EMILY HODSON SPECIALITIES : DESIGN LAYOUT, BRANDING, ART DIRECTION, STYLING PHONE : +44 7454 791 373 EMAIL : EMILYHODSON WEBSITE : WWW.EMILYHODSON
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FINAL MAJOR PROJECT IMPAR EMILY HODSON
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IMPAR FMP /
NEW WAVE, NEW BREED, NEW FUTURE
By casting a genuine representation, the agency wants to dispose of the paradigm of what a ‘perfect’ model should be, breaking down homogenised barriers within the industry, resonating with the everchanging reality of today. We do this through not heavily editing editorials, to show all models within the publication in their own natural light. This isn’t an agency that aims to replicate the styles of the ever-changing trends, nor will it adhere to a prototype, it’s a brand with an artistic vision, regaining authenticity.
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IMPAR is a modelling agency with strong determination to reinstate individuality. The online agency focuses on model casting, management and creation of content by having a unique, artistic vision - interviewing each model, featuring editorials and on-set films. The agency also produces an innovative biannual publication, showcasing the models through various editorials. Within each issue, IMPAR will shoot each model in a different way, to provide potential clients with a diverse understanding of each model’s portfolio, introducing a contemporary variation to other model agencies. It offers longevity, which acts as a marketing tool, initiating some of the raw, untested, extraordinary faces through various editorials and innovative content, in hope to amend the rule book of modelling.
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INITAL CONCEPT RESEARCH /
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“I DON’T ENJOY THE LACK OF HUMAN CONTACT THAT COMES WITH GENERIC AGENCY CASTING,” ADDS NG. “OFTEN, REALLY YOUNG MODELS COME WITH A HEAVIER ENERGY AS THEY TREAT IT AS WORK. I ENJOY THE PERSONAL INTERACTION THAT COMES WITH MEETING SOMEONE IN THE STREET.” JOYCE NG
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It’s important that model agencies represent and cast the right models, whether its for high end brands, high street brands, editorial etc, models will be seen by consumers and will be having some kind of impact. Models are seen as the ‘perfect’ beauty ideal, therefore there needs to be a equal and realistic representation throughout the media and creative industries.
REPRESENTING SOCIAL DIVERSITY WITHIN ADVERTISING /
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I want the agency to represent unconventional and step away from the generic models and ideals that consumers are some what sick of. Models with imperfections, difference, the everyday person.
CONSUMER TRENDS 2018 TEENAIDERS / Brands are recognising the role they can have in improving mental health by highlighting greater diversity in terms of the models they use and the depictions they portray. British online fashion and beauty store ASOS is being praised on social media for featuring models with stretch marks; meanwhile,
IRIS ONis a Dutch scheme that offers children a chance to fight bullying through WhatsApp
25%
Mintel’s consumer research found that 25 % of women would be more likely to shop for clothes from a specific retailer if it used models that represent the average person. This peaks among Young Millennial females aged 18-27, with 30% agreeing with this.
researching the market situation of representation of models throughout the industry and media platforms, supports will support concepts behind IMPAR. Consumers are recognising the lack of genuine and realistic representation, however high street retailers are startign to make changes when it comes to representing models of all sizes, ethnicities and also embracing the natural body and imperfections, such as stretch marks, cellulite and other natural skin perfections. If we saw more brands and especially high end brands and leading publications, (as well as independent) incorporate realistic representation, I feel the push for genuine representation and diversity will be on the up.
Young people will expect brands to offer support when it comes to their health and wellbeing, as well as get more involved in their education and development. With a growing level of attention around the negative impact of social media, this generation will seek to take back greater control by being more
They will be quick to call out brands promoting unrealistic beauty ideals and quick to support those embracing diversity.
mindful of their usage.
I want the agency to represent unconventional and step away from the generic models and ideals that consumers are some what sick of. Models with imperfections, difference, the everyday person.
N EETS – NOT IN EMPLOYMENT, EDUCATION OR TRAINING YA D S – YOUNG AND DETERMINED SAVERS TIREDS – THIRTY-SOMETHING INDEPENDENT RADICAL EDUCATED DROPOUTS
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SIN D IS – SINGLE INDEPENDENT NEWLY DIVORCED INDIVIDUALS
KIPPERS – KIDS IN PARENTS POCKETS ERODING RETIREMENT SAVINGS N ETTELS – NOT ENOUGH TIME TO ENJOY LIFE SOC C ER MOM – SPENDS TIME TRANSPORTING KIDS TO SPORTS EVENTS SC H OOL R U N MU M – MOTHERS WHO MAKE AN EFFORT TO LOOK STYLISH EVEN FOR THE SCHOOL RUN
IMPAR will be targeting two different consumers, identified through demographic segmentation, then split into two different consumer groups to clearly signify their stages in life – DINKYs (Double Income No kids Yet) and HEIDIs (Highly Educated Independent Individuals). (Posner, 2015, p.212) GUCCI PRE FALL 17
Alternatively, classifying consumers by generation through the generation timetable. IMPAR agency can clearly recognise that Generation x (1961 – 1981), business minded and independent people, are aligned to the agency’s client. Generation Y (1982 – 2002) – millennials, that are pressured to succeed, understand branding, are marketing savvy and communicate using social media, overlaps with the client and the customer. (Posner, 2015, p.212-216) This then leads to the way in which consumers take up new ideas or trends, explained using Everett Rogers’ diffusion theory. IMPAR agency targets, innovators; 2.5% of innovative people, who are bold, risk takers and initiate trends before others, who invent subculture and street trends; early adopters; people who are early trend led, confident, culturally opinionated and circulate and embrace fashion, style and artistic ideas; high end brands and publications through B 2 B and B 2 C communications. IMPAR agency is a business and therefore is a customer (client) of other businesses, who use the agency for booking models, requiring creative/ editorial content and management of casting, which is known as B 2 B. IMPAR also has a customer, who will read the publication, they are B 2 C.
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It’s important that model agencies represent and cast the right models, whether its for high end brands, high street brands, editorial etc, models will be seen by consumers and will be having some kind of impact. Models are seen as the ‘perfect’ beauty ideal, therefore there needs to be a equal and realistic representation throughout the media and creative industries.
H EID IS – HIGHLY EDUCATED INDEPENDENT INDIVIDUALS
VOGUE APRIL 18
Luxury fashion houses are waking up to the underlying consumer demand for more diverse and representative advertising. This is one of the biggest trends in high-end fashion advertising at present. Research for Mintel’s Clothing Retailing – UK, October 2017 Report found that 63% of clothing consumers think that fashion advertising should feature a more diverse range of models. Many of the leading brands have been addressing this by becoming more inclusive in their marketing strategies, with greater representation of race, size and age gradually becoming more apparent.
D IN K YS – DOUBLE INCOME NO KIDS YET
MICHAEL KORS BACKSTAGE FALL 17
Key campaigns Inclusivity in fashion advertising
ADVERTISING AND MARKETING ACTIVITY
DESIGNER FASHION NOVEMBER 2017 REPORT
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BRAND POSITIONING
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STATEMENT /
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IMPAR focuses on model casting, management and creation of content. The agency introduces a new wave of models into the fashion industry by street casting undiscovered talent, through an innovative website and promotional publication, targeting trend led fashion aware Clients and consumers. The publication, alongside the website, initiates raw, untested, extraordinary faces by identifying personality and originality, in the hope of bringing them to the forefront of fashion.
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PERSONALITY /
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THE BRAND /
The agency’s personality is inspired by each individual model, beginning an intimate and personal experience, largely unedited, within censoring our models and editing their physical traits. The austere, monochromatic colour scheme and layout of the brand allows the focus to be purely on the models, contrasted by hints of bright reds and acid yellows, representing strength, energy and passion.
BRAND IDENTITY /
AIMS, VALUES, MISSION /
TONE OF VOICE /
IMPAR’S tone of voice is powerful, confident but personal, reflecting the core values of the agency which supports each individual model. IMPAR is a passionate and inspiring agency which represents the model’s true identities through our determination to reinstate individuality, showcasing models in a natural light as well as diverse.
The aim is to be an innovative, contemporary, exclusive modelling agency - focussing on untested models. with a strong creative and artistic vision, the agency is determined to initiate a variety of extraordinary people, through street casting. By casting a diverse group of people, the agency wants to dispose the paradigm of a perfect model, introducing each model’s originality and uniqueness.
IMPAR wants to regain authenticity in the fashion industry, introducing an innovative agency with a unique vision. Casting an array of unconventional faces means showing a true representation, highlighting a new wave of models in the industry, resonating with the everchanging reality of today. With a distinctive brand identity, the agency has a key focus on personality which is delivered through in-house interviews, on set filming and editorials. The importance of these elements allows clients and consumers to have a unique understanding of each model’s nature and characteristics, in hope to break the perception of what a perfect model should be.
genuine representation to align with reality
BRAND VA L U E S
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Innovative and artistic aesthetic to stand out from competitors and align to brand values 100% ethical - treat our models with respect and equality introduces raw, untested men and women, in attempt to bring them to the forefront of the industry
BRAND ESSENCE
BRAND PERSONALITY
break homogenised and stereotypical beauty ideals by casting street casting people with point of diference and originality raw
heavily unedited content to show all models in a natural light and genuine representation
genuine
contemporary inspiring
passionate
Creating a brand onion will help to display a clear overview of the brand’s essence, values, personality, actions and behaviours resulting in a concise overall identity. This can then act as a guide to ensure all aspects of the business accurately reflect the brand values.
