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Fotografia di progetto, tra didascalie e grafie
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O. Ballou
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There’s nothing to be found in these streets
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eCCe huMMus
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Pane
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Portfolio of projects which has given me the possibility of facing the visual and design culture at different angles. Through the point of view of the photographer, of the curator, of the stylist and of the designer I could have deepen the iconographic , publishing , photographic and artistic research that so much arouse me.
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Fotografia di progetto Tra didascalie e grafie
The thesis “FOTOGRAFIA DI PROGETTO: TRA DIDASCALIE E GRAFIE� lays its foundations in the analysis of the fashion collection Flawless Caption, carried out under the supervision of the professor A. Arbesser and from here it moves to a deeper reflection on fashion photography between the Seventies and the Eighties. Flawless Caption is examined in depth at every stage, from the iconographic and spiritual foundations up to the photo shooting conceived to show the design identity. In addition, we go through a description of the procedures of textural printing and dyeing, focusing on the caption as a communication tool and on the clothing components. Finally, we come to the study of a central issue in the research: photography. If within Flawless Caption is examined a type of photography with a high aesthetic and chromatic value, the in-depth analysis has tried to view the specific fashion photography temporally parallel to the first mentioned. I tried to set and contextualize the era in its different forms, to capture
the aspects of its leading exponents of the period to highlight the different personal poetics and techniques used; necessarily I made comparisons, showed differences and marked similarities, maintaining a requirement of objectivity and validity. Starting from photographers like P. Graham and C. Traub, as well as directors such as N. Moretti, we get to study exponents of fashion photography, from the Seventies to the Eighties, as A. Fallai, S. Moon, P. Roversi, D. Turberville, H. Newton and G. Bourdin, with the aim of presenting a photographic studio dedicated to the subject. This study draws its origins from Turberville’s dreamlike atmosphere and from Bourdin’s narrative components in order to define its own aesthetic. The thesis is born with the premise to increase one’s awareness of the basic stages that make up a project and, using the same design as starting point, tries to dig into the history of fashion photography in order to get knowledge useful to be able to be at ease in the cultural system, of which fashion and fashion photography are part.
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O. B A L L O U
Which designer or emerging brand of particular interest would you choose to analyze? This short project attempts to answer this, even if simple, complicated question. The choice, after many doubts and comparisons, has fallen on S. Cato’s fashion design project, O. Ballou. The process of photographic and artistic research and the method chosen to build a strong and contemporary identity struck me and intrigued. So, through a direct dialogue with the designer and comparative research I tried to capture and describe the creative reality of the brand.
O. Ballou was born in 2013 in London, thanks to Simon Cato, founder and designer of the brand. He started with studies on photography and had experience in fashion companies in the field of product development and production; as a designer, Simon Cato born just with O. Ballou; the decision to take in analysis the brand rather than the designer is, therefore, of little relevance learned that one identifies itself with the other, and is justified by accepting the choice of Simon Cato to debut from the construction of a brand that doesn’t bear his name as the title. Just from the title chosen to define the brand identity we can understand much of O. Ballou. The full name is Ottati Ballou; Ottati is a tiny town of just over 600 inhabitants located in Campania, in the province of Salerno and Ballou is, in English, a term which is used to call a small boy. The noun is derived from the Tibetan word “bal” meaning “hair of wool.” From here we can probably argue that O. Ballou deals with Campania, or at least Italy, is presented as a young product, in development and that there is a connection with materials such as wool or, following the geographical link with Tibet, with cashmere. Analyzing the training of the designer, interestingly, we discover it was born thirty years ago in New Zealand, an area that makes merino its outstanding product in the world, and is interested primarily in photography so much to move to the University of Edinburgh in Scotland, to specialize further in the matter. The interest on the representative and iconographic study still pervades the entire project O. Ballou and, two years after birth, there are already strong relationships with young talented photographers/filmmakers such as Errol Rainey, Chris Read, Jasset Harlech, Adrian Lopez Pena, Mar Ordonez, Jessica de Maio and Sara Sani.
