04 2014 AAU Newspaper Vol 1

ACADEMY OF ART NEWSPAPER April 2014, Volume 1 Circulation: 115,000+ Pages 17-19: "Capturing Fashion Chaos" with backstage photographs from photographer Waldo Pretorius from Fall 2014 MBFW Show. Pages 20-21: "The Art of Direction" story on behind-the-scenes look at Fashion Styling student shoot. Page 22: "Stir, Splatter + Roll with Academy of Art University student Nisha Btesh" http://www.academyart.edu/

san francisco | academy of art university |

April 2014 volume 1 | page 17

Style

Courtesy of Jorge Ibarra.

INSIDE

Waldo Pretorius: The international fashion photographer captured the “turmoil and bliss” at the AAU Fashion Show. Page 18.

Professional photo shoot: Students team up with photographer Geoff Mau to learn on their feet.

Page 20.

Nisha Btesh: Textile design student, Nisha Btesh, customized a tote for Publicolor’s Stir, Splatter + Roll gala. Page 22.

page 18 | April 2014 volume 1 | academy of art university | san francisco

STYLE WALDO PRETORIUS

Capturing fashion chaos

South Africa based photographer and videographer Waldo Pretorius shares his career highlights so far and imparts advice for aspiring photographers

Final adjustments backstage before the show begins. Photo by Waldo Pretorius.

By Ashley Castanos International photographer and videographer Waldo Pretorius captured the beautiful chaos backstage during the Academy of Art University Fashion Show at Mercedes-Benz Fashion Week (MBFW) in New York.

His career includes international photo shoots with Marie Claire, Harper’s Bazaar, Glamour and GQ as well as backstage coverage of MBFW in Cape Town, South Africa.

We were able to get an exclusive interview with the South African nomad to learn about his creative journey and his photography career.

Q: We were delighted to have you backstage [at the Academy of Art University Fashion Show], what was a highlight of the experience?

A: I was delighted to be there.

My highlight was seeing the young designers and their expressions. How they simultaneously experience

the turmoil and bliss that accompanies creation, and the vulnerability of showing it to someone who will inevitably be judging. I can identify with that.

Q: Were there any particular pieces or collections that stood out to you?

A: Student shows are so raw in nature – you really see each student’s talent in plain focus. Overall I enjoyed the entire show. It really worked as one cohesive story.

A stolen moment backstage with model Gryphon. Photo by Waldo Pretorius.

Q: As a child, you grew up watching your father develop photographs in a darkroom [the old school way]. What fascinated you

the most about this process?

And do you ever experiment with this timeworn method?

How did this impact your photography style?

Models backstage wearing pieces from Elizabeth Castellon’s collection. Photo by Waldo Pretorius.

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April 2014 volume 1 | page 19

STYLE WALDO PRETORIUS

Models backstage sporting outerwear by Elizabeth Castellon. Photo by Waldo Pretorius.

A: Well, I think there isn’t enough focus on the “old school way” these days.

Digital has changed everything. A photograph only takes a split second of time to capture a specific moment in time. You may have only captured an accumulative few days or weeks of moments throughout your career.

However that split second, as short as it may be, can represent much more than that. It can manifest as a period of time in your life, an experience, a time in your career or personal growth. It can symbolize months, years, decades even. Seeing film after it has developed and seeing that image rise from a blank piece of paper out of nothing is equal to reflecting back on your life and produces the same split second epiphany of how an experience has impacted my persona.

At the moment I haven’t been experimenting all that much with it, however I will be soon, especially with regards to my backstage work.

I feel they would be only be done proper justice printed large … on old school silver gelatin paper.

The impact it has on me allowed me to be a better photographer. It takes incessant focus and awareness to create something with film and paper. You don’t have the luxury of knowing what it looks like instantly, only later will you actually know. I believe you should be able to get at least five workable options within three to four rolls of film per shot or scene. It equates to roughly 50 shots (on medium format cameras) and that makes you a higher quality, more concise photographer.

Q: You have experience shooting in the United Kingdom, United States and South Africa, what has been your greatest career moment so far?

A: This is an easy one. NY Fashion Week! It is the absolute highlight of my career to date and a professional goal since the very begin-

ning. Receiving recognition of your work and having it be deemed sufficient to gain access to one of the largest international fashion events is an honor and privilege.

Q: Can you explain your photography philosophy that “reality is perception, and perception is reality”?

