Photography journal

‘SELF SERVICE’ -FALL 2017ABIGAIL JONES 200944883

STELLA McCARTNEY

CONTENTS

S

I. STELLA McCARTNEY

I. The Brand II.Customer profile III. Past campaigns

II. STUDY PROPOSAL

I. Aim II.Current fall trends III. development

III.INSPIRATION

I. Photographers III.Stylists

IV. PLANNING

I. Make-up/Hair II.Locations III.The Model IV. Styling

VI. THE FINAL SHOOT

I. Test Shots II.The final 12 III. Before and After Editing

VII. ADVERTISMENT

I. British Vogue

VIII. CONCLUSION

IX. RFERENCES I. Bibliography II.Image references

I.STELLA M

cCARTNEY

I.I THE BRAND Stella McCartney, famously known because of her dad Paul McCartney, is one of the luxury industries most influential leading female designers. Best known for her non-usgae of leather, fur or skin (BoF, no date) The designer also encapsulates brtish hertage with her sharp tailoring and feminae flair. She is not only a successful designer in her own right but also a vocal advocate for sustainability and ethical issues which she embeds into her brand.

(Stella McCartney, 2017) According to the companies webiste their brand states: “We are a vegetarian company committed to operating a responsible and modern business.� (Stella, McCartney, 2017) Stella has changed the way people perceive eco fashion by making it beautiful and modern, defying cultural connotations of what sustainable clothes look like. The brand projects ideals of freedom for women, creating garmets that create confidence for their wearer. The brand values which are incorporated into all aspects of the brands operations (Posner, 2011) are first, and most importantly commitment to sustainability, followed by responsible, honest, and modern. (Stella McCartney, 2017) Alongise the fact the brand doesnt use real fur or any sort of animal skin, the brand also is against animal testing for their products and refuse to use PVC, Angora, nor sandblasting.

I.II CUSTOMER PROFILE The target customer for Stella McCartney can be described as a well-to-do business professional.

The customer is an achiever who loves self-expression through innovative fashion styling.

Stella McCartney appeals to this customer because her products are fashion forward with modern aesthetics while still being environmentally sustainable and durable. (Hameide, K.2011) The Stella McCartney’s customer is brand loyal due to the brand’s quality and the company’s values.Whilst the brand is set at a luxury price, Stellas colloboration with high street brands such as H&M and her line with Adidas sports apparell this allows her to target a millenial audience who aspire to wear clothing like her brands- whether or not they can afford it they still aim to replicate it with high street comparatives.(Alexander, 2012)

I.III PAST CAMPAIGNS

PHOTOGRAPHER: Harley Weir in collaboration with artist Urs Fischer MODELS:Birgit Kos, Iana Godnia and Huan Zhou LOCATION:Landfill in Scotland HAIR: Gary Gill MAKE-UP: Thomas de Kluyver SET DESIGN: David White SEASON: FALL 2017

Stella McCartney shot her latest campaign in collaboration with artist Urs Fischer and photographer Harley Weir that explored the issue of waste and consumption. Staying true to the designer’s commitment to sustainability and responsibility, the location for the shoot was a man-made landscape formed from the accumulation of discarded items on the Eastern Coast of Scotland (Irredale, 2017) The cast of beautiful women that showcase designs from the designer create a juxtapostion of the location that highlights the issues raised even more, questioning what we are leaving behind for future generations.

The reason why I wanted to include this in my research was due to the fact that the designer used such a meaningful location that not only sent out a message but also reflected the brands ethos. This was importnant for me to consider when I was creating my concept.

Stella McCartney comments: “The idea we had with this campaign is to portray who we want to be and how we carry ourselves; our attitude and collective path. Our man-made constructed environments are disconnected and unaware of other life and the planet which is why there is waste.” (Stella McCartney, 2017)

II.STUDY

PROPOSAL

Welsome To Great Britian

II.STUDY PROPOSAL II. I MY AIM Initially starting off my research I had many ideas of what I wanted to do for the campaign and the types of images I wanted to create and the types of images that I liked. One of my initial ideas was to create a party setting in a hotel location. However, gaining feedback from my peers and tutors early on I decided that idea would not work amongst the brand I had chosen. I wanted to create a campaign that was innovative and new and that would target Stella McCartney audience as well as reflecting the brands messages and ethos due to that being a major part of all of the brands past campaigns. For my campaign I have chosen Stella McCartney’s fall 2017 collection. The main reason I chose this season was because if I chose to shoot a spring/summer autumn campaign in winter it would be hard for me to reflect the seasonal weather and shooting would be limited. I also really loved the clothing within the campaign and it really resonated British Heritage something I wanted to explore and put my own creative spin on.

