Emily Kelly - Final Major Project Audit by Emily Kelly

HIGHER STUDIO

EMILY KELLY KEL15452179 BA(HONS) CREATIVE DIRECTION FOR FASHION FINAL MAJOR PROJECT: PRODUCTION AND EVALUATION KIM COLEMAN + DANIEL CAULFIELDSRIKLAD

FIG 1. FUNG, S.

PROJECT ABSTRACT

Higher Studio offers a subscription rental service of luxury archive garments and accessories. Sara Arnold, the founder, hopes to see the idea of a wardrobe become obsolete in the near future, targeting our current issue with consumer greed and its environmental impact.

HIGHER STUDIO

With the sustainable fashion movement in full swing, this project looks to the consumer alternative of rental fashion and how this can best be communicated.

This project is based around the feeling you get from wearing something new and novel and how you can still experience this without the use of finite resources. The film, space and event are all focused around six key garments from the archives, which each represent a unique and new way of moving and feeling. They become their own personalities, which are explored through all levels of the campaign.

6 7 8

TA B L E O F C O N T E N T S

16 M OT I O N G R A P H I C S VIDEO

MOVING IMAGE

ORIGINAL CONCEPT D E V E LO P M E N T F I N A L O U TC O M E S

CONCEPT DEVELOPMENT

THE BRAND S U S TA I N A B I L I T Y THE SHARING ECONOMY

BACKGROUND

ACKNOWLEDGEMENTS

C O N T R I B U TO R S

FIG 2. FUNG, S.

134 BIBLIOGRAPHY LIST OF IMAGES APPENDIX

E VA L U AT I V E S TAT E M E N T

SUBMISSION

PA R A P H E R N A L I A

LAUNCH EVENT

EVENT

T H E S PA C E MOVING IMAGE IN SITU

SPACE

HIGHER STUDIO

102

156 160 166

TA B L E O F C O N T E N T S

CONTRIBUTORS

Stephanie Fung- motion graphics designer Lewis Blair and Aran Knight- sound designers George Kelly- cameraman and 3D print designer Rhoneil Tiburcio- director of photography Ema Kasper- hair and make-up artist Kelly Johnson- dancer Noa Zarfati- set design consultant Alexandra Regazzoni- assistant on set Gerald Maynard- invitation presentation box carpenter Amanda Tyrrell- presentation garment bag seamstress

FIG 3.

FIG 4-7.

ACKNOWLEDGEMENTS

With a special thanks to Kim Coleman and Daniel Caulfield-Sriklad for guidance over the course. To Marie and Andrew Kelly as proof readers of this body of work. And to Sara Arnold, founder of Higher Studio, for her advice and feedback throughout.

HIGHER STUDIO

FIG 8.

Research // Subject Knowledge // The Brand

BACKGROUND This section looks at the brand and its surrounding contextual background HIGHER STUDIO

01. The Brand 02. Sustainability 03. The Sharing Economy

THE BRAND

Higher Studio is a fashion rental service, providing monthly subscription to luxury, archive garments and accessories from designers such as Comme des Garcons, Issey Miyake and Prada. Rental is known as a key example of the sharing economy and a fight to dissuade consumers from over-buying and neglecting unwanted clothes. The service was founded in 2014 by Sara Arnold, with the vision that in the near future, the concept of having a wardrobe will become obsolete.

Amongst the designer brands in their archives is HYDRA, a biodegradable, natural latex brand. Higher Studio works closely with founder of HYDRA, Anna GloriaFlores, as part of what is called the performance economy. This is a collaboration between the brand and the service in which consumers are able to subscribe to the use of the product until it is used up, the brand then replaces this and disposes of the old product in a responsible manner.

FIG 9.

BACKGROUND

FIG 10.

FIG 11.

HIGHER STUDIO

“novelty is such an important part of expression and creativity and novelty normally hurts the environment. So, it’s always about how can we be more creative without creating damage.” - Sara Arnold, founder of Higher Studio (Kelly, 2017)

BACKGROUND

SUSTAINABILITY

The fashion and textile industry has a lot to

In terms of waste produced by fashion, WGSN writes of “a report

answer for in terms of the current state of our

from the UK’s Waste Resources and Action Programme (WRAP)

planet. Polluting the oceans with waste, chemicals

[which] found that UK consumers bought 200,000 more tonnes

and toxins, increasing carbon footprint from

of clothing in 2016 than they did in 2012, with the resulting hike in

transportation on top of ethical fair trade working

environmental impact” (WGSN, 2017).

issues (RiverBlue, 2017). Fashion Revolution works to improve transparency within the industry and ensure ethical working environments across the world in reaction to the Rana Plaza disaster in 2013 by asking Who Made My Clothes?

FIG 12.

BACKGROUND

FIG 13.

HIGHER STUDIO

FIG 14.

FIG 15.

BACKGROUND

THE SHARING ECONOMY

Fashion rental is fast becoming a viable alternative for consumers, evidenced by â&#x20AC;&#x2122;research carried out among UK and US shoppers by shopping centre group Westfield [which] found that almost of half of consumers aged 25-34 are interested in renting fashionâ&#x20AC;? (WGSN, 2017). Relatively in their infancy, fashion rental services and their sustainable benefits are not as widely known as other proposed solutions, such as recycling and donating to charity shops. There is also a certain stigma surrounding wearing second-hand clothing and although many rental services offer dry cleaning within the cost, there remains something special about owning and keeping new things.

FIG 16.

BACKGROUND

HIGHER STUDIO

FIG 17.

FIG 18.

BACKGROUND

FIG 19.

Reg Concept // Development // Design Process

CONCEPT DEVELOPMENT This section covers the concept development of the project, from inception to final outcome.

HIGHER STUDIO

01. Original Concept 02. Concept Development 03. Final Outcomes

FIG 20.

O R I G I N A L C O N C E P T:

My concept from last term was a simple fashion film to showcase the range of garments within the archives and their textural qualities.

â&#x20AC;&#x153;I like that this is conceptual - I think its important for Higher to be considered as conceptually minded.â&#x20AC;?

- Sara Arnold, Higher Studio (appendix I) FIG 21.

CONCEPT DEVELOPMENT

ephemerality and impermanence when considering consumer relationship with clothing. However, I decided that I wanted to focus upon Higher Studio’s clothes as eternal and long lasting, rather than comparing to fast fashion’s fleeting qualities. HIGHER STUDIO

1. EPHEMERALITY

I began by exploring the concept of

FIG 22.

FIG 23.

CONCEPT DEVELOPMENT

2. FEELING OF NEWNESS

I was trying to demonstrate the physical feeling of newness that consumers get from buying new clothes and convey how you can experience this same feeling from renting clothes and therefore not contributing to the harming of the planet. However, I think that a focus upon this hindered my concept in the sense that I was trying to do something very bright, white and futuristic, when in fact I didn’t want to overlook the fact they are these special older pieces, some of which very colourful. I chose to continue my concept by looking at the pieces as new experiences and the way they make you feel different, rather than new.

FIG 24.

FIG 25.

FIG 26.

“it’s just nice to have new things and experience new things on a more everyday kind of basis” - Sara Arnold (Kelly, 2017)

CONCEPT DEVELOPMENT

I explored the feeling of newness through materials such as glass pebbles and white scuba fabric to reiterate freshness. I used the slow motion setting on the Sony

see USB 002- Moving Image Tests - Test Shoot 2

FS700 to enhance the sensory qualities, however I found that there was not enough light for the footage to appear crisp and sharp and instead came out with a lot of noise, which was not the intended effect.

HIGHER STUDIO

FIG 27-29.

CONCEPT DEVELOPMENT

3. NEW FEELINGS + EXPERIENCES FIG 30-35.

CONCEPT DEVELOPMENT

I then looked at the stages of regeneration and how new life, personality and emotion could come from these new experiences created by wearing the different and unique pieces in the Higher Studio archives.

I took inspiration from motion graphics by Builders Club and their rebrand of MTV looking at the different emotions. I was very keen on developing something FIG 36.

that emphasised the contrasting feelings and movements by each piece in the archive.

CONCEPT DEVELOPMENT

HIGHER STUDIO

FIG 37.

see USB 001 - Content - Website - Macro Motion Graphics

4. REGENERATION LOOP

I developed the idea of a fresh box feeling to look at how visuals could represent regeneration and rebirth through looping.

FIG 38.

FIG 39.

CONCEPT DEVELOPMENT

FIG 40-43.

HIGHER STUDIO

FIG 44-47.

see USB 001 Folder - Content - Website - Motion Graphics

CONCEPT DEVELOPMENT

I took inspiration from a film on NOWNESS, called Sink or Swim. The dance was half set in the water and half in an empty space with spotlights that reiterated beams of light through watery depths. The movement, especially when returning to childâ&#x20AC;&#x2122;s pose (pictured below) reminded me of a birth or regeneration, which I wanted to come through in the film. FIG 48.

FIG 49.

CONCEPT DEVELOPMENT

FIG 50-55.

HIGHER STUDIO

see USB 001 Folder - Content - Website - Final Film

CONCEPT DEVELOPMENT

5. CONCEPT STORES

FIG 56-58.

This type of space curation would emphasise the space as somewhere the clothes are looked after and prized as these special pieces, whilst linking to the art world. The interactive element emphasises the theme of new experiences.

CONCEPT DEVELOPMENT

FIG 59-60.

HIGHER STUDIO

CONCEPT DEVELOPMENT

6. INTERACTIVE MOVING IMAGE

FIG 61-64.

As I was developing this, I experimented with how this could become an interactive space. Using software such as Isadora and programming such as Arduino it would have been possible to make the motion graphics and video move and react to movement.

CONCEPT DEVELOPMENT

HIGHER STUDIO

As the concept began with a focus upon the moving image, so did my thoughts for the space. Mock-ups such as these showed different ways that the moving image could be viewed. However, after a tutorial with Raven Smith, ex-commissioning director for NOWNESS, I decided that my space needed to be more of a promotional tool for the brand, rather than an exhibition space so I experimented with a bus stop sign, before decided this was not in line with the brand and moved on to more immersive spaces. FIG 65-67.

CONCEPT DEVELOPMENT

7. APARTMENT STORE

One way in which fashion communication has been getting involved in the sharing economy is through temporary pop-up events and exhibitions within existing spaces. For example, during London Design Festival, Peter Pilotto exhibited in a London townhouse and featured his recently released SS18 collection.

CONCEPT DEVELOPMENT

l a s t t e r m ’s a p a r t m e n t c o n c e p t : “I like this as it’s an opportunity to show Higher Studio being part of a movement - its really about WHY we do what we do. But there is a lot to think about in terms of the organisation and budget - there are quite a lot of things that will be needed to make this work and if they don’t fall into place, it won’t be a success - a great location, people to be involved as speakers, marketing of the event/s, possible drinks/nibbles.” - Sara Arnold, Higher Studio (appendix I)

FIG 69-72.

HIGHER STUDIO

FIG 73.

In the art world, apartments have been used to showcase art in a more intimate setting, such as in Paris art curators ‘Sans Titre’ showcase art in Parisian apartments. FIG 74.

CONCEPT DEVELOPMENT

The Converse One Star Hotel in Shoreditch was an experiential space for consumers to explore the collections. It created a participatory experience that was heavily Instagram-friendly due to its colour-

8. IMMERSIVE EXPERIENCE

themed rooms.

FIG 76.

FIG 75.

FIG 77.

CONCEPT DEVELOPMENT

““The key [to a successful retail store] is immersion, intimacy and a sense of brands needing to [offer] a whole lifestyle.” “ - Katie Baron

(Berezhna, 2017)

HIGHER STUDIO

FIG 78.

CONCEPT DEVELOPMENT

9. OPEN STUDIOS

Fashion brands are beginning to embrace an authentic and transparent ethos. They are communicating this through opening their factories and studios to the public for tours. Fashion Open Studio was started by Fashion Revolution in an attempt to promote brand authenticity. On discovering this programme, I thought this would be a perfect development for the space to bring the intimate elements to the fore to promote the brandâ&#x20AC;&#x2122;s sustainable values. FIG 79.

FIG 80.

Fashion Revolution

CONCEPT DEVELOPMENT

Airbnb also provides brands a platform for these intimate showcases. This year, Christopher Raeburn held a series of workshops in collaboration with Airbnb, whereby the public were invited to take a tour around his studio and work with Raeburn to create their own customised t-shirt.

HIGHER STUDIO

FIG 81.

CONCEPT DEVELOPMENT

10. AN OBJECT, AN IMAGE + WORDS

FIG 82.

Wanting to display the garment, the video and the motion graphics in the space, I conceptually experimented with how the physical, digital and ‘beyond digital’ could be positioned side-by-side.

CONCEPT DEVELOPMENT

I experimented with positioning the garment, the video and the motion graphics within the space next to one another.

HIGHER STUDIO

The idea of using virtual reality to view the motion graphics became the third level. However, I soon dropped this idea realising that this did not suit the brand aesthetic and seamlessness.

FIG 83-84.

CONCEPT DEVELOPMENT

11. EXHIBITION SPACES

FIG 85-88.

FIG 89-92.

CONCEPT DEVELOPMENT

The use of projections offered a more immersive and captivating viewing of video content within the space.

FIG 93.

HIGHER STUDIO

FIG 94.

FIG 95.

see USB 001 Folder - Outcomes - Space Walkthrough

CONCEPT DEVELOPMENT

FINAL OUTCOMES Final outcomes include a website walkthrough with motion graphics and video content, space walkthrough with all room content and concept proposal. 3D-printed invitations can be found separately.

website walkthrough: FIG 96-97.

see USB 001 Folder - Outcomes - Website Walkthrough

CONCEPT DEVELOPMENT

FIG 98.

concept proposal:

see USB 001 - Outcomes - Concept Proposal

event invitations:

space walkthrough:

FIG 99-104.

FIG 105-107.

HIGHER STUDIO

see USB 001 Folder - Outcomes - Space Walkthrough CONCEPT DEVELOPMENT

Planning // Collaborating // Editing

MOVING IMAGE 01. Motion Graphics 02. Video 03. Post-Production Editing

HIGHER STUDIO

This section covers the journey of the moving image element, from pre-production to post-production

FIG 110-111

I began by storyboarding some initial ways in which the six chosen garments could be showcased through video and motion graphics to emphasise how they make you move and feel in a new way.

I N I T I A L S T OY R B O A R D S

FIG 112-114

FIG 115-117

MOVING IMAGE

FIG 118-120

PRE-PRODUCTION

FIG 121-126.

HIGHER STUDIO

FIG 127-129.

MOVING IMAGE

MOTION GRAPHICS PHASE 1

FIG 130-135.

FIG 136.

The latex piece was later altered to a sage green dress by Higher Studio due to availability.

MOVING IMAGE

PRE-PRODUCTION

Sequence- 10 seconds Macro- 10 seconds

Sequence: Pink balls pop up one by one and begin bulging and stretching and pinging back Macro: Pink ball shapes bubbling and pinging Sequence: Fan spins open to full circle then fabric drops and hangs around the centre point Macro: Waves of pleats

Macro: Drifting clouds

HIGHER STUDIO

Sequence: Clouds emerge from centre in flower shape and gradually peel off and drift away

Sequence: Marble, curved panels click into placce and form spinning stiff structure Macro: White shiny surface Sequence: Twisted shape pings back into shape and resists as it is twisted like folding away a pop-up tent Macro: Plain rolling fabric and twist motion Sequence: Latex snake shapes emerge from the centre and slither acrss the screen and shed their skin leaving a jelly-like puddle Macro: Creases of smooth latex

MOVING IMAGE

MOTION GRAPHICS BRIEFING

FIG 137.

FIG 138.

PRE-PRODUCTION

HIGHER STUDIO

FIG 139. See Appendix L

PHASE 2

see USB 002 - Motion Graphics Tests I decided that the first graphic needed to be a soft texture after seeing the bodice up-close and

I needed this to be two-tone to

feeling the textures.

reflect the prominent aesthetic of the garment.

FIG 140-145.

This was the last I really loved the

graphic to be

motion of this,

created and due to

however needed

a deadline, I think it

to see this in the

was slightly rushed.

correct colours.

I had wanted it to bend at the centre to emphasise the dressâ&#x20AC;&#x2122; curves.

I really liked this latex graphic, as

The movement of the balls here

the texture was perfect. However, I

was really good, however there

needed it to emerge and disappear

were too many and were too

within the 10-second loop to

small.

reiterate the circular economy concept.

MOVING IMAGE

PRODUCTION

PHASE 3

This was more on the right track

This graphic reflected the colour, texture

as it really reflects the softness

and elegance of movement that the

and breathable qualities of the

dancer does in the video.

bodice. FIG 146-151.

Due to time scale, I decided to alter

The pleated

this graphic myself

fan in two-

and used â&#x20AC;&#x2DC;Twirlâ&#x20AC;&#x2122;

tone really

on Premier Pro to

reflects the

curve the whole

look and

screen and give the effect of the

garment.

graphic bending.

Here is a shot of how the latex

This graphic is definitely a favourite of

graphic appears scaling up and

mine as it conveys the playfulness, but

down.

also slightly uncomfortable jittery feeling

HIGHER STUDIO

feel of the

you get from wearing and viewing the bubble skirt.

see USB 001 - Content - Website - Motion Graphics SOFTWARE: Cinema 4D BUDGET: Refer to Appendix

MOVING IMAGE

see USB 002 - Motion Graphics Tests

FIG 152-156.

I worked closely with Stephanie, meeting up together every 2-3 weeks to have a face-to-face about the progress of the graphics and sketch out any unclear motions.

FIG 157.

MOVING IMAGE

PRODUCTION

PHASE 4

see USB 001 - Website - Content - Macro Motion Graphics

HIGHER STUDIO

FIG 158-164.

These are the macro shots, which were created after I was satisfied with each of the centred graphics.

MOVING IMAGE

V I D E O : M O V E M E N T + S H OT S PLEATS

FIG 165-174. The pleated trousers are very fluid and springy and the movement should reflect this. This will also be emphasised by additional pleated fabric as set/prop.

SENSORY FABRIC SHOTS

BODICE

FIG 175-181. Although the silk bodice is soft and cushion-like, this will still restrict movement to the upper body and this will be emphasised by more movement in the legs.

SENSORY FABRIC SHOTS

MOVEMENT SHOTS

MOVING IMAGE

PRE-PRODUCTION

BUBBLES

FIG 182-188. This ball skirt will restrict the legs, however will emphasise the vibration and jumpiness of the balls when moved.

SENSORY FABRIC SHOTS

FIG 189-196..

HIGHER STUDIO

BLACK

MOVEMENT SHOTS

As this dress is flat and sprung to shape, the movement will be very flat and there will be emphasis on the way the dress springs back to shape when twisted.

SENSORY FABRIC SHOTS

MOVEMENT SHOTS

MOVING IMAGE

CLOUDS

FIG 197-203. The movement for this look should reflect the layering of the top by demonstrating peeling off motions.

