R ES EARCH
PUBLICATIO N
R E S E A RC H Index Narrative
Sustainability
Graphic Design
Typography
6 Narrative
10 Nike Circularity Guide
28 François- Marie Barnier
38 Typography Concept
12 Circularity
32 Kinfolk
40 Try- out Pages
14 70‘s Anti Fashion 16 Patagonia 20 Thriftcore 22 Le Kilt 24 Two Woman
Photography
Styling
Test Pages
54 Arcadian Rusticity
66 Styling Concept
88 Printing
92 Test Chapter
60 Nostalgia
68 Grace Corby
89 Preview
100 Lebensfaden
72 Hill & Aubrey
102 Process
74 Ib Kamara
104 Cowboy Themed
78 Michelle Li
106 First Attempt
80 Juan Camilo Rodríguez
114 Mock- up
84 Makeup
116 Covid- 19
1 Narrative
6 Narrative
Narrative 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, 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 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 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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2 Sustainability
10 Nike Circularity Guide
12 Circularity
14 70‘s Anti Fashion
16 Patagonia
20 Thriftcore
22 Le Kilt
24 Two Woman
Nike Circularity Guide Leading in the future of design thinking and innovation. During the week of Copenhagen Fashion Summit 2019 Nike, one of Global Fashion Agenda’s Strategic Partners, announced a Circular Design workbook to provide designers and product creators across the industry with a common language for circularity. It follows on the notion that the future of design is one of opportunity. The guide was created in collaboration with the students and staff of Central Saint Martins, University of the Arts London and with inspiration from Global Fashion Agenda. In 2017 Global Fashion Agenda called on the fashion industry to take action on circularity by signing a 2020 Commitment as a concrete way to turn words into action. Nike is a signatory of this 2020 Circular Fashion System Commitment, which calls on fashion brands and retailers to accelerate the transition to a circular fashion system. Belief in responsibility is crucial to Nike‘s design ethos, in which creating the future of the sport is a fundamental cornerstone. Over the years, Nike’s view to solving problems has broadened from one that considered just the intersection of athlete and product to one that views the entire athlete ecology holistically — which is where issues of sustainability become hugely important. The brand aims to provide designers and product creators across the industry with a framework for circularity that can help inspire more considered design choices — products that last longer and are designed with the end in mind. The guide shares 10 key principles for circularity: Materials, cyclability, waste avoidance, disassembly, green chemistry, refurbishment, versatility, durability, packaging and new models. These principles are starting points from which to reconsider the process of craft and design. The Circularity Guide of Nike inspired me to dedicate my project to the topic of circular fashion. The following pages will explain the sustainabilty concept of my project.
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BUYING A PRE-USED PRODUCT
RESELLING A PRE-USED PRODUCT
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Circularity
(REPAIR)
RE-USE OF A PRE-USED PRODUCT
Based on used products. I developed a related concept based on expanding the life cycle of a used product. It starts by purchasing a pre-used product, followed by possible repairs during the reuse until it gets passed on or resold. Subsequently, the sustainable process repeats itself. This cycle can only be broken, in case the product can not be repaired anymore. But the option of recycling will not be addressed in my project. Pre-used products lower the impact on the environment by not creating waste and the avoidance of production. Hereby, we are reducing pollution and saving natural resources, water, and energy. By focusing my cycle on used products, I want to achieve a shift in consumer behavior and societal consciousness. In a second step, this shift will create additional pressure on the industry to improve the existing production processes and quality further and consequently reduce the utilisation of natural resources, water, and energy even more. To accomplish this goal, we have to focus on keeping our products as long as possible in the cycle. 13
70‘s Anti Fashion
On the following pages, I will explain how the text Anti-Fashion: The 1970s, from the Journal Fashion Theorie, written by Valerie Steele, influenced my circular fashion approach. The first abstract is Steele‘s introduction, which I will refer to in my second abstract to explain the role model function of 70‘s Anti- Fashion concerning society‘s obligation today to break with trend-driven and fast production fashion. „For the longest time everyone kept saying the Seventies hadn‘t started yet. There was no distinctive style for the decade, no flair, no slogans. The mistake we made was that we were all looking for something as startling as the Beatles, acid, Pop Art, hippies and radical politics. What actually set in was a painful and unexpected working-out of the terms the Sixties had so blithely tossed off.“ So observed Edmund Whi14
A radical approach to sustainability.
