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C O A L E S C E C O A L E S C E koh-uh-less No.1
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Both the colour (gunmetal blue grey - This colour was designed myself and is not an existing pantone) and title, written in a mix of light and bold Helvetica are to be ambiguous. I don’t want any associations with the colour or font, it is to be kept as vague as possible to the readers, to elicit intrigue and in turn make them want to explore the content in greater depth. Judging a book by its cover is a notion we all give into even if we say we don’t. If we feel we can’t identify on a personal level or find an appeal to the way something physically looks, then we probably won’t pick it up or pay it much attention. Humans are visual beings, “the visual area at the back of our brains makes up for 30% of our cortex” – psychology today, this is also why I have focused primarily on the visuals for COALESCE, letting the images take centre stage with text accompanying them, but in an aesthetically appealing manner. The front cover is comprised of three layers, the first is the ‘COALESCE colour’, the second is acetate with COALESCE in capitals written in a mix of the light and bold Helvetica in black and the third is a frosted cover, for thickness and to stop fingermarks on the acetate. I chose to have the brand name written in capitals as it has been found that participants remember brand names more when written in capital letters. “Respondents were correct in identifying brands which had upper casing far more often than when they were lower case.” – mycustomer.com
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CONCEPT DEVELOPMENT
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e desire the connection we have lost with the world around us. Yet it is crumbling through our own devices. We are craving something that we are simultaneously pushing away. As human beings, we have an inherent connection to the natural world, that air we breathe and the greenery around us - we want to be amongst it. Nature deficit disorder is a real thing. Scientifically, it has even been found we perform on a profoundly higher level, when exposed and surrounded by nature. The notion of a simple life has not come about without reason in what is now considered the digital age. Why are so many people deleting social media accounts, having phone bans and resorting to a technology free life? Because digital Living is inadvertently taking over and we are losing our sense of self in the process.
With a decline in natural greenery through an increasingly digital and urban age, we are becoming physically disconnected from nature. Designers, brands and innovators are catching on to this. The well-being of the consumer is now a major consideration in the success of any business and attempts to redefine and ‘manufacture’ nature that form an almost pseudo environment are becoming increasingly commonplace. Designers are now creating plant filled, multisensory spaces, either permanent or temporary, that consumers can immerse themselves in, that imitate or replicate our natural world. By constructing this flora and fauna to infiltrate built environments, it fulfils our need for organic components that we are losing in this abundance of concrete infrastructures. This even translates into the frequency of the colour green being used. Associated with nature and all things organic, these connotations evoke healing and therapeutic properties. This needs to stop.
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// PYLOT magazine has a strict 'no beauty retouching policy'' this is to ensure the 'unique artistry of an analogue process' is maintained. Going against the grain by using this policy they are branching out into a sector of their own. In a society where most magazines, publications and mass media produced 'entities' are rife with retouched imagery, it is a celebration of the natural and organic. // With the brands policy against beauty retouching the publication is tapping into a well known concept that is genuinely tainted with disapproval for publicly projecting 'falsities' in the form of demoralising and unachievable imagery. By doing so they are appealing to an audience that wants to eradicate these superficial ideals. PYLOT also use their publication and imagery to confront what some may consider more controversial topics, attempting to explore 'the ever- increasing questions that form around the ethical uses of photography in fashion and popular culture'. By having this head on approach and being brave enough to answer these questions, they are again embracing another topic that will undoubtedly encourage a positive response from its audience.
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// PYLOT also encourages its readers to be proactive on a personal level with the publication. The brand offers its readers the opportunity to send in any of their own photographic submissions to the publication, which then in turn may be featured in one of their issues. Any photographs taken however, must adhere to their no-retouching policy and be shot on an analogue camera to retain their raw image ethos. This also means the subject matter of PYLOT will change each and every issue with different contributors all providing something different yet with a common theme. // The publication is image focused and specialises in photography and the exploration of topics surrounding, in and around the creative industry that some more 'mainstream' publications may not have the free will to do. It approaches ethical subject areas and seeks to question those areas in a way that its readers can relate too. // With its strict no retouching policy and the ethical issues it chooses to examine throughout its content, the publication does attract a niche market. Allowing its readers to take an active role in the publications production is also a notion no other, or at least very few other publications offer, this element of exclusivity dramatically encourages readers to maintain a relationship with the brand. By doing this I feel the publication gains a following that choose to remain loyal to the brand and is targeted to a more matured and 'artistically inclined' demographic. Editor-inchief of PYLOT magazine, Max Barnett defines their target market as 'those who have a keen interest in photography, art and fashion'.
PYLOT AND ODIESEO SWOT
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// Odiseo aims to imbed and merge their visual subject matter and authorial vision into one, reiterating their unique artwork through their literary components. By combining these sexual visuals with profound and insightful essays the publication is breaking the binaries between books and magazines. Defining itself as a ‘hybrid,’ it aims to eradicate this notion of mass consumption not only through its amalgamation of text and imagery but through the physicality of the publication. Being a bi-annual hardcover publication it aims to move away from the throw away culture imposed by magazines and instead promotes the idea of longevity. // Coming from a conceptualised viewpoint the publication fulfils a need for erotica without the confines. It facilitates a curiosity for something that in any other form would be deemed as ‘inappropriate’. It is an art form that approaches an existing subject matter in a new way, giving it a new and profound stance, the publication features photographers like Lina Scheynius and Jo Schwab who add to the artistic references the publication intends to integrate within its pages. I feel as a publication they are trying to make this subject matter more acceptable in a social context. Having the ability to confront and bring to the foreground the subject of erotica in a new and tasteful way. // Wanting to distinguish its self as its own entity, a ’hybrid’ and away from the mass consumerism associated with magazines, Odiseo choses to limit its capacity for advertising. As a publication they felt there should be more of an emphasis on promoting brands and companies who have an affinity with them and their voice. Being a vehicle for likeminded brands meant they could be more of an influencer, than a container for advertisements. As a result the publication choses not to mix its advertisements with the actual content of the publication. Instead in volume 5 for example, the publication used a brown envelope to print an advert marking the launch of a new sunglasses brand, ‘Alfred kerbs’.
