FMP - Research file - Draft

FMP - Experimental Fashion Film

Isabelle Osorio Research file

FMP - Experimental Fashion Film

Contents Page Inspiration and Audience Pg. 1-18 Director Research Pg. 18-24 Contextual and Developmental Research Pg. 24-31 Historical Research Pg. 31-33 Wider inspiration and Developmental Research Pg. 33-38 Practical Production Research Pg. 38-44 Theoretical Research Pg. 44-57 Primary Research Pg. 57-62 Legal Research Pg.62-63 Bibliography Pg. 64

FMP - Experimental Fashion Film

Inspiration and Audience Research George Michael – Vogue X Instagram Freedom 90’s Video

https://www.legacyrecordings.co.uk/news/vogue-x-instagram-george-michaelfreedom-90-remake Audience demographic:

FMP - Experimental Fashion Film

Gen X: born between 1965 – 1979. Years old which is roughly 82 million people in United States.

Each generation label allows us to categorise attitudes, motivations, enthusiasms and past events surrounding their age category. This helps marketers have a clear idea on their demographic and the sorts of people that are going to be interested in their product. For example, 10 years from now the priorities of Millennials currently will have completely changed. This means marketing tactics will have to adjust.

The goal is to reach people through marketing messages that are relevant to their stage of life. This type of research helps marketers understand what type of consumer they want to attract.

Example: 95% of people in the U.S have a smartphone and Gen Z (youngest generation) is the highest user. If your audience demographic was Gen Z it would most likely be more relevant to Gen Z if the product was advertised through television adverts or social media platforms rather than a newspaper for example. Therefore, it would become more successful because the target audience will be more open to it.

The most common listeners of George Michael are females in generation X. A year before the release of ‘freedom’ During a survey in 2013, 19% of respondents from Gen X said spending time with family and friends is their favourite leisure activity. This could suggest that people from the Gen X

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category are family orientated. They’re the parents of the youth today, typically buying healthy food, vacations with kids, and sending their kids to school. The accumulation of children initiates numerous triggers of interests which lead to purchases in the Gen X category. Along with pets, toys, children’s hobbies, fashion, youth entertainment, music and home design.

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https://communityrising.kasasa.com/gen-x-gen-y-gen-z/

Target audience demographic – VOGUE I did some further research on vogue’s audience demographic, which I am going to consider using for my own demographic. Doing so, I can get an idea of the type of people who are most likely going to be interested in a vogue

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inspired fashion film. This is a crucial part of my research because it allows me to set in place my own target audience but also helps me understand the target audience for the re-make of ‘freedom’. My research shows the most frequent / popular vogue viewers: Gender Female — 80% Male — 20% Age 16-24 years — 35% 25-34 years — 34% 35-44 years — 17% 45+ years — 14% Physiographic Employed – 71% Business owners, managers, specialists, white-collars – 56% High income and above average – 76% 800K readers+ Vogue is the most read among upscale fashion magazines in Russia Vogue is #1 magazine for luxury department stores’ shoppers: 63% of them read Vogue.

48% of Vogue readers buy clothes and shoes twice a month and more often Source: Mediascape (TNS), NRS – Russia, May – October 2018 https://www.condenast.ru/en/portfolio/magazines/vogue/circulation/

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https://www.legacyrecordings.co.uk/news/vogue-x-instagram-george-michaelfreedom-90-remake These screenshots are taken from the remake of the very famous original music video for George Michael’s Freedom. One of pops most iconic music’s videos during the 90’s. This idea was proposed to celebrate the 25th anniversary of "Freedom '90.” The original video was Directed by David Fincher and starred models of the time era such as Linda Evangelista and Cindy Crawford, Naomi Campbell. The video received such high praise, seen as the pinnacle of the 90’s supermodel era.

Vogue and Instagram got together 26 years on during New York fashion week to re-create the original music video for George Michael’s Freedom with celebrity models from today’s industry including Taylor Hill, Adriana Lima, Joan Smalls, Irina Shayk, Anna Ewers. The video was released on ‘@georgemofficial’ Instagram page on the 28th September 2016.

It is interesting to see ‘freedom’ and vogue collaborate due to such a range in their individual audience demographic.

The re-make received a lot of backlash due to the expectations being so high.

Fans appeared to think the re-make did not do the anniversary justice or live up to the original with comments such as...

‘So much potential for a new iconic video of this great song. They focus too much on entire body shots and clothes. Not enough faces and close-ups. Too many far shots, too much background. All these great fashion shapes but they should have watched the original video at least once’

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‘No, there's no way to compare them, supermodels in the 90's were real supermodels, these girls are just pretty and over rated. They never could be compared with 90's supermodels.’

‘Nothing can top the 90’s version’ ‘I prefer the original’ ‘There’s no soul in this, unlike the original’ ‘Lack of spirit’ ‘Why didn’t they choose a variety of women to represent women’ ‘This is not what every woman looks like’ ‘Don’t mess with the original’ ‘Freedom is an amazing video, it deserved far more glamour than this’ Although, there were also a lot of positive comments from people who really appreciated the re-make spin off from the original.

‘I love the supermodel/fashion/runway visuals’ ‘This song screams... FASHION!!!’

‘So many comments saying the grass was greener in the 90’s, time has moved on, live in the present and see the beauty in it’ ‘Fun, Fashionable and just cool’ ‘Brilliant, this song will never die’ ‘Love this, this song makes me want to dance and accomplish everything’ ‘So cool!!!!!!’

The trouble when recreating such an already highly rated music video results in a lot of pressure to top the original. Which is why there are many understandable mixed opinions on the re-make. Especially when the original video and the re-make are 26 years apart. The audience demographic will be completely different now in comparison to what it would have been back then.

For example the people that will have watched and loved the 90’s original of ‘Freedom’ back when it was first released will obviously be a lot older now and may not necessarily appreciate a spin off version as it will never compare to what they remember the classic.

Judging by the comments it is clear to see that most people who are said to be fans of the original seem to feel as though the knock off version has ruined the

FMP - Experimental Fashion Film

reputation of the 90’s original. Meanwhile, others love the idea of an updated collaboration. My research shows, you could suggest these people are from a younger demographic meaning they weren’t as attached to the original song/music video; therefore, they were bound to view the re-make with fresh eyes and have no disappointed expectations.

When I come to creating my fashion film, I will consider the difficulty behind remaking a piece that has already had extreme success due to the backlash I may face from the bar being set high. This may be a problem I have to overcome when creating my fashion film as I am very inspired by the vogue style pieces and would love to create my piece in the style of.

Because of this, I will need to ensure I have a very clear picture of my target audience demographic to ensure they will connect with the theme/topic I choose. This will be to avoid any backlash from producing a piece fans are already so familiar with.

CHANEL Fashion Film 2018 | Cruise Collection | Directed by Tamas Sabo

FMP - Experimental Fashion Film

Director: Tamas Sabo Art Director: Vivienne Balla Production: Halo Media This fashion film directed by Tamas Sabo in collaboration with MOJEH magazine shot in 4K, is very captivating. The film was made to showcase the brands 2018It is clear to see this short film was received very well by the public when looking at the reviews. There is non-linear narrative yet still an intense build up as seen is a sad film. The slow motion effect on each individual clip compliments the elegance of the clothes fitting in with the theme. I am very fond of the different shots used within this piece. A mixture of long shots, close ups and wide shots creates a good balance. There is a noticeable build up within this fashion film which is accentuated not only in the backing track but in the visuals too.

The model shots are broken up with B-roll shots of the scenery, setting the scene and creating an atmosphere. Most shots appear to be filmed with a dolly tripod enabling them to move swiftly with the model capturing all movement.

There is a mixture of filters used within the piece including black and white.

