Celine Fashion Research by Chittock22

BOOTCAMP PROJECT 2

COVER PHOTO PHOTOGRAPHER JUERGEN TELLER MODEL JOAN DIDION CAMPAIGN SPRING SUMMER 2015 DIRECTOR PHEOBE PHILO (taken from celine.com)

CONTENTS BRAND RESEARCH

THE TEAM

4 PROJECT OVERVIEW

86-89 FILMING CREW

6-17 BRAND BREAKDOWN

90-91 MODELS

CELINE CAMPAIGNS

BEHIND THE SCENES

18-25 SPRING SUMMER

92-95 BTS IMAGES

26-27 CRUISE

96-99 CAMPAIGN MOCK UPS

28-35 AUTUMN WINTER

CAMPAIGN FILMS 36-55 COMPETITORS CAMPAIGN FILM RESEARCH

THE OUTCOME 100-105 FILM STILLS 106-109 FILM BREAKDOWN

REFERENCES

REFLECTIONS

56-59 FRUIT ART

110-113 PUSHING BOUNDARIES

60-61 16TH CENTURY PAINTINGS

114-115 OUT OF MY COMFORT ZONE

62-63 FRUIT SYMBOLISM

116-117 REFLECTIVE OVERVIEW

BRIEF BREAKDOWN 64-69 BRIEF 70-71 MOODBOARD 72-77 SHOOT REFERENCES 78-79 MUSIC 80-83 FASHION 84-85 HAIR & MAKE-UP

A DIGITAL CONCEPT FOR A STRATEGIC BRAND PROMOTION My initial ideas for the strategic promotion is to do something that Celine has never done before. I want to make a campaign video for their Resort 2017 collection that would be marketed online mainly through social media on youtube, instagram, facebook and twitter. This would then also be distributed and covered by online websites and magazines. The concept derives from her collection being suitable for women to wear anywhere at anytime and so I want to push the concept further and say how a woman can be whoever she wants and be with whoever she wants whilst wearing the collection. I want to push the brands boundaries in terms of using a film and then put them out of their comfort zone by using both male and female models within the promotion.

Research Going Forward •Celine brand research •Competitors research •Celine resort collection • Plan the shoot • Recruit a team • Pick studio • Make brief

Celine Resort, 2015 Pheobe Philo (fashion.telegraph.co.uk)

BRAND BREAKDOWN 7

B RA ND I DENTITY ONION

ACTIONS

Appointed Pheobe Philo as creative director in 2008 after formally working with Chloe to retain their french heritage Releases three collections a year including: Spring/Summer Ready to Wear, Autumn Winter Ready to Wear and Resort. Uses a range of diverse models across all advertising in campaigns, instagram and on their website. Shoots campaign images with bare faced models, no make-up Posts provocative and empowering photos on social media, defying the rules and being fun whilst doing it (see examples below)

Uses the same photographer throughout the campaigns, loyal to Juergen Teller Shot their SS16 collection with unknown new models, helping to launch their career Posts seeminlgy disassociated photos of food like cakes and bangers and mash throughout the instagram for reasons that donâ&#x20AC;&#x2122;t seem certain, potentially just for the hell of it Shows all collections in Paris, keeping to their french roots

Brand Onion Model H. Posner Marketing Fashion Information Compiled From businessoffashion.com, celine.com, instagram.com, vogue.com, lvmh.com Images (round the brand onion) taken from Instagram

FONT HANNES FAMIRA

LOGO BRANDING & L ABEL

Images collated from: instagram.com, pinterest.com, tumblr.com and celine.com Text taken from: famira.com

BR A N D ST Y L E G U IDE

For the moodboard, I used images from the Celine archive as well as images that aren’t their own to give a picture of their style without just taking everything from their brand. I like to think the images I have chosen best represent the brand and maybe nods towards where they get their inspiration from. Although the brand is french and caters to french chic fashion, in a lot of their campaigns in the set design the location looks almost american, which is why I put in the vintage catillac to a nod towards their international consumer. They also used a car in a few of their spring summer campaigns and therefore it needed to go in to reference their usage of props with the collection.I put in the image of the woman on the beach because it has that cool vintage 90’s vibe, with the grained effect on the image that almost instantly reminded me of Celine. It has the right tone and colour palette and almost looks like something from their 1999 summer collection. The earring, shoes and main image are all from Celine images. I didn’t think I could find images that quite said Celine product wise without using some of their own images. I really like how stripped back everything is throughout their website and campaigns and think the moodboard reflects that. I then picked colours from all the photos used to come up with a brand style guide for the colours. Celine are a bit elusive with colour, but they mainly stick to neutral tones with a pop of primary colour every now and then, so I stuck to the neutral base for the colours on the side. For the text, in 2005 Hannes Famira was commissioned by the Studio Peter Miles to create a custom typeface for the corporate design of the French fashion label Céline. It is based on a typeface called Semplicità (1931), created for the Fonderia Nebiolo by Italian type designer Alessandro Butti, the head of the foundry’s Studio Artistico. The weights of the styles of Semplicità went from quite light to very heavy causing thick-thin contrast issues for the interpolated instances. So I decided to make visual corrections in the Semibold style and re-insert it as an in-between master. The third leg delivered an interpolation with the desired, subtle transitions of weight and contrast between Light and Bold.

P ROD UCTS

READY TO WEAR

Releasing three collections a year for Spring/Summer, Autumn/ Winter and Resort. The ready to wear collections harvest pieces from tailored suits, knits, trousers and feminine dresses, to slinky tops and easy staple pieces. At the moment they only offer womenswear and donâ&#x20AC;&#x2122;t have a menswear collection quite like Stella McCartney until she delved into menswear in 2015.

LEATHER GOODS

Celine are famous for their bags, whose design is copied endlessley across all markets from high street to designer. Alongside their bags they also offer leather wallets and purses, card holders. Through the bag collection they have styles including: Big bag, Clasp, Classic, Luggage, Belt, Trio, Cabas, Clutches and more. Embedded with the Celine logo, these bags range from thousands of pounds and are the companies best sellers out of all their ranges. As well as a staple design, the bags are the least advertised out of all their collections potentially because they donâ&#x20AC;&#x2122;t need to market them to sell as well as they do everything else they make.

FOOTWEAR

Celine offers a range of footwear that include lines of: pumps, sandals, boots, flats and sneakers. Their most reason collection hosts a number of furry shoes, sock boots and sock like pumps. Footwear is arguably Celine as a brands most creative and unique outlet, although they hold similar generic styles to their competitors, the size of the heel and the way the leather sits and the way theyâ&#x20AC;&#x2122;ve been designed differes ever so slightly keeping to the Celine brand and being unique within the market.

ACCESSORIES & JEWELLERY

Through the ranges of accessories they offer: sunglasses, bracelets, necklacesses, earrings, and brooches. Within these they also offer an alphabet collection, this could be just for this season of clothes or maybe its something thatâ&#x20AC;&#x2122;s introduced all through the year as a stand alone collection for jewellery. Earrings seem to be a staple for Celine in all of their campaigns they utilise earrings as a staple piece either on their own with just the models face or as part of a whole ensemble.

Product Images Celine.com December 2017 13

Images (left to right): Unknown, pinterest.com Olivia Palermo, oliviastyle. blogspot.co.uk Victoria Beckham, vogue.com Sienna Miller, Elle.com 14

CELINE CUSTO M ER PRO FI LE

Age 25-60 with an average age of 42, mostly Generation X and Baby Boomers Gender Female Occupation Something creative, potentially business related Social Class Upper or Middle class, with a highly educated background

OLIVIA PALERMO Age 31 Occupation Socialite Nationality American Education American University of Paris

VICTORIA BECKHAM Age 43 Occupation Business woman Nationality English Education Laine Theatre Arts

SIENNA MILLER Age 35 Occupation Actress Nationality English Education Lee Stratsburg Theatre and Film Institute

The target market for Celine is mostly mature women who want to identify with what Celine represents itself is as a brand: elegant, modern, minimal and chic. “I like the idea that at Celine we attract a very varying group of women. They are all different, but with common threads of an appreciation for clothes that suggest something new but made to last for beyond faults and fashion.” - Pheobe Philo She wants her customers to own a wardrobe from Celine that will seem still fashionable and chic after several years no matter what trends come and go. Obviously, the only comminality among customers whom Celine aimed at is that they have substantial amount of money to invest in luxury fashion. After all, a Celine silk shirt cost more than £1,100. They belong to uppermiddle class to upper class and most likely has some kind of higher education.

C R E AT IV E

F E MIN IN E

F UNCTIONAL

When it comes to where Celine sits among other brands, I wanted to think of ways to define the brands that would give me a sense of Celine creativally. So instead of going for price and generic words I wanted to go for how the collections and brands acted with: functional, creative, feminine and original. I put them next to brands that I would say were their competitors as well as throwing some brands in there that maybe aren’t in direct competition like Acne and Christopher Kane just to show different brands that are doing something different and to show the contrast of what Celine are doing vs them. I placed Celine in the creative and feminine section because I think after looking into them and making the brand identity onion these key words sum them up best.

In terms of what i’ve learnt from this exercise and what I can take forward into creating something theoretically from the brand it’s clear that they already do feminine and creative. But to push the brand further, it needs to be more original and that can easily be done by making a film for them as they have never done a film before and neither have a lot of the brands in the map. I’m not sure whether I could make Celine more functional as a brand so in terms of pushing their boundaries, I’m going to have to push them being feminine by maybe introducing some masculinity by either featuring a man or having the women models act more masculine or somehow introduce something other than femininty to their branding, without losing the essence of Celine.

ORIGINAL

Celine Fall/Winter 2016 by Juergen Teller (vogue.com)

Celine Resort, 2015 Lookbook Creative Director, Pheobe Philo (vogue.co.uk)

C A M PA I G N S 19

CAMPAIGNS

Celine Spring Summer 2017 by Talia Chetrit Model Lena Hardt (wowberlinmag.com)

CELINE SPRING SUMMER 2017 Designer: Phoebe Philo Photographer: Talia Chetrit Hair Stylist : Jimmy Paul Makeup Artist : Fara Homidi Model: Lena Hardt

I think what Celine as a brand does really well and with Pheobe Philo at the helm, is representing the youth and femininity of the french girl. She also just uses weird objects and makes them look fashionable in a very minimal way. This campaign is pretty leading in a sense that it makes you think of rubbish and potentially a link to sustainable fashion. I wouldn’t pin Celine as a commonly known sustainable brand like Stella McCartney or H&M’s sustainable effort but this could be a push in that direction. This image was partnered with fresh faced girls laying down in leaves and an older woman with a bin bag back drop. What I love about this shot is you don’t know who the model is with a shot so simple as just the models feet. This is very minimal and very Celine. Not a lot of companies would use this as a main image for the campaign but with the Celine logo at the top, that’s all you need to buy into the collection. I really like the two textures together and think it’s shot in a way that is almost unflattering but works. I think the brand placement here is done really well, they stereotypically have their logo at the top or the bottom of the campaign image but they’re not restricted by this, swaying the positioning slightly depending on the collection. I think the choice of model here, even though we don’t see their face is really clever. They’ve used a coloured model for the rest of the campaign and then a white model for the nude shoes. I think they must have done this on purpose so that the model almost blends in with the shoes and almost seems like a seamless shape.