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// Another USP for the publication is their attention to detail, from its collaborations to its production. Minuet details were taken into consideration when thinking about the distribution and promotion of of the magazine and what possibilities and opportunities they had. as a team they chose to manage the sales directly with the customers, building a strong relationship and brand loyalty between company and consumer. Regarding its strategically selected resellers across the world they maintain a strong level of communication, whilst also controlling the subscription system and having a limited print run and periodic partnerships with filmmakers and video producers. Materials are also a crucial consideration, particular care is given to small aesthetic details such as the paper that they use. // The brand specialises in conceptualising erotica in such a way as to neutralise the gender bias by blending sexual imagery with poignant and intellectual essays that enable it to stray from genres and stereotypes. The content requires attention and quality time to consume it, it demands a long term relationship with the viewer, so separates itself from the already existing periodicals and their throw away approach associated with mass consumerism. // The brand definitely does have niche, it approaches a relatively small and contentious subject matter that will inevitably entice a particular audience. This chosen area indulges in the need to explore and in a sense satisfies a certain amount of curiosity through a notion that would otherwise be deemed as ‘immoral’. The format and the place in the market in which the publication stands ensures to an extent the social acceptance of it and its subject matter. Choosing to be a bi-annual publication they are promoting a certain degree of exclusivity, keeping their readers waiting for the next volume which will undoubtedly build a certain amount of brand loyalty. Paired with its ethical approach of being against mass consumerism and its ‘hybrid’ like nature being a hard back, the publication promotes longevity. In a society with an ever increasing social media platform and expansion of e-commerce the novelty of hard backs will be a USP and incentive to many individuals.
PYLOT AND ODIESEO SWOT
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BRAND ONION
Brand essence ... // The essence of the brand is for customers to appreciate a product that offers them something tactile with longevity, to take people away from digital platforms and back into the real world
Brand values ... // Quality // Well rounded // Longevity // Experience // Tactile // Tangible // Emotional // Thoughtful // Intelligent // Engagement // Appreciation
Brand personality ... // Engaging // Confident // Inspiring // Controversial // Taboo // Unique // Stimulating // Considered // Intelligent // Knowledgeable
Brand in action ...
// Showcases new, young and emerging talent // Advocate for conversation and physical interaction with a tangible product that will last // A tactile publication to offer customers with an experience to fulfil emotional needs // Bi-annual to emphasise the notion of longevity as well as beautifully packaged // Against throw away fashion and promotes sustainable buying habits (collectable) // Limited social media presence, only used to give a ‘taste’ of what the publication could include and to get the word out in a subtle way. // Collaborations with exciting individuals from a variety of creative fields.
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About the Brand...
HIGH PRICE
COALESCE is a fine art meets fashion, bi - annual, anti-fashion, fashion publication. COALESCE lacks all consistency with its content, it is meant to keep readers engaged through a constant change in tone throughout and eclectic mix of subject matter, it is designed to keep customers interested.
COALESCE
1 GRANARY PAPER MAGAZINE BUFFALO ZINE CE MAGAZINE TASCHEN BOOKS NAKID MAGAZINE
- THE GENTLE WOMAN - VIEWPOINT - PURPLE - HOMME+
LOW PRICE
HIGH VISIBILITY
- LAW MAGAZINE - I <3 FAKE - DANSK - INDUSTRIE
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HIGH VISIBILITY
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LOW VISIBILITY
- TUTTO VA A FUOCO - DEAN CHALKLEY ‘ONE’ - CMBMC MAGAZINE - ODISEO
LOW PRICE
It is designed to be enjoyed simply for the sake of being enjoyed, without the constant advertisements trying to ‘sell to us.’ We are overrun with products and the rise of fast fashion is only increasing the notion of over consumption. Appreciation for products are beginning to deteriorate with low prices increasing customers want to ‘buy more, not better’. However, customers are beginning to catch on to this and are now demanding more from their products, they are starting to crave longevity and experiences through the products that they buy. Something that can last, maybe to fulfil an emotional need or want. The branding for coalesce is designed to elicit curiosity, it is meant to make readers pry into the pages and see what is inside. All branding is left as ambiguous as possible giving nothing away, nothing sparks people’s curiosity more than the unknown. Based loosely around Freud’s theory of ‘The Uncanny’ which is based on the principle of being simultaneously attracted and repulsed to something at the same time. The size of Coalesce is just smaller than A3 at 310 by 420 to highlight the idea of appreciation specifically for the images. Even though the emphasis of COALESCE is the imagery, the writing still forms a fundamental part, meant to either educate, inspire or ignite conversation.
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STRENGTHS ...
WEAKNESSES ...
