#NOLESSAWOMAN
BA2A CAMPAIGN BOOKLET SOPHIE CHITTOCK
CO N T E N TS 4 4-7
Introduction, moodboards and colour reference for the campaign
8 8-21
Lookbook of images for campaign
26 26-27
Event details from invites to location mock ups
22 22-23
Mock up of assets including: website and magazines
28 28-29
Budget for the entire campaign from production to models
24 24-25
Timeline for the entire campaign including press and production
30 30-49
Reflections about the entire process of making the campaign
WASHOUT A campaign by Stella McCartney to raise awareness on the work of The Grateful Garment Project, with the message ‘Say No To Violence Against Women.’ Following are all the campaign assets, including: social media assets (instagram), short fashion film stills, lookbook, website mock up on all platforms as well as event invite mock ups and editorial mock ups. I’ve included moodboards and colour references so that the journey and thought process from start to finish is clear.
MOODBOARD
COLOUR REFERENCE
PANTONE 11-4202 TPX
PANTONE BLACK 6 C
PANTONE 12-0911 TXC
RGB 237 | 239 | 236
RGB 16 | 24 | 32
RGB 242 | 211 | 188
HEX/HTML EDEFEC
HEX/HTML 101820
HEX/HTML F2D3BC
LOOKBOOK
Model: Lauren Turner Photographer: Kane Layland Stylist: Sophie Chittock Dress: Boohoo.com Videographer: Joseph Murray
Model: Liv Harrould Photographer: Kane Layland Stylist: Sophie Chittock Dress: Boohoo.com Videographer: Joseph Murray
POSTER MOCK UPS
INSTAGRAM MOCK UPS
SHORT FILM STILLS
WEBSITE MOCK UPS
EDITORIAL MOCK UPS
TIMELINE
JAN - FEB Production 10x 10 styles from the SS17 collection, remade in white with label ‘Stella Says No’
APR-MAY Shoot Campaign Director: Spike Jonze Photographer: Harley Weir Models: Taylor Hill & Bella Hadid Venue: TBC Shot over two weeks, short fashion film, editorial shots and lookbook shots
MAY Long lead press Vogue: single page Elle: double page interview on event Marie Claire: double page
JUL - DEC Social Media In July, sneak peak of a new campaign will be launched, periodically being posted once every two weeks until November, where there will be one every week leading up to the event. Newsletters will be sent out, facebook ads, adroll, updates on stellamccartney.com. Tweets about the event and celebrity guest speakers announced. As well as facebook live at the event & instagram stories.
JUN - JUL Invite Production Designed and created with personalised glass bottles
SEPTEMBER Invites sent out Personalised invites and newsletter to customers about the event taking place
SEPTEMBER Short lead press Vogue.co.uk: 30 second video ad Elle: sponsered weekly newsletter Influential bloggers: Sent invites to blog that they’re going to the event
NOV 25TH Event Held on International no violence against women day at the Saatchi gallery
NOV 10th Showroom Press and bloggers to come view the collection prior to the event and to blog and write about it a week before the event happens to build interest
EVENT INVITE MOCK UPS
EVENT LOCATION MOCK UPS
Saatchi Gallery, Floor 1
BUDGETING BREAKDOWN
GARMENTS COST = £14, 550 PRODUCTION FEE = £1,818.75 (based on it costing 1/8th of the price to produce on average) PRODUCTION FEE FOR 100 GARMENTS £18,187.50
DIRECTOR = Spike Jonze £100,000 MODELS = Taylor hill: £50,00 & Bella Hadid: £50,000 VENUE = TBC PHOTOGRAPHER = Harley Weir £80,000 CAMPAIGN PHOTOSHOOT FEES £280,000
PER BOTTLE = £5.18 PRINTING CARD = £2/3 PER INVITE = £8.18 PRODUCTION FEE FOR 300 INVITES £2,454
VOGUE = Single Ad: £29,060 ELLE = Double page interview: £50,700 MARIE CLAIRE = Double page: £42,100 BLOGGERS = Free LONG LEAD PRESS FEES £121,860
LOCATION = £19,500 Includes: Saatchi Gallery, one floor with two hour extension. Holds 300 people in each room SPEAKERS = TBC PRODUCTION FEE FOR 300 INVITES £19,500
VOGUE = 30 second promotional video: £8,000 ELLE = Sponsered Weekly Newsletter: £10,000 BLOGGERS = Free LONG LEAD PRESS FEES £13,000
SUBTOTAL
£455,001.50
TARGET
£1,500,000
PROFIT
£1,044,998.5
REFLECTIONS Reflecting on everything I have done involving the campaign, form initial ideas to the completion of the assets. I talk about the organisational skills I’ve had to harness whilst making everything happen. I also talk about some of the marketing aspects and why I made the creative decisions I did, to benefit not only Stella McCartney as a brand but to also gain as much exposure and awareness for the charity ‘The Grateful Garment Project’ and the message to say no to violence against women.
