A M Y. N E W E L L
DESIGN IDENTITY
“Logic will get you from A to Z; imagination will get you everywhere.” ― Albert Einstein
I am a mindful and metaphysical thinker. My interest in history, science, environmental and cultural issues of the world, informs my sense of morals, which I also base on my experiences and the experiences of others. I strive for perfection and order so that I may maintain feelings of control and be able to translate reality, however, my means of escape is allowing my imagination to dream and revel in the fanciful, finding freedom in expressing myself creatively.
c *Magi s m *Drea sy a *Fant *Awe r e *Wond le k *Spar nation i *Imag
I found that images of stars and space capture my personality perfectly. I love to dream and fantasise of the impossible. To me, outer space represents a limitless expanse of freedom. A place where the only limits are the limits I impose on myself. I also am drawn to the beauty of outer space. The stars, the colours...all of which are marvels that continues to awe and inspire me.
My design identity is all things magical and fanciful, and as the project is to focus on my design identity, my concept for this project will be, ‘The Power Of The Imagination’.
Edit
I like to be bold & visual... for me, garment making feels restrictive- too mathematical.
3D
I don’t want to make a garment- I haven’t got the skill or the patience to sit at a sewing machine.
I need freedom to move...
ing?
Fabric print design?
2D I love: *Drawing *Illustrating *Collaging *Experimenting visually
Advertising campaign?
*fash i aware on focuse d ness campa ign? Design my own mini collection and make a mini publication?
Jason
Silva
‘Radi c www.y al Openes s’ o jason utube.com /user silva / mindm eld
Dir
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I want to make my own creative decisions.
g! ignin ation s e d e tr I lik on Illus a t o r r i *Fash e I l l u s t ild on b bu * A d o g flats ( er the n ov drawi learnt I what ? r summe
MY BRAIN ON A PAGE...
Art
?
Styling
?
Wha
Tech Pack a technical package supplied to manufactuers containing costings & detailed specification sheets of sketches, flats, measurements, fabric, trim references & special instuctions/finishes.
These are the illustrations I have been developing. I like them, but I don’t love them. They’re simple, linear and have a quirky ‘panache’ as I have used bind contour drawings of facial features from life-drawing sessions and then used Adobe Photoshop to touch them up a bit… HOWEVER, I need to adapt! 1) As I want to do an animated fashion film, I need to create a croquis that can most importantly walk. 2) I’ve been looking at fashion illustrations by professionals and I think I need to find a new style. My illustrations, although different, I still think they look quite amateurish. On reflection, I think I would be quite embarrassed to present them to a potential employer and I want to find a style that: *I like *Modern *Chic *Conceptual *Original/Individual to me (I get very possessive & I WANT TO STAND OUT!!!!!)
t D o I Wan t A s M y F ina l O utc ome ?
Look Book a book used for press/buyers and customers which shows a styled collection photographed into ‘looks’.
Fashion Film
I think Fashion film is still a bit of an unknown entity...plenty of opportunity for experimentation! It all seems the same- I want to be DIFFERENT!! Animation!!! – I love to draw & illustrate, and I haven’t seen/heard of a fashion film, which uses animation! *I will need to use ‘Cut-Out’ animation- involves layering 2D images in a sequence to create movement. *Stop-Animation refers to using 3D objects. *BBC did a documentary about stop-motion photography- something I should consider? I need to stick to basics- I’ve never animated before, and I don’t want to run before I can walk…start simple and build my way up. I will illustrate croquis, dress them in my own designs, and animate them so that they are walking. Edit film into a kaleidoscope effect, so that it is visually appealing and has a link to my ‘Power of Imagination’ concept.
Now that I have a better understanding of my design identity, I should mind map some potential avenues that I can explore and come up with a fashion illustration that I am content with.
TO DO: -Research how to create cut-out animation. -Design croquis -Design a mini collection -www.creatoon.com?
MY BRAND IDENTITY: I am drawn to: elegance, sophistication, luxury, contrasting elements (texture/ fabric/colour/bold vs. minimalism). These are the sorts of aesthetics I like to create. taffeta
I want to work for a brand that embodies my preferred design aesthetics.
silk?
duchess?
satin
chiffon
soft leather
Fabrics cotton jersey
What Effect/Shapes?
shapes = quite fluid
(created by fabric)
flows
veil gentle
drapes
floats
void between reality & the fanciful
I’m SHOCKED! High-end high street brands (Phase Eight), some haute couture brands (Marchesa, Elie Saab…) are not part of OR promote ethical & sustainable fundamentals. WHY NOT?? *As I am aware of ethics & sustainability and try to use it to inform my work, is this something that I can bring/promote/encourage to an already established brand?