SENSORY FABRIC SHOTS

LATEX

FIG 204-212. The latex dress is slippery and smooth, therefore the movement should reflect this by being very fluid and snake-like.

SENSORY FABRIC SHOTS

MOVEMENT SHOTS

MOVING IMAGE

PRE-PRODUCTION

S T O RY B O A R D I N G 1

FIG 213-216.

HIGHER STUDIO

I found creating these storyboards difficult, as my talents do not lie within choreography; therefore creating the movement and pose boards helped to sort the stories of corresponding looks before ordering these into sequences.

MOVING IMAGE

FIG 217-228.

MOVING IMAGE

PRE-PRODUCTION

HIGHER STUDIO

MOVING IMAGE

SHOT LISTS

I created shot lists from my storyboards and sent these to all collaborators prior to the shoot.

FIG 229-234.

MOVING IMAGE

PRE-PRODUCTION

HIGHER STUDIO

MOVING IMAGE

HIGHER STUDIO

CASTING + COLLABORATORS Many of my collaborators were practitioners that I already knew and trusted; however for the film element of this project I had to cast a model/dancer and a hair and make-up artist. I posted on the LCF Network page on Facebook and also on several dance Facebook groups and websites. I had very little response from volunteers and in the end had to offer a small fee for their time and resources, which was understandable.

FIG 235.

BUDGET: ÂŁ100 66

MOVING IMAGE

PRE-PRODUCTION

As my concept developed, I decided that movement was going to be crucial to the video and therefore a dancer would suit the brief much more than a model. I posted on the London Dance website and had around 30 email responses, which was great. The FIG 236.

issue I had with this was that a lot of the dancers had a very stage-like aesthetic and did not suit the brand’s look. However, I was happy that one of them, Kelly Johnson, had an interesting look that suited the brand, and was especially keen due to an interest in sustainability and veganism, which I thought added an extra layer of authenticity to the shoot.

“I like the idea of each piece inspiring a new self discovery, as if each one has its own personality that influences the person wearing the garment.“ - Kelly Johnson (appendix M)

HIGHER STUDIO

FIG 237.

Sasha Regazzoni and George Kelly

Ema Kasper

NOA ZARFATI

RHONEIL TIBURCIO

Hair and Make Up Artist

Director of Photography

http://www.emakasper. com/

https://www.behance. net/rhoneiltiburcio

Set Design Consultant

Assistants

https://www.noazarfati. com/

N/A

FIG 238.

MOVING IMAGE

SET DESIGN Feedback from set design consultant, Noa Zarfati, suggested that these initial ideas were too literal and that I should focus on emphasising the colour and textures more than using props.

The set for the video was intended to reflect and enhance the textures and structures of the garments.

MOVING IMAGE

FIG 239-244.

MOVING IMAGE

FIG 245-249.

PRE-PRODUCTION

HIGHER STUDIO

MOVING IMAGE

fabric research trip FIG 250-264.

Shepherd’s Bush Market

BUDGET: £100

MOVING IMAGE

PRE-PRODUCTION

I was keen to make the most of them as it did not require buying and using up new materials and borrowed these from my set design consultant.

borrowed fabrics FIG 265-269.

FIG 270-274.

White scuba fabric

Liquid latex

HIGHER STUDIO

FIG 275-284.

final set design The final fabrics, props and materials used in the video.

Corset boning Black fabric Duvet

Pleated fabric Pink velvet fabric Black high gloss vinyl

Extra Coloramas:

Sheets of foam x2

Black latex sheet

MOVING IMAGE

TEST SHOOT 1 FIG 285-290.

see USB 002 - Moving Image Tests -Test Shoot 1

MOVING IMAGE

PRE-PRODUCTION

Using a Sony FS700, I practiced with the slowmotion function. Although I was not going to be filming on the day of the shoot, I thought it was important to get to know the camera so that I could step in on the day if I needed to and I knew what I was talking about when directing the camera crew. I found that the slow motion effect worked well with the latex fabric as it created water-like ripples and the pleated fabric equally had a very elegant effect in slow motion.

HIGHER STUDIO

FIG 291.

HARDWARE: Sony FS700

MOVING IMAGE

TEST SHOOT 2 I then tried out the Sony FS700 in the studio at university. I was still experimenting with the idea of newness and therefore chose to focus upon fabrics such as white scuba fabric and glass pebbles to emphasise the freshness of the concept. However, I found that the studio lighting was not bright enough to stop the slow motion footage from compensating with a lot of noise and grain.

FIG 292-293.

MOVING IMAGE

see USB 002 - Moving Image Tests - Test Shoot 2

PRE-PRODUCTION

HIGHER STUDIO

FIG 294.

HARDWARE: Sony FS700

MOVING IMAGE

TEAM BRIEFING FIG 295-316.

COMMUNICATION CHALLENGE OBJECTIVES To promote the rental service and engage a wider public with the brand’s values and ethos.

MESSAGE A reimagining of sustainability as an aspect of the sharing economy with an appreciation for creativity and self-expression. How high-end, luxury, archive pieces can provide new and unique experiences, whilst avoiding the overconsumption of finite resources.

AUDIENCE It is intended for young creatives who may or may not know the brand, particularly those interested in both creativity and sustainability.

To explore how moving image and an interactive, experiential space can interpret the ‘feeling of newness’. It will portray the archive pieces as new and contemporary experiences, examining how consumer perception of rental fashion can be changed, shifting the stigma around wearing secondhand clothing.

LIGHTING

SET DESIGN

Liquid latex

White scuba fabric

COLLABORATORS

Corset boning Black fabric Duvet

VIRUS. Sound Design Duo

Pleated fabric

https://soundcloud. com/virusvirusofficial

Pink velvet fabric

RHONEIL TIBURCIO Director of Photography https://www.behance. net/rhoneiltiburcio

NOA ZARFATI Set Designer https://www.noazarfati. com/

Black high gloss vinyl

Extra Coloramas:

Sheets of foam x2

Sasha Regazzoni and George Kelly

MOVING IMAGE

PRE-PRODUCTION

These are a few of the slides from the treatment, which was sent out to all collaborators prior to the shoot. It included storyboards and shot lists to fully brief the team. The full treatment can be found in

CALL SHEET FIG 317.

appendix F.

MOVING IMAGE

HIGHER STUDIO

THE FEELING OF NEWNESS // LONDON COLLEGE OF FASHION ________________________________________________________________________________________________ DETAILS: SHOOT DATE Thursday 22nd February 2018 SHOOT LOCATION London College of Fashion Studio 2 40 Lime Grove Shepherdâ&#x20AC;&#x2122;s Bush London W12 8EA SCHEDULE 10.00 // All crew & talent 19.30 // Wrap ________________________________________________________________________________________________ CREATIVE DIRECTOR Emily Kelly / emilykellycreative@gmail.com/ +44 7792740563 STYLIST ASSISTANT Sasha Regazzoni regazzonisasha@gmail.com / +44 7490406998 ________________________________________________________________________________________________ DIRECTOR Emily Kelly / emilykellycreative@gmail.com / +44 7792740563 DIRECTOR OF PHOTOGRAPHER Rhoneil Tiburcio / oneiltiburcio@gmail.com / +44 7447609734 PHOTOGRAPHY ASSISTANT / George Kelly / georgekellyengineering@gmail.com / +44 7908829490 ________________________________________________________________________________________ HAIR AND MAKE UP ARTIST Ema Kasper / mua@emakasper.com / +447414913777 ________________________________________________________________________________________________ SET DESIGNER Noa Zarfati / noazarfati777@gmail.com / +44 7526458120 ________________________________________________________________________________________________ TALENT Kelly Johnson / kellyjohnson-@hotmail.com **Lunch will be provided- please let Emily know if you have any dietary requirements**

RUN THROUGH FIG 318-326.

As I was styling this shoot, I decided to do a quick run through the day before to check I had everything that I needed. As the shoot was focused upon the unique garments, I didnâ&#x20AC;&#x2122;t want to confuse the looks by complicating the styling and therefore kept it minimal with plain bodysuits, underwear and hosiery.

Refer to Appendix for Letters of Responsibility

MOVING IMAGE

PRE-PRODUCTION

PRE-PRODUCTION MEETING

I held a pre-production meeting with my camera crew to ensure everyone was on the same page regarding the type of shots that I wanted and the order of the shoot day. This helped to clear up some issues with set changes and lighting.

FIG 327.

HIGHER STUDIO

MOVING IMAGE

FINAL SHOOT

The day of the shoot was very intense as we had a lot to do to get all 6 looks shot. However, I believe this went well and the team worked efficiently together. I provided a vegan lunch for everyone and used metal cutlery and plates from the canteen to avoid waste and uphold the brandâ&#x20AC;&#x2122;s sustainable ethos.

FIG 328.

FIG 329.

HARDWARE: BLackmagic 4K Production Camera Sony FS700 Canon 5DSR Multiple Backdrops, tripods and lenses

MOVING IMAGE

PRODUCTION

HIGHER STUDIO

FIG 330.

FIG 331.

MOVING IMAGE

C O N TA C T S H E E T S LOOK 1

Here are the contact sheets from the shoot:

LOOK 2

LOOK 4 LOOK 3

MOVING IMAGE

PRODUCTION

FIG 332-337.

LOOK 5

LOOK 6

HIGHER STUDIO FIG 338-349.

MOVING IMAGE

INTRO FIG 350.

Experimenting with the introduction of the video, I found that the ‘Twirl’ effect made the eyes blink and open interestingly, however later decided that this was inconsistent with the editing for the rest of the edit.

FIG 351.

FIG 352.

FIG 353.

SOFTWARE: Adobe Premier Pro Adobe After Effects

MOVING IMAGE

POST-PRODUCTION

MASKING BACKDROPS FIG 354-357.

HIGHER STUDIO

This is something that I struggled with a lot. During the filming, I wanted to get some full body shots of the dancer, however due to the width of the backdrop I knew this would involve some masking to extend the backdrop in postproduction. To ensure that the backdrop colour blended with the solid I had layered underneath, I used a feather on the mask to blend these and also added a light sweep where the backdrop paper creases at the floor, which added texture and made the layers blend more seamlessly.

MOVING IMAGE

C O LO U R C O R R E C T I O N FIG 358-360.

Colour correcting the film was a long and frustrating process. Once I had selected all the shots that I wanted, clipped and ordered them, I began tweaking the â&#x20AC;&#x2DC;Lumetri Colourâ&#x20AC;&#x2122; settings in order to ensure the film flowed from one shot to the next. Having used a Blackmagic camera, at the time I commented on the dullness of the colour in some of the shots when compared to the footage of the Sony FS700, which was being used as Camera B and a Canon 5DSR to get some more detailed shots. The use of three different cameras, each with their own settings led to a difficult time in post-production.

MOVING IMAGE

POST-PRODUCTION

“Perhaps rearranging slightly so that the colour schemes really contrast against each other could help.” - Ben Budding (appendix P)

FIG 361.

MOVING IMAGE

HIGHER STUDIO

Motion Graphics: “What would bring them more in sync with the more energetic dance clip they are matched with- is to use some “Ken Burns” effect on the motion graphics sections.” - Ben Budding (appendix P)

TITLE SLIDES see USB 002 - Moving Image Tests - Edits - Draft 2 FIG 362-367.

FIG 368-373.

The moving image for the space will include the individual 30-second edits per room, however for Higher Studio’s website and social media the 6 looks will come together and be transitioned with the help of each of these “re-” titles to emphasise the new ways of being sustainable other than the known reuse, reduce, recycle.

see USB 002 - Moving Image Tests - Edits - Draft 5 88

MOVING IMAGE

POST-PRODUCTION

I developed the use of title slides and layered these over the macro motion graphics shots. The slow motion shots of fabrics that represented the garments were too low quality and I found that using the motion graphics gave a much more slick and refined finish, whilst also creating a cohesion between the video shots and the motion graphics. FIG 374-379.

HIGHER STUDIO

see USB 001 - Content - Website - Final Film

MOVING IMAGE

COMBINING MOTION GRAPHICS + VIDEO My original references for editing together the motion graphics and live footage were very integrated, however after experimenting with masking the dancer and having the graphics in the backdrop I decided without having used a green screen, this was not going to be slick enough.

Here is another experiment where I transitioned the motion graphics in using â&#x20AC;&#x2DC;Iris Roundâ&#x20AC;&#x2122; to scale in the graphics over the video footage. This was also too clunky looking and not the seamlessness I was looking for.

FIG 380-381.

MOVING IMAGE

FIG 382-384.

POST-PRODUCTION

HIGHER STUDIO

I decided to use a simple ‘Film Dissolve’ technique to combine the two types of footage. Some of the graphics I played around with scale as it dissolves to enhance the motion and blend of the two.

FIG 385-386.

MOVING IMAGE

WEBSITE PROPOSAL FIG 387-392.

I used Photoshop to create a webpage where the footage will sit in the centre and, using Premier Pro, timed it to expand to full screen as the user gets to the website.

MOVING IMAGE

POST-PRODUCTION

SOFTWARE: Adobe Photoshop Adobe Premier Pro Adobe After Effects

FIG 394-396.

HIGHER STUDIO

see USB 001 - Outcomes - Website Walkthrough

I then used After Effects to edit the motion graphics into the website screen recording to show how they would appear when the userâ&#x20AC;&#x2122;s mouse hovers over the item of clothing.

MOVING IMAGE

SOCIAL MEDIA

I used Photoshop to mock up the layout of the Instagram feed and an example post to propose to the brand as a way of disseminating the content on their social media platforms.

FIG 397-399.

MOVING IMAGE

POST-PRODUCTION

HIGHER STUDIO

MOVING IMAGE

BILLBOARDS

As we filmed on a 4K camera it was possible to select some stills from the footage without diminishing the quality too much and therefore I thought it would be worth experimenting with billboard posters to promote the film.

Proposed Locations: - Shoreditch - Dalston

I selected areas which were nearby to Higher Studio and also areas with a young interest in fashion and disposable income.

MOVING IMAGE

- Soho - Peckham - Chelsea - Chalk Farm

POST-PRODUCTION

FIG 400-408.

HIGHER STUDIO

MOVING IMAGE

SOUND DESIGN BRIEFING

FIG 409.

This is the brief I intitally gave the sound designers, which was shortly followed up by a meeting to discuss my references and thoughts on the sound. This was put into motion well before the production of the shoot as I knew I wanted the sound to play a big part in the experiential quality of both the moving image and the space design.

MOVING IMAGE

PRE-PRODUCTION

HIGHER STUDIO

“Not only collect found sounds from sources but to also process/modulate and affect them in a certain way that it flows with the visuals and give the audience the idea of it being a new concept.” - Aran Knight (appendix K) Refer to Appendix K for further sound design briefing

VIRUS. Sound Design Duo https://soundcloud. com/virusvirusofficial

MOVING IMAGE

SOUND DESIGN

Working with the sound design duo, Lewis

the full workload.

Blair-Johnstone and Aran Knight, was really enjoyable. It took them several sessions to

I stepped in to help out anywhere I could and

complete the sound and I tried to attend most

we worked closely together on tracks. I enjoyed

of these where possible. This made the process

recording some of the sounds, especially the

a lot quicker as I was able to give them my

latex noises, where we used the dried up liquid

thoughts and opinions throughout.

latex from the shoot and extra sheets of latex to re-create the uncomfortable and eerie sounds

Unfortunately, due to unforeseen

and feel of the HYDRA dress.

circumstances, Aran had to drop out of the sound production and therefore left Lewis with

100

MOVING IMAGE

PRODUCTION

Whilst I had had the items of clothing for the video shoot, Lewis and I recorded the sounds of the clothes in case these would be of use when trying to re-create the feel of the clothing through sound. However, apart from the pleated trousers and the latex dress, everything sounded very similar therefore we decided to turn to pre-recorded samples and synths to form the basis of the tracks.

HIGHER STUDIO

see USB 002 - Sound design Tests

SOFTWARE:

FIG 410-413.

Logic

MOVING IMAGE

101

FIG 414. 102

Editing // Positioning // Finishing

SPACE This section covers the process of developing and producing the space design for Higher Studio HIGHER STUDIO

01. The Space 02. Moving Image in Situ

FIG 415.

103

D E V E LO P I N G T H E S PA C E

PHASE 1

FIG 416-417.

I began mocking up the space by using existing imagery of rooms and experimenting with how the clothing and projections would fit into these.

SOFTWARE: Adobe Photoshop

104

SPACE

PRODUCTION

PHASE 2

FIG 418-424.

HIGHER STUDIO

I then went back to my SketchUp model from last term and began altering this to suit my developed concept. I colour coordinated the rooms with the selected garments and started working on set design, such as the pleated fabrics hung in the laundry room.

SOFTWARE: SketchUp Pro

SPACE

105

PHASE 3

Here are a few of my initial sketches that drove the concept forward to production. FIG 425-428.

106

SPACE

PRODUCTION

I decided that there needed to be more contrast and distinction between the rooms and therefore split up the kitchen and lounge, working on the set design for each.

HIGHER STUDIO

FIG 429-431.

SPACE

107

PHASE 4

Then realising that if the clothes were not to be integrated into the space, there should be another room to showcase the archives. Therefore, I added another room to represent the existing studio room at Arnoldâ&#x20AC;&#x2122;s home. This would highlight the key pieces within the exhibition space and also give attendees a chance to see more of the collections up close.

108

SPACE

PRODUCTION

HIGHER STUDIO FIG 432-440.

SPACE

109

PHASE 5

I continued to work on the set design to make the rooms a lot more immersive and interactive. I added certain elements, which aimed to reflect the aesthetic, texture and feel of the chosen garments.

FIG 441.

110

SPACE

PRODUCTION

see USB 002 - Space Design Test - Draft 3

HIGHER STUDIO

FIG 442-447.

At this stage I rendered my SketchUp walkthrough using the software, Kubity.

SOFTWARE:

I initially liked the way this walked through the home from the perspective of the attendee. However, after feedback from

Kubity

my tutor and classmates, I realised that this aesthetic was too kitsch and that a continuous walkthrough was too distracting from the content itself.

SPACE

111

LO C AT I O N S

FIG 448.

