MAGAZINE/ RESEARCH BOOK 2

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MAGAZINE

Fashion Communication Pauline Lischke 1

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R E S E A RC H Index

Brief

Target Audience

Graphic Design

6 Brief

10 Target Publications

16 Typography 32 Graphic Design

Photography

Styling

General Information

40 Editing

48 Narrative One - Seven

108 Updated Process 109 Location 120 Covid-19

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1 Brief

6 Brief

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Manifesto 01.05.2021 BECAUSE fashion is one of the most polluting industries in the world BECAUSE consumers are still mostly unaware of the fashion industries impact on the environmental issues, as well as their role within it BECAUSE the lengthy and standardly toxic production process of garments is often at odds with the lifecycle of the finished product BECAUSE the society becoming more circular, less wasteful, can make strides when it comes to reducing the fashion industry’s environmental impact BECAUSE pre-used products lower the impact on the environment by not creating waste and the avoidance of production BECAUSE pre- used garment’s imperfections can expose something beautiful BECAUSE memories are part of pre-used garments and it’s our responsibility to preserve this heritage BECAUSE emotional attachment gives garments a degree of value which is often lost when consumers think of clothing as disposable BECAUSE the use of pre-used garments is innovative BECAUSE style needs to be considered a sustainable and measured approach to garment production and consumption

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Brief A thousand lives.

When I was growing up, we had what we called the memories box. A tremendous wooden chest packed full of childhood paraphernalia and family mementos dating back to long before I was born. I used to love spending hours rummaging in its depths as a child, inexorably drawn toward the strange items of clothing, each one telling its own story: black knee-high boots with a huge platform heel from my aunt, hats in all sorts of shapes and colours, my grandma‘s lace-trimmed wedding dress. These keepsakes allowed me to create versions of myself from another reality. While dressing up, I lived a thousand lives in these clothes and these clothes lived a thousand lives through me. I loved them as much if not even more as their previous owner, and in return, they gave me back so much joy.

Thousand Lives takes the audience on a time-travel through my childhood and the bygone days of fashion. I want to revisit the stories of vintage garments, some of them contained, frozen, in old photo albums. Like back then, I will breathe new life into every piece of clothing.

My project focuses on circular fashion and, therefore, only features used clothing. Using a garment for as long as possible, through good care, repair, refurbishment, and sharing among multiple users over time through rent or lease, secondhand, and swap reduces the impact of the fashion ecosystem on the environment. To fulfill this goal, we will have to achieve a shift in consumer thinking and behavior concerning our current course of overconsumption.

The narrative told by my younger self, living a thousand lives in these clothes, detaches colors, patterns, and shapes from mass-market fashion trends, standards, and norms. I will create a childlike fantasy world through my styling and photography, which will attract the audience to unconventional but innovative combinations of used garments. This broadens the options for reuse and creates a value of eternal b ­ eauty for the consumer. Ultimately, it will lead to a new holistic perspective and environmental awareness of used clothes in s­ ociety.

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2 Target Audience

10 Target Publications

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Target Publications Colourful and vibrant stories.

My magazine entertains, challenges and informs both men and women with fashion shots about sustainability and, at the same time, represents the positive and the playful elements of the fashion industry. I‘m about inspiring rather than dictating to my readers.

The highlighted magazines are celebrating the same or similar values.

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3 Graphic Design

16 Typography

32 Graphic Design

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Typography Change of plan.

As already mentioned in my Research book for Semester one, Jezga magazine is my original source of inspiration regarding my typography concept. In the beginning, I was really into the idea of combining my written and painted graphic design with scribbles around the text to enhance the impression of a child‘s drawing book. This would have underlined my narrative, but I realized that it might turn out very unstructured and will not express my aesthetic anymore, which is usually minimalistic. Instead, I designed my very own typography in illustrator inspired by 70‘s fonts and the head font used in Jezga Magazine. You will find research, try-outs of the old aesthetic, and the development process and the final product on the following pages.

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Designed by Harley Weir

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Designed by Jezga Magazine

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Designed by Daan Dam

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Designed by Rebecca Coltorti

Designed by Daan Dam

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Process Development from scribbles in Illustrator to an more minimalistic aestehtic.

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Thousand Lives takes the audience on a time-travel through my childhood and the bygone days of fashion. I want to revisit the stories of vintage garments, some of them contained, frozen, in old photo albums. Like back then, I will breathe new life into every piece of clothing.

My project focuses on circular fashion and, therefore, only features used clothing. Using a garment for as long as possible, through good care, repair, refurbishment, and sharing among multiple users over time through rent or lease, second-hand, and swap reduces the impact of the fashion ecosystem on the environment. To fulfill this goal, we will have to achieve a shift in consumer thinking and behavior concerning our current course of overconsumption.

