MASTERCLASS
1
S e B A S T I A N O S P I N A
ISSUE ONE AW 2016
M A S T E R C L A S S
2
“I like her in this one, because she looks very natural,” Dangin said. “Yes,” Demarchelier agreed. “In that other pose, she looks like an actress.” “But she’s also very good here,” Dangin said, of a shot that showed her partially nude. “Yes, she’s very beautiful in that position. Do you want to cut it?” “No, no. I’m going to keep it for the ass,” Dangin said. “Maybe we could redo the ass.” “Yes, the ass is quite heavy.”
Patrick Dermarchellier discusses editing with Pascal Dangin: world class retoucher (Collins, 2008)
F A S H I O N
G R A P H I C S
contents
3
IN CONTEXT concepts aesthetic reccurences PRACTICE digital futures professional platforms networking METHODS & TECHNIQUES make-a-zine patterns photography street art photomanipulation collage FINAL THOUGHTS bibliography
4 6 7 10 18 20 22 26 28 30 32 46 38 48 56 58
in context
M A S T E R C L A S S
4
Tim Walker for Love Magazine AW 2016
F A S H I O N
G R A P H I C S
5
I have always seen myself as an image maker.
It was hard to define what Fashion Graphics actually means, it is a new course and there is great potential to explore its boundaries and definition. It is a very ambiguous term that could include many different disciplines. The four people doing the course have completely different approaches: textile design, web design, or fashion art direction. For me, it has always been related to the fashion media and the content you can find in fashion magazines and websites, advertising, and fashion films.
intrinsic artificiality in the fashion media. The fashion world depicted in advertising and editorials is obviously shot in the real life, but just like a movie, it’s make believe. The lifestyle portrayed in such media is surreal, not to say, unobtainable, for most people. I like to call it an enhanced reality, where the clothing is sublime, the models are unrealistically perfect, the situations romanticised and the lifestyle exaggerated...and everything has plenty of postproduction. No wonder our perception of beauty and style is distorted.
“I think photography has been wrestling with a burden of telling the truth, which I don’t think it was ever particularly good at.” - Nick Knight (Craveonline, 2016) My work for the last year has been focused on creative imaging for fashion. It has involved the application of photography, collage, photo manipulation, illustration and editorial design as tools to produce fashion related content and to develop my own personal style. The uniqueness of my style relies on the combination of these techniques. In the current industry, the process of publishing fashion photographs is very interrupted, since most of the time it is a fashion art director that does the pre-production for a shoot, a photographer takes the pictures which are given to a retoucher that delivers finished pictures to magazine editors for them to develop layouts and send to print. It’s my desire to become proficient in this techniques becoming a versatile professional, involved with the images through every stage of the design process from photo to editorial or online publication. At the start of the course, I identified that there was an
I have worked as a photographer before, as a retoucher, as an advertising art director for Tribal DDB and WPI. One of my issues with advertising and retouching is that many people treat this commercial images as a true depiction of the world we live in, or take them for granted completely, forgetting that they are idealised and made with the sole purpose of zzmaking money. However, this concern is something I have to put aside in mycommercial work, when I have an advertising or design job, which uses my artistic skills for business purposes, and to make money, ultimately. I am fascinated with editorial design and recently I have been very interested in preparing myself professionally for the role of a magazine editorial designer. I believe my skills in this different areas would be very valuable in any publication, and this is the position I will apply for after the MA.
