Fashion Constructed Image

Team 3 (Agne Bekeraityte, Claire Smith, Dan Paul, Robert Young)

Feminism and its Development Throughout History

The first wave took place in late 19th-early 20th centuries. The goal of it was to open up opportunities for women, with a focus on suffrage.

The second wave began in the 1960s and continued into the 90's. Much of the movement's energy was focused on passing the Equal Rights Amendment to the Constitution guaranteeing social equality regardless of sex.
The third phase of feminism began in the mid90's.

 The "girls" of the third wave have stepped onto the stage as strong and empowered, eschewing victimization and defining feminine beauty for themselves as subjects, not as objects of a sexist patriarchy.
The original feminists wanted equality for women; they did not want extra rights for women, nor to take rights away from men. In the eyes of a growing number of people, modern feminism has taken the banner of equality, and used it as a smokescreen for radical activities. However feminism in practice is not always about equality because it often ignores the rights of men.

Concept
Our idea is to represent the womens change in position within the society and family life. According to the contextual research we want to reflect three different stages of the growth in strength. In the first stage - a woman which is hidden by man and social prejudice. Second a woman who is fighting for her rights within society. (The beginning of the feminism) Third - a woman who has overcome feminist ideas and is now wanting more than equality over man.

Garments
Sallys Barbaras

Sallys garment, a hooded coat made from a military blanket. Can be worn in 14 different ways We saw this as a strong, more masculine and strong garment which gave us the idea to use it in the latter part of the narrative.

Barbaras garments were more feminine which fit with the narrative of the womans strength and role within society transforming. They were also quite monochrome except for one garment, the yellow dress above which we intended to use in the first shot, as the most feminine. The grey dress on the right fits well with the coat so we decided to use this for the last outfit.

Feminism Translated to Set Design

We got the idea for geometric shapes from the shapes of the garments. We used influences from cubism. The shapes should come together and gradually uncover the model to represent the womans growth in power.

Set Design Influences

Jean Helion re-enforces a sense of implied space. Overlapping shapes mark out a rhythm.

Frank Gehry How the sections of his architecture seem to interlock perfectly to create a bigger, abstract structure.

 Picasso 1909 Transformation and dislocation of form. Strong and bold lines and shapes yet they possess a sense of vulnerability.

 Soviet Union Posters Used to promote the strength in their false politics system. They use strong and bold lines with geometric shapes.

Martin Margieca A fashion designer who has used interior design. Playing with geometry within a space. Strong angular forms and transforming shapes.

Barbara Hepworth Feminist Sculptor. In a wider context, Hepworth also represented a link with pre-war ideals in a climate of social and physical reconstruction. She was very present within the modernist community.

3 D Puzzles Wooden blocks and how they interlock to create a larger shape. Also representative of how morals are piecing together within feminism.

Cerise Doucede A photographer that spends 3 days creating environments of hanging objects to create a scene where the subject almost becomes an inanimate object. These photos are from a series but both involve geometric shapes. It really gave us a sense of how a subject can fit within them and how the subject can appear hidden without being obstructed from our view. There are too many shapes here but we already know that we need a lot more than we initially intended.

These shapes are the templates we are using to hang around the model. Most are angular because we feel they would best represent the tensions within feminism.

Shapes and Construction

3D Models Of Set

Lighting ideas
We like the idea of effectively emphasized shapes what makes model look more sculptural and more interesting. The shadows on the shapes should also bring more depth within the set. We wanted to define the shapes so that they represent the tension within feminism. The shadow can also be used in order to hide something that is not perfect etc.

Lighting Influences

Richard Avedon The references form the Avedons works strongly represents the idea of sculptural model look. The shadow is emphasized down the one side of the model gives more strength to the accentuated half. Strong shadows also give definition to the posture which helps to communicate our concept.

 Irving Penn In Penns pictures we found effectively emphasized figures, contours.

It helped us to find out that even thinner shadow on one side of the model can define the posture and expressions which help us to reflect the concept.

Test shoot 1

During our first test shoot we were trying to create the initial lighting structure and find out how that works with the garments and background. We found out the clinical white background and the light which uncovers everything is not really useful for our project. Moreover, we were using seven light sources so the interesting sculptural effect was not achieved.

Test shoot 2

During the second test shoot we found out that the single light source worked better and let us to create the sculptural look. We used the big soft box and white panel which helped to spread the soft light on the model and the set. During this test shoot we finally found the simple but really effective lighting idea.

