Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
After spending quite sometime at Central Saint Martins library, I saw a book titled "Femme Fashion 1780-2004" by Patricia Bratting. Hussein Chalayan used his entire 1998 fashion show to connate the strict narrative of orthodox islamic interpretations that were pushed by countries like Iran and Saudi Arabia to dominate other sects of the religion that are secular and peaceful such as sufism and the spread of Nasserism in Egypt. He wanted to connate a political ideology while creating a contrasting element by covering models fully, and gradually showing others as semi-nude and fully nude, at last. In Hussein's case he used his Cyprus and Ottoman heritage to further explore and have the right to touch on an ideology that links to his ethnic ancestry. He used minimalism to get his point across, because the pieces are highly contextual and not that innovate in terms of shape or color.
However, his perspective of sharing and showcasing a message fully by representing freely and not caring about the industry's demands of what fashion should be is incredibly liberating and artistic, in my opinion. His creative direction and ability to communicate art through fashion and create a performance out of each collection that he puts out is an aspect that inspires me so much of what he does. And that's why I linked his work as a creative direction approach that I look up to in my work for my Pecha Kecha essay.
Femme Fashion 1780-2004
Creative Direction Approach for Fashion for (Pecha Kecha) (Andy Warhol)
I aim to bring this study in my work as an influence, the ability to study someone's sexual fantasies and impulses. I plan to reference this particular piece in my Pecha Kechua visual essay as a fine arts approach I take at times when I'm directing a film or a conceptual fashion shoot.
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay) Thierry Mugler Summer/Spring, 1990
(Thierry Mugler S/S 1990)
Thierry Mugler is a designer and a couture brand that I admire greatly, specifically, his collections in the 1990 and 2011 (The 2011 collection was under the creative direction of Nicola Formichetti) his dark and erotic aesthetic is something that influenced me a lot in the past and it still does in many aspects. I find the brand image he cultivated to be highly seductive, powerful and explicit. It's empowering and mysterious. What inspired me the most about his approach for his S/S 1990 collection were the very detailed silhouettes and expensive textiles,consisting from fabrics and materials that are visually fetishized but in fact they were meant to empower femininity and it's significant role in a woman's sexuality. I particularly like his use of corsets, latex, leather and see-through fabrics.
(Carol Colliins-Miles / Thierry Mugler SS 1980)
His campaigns and promotional imagery are mainly revolving around a dark and sexual appeal, it uses the human form as a subject almost always, and the space is whether plain or like the S/S 1980 Mugler campaign I chose to reference, the use of nature, a romanticized nature is another visual tool that's used for his fashion promotional campaigns. Which is why I decided to reference him and the direction of his brand as an approach that I look up to as a fashion student.
Political, Social And Historical Context (Pecha Kecha)
(Primary Visit) (Victoria And Albert Museum) Political And Historical Context (Pecha Kecha)
Empress Menen Asfaw (Baptismal name Wolete Giyorgis 3 April 1891 – 15 February 1962) was the wife and consort of Emperor Haile Selassie I of Ethiopia.
(Ethiopian Dynasty, Gold Crown, 1700s-1850s) (Primary Image I took at the Victoria And Albert Museum) (Victoria And Albert Museum Visit, 04/07/2018)
As part of my visit to the Victoria and Albert museum in London, United Kingdom. I stumbled upon exciting jewelry pieces that were taken from Ethiopia, the accessories underlined wealth of the nation in the past centuries. The glistening gold crown owned by the dynasty and the Coptic church of Ethiopia manifests the blissful rich heritage of the empire. Rare examples of the extraordinary royal pieces of the Early Solomonic period that survived were preserved in profound care by westernized powers. Photos of Empress Menen Asfaw of Ethiopia are impeccably capturing to someone like me, the images reshape the conventional way of viewing African civilizations within the western and eastern world. She's staring gently into the corner of the view she's facing with her glamorous style, with a long and loose cape that was set to be chic and prestigious. And the final touches of accessories which are the golden crown on her head and the virtuous religious symbol on her chest. Nevertheless, the Afro hairstyle she's wearing was a signature look to the people of Ethiopia in the 1930s, it was a sign of pride and beauty.
This image of the late Menem Asfaw represents, contextually and visually, so much of historical Ethiopian culture. And, it challenges the notion that portrays Ethiopian culture as historically inferior to others civilisations in the world, when in fact Ethiopia, which was historically referred to as "Abyssinia" or "Habesha" has more historical ties to biblical and economical power on old scripture more that many countries that are praised as historical civilizations. I find the rain of her husband's dynasty to be the most powerful and visually inspiring factors of historical Ethiopian culture that reference in my work as my heritage. The capes, jewellery and afro hair dos are all inspirational elements that link back to it from my Ethiopian heritage and culture when I'm creating. And that's why I chose the image of Empress Menem Asfaw to represent Ethiopian culture and it's political/historical links to me and my work.
Bettie Page (Cultural And Historical Reference, 1955) (Hand-Made And Pecha Kecha)
(Bettie Page by Irving and Paula Klaw, 1955)
Bettie Page is a burlesque figure that I admire greatly. The way she carries herself while she's performing a trip tease is indescribably captivating. The queen of pinups, has an endless collection of images that are erotic, repulsive and censored. She carried each category perfectly, I believe. I always reference her performance skills and the sexual aesthetic that she represents from the 1950s. The sexual glamour that she connotes is a muse and a profound factor of inspiration to me. I had to include her cultural iconography into my historical referencing slides because she's such a contextual and visual tool for erotic American culture in the 1950s, that I'm informed and interested in. I find the way her films and photographs were shot, especially by Irving or Paula Klaw, to be technically very appealing and I plan to reference more of her era in my future work. The film Teaserama that's directed by Irving Klaw is the most inspiring piece of work that've seen her in.
