Summer Research File

S U M M E R W O R K

P R A C T I T I O N E R S Firstly, I felt that it was important for me to look into and research a number of practitioners ahead of the course in order to aid me in the direction I am looking to go in for upcoming projects. Doing this will give me a clear understanding of ways in which I can further explore/keep as a clear reference

Erika Bowes Dexter Navy Martine Rose Petra Collins/Baron Frank Lebon

e r i k a

b o w e s

https://erikabowes.co.uk/Ezah-Ikuy-Lookbook

Erika Bowes - Ezah Ikuy

This imagery has been changed post-production through the use of a scanner. The images were already shot on Film camera, and then the use of scanning after offers such a pleasing outcome. Bowes is known for her use of film throughout her work, this being something I definitely would like to try more within the upcoming projects, to create content that I’d like to feature within my portfolio at the end of level 3.

I particularly like this shoot/campaign for jewellery brand Ezah Ikuy. The photocopied photo post production work is something I’d like to consider for upcoming work as I dabbled within my self-directed project for last year. The composition of the images here really catch my eye, as the off centre composition is unpredictable - especially for a brand campaign, making the overall feel of the work seem very rough. With the choice of shooting upon film, I feel like these to characteristics of the shoot go hand in hand with one another.

This leads me onto wanting to experiment more with fim during the following term. It’s something I’d like to get more confident with as I’ve especially liked my work when I’ve used a film camera previously.

https://erikabowes.co.uk/Ezah-Ikuy-Lookbook

I want to look into this image in particular more specifically as I feel it’s definitely the style of work I’m interested in creating within the future.

The sheer ruggedness and messiness of the images is what initially caught my eye.

Each image is presented to the viewer in a very ‘sketchbook’ style of work, they look like they’ve been cut out by hand - which is actually an aesthetic in itself that especially catches my eye.

I loved the rugged edges of each photo and just overall feel like it gives the imagery such a raw effect. This is a style I’m becoming much more aware of nowadays and therefore something I’d like to practise more.

I think the reason I like it so much is due to the fact that throughout my years doing creative subjects, I’ve always been encouraged to make a sketchbook that reflects the style I like working in as much as possible. I would take matters into my own hands and try and create the best looking sketchbook within my A-Level Graphics & Illustration course.

As I now no longer use a sketchbook, I still appreciate the effort and time that goes into each piece, this being one of the main reasons why I’m beginning to like this look a lot.

https://erikabowes.co.uk/Ezah-Ikuy-Lookbook

Overall I think this imagery is definitely something I will refer back to within my future projects as it highlights specific styles and post-production work that I think I will follow in terms of aesthetics.

As well as considering each of the previously stated points, I also wanted to highlight the fact that Bowes has created a range of original outcomes, as well as sticking to a brief. Ezah Ikuy is a jewellery brand, that sells unique and authentic designs.

I can really appreciate the fact that Bowes positions each model in a interesting ways in order to catch a viewers attention, in order to sell a product. The left hand image is promoting ring designs - each photo is encapsulating and interesting to look at, which is important to consider seeing that there are only a number of poses that can be made to look interesting when involving images of hands. I understand that there are only 4 photos of the hands, however the up close images of the model’s faces also look just as interesting, although each photo kind of gives off a passport photo look

Erika Bowes - Nylon China I think this shoot is very simple yet effective. The close-up image of the model is what initially caught my attraction to this shoot, I think the reason for this is through the choice of the colours.

The use of using the colours green and red together is effortlessly so important to recognise. Red and green are known complimentary colours, therefore typically used together to create content that stands out.

https://blog.closetomyheart. com/2018/05/29/color-theory-double-complementary-color-schemes/

However, in this case, because the shoot was shot upon film, the outcome is given a much more rich, yet authentic look. Again this highlights the importance of film seen within Bowes’s work, and how she uses it to her benefit of considering simple elements like this.

As well as this, the proportions of the colouring within this imagery is also very well thought out in terms of creating a specific outcome. The model sports dramatic green eye shadow, whilst posing in front of a green bush - this clearly showing the top half of the image is green. On the bottom half, the models sports a red dress, making it dominantly red.

https://erikabowes.co.uk/NYLON-CHINA

https://erikabowes.co.uk/Nora-Models1

Erika Bowes - Nora Nora is a personal project by Erika Bowes, so it’s definitely a factor for me to consider to evaluate if there’s any specific things that are identifiable within Bowes’ personal work in comparison to her commercial work.

Although for an editorial, I feel like the narrative for this shoot definitely runs along the lines of following a girl to get a sense of a day in the life of. This would be deemed as a fairly simple narrative, but I feel Erika Bowes brings this to life through the use of many elements.

For example, the lighting here is so warm, tying in all of the colours that are seen throughout the picture. The choice of shining a glimmer of light onto the models face effortlessly brings the viewers focus here, then bringing them to appreciate the model herself.

I feel the shoot overall is so simple, yet the way Bowes presents this simplicity is so intriguing, and making wonder how I can also take on elements that she’s considered and project this into my own work. https://erikabowes.co.uk/NYLON-CHINA

I think one thing that I’ve noticed whilst looking at this is that within this personal project, Bowes isn’t afraid to post images that are quite similar to one another.

Obviously working for a brand you’re creating imagery that they can use to promote their products, however, in this can Erika isn’t looking to advertise a This idea of freeness is easily identified brand, she’s freely photgraphing. through the images, they all feel so personal and comfortable and much less posed, of course.

https://erikabowes.co.uk/Masked

Erika Bowes - MASKED I thin it’s quite funny because on the previous page, I mentioned how it’s sometimes easy to identify whether a photographer’s work is personal or commercial, however, in this case, I’d definitely presume from the first look that this shoot was commercial.

In evaluation to this shoot, it’s easy to understand that Bowes’ work provides such aesthetics within her work, that even her personal projects are deemed to be commerical, (i.e use of light, make-up etc) I need to consider this within my own work.

The structure of this shoot screams commerical work at me. I think the reason behind this is because firstly, through the use of objects.

Typically when film photographers shoot personal projects, they create content like Nora - Erika Bowes (shown on previous page), work that is quite simple and has personal undertones.

This shoot however, although somewhat giving a sense of personal touch (perhaps mainly is this because it’s shot on film, where pictures look much more raw), looks so professional. I think this is because of the use of make-up. This is another point to consider - personal projects don’t typically feature MUA’s.

Erika Bowes - Evaluation I definitely enjoyed looking more into Bowes’ photography and how her style is so obviously identifiable. Throughout this research I’ve learnt that through specific elements, she creates such imagery that gives beautiful outcomes. One of these elements is her focus on the use of colour.

