Portfolio Research Dcoument 2.0
SOPHIE CORBETT PORTFOLIO RESEARCH 2 FASHION COMMUNICATIONS
BBRIEF RIEF Deriving from my exploration into androgyny and gender expression, the theme of my portfolio focusses on the lives of the Castrati choir boys of the Roman Catholic Church. As females were banned from singing and performing, the church resorted to the castration of young boys to preserve the prepubescent quality of their voices. The castrati boys were renowned for their angelic sound and youthful, feminine appearance. This therefore creates a link to my overarching brief regarding the notion of androgyny. As the Castrati grew older, many who were successful performed in the operas during the Baroque period. This time period will influence my styling choices and the aesthetic of my final imagery, with historical references evident through my choice of fabrics and silhouette. The men were vastly popular due to their unusual voices and attractive characteristics, which appealed to both men and women alike. There was a fascination with the anatomy and femininity of the castrato’s body, fuelling sexual desires within the imaginations of their fans. Today, this fascination with the portrayal of gender and androgynous expression is still evident and influential on fashion cultures. Each narrative will be directly influenced by the lifestyle and experiences of the Castrati boys throughout their lifetime, taking inspiration from historical documentation. However, to ensure contemporarity within the imagery, the styling and aesthetic will be slightly modernised. The shoots will be displayed in a strategic order, showing a timeline of their life and varying experiences.. With the term androgyny becoming more widely understood and displayed, my theme is culturally relevant in today’s society and the fashion industry. Futhermore, the trend of “Regencycore” is growing vastly popular, with designers, stylists and the average consumer taking inspiration from the trends displayed centuries ago.
DAZED
29/01/21 @grete.henriette
It was a coincidence that following my research into Baroque fashion, the trend “Regencycore” developed following the release of the Netflix original, “Bridgerton”. This has resulted in a surge in sales of corsets, gloves and pearls. With this, young designers tackling the gender binary - by creating period inspired pieces - are gaining the recognition they deserve. This piece could not have come at a better time for me, considering my inspiration stemmed from similar narratives. It opened my eyes to even more designers that I can gain inspiration from in regard to my own styling as I progress in the execution of my portfolio. I am particullarly inspired by the work of Grete Henri (shown left), Christopher Reid and William Dill-Russell. The historical reference is evident and clear, with the gender fluidity of each garment tackling the issue of the repression of queer and black individuals. This was prevelant during this period of time. This is what I also aimed - and still aim - to achieve through my portfolio. This will be made adundantly clear through my model selection and garment choices.
REGENCYCORE
Reading: “Four emerging designers serving you queer Regencycore fashion fantasy”, by Megan Wallace, for Dazed Magazine.
“The universe I’ve been recreating throughout my work gives marginalised communities the chance to relive history in my garments and express themselves in their own reality.” - Grete Henri.
@grete.henriette
“COGNISANCE” COGNISANCE @williamdill_russell
Dill-Russell’s work combines “gothic glamour” and “Victorian staples” in order to represent the history of the LGBTQ+ community throughout history. He explains that he designed a collection inspired by Fanny Park and Stella Boulton, a couple charged for “public indecency” after they were accused of “impersonating women” by wearing garments designed for females in 1871.
“As a non-binary person, I’m always interested to see the thread of my identity through history, not only to be able to argue its validity but also to feel comfort and affinity.” - William Dill-Russell.
“For something that is often so synonymous with the singularly female form, they can lend themselves to so many bodies; they’re such an adaptable piece in the way they can be shaped and laced. I really found them to be such a succinct way to say what I wanted to about my own gender and my own body and how I exist.” - Christopher Reid.
It was the work of Christopher Reid that I came across first during my research, while exploring contempory fashion inspired by historical references. His garments fall under the “Regencycore” umbrella. I was inspired by the “Victoriana” aesthetic of his pieces and the gender neutral qualities his fashion imagery upheld. His work celebrates all gender,s, shapes and sizes, making his brand truly diverse. This is something I hope to achieve through my own image-making.