FIG 449-460.

potential locations

All Airbnb venues are available for events ‘Modern House in Hackney, Lower Clapton’ £1,433 for the week

Available at:

‘Bayswater Penthouse Apartment’ £1,704 for the week

Available at: https://www.airbnb.co.uk/ rooms/7897897?location=London%2C%20United%20 Kingdom&adults=2&children=0&infants=0&check_in=2018-05-17&check_ out=2018-05-23&s=w9KqIJiW

‘Flat in South Kensington’ £651 for the week Available at: https://www.airbnb.co.uk/rooms/22770575?location=London%2C%20United%20Kingdom&adults=2&children=0&infants=0&check_in=2018-05-17&check_out=2018-05-23&s=3cRB29lU

112

SPACE

https://www.airbnb.co.uk/ rooms/22804772?location=London%2C%20United%20 Kingdom&adults=2&children=0&infants=0&check_in=2018-05-17&check_ out=2018-05-23&s=w9KqIJiWrooms/22804772?location=London%2C%20United%20 Kingdom&adults=2&children=0&infants=0&check_in=2018-05-17&check_ out=2018-05-23&s=w9KqIJiWrooms/22804772?location=London%2C%20United%20 Kingdom&adults=2&children=0&infants=0&check_in=2018-05-17&check_ out=2018-05-23&s=w9KqIJiW

PRODUCTION

PHASE 6

The floor plan of the previous stages had been designed with no specific location in mind as I was envisioning a space, which could be versatile and work in a range of Airbnb locations. However, I soon realised that this wouldnâ&#x20AC;&#x2122;t logistically be possible due to set design and budget. Therefore, I chose to select the apartment in which the collections are currently stored. This way the experience of visiting the archives would be the most HIGHER STUDIO

authentic and transparent it could be. Unfortunately, this caused complications with altering the 3D-space and took some time to re-arrange.

FIG 461.

SPACE

113

PHASE 7

114

SPACE

PRODUCTION

HIGHER STUDIO

I chose V-Ray to render the final shots of the space as this gave a more realistic aesthetic, which suited the brand, more

FIG 462-466.

than Kubity.

SOFTWARE: V-Ray

SPACE

115

MOVING IMAGE IN SITU FIG 467-469.

PHASE 1

I began by separating the motion graphics and performance videos on tablets and TV screens, respectively.

116

SPACE

PRODUCTION

PHASE 2

FIG 473.

FIG 470-472.

Then, deciding the motion graphics needed to be further integrated into the space I positioned machines to make the space more interactive.

SPACE

HIGHER STUDIO

them within photo frames, mirrors and in laundry

117

PHASE 3

FIG 474-479.

The TV-screen worked well in the lounge, as this would have been here anyway, however the other TV screens seemed randomly placed. I liked the way that the projection on to shower curtain and draped pleated fabrics was adding to the textural emphasis of the videos.

118

SPACE

PRODUCTION

HIGHER STUDIO

SPACE

119

PHASE 4

FIG 480.

see USB 002 - Space Design Test - Draft 3

To propose the space walkthrough I put the video into Premier Pro and added title slides to introduce the space. I also added titles in between the rooms using the macro motion graphics shots as backdrops.

SOFTWARE: Adobe Premier Pro

120

SPACE

POST-PRODUCTION

FIG 481-486.

HIGHER STUDIO

SPACE

121

PHASE 5

After receiving feedback that the space needed to be more realistic, I began experimenting with After Effects and Photoshop to place the moving images into the existing space, but found this clunky due to the fact I couldnâ&#x20AC;&#x2122;t alter the space myself.

SOFTWARE: Adobe After Effects

122

SPACE

FIG 487-491.

POST-PRODUCTION

HIGHER STUDIO

see USB 002 - Space Design Test - Draft 4

SPACE

123

PHASE 5

FIG 492-497.

Here, I used After Effects to project my final 30-second videos with sound into the more minimalist spaces. I especially liked how dramatic the black dress look became when projected across such a large surface area.

124

SPACE

POST-PRODUCTION

HIGHER STUDIO

SPACE

125

PHASE 6

FIG 498-501.

126

SPACE

POST-PRODUCTION

HIGHER STUDIO

I developed the projection of the videos to stretch out across full curtains, corner-to-corner and across the length on the bed instead of the width to give a more immersive and encapsulating experience for the viewer. I also decided that the motion graphics should be at the start of each of the 30-second videos along with the corresponding â&#x20AC;&#x153;re-â&#x20AC;? title slides from the website video. This way the graphics are more seamlessly integrated into the space and it also ties the two platforms together more smoothly.

SPACE

127

PROJECTIONS OF VIDEO

FIG 502.

As I had decided to project all of the videos in the space, I thought it would be worth trying out the projections in real-time. I projected the corresponding videos on to different textures including a latex sheet, duvet, pleated fabric, black fabric, pink velvet and a plain wall.

FIG 503.

128

SPACE

see USB 002 - Moving Image Tests - Projections

POST-PRODUCTION

HIGHER STUDIO

I found that this was very effective at visualising what I wanted for the space and therefore chose to include this footage in the space walkthrough. FIG 504-506.

SPACE

129

F I N A L S PA C E WA L K T H R O U G H

FIG 507.

I used Premier Pro to edit all the space visualisations and projections into an order with title slides to walk the viewer through the space.

130

SPACE

POST-PRODUCTION

see USB 001 - Outcomes - Space Walkthrough

FIG 508-513.

HIGHER STUDIO

SPACE

131

132

HIGHER STUDIO

133

134 FIG 514.

Preparation // Briefing // Planning

EVENT This section covers the event details for both the public and private events at the space

HIGHER STUDIO

01. THE LAUNCH EVENT 02. EVENT PARAPHERNALIA

FIG 515.

135

BRIEFING

These are a selection of slides from the event treatment sent to the invitation designer to give an overview.

OBJECTIVES To promote the rental service and engage a wider public with the brand’s values and ethos.

AUDIENCE It is intended for young creatives who may or may not know the brand, particularly those interested in both creativity and sustainability.

INVITATION Information to be embossed on the 3D print invitations: 14th September 2018 7pm Apartment 145 Hoxton Street N1 Reason for this particular date: *During London Fashion Week as an antithesis to fashion week’s consumer goals*

** TWO MORE CHARACTERS TO BE DESIGNED**

The invitations will be delivered via DPD’s carbon neutral delivery option.

136

EVENT

PRE-PRODUCTION FIG 516-533.

FOOD AND DRINK

GUESTLIST

ASHLEY WILLIAMS FASHION DESIGNER 67.1K FOLLOWERS

FARAH @ THE SOUL SPOON 19.8K FOLLOWERS

WILSON ORYEMA WRITER OF BOOK ON CONSUMERISM “WAIT”

ADAM POPLI VISUAL ARTIST @ THE EARTH ISSUE 3K FOLLOWERS

4.5K FOLLOWERS

ELIZABETH FARRELL @ GLACIER GIRL 9.1K FOLLOWERS

ELLA GRACE DENTON AND JEMMA FINCH @ STORIES BEHIND THINGS 14.4K FOLLOWERS

EVENT

HIGHER STUDIO

All food and drink will be as sustainable as possible. Metal or paper straws will be provided for cocktails and food will be vegan. It will all fit in with the theme of the 6 rooms in terms of colour, shape and display.

ODEANDIEFREUDE @ CONTEMPORARY WOMEN ON EARTH 75.6K FOLLOWERS

BRE GRAHAM FREELANCE WRITER 1K FOLLOWERS

137

I N V I TAT I O N S FIG 534-536.

I wanted to make sure that the launch event had an invitation that would represent the six different rooms which the invitees could keep as a momento. Conceptualising how the invitation would arrive, I thought of a box, which would disintegrate to reveal the 3D-printed figures, emphasising the eternal nature of the Higher Studio garments. However, I decided to simplify this and stick to the development of the models themselves.

To create the 3D-printed invitations for the launch event, I collaborated with my brother George Kelly, who is a Mechanical Engineering and Clean Energy student at Brunel University. Whilst being really enthusiastic about design, he is also very committed to sustainability in a range of areas. This was therefore a good fit for the project. We worked together throughout the process to try create as waste-free a process as possible, however we came across an issue when it came to 3D-printing as the printers would not use the recycled plastic filament, which we had found.

138

EVENT

PRE-PRODUCTION

PHASE 1

I wanted this to have a

FIG 538-543.

more minimal aesthetic in the way it curved.

The latex-inspired invitation needed to be simplified without the bulge at the side.

The designer struggled

that this needed to

with this cloud look, but

be bendier to reflect

we worked together to

the movement

refine the shape of the

and shape of the

petals.

garment

HIGHER STUDIO

I gave the feedback

The pleated look appears too much like blades here.

I really loved this

These event invitations will be 3D-printed using recycled plastic filament and delivered using DPDâ&#x20AC;&#x2122;s carbon neutral delivery service!

invitation from the first draft, apart from the rendered colour being slightly off.

EVENT

139

PHASE 2

FIG 544-549.

At this stage, I was satisfied that the shape and design of all six invitations were representative of both the garment and the motion graphics inspired by the garments.

140

EVENT

PRODUCTION FIG 550-561.

PHASE 3

Here, I illustrated the rough areas of each invitation that I wanted the event details to be embossed on.

HIGHER STUDIO

SOFTWARE: Autodesk Inventor

EVENT

141

PHASE 4

These are the 3D-printed invitations before they were primed and spray-painted. There was work to do with removing some of the support material, sanding them down and the latex-inspired invitationâ&#x20AC;&#x2122;s base had become warped during printing, but this just added to the textural qualities.

FIG 562-567.

142

EVENT

PRODUCTION

PHASE 5

FIG 568-569

I went to Georgeâ&#x20AC;&#x2122;s university once the invitations had been printed so that we could spray paint these together. The spray painting booth contained most of the primers and colours needed, however I had to buy a couple of extra spray paints to get the exact HIGHER STUDIO

colours that I wanted.

HARDWARE: Flashforge Dreamer 3D Printer

EVENT

143

PHASE 6

Unfortunately, as George is not a final year student, and as this was a personal project, we got asked to leave the spraypainting booth in favour of the final year students. To overcome this, we made up our own spray-painting booth with cardboard where we finished the pieces. FIG 570.

144

EVENT

POST-PRODUCTION

PHASE 7 FIG 571-576.

HIGHER STUDIO

EVENT

145

POSTERS FIG 577-581.

I planned to create a series of apartment posters, one based in each of the rooms. I liked the idea of the posters not actually featuring the clothes themselves as this alludes to the immersive and intimate nature of the space.

146

EVENT

PRODUCTION

FIG 582-587.

HIGHER STUDIO

I mocked up some of the posters for the pop-up apartment to explore the type of compositions I could use, leading on from the sketches in pre-production. These would need to be reshot in the space itself and at a more finished and refined standard.

EVENT

147

AIRBNB EXPERIENCE SERIES

FIG 588.

I mocked up the Airbnb Experience page using an existing page screenshot from the site and altering this on Photoshop. It shows how these event posters could be used as a teaser on the site.

148

EVENT

FIG 589.

PRODUCTION

HIGHER STUDIO

EVENT

149

TA K E AWAY FIG 590-595.

Thinking more about the event, these are some of the initial sketches for a map of the space. It was intended to give the attendees more information about the service as well as the sharing economy. I explored how scannable QR codes could offer the otherwise minimal map more information. However, as the space developed this map became redundant and I turned to an information booklet instead as this seemed more of an appropriate take away from the event. I also decided against the QR codes, believing this would not have offered a seamless journey.

150

EVENT

FIG 596-598.

PRE-PRODUCTION

HIGHER STUDIO

EVENT

151

Developed map to include creative studio room:

Back of the map variations:

152

EVENT

FIG 599-605.

PRODUCTION

FIG 606.

HIGHER STUDIO

This is a progress shot of the square-style booklet given out to all participants within the space and event. Each page based upon each room, details poignant quotes about sustainability from industry experts.

SOFTWARE: Adobe InDesign

EVENT

153

BOOKLET A square booklet will be presented to those upon entry to give them more information about the garments, the space and event series. FIG 607-612.

154

EVENT

PRODUCTION

FEEDBACK SHEET I designed a feedback sheet for the event participants to inform Higher Studio of its effectiveness and identify potential subscribers.

HIGHER STUDIO

FIG 613-614.

EVENT

155

CONCEPT PROPOSAL

A concept proposal sums up the overall campaign including moving image, space and event and details the customer journey, campaign timeline and other support elements such as health and safety and budget.

156

FIG 615-617.

HIGHER STUDIO

157

SUBMISSION Working with Gerald Maynard on the construction of the presentation box:

Spray-painting the box white:

Bamboo USBs to submit digital content:

HARDWARE: Laser Engraver Sewing Machine

158

FIG 618-625.

Buying 100% organic cotton fabric for the garment bag:

Sewing up the audit bag:

Iron transferring the logo onto the bag:

HIGHER STUDIO

Rental tags to attach to final submission with student information:

159

160

FIG 626-630.

HIGHER STUDIO

161

FIG 631. 162

Reflection // Summarising // Looking forward

EVALUATIVE STATEMENT HIGHER STUDIO

This section looks back to my time on the course and in particular, this project and evaluates the process

dd???

FIG 632.

163

Throughout this project I have encountered many hurdles to overcome, but I am proud of my achievements and both personal and professional development. Amongst the inevitable issues throughout this project, I particularly fought with the ability to seamlessly combine the sustainable message and aesthetic of the brand. As much as I wanted the sustainable message to come through in my outcomes, what we know as sustainable fashion currently does not fit the aesthetic of Higher Studio. After trying to force this into happening, I realised that this is wasnâ&#x20AC;&#x2122;t what the brand is trying to do and that instead I should propose this as a new kind of sustainability to show people that this is what sustainability can look like. The particular aesthetic of the brand proved tricky again when looking for a dancer for the performance video as a lot of applicants had a very stage-like aesthetic, but I persevered until I was happy that the dancer I had found was going to be just right. My second biggest struggle

FIG 633.

164

throughout this project was the editing stages of the film. I was keen to edit this myself, as I wanted to experiment with how the motion graphics and performance video would combine. However, stages such as masking the backdrops and colour correcting the shots so that you couldnâ&#x20AC;&#x2122;t tell the difference between the three different cameras that had been used caused me a lot of grief. I overcame this by once again persevering, watching YouTube tutorials and contacting a friend of mine, an aerial videographer, to ask for his opinion and advice. In hindsight, I should have perhaps collaborated with someone to edit the video, but am also glad that I got it to a point where I am proud and learned a lot along the way. When it came to the space, I decided to bring this in to complement the video as a secondary element, however it soon became a big part of the project. I developed this a lot over the Easter break using SketchUp, rendered the walkthrough in Kubity and worked on the walkthrough on After Effects to place the moving image onto the corresponding screens and projections in the 3D space. Once I came back to university for my first seminar presentation, I was quite shocked by the feedback, which suggested that I use this as only a design test and develop it a lot more to become more realistic and less kitsch. I struggled to come to terms with the fact something I had spent so many hours on was to be only used as a design test, however, looking back, I am glad I had this push because it led to a much more refined and realistic outcome.

objectives by finding more ways to showcase the sustainable fashion movement on a further range of platforms. Overall, I am happy with the amount of work I managed to produce in the time given and the way in which I effectively managed my time and directed a team of collaborators. The most successful aspects of this project include the moving image outcomes and the 3D-printed invitations. I am proud of these outcomes, as I believe they have very sensory and experiential qualities, which I had challenged myself to achieve. On the other hand, if I were to do the project again, I would allocate the video editing to a collaborator who I could trust to colour grade and correct my video to save time and perhaps explore some of the more elaborate editing techniques that I was looking at with references to creatives such as Youji Ku at SHOWstudio. Considering that I feel these were the most successful aspects of the project, it is interesting to note that the other aspects, namely the space design, were not collaborative and I carried out on my own. I wanted to challenge myself to create this space myself and allowed me to keep developing it up until the end. However, I believe this could have been improved by collaborating with an expert in either architecture, interior or space design to ensure a smoother and more refined outcome.

HIGHER STUDIO

I tried to ensure that I was returning to the original brief, objective and aims at every stage of the process so that I did not drift from the purpose and message behind my concept. This proved difficult at times, such as when preparing for the video shoot when I was planning in such detail that I needed to take a step back and look at the bigger picture to help make decisions such as how to make the shoot itself a more sustainable and waste-free operation and also ensure that the movement of the dancer was choreographed enough to portray the message of renewal and regeneration. I believe my outcomes have achieved my communication objectives in conveying and promoting Higher Studio and the service it provides as a new sustainable alternative and that rental. It can offer these contemporary and unique experiences that allow consumers to express their creativity as well as being aware of the environmental impact. I think this has been achieved by approaching the idea of rental renewal through conceptual motion graphics and performance video, as they demonstrate a modern and different slant on the communication of a subscription-based service, whilst avoiding an obvious and cheesy outcome. The space complements the moving image and answers the communication aims of the project by combining both intimacy and education about the brand with an immersive and unique experience. However, I do think that there would be room to further achieve the project

165

Having spent the last year working on this project and exploring a vast range of avenues to do with sustainable fashion and how this fits into the field of fashion communication, I am excited to continue combining the two as a career pathway. It has given me the opportunity to work on my views and values about the fashion industry and I have been developing both personally and professionally towards the kind of creative I want to be. On top of sustainability being the overarching topic for my project, I was also put forward for the Kering Sustainable Fashion Award and am currently in the final five competing. This really challenged my time management, but I am glad that I went for it as I have proved to myself that I am capable, especially when it comes to a movement I am so keen to be a part of. In terms of fashion communication skills, I have honed in on my skills within styling, production and concept development and hope to continue down similar routes in future. Over the course as a whole, I have learned many skills, which have equipped me for the working world. A particular skill, which I did not have much interest in to begin with, is constructing proposals for brands and clients. This helped me in approaching Higher Studio for this project and compiling a proposal last term to submit to them for feedback. It has also helped me with projects outside of university and given me the structure to apply my creativity to something realistic. Whilst we did not have a heavy load of contact hours, it has given me the

166

chance to explore the fashion industry in my own time and I have interned alongside the course and over my holiday breaks. Access to the studios has also allowed me to collaborate with others inside and outside the course on projects, which would have been harder to do without the readily available facilities. This is something that I wish I had taken more advantage of from the first year. I think, like most people on the course, I started in year one not knowing exactly what the course was that I had started on. However, I couldnâ&#x20AC;&#x2122;t be more glad that I did because these three years have helped me discover myself as a creative and I feel ready to enter the industry as a rounded individual with my own unique strengths and values.

HIGHER STUDIO

167

BIBLIOGRAPHY Berezhna, V. (2017) ‘The Business of Apartment Stores’ Available at: https://www.businessoffashion.com/articles/intelligence/the-business-of-apartment-stores (accessed: 23rd October 2017)

Christopher Raeburn (2018) ‘The REMADE Studio’ Available at: https://www.christopherraeburn.co.uk/explore/remadestudio (accessed: 2nd March 2018)

Fashion Revolution (2018) ‘Website’ Available at: https://www.fashionrevolution.org/ (accessed: 31st October 2017)

Graham, B. (2018) ‘You Can Now Rent Rare Margiela, Come des Garcons, and Prada Pieces’ Available at: http://www. dazeddigital.com/fashion/article/39255/1/you-can-now-rent-rare-margiela-comme-des-garons-and-prada-pieces (accessed: 1st March 2018)

Higher Studio (2018) ‘Website Homepage’ Available at: https://higher.studio (accessed: 27th October 2017)

Kelly, E. (2017) Interview with Sara Arnold, founder of Higher Studio.