CELINE SPRING SUMMER 2017 Designer: Phoebe Philo Photographer: Talia Chetrit Hair Stylist : Jimmy Paul

I remember looking at this campaign image when I was in Paris interning and they were pulling images for inspiration for a shoot they were planning and I found this on the Celine instagram and it was the main image they used for the shoot. I think it’s a really powerful image considering it has such little components to it. I love the colour clash of the pristine white against the shocking red of the boot. The location is a really edgy and just realy cool. I love the different shapes that are made through the location, with the curve of this glass structure? I’m guessing glass because I couldn’t find where the location is and so i’m just guessing. Then you have the movement from the model walking round with the rectangle boots and then the sharp heel and this soft focus of the reflection in the shape that links the model and the structure together. I really like the different textures as well with the wooden floor, then the metal grainy fence to the right and then the bright, shiny leather of the boot and overall the texture of the photo has this grain to it like it was shot on 35mm film. I like the grain texture because it makes the whole image feel more home made and authentic, original almost and just more interesting to look at. Digital photography is amazing and you need crisp images for a campaign, but sometimes it’s nice to play around with film and it’s all keeping in touch with the brand still. In terms of art direction, I think it’s really powerful and bold to have the logo so big and central almost like the image doesn’t mean anything and all you need to know is Celine the name. I also think it’s clever how the boot is acting as the leg, showing no skin and actually makes me more compelled to go into the store and want to try it on to see how long the boot is and how it would fit on my leg. It’s a great marketing tool mystery, I think used in the right way it’s very effective. The fashion market is so over saturated with similar images that sometimes a bit of enigma is welcome for the customer to guess what the product would look like. Also, it gives the consumer some freedom to style it how they think it should be styled as the boot is shown on its own and not with an entire outfit. 22

Makeup Artist : Fara

a Homidi

Model: Lena Hardt

Celine Spring Summer 2017 by Talia Chetrit Model Lena Hardt (wowberlinmag.com)

CELINE SPRING SUMMER 2015 Photographer: Tyrone Lebon Models: Fre ya Lawrence & Marie-Agnes Gillot

Photography: Juergen Teller

Out of all the campaigns I’ve looked at I think this is my favourite styling wise. I love the lengthy flare trousers on the top right with the (what looks like) denim waistcoat. I think this silheouette is so flattering on the model and in sales terms I think could suit so many different women in terms of shape that it’s really effective. I love that they’ve taken this easy tailored look and partnered it with this busy co-ordinated either top and trousers or jumpsuit, it’s unclear. I think that’s clever because I know I am now intrigued to see whether this is a one piece or two piece so would then go on the website or look to see it come down the runway. This campaign definitely gives me a Stella McCartney vibe, I think, I mean everyone uses a beach at some point in a spring summer collection, it isn’t completely unheard of but I think the way Juergen has shot it and the clothes being presented doesn’t instantly shout out to me Celine, it gives me mixed vibes.

With the set design, I like the incorporation of the environment around the beach. They haven’t gone for the stereotypical beautiful beach, it looks a lot more bleak and almost claustrophobic with the different shots of the models in the rocks. I think they’ve showed off the shape of the clothes really well with the set, having the model climb so we can see the length of the trousers and the evolution of the print around the fabric and then the wide leg stance so we can see the shape of the dress and the width that it comes in. As well as just really enhancing and showing off as much print as possible with the white rocks. I really like that they haven’t been afraid to use a lot of print in this campaign seeing as summer is a hot season for print. In terms of the hair and make-up I mean I don’t think they really differ from campaign to campaign. This is definitely their signature look with the unkept hair and barely any make-up. There is a hint of a red lip in the bottom left and no doubt the models do have quite a lot of make-up on to achieve the look. What I noticed about the model choices is that they are stereotypically petite and with big awkward features. Ears is a key feature in these particular models, it feels as thought they’re almost just stepping out of puberty but in the coolest way, with these weird poses and odd features but somehow this all reflects nothing but positive responses from me. I’m really interested in trying to find models that don’t look super ordinary and have some form of twang to them. I couldn’t find the location of the shoot, but it has the feel of a Norfolk beach on a crisp winter morning with harsh sunlight on the left and the harsh flash hiding no doubt a cloudy day on the bottom right. It’s interesting how they’ve taken what seemingly looks quite a boring and over used location and made it Celine. When looking at whether I want to use location or not I want to keep in mind how to maybe take an ordinary location and make it Celine ready.

Celine Spring/Summer 2015 by Juergen Teller Models Freya Lawrence & Marie-Agnes Gillot (tendances-de-mode.com)

Celine Cruise 2015 by Tyrone Lebon Model Daria Werbowy (cargocollective.com)

CELINE CRUISE 2015 Photographer: Tyrone Lebon Model: Daria Werbowy

Hair: Tina Outen

Set Design: David White

This is a really cool use of set design. Even though they’ve credited the set design person I’m not actually sure whether this would have been completely his decision to use the car or whether it would have been a collaborative decision. Again, there’s a great use of texture with the knit against the suede of the car and an amazing use of colour with the burn orange and the red giving a really warm feel, which is suitable for a Cruise campaign which is obviously designed for warmer months. I like how they didn’t go stereotypical with the campaign and have the model on a beach or somewhere sunny and they picked a car, which could be a nod to the term ‘cruising’ which is very tongue in cheek. In terms of the styling, I love the very bare face look that reminds me a lot of parisian girls. The hair seems all silky and just washed vibe, with it pulled back and tucked into the knit which is just so simple but so effective. It all goes hand in hand with the non chalant way that the model is posing and the easy style of the car. I like how they’ve also partnered a long shot where you can see the skirt and jumper, then just a close up of the car closed so there’s space to put the logo and you’re still seeing the clothes. The photographer i’ve never heard of but looking at the work they’ve produced here it would be interesting to see whether this is their usual style or whether they altered it slightly to fit the Celine brand. In the campaigns they all seem to have this cool acid tone to them, quite green and blue wash to all of the photos. It reminds me slightly of Juergen Teller’s work and almost mistook this for his photography. Again the model is posing in an awkward way that is still cool and makes you want to act like this girl that doesn’t really care about much and is very bored with the whole situation.

CELINE FALL WINTER 2012 Designer: Phoebe Philo Photographer: Juergen Teller Makeup Artist : Fara Homidi

Model: Daria Werbowy

Looking through these campaigns, it seems as though Daria is a well used model throughout the Celine campaigns. She definitely has that french cool girl vibe and one that suits the brand so well. I really like her hair cut short in these photos with the cool slick back and the no make-up make-up look. I couldn’t find the hair stylist for this shoot, but maybe they didn’t use one and just went for a natural look? Although, that definitely doesn’t seem too likely either. I like how Juergen shot in this really acid washed out background with the plain white and over saturated flash over the model to get this almost paparazzi look and vibe. They then partnered it with the flamingo shots. I tried to look where they shot this to possibly see where they would have shot the flamingo images. I think using still life and animals in a shot is always a bit of a risk to partner with a fashion shot, because it needs to stay relevant whilst also being interesting enough to make the whole collection one piece in a campaign image. I think it’s cool that they’ve gone for the flamingo in the middle to add a pop of colour to match the coat and then to contrast the navy and burgungy ensemble on the left. It definitely all together gives me a palm spring vibes of the 50’s era with all the different warm tones coming through. Which is interesting because this is their Fall/Winter campaign and although they’re advertising coats and heavy outfits they then partnered it with flamingos which takes the mind to somewhere exotic and fun. I wonder whether this was strategic considering that they have international customers that don’t neccessarily have winter the same time that England do, America etc. Although that is what a resort collection is known for I think it might be a ploy to appeal to a broader market weather wise. I also like that this campaign has been partnered in a three whereas a lot of the other campaigns have only been in twos. I think it’s a cool dynamic and works for this ad, but maybe wouldn’t work all the time.

Celine Fall/Winter 2012 by Juergen Teller Model Daria Werbowy (pinterest.com)

Celine Spring/Summer 2016 by Juergen Teller Model Vera Van (designscene.net)

I chose to look at this campaign just because of how different it’s layed out compared to every other Celine campaign that i’ve looked at. For their Spring Summer 2016 they sort of went pop art meets collage with the models looking like they’ve been cut out of a magazine and stuck on coloured card with the Celine logo to make it look designer. It has this certain unapologetic feel about it, with it’s rough edges and not so neat look about how the models have been cut like you would have done when you were about 10 trying to cut as close to a rounded shape as possible. The styling in the left hand photo I really like. The whole cut out bench vibe adds to the wide skirt maxi dress and the oversized bucket bag, with the squared off white travolta boots. Earrings seem to be quite a statement throughout the Celine styling which I’m all for. I think a good statement earring that is on the line between potentially being a bit brash vs fashionable I think is a bold and good move. Considering 2017 saw a rise of statment accessories down through to the high street funnel it doesn’t surprise me that Celine were doing this the season before. Whether they pre-determined this or payed someone from a trend forecasting company, I don’t know, but it was a smart move. The styling is actually a tad different in terms of hair and mkae-up with the super slick back pony and the bushy unkept brows and a red lip! I think on the left hand side we have this very pale teal colour layered with ebige and a pop of orange, you need the make-up to almost lift the model off the page, if not the whole image could feel very flat

CELINE SPRING SUMMER 2016 Photographer: Juergen Teller Makeup Artist : Fara Homidi Model: Vera Van

although you have this weird two dimentional cut out of a three dimentional photo. I love how grotty the stone bench is next to these super expensive and designer clothes. On the right, the prop seems to have been cut out from under the models legs and here she is precuriously standing in a wide lef stance, with her handbag no doubt weighing her down. The neckline of this top sits perfectly and is really eccentuated with the pose that she’s doing. I like that within the cut out you can see hints of where they might have originally shot the editorial with a peep of rocks and sky through her bag and arm. The boldness of the blue I think just tops off the whole editorial. In a magazine, this would definitely stand out among all the other competitors Celine has within the luxury market. Whether this fits their older target audience in terms of sale i’m not entirely sure, but they have a big middle aged clientel that no doubt are trendy and forward thinking so I think this campaign was maybe more tailored towards their creative eye. I think it’s easy to look straight at the navy two piece the model is wearing, but I like how they’ve incorporated three types of blue against a blue background, taking colour blocking to the extreme. I think if they hadn’t have gone so blue with the outfit and the accessories then maybe the whole ensemble wouldn’t have worked. 31

Celine Fall Winter 2018 by Juergen Teller Model Binx Walton (peanmagazine.com)

CELINE FALL WINTER 2018 Photographer: Juergen Teller Model: Binx Walton Designer: Pheobe Philo

This is the most current campaign that is currently out for Celine at the moment (December 2017). I think by first glance you could almost call it controversial. Without any context, it looks like Celine is promoting fur which has come under fire many a time for the ethics of whether designers should still be making collections of fur with so many other easy, sustainable and life like faux fur materials out there. But just from an aesthetic point of view, I think the animalistic vibe of the whole campaign works. It’s almost as if you have the animal character on one side with the leopard print fur coat and then the hunter on the other side with the black leather pointed, statement boots and crisp cut tailored trousers. Although the two images don’t neccessarily connect and make sense together, I like that they’ve split the Celine logo across the two images to make them look like one whole image. In terms of the logo, whether they waited this long to split the logo rather than have it as a whole word like every other campaign, maybe they now feel established enough to break up the trademark slightly. Personally, I think maybe they may have designed it this way for ad space, so maybe magazines would be more inclined to grant them a double page seeing as the campaign is designed that way. Again, I love the spacing they use around the images to create a white border and really make the photos look like they’ve been placed in those positions for a reason. What I find really interesting about this campaign is model choice. In this particular photo they have a model that almost looks old but on close inspection is actually a young model. Maybe it’s the way she’s frowning or the old style that I associate with fur now that I think the model looks older? I love the way she’s draped over the rock, mimicing the fur fabric and almost being one with it like its her skin, very animalistic and fitting to the feel of the campaign. What’s also intriguing is that throughout the campaign they also use a coloured model and I haven’t seen a lot of diversity throughout the Celine campaigns even though it seems like a brand that encapsulates women with easy shapes that anyone could potentially wear.