The campaign is inspired by the recent change in Britain due to the results of the referendum and the levels of uncertainty it has brought to our country. The vote divided the nation as ‘The UK voted to leave the EU by 52% to 48%.’ (BBC,2016) With statists showing that younger voters were much likely to vote remain and older voters would much rather leave (BBC, 2016) Whilst the implications of BREXIT are unspecified, repercussions of this, changes in society and the economic boom and bust has resulted in many millennial’s becoming far more aware of their consumer behaviour, choosing to engage in experiences, become more self-sufficient and preserve the planet.

We are in a state of limbo. In a world where everything is up in the air- anything can be possible.

With more and more people moving out of the cities and into rural areas I wanted to explore our heritage and commemorate what it means to be British.

II. II CURRENT FALL TRENDS

Corduroy When conducting research into what types of trends there are for fall 2015 a popular trend that holds a heavy presence on the catwalks was Corduroy. One of the main reasons why this is such a statement this fall is that fashion is having a gender-bending moment. Corduroy is a menswear staple: although its popularity has waxed and waned over the years, the material has never fallen out of favour. (Singer, 2017) This highlighted that in order for the campaign to be successful I needed to take into consideration the idea of menswearStella’s clothing are powerful and are tailored. This doesn’t mean that it can’t be over-sized.

Ermanno Scervino

Nina Ricci

Marc Jacobs

New Tailoring One trend that seems to never go out of fashion is that of power suits. Autumn/ Winter 2017 will see a resurge of the power suit but in a way that is new and fresh.

Pronounced shoulders, double breasted cuts and elegantly pressed slacks mark out the new, this isn’t another 80’s moment.(Pither, -Hobbs, 2017) I really love the idea of a woman wearing a suit or tuxedo. There is something powerful and androgynous yet still feminine and classy. When deciding on my styling I will defiantly take into consideration this trend.

Alexander Wang

Calvin Klein

Celine

II.III DEVELOPMENT

INCLUDE SKETCHES HERE

SELFSERVICE

Self service will be the name behind my campaign. The reason why I came to the conclusion of this name was through a development of ideas regarding the shoot. Through reading a lot of fashion photography magazines and gaining inspiration from the types of narratives that where included in the publications I knew that I needed to have a clear message or story in order for the reader to properly understand the images. Through analysis of Stella’s previous campaigns it’s clear that the brand uses clear and direct photographs that show off the clothes and the location is important to portray a message. Due to the brand being “vegetarian” (Stella McCartney, 2017) I thought that it would be good to have the shoot outdoors and incorporate animals in the shoot in order to show off the brands ethos. The title ‘Self Service’ came from my idea that I wanted to show a young beautiful girl, living off the land and fending for herself which would reflect the current state of our political turmoil. I still needed to discover a successful location but this idea is what I wanted to do. The use of animals as props is something Stella hasn’t done before in her Women’s Campaigns so I thought it would be fresh and new as well as being quite witty due to the fact of how she brands herself.

III.INSP

I R AT I O N

III.I PHOTOGRAPHERS

Harper’s Bazaar Czech December 2017 Kristin Drab and Martyna by Andreas Ortner

Andreas is an Austrian fashion photographer that has travelled and photographed extensively throughout the US, Europe, Canada and Asia.

Throughout his career he has worked with inspiring personalities such as Steven Klein and Terry Richardson. When conducting my research I fell in love with his work and photography style. His imagination and the ability to push boundaries in fashion photography provide emotional depth in his photographs. This is something I wish to capture in my photographs and to tell a story through a camera lens. His outdoor photography skills have inspired my own shoot and I will try and encapsulate certain elements that he has used such as the wide camera angle, the de-saturated lighting and also the interaction with the model.

The reason why I wanted to include Andreas in my research was because the way he uses different camera angles combined with the editing is really effective. He photographs the models in a raw and natural way which helps to portray the emotion of the photographs whilst still ensuring the clothes are the main focus.