The image presented is always an image careful not to contradict itself, an analogic image, grainy, who does not want to isolate the dress out of context, more interested in telling a story in chapters that to rewrite a new everytime. And it is, untill now (two collections), a very Italian flavour visual identity, which takes inspiration from cities like Naples or Palermo reinterpreting them, both in visual diary and in clothes. A visual identity which ranks among Gomorra and a more noble southern town without actually be anachronistic and heavy. Caring for the research and treatment of the materials remains the key aspect that qualifies as a product (and not just as a photographic research) the brand. More than three years have been spent to find the most suitable suppliers and artisan producers in Italy to, given the intentions, give birth to O. Ballou. The production is entirely in Italy between Tuscany, Marche and Campania, specializing mainly in the treatment of the skin, in the knitting (the treated skin directly to Santa Croce; merino wool, worked at the company Cariaggi from New Zealand and knitwear produced entirely in Campania). The curious and unique aspect is to see how it is a New Zealander to raise with freshness and innovation an inflated and overburdened aesthetics, with a look that makes fun of the power of this cultural bequest made of art, crowded beaches and religious processions. A culture far from that of its origin as well as fromthe Anglo-Saxon one; It is perhaps given by this material and cultural distance the talent with which the brand has managed to communicate this message? Certainly, while maintaining rather traditional design features (the construction of the garments, the made in Italy, the type of style) O. Ballou is, in relation to their identity, like a room overlooking the scene from a difficult angle, an internal observer to each other but silent, which draws on the iconography of popular roots and on reality examined, without going over.
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there’s nothing to be found in these streets
there’s nothing to be found in these streets
THERE’S NOTHING TO BE FOUND IN THESE STREETS is the final result of the project laboratory held by the designer C. Contrada. Divided by groups and chosen a city from which to start to plan, going on with the phases each one has gone on individually to create a collection born from the common elements conceived with the team work. Paris was chosen as city of reference, then, we interviewed a 23 years oldParisian girl cultural and artistic sensitiveness so to have an interlocutor through which understanding necessity, uses and customs of that target of age in the city. The thing that more had struck me was the answer to the question on what is “in” in Paris, simply to be there. What distinguishes then a city from an another now that the peculiar characteristics are disappearing? What remains at the citizen to be able to differ at least at the level of surface, only the attitude?
Trying replied to these questions I have found a study of the photographer A. Bartos that leads in comparison Paris and Los Angeles with the objective of showing that the two cities at a graphic and suburban point of view, they are not so different, so much that in certain clicks in sequence, they become confused easily. Leaving from these considerations I have gone in search of the basic clothes composing the wardrobe of a Parisian between 23 and 30 years, trying to frame them and to adding details or models, mixing them in function and position. At last, to be able to return spiritually at least the city to its own citizen I have worked, cross the print, the embroidery and the laser intaglio carving, with “common saying� typical about the city, retaking a publicity developed by the municipality years back in order to inviting the same Parisians to take advantage of the Seine born artificial beach long in summer occasion.
Which is your favorite french flavour instead? Tarte citron meringué. If you go to the park, which one do you choose? Buttes Chaumonts. Which transport do you use when you go out? metro. Daylife on nightlife? Nighlife if have a bed close.
Priscilla Benedetti Hi! how are you? Fine but tired as every saturday. How old are you?
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GREY, LIKE PEOPLE OUTFITS. LES SOURIS DE PARIS! Rive gauche or rive droite? Rive droite. Pompidou or Louvre? Pompidou.
Do you drive the car? No, for public safety. If you want to do a journey out of Paris where do you go? Parc d’acclimatation in Neuilly sur Seine, a very old kid amusement park. What do your best friends do? They are studying cinema, and cinema. Do you fell better hanging out with boys or girls? When I am only with girls I feel I am the one that need to make them laugh, I feel more integrated with boys.
Favourite bar? It depends with who, Le comptoir général, le point éphémère, la mé- Red wine or white wine? canique ondulatoire, it changes all Red for the heart. What do you do you in your life? the time. I am a student in culture manageFavourite movie? ment. Favorite kind of music? Lost in Translation. The Clash. Which is your favorite place to go And french movie? out by your self ? Which is your favorite dish? Bande à Part. I don’t go out by myself, I spend Italian ravioli. enough time alone in the public transports. Where were you born? Parisian suburb.
Which arrondissement do you prefer to hang out? The 11th. Which color do you think would describe the city?
What is IN in Paris? Not to be IN but STILL. Favorite photographer? Nowadays I really like Ren Hang works.
Depends, Stan smith yes but Stylish one, Vans never, then I don’t ever wear sock. Do you wear bra? Yes. I don’t know anybody that don’t.