// Meets a consumers need for slow fashion and provides with longevity // Supports new, emerging and young designers // Goes against the digital age which is inadvertently taking over // Provides customers with their growing need for experiences // Tactile and tangible, does not try to sell and has content with solidarity // Sold in independent, niche and concept stores placed globally will ensure it reaches a wide demographic // “The role of physical is changing but it still offers the best in terms of tactility and sensorial moments” - fitch
// Sits at a high price point and although that may promote longevity it may turn some potential customers off // Content means it limits the age demographic quite vastly // Limited number of ach publication produced // Niche market, again will limit its customers // Limited social media presence will reduce the awareness of the publication
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// Collaborate with more young and emerging creatives // Sell in more niche locations // Has the potential to expand // Offer up a subscription scheme depending on the publications demand
// Other similar publications such as Dean Chalkley’s ‘ONE’ // Will be expensive to produce therefore, profit may not be massive // Content may be unsuitable for some // Because it is niche there is the potential for not enough of the publications to be sold
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WHAT AM I TAKING FROM EACH COMPETITOR? Odiseo: // The exploration of unconventional subject matter. // The combining of high quality and beautiful imagery with literary components that are both though provoking and educational. // Choosing not to advertise through my publications content. // Engage/ approach people more ‘unusual/ unspoken’ curiosities. // Bi – annual to promote the idea of exclusivity. // A publication/ book hybrid for longevity. // An entity that facilitates a curiosity for subject matter that in any other form would be deemed as ‘inappropriate’ but in a mature manner. PYLOT: // The use of imagery to confront more controversial subject matter. // Photography that explores topics around the industry as well as immediately within it. // To seek out ‘prohibited’ and bifurcated topics and question them to provoke a reaction from readers, in a way that they can also relate too. // The raw and honest ethos they have, not necessarily through the strict use of analogue cameras but through content and subject matter. // Appealing to a niche market. ‘ONE’: // Content is an amalgamation fromed through various references but with a common theme. // Large scale, coffee table book style publication – which emphasises the aesthetic nature of it. // Quality paper stocks for something with longevity that is also appealing on a sensory level (to touch and hold). // A limited amount of the publication to be produced – to create urgency and exclusivity amongst potential customers. // To sit at the high-end luxury sector of the market that we are seeing a gradual rise in. CMBMC magazine: // Having loose leaf/ separate entities that come packaged within the publication to produce tactile elements made out of different paper stocks. // Good quality and varying paper stocks, making it a statement/ collectable piece to promote longevity. Tutto Va a Fuoco: // Hand finished/ handmade elements such as binding and numbering to create an element of exclusivity. // A mix of written content and beautiful imagery. // Varying paper stocks that made it a tangible and tactile ‘experience’.
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In a world where we no longer engage but merely co-exist; where societies eyes now mean social medias gaze, where we relentlessly strive to please those who we do not know. Do we ever stop to ask ourselves, what is the point? Who dictates these unwritten rules of right and wrong? who defines these notions of acceptable and unacceptable? who decides that these standards are appropriate or inappropriate?â&#x20AC;Ś No one. We are enslaved through our own selfimposed precautions, through fear of what if. I myself have been beholden to these shackles of paranoia, mass deviance and perceived negative perception. But when you begin to realise that a phobia of a fear is an unfathomable concept you have an overriding feeling you have severely wasted your time. One thing I notice when talking to an older generation than myself is that with age you stop caring so much about what others may think and with that, comes from what I have observed, a sense of contentedness. Digital platforms and social media have perpetuated these notions and with this in mind COALESCE is made for physical appreciation, to take us off a screen and back into reality. We need face to face interaction now more than ever. We have developed a myopia induced through the digital age, to a point where we can no longer see beyond it.
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‘The Deconstruction of masculinity’ is a shoot looking into the effeminate qualities males possess. Explored through posture, body language and styling, the shoot is a visual representation of the feminine qualities all men have. Influenced from an amalgamation of sources such as ‘Grown men cry’ – a campaign raising awareness of male suicide rates, which reiterates the importance of the phrase ‘man up,’ suggesting the emotional inequality men face. The title of the accompanying article ‘Pink to make the girls wink but who gives a fuck anyway’ is to highlight the fact that topics such as this are made into something they do not need to be, it is a marketing tool and the politics of such topics are so overdone they are losing their potency. Yes, these topics should be acknowledged but not to a point where they lose their overriding meaning. People need to be left to their own devices, to do and be however, in which ever way, makes them happy. Just because something may not be inherently manly automatically means it then results in emasculation. We preach about a longing for an egalitarian future, where we thrive on the basis of equality, yet we are perpetuating the notion of segregation by taking these topics out of their contexts.
Stylist and Creative Director: Keira Hall...Photographer: Megan Winstone...Makeup Artists: Eliza Ahmet
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N O R M A T I V I T Y. . . M A S C U L I N E . . . F E M I N I N E . . . A S S O C I A T I O N . . . N E U T R A L I T Y
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Andogyny, associations through colour and gender normativity were the primary catalysts for this shoot.
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PINK TO MAKE THE GIRLS WINK BUT WHO GIVES A FUCK ANYWAY?
These images were taken simply from searching ‘girly’ & ‘feminine’. To have such a set colour scheme and specific materials, shapes and silhouettes for a gender poses questions I wanted to explore further...