The narrative told by my younger self, living a thousand lives in these clothes, detaches colors, patterns, and shapes from massmarket fashion trends, standards, and norms. I will create a childlike fantasy world through my styling and photography, which will attract the audience to unconventional but innovative combinations of used garments. This broadens the options for reuse and creates a value of eternal ­beauty for the consumer. Ultimately, it will lead to a new holistic perspective and environmental awareness of used clothes in ­society.

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Designed by Jezga Magazine

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Illustrator Development of font and logo.

Original font.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 28

In Illustrator redesigned and transformed font.

a b c d e f g h i j k l m n o p q r s t u v w x y z Final alphabet being used for font and logo.

a B c D e F g H I j K L m N o P q R S T u v w X y z 29

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A clear line.

Graphic design

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I have decided not to include the painted nostalgic photography because it was difficult for me to stick with my style and at the same time add many different aesthetics to the document. Kinfolk Magazine, though, is still my primary source of inspiration regarding my graphic design. Despite the change, my publication needs to have a lot of white space, as my narrative itself is already vibrant and exciting. Additionally, the styling and featured clothes are very colourful and unique.

You will find try-outs of the old aesthetic, and the development process and the final product on the following pages.

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oNe DReSS ONE DRESS, TWO WOMEN

ONE DRESS, TWO WORLDS FOR THE MOTHER: EPITOME OF

THE 80‘S FOR THE DAUGHTER: GREETINGS FROM THE EAST IT IS WHAT YOU DARE TO DREAM,

WHAT YOU CAN IMAGINE, WHAT YOU DESIRE, WHAT YOU PERCEIVE, WHAT YOU

PRETEND TO BE.

AND STILL, IT REMAINS THIS ONE DRESS FOR YOU, AS FOR ME.

-BY LENA PFEIFER 34

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oNe DReSS ONE DRESS, TWO WOMEN ONE

DRESS, TWO WORLDS IT IS WHAT YOU DARE TO DREAM, WHAT YOU CAN IMAGINE,WHAT YOU DESIRE, WHAT YOU PERCEIVE, WHAT YOU PRETEND TO BE. AND STILL, IT REMAINS THIS ONE DRESS FOR YOU, AS FOR ME. 36

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4 Photography

40 Editing

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Editing Soft, romantic dreamscapes.

James Prerolls highly motivated the colourful editing of my photography. His sun-kissed and richly coloured photograph aesthetic worked very well with my narrative story of a child‘s imagination and fantasy, where nature is pictured like in a fairytale. I applied his colour scheme to my photography by reworking my pictures in lightroom. You will find the editing research, the development process and the final product on the following pages.

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Photographed by James Perolls

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Process Original photogrpahy

Edited photogrpahy

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5 Styling

48 Narrative One - Seven

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Narrative One Turquoise evening gown

A poem written by my Lena Pfeifer who tells the story of one dress worn by two women, her mother and herself. „One dress, two women One dress, two worlds It is what you dare to dream, what you can imagine,what you desire, what you perceive, what you pretend to be. And still, it remains this one dress for you, as for me.“ The dress, is initially owned by Anke Pfeifer and modelled by her daughter Lena Pfeifer.

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Styling Concept

Turquoise evening gown 49

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My grandma has been born at a different time. In those days, fashion had another meaning than today. People chose longevity over passing trends. Consumers valued craftsmanship, putting this first and foremost. Therefore it was not surprising that, as an artistic young woman who loved fashion, she decided to become a tailor. Today my grandma has many closets full of self-made costumes. Every piece she created is timeless and made to last. From the first idea behind the silver paillette jacket to the subtle construction of the buttons on the sleeves, this garment has the great value of entering all beauty. My bother modelling this unique clothing piece, therefore, honours her heritage.

Narrative Two Silver pailette jacket

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Styling Concept

Silver pailette jacket

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Silk scarf

Narrative Three

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My dad and my cousin have a unique relationship. They were both born in a small village called Frielingsdorf in Germany.

However, my dad moved away after graduating from school.

My cousin still lives with my uncle and aunt, my other cousins and my grandparents in this beautiful place surrounded by the greenest fields I have ever seen. My dad loves visiting his former home. Watching my cousin, who is also his godchild, grow up, reminds him of the times when he was young. She went to the same primary school as he did. She went to the same high school as he did. And she went to the same youth and sports club as he did. I can see in his eyes how he is reliving the days of his childhood whilst talking to her. My cousin is wearing my dad‘s scarf, which he got for Christmas when he was as young as she is now. It is symbolic of his past days.

