LE V E L 5 P O R T F O L I O
A M E L I A C U R W E N
I N T E R A C T I V E P O R T F O L I O E x a m p l e b e l o w :
I ’m l o o k i n g t o e x p a n d m y p o r t f o l i o w h i l e I ’m o n t o p a n d w h i l e I ’m y o u n g .
C O N T E N T S PAG E S 3 & 4 C R E AT I N G FA S H I O N N A R AT R AT I V E S FA S H I O N S H O R T F I L M
PAG E S 5 & 6 P R A N D CA M PA I G N S P I T C H D O C U M E N T
PAG E S 7 - 1 0 T H E G R E AT G AT S B Y P R O J E C T S T Y L E D P H O T O S H O O T
C R E A T I N G F A S H I O N N A R R A T I V E S
T h i s p r o j e c t w a s a f a s h i o n s h o r t f i l m o f w h i c h t h e c o n c e p t , s t y l i n g , s h o o t i n g a n d e d i t i n g o r c h e s t r a t e d b y m y s e l f a n d m y p a r t n e r, n a r r a t i n g t h e w o r k o f o u r c h o s e n d e s i g n e r, m e n s w e a r d e s i g n e r M a t t h e w M i l l e r. T h e c o n c e p t f o r t h e v i d e o w a s M i l l e r s S S 1 3 c o l l e c t i o n : C I TAT I O N S . We p l a y e d o n t h e m e a n i n g o f t h e w o r d a n d d r e w s t y l i n g c o m p a r a t i v e s f r o m p r e v i o u s M i l l e r v i d e o s .
THE
STORY
THE TITLE
C O N N O TAT I O N S RY
AND
OF
EPIC
M I LI TA R Y
M I LI TA R Y
REFERENCES TO A
C I TAT I O N S
MILLERS
IMAGE-
FILM
PREVIOUS
PROMOTIONAL VIDEO WORK
BLACK
THE
ICE
COLOUR
COLOURS A
BOLD
EXAMPLES
IMAGERY
OF
OF THE
MUSICAL CLOSE
IN THE
CCTV
SCHEME TO
ER
PRINTS
ANGLE
COLLECTION
UP
ST YLE
FIT
SONG
ABSTRACT
OF THE
MILL-
CAMERA WORK
P R
&
CA M PA I G N S
T h e c r e a t i v e o u t c o m e f o r t h i s p r o j e c t w a s a P R P i t c h f o r t h e e m e r g i n g d e s i g n h o u s e M a i s o n F i n D e S a i s o n . P r o d u c e d t o s e r v e t h e p u r p o s e o f d i s p l a y i n g a n i n f o r m a t i v e a n a l y s i s o f t h e m a r k e t p o s i t i o n , h i g h l i g h t i n g a n d e x p l o r i n g p e r s p e c t i v e P R c a m p a i g n / s . I a n t i c i p a t e d t h e m i n i m a l i s t , m o n o c h r o m a t i c s t y l e o f t h e b r a n d a n d t r a n s l a t e d t h i s i n t o a r t d i r e c t i o n .
P R PITCH
T h e b r i e f f o r t h i s p r o j e c t e n t a i l e d c o n j u r i n g a n i m a g e u s i n g F. S c o t t F i t z g e r a l d ’s 1 9 2 0 ’s b o o k : T h e G r e a t G a t s b y. I m a g e s w e r e i n t e n d e d t o be reference from the themes and stor y in the novel, however, without being too literal in the production. This is the finished – styled, photographed, and edited – editorial style layout of my interpretation. Instead of choosing one character to epitomise in the image, I opted to create a series of metaphors that present themes and imagery used in The Great Gatsby using styling and editing as the tool. The focal colour is white reminiscent of the books use as white as a theme; therefore instantly the image steals the semiotics of F itzgerald ’s use of white. Commonly white stands for unblemished, innocence, purity and the colour is often associated with
Daisy Buchcanan: “His heart beat faster as Daisy ’s white face came up to his own” (p. 107). In my understanding of her affiliation with ‘white’ – its connotations are all the wistful values G a t s b y h a s o f D a i s y. W i t h t h e n a t u r e o f t h e ‘ t r u e ’ D a i s y, a n d t h e ‘hollowness’ of the life she and many other characters exist with I am portraying white as a ‘blank canvas’ that denotes the nothingness of the lives they are leading. With the dress in particular it was selected for the colour, st yle, and significantly because it was transparent, another aspect of the character of Daisy although. I w a n t e d t o u s e t h e i d e a o f t h e e y e s o f t h e T. J . E c k l e b u r g ’ s b i l l board as I thought this would make for a powerful and unique visual as well as symbolic meaning. In the book, the eyes are described as keeping a “watchful vigil”. Dynamic and ingenious
as a metaphor in the book, the semiotics of someone watching over all of the characters in the plot creates a holistic idea of t h e n o v e l , a s o p p o s e t o o n e c h a r a c t e r. To d e p i c t t h i s w e m a d e a pair of glasses (using glasses as the reference to Eckleburg ’s “enormous yellow spectacles”) using a pair of old frames. Instead of using lenses we used round mirrors that reflect the image of the surroundings to hone the idea of increased guilt when someone is watching and to create an interesting end visual. Pitted against a green background that recognises another colour theme Fitzgerald uses – it symbolises Gatsbys hope for the end goal after the wealth is achieved and in a way humanises the feelings that are not geared toward wealth. The colour is in the background of the image there for is not ac-
cessible to the character until they have swapped the frivolit y. A l s o i t i s a l w a y s o n t h e o t h e r s i d e o f t h e w a t e r f o r G a t s b y. The hair and make-up we wanted to be liken-able to 1920’s without being exclusive to that era to remain in the style contemporary theme we hoped to achieve from the final image. The lips were painted deep purple – which also contrasted well with the crisp white and was complimentary of the green. I have chosen to produce may layout as four images repeated across a double page. I thought the art direction of this decision was aesthetically pleasing, and it could have symbolic values of the idea that the ‘eyes’ in the sense of the novel or god or one’s own self conscious, are always watching.
D B T h e
U
A C
s e c o n d
i d e a
H t o
I f u fi l
A
“ G a t s by ’s
N T h e
S
G r e a t
Y N
A
G a t s b y
D re a m”
b r i e f :