The variety of filters used, effectively split up the different looks. This is something I will take inspiration from as it is a way to subtly breaks up the scenes without looking to dramatic or out of place. https://tamassabo.com/chanel-cruise-2017-2018 https://www.youtube.com/watch?v=uWpYsE9ovoo

How to Hang with Bella Hadid and the House of Wang

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Director: Cass Bird Fashion Editor: Jorden Bickham Fashion Designer: Alexander Wang 360 Footage: DSR Media Lab Lighting: Ithai Schori Set Designer: Nicholas Des Jardins Music: “She Love This” (Original Mix) by DJ Tray Shot in a 360-degree dome “Vogue is the authority on fashion news, culture trends, beauty coverage, videos, celebrity style, and fashion week updates” Starring Bella Hadid, Binx Walton, Cara Taylor, Hanne Gaby Odiele, Issa Lish This 2018 short fashion film showing New York Fashion Week highlights. Here, the designer teases a wild night out with his infamous squad. This piece inspired me greatly due to the fast pace shots mixed with a range of several angles. I also loved the use of the TV screen which smoothly split up the dance

FMP - Experimental Fashion Film

scenes. The use of black and white also fit really well, exaggerating the spot lights. I love how upbeat the atmosphere is within the studio, creating a positive vibe. The dance routine is in sync to the beat of the song which is really important to give off an effect. The clothing is black and white which makes sense why the filter is also black and white.

The models are all dressed head to toe Alexander Wang’s collection, seen having a good time dancing, laughing and drinking champagne. Music and dance have played a big role in this collection along with other collections since his breakthrough in 2007. Seeing the raw energy in the video really influences the viewer representing everything the collection is about.

The blend of the 360-degree footage along with the traditional camerawork created by director Cass Bird highlights their raw energy Alexander Wang is known for. “Everyone knows I love having a good time and being in environments where people come together to have a good time,” Wang says.

“Music and dance obviously play a big role in that.” - This is projected in all of his work. https://www.vogue.com/article/alexander-wang-new-york-fashion-weekspring-2018-show-vogueing-video-shoot https://www.youtube.com/watch?v=_0Q-5yol0A8 I have also been greatly inspired by the idea of an outfit look book. These are often seen on social media platforms such as Instagram and you-tube.

Casual Look book | By ToThe9s

FMP - Experimental Fashion Film

This particular style of look book appeals to me because of the arty effect. I love the creative looking style of shots, different angles, filters, effects, hand held camera shots and colourful backgrounds. Not only does this style of video appeal to the eye with its aesthetically pleasing features but it also represents a certain category of clothing really well. In this case the style is street wear, the video is set in a skate park with bright graffiti walls that co-ordinate with the outfit choices.

The song used is Nauseous (Wait) - Not Klyde which fits in extremely well with the theme. The audience demographic for the creators of this look book are typically females between the ages of 16-25 judging by the comments section.

However, the demographic for YouTube as a platform is much wider with a split in gender. Due to it now being a decade old, it is mainstream enough to have a broad demographic reach. Even baby boomers watch YouTube videos, although not to the degree of millennials.

The creators ToThe9s have 635,422 subscribers with similarities to channels such as Refinery29 and vogue. Their channel is based on fashion therefore their audience will already have interests in fashion, trends and clothing brands.

Therefore, this type of video will appeal to them and be successful as seen from the feedback.

When I come to creating my fashion video, I will take inspiration from this piece, particularly the shots used. I love the range of angles with a variety of

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composition. The filtered effects work well to stylise the video and keep to a theme.

Overall, the video is very qwerky and unique with no true meaning, it could also get away with being a video installation due to its nonlinear factors. https://www.youtube.com/watch?v=EL-V-k-ljL0

GUESS & Accessories Spring 2019 Campaign

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This campaign came up on my Facebook page. The promotional video is Introducing the GUESS Spring 2019 Campaign. The shots are Filmed Majorca. Featuring GUESS Models Viki Odintcova, Kristina Krayt, Mishel Gerzig, Gulsina Kalimullina and Andrea Damante.

This video contains mostly female models with just one male model. Much differently to the other fashion films, here there are many shots filmed in duos.

Not only does this allow them to feature more of the collection but the models are also seen interacting with each other having fun, laughing at the same time portraying a positive feel. This reflects on the viewers and influences how we perceive the collection and brand altogether.

Much like ‘How to hand with Bella – Alexander Wang’ they have both used a similar way to attract people to the brand by including authentic scenes rather than cutting them out, portraying their raw happiness, this reflects very well on the brand by giving it a family orientated, friendly feel.

The GUESS campaign includes a preview version, which is distributed widely across social media platforms. This is approximately 15 seconds long, often seen advertised before YouTube videos due to its short and snappy time length.

As for the extended cut version, which includes outtakes and behind the scene footage very similar to VOGUE’s ‘‘Fall’s Paris Collections’’ short film. I love the style of the extended cut version with narration over the top of the track giving us a deeper insight, including further information on the historical elements, the model’s themselves, the director and the intension behind the collection.

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The director authentically spends time learning about each individual model and their personal background. Each model has an interesting story to tell and this is very much projected throughout the piece along with the new range, giving off a very genuine feel. After it switches round where the model is then seen interviewing the director breaking the forth wall. This effectively helps the audience understand more about the creator and his thought process when creating the campaign. Not only does including the director automatically make it appear more personal but the dynamic of the raw footage proves to the audience that the shoot is a lot more meaningful than any regular shoot. They have done this by portraying their focus isn’t just surrounding the clothing and accessories while more vastly focused on the culture, the learning, the family approach and actually having fun on set. All of which reflect exceptionally well on the brand status. https://www.youtube.com/watch?v=Zvzdb8IyN6w

Director Research: Tamas Sabo – Cinematographer

FMP - Experimental Fashion Film

Tamas Sabo is a Hungarian fashion film director based in Berlin. Tamas started producing fashion films in 2017 for high end brands such as Chanel, Louis Vuitton, Dior. He is currently based in Berlin, but splits his time working between London, Paris and also Milan.

FMP - Experimental Fashion Film

Despite the fact Tamas Sabo is a beginner film director, his fashion films have already been selected forward for several global film festivals early on and had great success.

I am utterly inspired by his style, each and every piece is so unbelievably elegant and beautiful to watch. His cinematography skills are beyond words. I absolutely love his use of colour range from soft pale colours to vibrant blues and reds. His model and background always without fail coordinate in some way.

He has a very significant way of editing his fashion films, often slow motion is a key element within his style. His variety of long shots and close ups seen gradually zooming in or out are memorising. Usually eye contact is used as a way to capture the viewer through a form of direct address. The shots are usually quite lengthy; this completely slows down the pace of the film. I admire his work for always looking sultry and graceful with a clear message. Most of his work incorporates some sort of art form or had an artistic effect whether that be through costume, set, makeup, props or stylistic shots.

Tamas Sabo’s choice of music is always precisely in time with his visuals. Every single movement flows with the rhythm of the backing track. His work reminds me of a video art installation. Particularly ‘TURNT’ with the questionable concepts.

In this piece Tamas Sabo captures very photographic looking shots using slight pans and zooms for added effect. The movement in each shot is very subtle with each still looking as if it is taken from a still life photography shoot.

In terms of inspiration, I will take huge inspiration from Tamas Sabo’s work when creating my own piece. His distinct style has really impacted my thoughts in terms of what I want to create stylistically. His video art installation approach is something I want to incorporate into my piece to give it a deeper under surface meaning. This allows me creative freedom when portraying my concept as well as it being visually pleasing to the eye. I love the idea of leaving the viewer questioning what they have just watched, sparking conversation around the piece of work.

FMP - Experimental Fashion Film

‘CHANEL Fashion Film 2018’ is overall my favourite piece by Tamas Sabo.

This video was shot in Paris on RED Digital Camera. Each shot is so ingeniously unique. I love the use of layering used along with a mixture of both colour and black and white filters. I admire the delicacy of each close up shot of her facial features, eyes and lips etc. Not only does this split up scenes alongside B-roll footage of beautiful Paris Landscapes, but also advertises the whole collection in depth. From makeup to fashion.

When I come to creating my own Fashion Film, I want to experiment with some of the effects seen within this piece. I love the concept of footage being layered over the B-roll as seen in the bottom left still screenshot from the piece. This effectively sets the scene in a different way. This is a useful technique especially when the piece duration is only short.

The music used matches in time with every shot whether that be the model’s movement or his transitions from scene to scene being in time with the beat.

This creates a clear build up and adds purpose to each shot. Without this, the visuals could seem slightly mis placed with no reasoning behind the order they are put in. The right choice of music is so important, I have realised this more and more during my research. It is so clearly more effective when the music somehow connects with the visuals, either cutting to the beat or having a relation to the lyrics.