Image: Stella McCartney for Adidas lookbook, pinterest.com
RESEARCH Looking into all the research that surrounds violence against women, it’s just really upsetting. Especially the statistics where people shame the victims. If I’m honest I don’t understand fully why all these things happen to seemingly good people and it’s so hard to detach myself from the subject and stay objective for my campaign because it makes me so angry. Social media and film has such a massive part to play in all of it too. I mean when you look at all the GIF’s that are out on facebook and twitter etc. the amount of slut shaming and women shaming ones there are out there that people are retweeting and sharing without thinking about what they’re doing. Rape is constantly being made a joke in cult films and even big blockbusters and it’s almost become normal for us to see it on screen. How crazy is that? People don’t even flinch when they see this in a movie anymore, because we’re used to seeing this scene over and over again. But, in my eyes that’s not okay. I think by looking through all the statistics and whats out there already powering the awareness of this issue I really want to target my campaign at university students. Obviously this happens to people at every age and as sad as that is, I think I can make the biggest impact with the most impressionable and that’s students.
A big thing that I’ve also found through my research is just how many statistics there are. There’s all this information out there for people to read and educate themselves on what’s going on and still the issue is never talked about? I was only clued in that I as an individual could help raise awareness when Emma Watson released her HeforShe campaign. Suddenly, I was reading Elle and retweeting and posting on Instagram about it, I felt apart of it somehow. I honestly think social media is the way forward to getting a message across nowadays if it’s aiming at younger people because they’re glued to it. The fashion industry really has the power to shape peoples opinions and as of late, they’re not doing anything about this issue which is frankly appalling. I think that’s why my campaign will work so well. With the rise of feminism, and using the right brand I could potentially start the conversation and put a stop to violence against women.
WHY STELLA? I don’t think Stella is an obvious choice straight away, but would any fashion brand be as no one has really taken a stand with this in a very public way? But when you start to look into what Stella does beyond using no animal products she’s done a lot for violence against women. Supporting countless amounts of charities and holding events and raising a lot of money for the cause. Also, Stella has a voice. She’s not afraid to stand up to the industry no matter what and still be fine. Also she has fun with things. When looking into her campaigns, she really pushes the boat and it seems like she’s going in a different direction for target audiences as well. I really want to target my campaign at university students and they obviously can’t afford Stella’s clothes, but maybe if older people know it’s for a younger audience they’ll want to feel young and apart of the movement and get involved too. I need to do more research into Stella’s core audience and what she’s currently doing to keep sales up etc. Whilst looking into Stella’s branding aspects, I also looked into some of her invite designs and they were amazing. She had one for her collection shows as little ice cube trays, which is so inventive! I feel like although it’s a serious campaign, I think I can have a little fun with some of the branding aspects like the invitations and the social media side as well as raising awareness..