te in his insightful essay, „Fantasia on the Seventies.“ White focused on the evolution of gay male sartorial style, away from early-1970s „fantasy clothes“ and toward the „new brutalism“ of Levis, leather and heavy work boots; but similar changes were occurring throughout the fashion culture. Like the bastard child of the 1960s fashion revolution, 1970s style was in confused revolt against its progenitor. But because people disagreed about where fashion should go, it was pulled in radically different directions. People found this confusing, both at the time and in retrospect. In 1975, when Georgina Howell wrote her book, In Vogue, the last chapter was called „The Uncertain Seventies.“ In 1991, when she revised the book, she changed it to „The Schizophrenic Seventies.“ Was it really „The Schizophrenic Seventies“? Or can we demonstrate that there was some deeper cultural unity beneath the chaotic clash of sartorial styles? To understand 1970s style, one must recognize that fashion was not in fashion. „Let us grant to the seventies its claim to antifashion, for the freedom to wear what you want, where and when you want, is finally here,“ declared journalist Clara Pierre in her 1976 book, Looking Good: The Liberation of Fashion. Hers was very much the opinion of the day, and the arbiters of fashion risked being dismissed as „fashion fascists“ if they dared tell women what was „in“ or „out.“ As a result, fashion journalists quickly adopted a new language of „freedom“ and „choice.“ The American journalist Tom Wolfe labeled the 1970s „The Me Decade,“ alluding to the narcissism and selfindulgence that seemed to characterize contemporary society. In an article entitled „The Sexed- Up, Doped-Up, Hedonistic Heaven of the Boom Boom ‚70s,“ published in Harpers & Queen (April 1980), Wolfe argued that people were mistaken in thinking of the 1970s as a period of calm after the „uproar“ of the 1960s. Although the political radicalism of the student left had faded away after the end of the Vietnam War, in almost all other respects the cultural radicalism of the 1960s not only did not vanish, it diffused throughout the wider society. Both the drug culture and the sexual revolution,
for example, became mass phenomena.“ Anti-fashion is an umbrella term for various dress styles, which are explicitly contrary to the fashion of the day. It may represent an indifferent attitude or may arise from political or practical goals, making fashion a secondary priority. Accordingly, Anti-fashion is considered radical creativity in a pparel. In the 1970s, radicalism dominated the culture, and fashion followed. With society still reeling from assassinations, riots, and civil unrest, young people looked at traditional retail as uninspiring, frivolous, and unimportant. Fashion was instead regarded as avant-garde and revolutionary. As a result, 70s Anti- Fashion was born and demanded open attitudes, „the freedom to wear what you want, where and when you want“, declared journalist Clara Pierre cited by Valerie Steele. The outcome was a mosaic of vintage clothes and worn out looks, a hodgepodge of garments and patterns from all over the world, a forging of new sexual identities. Although the 70‘s Anti- fashion was mostly politicised and not rooted in sustainability, I want to link it with the concept of circular fashion. Since the current industry and consumer rely on newness and trends, old garments or repurposing is inherently Anti-fashion. By only styling and photographing pre-used garments, I want to embrace the radical approach of AntiFashion in the sense of sustainability. It is a protest against society‘s overconsumption and -production of apparel.
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Patagonia Repair is a Radical Act. Whether you care about adventure sports, the fate of the natural world, or pure brand maintenance and business success, Patagonia, Inc. is one of the earth‘s most interesting and inspiring companies. For almost forty years, its reputation for unsurpassed high quality, maverick innovation, and long-term environmental responsibility has put it in a class by itself. And everything flows from Patagonia‘s founder, Yvon Chouinard. His creation myth is now an American business legend. As a child, he moved with his father, a French Canadian blacksmith, and the rest of his family to Southern California in the 1950s with little English and less money. He escaped into mountain climbing as a teenager and by his early twenties was among the best climbers in America, making famous first ascents of a number of notorious faces. When he decided he could make better climbing tools himself for less money and when his fellow climbers agreed and clamoured for more, a way of life became a business. Some forty years later, Yvon Chouinard still summits peaks around the world, though he now spends more time surfing. Patagonia still makes exceptionally high-quality things, only it now earns more than $250 million a year from worldwide sales, and Chouinard is able to leverage his concern for the natural settings he‘s spent a lifetime enjoying. His resolve to minimize Patagonia‘s impact on the environment has led the company to 16
make its famous fleeces out of recycled soda bottles and to donate at least 1 percent of its revenue each year to environmental causes, among many other things. I read Yvon Chouinard‘s book Let My People Go Surfing, to educate myself about sustainable practice in the fashion industry, and gather information for my project. The book explains how his business and environmental views have evolved in decades marked by an intensifying environmental crisis. It‘s divided into eight chapters, which detail how his company‘s philosophies are to be understood, reflected, and lived in various parts of the business: Product Design, Production, Distribution, Marketing, Finances, Human Resources, Management, and Environment. For my project, I concentrated on Product Design, which covers, among other things, Patagonia clothing‘s repairability. The company‘s Reno warehouse has the largest garment repair facility in North America. It has an archive of nearly every fabric and trim that they have ever used. Some of their larger stores have the ability to also do minor repairs and you can find videos on the web page that teach how you can fix the product on your own. Patagonia wants to make it easy for everyone to wear a product for as long as possible. On the following pages, I will explain the basic approach of Repair is a Radical Act, and why I adopted repair in my concept. 17