FMP - Experimental Fashion Film

I also admire the different screen layouts, some full screen while others have a white border. This works really well to add variety and generally make it more interesting to watch. These subtle effects are seen a lot throughout Tamas Sabo’s work which I will take inspiration from. https://www.youtube.com/watch?v=CrJXwh7HkYU

Stuart Winecoff – Director of Photography (Practical research – Lenses)

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http://www.stuartwinecoff.com/ http://www.stuartwinecoff.com/still/ Stuart Winecoff studied a film and television BA in New York (NYU) but then transferred to a film program at Tisch to study cinematography. He is now, currently working for clients including Absolut and Calvin Klein. He is also the founder of All:Expanded, as well as a freelance cinematographer on the side.

Most commonly, he shoots using the Alexa, and loves shooting handheld.

Stuart Winecoff’s is known for his memorable wide lens shots, both still and moving. Personally, this is what drew me to Stuart Winecoff’s work. His style is unique and distinct, he is sure to put a stamp on every one of his pieces.

“In terms of lenses, I usually choose something with a lot of character. A lot of people like things to be as sharp or as clean as possible and I’m kind of the opposite, you always hear people talking about achieving optimal lens performance by dropping the aperture down, but I never really paid attention

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to that. I’m more of a wide open and hoping kind of DP and I pull my own focus a lot of the time” – Stuart Winecoff. http://www.theviewmag.com/interview-cinematographer-stuart-winecoff/ The type of lens you use plays a massive part in the entire, overall look of your piece. I was greatly inspired by how Start Winecoff’s work looks visually, in particularly, the use of the wide lens. I first discovered his still images on Instagram and was taken back by his unique style. https://www.instagram.com/stuart_winecoff/ I have investigated different Len’s to use for my own piece, by taking inspiration from Stuart Winecoff’s style. I have come to the conclusion that the 14mm lens will be perfect in order to give me a similar effect and after speaking to Paul Bateman who spoke to me through all the different lens types to ensure I choose one that will suit my vision and help me create the desired aesthetic.

The wide lens completely opens the background up, expanding the focal point.

This can be particularly effective when shooting a fashion film because there is going to need to be a lot more in shot as appose to a feature film. For example, in VOGUE’s Paris collections video the background is a key feature in order to set the scene, therefore a wider lens was necessary and plays a big part in capturing everything.

FMP - Experimental Fashion Film

The wide lens allows a lot more to be in view than a regular lens and as a result, gives more away to the viewer. In my piece, I also plan to use a wide lens as seen in a lot of Winecoff’s work e.g. ‘Gang’, ‘Givenchy SS19’ and ‘Marc Jacobs beauty commercial’, because I want to include a lot of full body shots.

As well as this, I want my close-up shots to include relevant background space to give my video context, similarly to Stuart Winecoff’s work.

Contextual / Developmental Research:

FMP - Experimental Fashion Film

A big aspect I want to focus on within my experimental fashion film is individuality. To represent this, I will not be following any stereo typical, everyday trends that nowadays, so many people (mostly young) are pressured into following. Similarly, I will not be using the stereo typical image of a model.

Last year, in 2018, a group of MPs released a report that stated more than half of the British public has a negative body image. “The MP report blames newspapers, magazines and TV for creating an 'ideal' image that aren't possible for most of us. This calls on advertisers to use more realistic and diverse models” - https://www.bbc.co.uk/newsround/25051897 I propose to create a deeper meaning to my piece, highlighting confidence and individuality within a varied, array of people. All of my models will be completely different and have a controversial taste in fashion, representing their personal and individual identity which often gets lost.

My fashion film will go against the typical everyday fashion film by using such a range of people that you wouldn’t necessarily see featured in a fashion film today. To demonstrate this, I will be using both genders, a range of sizes, races and heights.

My intention is to steer away from the stigma around todays ‘typical fashion model’ and highlight confidence in all different types of people no matter what they look like physically. The message will be portraying confidence in your own skin, no matter if you are different to everyone else. Yes, perhaps some people might not like it. However, my fashion film will be uplifting and motivational showing the best person to be is always yourself.

“7 Models Open Up About Discrimination and Tokenism”

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https://www.vogue.com/tag/franchise/the-models-documentaries

Early this year in early April, a series was released by VOGUE called ‘The models.’ In the final episode of Vogue’s four-part series. Some of fashion’s most recognizable faces aka ‘The models’ open up about their experiences with discrimination and tokenism.

“The Models,” docuseries is produced by Vogue, featuring some of world’s most photographed women of today’s industry, Carolyn Murphy, Gemma Ward, Halima Aden, Chanel Iman, and Paloma Elsesser speak truthfully about the realisms of the modelling business, they are speaking from their first hand experiences. The footage is raw and authentic with a strip back black and white filter for added effect.

Some topics exploit their troubles with eating disorders, money, and conflicts.

The topic gets real about the business, giving people insight to what it’s really like. How it is not as glamourous as first meets the eye. The series features interviews with 32 women across several generations. Including models whose careers began several years ago, alongside runway newbies whose careers have only just begun.

Only recently was there a diversity of models for the Fall 2019 runway. This has been a very long time coming. Models who are sadly parted from the “Typical model look” of skinny, white, and cisgender were always left out. Recently within the fashion industry, cultural movement has occurred towards inclusion of a wider variety of people. This documentary outs the truth behind the

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harshness of society by exposing many shocking stories that need to be heard.

There is still so much work to be done.

For example, for curve models, the stereotypes around size. Alongside, the harsh reality of black model’s being confronted with hair and makeup artists reluctant to adapt to the nuances of working with darker skin and coarse hair and therefore, for that reason, are not being included.

My fashion film will open up that diversity with my choice of models, portraying a balanced variety as appose to showing one body type, one race, one height and one gender, because that is simply unrealistic. I want to create a positive example to my audience, an accurate representation that is truthful as opposed to idealistic. My video will be motivational and uplifting to watch, with the visuals cutting to the beat for added effect. https://www.vogue.com/article/the-models-diversity-in-fashion Stereotypes: The fashion industry is seen as glamorous with many luxuries.

However, there is a dark side that comes along with working in the industry.

The entertainment industry and especially the fashion industry has always had negative connotations and stereotypes devoted to it. Particularly, being extremely materialistic and superficial with frivolous expenses and spending.

There’s a dishonest impression that people who work within the fashion industry are always dressed head to toe in designer clothes on a daily basis although this is far from the truth.

People from the outside looking in may look at people in this business and think it is a walk in the park, that they (e.g. the models) as seen as materialistic people who have no sense of reality or knowledge for topics that ‘actually’ matter, such as politics or world hunger.

Stereotypes and generalizations are said to be shaped by the media and television. The fashion industry is known for setting an unrealistic body image for women that is unhealthy and impossible to maintain. The Media often stereotypes people working in fashion as vicious and cruel. The impression that models often get treated like objects. For e.g. A model having a common cold, a pimple, bloating, having put on a bit of weight, would not be accepted.

“Breathing is so last century” - https://www.careeraddict.com/10-fashionindustry-stereotypes-that-are-actually-true https://en.vogue.me/archive/legacy/five-fashion-industry-stereotypes-andmisconceptions/

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The idea girls wear pink while boys wear blue. That girls have to wear dresses and only boys wear suits. Previously, these stereotypes have been set in stone.

Rarely would you see people cross-dressing. Nevertheless, those lines are becoming blurred as fashion evolves.

https://www.thetrendspotter.net/50s-womens-fashion/ Take the 40s to early 50s for example, when men dressed in smart attire every day e.g. a suit and a tie or wore trousers and a nice shirt on the weekends.

Meanwhile, women wore long dresses and pearls every day, always looking well dressed and put put-together. “There was, for a while, a fashion war between those who declared that it was a women’s duty to look as glamorous as possible for themselves and the morale of men going to war” – ‘The 1940’s look’ By Mike Brown pg. 12.

Recent fluctuations in fashion trends are leading to even larger social changes.

Gender identity is gradually moving forward and no longer such a black and white concept. Therefore, neither is fashion. Recently, fashion is very much

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more about pushing the boundaries which is solely what I want to be expressing in my experimental fashion.

My fashion film will deconstruct gender labels in the context of wearing different styles that go against typical stereotypes. This is to portray the progression in fashion that is slowly aiming to blur the masculine/feminine divide. Demonstrating the development of fluidity in fashion, just like in gender.