RiverBlue (2017) Directed by David McIvride and Roger Williams. [Documentary] USA: Mark Angelo.

Walker, D. and Smith, J. (2017) ‘In-Situ Showroom’ Available at: https://www-lsnglobal-com.arts.idm.oclc.org/micro-trends/article/20718/in-situ-showrooms (accessed: 27th February 2018)

Walker, J. and Stott, R. (2017) ‘Digital Fabric’ Available at: https://www-lsnglobal-com.arts.idm.oclc.org/micro-trends/article/21917/digital-fabric (accessed: 10th January 2018)

WGSN (2017) ‘Buy and Borrow: The Next Ownership Mix’ Available at: https://www-wgsn-com.arts.idm.oclc.org/content/ board_viewer/#/76391/page/4 (accessed: 23rd January 2018)

WGSN (2017) ‘Sustainable Retail: New Product Relationships’ Available at: https://www-wgsn-com.arts.idm.oclc.org/content/board_viewer/#/73577/page/8 (accessed: 23rd January 2018)

WGSN (2018) ‘Sustainability: Modern Luxury Priorities’ Available at: https://www-wgsn-com.arts.idm.oclc.org/content/ board_viewer/#/78445/page/1 (accessed: 23rd January 2018)

168

LIST OF IMAGES tainable Fashion Rooms pop-up. [Photograph]

Figure 2. Fung, S. (2018) Grey Pleat Fan Motion Graphics [Film

Figure 19. Fung, S. (2018) Green Latex Macro [Film Still]

Still]

Figure 20. Fung, S. (2018) Green Latex Graphic [Film Still]

Figure 3. Kelly, E. (2018) On Set. [Photograph]

Figure 21. Kelly, E. (2017) Original Concept Storyboard. [Illustra-

Figure 4. Tiburcio, R. (2018) Rhoneil Tiburcio’s Logo. [Graphic]

tion].

Available at: https://www.instagram.com/rhoneiltiburcio/ (ac-

Figure 22. Keef Palas (2016) Chilli Necklace. [Photograph] Availa-

cessed: 2nd February 2018)

ble at: https://www.instagram.com/p/BNZnUOugfwB/?taken-by=-

Figure 5. Kasper, E. (2018) Ema Kasper’s Logo. [Graphic] Available

keefpalas (accessed: 23rd December 2017)

at: https://www.emakasper.com/ (accessed: 2nd February 2018)

Figure 23. Hart + Leshinka (2016) Hand [Photograph] Available at:

Figure 6. Virus. (2018) Virus Logo. [Graphic] Available at: https://

http://www.dazeddigital.com/photography/article/34063/1/this-

www.facebook.com/VirusVirusOfficial/?ref=br_rs (accessed:

photo-book-captures-the-beauty-of-impermanence (accessed:

2nd February 2018)

15th November 2017)

Figure 7. Fung, S. (2018) Stephanie Fung’s Logo. [Photograph]

Figure 24. Pinterest (2018) Bald Model [Photograph] Available at:

Available at: http://www.stephaniefung.net/handmade-busi-

https://www.pinterest.co.uk/pin/441212094725332957/ (accessed:

ness-cards/ (accessed: 2nd February 2018)

24th January 2018)

Figure 8. Fung, S. (2018) Pink Bubbles Macro [Film Still]

Figure 25. Pinterest (2018) Futuristic Leaning Mod-

Figure 9. Higher Studio (2018) Logo. [Graphic] (Received from

el [Photograph] Available at: https://www.pinterest.co.uk/

Higher Studio on the 18th November 2017)

pin/441212094728879180/ (accessed: 24th January 2018)

Figure 10. Higher Studio (2018) 5 February [Screenshot] Available

Figure 26. Pinterest (2018) Open White Room [Photograph] Avail-

at: https://www.instagram.com/p/Be02ec3nEJY/?taken-by=high-

able at: https://www.pinterest.com/pin/534802524494047118/

er.studio (accessed: 20th March 2018)

(accessed: 24th January 2018)

Figure 11. Higher Studio (2018) 5 February [Screenshot] Available

Figure 27. Kelly, E. (2018) Bowl and Glass Pebbles [Film Still]

at: https://www.instagram.com/p/Be0M90Zn63Z/?taken-by=high-

Figure 28. Kelly, E. (2018) Clear Plastic Sheet [Film Still]

er.studio (accessed: 20th March 2018)

Figure 29. Kelly, E. (2018) Scuba Fabric [Film Still]

Figure 12. Sarah Lazarovic (2017) The Buyerarchy of Needs [Il-

Figure 30-35. Builders Club (2018) MTV Rebrand. [Film Stills] Avail-

lustration] Available at: http://longliveirony.com/ (accessed: 25th

able at: http://builders-club.com/#/mtv-rebrand (accessed: 24th

October 2017)

January 2018)

Figure 13. Fashion Revolution (2018) Extending the Life of

Figure 36. Fung, S. (2018) Macro Pleats [Motion Graphics]

Clothing [Graphic] Available at: https://www.pinterest.co.uk/

Figure 37. Fung, S. (2018) Macro Pink Bubbles [Motion Graphics]

pin/376543218840099217/?lp=true (accessed: 2nd February 2018)

Figure 38. Pinterest (2018) Flowers out of Box. [Graphic] Avail-

Figure 14. Kelly, E. (2018) Stand at the London Sustainable Fashion

able at: https://www.pinterest.com/pin/312929874091726366/

Rooms pop-up. [Photograph]

(accessed: 3rd March 2018)

Figure 15. Antibad (2018) 14 April [Screenshot] Available at:

Figure 39. Christopher Raeburn (2017) AW17 Chameleon An-

https://www.instagram.com/p/BhjCnQVAbCh/?taken-by=antibad-

imation [Film Still] Available at: https://vimeo.com/233505121

store (accessed: 2nd May 2018)

(accessed: 29th January 2018)

Figure 16. Racked (2015) Rent the Runway Warehouse [Photo-

Figure 40-43. Fung, S. (2018) Pink Cloud. [Motion Graphics]

graph] Available at: https://www.racked.com/2015/1/28/7997847/

Figure 44-47. Fung, S. (2018) Pleats. [Motion Graphics]

rent-the-runway-nj-warehouse (accessed: 21st March 2018)

Figure 48. NOWNESS (2018) Just Dance: Sink or Swim. [Film Still]

Figure 17. Pebble Mag (2017) ‘Why it’s time to Wear the Walk’

Available at: https://www.nowness.com/series/just-dance/sink-or-

Available at: https://pebblemag.com/news/why-its-time-to-wear-

swim-louis-jack (accessed: 3rd February 2018)

the-walk (accessed: 21st March 2018)

Figure 49. Kelly, E. (2018) Higher Studio Film, White Bodice Look

Figure 18. Kelly, E. (2018) Wear the Walk rails at the London Sus-

[Film Still]

HIGHER STUDIO

Figure 1. Fung, S. (2018) Pink Bubbles Motion Graphics [Film Still]

169

170

Figure 50-55. Kelly, E. (2018) Re- Title Slides Final Edit [Mo-

[Photograph] Available at: https://www.sanstitre2016.com/

tion Graphics]

vol-3-nothing-to-hide/ (accessed: 17th March 2018)

Figure 56. Pinterest (2018) Drawers Museum [Pho-

Figure 74. Sans Titre (2016) Kitchen. [Photograph] Avail-

tograph] Available at: https://www.pinterest.co.uk/

able at: https://www.sanstitre2016.com/vol-1-sans-ti-

pin/440297301049936551/ (accessed: 4th February 2018)

tre-2016/ (accessed: 17th March 2018)

Figure 57. Design Boom. (2017) Opening Ceremony

Figure 75. hyukoh2000 (2018) 10 February [Screenshot]

[Photograph] Available at: https://www.designboom.com/

Available at: https://www.instagram.com/p/Be_-zO4BE-

design/patrick-ervell-opening-ceremony-store-installa-

By/?tagged=onestarhotel (accessed: 20th April 2018)

tion-08-19-2017/ (accessed: 4th February 2018)

Figure 76. mz_tazzytaz (2018) 6 March [Screenshot]

Figure 58. Pinterest (2018) Pink Slide Display. [Pho-

Available at: https://www.instagram.com/p/Bf-hHslHyI-

tograph] Available at: https://www.pinterest.co.uk/

y/?tagged=onestarhotel (accessed: 20th April 2018)

pin/747738344352196877/ (accessed: 4th February 2018)

Figure 77. Architectural Digest (2017) Glossier Unveils

Figure 59. Insider Trends (2016) Dover Street Market [Pho-

a Fabulous New Brick-and-Mortar Space. [Photograph]

tograph] Available at: https://www.insider-trends.com/50-

Available at: https://www.architecturaldigest.com/story/

most-beautiful-concept-stores-from-around-the-world/

glossier-unveils-a-fabulous-brick-and-mortar-space (ac-

(accessed: 1st May 2018)

cessed: 22nd March 2018)

Figure 60. Insider Trends (2016) Chamber [Photograph]

Figure 78. Kelly, E. (2018) Birds Eye View of Space 1 [3D

Available at: https://www.insider-trends.com/50-most-

Render]

beautiful-concept-stores-from-around-the-world/ (ac-

Figure 79. Milled (2017) Introducing Factory Tours, Refor-

cessed: 1st May 2018)

mation. [Photograph] Available at: https://milled.com/ref-

Figure 61: Make Zine (2015) Made of Pom Poms. [Photo-

ormation/introducing-factory-tours--gQunIkCUd03T4GV

graph] Available at: https://makezine.com/2015/12/29/

(accessed: 17th April 2018)

mirror-made-hundred-pompoms (accessed: 1st February

Figure 80. Airbnb (2018) Christopher Raeburn Workshop

2018)

Experience. [Photograph] Available at: https://press.

Figure 62. Protein Journal (2014) POSTmatter Exhibition

atairbnb.com/its-not-about-whats-new-at-this-years-fash-

[Photograph] Available at: https://www.prote.in/journal/

ion-week-reuse-and-remake-with-experiences-on-airbnb/

articles/postexhibition (accessed: 22nd January 2018)

(accessed: 5th April 2018)

Figure 63 Campaign Live (2015) Rolls Royce at the Saatchi

Figure 81. Kelly, E. (2018) Airbnb Experience Mock-Up

Gallery. [Photograph] Available at: https://www.campaign-

[Illustration]

live.co.uk/case-study-rolls-royce-saatchi-gallery/%7Bsub-

Figure 82. MoMA Learning (Date Unkown) One and Three

jects%7D/article/1324721 (accessed: 22nd January 2018)

Chairs, by Kosuth, J. [Photograph] Available at: https://

Figure 64. Protein Journal (2014) POSTmatter Exhibition

www.moma.org/learn/moma_learning/joseph-kosuth-

[Photograph] Available at: https://www.prote.in/journal/

one-and-three-chairs-1965 (accessed: 19th March 2018)

articles/postexhibition (accessed: 23rd January 2018)

Figure 83. Kelly, E. (2018) Green Bathroom Projection

Figure 65. Kelly, E. (2018) Sketch of Interactive Exhibition

[Screenshot]

Space [Illustration]

Figure 84. Kelly, E. (2018) Virtual Reality in the Bedroom

Figure 66. Kelly, E. (2018) Edit of Space [Illustration]

[Screenshot]

Figure 67. Kelly, E. (2018) Mock-Up of Bus Stop [Illustra-

Figure 85. Kelly, E. (2018) TV Screens at the Tate Modern

tion]

[Photograph]

Figure 68. Kelly, E. (2017) Peter Pillotto Townhouse [Pho-

Figure 86. Kelly, E. (2018) Hologram at the Tate Modern

tograph]

[Photograph]

Figure 69-72. Kelly, E. (2017) Original Space Concept from

Figure 87. Kelly, E. (2018) Large Projections in the Tanks at

Last Term [Illustrations]

the Tate Modern [Photograph]

Figure 73. Sans Titre (Date Unknown) Nothing to Hide.

Figure 88. Kelly, E. (2018) Triptych of Screens at the Tate

en-by=szoraidez (accessed: 4th January 2018)

Figure 89. Metro Pictures (2013) Tony Oursler Installation

Santi Zoraidez (2017) 8 March [Screenshot] Available

[Photograph] Available at: http://www.metropictures.com/

at: https://www.instagram.com/p/BRYxpyLhaZi/?tak-

artists/tony-oursler (accessed: 12th February 2018)

en-by=szoraidez (accessed: 4th January 2018)

Figure90: Suzanne Beirne (2018) Le Kilt [Photography]

Figure 115-117.

Available at: http://www.suzannebeirne.com/special-pro-

Kelly, E. (2018) Initial Storyboard 3[Illustration]

jects/le-kilt/ (accessed: 16th March 2018)

Twenty Two Studio (2018) Issey Miyake Campaign [Photo-

Figure91: Lumiere London (2018) Granary Square Projec-

graph] Available at: https://twentytwostudio.com/issey-mi-

tions [Photograph] Available at: https://www.kingscross.

yake/ (accessed: 19th April 2018)

co.uk/lumiere-london (accessed: 17th March 2018)

Higher Studio (2017) Pleats Please Bounce Trousers

Figure92: Artsy (2016) Tony Oursler Installation [Photo-

[Photograph] (Received from Higher Studio on the 18th

graph] Available at: https://www.artsy.net/show/galerie-

November 2017)

hans-mayer-tony-oursler-number-slash-star (accessed:

Figure 118-120.

13th January 2018)

Kelly, E. (2018) Initial Storyboard 4[Illustration]

Figure 93. Kelly, E. (2018) Laundry Room Final Projection

Fung, S. (2017) 23 October [Screenshot] Available at:

[3D Render]

https://www.instagram.com/p/BambSW5n1dZ/?taken-by=-

Figure 94. Kelly, E. (2018) Pleated Projection [Photograph]

stephyfungdesign (accessed: 19th February 2018) Edited

Figure 95. Kelly, E. (2018) Duvet Projection [Photograph]

by Kelly, E. (2018)

Figure 96. Kelly, E. (2018) Website Video Mock-Up [Film

Higher Studio (2017) 22 May [Screenshot] Available

Still]

at: https://www.instagram.com/p/BUZ0ldwBELc/?tak-

Figure 97. Kelly, E. (2018) Website Motion Graphic Mock-

en-by=higher.studio (accessed: 3rd January 2018)

Up [Film Still]

Figure 121-126.

Figure 98. Kelly, E. (2018) Final Space, Birds Eye View [3D

Kelly, E. (2018) Initial Storyboard 5 [Illustration]

Render]

Fung, S. (2017) 24 October [Screenshot] Available at:

Figure 99-104. Kelly, E. (2018) Final Invitations [Photo-

https://www.instagram.com/p/Bao4aZ9H9uz/?taken-by=-

graphs]

stephyfungdesign (accessed: 19th February 2018) Edited

Figure 105. Kelly, E. (2018) Final Space, Bathroom Projec-

by Kelly, E. (2018)

tions [3D Render]

Kelly, E. (2017) HYDRA Latex Trench Coat [Film Still]

Figure 106. Kelly, E. (2018) Final Space, Kitchen Projections

HYDRA (Date Unknown) Latex Trench Coat [Photograph]

[3D Render]

(Source Has Been Deleted)

Figure 107. Kelly, E. (2018) Final Space, Bedroom Projec-

NOWNESS (2017) Naked: Body Mod [Film Still] Available

tions [3D Render]

at: https://www.nowness.com/picks/naked-body-mod

Figure 108. Fung, S. (2018) Pleats Macro Shot [Film Still]

(accessed: 30th February 2018)

Figure 109. Fung, S. (2018) Pleats Motion Graphics [Film

Builderâ&#x20AC;&#x2122;s Club. (2017) 21 December [Screenshot]Available

Still]

at: https://www.instagram.com/p/Bc9q7V1gsLf/?tak-

Figure 110. Kelly, E. (2018) Initial Storyboard 1[Illustration]

en-by=buildersclub_london (accessed: 2nd January

Figure 111. Higher Studio (2017) 15 March [Screen-

2018) Edited by Kelly, E. (2018)

shot] Available at: https://www.instagram.com/p/

Figure 127-129.

BRqyrlMhrf2/?taken-by=higher.studio (accessed: 17th

Kelly, E. (2018) Initial Storyboard 6[Illustration]

March 2018)

Higher Studio (2017) White Comme des Garcons Bodice

Figure 112-114. Kelly, E. (2018) Initial Storyboard 2[Illustra-

[Photograph] (Received from Higher Studio on the 18th

tion]

November 2017)

Santi Zoraidez (2017) 21 September [Screenshot] Availa-

Higher Studio (2017) White Comme des Garcons Bodice

ble at: https://www.instagram.com/p/BZTL9STl-hv/?tak-

[Photograph] Available at: https://www.higher.studi-

HIGHER STUDIO

Modern [Photograph]

171

172

https://www.higher.studio/?lightbox=dataltem-j4yf6mm2

tion Graphics]

(accessed: 8th November 2017)

Figure150: Fung, S. (2018) Green Latex Graphic Final [Mo-

Figure 130-135.

tion Graphics]

Kelly, E. (2017) Bubble Skirt [Film Still]

Figure151: Fung, S. (2018) Pink Bubbles Graphic Final [Mo-

Higher Studio (2017) Pleats Please Bounce Trousers

tion Graphics]

[Photograph] (Received from Higher Studio on the 18th

Figure 152. Fung, S. (2018) Pleats Test 1

November 2017)

Figure 153. Fung, S. (2018) Pleats Test 2

Higher Studio (2017) Pink Cloud Top [Photograph] (Re-

Figure 154. Fung, S. (2018) Clouds Test 1

ceived from Higher Studio on the 18th November 2017)

Figure 155. Fung, S. (2018) Clouds Test 2

Higher Studio (2017) White Comme des Garcons Bodice

Figure 156. Fung, S. (2018) Bubbles Test 1

[Photograph] (Received from Higher Studio on the 18th

Figure157: Kelly, E. (2018) Meeting with Stephanie Fung

November 2017)

[Photograph]

Higher Studio (2017) Black Comme des Garcons Dress

Figure158. Fung, S. (2018) White Bodice Macro Graphic

[Photograph] (Received from Higher Studio on the 18th

Final [Motion Graphics]

November 2017)

Figure159. Fung, S. (2018) Pink Clouds Macro Graphic Final

Higher Studio (2017) HYDRA latex Trench [Photograph]

[Motion Graphics]

(Received from Higher Studio on the 18th November 2017)

Figure160. Fung, S. (2018) Pleats Macro Graphic Final [Mo-

Figure136: Kelly, E. (2018) Storyboard Sketch Briefing Mo-

tion Graphics]

tion Graphics [Illustration]

Figure161. Fung, S. (2018) Black Dress Macro Graphic Final

Figure 137: Kelly, E. (2018) Email Briefing Stephanie Fung

[Motion Graphics]

[Screenshot]

Figure162: Fung, S. (2018) Green Latex Macro Graphic

Figure138: Kelly, E. (2018) WhatsApp Conversation with

Final [Motion Graphics]

Stephanie Fung [Screenshot]

Figure163: Fung, S. (2018) Pink Bubbles Macro Graphic

Figure 139. Kelly,E. (2018) Motion Graphics Treatment [See

Final [Motion Graphics]

Appendix???]