Colour isn’t always the main aspect of her work that’s immediately taken in, but after looking at each image in depth, it’s easy to understand that Bowes creates such beautiful aesthetics through the choice of using specific colours.

Lighting is also another element that popularly focussed upon within her work. Within the previous 3 shoots by Erika Bowes that I’ve just looked into, lighting plays such a massive part in creating the outcomes that she has.

Both of these things are such important aspects of photography that I usually just brush under the carpet, as photography isn’t my main interest, so to now actually consider the importance of each of these and genuinely look at examples where they’re considered definitely changes my ideas for the future.

https://www.instagram.com/miasakai95/

Mia Sakai I became interested in Sakai’s work when I stumbled upon this image on Instagram at the beginning of the summer and was instantly intrigued about her work and what else her work had to offer.

These images each gather my interest in a range of ways; from the use of colour in a way to make the photography to pop, to the styling choices.

I feel that Sakai’s work definitely adheres to my typical interests when it comes to photography. Imagery that captures my attention usually is shot on film, colourful, and intriguing, all things in which I feel Mia Sakai’s content specifically ticks all the boxes.

This imagery was presented amongst multiple other pictures:

This image wasn’t featured within this Instagram post, however, I feel like it may definitely be one of the stronger shots from the photoshoot. The use of a dramatic make-up shot against the pale pastel backdrop, ensure the viewer’s attention is gathered around the bright use of colour, however small it may be here.

https://www.mia-sakai.com/full-bloom

Mia Sakai - Full Bloom One style of photography that has always interested me, is studio based photoshoots, taken on film cameras. I understand that this is a rising trend, however Sakai’s Full Bloom content explores this with a palette of colours, making the final outcomes look so unique.

By using a studio, the photography’s final outcomes in terms of colour just completely pop - but not in the same way that’s seen if this photoshoot were to be taken on a digital camera. Colour isn’t typically the first thing that is presented when viewing imagery caught upon film, however Sakai’s personal touch to the style makes her work so recognisable The colours are so bright, yet faded to a certain degree that gives a dreamlike haze to the imagery, an aesthetic I especially love. For me, the importance of colour within creative content, is so incredibly important, this being the reason why Sakai’s work style caught my eyes.

I think her work is very original in terms of this

Mia Sakai - Full Bloom

This imagery is much more toned down in comparison to Full Bloom, which is important for me to note as I want to explain how the work can still be recognisable to Sakai’s name.

Here presented is 4 images of females, all

say about aether magazine

Petra Collins - Baron Magazine Typically Petra Collins is reknowed for creating dreamlike imagery that represents the current youth, however, collaborating with Baron Magazine has definitely pushed her work to a wider audience, and further her content to a new standard of her style.

Baron Magazine, is a publication that explores a non-conformist attitude in terms of image making, referring along the lines of GUT and Ladybead (featured further on). For Petra Collins, this is an unheard of approach, as her work typically follows a strict look.

https://www.refinery29.com/en-gb/petra-collins-baron#slide-1

Like GUT, Baron thrive their look on an aesthetic and layout that presents this idea of ‘naff-ness’, something that’s stereotypically not attractive imagery, but is now a popular wave of content that’s being appreciated more and more.

The Baron cover features images all taken by Collins, each featuring a bold coloured border, allowing the viewers eyes to focus on each image clearly, distinguishing what’s what from one another.

All of the colours seen within this cover stand out so effortlessly from one another, with the yellow and pink banding at the bottom to tie the piece together. So far in my work, I’ve looked into how I’m incredibly interested in the idea of how colour is used within imagery, so obviously it’s important for me to again consider it in terms of this work.

Yellow is seen boldly throughout the content of this image, yet presented in a way that’s so faint and raw. I particularly love how Collins has deliberately incorporated a range of elements into the imagery to give this sense of yellow - she hasn’t fully gone and made sure everything in the image is yellow. This is another important thing - presenting colour but to a level where it’s enjoyable to look at as opposed to overwhelming

Something I feel Petra Collins does so well

I mentioned before how Petra Collins’ work is indeniably recognisable through her persistent choice of content that was seen in her imagery - teenage girls. Here, however, Petra Collins explore more taboo undertones, ultimately creating her audience on their toes.

The unpredictable-ness of this campaign is what gained a large attraction to the release of Baron, ultimately something I too should consider. Within my work I like to explore particular areas, but now I’m ready to push my style to a new level, be it through layout and design or photography.

Even here, Petra’s style is undeniably the same, but the way it’s presented is completely different. 3 models are seen here - something that’s seen popularly within her conent - yet one poses with a chainsaw.

Everything about this image is completely unlikely, and keeps viewers on their toes, an aspect of this work I’m looking to push further

To follow this idea, I could perhaps collaborate with another person on our course (or textiles/graphics/illustration) that holds a completely different style to mine, in order to create a range of content that is exciting and new to our portfolios.

https://www.baronmagazine.com/product-page/baron-by-petra-collins-pre-order

Editors Notes For the sixth edition of Baron, artist Petra Collins flips the camera lens onto herself... more specifically into herself. Uninhibited, gross, disjointed, and confusing, Collins places us in a world filled with perverse personal thoughts and lucid landscapes.

With the book’s Hungarian title Miért vagy te, ha lehetsz én is? Collins asks us: Why be you, when you can be me? Collins uses the camera as the third person. It captures historical truths (such as a time and place) and an emotional reality with a complicated relationship to intention and perception. Working with the sculptor Sarah Sitkin, Collins creates moulds of her body as well as her sisters to gain ownership, in a world where our bodies live in multiple realities. This new body of work features Collins first experiments with self-portraiture.

‘I’ve seen my camera take on many truths. And the truths that shocked me the most to see, were my own. I see them in every image I have taken. Seldom am I the subject of my images but I often make my way into the matter of them’.

All being themes that aren’t largely focussed upon within her work.

Typically seen is femininity, and youth culture, this contrast keeps us on our toes.

It’s interesting to see the story behind this artwork and it’s influences as the work has such a unique feel to it. Relating to my previous comment on the importance of keeping the viewer on their feet, Baron make it clear that the book decides to flip roles and present Petra Collins as the subject.

This unique twist is again relating back to my comment. For me, espeically entering my final year of Fashion Comms, it’s incredibly important to create content that’s exciting to look at yet offers an authetic ‘twist’ that will be unique to my work - thinking outside the box in order to create exciting content for both me and the viewer.

Acknowledging this, these photographs are set in a world of ‘constructed’ domestic interiors contrasted with ‘real’ exterior locations and Collins own family and friends.

The sixth instalment of Baron introduces the art director Sandra Leko who has collaborated with Collin’s to present this new body of work in book form that is inspired by the graphics and layouts of Japanese Kinbaku magazines, the sequencing of the images are disjointed, ambiguous and represent its own peculiar logic.

