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PURPOSE
The purpose of this book is to express the developments I have undertaken within this project creating a cohesive collaborative look via styling. These styling developments have allowed me to test my abilities, expand on my skills and further understand how a collaboration can be shown through imagery. Within this book I have researched into stylists, brand identifiers as well as started to plan my photoshoot. 2
CONTENTS 4-11 : STYLING WORKSHOP 12-13 : MINDMAP 14-15 :STREET IDENTIFIERS 16-17 : CHANEL IDENTIFIERS 18-19 : PREVIOUS DSM COLLABORATIONS 20-21 : PEARLS 22-23 : CDG 24-25 : ROBBIE SPENCER 26-27 : INITIAL IDEAS 28-37: STYLING ONE 38-39: DEVELOPED MOODBOARD 40-41 : CROQUIS 42-55: STYLING 2 56-71: STYLING 3 72-91: PHOTOSHOOT DEVELOPMENTS/MOODBOARDS 92-99: TEST SHOOT & BTS 100-107: FINAL SHOOT & BTS
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STYLING WORKSHOP With Tony Green
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CROQUIS DEVELOPMENT
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This styling workshop with Tony Green allowed me experiment with different fabrics and clothing in untraditional ways. Using clothing from my wardrobe and a mix of textures from wools to tweed blazers I trialled different looks. This workshop has allowed me to understand how I can push my styling further creating new shapes and looks. Expressing layers in different ways on photoshop I created Croquis with my images to bring my styling to life. The monochrome tones linked to my previousChanel research and using ‘traditional’ materials also linked to this brand. I like the overexaggerated look of my croquis, something the luxury market is known for.
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TWEED
LOGO
FEMININE
CHANEL IDENTIFIERS MONOCHROME
BLAZER
CAP
PEARLS
STYL MIND
RECOGNISABLE OF BOTH BRANDS
INTELLECTUAL VS STREETWEAR VS TRADITIONAL VS LUXURY
STREETWEAR RESELL MARKET
SUSTAINABILITY? 12
SOURCING -CAN USE A LOT OF MY OWN CLOTHES INSTEAD OF BUYING NEW
WHAT WILL CHANEL HAVE TO LOOK LIKE TO FIT INTO DSM?
CDG
PSULE
VOLUME
DECONSTRUCTION
LING DMAP
CHANEL LED OR DSM /STREETWEAR LED??
USING CLOTHING IN AN OPPOSITE WAY THAN ITS PURPOSE
TRAINERS COMFORT
CHAINS
IRONIC
STREETWEAR IDENTIFIERS COMMUNITY
SKATE 13
STREETWEAR IDENTIFIERS
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CHANEL IDENTIFIERS
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PREVIOUS DSM & CDG COLLABS
Comme Des Garcons has produced a stunning line-up of collaborations over the years, blurring the lines between fashion and streetwear thanks to their idiosyncratic charm. The most successful collaborations have been sneaker collaborations, with brands such as Nike and Converse however the brand has also collaborated with a number of streetwear brands such as The North Face, Supreme and Stussy. The success of these collabs comes from CDG’s ability to reinterpret classic pieces with a new set of style codes. For example, the Supreme x COMME des GARÇONS SHIRT items were elevated with Rei Kawakubo’s favored avant-garde design motifs, like polka dots as well as unexpected fabric combinations and fractured graphics.
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Similarly Dover Street Market has also done many collaborations with brands taking on the same principles as their parent brand CDG. Dover Street has a broad range of collaborations, some where DSM is the leading brand and others where it is a facilitating brand. DSM has collaborated with brands such as Stussy, Vans, Gucci and Burberry showing the versatility of the brand working with a range of brands. The collaborations19 are successful at targeting younger audiences with simplistic styles and products that are accessible and desirable for those with a smaller budget.