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The digital age is a narcissistic, voyeuristic and self-obsessive: all fairly self-indulgent, vapid descriptions. But has it taken a step too far, and is it gradually taking away what it means to be human? Chris Milk is the co-founder of a virtual reality (VR) company who claims that we can become ‘more passionate, connected and empathetic’ through the use of virtual technology, to ultimately ‘become more human.’ Turning to augmented realities in an attempt to experience basic human emotions seems insanely ironic, to be placed in a simulated environment to essentially ‘feel’. We desire the connection we have lost with the world around us. Yet it is crumbling through our own devices. We are craving something that we are simultaneously pushing away. As human beings, we have an inherent connection to the natural world, the air that we breathe and the greenery around us - we want to be amongst it. Nature deficit disorder is a real thing. Scientifically, it has even been found we perform on a profoundly higher level when exposed and surrounded by nature. The notion of a simple life has not come about without reason in what is now considered the digital age. Why are so many people deleting social media accounts, having phone bans and resorting to a technology-free life? Because digital living is inadvertently taking over and we are losing our sense of self in the process. With this in mind COALESCE, is ‘an anti-fashion, fashion publication, about being human in the face of consumerism.’ it is a publication that allows its readers the possibility of a tangible and tactile experience. Thriving on the notion of longevity, it goes against the notion of fast fashion and throw away culture that we are now all too familiar with. Consisting of high quality visuals, think pieces, articles and interviews, COALESCE is designed to encourage its readers to examine, question and query through its eclectic content. It is meant for opinion and scepticism, a source of conversation to cultivate in a world being overrun by digital platforms. An advocate for dialogue, COALESCE wants to defy the digital age to offer a palpable experience, the pleasure of holding a book or appreciating a work of art are becoming almost archaic experiences, but nothing quite compares.
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U N I V E R S A L . . . M O N O . . . G E N D E R L E S S . . . U N I T E D . . . A L L . . . E N C O M P A S S . . . E G A L I T A R I A N
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We seem to feel these concepts are new and riveting but they have been alive and kicking for centuries. We are so caught up on this insatiable need to rebel against what we feel is systematic segregation that we are not actually paying attention to what ‘we’ as individuals want. It is such a self-depreciating environment no one now knows how to want something for themselves anymore. Why does a pink menswear collection still cause such a fuss? Why is A-gender still a headline and to be quite honest, why does anyone give a fuck anyway?
However, on the other hand, being so bombarded with these constant new trends and at the extremely fast pace the fashion industry now runs at, are people becoming so inundated with ‘new,’ that it is all becoming too much? Are people unintentionally ‘giving in’ to this gender-neutral notion, not as a matter of freedom of expression, but is it actually acting as a means for ease as people are becoming tired of the constant changes and expectations the industry poses. Marketed in such a way as to claim it ‘breaks free’ from the restraints that come with gendered clothing and allowing individuals this notion of liberation, is it in fact just the easiest route in a world constantly trying to sell to us? Labelling something as ‘A-gender’ sets it apart and puts it in a category all of its own, a separate notion from both men’s and womenswear inadvertently fulfils our ‘need’ to define ourselves and fit in. Ironically still within a category, a category that’s trying to label itself as an anti-category. Subserviently giving into exactly what the marketers want, whilst thinking we are going against the grain. Are we again actively putting ourselves into another ‘trend’ at the hands of these brands?
Designers and various brands are extremely aware of this notion, this longing for ‘identity.’ So as a result they thrust new ideas and trends and ways of thinking and innovations on us daily in an attempt to ‘solve’ this insatiable need to demarcate. People however, are beginning to feel pigeonholed and want to stray away from these expected norms and ‘classified’ slots, including sex specific binaries. ‘Blurring the lines of the sexes’ and its overdone politics are plastered on every platform available to the human eye, subsequently these brands and designers have jumped on the non-gender binary band wagon and produced A-gender clothing available for the masses. It is not a notion restricted to the Avant-garde cat walk that regularly produces unique and ‘conceptual’ ideas, this is a commonplace notion built for mass consumerism. We seem to feel that the formation of A-gender clothing will be a form of liberation, a condemnation of existing gender slots and rebellion against gender normativity.
With every generation comes a new classification of masculinity and femininity. From children, we are coerced into a binary gender normativity through the clothes we wear and their colour, pink for girls and blue for boys. However, just before the nineteen twenties blue was deemed as more delicate and therefore more appropriate for girls and pink was a boy’s colour. Yet many people completely ignored these associations altogether, it wasn’t until the eighties that gender specific clothing became its most potent. Humans are social beings who have a need and a craving to define and apply labels, we feel as a species we must fit ourselves into a categorised, existing slot. That makes us part of a social circle where we can be identified and understood.
(think piece on the ‘pigeonholing’ of A-gender clothing)
PINK TO MAKE THE GIRLS WINK B U T W H O G I V E S A F U C K A N Y WAY ?
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‘Kilts, Skirts and Skinheads’ is a response to the deconstruction of masculinity. It is taken from the opposing view; it is essentially trying to cultivate all the different components of hyper-masculinity in a shoot. We have attempted to characterise ‘hyper-masculinity’ through a combination of elements such as the working class and their male projection; Subcultures such as Skinheads that thrived on the notion of being ‘hard men’ and ‘burley Scots’ in kilts, that even on the front of a porridge box is a symbol of a virile man, the embodiment of all things macho. So by combining these elements we have formulated a shoot that shows the demand for ‘manliness’ in boys. The clothes sourced for this shoot were mostly vintage, we wanted to keep a certain amount of authenticity and originality through the garments, connecting it to its historical context as described trough the article that goes along side it.
Stylist and Creative Director: Keira Hall...Photographer: Megan Winstone
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. Expectations imposed onto working class males to be ‘manly’ . References to subcultures such as skinheads who’s working class environment and manifested in them creating an appearance to create fear and ‘manliness’ . The associations attached to the kilt, working class environment and determination to keep their heritage attached when threated
All these contexts cross over and draw parallels to one another, in the name of being manly. Kilts are a symbol of hyper-masculinity yet are essentially the same silhouette as a skirt. A male in a skirt would not be deemed as manly but a male in a kilt would…why?