Look further into Kinbaku magazines, to gather a more in depth understanding of the layout and design that these have, as the layout of the Baron cover immediately caught my attention

https://www.refinery29.com/en-gb/petra-collins-baron#slide-4

Petra Collins Talks Sexual Desire, Selfies & Her Foray Into Film Are these images an affront to the notion that women can't be gross or ugly, both physically and mentally?

"That wasn't my intention but it is a way I try to live. I believe it is also something that we have zero tolerance for – especially in this climate."

Talk me through the body moulds and working with Sarah Sitkin – why did you want to create these, and how do they position the female body?

"Sarah captured my attention early on. I am a huge fan of her work and was taken by how she worked with her subjects. Her Bodysuits series is what got me. She has been able to create these body moulds that tell a person's story from inside out. Inside these lifelike bodysuits she uses fabric that represents each person. She inserts objects into these suits that allow the person wearing the suit to experience life in a different body and gender. I felt freedom with creating my own body moulds. I was finally able to see myself as a physical thing. Get outside of myself and move away from editing how I pictured my body."

Sarah Sitkin - explore further

As Baron Mag delves into the idea of ‘taboo-ism’ and focuses largely upon this within their ideas, it’s intersting to see how Petra Collins presents this in such a feminine way.

“As Baron Mag delves into the idea of ‘taboo-ism’ and focuses largely upon this within their ideas, it’s interesting to see how Petra Collins presents this in such a feminine way.”

Sexual connotations Because of the colour palettes seen within the imagery This highlights the direct collaboration of both Baron and Collins to create a completely new and interesting aesthetic

None of the imagery is ‘too taboo’ - i.e nothing gruesome/fully disgusting All of these combined create the perfect balance between Petra Collins and Baron Magazine which is completely Partial nutdity mesmerising how they simply combine all styles, yet remain relevant to both

Use of weapons

It’s difficult for something to be ‘gross’ if it’s presented in such pretty, feminine colours All of the images are PG However presented in a fetishistic manner

This is what keeps the viewers excited and on their toes - “What will be next?!”

https://032c.com/why-be-you-when-you-can-be-me-petra-collins-unconscious-truths

WHY BE YOU WHEN YOU CAN BE ME? Petra Collins’ Unconscious Truths You cast yourself alongside others in this project, and worked with Sarah Sitkin – who you’ve worked with before – on the silicone casts of your body. Can you describe the role of and your approach to collaboration in this project? In your practice in general?

Collaboration is integral. I thrive off it. I studied criticism and curatorial practice in school and I think it heavily influenced the way I approach creating. I believe that brought together, different mediums, different ideas can create greater change than one can create alone. That said, this project is one the least collaborative works I’ve made. Usually, the most collaborative part of my work is with my subjects. I’ve always placed myself as a sort of bystander, letting my subjects lead the way. I can put them in an environment – which could be fabricated in a studio or a physical location – but ultimately it is up to them how they react to it. Because I was shooting myself for this project, I leaned into my photos more. I pushed my narrative, which I try not to ever do with my other subjects. I finally felt like I could release a lot of inner narratives that I hadn’t made the space for previously.

You’ve said that you don’t view this work as being “surreal” but rather as seeking something very real. There’s a misconception about surrealism that its project was to somehow betray or escape reality, when in fact it was very much interested in reality – just the unseen, deeper reality of the psyche.

I totally agree with that statement, and it’s something I’ve tried to vocalize for a while now. I feel like in 2019 we are severely detached from reality, or even our own personal realities. Our collective narrative in almost every sphere is preaching “realness,” diversity, and authenticity, but not practicing that. And we’re portraying reality from one lens only. We are living in such a powerful age, and initially I was so excited – and naive – about what could happen. It seemed that for the first time ever, people who were normally left out of our Western narrative were being given the chance to make their own images, of themselves and of their worlds.

I watched this happen with the selfie. At first, I felt like this was a way to make a difference, to create new landscapes, to make something more dynamic and fruitful of the world as it was normally portrayed. Sadly, instead it feels like we have just created sameness and masked any real difference. We are living in Malcom X’s nightmare. Fashion houses preach diversity, then create CGI avatars instead of using actual POC models. People are face-tuning themselves into oblivion yet in the same space preaching self-love. It’s confusing, and I think damaging.

How do projects such as this one – which are of a personal, artistic nature – interact with or inform your editorial or commercial work?

I’m an artist by nature, and luckily I get to do what I love for a living. There is a scale obviously to what degree I can practice art in certain contexts, but that nature is never not present when I’m working. It’s fun to create outside of “art” – there are tools I’ve picked up, references I’ve gained, and things I want to change that I can implement in my personal practice.

This reinforces previous idea that the idea to collaborate now may best most successful idea.

Collaboration also shows your diversity within the creative industry, inforcing ideas of professionalism

Is the work surrealism or taboo? Or both?

- I definitely believe the works holds a sense of both of these elements to remain relevant to both collaborators https://www.itsnicethat.com/articles/petra-collins-baron-publication-photography-070819 Featuring inset images with cutely coloured borders, the layout has something of the feel of an 80s kids annual about it. But the graphic style and typography, Sandra explains, was inspired by magazines dedicated to Japanese Kinbaku, a BDSM practice of tying intricate restraining knots. “Kinbaku magazines were very much the starting point that then allowed me to dig deeper and look at the Kinbaku film posters and other publications from the 80s and 90s,” says Sandra, whose first job at IDEA books has given her a huge reference bank of vintage publications and editorial approaches. “This research also lead me to explore Japanese album artwork from the same era. I love the use of the strong colours and the busyness of the layouts and wanted to see how I could apply that to this book.”

The structure of book itself moves though Petra’s different set-ups, from body parts in the snow, to the girls in the bedroom, the dancer, the bride and the classroom. Sandra adds, “I was aiming to create an eerie narrative between all of these elements, so that the book would feel like an odd story that you can’t quite figure out, but by turning each page you unveil another little part of the puzzle.”

This article gathers collected thought and overall inspiration of the design for Baron Magazine. Now being able to understand more deeply the whole aesthetics of a Kinbaku layout, I’ll do my research of what the specific looks were, in order to allow me to gain reference and ideas to push further for future ideas.

https://www.kinbakutoday.com/interview-ugo-san/

Japanese Kinbaku Magazines

It was actually very surprisingly difficult to source relevant imagery online that speficially shows Kinbaku magazine covers, as most of the imagery found upon Google was like pictured to the right.

Although results were at a minimum, I managed to find one website that exclusively looked deeper into the aesthetics of Kinbaku magazines.