“In the past few years, the world’s more forward thinking fashion brands have become increasingly eager to attract a new, young audience which views gender with more fluidity than generations prior. Gen Z (the post millennial generation made up of people born between the mid Nineties and the early Noughties) is paving the way for the belief that gender is simply an outmoded construct” - https://www.gq-magazine.co.uk/article/gender-fluid-clothing

“Recently, the fashion world has gotten really into gender “transgressive” fashion. On the back of the trans movement, designers at a number of major fashion houses have embraced a slightly more gender-fluid aesthetic on their runways” - https://www.cosmopolitan.com/entertainment/a10307449/voguegigi-zayn-gender-fluid-appropriation/ Fashion change and cycle: Fashion is a cultural phenomenon, “Historically it usually focused on dress as a way of communicating financial or social status” - Menswear trend chapter 2

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pg. 59 However, in today’s modern society the communication of status may not be as relevant to fashion as it once was.

In my piece, I want to express that you do not have to spend thousands of pounds on an outfit in order to look and feel confident. As well as feel the urge to follow certain ‘in’ trends to fit in. Many young people feel pressure to fit in.

“If you don't get whatever clothing that is trending right now, then consider yourself uncool.” - Christine Ophelia, who doesn't let things get her down anymore. https://www.quora.com/Young-people-wear-fashionable-clothesbecause-they-don%E2%80%99t-want-to-be-judged-Why/answer/ChristineOphelia This, arguably, could be down to social media platforms, magazines, TV and social media influencers displaying such an unrealistic image.

“This stems from a basic social need to blend in, socially. It takes guts to be different and yet not feel insecure about it. Young adults don't have that sort of maturity at that level. They do a lot to be accepted among peers and dressing fashionably might be one of them” - Sindhu Mahadevan. https://www.quora.com/Young-people-wear-fashionable-clothes-becausethey-don%E2%80%99t-want-to-be-judged-Why My fashion film will be elevating confidence, represented within the models.

Inspiring people to simply not care and to express themselves no matter what other people may think. Because I am using models of a 17-20 demographic, I hope to also appeal to a younger audience demographic. This is because, the younger generation (gen X) seem to be most provoked to feel the need to follow others and dispose of their individuality because of the necessity to fit in.

This leads on to my target audience. My target audience will be 16-24, because I am producing a vogue inspired experimental fashion film I will need to aim my piece towards a similar audience demographic to vogue. Their audience demographic is 80% female. I would like my piece to appeal to a more even demographic, which is why I have decided to use a mixture of female and male models. I hope that this will help my piece become more attractive to both genders. My aim is to open up the diversity within my piece so that it caters to everybody. It is not often you see both genders, a range of ethnicities, heights, body shapes, sizes etc. in one fashion film; this is something I would like to change.

FMP - Experimental Fashion Film

Historical Research Throughout the 1910s and 1920s, the traditional practice of placing a simple motionless camera before moving subjects gradually gave way to more complex and advanced techniques with, long and medium shots, close-ups or extreme close-ups, mobile shots and effects, such as panning from top to bottom, zooming, the iris effect and dissolves.

‘Beautiful Flappers’- A 1920's Colour Fashion Film, this short film has been colourised later. It is based on the spectacular colour fashion feature from 1928 - discovered by film archivist Murray Glass. The visuals show sophisticated styles, with women's dresses hats, containing the famous cloche hat, made popular in more recent years by fashion icons such as Angelina Jolie. It Features a variety of examples from different beauty looks from the 1920s. https://www.youtube.com/watch?v=-gvrHl3okfg Fashion films have come a long way since the beginnings, ‘beauty in Motion’by Erwin Blumenfeld, shot between 1958 and 1964, was originally believed to be ground breaking by the public. Blumenfeld’s use of hybrid techniques such as photomontage, reverse, solarisation and colour slides pioneered the way for modern photography had never been seen before. Slowly stepping away from the traditional techniques and still images used by those before him.

Blumenfeld is said to be “setting the path for the medium that we now understand as fashion film.”

https://www.youtube.com/watch?v=tPtwcbEL74c

FMP - Experimental Fashion Film

Film’s potential to promote fashion began to be exploited very early on because of the popularity in new visual entertainment. Film has the capability of making the models, not just the leading stars, but fashion icon’s too. From Audrey Hepburn to Grace Kelly, Julia Roberts and Keira Knightley, Mia Farrow and Catherine Deneuve. All of which are some of Hollywood's most successful stars that we all know as ‘icons’, who owe a lot to their on-screen style.

Throughout the 1910s and 1920s, the sense of bodily fragmentation was obliged as a way to visually direct the eye, along with the mind of the viewer. This created a perfect combination between fashion and cinema while obviously benefitting fashion businesses at the time. This also massively boosted cinema attendance by female spectators at the time.

In 2009, Chris Cunningham directed ‘Flora’. Cunningham’s rebellious nature, contrasted in his short film for Flora, which revitalises the silk scarf worn by Princess Grace of Monaco into a modern, feminine icon. For a man who is known for his more sinister, dark looking pieces “more likely to evoke the inner devil in Grace Jones than Mother Nature”, it is safe to say this piece is shocking to come from Chris Cunningham.

From the original exhibition of the silk scarf, specifically designed for Princess Grace of Monaco in 1966, the accessories and pieces that were designed by Frida Giannini in the 21st century, spurred the inspiration for ‘Flora’. Gucci's Flora is proven to have an ‘everlasting magnetism’. The history of the silk scarf was rediscovered by Giannini and used as the motivation for the new Gucci fragrance (as seen in the video), the legacy of Flora has been transformed into a very luxurious and empowering new scent. This is highlighted throughout the visual piece, with the rich sunlight seeping through the background, along with the dramatic movement portraying elegance and strength.

They have managed to create a visually mesmerising piece, complemented by model Abbey Lee who is seen captured in an intoxicating field full of flowers.

She is represented as a god like character throughout, emphasised within the backing sound track, giving her movement a dramatic effect. I love this approach as a way to captivate the viewer while inflicting a message behind the product.

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The coordinated, complimentary colours add to the effect. Gucci decided to stick to a 70s and 80s sound to blend in with Cunningham’s visuals. The video captures her ultra-feminine notes of the new fragrance while emphasising strength and self-confidence.

https://www.thetimes.co.uk/article/frida-giannini-recommends-gucci-florascarf-j9t3zq35p95 https://www.youtube.com/watch?v=ykXkmVURI-w http://www.dazeddigital.com/fashion/article/17977/1/the-da-zed-guide-tofashion-film Why an experimental fashion film?

Fashion films are exceedingly becoming more popular as a medium to connect with consumers. In the past, even top fashion brands have struggled getting more than 100,000 view on an uploaded film. But today, due to the shift towards mobile and social platforms, this has dramatically changed – this is obvious to see by the number of views. For example, Chanel released a short film called 'Train de Nuit' for its well-known perfume No.5 in 2011, directed by filmmaker Jean-Pierre Jeunet, which currently has over half a million views on YouTube. Fast-forward three years, Chanel later released 'Reincarnation,' a 7minute-long, short film directed by Karl Lagerfeld. The film by Coco Chanel now has racked up 3million+ views since its release. The demand for fashion films is now a lot higher due to the flip in popularity with brands realising its commercial power.

I have chosen to create an installation style fashion film as a way to get my message through to a higher number of people due to its recent demand and popularity. https://fashionunited.uk/news/fashion/fashion-films-the-next-stepin-brand-story-telling/2015052216498

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Developmental Research – wider inspiration 2019 Met Gala: As well as researching fashion films, I have also used other sources to gain inspiration for my piece.

For example, Installations, photography, songs, books, editing techniques, art work etc.

I was inspired by this year’s MET gala 2019. I found the theme ‘Camp’ particularly interesting allowing guests to completely express themselves not only showing diversity within outfits but also wearing something they wouldn’t necessarily ever wear, exceeding their comfort zone. https://www.youtube.com/watch?v=4JiuenCj4vo https://www.thehindu.com/life-andstyle/fashion/met-gala-2019-red-carpet-looks/article27058267.ece/photo/4/ Celebrities and designers came together at Metropolitan Museum of Art for this year’s very famous, annual Met Gala. This time, celebrating the Costume Organisation’s newest exhibition, “Camp: Notes on Fashion.” https://faculty.georgetown.edu/irvinem/theory/SontagNotesOnCamp-1964.html In order to capture a completely eccentric aesthetic.