PROPOSAL Trying to gather my thoughts into a proper proposal is hard. I wasn’t sure all the little bits and pieces that I wanted to do to make the campaign come together but now I think it’s clear. So, I’m going to raise awareness through Stella McCartney, about The Grateful Garment Project which is sending the message ‘Say No To Violence Against Women’. To do this, I Stella will hold an event where she will auction off pieces from her SS17 collection remade in white. There will be speakers and music and an overall celebration of women and making everyone aware of whats going on around them. Around this, I’ll have editorials sent off to magazines, a press release, social media posts, a promotional video and short fashion film that will be shown at the event too. I think this is a lot to tackle and I think it’s going to be hard work to get everything made and ready and formatted in time for hand in, however I think if I do it, it’ll look really good. I don’t want to just write about all this stuff that Stella could do, I want to make it so everyone can visualise what my vision is. I’m not sure if I have too many components or not enough, I need to look in to how much people spend on campaigns and how many components stella does normally for a standard campaign. in all my ideas
. It’s all very exciting drawing in all my ideas together and actually getting a piece of writing down to start formulating my report. Next steps I think is sorting out the campaign shoot, so I can get underway designing and then I can write about what I’ve made afterwards and almost back track on myself. Image: Photographed by Irving Penn, Vogue, October 2007 for Stella McCartney Breast Cancer Awareness campaign. vogue.co.uk
MOODBOARDS & PHOTOSHOOT PLANNING I’m really not a moodboard person. I find it so hard to get the right images to put all these thoughts I have in my head down on paper. For my campaign shoot, I was looking at having 3 locations and 3 models. I want to base my shoot around water, so three sources, the sea, swimming pool and a bath. I want the whole concept to be women drowning out their words. When women are in the situation of violence, through statistics it shows that they don’t speak up and most women that do report a violent attack, is years after the incident happened. So I think it’s a strong concept to go on. I think for the styling, I want really flowy dresses. I have to keep to Stella’s style and I’ve picked a few pieces from her SS17 ready to wear collection that I’m trying to find replicas in, in white. I think maybe playing with a suit as well? Could work in the transition of outfits. For make up I’m thinking two looks, bold and nude. The first look a berry lip and smoky eyes with slicked back hair and then the second, bold eyebrows and a nude wash across the face with just wet hair. I want to keep the water theme flowing throughout the styling and make up so everything links together. Realistically, I want to get all of this done before Christmas which leaves me a month and a bit to get everything organised and shot. It is a bit of a squeeze but so long as I stick to some form of a schedule then I should be okay.
Image: melissasonico, instagram.com
Image: Summer look book, dreamcreatedo. com
BRIEF
CONTACTING PHOTOGRAPHER AND FILM MAKER
I have put together a rough brief so that I can contact a photographer and film maker. In the brief I’ve put the title (although I’m still not sure on the title, probably going to change it) and a small description of what the shoot will consist of and what the theme and story is. I’ve then put in a moodboard for each location, styling moodboards, make up and poses that I want the models to do too. I think the brief is really clear from my point of view. I’ve tried to include as much information as possible so when I send this to people they are clear and have ideas in their head about how we can make everything. I’ve put in the brief that I want to shoot an editorial and a film on the same day, because logistically, shooting in 3 locations, I don’t want to be going there twice. That would mean extra organising and there’s going to be too many people involved to try and do that.
For the photographer, I messaged Kane again. I worked with him on the orange project with Liv so he knows my style and we work well together. I think he’s a really good photographer and he works quick which will be good in this time sensitive situation. However, difficulty might be that deadlines are coming up for everyone and being a student he might not have time to take on any extra projects. When I contacted him, he did extend this concern however after I told him what I was looking for and what I wanted to do, he seemed up for it so I have him on board. The only difficulty I will have, having a separate film maker and photographer is just organising a day when everyone can do it and correlating this with venues too.
In all the moodboard’s I’ve gone into depth with imagery about exactly what I want, even though I’m doing the styling. I think it’s just super helpful to constantly reference back to the brief when I’m looking for outfits and thinking of make up looks and hair to do. I think I’m going to trial some make up looks on myself to see what works and what doesn’t & also just try some hair looks on someone so I can see if it will fit how I want to. One thing I didn’t include in the brief is the bruises make up. I couldn’t find any images that really showed what I want to do with the bruises, so when I meet with the photographer/ film maker, I’ll show them my orange project work so that they understand where I’m going with it. The next few steps is to draw out a storyboard for how I want the film to look and what I’m looking for specifically in the editorial. Then, contacting everyone and starting to get this show on the road.
For the film maker, I wasn’t really sure who I wanted to use. Firstly, I tried to email the film lecturer at NUA but he didn’t reply. I took media in A levels and I remember working with a guy called Joe Murray who was really into filming and was always really talented at it. On a whim, I contacted him just asking him how he was and what he was doing and that I had a project that I really wanted to use him for. He was interested and wanted to do it, however because he works full time, he was only available for 2 days in September that was 2 weeks away. Stressful. But, his work is really good and it’s the sort of style that I’m looking to go for so I’m going to work around him. I then arranged to meet with Joe as I hadn’t seen him in a few years anyway and I want to show him the storyboards and just talk through my project in more detail showing him some of my work so he really gets the feel for what I’m doing.