A: Actually it’s a life philosophy. It relates to how we interact with the world outside of us and how it interacts with us. None of us have the same perception, and so none of us have the same reality.

Change your beliefs, change your perception, change your reality. Essentially, we are what we believe, and our reality is what we perceive.

Photography as a medium allows me to share my perception of the physical world around us with others.

Q: You have a beautiful way of showcasing the vibrancy and textures of garments.

What types of fashion inspire your creativity?

Feminine knitwear by Jasmine Gonzalez (left) juxtaposed with Elizabeth Castellon’s strong masculine silhouettes.

Photo by Waldo Pretorius.

A: I think that is what a fashion photographer is supposed to do. It’s about the clothes, after all. It’s the photographer’s job to convey the textures, cuts, shapes and so on of the garments. But from another perspective, a fashion shoot isn’t all about the clothing. It’s about forming a fresh work of art encompassing the clothing design, model choice, posing and positions, lighting, location and the overall artistic concept of the shoot.

All of which should compliment the clothing design. It is producing art with all the fundamentals in mind. For the most part … high fashion really does it for me, as it allows me to express my own

Footwear to accompany garments created by Earnest Huang and Hong Ni. Photo by Waldo Pretorius.

artistic input.

Q: Your films have incredible energy, and the music seems to flow perfectly with each scene. Do you create the song mixes for them, as well? What role do you feel music plays in the overall final films?

A: The music is key … pun intended. I always choose the music before fashion week even happens, much less before shooting anything. It allows me to shoot according to the song. It needs to have the perfect energy, whilst having enough musical intervals and changes to cut the footage and bring forth the happenings truthfully.

To me, it should represent the absolute chaos behind a seamless and perfected runway show. All art is a process, a back and forth of creation.

Self-doubt being imperative to move forward and acquire what is intended. The music and the choice of it takes days to be decided upon. It is that process.

Q: Do you have any advice for aspiring photographers?

A: Nobody will like everything you do, and you should not measure yourself by the dislikes or likes, for that matter. Self-doubt is vital to personal and professional growth. Stay grounded and remember you can only get better.

Ashley Castanos is an M.F.A. Fashion Journalism student at Academy of Art University.

page 20 | April 2014 volume 1 | academy of art university | san francisco

STYLE FASHION STYLING

The art of direction

A behind-the-scenes look at a fashion photo shoot, where students take charge and give life to their styling concepts

“Trend as inspiration: The new dandy,” styled by Rebecca Mandell, U.mi Jiang and Omnia Algabsani. Photo by Geoff Mau.

By Alexa Palacios Since taking Flore Morton’s styling class just a few semesters ago at Academy of Art University, I had an idea of what to expect when I walked into the fashion styling coordinator’s classroom on photo shoot day.

The mood in the room was settling, with silky sounds of a calm Pandora station playing in the background.

Morton was her usual active self, floating from group to group and offering her expert advice and critiques. Students worked side-by-side, collaboratively finessing each of their

projects for the final time before shooting.

“This is the first time that students are working with a professional photographer,” Morton said. “They’re learning how to communicate concepts and ideas on lighting. These will be the first pictures professionally shot for the students’ styling books.”

Morton went on to explain that the shoot was helping students develop an eye for a few key elements, including rationalized styling, color choices, silhouettes, proportions and layering. In this particular shoot, Morton

“Trend as inspiration: Code Noir,” styled by James Warren, Julie Kintner, Sadie Banes and Vedra Hall. Photo by Geoff Mau. said that her students were “beginning to learn art direction for the technique of product styling.”

The professional photographer for the shoot, Geoff

Mau, is no stranger to AAU or to shooting with students.

A former AAU student himself, Mau has shot three shoots for Morton’s classes, more than five shoots

“Trend as inspiration: The new dandy,” styled by Rebecca Mandell, U.mi Jiang and Omnia Algabsani. Photo by Geoff Mau.

in collaboration with AAU students and has also assisted instructor Christopher Kern’s photography classes.

He is also contracted with Gap’s corporate offices in San

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April 2014 volume 1 | page 21

STYLE FASHION STYLING

“Trend as inspiration: Code Noir,” styled by James Warren, Julie Kintner, Sadie Banes and Vedra Hall. Photo by Geoff Mau. Francisco.

Mau explained how the shoots that he does for Gap can be quite structured and creative expression can sometimes be limited. “I experience much more creativity working with students and other freelancers,” he said.