“Camp is the consistently aesthetic experience of the world” going beyond straight seriousness. “Wilde himself is a transitional figure. The man who, when he first came to London, sported a velvet beret, lace shirts… But many of his attitudes suggest something more modern” as described so captivatingly in Susan Sontag’s 1964 essay “Notes on Camp”. Celebrities flaunted fashions both trivial while also inspiring.

Camp proposes a comic vision of the world. It is playful. “Clothes, furniture, all the elements of visual décor, for instance, make up a large part of Camp. For Camp art is often decorative art, emphasizing texture” – I was very inspired by

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the elegant set design on the ‘red carpet’, with everything looking as theatrical and colourful as possible, really emphasising the encouraged theme.

A few designers experimented with a more feminine look such as this one by Gucci worn by the very famous Harry Styles, "This look is about taking traditionally feminine elements like the frills, heeled boots, sheer fabric and the pearl earring, but then rephrasing them as masculine pieces set against the highwaist tailored trousers and his tattoos.” https://www.bbc.co.uk/news/entertainment-arts48117944 This experimentation is very relevant to today. Articulating a step moving forward in society as well as being eccentric and creative highlighted within the 2019 theme ‘Camp’. This is an aspect I want to be including within my fashion film, which is why I will take inspiration from this years ‘Camp theme’ and the 1964 essay. I will take great inspiration from ‘Notes on Camp’ for my short fashion film, particularly due to the emphasis on expression. Expressing yourself through what you wear with a lack of seriousness is a key aspect I will be highlighting throughout my own piece and I feel as though this year’s MET Gala was a great representation of this, which is

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why I chose to research it to support and develop my idea – for developmental research.

Inspiration from music: Olivia O’Brien: ‘Love yourself’ Ella mai: ‘Naked’ Alissia Cara: ‘Scars to your beautiful’ Music video: As well as being inspired by visual pieces, I have also been inspired by music videos, most specifically, song lyrics. The lyrics connected with me, helping me expand on the concept behind my piece, what I want to portray to the viewers, the deeper meaning and what I want people to take from it. The songs listed below have all influenced the contextual decisions behind my piece. I love the use of diverse models seen within Ella Mai ‘Naked’ and Alissia Cara’s ‘Scars to your beautiful’. Both videos have similar aesthetics, very simple backgrounds (usually plain), focusing on the models. Similarly, both videos use the dissolve transition effect to gradually alternate between each model’s face. Each model Is seen venerably looking into the camera, using eye contact allows the viewer to connect deeper with the model on a greater personal level.

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As well as having many similarities there are also countless differences which I have noted. Ella Mai’s music video ‘Naked’ is narrated through the lyrics with the visuals matching the context, whilst Alissia Cara’s ‘Scars to your beautiful’ is narrated through interviews, answered by the models, in-between the song verses sung by Alissia. This is a powerful technique, allowing the lyrics to back up what the models are revealing about their struggles with being judged in todays society, not only does this create a strong build-up, but it emphasises the lyrics and the deeper meaning behind them.

The reason why these two songs have particularly impacted my research is down to their authentic meaning. The aim behind my fashion film is to portray the idea of inclusive fashion, fashion for everybody, underlining equality and diversity. Anyone can feel confident and should be confident no matter what society portrays the ‘perfect’ image to be, no matter what size, height, race or gender. The bottom line of my piece is to open up that variety, the way it should be.

“Often times, the world both directly and indirectly tells us that we shouldn’t be happy with ourselves if we don’t fit certain beauty standards. Scars to your beautiful is a reminder that beauty isn’t only one look, shape, size or colour. It isn’t always tangible and comes in endless amounts of forms and we need to realise that” – Alissia Cara https://www.youtube.com/watch?v=MWASeaYuHZo

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Lyrics: ‘Love yourself – By Olivia O’Brien’ I was also massively enthused by Olivia o’ brien’s single ‘Love myself’. Olivia O’brien is a 19-year-old pop singer-songwriter who ended up being discovered in the most Gen X way possible: on SoundCloud, after she posting a cover of her singing a song by Gnash, he then ended up reaching out to her which resulted in them ending up producing a collaboration for the well known hit “I hate u, I love u”, which then later appeared on Gnash’s album, titled us, in 2017.

Since then, she has become very popular, especially with the younger generation. Her song ‘Love myself’ is a very confessional song. Opening up about her struggle with self-love and all the confusion and hurt that comes alongside.

The song portrays a very raw, honest representation of her journey to self-love, living within such an obsessed social media infused world, delivered in her own unique style, this song is particularly relevant to her audience demographic which was why it ended up being so sucsessful.

The lyrics inspired my idea as I connected with them in a way I hope my audience to connect to my piece. I feel as though the message given out through the lyrics, is similar to the message I want to portray within my piece.

My piece will be about ‘loving yourself’ for you’re inderviduality, not trying to conform into something that you arent. Expressing yourself for who you are, in my case, through clothing. The abum cover on the right has a deeper message to it than first meets the eye. The barbie doll arms and figure with Olivia o’brien’s face looking into the mirror, metaphorically this image speaks out about how she feels society tells her she has to be vs who she actually is. Her song goes against this completely, setting a powerful example for her audience, singing

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about overcoming the struggles she has faced with loving herself for who she is, which many relate to. Similarly, to my video. The models will be portraying their confidence and inderviduality that they were once not okay with and hopefully set a positive example.

Practical Production Research / techniques: In terms of editing techniques, there are various techniques I want to incorporate into my piece in order to pull of the desired effect. One of which is slow motion. Slow motion is difficult to pull off effectively without it looking choppy. I have had many bad experiences with the use of slow motion in previous projects which I have learnt from. Shutter speed and frames per second (fps) are key when creating a smooth slow motion piece. The reason why I have chosen to use slow motion as appose to anything else is purely because, the shots I have in mind will look more dramatically effective with the incorporation of the slow motion effect.

The Glambot red carpet moments from this year’s 2019 Grammy awards has significantly inspired me in terms of techniques I could use, for my own piece. Because the Grammy’s is now not only about the awards but much about the different looks, the Glambot set up has become exceedingly popular. The red carpet is where the stars are seen letting down their hair, bringing a variety of different iconic looks that are captured through short 5-10 second, individual, slow motion sequence. The E! Glambot shot in a stunning 1000fps, slow-motion portraits of celebrities are set up, as a way to memorably display their different fashion looks. https://www.eonline.com/uk/news/1013413/see-all-the-best-glambotmoments-from-the-2019-grammys

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https://www.youtube.com/watch?v=iv-nt7abbFE https://petapixel.com/2019/02/28/this-robot-shoots-stunning-slow-moportraits-on-red-carpets/ The shorts were filmed with a Phantom 4K Flex camera, with a Leica Summilux lens mounted on it. Glambot has been hitting the red carpets at a range of massive shows, such as, The Oscars, The Grammys and the Emmys. I love the panned zoom technique, allowing the celebrities to swiftly show off their outfit with their own personal spin that you wouldn’t get with an ordinary photograph. Often the camera begins at a bird’s eye view angle and swoops in gradually. I am planning on creating a similar technique, hand held, using a fig rig. My aim is to create smooth looking, movement shots just like the Glambot, with a mixture of fast pace shots and slow motion. However, I do not have the equipment to film in 1000fps and 4K cinema. Nevertheless, the techniques can still be used just not up to the same standard as the Glambot due to the difference in kit quality.

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Stylistic techniques: Video installation artist – ‘Douglas Gordon - Play Dead; Real Time’ This video installation piece particularly inspired me due to the style of shots. I decided to steer away from just researching techniques seen within fashion film’s in order to get a wider picture of what is out there, and what I can take greater inspiration from for my own piece, in terms of stylistic techniques.

I came across this article - https://www.artsy.net/article/editorial-the-top-10film-slash-video-artists-on-artsy? fbclid=IwAR3bvSG7tX14xBnBPD8rgnIF6kCSR2WPSXY6oMVL8lFggX3RB2vWtsz17A The article praises the top 10 Film/Video Artists. I was particularly in ore of Douglas Gordon’s work, best known for ‘24-Hour Psycho’. I went onto researching a few of his pieces and discovered ‘Play dead; real time’. This video installation has no sound, this particularly interested me because it is a style you don’t see so often. The piece consists of two projection screens and one monitor. It was recorded at Gagosian Gallery in New York, of four-year-old Indian elephant, named ‘Minnie’. Minnie was brought in from the Connecticut circus. She is seen projected onto the screens with the camera circling around her with a 360 style, moving clockwise on one large screen, and counter-

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clockwise on the other one. The footage on the monitor zooms out and in with each sequence initiated with an extreme close-up of her eyes.