BRAND ONION /
creative unique
real
regain authenticity through representing personality
BRAND IN ACTION produces a biannual publication, with a creative vision, representing models in natural light as well as diverse so business clients have a diverse understanding of the models
key focus - introduces personality through innovative films, interviews and editorials
free promotional magazine for business clients and consumers
promoting and advertising through social media platform Instagram, with live films, teasers of interviews and films to keep consumers engaged, images from either in house editorials or commissioned
not only focusses on street casting and management but creation of content for brands, stylists, MUA’s etc wanting content and editorials
Innovative branding to compete with model agencies. Featuring receipts, composite cards, portfolio packs, also use of QR codes for use of latest technology
independent
bold
innovative
introduce a new wave of models thorugh casting unconvential faces
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minimalist
exclusive
orginal
- The brand specialises in promoting, advertising and reinstating personality and originality showing genuine representation resonating with the reality of today. This results in strong brand morals, aiming to help break the paradigm of a ‘perfect’ model - Strong online and social media presence aligning with targeted clients (models and businesses) and consumers featuring innovative film, moving and still imagery - The online location can be accessed globally reaching a wider audience. - Free promotional publication, acting as a marketing tool for the agency, advertising the brand’s services. - The brand has a unique identity with a strong artistic vision. - Loyal brand contributors – photographers, cinematographers, film/sound editors, MUA’s - Writing contributors for the publication from the industry, therefore creating additional connections - The brand focusses on content creation, casting and management and is a multifunctional agency, with numerous connections within the creative industry - Free services for models when creating content, for example editorials, either to be used on site or within the publication, as this is deemed to be part of our marketing and promotional material. All rights owned by IMPAR - The agency introduces an intimate and personal experience for the models, clients and consumers - Free biannual publication acting as a promotion tool, therefore a wider audience can recognise the agency -The agency uses the latest technology; trends such as QR codes (quick response) for marketing and promotion purposes, meaning clients are able to scan the two-dimensional barcode on each model’s receipt. This will connect consumers to the agency’s website and model profile pages for efficient information and detail
T H R E AT S - Investing so much time and money into the brand initially, with the threat of not earning a desirable profit. Also, economic uncertainty or downturn may make the business worse off. - Established agencies having a wider offering – more opportunities as they have money behind them
WEAKNESSES
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STRENGTHS
- New start up, investment very low - As the agency is a new start up, low percentage of clients/no formed relationships between clients - Has low recognition as the agency is a new start up business - Sourcing and creating content for signed models which is very time consuming - Very small team running the agency - Buying into an established office/space, means potentially investing more money
OPPORTUNITIES - Room for growth and expansion of the brand, into a multi-skilled creative content agency, including elements such as advertising, branding and e-commerce. - Gap in the market for modelling agencies which use virtual interactions, virtual reality within marketing and products, such as QR coding products resulting in numerous touchpoints - Collaborate with established photographs, editors, various contributors. - Expand the agency, working internationally with clients and models.
In order to compete within the industry, IMPAR has a unique, artistic vision and identity. One of the main features of the agency is that it has a huge focus on advertising model’s personalities and characteristics to show individuality to clients and consumers, through online interviews and films. This sets the agency apart from any of its competitors. Other features such as innovative promotional material and portfolio packs are elements IMPAR also pays huge attention to in order to deliver a creative brand. By targeting trend led fashion aware clients and consumers, IMPAR aims to show a representation which mirrors the ever-changing reality of today as well as breaking barriers to create a contemporary, powerful agency, reinstating individuality.
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MARKET SITUATION MICRO ENVIRONMENT /
NARQUES ALMEDIA
BRANDS
IMPAR connects with business clients with similar brand values and vision, who use a multiplicity of faces within their business. Small independent brands/fashion houses such as Marques Almeida, Fashion East, Phoebe English, GoodHood, Yproject, Nylon, paper magazine, aspiring photographers and cinematographers who align to IMPARS values and have similar objectives. In the future, our aim would be to have clients such as Faustine Steinmetz, Heroine Magazine, Re-edition Magazine, Need supply, Vetements and Helmut Lang. Business clients will have heard of IMPAR, follow the agency on Instagram, regularly checking the website for new models and information and will have IMPAR publication. All loyal clients will have a good understanding of the brand, whether each client uses the agency for casting purposes, management or content creation. We aim to generate a long-term relationship with business clients by strategically targeting contacts in the marketing, advertising departments and casting directors who work for key accounts within the industry. All clients are business minded and working in the creative/fashion industry who are mature, trend led fashion aware men and women and are communicating with creative individuals nearly every day and also highly aware of the everchanging drive.
CASTING
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NOWNESS
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TREND LED
HEIDIs : H I G H LY E D U C AT E D INDEPENDENT INDIVIDUALS
IMPARS customers are trend led fashion aware, keeping up with all the latest independent publications and relevant brands, looking out for new muses and inspiration. They are currently studying or graduated with a highly creative degree, living in a small apartment or flat in an urban area, usually London or surround areas. Aged 22 – 30, they’re extremely motivated, savvy towards anything creative, especially new technology, including apps and Instagram. They like to stand out in a crowd, when in bars, at events and fashion shows like CSM. Some consumers are working as interns or have done so in the past for fashion brands, marketing or branding agencies and publications.
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SOCIAL MEDIA S AV V Y
INTERNING
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Analysing IMPAR’s four main competitors, Nii, AntiAgency, Lorde-inc and Midland has helped form the strategy in which IMPAR will differentiate itself from other agencies. All agencies above, including IMPAR have very similar aspirations and values, all focussing on casting genuine representation in hope that these models will be the next big muse. Nii is one of IMPAR’s strongest competitors, being a very small independent agency, focussing on casting and representing diversity. The agency is also connected to Nii Journal, a biannual publication running alongside the agency, acting as a promotional tool. Nii represents a vast amount of men in comparison with women, whereas IMPAR represents a range of both men and women, with a strong vision and presentation of personality. All agencies want to represent a new kind of casting therefore having a
COMPETITOR ANALYSIS /
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- Midland is a multi-functional casting, consulting and management agency creating recognition and connecting with numerous creatives within different fields of the industry. - USP - casting unconventional beauty, street casting faces that represent reality. - Pushing the boundaries of beauty ideals and casting within the fashion industry which aligns the agency with the current shift and future trend in casting - Quick start up to business. - Casted for high end brands for shows – Hood By Air, Balenciaga, Junya Watanabe, Helmut Lang - Currently representing sixteen models - Simplistic website design - Regularly updated and engaging social media platform – Instagram - Represented by Management + Artists - No link to model contracts – clients have to phone up/email the agency to find out this information
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- The agency is still fairly new, starting in 2016 - No information on the website, for example elevator pitch, vision statement or contact details - No link on website to Midland’s Instagram platform
similar vision and aesthetic and also attempting to target the market – high end brands, catwalks and advertising. Likewise, Lorde-Inc and Anti-Agency focus on casting personality and originality, both with an interesting website design, especially Anti-agency. However, Anti-Agency also focus on collaborative events with fashion brands, which could be a potential distraction from casting. Midland is an additional strong competitor, being a small independent agency, run by two people, producing an engaging Instagram platform. Midland also street casts students and Instagrammers, targeting high end brands. IMPAR also focusses on casting unconventional faces, personality and originality, but differentiates by using a film feature of on-set films and interviews, creating a more personal connection, promoting difference and personality, whilst also informing clients.
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- Current shift within casting, alongside the fashion industry is finally starting to accept more diversity, therefore Midland can really strive - Expand the roster of models
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- Currently only appeals to certain types and styles of brands
- Street casting girls and boys with personality and individuality means they can engage with models straight away by connecting through real conversations. - The agency also provides casting solutions and ideas for companies who may be in need. - The homepage of their website is instantly very visual and informative with images of their models featuring in editorial pages, magazine covers, press quotes about the agency, icon images and quick access to a variety of models Instagram’s and visual logos of clients. By having their model’s imagery and direct links on the homepage, this saves clients time and immediately they have a feel for the aesthetic of the agency. This also immediately promotes the level of accomplishment and establishment. - The agency has over 10 year’s experience. - The agency’s models have been casted for an extensive list of luxury, high end and high street designers, brands and magazines. - Noticeable links to social media platforms such as Instagram and Facebook on the home page. - Links to each model’s Instagram account so clients can see their everyday life, which informs and introduces the model’s personality and interests. - Collaborative events with brands and companies such as i-D, MTV, Asos, Nasty girl and baby-G, working with each of them to produce content, campaigns, shoots and zines. This shows Anti-Agency aren’t just an agency, they’re an allrounder company from casting, graphic design to photography. - The website features a ‘Heroes’ page which displays some of the model’s personal work, which is dominating and inspiring the industry, with links to their websites and portfolio’s. This feature shows a real interest and proud approach to the agency’s models.