@_christopherreid
SOFT soft SKIN skin LATEX latex
I came across the work of @softskinlatex on Instagram and felt deeply inspired by the erotic imagery of many creatives that had used their unique pieces. While latex was not a fabric used in the 18th century, the silhouette and textures clearly indicate inspirations from this era and the Baroque / Victorian period. While I may not be able to get my hands on the pieces themselves, I have been inspired to seek similar garments. Through this, I will be able to achieve a similar look, while adapting the design to suit my theme more effectively. I may create a similar style using alternative fabrics.
@centi..emanuele
“Through my photographic journey, I developed a strong interest in the search for identity (a mystery and beauty of what it means to make a portrait) and in the importance of finding one’s tuning. I think those are both at the core of what connected some of my latest projects to the LGBTQ+ community. The idea of shooting a series of studies for a portrait of Eurydice was inspired by Portrait of a Lady on Fire. The myth of Orpheus and Eurydice becomes an allegory for equality...”
Centi’s work is reflective of period art pieces through his use of editing, light and pose; collectively resulting in imagery that almost looks like a hyperrealistic painting. This month, during LGBTQ+ History Month, Vogue Italia sought artists of all mediums to explore the ways in which queer identity is being portrayed through the arts. I feel that taking a similar appraoch to my photography as Centi’s style, will allow me to portray my chosen theme both through styling and the photography technique itself. This may be best achieved through film photography.
Syling: Jack Shanks Assistant Photograoher: Fabio Scalici.
Photography by Emanuele Centi Vogue Italia
SHOOT SHOOT PLANNING PLANNING In this section, I will develop my shoot plans as described in my first research document. Some changes may have been made due to COVID-19 restrictions or the accessibility of models or garments. I will explain my model choices, posing, garment selection, and its relevance to the overarching theme and narrative. I will also include the images which did not make it into my final selection, in order to show the other variations I experimented with. These will be followed by the final images I selected as the strongest. I will identify which publications the images may be suitable for in industry.
0.1
0.2
0.4
0.5
0.8
0.9
0.3
model team
0.6
0.7
0.10
0.11
NARRATIVE ONE Narrative One I feel it is important to reflect on the different stages of the Castrati life, therefore, the first shoot will portray the initial procedure that deemed the boy a castrato. This involved castration. The young boy, aged between seven and ten, would be taken to “back-alley” surgeons, who gave them opium to reduce the pain and stress the procedure caused. However, this could also lead to overdosing and hallucinations. If the surgery was successful, they would be placed in a milk bath to clean and soothe the wounds. The styling of this shoot will be minimal, as the boys would have been naked during the procedure, however, reference to their Catholic faith and the Baroque period will remain evident, while maintaining a sense of contemporarity. I plan to use a gimp mask of sorts, to reinforce the idea of the surgery being sinister, while remaining cohesive with the erotic nature of my theme. As the boys were taken to “backalley” surgeries, I wanted to portray the darkness and uncertainty of the situation they found themselves in, as the boys would be mislead or blindfolded during the process. To visually represent the use of opium, I will use flowers in some shots, possibly covering the eyes. My editing techniques will also be represenative of this, as I plan to create a slightly blurred and dream-like image. Once styled, the model will be placed in a milk “bath”, as the child would have. been after surgery. Due to the nature of this shoot, I feel that the final images may be best suited to a publication like Antidote. They often include eerie and grotesque photography and explore darker subjects.
muipo opium
MODEL SELECTION: For this shoot, I have selected model 0.9 Chris Doubles. While my model is male, he enjoys expressing his femininity. By using models who identify outwith the gender binary, my portfolio will become more diverse and inclusive. This also ensures that my imagery falls under the umbrella theme of androgyny and will remain authentic. Chris was also recently signed by Tartan models. He will be dressed in garments similar to those shown right, with clear links to the narrative I have created.
varia
tions
varia
tions
FILM PHOTOGRAPHY To add to the variations of imagery from this shoot, I took some photos using a film camera to add a fuzzy effect. This continues on with my idea of creating a “dreamlike” and distorted image, as though we were seeing through the eyes of the young castrato, who would have been drugged and not fully aware of their surroundings. This also derived from the inspiration I gained from the work of Emanuele Centi, who often uses film to capture his portraiture.
