave your nerves at the door, be proactive in your approach and don’t blink or you will miss it.  

In the street at LFW

One of the areas we were instructed to cover during our LFW project was Street Style. Documenting this is a great way to learn how the trends from the cat walk are interpreted on the street. In a time when money is tight wearability is key to any brand wanting to survive.

It is also a great way to judge the direction of fashion, we are continually reminded of the importance of customer awareness and how knowing what your customer wants will assure you deliver and sell.

I had a lot of fun doing this part of the project once I had got over the nerves of approaching everyone from possible 'VIPs' to stylish students to photograph them. I think it is the only place where posing is not judged but expected.

There is a really interesting dialogue occurring in the industry at the moment with a mutual respect between the street fashion and all fashion magazines, glossy included. Here is ten of the street style photographs that were part of my project. Key trends on the street were neon, sport luxe and hats but I decided not to limit myself so went with a general accessories theme as a focus.