Image: Stella McCartney lookbook, cargo.com
MEETINGS
SOURCING CLOTHES
In the first meeting with Joe, I showed him basically everything I had done in my project. I went through my presentation where I took him through research and some of the creative work that I’ve already done so he could know my working style a little bit. I then showed him the brief again and just talked through everything individually, like the hair, styling and just gave him reasons behind everything so he really understood why I had made these decisions and why I wanted him to shoot in a certain way. Next, I showed him some examples of Stella McCartney’s short fashion films and adverts so he knew the sort of style she worked with so that it could correlate to our styles and it could all still sit with my project. I then showed him some videos on youtube with what I was looking to go for, in music, lighting, styling everything. This took around an hour, so afterwards Joe literally knew everything he could possibly know about what I wanted, the feel and why.
Looking into Stella’s SS17 and resort collection she has some pieces that I think I will be able to find some what replicas of. I’ve tried to pick pieces with frills and a flowy way about them so they will work well in the water and falling into the water. I first thought about asking shops to maybe lend me clothes but considering that the models would be falling in water, I don’t think they would be too inclined. So, therefore I went to asos and topshop and tried to source cheap clothes that I could reuse on different shoots and that wouldn’t go to waste. I haven’t got models yet, however I was planning to get the outfits in generic sizes so that it would fit any model I could find. So, I’m looking to buy them in a size 6/8. I’ll probably get a size 8 just incase because 6 is very small.
We then brainstormed together, collaborating with the different shots we could do and possible locations too. As of this first meeting, I hadn’t got in contact with any locations but considering Joe could only be available for 2 days, I had to redo the brief. So instead of doing 3 models with 3 locations, I took it down to 2 so that we had more time to work with each location. I’m hoping to do one location on each day so that we can have as much time as possible and not be rushed. So from this meeting, I am now going to sort out styling and source locations so that everything is ready prior to shoot days.
Having more luck on asos, I found a few good white dresses however I had trouble trying to find any structured suit like clothing without spending copious amounts of money. One of my housemates luckily is a fashion design student and I remembered her saying something about having a tailoring project, so I went to her studio and saw that she had some great trousers that I thought could work well so I’ve kept them as a possibility too. I also really wanted a jacket and so I went to my petite friends and raided their wardrobes, so now I have around 5/6 outfits that I can choose from and fit models with. I’m glad I have more than I need just so that I can try all the clothes on all the models and pick the clothes that fit them best and ultimately look the best as well. I might still take options to the shoot just incase it doesn’t work with the location however, as I don’t want to be caught off guard.
SOURCING MODELS When I told Kane I wanted him as a photographer and what I wanted from the shoot, he suggested that we use models from an agency. Sandra Reynolds is the local modelling agency and Kane gave me names of models he thought would work well and an email with a booker he had worked with previously. I emailed straight away to the agency about the models I wanted to use and the dates and locations I would need them for. The booker then replied asking for more details and then said she would get back to me with their availability. I wasn’t really sure how much detail I had to go into when telling them what I needed the models for? So, I asked Tamasin how much I had to clarify with them what I was doing and then proceeded to email them. Unfortunately, neither of the models Kane wanted were available and it is short notice as this was only 8 days before the first shoot day. So I looked on Instagram and a girl popped up that I remembered from my A level days and that I knew was a model. I then emailed the agency again about this girl and she was available, however we would need to get her back to the train station by a certain time that I couldn’t commit to, so again it fell through. I did get a little frustrated and it got to the point where I thought I wouldn’t be able to do the shoot because it was getting to 4 days before the first shoot day and I still had no models. In desperation mode, I then asked Liv if she would mind modelling for me and then went to first year fashion communication students to talk to a couple about possibly modelling too. Luckily, Lauren was able to model and I had them ready and rearing to go for both shoot days. It was probably the second most stressful thing about this shoot. I had never had trouble getting models before and I guess this shoot was a bit late notice which is probably why it was more difficult, but jesus! It was not fun.