KILTS AND SKIRTS POWER SYMBOLS AND OPPRESSION There is no definitive relationship between an article of clothing and femininity or masculinity, it is rather an arbitrary set of associations that we affiliate with a masculine or feminine persona. The skirt is a silhouette that has been around for centuries and depending on the social, historical and cultural contexts are either accepted as a garment suitable for both genders, or deemed as appropriate for only one. Designers who incorporate the ‘skirt’ as an A-gender notion often look to non-western cultures for their inspiration in an attempt to incorporate and integrate it in such a way that will be accepted, to support an egalitarian future. However, the kilt, ‘a non-bifurcated skirt- type garment ‘worn traditionally by men is a symbol of hyper masculinity that originated from Scotland. Power dressing is a concept born in the eighties and is usually associated with women. Typically, in reference to a working environment the notion of power dressing is the use of clothing for women to show they hold an important role or position in business’ such as politics, that would usually or predominantly be dominated by men. However, when we look at the kilt and its historical context, it is unmistakably a form of power dressing for working class men. History of the kilt: After the battle of Culloden where the Jacobite’s were defeated, the Highlanders were refused their rights to wear their traditional garb. For these people the tartan and kilt were a reflection of who they were, their clan, family and history. Essentially stripped of their identity in an attempt to ‘cleanse’, it was ultimately a genocide of the Highlanders. The introduction of the British act forced them to wear Saxon trousers, those who rebelled and went against the act received six months’ imprisonment as a first offence and a second saw them transported to work on the plantation fields for seven years. This was a clear indication of the fear and political threat imposed by a ‘belted plaid and little kilt’. King Charles IV helped re-establish the kilt as the national dress of Scotland, with a flamboyant trip to Edinburgh in which he adorned himself in highland dress, that then resulted in the kilt becoming ‘fashionable’ within the nobility. However, this in turn made the kilt become almost ‘exclusive’ for the nobles. Something that was once practical and designed for function became theatrical and more of a spectacle. The rising again: However, nearly 200 years later the kilt has been re-adopted and re-adapted. Not restricted to special events or desired projections of wealth and leisure, proposed by the middle and upper class, but we have seen the kilt take on a new level of ‘cultural and political confidence.’ The working class and a new generation of Scots have reclaimed the kilt. Worn typically with T-shirts and sweaters paired with a leather or denim jacket and heavy soled boots such as Doc Martens. The cyclical nature of fashion has brought the traditional kilt back to its working-class roots and once again is a functional, everyday garment as well as a fashion statement. Contemporary designers such as Burberry and Vivienne Westwood have drawn heavily on the kilts’ hyper-masculine connotations and have attempted to blur the lines between kilt and skirt by re-working elements of the kilts’ design, in an attempt to bring it not only to the patriotic Scottish youth but also to the general populace and modern male. A great deal of the history attached to the kilt draws parallels to the emergence of the skinhead subculture. For most, the skinheads hold connotations of aggression and are often labelled as violent delinquents - an ugly representation of a youth culture. The purpose and origins behind the subculture are lost in this ‘criminal’ representation. Skinheads developed as a counter revolution that took place primarily amongst the working-class youth. Skinhead style was smart, clean and tough, to affirm a strong identity, much like the kilt and its physical representation of a clan. Similarly, they were both made for functional needs. Short or shaven hair cannot be grabbed in a fight, it was easy to maintain and keep clean and for its efficiency when working in physically demanding jobs. Both kilts and skinheads were derivative of working class environments in the name of practicality. Similarly kilts and skinheads were not only a uniform of identification or status but both were also associated with being representations of aggression to manifest a tough exterior and create fear when opposed by those who wanted to ‘strip them,’ of what and who they were. Just like the battle of Culloden that strengthened the Highlanders determination to reclaim the kilt, the precautions put in place to deter the skinheads only increased feelings of loyalty amongst themselves and their supporters, exasperating their want to hold on to the identity they had built even more. Both were a symbol of power. Fights between skinheads were usually the result of territorial disputes. Skinheads were extremely protective and took great pride in the areas in which they governed and defended, any infringement of ‘their grounds’ warranted an outbreak of violence. Again, this draws parallels to the invasion of Scotland and their desperation to keep their roots intact through the kilt and the protection of an environment, they could call their own. The violence exhibited by both skinheads and those who rebelled the against the proposed act after the battle of Culloden, could be seen as a direct response to changes in society. Both were an ‘attack’ on the environment of the working class.
We shot the â&#x20AC;&#x2DC;Kilts, Skirts and Skinheadsâ&#x20AC;&#x2122; shoot in both digital and film. We wanted to have a raw feel to the images to keep the authenticity and the meaning of the concept intact. So by shooting on both types of camera meant we could have elements from both styles, this gave an almost zine like appearance in the final presentation of the publication.
‘Kilts, Skirts & Skinheads’
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D O M I N A T R I X This spread stemmed from people’s fascination with the intimate. Fetishes are usually linked to certain articles of clothing, I wanted to explore this further. If the things we wear can actively be a stimulus for sexual attraction. Even if only through association, the power an item of apparel has to conjure up such emotions must be pretty significant. I got in touch with Dominatrix ‘Mistress Sofia’ to talk not only about the sex industry and the misconceptions some may have about dominatrix, but also about her alter egos. When I initially read Mistress Sofia’s blog and looked through her website I noticed she had a lot of different outfits. I was aware some dominatrix like to have alter egos to detach themselves, a sort of seperation between their personal life and their work so I wanted to know more. How do her alter egos have an impact? how do they have an effect on her work? And how do the outfit changes and aesthetic differences change her mood and actions? I also learnt about slaves and ‘Sissy’s’ when in conversation with Mistress Sofia, this is where the males that go to see her dress up in various outfits such as French maids, essentially becoming women. These men are physically still male, but mentally…who knows? Again this reiterates the power of clothes and the influence ‘dressing up’ has on people’s mental state and mindset.