Bettie Page (Cultural And Historical Reference, 1955)
Art of Recreation And Androgyny (Pecha Kecha) (Lady Gaga)
V99 is an issue of V Magazine that Gaga was the creative director for, she chose the garments, sets, locations and everything to do with the visuals of the editorial. She also directed the editorial to be a clear reference and tribute to iconic fashion designers that she adores greatly such as, Lee McQueen and Karl Lagerfeld. Her visual representations and ways of conceptualizing a theme is a factor that inspires me profoundly in her work and presence. Lady Gaga is the most recent example of iconography and self-reaction in pop culture ever since her raise to stardom in 2008, As she mentioned repeatedly the impact of the pop icons, Grace Jones, David Bowie and Madonna to her artistry and position within pop culture. She's uses fine arts as a major source of inspiration as well, she's greatly influenced by Warhol and the idea of putting art at the borderline of the commercial market in the similar to the way Warhol did it in the past.
Her ability to recreate herself through every era that she puts herself through is a factor that I study closely and appreciate greatly from her and the previous pop legends I referenced. I thought that it was important for me to list Gaga as a contemporary reference out of the other cultural icons I previously mentioned on my research film (Jones, Bowie, Madonna) who changed the course of iconography within the music commercial market through the use of art, controversy, fashion, gender, religion, sexuality, and politics.
Art of Recreation And Androgyny (Pecha Kecha) (Grace Jones)
(Pecha Kecha) (Visual Essay) (Referenece)
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
(Jean-Paul Gaultier Spring/Summer 1990)
Jean-Paul Gaultier is the designer and founder of his own brand Jean-Paul Gaultier and was the creative director of Hermes from 2003 to 2010. His designers and creative direction in clothing is highly conceptual in where a narrative can be depicted clearly from the moment the garment is displayed on the runway. For example, the look that I'm referencing on this research is deeply rooted in story telling. I see rebellion against modestly/holiness and the collective idea of virtue. In terms of depiction, I see a contrast of modern elements in the garment. The colors of each piece that the model was wearing is delicately white, which is aesthetically appealing and is an interesting composition to the model's skin color and background, it really showcases the garment strongly. He chose to make a black woman wear that piece in particular because it resembles a contrast of narrative, because christian and modest women are not perceived in a colored perspective or depiction in classical/western art.
This look is so aesthetically charming for me. Personally, I got influenced by Jean's approach of fashion direction and how he narrates stories powerfully through garments, performance and photography. He allows the outfits and the atmposhere to speak for themselves, which is the most vital ability a creative director and designer should have in their craft and knowledge, in my opinion. His vision to creative direction is mainly based off the designs of the garments more than the aesthetic of the campaign and how his brand is displayed to the public, creatively. However, creative directors like him inspire me to explore textile and technical elements in fashion design as well to push my work further and discover other aspects of my discipline and industry.
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
(Tom Ford - Valley of the Dolls by Steven Klein)
Tom Ford is the ideal creative director in terms of experimenting with visuals and mediums. He was the creative director of Gucci before he started his own brand and label, his success gave him tremendous validation in the fashion industry even though he continuously mentions that his first plan was to be an actor, he settled for being a designer after graduating from Parsons, in New York. Tom ford is smart when it comes to campaigning he recently released a fashion film which is a recent phenomenon to promotion in the industry as a whole. He collaborated with Nick Knight on a fashion film with an appearance by Lady Gaga, with a vintage cover of the 1970s hit song by Chic "I Want Your Love", the fashion film took over and was talked about globally. His collection was showcased differently and effectively in film, the outfits were moving and shimmering, he certainly proved through the fashion film that his garments are chic and easy to wear. Furthermore, the film was targeted to a ready to wear commercial audience. Tom Ford collaborates with the best fashion photographers in the business such as Steven Klein in where he shot a series of provoking and aesthetically appealing photographs for a publication, it was labelled "Tom Ford - Valley of the Dolls". Tom Ford directs films as well not just fashion film but actual dialogues and narratives that created for the big screen (cinema). He directed one of my absolute films ever "A single man, 2009", the film tells the story of a struggling man in the 1960s who lost his lover in a car accident. And, visually the film was exhilarating, every garment, shot and detail was planned artistically and beautifully.
(Tom Ford, A Single Man, 2009)
(TOM FORD WOMENSWEAR SS16 fashion film by Nick Knight)
Tom Ford's work is highly commercial, especially his collections, even back in the day when he was the creative director for Gucci and today in his own label, which is not the most attractive aspect of fashion I find inspiring. However, when it comes to conceptualizating and promoting with artistic visuals, he is definitely an inspiring figure to me. Tom collaborates with contemporary celebrities that help improve the image of his brand such as, Beyonce, Lady Gaga, Steven Klein etc… Moreover, he is intrigued by different mediums of art and not only boxed by fashion as an industry and medium of expression. Tom's film "A single man" took my breathaway, the visuals in the directed narrative were indescribably stunning! I was truly captured by his creative direction not only in fashion and promotion but in film as well. Tom Ford inspires me when it comes to experimentation throughout different medias like film and conceptual campaigns that include my own portrait, because it rare to see a creative director model for his own brand and concept but not when it comes to Tom he uses his own portraits for campaigning every now and then, confidently. He proves to me that a creative director can engage into different mediums of art with the most seductive and amusing visuals while still being on top of the commercial market and maintaining a large revenue and group of loyal customers. Ford's ability to experiment with his creative direction skills through different meduims is a factor about him that I admire greatly and that's why I chose to reference him on my visual essay as a vital figure for my creative approach.
