FASHION INTERPRETATION: EXHIBITION ROSIE SPARKS
RESEARCH
WASHED UP Selfridges, London, 2011 To support Project Ocean, impact of over-fishing was demonstrated by 26 ocean-inspired garments and accessories by McQueen, Chalayan, Pugh and Treacy’s lobster hat, amongst others. This exhibition was hugely inspiring at the earliest stages of research. It appeared to be a contemporary and hugely attractive way to impress and educate audiences on a important environmental concern of today. Environmental conservation was a considered concept for exhibition inspired by the example from Project Ocean. Butterflies, bees and the Amazon rainforest were explored with this in mind.
futuristic/metallic
Alexander McQueen’s Plato’s Atlantis, Armani Prive s/s 2013, Matthew Williamson, Cavalli a/w 2011, Pheonix Keatting a/w 2013
natural/foliage
House of Hackney, Carven, Valentino a/w 2014, Vogue July 2012, Phillip Treacy, John Galliano, Alexander McQueen
tribal/neon
Camilla s/s 2012, Matthew Williamson, BAUHDA ft. Comme Des Garcons, Tom Van Der Borght
AMAZONIAN INSPIRED FASHION Four categories were identified after exploration of current and past fashion inspired by the Amazon and South America. These groupings are helpful indicators of the sources of imagery to be included in the exhibition space. The exhibition includes beautiful inspired high fashion from the West to entice viewers and capture their imagination in a South American fashion extravaganza. This heightens their global and artistic
knowledge and awareness of exotic heritage images. It celebrates the natural and cultural visions that are abundant in this biosphere, and is comprehensively communicated through fashion.
symmetry/colour Alexander McQueen, Gaetano Navarra, A-Lab Milano 2012, Damien Hirst
This recent editorial confirmed the trend of floral and Latin images. It aesthetically communicates the significance of naturally inspired prints and colour palettes within fashion. This can further be supported by the importance of this region in the coming years and the growing awareness of its cultural and artistic presence in Western fashion.
LANVIN 2011 ROGER VIVIER 2013 SHONA HEATH W Magazine
FASHION GALORE! Isabella Blow
ROGER VIVIER 2013
SHONA HEATH Vogue Italia
Fashion scenes such as these are immensely inspiring for the exhibition of beautiful and precious objects. The importance of product placement and surrounding objects included is heightened. The narratives are incredibly strong and are reminiscent of creative visual merchandising for aesthetic splendour. Displaying garments and accessories in such a way must be tasteful and include a degree of careful selection for the curation of Amazonian treasures. This will ensure the presentation complements the objects, but also do not take main focus away from these.
Techniques of bringing the outside indoors are explored for a sense of realism and wonder within the exhibition space. It is suitable for foliage and natural images to be included to complement the origin of the fashion design. Logistics and ethical issues of including real exotic plants were considered to ensure the display was tasteful and in sync with the motives of the exhibition. Use of foliage walls and multimedia murials will communicate the rainforest scenery, with artistic direction considered, rather than purely attempting simulation.
The inclusion of traditional South American textile techniques from the Amazonian countries will create an authentic atmosphere and inspire fashion creatives. Images of the rainforest and its diverse culture are communicated through these intricate embroideries and weaves, which forms an exquisite vision of the region.
A collection of imagery inspired by concept research This theme is incredibly visual and aesthetically diverse. It therefore creates vast opportunity for the showcase of a variety of natural images, exotic colours and foreign design. The following concept synopsis describes the motivation behind the exhibition and the meaning of each area within the subject matter. With a raised profile of South American due to the 2016 Olympics and 2014 FIFA World Cup, cultural curiosity ripples across the globe, with all eyes on the development of these passionate societies, its people and tropical nature surrounding it. Consideration for the dangers that this eclectic region faces also must be an exhibition focus. This will ensure that the educational purpose is fulfilled and guests feel more familiar with and inspired by the distant land. Whilst curating fashion, it remains highly important to acknowledge the cultural and environmental difficulties the Amazon and its countries face. A celebration may be less affective if these issues are not even partially raised, as the evidence of these strong communities despite hardships makes the region even more inspiring.
THE ULTRALOUNGE
Selfridge’s basement level has hosted spectacular fashion exhibitions in the past such as Nike’s House of Innovation, Vivienne Westwood’s Shoe Exhibition and Britannica, British fashion 1951-1953. This expansive area seems a fitting venue for this exhibition, as it is naturally dark and will therefore benefit from bright and colour lighting, which will bounce off the embellished garments. It will also add to the darkness that is felt in the depths of the rainforest and this will create an intimate setting throughout. Entry and exit are performed by elevators which is space saving and also suitable for disabled visitors. Each room is has one entryway and one exit, making the each area flow comprehensively into another. These spaces do not have any doors as this may restrict the flow of movement, light and intrigue felt by audiences as they make their way through the exhibition story.