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S I S S Y ’ S . . . D O M I N A T I O N . . . S L A V E S . . . W H I P S . . . A L T E R - E G O . . . M I S T R E S S
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X I R A T N I M O D
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I initially got in touch with Mistress Sofia through my photographer who had recently photographed her for a feminism project. The sex industry is very taboo and tends to lay more underground, so in the true nature of COALESCE, I wanted to bring it to the forefront. For my interview with Mistress Sofia I did not want to ask her questions from a feminist stance. Instead I wanted to ask her the more ‘basic,’ nitty gritty questions people may generally want to know about a dominatrix. However, in this process I discovered the person behind the pseudo alter-ego and her extremely genuine and very personal story. Fulfilment through inflicting pain and Thriving of the sexual humiliation of men may not be everyone’s cup of tea (to put it lightly) but even so, there is something borderline empowering about Sherry lever’s story and her progression into ‘Mistress Sofia’. Left abruptly by her husband at 59 years of age, Sherry Lever’s life and all she had planned, completely collapsed. Being left by your partner at any age is devastating but being left at a more ‘mature’ age when you had planned your retirement and the rest of your life together and for a younger model, is in her words, “monumental”. Sherry’s world crumbled around her but instead of letting it chew her up and spit her out, she decided to turn her life around and in the process discovered and became Mistress Sofia.
DOMINATRIX
I think, maybe surprisingly, this is the most interesting image out of the whole series. No it is not of a gimp suit, nipple clamps, a raging black dildo or a collection of fetishist memorabilia. But I feel it says the most, about both Sherry Lever and Mistress Sofia. I am no body language expert nor professional psychologist, but I do not feel you need to be to see in this image, she - whether that be Mistress Sofia or sherry lever, is vulnerable. Stripped of her ‘uniform’ and left bare skinned. For Sherry, her alter-ego and various outfits are a form of escapism. Through reading the blog she keeps and her answers to my interview questions, it became quite clear that Sherry Lever was hurt, hurt by men in her life and a result became accustomed and excited through seeing them squirm. She gained a certain degree of romanticism and idealism through her alter-ego and the pain she inflicts through Mistress Sofia. The ability to separate and segregate herself from a time in her life that was less than ideal, gave Sherry the confidence she craved, she found great suffice in Mistress Sofia that gave her a new lease of life. Now I am not saying we should all stop what we are doing if we have ever been hurt and become a whip wielding dominatrix, but if we are to take anything from this I think the power of clothing should not be taken for granted, it is more influential than we could ever imagine. It is an identity, a stamp, a physical reflection of us as individuals. It is far more than an aesthetic choice it is a brief insight into a person and their character…(s).
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This shoot is a direct response to the work of Egon Schiele. I Aim to combine what nudes and self-reflection once were and what they have now become. Nudes have always formed a fundamental part in the art world and Egon schieleâ&#x20AC;&#x2122;s distinct and expressive lines have been a point of influence for many creatives, even today. However, with the rise of social media has there almost become a lack of appreciation for the nude? They are now common place and used for public display rather than a means of rebellion and covert expression. They have lost their significance in a sea of social media. Shock factor no longer exists in a world where everything goes. Yet on the other hand, with this new found freedom, does this now mean that such notions can be enjoyed freely without any contextual restraints? Can the nude now be enjoyed unreservedly, in all its pornographic glory?
P O R N O G R A P H I C
EGON SCHIELE & PORNOGRAPHIC GLORY
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These images have been taken as a response to ODISEO (one of my competitors). They are taken with the erotic basis of the publication in mind but in a ‘non-pornographic’ way, me and my photographer have tried to look at these images in a conceptual way to stray away from the obvious. We all know sex sells; it is completely unoriginal but always works. However, it can be taken too far but rather than being ‘raunchy’ we have tried to look at it from a more artistic stance. The concept for this shoot is to almost effeminate the male form. The female form is often sexualised whereas the male form is usually portrayed in an ultra-masculine manner. These images are unapologetic and thrive on the idea of making the viewer feel repulsed yet simultaneously attracted. A balance of softness and eroticism, they are not to be taken too seriously but not to be humorous either, simply appreciated.
This shoot acted as a catalyst for the Egon Schiele shoot.
Glossy and gross, styled and untamed. Despite the feminine connotations it is not to emasculate but to intertwine the male and female energies that we all possess, to form an almost equilibrium of the two. Using bared skin for a raw aesthetic and ‘the nude’ to create a sense of vulnerability, a notion I want to emphasise through this shoot. It is to explore the ways in which we view and perceive the stereotypical expectations of both men and women and study what is considered ‘a gender normative’. A-gender lines are coming into the fashion industry thick and fast, gender and its politics have always, and will always be a topic of conversation. So to explore it through image is something we can all understand but interoperate as we please.