Maison Martin Margiela Contemporary Reference #2 for (Co-create)
(Maison Margiela Artisanal S/S 2016)
This piece inspired me greatly in this project, contextually and visually, the contemporary deconstructed pieces that Margiela worked on are so much more expressive and experimental compared to how they were in the past. Such as this piece in where he's decustomizing a garment by attaching smocked fabric samples to them and ending the piece with a classical deconstructed flair. I plan to de-customize a hoodie for this performance film that I'm doing, where I'm going to purchase from the a charity store (Second Chance) in Archway. And, I will attach a large piece of polyester fabric to the ceiling and deconstruct to the hoodie and de-customize the entire look of the two objects. I believe, that Margiela technique in deconstructing garments will be one of the most influential fashionable elements of this project.
(Co-Create) Cruel Habitations: The History of Working-class Housing 1780-1918 by Enid Gauldie, 1974
(Cruel Habitations: The History of Working-class Housing 1780-1918 by Enid Gauldie, 1974)
This is a book I used as a social and economical highlighting the social status of London citizens through housing historically. It investigates how a housing crisis is curated, where is it focused, who does it target and who's going to be effected by it the most.
Reading this book at the Central Saint Martins library was such an essential tool of contextual inspiration for me, I had to investigate the history of the persona I'm channeling for this project. So, researching a restrictive social status in London is another key factor to why a person might be numb to his or her everyday life, maybe because they don't even have a place to live or a place that's unlivable in. It's a historical struggle that targets the lower middle class as stated in the book, which is a disheartening reality that people avoid. And, that's why I wish to highlight it further into my visual work for the Co-Create project.
Bruce Nauman Fine Art Reference for (Project 5) (Drawing and Performance)
(Bruce Nauman, Raw Material Washing Hands, Normal (A of A/B) Raw Material Washing Hands, Normal, 1996)
Bruce's performance films are extraordinarily to me, but this one in particular is the most powerful in my opinion. The piece practices a daily activity, that's common to many cultures and parts of the world "Washing your hands", in the film I can see Bruce experimenting with atmospheric tools he gathered for the performance (The sink and soap). He continuesly rubs his hands on lop to get something out, which can resemble the attempt of trying the same thing over and over again (Addiction or obsession). Even the display of the same films on lop is an inspiring formate for that's visually pleasing. Nevertheless, his experiments in film inspire me a lot, his work allows me to create expressive and conceptual work that's beyond the commercial world and simplicity in visuals. His work is highly figurative and minimalistic, but conceptually strong, in my opinion. His concepts and technically in editing in showing a faded 70s tv aesthetic is something I link to my work. And I plan to do silent films experimenting objects conceptually in a way that links to story telling and genuine human interaction with objects that's conceptually driven. Bruce is an artist that I always link back to when I'm creating films.
Illustration by Helen Bulllock (Project 5) (Drawing And Performance)
(Fashion Illustration by Helen Bullock provided by Showstudio)
Helen Bullock is a london based fashion illustrator and print designer her work is heavily vibrant and abstract in terms of visualization. She studied at Central Saint Martins's fashion print (BA/MA) after coming back from New york in hopes to peruse acting. Her work is bold, unique and strong in color. it captures the person's eye by it's beauty. she worked with a series of different brands and global publications such as Liberty, Louis Vuitton, GQ Style and show studio, just to name a few. The way she illustrates lines is bold and abstract, the color of the garments captures one's eyes in her work more than the figure itself which is an interesting method of fashion illustration. At times she uses mixed media for her prints and illustrations but she mainly uses pen and watercolor as her main expressive materials. Recently, Helen has been producing delicate watercolor illustrations that are not based off color, which is an facisnating method for her to go for because it shows more of her skills throughout different experiments of visualizations/ illustrations.
In my opinion, I think her work is immensely unique and aesthetically appealing in different forms. Lines and abstract bold tones of color are my favorites elements of her work. Although her abstract illustration do not showcase the garments and shape/ texture of the outfit will, it still manages to show detail and strong appeal in them. The texture is mainly in the color more than the drawing of the fabric. And, personally, I like a balance of abstract fashion illustrations and technicality as well, but when it comes to Helen's work I'm so inspired by her style and free going approach that I'm starting to embrace the abstract form of illustration more than the realism aspect. Her work moved me visually and her aesthetic in visualization is breath taking and I plan to practice his technique in the future and perhaps include it to my own style of fashion illustration.
Andy Warhol eating a hamburger, 1981
Carlos Martiel, Segregation, 2015. Political and Social Research for (Hand-made)
(Carlos Martiel, Segregation, 2015)
Carlos stood in the center of the gallery between two barbed wire isolating him from the crowd and public. One of the entryways permitted the entrance of U.S. born whites and Europeans. The other, permitted the entrance of Africans, Latinos, Asians, and Middle Easterners, as well as any individual who was not European or U.S. born white. People were not allowed to mix for the duration. He made that particular statement to underline an on going issue in the west that's segregating. The piece is channelling a historical and an on going struggle that a lot of people from African descent face all over the world. It's the fact that there's not a lot of inclusiveness, comfort, compassion and deep understanding of the destruction that black people when through in history till today. The piece is truly inspiring and empowering.