This page looks at how the look of the Kinbaku aesthetic changed throughout a 20 year time period. Interestingly it’s intriguing to see how each cover links clearly to other covers of this publication type.

Each cover seems to follow a semi-strict layout and design:

does this relate to Baron’s taboo theme that’s ran throughout

‘cartoon’ style logo/font

brightly coloured text

design refers somewhat to a yearbook style - could this tie in with the submissive models found upon the covers

After not having much luck upon Google, I decided to take myself to Pinterest, where I knew I’d definitely seen similar design to these covers before.

This is a cover from a SM Magazine, a 2007 edition.

This image was found upon Pinterest as I’d saved in on a board a while back not realising it would be of any use to me.

Pinterest isn’t always the best website to source imagery, however the credit link took me directly to a website that shows all the covers of specific Japanese publications.

Unfortunately after attempting mutliple times, the website didn’t allow me to gather zoomed in images of the covers.

I’ve shown to the right a handful that were posted, in order for me to compare and understand how the aesthetics all tie in with one another to create a somewhat ‘genre of layout and design’.

Japanese Kinbaku Magazines Aesthetics

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It’s easy to see that each cover uses a centralised image of a young, submissive model

Typography is used in bright colours to attract - for me I feel this makes the designs look much more feminine, which I don’t think is this desired audience to buy these publications

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Overall choice of colour throughoiut is seen - perhaps this again is a way of addressing the audience Cartoon like graphics all over - somewhat signify youth

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Baron cover designer Sandra Leko, successfully adheres to the Kinbaku aesthetics that are simply outlined above by what I understood them to be from an outsiders perspective.

Obviously when I made these points, I was just making a brief and quick list of boxes to tick if I were to ever use this work as reference.

Obviously Japanese text as well as the Kinbaku style originated from Japan This is just an example of a how a design may look, as a quick mock-up.

Although this literally took me 2 minutes, it’s useful to consider how I can reference back to this style if I were to perhaps choose to create work in this style within a project within the future

Petra Collins - Evaluation I decided to include Collins’ work into my Summer Project, as I wanted to highlight the importance of creating content that may not typically correlate to your typical style, yet pushes your imagery a mile further. Upon the release of this collaboration with Baron magazine, fans of Petra Collins have been completely taken aback by the style in which she’s now moving her work in, positively. Before the year starts, I want to clearly address this as well as clearly outlining the positive effect this has had for Petra Collins’ style, the reason being that I think that to ever evolve as a content creator, it’s important to understand stepping away from your typical style may be a positive change.

In this exploration of Collins I’ve identified one way in which I can push my work further within Level 3 - a collaboration. By collaborating with another creative student our 2 styles are matched with one another, enabling both of us to create content that may not typically be deemed as our typical style.

As well as this, I’ve now learnt and recognised a layout style that I may choose to refer back to at a later date - Japanese Kinbaku. These magazines highlight taboo-ism, a popular topic within Baron amongst others, that follows an interesting presentation of work. (reference back to this regarding to layout & design)

Dexter Navy Colour is a popular theme within my Summer Work, and one practitioner who largely relies on colour for the quality of their outcomes is Dexter Navy.

I first found Navy’s work whilst researching for a collaborative project last year but unfortunately was unable to put the aesthetics of his work into my own. So I felt it completetly necessary to research further into his work and see how I too can follow this look.

A popular method of working that I’ve only recently discovered is the use of scanning images in, which gives them this type of faded look, however I’m struggling to element of ‘fading’ in Navy’s work.

The only reason that I presume the work is scanned in is because of how each of the overlayed images always have a cellotape texture around them, connoting that they’ve been stuck on to the image and then scanned in.

This cellotape texture is actually quite unique to Dexter Navy. I understand that it’s a style that’s definitely been used before, but only Navy is the practitioner whose whole working style is formed around this.

Dexter Navy - 10 Magazine

https://www.clm-agency.com/style/anna-trevelyan/featured/10-magazine/5b72f9f7-f4c0-4634-97c0-5ff9ac110002/#7

At first I thought each image within this series would follow the same colour palette, as I feel this is the way in which Dexter Navy works. I think of all the shoot, this edit is my favourite; I can really appreciate its simplicity and style. Although I personally wouldn’t ever think to add a monochrome image over a vibrantly coloured image, I feel here it works so well.

I think the reasons behind this is because there’s not a large amount of colour within the background photo - a splash of yellow, and the rest follows out to be blue & black. I think this is important to consider though - this overlaying with monochrome imagery only works in specific conditions, I need to avoid adding it for effect to an already busy looking photo.

I actually think this also works the other way round. Again I would have to consider the colours etc involved within my imagery if I were to try this as I think the only reason I like this is again with the splash of yellow. The only reason I recognise this is because I don’t really like the top right image, however it’s practically the same as the bottom one, apart from the yellow. I think by adding 3 colours into the imagery keeps the content looking clean and tidy as well as aesthetically pleasing.

https://i-d.vice.com/en_us/article/a3gmn5/coming-of-age-with-dexter-navy

coming of age with dexter navy

‘Coming of age with Dexter Navy’ is a series that collectively puts a range of images, all taken of people who are all coming of age.

I really love this way of working, I find it so aesthetically pleasing look and comparing each face with one another, with those few images left in colour completely catching your attention. Of course the trademark cellotape is seen, making the imagery more original looking to his style, to create a common aesthetic within his work.

This series of imagery doesn’t specifically scream ‘Dexter Navy’ at me, although it is pretty obvious that it’s his content, as it features his trademark cellotape texture.

Creating a common aesthetic within your work is important, especially if you’re a photographer, as it allows clients to source specific imagery they wish for you to take, for a purpose - typically will be for a brand

As a creative, the importance of keeping viewers interested in your work, wanting to know more, is incredible. The decline of interest in your work is something that should always be the first thing on when creating content - “will people like this or am I creating something too similar to other work” - a question I ask myself during content creating.

This collage differs quite a lot from the other collage shown, which is obviously a positive as if he were to follow this same layout, the content would look almost identical to one another and therefore making his work less exciting = decline in interest.

https://www.itsnicethat.com/articles/the-psychedelic-world-of-dexter-navy-300916

The psychedelic world of Dexter Navy Topman presents Private Views: a new series of films featuring Topman’s four Private Labels – Topman Premium, LUX, AAA and LTD – to explore the concept of originality through the voices of four creative influencers. First up is photographer and director Dexter Navy wearing Topman Premium.

West London born and bred, these days filmmaker and photographer Dexter Navy splits his time between the capital, LA and Paris.

