MODERNISED TRADITIONS
GRAPHIC COMMUNICATION ELLI-MAY GREEN FINAL MAJOR PROJECT
STYLE
“ Elegant, energetic,dramatic dance photography is both a visual treat and a study of movement. o put a contemporary twist on traditional dance photography, many of the featured photographers to place dancers outdoors, in everyday environments.”
To put a contemporary twist on traditional dance photography, many of the featured photographers—including Omar Z. Robles, Mohamed Taher, Lisa Tomasetti, and Dane Shitagi (of the Ballerina Project)—place dancers outdoors, in everyday environments. Others, like Vadim Stein and Ken Browar & Deborah Ory (of NYC Dance Project), have a more minimalist approach to the craft. And some, like Eric Paré and Alexander Yakovlev, inventively employ unique props that more clearly trace each dancer’s motions. Regardless of style and no matter the method, this group of photographers perfectly presents the style and grace of dancers in motion.
UNDERSTANDING DANCE STYLE
With the focus being of the Irish Dancing garment, it does not establish the full cultural aspect of the dance. I know want to look at dance styles that express the movement of the dance, this links with the background of Irish Dancing in my previous research. Stating that the foundation of the dance was the importance of the movement of steps which I want to elaborate.
DANCE
PUBLICATIONS
“ Born out of the belief that dance is powerful” A Dance Mag, according to the magazine’s editor Jana Al Obeidyine, is intended as an opportunity to draw attention to this power by creating a space where our moving bodies are expressed, legitimised and heard. Dance is cathartic, dance is resilience, dance is transformative. When we dance, our moving-bodies become bodies in action; they move with, towards, against, or for something. Inevitably this action in the world makes a difference. It is not wise or safe to be unaware of the power we carry within us. When I decided to start my own project, I felt that I had to give back some of what I have gained through life. A magazine is the perfect format to host and carry valuable stories of experiences we thought were ephemeral.”
Through my research it was highlighted how many dance magazines visually communicated their style and set of conventions from the dance through the visual context. This was with the photography exaggerating the dance movement, as well as being clean and clear.
Many photographers aimed to capture the movement with the strong body language used to emphasise the power of the dance, as well as representing the purpose. Many designers Aim to convey the spirit and skill of their graceful subjects, photographers often opt to shoot dancers mid-motion, showcasing their graceful gestures by freezing a moment in time. Exploring the work of photographers, paying particular attention to the unique ways each captures their muses’ exquisite movements.
STYLE
This case study looks into the yellow garment and its use of an elegant colour scheme, graceful lines, and arresting decorative elements. Looking at the piece of clothing suggests it is in the 1820s, when the development of the long-flared skirts took place, with the contrasting waist staying high. This can imply the feminine figure was still important as a image. The striking decoration of the pelisse is created by the use of complementary silk piping. The main edges of the pelisse are finished with a row if double piping. Chevron trim, formed from tabs of the piping and pale-yellow satin stripes, runs down the opening and around the hem, as well as decorating the epaulettes.
GARMENT
CASE STUDY 01
“ Clothes, however, are some of the most intimate and compelling of all social history objects because of their close connection to the body, and a careful study of the physical details of a garment can often reveal much about its original use, as well as its successive “lives”.
The garment is almost 200 years old, with light exposure to the garment this is demonstrated with the wool and silk being faded over time showing the aging of the garment. There are signs of an individual wearing the garment because of stains and a few holes from exposure.
Using other traditional conventions of clothing such as a very traditional uniform worn by the military, this influenced the decoration giving it a sense of feminine refinement from the delicate fabric colouring. “Those that had been preserved reflect a time when clothing, and the fabric from which it was made, were highly valued commodities, to be well used and cared for.”
YELLOW WOOLEN PELISSE
“ The bodice has rows of piping diagonally across the front bodice sections, which are trimmed with lilac silk tassels. The cuffs are decorated with a deep band of pale yellow silk, cut with chevrons, in imitation of the braid on military uniforms, and finished with matching lilac silk tassels. The edge of the belt and the underside of the collar have been finished with matching piping. The back of the belt is decorated with two lilac silk tasselled rosettes.”