CELINE SPRING FALL WINTER 2015 Photographer: Juergen Teller Models: Karly Loyce, Lisa Helene Kramer, Irina Djuranovic

For this campaign, they went very stripped back with none of the models wearing makeup and some having natural hair, others with minimal styling. What I found about the brand was that they don’t release much information about the people involved in the campaign, or maybe that’s because they don’t use MUA or hair stylists throughout their shoots. A lot of them are shot by Juergen Teller who I feel like is the perfect fit for them image wise, but it would be cool to see someone like Petra Collins or Cass Bird take a stab at the photography to see if they can work with a slightly different tone of look. Unlike the other campaigns, these images have more of a softer focus on them without the acid wash of colour and just a clear, cream background rather than using any set design or props they’ve just gone super stripped back. 34

Having these images paired together I think works really well, because you have a contrast of a very fair skin, ginger model with a coloured model both wearing adjacent clothes. It almost gives you two sides to the campaign with the ready to wear easy silk shirt, then a more outgoing knit. I like that they’ve made the campaign diverse by using two ends of the spectrum in terms of skin colour which is something I aimed for in my other shoot for the first bootcamp, yet it’s not the focus of the shoot, the clothes still are. The styling is super minimal with both the models wearing the same earrings but it’s good to see them with two different skin tones and also with two different outfits. A big accessory that they tend to use in all of their images are statement earrings so I need to keep that in mind when styling the models for the shoot.

Celine Fall Winter 2015 by Juergen Teller Model Karly Loyce & Lisa Helen Kramer (thefashionlaw.com)

I think using no make-up actually makes more of a statement than using a coloured model in this day and age of image making. I think it definitely makes a stand and is what makes Celine so cool is that they use models without anything on and they still look amazing. It makes the models more relatable and just sort of markets to the woman that is in a rush and can’t be bothered to put anything on but can still look good in the clothes. For the layout, I like the black border around one image and then the other just clean on its own and they’re layed next to each other in a horizontal format. The logo is in the middle of the second image, which makes sense because I think if it was in the bordered image I think it would look too claustrophobic. What i’m always worried about when i’m designing is whether the logo is legible, but having only

really worked with start up companies, or companies that need as much exposure as possible, so I’ve always had to make the logo super legible in a clear space in the image, but with established brands such as Celine, they can get away with putting the logo in the middle and over the model. I think if you took the logo away you would still be able to know it was Celine, mostly because of the layout as they’re super consistent with the white border round the images and the long rectangle shapes as well. I want to do a film for Celine so it’s going to be interesting playing around with different editing techinques to edit how I think Celine would lay out a film as all I have to go off is campaign images and no film as of yet.

Celine Fall Winter 2015 Campaign Photographer, Juergen Teller (pinterest.com)

COMPETITORS

FILM RESEARCH 37

MIU MIU FALL/WINTER CAMPAIGN FILM 2017 Photographer: Alastair McLellan Models: Adwoa & Kese wa Aboah, Kate Moss & more

“In certain places and amidst certain sounds, time seemingly circles itself. Throughout the untamed, thick-aired Mississippi bayou, draped with Spanish moss, the siren of insects is interlaced with jazz melodies somehow both timeless and avant-garde. The latest campaign for Miu Miu, Fall/Winter 2017, realized by photographer Alasdair McLellan, collages New Orleans landscapes and landmarks, from the dripping bayou to the august Preservation Hall. Everything here is a deeply textured bricolage, full of tension and wild energy. Award-winning actress Naomie Harris and models spanning from new guard (Adwoa and Kesewa Aboah) to super (Kate Moss) are bedecked in Miu Miu’s latest fashion compendium, a celebration of clashes in tone and texture. Diverse references drawn from a multiplicity of pasts represent splintered images of glamour: brightly-colored faux furs and translucent plastics sheath feathered dropwaist dresses, superimposing contemporary shapes and materials onto old-timey sensibilities. The resulting photos effervesce the type of atemporality only found in places as overgrown and alive as New Orleans. Jeweled hardware and piles of paillettes meet expanses of softness cinched together with wide straps, embracing the everyday hybridity of place and preservation.” (miumiu.com)

Miu Miu Fall Winter Film Campaign by Alastair McLellan (youtube.com/miumiu)

This I thought was a great example of a diverse and inclusive campaign video that has a strong narrative. I love the mix of new orleans jaz, with the cinema gatsby vibe following the collection of the feathers and the jewels it all seems to piece together with all these different styles. Looking beyond the styling, there seems to be three main locations, in the cinema, the lake and the old school club. They shoot it really interestingly and it makes it feel like they’re in several different locations. They also mix up shots of the clothes with still shots of accessories and the models so you can clearly see the different elements of the collection within the narrative. In terms of what I could take from this for Celine is to think about the casting and who is best going to represent the brand and not to be afraid of going super diverse. I don’t think i’m going to do anything this extensive but it’s a great source of inspiration. 39

STELLA MCCARTNEY CAMPAIGN FILM SPRING 2017 Photographer: Harle y Weir Music: “Don’t Say No” by Speed, Glue & Shinki

Stella McCartney Spring 2017 Campaign by Harley Weir (youtube.com/stellamccartney)

To set the scene, Stella McCartney starts off the video with the image of water coming on to the screen and her trade mark logo. We’re then transported into an idealic look with images fading into one another and a sweet, light beat over the top of acoustics. Partnered with soft suede, ruched waistlines and silk shirts it paints a very soft and inviting picture whilst also making us yearn the pool and warm weather. The colours for this film sit in tone not only with her collection but also with her other films that she’s produced, creating her own style despite using different directors like Petra Collins and Harley Weir for this campaign. It’s this almost beige/pink over tone that swipes across the fading images and creeps in to nearly every shot that she also used as an overlay for her ‘Pop’ perfume short film and also her fall film campaign for her 2016 fall/winter collection. I quite like that the tone that she uses to fade in the images almost matches the skin tone of the

models and that everything sort of fades into one another really systematically. The music is interesting because it has no vocals and is just acoustic lightbeat instruments. This could be leading on from her runway show where she used similar music at the end for her models to dance to. Although, through this film there isn’t much dancing more fluid movement than anything else. I like how this film cuts up the fashion shots and acessories with images and sounds of the water so even though the models aren’t always interacting with the water all the time, there’s still a hint of it being in the background. She doesn’t use props so much as utilising the location and I think within my film I definitely want to use props as I want to shoot it in a studio, but a good note to take is that when on location the need for props is pretty much non existent because you can use the space around you and the location becomes the prop. 41

FLAUNT MAGAZINE FILM PRESENTED BY PRADA Fashion: Prada Model: Sophia Lillis Producers: Flaunt Magazine Team

This isn’t a film made sepcifically by Prada, but I think it would be cool to look at something that a third party has had part control over. All the fashion is ofcourse Prada and no doubt they had no say in the film but helped fund and supply the clothes for for the title and the advertisement rather than the creative outlet. This could be a possibility for what Celine would do as a brand, collaborating with a magazine rather than making a film by themselves because they don’t have the creative resources yet or it’s a chance to see how film does without it being under their brand fully. I like how within this movie they play with colour and projections as well as having the black and white images as shown here. The whole aesthetic is pretty simple with it all being shot in a studio space, which is definitely what I want to do with my movie. They don’t use many props either because they have so many different elements already going on with the fashion and the projections and then they have different clips from earthquakes and what looks like fires in a forest. Under the caption for the film on youtube they write: “Drop, Cover, and Hold On: an elemental curation of Hollywood’s impending earthshakers, featuring actor Sophia Lillis”. I like the play on words that they’ve used with ‘impending earthshakers’ and they have the sounds of crashing and burning overlaying with the fashion shots. Through everything in this movie though, I think the simple black and white makes more of an impact and that’s something that I potentially want to try with my film.

Prada x Flaunt Magazine by Flaunt Magazine (youtube.com/flauntfilm

CHLOE SPRING SUMMER 2016 FILM CAMPAIGN Director: Theo Wenner Chloe Spring Summer 2016 Campaign by Theo Wenner (youtube.com/chloe)

Models: Sofie Hemmet , Michi Kat , Ellen De Weer and Frederikke Sofi

For the Chloé Fall 2016 ad campaign, his second for the Maison, photographer Theo Wenner artfully embraces this season’s travelling spirit, capturing moments of intimacy and adventure in the ‘winter sun’. A palette of pale stone and white-washed villages offers an idyllic backdrop as the Chloé Girls Sofie Hemmet, Michi Kat, Ellen De Weer and Frederikke Sofie escape into the sun’s fading light, their gaze fixed on new horizons. The creative director was inspired by the journals of French explorer Anne France Dautheville, who rode her motorbike around the world in the 1970s. The range includes motocross trousers, shearling outwear and many flowing designs. “There is such a bold sense of duality in this collection—that natural toughness and fragility of women side by side,” explained Waight Keller in a statement. “So we wanted to explore that through the campaign images with an ambiguous and cinematic atmosphere that allows each girl to emerge as a strong character.” The result, she continued, is a carefree Chloé woman, who’s “nonchalant, but also quite fearless—and very much alive!” (lesfacons. com) I don’t think this is the most creative film out there but I thought it was a really well branded film. I think the whole vision of Chloe as a brand being very care free and flowy with lots of frills and toiulle is envisioned here with a group of girls away on a care free holiday with fabulous fashion. It’s got a home made feel to it with shots of the girls holding the camera and taking short snippets of selfie videos and spinning around like they’re young and having a blast.There are a lot of fashion shots throughout and they’re strategically placed with cheeky movements from the models to make you feel like you want to act a certain way in those clothes and that’s how you should act whilst wearing them. I really like the composition of the film, again with this sort of beige over tone that’s been used quite a lot throughout the fashion film research I have done. However, at the end you get this hazy feel of the pink over the model and logo, sort of giving off a sunset vibe and their day of fun coming to an end as the film comes to an end. As for the casting, I wouldn’t call it diverse. The models have a certain french cool girl look about them which is similar to Celine’s vibe, however they are all white. Whether this was a accidental choice or not, I think they could have been a bit more creative about who they included within the film. I really want to try and be as inclusive as possible within my film as I think that will be what pushes the boundaries and will make the aesthetic look more interesting than just having three standard same looking models with a clean backdrop.