Odile Decq's Architecture and Interior Reference for (Hand Made)
(Odile Decq, Information Centre, Benoit Cornette, Shanghai, China, 2008)
This building designed my Odile Decq is an architectural master piece, that could easily be turned into an installation from it’s external beauty and detail with shape and color. The building has three striking geometrical lines that point out of the corner top of the design. It’s consisting out of two strong and vibrant contrasting colors of red and black, which makes the geometrical shape of the building highlighted and defined even more. Although, I don't plan to practice architecture as a future career of mine, I still admire the detail and creativity Odile adds to her work. Her technique of designing is unique in nature and astonishing. I witnessed one of her buildings by the name of "Frac Betagne" while I was in France. And I can simply say that I was stunned with the unconventional elements that she showcases with her work and even interior design efforts.
Context Behind Newspaper Conceptualization (Making Project)
(Who runs the world, Noam Chomsky, 2016)
This book I'm referencing is an interesting read and a new aspect of judgement behind the current global issues that are occurring in our present day and time. Noam's opinion about the rule of western governments in the world is slightly unconventional to the mainstream view to a certain extent. Personally, I found the book very contextually informative and biased at times. Most of the arguments in the book fully blame and put western foreign policy as the reason behind destruction, when simply that's not always the case, In my opinion. At times, I personally believe the people of certain nations make conscious decisions' that harm their own countries and governments. And, they should take respobsility for that and not always blame an external factor. However, this book links heavily to the first article I started my conceptualization process with during the beginning of the making project. I plan to take this research further by referencing some of the topics/terms I read in the book for a poem as one of the 5 outcomes I'm going to make for this project.
I attached a short video of Noam Chomsky justifying his point of view further during an interview on audio.
Makeup Reference from Alexander McQueen's F/W 2014 Runway Show for (Celebrating Archway)
(Alexander McQueen F/W 2014)
This brow-less nude based makeup set that was done at McQueen's F/W 2014, is a stunning and glamourous example/look that I believe so many individuals would wear when they're feeling subversive and expressive. The light blush on the cheeks and they way they interact with one another from her eye all the way to her cheek is also a visually pleasing, I believe the concept behind this makeup look is fantasy based, maybe inspired by a white rose garden with a racial blend, because the model happened to have corn-braids as well, which could be a sign or appropriation of inclusivity in beauty standards. Also, the tones of the makeup match up to my primary research of developing objects that are the Archway customs of beer from the Red Cap or Kebab from any corner of the street. I felt particularly inspired by this looks and I plan to develop it further into my project of "Celebrating Archway." as a couture fantasy.
Cooking In Couture (Celebrating Archway)
(Cooking in couture, Isabella Blow at her Elizabeth Street home, 2007. Photography by Stefan Bruggemann)
Isabella blow is a figure that I look up to tremendously in the fashion industry. She was quite exceptional in her ability of finding talent and presenting herself as this beyond life figure, a visual god is what I call her. This editorial issue by her in particular that's highly underrated in my opinion. Influence my contrasting concept heavily. In the issue Isabella Blow can be seen herself and with another model cooking/doing an everyday activity in couture dresses and headpieces. The visuals are humorously and glamorously contrasting, I was absolutely amazed by them and I got the visual cleverness behind, so I knew that I had to reference it in my work visually and conceptually. The editorial Blow can be seen pouring blowing water into a bowl while wearing a shimmering gold couture dress, and a bird inspired Philip Tracy headpiece while doing an activity that's not socially seen as luxurious or suitable to what she was wearing.
Thierry Mugler F/W 1992 (Celebrating Archway)
(Thierry Mugler F/W 1992, Couture Show)
Thierry Mugler's couture reference is symbolic to "Paris is burning" and other different individuals in life who want couture, a fancy life. The fantasy of a rich white woman as it's mentioned on the previous film I referenced "Paris is boring". But they can't afford it or have it. So they either recreate the look with cheap fur/fabric or even steal the garments and wear them for events or balls. It's a category that's based off delusion and wanting something so bad. This research of the show links to my concept strongly. This show in particular got a lot of buzz in the 1990s for its glamorous and wide rage of feminity and shape. Mugler was the ultimate fantasy for women who were obsessed with couture in the 1990s, and moreover I wanted to reference this Mugler aesthetic into the concept I developed for this project. The first garment that has a pure influence on my project is the fur coat, that's highly expensive and was a must have couture item since the 1930s, it showcases wealth and power in women as well as sophistication, which a juxtaposition of perfection that I wanted to go against visually in my project. The other garments I referenced is the see-through body suit, which highlights the opposite of the fur coat, wearing fishnets or a see-through body suit doesn't necessarily have a positive connotation to it, and just like Mugler's direction and styling I thought of blending these two elements in one look that would highlight the two selves that the persona I created for my publication wants to be. The two textures are profoundly detailed and they link to my concept heavily, so I do see myself developing this research into my work.
Primary Research (Celebrating Archway)
These are primary images I took to emphasize and highlight my concept for celebrating Archway. I wanted to take inspiration from the location that I was given and the people around it. In that regard, I went inside the pub and photographed parts of the location that I found inspiring such as the environment that needed a visual re-envision from the inside and outside. I even photographed the patterns in the wall and I plan to develop them in my visualization for the publication I have in mind for the Red Cap pub. I photographed people down the street who wearing fur and intrigued within a fantasy that they created for themselves. I also recorded local business that are linked to the pub in where individuals go to get food after grabbing a drink from the pub, mainly a kebab wrap is the choice I see many of them choice. I plan to develop these primary images through collage and conceptualization to create a publication that links to my location and reflect on my own idea and contrasting aesthetic of vulgarity and fanciness/ confidence and delusion/ having nothing in the midst of everything. All of these points link me back to Paris is burning which is a documentary that I plan to research and reference in this particular project.