CONTACTING VENUES This was absolute hell. I thought that sourcing venues also wouldn’t be that hard, but this is the single most stressful thing I have ever encountered in my entire life. I got the bath quite easily. My friend who had spontaneously decided to go to france, had an amazing bathroom so I asked if I could use it as his dad was still at home. So that was okay, I managed to get that on the allocated day that I wanted it for. However, the swimming pool was horrendous. I rung around 30 swimming pools, talking to schools and hire pools and gyms and any pool possibly known to man. I talked to moms, aunties, put a status on facebook, twitter. I was willing to spend over £100 on using a private pool for a couple of hours because I really didn’t think I was going to get one for free. Literally, I was ringing schools left right and centre up to 3 days before the shoot and I was really close to cancelling everything because I didn’t think I would get anywhere. But! There was an angel somewhere. I rang broadland high school as a last resort and they had a spot open on the same day that I wanted to shoot the bath. So instead of moving everything around, I decided to just shoot everything on the same day. We got the pool for four hours and when we arrived I wasn’t sure whether I was getting it for free or not, but
thankfully they recognise a student when they see one and I was able to get it for free thank GOD! I never want to source venues so late in the game ever again, because it’s not worth the stress. But when everything was confirmed, I sent the pictures of all the locations to Kane and Joe so that we were all on the same page. Image: Third Form Resort Campaign Look book, pinterest.com
ORGANISING EVERYONE Organising 5 people is not as easy as you think. Trying to fit everyone in, with everyone putting in opinions about when and what they want to do and trying to keep civil and not get angry at people is very hard. My first priority was the venues. So before I could think of anyone else I had to make sure the venues knew what time I was coming and how long I was going to be shooting for. Next was joe. Joe works full time so I had to then work round his schedule and get the two days off that he had free around working on projects so that he could have the most time possible. Luckily we got the shoot on one day so I didn’t have to organise two days of shooting, a blessing in disguise. Then I had to make sure models knew what time to come and to what venue. Joe was taking me to both venues and home again because we live near each other so it’s just easy getting in one car. So liv was coming with me and joe to the first venue and then we would take her to the second venue where she would get picked up. Then Lauren would meet us at the second venue and then joe would take me and her home afterwards. So, I sent liv and lauren a text the night before double checking they knew what time to be where because it was going to be a busy day. I also rang the venues both the day before so everyone was double clear. As for kane, he drives so I told him to meet us at the locations at both times and gave him the address of each location a few days before the shoot and just followed up with him the night before too. With a lot of me just constantly texting everyone and making sure we all knew what was going on, it actually ran really smoothly.
Image: Attack Art by Adriano B, fuckingyoung.es
Image: Behind The Scenes Of Free Peoples June E-catalog With Staz Lindes + A Playlist, tumblr. com
SHOOT DAY So shoot day everyone knew where to be at what time. Liv came to mine with make up and hair ready so that when we got to the first location we just had to get her changed. Me, Joe and Liv arrived at the first location for 9am and Kane followed and met us at 10am so that Joe could set up and film the first outfit ready for Kane to shoot and then we could move on to the second outfit swiftly. When we arrived I talked through the planning of the day with Joe and scheduled how much time we had to set up, shoot, change outfits and pack down again. When we were actually shooting the film, I took the creative direction, talking through to Liv the movements I wanted and what her character was and what I was aiming to get from the video. I think Liv took direction really well and Joe seemed good with what we were going for so everything really came together. The clothes looked really nice and the only difficulty with the hair was keeping it smooth and wet to keep the look strong, so I had to keep running in and out of shot to just fix up Liv and position the clothes how I wanted. After we shot everything at the first location, we then packed everything up and drove to the second location that was roughly 20 minutes away at a high school. When we got there we parked and went to the reception where we had to sign in and then we received lanyards and were told to wait by the gate to go to the pool. Thankfully I got the pool for free, I’m not sure what I would have done if I had had to pay for it. I hadn’t actually seen the pool so as soon as we were in, we just scoped the space and saw what we had to work with. There was bunting going across the pool, so we took that down and set everything up ready to shoot. In this instance, I had Kane shoot the editorial first because he had less set up time, so then when he was done, Joe was ready to start filming. I directed the second
model, Lauren the same as I did with Liv. I think Lauren was a bit more timid than Liv, but I still think it worked. In one of the shots I wanted Lauren to fall into the pall sideways. The pool wasn’t very deep so when Lauren fell she would have had to be careful if not she could have possibly hurt herself. In this respect, I think Lauren worked really well with this because it was a bit scary just falling. I thought I would only be able to do this with one shot, however when she got out of the pool the dress still looked okay to try and do another couple of rounds of it. I just had to blowdry her hair and fix her make up a few times, but it all worked smoothly. I think the whole day went great and although it was super long and we didn’t get a break all day, the fact that I had stressed so much trying to organise everything really payed off. The organisation and just keeping on top of everything means on the day I didn’t really have to do much in terms of getting people to where they need to be because they already knew what to do. What also aided me more than anything was concise briefs. I think because I layed it out clearly and with as much detail as possible, everything from start to finish was clear to everyone.