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W
Nothing personalised about the model card, very generic information in which you see from every agency. This, in a way, contradicts their aims and statement of focussing and promoting the models’ personalities and individuality.
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- More established casting agencies dominating the need for more diverse models. The ever-changing movement and trends within the fashion industry.
O
- Through collaborative casting events with leading magazines such as i-D, Dazed and brands, people will recognise their ability, the agency’s aim and aesthetic resulting in further recognition in the future. - Still a fairly new agency, so have time to grow. - The new need and trend for diverse models is becoming more recognizable from designers during each city’s fashion week and especially independent publications.
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COMPETITOR ANALYSIS ANTI-AGENCY /
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Creating a marketing mix for businesses will ensure the appropriate techniques are being applied. This strategy will be unique to IMPAR, therefore being able to differentiate itself from other agwencies., focussing on the internal needs of the agency.
MARKETING MIX 8P’S /
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IMPAR provides three main products, the agency (models), a website and a publication promoting the models. The agency produces elements such as the website and publication so that clients and customers can recognize not just the model, but also their unique personality and characteristics before making a booking. Throughout the website, visual features such as films, editorials and live interviews will be displayed in a bold and contemporary, but simplistic layout, to align with the alternative vision of the agency. As for the publication, this will be produced biannually, in a large A3 size format, allowing time for creation of content and street casting new faces offering longevity. It allows the agency to showcase the models who represent the agency in a natural light, shooting each model in diverse ways, largely unedited, while censoring the models and editing their physical traits. This is showcased through numerous editorials either created in house or externally through casting for brands, publications or photographers. This provides business clients and consumers with a diverse understanding of each model. The publication will display the full editorial, unlike the website, with contemporary design layouts for each, alongside behind the scene images, interviews from up and coming models and models on the agency. Colour schemes will be very monochromatic with pops of bright colour for features such as typography and headings which will be consistent through all issues. The style of filming and photography will be shot on a mixture of digital and film, creating an imperfect and raw style which will complement the overall contemporary identity of the agency. Additional products include portfolio packs hand made with PVC plastic, with information such as composite cards and receipts for clients during a casting, therefore creating an efficient and contemporary concept. The receipts include a QR code, which android and iPhone users can scan using in-phone technology or the dominating app, Snapchat. Clients can directly connect straight to the model’s online profile on IMPAR website, ensuring efficiency at castings and events etc.
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PRODUCT / The agency works as an online business where the main advertising and promotion of models is displayed. There will be an option to obtain IMPAR’S promotional publication, through links on the homepage, so people can connect globally to the online platform and publication. Alternatively, the publication can be obtained at key fashion partnerships, events and organizations such as BOF (Business of Fashion) and LFW (London Fashion Week) and Central Saint Martin’s Gallery as well as galleries, independent stores and popular locations such as GoodHood, Old Truman Brewey, Alison Jacques and at Antenne book store. All these key locations align with the brand identity and engage key potential consumers and clients.
PROMOTION /
PHYSICAL / The key focus throughout the agency is the model’s personality conveyed through a unique, innovative concept of perceptive films and interviews. When consumers and business clients are browsing online, they will be presented with a series of different films on the homepage, immediately illustrating the agency’s (USP) unique selling point. The website will be clear and concise, but with a contemporary layout, with options such as Home, Models, Shop, About and Contact, Buy IMPAR showing every element of the agency. Each model will have unique content, with visuals such as films, imagery or both. Alongside the cinematic features, elements such as portfolio packs, including composite cards and receipts, will all be designed, with detail considering the paper and material choices, emulating the brand’s creative aesthetic, enhancing the client, consumers and models experience. Alongside the receipts, the agency uses the latest technology trends such as QR coding which allows consumers to experience virtual reality whilst efficiently connecting them to the website and model profile pages. This crosses over with the marketing and promotion strategy. However, it also allows clients to physically interact with the receipts. Furthermore, there will be a unique publication utilizing interesting paper and layout choices, sold in independent shops and at fashion organizations.
The key promotional strategy is through the use of the website and social media platforms, Instagram; promoting the models through engaging content such as films, social clips of films and interviews, imagery including editorial, composite card photos or own imagery. This aims to create a buzz for consumers, the key element being film features, with the in-house director’s vision, promoting a unique element to clients aligning to the increasing growth and popularity of moving image across online platforms. The free promotional publication will be biannual acting as a marketing tool, advertising the agency to clients and consumers and will be sold at key fashion outlets/events which align to the agency’s values. In addition, the agency intends to promote its products using a combination of word of mouth and guerrilla marketing in order to reach the widest audience possible using below the line marketing on a restricted budget. Stylised posters can be created around London town and also casting calls through Instagram engaging with the public. Clients, photographers and any contributors who use IMPAR models will credit the agency through various work featured on websites or in publications which promote the brand, increasing awareness.
IMPAR’s consumers and business clients are mature, trend led fashion aware men and women and are communicating with creative individuals nearly every day. The agency’s aesthetic and objective relates to the target audience, who are consumers, business clients and brands who follow the agency, on Instagram, regularly check the website for either new models or content. We aim to generate a long-term relationship with business clients by strategically targeting contacts in the marketing, advertising departments and casting directors who work for key accounts within the industry.
PRICE /
PROCESS /
D I G I TA L PA R T N E R I N G / The agency relies on connecting with various people in order for the business to run, including collaborating and sourcing contributors in order to create content, such as portfolio start up imagery and packs, content for the publication and any content for clients. Also, constantly sourcing new models to add to the books, initially providing key information, first castings for the agency and liaising about the terms and conditions of each model’s contract. All contracts will be agreed in writing, signed by the model, contributors and in the future employee’s and interns which will include employment conditions, rights, responsibilities and duties. Terms and conditions include details such as the work-finding services provided, any authority you have to act on behalf of them, any authorisations to receive any money on their behalf, any fees or commissions charged for finding work, how your fee or commission will be paid, how any commissions or fees will be refunded, and notice period contracts. (Gov, 2018)
IMPAR agency offers an online platform where clients can research, source and enquire about models. There is a contact number, email and contract agreement for clients wishing to book a model with all information explained, ensuring a smooth turnaround, alongside the industry standard thirty-day payable invoice structure. Before advertising a model online or through the publication, IMPAR will take time to familiarize themselves with the models through use of casual interviews, discovering their personalities, test shooting, free of charge and potentially shooting editorials and films, this is a way of developing our models and in creating a stronger portfolio resulting in bookings. When creating content that features each of our models, either to be used on site or within the publication, this will be free of charge, as this is deemed to be part of our marketing and promotional material. All rights owned by IMPAR.
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The agency offers exclusive and mother agency contracts allowing models to have a choice of contract, as they’re transitioning regularly. The mother agency contract will help models build their portfolio acting as personal managers, guiding and matching them with the right jobs within the industry, promoting models to other agencies in larger markets such as the fashion capital cities. (Helmer, V. 2017) This contract can last up to 1-2 years. The exclusive contract means the model can be represented by IMPAR only for the duration of the contract. This contract takes up to 20% commission. All commissions of each model’s job, as per industry standard, invoice on 30 days payable. When booking models for jobs, day rates are negotiable, however prices can vary and are negotiable per client; £800 a day for established, £450 for new faces plus VAT. Depending on the models’ amount of bookings, they will have ongoing expenses, such as new photoshoots, prints for new composite cards and updates for portfolio packs, agency commissions, travel expenses and potentially long-distance telephone charges. However, all business expenses will be tax deductible. The agency will make a profit through content creation and casting for other brands and management. The agency will have a promotional budget resulting in fuelling the promotional, biannual IMPAR publication. Sole revenue is generated from the agency with a view to long term seeking advertising revenue strategically aligned brand partners.
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INTEGRATED PROMOTIONAL STRATEGY
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IMPAR will be working to the AIDA (awareness, interest, desire and action) marketing strategy, firstly creating awareness and engage with business clients and consumers through advertising on online platforms such as the website and Instagram. As Instagram is growing continuously, more people and businesses are starting to use it, therefore IMPAR will utilize this platform in order to promote the agency to a wide audience. The platform will communicate the brand’s aesthetic using content such as model photographs from the roster and any new models on the books. Additional content will include editorials created either by the agency, contributors or clients whom the agency has cast for. Furthermore, quick teasers of various films including the models’ interviews when they first join the agency and any additional interviews and fashion films, either on set or behind the scene style. The platform will also include promotion of the biannual publication with potential flat lays of the layout design, content or front covers. All of the above will create an engaging platform leading the consumer to the website, creating immediate interest and desire into casting, booking a model or contention creation. IMPAR publication
will also be sold at key fashion events, organisations and independent stores reaching a diverse audience, including business clients and consumers, being a tangible element which they can keep for reference. The website will be one of two main platforms to promote the models. The website is aimed at business clients informing them efficiently and concisely about each model, immediately showing the roster of all models with film and interview content whereas the publication offers longevity and point of difference.