The video installation was created to exhibit the extents of the mistreatment of animals who are under human observation, constantly being used as their subject, associating the viewer as much as the artist through sadistic act.

I specifically focused on the camera angles and techniques used throughout, which have all inspired me moving forward with my own piece. The use of slow motion as the elephant falls to the ground looks predominantly effective, capturing the viewer. My favourite shot type I pin pointed was the arc shot, the semi-circle pan around Minnie (the subject). This worked exceedingly well to capture all movement from a range of different angles.

This technique will for sure be seen within my piece to capture the outfits and expressions from a range of different angles. Because I picture my piece with a fast pace, using this shot style will enhance the pace of my shots. As well as, by including a lot of movement shots in my piece will hopefully allow the visuals to swiftly cut to the beat of my track as planned.

Lighting Techniques: Moving onto lighting techniques, lighting is so important when creating the right aesthetic. Lighting can have a massive influence on the overall tonal mood of a piece. Because I am going to be using models within every shot I have investigated into using a light reflector throughout my piece to bounce the light onto the models and block any shadowed areas.

In previous projects I have used an LED light to get the best result in lighting, however, with this project I plan to film in pure daylight which means the LED light will be useless. My intension is to create bright shots to coordinate with the theme. In order to create the best lighting possible in an outside environment, using the light reflector will definitely benefit the overall brightness of the shot.

These are most popularly used within magazine photography shoots, still life and model shots, as it works great for both. The technique is more successful when using flash photography, however, will still create a noticeable impact by reflecting the sunlight onto my subject, in this case my models.

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The only thing I will struggle with is finding an extra pair of hands to hold up the light reflector, working with me to get it in the right positions depending on the angle, obviously whilst I am filming.

https://www.youtube.com/watch?v=tqaY6REl0jw

Theoretical Research Representation: The fashion industry is very much focused on representation.

There’s no denying that, throughout history, the fashion industry has more often focused on representing only one standard of beauty. This standard change throughout the years as different trends develop. However, it is brought to all of our attention that most advertising campaigns, catwalk models and beauty brands, have typically swung a certain ethnicity, size, height, build and age.

Arguably, gender is also a huge element to representation within the fashion industry. It is only recently campaigns are opening up to such diversity.

Recently, the industry has been doing more to support this diversity, predominantly, in 2018 and 2019, where we have seen a more inclusive approach to representation. I will be talking about noteworthy time periods that represent this progression and how it has advanced, proving how inclusivity is slowly becoming a more standard approach.

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Eighteen-year-old, Akech Bior a Sudanese-Australian model made history after becoming the second-ever model of colour to stroll down the runway.

“No matter who you are, where you come from or what you have, as long as you have a dream it is achievable,” https://www.instagram.com/adutakech/ South Sudanese model Adut Akech was extremely bullied at school, told she would never succeed in the business. She is now a model with a year title, holding an impressive list of runway glories, magazine covers, and featured on many famous fashion campaigns. https://www.allure.com/story/adut-akech-model-cover-interview-2019 Adut Akech was born in South Sudan yet spent her primary years in a refugee camp in Kenya. She with her mother and siblings until she turned 8 years old.

Even though she was young, she still remembers everything that what was going on around her — hunger, fear, and the constant moving to escape the threat of violence. In the face of the difficult circumstances, Akech believes it taught her the power of gratitude early on.

She’s now 19, speaking with an Australian accent, where she and her family ended up after they got out of the camp.

Akech offered to quit the business to protect her mother from the harsh criticism she was receiving from family members who thought Akech was wasting her time due to the reality of harsh beauty standards today. However, her mom fought and encouraged her to continue. Her well-deserved success followed quickly after.

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A few years ago, fashion designer Marc Jacobs had to defended himself against allegations of racial insensitivity after he used dreadlocks within his New York fashion show but cast mostly white models to wear them.

“I respect and am inspired by people and how they look. I don’t see colour or race – I see people. I’m sorry to read that so many people are so narrow minded … Love is the answer. Appreciation of all and inspiration from anywhere is a beautiful thing. Think about it,” Marc wrote in defencehttps://www.theguardian.com/fashion/2016/sep/17/marc-jacobs-defendshimself-dreadlocks-furore This article proves how representation is very much a thing. Marc Jacobs resulted in having to reach out to publicly defend his look after receiving endless hate for putting white models in dreads. The public felt upset, wondering why he decided not to cast more black models when he was showcasing such an unrepresented hairstyle which is so closely associate with black culture. They also went on to criticising his comparison with the approaches towards people from black and ethnic backgrounds that are straightening their hair.

Arguably, this point is relevant to ‘cultural appropriation’ however does not receive any backlash when it is flipped the other way around. “Funny how you don’t criticise women of colour for straightening their hair,” the designer said.

Angry Instagram comment stated – “‘I don’t see colour’ is honestly just a way of avoiding the obvious issue at hand. Racism and culture appropriation exists!

By avoiding the problem you are the problem. Please remember that. By having these conversations, in a respectful manner of course, we can turn this situation into a positive learning opportunity.”

Another commenter stated - “If you don’t see colour then why are your models 95% white?” https://www.theguardian.com/fashion/2016/sep/15/marc-jacobs-closes-newyork-fashion-week-with-glorious-mess-of-ideas

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More recently a model appeared with dread locks, this is a noteworthy moment as is often an unrepresented hairstyle on the catwalk. Her dreads were embellished with wooden beads, matching her gown. The model later revealed she cried after closing the Dior show while thanking director Maria Grazia Chiuri for actually “believing in her”.

Finally, representation is expanding, seen in recent collections – from Tommy Hilfiger and ASOS. Which both, this year, broadened their accessible clothing choices. ASOS partnered with BBC reporter Chloe Ball-Hopkins to design a jumpsuit, created especially with wheelchair users in mind. The campaign was organised using a diverse range of models including US Paralympian track star Jeremy Campbell, to motivational speaker Mama Caxx, who has a prosthetic limb.

Aaron Philip never saw herself represented by the fashion industry. Brands and publications started to get in touch, prompting Aaron to start using her identity and image for positive change. She then questioned on the standardisation of fashion imagery, she fires back; “Why is existence so radical? Why can’t I just exist and be beautiful and be gorgeous? I want me to be seen as a woman people want!”

#BeautyBeyondSize Ashley Graham and Paloma Elsesser documented their journeys to self-love, struggling with body image in an accompanying interview. Portraying their body-positive message, the campaign was created in attempt to let women know that they are worthy, beautiful, and that they can be happy with who they are in their own skin.

I love the idea of changing perceptions of size, and self-love. A step forward in the fashion industry, could be on the road to serve every woman, which expands on the contextual meaning I want to play with throughout my own piece. The impression that fashion and confidence needs to be more ’inclusive’ moving forward.

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“Unlike the other models in the room, she was a size 14. Juxtaposed with such razor-straight bodies, hers had an almost hallucinogenic effect. But if her hourglass figure made her stand out, it was her aura that seemed to pull with riptide force everyone towards her” “Like watching Egyptian dancer Tahiya Karioka transfix a crowd of men” – Ashley Graham The industry is still working towards praising a more diverse representation of body types. In addition, some of the main fashion week organizations have recently introduced strict rules to avoid extremely slim models who can promote an unhealthy image.

Versace Brings Together 54 Models to “Symbolize Inclusivity” – 2018 campaign - https://www.instagram.com/p/BlNCTFSBcjd/? utm_source=ig_embed&utm_campaign=embed_video_watch_again This campaign shot by Steven Meisel, is known as the “longest-ever advertising image” including an array of different famous faces like Kaia Gerber, Stella Maxwell and Adut Akech. They have thrown in a complete mix of characters, from supermodels to younger new talent, all of which are expressing their individuality, whilst flaunting confidence.