As a ‘communicator’ – requires 2x sets of research *Concept AND Production
I would say my approach to ethics & sustainability is part of me. (me = a brand)
Monsoon are noted as a high street brand that supports and promotes ethical & sustainable practices.
I am drawn to challenging and questioning global and societal issues that do not promote fair, just and quality living. Ethicality and sustainability within the Fashion industry has great potential to improve and adopt better ways caring and nurturing the environment and the people who live in it at all levels, whether it be the making of garments to offering equal opportunities to models, regardless of shape or colour. I am aware of ethics & sustainability, and I want to incorporate ethical features within my work as well as trying to use ‘greener’ methods of design and manufacturing, but I would not say that this would be a primary discipline that drives projects. I use ethics and sustainability to inform my work, rather than a focal point for my work.
Brand Research *What is it for? *Why? What is the purpose? *Who is it for? Who is the brand’s target aud? *Where will it be broadcast/ shown? (online? in store? show?) *When? (What dat/time? Does the time have any significance?)
Elie Saab, Marchesa, Phase Eight....these are just some of the brands that I would love to design for. They have elegance, sophistication and a romantic aura, which appeals and suits my fanciful-dreamlike aesthetics. The use of sumptuous fabrics in rich hues, combining grandeur and luxury in designs that are desirable BUT most importantly, wearable.
MARCHESA Embellished lace & silk taffeta gown £7900
www.net-a-porter.com/product/363319
eli
e s aab Harrods Ch rist
Rapunzel by mas www.imag 12 Je y Pa20 eology.co. ckham za/blonn g/once-u pon-a-drea m/
My Animated Fashion Film:
I would show this fashion film at an event at London Fashion Week (LFW), which would accompany a show that I would organise, showcasing designs that suit my love for all things magical and otherworldly. The aim of the show is to showcase a range of designs from different designers who have designed a garment to a specified brief, highlighting diversity within creative interpretation.
16 frames = one walking cycle.
I love the fashion films with a kaledoscope effect, magical, fanciful, music controlling the pace, mood, movement within the film (esp. fashion films for Gareth Pugh!) Its so dark and visually entrancing! I would like to create a fashion film that is animated (as it means I get to draw lots!) HOWEVER I have never animated before and I want to make something that is of good quality, so…. Sticking to basics I am just going to animate a model walking but edit it so that there is a kaleidoscope effect (therefore still sticking to my fanciful/dreamy concept.)
Gareth
Pugh
Hugben y Ruth b m l i F 2011 Pitti
E 3
AM E FR L P M EXA
I am shocked at how difficult it is to find images of models not only of different sizes but also, of different ethnicities! It shows me how prejudice the fashion industry still is. ‘Diversity’ is definitely a concept I want to try and highlight within this project. When I was writing my Design Philosophy report I was able to identify within myself that I have a strong desire design fashions for those who are more than average- and this is an ambition I wish to keep.
E 2
RAM LE F P M A X
E
E 1
E
RAM LE F P M A X
This is going to be VERY tough… My original plan was to make an animated fashion film of animated croquis models, which I have created with a collaged effect with different skin tones (promoting diversity and equality of all ethnicities), which are simply walking wearing my own fashion illustrations. BUT Making the croquis has taken me much longer than I expected, because I have been trying to teach myself the fundamentals of animation from scratch, so I won’t have enough time to create a fashion film of a quality that I am satisfied with so, I need a change of plan....
...(change of plan) My FLIPBOOK! NINA’S LITTLE PAPER FILM
I am going to make a flipbook.
http://www.ninalittlethings.com/?/specialbooks/flip-book-2/
Material: white milk colour paper Book binding: paper-back & perfect-binding Print technique: screenprint Size: 8.5cmx5.5cm Pages: 84
*Supports my ideals of being innovative and individual. *Still involves me using my strength in drawing/illustrating. *Will be a really different means of advertising and promoting. *Still suits my context (will be something that I can distribute at LFW) *I could create a series...make it a collectable? *ALSO, I need to decide when? S/S? A/W? 2013? 2020? I need decide specifics!
Recycled brown paper (WHSmith)
White card 210gsm (The Works)
MY NEW PLAN!