FLOORPLAN AND PATHWAY CORRESPONDING IMAGES REPRESENT THE THEMES AND CONTENT IN EACH ROOM
RIVERS AND AQAUTICS
Each room follows on suitably from the previous, with themes tying in to one another as the exhibition develops. It beginning at the top of the trees, moving downwards to the forest floor, encountering the animals and rivers, moving onto the textile expression of the Amazon and finally ends with the deeper cultural roots.
360째 RAINFOREST EXPERIENCE
FROM THE TREETOPS
THE ARTS
TO T H
E RO
OTS
THE CULTURE
THE ANIMALS
The chosen themes are represented and conveyed by inspired high fashion and traditional South American textile techniques. Other images such as the flora, water and natural patterns are presented on the walls, floor and ceiling throughout to provide another aesthetic dimension that the fashion alone may not.
STORYBOARD
1 - Trees and Birds (Treetops) The journey begins in a 360 degree screening of panoramic video in a circular room. This captures the viewers’ attention from all angles, as the mesmerising footage is synced with natural chatter of the forest beneath. Moving to the next room, fashion displays the birds that reside high above the ground and palm prints are in abundance here. Guests are given their own set of special binoculars, for reasons that are revealed throughout the exhibition.
2 - Trees and Birds (Immersion) This room guides the guests further towards the rainforest floor and presents embroidered plants and flowers woven into a bright trellis separating this space from the following room. Fashion included is focused on the tropical birds of the Amazon and depict the vivid colours and textures of the many species found here. Birds of paradise are also complemented by their floral counterpart. A bright circular wooden mechanism is hung on the wall and serves as an constant audio rain-maker.
3 - Plants and Insects (Forest Floor) The deepest and darkest place in the Amazon is decorated with luminous wall fixtures, inspired by the famous Brazilian glowing fungi. Here, fashion exhibited includes insects, butterflies and untameable vines and moss. Much of these images have been interpreted in fashion by using geometric or mirrored patterns, which add to the visually overwhelming atmosphere in the heart of the Amazon.
4 - The Animals Viewers are initially taken by the giant kaleidescope pattern on the floor for this section. This projection is controlled by a dial which users are invited to turn - creating infinitely unique images with animal and reptile patterns. Throughout each room, glowing binocular symbols are placed to indicate the use of this item given to the audience at the beginning. When used at these symbols, the specially designed gadget reveals information on some of the displayed objects, similar to an invisible pen effect.
5 - Rivers and Aquatics A vast aquarium on the back wall immediately shows the theme of this section. Behind glass, an illusion of wonderful aquatic inspired fashion at home within water is created, but are actually placed in glass columns with creatures and plants suspended in action around them. Moving water reflections bounce into the room from one short side of the room, on the other, 3,000 shiny multimedia scales illustrate the amount of fish species that live in the Amazon River - one scale for each.
6 - The Arts Ceramics, paintings and textile techniques are presented in a splendour of colour, texture and imagery. Traditional techniques are explained to viewers and capture the atmosphere of the Amazon landscape and its culture. Fashion incorporating such techniques from the last decade is equally celebrated alongside their sources of inspiration. Historic techniques are presented in contemporary images and the true artistic diversity and talent of this South American region is showcased.
7 - The Culture Traditional costume of the indigenous tribes is presented amongst modern high fashion interpretation. Metallic textures that represent armour and weapons, vivid feather plumes from headdresses and adornments are displayed in contemporary fashion. Amazonian myths, such as the Encantado and El Tunchi are used to educate people about the importance of protecting the rainforest and all that is within it. This message and an appreciation of Amazonian traditions will make a lasting impression in this final room.
8 - Takeaways Before the guests exit the exhibition space, they are invited to place a round stone into a marble-run like structure that is incorporated into a painted rainforest mural on the wall. The question considered is which Amazonian animal that each visitor presents in his of hers spirit and character. 5 separate glass landing boxes display the result of each fallen stone and the accumulated amount from each visitor over the exhibition period. This is a lighthearted end to an educational and incredibly visual visit.
2. Trees and Birds (Immersion)
3. Trees and Insects (Forest Floor)
5. Ri vers and Aqu atic
s
6. Indigenous Culture
MARKETING AND PROMOTION
The ever changing Oxford Street facing corner of the Wonder Room is a well-suited space to host this gift shop due to its size and the street windows that are incorporated on both faces.