If you wear a shirt do you put it inside or outside your trousers? Both. Do you wear sunglasses only when the sun is up or also during sad days? I never had sunglasses, my eyebrows are too big. Earrings, yes or not? Never. Nail polish? Never, because I was working in a restaurant for a long time. Make-up? Eye liner only. For the night I add red lipstick. Bagpack or handbag? I have a bagpack only, I need to buy a handbag to easily get inside the club.
Can you give me a list of the main Do you wear heels? No, I feel to be in a seductive mood. commercial centers? There is a lot in Paris : la defense where I worked, La Vallées Village, What do you have in your bag? Actress? Anna Karina / Cate Blanchet / Til- My wallet, my parfum, my lipstick, Centre Beaugrenelle, Carroussel du the book of Françoise Hardy, my Louvre. da Swinton. job contract, and my metro pass. Fauvorite brands? Singer? Everything that looks like 60s. Amy Winehouse, Serge Gainsbourg, Trousers skinny or large? Both. Françoise Hardy, Tino Rossi, Elvis Can you give me a list of the more How do you make your hair when fashionable and common brands Let’s talk about styling… in Paris? you go out in the morning? Where do you usually buy your I brush them and keep them behind Celine, Isabel Marant, Alexanger Jacquemus, Balenciaga, my hears, thinking it is going to stay Wang, clothes? Givenchy, Marni, Prada, Lemaire, like that all day. Isabel Marant, Cos, American ApDriss Va noten, Coperni, APC, Acne... parel. Actor? Bill Murray / Belmondo.
Which shoes are you wearing now? Chelsea boots, like everyday for the last 5 months. If you wear sneakers do show your socks?
Paris, team work
Paris, team work
Boulevard , A. Bartos, between Paris and Los Angeles
atmosphere
fabric moodboard
Defining a citizen just as present in the metropolis, “there’s nothing to be found in these streets� starts from the consideration that cities have lost their original characteristics nowadays. The collection seeks to capture this atmosphere in which everything seems to be clear and defined, but in detail sections are mixed in their position and function . Finally, the addition of the graphic part tries to return the city only to its own citizens, wanting to everyone else be cryptic. No gender collection.
fabric moodboard
fabric moodboard
graphic project research
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eCCe
huMMus
eCCe huMMus is managed like a fashion editorial for a review or a magazine, both as far as it regards the lay-out and as far as it regards the credits. I minded the clothes selection, the styling and the photography. The photos have been released in digital. The scenes are inspired to cinematographic sequences of Nanni Moretti. Moreover, the maximum spontaneity has been searched on purpose; when a pose was given, the time was left to the models of be putting in laying and as soon as the laying was interrupted, only in that moment they were photographed. The unadorned scenery wants to be set in a space that includes the idea of the commune and of the suburban area.
Cover, red and white shirt Grifoni Black suit jacket Yohji Yamamoto Black turtleneck and beige coat, Neil
B
B
Barrett
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Blue jacket
Grifoni
Ports 1961 beige coat Neil Barrett
Beige leather overcoat
Black turtleneck and
Left, striped shirt
amoto
Grifoni
oni Here, black jacket
Yohji Yamamoto
Iceberg Beige shirt Neil Barrett and light blu shirt Grifoni Magenta jumper
Blue
Right, blue jeans shirt and trousers
N.21
Light blue shirt
Grifoni
Mustard-coloured light jacket
Marni
Grifoni Black suit jacket Yohji Yamamoto Beige leather overcoat Ports 1961 turtleneck and beige coat Neil Barrett End Page, red sweater
Black
Marni White shirt and blue trousers Grifoni shirt N.21 and beige trousers Costume National and red sweater Grifoni, trousers Issey Miyake Light blu shirt and blue suit
Blue jeans White shirt
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P A N E
PANE (glass light cloth of the window) is a curatorial project; it wants to be an interactive exhibition that works on the window concept. Found an ideal place where to set the exhibition, the Jarach Gallery in Venice, PANE investigates the visual and significant components of windows, buildings symbol of brands with the intention to entering the visitor into a diverged contact with the iconographic reality that pervades us every day. Through a guided run, the statement of a pre-established time of observation and the help of a diverted sonorous one, it has tried to originate an exhibition that makes the host take part in a sensorial way. A research for the meaning of “showing� and how this concept has become transfigured and has degenerated with the time. A synthetic rebuilding of the most significant examples of research of visual identity carried out by brands to be defined.
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