Juergen Teller for Marc by Marc Jacobs Fall Winter 2011 Ad Campaign Juergen Teller has shot the ad campaigns for Marc Jacobs for many years. He captures only what is essential, no superfluous editorial clichés and no overbearing studio lighting which is why he inspired my own work. The photographs he creates show off great clothing in off-centre locations and he manages to capture the essence of glamour in the most unlikely places. One of reasons why I liked Teller’s work is the fact that he challenges the stereotypical connotations of fashion photography that can be over-stated and ostentatious.

I chose to specifically look at Marc Jacobs fall winter 2011 campaign as it was similar to the season that I chose but also I liked the simple photographs of the models that showed barely any emotion yet when I was looking at them I understand everything Teller was trying to say.

The angles of the shot were direct which gave an idea of ‘What you see is what you get’. The blank emotion on the models face combined with a high aperture giving the model a washed out look portrayed that the model was interrupted in her everyday life. This inspired me to explore the options within my own photographs. Due to the location being main focussimple facial expressions combined with the right camera angle would be enough to create a strong shot without it being over powering.

The use of flash created dark shadows around the models which almost acted like a second figure and highlighted the silhouette. Although this shoot was shot in doors it’s still important for me to explore different ways to capture the light ad at what time of the day.

Dovima with Elephants, Cirque d’Hiver, Paris, August 1955, printed 1979 by Richard Avedon Richard Avedon has transformed fashion photography and portraiture alike, creating an instantly identifiable aesthetic which has influenced countless others. Avedon uses stark white backgrounds and life-size printing places. The reason why I wanted to include Richard Avedon in my research was because the way the image is presented creates a new relationship between viewers and the photograph creating a confrontational feel to the photograph that shocks the viewer and creates visual tension through unexpected contrasts.

Although it would be hard for me to incorporate this style in my photographs I wanted to document the way Avedon captured the relationship between the animal and the model where such a contrast in size doesn’t affect the raw emotion and love between them both. The image was manipulated into black and white making it stand out as the harsh black and white exposure makes every angle and shadow stand out. The choice of a couture gown in a juxtaposing location such as a circus creates an element of surprise for the viewer and makes you question how the model got there and what their story is. The fact that Richard Avedon has the ability to alter your imagination really amazed me.

Odin by Roberto Patella for Begin Magazine 2017

Whilst researching well known photographers for mainstream magazines I also did alot of research for more independent magazines with aspring photographers. One of my sources for inspiration I cam across on instagram was Begin Magazine. When browing their website it was clear most of their stories where aimed at the art and fashion followers with stories rather than campaigns that followed either people or had specific briefs to follow. This story was inspired by model Odin’s connection to the land and his natural inclination to become one with the rolling hills. (Begin, 2017) I really loved the way the photographer experiemented with shadows to create a leaf effect on the models face that highlighted the curvature in his face. I also loved the lighting used in this shoot as the exposure of light seems natural and flattering for the models features.

III.II STYLISTS Because I want to reflect the concept of british heritage and modern agriculture in my photographs one of the main ways I can do this is through the clothes and styling. Through translating the look of the brand as well as highlighting the theme of a self preserving life. Whilst I won’t be able to afford Stella McCartney clothing it is vital that my styling reflects that of the brand and that I chose outfits that would stand alongside Stella’s Fall 2017 items.

Not being able to retrieve the exact items from Stella’s range can allow me to play around with different garments to create an outfit that has my own personal stamp on it. The 3 stylists that inspired me were Alex van der Steen and Ye Young Kim. The stylists challenge the conventional purpose of a garments playing with size and mixing mens clothing to create something oversized and new. These ways of portraying clothing is something I wanted to explore whilst still keeping the essence of Stella McCartney.

Ye Young Kim

Alex van der Steen

IV.PLA

NNING

IV.IMAKE UP AND HAIR For the makeup and hair styling of the shoot I wanted to keep everything natural looking. Stella McCartney in her previous campaigns used the same style so I wanted to keep continuity. I also think that using too much make-up would take away from the theme of the campaign being ‘self-service ‘exploring natural ideals of agriculture. I will be using the outfits to juxtapose the location so conflicting make-up would be too dramatic and not fitting for the shoot. I looked at many runway styles across 2017 to gain inspiration and help me decide how I would style the model and what would look best for her.