I N
C O N T E X T
6
neo classical bust manchester art gallery
‘We live in a world soaked in visuals … These images display something unobtainable … Their message is that everyone can and should work towards looking ‘great’ … The ‘advert look’ focuses on two key criteria – thinness and symmetry of features’. (Hoskins, 2014: 110-111)
F A S H I O N
G R A P H I C S
7
in studio model test
‘People are given the impression that they can become what they see ‌ the images we see are not just of augmented supermodels, but of digitally enhanced augmented supermodels’. (Hoskins, 2014: 111)
I N
8
C O N T E X T
CONCEPTS in brief
• The tension between the commercial style and the artistic or conceptual nature of my work. • The Fashion world as an artificially constructed fantasy with distorted elements of reality. • The Unobtainable beauty ideals portrayed in massive media. • The objectification of the human body. • Dress and fashion media as a form of deception and expressing identity -
F A S H I O N
G R A P H I C S
AESTHETIC RECURRENCES
9
IN PRACTICE
Photomontage
Defacing
Deconstruction Extreme photoshopping
Painting
Pattern-making
PRACTICE
M A S T E R C L A S S 10
F A S H I O N
G R A P H I C S
11
They’re all dreams: every picture is a fantasy. Not so much the portraiture, but the set pieces definitely are fantasies and I think that the model or the sitter in a picture is the window for the viewer – for any person – to be a part of that fantasy. It’s me asking them, inviting them, to enter into that, whether it’s a dark and sinister mood or a beautiful fairytale. It’s escapism – that’s what it is. - Tim Walker
(Smith, 2016)
P R A C T I C E
12
Practice 1 served to define the concepts I was working with. One of the topics I identified was objectification and body enhancement, either through digital modification or through wearables. I quickly came to the conclusion that jumping to androids and robots and fashion would be very complicated. I extracted from this idea, however, our desire to always be ‘perfect’ and how beauty ideals change every time.I narrowed my interests down to artificiality and deception in the fashion media as well, looking a lot into the work of Tim Walker, which always makes his models look like dolls and ‘objectifies’ them in their picture exaggerating their ‘artificial’ qualities and elevating them to a twisted beauty ideal. This unit allowed for research on artists that use photography and painting like Pierre Debuschere, Daniel Sanwald and Nick Knight. I analysed their techniques and found after experimenting with them that that most of the ones they used I could use in my artwork with success. Some of these were double exposures, blending modes, or some kind of digital painting. However, I obviously find them to have an incredible sense of fashion, style and taste. That is something that only comes with the proficiency in the use of the techniques and the experience with fashion images. My favourite thing about their pictures is that they mix photography with fine art and that they are surreal in a sense where you can tell there is heavy image modification and there is no attempt to make the images look real. The images are dreamy and therefore are not at deceitful as the fashion images that attempt to appear real, even though they’re a constructed reality. One of the questions that resulted from this exploration was:
“I’ve always been interested in the idea of ‘the authentic’ and authentic beauty.
I’ve tried to perpetuate the idea of something that’s more unusually beautiful.”
- Nick Knight (Bradley,2013)
F A S H I O N
G R A P H I C S
13
P R A C T I C E
14
F A S H I O N
G R A P H I C S
15
When to stop with the editing? The photographers I researched rely on heavy editing, but they know how to use just the right amount. there is a great amount of photography and artistic intervention. I have been true to what I said my imaging goals were in Practice 1. Later on, I found that this indefinite area between photography, retouching, and digital painting is where I would end up classifying my body of work for the MA. Mixing media has become my technique of choice. I’m happy with this place where I have situated my art because it has made my photographic work be more conceptual and artistic than my previous work, which has been entirely commercial. I made the first extreme body alterations using photoshop in practice 1, using my retouching skills in an exaggerated way, which helped me find the style I’m using at the moment. I started using the photo studio in practice 1 and started getting familiar with the equipment and my workflow. I even did some experiments using strobes that allowed me to make very simple animations. During this time I was considering to learn more about web design, and I concluded that it would require me to dedicate to it exclusively, given its difficulty, therefore I decided not to continue in that direction. Something similar happened with my interest in fashion films at this time. I found that I didn’t have access to the equipment I would have wanted to use or the team and studio required for the level of film production I wanted. Thus I took the decision to commit to still image which I know better. During this time I took the photograph of my finnish friend Janna which inspired my final images.
“I still have to improve myself! I’m pretty sure that I do a lot of wrong manipulation, but I like it in a way.” - Pierre Debusschere
(Motwary, 2010)
P R A C T I C E
16
At the moment I wasn’t taking many pictures, however, the second practice unit was very productive. I collaborated with Anze and other designers and we had several photo shoots. We made look-books and a fashion editorial during this time. The work we did was very commercial, despite most of it being photoshop free, it didn’t represent the concepts I was working on. For my investigation in artistic matters, I explored DADA and Surrealism driven by my interest in collage making. The artists from these movements provided a strong conceptual base about mixing meaning and media that is still very relevant to my work today. Hanna Hoch’s collages and Hans Bellmer’s dolls inspired me to start making my own collages manually and to continue playing with body parts. At this time I finished Janna’s picture from practice 1 and photo manipulated it into my favourite artwork so far. After this was over I had a brief trip to Paris which fueled my interest in architecture and which made me fascinated with street art and made me want to start mixing it with my work. I tried making small tests with posters and ‘brandalisim’ but I was not very satisfied, but they helped me find out that the street is the most appropriate place to put my artwork. My fashion images can be disturbing in some ways and I should display it in an anti-advertising way. During the summer I committed to improving my magazine making skills. I started making magazine layouts, making portfolios and testing my work in print form and perfecting my printing and binding skills. I took several portraits of friends, as well. I used casual models and edited them in exaggerated ways, manipulating their bodies and faces to create my final pieces. I made them in similar to my favourite image,
Janna’s picture, which got very good feedback during testing time. I experimented with collages in both the digital and the manual forms, which I found very hard. I liked it more when I wasn’t worrying so much about the content in my images. I enjoyed the process and the images more when it was a free process that when I have some defined concepts I want to address.