Experimentation with the photos from the Egon Schiele shoot. I drew over the images in fine liner and water colour to emulate the style of Egon Schiele whilst adding a new dimenson to the images
PORNOGRAPHIC GLORY
EGON SCHIELE AND PORNOGRAPHIC GLORY Shock factor no longer exists and new, ground breaking ideas are becoming increasingly harder to come by. With each new century and the gradual progression of the digital age, the notion of artistic enjoyment and fulfilment through the sensual and the erotic has almost been lost. There has almost become a certain degree of ignorance to the social, historical and political contexts of many revolutionary turning points in the art world and surrounding creative industries. Nudes were once a form of artistic reference or a concept for scandal and rebellion. They are now mere commonplace, the fine line between porn and art has been well and truly crossed, potentially eradicating their meaning. “Art cannot be modern. Art is primordially eternal” – Egon Schiele. Everything is a regurgitation, a cycle of repetition and a subsequent pattern. The cyclical nature of the creative industry means nothing you see, hear or read will be categorically, one hundred percent original. In the words of Stephen King, Hollywood tells the same seven stories and that is exactly the same principle with even the most ‘innovative’ ideas in the art world. Originality is only altered takes on the same reoccurring themes. Schiele’s nudes were a product of the demands in sexuality and the exhibitionists craving for a sexual display. Successful art is reliant on the juxtaposition of elements, it thrives on subversion and relies on deviation. A harmonious and symbiotic merging of these two essential foundations makes for a successful oeuvre. Egon Schiele was a master of the nude in the nineteen twenties, a time when sex was undoubtedly a motif, either through its suppression or its liberation. Schiele’s art was outrageous, he went against strict academia and strived to cause a sexual stir. Schiele endeavoured to be audacious within his pieces, using frank eroticism and figurative distortions. The elongated limbs of his celestial-like beings were a raw and unique take on brutal emotional and sensual honesty. The line between pornography and aesthetically subdued eroticism has always been a little ambiguous, it has only become more accepted and less taboo through its exposure in everyday society and its frequency in ‘marketing’- as a tool. However, to look at a concept such as masturbation - A recurring theme within Schiele’s work - in a strictly correct perspective, would be to displace its radical relevance in his work by repositioning it in a modern context. Masturbation was seen as a mental illness and drew parallels to pathology rather than creativity, for Schiele to portray this in such an open and accessible way, made the sexually forbidden becomes subsequently arousing. As a result, Egon Schiele’s work flickered between the ‘fulfilment’ of voyeurism and the continually threatened notion of classifying the erotic as a legitimate theme in art. However, with this supposed deterioration of appreciation, also comes a certain degree of acceptance and artistic freedom. Nudity even as an inadvertent curiosity will cause people to reel away in disgust and discomfort when placed in a social situation. Now naked bodies sprawled in all manner of positions will be received and perceived as ‘normal’. Allowing this photographic response to Egon Schiele, to be appreciated freely, in all its pornographic glory.
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Commiserations and togetherness is a concept board for the styling of the archive look book from Bolongaro Trevor. Aftermath is a theme that runs throughout the entirety of the Bolongaro Trevor project. This was emphasised through the positioning of the models to show vulnerability. We also felt that by using two models would highlight the importance of relationships, specifically in times of turmoil.
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BOLONGARO TREVOR A penchant for military and Victorian macabre form an underlying theme of gothic romance within their collections. The Victorian era is when society first started to acknowledge and deal with death, challenging the concept of mortality. This approach and attitude towards death as a point of fascination, something that is almost a foreign concept now, led to the idea of looking at the beauty in the most unlikely of places. Having a strong historical reference within their collections is one of the most important aspects within the unique handwriting of Bolongaro Trevor. Flea markets are also a key component within the aesthetic structure of the brand, finding vintage clothing that has a function and a purpose before form and ‘adornments’. Garments that are a form of craftsmanship, where you can admire the stitching and the seams, the cut and the array of elements. There is a reason for everything; it is not merely design or ornamentation. Bolongaro Trevor is also heavily inspired by music and British subcultures Teddy boys, Mods, Skins and New Wave, in particular punk with its distinct taste for anarchy and all things rebellious. It is this musical influence that gives the clothing its modernity; the juxtaposition of looking at vintage and reinventing it through these notions of subculture and music. What sets Bolongaro Trevor apart is its appreciation for anomalies and irregularity within their garments, each piece that comes to the shop floor may vary slightly from one to the next but this adds to their personality, it’s an organic process and will almost unintentionally add to the piece’s uniqueness creating an element of exclusivity to each and every one.
For this project I was the overall creative director. I also helped style for the fashion film and the look book as well as the written content for the project.
PLEASURE & PA I N F
rom fetishist to fairy-tale who knew shoes were at the crux? The V&A’s most recent exhibition takes you on a historical and cultural journey fulfilling our every footwear inclined fantasy. Shoes are the covert zeitgeists of an era, not always deemed as the most prevalent but an un-doubtable symbol that epitomises a period in time, a societal standing or a historical context. ‘Pleasure and pain’ is an exhibition that namely states our perverse fascination with footwear and explains our incessant obsession for something that not only has the ability to elevate (physically or emotionally), yet quite literally bring us to our knees. T R A N S F O R M AT I O N : Holding host to a menagerie of vacant shoes it follows the remarkable journey of the not so subservient shoe, from their restrictions and restraints to their power and prowess. Upon arriving in this ostentatious boudoir of miscellaneous footwear you are greeted by an initial display entitled ‘transformation’, accommodating all manner of fairy-tale inspired footwear. From Cinderella and her scintillating glass slipper; the ‘seven league boots’ allowing the wearer to defy distance with every step and the more mature ‘fairy-tale’ of Carrie Bradshaw and her Manolo Blahnik’s, a name now synonymous with Sex And The City. It reiterates the oscillating process of punishment and reward through the shoes formidable aptitude to modify. Faint sounds of clicking heels and eerie steps resonate round the room from a series of clips consisting of iconic ‘shoe moments’, from a glamorous Marilyn Monroe in Some Like It Hot, to a modern Marty Mcfly in his futuristic Nikes.