All Images taken from: https://vimeo.com/181517332

ANDREAS KRONTHALER FOR VIVIENNE WESTWOOD AUTUMN WINTER 2017 CAMPAIGN FILM 47

ANDREAS KRONTHALER FOR VIVIENNE WESTWOOD AUTUMN WINTER 2017 CAMPAIGN FILM

Apart from Vivienne Westwood just being an absolute boss at everything she does, she also nails diversity in every single shape and form not only in this film but in everything that she puts her name on. The casting in this is absolutely spot on, with representations from all different races, genders and having the male models with acrylic nails is just the icing on top of the cake.I think it’s subtle things like that which put this very much on brand for Vivienne pushing things to the extreme, although in todays society you would think men with fake nails is pretty much the norm. The styling throughout shows the collaboration between Andreas Kronthaler and Vivienne Westwood which is I’m guessing from the film

potentially designed for women, but marketed to both men and women considering that Vivienne does create lines for both genders. The location is quite cool throughout. They use one space but shoot it in several different ways that it looks like they’ve shot in different spaces. I like the cold texture of the metal against the pop of colours coming from the collection. This film does remind me a little of the Hype Williams x Marc Jacobs film which had a similar kind of rock/grunge vibe to it, although they are similar in their branding. I think the use of space is definitely good to note, seeing as i’m looking at using one space it’s interesting to see how I could manipulate that in filming to making it look more three dimensional and diverse other than just one small space with similar shots.

Image taken from: https://vimeo.com/181517332

Director: Thibault Della Gaspera Music: (written & improvised by) Aymeric Westrich (Aufgang ) & Vincent Taurelle

I really like throughout the film that for every two or three shots they have a close up of the models faces. I think it breaks up the film nicely and gives your eyes a break from trying to take in all the fashion thats going on and lets your brain have a break with just a simple long, slow shot. I also like that it’s edited in slow motion. This is something I definitely want to incorporate into my film as I think slow motion is just super classy and easy to work with in post production. As for the cinematography and composition I think it’s still quite soft just like the other films I’ve looked at however this one has more of a cool, neon, blue wash to it rather than the beige that we’ve seen before. This is to give off a more grunge look I feel and more suited to the clothes and the models

looking more harsh. I don’t think this sort of colouring would be right for Celine as a brand, but it’s interesting to see something other than the beige wash to see if it would work for them. However, deducting from these images i’m going to say no. Throughout there aren’t many full length shots which is interesting because you would have thought that you would want a few long shots atleast to see the whole ensemble. I think they shot it in weird angles, shooting from below the model so you can see more of the outfit without doing a wide shot and shooting above, so again you can see the clothes without it being an obvious and slightly tedious long shot. I also think with the location a long shot might make it all look a bit flat and you still want to keep the depth in the image.

This film for Gucci’s Spring Summer eyewear collection actually has the strongest narrative than all of the films i’ve looked at so far. The reason I chose to look at an eyewear focused film instead of just fashion even though I’m not using eyewear is because I thought this film was really well constructed and is definitely worth looking at as one of Celines biggest competitiors in the market. The film is described by Gucci as: “Memories and places of her childhood, beautiful rural landscapes and interiors of her native Hungary take center stage in an exclusive film directed by Petra Collins, dedicated to Gucci’s Spring Summer 2017 eyewear collection. Collins creates a world where everything is not quite as it seems, and what begins as a window into rural family life soon gives way to a fantastical dream. Escaping from the sleepy surroundings of her grandmother’s living room, her two young cousins are transported on a surreal voyage, wondering through the oneiric countryside before stepping into the ornate surroundings of a traditional thermal bath-house, which hosts the final scenes of this journey. Throughout the film, key designs from the Gucci Spring Summer 2017 eyewear collection stand out, boldly matching the surreal surroundings and the eclectic characters. Among these styles, “Hollywood Forever” sunglasses - which debuted on the Spring Summer women’s runway - light up the atmosphere with their crystal clusters and refined decorations. #GucciDreamscape 50

The composition for each narrative switches, so there are three inegral parts throughout. The first starts off with a very pink/red tone that Petra is kind of famous for and uses as her signature style throughout her work. The next is a clear, soft beige overlay when they’re in the woods and the third is a very green toned overlay. I like that with each section we get a different colour grade and that it clearly signifies a change in state whether it being reality or a dream etc. The casting is really cool because the two little kids are actually Petras cousins. I think it’s good for the brand as it makes it almost more relatable and gives it the family vibe that Dolce & Gabanna do so well in their campaigns. I like how also they mixed in models, old and young in the dream like state without it being a massive thing that they’re of different ages because they were all interacting with each other. I think the filming style was really cool with all the close up shots that almost make you feel a little bit uncomfortable because they’re so close. I really want to incorporate these kind of shots into my film because I think it will really keep in touch with the Celine style. I don’t think my film will have such a strong narrative just because I don’t want to be using so many locations, but I think all three parts in this film sit so nicely together even thought they almost juxtapose one another.

GUCCI EYEWEAR SPRING SUMMER 2017 CAMPAIGN FILM Director: Petra Collins Music: Eyes without a face, Baustelle

Image taken from: youtube.com/gucci

REINCARNATION SHORT FASHION FILM BY KARL LAGERFELD Director: Karl Lagerfeld Models: Pharell Williams & Cara Dele vigne & Geraldine Chaplin

“Reincarnation” was a short film created and directed by Karl Lagerfeld to accompany the CHANEL Paris-Salzburg 2014/15 Métiers d’art collection shown on December 2nd, 2014 in Salzburg. The short film was the perfect opportunity for Karl Lagerfeld to develop an artistic collaboration with Pharrell Williams, a close friend of the House and personal friend of the designer. In fact, the artist composed and wrote the lyrics to “CC The World,” the original soundtrack for Reincarnation, and he also plays one of the lead roles and will be, along with Cara Delevingne, the face of the upcoming campaign of the Paris-Salzburg 2014/15 Métiers d’art collection.” - Chanel (youtube.com) Whenever Karl directs a short fashion film, it’s normally a narrative comprised of a Chanel story about the brands roots. This was no different, however he did utilise probably the two biggest names of 2014 with Cara Delevigne (budding model and actress) and Pharell Williams (pop singer). Having Pharell and Cara not only star in the film they also sang and wrote the song that overlapped the images. This is something to think about in terms of pushing Celines boundaries with the potential to use celebrities even though they tend to use people that arent particularly famous, whether to save money or to be different and unique i’m not sure. The whole film is obviously dripping with Chanel and brand placement is key here because there’s so much going on in terms of location and production that the element of it being about Chanel and promoting could be lost. I like also that similar to Gucci they have the corresponding colour grades to the different settings in the story. I think if I was doing a film on location this would be something to think about but because I want to do it in a studio I think i’m okay. What’s really interesting about this film, is they recreated the famous painting of the princess and prince on Cara and Pharell, mimicing the outfits and styling but obviously in Chanel couture which marketing wise is really clever because they can either archive the pieces after and potentially use them in a exhibition or sell them as collectors items and at haute couture prices too.

Image taken from: youtube.com/chanel

ALEXANDER MCQUEEN AUTUMN WINTER 2016 FILM CAMPAIGN

“Sarah Burton and Jamie Hawkesworth decided to embark on a journey of discovery. Sharing a mutual love for British nature and wildlife, the trip would begin at the Shetland Islands, the northernmost point of the country. Featuring Mica Aganaraz, the Autumn-Winter 2016 Alexander McQueen campaign images are the result of an adventure capturing a young, surreal and intoxicating beauty against the wild and rugged Scottish terrain, and marks a new chapter in McQueen’s longstanding love story with the romantic nature of the British landscape.” Alexander Mcqueen (youtube. com) If i’m honest out of all the flims that i’ve looked at I dont think this one is one of my favoruites. Whenever I think of Alexander Mcqueen and the brand, I think of this really avangante clothing and extreme fashion with amazing set design and loads of thought put behind the collections that cross over the bridge between fashion and art. However, I wouldn’t say that this comes into the same terriotry as the colection that they’re promoting. This could be on purpose to maybe give something different to the market rather than the same old thing that they do all the time in terms of advertising and marketing however I find that a bit of a cop out. It hink if you compare Alexander Mcqueen to another 54

brand that is potentially as dramatic, like Gareth Pugh and look at their fashion films and everything they’ve produced in terms of marketing and advertising they really push the boundaries and have these very questionable and artistic videos. I like the end scene in black and white which is the picture shown at the bottom with all the models walking out across the field in these outfits that don’t particularly make sense against the location of the hills and serene background. I think the contrast so harsh against these really slender models almost gives a dark and horror vibe, like something taken straight out of a cult movie. I think I had such a difficult time with this film because none of it really made sense and I couldn’t understand in my head why they had made any of the decisions they did in terms of showing off the fashion, the sounds playing over it, I definitely don’t think this is something Celine would do. Or perhaps maybe on the flip side to be a tad more unique and ambiguous in the market potentially they would. From the picture on the left it sort of looks like something from a Marc Jacobs perfume advert. With the soft lighting and the model lying down on the grassy fields with a flower between her fingertips I think this is probably the nicest shot throughout the whole film and I like how uncomfortably upclose it is quite like some of the other fashion films that I’ve looked it. It was also edited against a shot sweeping a group of flowers which was almost quite Tim Walker or I would probably say was a mix between Bruce Weber and a very tame Tim Walker style. I don’t want my film to sort of be like this, where you aren’t sure what the narrative is or why everything is happening, I think I need some sense as to why the models are doing what they’re doing.