The Partisan-repped directer has shot music videos for Rainy Milo, Jamie Isaac and perhaps most impressively, for “Pretty Flacko” rapper, producer, director and model A$AP Rocky’s track “L$D”, the video for which won Dexter a nomination for Best New Director at the UK Music Video Awards last year. Somewhere in between flying back and forth across the Atlantic and hanging out with world-famous rappers, Dexter has found the time to hold his first solo photography exhibition 36 at east London’s Hoxton Gallery, shoot MIA, Travis Scott, Theophilus London, a lookbook for Billionaire Boys Club, direct spots for Red Bull Music Academy, Amuse, Nike and Havana and (of course) to feature in Dazed 100.

Dexter describes his work as “colourful, raw, psychedelic and unexpected.” “For every video I direct,” he adds, “I see it as a film. I push myself to try new techniques so viewers who know my work expect the highest level of craftsmanship.

I want to never stop experimenting as that’s the only way it’ll stay interesting to me.” Lately, Dexter has been working on his first feature film (a “coming of age story” based in Egypt), a zine (“for my friend Yoon who runs a brand called Ambush”) and editorials for iD and Japanese magazine Grind.

Colourful - his work is indeniably colourful, this is the sole purpose why I was initially attracted to the content he’s created. Vibrant hues so simply paired together creating such pleasing outcomes.

Each of these words specifically and directly explain and portray exactly how I view Dexter Navy’s work.

Raw - Through the use of film cameras and scanned in imagery which gives each image a rugged effect, there’s no denying that Navy’s work can be viewed as raw.

The film also giving the content a personal touch, as well as accentuating the colours found within the imagery.

‘Psychadelic’ - through each of the elemetns I’ve spoke about above, I feel like each are a combination to create this sense of ‘psychadelicness’ within his work. For example, the deep use of colours, all shot upon a film camera specifically accenture particular colours, giving the work a more of an ‘underground’ feel - this relates to themes of psyche.

Yuhan Wang One designer that specifically caught my attention during the summer was Yuhan Wang. Since graduating from Central Saint Martins in 2018, Wang has definitely created memorable designs that are now being recognised internationally

Throughout my work, I’ve always happened to go back to themes regarding femininity, or at least, looking at feminine designs, creating my content outcomes in specific ways that give a ‘feminine touch’. Here Yuhan Wang portrays exactly my dream collection through a matter of daint fabrics and use of ruffles.

https://www.vogue.co.uk/shows/spring-summer-2019-ready-to-wear/fashion-east-yuhan-wang/collection

Why does this interest you and how does Wang’s work hold any importance?

I don’t typically research into fashion designers within my work as it’s not directly related to the content I’ll be making, but I’ve always wanted to take direct inspiration from a collection and face a project in a way that a designer would do as opposed to a photographer, marketer etc

*Continuing from previous page* I think for one of the upcoming projects, I’ll see if there’s any way I can collaborate with a textiles student/s to create innovative content that incorporates elements of both fashion comms and textiles

This also relates to my point about the importance I feel in collaborative work within the course, especially for year 3.

As mentioned previously, I have an instant attraction and a way of working to an aesthetic of a ‘sketchbook’ style. I no longer work in a sketchbook as it’s become a lot more of both an expense as well as a hassle and I tend to prioritise or the other (sketchbook or computer work). So bearing this in mind, I think it would be incredibly cool to incorporate elements of a textiles sketchbook, with graphics and photography that I would create.

I’m not saying I will be making an item of clothing, merely just stating the fact that I’d love to be able to view/learn the way in which these designers are taught to work, and how I can then push this into my own imagery .

As I’ve never had the chance to personally make an item of clothing before, I think this idea is a really strong way of me gaining specific skills whilst in Level 3. If I were to do so, I would use Yuhan Wang as a specific example and follow the design skills that she uses.

A l l a n

Yu

Allan Yu is a graphic design artisit who creates particularly abstract designs that I feel don’t conform to stereotypcial ideals of graphics. His designs are so simplistic yet overly complicated, making his work specifically eye catching to me, also highlighting a direction I’d like to follow throughout my final years on the course.

ALthough this direction may not seem directly related to fashion, I think it’s important for me to explore ways in which I can use graphic design and photography hand in hand with one another to create work that’s original yet very relevant to what’s wanted in the creative world at the moment.

Here, I’ve picked out numerous pieces created by Maiers that involve elements of imagery to give some depth into the area I’m wishing to explore.

A l l a n e a r l y

Yu

w o r k

Allan Yu’s work is all found upon Tumblr, which was especially helpful for me to identify his earlier creations as the archive tool gives you the option to look at uploads from when the account was created.

To the right I’ve identified some designs that he initially uploaded to his account and its particularly interesting to see that he began to create more imagery based posters within his early days. Although not completely relaed to fashion, it’s good to see that he tried reworking publication covers - whihc obviously ties in to the fashion course. By looking at this I’ve found it useful to see how he’s expanded his work as a creative individual.

As well as this, it’s easy to see how Yu was still using a lot of colour within his work even in his earlier days as a graphic designer.

More recent work that Yu has created that withold an aspect of fashion imagery.

One reason I like Allan Yu’s work is because it kind of ‘takes the piss’ a bit, reminding me of practitioners I’ve researched in the past/am currently interested in for upcoming projects (e.g Sharna Osborne, Martine Rose etc) so could perhaps follow a more photography driven route and then turn to post production work to incorporate graphic design aspects.

?

M a r t i n e A r c h i v e

R o s e

This series of images was shot by photographer Sharna Osborne - someone I previously looked at in my final project of 2nd year. I realised throughout that project that her work is something I particularly warm to and want to create work in the style of as I feel it’s quite unique - especially for high-end fashion campaigns. Martine Rose is a designer that takes a similar stance on the fashion industry as Osborne - enjoys ‘taking the piss’ within her work.

This also being a theme I want to explore further

https://www.dazeddigital.com/projects/article/22591/1/48-martine-rose

As well as this, the images selected above are all in fact very colourful and as a whole feature a range of colours - this being something I’m hoping to do within my work. I think as well when videographers/photohraphers typically don’t depict a lot of colour when using a vhs style i.e within the clothing, location/background etc.

In the year of 2015, Martine Rose was selected as number 48 on Dazed’s annual ‘top 100’ list - promoting her name and fashion brand.

Since then, Martine Rose has risen as a reknowned designer, and even done a collaboration with sportswear giant, Nike - creating a pair of trainers, as well as tracksuits and t-shirts together.

As part of their campaign they created 4 seperate short videos featuring 4 very different people; Suraya, A$AP Eva, Tesfa and London Steve.

The video’s were shot in ways that looked as if they were VHS home videos.

This, I believe, gave the campaign a more of a personal touch, something thats not seen typically within designer fashion.