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CDG As Dover Street Market is a key component of the Comme Des Garcon brand, it takes much influence from here, hence it was important for me to understand Comme as a brand and how I can take inspiration from this. Comme Des Garcons, meaning ‘like boys’ is a Japanese label renowned for its Avant garde and anti-fashion aesthetic, love of the colour black and imaginative designs created by Rei Kawakubo. Kawakubo has drastically changed the outlook of fashion, challenging traditions with radical references, unseen proportions, abstract techniques, and innovative style. Focussed on androgynous styles CDG creates works of art rather than fashion, the alternative silhouettes and deconstructive styles have become synonymous with the brand and is something I want to encompass within my own styling. Comme Des Garcons itself carries street like levels of scarcity, however, to oppose this the brand also has several sub brands. One of the most well known is the Play brand signified by its iconic heart logo and more commercial style this brand allows consumers a taste of the Comme Brand without the price tag.
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STYLIST RESEARCH One stylist I became more familiar with throughout the project was Robbie Spencer. Robbie Spencer is a London-based stylist and consultant. As Senior Fashion Editor at Large of AnOther Magazine and the former Creative Director at Dazed, as well as his ongoing collaborations with brands such as Simone Rocha, Y-Project and Craig Green, he has produced some of the most striking editorial imagery of his generation. He has established a unique aesthetic that is reflective of our times and global community through its deep conceptual roots and diverse cultural references. I enjoy his creativity and experimental nature as he pieces items together, clashing prints, patterns and colours in new ways that create unique images that are almost art like. Spencer uses a lot of layering in his work, something I also will look to use in my own work to express the merging of two different brands layered together.
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I particularly looked at his Ambush SS17 styling using bold colours and layering of street items such as chains to grab the viewers attention. I also looked at his styling more recent styling for Simone Rocha and Craig Green, he is able to bring their clothing to life understanding the identity of the brand and portraying it through unique stand out imagery that grabs attention.
RO
OBBIE SPENCER
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INITIAL MOODBOARD
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INITIAL IDEAS The initial ideas expressed in my moodboards are that of blending both brands in harmony using monochrome tones to express a bold and unique look. Taking on inspiration from the streetwear brands I have researched and CDG I hope to use layering to express my narrative using texures and unconventional shapes to express a new story for Chanel. I want to use Chanel accesssories such as pearls in new ways to add extra layers of detail Chanel is known for. I want to ensure that the identifiers of both brands are not lost but utilised in a new way providing something new and desirable for the consumer.
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STYLING TEST
After the styling workshop, I undertook a first round of styling on a mannequin to begin to build an idea of how my concept could be expressed. Using the fabrics and clothing I had at home, I used different textures such as tweed, netting and t-shirts and looked to find new ways of wearing old garments expressing the deconstruction I had researched and was inspired by. I wanted to formulate a bold, recognisable and new outcome for this collaboration whilst encompassing the identifiers of both Chanel and DSM. 30
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EVALUATION After creating these looks, despite the fact that I liked the shapes, silhouettes and volume of them, when speaking to my lecturer she thought I was not taking enough risks with my styling. Moreover, on reflection I don’t think these looks encompassed enough elements of Chanel to make it instantly recognisable and the storytelling was somewhat lost. 37
DEVELOPED MOODBOARD
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CROQUIS DEV
VELOPMENTS
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STYLING TEST
After my previous styling, I created new croquis that encompassed more Chanel elements and blended together the Chanel and street aesthetics in a more cohesive manner. I then re-styled taking inspiration from the deconstruction and voluminous looks of CDG / DSM and the traditional identifiers of Chanel. Using my sister as a model, I trailed new items of clothing such as a puffer jacket and leggings to respect the street style and layered blazers to suggest Chanel’s part in this campaign. Using a model as a place holder allowed me to understand how the clothes would look on a person and to understand the fit and possibilities. 43
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EVALUATION Overall, despite it being useful having a model, I found the styling to fall short of what I was hoping. The puffer jacket was over bearing and caused a stark end to the look as nothing could be added onto/over the top of it it hence the styling looked unfinished and messy. Furthermore, the colours did not work and the look was bulky rather than refined and voluminous. I did however, like the bold red lip as a feature against the monochrome look and the unconventional poses showed my styling had movement. Moreover, I feel my styling was more successful in encompassing both DSM and Chanel identifers. However, I knew that the look still needed work. 55
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STYLING TEST
To develop a more coherent style I reflected on my research. I created 3 looks, one that allowed Chanel’s influences to take the lead, one that allowed DSM to be the main brand and one that hoped to blend both.