The corset has been described as one of the most controversial garments in history. Valerie Steele’s seminal work has challenged traditional, and often misleading, assumptions about the corset, which has been seen both as a garment of injurious oppression, forced upon women by fashion directors. It also emphasises the complex seductive appeal that the corset held for the nineteenth century women and men, and it is recognised that the corset continues to fascinate and inspire. This links with the design of the Riverdance costumes, with the corsets being for a ‘sexier’ appeal for the audience.
HISTORY
CASE STUDY 02
“ As a key element of a fashionable women’s wardrobe in the early nineteenth century, pelisses were often illustrated in fashion plates, and these images demonstrate the multiplicity of ways in which they were decorated, and the array of colour combinations which were chosen.”
“ The fashion plates that appeared in the women’s magazines of the day provide useful comparisons to the yellow pelisse. As a fashionable item of dress, the pelisse is a garment that appears regularly in the plates of the 1810s and 1820s.”
“ As the fashion plates in women’s magazines of the time illustrate, the exact form of the pelisse was subject to the changing line of fashion, and pelisses might fall anywhere from the knee to the hem.”“Before the eighteenth century, a tailor made most main garments for women, but by the early nineteenth century this role was firmly in the hands of a mantua maker or dressmaker (Arnold 1972:9)”
CORSET
“ Another element emphasised by the fashion plates is the popularity of military inspired decoration for the fashions of the day. Although military uniforms had inspired elements of womens dress in the eighteenth century, especially in the styling of riding habits (Blackman 2001:47-58), fashion plundered the ornate and stylish decoration of military uniforms for inspiration during the Napoleonic Wars.”
When observing the fashionably styled garment, establishing that it was made from a modest fabric, which offers the chance to consider the mechanics of the fashion system. It illustrates the practices of dressmaking and changing patterns of clothing production. This links with the change in dressmaking that happens today, looking at the way garments are being made as well as for their purpose.
BODICE
CASE STUDY 03
“ The relationship of the bodice to the stylish modes of the time also provides an opportunity to illuminate theoretical approaches to dress, which link the mechanics of the fashion system with the concept of class.”
“ The mixture of fabrics used to make the bodice presents a marked visual and textural distinction. The weightier wool of the sleeve’s contrasts with the soft, tactile appearance of the velveteen that forms the body of the bodice. It has the visual appeal produced by the tonal harmony of the fabric colours, and the textural variation.”
“ The main body of the bodice is made from brown velveteen fabric, with sleeves that are made from brown wool. The collar is a brown ribbed silk. The garment has been sewn by the combination of machine and hand-stitching.
FASHIONABLE ELITE
The fashions of the 1890s placed emphasis on the upper half of the body, most notably through the voluminous sleeves that dominated the fashionable silhouette for most of the decade. While bodices were usually built with a tightly fitting foundation, they were often given a billowing appearance by carefully draped fabric and plastron fronts. Looking into this case study enabled me to understand the way garments were made to emphasise the womanly figure. This was a main controversial theory for Irish Dancing when the evolution of the garments changed. These case studies highlight how the garments had a purpose, with their own conventions which is mimicked then in the new costumes.
Although the man’s tailcoat has largely disappeared from contemporary men’s fashion, except for the most formal of occasions, the silhouette has been given a new lease of life as creative inspiration for the fashionable female wardrobe. The traditional tailor suit has corresponded with staying with its traditional codes and conventions throughout the historical period to what they are now. They have not changed like the women’s garments; however I argue that women’s fashion trends are constantly changing. With men, the fashion trends are very similar and you still have a set of conventions that have stayed the same for example with the suits.
EVENING SUIT
CASE STUDY 04
“ The evening suit has passed from an active garment of social formality to a source of inspiration, with the romantic but old-fashioned associations”.
