Photography Project

POP MAGAZINE Issue 42: Spring / Summer 2020 £6.50

7 0 0 + PAG E S A P O P C U LT U R E C L A S S I C : WIZARD OF OZ

merve edis

merve wears pink zara dress massimo dutti heels amazon headpiece: silver tiara

GOOD & EVIL

the colour, art and impact of Oz Fashion Portfolio Merve Edis BA Fashion Marketing & Com. Level 6 2019 - 2020 6FAMK003C Visual Arts CWK2 Teacher/s Chiara Legittimo, Gina Ripoll, Anna Mary Rowe Word count: 1100

merve wears zara dress tory burch hat

merve wears h&m skirt betsey johnson heels

merve wears zara dress betsey johnson heels

merve wears zara dress tory burch hat

merve wears zara dress silver amazon tiara

CONCEPT The editorial is inspired and based on the 1939 f ilm Wizard of Oz. The art direction and concept established in this editorial is based on CW1 in which the theme of Good & Evil projected in the f ilm. The concept of Good & Evil in the world of Oz is identif ied clearly through the colour choices by the directors and the costume designer; from the saturation and brightness of the Good & Evil characters throughout their scenes and the established def inition of good and evil.

The editorial explores the identity of 3 important characters portrayed within the f ilm through outf it and accessory choices; Dorothy, Glinda and the Wicked Witch. The editorial aims to connect and identify the traits of each character via art direction as well as technical editing done via Lightroom and Photoshop; in which is also intentionally done in a way to replicate the technicolour identity of the f ilm.

The editorial represents a fresh identity for each of the characters using simple elements to relate to each; while keeping the styling options rather contemporary for it to f it the Pop Magazine’s culture.

For the representation of Dorothy, a blue dress matched with red shoes are utilised; and in order to keep a character identity; the model is given red roses. Technical editing for these images include a yellow ground to represent the Yellow Brick Road.

The Dorothy sections were directed and portrayed to create a sense of lostness, an endless forest and trees while Dorothy remains lost. Her purity and innocence are represented in the contemporary velvet blue dress she wears; it is slightly baggy on her f igure to represent her comfort, as opposed to the waist-f itting dress worn in the f ilm; contemporary Dorothy representation is a free f igure and almost angelic on the ground she sets foot on.

Glinda is represented via a pink, silk and f lowy dress, creased all over while she keeps her tiara headpiece on, while she could have faced the ‘lost’ feeling given to Dorothy, via the camera angles and art direction it is intended otherwise where Glinda is a higher f igure, reaching for the sky, facing the sun, comfortable and raw. Light is carefully arranged to always shine on Glinda, while the colour scheme around her remains soft and fragile.

The Wicked Witch is represented via a black costume-like dress and a contemporary hat, and the art direction is made to hide most of her face unlike with Glinda. The Witch is retold via the green skin signature look from the f ilm.

Colour scheme is made to represent the Land of Oz as well as its residents; even the technical editing is done with the inspiration of a technicolour f ilm representation; while it is impossible to copy authentically; Lightroom and Photoshop are used to highlight the effects.

The title of the editorial is “Good & Evil : the colour, art and impact of Oz” which represents and combines the ideas from the CW1 with the contemporary take on the editorial.

P O P M AG A Z I N E The editorial is best suited for Pop Magazine amongst the given options via the brief of CW2. Pop magazine is a British Fashion Magazine basing itself on all-things-pop. Pop Magazine is the epitome of pop culture, music, art and fashion; hence housing this editorial for the iconic pop culture f ilm Wizard of Oz. Pop Magazine editorials tend to take advantage of use of bright colours, and an almost fantasy like edits done on previous publishings such as Autumn Issue of October 2006 and Issue 17 with Sienna Miller in 2007.

Pop Magazine covers tend to be strong and eye-catching; hence the use of the Wicked Witch’s mysterious style; and instantly-identif iable signature of the skin for the f ilm. A study done on the previous covers such as Issue and Issue , POP Magazine represents strong women; yet with a side of rebelliousness.

Pop Magazine is known for mixing fonts and colours and title styles for covers, however some everlasting details are kept; such as the “700+ PAGES� mark, the location of the Magazine title is always kept on the upper part of the pages, mostly towards the left, however sometimes the middle can be found; such as in the Peggy Guggenheim issue in 2011 with Naomi Campbell (Pop Magazine Covers 2020).

Setting & Photography The photoshoot has been done in 2 locations; Parc de Clot and Parc de Sant Marti. The locations were chosen due to the grass and tree locations. Images are shot combining close-ups and medium shot; and focused on the model while keeping the background sleek and clean. Some fake f lowers are brought into the location to represent the hope growing within the distance of the models in the ‘good’ representation sections, however a sense of chaos is provided via the shots done on the Wicked Witch behind the plant areas, mostly angling the shots to avoid face on the Wicked Witch.

The shoot has been planned via inspiration boards, outf it selection boards, contemporary inspirations from different photographers and styling choices.

A 5 page detailed guide has been prepared before the shoot to have a clear guidance; the guide has included camera angle ideas, f inal outf it decisions for shopping, editing ideas and details as well as 4 location options; in which has been eliminated into 2 for the f inal shooting days.

Setting Parc de Clot

Parc de Sant Marti

Styling CoOp & Brands

Styling 4 styles has been used throughout the photoshoot.

The styling was done inspired by contemporary styles while keeping the colour theme of the f ilm. The technicolour colours of pink, blue, yellow and green could be considered the colour palette of the f ilm; while also holding the power to represent the characters’ traits; black and dark green only visually available within the representations of ‘evil’ while colours blue and pink are meant to represent the ‘good’ characters.

Character styles are not constrained by body f igures; styles that look bigger and freer are used to represent the contemporary and ‘free’ images of ‘good’, while the wicked witch is constrained by a waist-f itting dress and a f loppy hat; almost ‘boxed’ into a f igure in comparison to the representations of ‘good’.

Hair and Makeup Hair and makeup are kept to a minimum to f it into the theme of Pop Magazine but also to keep the focus on the ‘rawness’ of the model. The skin has been edited via Lightroom and Photoshop to create the green effect for the Wicked Witch.

Model and Photographer Merve Edis has modelled for the project in order to follow the art direction and the theme created by her; also served as the director for shoot angles; while the Photographer was Karla Cuban.