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Keeping my theme of the magical and the fanciful, I am going to make a flipbook, which will be part of a collection of flipbooks (one flipbook for every garment that is featured in my LFW show). Each person will recieve a different flip book which is packaged in a goodie bag on each seat at my ‘LFW show’. I will make fashion illustrations of the designers’ garments and then merge these on to my animated collage-croquis. The flipbook will have details of the garment it features (name of designer, description, fabric). I will use recyclable and environmentally friendly materials (where possible) to support ethical and sustainable means of practice. The bag I make will also be made of ‘green’ materials and have printed text on the bag about diversity, dreams, magic, so that my concept, my LFW show, my flip book and the bag are all interlinked and relevant.
Layout paper Rowney)
Cartridge paper
35gsm
(Daler
s... nt i o f n s hose My c Consola aR L : FONT lAs ReGu O CoNs LaS BoLd c I o cOnS lAs ItAl iTaLiC O CoNs LaS bOlD o cOnS
FLIPBOOK: DOCUMENT SIZE, BINDING & LAYOUT
Width: 150mm Height: 90mm Croquis height: 80mm *Good height- able to see detailing of my croquis. *I don’t think I will be able to go smaller in height otherwise I will lose the detailing of the garments that I dress my croquis. *Too long = pages will be too floppy so there will not be a flow between the pages when flicked, menaing that I won’t have a smooth movement of the images.
Width: 120mm Height: 70mm Croquis height: 60mm *Height = too small. I’m not able to see the detail of image RESULT- I’m not able to see the movement of the croquis. *Width= too long. Too much length, pages are floppy and is stopping me getting a smooth flicking motion between the pages.
Width: 110mm Height: 70mm Croquis height: 65mm *Height is...not ideal. Still a bit too small. Unable to see details of image & image movement. HOWEVER * Width of document is better. Not too small so that you lose image in the binding, yet not too big so that the pages are floppy= easier to get a smooth flicking motion between the pages.
Width: 90mm Height: 90mm Croquis height: 80mm *Best size for the height of my flip book is 90mm so that I can measure the croquis to be a height of 80mm. *I think I prefer a rectangular shaped flip book. I don’t know why, but I don’t like this square shaped flip book- I think it looks a bit amateurish AND strangely, I think it looks a bit boring too.
Width: 110mm Height: 90mm Croquis height: 80mm *I am content with the height of the flipbook & croquis. The croquis is not too big yet not too small- I am able to see detail of the image & the movement of the image. *This is a better width for my fipbook. It’s not too long so the pages are not too floppy, but not too small so that I lose the image when the flipbook is bound. *Flipbook is a good pocket size, and is perfect as part of a goodie bag package.
16 pages = one walking cycle.
16 frames = one walking cycle. book y flip n: m e k atio l ma I wil age public p a 100 t cover n o r 1x f er three k cov c a b = 1x s page s. 98x cycle g n i k wal
Perfect-binding
Pages glued to spine, which has a rough surface so glue can stick easily into a cover that wraps around the back, spine and front.
I need to choose a book binding which is strong enough to hold 98 pages...otherwise the flip book will just fall apart.
Saddle Stitch-binding
I like the perfect binding: *clean, proffessional & sturdy.
Japanese Stab-binding
Binds loose pages using exposed thread that wraps around the spine and on the top and bottom of the book. I really like the raw & authentic look, but I don’t think it suits my flipbook, which I want to have a bit more of a contemporary look. Ideal for pamplets or small mags, but I have too many pages in my flipbook = binding won’t be strong enough.
Page spreads folded and then stapled on the spine to hold everything in place. I think it looks a bit cheap. I want my flipbooks to look more lavish.
FLIPBOOK: Front Cover Paper Samples:
350gsm coated
250gsm coated
250gsm matt
I choose this one: *Sturdy *Professional feel & finish *Good print quality *Recommended by book Printer- paper is more durable when bound.
Flipbook: Page Paper Samples:
160gsm coated
160gsm matt
100gsm matt
80gsm matt
I choose this one: *Smooth flicking motion *Professional feel & finish *Good print quality *Recommended by Printer- paper is more durable when bound.