They used models from a range of different ethnicities with variety in colour and size, with women seen embracing their natural curls in the 54-modelstrong campaign to “symbolize inclusivity, a key value for artistic director Donatella Versace and her vision for the brand” https://en.vogue.me/fashion/models/versace-brings-together-54-models-incampaign-to-symbolize-inclusivity/

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This is an extremely relevant part of my research because it feeds off of the message I want to pin point within my piece. I have witnessed the gradual progression in inclusive representation throughout my research and am looking to move forward in that progression myself, through my experimental fashion film. Equally, my piece will portray the embracement of different cultures, sizes, heights, races and genders. Models will be seen embracing their curves, dreads and curls rather than hiding them to fit into any conformant or expectation. My short piece will deliver a similar message which will hopefully work towards the same idea of ‘Symbolising inclusivity’, which is why I have taken inspiration from the previous campaigns.

Kate Moss – ‘Kate of independence’ magazine Kate Moss is one of the most successful models of all time. VOGUE’s ‘Pure style’ magazine goes into detail about how Kate moss has gained her status, being the ‘icon’ she is. This is relevant to my research, helping me understand the power of image.

When was Kate’s moss break, through into fashion iconography?

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Long before talk of inclusivity gained traction, Kate lived in the public eye as the classic ‘Girl next door’ with her legendary smile and great appeal with her apparent ordinariness. Kate Moss comes across ‘brilliantly human’ with backstage show footage showing her collapsed in laughter, smoking or just goofing around, coming across very natural and just, human.

Kate Moss has no personal Twitter or Instagram, YouTube channel or TV show.

It is clear that had she emerged any later in the evolution of fashion, her career would not have been the same.

‘No one can simply be a model anymore’ – pg. 139 Kate Moss is said to be the last of the hold outs. She is known as the model that remains ‘muse’, we don’t know everything about her, and for the most part we don’t know much about her besides her work. She has sustained a 30 year career massively down to her charisma. These photographs are from her 40th Vogue cover. Which is more than any other model. Her career has almost a millennial life span, though her personality is decidedly un-millennial. There is something outstanding about her social media detachment, in this day it is very unusual. “People don’t get that high fashion models are very different from the regular on Instagram” https://www.reddit.com/r/Instagramreality/comments/b1zai2/supermodels_o n_the_runway_vs_instagram_models_on/ Within my video, I will be portraying a more authentic approach as seen from Kate Moss, with obvious outtakes and laughs as well as modelling footage. This visibly draws out the seriousness and gives it a more fun, raw and genuine feel.

This will hopefully connect with my audience as it will be seen as more relatable and authentic. This is not always portrayed within the media as a lot of the time, things are sugar coated with seriousness. I like the approach always seen by Kate Moss, representing realism in a sincerer style.

Cultivation theory This moves onto the cultivation theory created by George Gerbner. The cultivation theory is the idea that media effects, for example watching television influences the audience’s idea and perception of everyday life. The Cultivation theory states that high frequency television or social media viewers are far more susceptible to media messages and the belief that they are real and valid.

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This can be very dangerous when models on social media are portraying such a perfect life style that youngsters feel they have to live up to. This theory greatly comes into my context along with the idea of representation. Nowadays, particularly young children / teens feel as though they have to look a certain way in order to be accepted in our society. Arguably, this could be down to the amount of social media they consume, giving them an unrealistic image of what they ‘should’ look and act like.

On top of this, because social media is such a mass growing platform, people are earning millions of pounds from being a ‘social media influencer’ which is now a fully-fledged job. Many of the people on social media are considered "models" by the social media world, realistically ruled by what are called "followers."

Models are displaying such an unrealistic image through creating a ‘perfect picture/lifestyle’ for their followers to see. They are often paid to promote products, often such as weight loss products for thousands of pounds which causes a lot of backlash, with speculators wonder if they have even tried the product themselves.

Celebrities promote them to their younger audience, exploiting their vulnerability by pushing products like laxative teas, sleeping pills, diet pills and other ‘get-thin-quick’ solutions.

Professor Powis suggests there should be more notice surrounding this issue in order to stamp out this "exploitation", on online, social media platforms "banning adverts for products with a known health risk.”

“Celebrity Instagram adverts for weight loss and diet products should be banned” – says the NHS. “Doctor’s says celebs who advertise diet pills and teas on social media 'should act with far greater responsibility” -

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https://www.cosmopolitan.com/uk/body/health/a26128408/celebrityinstagram-adverts-weight-loss-diet-products-banned-nhs/ “More than one in 10 young people are affected by mental health issues in the UK is one of the "most pressing issues facing our country" https://www.telegraph.co.uk/opinion/2019/02/02/celebrities-platformstaking-health-young-people-hands-should/ There is a lot of speculation around the damage these influencers could be causing – “Maybe those influencers would have a more positive effect if they projected reality instead of illusion” https://www.reddit.com/r/Instagramreality/comments/b1zai2/supermodels_o n_the_runway_vs_instagram_models_on/

‘The impact of social media on social lifestyle’: A case study of university female students’ – Many studies have been carried out on the usage of social media within university students. The impact on social behaviour, education, performance as well as impact, both positive and negative. It has been proved that the over use of social media is more likely to cause problems such as self-esteem, depression and sleeplessness - 2017 Ife centre for Psychological Studies.

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https://www.researchgate.net/publication/323014365_The_impact_of_social_ media_on_social_lifestyle_A_case_study_of_university_female_students

Sexualisation & the Male Gaze Sexualisation is the idea of making something sexual in character or quality in relation to men or women. Sexualization is linked to sexual objectification.

Known as “The raising of sex’s visibility in the media and culture, as a subject of discussion and representation” according to - https://medicaldictionary.thefreedictionary.com/sexualisation The simple impression that ‘sex sells.’ In connection to the cultivation theory, arguably the content that is now being produced by television and media, has caused us to (as a society) become immune to it. Many clothing campaigns nowadays in this industry, market their items on semi or nude models when they are trying to get us to buy their expensive clothing, shoes or accessories.

For example, by using the same products, but displaying them sexually in this instance on the women, in order to increase their sales ratings.

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http://tdsblog.com/hyper-sexualisation-in-the-fashion-industry/ Objectification is the representation of usually women in ways that suggest she is an object, wanting to be touched or bought.

The media’s description of women usually takes place their personal value on their sexual appeal often for the ‘male gaze.’ This not only adds to the discernment of female beauty and standards but also advertises the unrealistic quest to perfection. In this case fashion brand Dolce and Gabbana chose themes of sexual assault, gang stalking and gender constructed violence would be their bet in order to advertise and sell their product which proves the power behind the idea that ‘sex sells.’ And how advertisements within the media like to play on it to enhance their sales.

#ThisIsNotConsent campaign

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This campaign went viral after a teen rape victims’ thong was admitted as consent to the attack in court.

Protestors actively spread their concerns across Ireland after being triggering by the viral campaign online after a defence lawyer showed a 17-year-old girl’s thong in court as alleged proof of her consent in a rape case.

Things quickly blew up on social media with everyone defending the young innocent girl agreeing that this allegation was simply out of order.

This alarmed women on social media, resulting in a trend flaring around, where women posted pictures of their own thongs online with the hashtag #ThisIsNotConsent to show support. “how do you think a rape victim feels at the incongruous setting of her underwear being shown in a court?” https://www.hindustantimes.com/world-news/thisisnotconsent-campaigngoes-viral-after-lawyer-displays-teen-s-thongs-in-rape-case-in-ireland/storyw6IF8xnLvg7bETMbg54ynI.html It is a greatly disappointing that nowadays we flick through fashion magazines, turn on the TV, open social media, or turn on the radio hearing lyrics of songs that unfortunately, all follow the common theme of ongoing sexualisation usually aimed at women. It is a tragic that in today’s society, sexualised messages have become so common that many people have become so blind to the seriousness behind their offenses and often don’t recognise its shocking societal impact.

The reason why I have chosen to incorporate sexualisation into my research is to experiment with the question “can you have fashion without sexualisation?”

This question is very controversial. My idea is to go against any stereotypically sales techniques such as ‘sex sells’ and to project the real stuff. Making my piece authentic with a positive outgoing message to todays society as appose to a negative one.

FMP - Experimental Fashion Film

The mannequin series – By Julia Busato https://jbusatophotography.wordpress.com/

FMP - Experimental Fashion Film

The mannequin series was a perfect example of women exploiting the harmful effects that come with trying to fit in within today’s society.

The images show women expressing a serious face holding a mannequin over their body portraying how todays society wants them to look VS how they just want to be accepted for themselves. Their facial expressions project vulnerability and anger towards the topic showing they feel passionate towards the unspoken about reality of the mould society conforms women expectations.