„As individual consumers, the single best thing we can do for the planet is to keep our stuff in use longer. This simple act of extending the life of our garments through proper care and repair reduces the need to buy more over time- thereby avoiding the CO2 emissions, waste output and water usage required to build it. Why is repair such a radical act? Fixing something we might otherwise throw away is almost inconceivable to many in the heyday of fast fashion and rapidly advancing technology, but the impact is enormous. I tell you this as CEO of a clothing company that, despite a deep commitment to responsible manufacturing, still takes more from the earth than it returns. We live in a culture where replacement is king. We do routinely fix big-ticket items, like cars and washing machines, but primarily it’s easier and cheaper to go buy something new. There are other reasons to avoid repair, including labels warning that repairing a product on your own will void the warranty, or the lack of access to the information and parts necessary to repair something ourselves. These conditions create a society of product-consumers, not owners. And there’s a difference. Owners are empowered to take responsibility for their purchases- from proper cleaning to repairing, reusing and sharing. Consumers take, make, dispose and repeat- a pattern that is driving us towards ecological bankruptcy. To be clear, the act of buying itself isn’t the problem (although it’s hard not to see the craziness around our biggest shopping days has gone too far). After all, our lives depend on a wide variety of products produced in a way that hurts the planet- including Patagonia’s- and that’s not likely to end anytime soon, no matter how much work we do to reduce our impact. What’s the antidote? Making a dent in our collective consumption footprint will require shared responsibility between companies that make things and customers who buy thembut businesses must act independently. At Patagonia, we work hard to make high- quality, responsibly sourced clothing that lasts for years and can be repaired- and we guarantee it for life. We operate the largest garment repair facility in North America (we’ll do more than 40,000 individual
repairs this year) and we’ve trained our retail staff to handle the simple repair jobs (which total thousands more). This holiday season, we’ve partnered with iFixit to publish more than 40 free repair guides for Patagonia products on our website. We go to great lengths to provide our customers with opportunities to fix their gear themselves, find it a new home or recycle it if necessary. As part of the transaction, we ask our customers to use the tools we provide to decrease the environmental impact of their stuff over time by repairing it, finding ways to reuse it, recycling it when it’s truly ready. By buying only what they need, customers can reduce their overall consumption in the long run. A purchase becomes an investment that saves money- and helps save the planet- over time. But this is far from a trend. While some companies, like Ricoh, DeWalt, Caterpillar and Lenovo have made repair and remanufacturing a staple of their business model, most companies still make cheap stuff that breaks and must be replaced quickly. Customers conditioned to seeking out the best price buy into this model and keep the cycle going. And too often, products come without repair instructions- and in extreme cases companies actively thwart repairs by inventing new kinds of proprietary screws and other nonsense. This should be considered unacceptable given the environmental crisis we face- but instead, planned obsolescence is celebrated as smart marketing.“ (Let My People Go Surfing, p. 83) As we see more substantial environmental degradation every year, the fashion ecosystem, meaning consumers and the industry, must reverse the current course of overconsumption and -production. Lengthening our clothing‘s life through repair reduces the consumption and production and, therefore, decreases their carbon footprint. My styling and photography will only portray pre-used and repaired clothing and highlight the imperfections that can expose something beautiful and very personal. It tells the life story of the garment and reflects the relationship to the wearer. By doing this, I aim to inspire my project viewers to repair and reuse rather than further damage our planet by producing unneeded clothing.
Let My People Go Surfing, „Don‘t Buy This Jacket“ ad, by Patagonia
„It‘s a radical thought, but change can start with just a needle and thread.“ Ivon Chouinard, Let My People Go Surfing, 2005
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Thriftcore
Thriftcore is a project by Indie Magazine which is largely influenced by avantgarde hypes in the fashion circuit, such as Vetements or Gosha Rubchinskiy: Looks that, at first glimpse, seem as though they were worn out, ill-fitted and randomly thrown together. If you dig deeper, you will come to find each and every piece to be very rich in detail, and in meticulous coherence with the model and its surroundings. High fashion masquerading as Low Fashion. A radical understatement to subtly exclude the average customer, creating a new form of exclusivity. On a budget of 20 Euro and a four hour timeframe, Indie Magazine challenged models, artists, musicians, students, and protagonists of Berlin‘s creative scene, all of which feel inspired by the aforementioned hype-labels – to shop an outfit solely consisting of second-hand garments. Through their personal take on the challenge alone they were able to prove how thin the line between High Fashion and thrift store or flea market apparel can be. TV shows such as the German Shopping Queen pretend to encourage individual style while simultaneously promoting Highstreet mass consumption. Who thinks style is something you can simply shop, is clearly wrong: The act of purchasing something new has always been the dullest form of taking part in fashion. The idea of Thirftcore was highly inspiring to me, and I‘m going to challenge myself only to use pre-worn clothing within my project. The styled and photographed second-hand clothing will attract the audience to unique looks, which will stand out from trend-driven fashion. In this way, I want to reduce the demand for fast fashion and promote sustainable consumer behaviour. 20
A conceptual fashion spread.