Moreover, IMPAR’S biannual publication will be focussed at B2B clients with more of a variety of content and longevity created through the aesthetic and layout of imagery, not available on the website. It will showcase the models who represent the agency in a natural light, shooting each model in diverse ways, largely unedited, censoring the models and editing their physical traits. The three main promotional platforms will engage with consumers, especially by film features focussing on individuality and personality differentiating IMPAR agency from other agencies. The benefit of street casting allows IMPAR to connect and work personally with undiscovered talent, introducing normality. The launch of the website and publication will be in April 2018 promoted through Instagram, building up content including editorials and model profiles, so clients and consumers will feel informed and excited. Clients and any interested consumers will be able to order the IMPAR publication from the website when launched.
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1
Year 1: In the first year of business, IMPAR would expand the team slightly, possibly using interns. Street casting and casting on social media would also become less time consuming. Connect with new industry creatives from all different fields and secure new connections who could become loyal brand contributors, either for the publication or when creating content. The contributors could be recent graduates, therefore benefiting them and building their portfolio as well, using a low budget, being mindful and practical. By connecting with more professionals and having a bigger team, IMPAR could create more content, for example, editorials and films and therefore brand recognition would start to increase creating general awareness. The brand will also focus on making connections with marketing and advertising departments as well as clients and potential publications.
2
Year 2: At this stage, IMPAR would start to make a small amount of profit with the expansion of the team and foreseeing multiple projects resulting in more business. Now with increasing recognition from contributors, word of mouth and IMPARS platforms, IMPAR will have multiple loyal contributors and clients, either small independent publications wanting content, or managing castings for small events or editorials. By connecting and collaborating with up and coming photographers, with a substantial number of followers and authority, alongside mua’s, the agency can create multiple editorials and content promoted through Instagram and the publication. Then hopefully, content will be recognised by more creatives in the industry.
3
Year 3: The agency has progressed and expanded, therefore an office could be needed. A potential location would be East London, providing easy access for any international clients or models to visit for meetings or enquiries. Ideally, the office would be open plan and have plenty of space for meetings, display portfolio packs, the full model roster, sofa’s, TV’s/ imac for films to be displayed, acting as a showroom for the brand. The agency would have expanded employee wise, overseeing multiple projects resulting in more business.
4
Year 4: With a range of different clients, contributors and staff, the agency will expand to a multi-functional creative agency offering branding, marketing and e-commerce as well as still continuing with casting, management and content creation.
FMP /
FUTURE DEVELOPMENTS
CASTING / MODELS /
PORTFOLIO / FMP /
CASTING AN ARRAY OF UNCONVENTIONAL FACES MEANS SHOWING A TRUE REPRESENTATION, HIGHLIGHTING A NEW WAVE OF MODELS IN THE INDUSTRY, RESONATING WITH THE EVER-CHANGING REALITY OF TODAY. STREET CASTING MEANS BEING ABLE TO CONNECT WITH THE MODELS ON A PERSONAL LEVEL STRAIGHT AWAY WHICH THINK IS REALLY IMPORTANT. BY CASTING
ALL MODELS CASTED WILL HAVE POLAROIDS TO FIT WITH THE AESTHETIC OF THE AGENCY. ALSO TO HAVE ON THE DATABASE AND TO ADD TO THE MODEL ROSTER ON THE WEBSITE.
SEE ALL MODESL ON IMPARAGENCY.COM
CONVETNIONAL AND UNCONVENTIONAL PEOPLE THAT AREN’T JUST MODELS, BUT HAVE ORGINALITY AND PERSONALITY, MEANS REGAINING AUTHENTICITY BACK INTO THE INDUSTRY.
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PORTFOLIO /
INITIAL SHOOT INSPIRATION /
PORTFOLIO / FMP /
INITAL RESEARCH AND INSPIRATION CONCEPTS : PRIOR TO EACH SHOOT CAPTURE BEHIND THE SCENE IMAGERY TO BE ABLE TO HAVE IN THE IMPAR ACHIVE. AESTHETIC : TAKEN ON DISPOSABLE WITH FLASH, CAPTURING INTERESTING ANGLES FOR CLIENTS TO SEE MODELS ON AND OFF SET.
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PORTFOLIO /
FILM #1
FILM CONCEPT INSPIRATION /
PORTFOLIO / FMP /
- 1 FILM DURING THE SHOOT FOR MAIN HOMEPAGE AND MODEL PROFILES. CAN ALSO CUT THE FILM DOWN FOR SOCIAL MEDIA CONTENT (10 SECONDS) - QUICK SNAPPY SHOTS, OF MOVEMENT, DIFFERENT ANGLES, CLOTHES, FACE, ACCESSOIRES ABOUT 2-5 SECONDS - IN FOCUS, OUT OF FOCUS, BLUR
FILM CONCEPT - CAPTURING THE MODEL’S MOVEMENT ON SET OF A EDITORIAL SHOOT. ANGLES : PANNING OF CLOSE UP’S OF THE BODY AND FACE, CAPTURING INTIMATE MOVEMENT. FOLLOW MODEL ONTO THE SET, TO GET A BACKSTAGE FEEL AND ALSO PAN AROUND THE MODEL CIRCLING HER WHILST SHOOTING. TO INCLUDE LENSE WAKING.
FOR EACH SHOOT, I WANTED TO DIRECT AND CREATE FILMS TO CONTRAST WITH EACH EDITORIAL SHOOT. THEREFORE CREATING ENGAGING CONTENT FOR CONSUMERS, WHILST ALSO PRESENTING TO CLIENTS DIFFERENT CONTENT OTHER THAN STILL IMAGERY, TO ALLOW THE MODELS TO BE SHOWN IN DIFFERENT WAYS, ALONGSIDE THE FILMED INTERVIEW CONCEPT. ALSO ALLOWING CONSUMERS AND CLIENTS TO SEE THE ABILITY OF THE AGENCIES CONTENT CREATION SERVICES.
- 1 LONG FILM DURING THE SHOOT FOR MAIN HOMEPAGE AND MODEL PROFILES. CAN ALSO CUT IT DOWN FOR SOCIAL SHOOTS (10/20 seconds) - QUICK SNAPPY SHOTS, OF MOVEMENT, DIFFERENT ANGLES, CLOTHES, FACE, ACCESSOIRES ABOUT 3/4 SECONDS - IN FOCUS, OUT OF FOCUS - FILM, GRAINY, DOWNGRADED
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nicole
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EDITORIAL MOOD BOARD CONCEP T
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PORTFOLIO /
FMP /
PORTFOLIO /
FMP /
shoot concept : challenging the fear and anxiety of public space within busy environments surrounded by people.
TRAVELLING ON PUBLIC TRANSPORT VISITING A SHOPPING CENTRE LEAVING HOME
Many people assume agoraphobia is simply a fear of open spaces, but it's actually a more complex condition. Someone with agoraphobia may be scared of:
AGORAPHOBIA IS A FEAR OF BEING IN SITUATIONS WHERE ESCAPE MIGHT BE DIFFICULT OR THAT HELP WOULDN'T BE AVAILABLE IF THINGS GO WRONG.
NHS
fear of public space
AGORAPHOBIA =
SHOOT #4
SHOOT CONCEPT AND INSPIRATION/
PORTFOLIO /
FMP /
SHOOT 4 / ELLEN YA /
SHOOT 4 / ELLEN YA /
PORTFOLIO /
SHOOT 4 / ELLEN YA /
SHOOT 4 / ELLEN YA /
CONCEPT AND INSPIRATION /
FILM INTERVIEWS
PORTFOLIO /
W magazine screen test aesthetic is interesting, as I feel the interviewees are completely themselves. Viewers can analyse how the celebrity connects with the camera.
PROUST QUESTIONNAIRE
The concept of having filmed interviews of all models across online platforms such as the website and social media, will allow each model to be able represent themselves, reflecting their true identities and personality. Also allowing business clients and consumers to feel connected and help assist bookings.
FMP /
Visualising how the film interviews would look like from inspiration of interviews from the likes of Show Studio and W magazine. By researching set design, I could see what would work best, alongside the audio of the interviews. Therefore deciding to incorporate a minimal set , the background will be plain white whilst the models sit on a stool. The camera will capture just bellow the shoulders, with lighting capturing a shadow to the left of there nose and behind, ensuring the primary focus is the model.
‘The Proust Questionnaire has its origins in a parlor game popularized (though not devised) by Marcel Proust, the French essayist and novelist, who believed that, in answering these questions, an individual reveals his or her true nature. Here is the basic Proust Questionnaire.’
FINALISED QUESTIONS TO ASK EACH MODEL, FEATURING A MIX OF FUN AND SERIOUS QUESTIONS TO DETERMIN AND DISCOVER EACH MODELS PERSONALITY. EACH MODEL WILL HAVE A DIFFERENT SET OF QUESTIONS ALIGNED TO THEM, MAKING EACH INTERVIEW UNIQUE.