(This also relates back to previous page ‘Martine Rose Archive’ shot by Sharna Osborne.)

https://i-d.vice.com/en_uk/article/wj3pjq/heres-what-happened-when-i-d-bought-martine-rose-x-nikeon-craigslist

here’s what happened when i-D bought martine rose x nike on craigslist After Martine Rose literally took fashion back to the streets and transformed a quiet north London cul-de-sac into her spring/summer 19 catwalk, the London-based menswear designer has reclaimed hype streetwear drops for the people by releasing her Nike capsule on Craigslist. From the moment she launched her eponymous line in 2007, Martine has ignored well-trodden paths and cultivated her own way within the fashion industry.

Again showing that he’s just a genuine man, living an everyday normal life, and Martine Rose has found the interest to show this exactly Among the tradesmen, taxi drivers and locals popping into the Camden Park institution Castle’s for an early lunch of pie and mash, we spot London Steve sitting at a corner booth with two plastic bags stuffed with Martine Rose’s Nike capsule collection. "Steve is Steve," Martine explained. "For me personally, he is London: hardworking, enthusiastic, open-minded, funny. He was the main resident on the street that got the other residents excited about the spring/summer 19 show, there was no scepticism, he’s just brilliant and you’ll see for yourself when you meet him. He has 21 grandchildren and 7 kids and he cooks Christmas dinner for all of them, that’s Steve.” Over a cup of tea, we discovered just what Martine as we chatted about everything from his love of Camden and his support of Tottenham Hotspur FC to how he entertains his 21 grandchildren and how Martine’s take on the ultimate dad shoe reminds him on bunions.

importance of ever evolving the brand in new and unique ways - gets people talking, further pushes her ideals into and accepted into society.

After taking the fashion pack to a climbing centre in Tottenham and a market in Seven Sisters, there are few designers as brave, as fun and as passionate about her local community as Martine Rose. "Craigslist felt like a natural extension of how I work," she explained on the eve of the collection's launch, "finding interesting platforms and new ways to make clothes and events available. There’s a democracy about the platform that I like, it’s interesting and it's fresh.”

Martine Rose's take on Nike's ultimate dad shoe, the Air Monarch.

“I’ve known Martine for years because she’s friends with my old neighbour Tamara [Rothstein, Martine’s longtime stylist] from St. Leonard’s Square,” he explained in-between sips of tea. “For the fashion show back in June, I helped get it going because some people on the street didn’t want it. I knew it would bring the street together and it did, everyone loved it, we had a great day and it brought everyone together!” The show reminded us all that fashion can be, and should be, inclusive and joyful. This Craigslist drop is a digital extension of this world. this even moreso reinforces the comment of turning

everyday life into something fun - the personal touch that they both know each other from youth - typical Just as her spring/summer 19 show did, the release of Martine Rose’s Nike collaboration is bringing Londoners designer would not do this and the wider fashion community together once again. “It was a love letter to London,” she explained after a Craiglist seller London Steve in his north London man cave. show in which she street-cast boys from the surrounding area and invited the neighbours to peek over the inLondon Steve might have moved in the months since the show -- he “needed a bigger garden for the 21 dustry insiders on the frow. “And London needs a bit of love at the moment. London is full of love and London grandchildren for bigger BBQs and bigger Christmases -- but he’s still embedded in the local community. pulls together, and staging the show here was about that. It was about the eras of my life that encapsulated that That’s why Martine picked him. “This is a dream come true, a dream I never knew I had to be honest,” he for me, about how much music can bring people together.” laughed. “It’s surreal but fun. I’ve not used Craigslist before but it’s been great. Showing off my man cave, my everything about this holds so much personal touch, something many designers are shrine to Tottenham Hotspur FC and meeting people like you.” Martine brings people together, she's a conlacking nowadays - this is why I’m interested in her duit of community. "This collection is for whoever wants to wear it and however and wherever they want to As everything from Brexit to austerity and knife crime to air pollution continue to hang over the capital, Marwear it," Martine explained. "Why can’t you wear a football shirt, mini skirt and heels? I’m more interested in tine is giving the city another loving embrace by inviting a few of her favourite local characters to sell her wares. how people incorporate it into their own style, it creates a new life for the pieces.”

"I’ve always thought there’s something wild about Craigslist, it’s like the digital Wild West, you don’t know what you’ll come across," she added. Among Craiglist’s current hottest posts -- how about buying that snow cat limo So what does London Steve make of the product itself? “She has done so well, I love it all,” he enthused before you always wanted or watching a live birth on mushrooms to give yourselves fuel your future nightmares -- you grabbing the plastic bags to proudly show off the pieces. “The trainers are super sonic, the shape remind me can find Martine’s abstract, shapeshifting takes on the “British tracksuit”, the Nike Air "If Father’s Day were a of bunions and they’re so light. They’re the crème de la crème” he added as he held them aloft and a few locals shoe, it would be the" Monarch, and a football shirt too. turning the everyday mundane into interesting content nod and flash thumbs up in agreement. “Obviously you’ve seen me wearing them at home on the ad but I can’t wait to walk around the area in it. First off, I’m going to pop into JD Sports to show it off and make the "I took the same ethos that I apply to my own collections, subverting things that are ‘normal’," she explained. kids jealous," he laughed. "Back in the day I never used to wear Nike because they were always Arsenal, but "Going into the archive I wanted to find a classic English silhouette, similar to the JD tracksuit that remindnow they’re making Tottenham’s kits and Martine is collaborating with them so I’m a Nike kinda fella now.” ed me of my youth, coming home from school and immediately changing into it or going out on a Saturday night in that same tracksuit. The particular silhouette I chose reminds me of that time. I wanted the trainer to This article makes it clear to understand than Martine Rose is reflect the heritage of both brands, I was interested in a classic 'middle America' shoe as it has its own culture surrounding it.” The Air Monarch has that and more. Over the last 11 years, the forever-smiling Martine has adament is representing her community and culture around this. subverted and reimagined male archetypes, from bankers to bus drivers, mountaineers to couriers to ravers and By deciding to pick an unstereotypical model, London Steve, it’s always been about making the ordinary extraordinary. Using volume, proportion and fabrication in dynamshe’s simply highlighting how her nonconformist attitudes are ic ways, she continually blurs the line between the familiar and the unconventional.