FINAL IMAGERY FINAL IMAGERY
NARRATIVE TWO Narrative Two Taking into consideration the androgynous appearance of the Castrati, this shoot will be directly inspired by the Baroque period paintings of the upper class. This will directly influence the pose, composition and styling of these images, in order to create an authentic Baroque - yet contemporary - look. Due to their castration, the boys never developed all of the characteristics of a fully grown man, such as the deepening of the voice, body hair or even “masculine” mannerisms. Many of the Castrati boys even acted more like women, which confused others within the community in regard to their gender.
2
The styling will show direct influences from the fashion of the time, which will be adjusted to create a modernised look. This is represented through my fabric choices, such as silk and lace. To reflect upon the androgynous nature of the Castrati, I will combine the silhouettes and fabrics typically adorned by both males and females during the 18th century. This will include a Jabot frill collar - often worn by male opera singers - bloomers, white hoisery and bustiers (or stays). The model will be directed to pose and stand in a similar fashion to those shown in the paintings, this was typically sat very upright or in a flamboyant stance, to demonstrate their wealth and class. Due to the androgynous / feminine aesthetic of the styling of this shoot, I believe that the final imagery would be appropriate for the digital and print publication, Fucking Young! They feature predominantly male models in their photographic content, exploring erotic themes
MODEL SELECTION: For this shoot, I have selected model 0.1 Josh Macrae. Following the mash-up that I created in order to visualise this shoot, I felt that Josh was a close match due to his hair style and build. I have worked with Josh on many occasions, therefore, I know that he takes direction well and is very creative in his posing and facial expressions. This will make the shoot a lot easier as it may be a challenge due to having to shoot outside and at a distance. However, I still want to achieve a studio-like result regardless of this inconvenience.
varia
tions
varia
tions
FINAL IMAGERY FINAL IMAGERY
NARRATIVE THREE Narrative Three
The Castrati were described as “sacred monsters” by a select few, possibly men who felt threatened by the power the Castrati had over women and other men alike. Their appearance was mocked at times due to their abnormally long limbs, rounded bellies and often hairless skin.
3
This shoot will portray an exaggerated version of this description to create a contemporary image, which will be elevated by the use of photoshop in order to effectively recreate how a castrato may have appeared in the eyes of their enemies.. The styling will combine both elements of Baroque fashion, with pieces of modern fashion for a contemporary androgynous look. However, the inspiration will remain clear. I want to elevate the look with flamboyant makeup, this will also be influenced by the style of makeuo worn by women during the 18th century, with elements of drag. Again, I feel that this shoot would be most appropriate for Antidote magazine. The work of Xiangyu Liu - who is the editor of this publication - is often other-wordly and has an alien quality to the aesthetic. This is something I also aim to achieve with the final outcome of this shoot.
Marta M. Soldevilla
MODEL SELECTION: For this shoot, I have selected model 0.5 Jimmy Fitzpatrick. He is a very talented makeup artist and occasionally does drag. This makes him an ideal model for this shoot, as he will be able to create a similar makeup look to that shown in my mash-up. This will again enhance the diversity of my model team throughout my portfolio. Jimmy’s physical appearance is a close enough match to my mash-up, which will allow me to successfully recreate my vision in the final imagery.
varia
tions
varia
tions
FINAL IMAGERY FINAL IMAGERY
NARRATIVE FOUR Narrative Four
What was so attractive about the voice of the Castrati, was its clarity and the vocal range they could achieve. This made them highly valuable within opera houses, it was almost essential at the time that each opera house showcased a castrato performer in order to be successful. This shoot will reflect on this through symbollic styling, where I will use crystal and pearl accessories in combination with all white garments.