With the one and only caption “they don’t fit the mould and thank god for that.” – There is not a lot else that needs to be said because the picture speaks enough for itself which I admire. It Is a perfect example that everyone needs to hear. My video will reflect a similar body positive message, although through different visuals. This photography sequence caught my eye because it projects exactly what I want to and delivers the message through a less direct way, involving the viewer’s interpretation.

Primary Research Focus group: I have conducted my own source of research by asking 17-22-year-old fashion students as a part of my own primary research.

Because my piece is based on ‘inclusive fashion’ highlighting individuality, I felt as though putting together a focus group full of fashion students would fit perfectly.

My focus group ran for approximately 15 minutes long with six people in total. I directed with the following questions: 1.

Do you feel pressured to look a certain way by society?

FMP - Experimental Fashion Film

For e.g. on social media Why? Who? How? 2.

As fashion students do you think there is pressure to dress a certain way?

3.

Do you follow fast fashion trends?

Why or why not?

4.

Have you ever received any negatively surrounding what you wear?

Comments?

Stares?

Being judged?

Why was this?

5.

Why do you dress the way you dress?

6.

How has your style changed over the years?

When and how?

7.

How does what you wear impact how you feel?

8.

What’s your opinion on Instagram models?

Do you think they are a good or bad influence on young people?

9.

Do you think body image and fashion are linked?

10.

What do you think about sexualisation?

Can you have fashion without sexualisation?

I recorded the audio for my focus group as some people decided they only wanted to take part anonymously, which is completely understandable, so I decided to do an audio tape rather than a video tape. The feedback I received backed up my points particularly behind the impact of social media on young people e.g. themselves. Another question that distinctly stood out to me was their stories behind how and why their style has changed? With all candidates agreeing confidence being the main cause.

FMP - Experimental Fashion Film

The fashion students have a well-known reputation to dress out there, unique and diverse with 90% of them agreeing they find their best outfits in charity shops. Talking to the fashion students has influenced my research a great deal by opening my eyes to the reasoning behind more expressive and experimental dressing. Allowing me to understand why and how it is going to be best represented throughout my video.

The audio is uploaded to – https://isabelleosorio.wixsite.com/mysite-1

Social media poll questions: My Demographic - I have conducted a series of questions to investigate deeper on my own social media platform. The good thing about this, is that my feedback will be relevant to my chosen audience demographic of 16-24. My average audience on Instagram is between the ages of 15-25, this makes my platform a perfect opportunity to receive answers from a relevant audience.

Overall, 180 people answered my survey with an even gender ratio which gave me a lot of feedback to take into account and enabled me to gain a fairer ranking.

FMP - Experimental Fashion Film

I have shortened my questions into a less formal way of wording in my survey, this is to intrigue more people, making it more exciting and less formal with different pictures to create a better presentation.

I have asked the following questions: 1. Do you feel pressure to look a certain way by social media?

- 63% of people agreed while 33% disagreed 2. Do you think your body confidence has got better or worse, as you have gotten older?

- 52% of people say their confidence has dropped as they have gotten older, while 48% saying it has got better over time 3. Do you think social media has affected your confidence?

83% of people agreed that it has affected and 17% of people disagree 4. Does what you wear impact how you feel?

- 90% of people say what they wear impacts how they feel while 10% of people completely disagree 5. What is your opinion on Instagram models?

68% of people agree they have negative impact, whereas 32% agree they have positive impact 6. Do you think models show an inaccurate representation?

76% of people said yes and 24% said no 7. Should models be more diverse?

75% of people say they should be more diverse, with only 25% agreeing that they already are Evaluation After receiving the feedback from my survey, it has become apparent that over half of my answerers say that they in fact, do feel pressure from social media / society to look a certain way, keeping with beauty standards. This tells me that the media portrays an inaccurate message that young people are exposed to which is seen throughout my survey.

When I asked the question, wondering whether people felt their confidence has got better or worse as they have grown older, it was clear to see that the result was fairly split with a 2% difference. This immediately made me question further why this was such an even divided ratio. I later noted that only 8 of the responders that voted for ‘Got worse’ were male while the other 99 responders were female.

FMP - Experimental Fashion Film

Whereas the voters for ‘Got better’ were a lot more evenly split. From my research, this could suggest that women struggle more with body confidence as they grow up.

In order to elaborate on why this was I asked my followers if social media itself has ever noticeably impacted their confidence. To which the response told me over 80% of people agree. It is crazy that this many people agree that social media has influenced their self-confidence, and as a fact, is quite dangerous.

To help figure out how influential my audience demographic feels that expression within fashion is, I asked the following question, does what you wear impact how you feel? The response from this question was extremely high with 90% of people saying yes 100% and only 10% of people disagreeing. This is an extremely significant part to my research as it suggests, my audience demographic will be interested in the concept of fashion expression because 90% of them feel impacted themselves by what they wear, which reflects on their confidence. My piece is based upon inclusive fashion and confidence which hopefully my target audience demographic will connect with and understand.

To co-inside with my previous theoretical research I wanted to expand on the topic of social media influencers, in particularly Instagram models which all answerers will be familiar or have experience with, having my survey questions being on the Instagram app themselves. Almost 70% of people said they have a negative impact with only 32% saying they have an overall positive impact. This tells me that the images, messages and examples society cause controversy surrounding what is right and what is wrong. My survey reveals that well over half of my audience believe social media influencers have a negative impact, while on the other hand, 32% disagree. There is large debate surrounding whether people have become blinded to the damage these social media influencers are causing (as I spoke about before), which could arguably be why still so many people voted they project a positive impact. However, everybody interprets things differently. What I found interesting was the fact a fixed 70% of people believe their impact is only negative, to which the vast majority also voted that social media has affected their confidence. This advocates the two have a connection.

To dig deeper, I found out that 76% of people say the models used are an ‘inaccurate representation’. This could, understandably be why so many

FMP - Experimental Fashion Film

people believe they are creating ‘negative impact’ therefore, causing their confidence to drop. This is something I would like to test throughout my video. Again, 75% of people believe the models that are portrayed should be more diverse as appose to ‘one type of perfection’.

I am for my piece to implicate self-confidence within each of my models, the modes used will be diverse showing a more accurate representation highlighting the importance of body confidence and self-love, which is what is needed, as seen in my survey feedback. I will not be following any typical fashion trends to allow the models to freely express themselves their true selves, by not conforming to any stereotypes or ‘fitting the mould’ society often pinpoints. These results have impacted my research because I have been able to collectively understand my audience demographic’s point of view on the subject. I am now able to base my piece on a concept, that, judging by my research, I feel will be reciprocated the best. This particular style of primary research will help me elaborate on the right way to approach these existing subjects within my own fashion installation film.

FMP - Experimental Fashion Film

Legal Research In terms of legalisation, my piece will contain 100% of my own footage so I will not need to worry about copy write in that respect. However, if I wanted to put my piece onto a social media platform, YouTube, Facebook, Instagram etc. I will struggle, as I do not own the music track, meaning I will get a copyright claim.

Copyright is in place, stopping others copying or adapting original work or content without consent. This is useful when you are writing a magazine, taking a photo or video which you want to be recognised as yours and want to stop someone claiming it as theirs.

In my piece I will be using the music track – ‘Thinking high by Prince Charlez’ which I do not own. Therefore, because I do not own the rights of the song my piece will either get taken down or contain a copyright claim. This means, if I want to put it on a platform such as YouTube I will have to use a royalty free track.

I will also have to ensure that I complete talent release forms and risk assessments as these crucial documents when filming. Filming permission is so legally important. I have to consider ages. If my models

FMP - Experimental Fashion Film

were under 16 years old, I would have to get their release forms signed by their parents, as permission. However, all my models are 17+ meaning they are responsible to sign them.

I will also have to consider location release forms because I am filming in a range of different locations. Luckily, my planned locations are all public places meaning I can have access to them without needing any legal permission. https://www.ofcom.org.uk/research-and-data/internet-and-on-demandresearch/online-copyrightinfringementhttps://www.bbc.co.uk/editorialguidelines/guidelines/childr en-young-people/informed-consent https://www.jisc.ac.uk/guides/copyright-guide-for-students https://www.gov.uk/government/publications/copyright-acts-andrelated-laws

FMP - Experimental Fashion Film