PORTFOLIO /
01. how would you describe yourself ? 02. what are you wearing right now? 03.describe your personal style? 04.who’s your biggest inspiration? 05.what’s the one thing you can’t live without? 06.you’re stuck on a desert island, and your allowed one thing, one book and watch one film, what would they be? 07.If you could re-live your life as a character in a film, what would it be? 09.if the world was ending, what would your last ever meal be? 10.when you were younger what did want to be when you grew up? 11.if you could live anywhere in the world right now, where would it be? 12.if you could change one thing in life, what would it be? 13.what song did you last listen to? 14.what would your dream job be? 15.what was the last book you read? 16.what kind of music did you listen to when you were growing up? 17.what would your dream night consist of ? 18.what do you think is the most exciting thing happening right now? 19.what is your occupation/what do you study? Why do you enjoy it? 24.what do you enjoy about working in a creative industry? 25.what’s the most important thing in life? 26.what’s one thing you won’t wear? 27. what’s one thing you think women/men shouldn’t wear? 31.what’s the first thing you do in the morning? 32.what’s the last thing you do at night? 33.who do you wish you could date? 36.is there anything you dislike about your appearance? 37.which words or phrases do you most overuse? 38.what or who is the greatest love of your life? 39.when and where were you happiest? 40.which talent would you most like to have? 41.if you could change one thing about yourself, what would it be? 42.what do you think is your most marked characteristic? 43.what is your greatest regret? 44.do you have a motto? 45.what is your idea of perfect happiness? 46.what do you consider your greatest achievement? 48.tell me an interesting fact about yourself 52.what do you do if someone’s late? 53.what’s the best hangover cure? 54.what would you do if you had one day to spend £1 million? 56.what do you think is your best skill? 57.what’s the best song to get the dancing started? 60. what’s your biggest fear? 61. what is your current state of mind?
FMP /
The monochromatic set featuring a white or black backdrop with lighting focussing on the interviewee is simple and effective. Throughout the interview, clients can witness expressions, movement, personality and ability to be in front of a camera.
W MAGAZINE
I M PA R I N T E R V I E W QUESTIONS
FMP /
PORTFOLIO /
FMP /
PORTFOLIO /
BOLD DESIGN, WITH NO WHITE SPACE FOR A
I N I TA L D E S I G N S /
PORTFOLIO /
INITIAL IDEAS :
INITIAL IDEAS : ENGAGING BOLD VISUAL DESIGN, THEREFORE MAIN FOCUSS IS CONTENT SUCH AS FILMS, INTERVIEWS AND EDITOIRALS.
DEVELOPMENT / DEVELOPMENT : INCORPORATING THE THEME OF NEGATIVE SPACE THROUGH TO THE MODEL PROFILES - MORE OF A CLEAR AND CONCISE LAYOUT. WILL HAVE MODEL’S NAME AT THE TOP, WITH KEY WORDS EXPLAINING THEIR PERSONALITY.
INITIAL IDEAS : MOVING IMAGE BEHIND MODEL PAGE.
WEBSITE /
FMP /
DEVELOPMENT : WILL DISPLAY INTERVIEWS, BEHIND THE SCENES PRIOR TO ANY IN-HOUSE SHOOTS,ANY EDITORIALS, AND ON SET FILM. WILL HAVE FILM AND MEASUREMENTS AT THE BOTTOM OF THE PAGE. DEVELOPMENT : FILM AT THE BOTTOM OF THE PAGE ALONG WITH MEASURMENTS, DETAILS AND LINKS TO INSTAGRAM
IMPAR HAS ONE SOCIAL PLATFORM - INSTAGRAM. THE PLATFORM RESONATES WITH THE TARGETED CONSUMERS DISPLAYING A MIXTURE OF ENGAGING CONTENT EDITORIAL SHOOTS, MINI SOCIAL CLIPS OF ANY FILM CONTENT, CLIPS OF INTERVIEWS, ANY BEHIND THE SCENE IMAGES FROM VARIOUS SHOOTS OR SHOWS, IMAGES FROM MODEL’S PERSONAL ACCOUNT.
PORTFOLIO / BEHIND THE SCENES
ELLENYA INTERVIEW
FMP /
CONCEPT FOR INTERVIEW
ON SET FILM
I M PA R C O N T E N T
INITIAL V I S UA L I SAT I O N S
ADDTIONAL CONTENT SUCH AS FLAT LAYS OF PUBLICATON, THEREFORE INTROUDCING THIS ELEMENT OF THE BRAND TO NEW CONSUMERD AND FOLLOWERS
ON SET FILM
SOCIAL MEDIA /
INITIAL V I S UA L I SAT I O N S LOGO AND TA G L I N E
BRANDING / PORTFOLIO BAGS
FMP /
PORTFOLIO /
INNOVATIVE NEW IDEAS FOR A MODEL PORTFOLIO PACKAGE INSTEAD OF A PORTFOLIO BOX FOR MODELS TO TAKE TO CASTINGS. THIS CONCEPT SHOWS THE BRAND IS CREATIVE WITH NEW CONCEPTS FROM BRANDING TO CONTENT. CLIENTS CAN EASILY SEE AND ACCESS ALL INFORMATION WITH THE CONCEPT OF A TRANSPARENT PLASTIC OR VACUUM BAG FEATURING THE AGENCY’S LOGO AND ALL MODEL INFORMATION INSIDE. INITIAL CONCEPT OF A METAL EYELET THROUGH THE PLASTIC BAG, WITH A CABLE TIE FITTING THROUGH. CLIENTS CAN HANG THE MODEL PACKAGES, WITH MODEL IMAGES AND INFORMATION VISIBLE, RESULTING IN A PRACTICAL DESIGN CONCEPT.
EXPERIMENTING WITH THE RECEIPT CONCEPT BEING VISIBLE, HOWEVER TWO DIFFERENT SECTIONS OF WRITING WILL OVERLAP - TOO MUCH GOING ON.
EYELET V I S UA L I SAT I O N
Visualising what a metal ring will look like through the plastic wallet - this will enable clients to easily hang up the model cards package.
FMP /
PORTFOLIO /
EXPERIMENTING AND TESTING DIGITAL PRINTING ONTO PLASTIC IN VARIOUS SIZES AND TEXTURES, MEANT I HAD A RANGE OF STYLES TO CHOOSE FROM AND KNEW WHAT WOULD AND WOULDN’T WORK FOR FUTURE DESIGNS. FROM CREATING THESE TESTS, I DECIDED I DIDNT LIKE THIS TYPE OF BAG AND THE THINNESS OF THE PLASTIC, THEREFORE I COULD CREATE NEW CONCEPTS EARLY ON.
PORTFOLIO /
IN ADDITION TO THE COMPOSITE CARD, AS A DESIGN FEATURE, MODEL MEASUREMENTS AND AGENCY INFORMATION WILL ALSO BE ON A RECEIPT. NOT ONLY DOES THE RECEIPT HAVE GENERIC INFORMATION, IT WILL POTENTIALLY FEATURE KEY WORDS, EXPRESSING THEIR PERSONALITY, SO CLIENTS AND CONSUMERS FEE CONNECTED AT AN EARLY STAGE. I FEEL IT’S IMPORTANT TO INCORPORATE THIS NICHE CONCEPT.
INITIAL RECEIPT MOCK UPS
BRANDING / MODEL RECEIPTS
FMP /
QR CODING
design - generic infomation, alongside agency details.
CONNECT TO PROFILES Visual concept of using QR codes, creating a more functional and interactive agency. The Qr codes will be featured throughout the branding, the main feature being the model receipts which are placed in the portfolio packs. Clients (and consumers) can scan each models receipt, directing them straight to the website or online model profile page for efficient information and imagery including filmed interviews, editorials and more.
PORTFOLIO / FMP /
Testing further designs for the receipts, seeing which layout and concepts worked the best. Testing layering with different paper types to achieve a receipt style design. I feel this is nice personal touch to each model portfolio , pack and also efficient infomation for any business clients.
FILM
POLAROIDS BY ANALYSING EXISTING MODEL CARDS, I WANT TO IMPROVE THE DESIGN LAYOUT OF THE GENERIC LAYOUT AND CONTENT THROUGH DESIGNING AN INTERESTING AND INNOVATIVE MODEL CARD WHICH WILL STAND OUT IN THE INDUSTRY CONSISTING OF A STRONG VISUAL, CREATIVE IDENTITY.
ANALYSING VARIOUS INDEPENDENT AND ESTABLISHED MODEL AGENCIES’ MODEL CARDS, IT HAS BECOME APPARENT THAT MOST MODEL AGENCIES SHOW GENERIC INFORMATION, HEIGHT, BUST, CHEST, SHOE ETC. OBVIOUSLY THIS INFORMATION IS REQUIRED. HOWEVER, I FEEL IT’S NECESSARY AND VITAL FOR CLIENTS TO KNOW MORE, YET NO AGENCY HAS SHOWN THIS FACTOR OF PERSONALITY YET.