Ahead of the limited-edition release this week, i-D were invited to experience a drop like no other. A click takes interested buyers to meet one of three London-based sellers, London Steve, a resident on Martine’s spring/ summer 19 cul-de-sac who persuaded his neighbours to put on the show; Tesfa, a 19-year-old Nike trainer enthusiast; and Suraya, a photography student and ferret racer. i-D is hooked up with Camden-born-and-raised painter and decorator Steve and a listing that reads: “Martine rose tracksuit for sale. Brand new. Nike. Green and blue. White Nike Martine Rose Air Monarch trainers. Blue football top. Do NOT contact me if you support the Arsenal.” We reply and arrange to meet at his favourite cafe.

deep-rooted and are effortlessly presented within her work.

As well as this, the article clearly outlines the fact that Rose has embarked on making herself known through opposing against typical ideals, more importantly, within the fashion industry.

Martine Rose’s entire aura sets out to turn the ordinary, into something extraordinary, the everyday mundane into genuinely aesthetically pleasing content, that’s celebrated.

https://vimeo.com/305938556

London Steve

The most unlikely figure to buy Nike x Martine Rose.

Martine chose ‘London Steve’ as he’s a deep rooted member of the community, where her roots lie, and they’ve known each other for a number of years.

Within the video, Steve goes on to tell the camera “...I’m a painter/decorator” - reinforcing the previous points in that Martine Rose is invested in representing something ordinary, and turning them extraordinary. https://vimeo.com/312909737

Suraya is a 21 year old art student come ferret racer.

Lives at home with her mum.

“My Mum bought me the tracksuit because the colours are the same as the national ferret club flag colours.

Someone needs to buy because I need money to move out This whole video is very humorous, making viewers clearly understand Martine Rose’s complete brand vision within just a minute long video.

Suraya

https://vimeo.com/312909918

Tesfa

‘Wannabe hypewear seller’ - This video is also quite humorous in the sense that this man is very similar to many people the audience will know, although not directly being humorous, gives this sense.

Campaign video shot within messy, youthful looking bedroom - this again relating back to the idea that Martine Rose consciously creates content where in which the normal everyday life is represented and wants us to see the beauty in this

The 3 seperate campaign videos all give elements where in which the viewers can relate, this being a theme Martine Rose runs the brand upon.

It’s incredibly uncommon within the designer fashion industry to want to have the general public relate and feel a sense of belonging with your items of clothing - this is why it’s important to recongise the individuality Martine Rose holds in her status

Most importantly, it’s a crucial thing for me to consider why in which I feel Martine Rose’s work sets me up for future inspirations Her non-conformist style gives off a sense of a humorous, toungein-cheek, taking the piss attitude - which is so uncommonly seen within luxury wear. For Martine Rose to support this and celebrate this pushes me more to wanting to understand more of this mindset.

Rose’s imagery clearly translates these ideals, as seen within the Martine Rose x Nike campaign

INNOVATIVE

https://hush-mag.com/2018/06/11/martine-roses-ss19-show-was-a-love-letter-to-london/

Martine Rose’s SS19 Show Was a Love Letter to London NON-CONFORMIST

M a r t i n e

The designs were eclectic. Eschewing an over-arching theme, SS19’s offerings found a common thread in Martine Rose’s exceptional design standards, quality of production and experimental use of fabrics.

There were spray-painted denim jeans, logo T-shirts with the designer’s cursive signature, leopard print, motocross-wear, heavy vintage-looking knitwear, off-beat Hawaiian shirts, leather bombers, gold lurex and, strikingly, transparent pants and jackets.

R o s e

The word “SPEED” repeated throughout the collection, printed on sweaters and in contrasting white colorways up the side of various legwear. The font and logo for this motif took inspiration from a car mechanics garage in Tottenham near Rose’s former studio, another nod to the city that has championed the designer since her debut collection of ten shirts over a decade ago.

HUMOROUS

ABSTRACT CONCEPTS

Martine Rose, arguably one of the most popular designers of London Fashion Week Men’s, took her chances on the city’s notoriously unreliable weather to show her SS19 collection in the form of a street party in North London. Thankfully, the sun was out, as were all the local residents, either looking curiously out of their windows or watching from the sides. It was a love letter to London, and seeing Virgil Abloh sat with Camden’s local community to enjoy a fashion show proves that fashion can always be more inclusive than we expect.

TAKES-THE-PISS

A few words in which I feel accurately describe Martine Rose and her output of work. ‘Takes-the-piss’ is a running theme that I want to look to explore further within my work, so I feel it’s important to look at Martine Rose’s own work in order to get inspiration.

This article highlights the fact that Martine Rose delved away from the normal scenes within Fashion Week, and instead brought her roots to Fashion Week, connecting both residents and industry figures, such as Virgil Abloh. Martine Rose enjoys highlighting intertwining normality with the unnormal, which is obviously dwtected within the Nike x Martine Rose campaign.

Explore how this throws a different take on the fashion scene link back to Martine Rose X Nike

IMAGERY CLOTHING DESIGNS

How can designs signify this same approach?

Explore further

https://i-d.vice.com/en_uk/article/9k8gqp/martine-roses-beautiful-ode-to-london

What?

For spring/summer 19 she took us to a cul-de-sac in Kentish Town, bringing fashion onto London's actual streets.

“I know the community on this street,” Martine said, after the show. “It’s a street that’s got a great community spirit, and I knew they would be up for it. That was the point of the show, it was about that feeling of community.”

So she street-cast boys from the surrounding area and celebrated young London men.

What is astounding about Martine is the way she uses her own history to create her work. Sure, we've seen Martine explore the excitement and subcultural explosion of those early jungle and rave days before -- as she did here -- but each time it feels fresh, always finding something new to say about it.

Members of the community sitting amongst FW front row personalities - a sense of ‘togetherness’ and ‘solidarity’ that’s not often seen within the fashion indsutry especially. Connecting these 2 worlds is an innovative way to express and present your work, it holds a sense of originality.

By considering and joining the dots of all her output into the industry, reinforces my earlier stated point that Martine Rose is an innovative figure that I’ll be exploring with more depth within the course as her way of working is inspiring yet exciting and I wish to take aspects of this and depict this within my own work.

Martine Rose has inspired me especially to always try and present my work in ways that strive for innovation. Her representation of humor is so classically done, whilst also remaining on brand to the industry by featuring elemen

Here’s a collection of the bold and eccentric styles Rose imposed on the kentish town cul-de-sac during SS19. The designs significantly represent the ideals she’s attempting to get across within her work - bold statement wear.

By continuing a running theme, it’s important for me to understand the focus and connection between the themes Martine Rose is portraying within her work. As her initiations to represent themes of mundane every day life in an extraordinary way - the above images of her SS19 show ‘A Love Letter to London’ simply reinforce this. Bold and bright clashing colours and patterns, all seen within you average London cul-de-sac.

K I KO

KO S TA D I N O V X A S I C S The Kiki Kostadinov x Asics campaign

was something I visited briefly within my research in 2nd year after Dean showed us.