Figure164: Fung, S. (2018) Pink Bubbles (2) Macro Graphic

Figure140: Fung, S. (2018) White Bodice Graphic Draft One

Final [Motion Graphics]

[Motion Graphics]

Pleats:

Figure141. Fung, S. (2018) Pink Cloud Graphic Draft One

Figure165: Pinterest (2018) Pleats Please [Photo-

[Motion Graphics]

graph] Available at: https://www.pinterest.co.uk/

Figure142. Fung, S. (2018) Pleats Graphic Draft One [Mo-

pin/423197696228088034/ (accessed: 18th February

tion Graphics]

2018)

Figure143. Fung, S. (2018) Black Dress Graphic Draft One

Figure166. Pinterest (2018) Pleats [Photo-

[Motion Graphics]

graph] Available at: https://www.pinterest.co.uk/

Figure144. Fung, S. (2018) Green Latex Graphic Draft One

pin/241716704972280400/?lp=true (accessed: 18th Febru-

[Motion Graphics]

ary 2018)

Figure145. Fung, S. (2018) Pink Bubbles Graphic Draft One

Figure167:Pinterest (2018) David Laport [Photo-

[Motion Graphics]

graph] Available at: https://www.pinterest.co.uk/

Figure146: Fung, S. (2018) White Bodice Graphic Final [Mo-

pin/380906080965605161/ (accessed: 18th February

tion Graphics]

2018)

Figure147: Fung, S. (2018) Pink Cloud Graphic Final [Mo-

Figure168: Kelly, E. (2017) Pleats Please Trousers from

tion Graphics]

Higher Studio [Film Still]

Figure148: Fung, S. (2018) Pleats Graphic Final [Motion

Figure169 Kelly, E. (2017) Pleats Please Trousers from

Graphics]

Higher Studio [Film Still]

Figure149: Fung, S. (2018) Black Dress Graphic Final [Mo-

Figure170. Pinterest (2018) Twirl Reference [Pho-

Figure183: Kelly, E. (2017) Bubble Skirt from Higher Studio

pin/364862007290554466/ (accessed: 18th February

[Film Still]

2018)

Figure184: Santi Zoraidez (2017) 8 March [Screenshot]

Figure171: Pinterest (2018) Pleats Please Jumping [Photo-

Available at: https://www.instagram.com/p/BRYxpyLhaZ-

graph] Available at: https://www.pinterest.co.uk/pin/AS1n-

i/?taken-by=szoraidez (accessed: 2nd February 2018)

3P85vKS9jkzVyiumkyX5_4zbd1jubK3xpmkxZs2wjln_

Figure185: Pinterest (2018) Dancer Legs [Photo-

VqLVo-8/ (accessed: 18th February 2018)

graph] Available at: https://www.pinterest.co.uk/

Figure172: Pinterest (2018) Pleats Please [Photo-

pin/422423640033427648/ (accessed: ) 2nd February

graph] Available at: https://www.pinterest.co.uk/

2018

pin/135741376248268751/ (accessed: 17th February 2018)

Figure186: Pinterest (2018) One Leg Kick [Photograph]

Figure173. Pinterest (2018) Twirl Slow Shutter Speed

Available at: https://www.pinterest.com/emt23927/dance/

[Photograph] Available at: https:/ /www.pinterest.co.uk/

(accessed: 2nd February 2018)

pin/420101471461967497/?lp=true (accessed: 18th Febru-

Figure187: Pinterest (2018) Jump with Legs Kicked

ary 2018)

[Photograph] Available at: https://www.pinterest.com/

Figure174: Pinterest (2018) Issey Miyake Pleats Please

pin/129056345542665769/ (accessed: 2nd February 2018)

Dancing [Photograph] Available at: https://www.pinterest.

Figure188: Pinterest (2018) Pike Jump [Illustration] Availa-

co.uk/pin/43206477650725547/ (accessed: 15th February

ble at: https://it.pinterest.com/pin/572379433868528389/

2018)

(accessed: 2nd February 2018)

Bodice:

Figure189: Kelly, E. (2017) Black Dress from Higher Studio

Figure175: Higher Studio (2017) White Comme des Gar-

[Film Still]

cons Bodice [Photograph] (Received from Higher Studio

Figure190: Kelly, E. (2017) Black Dress from Higher Studio

on the 18th November 2017)

[Film Still]

Figure176: Higher Studio (2017) White Comme des Gar-

Figure191: : Higher Studio (2017) 15 March [Screen-

cons Bodice [Photograph] (Received from Higher Studio

shot] Available at: https://www.instagram.com/p/

on the 18th November 2017)

BRqyrlMhrf2/?taken-by=higher.studio (accessed: 16th

Figure177: Higher Studio (2017) White Comme des Gar-

February 2018)

cons Bodice [Photograph] Available at: https://www.higher.

Figure192: : Higher Studio (2017) 15 March [Screen-

studio/?lightbox=dataltem-j4yf6mm2 (accessed: 8th

shot] Available at: https://www.instagram.com/p/

November 2017)

BRqyrlMhrf2/?taken-by=higher.studio (accessed: 16th

Figure178. Pinterest (2018) Darcy Bussell [Photo-

February 2018)

graph] Available at: https://www.pinterest.co.uk/

Figure193: Pinterest (2018) Arm Bend [Photo-

pin/222998619020773781/ (accessed: 10th February 2018)

graph] Available at: https://www.pinterest.co.uk/

Figure179.: Pinterest (2018) Ballet Dancer in White

pin/551057704383589360/?lp=true (accessed: ) 16th

[Photograph] Available at: https://www.pinterest.co.uk/

February 2018

pin/716213146964668264/ (accessed: 2nd February 2018)

Figure194. Pinterest (2018) Fouette Turn [Pho-

Figure180: Pinterest (2018) Dancer on Floor [Pho-

tograph] Available at: https://ar.pinterest.com/

tograph] Available at: https://www.pinterest.com/

pin/159807486761062937/?lp=true (accessed: 16th Febru-

pin/558587160026909688/ (accessed: 2nd February 2018)

ary 2018)

Figure181: Pinterest (2018) Dancer on Point [Pho-

Figure195: Pinterest (2018) The Bolshoi Ballet Academy

tograph] Available at: https://www.pinterest.co.uk/

[Photograph] Available at: https://www.pinterest.co.uk/

pin/720153796638148712/ (accessed: 2nd February 2018)

pin/392657661254970863/ (accessed: 16th February 2018)

HIGHER STUDIO

Photograph] Available at: https://www.pinterest.com/

Bubbles: Figure182: Kelly, E. (2017) Bubble Skirt from Higher Studio [Film Still]

173

174

Figure196: Pinterest (2018) Twist [Photograph] Available

Figure212: NOWNESS (2018) Just Dance: Sink or Swim

at: https://www.pinterest.com.mx/pastelbleu/paris/ (ac-

[Film Still] Available at: https://www.nowness.com/series/

cessed: 16th February 2018)

just-dance/sink-or-swim-louis-jack (accessed: 20th Febru-

Figure197: Kelly, E. (2017) Pink Cloud Top [Film Still]

ary 2018)

Figure198: Kelly, E. (2017) Pink Cloud Top [Film Still]

Figure213: Kelly, E. (2018) Video Storyboard Sketch Part 1

Figure199: Kelly, E. (2017) Pink Cloud Top [Film Still]

[Illustration]

Figure200: Pinterest (2018) Arms Float Overhead [Pho-

Figure214. Kelly, E. (2018) Video Storyboard Sketch Part 2

tograph] Available at: https://www.pinterest.co.uk/

[Illustration]

pin/513621532488417337/ (accessed: 16th February 2018)

Figure215. Kelly, E. (2018) Video Storyboard Sketch Part 3

Figure201. Pinterest (2018) Dancer on Beach [Pho-

[Illustration]

tograph] Available at: https://www.pinterest.co.uk/

Figure216: Kelly, E. (2018) Video Storyboard Sketch Part 4

pin/533606255826037174/ (accessed: 16th February 2018)

[Illustration]

Figure202: Pinterest (2018) Dancer Portrait on Floor

Figure217-228: Kelly, E. (2018) Final Video Storyboards 1-12

[Photograph] Available at: https://www.pinterest.co.uk/

[Illustrations]

pin/AdIsRDglPj3MSh4DjbjCTw1azFhx0nmYyPvNSu5muae-

Figure229-234: Kelly, E. (2018) Video Shot Lists 1-6

8gYVB4aNQ_lA/ (accessed: 16th February 2018)

[Spreadsheets]

Figure203: Pinterest (2018) Bending Up [Photo-

Figure235: Kelly, E. (2018) Facebook Post for Collaborators

graph] Available at: https://www.pinterest.co.uk/

[Screenshot]

pin/18295942211067307/ (accessed: 16th February 2018)

Figure236: Kelly Johnson (2017) 27 April [Screenshot]

Figure204: Kelly, E. (2017) HYDRA Latex [Film Still]

Available at: https://www.instagram.com/p/BTZrA-wlD-

Figure205: Builders Club (2015) 31 December

FS/?taken-by=kellyjohnsonn (accessed: 20th February

[Screenshot] Available at: https://www.instagram.

2018)

com/p/_9d-7WAThx/?taken-by=buildersclub_london

Figure237: Johnson, K. (2017) Kelly Dancing 1117 [Film Still]

(accessed: 20th February 2018)

Available at: https://vimeo.com/241412203 (accessed: 20th

Figure206. Arts Thread (2018) Katie Gillies [Photograph]

February 2018)

Available at: https://www.artsthread.com/portfolios/fab-

Figure238: Zarfati, N. (2017) Dazed Digital Prop Styl-

ric-project2/ (accessed: 20th February 2018)

ing [Photograph] Available at: https://www.noazarfati.

Figure207: Higher Studio (2018) 30 January [Screenshot]

com/#/new-gallery-1/ (accessed: 13th February 2018)

Available at: https://www.instagram.com/p/Belakkvn-

Figure239. Kelly, E. (2018) Black Dress Set Design Mock-

LAO/?taken-by=higher.studio (accessed: 20th February

Up. [Illustration]

2018)

Figure240. Kelly, E. (2018) Latex Look Set Design Mock-

Figure208: NOWNESS (2017) Naked: Body Mod [Film Still]

Up. [Illustration]

Available at: https://www.nowness.com/picks/naked-body-

Figure241. Kelly, E. (2018) Pink Bubbles Set Design Mock-

mod (accessed: 20th February 2018)

Up. [Illustration]

Figure209: Pinterest (2018) Kristen Segin and Claire

Figure242. Kelly, E. (2018) White Bodice Set Design Mock-

Kretzscmar [Photograph] Available at: https://www.pin-

Up. [Illustration]

terest.co.uk/pin/466615211377373833/?lp=true (accessed:

Figure243. Kelly, E. (2018) Pink Clouds Set Design Mock-

20th February 2018)

Up. [Illustration]

Figure210: NOWNESS (2016) Just Dance: Maze [Film Still]

Figure244. Kelly, E. (2018) Pleats Look Set Design Mock-

Available at: https://www.nowness.com/series/just-dance/

Up. [Illustration]

maze-scottish-ballet (accessed: 13th November 2017)

Figure245: Pinterest (2018) Chanel Hoop Bag [Pho-

Figure211: Bart Hess (2011) Echo [Film Still] Available at:

tograph] Available at: https://www.pinterest.co.uk/

https://www.youtube.com/watch?v=5Ech6TyopE4 (ac-

pin/22729173092067885/ (accessed: 13th February 2018)

cessed: 20th February 2018)

Figure246: Pinterest (2018) Comme des Garcons Exhi-

[Photograph]

terest.co.uk/pin/505599495659262239/ (accessed: 13th

Figure293: Kelly, E. (2018) Behind the Scenes Shot Two

February 2018)

[Photograph]

Figure247: Pinterest (2018) Sportmax SS16 Catwalk Design

Figure294. Kelly, E. (2018) Contact Sheet from Test Shoot

[Photograph] Available at: https://www.pinterest.co.uk/

Two [Screenshot]

pin/309481805630542558/ (accessed: 13th February

295-316

2018)

HYDRA (2017) 29 December [Screenshot] Available

Figure248: Pinterest (2018) Comme des Garcons 2013

at: https://www.instagram.com/p/BdR-fgqgExR/?tak-

[Photograph] Available at: https://www.pinterest.co.uk/

en-by=agf_hydra (accessed: 13th February 2018)

pin/66076319505401028/ (accessed: 13th February 2018)

Higher Studio (2017) 28 May [Screenshot] Available

Figure249: Pinterest (2018) Vaigor Theatre [Photograph]

at: https://www.instagram.com/p/BUpDljzhuEM/?tak-

Available at: https://www.pinterest.com/vaigor/theatre/

en-by=higher.studio (accessed: 13th February 2018)

(accessed: 13th February 2018)

Higher Studio (2017) HYDRA Underwear [Photograph]

Figure250-264. Kelly, E. (2018) Fabrics around Shepherdâ&#x20AC;&#x2122;s

(Received from Higher Studio 18th November 2017)

Bush Market [Photographs]

Pinterest (2018) Hands Stretching Tights [Photo-

Figure265- 269: Zarfati, N. (2018) Fabrics for Set Design.

graph] Available at: https://www.pinterest.co.uk/

[Photographs]

pin/421157002629044433/?lp=true (accessed: 13th Febru-

270-274: Kelly, E. (2018) Fabrics for Set Design. [Photo-

ary 2018)

graphs]

Erwin Wurm (1997) Palmers Series [Photograph] Availa-

Figure 275: MacCulloch and Wallis (2018) Black Cotton

ble at: https://www.erwinwurm.at/artworks/photograph-

Covered Boning [Photograph] Available at: https://www.

ic-sculptures.html (accessed: 13th February 2018)

macculloch-wallis.co.uk/p/8536-B/boning-busks/mw/

Higher Studio (2016) 26 May [Screenshot] Available

black-cotton-covered-plastic-boning (accessed: 13th Feb-

at: https://www.instagram.com/p/BF4MiswSKhY/?tak-

ruary 2018)

en-by=higher.studio (accessed: 13th February 2018)

Figure276: Cass Art (2018) Gedeo Latex [Photograph]

Pinterest (2018) Grey Foam [Photograph] Available at:

Available at: https://www.cassart.co.uk/craft/sculpting/

https://www.pinterest.com/celinenguyen/structural-futur-

mould_making/gedeo_latex.htm (accessed: 13th

ism/ (accessed: )

February 2018)

Goepfert, N. (2018) Foam [Photograph] Available at: http://

Figure 277: Kelly, E. (2018) Pleated Fabric. [Photograph]

nadinegoepfert.com/ (accessed: 13th February 2018)

Figure 278: Kelly, E. (2018) White Scuba Fabric. [Photo-

Pinterest (2018) High Gloss Skin [Photograph] Available at:

graph]

https://www.pinterest.co.uk/pin/525865693973450532/

Figure 279: Zara Home (2018) Duvet [Photograph] Avail-

(accessed: 13th February 2018)

able at: https://www.zarahome.com/gb/bedroom/du-

: Pinterest (2018) Blue Make-Up [Photograph] Available at:

vets-c1020116787.html (accessed: 13th February 2018)

https://www.pinterest.co.uk/pin/354165958187612246/

Figure 280: Kelly, E. (2018) Red/Pink Backdrop. [Photo-

(accessed: 13th February 2018)

graph]

: Pinterest (2018) Black Eye Make â&#x20AC;&#x201C;Up [Photo-

Figure 281: Kelly, E. (2018) Oyster Backdrop. [Photograph]

graph] Available at: https://www.pinterest.com.au/

Figure 282: Kelly, E. (2018) Green Backdrop. [Photograph]

pin/125467539591757437/ (accessed: 13th February 2018)

Figure 283: Kelly, E. (2018) Foam Roll. [Photograph]

246-248: Unique Style Platform (2017) Wet Hair

Figure 284: Kelly, E. (2018) Black Vinyl Sheet. [Photograph]

Looks Available at: http://uniquestyleplatform.com/

Figure285-290: Kelly, E. (2018) Test Shoot One [Film Stills]

blog/2017/10/11/ss-18-catwalks-beauty/ (accessed: 13th

Figure291: Kelly, E. (2018) Contact Sheet from Test Shoot

February 2018)

One [Screenshot]

HYDRA (2017) 21 July [Screenshot] Available at: https://

Figure292: Kelly, E. (2018) Behind the Scenes Shot One

www.instagram.com/p/BWznQIegi95/?taken-by=agf_

HIGHER STUDIO

Exhibition [Photograph] Available at: https://www.pin-

175

176

https://www.instagram.com/p/BWznQIegi95/?tak-

shot]

en-by=agf_hydra (accessed: 13th February 2018)

Figure 357: Kelly, E. (2018) Editing Cloud Top Backdrop

Pinterest (2018) Juergen Teller Brightly Lit [Photo-

[Screenshot]

graph] Available at: https://www.pinterest.co.uk/

Figure 358: Kelly, E. (2018) White Duvet Edit [Screenshot]

pin/129548926754341916/ (accessed: 13th February 2018)

Figure 359. Kelly, E. (2018) Pink Bubble Colour Edit

Rayrenanyi (2017) 12 February [Screenshot] Availa-

[Screenshot]

ble at: https://www.instagram.com/p/BQbeoW8F-

Figure 360: Kelly, E. (2018) Blue Pleats Edit [Screenshot]

D4Z/?hl=en&taken-by=rayrenanyi (accessed: 13th Febru-

Figure361. Kelly, E. (2018) Green Latex Motion Edit

ary 2018)

[Screenshot]

Lillie Eiger (2017) 19 January [Screenshot] Available at:

Figure 362-367: Kelly, E. (2018) Re-Title Slow Motion Edits

https://www.instagram.com/p/BQp7PhRA7p_RvP-

Draft One [Film Still]

VI1x2nTWylDPJ713xI4Y8lXM0/?taken-by=lillieeiger (ac-

Figure 368-373. Kelly, E. (2018) Re-Title Macro Graphics

cessed: 15th February 2018)

Edits Draft One [Film Still]

Lillie Eiger (2017) 18 February [Screenshot] Available at:

Figure 374-379: Kelly, E. (2018) Re-Title Macro Graphics

https://www.instagram.com/p/BPccLAggTacre19qGnukY-

Edits Final [Film Still]