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BRANDING / MODEL COMPOSITE CARDS /
PORTFOLIO / FMP /
INITIAL INSPIRATION
I BELIEVE IT’S IMPORTANT FOR THE CLIENT TO BE ABLE TO FAMILIARIZE THEMSELVES WITH THE REQUIRED MODEL BY UNDERSTANDING THEIR PERSONALITY IN DIFFERENT SITUATIONS IN FRONT AND AWAY FROM THE CAMERA.
THE COMPOSITE CARDS WILL BE IN THE PORTFOLIO PACK, CONTRASTED BY THE RECEIPTS, THIS MEANT THE FLUORESCENT YELLOW WON’T BE TOO OVERPOWERING.
PORTFOLIO /
FLUORESCENT YELLOW, WITHOUT IT EFFECTING THE PICTURE AND HAVE IT ONLY ON ONE SIDE, WITH A BLACK OR GREY BOARD BREAKING THE TWO DIFFERENT COLOURED SIDES INBETWEEN.
FMP /
AS COMPOSITE CARDS ARE A HUGE FEATURE TO A MODELLING PORTFOLIO, I’VE DEVELOPED A RANGE OF DESIGNS. FROM CREATING NUMEROUS CARDS, I COULD SEE WHAT I LIKED AND DIDN’T LIKE, THEREFORE COULD IMPROVE THE DESIGN EACH TIME, ENDING UP WITH A MINIMAL A5 CARD WITH A IMAGE OF THE MODEL ON THE FRONT AND THE MEASUREMENTS ON THE BACK. AS I KNEW I WANTED DOUBLE SIDED CARD DESIGN, I INCORPORATED A PRINTING TECHNIQUE CALLED 3XING, RESULTING IN A STURDY COMPOSITE CARD. I COULD THEN INCORPORATE THE
E N T E R PA G
PORTFOLIO /
MODEL ROSTER
M O D E L P R O F I L E PA G E
IMPAR provides three main products, one of which is the webiste. The agency produces elements such as the website and publication so that clients and customers can recognize not just the model, but also their unique personality and characteristics before making a booking. Throughout the website, visual features such as films, editorials and live interviews will be displayed in a bold and contemporary, but simplistic layout, to align with the alternative vision of the agency. The website houses all elements of the agency, displaying engaging films as soon as the consumer enters, alongside editorial shoots which lead straight to each models profile page or editorial shoot.
H O M E PA G E
FMP /
IMPAR / WEBSITE /
H O M E PA G E
MODEL PROFILE PA G E
PORTFOLIO /
H O M E PA G E
ARCHIVE
CASTING
FMP /
CASTING
TO WEBSITE
IMPAR / PUBLICATION /
FMP /
MODEL INTERVIEWS WIHIN THE INDUSTRY
EDITORIAL
PORTFOLIO /
FMP /
EDITORIAL PORTFOLIO /
MODEL INTERVIEW
NEW WAVE, NEW BREED, NEW FUTURE
NEW WAVE, NEW BREED, NEW FUTURE
PORTFOLIO /
IMPAR
IMPAR
WEBSITE
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up, I do not think that the industry would decide that there needs to be change. Definitely not enough to change for good, again to me it feels like a case of ticking boxes to keep people happy.
Where are you from? T : Nottingham, England What is your occupation? T : Fashion textiles design student.
Are there any brands/designers/publications which you respect who show real, genuine representation? T : Yes, Sukeban and galdem magazine, my two favourite publications.
In the past did you ever consider yourself as a model? T : Not really because I didn’t really take modelling seriously. I would just do fittings for my fashion design friends or model for styling students around my university occasionally.
What is the most defining moment in your career as a model as of yet? T : Having a shoot that was personalised to me. It was a story for glam cult magazine and I worked with stylist Lisa Dymph Megens and photographer Julian Mährlien. They’re both amazing creatives and the afternoon was spent bouncing ideas off each other, it was just so lovely.
What fuelled your decision to become a model? Was there anyone in the industry who inspired you? T : When I cut my hair and wore my Afro naturally, it suddenly sparked a lot of interest. From there, I started getting randomly asked until casting agencies/ people who scout started putting me forward for jobs.
Does this ever put you off at all? T : Yes, I guess it puts me off because sometimes I go to castings and I’ll be the only black model there. Or sometimes on set with groups of models, there will be me and one other black guy and it just feels like there’s a checklist of faces to include.
Have you or do you feel pressured to look a certain way? T : When I was younger, I felt that my Afro hair was so ugly and so I felt pressured to straighten.
Have you ever had a bad experience during a casting or modelling for a show/shoot? T : People ignoring/avoiding my hair is the only ‘bad’ experience I have had so far.
Fashion Lisa Dymph Megens
NEW WAVE, NEW BREED, NEW FUTURE
NEW WAVE, NEW BREED, NEW FUTURE
For years the fashion industry has had this perception of what the ‘perfect beauty ideal’ is. At IMPAR, we’re trying to break these barriers. What’s your view on the perception of the perfect beauty/model ideal? T : I think the Eurocentric beauty ideal that we’re all so accustomed to is socially structured and engrained into society. What ‘we’ consider beautiful, people internalise as a truth, so the idea of ‘perfect beauty’ or the ‘perfect model’ puts a lot of pressure on models to fit that description.
What are your views on the fashion/modelling industry currently? T : I think a lot of people are just still ticking boxes, diversity is such a buzz word within industry at the moment. It’s not really genuine inclusivity.
Photographer Julian Mährlein
IMPAR
IMPAR
“Say if people did not share their experiences and did not speak up, I do not think that the industry would decide that there needs to be change.”
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What do you think about the recent drive for inclusivity within the industry? Do you think it’s enough to make a change for good? T : I think it’s a reaction to models of colour speaking out about their experiences and supporting each other. Say if people did not share their experiences and did not speak
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PUBLICATION IMPAR
IMPAR
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NEW WAVE, NEW BREED, NEW FUTURE
NEW WAVE, NEW BREED, NEW FUTURE
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PRESS RELEASE
MANIFESTO
BUSINESS CARDS
PORTFOLIO /
P R E S S PA C K S
M O D E L P O R T O L I O PA C K S
FMP /
PORTFOLIO /
PORTFOLIO / LIVE PROJECT /
LEVEL 5 / LIVE PROJECT CLIENT - ARTS UNIVERSITY BOURNEMOUTH EMILY HODSON
LIVE PROJECT /
NIL
AUB I S S FASHION U E 1
PORTFOLIO /
PORTFOLIO / LIVE PROJECT /
Professional live events management and marketing project, working collaboratively to produce Arts Univeristy Bournemouth’s (AUB) marketing and promotional material including being assigned lead designer role on the graduate publication. Reporting to clients such as AUB and Graduate Fashion Week. Responsibilities: co-design and co-production of the three Fashion Events, showcasing final year BA (Hons) Fashion students’ work at a local Bournemouth Show, Graduate Fashion Week in London, and AUB HE Summer Show, showcasing mens, womens and childrenswear from ‘Design’ graduates and publications, films, styling app design and new media concepys from Image and Communication graduates.
Additional responsibilities alongside the design and graphic layout for the NIL magazine was organisation of the NIL shoot including creative direction, casting, hair and makeup and model casting. Furthermore, generation concepts for the creation and coordination of content for AUB’s exhibition space supporting the AUB brand, sourcing of furniture, product and accessories. Also ticket/invitation design representing AUB, which was then used for Graduate Fashion Week.
PORTFOLIO / Initial concepts for the design of the stand for GFW to then be carried through all aspects of branding and marketing.
Initial concepts I generated through extensive research using trend platforms such as WGSN. I wanted to project a minimal aesthetic however incorporating very industrial elements such as metal table tops and hanging fratures as well as intergrate a bright yellow colour and woodchip features.
LIVE PROJECT /
INITIAL CONCEPTS
SOFT INDUSTRIAL
DEVELOPMENT DESIGN CONCEPTS
LIVE PROJECT /
PORTFOLIO /
CHOSEN THEME
Further development of concepts, discussed with the design group. Integrating metallic and mental elements for elements such as hanging features. Colours including coppers, metals and metallics resulting in a muted colour palette ensuring the main focus is students work.
G E O WA R E H O U S E
Geo Warehouse theme includes industiral elements such as a bright yellow colour which will be added sparsly contrasted with metals and wood features. The concept behind this theme was to keep it very minimal, work to be laid on top of wood/woodchip tables and publications to be hung of metal hnagers, incorporating yellow builders lights and cables hanging around the stand to project a industialised theme. Generating this idea from my inital moodboard.
PORTFOLIO / LIVE PROJECT /
BRANDING DEVELOPMENT
Using Marni, Celine, Jil Sander, Celine and Acne’s branding for inspirationfor elements such as layout, special features, packaging and typography.
GFW TICKETS
PORTFOLIO /
Incorporating the geo-metric theme into the branding, I designed the aesthetic of the inviation which then got choosen to be the Graduate Fashion Week ticket, representing AUB.