Model featured: Mica Aganaraz

Director: Sarah Burton

Location: Shetland Islands

Image taken from: youtube.com/alexandermcqueen

Celine Fall Winter, 2013 Lookbook (pinterest.com)

REFERENCES 57

Images: Emma Rios: Rude Fruit for Tutti Frutti with Bompas & Parr and Friends. Art direction Olivia French, photography Katy Pople. (itsnicethat.com)

RUDE FRUIT FOR TUTTI FRUTTI WITH BOMPAS & PARR AND FRIENDS Art Direction: Olivia French Photography: Katy Pople

“To mark their latest installation at London’s Kew Gardens, the pair are releasing their new book – Tutti Frutti with Bompas & Parr and Friends – which they describe with typical relish (sorry) as exploring “the gustatory implications of fruit salad!” They go on: “The new and sensual book takes in architectural pineapples, the spaces of banana control, how blue became the international colour for raspberries and a luxurious host of fruity recipes…It’ll be a book to melt people’s brains.” The “friends” referred to in the title include an amazing array of top talent including chefs, illustrators, photographers, architects and many more. This shoot conceived by artist Emma Rios presents the humble ingredients of your local supermarket’s fruit and veg section in a salacious, lightly scandalous way – you’ll never look at a green guy in quite the same way.” - Rob Alderson, ItsNiceThat.com (2013) As part of the film I want to use fruit to sexualise the relationships between the models without having them kissing and being super obvious about everything. When looking into fruit and the meaning behind it or just trying to find any sources of art where fruit has been used phalically (which if i’m honest, it’s been done a lot) I came across this photography piece by Emma Rios. I think it’s really fun and cool because it sort of plays with the fruit being inticing but also has a tongue in cheek effect to it. It’s really simple but effective with some of the shots literally just being fruit sat on its own with a coloured background. I want my interpretation to be this simple with just picking I guess the right fruit to use, then positioning it in a way that makes it look suggestive without having to fondle it or do too much about it. I need to keep with the Celine image more than anything and they aren’t the most extravagant brand in the grand scheme of things and so I think the more subtle the better. I do think Celine can have a sense of humour tho9ugh and I think by using the fruit it’s pushing the brands creative boundaries in a sense that I’m doing something they wouldn’t normally do in a campaign but might post on their instagram or social media as a nod to the inspiration behind the campaign as I think their social media is a lot more risque than their campaign images. What I need to think about next is what fruit will be suitable for the shoot and maybe what the representation of these specific fruits mean. I really like the blood orange and what looks like an apple in the top right, I also like that some of the images it’s almost a mystery as to what the fruit is as it takes on a whole other purpose other than being fruit.

CARAVAGGIO’S “STILL LIFE WITH FRUIT ON A STONE LEDGE” Image: emilycontois.com

“Erotic pun paintings were most popular in Rome, where these suggestive works may have provided sexual release from the repression required by Catholicism, especially for the clergy. Caravaggio’s Still Life with Fruit on a Stone Ledge is a particularly strong example of these erotic paintings, as it portrays a veritable produce orgy. A ray of light beams down from the upper left and the heads of two brightly lit, erect gourds emerge from the upper right. These diagonal lines bring the eye to the center of the painting, where one gourd appears ready to take a perfectly round melon from behind. Bursting melons and figs fill the foreground, while a basket of yet to be deflowered fruit looks on from the upper left.” When looking at the symbolism of fruit, I feel like the first place to look is the origin in 16th century paintings. In an article I read it mentioned people using fruit almost as a rebellion at the time against the church, by painting fruit in a suggestive way to defy the rules of the Catholic church. The most famous painting of that time being the one to the left, Caravaggio’s “Still Life with Fruit on a Stone Ledge”. When you look at it from a distance it does just look like a painting of some fruit, but as you start to analyse all the different fruit within it and the positioning you start to see hints of the sexual references. Pomegranates, pears and watermelon I have seen used a lot in reference to the sexualisation of fruit, as well as anything really with seeds and little segments in them because they have more texture and more to sort of suggest something else. I really like the way how all the fruit is positioned to make not only a masterpiece as a still life, but a piece of art. I really want to take this idea of having a lot of fruit in one place but maybe integrate it with the models somehow and have a lasting shot where we see all the fruit and the models together. I think it will just bring everything together with the models interacting with the fruit througout and then just having the fruit laying beside them without them acknowledging it at all sort of like an omnipresence, that they know it’s been there all along but it’s like the elephant in the room and they never actually look at it. There’s a lot of connotations and ways you can spin the represenation of fruit and especially with this being a piece of art and fashion being an art form I think everything can combine nicely to make an interesting and thought provoking piece.

GRAPES Fertility and salvation are interconnected with the portrayal of grapes in art due to their symbolic link to the blood of Christ. Its association with the Roman god Bacchus also imbues it with the meaning of debauchery and drunkenness.

Publication: Vogue Italy November 2015

FIGS Similar to apples, figs are often associated with the Garden of Eden, as Adam and Eve covered their nakedness with fig leaves. Islamic tradition refers two forbidden trees in Eden, one fig tree and one olive tree. Greek and Roman mythology see figs associated with Dionysus (or Bacchus) the god of drunkenness and wine, and with Priapus – a satyr who symbolised sexual desire.

Model: Moa Aberg

APPLES Apples have a strong connection with the Bible, the fall of man, and original sin. They are also associated with temptation, knowledge, and youthfulness. In China, apples embody peace, and in other traditions they indicate wisdom and joy.

THE SYMBOLISM OF FRUIT Photographer: Camilla Akrans

Depictions of fruit in art can be dated back 3000 years to Ancient Egypt, where still life paintings of food could be found in the majority of Egyptian tombs. The common belief of the era was that these artistic representations would become tangible in the afterlife, permitting the deceased to feast upon them. Decorative mosaic ‘emblema’ could be found in the homes of the wealthy in Ancient Rome. The portrayed range of foods signified hospitality for potential guests. This ‘emblema’ was also a visual celebration of the seasons. Allegory is often utilised as an extended metaphor of the ephemeral condition of life. The fruit, like human life, is intended to portray the transient nature related to our existence. Fresh fruit, represents fertility, vitality, youth, and abundance. When the fruit is in a state of decay, however, it characterises the inevitable and undeniable mortality of our presence in the world.

POMEGRANATE Often associated with female fertility, the pomegranate was considered sacred to Venus and Juno. Contrastingly, the pomegranate is on times linked to the famous myth of Proserpina and Pluto. Pluto stole Proserpina away to the underworld and her mother, Ceres, was in such distress of losing her daughter that the land withered and grew cold. The Fates had a rule that if one eats in the underworld, they are kept there for eternity. Proserpina ate seeds from a pomegranate before being rescued, which unknowingly condemned her to stay in the underworld between autumn and winter. The pomegranate is one of the forbidden fruits in the Eleusinian Mystery initiations due to the aforementioned connotations.

(Information: markmitchellpaintings.com)

Image: Moa Aberg for Vogue Italy November 2015 (anneofcaversville.com)

PEARS Artistic representations of pears can draw inspiration from the ancient Chinese belief of a pear’s symbol of immortality. The word ‘li’ means both “pear” and “separation”, which can allude to stronger meanings between feelings when in paintings.

Celine Fall Winter, 2013 Lookbook (pinterest.com)

BRIEF 65

SHOOT AIM The aim of this shoot is to produce a short fashion campaign film for Celineâ&#x20AC;&#x2122;s Ready to Wear Spring/ Summer 2017 collection. With the inspiration for the collection itself being that a woman can go anwhere in the clothes, I want to extend the notion to a woman can also do whatever she wants in the collection. The title is pushing boundaries, which I want to integrate within the cast as well as the concept. The cast will consist of two women and one man, all wearing womenswear. The main character will be a woman, interacting nonchalantly with the male and other female character, portraying her having a relationship with both. So, the core of the film is to sell the clothes. However, through the film I want to represent feminine men being with women, a powerful woman being with an equally powerful woman and just having a woman on her own because she doesnâ&#x20AC;&#x2122;t need anyone to define who she is. With muted tones and a Celine feel, the film will be shot in a studio with furniture covered in sheets for the models to interact on and around. With a very contemporary look I want to juxtapose this with old country music to steer away from the stereotypical electronic music used within fashion film.

Celine Spring Summer 2016 Lookbook (models.com)

THE BRIEF Images sourced from: pinterest .com, tumblr.com and google.com

The brief came in two parts. The first version was the one that I sent to the film crew to get them on board which obviously didn’t include the shot list. Then the second came after we had talked about the shotlist and I tweaked a few things on the moodboard and just aesthetically made it all a lot more streamlined before I then contacted the designer and the models and the hair and make-up. The brief went out in waves, so the first was to the film crew who I met up with to discuss further as they needed the most information. Then I sent it to the designer over email with an introduction and further explanation to what she would get out of the shoot and more about the outcome and aesthetic rather than the process. Then to the models, I simply sent the brief and told them the sort of thing I needed them to do and what they would be doing and more about times/dates so they definitely came last after I had already scheduled in the studio and arranged times with the crew. I tried to make the brief as logical as possible and I included hyperlinks to the music and video references so they could click onto them straight away from the PDF rather than having to go look it up themselves. I also asked everyones opinions on what they thought of the music and the shot list and wanted to get as much feedback as possible and to also let them feel like they’re involved in the decision making even though really, i’m the last one to have the final decision because it’s my project.

Images collated from: instagram.com, pinterest.com, tumblr.com and celine.com

C O N C E PT M OODBOARD

For the concept moodboard I wanted to incorporate all the different elements that I had outlined in the aim of the shoot and somehow collaborate it all together to make a cohesive moodboard that hopefully people would look at and get some kind of sense what I was going for atleast aesthetic wise. I first used the Celine image to make it clear the brand before they looked at anything else and to just remind myself that I am going to need to brand everything and make it into the Celine style. I also picked the image from the collection that I was basing the film around too so that the reference is also there to what collection is and bringing it back to it being about Celine and the clothes they had made. I think it was important for me to put in some movement as well as put in two genders. I think in terms of pushing the boundaries for Celine the biggest thing is definitelty having both genders in the film because as of yet, the brand has never used a male or catered to any sense of a male physique. They also didnâ&#x20AC;&#x2122;t make this collection in terms of it being gender neutral however I think from a subjective point of view the pieces could be worn by women and men and it not look out of place. Therefor I put a pose of a girl covering her face and bending in quite a weird but interesting way and then a simple picture of a guy in a suit sitting on a chair. It was also important for me within the moodboard to have some

form of diversity in the people being represented. I think Celine are growing in their inclusion in models within their campaigns and catwalks and I want to continue this work by trying to cast a diverse bunch of models too. For the image with the hands on the sheet I kind of wanted to put an image in that was a bit more ambiguous to see what the team had to offer to the table and see if they had any inspired ideas bounce of this image alone. My thoughts behind the image was more symbolic than literal, thinking that we could have hands as a focus throughout with shots of the models feeling the clothes and feeling each others clothes and touching and holding fruit but through a mask of a sheet. I also want the furniture to be covered by a sheet to make it in touch with the Celine lookbook which was shot with a clean sheet of fabric as the backdrop, so I’m constantly thinking of the brand and how everything can sit nicely together in advertising terms.