RETRIEVING ASSETS After the shoot, the first person to come back with the assets was Kane with the editorial pictures. We discussed on the shoot that it would be in black and white, so in post he just made it look a bit more dramatic. I was happy with all the images, although I definitely think that the bath images came out a lot better than the swimming pool. I think this is just in context of the lighting we had and the space. So, after sending me a dropbox link, I got to mocking the images into all sorts of templates. As for the film, it was a bit lengthier. Firstly, I made a specification brief for exactly how long I wanted the film to be, what I wanted in it for example title sequence and credits and the structure I wanted it in so Instagram shorts and the overall video. I then had a few phone calls with Joe about the music and we just sort of played a few things to each other that we both thought would work and then came to a mutual decision of the sort of tune we were going for. I gave him a few videos to reference too about how I wanted everything to look. Turns out that one of Joe’s friends wanted to make the music for the project because he liked the look and feel of the video which is really cool. I then just kept texting Joe to keep track of the video and how it’s going so that he could then send it all over. I think the video looks amazing and I’m so proud to have produced all of this work for my campaign. I think the overall look of all the assets I’ve made are really strong and fit the Stella aesthetic too.
Images: Stella McCartney instagram feed, instagram.com
CAMPAIGN REFLECTION OVERVIEW The main thing throughout my campaign and making the assets and photoshoots that was thought about most was keeping it in touch with the Stella McCartney brand. It’s easy to think of ideas and get all the styling & models etc. but it still needs to look like something the brand would actually use to fit. I know the brand usually uses a touch of humour in pretty much everything they do, but I also wanted to push what the brand knows and does, to make it more dynamic to different audiences. Organising this campaign has been stressful beyond stressful. When shooting on location you literally have to think about every little thing. Firstly who is going to be there, what will you need when youre there because you aren’t going to be able to go home and get something if you’re missing it. Also, are there any hazards? Who do I need to brief and what obstacles are there with the location. Just getting a location is probably the hardest thing because no one wants to give you anything without something in return. This is annoying and as a student I think people don’t trust you more than usual because you’re seen as young and clueless. But hopefully I have changed a few people’s minds and worked in a proffessional way. The best organisational learning curve I’ve taken away from organising photoshoots is multiple briefs. For this campaign I made one brief about the idea and what I wanted to do basically for the photographer, model and videographer and then made a seperate specifications brief for the videographer so that all the branding was in check. What I wish I had done and something I have done for my up and coming Diversity shoot is to make a second brief sort of going through where the location is, directions, timeline for the day, contact details from everyone and basically just every single bit of information I have in one place. Because the one difficulty I found organising this was that everything was just sort of everywhere and I kept having to search different conversations I’ve had with different people to let other people know what was going on and it just all got a bit frustrating. I didn’t have much time to schedule this shoot as it always seems to go, however I feel like I was really efficient throughout which shows in the end product. I do think that the bath location worked a lot better than the pool, which is funny because I thought it would be the other way round. I think this was due to there being a small amount of space to work with in the bathroom which meant the shots were tighter and suited the theme better, whereas the swimming pool we had a large amount of space in the middle and not a lot of room around the pool where we needed it most. I also think the bruises look more realistic in the bath scene than the pool, this is down to me putting the make up on dry skin rather than wet skin when we were on the pool location. Although this for me does ruin it a tad, i’m still happy with the outcome and what I’ve been able to produce in a short amount of time.
BA2A CAMPAIGN BOOKLET SOPHIE CHITTOCK