Cindy Sherman's Untitled Film Stills Inspiration for (Self Portrait)
Primary Research for (Self-portrait)
These are primary images that I took as visual references for my self-portrait project. The image of the pillow connotes the anxiety attacks, loneliness and void that I would feel before falling asleep during my first week of this course in London. Although the pillow was soft and comforting I still felt a sense of loneliness and discomfort mentally, which eventually reflected on me physically. I plan to use beds and pillows as symbols of my short concept for this project. Therefore, I thought about adding that symbol of emptiness, but I'm not sure if I'll take that particular idea further or not.
Creative Direction Approach for Fashion for (Pecha Kecha) (Robert Mapplethorpe)
During my Central Saint Martin's library research task I discovered a book titled "Seduced art and sex from antiquity to now" (Page 213). The book highlights how sex is explored in different mediums in art throughout history. Mapplethorpe was an American photographer who's controversial was an uncomfortable subject matter to many people at his time for art and social acceptance, especially in explicit imagery that connotes homosexual interaction, fetish play and metaphorical symbolism through objects or even body parts to send a provocative and expressive message.
Robert Mapplethorpe's collection of exploring sexuality through leather and other subculture fetishes is a profound inspirational element for me and my work. His work reflects on sexuality, social presentation and expression around a specific time in American and gay culture. His ability to obtain a strong aesthetic that's significantly black and white and highlight very contemporary representations in his culture is a factor that I find greatly inspiring for my work. The way he explores his fantasies and own lifestyle in his work is so fascinating to me, he's able to carve and study's someone's entire perception just through a portrait that's highly symbolic.
Blowjob by Andy Warhol, (1964)
Primary Visit (250th Summer Exhibition At the Royal Academy) (Hand-Made and Pecha Kecha)
During my visit to the Royal Academy 250 years of art exhibition, I saw a display of a piece by Marina Abramavic titled as "Freeing the body", which highlights the use of identity through anonymity and the naked human form, which is a very powerful contrast that I had to dive more into. The concept of being faceless is also explored throughout different mediums other than fashion, such as performance art and painting. An example of that is seen in Marina Abramovic's six-hour performance at the Mike Steiner gallery in Berlin, 'Freeing the Body', December, 1976. Abramovic wore a black mask while running and pushing her naked body across a constructed space finally stopping in front of a white wall. An African drummer was sitting in front of her, beating a drum with his hands, sometimes quickly and loudly, at other times more gently. During the performance, Abramovic's head was covered by a black scarf. In this way, the audience was not distracted by Abramovic as a person with a vulnerable dissemination that can be seen from her face, the mask made her head bridled, and in that regard, the attention can be fully focused on the body only, which, due to its anonymity, has become an abstraction. Marina merged the concept of being facially concealed and physically nude as a form of a visual juxtaposition in her performance.
The idea behind it was an attempt to reach a state where there is no fear of pain, death or physical restrictions. By 'rejecting the conformity of facial revealment' the protagonist allowed her to engage the audience without the disruption of her identity. The desire to mentally enter another dimension by over stretching one's physical limits has connections with rituals from 'primitive' cultures that are considereduncivilized in the western world. Not only Abramovic herself, but the audience as well became entranced and stunned by the performance. And that's why decided to reference this performance as a fine arts performance piece that informs and enhances the creativity of my discipline for creative direction.
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
Political, Social And Historical Context (Pecha Kecha)
Political And Historical Context (Pecha Kecha)
(Empress Menen Asfaw seated in the centre and standing women from left to right are Princess Tsehai, Princess Tenagnework, and Princess Zenebework, 1930s)
Capes were such a cultural and historical fashion trend to Ethiopia since the establishment of the empire, plain capes that are made of silk or even accessorized with gold and expensive jewelry, and other times they can be made with a fur-like texture fabric (felting). Capes were a genderless choice of dress for the dynasty whether it was the empress of emperor himself.
Political And Historical Context (Pecha Kecha)
(The prostitute and Servant by Antoin Sevruguin, Persia, 1920s)
Antoin Sevruguin is a photographer who I believed captured the Essence of Persian culture before the modernization that happened to it in the 1930s and 1940s. And it also highlights the racial divide and discrimination that was occurring in the Middle East throughout different countries which showcase the enslavement of Africans and the discrimination they faced in that region. I'm quite pleased that Antoin and other photographers are able to highlight the racial tension that was still going on at that time. His work also highlights the role of women in Persian society. Men in a collective and oriental society. I find his work interesting and full of inspiration when it comes to gathering contextual references from different cultures in the world. And that's why I referenced his work in my political and historical slide for my Pecha Kechua essay.
Samia Gamal (Cultural And Historical Reference, 1954)
Samia Gamal (Cultural And Historical Reference, 1954)
Art of Recreation And Androgyny (Pecha Kecha) (Madonna)
Madonna have stated in the past herself that David Bowie is a tremendous inspiration for her. And, Grace Jones once mentioned Madonna attending a concert of hers to analyze and study her stage presence. In that regard, I find all of the icons I referenced for the self-recreation and androgyny slides linked and interactive with one another just with a different creative approaches that are individualistic.
In regards to Madonna, she transformed and took the base of self recreation to a higher level as method of engagement and interest in pop culture, she did it quickly and make it an interesting experience for the public and commercial market. She used elements of provocation, sexuality and politics to engage people on what she was doing in a interactive manner, and not just in her music. The way she owns her body and sexuality is something I find quite inspiring when I'm creating and improvising a persona or a character. And, that's why I chose to reference her artistry on my Pecha Kecha.