Photographed by Fritz Schiffers, Styled by Tim Heyduck
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Le Kilt A timeless uniform, hand-crafted. Le Kilt is a fashion brand that creates traditional classic pieces inspired by founder Samantha McCoach‘s Scottish heritage—using small-scale manufacturers from across the UK. All garments are handmade using traditional materials. Le Kilt aims to act as a proponent of sustainability and introduces traditional craftsmanship to a modern audience. Adhering to sustainable practice, they further emphasise how wool‘s lengthy production process is often at odds with the finished garment‘s useful life. Repair increases sustainability; a garment‘s imperfections can expose something beautiful, something that can be passed down through generations as a timeless heirloom. By incorporating this into Le Kilt‘s brand narrative, they hope to increase consumer understanding ab22
out the importance of keeping a garment as long as possible in circulation. Le Kilt appeals to its customers to adopt sustainable purchasing behaviour by accepting their product‘s flaws after use and acknowledging its eternal beauty. Therefore, people are owning their products longer and eventually passing them on. Reading Le Kilts‘s manifesto and their approach led to my decision to direct my audience‘s attention towards circular fashion by also referring to clothing‘s eternal beauty. Only featuring pre-worn clothes and reusing them in a new context in my publication will point out their timelessness. Conclusively, it will guide my audience to purchase second-hand or use clothes over a longer period. 23
Two Woman Working towards a more sustainable and inclusive future.
Lidewij Edelkoort, Paris 1996
Lidewij Edelkoort is a Dutch trend forecaster who advises fashion companies and brands worldwide in their business and sustainability practices, focusing on textiles and circularity. Her book A Labour of Love introduces the new makers in contemporary design, previewing a future of responsible production, circular thinking, ethical practice, and organic aesthetics. It offers insight into how designers give shape to materials and processes, from reviving the loom and recycling waste to social inclusion and growing matter. Their conscious philosophies will change our world with careful and considered choices that can ultimately reconnect us to nature and guide us towards a better time. The book demonstrates that circular fashion is a relevant and vital theme discussed in 2021. My publication‘s concept of circularity provides an additional solution to slow down the pace of overconsumption and -production accompanied by the future vision of Li Edekoort. Caryn Franklin is a multi-platform broadcaster, fashion and identity commentator, and activist. In nearly four decades of practice, Franklin has explored the politics of image and selfesteem through commercial, educational and activist positions, with projects involving international design names and everyday users of fashion, as well as refugees in battle zones, workers in free-trade-zone slums, mental-health and body-image experts, MPs, and government. Her foresight of inclusivity is inherent in my narrative. My garments will not be presented through models who comply with the current beauty standard. Instead, I‘m using people who emphasize a personal connection to the garment they are wearing, regardless of skin tone, body type, gender expressions, or age.
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28 François- Marie Barnier
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32 Kinfolk
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François-Marie Banier
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Written and painted photos.
The following text was written by François-Marie Banier, published by Gallimard on the occasion of the release of the exhibition catalog FrançoisMarie Banier which took place at Maison Européenne de la Photographie in Paris from the 26th of March until the 15th of June 2003. „I started by writing on my photographs, encouraged by certain masses of white and black that I found inside other forms and that suddenly had something to say. With my pen and then my brush I entered into the photographs, which have their own life, and I continued. I extended the forms and invented others, I linked them up, made them converse. A whole set of interrelations came to life. The photograph’s “self”. Whatever that is. Take the most banal image. Three posts in the snow in Saint Petersburg. Between the posts I wrote a few words about my life at the time. I thought it was these confidences that were interesting, but in fact it was the rows of words marking out the snow. They showed how the introduction of penstrokes can shift a photograph into anot-
her world of forms. One night, encouraged by the new life that my writing breathed into the print, I took a photograph showing Horowitz at the piano and, going from top to bottom, wrote the story of our meeting, our friendship and the things we did together, doing so without calculating the size of the black written areas, leaving those to chance. Behind these new lines of staves, this deeply mysterious pianist regained the distance that he always maintained between himself and the world. Every painted photograph is like a new beginning. A struggle of forms inspired by the subject, inspired in me by the moment when the photograph was taken. What has happened to the memory? And, most of all, how does it dream of itself? Photographs have their own life. Under my brush, they are like those people who turn up at your home and start telling you about their loves, their ideas and their nonsense and who sometimes, too - thank God - burst out laughing. But the last word on this subject is not mine. It is with the person looking at my painted
photos.“ (François-Marie Banier, exhibition catalog, June 2003, Paris) I have been an admirer of François-Marie Banier‘s painted photographs for many years. The added text and drawings are talking about very special moments and memories in his pictures. It‘s a very intimate and personal way for François-Marie Banier to communicate with his art viewer. I want to take up the painting of photography to illustrate the wearer‘s individual relationship to its garment. I‘m going to use a throwback image of somebody wearing a clothing piece a couple of decades ago and allow them to write and draw the story of the moment. Afterward, I will rework the image in photo shop to include it digitally in my publication. The drawings will go along with my narrative of a child‘s perspective on dressing up, creating, and painting a fantasy world inspired by these clothes. This childlike aesthetic runs like a continuous thread through my publication and will also be shown through my photography and styling concepts.