4
My styling will embody the Baroque trends through my selection of luxurious fabrics and accessories, again combining both masculine and feminine aspects of fashion derived from the period. I aim to create a photographic version of a Baroque portrait, therefore, I will experiment with varying landscape backgrounds created by landscape artists. This will also create a similar outcome to the posters which would have been painted for the opera’s advertisements. As I sought inspiration from the work of Emanuele Centi - whose work was featured in Vogue Italia - I would like to suggest that this shoot might be appropriate for their audience. I plan for the final imagery to appear very regal and sophisticated, comparable to that created by Centi.
MODEL SELECTION: Even though my theme revolves around white males, it is still important to show diversity in regards to my model team with the execution of my portfolio, regardless of the subject matter. Therefore, I have chosen to use Omer - model 0.4 - in this shoot. Like Henri, I hope that my imagery will visually inform others on my subject matter, while also tackling the issue of diversity and inclusivity. within the fashion industry
c l a r i t y DESIGNER: Grace Wales Bonner.
PHOTOGRAPHY: Philip Trengove.
Following further research, I came across this shoot by Philip Trengove, in collaboration with designer, Grace Wales Bonner. I aim to create a similar image to portray the theme of this shoot, which is the clarity and angellic qualities of the castrato voice. To me, the background is similar to that of a Baroque painting, through editing, I could create a similar effect.
varia
tions
varia
tions
EXPERIMENTING WITH BACKGROUNDS. “AUTUMNUS” by PAULA B. HOLZCLAW.
VARIATION TWO: GREEN COLOUR WAY. After experimenting with both orange and green colour ways, I have decided to go with the green as my backdrop was originally green, which I feel worked well in contrast with the garments. It also ensures my portfolio is cohesive, as I have used elements of green in other shoots. In the final imagery, I will reduce the speckle texture of the oil paint effect for a smoother finish.
FINAL IMAGERY FINAL IMAGERY
NARRATIVE FIVE Narrative Five It was common for men to be sexually confused by the Castrati due to their femininity and soothing voices, which caused fascination and experimentation with the same sex. There have also been documented stories regarding the Castrati dressing in gowns and wearing wigs / makeup to conduct affairs with married women. However, at times this confused the men who would flirt with the individual to then realise they were in fact a man. This shoot will explore this narrative using three male models (should restrictions allow it), one representing a castrato and the other two posing as infatuated admirers. The garments and accessories will again reflect the style of the Baroque period, however the model portraying the character of the castrato will be dressed hyper-feminine.
5
The model acting as the castrato will be adorned in feminine, luxurious fabrics and accessories, including a bustier and panniers to accentuate the hips under the silk skirt. Meanwhile, the other models will be stripped own to their “bloomers” and hoisery, which were worn as undergarments during this period. This will again add to the erotic nature of the shoot. As I have taken inspiration from the shoot showcasing the work of Grete Henri, which was featured on the cover od Dazed, my aim would be for these images to be suitable for this publication also.
I will be working with Mairii Brown to create a similar skirt to the image shown below. This will be achieved using a stay and panniers, this will sinch the waist and create the illusion of a fuller hip. For a more dramatic look, we will be using a satin fabric.
MODEL SELECTION: For this shoot, I have selected models 0.2, 0.3 and 0.10. To create a contrast with the hyper “feminine” garments, I wanted to use a masculine model as the focal point of this shoot, as I feel this will create a more contemporary image. I feel it is important to include models of all genders within my portfolio, therefore, I have chosen to use Emi Marshall and Sean Collie, who are both naturally very androgynous yet feminine in appearance. Collectively, I think they will work well together as a trio and will create an attractive, final image. .
GARMENT DESIGN
In preparation for this shoot, I have been working closely with designer Mairi Brown, to create garments that will allow me to successfully recreate my vision. She has designed stays, panniers and a bustle skirt in my colour palette. By using undergarments and pieces that were traditionally used during this time period, I will be able to create an authetic look through my styling. Through my accessories and choice of models, the contemporary element will be heightened.