IV.II LOCATION For the location of the shoot I wondered what would be best. I originally thought of perhaps a sand hill and incorporate the roughness of the rocks and the contrast of the sand but after much thought I realised that many people have done it before me and I wasn’t guaranteed the weather due the nature and timing of the shoot. I also thought that at the beach it wouldn’t really fit my campaign.

Therefore I decided to shoot at a farm in Store ton. My sister rode horses in the past so I knew the barn very well and I thought it would be perfect as I could add a roughness to the shoot and to put my own personal style on it. I also shot at the house within storeton as the owners have chickens and they’re house is quite rustic looking which would be perfect and would allow me to play around with lighting and different angles in and out of the house.

VI.III.THE MODEL

Danielle Capper

Choosing a model for the shoot was a hard process because I didn’t want to use a conventional looking model. I wanted the model to represent everyday women in society and reflecting those who will be directly affected by the BREXIT vote and who will respond to the backlash. Therefore I chose Danielle who is a good friend of mine. She is 5ft 9in and a size 10 and naturally beautiful but still wears make-up making her relatable for the target consumer. From our make-up lesson in week 5 I decided to take some inspiration from the use of powders and concealers rather than heavy foundation. I also used highlighting serum to highlight the main points on her face (tip and bridge of nose, cheek bones and cupids bow) that would reflect the light to make her skin seem dewy. For her hair I used moose and hairspray to push her hair back off her face and to make it seem sleek and almost wet yet still quite glamorous. This fit well with the brand but also really suited the model.

Outfit 1

VI.IV STYLING

For the first outfit I decided to go for an all black jersey jumper dress with maroon boots to give it a look that’s quite grungy. I wanted to encapsulate the Stella McCartney design using clothing that I already have. This dress was one that I sourced from my own wardrobe and the boots where Danielle’s own.

Outfit 2

The second outfit I wanted to use a camel colour because the colour was so present throughout the collection. I used an old trench coat with a turtle neck underneath due to this being a popular item throughout the collection. I used the waist tie to tie around waist and buttoned up the trench coat using different button holes to create the look as tho it was gathered and more like a dress than a coat.

Outfit 3

The third outfit was my favourite. I found the blazer in a charity shop that had the exact same print used in the Stella McCartney campaign although it was a mans. This over-sized look was one that I really liked and wanted to use as I formed my inspiration. I used an over sized shirt underneath to convey similarities to Stella’s line. The look was finished off with patchwork boots to give it an utilitarian look and a sense of equestrian tailoring

Outfit 4

The final outfit was created using both over sized knitwear teamed with an oversized blazer. I decided not to use this outfit in the end because it wasn’t as strong as the others although it did look like Stella McCartney.

I tucked the models hair in the blazer to create a sense that the model had just thrown the outfit together giving it an edgy look.

VI.THE FIN

AL SHOOT

VI.I TEST SHOTS

VI.II FINAL 12

VI.III EDITING When editing the images I wanted to bring the contrast down significantly in order to give it a faded almost dated look. I also brought the brightness down as the stark outdoor light was to sharp and didn’t make the images look as strong especially as some where shot inside.

I used the blur tool and also the stamp and blemish tool. I used to stamp tool to get rid of certain things in the shots that made them look unprofessional such as door handles or plastic bags. I used the stamp tool to correct a button that was missing on the blazer and the blur and blemish tool to smooth the models skin.

VII. ADVER

TISEMENT

British Vogue

VII. ADVERTISMENT

The choice of advertising I will use will be in British Vogue. Upon reading Edward Enninfuls first issue as new creative director and the first ever male director I knew that the magazine would be suitable. I thought that the feel of the magazine had changed. The pages seemed more modern and liberating to read. The spreads where well planned out and showed a new style of print that I had not seen from the magazine before. Given the fact that Enninful was the first ever black male editor the magazine felt new and open to embrace the diversities in politics, art and fashion.

The advertisements included in Vogue include high end designers such as Yves Saint Laurent, Mui Mui, Prada and Dior. Stella McCartney has been advertised in vogue for many years and as a British brand I feel like the campaign would sit very well. Edward Enninful, in his first issue, dedicated it to Britain with many spreads such as ‘love letters to Britain’, ‘In the street where you live’ all paying homage to Britain and the successes we have within the industry (Vogue, 2017) Vogues target audience is young, fashion forward professionals similar to that who shop or aspire to shop Stella McCartneys clothes.