Art of Recreation And Androgyny (Pecha Kecha) (David Bowie)
(Pecha Kecha) (Visual Essay) (Referenece)
(Cranes in the Sky, Carlota Guerrero, 2016)
The incredible work that Carlota and Solange created together can be seen on youtube or even Carlota's website or social media account. They both created imagery that's minimalistic, naturalistic and filled with ethnic pride and culture. Solange and the other model in the photo were wearing romanticized silky dresses while standing in a white dessert underneath the blue sky. Their styling in the photo is natural and minimalistic which can easily be seen when one takes a closer look at their natural hair and facial gaze.
The work they both created is beyond amazing, in my opinion. Solange’s use of romanticism in her visuals with the artist direction of Carlota Guerrero is immensely powerful. They recreated the African narrative within artistic western culture and minimal art, which hasn’t been down before by any African American contemporary musician. Solange and Carlota expressed their visual ideas throughout similar mediums. Solange choices photography, poetry, music and film. And for Carlota Gurrero it's mainly photography and film. The two videos they realized together in 2016 "CRANES IN THE SKY" and "DON'T TOUCH MY HAIR." Are two masterpieces that reshaped my aesthetic in visual arts and beauty in general. All of my minimalistic concepts were embraced once I discovered their incredible work. And that's why I referenced this piece particularly for the current visual aesthetic that've been using for my work.
Creative Direction Approach for Fashion (Pecha Kecha) (Visual Essay)
(Riccardo Tisci, Creative Direction, Marina Abramavic for Givenchy SS13 Campaign shot by Mert and Marcus and styled by Carine Roitfeld.)
Riccardo Tisci is an Italian born creative director and fashion designer. He studied in London's Central Saint Martins Academy in 1999. He was one of the leading names that transformed the house of Givenchy, in the same way that McQueen did in the 1990s. His dark and oriental aesthetic re-shaped the image of Givenchy and even his own brand as a fashion designer. This campaign had a very effective and interesting promotional appeal. I believe the marketing objective behind the choice of Marina Abramovic as a model is to glamorze the blend in between fashion houses/global brands that are cooperate in nature with fine artists and performers that have a completely different sect of followers.In that regard, It's also important to notice that the brand is trying to reverse ageism by promoting and advertising images that are embracing the beauty of elder women into the mass. By that, the brand would be reaching a market segment, visually, that's close to Marina's age. Nevertheless, using fine artists and performers in campaigns adds legitimacy and a strong market orientation to consumers who look up to the art and fashion world and admire the blend of both. Marina herself believes that wearing the clothes of her friend Riccardo Tisci is empowering to her persona. This campaign in particular inspired me a lot, the blend of commercialism and fine arts will always capture my interest. The image of Riccardo Tisci being breastfeed by Marina is metaphorically powerful and showcases how she is feeding off her creativity and legacy to him and his own creativity in fashion. As a creative director, I respect his vision so much. He truly knows how to recreate an image and that can be seen clearly with what he did to the legendary fashion house of Givenchy. Even in terms of styling and designing he captures my attention every time he releases a collection of a creative campaign his ability to manage his creative direction career is very inspirational to me.
Creative Direction Approach for Fashion for (Pecha Kecha) (Visual Essay)
(Palomospain, on dazed, art direction by Alexandra Jordana and Oian Areta.)
Alejandro Gomez Palomo is a Spanish creative director and founder of the artistic brand Palomo, Spain. Alexandra Jordana and Oian Areta directed these artistic installations deliberately.The campaign's imagery is influenced directly from real life paintings and other conceptual pieces that are associated with realism as an artistic movement. A portrait of three models can be seen in the campaign. One the models is shown through the mirror's reflection styled classically with a formal attire picking grapes gently, and the other two models are displayed, but not fully one is holding the mirror and the other is laying down peacefully. The other image of the campaign is inspired by classical sculptures and romanticism highly elegant and sensual. Four men are showcased/ displayed as sculptures and one female is standing powerfully and gracefully in the middle of the bright spotlight.
His creative direction in campaigning particularly attracted me the most, because he collaborates and hires art directors that are interested in creating visuals that channel art to the highest form. I'm immensely inspired by campaigns that are highly oriented in art and romanticism. Retrieving artistic, ethnical and cultural movements and putting them in the forefront of the commercial market is the objective and agenda that I personally aim to achieve as a creative director for fashion and visual communication. Therefore, to see artistic directors practicing the same method or agenda is influential and sends a clear message of embracing art and putting artistic effort to create products and pieces that benefit the mass market’s taste and lifestyle, instead of making capital and profit the main objective without giving any quality to their consumers.
Marina Abramovic Reference (The house with the ocean's view, 2002) for (Co-create)
(Marina Abramovic, The house with the ocean's view, 2002, Publisher: Milano : Charta, 2003)
During my Central Saint Martins library research session I discovered a book by Marina Abramovic titled "The House with the ocean's view" In where I found many influences to my current concept, in terms of space and practice. The element of restriction in her performance influenced my film and performance strongly, she was able to push her limits by having a restricted diet for days, being stuck within that space and time and constantly being pushed through that for several days. Her concept was slightly different to mine, hers was so much to do with testing the human form to it's limits, and seeing how much pain and struggle it can take by the end of the performance. My concept is slightly more social, although my diet was restricted within the space I created, it was mainly to highlight poverty and numbness not to test my own form within that space in terms of limit. I plan to continue referencing her artistry whenever I plan to work and investigate performance art as a medium that she's considered as the pioneer of.
Maison Martin Margiela, Fashion Reference #1 for (Co-create)
(Martin Margiela S/S 1989)
This piece was profoundly revolutionary in the time that it was made, it truly challenged the classical and commercial idea of fashion as a perfect garment that's pretty and finished well on the edges. He really pushed the limits of design in the beginning of his career and he's one of the pioneers if not the pioneer in the well known movement that's titled "deconstruction". I continuously look up to him and his work and I plan to link his aesthetic more into any fashion based project that I aim to do which has an element of visual roughness and deconstruction.