EXAMPLE DESIGNERS & Colour Palette Schemes:
BOTTEGA VENETA
HERVÉ LÉGER
MOTHER OF PEARL Navy Blue Wool Krista Dress
SEA NY Black Slub-Wool Gathered Dress
100% wool lining: 93% silk 7% spandex/elastane
91% rayon 8% nylon 1% spandex
100% wool
100% wool leather: 100% lamb lining: 100% polyester
Wool Sleeveless Ruffle Dress
Storm-Blue Crossover Bandage Dress
JUST CAVALLI Satin & CrĂŞpe Dress 96% Polyester 4% Elastane
Midi
TOPSHOP Chiffon Dress
Swing
100% Polyester
Shift
DIANE VON FURSTENBERG Maxi wrap dress
JANE NORMAN Sequin Midi Dress
100% Silk
86% acrylic 10% cotton 3% polyester 1% viscose
MARCHESA Black Tulle Ball Gown 100% silk (fully lined)
MATTHEW WILLIAMSON Embellished SilkChiffon Dress 100% silk
THAKOON ADDITION Silk-Satin Dress 100% silk
CARVEN Coral Red Cotton Blend Dress 11% polyamide 89% cotton
MY ILLUSTRATIONS FOR MY FLIPBOOK:
Out of the 26 rough illustrations I drew I have been able to narrow it down to these 8, as I believe they are the strongest.
HOWEVER It these two which are my preferred illustrations for my flipbook as the look, fabric flow, and colour best suit my magical/fanciful concept.
My illustrations for the flip book are very rough and are not at all to the quality OR standard that I expect of my self, so I am not at all satisfied with my illustrations for my flip book. The croquis look very amateurish, and the garment illustrations look more like rough design ideas rather than the expressive & artistic illustrations that I prefer to make. I would like to spend more time on improving my croquis & garment illustrations to suit my style aesthetics, but as time is very limited, I’ve decided that my outcome of this project will be a proposal.
MY PROPOSAL:
The FlipBook & Bag
•A flipbook in a goodie bag which would be distributed at London Fashion Week (LFW) A/W 2015 show. •Flipbook part of a series of flip books. •1x flipbook per audience member. Each person would receive a different flipbook of the garments that feature in my LFW show. •Flipbooks become ‘collectables’- able to purchase the rest through LFW website. •Video of a taster flipbook accessible through LFW website- person able to see what they are purchasing. •Bag = packaging.
The Show
•The show encapsulates my design identity (magic, fantasy, dreams, etc.)- this will be done through lighting/music/atmosphere/dancers etc. AIM OF SHOW- to awe, inspire, fascinate, create the feeling of the audience seeing something which is other-worldly, I want to transport them away from reality. •I would set a brief (theme: magic, dreams...etc.) for designers to fulfil. •Application to feature in show is open to anyone!! Show = promotes diversity. *Models - different ethnicities- promote diversity within cultures. *New designers/well known designers (Dior/DG/LV...etc.) able to showcase work = promote design diversity. •Best designs that fulfil the brief would be selected to feature in show.
IMPORTANT!!
I need to make it clear in my evaluation that the outcome of this project is a proposal. As I don’t have a lot of skill in animation, if I was to have more time and skill that I can dedicate to this particular project, the outcome would be considerably stronger and to a quality which I am content with.
The fashion industry needs to embrace new technologies and social trends in order to survive. Blogs, websites etc. are a keystone within the 21st century, hence why I have chosen to feature the LFW website address on the back cover and also a QR code. QR codes (aka. Quick Response Code) is a type of 2D barcode. It was first created in Japan and is growing in popularity. The QR code system was invented in 1994, but is still a fairly new phenomenon for the general public due to the advancement of smart phone devices (E.g. iPhone, iPad, android etc.) I am really keen to take advantage of all new technologies in order to ensure the survival of the fashion industry in the future.
FLIPBOOK: COVER & SPINE DESIGNS n hakoo T f o my ation ress is l r t s u ill lk d shal ough ivory si n, so I r pe e Th tio ’s ototy a n r r o p t i s t my Addi red illu for r r e e f v co pre this e s u ok. flipbo
QR Code: LFW embracing future technology! Survivial of fashion industry depends on it!! When QR code is scanned, takes individual directly to the LFW web page where they can see & purchase the other issues of the flipbook collection.
I want the front covers of my flipbooks to simplistic and minimalistic. The colour of the front cover will correspond to the colour/print of the fabric, which the designer uses for their garment. As my LFW show is a central foundation of my flipbooks, I need the LFW logo to be a prominent part of both the front cover & back. I would then use the logo of the designer on the spine and the front cover so that it is apparent whose garment is featured in each flipbook. Information of the garment itself will be found on the final page, within the flipbook, along with the credits for the flipbook itself.
Designers Logo: Important! Refers to contents of flip book, AND When lined up alongside other flipbook spines, logo = identifying feature.