V I I I . E VA L

U AT I O N

Through carrying out extensive research of both primary and secondary resources I aimed to produce 12 images that expressed the changing attitude of women living in a society filled with uncertainty due to the recent referendum. I wanted to create a line of images that portrayed a modern look on agriculture that highlighted the fact that in the 21st century many young people choose to escape the big cities and embrace their surroundings and heritage. Creating a strong narrative was important for the images but I still wanted to be able to capture the sharp tailoring of Stella McCartney that would appeal to the brands target consumer and also magazine audience therefore creating a fresh editorial that was different to anything the brand had done before.

Drawing references to the work of those explored throughout the journal I wanted to explore different ways of creating a successful photograph that would portray a specific narrative. I chose the 12 images as I thought that as a collective they go together well and flow seamlessly from 1 image to the next whilst still showing variation and different camera angles and skills. I wanted to experiment throughout the series with lighting, using shadows and also the use of props and location with some shots being particularly consumed by their surroundings- something I thought worked well.

My main inspiration in terms of location was mainly through looking at magazines and discovering different ideas that past photographers have used. This enabled me to come up with the location organically once I had decided on the message behind ‘self-service’ because it was something I was passionate about I was able to get excited about what I was going to do having many ideas accumulating one thing I found challenging was being able to channel my vision and to methodically plan how I was going to achieve my aim. The location of a farm/ barn and using chickens as props I thought was clever and added a certain edge to the photographs. When looking at the images as a collective the picture of Danielle holding the chicken is perhaps my favourite purely for the fact like she is holding it as if it was an accessory to her which for future millennial’s it might well be.

The lighting for the shoot was purely natural. The shoot was an outdoor shoot so it was important for me to shoot at the right time in order for me to get the right amount of sunlight. With it being winter there is only a short window of time that I had in order to successfully achieve the lighting goals I wanted. I shot the images from around 11am-3pm where the sun was highest and as the sun was setting. The sun-set lighting was the most successful as it cast shadows on the models face creating a really raw and emotional image. When using the camera I played around with flash and aperture to discover what would work best. Having no camera experience I spent some time before the shoot practising with the camera in order to get a feel for what worked best. Inspired by the work of jeurgen teller I liked the images when they’re was a slight shadow cast around the model as it made her stand out and almost juxtapose the environment in which she was in.

The styling for the shoot was a process that took some time as I wanted the outfits to be right and trying certain outfits on I knew what was going to work and what wasn’t. My favourite outfit was the blazer and shirt combination with my least favourite being the trench coat as I think the images I produced where not as strong. The 2 main outfits used where the black jumper dress and blazer which went well together and reflected the colour palette and mood for the shoot. Styling the model was something I really enjoyed and because Danielle was m friend I wasn’t afraid to tell her that certain things didn’t suit.

The overall performance of the model on the day of the shoot I thought was good. Danielle followed direction really well and was able to interact with the camera and knew the vision and aim I wanted to create. Taking inspiration from Marc Jacobs fall 2011 campaign I wanted the expression of the model to be really muted, challenging the traditional conventions of fashion photography which is usually highly posed, polished and perfect. I wanted the audience to relate to the model and to identify through her. Practising in the studio with Mike really helped to build my confidence when exploring different camera angles and enabled me to try absolutely everything in order for me to have a variety of shots I can choose from.

The styling for the shoot was a process that took some time as I wanted the outfits to be right and trying certain outfits on I knew what was going to work and what wasn’t. My favourite outfit was the blazer and shirt combination with my least favourite being the trench coat as I think the images I produced where not as strong. The 2 main outfits used where the black jumper dress and blazer which went well together and reflected the colour palette and mood for the shoot. Styling the model was something I really enjoyed and because Danielle was m friend I wasn’t afraid to tell her that certain things didn’t suit.

The overall performance of the model on the day of the shoot I thought was good. Danielle followed direction really well and was able to interact with the camera and knew the vision and aim I wanted to create. Taking inspiration from Marc Jacobs fall 2011 campaign I wanted the expression of the model to be really muted, challenging the traditional conventions of fashion photography which is usually highly posed, polished and perfect. I wanted the audience to relate to the model and to identify through her. Practising in the studio with Mike really helped to build my confidence when exploring different camera angles and enabled me to try absolutely everything in order for me to have a variety of shots I can choose from.