Primary Visit to Central Saint Martin's Museum for (Co-create)
(Ceci n'est pas une chaise, 3 chair, 2014.)
This is the object that I received during my primary visit to the Central Saint Martin's museum at King's Cross. The chair that I was given is 1 out of three that were displayed publicly. The materials of the object are casting plaster, plastic net and a bit of concrete. The concept behind the object links so much to my previous explored concept of numbness, it's about how a chair is not regarded as an object worth giving attention to or treating precisely, because it's accessible and mass to everyone in the world such as water and bread. I plan to link the technicality of this object with my partner into the installation that we are planning to complete and film. I see a more flatter surface being inspired by this piece, perhaps an abstract bed or another object that's not regarded as worthy for our attention, and develop that into my primary experiments and existing concept.
(Co-Create) All That's Solid: The Great Housing Disaster by Danny Dorling, 2014
(All That's Solid: The Great Housing Disaster by Danny Dorling, 2014)
All That's Solid is another book that I read at the Central Saint Martins library. The book highlights and justifies the most recent housing crisis that occurred in 2008 globally, and it clearly states how the aftermath of that crisis is still alive and well. The economy is recovering slowler than ever to certain people who are historically struggling for financial stability whether it's based off race or social status, one can easily say that our current economical margin is not balanced to all of us.
Contextually, I wanted to compare in my research file how if you're a person who's historically oppressed by housing or financial intrusions, the history of that economical oppression is still live today but in different forms thanks to corruption in banking systems that are mainly driven by the greed and selfishness of wealthy shareholders/owners. People are still currently struggling in trying to recover financially and help the economy. People are obligated to be worn out in terms of work just to get a basic liveable wage and salary that would barely pay off their housing bills and needs, which again goes back to my point of numbness and social exhaustion. This case, I believe, is behind so many people's anxieties and mental disorders in our harsh capitalist societies. Not being able to survive or afford his/her own needs to even think or dream of what he/she would want for himself/herself in the future, their vision is obscure.
Primary Research for (Co-Create)
I took primary images of struggling individuals on the street who reflect greatly on my concept and research. I wanted to study their environments and surroundings in where they were and their numbness to only picture how it would feel to be in their position. I plan to include these images as primary symbols into my work and highlight their importance to the performance film I have in mind.
The financial disasters that I'm highlighting and the way these people are being treated is truly heartbreaking, my main aim with this is to showcase a point and a light on my concept and the issue imbedded with it. The concept is about the mentally and physically tormented soul of our harsh capitalist societies, it's about the struggling individuals of the lower middle class who are so close to poverty due to the infamous re-occurring housing crisis that are caused by corrupt financial institutions and a low growing economy. Because of that struggle and constant state of survival, he became numb to reality, unaware of his daily activities, his own being and movements. His obscured by potential with no sense of vision to the future and his wants, he drinks, he sleeps, he walks and his not aware even aware of it. This concept also tackles mental disorders, but it's mainly focused on the causes behind it rather than the actual disorder.
Primary Visit (BRD SHT) (Co-create)
(Mark Jenkins, BRD SHT Exhibition, May-July, 2018)
During a primary visit to an exhibition of the American artist Mark Jenkins on the (02/07/2018) in his third solo exhibition with Lazinc, his first in the gallery’s flagship Mayfair space.
I was visually intrigued by his ability to communicate powerful social commentary through his installations. When I first walked in the exhibition I thought that the still sculptures of the people wearing jeans and hoodies were real. Because the way they were dressed and presented. They look so much like anyone that you would see passing down the street of any urban city. The show emphasized to me depression, the down sides of capitalism on an individual and suicide, before I even read the description of the show. I plan to reference my primary experience and the inspiration I got from his work in some of my up coming projects, because I personally believe that his concept was very strong, relatable and connective to a mass audience. And as I read more into his contextual meaning behind the exhibition I learnt that it was to raise awareness of the issue of male suicide and the pressure that is constantly put on a "man" to succeed and hide away his emotions/pain.
Andy Warhol "Eating a burger Reference (Project 5) (Drawing And Performance)
(Andy Warhol eats a burger, 66 Scenes from America, 1981)
This film experiment by Andy Warhol is a reference that's socially connected to the investigation and ideas I do with film. It's a fine arts approach that questions daily activities, and the use of things. The film is contextually tackling capitalism and the fast tick of it, and how mass market is infiltrating every aspect of our life including our food and health. But, visually it's a powerful still that's intrigued in performance art. It was highlighting his bites, grips, sounds and atmosphere. It was very odd, uncomfortable and unneeded, but as Warhol once said " An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them." And in that regard, his attitude with film and experimentation with objects inspired me to reference him and try a similar approach for my project 4 task.
Illustration by John Booth Reference for (Project 5) (Drawing And Performance)
(Fashion Illustration by John Booth provided by Showstudio)
John Booth is a fashion illustrator and textile created who's currently based in London.He delivers for BA Fashion at Westminster and was trained at Central Saint Martins, where he is an Associate lecturer in fashion at the moment. He worked for John Galliano and several other brands. He practices collage technique, experimentation with line, form and textile manipulation. His work is vibrate and visually colorful. He highlights different textures of tones with the garments or background of the illustration. Details are shown in the fashion illustrations he does. They are daily abstract but at the same time, they do reflect on elaborative tones or laces of the garment. In the particular illustration I referenced of John Booth's piece published by Showstudio. One can clearly see the strong influence of the color red on the outfit and white details of the lace as well as the delicate inclusion of blue and light red to the overall aesthetic of the fashion illustration.