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LOOK 01
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LOOK 02 63
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BTS
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LOOK 03
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EVALUATION I feel this was my most successful styling trial, each look was different yet expressed the collaboration essence well. The first look was the most conceptual and took main influence from Comme Des Garcon and the brands art like nature however was refined in Chanel style. The second look I feel blended both brands more creating a cohesive look that allowed the identifiers of both brands to be recognisable. The third look was more street like and wearable, reimagining Chanel blazers as a skirt. After creating these looks, I knew that it was these looks I would take forward into my first test shoot with my model. 71
PHOTO SHOOT DEVELOPMENTS 72
After deciding on my styling, I moved on to think about my final shoot. I had to make many decisions about my shoot such as location, makeup, hair, photography etc. I decided to create further moodboards to begin drawing together my thoughts. I had my styling together and so wanted to ensure it was portrayed in the best light. It was also of high importance that my shoot showed my narrative clearly and in an engaging manner. I wanted to ensure that the collaboration was unique and recognisable and that both brands were represented equally. I wanted to ensure that everything was pre-planned for this shoot as I would likely be taking on all roles of styling, photography and creative direction so having a plan was crucial for my time management and having a clear vision of what I wanted to achieve in my shoot.
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I initially looked at a location shoot, given the streetwear element in this collaboration, my first idea was a skatepark. However, after researching and scouting locations on the Wirral (where I live) and Chester near university, I decided that it would be very difficult to shoot on a skatepark given the fact they are constantly busy moreover, I thought this concept a little obvious and generic for this surprising and unusual collaboration. I also thought it may not resonate with such a wide consumer base as it was a niche setting. 75
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After deciding that a location shoot was not my first choice, I decided to use the studio to create my shoot as this gave me more options in a post edit sense. To create a more visually engaging concept I reflected on the curation of the DSM store and how I could storytell DSM meeting Chanel in a conceptual manner, in a similar way to that of Tim Walker. I referred to a Chanel NO.5 bottle for inspiration thinking how this shape would look within the Dover Street store and how I could represent this curation in my shoot. I decided that I would shoot my model as if she was trapped inside a perfume bottle. I researched poses and inspiration for this to discover what this could look like. 79
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As a class we conducted a street cast to view potential models to use in our shoots. I hoped to find a model that represented Gen Z well being authentic. Despite the fact that Chanel is a womenswear brand, I wanted my campaign to be inclusive so I did not mind the gender of my model as long as they resonated with my consumer - this was my main focus. Only two people showed up to the casting and despite their confidence, I felt they did not match my campaign image and so I sought my own models.
MODEL QUALITIES: INCLUSIVE REPRESENTATIVE YOUTHFUL RELATABLE PLAYFUL CONFIDENT 87
Responsible for some of fashion’s most magical, whimsical and exquisite imagery, British photographer Tim Walker is one of the most creative photographers working today. His fantastical environments provide viewers a chance to escape the everyday. Walker often plays with proportion, casting his models as giants in a shrunken world, or the reverse. He rose to prominence in the mid 90s with his imaginative photography and child-like eye. He has since been featured in magazines such as LOVE, i-D, Another and Vogue. I would like to take inspration from Walkers ability to play with proportions and tell stories throughout his photography. I feel that this will be beneficial to my camapign showing Chanel in a new light creating a new story for the brand. I particularly like the Louis Vuitton imagery Walker took, simple yet unconventional angles and a dream like yet luxury aesthetic allows the viewer to delve into the image. I would like my imagery to be take in a similar manner to create exciting imagery that entices consumers and portrays my narrative.
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PHOTOGRAPHY RESEARCH TIM WALKER
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TERRY RICHARDSON
Terry Richardson’s racy, bold and edgy images for Supreme are some of the most recognizable in streetwear. Despite his unconventional and sometimes disliked style, he undoubtably creates recognisable and playful imagery. He often shoots on a white backdrop to give more quality and impact to his images, something I will take inspiration from in my own shoot.