When editing the pictures I played around with the hue, saturation, exposure, gamma and brightness of the image. I wanted the image to look quite dark and the colours de-saturated in order to seem quite gritty. By reducing the brightness of the images it also allowed me to have continuity as some images where shot in doors, some outdoors and at different times of the day when the sun was at different points in the sky.

Through analysing vogue magazine and other publications the campaign would be in it helped me when making the final decision of what would look best together.

The magazines allowed me to see how to put the images together and also what the target consumer wanted to see. Through reading the first issue of vogue by Edward Enninful the magazine had a sense of diversity and it acknowledged the fact that people don’t want to read just about fashion anymore, they want to talk about politics, about art and about current affairs which is why I knew the campaign would be best fit for vogue as it would spark emotion in the reader and start a conversation.

Although as a whole the shoot was successful one thing I found problematic was timing as conflicting schedules for myself and the model as well as loaning equipment meant often shoots had to be rescheduled which is something I didn’t want to happen.

Overall I feel that the project and the final images were a successful representation of the final concept, the Stella McCartney brands ethos and the target consumer the project was aimed at. Throughout the semester I have really enjoyed exploring different creative avenues giving me experience across the field of photography, styling and image manipulation.

References Alexander, E. (2017). Today In History - May 11. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/article/stella-mccartney-launched-h-and-m-collection [Accessed 18 Nov. 2017].

Art8amby’s Blog. (2017). Marc by Marc Jacobs Fall Winter 2011 Ad Campaign. [online] Available at: https://art8amby.wordpress.com/2011/07/01/marc-by-marc-jacobs-fall-winter-2011-ad-campaign/ [Accessed 19 Nov. 2017].

Begin. (2017). Odin by Roberto Patella. [online] Available at: https://www.beginmagazine.com/fashion-1/2017/6/5/odin-by-roberto-patella [Accessed 19 Nov. 2017].

BBC News. (2017). EU Referendum Results - BBC News. [online] Available at: http://www.bbc.co.uk/news/politics/eu_referendum/results [Accessed 18 Nov. 2017] Hameide, K. (2011). The positioning Strategy. In: Kontzias, O Fashion Branding Unraveled. New York: Fairchild Books . p49. [17th November 2017] Iredale, J. and Iredale, J. (2017). Stella McCartney Shoots Her Fall 2017 Campaign in a Landfill. [online] WWD. Available at: http://wwd.com/fashion-news/fashion-scoops/stella-mccartney-shoots-her-fall-2017campaign-in-a-landfill-10948333/ [Accessed 28 Nov. 2017].

Pithers, E. (2017). The Autumn/Winter 2017 Trends. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/gallery/autumn-winter-2017-trends [Accessed 19 Nov. 2017].

SCHIERKE Artists. (2017). SCHIERKE Artists - Andreas ORTNER. [online] Available at: http://schierke.com/biography/photographers/andreas-ortner-442.html [Accessed 19 Nov. 2017].

Schiffman,L, Kanuk, L, and Hansen, H. (2012). Consumer Motivation . In: Pearson Consumer Behaviour A European Outlook. 2nd ed. Harlow: Person Education Limited. p118. 17th November 2017 Singer, M. (2017). Why You Should Be Wearing Corduroy Now. [online] Vogue.co.uk. Available at: http://www.vogue.co.uk/article/why-you-should-be-wearing-corduroy-now [Accessed 6 Dec. 2017].

Stella McCartney. (2017). A modern business - Stella McCartney. [online] Available at: https://www.stellamccartney.com/experience/en/sustainability/a-modern-business/ [Accessed 20 Nov. 2017].

Stella McCartney. (2015). About stella. Available: http://www.stellamccartney.com/experience/en/stellas-world/about-stella/. Last [accessed 17th November 2017]

Figure 1. (2017)(page1). [image] Available at https://www.stellamccartney.com/experience/en/discover-the-autumn-winter-2017-eyewear-collection/ [Accessed 29 November. 2017].

Figure 2. (2017)(page 4). [image] Available at https://pmcwwd.files.wordpress.com/2017/01/s17_campaign_layout_master_1_dps_logo.jpgcollection/ [Accessed 29 November. 2017].