CHOSEN LOGO

For the fruit picture I put it there just as a teaser for the idea of using the fruit as a sexual inuendo. I wasn’t sure how on earth I could make the fruit look sexual within the moodboard and also didn’t want it to be too distracting and take away from the whole aesthetic that I was going for for the shoot. I really liked the colours in the nectarines and thought they bounced off nicely with all the other muted tones within the moodboard. As for what fruit I’m going to use within the film, I am yet to decide but I will take into account the research I have done about fruit and not forgetting the colours and textures of them as well. For the last image, I wanted to have something that I thought we could shoot for real and to make you think about the gender as well. The image of just the shoes and trousers could be a man or a woman. I really want to have some shots where you aren’t sure whether it’s a guy or a girl and have the models switch clothes so you aren’t sure who is who and make the whole film look a bit more dynamic. Because the basis of the concept is that a woman can do whoever and whatever she wants I want the viewerto be constantly guessing if she’s with the guy model or the girl model and for them to realise that in the end it doesn’t matter because the clothes still look cool no matter who she’s with.

FILM REFERENCES MIU MIU SPRING SUMMER 2016 FILM CAMPAIGN Image: youtube.com/miumiu

Within the brief I wanted to put in references from other fashion films that I liked the look of and wanted to create a similar effect without copying because these are Celines competitors. However, I think to do better than your competitors is important, so you need to look at what they’ve done already and then do one better than them. Not saying that I have the capability of doing better than the likes of Miu Miu or Dior but in theory I think Celine could do better in terms of narrative and style definitely. The Miu Miu film I chose has a really nice beat to it that I liked. I think the music behind it definitely has a role to play in how cool it makes you feel watching it and how the models look in the clothes. What also striked me about this was how the girls all look very french and cool and the music behind it was very techno and british or like scandanavian. The two styles I wouldn’t normally put together but somehow in this I think it works. 72

As for the aesthetic I like the plain background and how the models interact with each other when they roll the apple over the table to each other and how that’s edited, I think it’s clever. I also like their use of furniture and fruit but I think more could be done with it. I would also want the background to be a lot lighter and not so dark, to fit the Celine aesthetic. I definitely like that all the movement is in slow motion and that when the models interact with each other they aren’t on screen together. I think in mine they will all be on screen together but I want the director to keep in mind all the possibilites that we could do whilst filming. I also like the minimal make-up and hair, I mean it’s all very marie antionette with the blush on the cheeks and the bleached out eyebrows but I think I want a similar look to my models.

DIOR SUMMER 2016 FILM CAMPAIGN Image: youtube.com/dior

For the Dior film campaign the aesthetic is very similar as you can see in the two images put side by side. Although the styling is definitely different. There’s a more New York edge to this and less french. Everything is very clean cut and sharp, whereas in the other it’s all a bit more soft and arty. This doesn’t have a particular narrative that I wanted the team to look at but it does have the same clean background that I want and in this film it incorporates men and women in the models. I like how the women interact with each other as well as the men as I think it looks more diverse in the edit and more interesting to look at. What it definitely lacks is diversity, but I have control over that in my film so it’s not necessarily there for the reference. Again, it’s all in slow motion which is definitely something I want within my film because I want it all to be very

dramatic and drawn out. I don’t particularly like the music, but I made sure to tell the team that these are also examples of music I don’t like and don’t want to use. Again, it’s just very electronic and almost makes the models seem lifeless and just mannewuins to show the clothes off without any real emotion behind them. This film didn’t have a narrative anyway so there wasn’t a particular story to tell but it would be nice to have some life in the movements. I really like how they edited this film more than the Miu Miu one I think. I like all the mid shots they did and the sweeping long shots of the models standing at an angle as it showed off the clothes really well and just brough a bit of change to the bog standard fashion shots that you see in a lot of fashion campaigns.

SHOT LIST REFERENCES Top image: Miu Miu Spring Summer 2016 Film Campaign (youtube.com) Middle image: Prada Pre Fall Advertising Film Campaign (youtube.com) Bottom Image: Prada Spring Summer 2016 Womenswear Advertising Film Campaign (youtube.com)

For the shotlist, I wanted to give the film crew something to go off so they knew the direction I was going in and they were completely clear about what I needed and what I wanted. Normally I wouldn’t do this and would let them come up with shots just off a meeting of me explaingin roughly what I wanted and then giving them time to come up with something. However, due to me only having two weeks to complete this project I needed to be super thorough from the get go and sort of cut out the middle man of creative juices because I didn’t have time to meet up with everyone every day to get to what I wanted. I took references from some of the competitors so I then knew I was hitting the right market and they’re shots that clearly work. I mean these are just for them to use as references and not copy them completely but the shots I was hoping would be along these kind of lines. I really want a single shot, then a shot of the main character with either of her cast and then close up shots of them all together too and sort of mix them all around in the edit. Alongside this, I also wanted shots of fruit and the models touching and squeezing the fruit so it’s all very sneaky and referencing sex but not in a very obvious and vulgar way. I didn’t put any pictures of anything with fruit on here because everything looked a bit too phallic for what I had envisioned and I didn’t want to put images into their heads of it all being too much so thought it would be easier just explaining it to them rather than with visuals.

ĐƚŝŽŶ /ĚĞĂƐ >ĞĂĚŝŶŐ >ĂĚǇ ƚƵƌŶƐ͕ ƌĞǀĞĂůŝŶŐ ŚĂůĨ ŽĨ ŵĂŶ’Ɛ ĨĂĐĞ͕ ĚŝƚƚŽ ĨŽƌ DŝƐƚƌĞƐƐ ǆƚƌĞŵĞ ĐůŽƐĞ ƵƉƐ ŽĨ ĨƌƵŝƚ ŐĞƚƚŝŶŐ ƐĞǆƵĂůůǇ ĐĂƌĞƐƐĞĚ DĂŶ͕ ĂŶĚ DŝƐƚƌĞƐƐ ŝŶ ƚŚĞ ĨŽƌĞŐƌŽƵŶĚ͕ >ĞĂĚŝŶŐ >ĂĚǇ ŝŶ ƚŚĞ ďĂĐŬŐƌŽƵŶĚ͘ DĂŶ͕ ĂŶĚ DŝƐƚƌĞƐƐ ůĞĂŶ ŝŶ͕ ĂƐ ŝĨ ĨŽƌ Ă ŬŝƐƐ͘ dƌĂŶƐŝƚŝŽŶƐ ŝŶƚŽ ĐŽŶƚŽƌƚŝŽŶŝƐƚ ƚǇƉĞ ƉŽƐŝƚŝŽŶƐ͘

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• • • •

^ŚŽƚ /ĚĞĂƐ >ĞĂĚŝŶŐ >ĂĚǇ ^Ăƚ ŽŶ ƐŽĨĂ͕ ĂƌŵƐ ĐŽŵĞ ŝŶ ĨƌŽŵ ƚŚĞ ƐŝĚĞ ĂŶĚ ƐůŝƚŚĞƌ ĂƌŽƵŶĚ͕ ŽŶĞ ŐŽĞƐ ĨŽƌ ƚŚĞ ŶĞĐŬ͘ tŝĚĞ͕ DŝĚ ;ĂƌŵƐ ĐŽŵĞ ŝŶͿ͕ ůŽƐĞ ƵƉƐ ŽĨ ĂƌŵƐ ŐŽŝŶŐ ŽǀĞƌ ŚĞƌ͕ ĐůŽƐĞ ƵƉ ŽŶ ĨĂĐĞ ĂƐ Ăƌŵ ŐŽĞƐ ĨŽƌ ŶĞĐŬ͘ WŽƚĞŶƚŝĂů ƐŚŽƚ͗ ,ŽƌƐĞ ƐŚŽĞ ĚŽůůǇ ƐŚŽƚ͕ ƌĞǀĞĂůŝŶŐ ƐĞĐŽŶĚ ĐŽƵƉůĞ dŚƌĞĞ ƐŚŽƚ͕ ŵĂŶ ĂŶĚ ŵŝƐƚƌĞƐƐ ůĞĂŶ ŝŶ͘ >ĞĂĚŝŶŐ >ĂĚǇ ůĞĂŶƐ ŝŶ Ăƚ ƚŚĞ ůĂƐƚ ŵŝŶƵƚĞ͘ ůŽƐĞ ƵƉƐ ŽĨ ĂƌŵƐ͕ ůĞŐƐ ĞƚĐ͘ ŬŶŽƚƚŝŶŐ ĂƌŽƵŶĚ ĞĂĐŚ ŽƚŚĞƌ ;ƉŽƐƐŝďůǇ ƐƉĞĚ ƵƉͿ͘ tŝĚĞ ŽĨ ƚŚĞ ƚŚƌĞĞ ĐŚĂƌĂĐƚĞƌƐ ĐŽŶƚŽƌƚŝŶ Ő ĂƌŽƵŶĚ ĞĂĐŚ ŽƚŚĞƌ͘ ^ŚŽƚ ŽĨ ƚŚĞ ƚǁŽ ǁŽŵĞŶ ƐŶĂŐŐŝŶŐ’ ĂŶ ĂƉƉůĞ͘ ůŽƐĞ hƉƐ

^ŽƵŶĚ ŽƵŶƚƌǇ ƐŽŶŐ ŐƌĂĚƵĂůůǇ ĚŝƐƚŽƌƚƐ ĂŶĚ ĚĞŐƌĂĚĞƐ ĞǀĞŶƚƵĂůůǇ ďĞĐŽŵŝŶŐ ŝŶĚŝƐƚŝŶŐƵŝƐŚĂďůĞ͘

THE TEAMS RESPONSE: SHOT LIST Images Unknown

After sending the team the references on the previous page, they then responded with this pdf document explaining the different shots we could do with visuals to go along with it. The first stage is connecting all the different characters together in a way that shows that they’re all in different relationships with each other. With simple shots where they’re maybe just standing next to each other, all three of them together like something out of American Horror Story and then also with the use of fruit so we’re constantly getting the references from the fruit interlinked with all the different shots. The second section is all about movement and linking the different characters together whilst also showing off the clothes. There needs to be a significant amount of shots for the clothes considering that this is a fashion campaign and the number one element is selling the collection. I really like the images that they picked for this section because it’s exactly what I had in mind for the shoot. I did mention and demonstrate what I meant when I told them I want them to fall in to each other and I did put in a small image on the moodboard as a small reference but the fact that they came up with this without a massive visual aid, so it makes me feel like I explained everything correctly. The last part is quite obvious in it’s all about the fruit. These shots should just be quick and easy small filler shots that we can slot in where neccessary to add some flavour and a little bit of narrative to the film.