FINAL TICKET
AUB ARTS UNIVERSITY BOURNEMOUTH
BRANDING DEVLOPMENT
LIVE PROJECT /
G R A D U A T E F A S H I O N S H O W
Creating several different designs for clients to choose from, I designed yellow paint splash art work to then intergrate onto the design. The original concept for my invitation was to have 4 different peices of card, with separate infomation on, attached in the corner by a metal paper fastener split pin which incorporates the metal theme whilst also being very tactile.
C:2
Unable to move forward with my original concept of having ž pieces of paper with a metal fastener, therefore reducing all infomation onto 1 peice of doubled sided card. I created several designs, developing them each week to report back to clients, tutors and peers.
M :9
Y:97 K:0
PROJECT TITLE /
PORTFOLIO /
PORTFOLIO /
holly holston Directing and organising the NIL magazine shoot meant researching and creating posing, makeup and hair boards for the whole team including photographers, Makeup artists, models and peers to refer to.
imani nagten laura d’agnelli
MOOD BOARD
Sourcing and casting all models for the NIL magazine shoot. I wanted to project a diverse range of models, to resonate with the array of collections.
HAIR
NIL PHOTOSHOOT
LIVE PROJECT /
samuel hardy
NIL SHOOT CASTING
tino sanka gwashavanhu
MAKEUP :
PORTFOLIO /
DEWY BRONZY GLOSSY SHIMMERY PINK CHEEKS
MAKEUP
HAIR : MESSY FRINGE MESSY HAIR LOOSE WAVES EFFORTLESS
LIVE PROJECT /
POSES
CURTAINS
PORTFOLIO /
NIL MAGAZINE
LIVE PROJECT /
I was appointed lead designer for NIL magazine, as well as working alongside the stand team, aligning all elements to the AUB aesthetic and chosen theme for a consistency throughout. This meant co-ordinating the whole shoot, arranging content, sourcing props, locations, model casting and general art direction as well creating the layout and style . Coordinating my peers into different teams within the NIL including layout, articles/interviews and photo-shoot.
LIVE PROJECT /
PORTFOLIO /
LIVE PROJECT /
PORTFOLIO /
LIVE PROJECT /
PORTFOLIO /
LIVE PROJECT /
PORTFOLIO /
PORTFOLIO / COMPETITION /
COMPETITION / BOYS BY GIRLS STYLING COMPETITION
PORTFOLIO / Competition / Boys By Girls are looking for 1x Fashion Photography student and 1x styling student to have the chance to build there own team, create the concept and work with the Editor-inChief of BOYS BY GIRLS to shoot the menswear collection campaign for Graduate Fashion Week as a collaborative project. The shoot aims to highlight the creativity of all fashion disciplines and celebrate new talent shooting and styling their peers. It’s a chnace to have work featured in a highly regarded, growing publication.
COMPETITION /
Entry / Produce 1x moodboard on the shoot you would like to create, with 300 words to accompany it to describe the idea behind the theme and why you believe it will fit the BOYS BY GIRLS profile. Submit3x examples of previous work.
For the location concept, the use of a tube station, either on the platform, incorporating the stripes on the floor, shabby walls and red metal chairs against the walls, for small features and pops of colour could contrast well with the clothes. Also inside the tube station walk ways such as spacious stations like St Pancras, featuring wide open spaces, grey/white concrete floors, walls, signs, ticket machines etc. This also represents all the fashion universities involved, with the editorial being shot in the heart of London, one of the main fashion capitals. Other location/set concepts include warehouses such as Ikea or B+Q for interesting, alternative backgrounds, including packaged boxes, metal structures and shelves and concrete floors, showcasing every day, raw spaces materials. I feel throughout the shoot, the use of a variety of backgrounds results in a more engaging editorial. Further ideas include draped, thick PVC plastic or ground sheets in a clear metallically colour, white or muted brown colours, therefore will contrast with all collections. Also, any cardboard or crate boxes, metal old grey cabinets, metal chairs for a minimal set to go with the industrial style of Truman Brewery, incorporating white and grey interiors, with possible backdrops of rusty oranges with the stand and equipment in shot. All ideas are very simple, with subtle features therefore the key focus being the collections in each shot. Poses will include some static and simple, alongside some crazy arm and leg movements to show movement of garments, with group and single shots, carefully choosing collections which contrast one another. Makeup to be simple and with a touch of highlighter to accentuate face features. I feel all concepts mentioned above fit the aesthetic of Boys by Girls magazine as my aesthetic is very real and minimalistic but can easily adapt my style to align with various briefs.
COMPETITION /
For this shoot I would like to promote authenticity to represent graduates and fashion students from various universities to reinstate genuine representation and the future of fashion through casting. By street casting a range of unconventional boys from all different backgrounds, shapes and ethnicities, I feel the shoot can portray realism. Previously working for Arts University Bournemouth (AUB), for the graduate fashion show and NIL magazine, which represents all graduate work and collections, I was appointed the lead role. Successfully directed, casted and styled the editorial shoot, sourcing and working closely with the photographer, it was a huge success.
PORTFOLIO /
CONCEPT
SET
CASTING
CASTING LOCATION
CASTING
LOCATION/SET
POSING
LOCATION/SET
PORTFOLIO /
CASTING
COMPETITION /
LOCATION/SET
LOCATION/SET
SET
SET
SET
POSING SET
SET CONCEPT
CASTING
PORTFOLIO / COMPETITION /
ART DIRECTION EMILY HODSON STYLIST EMILY HODSON
COMPETITION /
PORTFOLIO /
PORTFOLIO / COMPETITION /
ART DIRECTION EMILY HODSON STYLIST EMILY HODSON
COMPETITION /
COMPETITION / TED BAKER PORTFOLIO /
Being 1/3 to then be shortlisted from fashion, I was offered a range of briefs to work to. The two that stood out were Colour By Numbers Social Assets and Ecommerce Packaging Re-design briefs, however I choose the Social Asset brief and collaborated with a textiles student. The brief was to reimagine the Colour by Numbers visual language across a suite of animated and static Instagram posts. BRIEF Ted launched his Colour by Numbers womenswear collection a year ago with the aim of offering his customer something different to the mainline collection; a younger, more contemporary take on signature Ted patterns
and colours. Press release below explains this in detail. The existing CBN brand treatment consists of a richly colourful, graphic set of components, influenced by adult colouring books and visual systems such as Venn diagrams, as well as carefully-selected collections of playful elements and a strong palette of identifying colours. A visual pack will be available with this brief which can be used as part of your creative; feel free to play with this to inspire further assets. A separate holding page on tedbaker.com, editorial creative and standalone Instagram account should also be taken into consideration. You could bring a print to life, create still life imagery using props that are associated with the collection, or design a typographic animation that pulls a quote from the press release. This brief is less about selling a specific product and more about expressing the attitude and spirit of the collection, building CbN as a sub-brand and differentiating it from the mainline.
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BRIEF / The opportunity is for AUB students across creative and digital disciplines to present their portfolio to the Ted Baker panel (Creative Director, Digital Commerce Director, Associate Director Brand Communications) with the chance of being short-listed for a selection of commercial Live Briefs.
‘A carefully curated capsule collection for women celebrating simple silhouettes, considered colourways and refined finishes. These wardrobe staple pieces are cut and sewn from luxurious fabrics and finessed with careful, designfocused detail. Reworking timeless pattern with a contemporary twist, the collection builds on Ted Baker’s unrivalled grasp of print and garment quality, in a directional approach unlike anything the brand has created before. Each versatile piece represents a wardrobe building block, anchoring any look to become a most-loved go-to outfit.’
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Colour by Numbers, a simple formula for everyday style
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PATTERN CONCEPTS
INSPIRATION
Christmas season glittery, reflecting disco ball as a giff.
Christmas season - insects will move around the picture, in colour by numbers colours creating a innovative animation. This could then be incorporated onto the website.
Other static instagram concepts - incorporating patterns as backgrounds to emulate the image and create a more exciting post.
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giff - geometric pattern changing to different colours
Creating static Instagram posts using objects that could relate to the collection in a creative way - Using coloured flowers through a still life set up - Fruit, - Splashes of paint/spray paint/coloured blobs in a white studio. Silhouettes of this could be incorporate through to the website as a continuous themes/ backgrounds etc.
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Christmas season glittery disco ball as the background with beetles in themed collection colours, crawling as a animated film. This could be incorporated onto the website as one of the main Christmas themes.
INSTAGRAM CONTENT
VISUALISATIONS
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Different coloured geometric patterns will change and glisten. Over the top of each changing pattern there will be a animation of ‘colour by numbers’ - each letter popping up one by one, as well as the tag line.
Animated beetles in sparkly themed colours crawling behind editorial images, to incorporate a innovative , interesting christmassy theme.
sparkling pattern as a giff, showing the colours glistening for the Christmas party season. contrasts well behind the static editorial images of the collection
animation of glistening disco ball reflecting colour by numbers colours throughout film. Also with animated beetles in sparkly colour themes crawling over, to incorporate a christmas theme.