Selfridge’s Wonder Room is a perfect host for the exhibition gift shop. Integrating art and design with retail, the store provides guests and shoppers with ethical, Fairtrade South American textile goods over the exhibition period. This includes a range from small items such as Peruvian friendship bracelets to larger goods such as hammocks, wall hangings and quilts. This allows regular customers to find something surprising and inspiring in Selfridges, but also provides the exhibition audience with souvenirs or small piece of what they have just viewed and learned about.
This use of visual merchandising fits with the exhibition venue as Selfridges is renowned for its striking window displays. The colour and texture included to promote the exhibition will be incredible vivid and will entice shoppers passing.
Inside the space, a living wall brings colour and nature to the space to give a taste of the exhibition below in the Ultralounge and a huge floral embroidery decorates the wall.
Physical marketing and promotion is important when using a monumental retailer as a host. A hugely successful household brand like Selfridges allows for extensive promotion with a large budget. Here, a poster has been created for use around London, and most prominently, to attract attention to customers and the public as a banner on the Selfridges building around the exhibition period. 5th July-5th September 2016 has been selected due to the Rio Olympics occurring on 5th-21st August.
Different layouts of the same poster are created to suit alternate advertising spaces around London. The content and imagery remains the same for branding consistency, but each version is fitting to each use of advertising. Featuring around London in the summer months is ideal to attract both tourists and locals. The public may also be in higher spirits at this time of year and the tropical themes are appropriate for this.
Finally, digital promotion is crucial in an age where social media is a pivotal mechanism for successful marketing. Young consumers are highly likely to interact with brands on spaces such as Facebook and Twitter and this is an ideal opportunity to reach out to them, promote the event and gain feedback throughout the exhibition period. Photographs and information can be easily posted to communicate with fans of Selfridges. Easy access to fashion lovers is obtained through the Selfridges channel, however, the use of hashtags can catch the attention of travel and textile enthusiasts who may also be interested in the exhibition. Hashtags may include: #southamerica, #rioolympics, #olympics2016 #amazonrainforest, #fashion, #environment, #nature, #tropical, #exotic, #global, #textiles, #brazil, #peru, #argentina, #colombia, #venezuela, #ecuador, #bolivia, #guyana, #frenchguyana, #suriname as well as the exhibition’s own hashtag for the event: #TREASURESOFTHEAMAZON
EVALUATION For this module, the research process was exciting and interesting as South America has always been a mystery to me, and it allowed me to fulfil my curiosity regarding the culture and landscape. I have a keen interest in conservation, geography and environmental issues, therefore this topic seemed ideal for me to learn more and explore these global concerns. I feel I have gained knowledge and respect for the communities and Amazon rainforest itself after discovering a range of traditions, values, natural processes and protection mechanisms. The significance of this exhibition topic was high due to the upcoming sporting events in summer 2014 and 2016. The raised profile of South America and its developing communities was also explored in my DE1133 Trend Report and this enhanced my understanding of the continent that is so geographically distant and Evaluation sociologically different to the UK. Such events stimulate global interest in countries that are not regarded as world leaders, but have vast social and cultural merits. The choice of Selfridge’s to host the exhibition was inspired by the Washed Up exhibition. It was also encouraged by the attractive match of eclectic products and reputation it has, with my visual and exotic themes. Selfridge’s is also noted for a spirited approach to holidays and national events, which suited the timing of my exhibition. Its current retail functions were considered, and the use of an ethical gift shop aimed to support South American communities as well as serving as a promotional souvenir outlet. I feel the colourful, vibrant and exotic theme has been embraced with a degree of taste considered. I found this initially testing as I admire clashing prints and colours, but I appreciated Selfridge’s customers may not be so inclined. The fashion interpretation within the exhibition aimed to inspire the audience in an educating, yet visually stimulating way. I enjoyed the notion of visiting fashion lovers being surprised by the stories behind the inspiration and geographical enthusiasts may have come from the exhibition with more appreciation for fashion, textiles and art. I therefore enjoyed balancing both elements of the exhibition concept, and I wish both parts to be presented in entertaining ways. My design processes have been both inspired and dull during the module. I believe this was due to creative dry spells whilst I was confused by contrasting ideas that, at the time, appeared to have a distant solution. Throughout the process, I felt difficulties arising with Selfridge’s involvement in the exhibition. I often became too fixated with the ‘products’ of the exhibition, rather than ‘subjects’. The visual merchandising therefore became too significant due to the fact it is hosted in a department store, and this lead me on a tangent from the original motivation of ecological education and celebration of the arts. It was then necessary for me to review my findings, thoughts and incentives for the original concept and I feel I have developed a happy medium between these conflicting ideas.