“I do a lot by hand. Many things look like they were done digitally, but in reality they are the results of a broken scanner or a very old cell phone. I wouldn’t call myself a computer nerd” - Daniel Sanwald
(schug, 2016)
Besides this, Anze and I collaborated with other students from Fashion and Graphic design to make an editorial and some more lookbooks. We re-shot Cavan McPherson final collection with a few more outfits and 6 models, and we produced one of the best images we have made so far, photographically speaking. On the side, I made several T-shirt designs which I didn’t like, I dedicated much time to some but I ended up making motifs that were easier to screen-print. I continued my hobby of making photographic patterns with a kaleidoscope app in my phone. I shifted from architecture and started using block colours and street art in my patterns. I ended up digitally printing some fabric with my favourite pattern to make a shirt. I tested and printed some of my work in large scale and got very good reception. I did this for testing time. Completely for fun I also printed posters of vintage cyclist woman to promote cycling.
17
O T H E R
U N I T S
S
E
R
U
U
F
T
D
I
G
I
T
A
L
18
Using technology to think like an artist.
The options unit, which was unit was very enjoyable because it encouraged the use of technology, and made me think about the interactions it has with fashion. I ended up collaborating with Bruce Atkinson, who crafted a wearable paper dress and with Zeljko Sabol, who developed interactive visuals. We put them all together into an interactive installation where I projected sound reactive patterns onto the dress, with Zeljko’s code generated visuals in the backdrop. My favourite thing about this was that it helped me use my skills in a purely artistic way, and allowed us to bring together disciplines like fashion design, digital art, and technology together in a single piece. It also got me thinking like an artist, I have never considered myself as such, but after this installation, I started to think in ways I can display my design work in gallery space like a work of art. The final piece got really good reception, everyone was fascinated by it, and the interactivity of the piece and the fact that it was constantly changing was immensely satisfying. I was excited by the installation and I look forward to re-creating a similar one in the near future.
“ I would call myself an image-maker. I’m not really an artist because when it comes to fashion I’m not completely free. I work with a team and with certain preset requirements. I don’t really see it as art.“ - Daniel Sanwald (Schug, 2016)
F A S H I O N
G R A P H I C S
fig. II: idle projection on exhibition day
19 19
fig. III: first projection mapping tests on unfinished garment
fig. I: mapping process - screen and projection
fig. IV: projection on exhibition day reacting to sound input
O T H E R 20
PROFeSSIONAL PLATFORMS
20
U N I T S
An opportunity for learning from real world experience. The PP unit was very productive. I tried many things that I hadn’t
done before. It helped me approach the design market applying for internships and jobs in magazines and being part of an international artist collective. I perfected my skills in magazine layout design, printing and bookbinding. I had the opportunity to experiment with my graphics in textiles printing fabric with my patterns and screen-printing T-shirt designs. I could visit a printing factory and learn more about the technical aspects of digital and offset printing. The best part, however, are the contacts I made in London and Paris. In London I visited 2 magazines I will be contacting after the MA for the possibility of an internship, and Collab, the T-shirt startup in Paris working with a collective of street artists.
F A S H I O N
G R A P H I C S 21
montage of photographic patterns on clothes
S K I L L S
In the Fashion industry networking is the most valuable skill you can have, and having to work with other people is one of my favourite things about my ‘job’.