Product styling is one of the more challenging and linear genres of styling.

Since movement is limited or non-existent, each element must be configured perfectly—no matter the angle or position, everything is caught head-on by camera. Morton explained that product styling is hugely important in the Bay Area. “Product styling is one of the disciplines of styling commonly used in e-commerce, which is a huge part of the San Francisco business landscape.”

In spite of the fact that this was the first time many students were working with a professional photographer, they seemed well prepared for the challenge. Students created whole themes to ac-

company their initial styling concepts, building stories that would be narrated through the lens.

Students Julie Kintner (Fashion Design), James Warren (Styling), Vedra KotaHall (Styling) and Sadie Baines (Fashion Merchandising) built their shoot around a theme that they named “Code Noir.”

“Through our trend ‘Code Noir,’ our use of black conveyed a message of dark romanticism—dark love and depressed love,” Warren explained about their inspiration for the shoot. “We used vintage pieces from New York, high fashion personal finds and Forever 21 pieces.”

Being that there were not only styling majors in each group, but also design and merchandising students, groups were able to execute their shoots by drawing on varied knowledge and expertise. Kintner reflected on working with such a diverse group. “I never knew how detail-oriented styling a shoot

“Trend as inspiration: Everyday utopias,” styled by Michele Terrano and Elspeth Tordoff.

Photo by Geoff Mau.

could be and how almost narrow-minded I was in the creative world.”

It is experiences like this and collaboration amongst students of different backgrounds, majors and creative approaches that creates a world of opportunity.

Although group projects can be challenging to execute due to differing ideas and opinions, there is much to be said about the positive outcome of these collaborations. The beautiful photos from the shoot, styled by Morton’s class, are a direct reflection of the success that comes from collaboration and hard work.

“Trend as inspiration: Art pop,” styled by Elizabeth Boyle, Jeanette Gutierrez and Marielle Sampaga. Photo by Geoff Mau.

Alexa Palacios is a Fashion Journalism student at Academy of Art University.

“Trend as inspiration: The new dandy,” styled by Rebecca Mandell, U.mi Jiang and Omnia Algabsani. Photo by Geoff Mau.

“Trend as inspiration: Everyday utopias,” styled by Michele Terrano and Elspeth Tordoff. Photo by Geoff Mau.

page 22 | April 2014 volume 1 | academy of art university | san francisco

STYLE STIR, SPLATTER + ROLL

Stir, Splatter + Roll with Academy of Art University student Nisha Btesh AAU textile design student customized a tote bag for a gala event, all proceeds will benefit Publicolor’s mission

Photo by Bob Toy.

Keanan Duffty, Senior Director of Fashion Merchandising at the Academy of Art University invited Academy of Art University textile student Nisha Btesh to decorate a tote on his behalf for the annual Publicolor Stir, Splatter + Roll gala. Publicolor is “a youth development not-forprofit that has a multi-day multi-year program continuum that uniquely engages disaffected students in their education.” The Stir, Splatter + Roll event and silent auction takes place on Tuesday, April 22 at 6:00 p.m. in New York City and is co-chaired by world-renowned designer Michael Kors, award-winning menswear designer

Jeffrey Banks and architect Gene Kohn.

Guests have the opportunity to paint alongside some of the city’s leading artists, designers and architects. Stir, Splatter + Roll brings together dynamic New Yorkers from the worlds of fashion, politics, design, business, education and philanthropy. All proceeds go towards the Publicolor mission to engage disconnected students in their education, while teaching them strong and transferable work habits so they are prepared to be productive in both college and their career.

Btesh has developed an unconventional aesthetic,

which is reflected in the unique customization of the tote bag for the Stir, Splatter + Roll silent auction. With an undergraduate degree in Textile Design, she recently collaborated on a womenswear collection that was showcased in New York during the Mercedes Benz Fashion Week this past February. Btesh’s vibrant energy and dedication to evoking excitement speaks to who she is as both a woman and an artist.

Keanan Duffty is the Senior Director of Fashion Merchandising at Academy of Art University.

Nisha Btesh backstage at Mercedes-Benz Fashion Week. Photo by David Dooley.

A highlight from Nisha Btesh and Jaci Hodges’ collection featuring a full yellow canary skirt with a cropped jacket. Photo by Randy Brooke / WireImage.

Courtesy of Keanan Duffty.