Colour of the front cover is the same as the colour/print of the fabric of the designer’s garment. The illustration of Thakoon’s silk dress which I have illustrated is a golden ivory colour, hence, the cover of the flipbook is also ivory = has a direct link to the designer garment & my illustration of Thakoon’s dress.
Designers Logo: Important! Refers to contents of flip book.
LFW logo = large, prominent, stands out. Key contextual reference for my flipbook.
www.londonfashionweek.co.uk
LFW web address: located on back of flipbook so that individual can access other areas of the LFW event.
LFW logo = Key contextual reference for my flipbook.
L ENTIA T O P HER : HE OT OOK LIKE T T A H L W F WOULD LES O EXAMP OK COVERS O FLIPB
www.londonfashionweek.co.uk
www.londonfashionweek.co.uk
FLIPBOOK: FINAL DESIGN/LAYOUT
DIMENSIONS: Height: 90mm Width: 110mm Croquis height: 80mm Margins: 10x10x10x10mm Bleed: 3x3x3x3mm MATERIALS: Front Cover: 250gsm coated Pages: 160gsm coated BINDING: Perfect binding FONT: Consolas CoNsOlAs ReGuLaR cOnSoLaS BoLd CoNsOlAs ItAlIc cOnSoLaS bOlD iTaLiC
www.londonfashionweek.co.uk COVER & SPINE
magic: (ˈmadʒɪk) noun: the power of apparently influencing events by using mysterious or supernatural forces. adjective: 1. having or apparently having supernatural powers: a magic wand. [attributive] very effective in producing the desired results: confidence is the magic ingredient needed to spark recovery. 2. british informal wonderful; exciting: it was a great time, magic. verb: (magics, magicking, magicked)[with object and adverbial] move, change, or create by or as if by magic. fantasy: (ˈfantəsi, -zi) noun: (plural fantasies) 1. the faculty or activity of imagining impossible or improbable things: his researches had moved into the realms of fantasy. 2. music a fantasia. verb: (fantasies, fantasying, fantasied) [with object] literary imagine the occurrence of; fantasize about. imagination: (ɪˌmadʒɪˈneɪʃ(ə)n) noun: the faculty or action of forming new ideas, or images or concepts of external objects not present to the senses: she’d never been blessed with a vivid imagination. dream: (driːm) noun: 1. a series of thoughts, images, and sensations occurring in a person’s mind during sleep. 2. a cherished aspiration, ambition, or ideal. verb: (past and past participle dreamed (drɛmt, driːmd) or dreamt (drɛmt).) [no object] 1. experience dreams during sleep. 2. indulge in daydreams or fantasies about something greatly desired. 3. [with negative] contemplate the possibility of doing something or that something might be the case. magic: (ˈmadʒɪk) noun: the power of apparently influencing events by using mysterious or supernatural forces. adjective: 1. having or apparently having supernatural powers: a magic wand. [attributive] very effective in producing the desired results: confidence is the magic ingredient needed to spark recovery. 2. british informal wonderful; exciting: it was a great time, magic. verb: (magics, magicking, magicked) [with object and adverbial] move, change, or create by or as if
PAGE SPREAD
BAG: DESIGN
MY BAG TEMPLATE:
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I mad e my Illus trato bag templa ra te in me wi th cl s not only d ean a oes it Adobe but it nd pro alter also means clear guid vide lines th t ; in ord e dimensio hat I can e er to n a s s i o l f y produ the t ce my ideal emplate bag si ze.
BAG: PAPER SAMPLES
350gsm coated
250gsm coated
250gsm matt I w a hand nt to l u It’s es for se blac k a cle my colo a b n a , g. u m proj r and I inamilis ects t thi soph isti nk it cati on.
I choose this one: *Sturdy *Professional feel & finish *Good print quality
BAG: HANDLE SAMPLES
Ribbon: Polyester silk
Ribbon: Organza
I choose this one: *Nice to touch *Professional feel & finish *Good print quality
(I can’t afford fairtrade/organic silk ribbon BUT using green materails would be my prefference).
Shoe Lace: (make do & mend approach?)
Twine: Made from recycled paper.