His work is sharp, bold and striking in vibrate colors either they're in the background of the illustration or the garment on the model itself. John Booth visualizes and styles his illustration pieces as if he's painting on a canvas, which is very inspiring to me, because I'm personally drawn into the artistic aspect of fashion as a whole such as, visualizations, conceptualizing, illustration and creative direction etc… His work shows the art and purity of fashion illustration as a medium that's based of an aesthetic and genre and not just selling clothes and commercializing uncreative products or outcomes for the sale of profit only. He's technique in fashion illustration is an influence that I plan to take further in my work and fashion illustrations.
James Ostrer Political Reference (Making Project)
(Donald Trump by James Ostrer, 2016)
This piece in particular inspired me by the materials used in it. How meat can be used creatively to highlight political commentary in art. The basis of the concept that I'm working on is highly political, it connotes the mistreatment and unfortunate restrictions that millions around the world face due to government corruption, dictatorships and western support for these governments that are against their own people. And, the support is only based off profit, money, power instead of human rights. I think the piece that I'm referencing is dehumanizing politicians and degrading their potential in the same way that they do to others, I believe. So, contextually and technically this piece inspired me tremendously.
Oskar Schlemmer Performance Reference (Making Project)
(Oskar Schlemmer develops the dance of sticks, at the Bauhaus,1927)
Oskar improvised a structure from the sticks he gathered around his form during the performance, which was visually and conceptually striking to me. It was so aesthetically powerful as well, I believe he used it to emphasize or connote protection for himself, away from danger. A defense system in a sense, if I look that sharp and dangerous then no risk will come my way, which is my own connotation to it. It's a very restriction structure of movement as well. The lines and sharp edges of the garment he was wearing inspired me profoundly to recreate a concept that's contextually different but visually linking. I aim to create a structure that highlight the degradation of the meat on a metal stick, vulnerable, hopeless and eaten up.
Mark Rothko (Printing And Visual Reference) for (Hand-made)
(Marko Rothko, Light Red Over Black, 1957)
Marko Rothko was an American painter of Russian Jewish descent. Marko did not adhere to any artistic movement that was happening around his time. But he is, however, consider as a abstract expressionist. His technique and way of painting is beyond ethereal and simplistic. It has a child-like element of expression, his work is very raw and emotional, which is a similar aspect in another artist that I admire, by the name of "Jeff Koons". He used contrasting but blending tones of red and black in his piece. And he gave the piece a squared like shape that's constant throughout the painting. It's very flat and abstract in nature, which is his signature way of expressing.
Marko's work left a powerful impact on me and my work. His technicality and style of coloring is something that include into my work and paintings in specific. I discovered his work long ago during my visit to the Tate Museum in London, United Kingdom. And until this day I still look up to his incredible work as a source of reference and inspiration. The way he merges colors into each other while painting is just indescribable. His philosophy in art is something that I look up to tremendously as well. Although, He is one of the greatest artists, in my opinion, I still wish that he would've showcased his talents of observing in some of his other paintings, perhaps a more realistic approach would've been it, I believe. And, that's why I chose to reference his technicality of color for my Hand-made concept.
Makeup Reference from Thierry Mugler's F/W 2011 Runway Show for (Celebrating Archway)
(Thierry Mugler F/W 2011)
The point of reference I developed and took further in my previous secondary and primary concept of seeing glamour in the midst of nothing. I thought the the ultimate contrast of high glamor being in the midst of nothing is what would be visually exciting for many individuals to interact with and think about the visual juxtaposition I'm trying to create for this project. And, in that regard, I decided to study more of the glamorous make up of haute couture by the brand of the master of couture himself, in my opinion, which is Mugler. However, when this collection was seen he wasn't the creative director anymore, Nicola took his position and transformed his entire brand image, by making it more diverse, youthful and dark. For example the element the contrasting white eyeliner on the model's cheek is a makeup technique that I might develop in the future into my project, but instead of choosing tones that speak to my taste or aesthetic, I'll instead develop tones from objects that are Archway based and link to my location of exploration.
Shoot Reference (Celebrating Archway)
(Violet Chachki & Anna Cleveland in Caged Heat, March 2016, Shot by Steven Klein, Styled by Ludivine Poiblanc)
This shoot in particular inspired me tremendously, and inspired a specific atmosphere of my photostory, which highlights the transition of my character's vision when he walked into the pub. The contrast, tones, glamor and rawness of the image spoke to me, creatively. I knew that I had to reference that aesthetic of a high fashion aesthetic in a vulgar or rough setting that's seen in underground urban nightlife, which is an element I want to address strongly in the current project I'm making. The shoot also connotes gender roles being irrelevant, and a celebrated form of beauty. Gender identity, is another factor that I'm tackling in this concept.
Paris Is Burning (Celebrating Archway)
(Paris is Burning, 1990), a documentary by the American director Jennie Livingston.
After watching the documentary and understanding it's vital roots, I understood that it's all about the current concept that I'm channeling/working on at the moment. It's about how individuals from all unfortunate walks of life can create fantasy and glamour for their own selves, from nothing even. It's the midst of delusion and addressing high fashion through a limited budget and feeling. In the documentary they were all serving looks in certain categories that highlight their obsessive ideals of glamour and influence from high fashion to their own well being that's not financially privileged. They were not able to purchase or own these expensive pieces, but they sure knew how to create their own on the runway ball. I plan to reference this work greatly in the imagery that I'm creating for the celebrating Archway project, through the concept of creating a fantasy in the midst of nothing, and linking the visuals and graphics of the film into the my publication as well.