Characterisation
We looked at strong feminine figures within politics, film and history to help create a character for our shoot. Our model should have an air of confidence, be strong and dominant but maintaining some of the feminism and elegance of a woman.

Posture
To fit with the idea of an unconventional beauty and also the idea of transformation we were looking at quite distorted and unusual body positions and posture This was also to re-enforce the idea of a woman breaking the stereotype and being strong and masculine.

These are some extremes of the postures but it gave us a good idea as to what was too much and what was not enough.

Hair references
Spring/Summer 2012 Wet Hair Trend A feature on the catwalks for the Spring/Summer 2012 collection was the wet hair look. Alexander Wang Chanel Giambattista Valli Donna Karan

Thierry Mugler

Hair References
Mood Board, slicked back to not hide any facial features.

Hair References
Beyonce If I Were A Boy - The whole video plays on a role reversal between the man and the woman. Beyonce takes on the role of the man of the house. To appear strong and in control, her hair is always pulled back away from the face which allows her facial features to be accentuated and not hidden. She takes on the role of a policewoman. Her hair gets pulled into a ponytail/bun on duty and in the party scene, her hair is let loose. In the beginning and end of the scene her hair appears wet and lacking the volume. She looks vulnerable. We want to play with the hair creating messages about being restricted.

Make-up
To go with the idea of transformation we wanted two different makeup looks. The first should be quite minimal and feminine like the sketch to the left with nude lips and for the latter part of the shoot she should have eyeliner, emphasising her eyes, accentuated eyebrows and cheekbones to emphasize bone structure and power.

Casting

We were looking for the unconventional beauty, someone with accentuated facial features or a quirky characteristic about them but still maintained the model characteristics. These are just a few examples We settled on Melissa, who we fill fitted this criteria the most out of all available models.

Shoot Narrative
Due to the change in the set scale and construction our initial story board below has changed. We initially had a double page spread for the first image but we have now used it in the second image because of practicalities. We also initially had the hooded portrait on the last page but when placing the images in InDesign, it looked stronger on the left page.

Set Build

This is the finished constructed set in which we compromised the larger width for a larger depth and to extend the background in post production.

Contact Sheet 1
We chose this final image because of her posture and facial expression. The intimidation and unsureness of her surroundings didnt translate in quite a few of the other shots.

Final Image 1
In this image we wanted the woman to feel as if she was hidden and unconfident in her surroundings. Her posture is slightly slouched and her eye contact is direct but also lacking confidence. We wanted to create a sense of depth within the image to make it feel as if the woman is really in amongst the sexist ideas. We also wanted to create the idea that this is only part of a landscape and that this extrapolates; that it is and was not specific to this one woman.

Contact Sheet 2
We chose the final image because of the air of confidence in the woman. It was a combination of how the clothes looked and also the facial expressions of the model that expressed the taking control and transformation that we were looking for from the image.

Final Image 2
By extending the background we increased the negative space which emphasised the idea of the woman taking control and bringing the shapes together. We have the model positioned to look in state of flux. Stepping forward into the light she is in her transformation; away from the shapes which are metaphoric for social prejudices. They no longer hide her and they are becoming of a time in the past. She is ascending through feminism.

Contact Sheet 3
The selected image from this contact sheet was through a combination of the models facial expression, how much of the head is visible and mostly the shape of the hood.

Final Image 3
Taking the woman away from the shapes, this image places more focus on the woman herself and her strength. Looking away from the camera she is no longer caring for who is viewing her and her expression reflects this. The hooded coat is a very masculine garment so it really emphasises the power and strength of the woman. The hood is an unusual shape which we wanted to highlight, symbolic of how the woman is flexible and is confident to be unique and stand out.

Contact Sheet 4
We chose this final image because of a combination of facial expressions and the way the coat was being worn that expressed the narrative the best.

Final Image 4
This image is really representative of how the woman is now in control. There is distance between her and the sculpture, with her in the foreground. In addition to this, less light falls on the sculpture really emphasising the power of the woman in the image but also in todays society. The woman in this image is wearing the coat as an accessory here which just shows how she isnt afraid to be different and unique. She is trying to stand out as opposed to blending in. The direct eye contact with the camera really shows her confidence and also a little confrontation, something that has been missing in previous shots. The transformation is complete.

Post Production

In Design Layout
Our layout had to express our narrative in order to communicate the changes within feminism. The first page is a portrait among the shapes which represents how woman was confined. The second image is a double page spread which was suitable in emphasizing the negative space which in turn emphasized the shapes coming together. The third and fourth pictures represent the solidity and confidence of todays woman.