Making meaningful connections have been a huge part of the MA course. For the options unit I got to work with other creatives to put together an art installation and digital art exhibition and for the professional platform units I got in touch with professionals of the editorial and fashion business. However, making work connections was a very important part of my main practice. Fashion imaging, in general, is a complicated process. It involves different specialised people. Photoshoots especially require many people to work together with the same purpose of obtaining ‘perfect’ images. I have been working with Anze Ermenc throughout the year and his work has been invaluable to my practice. He has been a genius in organising shoots and contacting the people needed to make great fashion pictures and prints. Along the year we have put together a team of models, designers, makeup and hair artists, graphic designers and video editors that have been very helpful and fun to work with. I’m collaborating with Anze in his final project, which is exciting. We’re aiming to get all of this team together to make a final fashion photograph. It’s Anze idea is to exhibit the finished fashion image accompanied by a backstage picture revealing all of the specialists and effort necessary to make the final fashion picture possible. One of my main challenges, when I return home, is to network and put together a team of specialists all over again.
NETWORKING
22
F A S H I O N
G R A P H I C S
23
Anze Ermenc’s Final Project Picture featuring the team of creatives we worked with along the year. The dotted line shows the cropped commercial image, whilst leaving out all of the work of the creatives involved on a single fashion shoot. - From left - Anze Ermenc: Creative Direction, Libby Bulmer: Hair and Makeup, Emily Buckley-Jones: Styling, Kim Taylor: Model, Sebastian Ospina: Photography, Joanna Buttercase: Video Editing, Matthew Worsley: Graphic Design
24
Clothes: Tzu Yin / Styling : Anze Ermenc / Hair and Makeup: Tipakorn Suwansari / Model: Megan Case
25
M A S T E R C L A S S 26
F A S H I O N
G R A P H I C S
27
METHODS & TECHNIQUES
M E T H O D S
&
T E C H N I Q U E S
mAkE-a-zine
28
Magazines are the ultimate medium where I want my work to be.
I find that there is something sublime about holding a magazine, they combine several very interesting elements like fashion, photography, advertising, and editorial layouts in a single object. My desire has been to work for them and lately the interest of making my own has been growing.
teach myself and it was very intuitive. Learning this suite helped me maintain the design elements throughout the design and be cleaner, however, I find it very rigid, and sometimes it makes my design look like a book rather than a magazine. I have concluded that the best option is to use a mix of the two suites.
I have been making some layouts, and all of my essays I have tried to make looks like a book or magazine and I have printed them with great results, they look very professional on paper!
Printing and binding is a different story, it was not hard to learn but it took me a couple of failed attempts to understand the printer driver and to get the process right.
At first, I was using Illustrator, which made the zines look very good graphically, but has difficulty maintaining consistency in most of the editorial elements of design, like the columns and the text boxes. I didn’t know inDesign, so I had to
Binding has been very straightforward given the simplicity of the booklets I have been making. I still have to try binding more complex booklets. It is a craft in which I still need a lot of expertise and practice.
F A S H I O N
G R A P H I C S
29
M E T H O D S
&
T E C H N I Q U E S
Making patterns
30
fig. II : finished pattern
fig. I : building used
Since the beginning, I have been obsessed with photographic patterns. It started with architectural pictures that got my attention due to geometry. Later on, I started using vector and colourful shapes and I continued to use pictures of every day things, like a headphone wire and a flourish background (next page top left). My love for patterns is based the beauty of reflection and using mirroring to make a single frame into a seamless pattern. My goal was to make my photographs and designs into prints for textiles, even though I had zero experience in the matter. My first attempts at this were using Layout, an app by Instagram, that helped me mirror my photographs and tile them seamlessly with ease, directly on
my phone. I found it was very limited because I could only work with square frames and in multiples of 2. Later on, I found the Kaleidomatic app in which I could use tiles that were triangular or oddly shaped and that tiled with different geometry, like a glass kaleidoscope, which produced satisfactory resuts. However, I found that when I use this app, it crops out a large section of the picture and makes the artwork loose context: its geometry looks stunning but it’s harder to know if it is indeed a photograph or to identify the motifs within the picture. I ordered prints of my architectural patterns on cotton jersey to make a T-shirt and wear my patterns. In hthe future I plan using this photographic tesselations to produce textiles in a larger scale.