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The power of white space.
Kinfolk is an independent slow lifestyle magazine published by Ouur, and it is based in Copenhagen. The magazine covers home, work, style, and culture, promotes quality of life, and connects a community of creative professionals from Denmark to Tokyo. The magazine became my primary source of inspiration regarding my graphic design once I decided to work towards a minimalistic aesthetic with a lot of white space. Although Kinfolk appears simple, it is artfully arranged, and the magazine is home to beautiful graphics and writing. No part of this magazine is left undesigned. I want to bring this level of perfectionism to my publication. My motivation for having an aesthetic that comes with a lot of white space is to guide the audience‘s attention to the meaningful content on my pages (often vibrant graphics and images). Information and design overload would confuse the audience and divert their attention to less essential parts. Consequently, my publication needs to have a lot of white space, as my narrative itself is already vibrant and exciting. The styling and featured clothes will be very colourful and unique. Additionally, I have to consider the painted nostalgic photography, which is also striking. Pairing the mentioned eye-catcher with Kinfolk‘s calming aesthetic will balance out the composition of my magazine visually.
Graphics by Kinfolk Magazine, Photography by Danilo Scarpati
Kinfolk
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1 Typography
38 Typography Concept
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40 Try- out Pages
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Typography Concept
Font inspiration and choice.
Jezga is a brilliant, beautiful, and thought-provoking magazine that challenges the topic of stereotypes born from the shadow of Soviet years, which are often misunderstood. They help creative work from east Europe break free from these constraints, showcasing print and online projects to a broader audience. The 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. Besides, it would have taken the focus of the painted personal story. Therefore, I only concentrated on the fonts and their placement in Jezga. Mainly two fonts are used, which are called Arepo Roman and Monckberg Extra Light. The first one is featured in chapter headings and subheadings, and the second one primarily in graphic arts. Both have a high degree of recognition and are very expressive. For this reason, I‘m going to use a plain font for written text, like Minion Pro. In combination with the graphic style of Kinfolk Magazine and a lot of white space, I‘m designing my own visual aesthetic. I also looked at other magazines like 1 Granary and SSAW and designs found on Pinterest to gather more ideas. The following pages show their typography and my attempt to copy or try out similar fonts to see if they would work out for me. 38
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NEUE WORLD 40
FOR A GREATER REWARD LATER
2020
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Montréal, Québec, Canada
BluePearl.
Bleu Royal
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PICASSO 44
CLOSING
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CONQUISTA
PRAGMATICA WE‘LL HAVE CLEAN WALLS by Marcella Murray
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Céramiques TEXTE DE SUZANNE ET GEORGES RAMIÉ 49
These things take time. Photography Chloé Le Drezen Styling Roxane Danset
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54 Arcadian Rusticity
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60 Nostalgia
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Arcadian Rusticity
Arcadia has remained a popular artistic subject since antiquity, both in visual arts and literature. Images of beautiful nymphs frolicking in lush forests have been a frequent source of inspiration for painters and sculptors. Because of the influence of Virgil in medieval European literature, e. g. in Divine Comedy, Arcadia became a symbol of pastoral simplicity. European Renaissance writers (for instance, the Spanish poet Garcilaso de la Vega) often revisited the theme, and the name came to apply to any idyllic location or paradise. Unlike „utopia“, which Saint Thomas More innovated by authoring his book Utopia, „Arcadia“ connotes not a human civilization, yet rather a spontaneous result of a life lived naturally and thus not corrupted by civilization. The land of Arcadia is pictured in paintings from Titian‘s Concert Champetre to Poussin‘s Et in Arcadia Ego. But it also seduces modern art. Matisse painted some of the most ecstatic of all arcadias. His paintings Dance and Music are arcadian revels. Until today Arcadia has never really vanished. A dream of unspoiled nature and rural idyll. In the referenced images, the photographers hark back to Arcadia‘s land. Just like in the past, they create a pastoral picture of untouched nature 54
The idyllic vision of unspoiled wilderness.
and rustic landscapes. Romantic figures in immaculate outfits roam the hillside, climb the trees, and cool down in the refreshing water of a gentle river. The use of identical visual elements today and in the former art movements, portraying Arcadia, becomes apparent - such as luminous distance, soft colours, and carefully considered arrangements. In addition, the unimposing photographic style and unassuming angles are comparable to the painter‘s used perspectives in their artworks. The similarities mentioned above, linked with the technological progress of photography and the contemporary context of style, allow the photographers to produce a modern dreamscape of Acardia. Greatly inspired by Tom Johnson, Stef Mitchell, and many other artists, I will implement their photography aesthetic in my project. Modern Arcadia perfectly suits my narrative story of a child‘s imagination and fantasy, where nature is pictured as in a fairytale. Moreover, I want to remind my audience about the past beauty of nature. The photographed locations will be contrary to our reality, where arcadian landscapes mostly disappeared due to the world‘s environmental degradation, caused by the fashion industry.