“ The evening suit, with its coat distinguished by distinctive tails and cut-away front, worn as formal evening dress, developed from the tailcoat of early nineteenth-century men’s daytime as a fashionable dress”
“ Like many items of male attire, the men’s tailcoat underwent a process of sartorial fossilization, and in the second half of the nineteenth century, transitioned from fashionable men’s daywear into formal evening wear.”
TRANSITIONAL
Modern fashion designers have increasingly looked to the male suit for inspiration for their womenswear collections, including Yves Saint Laurent, Yohiji Yamamoto, and Alexander McQueen. Many have drawn directly on the tailcoat to fashion looks that have woven together the severity of masculine tailoring and fabrics with a feminine aesthetic, or that have explored the concept of the tailcoat’s construction. Linking with the cause of change with the Irish dancing garments, this case study highlights that the traditional conventions of a tailoring suit is also being altered to fit with current trends and modernising them.
The case study of the wedding dress elaborated on the values and meaning behind the garments. This also links with the design of the Riverdance costumes made by the inspiration of Victoria Beckhams wedding dress. The incorporation of that style of a fitted dress, emphasising all womanly assets which is a key conventional feature with garments today.
WEDDING DRESS
CASE STUDY 05
“ A garment infused with an emotional significance, and a history of wear that then encompassed a very stylistic reworking for another use.”
“ Wedding dresses have long been associated with shades of white, including ivory and cream, since white denotes purity and innocence. White or cream dresses have also been the colour of choice for formal balls, and the presentation of debutantes at court.”
“ Many wedding dresses suggest extravagance. The material of silk invites a tactile response, and the deep timeless luxury. The specific history of the wedding dress and headpiece may not have survived the ravages of time, but the survival is a tribute to the personal narrative.”
LINK WITH RIVERDANCE COSTUME
The evidence gathered from the case study of the wedding dress suggests that the dress is an authentic Lanvin garment, created after 1911 and before 1929, and that has been altered substantially by a subsequent wearer. This was a time, falling within the Art Deco period of 1909-1939, that saw an eclectic mix of design references, characterised by a “unique combination of exoticism and modernity”.
The body is presented in all the elements, coming from a strong contemporary dance background.
The results of a physical body have a completely different psychical environment, expressed with the photography.
Oji-cree artist Lara Kramer uses an unexpected prop to express the trauma of a land and its people. Laura Kramer has long used powerful visual metaphors in her work, seen in Vancouver performances. Using objects that can provoke and reveal and be symbolic, and it can be seen really literally. On the literal side, it can be seen as really domestic, but it can also be related to residential school, and that nomadic lifestyle. Multi-layered symbolism.
LARA KRAMER
“ Modernism refers to a global movement in society and culture that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life.�
MODERNISM
MARK HOWARD
For the past thirty six years, this Emmy Award-winning choreographer has been striving for and achieving that which is profoundly significant and equally difficult to attain—the transcendence of craft to art and the synthesis of forms to create something that is forward-looking and new.
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“ In 1994 and 2001, Howard was named one of Irish American Magazine’s “Top 100 Irish-Americans” for his innovative work in Irish dance. In 1991, his PBS production of “Green Fire and Ice” aired nationally, and in 2002, PBS began airing “One Step Beyond.” Howard’s early work found a common rhythm and movement between African and Celtic dance, which was an integral part of the 1993 Emmy Award-winning PBS special “World Stage”.
TRINITY Trinity is very contrasting compared to Rising Star as he was very beauty pageant or pop-star type as a modernisation when looking at the garments and overall brand. Rather than Trinity looking more art type of modernisation looking at the technical elements of the dance movement, posture and overall appearance whereas Rising Star was more about the costume and the beauty elements.
“ “Highbrow” is synonymous with intellectual; as an adjective, it also means elite, and generally carries a connotation of high culture.”
HIGH BROW CULTURE
“Westwood is renowned for her parodying of English looks, her innovative take on traditional tailoring and use of materials such as tartan and Harris Tweed.” VIVIENNE WESTWOOD
Vivienne Westwood was designer for the traditional ‘couture’ collection. Her way of designing was being minimalistic with her style, reflecting the power of fashion and the way it is communicated by consumers. This minimalistic style transfers a sophisticated, elegant persona, linking with the style brand Vivienne Westwood creates. Applying the same processes of modernising, through print. This influenced my work, in particular the use of incorporating photography. The strong body language, allows the garments to speak for themselves.
