RESEARCH

Marianna(the fairy doll)-Rineke Dijkstra

REFLECTION

 7/01/19 

From the talk that our class had with Wright Le Chapelain, I gathered that their collection is catered towards a 'natural' concept, as they primarily focus on sustainability of fabric such as locally sourcing material and they also want to bring attention to 'heritage codes of dressing, designing unique and timeless pieces, which are contemporary yet rooted in the everyday.' 

We created a mood board which largely consisted of models having their identity covered, and this fit into our theme of anonymity and blending into office codes. We also wanted to think about what offices meant for different people, and when their chance of getting away from that setting would be. We also wanted to try to create our own set but there was some uncertainty due to our time limit, as well as having to spend time on styling and casting etc.

8/01 to 10/01 

We worked primarily on styling and we decided to use a body suit to make the garment stand out more. We didn't want to cover the face completely as it would-be too abstract, but we wanted the rest of the body to be concealed. After the dye not working as the body suit was dye resistant, we decided to use spray paint instead the next day. We also scouted for shoes that would suit the garment, and we ended up choosing a heel with a pointed front, and also spray painted this the next day to blend in with the suit. We used shoulder pads to accentuate the shape of the shirt dress and modified it to be more interesting, as well as tucking away half of the torso so it would only show one curve cut of the shirt.  

11/01 

when we started making our set, we realised that it looked terrible and didn't suit the atmosphere we were going for. This is because our props didn't relate to our garment or the story and we couldn't make set that we all thought was sufficient for the shoot. We also gave up on using bus stops and the outside location for our background as the weather was not good and the aesthetic of the bus stops were questionable. Thankfully, we did a few test shoots before the final thing so that we had enough time to find a different location. 

We finally found a suitable location on airbnb and took a few test shoots as soon as we checked in. it was a victorian mansion and the room that we had was filled with vintage curtains and armchairs, as well as a chandelier that provided atmospheric lighting for the film. Sohyun and I spent the night there to prepare for shoots as we would only have a few hours in the morning to complete both the film and the final photos. 

12/01 

I primarily focused on filming as I  feel that this is my stronger point, and tried to do as many different angles as well as stepping out of my comfort zone and not using a tripod for some of the shots. I also tried to zoom out using hand as this would be more natural that editing it so on Premiere Pro. 

We finished filming and shooting and went back to Kings cross library to edit our final outcomes. The film was much easier to edit together despite the great amount of footage we had; this is probably because the film captured the mood better and we could see the moving image coming together as we were filming. However, we were not completely satisfied with the final photos we had and cut down to the final three by asking peers around us to choose their favourite.  I think that we didn't like the photos as much because we spent too long trying to capture the model in the same pose, and also because we were all tired from constantly moving around the whole week. 

13/01 

Kyndro created some homemade sounds and sent us a few examples, and we also recorded the washing machine in Chiara's flat. These combined to create the sound that we desired for our film as we wanted an eery but not haunting effect. 

From this project I learnt that teamwork is incredibly important, and our outcome was successful to all of us and none of us had an individual role; we all worked together on styling, photography, editing, sound production, direction and casting. It was interesting to work with these three people as our styles are quite different, but we were all open to each other's ideas, which was the most significant aspect of working in a group. 

Richard Quinn AW 2016 -Nikolay Biryukov

Richard Quinn AW 2016 -Nikolay Biryukov

This was the group's biggest inspiration for our final work; we found that the body suit, and the sounds were critical to our concept and fit our idea perfectly. The sound production was mainly homemade, with some that were found online, just as the lion growling. 

All florals, foils and oil slick patents, Richard Quinn’s debut at London Fashion Week was nothing if not vivid. “I wanted the excitement of fashion. Like back in the early days, with cut and color and texture and presenting an actual thing. I wanted people to get excited about that kind of world.” His faceless models hit the catwalk with an onslaught of evocative silhouettes in saccharin prints with heavy attitude. There was an awestruck silence, a hushed buzz, and a collectively fixed gaze on the show-closing number. Success. Covered head to toe in a clashing palette of rainbow brites, his collection was a refreshingly powerful example of unconstrained textile design.  

Richard is a true textile designer at heart. Having spent his past six years at CSM, he completed a foundation and a BA in Fashion Print with a striking collection of evening gowns. The concept, a ripped and collaged mix of garden florals and party dresses, labelled Quinn as the ‘one to watch.’ His talent was noticed by the Stella McCartney foundation, who sponsored his MA studies. Working with this sponsorship was both an opportunity and a challenge to step up and be innovative with the materials he used. “It actually made me think harder,” said Quinn. 

 -http://1granary.com/central-saint-martins-fashion/ma/the-masters-richard-quinn/

notebook research

notebook research