Fashion portfolio + Essay by Aleksandra Pavlova. BA Fashion Marketing and Communication, 6FAMK003C, Visual Arts, CWK2, 2018-2019 Teachers: Chiara Legittimo, Gina Ripoll, Anna Mary Rowe
AnOther
Darkness and Light, Self-Creation, Evolution of Identity
Magazine
VOL 2 ISSUE 7 Autumn/Winter 2018 UK £7.95 US $16.95 Sara Beyler photographed by Aleksandra Pavlova
THIS PAGE White Top by Kenzo, White Faux Fur Jacket by Balmain, Jewellery by Chrome Hearts. 1
AnOther Magazine
2
THE LIFE INBETWEEN ROMANCE AND POETRY
THIS PAGE CLOCKWISE FROM TOP LEFT: White top by Marc Jacobs, Oversized Shirt by Gucci, White Jean Jacket by Levi’s, White Faux Fur Jacket by Balmain, Makeup Products by Tom Ford 3
AnOther Magazine
CONCEPT STORYTELLING The concept of the editorial combines the key elements established in the CWK1 portion of the project, however are intertwined with newer ideas gained throughout the creation process of the editorial. The main idea discussed in the previous essay
is a vital element in representing the
and the key idea of the photoshoot is
personality of the main character, as
the concept of “darkness and light”
well as being one of the key themes
in all the different understandings of
throughout the storyline of the film/
the phrase, showcased through the
novel. In the editorial, the images
storytelling of the editorial and the
of the model in nature in different
visual language of each image sep-
“stages of life” represent the way Or-
arately. The story line of the edito-
lando return to nature throughout
rial represents “Orlando’s” journey
his/her journey and seeks comfort
of self-discovery and self-creation,
in it.
evolving form a more “angelic” and pure nature to the more “passionate
Apart from the concepts of nature
and dark” side of her persona. The
and self-discovery, one of the other
images start with the projection of the
important ideas represented in the
purest form of being, with the model
editorial is the morals transmitted
wearing all white clothing and pos-
through the ways Orlando was look-
ing with flowers and in nature. The
ing for and receiving love. The story
relation of nature to the final images
ends with Orlando learning that the love she receives comes from within, and that self-love and self-acceptance are the key to her overall happiness, thus nothing else, like material possessions, can ever give her a similar feeling or fulfilment.
4
THIS PAGE White Faux Fur Jacket by Balmain, Mask by Valentino. 5
AnOther Magazine
6
THIS SPREAD Black Turtleneck by Balmain, Sequence Dress by Stella McCartney, Black Trousers by Steve Madden, Boots by Dr Martens, Jewellery and Sunnglasses by Versace. 7
AnOther Magazine
8
THIS PAGE Oversized Shirt by Gucci, Jewellery by Chrome Hearts 9
AnOther Magazine
10
CONCEPT
DEVELOPMENT Derived from the key concept of the
quotes also add to the main idea of the
editorial, the styling has been used as
photoshoot and allow to experiment
a tool of identifying the phase of being
with the concept of “darkness and light”
of the main character and the temper-
in other ways apart from visual. Adding
ament of the shot. The white coloured
to that idea, the shooting was done over
clothes were used in the beginning
various days, at first in the studio and
stages and the darker items were intro-
after in an outside setting - also to add
duced towards the end, and then the
to the value of dissimilarity.
return to “light” in the final image if the editorial. The background colour of
Finally, as for the chosen layout of
the shots has also been changed from
the magazine, certain elements found
white to black as the storyline pro-
in the physical copies of the AnOther
gressed. The evolution of the styling
magazine were used to represent the
has been accompanied by the chang-
visual language of the publication
es in makeup and the acting of the
and be appealing to the type of reader
model, going from a lighter to a more
coordinated with it. Firstly, the mixing
dramatic look. No colour was used in
of fonts and coloured and monochrome
garments intentionally to enhance this
imagery is one of the key components
idea.
seen throughout every of the reviewed issues. Secondly, the “rough” edges of
11
Another tool used as part of the com-
the text, and the overlaying and collag-
position styling are the clear sheets
ing techniques used in the presentation
of plastic with quotes from the novel
of the spreads is one of the key refer-
written on them, placed in front of the
ence points of the magazine and what
shots. The quotes taken from various
makes it recognisable. A similar analo-
stages of the film add to the under-
gy can be seen with the brands featured
standing of the storyline and enhance
on the spreads, being those that are
the ideas shown in the editorial. The
very commonly seen on the pages of
contrasts in the meaning of the chosen
the real AnOther magazine.