“With these apps, suddenly anyone is free to create all sorts of unique imagery very quickly and very easily. I like that democratisation” - Nick Knight (Bradley, 2013)
31
M E T H O D S
&
T E C H N I Q U E S
Fashion
photography
This MA has changed the way in which I see photography completely. I had always seen fashion photography as my dream, and what I wanted to work in. The last 5 years of my life I have struggled being a photographer and trying to make my images very commercial. I had always used heavy postprocessing in my images to make them look perfect in accordance with the beauty standards of the fashion industry. The MA taught me to take more natural photographs. I did a lot of commercial work with Anze and the designers we shoot lookbooks for. I didn’t have enough
STREET ART &
‘brandalism’
32
Street art is a great inspiration for me considering it is similar to advertising, it’s out there in the public space and it’s available for everyone to see. However, it’s artistic and in many cases is trying to critique the system or vandalise certain aspects of the public space, like advertising itself. Vandalising adverts is a very common practice in street art, sometimes dubbed “Brandalism”. I find this concept analogous to my artistic process given that my aim is to disrupt the images and messages found in advertising, in a similar medium, and in an artistic fashion.Flyposting is a
time to commit to editing this images, therefore I tried to be very careful of detail in the photoshoots. Most of the images we used for the lookbooks have very little or no Photoshop I’m very proud of this because it changed my style, and shows that quality commercial images can be achieved without the need of excessive retouching. It makes me feel more honest as a photographer. Some magazines, like i-D , Another, and Wonderland, are preferring unmanipulated, natural images of their models instead of airbrushed versions.
very appropriate technique for my work, posters not only look like magazine pages when they are together, but because they resemble bus stops and signs and are a familiar media to encounter on the street. I’m not sure If I will be able to showcase my work in the street for the show, but it would definitely be the the place where i most want to space to show it. I feel a little disappointed that I wasnt more prolific with my posters and taking my art out to the street, it is definitely something I look forward to do after the MA is over.
F A S H I O N
G R A P H I C S
33
Top: Cavan McPherson’s Graduate Collection. Styling: Anze Ermenc. Hair and Makeup: Katy Brody. Bottom: Montage of street corner with the way I would have liked to showcase my artwork for the show.
34
( u n r e t o u c h e d ) D a n i e l M a k e u p
b y
P o r i e t i s K a t y
B r o d y
35
36
37
M E T H O D S
&
T E C H N I Q U E S
PHOTOMANIPULATION
38
“I look at life as retouching: makeup, clothes are just a transformation of what you want to look like.” - Pascal Dangin (Collins, 2008)
Photoshop has become an electronic tool to play with collage. It is a tool that I adopted from my commercial experience as a photographer and retoucher. However, for the MA I have approached images in a unique way, trying to make them disturbing and taking the photo editing techniques used in fashion to extremes. This way I intend to challenge the beauty ideals set by the fashion world. This kind of technique is not very commercial but the goal of the awkward images is not to be commercial, rather get me noticed as an at artist and to challenge the beauty ideals and the extreme photoshopping found commercially. Photoshop is a wonderful tool that I have used for over a decade, and I’m finding it perfect to bring together the many techniques I mix into my work. Retouching is a huge component of my personal style, however, I have turned the retouching techniques like ‘Liquify’ slimming and skin softening into extremes. I have also used some manual collaging techniques like cloning body parts or stretching limbs for dramatic effect. One of the things I find the most interesting about the work I’m doing is to turn ordinary portraits into highend fashion images through the exaggeration of photoshop, this has become the base for my final images.
G R A P H I C S
F A S H I O N
G R A P H I C S
39 39
(re-image-ined) Daniel Porietis Makeup by Katy Brody
F A S H I O N
40
41
42
43
I N
44
C O N T E X T
F A S H I O N
G R A P H I C S
45
46
47
M E T H O D S
&
T E C H N I Q U E S
48
Karl Lagerfeld for Chanel AW 2016
Collage
F A S H I O N
It has been one of the pillars of my practice. It has allowed me to mix the content from various sources and layer different techniques into my artwork. I have been collaging with handmade and digital techniques and I have been getting satisfying results. I found that it was a very easy way to incorporate my photographic patterns into my work, especially as prints for the fashion cutouts. I started with random magazine cutouts. At first, my collages were freestyle, and I didn’t think trough the final image. This process is the most fun, but I wasn’t getting the results I wanted. Later on, I developed a better sense of gathering content. It is very important to have a library of cutouts to work with, and to know what kind of images I want to produce in the end, so I start cutting content that is appropriate
G R A P H I C S
for the final images I wanted to obtain. For example, I worked with limbs, or faces, or mixing content from an animal book with fashion images. However, after this, I stopped enjoying the process. What I liked about it the most was the random result. I started finding that I was spending too much time cutting figures and then having a hard time putting it back together. I enjoy the technique but I find it very time-consuming and hard to do right, with a high level of professionalism. I wanted to become better at it, but, I realised there was not much time left in the MA for me to commit to this goal. I will continue collaging in the future, I enjoy it very much. Lately I have seen many fashion editorials and advertising using the collage technique, which means it is still quite useful and trendy at the , like the following, for example:
Karl Lagerfeld for Chanel AW 2016
49
50
51
52
53
54
55
F I N A L
T H O U G H T S
OPPORTUNITIES FOR THE FUTURE
56
After finishing the MA my first
raphy studio with emphasis in Fash-
intentions are to look for employ-
ion Graphics. The fashion industry is
ment in a fashion magazine. I still
Colombia and with my skills, I’m sure
have to keep in touch with the con-
I will be very attractive to potential
tacts I have in London to see if there
customers and local brands.