“ To me, they are for somebody who doesn’t necessarily want to stand out – I do – but who wants to walk tall, you know, to look good. Important, even. The key is that they’re really heroic.”
When taking traditional culture and making it high culture, forming a ‘couture’ style. “I take something from the past that has a sort of vitality that has never been exploited – like the crinoline – and get very intense. In the end you do something original because you overlay your own ideas.”
“ As one of the biggest independent magazines in the world, Kinfolk, has become a strange publishing phenomenon – a print-only title published in multiple languages that’s managed to find huge captive audiences in nations as diverse as Japan, Russia and the USA. It tips itself as “a slow lifestyle magazine… that explores ways for readers to simplify their lives, cultivate community and spend more time with their friends and family.”
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“ Since 2011, Kinfolk has become a leading lifestyle authority with a dynamic mix of print and online media, including a quarterly magazine sold in over 100 countries in four languages, daily posts on Kinfolk.com, bestselling books, plus international events and a gallery space in the heart of Copenhagen.”
MODERNITY
EDITORIAL DESIGN
KINFOLK Within the middle of book I also varied the treatment of the images. Previously all images were statically set within large white borders with only a few full bleed. Again I brought more flexibility to the page by extending the amount of full bleed images, introducing a slim white frame on some photo essays, and varying the size of images – as most evidently seen in Home Tours or the Neighborhood feature. The magazine celebrates a classic timeless quality, which was fundamental to retain, but I also wanted it to continue to feel current and modern. Though I kept Garamond, all other typefaces have been replaced. I felt it was important to similarly extend the visual personality of the magazine.
Understanding the history behind the beginning of publication design.
Overcoming all perils, Vogue had emerged not just as Russia’s leading fashion magazine, but as a flagship of national glossy media, a benchmark of a glossy monthly magazine of absolutely different, international class. Another important period in American Vogue history began in 1988, when Anna Wintour became its Chief Editor. Her talent, will and efficiency, reflected in The Devil Wears Prada movie, had finally turned Vogue into Nr1 Fashion Magazine of the World, not just reflecting fashion trends, but effectively shaping them.
EDITORIAL INSPIRATION
In 1932 the American Vogue for the first time ever had placed a color photography on its cover. Since that time the World’s best group of photographers - Irwin Penn and Guy Burden, Richard Avedon and Norman Parkinson, Helmut Newton and Peter Lindberg - became Vogue’s contributors. In 1960-s the American Vogue under the leadership of Diana Vriland had become the symbol of a new era to be more creative, emancipated and sexy.
VOGUE Let as a new mood begins to take hold of one that will only enrich and enliven creativity in fashion .It also is believed that the time has come for the magazine to look forward. In short, it is a moment for Vogue to do what it has always done best: to offer a bold vision of what the future can and should look like. This links with my modernising of the Irish garments, how they are then visually displayed in print. . The combination of marketing know-how, coupled with an innovative approach to visuals means that Enninful is well placed to take British Vogue into the new age.
PHOTOGRAPHY DEVELOPMENT
TRENDS
GLITCHING
Director Terrence Morash tells that “the glitch has had far more impact than most of the visual trends his team identified for 2017.” “It is ubiquitous, and we have seen it emerge in fashion, branding, TV and film.” Challenging the boundaries of clean-cut highbrow stereotypical photography, with the abstraction of a graphic element. “The glitch,” the visual of a pixelated or off-register image has firmly become part of modern design culture, defining the newest chapter in the art world’s eternal fascination with distress, deconstruction and the eerie beauty of imperfection. Challenging as a designer to infuse the conventions of popular culture, in the same way highbrow culture is viewed. Taking a design and attracting different consumers, with the modernised style.
His clients include Vogue Paris, Cult Gaia, GQ, Esquire and Playboy, and he is proudly represented by Art & Motion.