I personally love the post-production work done for this - I feel it’s just really engaging as opposed to a typical shoot.

The choice of layouts it’s intriguing and unique - this being something I’m looking to create within my work - so I feel this campaign holds a high place in terms of inspiration for layout for me.

Shot by Frank Lebon & Art Direction by Jamie Reid. (look into these more)

The use of a complete 365 position of shooting is particularly interesting I think. This somewhat makes it feel like you’re watching a moving image of the person, seeing them in so many positions in a matter of seconds.

As mentioned before, the choice of layout within this is specifically important, a series of images to make up a larger and wider image.

As well as this, by choosing to use a 365 view of the model, gives the viewer a completely unique of a product, as this is never done within typical physical advertisements as they’re obviously not able to move and show the entire product.

Overall I think this imagery is particularly aesthetically pleasing, as well as a smart way of selling a product.

I also think that the choice of yellow within the background is very significant, as it completely contrasts against the grey/black matter within the focused images, with the model in.

This is done specifically to draw the viewers attention to what is the main focus of the overall imagery.

This is tactical and also an intriguing way of marketing a product - this is obviously done tlike this also as the imagery is for a brand, therefore trying to sell a product.

*Continuing*

Frank Lebon whats so interesting is that kiko’s designs and imagery is usually quite simple, but through this post production work, he’s producing interesting creative content

Relating closely in terms of work style, both Frank Lebon and Dexter Navy incorporate a sense of ‘excecuting the work and putting it back together again’ - a style I wish to definitely explore more throughout the year.

This theme is consistent seen throughout my summer work, taking an image and then using post prodcution work to push the content further, creating something completely unique and individual. Frank Lebon does just this.

It’s interesting that I’m only exploring Lebon’s work now because his work directly holds elements that I’ve looked into specifically throughout this project; Humour, Film, Use of Colour and Post-production work.

I’m going to explore how he shows each factor I just highlighted, within his working style.

Frank Lebon - The Face Magazine https://www.instagram.com/p/B2B-rqGAt5-/

This series is called ‘The fashion Victim’ which follows a murder mystery fashion narrative where we are introduced to Gustav and his misunderstood obsession for super model Felicity Fuego. the 1st episode of a 3 part story

Presenting the work in a way in which specifically engages viewers is espeically interesting, an innovative way of keeping your followers intrigued, as well as successfully being able to promote a brand throughout 3 seperate advertisements - a smart business move.

A very unique way of presenting your work.

This I feel fully translates Lebon’s personal style and forces it upon the audience, authentic uniqueness.

The first thing I noticed about this upload of content is the execution of layout - I just think it’s fully fascinating.

Within each slide, you as a viewer are presented with a completely original sense of layout and design, whilst also incorporating post prodcution elements e.g tracing paper, to fully express the thought of pushing the work to it’s fullest potentional

https://www.instagram.com/p/BzOSPMpAOHs/

Frank Lebon - Instagram Through consistently designing creative and original layout designs, Lebon is guaranteed to always keep his followers wanting more.

Sometimes adding as many mediums as possible into 1 piece of imagery get get too overwhelming however, in this case that’s not true at all.

Because the Insrtagram posts follows a narrative, handwritten comments are also incorporated into the designs, ensuring that the viewer isn’t getting too distracted and is clearly understanding the content and it’s meaning.

By using a film camera, another element I said I wanted to explore within my Summer Work, Frank’s ideas tie in even moreso with my creative ideals

The use of film generates a more raw and aesthetically pleasing style - this style of image making definitely would not fit right if it were to be curated initally on digital

Even this imagery is incredibly unique and just holds an overall sense naff-ness yet so good. From a first glance, you think this imagery was created by a child, then when you actually consider each and every detail that’s gone into making content that just so authetic, that it is even it’s own personal style of working.

Where do I even start to generate ideas as crazy as this?! Lebon’s work really is completely original in the fact that it takes humour to the absoljute next level by creating humorous art that’s been so thought about

Frank Lebon - Gucci - Unconventional Beauty Admittedly, I wouldn’t have thought Lebon would shoot for Gucci, as their aesthetics are typically more clean cut, but after viewing this work I’m definitely intrigued by the way he easily convey’s a luxury brand, whilst also presenting the content in a distressed style.

I think the fact that Lebon didn’t take this post production style too far, simply presents the work in a way where it doesn’t take the audience’s attention too far away from the brand that’s being advertised.

I think this style of post-production distressing is really nice actually. It’s incredibly original and different to work I’ve previously seen, yet so simply effective

Explore more ways I can get my work to have these desired looks

I think this style specifically intertwines with Dexter Navy’s, yet they both stay completely unique - Dexter Navy’s style focuses more upon sticking with cellotape in different layouts, however Lebon physically destructs the work to create a completely new subject.

This highlights themes of distortion and ‘weirdness’

https://www.gucci.com/us/en/st/stories/article/spring-summer-2019beauty

F i n a l S e l e c t e d I m a g e s

The Loggia dei Lanzi

Obviously visiting renowned reneissance city, Florence, I felt for it to be incredibly important for me to capture the city’s famous sculptures.

I wanted to use this to my advantage with the work I was looking to create. Perhaps I could do a renaissance themed shoot - look more into this with depth.

These images were taken inside the Gucci Gardens exhibition in Florence. It’s funny that I’ve now researched into photographer Frank Lebon who does a Gucci Campaign

I still stand with my comment that I feel Gucci is very clean cut and pristine, and these images back this up. This being said, it’s definitely interesting to consider a mix up in imagery to appeal to a new audience.

Throughout my stay in Italy and visits to multiple cities, I found for it to be important for me to capture the colour found throughout the daily life within Italian culutre. This is an important aspect for me as I typically look to create quite colourful imagery within all of my work.

In regards to my idea to incorporate aspects of Graphic Design into my work, I feel like using particular imagery like the above images as a starting point for colour may be a good idea - especially for my experiemental work.

The previous noted point about choice of colour relates back to Allan Yu’s work - as his work is quite colourful I feel.

Visiting Gucci Gardens whilst in Florence was a very useful experience in terms of understanding the large difference between luxury fashion. This can be seen throughout the choice of materials chosen to design the clothes mainly - using this in comparison to high street fashion it can be easy to tell the difference in quality.

This can also be understood just by simply even looking at the clothing - sometimes items don’t need to be felt to understand this.

Overall I feel that within this Summer Work, I’ve clearly identified 3 (if not 4) areas in which I am most interested by in terms of creating content: Colour, Post-Production, Humor and Film (camera). If I’m stuck for ideas at any point, I can use this work as a means of reference to ensure that I am reminded of what I like sometimes when I get distracted etc.