3cfqt1m-bVnlp3Lt40/?taken-by=lillieeiger (accessed: 15th

Figure 380: Kelly, E. (2018) Editing Pink Bubble Backdrop

February 2018)

and Video Together [Screenshot]

: Pinterest (2018) Light Fabric [Photograph] Available at:

Figure 381: Kelly, E. (2018) Pleats Graphic Iris Transition

https://www.pinterest.com/pin/433119689155281840/

[Screenshot]

(accessed: 15th February 2018)

Figure 382: SHOWstudio (2018) BeatsxEE25 [Film Still]

Rayrenanyi (2017) 10 November [Screenshot] Avail-

Available at: http://showstudio.com/project/beatsxEE25

able at: https://www.instagram.com/p/BbS7KA-

(accessed: 12th February 2018)

Wlq_p/?hl=en&taken-by=rayrenanyi (accessed: )

Figure 383: SHOWstudio (2018) BeatsxEE25 [Film Still]

317: Kelly, E. (2018) Call Sheet. [Document]

Available at: http://showstudio.com/project/beatsxEE25

Figure318-326. Kelly, E. (2018) Run Through of Video

(accessed: 12th February 2018)

Looks. [Photographs]

Figure 384: SHOWstudio (2018) Comme des Garcons

Figure327: Kelly, E. (2018) Pre-Production Meeting. [Pho-

AW16 [Film Still] Available at: http://showstudio.com/pro-

tograph]

ject/comme_des_garcons/fashion_film (accessed:

Figure328: Kelly, E. (2018) Lunch On Set. [Photograph]

12th February 2018)

Figure329: Kelly, E. (2018) Styling On Set. [Photograph]

Figure 385: Kelly, E. (2018) Pink Clouds Dissolve Transition

Figure330: Kelly, E. (2018) Team On Set. [Photograph]

[Film Still]

Figure331: Kelly, E. (2018) Directing On Set. [Photograph]

Figure 386: Kelly, E. (2018) Pleats Dissolve Transition [Film

Figure 332-337 Kelly, E. (2018) Contact Sheets from Final

Still]

Shoot [Screenshots]

Figure 387: Kelly, E. (2018) Website Photoshopped Edit

Figure338-349. Kelly, E. (2018) Higher Studio Film Looks

[Screenshot]

1-6. [Photographs]

Figure 388: Kelly, E. (2018) Website Design Test [Graphic]

Figure 350: Kelly, E. (2018) Twirl Edit [Screenshot]

Figure 389: Kelly, E. (2018) Website Mock-Up Video

Figure 351: Kelly, E. (2018) Dissolve Logo Edit [Screenshot]

[Screenshot]

Figure 352: Kelly, E. (2018) Peel Edit [Screenshot]

Figure 390-392: Kelly, E. (2018) Final Website Mock-Up

Figure 353: Kelly, E. (2018) Box Edit [Screenshot]

Video [Film Stills]

Figure 354: Kelly, E. (2018) Editing Backdrop [Screenshot]

Figure393-396: Kelly, E. (2018) Motion Graphics Website

Figure 355: Kelly, E. (2018) Editing Backdrop Two [Screen-

Mock-Up Video [Film Stills]

shot]

Figure 397-399. Kelly, E. (2018) Instagram Mock-Ups

Figure 356: Kelly, E. (2018) Editing Pink Backdrop [Screen-

[Screenshots]

V-Ray. [3D Renders]

in Bedroom Stock Image [Illustration]

Figure 467-469. Kelly, E. (2018) Phase One of Moving Im-

Figure 418-424: Kelly, E. (2018) Phase Two of the Space.

age in Space. [Screenshot]

[3D Renders]

Figure 470-472. Kelly, E. (2018) Phase Two of Moving Im-

Figure 425-428: Kelly, E. (2018) Phase Three of the Space.

age in Space. [Screenshots]

[Illustrations]

Figure 473: Kelly, E. (2018) After Effects Motion Graphics

Figure429-431: Kelly, E. (2018) Phase Three of the Space.

in Space. [Screenshot]

[3D Renders]

Figure 474-479: Kelly, E. (2018) Phase Three of Moving

Figure 432-440: Kelly, E. (2018) Phase Four of the Space.

Image in Space. [Screenshots]

[3D Renders and Screenshots]

Figure 480: Kelly, E. (2018) Premier Pro Space Walk-

Figure 441: Kelly, E. (2018) Phase Five Pink Kitchen.

through Editing. [Screenshot]

[Screenshot]

Figure 481-486. Kelly, E. (2018) Room One - Six Motion

Figure 442- 447: Kelly, E. (2018) Phase Five Kubity Space.

Graphics Title. [Graphics]

[3D Renders]

Figure 487-491: Kelly, E. (2018) After Effects Moving Image

Figure 448: Appear Here (2018) Customised Search

in Sara Arnoldâ&#x20AC;&#x2122;s Apartment [Screenshots]

[Screenshot] Available at: https://www.appearhere.co.uk/

Figure 492-497: Kelly, E. (2018) Phase Five After Effects

(accessed: 15th April 2018)

Edits of Moving Image in Space. [Screenshots]

Figure 449-451: Airbnb (2018) Modern House in Clapton

Figure 498-501. Kelly, E. (2018) Phase Six After Effects

[Photographs] Available at: https://www.airbnb.co.uk/

Edits of Moving Image in Space. [Screenshots]

rooms/22804772?location=London%2C%20United%20

Figure 502. Kelly, E. (2018) Contact Sheet from Video Pro-

Kingdom&adults=2&children=0&infants=0&check_

jections [Screenshot]

in=2018-05-17&check_out=2018-05-23&s=w9KqIJi-

Figure 503: Kelly, E. (2018) Projector in Dining Room [Pho-

Wrooms/22804772?location=London%2C%20United%20

tograph]

Kingdom&adults=2&children=0&infants=0&check_

Figure 504-506: Kelly, E. (2018) Video Projections [Film

in=2018-05-17&check_out=2018-05-23&s=w9KqIJi-

Stills]

Wrooms/22804772?location=London%2C%20United%20

Figure 507. Kelly, E. (2018) Premier Pro Putting Space

Kingdom&adults=2&children=0&infants=0&check_

Walkthrough Together [Screenshot]

in=2018-05-17&check_out=2018-05-23&s=w9KqIJiW

Figure 508-513. Kelly, E. (2018) Invitation Mock-Ups on

(accessed: 15th April 2018)

Motion Graphics [Illustrations]

Figure 452-455: Airbnb (2018) Penthouse Apartment

Figure 514. Fung, S. (2018) Macro Clouds [Film Still]

[Photographs] Available at: https://www.airbnb.co.uk/

Figure 515. Fung, S. (2018) Pink Clouds Graphic [Film Still]

rooms/7897897?location=London%2C%20United%20

Figure 516. Airbnb (2018) Christopher Raeburn Airbnb

Kingdom&adults=2&children=0&infants=0&check_

[Photograph] Available at: https://www.airbnb.co.uk/expe-

in=2018-05-17&check_out=2018-05-23&s=w9KqIJiW

riences/88208 (accessed: 29th March 2018)

(accessed: 15th April 2018)

Figure 517. Kelly, E. (2018)

Figure 456-460: Airbnb (2018) South Kensington Apart-

Figure 518. WCCF Tech (2017) 3D Printing [Photograph]

ment [Photographs] Available at: https://www.airbnb.co.uk/

Available at: https://wccftech.com/affordable-creali-

rooms/22770575?location=London%2C%20United%20

ty-3d-printer-338/ (accessed: 1st April 2018)

Kingdom&adults=2&children=0&infants=0&check_

Figure 519. Foodjess (2018) Instagram Page [Screenshot]

in=2018-05-17&check_out=2018-05-23&s=3cRB29lU

Available at: https://www.instagram.com/foodjess/ (ac-

(accessed: 15th April 2018)

cessed: 1st April 2018)

Figure 461: Kelly, E. (2018) Phase Six of the Space. [Screen-

Figure 520-23. Food Jess (2017) 20 September [Screen-

shot]

shots] Available at: https://www.instagram.com/p/

Figure 462-466: Kelly, E. (2018) Phase Seven of the Space

BZRu_HXHOU1/?taken-by=foodjess (accessed: 1st April

HIGHER STUDIO

Figure 417: Kelly, E. (2018) Edit of White Bodice and Video

177

178

April 2018)

[Photograph]

Figure524. NOWNESS (2018) Jenny Van Sommers: Jelly

Figure 538-543. Kelly, G. (2018) 3D Invitations Draft One

Roles [Film Still] Available at: https://www.nowness.com/

[Screenshots]

story/jelly-roles-jenny-van-sommers-bompas-and-parr

Figure 544-549. Kelly, G. (2018) 3D Invitations Draft Two

(accessed: 1st April 2018)

[Screenshots]

Figure 525. EcoLabo (2018) 9 March [Screenshot] Available

Figure 550-561. Kelly, G. (2018) 3D Invitations Embossing

at: https://www.instagram.com/p/BgGJM4HgH2p/?tak-

[Screenshots]

en-by=ecolabo (accessed: 1st April 2018)

Figure 562-567. Kelly, E. (2018) 3D Invitations 3D Prints

Figure 526. Wicked Healthy Food (2018) Plant Flavour

[Photographs]

Food [Photographs] Available at: https://wickedhealthy-

Figure 568. Kelly, E. (2018) Priming the 3D Invitations [Pho-

food.com/2018/01/07/mighty-plant-flavours-unleashed-

tograph]

wicked-top-secret-u-k-project-revealed/ (accessed: 1st

Figure 569. Kelly, E. (2018) Primed 3D Invitations [Photo-

April 2018)

graph]

Figure 527. The Independent (2014) Ashley Williams [Pho-

Figure 570. Kelly, G. (2018) Spray Painting 3D Invitations

tograph] Available at: https://www.independent.co.uk/

[Photograph]

life-style/fashion/features/london-fashion-week-ashley-

Figure 571-576. Kelly, E. (2018) Final 3D Invitations [Photo-

williams-is-a-fresh-fashion-talent-who-shows-that-london-

graphs]

is-in-no-danger-9732151.html (accessed: 1st April 2018)

Figure 577-581. Kelly, E. (2018) Initial Sketches of Apart-

Figure 528. Soul Spoon (2018) 6 February [Screenshot]

ment Posters [Illustrations]

Available at: https://www.instagram.com/p/Be3kkXqhdN-

Figure 582-583. Kelly, E. (2018) Photoshop Edits of Posters

n/?taken-by=thesoulspoon (accessed: 1st April 2018)

[Screenshots]

Figure 529. Glacier Girl (2017) 6 September [Screenshot]

Figure 584-587. Kelly, E. (2018) Apartment Poster Mock-

Available at: https://www.instagram.com/p/BYtWxy-

Ups [Illustrations]

5j67Q/?taken-by=glacier996girl (accessed: 1st April 2018)

Figure 588. Kelly, E. (2018) Photoshop Edit of Airbnb Expe-

Figure 530. Odeandiefreud (2018) Instagram Page [Screen-

rience [Screenshot]

shot] Available at: https://www.instagram.com/odean-

Figure 589. Kelly, E. (2018) Airbnb Experience Mock-Up

diefreude/ (accessed: 1st April 2018 )

[Illustration]

Figure 531. Wilson Oryema (2018) 23 February [Screen-

Figure590-595. Kelly, E. (2018) Initial Sketches for Map

shot] Available at: https://www.instagram.com/p/Bfih8PH-

Take Away [Illustrations]

BlNC/?taken-by=wilson_oryema (accessed: 17th April

Figure 596-598. Kelly, E. (2018) Map Progression Designs

2018)

[Illustrations]

Figure 532. Stories Behind Things (2018) 14 March [Screen-

Figure 599. Kelly, E. (2018) Developed Map [Illustration]

shot] Available at: https://www.instagram.com/p/BgUS-

Figure 600-605. Kelly, E. (2018) Back of the Map Variations

nORnOQb/?taken-by=storiesbehindthings (accessed: 17th

[Illustrations]

April 2018)

Figure 606. Kelly, E. (2018) Information Booklet Edit

Figure 533. Bre Graham (2018) 18 January [Screenshot]

[Screenshot]

Available at: https://www.instagram.com/p/BeGR-TlBFD-

Figure 607-612. Kelly, E. (2018) Information Booklet [Illus-

K/?taken-by=breaudreygraham (accessed: 17th April 2018)

trations]

Figure 534. Sketch of invitations

Figure 613. Kelly, E. (2018) Feedback Sheet Photoshop

Figure 535. Kelly, E. (2018) Briefing Email to Invitation De-

Editing [Screenshot]

signer [Screenshot]

Figure 614. Kelly, E. (2018) Feedback Sheet Mock-Up [Illus-

Figure 536. Kelly, E. (2018) Initial Sketches of Invitations

tration]

[Illustrations]

Figure615. Kelly, E. (2018) Concept Proposal Cover [Illus-

Figure 537. Kelly, E. (2018) George working on 3D Design

tration]

Figure616-617. Kelly, E. (2018) Concept Proposal Content [Illustration] Figure 618. Kelly, E. (2018) Planning out the Box [Photograph] Figure 619. Kelly, M. (2018) Spray Painting the Box White [Photograph] Figure 620. Kelly, E. (2018) The USBs [Photograph] Figure 621. Kelly, E. (2018) 100% Organic Cotton Fabric [Photograph] Figure622. Kelly, E. (2018) Making Bag for Audit [Photograph] Figure623. Kelly, E. (2018) Ironing on the logo [Photograph] Figure 624. Kelly, E. (2018) Rental Tag Version One [Illustration] Figure 625. Kelly, E. (2018) Rental Tag Version Two [Illustration] Figure 626. Kelly, E. (2018) Invitations in Box [Photograph] Figure 627-628. Kelly, E. (2018) Garment Bag Final [Photo-

Figure 629. Kelly, E. (2018) Audit Bag [Photograph] Figure 630. Kelly, E. (2018) USB Bag and USBs [Photograph] Figure 631. Fung, S. (2018) Black Macro Graphic Figure 632, Fung, S. (2018) Black Motion Graphics [Film

HIGHER STUDIO

graphs]

Still] Figure 633. Kelly, E. (2018) Working in my Kitchen [Photograph]

179

APPENDIX A-

MON

Production Timeline

TUE

THUR

FRI

Dissertation Draft Hand-In

Concept Development + Researching Collaborators

SAT

Seminar 10:0015:00 (presentation Copenhagen of visualisations)

1 W/C 08 JAN

Unit Briefing

2 W/C 15 JAN

Copenhagen

30 MinuteTutorial 11:30 + Plans (Budget, Hardware, Dissertation WorkSoftware, Location) Chapter 1 + Begin Treatment | LSFF

Zabludowicz Collection | LSFF

Seminar 10:0015:00 (presentations) Begin Treatment for Collaborators | Pick up Wacom tablet for storyboarding

3 W/C 22 JAN

Email Sara | Assisting Noa with Appointments

15 Minute Tutorial 10:45 + Open Studio | Assisting Noa with appointments | Brexit talk

Dissertation Tutorial 11:30 + Work in Library (Read texts suggested by Rosie)

Work on feedback from FMP tutorial | Ensure PSO 1 is finished |

Seminar + PSO 1 Dissertation WorkSubmission 10:00Finish Chapter 115:00 | Tate Late @ integrating reading 6pm

4 W/C 29 JAN

Ring Sara | Motion Graphics Workshop 1 | Continue Storyboarding

Raven Smith @ 10:40 Lucy Hardcastle @ 2:20 + Open Studio | Meeting with Motion Graphics Artist

Motion Graphics Workshop 2 | Storyboarding | Put together a cohesive treatment

5 W/C 05 FEB

Creative Workshop (10-1) + Open Final Storyboards | Studio | Meeting Send to motion and with HIGHER @ sound designers 4pm | Meeting with Noa | Diss referencing

Dissertation Tutorial 11:30- Feedback from submitted draft | Lab Day 1-7pm Kering Award

6 W/C 12 FEB

30 MinuteTutorial Crown Agents work 11:30 + Open Dissertation Work | | Dissertation Chapter 3 and Studio | Return Chapter 1 editing Sony FS700 | Meet Conclusion Noa for Props

Pre-Production

Production

SUN Copenhagen

Storyboarding + Confirming Dissertation WorkCollaborators + Chapter 1 (Fully Spreadsheet of Draft) | Meeting with Video Productions | Sound Designers Send treatment to collaborators

Confirmed

done

Set Design and Prop Sourcing | Developing Storyboards | Sourcing Model | Prep for specialist tutorials

done

Talk at JPS on Dissertation Workcontracts for Dissertation WorkWork on Analysis in collaborators 9:30 | Chapter 3 | Call Chapter 1 + 3 Tate Modern with from Zoe at 1pm seminar in the PM

Read over Chapter 1 and check framing and references | Storyboarding + Thinking about Marketing Space

done

Dissertation WorkLooking over all feedback from Rosie | Introduction and Chapter 2

Workshops 10:0015:00 | Booked Sony FS700 for practice | Work on shot list to plan out shoot | Organise PPM

Casting | Storyboarding the video production and put into spreadsheet | Test shoot with camera

Casting | Test Shoot with Camera | Work on Kering in the evening

done

Dissertation WorkChapter 2 | Begin to ask people to proof read | Prepare presentation

Seminar + PSO 2 Submission 10:0015:00 | Fashion Scout | Char

done

Dissertation Tutorial 11:30 | Pick up HIGHER garments | Prep for shoot-any last styling bits

Lift to Uni | Studio Booked 10-7:30 | Sony FS700 booked

Working with Sound Meeting with Designers 10-2 | Rhoneil | Return HIGHER Dissertation Work garments

Finish Dissertation and Send out for Proof Reading | Kering Experimentation | Finish all slides minus final outcome prototypes

done

8 W/C 26 FEB

Prep for Rhoneil's shoot | Bit of editing to show at tutorial | Dissertation in the evening

Visit Bluebird Store | 30 MinuteTutorial 11:30+ Open Studio | Run through in the evening with Rhoneil

Styling shoot for Rhoneil | SketchUp Dissertation Work of Bluebird store with VR element

Seminar + PSO 3 Submission 10:00Dissertation Work 15:00 | Meeting with Sound Designers

Dissertation Work

done

9 W/C 05 MAR

Return garments to Rhoneil | Dissertation WorkEditing + Proof Reading

Dissertation Kering tutorial 9:45 | Submission | Dissertation WorkWorking on Kering Editing + Proof slides | Meeting Reading Stephy

Work on Space Working on Kering Seminar 10:00Design and Space slides and VR mock 15:00 | Send slides Treatment to send ups @ Lime Grove? to Kering by 12pm to HIGHER