BAG:
EXTERIOR
DIMENSIONS: Height: 120mm Width: 120mm Depth: 50mm MATERIALS: Bag: Paper (350gsm coated) Handles: Ribbon (polyester silk)
INTERIOR
BAG TEMPLATE (to scale):
LONDON FASHION WEEK: A/W 2016 I have chosen to organise my LFW show for Autumn/Winter- a season associated with many magical, fanciful, spectacle traditions (e.g. Halloween, Bonfire Night, Christmas, Festival of Lights/Diwali). Show to be part of LFW 2016= 3yrs away. Means there is time to plan, budget, organise & execute.
The movement of the fabric has a soft, mystical and fanciful quality= suits my magical design identity perfectly.
I don’t want the audience to have a cold, chilling or ghostly experience...I want them to go away inspired and yearning to come back just so that they revel in being able to escape into a world of the make-believe.
Silk= flowing, fluid, floating
For me, flying is a magical spectacle that is awe-inspiring and wondrous...perfect for my fanciful concept. -Aerial silk dancers= the fanciful & theatrical centre piece for my fashion show.
The atmosphere I want to create: *Rich *Magic *Opulent *Fantasy *Theatrical *Otherworldly *Dramatic *Wonder *Lavish *Awe *Spectacle *Imagination
Aerial Silk Dancers
symbolises: love, romance, tenderness, acceptance & calm.
Pink
Lighting
symbolises: royalty, spirituality, mysterious, transformation, femininity, grace & elegance.
Purple
Blue
symbolises: peace, tranquillity, calm, harmony, sky, water, confidence.
Not only do the colours capture the atmosphere I want to create at my LFW show, but they also depict my personality. I think I have been able to succeed in ascertaining my design identity.
LOCA
TION
Cottesloe Theatre
I love the theatre space at the Royal Shakespeare Theatre in Stratford-Upon-Avon. It is the perfect space and staging, which I want for my own LFW show. The theatre itself uses a ‘thruststage’ (a stage that extends into the auditorium so that the audience is seated around three sides), and seats
Roundhouse Theatre
I will recreate the stage set up at the Royal Shakespeare Theatre, in a theatre space in London: *Roundhouse Theatre, Kilburn, London -1700 seated -Grade II listed buildingformer railway engine shed. OR *Cottesloe Theatre, National Theatre, South Bank, London. -300 to 400 people on three levels – Ground Level, Level 1 & Level 2. -smallest of three auditoriums inside the National Theatre complex.
lk l si m a i r e a for ve 4 uld per tre a h wo uld cen I wo s which in the r dance routine the se u their area. from will d e n g a a s t s model ading to s their a The le ays tage w s g n a e g centr exits. & the nces a r t n e
1040+ approx. HOWEVER Stratford-Upon-Avon is a 2hr journey away from London= too far. I need the location of my LFW event in London. London= central hub for LWF.
ROYAL SHAKESPEARE THEATRE, Stratford-Upon-Avon
The flip books and tickets for my LFW show, will be found under the ‘Events’ tab of the main London Fashion Week webpage.
Social media will be another avenue of advertising I will exploit in order to ensure that word of my show is spread far and wide to ensure maximum ticket sales. The video slide show on the main page would feature a link to my LFW show, with an image of part of the spectacle in order to catch the attention of the webpage user.
The video of my flip book would be part of the collection of videos found on the LFW home webpage. The video would also be a link for the part of the LFW website which contains information of my LFW show & flip books.
*Tickets: £25-30 (average theatre show ticket cost.) Price = tiered depending on location of seat. Tickets to be purchased through the LFW website. By purchasing tickets through the website= people will see the other events/shows that are available = encourages greater ticket sales. *Performances: 2x performances a day, throughout the LFW week. Matinee show (Doors open at 13.00PM, Show starts at 14.00PM) & Evening show (Doors open at 19.00PM, Show starts at 20.00PM). I want the show to be easily accessible and practical for all audiences. *Premiere Show? Invite celebrities, notable persons within the fashion industry. Advertise event as an ‘exclusive’ soon to be available for public viewing…encourages ticket sales.
My fashion show can also be an opportunity to collaborate with numerous other creatives! Not only can I use my LFW event to showcase diversity within fashion design, but also diversity across the widespread range of artistic specialisms. -Graphic designers -Dance choreographers -Set designers -Makeup/Hair stylists -Photographers -Filmmakers ...the list goes on!
I would want the show filmed so that it can be part of a visual archive.
Choreography of the aerial dancers, models... stlying/dressing the models. design/creating the stage area: -lighting -set -music
Ticket, poster designs.