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The London-born photographer and filmmaker has built a reputation in the fashion industry for his candid, sun-soaked photography. He is the only person to be commissioned by Phoebe Philo to shoot a Céline campaign (Resort 2015) other than Juergen Teller . Lebon’s, evocative portraits often focus on perceived imperfections, ruminating on the question of what beauty is. He has shot for many streetwear brands such as Supreme and Stussy creating hazy and half lit shots. I want to take inspiration from Lebons style creating laid back and more casual imagery that isn’t perfect as streetwear is not best represented by this. His questioning of beauty is also interesting I would like to reimagine the Chanel red lipstick perhaps smudging it to give an imperfect feel and a more streetwear aesthetic.
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TEST SHOOT Having completed my styling and first moodboards, the next steps for were to conduct a test shoot to test my styling on a person to discover any changes needed prior to a final shoot. I conducted this shoot with my model, Katie in a studio setting. The white backdrop was simple and allowed me to have full focus on the garments and overall look without distraction. I created a ‘box like’ setting as per my moodboard using screens and sheets so my model had an indication of where to place her hands so I could finess the look in photoshop later on. I tested my more conceptual styling and mirrored this look with more conceptual poses taking inspiration from Tim Walker.
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The setting for this shoot was somewhat makeshift however the box structure allowed the model and I to understand the proportions and angles within the box making it much easier for me to edit at a later date. This test shoots main focus was to see how the styling looked on my model, however I understood that I needed to focus more on the make-up and hair for my final shoot.
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BTS
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I was able to test out many things such as poses, angels, proportions and lighting using red overlays. I decided that I loved the different angles and elongated styles as they made the images more interesting and followed the Tim Walker aesthetic. However, I decided that the red overlays were too strong and over powering for this imagery.
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EVALUATION I found I had to adapt my styling on my model to allow her more movement within the clothing however the essence of the styling remained the same. I found that my preparation helped me a lot as I was able to communicate with my model about the poses and overall idea of my campaign. I was quite critical of this shoot as I felt the initial images looked somewhat average and I was not sure of myself, however this was a test shoot. I think the make-shift backdrop initially put me off as I was not able to see my final vision easily. However, after editing and removing the background I found that my images came to life and did portray the conceptual style I was hoping for. This gave me more confience in my work and camapign. After speaking to my lecturer she thought the images portrayed my campaign in a unique way - something I was hoping to achieve, and she encouraged me to keep editing to develop my storytelling. With this shoot expressing a more conceptual take on my collaboration, I knew I wanted to find a more commerical outcome to this campaign to portray both visions allowing me to take inspiration from both CDG and Chanel equally. (FINAL IMAGES CAN BE SEEN IN CONCEPT CAMPAIGN BOOK)
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FINAL SHOOT My second/final shoot had a more commercial style for the Chanel side of this collaboration. Setting up the ‘studio’ with my brief to hand, I used my sister as a model as she was the perfect age to represent the Gen Z consumer and I knew I would be able to direct and communicate with her well about my vision. Taking inspiration from my test shoot and research I made the looks more wearable and included more Chanel identifiers that were worn in new ways to still portray the DSM influence. Using Chanel blazers as a skirt and adding pearls as chains and a bucket hat to define the streetwear focus I feel this imagery encompassed the more commercial and ‘skater’ like aesthetic I was hoping for.
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BTS
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EVALUATION I felt I was able to gain all the imagery needed from this shoot despite the fact I had a short period of time. I pushed my styling and aesthetic smudging a red lipstick to create an imperfect aesthetic to embody the ‘skater style’ of this shoot. I was able to communicate well with my model acting out poses for her to copy and showing her the images as we went along to gain her opinion. I was able to encapsulate the more commercial style in this shoot and I was pleased with the outcome. (FINAL IMAGES CAN BE SEEN IN COMMERCIAL CAMPAIGN BOOK)
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Olivia Buckley 1901813 Brand Management AD6606 Styling Development Book 108