“There’s a controlled imperfection to it, and it’s a reminder of the technical elements of design. It visualises technology as having a combination of textures and patterns but without perfection.”
From marketing to fashion, ‘The Glitch’ has become one of todays defining design trends. How digital errors become an aesthetic. The glitch known for the visual of a pixelated or off-register image has firmly become part of modern design culture, defining the newest chapter in the art worlds eternal fascination with distress, deconstruction and the eerie beauty of imperfection. Glitch is an overarching design aesthetic that has become part of almost everything in culture. Fashion and Art designers obsessed with the glitch, with its static and asymmetric lines inspiring a wide range of texture patterns.
The Helmo Brand put together a pretty crafty series called Bêtes de Mode, using an anaglyph 3D technique. The images of the animals in the red hue merged with images of beautiful people in the cyan hue – in a synchronous pose – make you almost want to put your 3D glasses on.
The Helmo brand was another development of my photography for my design, creat-ing a style that will fit with the purpose and the consumer interaction. The way the im-ages combine animals and portraits being exposed with layering, as well as looking at the vibrant colours being powered by the animal. This gives a deeper meaning of our power behind our portraits. This initially gave me the idea of incorporating this style and meaning with my photography. Experimenting with the exposure of colour and distraught the image to show the controversial traditional conventions of the dancing garments.
HELMO BRAND
With the design aesthetic being so striking and haunting, they are meant to be viewed as you see them now.
Helmo excellent series of artworks entitled “Betes de Mode” means Fashion Animals. Red animal portraits combined with blue model portraits using a system of colored gels that only reveal one of the facets or both depending on the viewing angle. Their works in large scale decorate the windows of the famous Galeries Lafayette in Paris using a lighting system. The creative French duo Helmo consistently produce stunning photo sets and designs, and experimental projects.
“ Betes de mode� includes experiments with blue portraits and red animal pictures made with silkscreen. Displayed in the windows of the Lafayette Galleries on Hausmann Boulevard, this stunning photo set, undoubtedly, attract viewers. In addition, by projecting on it red or blue lights, it is possible to see the portrait of a model, and sometimes the animal portrait.
“ Connection between classes and tastes is related to evolutions in cultural hierarchies. Discussing this evolution, Peterson and Kern (1996) claim that the formerly snobbish attitude of the higher class towards middle- and lowbrow culture has faded and that they now consume all kinds of culture, having become ‘cultural omnivores’. Indeed, the distinction between ‘high’ and ‘low’ culture has become less rigid and stable, high culture has ceased being the self-evident centre of the cultural spectrum and it cannot be connected so simply to a single class anymore.”
HIGH BROW CONSISTENCY
It was very challenging to outline my targeted audience, as I initially was going to target those of a younger age to suit the aging of competitions and who is interested in them as a dancer. However, this did not correspond in the way I was communicating the contradictions of traditions as an educational purpose as well as making it highbrow to suit the current trends. This resulted in targeting those of an older age, mainly parents who are involved with Irish dancing challenging their views on their child’s garments and whether it still is a traditional Celtic representation. This fits with my target audience with the status as well as wealth. As parents are the main purchases of their daughter or sons costume. This costs them a large amount of expense as well as profiting for the overall conventions of the fake tan, makeup and wigs needed now for competitions. The main argument being that very limited traits of tradition is followed through, it is making it a couture sport with the presentation of fashion aspects needed for a dancer to compete.
TARGET
“ Understanding the industry with the different levels of dancing a dancer dances at, looking at status, wealth, social class and the attitudes of dancers amongst the stages.
CONSUMER
With my style of design my consumer will be of a high brow nature, looking at it from a fashion perspective being modernised. This can argue it attracts those of a higher class as well as those of a wealthier status. However, this links with the modernisation of the Irish dancing garments being made today, they are expensive and those of a higher class go to the extreme with the exenterated designs.
The first stage beginners followed by advanced beginners, Novice once placed in the top three of beginners. Onto Open prize-winner dancers, being of a more advance level. Followed by Championships competing for the final stage of Preliminary Championships. These are also age categorised when competing which is done by the 1st January each month to fit into an age group.