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I’m really pleased with my proposed LFW show...I can actually see this spectacle as a real possibility! I would love to have the ability to put this show on as a real event, even if it wasn’t part of LFW. I am more satisfied with my fashion show idea than I am with my flipbook & bag, I think it’s because I can envision an end result which is achievable, whereas, with my flip book, I think I was trying to run before I could walk.
EVALUATION: I have found the Design Identity project has given me great insight and understanding of myself as a creative, and how this informs my work. By pinpointing my design identity, I also have a better idea as to which career direction I would like to take after university, which will involve me utilising my strengths and pursuing something which I will enjoy doing. To begin the project I found it easier to start by composing my design philosophy report. It required me to be quite analytical of myself and specifically identify aspects of my personality that inform and influence my creative approach and work method. I found that my past experiences have greatly shaped me as the person I am today, and that because I like to live an orderly and strictly organised life, I find that creatively; I delve into realms of imagination and dreams for a sense of freedom and escapism. I love to let my imagination explode with endless possibilities, to dream of new and exciting things, to question and learn, explore and fantasise. However, even though I am a bit of a dreamer, I do still like order and boundaries, so I am drawn to aesthetics which combine the weird and wonderful with structured minimalism which echoes my disposition as a fantasist who still needs a feeling of security and structure when dealing with reality. An image that acts as a visual definition of my personality, were images of outer space. A realm of endless possibilities; glitter, stars, the fantastic and the fanciful. It was this imagery that I chose to be the concept of my design identity project, ‘The Power Of The Imagination’. By focusing on my design identity, I was then able to recognise my brand identity. I am drawn to: elegance, sophistication, luxury, contrasting elements (texture/fabric/ colour/bold vs. minimalism), and symbolism, with an awareness and open-mindedness of ethical and sustainable issues that challenge the fashion industry. I research and use my knowledge to inform my decision making, aiming of produce work which fulfils the demands of a project brief, whilst being able to teach reflect, and enlighten myself and others around me. In past projects, I have struggled with maintaining focus on the requirements of the project brief, finding that I have a multitude of ideas and find that as a result, I produce something jumbled and mismatched. I was determined, not to fall into this trap, given the limited time scale to complete the project, so I set myself very clear and strict guidelines, continuously self-evaluating my work, and planning my time effectively so that I achieved my work targets. I set myself a deadline to complete the work a week before the official hand-in date, to compensate that if anything were to go wrong, then I would still have time on my side. This benefited me greatly and I will continue this practice for future projects. For the outcome of my project I wanted to stick to my strengths, drawing, illustrating and composing. I enjoy designing garments, but I like to be bold and graphic visually, so I do not possess the patience needed when constructing 3D items. I dislike the needing to be mathematical and precise, which I feel is quite restrictive, and in some ways, suffocating. I think this is strange, considering I like structure and order, however I like structure and order, knowing that there is the freedom to expand if I choose to. I decided I would explore animation for a fashion film. I wanted to make something that was innovative and not widely used in the fashion industry, giving me insight and a niche skill
set into a potential career path. It would involve drawing, researching and experimenting, all of which are things that I enjoy. I researched into the history of fashion film and methods of animation. Part of the project brief requested the proposal of an ‘event’, so I used this to help me set a purpose and context for my animated fashion film, and this also aided me in maintaining a clear sense of direction throughout the project, so that every decision I made was interlinked and relevant. I chose to organise a fashion show for the London Fashion Week (LFW) in 2016. The show would be a theatrical spectacle that encapsulates my design identity, which is all things magical and mystical. My LFW show would be held in the Autumn/Winter of 2016, a season traditionally associated with many fanciful and enchanting qualities, for example, Halloween, Bonfire Night, Christmas, Festival of Lights/Diwali. As the show, at present, is 3 years away, I am trying to demonstrate my ability in time management, as I have learnt that time is needed in order to plan, budget, organise and execute, any sort of event. The atmosphere of the show would be created through the lighting and music. I liked the idea of having aerial silk dancers as the centrepiece of my show with models weaving in and out of the spectacle wearing various garments. The aim of the show is to awe, inspire and fascinate. To create the feeling that the audience has been transported into a world of fantasy. The fashions that would be showcased would have been chosen from a wide selection of designers. I would set a design brief with the theme of magic, dreams, etc. With the application being open to any designer who wished to participate, from Dior to a university undergraduate. The best works would be selected and featured in the show. My fashion show is to celebrate diversity within the fashion industry. I was shocked when I learnt that there is still a lot of discrimination in fashion, with skin colour and body size being victimised against. My models will be of all shapes, sizes and colour, to promote diversity within cultures; and by featuring new and well-known designers, I would demonstrate creative diversity within fashion. I also learnt that my fashion event would also be a perfect opportunity to collaborate with numerous creative. Musicians, choreographers, graphic designers, set designers, the list is endless. Not only can I use my LFW event to showcase diversity within fashion design, but also diversity across the widespread range of artistic specialisms. The plan was that I would display my animated fashion film at my LFW show, however I quickly found that my wish to produce an animated fashion film would not be realistic, given the short-time frame which I needed to manage. I wanted to teach myself the basic fundamentals of animation and understand the details of creating movement in a 2D object. This process took far longer than I had anticipated, and I found I would not be able to produce and edit an animated film to a quality that I was satidfied with in the short time frame available. I therefore, re-evaluated my proposal for my final outcome and decided that I would produce a flip book as a tool for promotion, still an innovative idea that would be more realistic for me to achieve in the time I had left. I would produce one flip book, however this flip book would be part of a series. At my show, each audience member would receive a ‘goodie bag’ with 1 flip book, and various other gifts from sponsors. Each person would receive a different flip book, that features an animated model wearing a garment that is featured in the LFW show.