Images (left to right): Michelle Philips from The Mamas and The Papas - pinterest.com, Ricky Nelson - Tumblr.com

MUSIC CHOICES The Mamas and The Papas - Dedicated To The One I Love

Ricky Nelson - Lonesome Town

For the music I wanted to steer away from the normal music that people use over the campaign films, which is stereotypically for this target market electronic and cool music. I wanted to use something completely opposite and had this vision of 50’s style music over the top of the modern and crisp images. I thought it would juxtapose nicely and I think it’s in keeping with the Celine brand because they always have this sort of home-made/grain effect to their campaigns and is almost a throwback to the polaroid when it first came about and film cameras. I thought the scratchy sounds of an old track would make a nice change. The two songs that were in contention were ones that I had come across just on social media with other projects that people had done. The first is by The Mamas and Papas ‘Dedicated to the one I love’. This one was used in a trailer for a film called Okja back in 2016. I then listened to the track properly after I had heard it on the trailer straight away and sort of put it at the back of my memory thinking I could use it one day in a film of some sorts but I wasn’t sure when I would. In the lyrics is all about dedicating their love to their partner and I thought it would have sat really nicely with the images of each person being with each other and give you a leading sense that they’re in a relationship with each other. The second is a track by Ricky Nelson ‘Lonesome Town’ I actually heard this on Instagram from a post by Dylan Sprouse. He had done a shoot for I think Teen Vogue or someone and they played the BTS with this song over it and I just really liked it. I thought it was very slow and cool and had an Elvis vibe to it that almost felt quite fashionable. I ended up chosing this song, just because when I listened to it the slowness sort of geled with the images more than the other. However, I will be keeping the other one around just incase I want it in the future because I feel like it is a good piece of music.

THE (THEORETICAL) COLLECTION I chose to base my film on the most recent collection shown being the Spring Summer Ready to Wear collection for 2018. “It’s personal,” says the designer. She intuitively channels feelings into product. And this season, this is what she feels: “I wanted to be optimistic. It was just this sense of joy and life force. It felt like a celebration. I thought, If there’s anything to say at the moment, let it be with love and let it be joyful.” (Sarah Mower, britishvogue.com) From the coverage from the collection and from Pheobe herself, it seems the whole collection draws from freedom and being comfortable and being able to do whatever you want in the clothes without you being limited. I wanted to take the concept further and put it into more of relationships. We should be free to love whoever we want to love in the clothes and be with whoever we want, or be alone as it’s all fine because we’re free. Therefor thats how my concept comes into play with there being three characters in the collection and interacting with each other all together and in pairs and individually. I thought playing out the concept of the collection with relationships was the easiest way to represent this. However, as much as I would like to use this current collection I don’t have the money or the connections to use any of these pieces therefore I had to scour the internet to try and find collections that look like this collection or pieces that look like this collection that I could style together to look remotely Celine. I like how they styled it down the runway and I’m going to look at how they styled it in the campaign too, not to copy them but to be in keeping with their sort of styling too so that everything sits nicely together with the runway, collection and the film that I’m making for them.

CELINE SPRING SUMMER READY TO WEAR 2018 COLLECTION All images: vogue.co.uk

KATIE ILLINGSWORTH DESIGNS - NUA FASHION GRADUATE All images: instagram.com/katieillingsworthdesigns

I came across Katie’s collection on Instagram when I was looking for the first project and sort of kept it in the back of my head for this idea I had. Before I had spoken to Katie, I thought the collection did have an uncanny resemblence or inspiration to Celine as a brand. It has a little less shape than the Celine clothes do but I think it’s close enough without having to spend loads of money on getting the clothes and then returning them. So, I then structured out an email explaining who I was and what I was doing with some examples of my work I carried out beforehand. I then went into why I was contacting her and what I wanted to use. I mentioned that I saw her collection on Instagram and obviously loved it. She then replied within a few days and agreed to do the shoot and said she could bring the whole collection with her which is great because that means a lot of pieces I could switch in and out on the day depending how they fit the models. Upon talking to her it turns out that Celine was a big inspiration and a brand that she followed intently alongside designing this collection. Using her I think and her clothes just made everything look way more expensive and also looks good on my portfolio that I support and contact different designers whether they be local or not. The collection is also sized to fit a 5’11 model, size 8 which is actually ideal because of the loose nature of the design it means I could easily get a guy and a girl into the clothes without it looking unnatural.

HAIR AND MAKE-UP All images: pinterest .com

THE GIRLS HAIR INSPIRATION

For the hair, I want something super natural to the point where I want it to look like they have just woken up with bed hair. I think if they straighten their hair the night before and then leave it in the morning it’ll be the desired effect that I want. Unless their hair is naturally straight then in that case I reckon they can just leave it. The other option I was thinking was scraped back into a bun because these are the only two looks that have featured in the Celine campaigns. Also, I feel like with the models that i’ve chosen because they’re all so different I want their natural hair so they can keep to their look.

THE GUY HAIR INSPIRATION

For the guy, I think it was really difficult to try and pick what I wanted because male hair is very niche and finding a model with enough hair to style is going to be difficult so I decided that I wanted a model with curly hair and I wasn’t really bothered by the length and he too would have it natural in keeping with the girls. I think because Celine haven’t ever used a male model in any of their campaigns or catwalks, I kind of had free reign over what I wanted him to look like style wise and just physique wise. I think if Celine were to cast a guy they would go for the tidy, indie look with flowy curly hair or loose waves to sort of mimic the girls but in guy form. I also want the hair to be a tad feminine. I’m not sure if you can class curly hair as being feminine but loose curls on a guy I think has a childish girlish vibe to it that I think will look really good.

MALE AND FEMALE MODELS MAKE-UP INSPIRATION

For the make-up as much as I would love to go make-up free I actually don’t think I could have people to pull it off. It sounds really bad because I’m all for empowering women but it’s very touch and go with no make-up and how it’s going to look. I also don’t have top notch photographers that can make anything look good with a click of a button so I definitely want to go natural but I don’t want to go full on natural. I want to put a small amount of make-up on the guy, just balance out his skin tone with some foundation and maybe plump his lips up slightly with a dab of lipstick to make them look slightly more full than potentially they are. For the girls, drawing from the images I really like the orangey nude lip which looks like they’ve pinched the skin to draw out some colour in them and then the small unkept eyebrows I think look really cool and are very french girl chic vibe. I think i’m going to ask the girls just to put a light base of foundation with some concealer to hide any blemishes that they may have. Then when they get to the shoot, I might just put a small hint of lipstick on them to make their lips really pink and plump and then maybe a tiny bit fo blusher to bring out some colour in their face so they aren’t completely washed out with the light grey background.

Frederikke Sofie by Juergen Teller for Celine Fall/Winter 2015 (tumblr.com)

TEAM 87

THE CORE TEAM All images: taken from corresponding facebook accounts

STYLIST/CREATIVE DIRECTOR

EDITOR

For my role within the team I firstly acted as a creative director by making the concept and briefing them all on what would be happening. I then also with help of Yvonne, scouted the models which consisted of people I knew and then Yvonne’s guy friend who acted as the third model. I then contacted the designer and styled all the models on the day, getting shoes from Moda in Pelle a shoe store in Norwich who I had previously worked with on a Norfolk Brides shoot in early February. On the day I then basically organised everyone and helped set up the sofa and brief the director on the sort of movements I wanted and then the cinematographer on how I wanted the fashion shots to be and then sort of left them to do their work, checking back to the footage every so often to make sure everything looked as it should.

Although Alex didn’t really come into play until post production, he still was very hands on in the process and on the day shooting as well. I had never worked with Alex before but Yvonne suggested that he work with us on this project. He was also supposed to help me on my other project however due to timing he wasn’t able to commit. Leading up to the shoot Alex was basically the guy that told me what could and couldn’t be done. I was slightly annoyed that on the day I wanted everything done in slow motion however when it came to the edit it seemed that nothing was filmed in slow motion so we had to work around it. I think in the end Alex sent me about 3 cuts of the film, to which I gave a few notes and said what I did/didn’t want in terms of the music and the cut of the images. It took a little while to get what I wanted but in the end I think it was a good turn out.

DIRECTOR Having previousy worked with Yvonne before on the collaboration project in second year, I had worked alongside her being the cinematographer and so she wanted to switch up the roles this time and take a stab at directing. I really liked her as a director and leading up to the process she was really helpful in developing the idea of the fruit further and taking it into a bigger concept than us just putting fruit somewhere in the shot. She was also really good at helping set up all the equipment and keep everyone focused on getting the shots she wanted. During the shoot I did sort of step in sometimes to suggest something and Yvonne was good at getting in and then telling the models what needed to be done in a better way than potentially I could because I’m more used to directing stills rather than moving image.

I hadn’t met Alec prior to doing this project however he did help me out with the other bootcamp project before this one so when it came to the day I kind of knew what he was like to work with and what the outcome would be like due to him filming. He gave a lot of advice and tips on what we could do to make everything look how I wanted it to in terms of the cinematography and I really liked working with him, I think he was easy going and knew what he was doing so we didn’t have to faf around on the shoot day. In terms of the filming, I would have liked him to know a little bit more about fashion film but I do understand it’s a very niche area of the film industry but it’s just when it came to the fashion shots, I had to heavily direct how the shot should be framed and how it should be filmed and small details that if he had known fashion film then I think it would have gone a lot smoother and quicker, but overall I think he did a good job.

CINEMATOGRAPHER

THE MODELS

MEGAN RUDLING, 17

Megan I had worked with a few months earlier on a shoot with a different photographer and she has this really cool look about her with kind of big ears and big eyes, with a very small and tall frame. I think she is really fitting to what Celine uses as their models. The only thing I was worried about was her age, because she is only 17 I was worried that she might look too young against the other models or that because she isn’t as old as the other models that she might be uncomfortable with some of the things in the concept or if I just needed the models to maybe touch each other (not in a sexual manner) I just want the models to be easy and not make a fuss about it. However, on the day she was really good and you wouldn’t have been able to tell that she was any younger than the others and was really proffessional and good about the whole thing. I also liked that she was brunetter so it balanced out the dynamic a bit.

JOE PATTERSON, 18

I think casting the guy was the hardest choice for me because Celine have never used men in their advertising and therefor I had to predetermine their taste in guy models just going off the brand research that I’ve done for them. I think that I went for the right guy in the end, I wanted someone that looked slightly indie but also intruiging with the same prominent features as the girl models with the sticky out ears and big eyes and tall and slim. They also had to be able to fit into a womens collection so I needed them to be pretty slim. The only issue I had was that he wears glasses and I was worried he wouldn’t want to take them off but thankfully he was good about it and we shot without glasses. I don’t think the glasses would have added to the aesthetic I was going for even though he does look pretty cool in them. I think by using a coloured guy model, it really is out of Celine’s comfort zones because they don’t sell their collections to men. But this could be an opportunity from this to then see the reaction men have and decide whether they want to make a male collection (theoretically ofcourse).

LAUREN TURNER, 19

Lauren was actually the first peron I thought of when thinking of models that would be suitable for this film. I had used her in a film before when I produced the violence against women one in second year and although she was a little difficult to direct she has done quite a lot of shoots now so I thought she might be more natural at the shoot this time. She definitely has the prominent features that I was looking for and she almost looks a little french as well which is in keeping with the Celine brand. She is also super tall and slim which is the perfect fit for the clothes. I would have liked to use a plus size model just to extra push the boundaries but unfortunately the collection was designed for a small size 8 so it wouldnâ&#x20AC;&#x2122;t be possible to fit them in the clothes. I think she worked really well and because she knows Joe she worked really well with and she was comfortable around Megan too so it all went well.