Overall Evaluation
Despite the fact that we had individual roles we decided that everyone could do everything if it were needed. However we do feel that there were people who have not attended their roles fully and a majority the works were done by other members. Overall we feel like we were successful in creating a fashion narrative and though the process may not have been smooth, we feel the new contacts we have made in designers, artists and models plus the satisfaction of seeing the final product has made it all worthwhile.

We feel like this is something that was lacking within our group and in some circumstances caused frustration and tension when there neednt be. Being able to be honest and confront each other when we have a difference in opinion is something I have learnt whilst working on this project and feel like this is something I need to keep working on.
We learnt that compromise is essential to group work and that we need to listen to everyones ideas to find a solution to problems before just doing whatever one person thinks.

Despite the fact that we had individual roles we decided that everyone could do everything if it were needed. I feel bad that there were people who have not attended their roles fully and a majority of its works were done by other members.

Agne Evaluation
In one of the first meetings we have all decided who is presenting one or another role. According to that I got the lighting lead and shoot coordinator positions. I suppose that I have done everything what I could in order to achieve the best result within it. My lighting structures and strategies were always considered before ahead despite that not everything was effective for our project. The visual research helped me to represent my lighting ideas to the team and achieve it during the final shoot. Moreover, in my view the shoot coordinator was supposed to organise the team. I feel I could have done this better during the final shoot. There were some slips when the team was stressed and unfocused on the main thing - connection and communication with our model. I kept good communication going with stylists, designers, model and makeup artists so that all colleges were aware of what was going on.

Claire Evaluation
My roles within the group were to take a lead on the casting and hair and makeup. Overall I think I did quite well in that they were all completed and done well with regards to the final images. I feel like I was better at the hair and make-up role because we had a clearer idea of what we wanted our model to look like throughout the shoot. Research and reference images I brought and that were discussed with the hair and makeup artist meant that what we achieved was what we wanted to help communicate our narrative.

Though we completed a characterization mood board and had ideas of what we wanted our model to look like I felt like when we actually set out to cast, there was a bit of confliction in who would be ideal. I should have helped to make the specifications clearer which comes down to communication.
On the shoot day itself I felt like this communication became an issue again. Due to changes in the set, the model was left sitting for quite a while without any interaction. My role was directing the model and it was only later on in the shoot when we got the rate of production up and a form of communication with the model going, that we started to get the results from her. I feel responsible for this and it was something to learn from for in the future, to keep your model happy and in the know because that is when they start to give you the images you are after.

Rob Evaluation
As set out at the beginning if the team project we each had a role to pic from that was best suited to our needs some. Initially I chose the role of Prop manager and Health and Safety assessor. However I had no doubt that our roles may sway between one another; maybes this was due to a slight lack of communication between the team or the roles just naturally merged i.e. set built and prop management. Nevertheless I felt we still managed to progress productivity.

In terms of the prop-managing role I feel we as a team ended up sharing the responsibility; as for a start our props were our set anyway.
Even though I was not the Hair and makeup lead I believe I played a fair part in the communication between the stylist and the team, in terms if finding out when they are free meetings and decisions on the makeup products needed for the shoot day. The one role that I was solely responsible for was being the Health and safety Supervisor/ risk assessor. It may be a tedious task but we all know how the saying goes 'better to be safe than sorry'. Anyhow I feel I handled the role professionally and produced assessments very aware to our practice; whether it be The final shoot day or the production of props, I made certain of a hazard free working environment.

Dan Evaluation
As we started out fashion project and became a group, we all identified certain roles within the group that would be most suitable for each person. We all decided on the roles and I became set build lead and lead photographer. I feel that in terms of the set there were certain issues that we bumped into along the way however in the end we overcame these issues, and solved them as a team. I feel like I took lead on the week of the shoot as at times communication would get lost. However, I think from this we eventually worked well, erecting the set to our fullest capabilities. Another thing would be certain issues during the shoot that we would then have to use our initiative to overcome, which I felt was dealt with really well. The minds and physicality of the team came together and worked over these minor issues with certain ease at times. I feel in terms of the shoot day it self I handled the shooting well however It soon hit me that after shooting for 6-8 hours straight, issues of sharpness and focus came up. This was overcome by simply changing photographer for the last hour of shooting as I was not happy with the results we were getting.