S TAT U S : Never solely for functional use the exhibition reinstates the notion that shoes are a form of represented hierarchy. Pumps, now considered a western norm once limited women to a domestic setting. Silk and satin uppers paired with thin soles meant these women were wealthy enough to lead stay-at-home lives. Equally a superfluous degree of opulent decoration whether through an excessive degree of iridescent jewels or the fur of a Colobus monkey suggested the same, the more grand the shoe the higher the social ranking. Such ornamented designs demand a degree of attention, in some cases usually incapacitating the wearer it typically implied the owner did not do much walking nor manual labour and required assistance for the sake of a shoe themed ‘performance’. A key example of this is shown through the shoes worn by Japanese Oiran ‘high end’ prostitutes and entertainers who’s platformed soles could reach up to 20cm in height dictating their every movement, forcing them into slow and sensual circular motions with the purpose to essentially exhibit their ‘wares’. Similarly the case when coming across a shoe that could only be mistaken for that for a doll. These were in fact the minuscule silk slippers worn by Chinese women subjected to the process of foot binding or ‘lotus feet’ in which wearers would have their feet bound to reach crippling sizes of merely 7.6cm, dainty feet were considered highly attractive and a symbol of eroticism. Shoes play an unusually significant role in what different cultures regard as sexually attractive.
SEDUCTION: Crushed red velvet and low-lit alcoves create an atmosphere as though committing an infraction on someone’s intimate and arcane world. Though the suggestiveness is not a surprise considering sultry brand Agent Provocateur are one of the primary sponsors. Burlesque boots and Hollywood mules give way to the next and potentially most prominent theme of the exhibition, seduction. A salacious introduction to the erotic role of the shoe and its titillating effect on both the looker and the looked upon, it explores how the shoe can alter the movements of the wearer to create a carnal experience of scopophilia and voyeurism. Collaboration between cult film director David Lynch and Christian Laboutin embody the meaning of fetish in footwear. Heels bent to be completely lateral to the toes are designed to disable the wearer altogether, forcing her to crawl on all fours. Transparent soles revealing only the fleshy and vulnerable undersides of the feet, a part of the body that has long been an associate of sexually inclined desire. A pair of pumps once owned by the late Marilyn Monroe confirm the sensual stance of the shoe. Still containing the imprints of her feet, curator of the exhibition Helen Persson states how intimate a pair of shoes can really be when “…It contains a piece of your body, rather like lingerie.”
Ascending the staircase you enter a paradox to the floor below, bright white and almost sterile in starkness this area consists of what I can only call modernised shoe paraphernalia. It refines and explains the new and innovative forms of shoe construction through technological advances such as 3D and digital printing. Shoes can now be assembled without even being touched by human hands. A saddening effect of Globalisation in the making of shoes. After the revolution of the 18th century shoes had reached their pinnacle and were not so much functional, but adornments to elaborate outfits. However, after the French revolution the intricacies of shoes began to disappear and gave way to a more practical design. Markets for shoes began to expand rapidly through popularity and demand. This poses the unfortunate question, are we in danger of losing the romanticism and the artistry of producing beautiful handmade footwear in a sea of digital alternatives, and is creativity being restricted through deadlines to meet demands?
Despite Louis XIV’s red soled heels and Nizam of Hyderabad’s luxury slippers, men remain more marginal throughout this exhibition as there is an evident emphasis on women and their natural tendency to be beholden to the shoe, whether that be through personal gain; An affirmation of a mans monetary value for the social control of his wife or an apathetic sexual replacement for male desire. You could say on one hand it confirms the objectification of women prescribed by male ideals. However, on the other hand you could argue that shoes are a form of release. Whether it’s a fine art meets fashion conceptual shoe such as Alexander McQueen’s celestial construction for lady gaga, or a 1950’s make do and mend boot from old coats. There is no doubt the influence that the shoe has and will continue to have throughout history.
This was a campaign produced for a denim project. I chose to do a hypothetical collaboration between Topshop and Jeans for Genes. (I shot and styled these photos myself along with a short campaign film)
For this project I created a look book merging high-street brand Topshop and charity organisation Jeans for Genes. This charity supports children with genetic disorders in the UK. Considering it is a reasonably small charity, I feel there is scope for it to be recognised on a larger scale as well as potentially venturing into a variety of different countries and cultures. These issues are not just singular to the UK. Jeans for Genes already has a fashion basis/element to it as its primary form of advertisement is through the use of jeans which promote a product within its self already. My aim is to raise awareness amongst a younger demographic the work charities such as this do, and introduce an enticing way of getting them involved. Topshop is no stranger to collaborations, designer and charity. Due to their ability to branch out beyond the fashion protocols they have expanded massively over the years becoming a huge and now very influential brand. As a general, Topshop are very focused and dedicated on appealing to the 18+ age range (my target market). As a result they have managed to grow and evolve to keep up with the recent trends and use it to their advantage such as the use of social media. Networking sites like Instagram and twitter are a fantastic and current platform for the promotion and advertisement of their company and have become increasingly influential in particular to their target market. Competitions also play a key role in engaging and enticing more of an audience as they help the consumer to get actively involved. My pitch for Topshop is for the month of September, as the charities official day is on the 18th. For each pair of jeans sold, a percentage would be donated towards the charity Jeans for Genes. Young people would be made more aware of the cause through them being marketed in popular high-street shop, specifically targeted to that age range and the charity would benefit from the extra publicity. The look books would be available in store and sent out with every delivery of a pair of jeans.
MY DENIM GENES