RESHOOTING RESHOOTING Unfortunately, I was dissatisfied with the outcome of this shoot. The location was not ideal as it was busy due to the good weather., therefore, it was difficult to get the background without any members of the public becoming visible. This made my models uncomfortable at times during the shoot, therefore, I was unable to go ahead with my revealing styling concept. A quieter location will be used to ensure my model feels comfortable and less awkward. It was also very cold, which caused the models discomfort, which was evident from the pictures. I was unhappy with the composition of the group shots, therefore, I have decided to reshoot using only one model, as this will allow the focus to be on my styling and the garments produced by Mairi Brown. I believe that the feminine qualities of my narrative will still be evident.
re-s
hoot
varia
tions
FINAL IMAGERY FINAL IMAGERY
NARRATIVE SIX Narrative Six Similar to narrative five, this shoot will be sexually driven and show how the Castrati attracted both men and women. Just as the Castrati men dressed as women for sexual gain, women would also dress as men for other purposes. They were effectively disguised as a castrato, in order to be able to perform, which was forbidden for women at the time. I was inspired by the story of Teresa Lanti, who was said to be one of Cassanova’s many lovers. It was said that Cassanova was infatuated with a castrato singer and wanted to see his genitals due to his sexual curiosity, only to discover that the singer was in fact a woman.
6
The models will wear a combination of historically inspired garments with modern every-day clothing, this will add a contemporary twist. This will show a direct contrast between what is fashionably acceptable in present time, in comparison with the Baroque period; while reflecting on the ways in which current trends have been inspired by 18th century fashion. I feel that the images may work for either Dazed or Fucking Young! due to the aesthetic of this shoot. Imagery with my male model would work well for Fucking Young! as he will be dressed androgynously. The narrative would be appropriate for both publication’s audiences.
MODEL SELECTION: I had originally planned to use two male models and one female for this shoot, as my subject revolves around men. However, when I came across the twins, I thought that their androgynous and unique features would work well for this theme. Taking into consideration that women were also known to dress as Castrati in order to be allowed to sing to a crowd. This also shows that women were fascinated by the castrati men and often committed afairs with them as a result. Therefore, I have selected models 0.8, 0.9 and 0.11. To again increase the diversity of my portfolio’s model team.
A collage I made experimenting with combining baroque portraiture with contemporary photography. Adding an acrwylic, paint stroke effect over my imagery could create a similar appearance to the typical Baroque portraiture styles of the period.
varia
tions
FINAL IMAGERY IMAGERY FINAL
REFERENCES REFERENCES Christopher Reid – Edinburgh College of Art (2020). Available at: https://www.fashioncrossover-london.com/christopherreid-edinburgh-college-of-art-2020-i3333 Emauele Centi (2020). Available at: https://www.clusterlondon.com/emanuele-centi Jeffers, J (2021) ‘How the Catholic Church Castrated Young Boys and made them Sing’, Weird History, Ranker. Obsai, D.C (2021) ‘On Representation, Identity, and Change: How 20 Photographers are reckoning with LGBTQ+ History Month’, Photography, Vogue Italia. Seward, M (2020) ‘The CSM Grads Shaping the Future of Fashion Image’, Fashion, I-D. Wallace, M (2021) ‘Four Emerging Designers Serving you Regencycore Fashion Fantasy’, Fashion-Lists, Dazed.
SPECIAL THANKS SPECIAL THANKS TO MY MODELS: CHRIS DOUBLES @chrbl JOSH MACRAE @joshmacraee JIMMY FITZPATRICK @jimmyftzptrck OMER AHMED @omerxhmed RUARIDH MOLLICA @ruaridhmollica SEAN COLLIE @blisterpacc EMI MARSHALL @grayscale19 CAMERON HILLHOUSE @cameron_hillhouse ABBEY ELIZABETH CAMPBELL @h3artbr3ak_er EVE ROSE CAMPBELL @everosecampbell MARCO JAMERO @macjam_ TO MY LECTURERS: DAVID RENATO CAVALLARO THERESA COBURN A SPECIAL MENTION: MAIRI BROWN @mairibstitching
@soph.comms