STYLE GUIDELINE
“ A colour that can evoke one reaction in one person may evoke the opposite reaction in another, due to culture, prior association, or even just personal preference.�
When designing the use of a colour has an impact on the way the consumer takes in the information as well as impacting the way it is then communicated. The colour red when used for design is a powerful colour, can sometimes be overwhelming and be too much for a design, especially with a pure form with a design. It is associated with power, passion and also anger. It can be very versatile; a bright red is more energetic however in contrast with a darker shade it is more powerful and elegant.
A total contrast is the use of the colour white. It is associated with purity, cleanliness, and virtue. When designing with the colour white it is a very neutral backdrop and lets other colours within the design have a larger voice, which is very popular with minimalist designs.
COLOUR
“ Black is the strongest of the neutral colours. On the much positive sides, it’s commonly associated with power, a sense of elegance, and formality.” Purple as a secondary colour, was created in ancient times which was very expensive, so only royals and only very wealthy could afford. The darker the purple the more association with wealth, royalty and luxury. The lighter shade is considered more Romanic.
When using black for a design it is usually used for an edgier design as well as a very elegant style. It is used mainly for typography and other functional parts, using designing a sense of sophistication and mystery. “It can be either conservative or modern, traditional or unconventional, depending on the colours its combined with.”
“ Grey is generally conservative and formal but can also be modern.” When used in designs it is normally corporate with formality and professionalism. It is a very sophisticated colour when designing.
WEIGHT
I have used both regular and bold weight fonts throughout my editorial designs. I have found this helps with creating a hierarchy within the design as well as establishing the important information. The weights impact the modernised style as they are clean and legible when paired with imagery.
I have kept the tracking and the kerning at auto as I felt I did not need to alter these with my designs. The typography was clear and I wanted it to have a modern style, instead of changing the letterform.
LEADING
STYLE GUIDELINE
I have been consistent with the sizing of my typography, using three font sizes throughout. These are for the small body text the sizing is nine point, paired with the leading being at twelve point. The middle body text is thirty pointed, paired with thirty-six point leading. Then the larger body text mainly used for headings or words is at hundred and thirty four point with the leading being at a hundred and forty-four.
SIZE
FONT
The Vogue title on the magazine cover is a modified version of Didot, a font licensed by Linotype. The sans-serif body text used on Vogue Magazine covers is Vogue AG, a custom font created for Vogue by Terminal Design Group.
TYPOGRAPHY
“ Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone.�
STYLE GUIDELINE
With the imagery I have edited all my research images to be glitched, this linked with the overall aesthetic of my design to form a consistent style. This elaborated on my use of one solid colour for the key areas that are important using graphic and type elements. I used the imagery in black and white, as many fashion books stick with no more than having three colours to make it look more professional. This also developed my designer skills with the incorporation of imagery, I experimented with my own use of photography getting inspiration from vogue magazine and their photoshoots. I then glitched the images into my style to form a look book, corresponding with my critical reflection.
GRAPHIC VISUALS
GLITCH
FASHION
IMAGERY
Using the visuals of the photography and graphical elements to coomunicate clearly the message that is being informed through my editorial design. Ensuring that there are clean structures and layouts, with both the typography and imagery.
STYLE GUIDELINE
HIGHBROW
My design is to portray class, elegance and sophistication for consumers to be engaged. This is referring to the highbrow persona, giving off a professional elegant style. CLASS
ELEGANCE
The overall personality of my style and design is for those of a highbrow persona. Mainly those of an upper-class with expensive taste of fashion, as I feel this best links with the overall purpose of what is being communicated. How Irish Dancing has evolved as well as the expenses of the modernisation for the cultural dance.
Looking at the traditional concepts of Irish Dancing, referring to the purpose of the dance. This was mainly used for entertainment for others such as royalty. The garments were overviewed as it was more for the viewing of women dancing. The garments were inspired by the peasant servant outfit, this limited the celtic identity of the cultural concept of Irish Dancing.
PERSONALITY
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