Photographed by Morgan Hill-Murphy, Styled by Maya Watanabe
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Photographed by Tom Johnson , Styled by Unkown
Photographed by Tré & Elmaz, Styled by Nayaab Tania
Photography by Stef Mitchell, Styled by Alex Harrington
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oes not the pleasantness of this place carry in itself sufficient reward for any time lost in it, or for any such danger that might ensue? Do you not see how everything conspires together to make this place a heavenly dwelling? Do you not see the grass, how in color they excel the emeralds ...? Do not these stately trees seem to maintain their flourishing old age, with the only happiness of their seat being clothed with a continual spring, because no beauty here should ever fade? Doth not the air breathe health which the birds (both delightful both to the ear and eye) do daily solemnize with the sweet consent of their voices? Is not every echo here a perfect music? And these fresh and delightful brooks, how slowly they slide away, as, loath to leave the company of so many things united in perfection, and with how sweet a murmur they lament their forced departure. Certainly, certainly, cousin, it must needs be, that some goddess this desert belongs unto, who is the soul of this soil, for neither is any less than a goddess worthy to be shrined in such a heap of pleasures, nor any less than a goddess could have made it so perfect a model of the heavenly dwellings.
Photographed by Tom Johnson , Styled by Elizabeth Fraser-Bell
Lope de Vega, Arcadia: Prose and Verse, published 1598
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Nostalgia
Timeless beauty. 60
In the face of current stresses tied to the unknown, people‘s interests are shifting — and many more are turning toward nostalgia for a sense of comfort, normalcy and familiarity. „The feeling of a lack of control is one of life‘s biggest stressors. Because so much is out of our control at the moment and there is so much uncertainty, we resort to something that we can control, like our memories of the past,“ explains behavioral psychologist and author of The Psychology Fashion Carolyn Mair. „People have always looked back to the golden olden days because it makes us feel good to do so. We associate nostalgia with positive feelings and experiences, and we want to relive those feelings during times of upheaval.“ In May 2020, The Sunday Times Style printed a five-page-spread interview with Naomi Campbell, accompanied by archive shots from an
early ‚90s editorial shoot by Herb Ritts. Far from looking outdated and irrelevant, these throwback images feel like a breath of fresh air, a break from our usual sense of information overload and obsession with the next big thing. While we can feel a certain level of anxiety around needing to be cutting-edge, using archive imagery arguably takes this out of the equation and permits us, as creators and consumers, to simply enjoy the escapism of exploring a world and time very different from our own. I will take my audience with me on a time journey to nostalgic memories captured in old photographs. These photographs are a record of a moment in time and fashions from different decades. Hence, I‘m taking a step back from recent trends and the forward-facing fashion industry and instead concentrate on nostalgia. Historically, nostal-
gia is something that has been placed at odds with notions of youth and innovation but far from just being a vehicle for warm fuzzy feelings, it offers the opportunity to build new working ways. Using a nostalgic photograph representing the clothing piece worn in the past and resurface the clothing piece again in my new photography context will ultimately create a true sense of timelessness. Regardless of the item‘s age, it maintains its value, preciousness, and relevance. This understanding of clothing will encourage a change in the way my audience is consuming fashion. I want them to look at these ‚old‘ pieces as a source of something ‚new.‘ With an undeniable need for a shift in our old consumption habits, they will be able to be just as inspired by fashion that has lived a life that predates a purchase today. 61
Photographed by Tom Wood
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6 Styling
67 Styling Concept 64
68 Grace Corby
72 Hill & Aubrey
74 Ib Kamara
78 Michelle Li
80 Juan Camilo Rodríguez
84 Makeup
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Styling Concept Redifing the concept of style. Fashions fade, style is eternal. With this sentence, Ives Saint Laurent refers to something greater than fashion, an overarching quality that endures across generations and is inherent in style. If fashion is reflective of rapidly cycling trends with a fickle connection to an individual and their wardrobe, style is a suggestion of something deeply resonant, which stands the test of time through its presence in everyday life and value in occasional wear. Consequently, style doesn‘t need to be limited to an aesthetic application or social influence. Instead, it may be considered a sustainable and measured approach to garment production and consumption. I‘m going only to feature pre-loved clothing, as stated previously. Choosing used items over newly produced pieces will, therefore, influence and define my styling by sustainability. As also mentioned before, my narrative will detach colors, patterns, and shapes from mass-market fashion trends, standards, and norms. I will create a childlike fantasy world, which will attract the audience to unconventional but innovative combinations of used garments. To conclude my styling concept, I will pair vintage clothes with my narrative and therefore create timeless looks influenced by sustainability, not by current fashion. The following pages feature stylists, which additionally inspired my concept with their vision on styling.
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The queen of vintage.