Mother's Day

done

10 W/C 12 MAR

Space Design photoshop and sketchup. Put together a treatment for the space

30 MinuteTutorial 11:30 | Meeting for Sasha's shoot | Editing pleats and pink ball looks

Studio Booked 10-5 | Sony FS700 booked | Collaboration/Netwo rking Event 12-3

Kering Presentations at JPS @ 10:30 | April's shoot | Prep for seminar presentation

Mum's Birthday

W/C 19 MAR

Run through with Sasha | Evening editing

Sasha's shoot | Prep for Carrie's shoot and confirm all looks

Film Editing- space Carrie's Shoot | edits | Pick up Film Editing- space | Space Edits in the garments from Meet Stephy Amanda and Prep evening for Carrie's Shoot

Film Editing- Space edits | Work on Graphics Deadline proposing these for the space design

done

W/C 26 MAR

Film Editing- Add in all the final motion graphics into the website edits | Social Media edits | Go over all edits and colour grade/correct

Go to CSM to return garments from Carrie's shoot | Work on colour grading for space edits | When Zahra sends treatmentthink a bit about styling

SketchUp of final physical space | Think of the event details- e.g. the invitation, food and social media promotion

After Effects of moving images in final space | Send Easter | Prep for space edits to Zahra's shoot sound designers: 30second videos and motion graphics

done

W/C 02 APR

Photoshopped shots of the proposed rooms with moving image

Start working with Zahra's shoot Work on audit: George on the 12:30-16:30 | Work invitations (1) | Film background section on proposal for edit | Start prep for (4) | Video editing Neon Panda Rhoneil's shoot

W/C 09 APR

Video EditingExtending Go and buy the Backdrops | Select hemp fabric to stills from the film to Run through with make garment bag Rhoneil at uni in the Rhoneil's Shoot use as a still submission | Meet campaign | Choose afternoon 2-3:30 sound designers stills for Instagram from 2pm and try out different layouts

Post-Production

Go over all edits and colour Meeting with grade/correct | Edit Rhoneil | SketchUp into mock ups for all day website on Adobe XD

Video Editing

Casting and hair and makeup needs to be confirmed this week

Have video treatment, call sheet and shot lists sent out

Nova Dando @ 14:00 DVTK @ 15:00 + Open Studio | Dissertation in the evening | PPM with film

Seminar 10:0015:00 | Video Editing in the eve

Notes

done

Dissertation Work | Chapter 1, Format + Referencing | Prep for tutorials

7 W/C 19 FEB

180

WED

Full draft of dissertation must be done

Sort out a date to meet up with motion graphics and sound

Focus on dissertation and Kering

done

try and have all live footage edited

try and have space design and space treatment done

Work on audit: Work on audit: concept production sections development section | SketchUp | Video Editing (6) (3)

Prep for Rhoneil's Shoot | Work on film edit to have done before working on sound

done

SOLIDLY FMP THIS WEEK | Have all edits done for day with sound designers

Work on LCFBA18 Proposal | Go to Cloth House and buy fabrics for the garment bag | Meeting with amanda in central in the eve (Start planning lookbook more)

Get wood for box in the morning | Continue colour grading space edits and putting into Kubity walkthrough

done

Kim is available from the 11th | Have film and space outcomes finished | Work out box measurements and buy wood for grandad

Work on LCFBA18 Proposal | Continue colour grading space edits and putting into Kubity walkthrough making walkthrough pause on the videos for 5 more scenes

7 W/C 19 FEB

Rhoneil | Dissertation Work

Referencing | Prep for tutorials

HIGHER garments | Sony FS700 Studio | Dissertation Prep for shoot-any booked in the evening | last styling bits PPM with film

Return HIGHER garments

8 W/C 26 FEB

Prep for Rhoneil's shoot | Bit of editing to show at tutorial | Dissertation in the evening

Visit Bluebird Store | 30 MinuteTutorial 11:30+ Open Studio | Run through in the evening with Rhoneil

Seminar + PSO 3 Submission 10:00Dissertation Work 15:00 | Meeting with Sound Designers

9 W/C 05 MAR

Return garments to Rhoneil | Dissertation WorkEditing + Proof Reading

Dissertation Kering tutorial 9:45 | Submission | Dissertation WorkWorking on Kering Editing + Proof slides | Meeting Reading Stephy

10 W/C 12 MAR

Space Design photoshop and sketchup. Put together a treatment for the space

30 MinuteTutorial 11:30 | Meeting for Sasha's shoot | Editing pleats and pink ball looks

Studio Booked 10-5 | Sony FS700 booked | Collaboration/Netwo rking Event 12-3

W/C 19 MAR

Run through with Sasha | Evening editing

Sasha's shoot | Prep for Carrie's shoot and confirm all looks

Film Editing- space Carrie's Shoot | edits | Pick up Film Editing- space | Space Edits in the garments from Meet Stephy Amanda and Prep evening for Carrie's Shoot

Film Editing- Space edits | Work on Graphics Deadline proposing these for the space design

done

W/C 26 MAR

Film Editing- Add in all the final motion graphics into the website edits | Social Media edits | Go over all edits and colour grade/correct

Go to CSM to return garments from Carrie's shoot | Work on colour grading for space edits | When Zahra sends treatmentthink a bit about styling

SketchUp of final physical space | Think of the event details- e.g. the invitation, food and social media promotion

After Effects of moving images in final space | Send Easter | Prep for space edits to Zahra's shoot sound designers: 30second videos and motion graphics

done

W/C 02 APR

Photoshopped shots of the proposed rooms with moving image

Start working with Zahra's shoot George on the Work on audit: 12:30-16:30 | Work invitations (1) | Film background section on proposal for edit | Start prep for (4) | Video editing Neon Panda Rhoneil's shoot

Work on audit: concept development section | SketchUp (3)

Prep for Rhoneil's Work on audit: Shoot | Work on film production sections edit to have done | Video Editing (6) before working on sound

done

SOLIDLY FMP THIS WEEK | Have all edits done for day with sound designers

W/C 09 APR

Video EditingExtending Go and buy the Backdrops | Select hemp fabric to stills from the film to Run through with make garment bag use as a still Rhoneil at uni in the Rhoneil's Shoot submission | Meet campaign | Choose afternoon 2-3:30 sound designers stills for Instagram from 2pm and try out different layouts

Work on LCFBA18 Proposal | Go to Cloth House and buy fabrics for the garment bag | Meeting with amanda in central in the eve (Start planning lookbook more)

Work on LCFBA18 Proposal | Continue colour grading space edits and putting into Kubity walkthrough making walkthrough pause on the videos for 5 more scenes

done

Kim is available from the 11th | Have film and space outcomes finished | Work out box measurements and buy wood for grandad

11 W/C 16 APR

Final Student Finance Payment | Deadline for 3D invitations | Work on Kubity AE | Kering 3:30-5:30

Assigned Studio | Work on LCFBA18 Proposal | 3D printing in the afternoon

Seminar 10:0015:00 | Work on feedback from seminar

Buy spray paints from Wilko | Finish the 2min30 edit and Develop the web recording | SketchUp space Work on concept proposal

done

12 W/C 23 APR

Pick up 3D invitations from George's | Develop the feedback sheet and map | Continue concept proposal | Begin Evaluative Statement | Prepare for tutorial

30 MinuteTutorial 11:30+ Open Studio | Sustainable Fashion Rooms @ Truman Brewery

done

Audit- Concept Development | Evaluative Statement

Seminar 10:0015:00 | Sound April + Rhoneil over Design Deadline | Audit- Finish to work on audits | Upload all final Dissertation Results Production Sections Audit- Finsih videos with sound | Audit-\Work on all | Work on a timeline Concept and put links in the Production Sections for Kering in the Development + audit | Kering Handevening Begin PreIn | AuditProduction Evaluative Statement

Post-Production

13 W/C 30 APR

14 W/C 07 MAY

15 W/C 14 MAY

Dissertation Work

done

Work on Space Working on Kering Seminar 10:00Design and Space slides and VR mock 15:00 | Send slides Treatment to send ups @ Lime Grove? to Kering by 12pm to HIGHER

Mother's Day

done

Kering Presentations at JPS @ 10:30 | April's shoot | Prep for seminar presentation

Mum's Birthday

Styling shoot for Rhoneil | SketchUp Dissertation Work of Bluebird store with VR element

Pomellato tutorial @ 4:15 | Kering tutorial @ 4:45 | Work on the 2min30 edit| Lew at Aran's 9am9pm

Seminar 10:0015:00 | Video Editing in the eve

Go over all edits and colour Meeting with grade/correct | Edit Rhoneil | SketchUp into mock ups for all day website on Adobe XD

Deadline for LCFBA18 Exhibition: Potential, Research, Professionalism and Social Media

Evaluative Statement | Prep for Event booklet | Amanda's Shoot | Feedback Sheet | Fashion Revolution Concept Proposal Week talk at JPS

Seminar 10:0015:00 | Sustainability support with Dilys @ 4:50-5:10

Video Editing

Full draft of dissertation must be done

Sort out a date to meet up with motion graphics and sound

Focus on dissertation and Kering

done

try and have all live footage edited

try and have space design and space treatment done

Get wood for box in the morning | Continue colour grading space edits and putting into Kubity walkthrough

looking after Bertie

Sound- 2min30 edit

Amanda and Putting submission Send to Print | 30 altogether | Tutorial MinuteTutorial 11:30 Rhoneil over to work on lookbook? with Julian @ 2pm + Open Studio

FMP Submission/ Dad's Birthday

done

HIGHER STUDIO

Audit

Experimentation | Finish all slides minus final outcome prototypes

Audit- Eval Statement + Overall Finish Audit | Layout | Photograph Bibliography and submission Image Referencing elements and put in audit

Putting submission Seminar 10:00altogether | Family Family here for Dad's birthday 15:00 | Pick up audit here for Dad's birthday

☐

One hour Kering tutorial with Julian

☐

181

APPENDIX B-

BUDGET Video:

Space Proposal:

Submission

Area

Budget + Expenditure

ITEM

QUANTITY

Set Design

Foam sheets Black Vinyl White scuba fabric Pleated fabric Black corsetry boning Collaborators Dancer Hair and Make-up Artist Food and drinks for all on set Motion Graphics Motion Designer Fee Coffee meetings with the designer Snacks and meal for sound designers Sound Design

SketchUp Invitations

1.5m 3m 8m

TOTAL PRICE

2 1

£22 £10 (managed to get an offcut) £15 £30 £14 £50 £62.20 £30 £100

1 1 1 2

£9 £46

SketchUp Pro Student Price Printing at Brunel University

Garment bag fabric 1.5m Garmnet bag zip 50cm Iron-on printing paper Audit printing 16GB Bamboo USB card Box for the 6 3D printed invitations Printing the proposal Printing the information booklet

£23.50 £0

N/A

1 1 N/A 1 N/A

Total Budget

182

Notes

£18 £3 £6.99 £23.50 £15

£478

APPENDIX C-

Responsibility Letters

HIGHER STUDIO

183

APPENDIX D-

Invoices

Stephanie Fung www.stephaniefung.net stephaniefung.my@gmail.com

INVOICE Employer: Emily Kelly Email: emilykellycreative@gmail.com Mob: 07792740563

JOB DESCRIPTION 10 motion graphics for fashion film.

DATES

HOURS

January to March

WAGE

n/a

£100

TOTAL

£100

DUE DATE: 21st April 2018 Electronic Payment: Santander Name: MISS M Y FUNG Account No: 66879764 Sort Code: 09-01-28 Please reference this as “Fashion Film Collaboration” Thank you for working with me.

KELLY JOHNSON

INVOICE FEBRUARY 22, 2018 Billed to: Emily Kelly

Description

Hours

Rate/Hour

Dancer: Higher Studio fashion ﬁlm

1 Day

Day rate: £50

TOTAL

184

£50

INVOICE

28A Southbrook Road London SE12 8LQ Phone: +44 (0) 74 1491 3777 Email: mua@emakasper.com www.emakasper.com

INVOICE 18013 DATE: MAY 3, 2018

TO: Emily Kelly

DESCRIPTION

Make-up and Hair Services

No rate agreed prior to the job

Make-up and Hair Expenses

Agreed prior to the job

Travel Expenses

PRICE

TOTAL

£200.00

£0.00

£50.00

£12.70

SUBTOTAL

£62.70

HIGHER STUDIO

SERVICE / PRODUCT

VAT TAX (IF APPLICIABLE)

TOTAL DUE

£62.70

Payment is due within 15 days. BANK DETAILS A/C Name: Ema Kasperaviciute A/C Number: 24160160 Sort Code: 30-91-83

185

APPENDIX E-

186

Motion Graphics Briefing Treatment

APPENDIX F-

Video Team Briefing Treatment

HIGHER STUDIO

187

APPENDIX F-

188

Video Team Briefing Treatment Continued

APPENDIX G-

Event Invitation Briefing Treatment

HIGHER STUDIO

189

APPENDIX H-

Interview with Sara Arnold, founder of Higher Studio

Emily: So, I’m Emily, a Creative Direction for Fashion student and I’ve been looking at the idea of conscious consumption and how Higher Studio fits into that. So, if you want to introduce yourself and tell me a bit about why you started Higher. Sara: Yeah, so, my name’s Sara. And I’m not really sure what else to say about myself. But, I studied fashion design at Saint Martins and I kind of, did that degree thinking that I wanted to have my own label, but I was always really concerned with the environment and when it came to thinking like how am I going to have a label that I can kind of satisfy both my desire to be both, kind of, to push boundaries of creativity, but also to be sustainable. I felt like there wasn’t really a way without sacrificing something that I could do it. And I thought the main problem was that, as long as I’m having to push sales, I’m kind of encouraging damage to the environment. So, I didn’t really knowthat was like 2012- I didn’t really know what I should do about this, so I thought having my own label wasn’t really solving problems. There was a wider problem to be solved so I ended up, I went to Imperial Business School and I studied innovation and management. I thought it would be good to do something completely different and I ended up writing my final project on the circular economy- new business models within the circular business economy. So I kind of applied that to fashion and was looking at all these rental and sharing platforms, this kind of thing, which led me to believe that rental was really the way forward and yet for somebody with my taste, there was really nothing on offer that I wanted to wear. Emily: Mmm, yeah, like Rent the Runway? That sort of thing is very different to what Higher is offering. Okay, so I’ve done some little focus groups and things with some of my friends to see what they thought of it and none of them had even heard of the idea of rental, so they were all like “Where do I sign up?” I think people will definitely, once the message is out there, be definitely ready to choose that as an alternative.

190

Sara: Yeah, it’s interesting for me because as I’m trying to get investments for my company investors tend to want to invest in a really early innovation, which rental’s not. It’s been done already; I’m just applying it to a new market. So, it’s kind of this weird thing where to get investment, for a lot of investors I’m not doing something new enough, and yet there’s so many consumers out there who don’t know about rental because there’s been no rental platforms that have been aimed at them. It’s all been aimed at a really mainstream market. Emily: Okay, so who would you say is your target audience? Sara: Erm, well I think Millennials are more receptive to rental because, well, I guess economic reasons like we’re not going to have as much money as our parents, most of us. And so we’ve got to find other solutions, but also the car sharing, Airbnb all this kind of stuff all seems really normal to us. At the same time, I don’t see why my offer can’t work for somebody who’s 50s even 60s. But, yeah, I mean I guess I come at it from a point of view with me as my own customer and I’m hoping there are other people out there like me! Erm, so that’s where I start, but I think it has a much wider audience. Emily: Yeah because there have been a lot of trend reports and things on how Millennials are looking to postownership. Do you think that will eventually become the norm? Sara: Yeah, I think it will become the norm and I see that, I think the idea of a wardrobe will, kind of, become obsolete in the next twenty years because it just doesn’t make sense. We’re living in smaller housing, we don’t have space to put all this stuff. I think personally, at the point of when I started Higher, part of the driving force behind it was I was really fed up of my wardrobe and I got so much stuff and no where to put it. Yeah, I see that we could just have a subscription for our wardrobe and just interchange things. I think we’re always

going to have sentimental pieces; I’ve got loads of clothes I got when my grandmother died and I’m not going to let go of those of rent them to anyone, but the rest of my wardrobe I’m just like “Why is it there?” Emily: Yeah, since I’ve started this project I’ve been like, oh my God, the amount of stuff that is in my wardrobe that I haven’t worn in years or haven’t worn at all, it’s just a bit- it seems stupid. Sara: Yeah, erm, also I think that it’s not just the statement pieces that we can be subscribing to. We could actually have subscriptions for our underwear, leggings, all the basics. Obviously, we wouldn’t share those, but the idea would be that the company who created them would still own them so when they need to be recycled, they would go back to that company so that they could deal with them and then you would have longer lasting underwear because there’s a massive problem with underwear not lasting- it falls apart quite quickly. Emily: Mmm, and most of the time its made of plastics and stuff that aren’t going to biodegrade and are going to end up in a landfill. Okay, so that’s interesting about the basics, do you think that’s something that Higher might incorporate? Sara: It might do. Emily: So some of your brands, the brands that you stock. Do you look for them to be sort of, sustainable themselves, or is it more of the concept that is sustainable? Sara: So, at the moment, as I said I’m looking for investors, so I just started with what I could kind of get my hands on and my kind of policy is that if something was made before Higher existed, which is like the idea started in 2016, so I say anything made prior to that, I couldn’t have done anything about, it just exists, so we might as well make good use of it and anything after that I think should meet some kind of minimum criteria. But at the same time,

I don’t pick brands that are necessarily say they’re sustainable brands because I think that- I don’t think sustainability is, kind of, a long lasting advantage, I think sustainability is kind of a collective effort from everybody to protect the fashion industry and to protect the world. Erm, so, I always think it’s better to take on designers because I like them as designers and to help them on that process towards a more sustainable future. Erm, because I think at the end of the day, people want good design and anyone should be able to be sustainable it’s just about giving and helping them do that. Emily: Okay, so would you sort of work with the brands? Sara: That’s what I’m kind of hoping to do. So, I’m taking on one kind of young designer as a kind of pilot to find out how we’re going to work together. Emily: Is that H Y D R A? Sara: Yeah, because she does latex and latex is biodegradable.