The flip books would be ‘collectables’, and the remaining flip books would be available to purchase through the LFW website. There would also be a video of a taster flip book on the LFW website, so that the individual would be able to see what they were purchasing. The bag that I have made would be the packaging, featuring a design using my concept imagery. I quickly learnt that animation was not a career option I would pursue. It requires a lot of patience, precision and repetition, all of which are things I dislike when I prefer to be visually and creatively expressive. I am very dissatisfied with my flip book, which is not the professional finish I had envisioned. Even though I am a novice of animating, I feel my figure illustrations for my flip book are incredibly amateurish and do not capture my design aesthetics at all. However conceptually, the figure illustrations do reflect part of my design identity as an individual who has a strong sense of morals in terms of the ethics and sustainability of the fashion industry. My concern does not only refer to environmental issues, but also cultural and ethical, which I have tried address in my fashion show, by promoting diversity. This is also a characteristic I have applied to my animated figures. They have a collage of skin tones, which is to reflect variety and equality of different cultures, bodies and ethnicities within the modeling industry. Although I am conscious of the effects the fashion industry has on the environment, I do not feel that this has a primary influence on my decision-making. It is an issue I am aware of and I try to be as environmentally friendly as possible. When producing my flip book and paper bag, I researched into sourcing materials from recycled resources or materials from firms that were part of a ‘green’ incentive scheme, for example, fair trade cotton for the handles of the bag, or for every tree that was needed to produce the paper, four more would be planted in its place. Overall, I am both pleased and unhappy with the outcomes I have produced for this project. I have had a number of successes; one being that I have been able to identify and understand my Design and Brand Identity as an individual who wishes to capture the elegance and beauty of dreams and fantasy, who loves to learn and grow, and who has moralistic and ethical approach to everyday life. I am also pleased with my planning for my proposed fashion event. The show is something that I can truly envisage being a reality, whether it is part of the London Fashion Week event, or a stand-alone show. Not only would it visually reflect my design identity, but it also represents me as an individual conceptually. I am pleased with how I have recorded my journey throughout the project and produced a printed sketchbook that conveys my journey clearly, concisely, and visually. Not only have been able to work on my computer skills, for example using Adobe Photoshop and Adobe InDesign, but I have also been able to build on my skills in editing, art direction, composition and presentation. The layout of a publication is important in order to keep a smooth and transitional flow between pages whilst capturing and maintaining the interest of the reader. What I am less satisfied with is my bag and flip book. I like the layout I have chosen, and how I have composed the publication, however, they do not meet my expectations. I would not present them to a professional as a final outcome, but would be better described as a prototype as part of a proposal for a fashion-marketing tool. They are very basic, where there is plenty of room for further development and improvement, such as: I could develop the figure illustrations and garment illustrations which I feel better reflect my aesthetic style, I could look at other means of printing, for example, embossing. I am pleased about the research I conducted for my flip book. Not only have I learnt and gained a new skill set, but that I made informed decisions and not misguided impulses.
The design identity project has confirmed that my passions are with illustrating, composing, decision making and design, and that I should continue to practice and develop these skills, however, I am still unsure how to direct these towards a possible career. This will be something I will learn through experience, so I shall continue to take advantage of opportunities available to me so that I can continue to develop and grow.
A M Y. N E W E L L
DESIGN IDENTITY