Other geometric patterns behind editorial images throughout the homepage to create a innovative colour, engaging page for Colour By numbers
PORTFOLIO / LEVEL 5 /
LEVEL 5 / DIGITAL MARKETING ZARA WOMAN STUDIO EMILY HODSON
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I N I T I A L I N S P I R AT I O N
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Zara Studio portrays a very modern identity throughout. Therefore I have carefully researched outfit choices, putting together a range of black, leather and minimalistic detailed pieces. Location is also a huge part of the film as it sets the tone of the shoot. As Zara Studio is very contemporary, I have chosen two locations which incorporate the style of the collection. The locations have a slight sense of grunge which works well with the aesthetic of the collection.
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This project delivers in-depth marketing analysis in order to develop and produce a fashion film aligned to my choosen brand, Zara Studio. By collating information about Zara Studio’s past collections, whilst also analysing the brand’s aesthetic, identity and essence, this will allow me to produce and direct a strong concept and successfully promote the brand through moving image.
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COMPETITORS
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To identify Zara Studio’s competitive situation, the brand positioning map visually pin points all similar brands showing the exact positioning within the market, making it easier to recognise direct competitors. Positioning Studio very close to Topshop Boutique and Asos White as prices, quality and aesthetic are very similar.
TRENGTHS
Unique style Modern - sculptural silhouettes Minimalistic Brand indentity - High end high street High quality Very specific target audience Fashion blogger endorsment Range of styles formal / casual Premium
PPORTUNITIES
EAKNESS
High price point no advertisement not well known Only online - Small target audience very speocific clothing style
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HREATS
Gain more exposure High end, more - Collaboration with celebrity well known brands - Start advertisement and have simlar styles marketing for the collection
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TRENGTHS
- High end high street - good quality - pay for quality - premium - clean and fresh - caters for formal and informal - celebrity endorsement - LFW space - Bloggers to promote - Magazine advertisement - In store advertisement
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PPORTUNITIES
- Expansion on collection
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EAKNESS
- Not all shops have boutique to try on - Not much online advertisement - Clothing is always veyr similar each year
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HREATS
- High street brands could copy and sell for cheaper
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TOPSHOP
BOUTIQUE
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WHITE ASOS
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The typical Zara Studio consumer is a confident, fashion enthusiast, with a minimalistic but creative approach to fashion. She lives in a suburban area with easy access around the city. She uses tubes and taxis to get to her office in the early mornings and also in evenings when going out with friends in quirky, fun bars.
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Her organisation and chic taste shows throughout her modern, two bedroomed apartment with its industrial interior. She has a relaxed oversized style, whilst also showing off a sleek and sophisticated side to her. At weekends and on days off, she likes to catch up and read the latest issues of ID and Dazed as well as visiting art galleries and exhibitions.
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EMOGRAPHIC
YOUNG WOMEN 20-30 WORKS FOR MAGAZINE COMPANY/CREATIVE ROLE DATING/ IN A NEWLY RELATIONSHIP MID 20’S STARTING MORTGAGE £28,000+ SALARY
CONSUMERS
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INDEPENDENT CONFIDENT CITY BREAKS WITH FRIENDS EVENING DRINKS CLUBBING IN LONDON OR CITIES MEMBER OF FITNESS AND WELLBEING CLUB POSITIVE OUTLOOK ON LIFE MONEY MOTIVATED ON TREND STYLE BREAKS THE RULE LIKES TO STAND OUT
URBAN BUSY CITY TUBES TO 1/2 BED USED TO ENGLISH
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EOGRAPHIC
sage+
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AREA LIFE WORK HOUSE WEATHER
ENEFITS
PAYS FOR QUALITY FOR ON TREND CLOTHING £50 250 LONG LASTING SOPHISTICATED BUT COMTEMPORARY
LOOKS
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TRENGTHS
AFFORDABLE, SLEEK, CONTEMPORARY FASHION - MID/HIGH END HIGH STREET - HEAVY SOCIAL MEDIA UPDATES COMMUNICATE WELL WITH CONSUMERS OVER SOCIAL MEDIA PLATFORMS HIGH QUALITY GARMENTS
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EAKNESSES
NOT BEING A FREQUENT COLLECTION - ADVERTISEMENT OF THE COLLECTION OTHER THAN INSTGRAM
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PPOTUNITIES
- EXPANSION OF COLLECTION - MORE REGUALR COLLECTIONS THROUGHOUT YEAR
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To reach the correct target market, Studio applies the personality of the collections to all visuals and moving image showing sleek, sharp cinematography collaborating with realist Collier Schorr and film maker Gorden Von Steiner he quotes “I want the viewer to feel something.” Fashion (2015) Gordon von Steiner | #BoF500 | the business of fashion . For the Woman’s studio capsule collection 16, both collaborators incorporate contemporary edge to correspond with the clothing featuring relevant models including Roos Abels, Mica Arganaraz and Freja Beha in their most recent editorial.
HREATS
SIMILAR TO HIGHER END BRANDS - LOWER PRICED BRANDS COPYING THE CLOTHING CONCEPTS COLLECTION NOT IN ALL STORES
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BRAND ANALYSIS
Zara Studio displays a very sophisticated and sleek style throughout its collection. This shows in the brand’s marketing through campaigns and editorials by incorporating a minimal but sharp style on their website and social media. As the target market of Zara Studio is aimed at sophisticated, inner-city women, the characteristics of the branding is very minimal and contemporary with a very modern essence featuring industrial and visually pleasing locations complementing the collection. Colours are always very pure with an exaggeration of colour graded black and white to project a modernism effect through visuals.
ACTION AND I M P L E M E N TAT I O N P L A N
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RODU CT The chosen locations had strong similarities to Zara Studio as most moving image content is shot on location. The locations I sourced were; a contemporary laundrette displaying a bold stripe of red throughout with large silver washing machines. A secondary location was a bright yellow and white passage of a car garage. However when filming, this location worked best for wide and long shots capturing greater movement in a more spacious environment. I thought both locations worked really well together and had comparable elements to Studio with a sense of modern edge encapsulating a strong identity for Studio collection.
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For model casting, I wanted a very particular type of face shape and size to fit the character and identity of the brand. The girls I chose both had sharp features and were naturally beautiful. I envisaged the models to be quite skinny, both being size 6/8 with dark hair and fairly similar heights which created a great symmetry within the moving image. To differentiate the models, I directed my MUA to style Nicole’s hair as a curly, wind-blown bob whilst Lily’s to be a straight, sleek low pony tail to enhance her cheekbones and compliment her face shape. These styles complimented both models’ outfits. Styling choices were based around monochrome clothing translating a minimal, sharp sophisticated style with a variation of outfits.
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Analysing the current moving image content of Studio, I noticed there was no major movement or narrative. Therefore I chose to create a moving image look book as I felt this better suited Studio’s brand of cool sophistication with sense of minimal white space. To fit the identity of the current and previous Zara Studio content, I’ve edited the colour grading of my moving image so all white is exaggerated to display a fresh, modern image. Also by filtering the red and yellow down, but still showing a strong red and yellow pop of colour throughout, it contrasts with the dark clothing.
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Through heavily analysing Zara Studio Collection, I’ve translated the brand identity through moving image content. To successfully create the content, elements such as casting, location, concept and styling were very important.
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ROMOTION
As Studio is only released a couple times a year, my moving image content would be released with the Winter Studio campaign 16, promoted through website and social media platforms, similar to Topshop Boutique as they focus on promoting content through both store graphics and social platforms.
LACEMENT
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The moving and still image content will be implemented onto the website. As it’s an irregular collection, the content will be featured on the main home page, advertising the new collection to consumers. As well as being on the main home page, Studio will have its own category within editorials, displaying moving image content, still imagery and teasers above the shop section. Also moving and still image, containing social teasers and snippets, is densely promoted through instagram and also Facebook. When the studio collection is released, graphics will sometimes be displayed around certain stores and till points.
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ROCESS §The preparation for my film took about two weeks. This comprised sourcing my models, makeup artist and photographer, scouting for locations and also organising times and dates which the crew were all available. By the time I had found models to the day of production, there was plenty of time to gather information about clothing and shoe sizes to be able to prep for the shoot day.
Makeup and hair started at 8am on the day of filming. The whole shoot took about four hours including the moving image and stills. Filming in week 5 as scheduled gave me a good deal of time to go over any footage that I wasn’t happy about. However, I arranged another shoot, giving me further opportunity to direct; this time becoming more involved with the cinematography and camera operation. Sourcing the same MUA, the preparation and shoot, again, took about four hours, including outfit and location changes. With two sets of footage, this allowed me to have plenty of material to work with for a one minute film.
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PORTFOLIO / LEVEL 5 /
ZARA STUDIO COLLECTION RESEARCH
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FINAL OUTCOMES
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FILM -ZARASTUDIO COLLECTION
For full film follow link
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VISUALISATIONS Creating visualtions in order to show how the moving image created fits within the brand identity of Zara Studio and within the Zara website. Social edits and teasers of the film will be carried through the website and throughout Zara’s Instagram platform, therefore reaching a wider audience and keeping consumers and customers informed.
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SOCIAL EDITS
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