Sara: Yeah, but also you know we’re thinking about how we’re going to repair the items and ermEmily: Mm, because I think I’ve used that in another shoot with Anna Pesonen actually, the H Y D R A stuff and it does naturally get sort of marks on it, but that’s sort of part of the skin? Sara: Yeah, exactly. Erm, I mean at the moment, Anna’s actually – H Y D R A Anna, not other Anna, she’s actually kept the dirt on the bottom of them as kind of part of the story, but obviously I will have to clean that off at some point! Erm, but yeah we really wanted to build this story around post-ownership. The items we’ve got she’s used in performance art, so it all kind of builds a narrative around them because they are the actual item that got used in this exhibition, or performance. Emily: Yeah, there is definitely this kind of performance art sort of vibe with all of the designers that you’ve got. Do you lend it to, obviously I know that you’ve lent to it Anna before, but do you do sort of press? Sara: Yeah, I don’t have a problem with doing that. It’s not specifically what its about because it should be about changing the patterns of consumption,

Emily: As long as they mention Higher Studio, I guess? Sara: Yeah, so I mean I guess it works, if it’s somebody using it for a project that’s not really going to help me I would just see them as a normal customer, if it’s kind of reputable press then we can come to some kind of deal. Emily: So what would you say is the main ethos of the brand, I’ve sort of got from the site that it’s about freedom of expression without harming the environment. Is that sort of the main thing? Sara: Yeah, I think it’s always about how can we be creative and expressive without creating- because normally the more creative you are, the most expressive you are. I think that comes like, novelty is such an important part of expression and creativity and novelty normally hurts the environment. So, it’s always about how can we be more creative without creating damage. Emily: So, would you say the pieces are more like piece people would wear instead of- from talking to some of my friends about their shopping habits and stuff, I’ve kind of got that its more that the evening wear and the ball gowns that they would only ever wear once and never wear again. Would you say that you are more focussed on the occasionwear? Sara: No, not really. Erm, I think it’s just about cool clothes! (laughs) Erm, yeah I don’t actually have that much eveningwear, I think it’s more about how can I incorporate this into an everyday lifestyle. Because, obviously the most damage is that when the eveningwear, when that’s worn just once or twice, but then there’s all the other stuff that I mean, you don’t really want to wear a coat for like three years, I don’t know, it’s nice to wear a new coat each season, isn’t it? It’s also nice- it’s just nice to have new things and experience new things on a more everyday kind of basis. Yeah, I mean I do need to have some more eveningwear probably, but I don’t really want that to be the main focus. I mean, I’ve found from talking to people who I thought was my target customer, that they felt that a lot of the sites that were based on eveningwear were really sort of for people that were not fashionable on an everyday basis and kind of wanted to

fake it for an evening and my customers are fashionable on an everyday basis so they didn’t want to be part of that kind of faking it lifestyle. For them, it was more, yeah, you know, we are this already, we authentically care about fashion so how can we just live that to the fullest, if that’s making sense? Emily: Yeah, cool! So, as I said, I’m sort of in the midst of creating my own brief about Higher and as my course is a communication course, in terms of communication, what would you say is the most effective platform, way of getting the message out there? Is it Instagram? Sara: Erm, yeah Instagram, but I haven’t been very active on it because I have a problem with- I’m not somebody who can easily do things if I don’t feel like there’s a strong meaning to it, so I’ve struggled to kind of work out what that meaning is with the Instagram, but I’m actually planning to relaunch it, I don’t know if launch is the word, but from kind of December onwards, I’m just going to do portraits of people who kind of share our ethos and each portrait will kind of have a message so it becomes more of a platform for other people’s ideas who we feel we have an affinity with. Emily: Very cool and would they be customers? Sara: Erm, yeah, they might be partly customers.

HIGHER STUDIO

Emily: Is it natural rubber then?

but at the same time I don’t have a problem with people using it.

Emily: But more a sort of platform to celebrate creativity? Sara: Yeah, I think its got to be people who kind of fit the aesthetic, like if they really don’t like any of our clothes then I think there’s kind of no point in that. I think what it is is that, erm, the sustainability thing- I still don’t really feel that my aesthetic has a place in what’s happening with sustainable fashion. Emily: Mmm, that’s what I’m finding so interesting is that the concept is really sustainable, but the aesthetic is nothing like what sustainability has looked like before. So, I’m trying to come up with these creative outcomes saying how am I going to merge these, some sort of conceptual piece, I don’t know! I think it’s a good challenge. Sara: Yeah, because I think everybody should have a place within that because yeah, I mean, I think the majority of people want to change the world in a way, it sounds cheesy, but I think we all

191

APPENDIX H-

Interview with Sara Arnold, founder of Higher Studio continued

want to do good and so we should all feel like we belong within that. So, I just wanted to give it a new face and for that to actually show people, like, who are the people really behind this. Emily: Okay, so would the people you feature be in some way doing something sustainable? Sara: Yeah, but I don’t think it necessarily has to be sustainable. It might be that they’re, I don’t know, it might be gay rights, it might be, like, I think it’s just about people who are actively doing something to make the world a better place. Maybe it’s just that they’re, maybe they’re vegan, maybe they’re vegetarian, yeah. Emily: That’s interesting because I’ve been looking at a lot of eco-influencers and activists and that sort of thing and I was wondering if that was something that could sort of work with HIGHER, because the aesthetic is a little bit, like, shocking and could go into that sort of avenue? Do you think you would collaborate with activists? Sara: Yeah, definitely. I also just think anyone with progressive points of view, as long as they’re good! (laughs) Erm, yeah. Emily: Okay, cool. So, what would you say is your biggest communication challenge for HIGHER studio? Sara: Time. Time to do everything that I want to do! Emily: Is this your full-time thing? Or do you do other bits? Sara: I actually earn money from Airbnbing a room in my flat! So it actually takes up a surprising amount of my time, people seem to think that if you’re an Airbnb host, that you just have a room and you make the bed every now and then and the money just pours into your bank account, but it’s not really like that, it’s quite a lot of work! But yeah, apart from that I’m doing this full time. Erm, and then I’ve got a couple of people who come in and help me with various things, but it’s mostly just me.

192

Emily: Where do you have all the clothes? Is it at your flat? Sara: Yeah Emily: How does that work? Do you have a space for it? Sara: Yeah, I’ve got a room that I work in with all the clothes in. Emily: Yeah, that’s alright then, a nice little studio! Sara: Yeah, so I guess time and money is the big problem right now. But, what else is a challenge? I think it is that thing of making sure that, there’s just so much content out there and I think it’s really important to not feel the pressure to just be like posting every day for the sake of it or involving influencers for the sake of it, just thinking what really has meaning and what can create change. Emily: Do you think you would want to do that through- I’ve been looking at sort of options of moving image as a series of films or one film. Would that be something that you would look to? Sara: Yeah, I mean I guess the other challenge is just making people understand what rental is and what the subscription is and how it actually works, but I really don’t want to seem like- because it should be like a high-end service, all the clothes we have are pretty much high-end and erm, then when you go on, I don’t know, Rent the Runway or Girl Meets Dress or something like this they always kind of have a step one, step two, step three and it’s just so, like, really cheesy and erm, yeah, I don’t want- the word service isn’t really a nice word. I don’t think people want to think or something as a service, it should be an experience. So, yeah, I think using moving image or film in a really interesting way to convey what the service is, is something that’s really- it’s something I need to do. But it shouldn’t be- I just imagine, I’m sure I’ve seen one of these platforms where they have a video where a girl receives a box and she opens the box and is like oh and then

she goes on her night out, not like that at all! It should be like, the anti-that, like, how can we be-I don’t know, I was kind of thinking about maybe doing some kind of digital animation and there’s somebody, like, you get somebody to draw, do those kind of digital drawings like 3-dimensional drawings of some of the clothes, but some of the more sculptural pieces I have. I guess it would be almost like a video game or something and you can put clothes on them. Emily: Oh that’s interesting. So, something quite interactive. Sara: Yeah, I kind of like imagine a digital world where you’re like, erm, what’s that game where you have-oh, like Second Life or something where you’re choosing your clothes. Emily: Oh yeah! Or Sims or something. Interesting because you could create your own avatar and try before you rent type of thing. Sara: Exactly! I was thinking something like that that’s completely different and kind of abstract, but gets the message across and explains the service perfectly, which would be quite cool. Emily: Okay, so do you think that is the sort of communication challenge at the moment is getting the message of the service out there without it looking cheesy and obvious? Sara: Yeah, I think that is one of the challenges. I mean, I’m thinking if you can, if that kind of a video that can explain that, but can double up as, like, a kind of-you know, if it looks like you’re watching a fashion film that could be in, I don’t know, in GARAGE magazine or something, you know, like online. Emily: Yeah because GARAGE magazine is quite abstract and digital isn’t it. Sara: Yeah, if it felt like you were doing that, but actually you were explaining a service, then I think all the boxes are ticked and it’s something that people would then share online, it’s something really cool and different.

Emily: And people, they can interact with it as well, it’s an added bonus of experience over product, kind of thing. Leading from the experience, kind of interactive side, I’ve been looking at also another possible outcome of doing a sort of an immersive installation space. So, something perhaps incorporating projections or some sort of- would Higher Studio do something like that?

Emily: Yeah because I think people still want the tactility of being able to touch. Because I think a lot of the clothes that you have, they have really interesting textures, so it’s good for people to be able to interact. Sara: Yeah, it’s very important. Yeah and also the kind of sculptural element of them. I’m not, to be honest, I don’t shop online, I’ve never bought clothes online, I really believe in the need to touch things and try things on because a lot of the things- my favourite thing, pieces of fashion ever and ones in which, like, they made me move in a different way, like, it made me, or maybe it made me seem like I was moving in a different way. I have this skirt, which looks like it kind of has tennis balls on the bottom, but it’s kind of like a long, thin, floor-length skirt, so you’re ankles kind of hit the tennis ball things and they judder, its’ like they vibrate, it’s bizarre! Emily: Wait, your legs vibrate? Sara: No, the balls! Emily: Are they quite weighty? The same as a tennis ball? Sara: No! They’re just like wadding, but it’s just bizarre what it does. And it just really made me laugh and it made me feel just completely different from anything else I’ve ever tried on and I think it’s really those really profound moments that are really important and that I want to keep going. Because it makes you reconsider kind of what fashion is and why we wear things. Emily: Do you think you would ever do a physical store? Sara: Yeah, I think as early as possible, it’s really important to add a physical store.

Emily: Okay, interesting. Have you done any spaces before?

Emily: So, a permanent store instead of pop-up?

Sara: Yeah, we did a showcase thing in April, which to be honest it was all, like, I organised it really, really quickly and we did it, I’ve got some pictures of it, but I mean we just had the clothes on rails and people could try them on so it wasn’t really- it was more just- at that point it was kind of testing the idea, like, are people actually interested in this concept? Yeah, so I see the showcase

Sara: Yeah, erm, but I see it would be kind of a creative space. That’s why I called it studio because I wanted, when it becomes physical, to have that kind of feeling that creative people are in there and changing it and that we’re not just a business that manages creative people, but we are creatives ourselves. So I feel, yeah, it should be sort of like walking into a studio. I mean, the clothes have to

be stored anyway, so it needs a space. But I do think, I’d take on a LNCC model, which is like they’ve got one space, but actually a lot of their sales are online. My customers would probably, essentially our online platform would be like their virtual wardrobe and then every few months, they’ll come in and try on all the cool pieces that they like and then we can log that into their virtual wardrobe and see the pieces you tried on and liked, these are the ones you tried on and didn’t like-bin them, and then from home they can manage what they actually want to wear from the wardrobe. Emily: So, would you say it’s still quite exclusive still? And sort of, if you were to do a physical space, would it be by appointment only and it would be very personal and that sort of thing? Sara: Yeah I do want it to be very personal, I don’t know if it would be- I guess we would encourage appointments, but we wouldn’t turn people away if they want to just walk in. Emily: So I noticed when I applied for the pay-as-you-go membership, you sent an email about meeting up for a coffee and that sort of thing. Are you trying to get to know your customers better? I think that’s so important nowadays because people have been so separated from it, people are now wanting to go back to these personalised experiences.

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Sara: Yeah, I’ve actually been talking to, do you know this designer called Martine Jarlgaard? I mean, her clothes are really classic, but her, if you meet her, she’s quite kind of, one of these people that’s got a really radical point of view on things and- (shows Instagram page on phone) this is her. And she’s kind of been working with like mixed reality things and she’s really, really concerned with sustainability and really trying to think of new ways we can consume and one of the things she thinks about a lot is like, erm, in the future, for a fashion experience, will we rely on materiality of clothing so much or can we have a kind of, I guess a virtual experience that satisfies us? And she’s recently done this experience where you meet a hologram avatar of yourself in life size and she kind of did it as a bit of an experiment and realised that she’d found quite a profound thing because, you know, we look at ourselves in the mirror, but we only see like the front of ourselves, we don’t actually look at ourselves- she calls it Meet Yourself. We don’t ever really meet ourselves and so we’ve been talking about doing a kind of Higher experience where-I’ve been really wanting- because the article I wrote about the performance economy, I’ve been really wanting to put that into context and actually get designers to create things specifically with that in mind. How do you create postownership and I was thinking her Meet Yourself experience would be really good thing to have within that, so we’ve been talking about doing that.

thing as something we carry on, but it needs to go up a level.

Sara: Yeah, I worked in luxury retail for a long time and I do feel it’s kind of, yeah, I think it’s really important that experience you have with people in the store. Emily: I guess, to wrap things up, I’d like to ask you what you think the future of fashion is in terms of sustainability and how you think Higher is going to fit into that? Sara: Erm, well, I already said what I think about wardrobes, but I think in terms of materials, there’s a lot of interesting research being done now, you know, alternatives to using leather, like mushroom and all this sort of thing. So yeah, I think we’re going to see the end of animal products in fashion, hopefully soon. But I think that’s inevitable, it doesn’t make sense and I think in terms of the other materials, we’ve got a big problem with plastics because they go into water systems because it was previously seen as a bit of a solution as they could be melted down and you could make clothes from melted

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Interview with Sara Arnold, founder of Higher Studio continued

bottles and stuff, but it seems it’s not the solution so it seems it’s more about what materials can biodegrade I guess. But, I think the material problem will sort itself out, I think the consumption problem, it’s a more tricky problem that people need to start taking a lot more seriously. Emily: Do you think there will be a time where people will be a lot more conscious with their consumption? Or do you think there are always going to be people buying into fast fashion? Sara: I think once rental becomes mainstream, fast fashion will be obsolete as well- what would be the point? I think, yeah, H&M, I think the fast fashion retailers will just start making higher end products and just erm, renting. I think they’ll have to to survive because it’s just not going to make sense otherwise. And yeah, I think the problem is, for our generation it’s kind of a no-brainer, the problem is our parents’ generation that have bad habits that they’re not changing and time is ticking because we’re now set, it seems the average prediction is by the year two thousandby the end of the century- we’ll have 3.2 degrees of warming and that’s the average prediction, I mean, it could be far more than that. And a lot of the big cities will be under water. Emily: Yeah, it’s not going in the right direction at the moment. Sara: Yeah, so change needs to happen really, really quickly. That’s the worrying thing. Emily: Right, so thank you for answering all my questions! Sara: Thank you. So, what’s the kind of format of your course? Emily: So, at the moment, I’ve been creating a sort of publication, that will be printed in a couple of weeks, of all areas of sustainable fashion and then looking more at sharing and circular economies and case studies and I’ve done a few surveys and focus groups and that sort of thing and that will all get printed in a little publication and I have to come up

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with a brief and possible outcomes by three weeks. So, I’ve sort of generated my own brief, then I have to do some mock ups of design tests, for example an immersive space on SketchUp on my computer or, erm, come up with some rough moving image experiments and put them in and then next term is when we have to start the making and yeah! Not quite sure of the layout of next term, when and how everything needs to be done, but yeah. Sara: I mean, keep in touch and just, like, if you have more questions, just let me know. I mean, it’d kind of be great if we could, if we could do something that we could actually use, if you want? Emily: Yeah, definitely. No, I mean if you like what I come up with then by all means! It’s been really useful to find outSara: Yeah because if you want any help, just let me know and yeah, so what do you- in the end is it-what’s the- is it basically a really wide brief, like you can kind of create what you want to? Do you have an exhibition at the end? Emily: Yeah, the LCF 3rd year degree show, so I submit early May and I think the show’s in June and there’ll be a big exhibition, so Higher Studio will be promoted! But yeah, I’m not sure how that bit will go because we’ve not really talked about the exhibition or anything yet. Sara: It’s exciting! Emily: Yeah, it is. It’s been quite daunting to come up with, I changed my topic as I was looking at sound and immersive design during Summer and I kept hitting dead ends, like, as you were saying earlier, I want to do something that has something with meaning behind it, like a proper concept and I was just like I think I was doing sound for the sake of it and erm, so I swapped to sustainability and its given me a lot of focus and then choose a brand and think of all the outcomes in a matter of weeks, so its been a bit crazy, but it’s exciting. Everyone does something really different on my course, so it will be

interesting to see what everyone comes up with. Sara: Yeah because I was kind of hoping to do, because I haven’t actually done an official launch, I’m kind of looking to do, well not really a launch because I haven’t , I have customers, but they’re mostly friends of friends and everyone else I’ve kind of kept on a waiting list as you kind of know, so I’ve just finally photographed all the pieces, so I’m at the moment putting them all up on the website, which is quite a long process and then hopefully in December they’ll be ready to rent. Emily: How many, roughly, pieces are there? Sara: I’m putting up a hundred, oh maybe not, maybe seventy-five to begin with. There is a lot more that can be put up, so I’ll do that more in a second round, I’ll do seventy-five at a time because it’s actually getting them all up and doing the product descriptions. Emily: How are you photographing them? On models or? Sara: No because I don’t have the money to have it on models, so I’ve done them flat, but I’ve tried to make it look quite interesting, I’ve done it, I’ve photographed them on a large piece of Perspex, which was held up with acrylic rods underneath. It kind of almost looks like they’re floating a bit and then I haven’t laid the pieces out like, you know normally it’d be laid out really neatly, with some of them I’ve almost just thrown them on to the Perspex, so it kind of, I wanted them to look like real garments, not like we’re trying to make them look perfect.

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Email Correspondence with Sara Arnold

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Email Correspondence with Noa Zarfati, Set Design Consultant

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APPENDIX KKnight

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Email Correspondence with Sound Designers, Lewis Blair-Johnstone and Aran

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INDIVIDUAL LOOKS BRIEF: WHITE BODICE: - rumbling in the womb - sound follows her movement - sounds of the restaurant - was it too sci-fi? but no because of fetas-like aspect - added crispiness when rising, but then went back to the brief and decided that we need the sound to be more soft to reflect the sense of the fabric - we recorded the sound of a duvet and added this in for when she steps on the duvet - still to do: fine details and final mixing - foley to the clothes ?

PLEATS: - fanning - airy and floaty - swooshes - bird-like PINK BUBBLES: - bouncy - bubbling - bit eery when foot stretches out - deep bouncing noises? - emerging noise at the start

- gooey - awkward - weird, but kind of sexy BLACK: - bendy - soft - low - lots of bass - dark - moody

PINK CLOUDS: - peeling off - elegant LATEX: - slimy - slippery 205

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Email Correspondence with Motion Designer, Stephanie Fung

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Email Correspondence with Dancer, Kelly Johnson

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Email Correspondence with Team

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Email Correspondence with Invitation Designer, George Kelly

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Email Correspondence with Post-Production Consultant, Ben Budding

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Apartment Poster Contact Sheet

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100% Recycled Paper

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