Styling Concept Silk scarf

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When I explained to my friend the topic of this magazine and asked her to participate, she immediately knew which clothing item she wanted to wear: The XXL fleece sweater from her dad. It embodies so many stories of the past, when she was little, which they share— walks in the park, gardening during spring, vacations in the mountains. These moments and the accompanying feelings are endured by this fleece, making it enormously valuable, precious and relevant for her until today.

The fleece, is initially owned by Holger Steinhauer and modelled by his daughter Michelle Steinhauer.

Narrative Four

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80‘s vintage fleece

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Styling Concept 80‘s vintage fleece

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Narrative Five

I have a confession to make: I included a fur coat in this Zine.

It‘s obviously not a contemporary garment— it‘s a handme-down from my grandmother, now owned and modelled by my mother. But I still feel guilty for showcasing the coat because pre-owned fur is an ethical double-edged sword.

Wearing old furs promotes recycling and reduces waste in the grand scheme of things, but it also perpetuates the idea of fur as fashion. I like to focus on the former. As a child, I was impressed rather than repulsed by my grandma‘s fur coats.

When she was wearing them, she reminded me of a giant teddy bear, soft and incredibly cuddly. This formative memory of my grandma makes this vintage fur coat an essential and irreplaceable part of this publication.

The jacket, is initially owned by Traudel Fuchs and modelled by her daughter Tina Lischke.

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60‘s fur jacket

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60‘s fur jacket

Styling Concept

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Narrative Six A record of past experiences is a record of who we are. This means kept textiles are part of our personal history and no longer just clothes. They are artefacts of the lives we have lived. A son delving into his fathers wardrobe. An act of personal archaeology.

The jacket, is initially owned by Peter Lischke and modelled by his son Jan Peter Lischke.

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Winter coat

Styling Concept

Winter coat

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Narrative Seven Rain jacket Johanna Meier telling a story: My mum taught me to be independent and that I can achieve everything. She became my great model, and like her back then, I am currently doing my doctorate in engineering. A few years ago, I found some of her old clothes which she wore during her studies and took them home with me. By wearing them, I feel even more connected to my mum. The blue raining jacket is one of these clothing pieces. She wore it for a long time and on many trips before banishing it in the closet. When I first discovered this garment, I knew that I could give it a new life and follow in my mum‘s footsteps.

The jacket, is initially owned by Elke Meier and modelled by her daughter Johanna Meier.

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Styling Concept

Rain jacket 103

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6 General Information

108 Updated Process

109 Location

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Updated Process Development of chapter.

Step 1: Looking for an old photograph and noteworthy clothing item in old photobooks Step 2: Ensuring that the clothing item of the chosen photograph still exists Step 4: Talking to the person who originally owned the clothing item about their shared past or about the moment photographed Step 5: Asking them for allowance to use the photograph in my publication Step 6: Reworking the photograph in photoshop Step 7: Including the photograph into the InDesign document Step 8: (Translating the written text which might be in another language) Step 9: Adding graphics, typography, text Step 10: Asking the original owner to borrow or use the clothing item for the new context photograph Step 11: Considering the styling Step 12: Looking for clothing items that I already own or friends and family to complete the look Step 13: Purchasing of additional second-hand clothing items to complete the look Step 14: Considering the location Step 15: Exploring the surrounding area for a location Step 16: Considering the model Step 17: Using a model which also has a personal connection to the clothing item Step 18: Taking the new context photograph Step 19: Editing the new context photograph in photoshop Step 20: Including the new context photograph into the InDesign document Step 21: Adding graphics, typography, text (This a repetitive process of producing each issue. The main narrative stays the same, leading towards the clothing piece‘s future life of a repurpose, but the personal relationship to the clothing piece and the shared past will differ each time.)

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Location Germanys hillside.

All of my photo shootings have been taken at the german hillside, symbolising unspoiled nature and rural idyll. I wanted to produce a modern dreamscape of Acardia by creating a pastoral picture of untouched nature and rustic landscapes.

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Guidelines for photoshootings.

Covid-19

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Step 1: I asked all individuals on the shoot to declare whether they have had Covid-19 or have been in close contact with anyone with Covid-19 or suspected Covid-19 symptoms on booking and 24 hours prior to shoot Step 2: I was prepared to have substitutes on hold Step 3: I ensured that sanitising kits and an anti-bacterial solution were available on set Step 4: I wore face coverings and gloves as well as my models when not being photographed Step 5: I ensured that only essential personnel was in attendance at the shoot to maintain the best practice of 2m distance between individuals Step 6: I aimed to shoot outdoors as much as possible

BY PAULINE LIS CH KE