Grace Corby
I came across Grace Corby on Instagram and was instantly taken with her impeccable style and vintage vision. She is a master of tonal dressing and manages to pull together the most unlikely combinations and make them work. Another thing I admire about Grace is her use of colour and texture throughout her styling. Within my photography, I will embrace her authentic, feminine, and playful looks. 68
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Photographed by Chloe Nour, Styled by Grace Corby, Illustrated by Carla Uriarte
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Hill & Aubrey
A family affair.
The collective work of Hill and Finnigan seems aesthetically bound to the United Kingdom. They appear uninterested in current fashion trends and prefer to photograph the unique and personal instead. “We’re really influenced by our own lives, families and relationships… It’s great to be in a position to celebrate people and things that traditionally wouldn’t be associated with fashion.” I will adopt this intimate and fantastical idea of style and add this to my fashion a esthetic.
Photographed and Styled by Hill & Aubrey
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Ib Kamara Gradually shifting attitudes. Ib Kamara purposefully explores and subverts stereotypes. His creations are distinctly cross-cultural and explore masculinity as well as menswear in a rule-free way. Previously mentored by Buffalo stylist Barry Kamen, Kamara is carving out his own futuristic signature whilst paying homage to stylists of the past. I will imitate the balance between his curated looks and bold artistic direction in my visual representation. 74
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Photographed by Kristin-Lee Moolman, Styled by Ib Kamara
Michelle Li A fashionable mix and match. Michelle Li is a stylist, writer, and editor based in New York City. Currently, at Teen Vogue as the fashion and beauty editor, she handles all creative direction, styling, and feature writing for all fashion and beauty editorials. She uses various textiles that differ in clour, fabric, and pattern to layer and build on an outfit. I will incorporate her aesthetic of multiple fashion styles defined by recent decades within my project.
Photographed by Emily Lipson, Styled by Michelle Li
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Juan Camilo Rodríguez
Modern dandy chique.
Juan Camilo Rodríguez is a Colombian fashion stylist and creative consultant based in Barcelona. Fantasy, acceptance, and diversity are present amongst all his works. Besides his distinct aesthetic of modern dandy, he refers to his past life in Colombia and its culture by creating nostalgic and romantic looks. I will take over his style and create futuristic fairytales paired with gender neutrality, non-binary, and homoeroticism recognition. 80
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Photographed by Iñigo Viñas, Styled by Juan Camilo Rodríguez
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I will not use makeup in my publication and instead photograph my models in an all-natural look, like Clifford Jago. It allows a much more free approach, without using proper makeup and hair, I am left to control every element of the image. Furthermore, I can catch the moment in its realness by allowing the models to appear completely natural. Many shoots in the industry seem to embrace the natural look, but makeup and hair play a big part in perfecting this look. Without all the discrete touch-ups, my work demonstrates that models look beautiful as they are.
Makeup
Photographed and Styling by Clifford Jago
No masquerade to hide.
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6 Print
88 Printing
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Preview 3D printing preview of final publictaion.
Printing
Making a less wasteful magazine. There’s no escaping it- publishing print magazines necessarily means using natural resources and creating some degree of waste. But technological and social advances mean that today, any harmful impact on the environment can be significantly reduced and sometimes even turned into a net benefit. I will consider the following sustainable production methods for printing my publication. To use recycled, post-consumer paper stocks is one of the most important aspects of sustainable printing. These are some specific brands of paper stocks some magazines use. Cyclus Offset: 100% recycled, uncoated, natural white offset paper used by Money, Fashion, Power. Rolland Enviro: 100% post-consumer paper made of fibers from recycled paper and cardboard, used by Beside. EnviroTop: 100% recycled, matte-coated paper used by Offscreen. Additionally, I will try to print as regionally as possible to support local businesses and prevent pollution by reducing packaging production and carbon emission as there is no need for transportation. It could also be worth checking with my printers to see if there are more waste-saving styles. For instance, Money, Fashion, Power was created in a dimension with the least amount of waste offcuts (170 x 240mm). If so, I will choose to publish my magazine in the format with the least wastage.