is any possibility of having an internship with them.
One of the reasons for the fashion in Colombia to be moving
I will continue looking for work
forward is that the textile industry is
experience even in other countries in
very fast growing. I am even open to
Europe, and even in something fash-
considering working with textiles
ion related that is not a magazine.
print design when I go back. I still
For example, there is a possibility of
have many pattern prints I want to
going to Paris and working with the
see made into clothing.
Collab brand.
I would love exhibiting my art-
After January, when my visa ex-
work in a gallery back home, espe-
pires, I will probably have to return
cially recreating the Digital Futures
home, there is a little chance of stay-
piece, and even taking my work out
ing in the UK. When I go back, I plan
to the street in large prints.
to seek a magazine job, this is my
I am considering creating a
biggest goal in graphic design at
brand and maybe an alter ego since I
the moment.
identified that it’s a good idea to
Another option I have consid-
separate my commercial persona
ered is working in a graphic design
from the provocative ideas that
studio or even setting up my own
spread and the beauty ideals I cri-
graphic design practice and photog-
tique with my art.
57
Bibliography
58
Bradley, L. (2013). Nick Knight on the Changing Face of Fashion Photography. [online] AnOther. Available at: http:// www.anothermag.com/art-photography/3169/nick-knight-on-the-changing-face-of-fashion-photography [Accessed 7 Aug. 2016].
CraveOnline. (2016). Fashion, Art & Photography Meet in the Work of Nick Knight. [online] Available at: http://www. craveonline.com/art/988157-king-fashion-photography-returns-new-exhibition-work [Accessed 7 Aug. 2016].
Collins, L. (2008). Pixel Perfect - The New Yorker. [online] The New Yorker. Available at: http://www.newyorker.com/ magazine/2008/05/12/pixel-perfect [Accessed 7 Aug. 2016].
Fashion Gone Rogue, (2016). Chanel 2016 Fall / Winter Campaign. [online] Fashion Gone Rogue. Available at: http:// www.fashiongonerogue.com/chanel-fall-2016-campaign/ [Accessed 16 Aug. 2016].
Hoskins, T. E. (2014) ‘Fashion and Size’, in Stitched Up: The Anti-Capitalist Book of Fashion. London: Pluto Press, pp. 108-127, 219-222.
Motwary, F. (2010). INTERVIEW: PIERRE DEBUSSCHERE talks to FILEP MOTWARY. [online] FILEP MOTWARY BLOG. Available at: http://unnouveauideal.typepad.com/motwary/2010/01/interview-pierre-debusschere-talks-to-filepmotwary.html [Accessed 7 Aug. 2016].
Schug, S. (2016). Previiew / Interview Daniel Sannwald. [online] Previiew.com. Available at: http://previiew.com/home/ journal/interview-daniel-sannwald.html [Accessed 7 Aug. 2016].
Smith, K. (2016). Interview with Tim Walker | The White Review. [online] Thewhitereview.org. Available at: http://www. thewhitereview.org/interviews/interview-with-tim-walker/ [Accessed 7 Aug. 2016].
Walker, T. (2016). “Portrait of a Lady” by Tim Walker for Love Magazine, Spring/Summer 2016 - fashionCOW. [online] fashionCOW.
Available
at:
http://fashioncow.com/2016/08/portrait-lady-tim-walker-love-magazine-
springsummer-2016/ [Accessed 9 Aug. 2016].
F A S H I O N
G R A P H I C S
59
M A S T E R C L A S S 60