Figure 3.(page 5) (2017). [image] Available at https://pmcwwd.files.wordpress.com/2017/07/stella-campaign-3.jpg [Accessed 29 November. 2017].

Figure 4. (page 5) (2017). [image] Available at http://s1.r29static.com//bin/entry/6ab/x/1822469/image.gif/ [Accessed 29 November. 2017].

Figure 5. (page 6) (2017). [image] Available at https://fashionista.com/.image/t_share/MTQ4NjM2MTYwMzA5MDc3Njgz/stella-mccartney-fall-winter-ad-campaign-landfill-.jpg/ [Accessed 29 November. 2017].

Figure 6.(page 7) (2017). [image] Available at https://www.stellamccartney.com/experience/en/#cat-collections [Accessed 29 November. 2017].

Figure 7,8,9,10,11,12,13.(page 8,9,10,11) (2017). [image] Available at https://www.stellamccartney.com/experience/en/#cat-collections/ [Accessed 29 November. 2017].

Figure 14.(page 12) (2017). [image] Available at https://ih1.redbubble.net/image.86282137.0007/hjo,x1313-bg,f8f8f8.u2.jpg/ [Accessed 29 November. 2017].

Figure 15,16,17,18,19,20,21,22 (pages 14,15,16,17). (2017). [image] Available at http://www.vogue.co.uk/gallery/autumn-winter-2017-trends/ [Accessed 29 November. 2017].

Figure 23.(page 20) (2017). [image] Available at https:// /hjo,x1313-bg,f8f8f8.u2.jpg/ [Accessed 29 November. 2017].

Figure 24,25,26,27,28.(page 21,22,23,24) (2017). [image] Available at https://fashioneditorials.com/harpers-bazaar-czech-december-2017-kristin-drab-martyna-andreas-ortner/[Accessed 29 November. 2017].

Figure 29,30,31,32.(page 26,27,28,29) (2017). [image] Available at https://www.google.co.uk/search?q=marc+jacobs+fall+2011+campaign&rlz=1C1VFKB_enGB628GB628&tbm=isch&source=lnt&tbs=isz:l&sa=X&ved=0ahUKEwidnfv1jPPXAhUkC8AKHZ-SCRYQpwUIHw&biw=1351&bih=626&dpr=1#imgrc=_[Accessed 29 November. 2017].

Figure 33,34.(page 30,31,32,33) (2017). [image] Available at https://www.google.co.uk/search?rlz=1C1VFKB_enGB628GB628&biw=1353&bih=626&tbs=isz%3Al&tbm=isch&sa=1&ei=yL0mWqejMYLIgAbM8rmwAQ&q=richard+avedon+&oq=richard+avedon+&gs_l=psy-ab.3..0l8j0i67k1j0.49877.50910.0.51291.8.8.0.0.0.0.177.738.7j1.8.0....0...1c.1.64.psy-ab..1.7.655...0i8i30k1j0i30k1.0.o7aGdJCD_Q8#imgrc=WKzp0hHqjEEt1M:/[Accessed 29 November. 2017].

Figure 35,36,37 .(page 32,33) (2017). [image] Available at https://www.beginmagazine.com/fashion-1/2017/6/5/odin-by-roberto-patella/ [Accessed 29 November. 2017].

Figure 38,39,40,41,42 .(page 34,35) (2017). [image] Available at http://www.artistsandcompany.com/stylists/ye-young-kim/view-all/zoo-magazine-nagi-sakai-2/5a21fc9f-37a8-41d0-ae0c-376aac110005/ [Accessed 29 November. 2017].

Figure 43,44,45,46,47 .(page 36,37) (2017). [image] Available at http://ericelenbaas.nl/artists/alex-van-der-steen/ / [Accessed 29 November. 2017].

Figure 48,49,50,51 .(page 46,47) (2017). [image] Available at / http://pinterest.com/runwaymakeup-trends//[Accessed 29 November. 2017].

Figure 52,53 .(page 70,71) (2017). [image] Available at https://www.google.co.uk/search?q=edward+enninful&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi29tvhrvTXAhXrD8AKHcQLBhwQ_AUICigB&biw=1356&bih=675/ [Accessed 29 November. 2017].