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6 Test Pages
92 Test Chapter
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100 Lebensfaden
102 Process
104 Cowboy Themed
106 First Attempt
114 Mock- up
116 Covid- 19
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IT WILL ALWAYS REMAIN A MYSTERY HOW MUCH TREAD OF LIFE IS LEFT FOR KNITTING
L E B PHOTOGRAPHED AND STYLED BY PAULINE LISCHKE
E N S F A D E N
THREAD OF LIFE IT WILL ALWAYS REMAIN A MYSTERY HOW MUCH TREAD OF LIFE IS LEFT FOR KNITTING. YOU HAVE NEEDLES IN YOUR HAND, YOU MIGHT CHANGE THE PATTERN, THE TECHNIQUE, OR THE TOOL. BUT YOU CANNOT FROG, EVEN NOT A BIT. WE CANNOT ALWAYS CHOOSE THE COLOR AND THE QUALITY OF THE WOOL CHANGES, SOMETIMES WHITE AND SOFT – SOMETIMES GREY AND SCRATCHY. YOU OFTEN DROP A STITCH, OR IT FALLS WITHOUT YOUR MISTAKE AND LEAVES ONLY WHOLES BEHIND. SOMETIMES A THREAD RIPS APART, AND ONLY A BIG KNOT FIXES IT. IT ALSO HAPPENS THAT SOMEBODY THROWS THE KNITTING THINGS INTO THE CORNER. WE ALL ARE KNITTING PARTS OF OUR THREAD OF LIFE EVERY DAY. SOME ARE LOVING IT AND ARE CAREFUL WHILE KNITTING. ONE RECOGNIZES HOW MUCH FUN IT IS FOR THEM TO SHAPE THEIR LIFE’S WORK. OTHERS FIND IT LABORIOUS AND DO IT UNWILLINGLY. ONE RECOGNIZES HOW MUCH EFFORT IT IS FOR THEM TO TAKE UP LIFE EVERY DAY. SOME ARE CHOOSING A COMPLICATED PATTERN, OTHERS A SIMPLE ONE. OFTEN IT IS COLORFUL KNITWEAR, SOMETIMES IT IS DULL. - BY MY GRANDMA
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Lebensfaden
My grandma sewed the black dress with the white-collar herself and wore it the first time to her silver wedding anniversary on 1st September in 1989. When I talked to her about the dress, I realized that she associates way more with it than just the memories made on this day. It represents 25 years of marriage, as well as the many years that followed. She hopes that someday one of her grandchildren will wear the dress on a special day, make new memories with it, but also remember her. She shared these memories and hopes with the viewer by adding writing and drawings to the photograph. In my test chapter, Moritz took over the heritage of my grand100
ma. He is my brother and is the model presented in the photographs. When we were younger, we dressed up and played together with the clothing items stored in the wooden chest. We became persons in another time or reality. Wearing the golden and silver blouse from my mum made him a knight fighting for control of herds and land. However, this time he became a cowboy wearing my grandma‘s dress in a contemporary fashion context. The rest of the outfit is put together with clothes my family or I already owned. I looked at styles from previously mentioned stylists and contemporary fashion looks inspired by cowboys before displaying the
In english: Thread of life
dress and other suitable clothing on the floor. After that, I started to combine all clothing pieces in different outfit options until I found my final look. I did not collage my outfit beforehand as I had to work with the available clothing from home. Apart from this, I already knew my model had to be my brother to emphasise the personal connection to my grandma‘s heirloom. The location is a meadow near my house, which I knew would go along with my research of arcadian landscapes. Eventually, I waited for a sunny November evening to photograph my brother in mystical lighting, strolling over the hillside, redefining our grandma‘s dress and heritage. 101
Process Development of test 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: Asking them to paint, write on the photograph to tell the story of their shared past or about the moment photographed, to my audience Step 7: Scanning of the painted, written photograph Step 8: Reworking the painted, written photograph in photoshop Step 9: Including the painted, written photograph into the InDesign document Step 10: (Translating the written text which might be in another language) Step 11: Adding graphics, typography, text Step 12: Asking the original owner to borrow or use the clothing item for the new context photograph Step 13: Considering the styling Step 14: Looking for clothing items which I already own or friends and family to complete the look Step 15: Purchasing of additional second-hand clothing items to complete the look Step 16: Considering the location Step 17: Exploring the surrounding area for a location Step 18: Considering the model Step 19: Researching, street casting a model or using a model which also has a personal connection to the clothing item or choosing the original owner of the clothing item Step 20: Taking the new context photograph Step 21: Editing the new context photograph in photoshop Step 22: Including the new context photograph into the InDesign document Step 23: 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.) 102
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Cowboy Themed
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Specialized styling research.
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First Attempt Dress, location and typography. The following pages show my first attempt to work with the dress, location, and typography, which I then improved in my final test chapter.
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R I OMNIHITAM AUTE EXCERITATE CUSAERO VOLUPTA EL IS AUT VOLUPTUSAM AUTE NONECESE ES NISFH
MOT Z 108
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TEMOLUPTAS ES ULPARIB E
SOLORRUMET DOLUPTAE COMNIS MAXIMIN
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SOLORRUMET DOLUPTAE COMNIS MAXIMIN IENIMPERIOLO VS ET
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Mock-up 114
Model of publication. 115
Guidelines for photoshootings.
Covid-19
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Step 1: I will ask 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 will be prepared to have substitutes on hold for all roles on shoot should someone fall ill in the run-up to or on the day of the shoot Step 3: I will ensure that sanitising kits and an anti-bacterial solutiona are available on set Step 4: I will wear face coverings and gloves as well as my models when not being photographed Step 5: The models can bring their own makeup if preferred (but probably not needed because I don‘t want to use makeup in my photoshoot) Step 6: I will ensure that only essential personnel is in attendance at the shoot to maintain the best practice of 2m distance between individuals Step 7: I will aim to shoot outdoors as much as possible Step 8: In the event of another lockdown, I will photograph my family members who live in my house
BY PAULINE LIS CH KE