CĂŠline Resort Spring 2015 Campaign (pinterest.com)

BEHIND THE SCENES 93

On the day I had someone go round and take photos of the behind the scenes so I could have some instagram content and for the rest of the social media whilst the film was being edited. I also think it’s a good record of what went on on the day and something you can look back on. In terms of how Celine could use them, considering it’s an online campaign, content is everything. The content from this film will have to last over 6 months which includes, social media content, images to send in a press release, website images for the collection and also the film itself which will also consisit of small clips suitable for promotion uses across social media too. Considering I didn’t take any actual campaign photos and just filmed, I thought it was actually nice to use some of the behind the scenes photographs as the actual campaign images. I feel like its very organic and not something Celine has previously done before so pushing them out of their comfort zone further. However, I think it still very much keeps in with Celines aesthetic and wouldn’t look out of place next to another campaign. Celine also hasn’t done many campaigns if any in the studio so I also think it gives another take on the Celine brand and offers something different to what they’ve produced in the past.

Photographer:Liam Gough Stylist: Sophie Chittock Clothes: Katie Illingsworth Designs Shoes: Moda in Pelle Models: Megan rudling, Lauren Turner, Joe Patterson

Celine Spring 11 Campaign, photographed by Juergen Teller (fashionandabout.com)

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THE OUTCOME 101

PHOTOGRAPHER LIAM GOUGH STYLIST SOPHIE CHITTOCK FASHION KATIE ILLINGSWORTH DESIGNS SHOES MODA IN PELLE MODELS MEGAN RUDLING, LAUREN TURNER, JOE PATTERSON

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DIRECTOR YVONNE MAPHOSA CINEMATOGRAPHER ALEC MCDONELL EDITOR ALEX ASHBERRY CREATIVE DIRECTOR SOPHIE CHITTOCK

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PHOTOGRAPHER LIAM GOUGH STYLIST SOPHIE CHITTOCK FASHION KATIE ILLINGSWORTH DESIGNS SHOES MODA IN PELLE MODELS MEGAN RUDLING, LAUREN TURNER, JOE PATTERSON

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DIRECTOR YVONNE MAPHOSA CINEMATOGRAPHER ALEC MCDONELL EDITOR ALEX ASHBERRY CREATIVE DIRECTOR SOPHIE CHITTOCK

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I wanted to get as much variety as I could in the shots, so I sort of sectioned them in my brain how I wanted each section to go. The first section was the ‘suggestive section’. We sort of shot this as and when it made sense with the outfit changes. We shot the banana shot right at the end just incase it made a mess and we couldn’t clean it up and it ruined the rest of the shoot. We then also did the fashion shots around the outfit changes. So before each model changed outfits we took time to take simple outfit shots that we could interlink through the film because the end goal really was to promote the new collection and I wanted there to be some classic shots that almost just acted like fillers so that the length of the film wasn’t extremely short. In briefing the models, I took them aside before we started shooting and showed them all the brief again which I had previously sent to them all and just sort of went through the movements I wanted them to do throughout as a general rule and just how all the film will work and how they should keep moving because it wasn’t a photoshoot and all the neccessary rules really. Then before each shot I would position them and sort of run through what I wanted them to do in each shot so they were fully briefed on everything when they were going to film. Me and Yvonne wouold also just sort

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of add stuff and talk to them through it when filming which took a while for them to not look at us when we were speaking but once we had a good rythm going then it all flowed really nicely and we got the shots that we needed to get. I really liked how all the shots looked and I’m a bit disappointed that some of the shots we did didn’t make it in but if they didn’t make sense in the grand scheme of things then I’m not too fussed. Alongisde all of these shots we also had a side station where we were taking single shots of the fruit that you can see flashing in the film so that the title Fruit Salad made sense. We also took some shots of the model feeling the fruit and putting her finger in it, which even the sound of it sounds a bit gross and very suggestive even though it was just fruit which I was really keen to put in because I thought it would really tie everything together, however the editor Alex didn’t seem to have the same opinion and therefor they were cut. But we did still have the flashing of the fruit and then the still image at the end of all three of them sort of sitting down with each other and all the fruit lying around them.

PHOTOGRAPHER LIAM GOUGH STYLIST SOPHIE CHITTOCK FASHION KATIE ILLINGSWORTH DESIGNS SHOES MODA IN PELLE MODELS MEGAN RUDLING, LAUREN TURNER, JOE PATTERSON DIRECTOR YVONNE MAPHOSA CINEMATOGRAPHER ALEC MCDONELL EDITOR ALEX ASHBERRY CREATIVE DIRECTOR SOPHIE CHITTOCK

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I think the overall look for the shoot worked really well and is what I had envisioned from the moodboards and the designs and everything that I had sent over to the team and briefed all the models on. I think the light grey background works really well against the tones of the clothes and makes everything look super crisp. I don’t think I would want it any darker because I think it would make everything look a bit too brash for the Celine style. I think Celine is much more toned back and softer than that sort of style. I’m happy with the combinations of fashion that I partnered together through the different shots. With this one I wanted to keep the grey tones by just having grey and white together so it looked like it was sort of his and hers clothing with the girl model in the dress and the guy in the top and trousers even though the fashion is designed for women. I think with this image it could pass as unisex. I kept the rest of the styling pretty bare which is very Celine-esque. I like the texture of them sitting on the white sheet as well because everything sort of blends in together but also the fashion still stands out. I think the composition is really nice with the paleness of Megand and then the soft brown complexion from Joe they just ook really nice together and shows off how similar colours work on different skin tones too. For the posing, everything we shot was very simple with poses like this with just them all leaning on each other and constantly somehow touching each other to show that they’re loving towards one another. I think it’s subtle but it also works really well in telling the narrative that I outlined in the brief.

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Celine Spring 11 Campaign, photographed by Juergen Teller (fashionandabout.com)

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MODEL CASTING Fristly for the casting, Celine have never used a male model in anything they’ve created including their social media content, campaign advertising and on their website. I think by using a male model it really pushes not only the boundaries of fashion and what men and women can wear without it being tailored to their shape, as womenswear and menswear so often merge together on the catwalk without it being a unisex line. So, I think with the cut of Celine also, men could easily get away with wearing it and it looking flattering. By using a male model, Celine would be opening the door to a new audience and pushing their brands boundaries. I also wanted to try and be as diverse as possible, although I do have two white models, I do have one coloured model and therefor I’ve tried to make the ethnicity pool as equal as possible. Pushing Celine’s diversity ratings further than they are already.

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CAMPAIGN FILM Celine have never made a campaign film and so therefor by just doing one anyway, it’s pushing their boundaries. I think it’s time that they start travelling into film as fashion film is on the rise and they’ll gain more exposure for the brand. Strategically, it will open up a new audience of film proffessionals that want to work with the brand and will open opportunitites for new and exciting interactions. Also, with film it will open up the existent customers to more of an insight into the brand and more of their aesthetic. With a campaign film also, it puts them right there with their competitors on social media with content. They aren’t the most active when you compare their instagram, facebook and twitter to others so to push their boundaries more they can have more content to post around all the different channels and challenge their competitors more.

Photographer Liam Gough Stylist Sophie Chittock Fashion Katie Illingsworth Designs Shoes Moda in Pelle Models Megan Rudling, Lauren Turner, Joe Patterson Director Yvonne Maphosa Cinematographer Alec Mcdonell Editor Alex Ashberry Creative Director Sophie Chittock

HOW DID I PUSH CELINE’S BOUNDARIES?

LOCATION Within Celine’s campaigns they don’t typically use the studio as the backdrop. I think by stripping the aesthetic back and using something super simple and similar to the lookbook they shot for the collection I used it’s almost pushing their boundaries more by not using some really fancy location. The pale grey background also maybe slightly more washed out then they’re usual taste so trying something different in terms of colour and maybe going out of their core spectrum is also pushing the boundaries further, although I think if you put the logo in the film then it will still resonate with the Celine brand.

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DESIGNER FASHION I definitely went out of my comfort zone by contacting someone that I didn’t know and asking to use their collection whilst also pitching my idea. Although I did do this in the last project I feel a lot more vulnerable with a fashion film because there’s more content and it’s a bigger production to bring someone into and a lot more work, so if it didn’t come out right like I had wanted it to then it could hinder future collaborations with that designer who, who knows if they become famous with their collection one day. Having them there on the day also was potentially a risk, but I trusted my instincts and she seemed really nice over email and text and I did meet her briefly before the shoot so I could just have one more look at the collection and make sure that she was an okay person to have on the shoot. She was actually really fun to work with and I would definitely collaborate with her again.

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CONCEPT DEVELOPMENT I think in terms of pushing a concept with a team this is definitely out of my comfort zone. Normally, with any concept I have I want to develop it on my own and maybe take a little input but basically have creative control over everything, so to let the film people sort of take a little control away from me and help develop the idea of the fruit and sexualising the relationships with the fruit I think the film turned out a lot better in the long run. Having to develop something so quick as well and have the concept ready and developed under two weeks was definitely out of my comfort zone as every other film iâ&#x20AC;&#x2122;ve worked on or made took me over 6 months to develop and organise and make everything right.

HOW DID I GO OUT OF MY COMFORT ZONE?

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REFLECTIVE OVERVIEW

I think what I learnt most through making this was just how much you can achieve in two weeks. I never would have thought that I could even develop a concept this quick for something of this magnitude, I’m used to just plannign still shots in my head but to think of moving image is a whole different ball game. It definitely makes me want to do more with fashion film and see what I can achieve with a little bit more time to properly organise everything and take my time over styling and picking the right team. Because I think the film potentially would have turned out slightly different if I had used a different editor. I think I definitely want to branch out and see if anyone specialises in fashion film around norwich to create something as it would be easier to work with like minded people in terms of fashion shots an what i’m trying to achieve fashion wise through the movie. I definitely liked having the designer on set because then it sort of takes the pressure of if something happens to the clothes because they’re right there. It’s always a stress if something happens to the clothes and you have to then tell the designer (which hasn’t happened a lot) but it just makes everything flow a little quicker in the process in terms of returning the clothes and packaging them up etc. saves a lot of time. In terms of using no hair and make-up artist that is a first for me as I always have someone doing it as I think it looks way more proffessional but it was interesting to see how they all looked on screen without having something on their faces. It was anice experiment and |I think it really worked for this project but I can’t say that I would do this in every situation. It would have to be if the brand and aesthetic was right. In terms of models, it was fun to work with people I had worked with before and people I hadn’t so there was a good mix of trust and getting to know how people work, it was also a really nice environment because the models that had worked with me before almost put the others at ease and made me feel good about the relationship I had formed with them through past shoots.

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