AnOther Magazine
- You’re hurt, ma’am. - I’m dead, sir. - Dead. That’s serious. Can I help? - Will you marry me? - Ma’am... I would gladly, but I fear my ankle is twisted.
Overall, the resemblance of the film to the editorial can be seen in specific details and the concepts behind the final images rather than taking full inspiration from the film imagery as a whole, to which the personal interpretation of the ideas is added to create the “vision” for the images. A large portion of the outcome has been the contribution of experimenting during the shooting process, as well as post-production of the photographs in creating the desired “feel” of the final editorial. The goal was to take the viewer through a journey and make them look twice at every included image, not having any of them feel out of place or “forced”. The only scene included for the idea of re-creating an actual moment from the film is the picture of the model sitting underneath the supposedly “oak tree”, which acts both as a key visual of the movie as well as a metaphor for Orlando’s transformation discussed previously in CWK1, as well as the model running away through the green labyrinth in a black dress - being one of the key moment of the representation of “darkness and light” in the film, when the dress on Orlando changes colour from white to black. Another idea which is intentionally carried throughout the whole editorial is the focus on the face of the model with a large amount of more close-up shots, as well as those including direct eye contact with the camera. This is also one of the main elements found and annualised throughout the CWK1 segment of the project and proven to be a much more complex and meaningful idea that can seem at first. 12
13
AnOther Magazine
THIS PAGE Puffer coat with silver paint by Vetements Makeup products by Urban Decay 14
DON’T LOOK BACK,
THIS SPREAD Full Look by Levi’s, Jewellery by Thomas Sabo, Makeup products by Tom Ford.
15
AnOther Magazine
LOOK
ANOTHER
WAY.
16
The editorial ends here
17
This page intentionally left blank
18
NATURE
19
VISUAL
CONTRASTS
INSPIRATION
EMOTIONAL SPECTRUM 20
SHOTLIST
SHOT
SCENE
SHOT TYPE
DESCRIPTION
#1
front face shot
studio, black background
close up
the idea for the cover has been orifinally to make a front face shot split in half - black and white vs colour
#2
touching flowers
outside in green nature
mid shot
the model reaching for coloured flowers as a symbolic metaohor found in the nover as well as a gentle incerraction with nature
#3
“lightness” collage
studio on white background
variety - mid shots to close ups
the model in various positions and different props, showcasing the “purest” form of lightness with symbolism behind each shot, e.g. sitting in the floor surrounded by flowers
#4
mask on face shot
studio on white background
close up
the model with face on the mask close up, her touching her face and showing a more melancholic attitude - trandition shot
#5
various shots in nature
amongst trees in park
wide shots
the model with face on the mask close up, her touching her face and showing a more melancholic attitude - trandition shot
kiss shot
studio between mirrors
close up
the model kissing herself in the mirror, symbolising the self-love and actualisation conceopts; post-edited in a constrasting colour to mark the centre of the editorial
#7
crying shot
studio on black background
mid and close ups
the peak of “darkness” phase of the ditorial, the model crying, tears drawn on by black facepaint, turning over her shoulder looking into the camera
#8
motion turning shot
studio on white background
mid shot
the closing shot is the return of “Orlando” back to “light”, a collage of the model turning to fce the camera, image overlay
#6
21
REVIEWED VISUAL MATERIAL The following issues of AnOther magazine have been reviewed in order to gather a fuller understanding of the visual language of the publication and gather inspiration for the layout of the final editorial. The magazines below are taken one from the past 4 years of releases of AnOther, thus providing evidence for a wider range of the magazine’s development and evolution as well as allow-
Saoirse Ronan photographed by Craig McDean
Ruth Neggs photographed by Colier Schorr
ing to record the most commonly used techniques for layout and organisation.
Spring/Summer 2017 issue
Autumn/Winter 2016 issue
Dakota Johnson photographed by Collier Schorr
Rooney Mara photographed by Tim Walker
Spring/Summer 2018 issue
Autumn/Winter 2015 issue
BIBLIOGRAPHY Film: Orlando (1992). [film], directed by S. Potter. France. Available at: https://l23movies.me/movie/orlando/2zP4c [Accessed 18th Jan 2019]
Novel:
Woolf, V. and Bowlby, R. (2008). [book] Orlando. Oxford: Oxford University Press.
AnOther Magazine: Another Magazine editors (2019). AnOther magazine (issues 2015, 2016, 2017, 2018) Available at: https://www.anothermag.com/fashion-beauty/10136/your-first-look-at-the-new-issue-of-another-magazine
Previous work (CWK1):
Aleksandra Pavlova (2018). “Fashion Culture Essay” [6FAMK003C], IED Barcelona. Unpublished assignment 22