Take a look!
I also intend to carry on blogging about other interesting photo shoots that I come during the rest of the season so keep an eye out!
1)Fashion meets Dance
Ensemble Pieces Photographed by Patrick Demarchelier, Styled by Lucinda Chambers. Model: Karlie Kloss.
In this series of photographs, photographer Patrick Demarchelier has captured almost a sense of movement within the garments. Kloss interacts with what she is wearing by structuring her movements to allow the clothes to really flare out or crease to release a sense of life beyond her humanity, embodying that life into her outfit. By doing this, a presence flows among the photo and through her movements, subtle shadows and linings have drawn the viewer's eyes towards Kloss' intense silhouette which has been enhanced, against the harsh grey background that slowly brightens as it gets closer to the centre of the image. Due to this feature, Kloss has achieved a dominating presence and hegemony in front of the background. The use of colours in this shoot is so important. Stylist Lucinda Chambers has especially used a dark complex palette of colours signifying autumnal tones yet a hint of Japanese authenticity to really play on the idea of movement through dance. Arguably, an essence of motions resembling traditional Asian martial arts can also be translated in some of these shots. Though Kloss' expression in the photo might be perceived as quite aggressive reflecting the mannerisms of the sport, It is still quite emotive and artistic in a minimalistic way. Chamber's has also developed a synthaesia through colour to make viewers question what kind of mood the stylist is trying to capture. In my opinion, there is no sadness in this shot mentally, but the mood is created completely through physical elements. Although the colours would suggest that this is a narrative based on misery, instead, it gives off a sense of power, strength and female superiority within the shot which Kloss carries so elegantly. The image is so dramatic yet without acknowledging the choice of hues, there is also that sense of 1950's rhythm and swing dance portrayed within the artistic piece, expressing that there is a sense of time within the shot, whether it gives off other misleading connotations of culture or not.
Photographer: Stylist: Alison Mackie
Model: James Crewe
Okay so a few posts back in my 'what am I reading' post, I said how I was going to share with you, some of my favourite things from volume 2 of AnOther magazine Autumn/Winter 2015 edition. So I have decided to combine it with this post so I could go into detail about a certain photo shoot I found while flicking through the edition of the magazine. This shoot also links to my previous post about trend rebellion and androgyny, portrayed by James Crewe, a previous Central Saint Martin's student.
The photo shoot sets the scene at Crewe Hall, a Jacobean mansion in Cheshire, where Crewe is centralised in front of the camera, dressed in fantasising haute couture and stood with such elegance and poise. The images connotes such feelings of confidence and presence as Crewe poses as a descendent of the Crew Family, representing the decadence of his upper class families past to communicate a story of their aristocracy and elite status. His porcelain complexion characterises a vision perfection and innocence which is complimented by the soft delicate pastel shades within the gorgeous dresses. As an observer, I am mesmerised by the design of this Alberta Ferretti Limited Edition Spring 2016 dress (seen in the first image) which has been richly decorated with floral garland paintings and embroideries to mirror the narrative of 19th-century renaissance romanticism. The dress also reflects the sublime architecture of the house, especially the gilded wood panelling and Jacobean designs within certain rooms which have also been pictured in later shots. Stylist Alison Mackie has captured this superbly within her choice of garments to really replicate the tones, structure and elegant interior in the house. Versace, Givenchy, Chanel and Shiaparelli, are all exquisite couture brands worn by Crewe, to vision a series of photographs cherished with hand painted feather patterns on blush organza, crystal embroidery on chiffon and lemon yellow lace to further a theme of wealth and dominance but to still convey purity.
Crewe has represented the idea of sexual ambiguity by combining both masculine and feminine characteristics, as he encapsulates an image of androgynous beauty from the way he has structured himself to have women mannerisms in shots, but he still has the facial and physical features of a man. The image almost communicates a message of Crewe looking over his shoulder in retrospective to when he was child at Crewe Hall. Back to a time when he would dress up in his Grandmother's jewels and dresses to escape his reality of living as a male and become his female alter-ego Luisa Casati. Arguably, this may be influenced by the fact that his grandmother was a model for Max Factor therefore, holding such a strong sense of femininity within the family. However, it is also can be seen that Crewe mixes with both male and female clothing. This can be seen through his wear of 1920's pinstriped suits, a vintage Lanvin silk tie, wool trousers from Contemporary Wardrobes and traditional fair isle jumpers in certain shots to signify a difference between his fantasy, and his reality as a man. He also appreciates the narrative of the Downton Effect, which was also taken on by many major designers in 2012 and saw traditional men wear fine English tailoring to demonstrate elegance which Crewe has also portrayed within his tastes of fashion. Obviously, without a doubt, the narrative arguably revolves around the fashion and costumes in the 1920's hit television show Downton Abbey.
Vivienne Westwood campaign
3)Fashion meets Modern Punk
Vivienne Westwood advert campaign Autumn/Winter 2015
Photographer: Juergen Teller
Models: Leebo Freeman and actress Gwendoline Christie
Juergen Teller and Vivienne Westwood. Could it be possible to pair up a better twosome for a combination of modern punk styling and bizarre new wave photography for the Autumn/Winter season!? I certainly disagree. From one glimpse it is noticeable that each photograph is a direct visionary of Teller's objective and realistic style of “straight photography” where he captures everyday life subjects in simple poses. Teller has maintained a fluidity of his signature style in his shots for Vivienne Westwood's Gold Label AW ad campaign for 2015/16. However, with Westwood's influence, there is quite an unsettling and freakish American Horror Story twist to the shoot. And I am not just talking about Gwendoline Christie's stance in the second image along.
But what else could you expect from the queen of modern punk and unconventional fashion? Westwood is always a step ahead in coming up with the most wicked yet activist fashion campaigns in the industry as she creates a homage in this collection to the weirdly wonderful aspects of unisex clothing.
Bambi vs Tattoos
As part of my fashion communication and promotion course I was set a task called 'Deconstruct it' where we were divided into smaller groups and we were told to deconstruct an image by looking into the denotations and the connotation it conveyed. There were so many connotations behind the portrait style photographs taken by Teller. For instance, both models appear to be disturbed, uncomfortable and almost possessed or distracted by something behind the photographer. However, there were also so many visual contrasts within these images, especially the photograph of Leebo Freeman whom has been photographed with a very girlish vibrant pink bag placed on top of his head. It can be seen that Freeman, portrayed as a male with such a dark, grunge and rebellious background has be placed in the shoot with a large scaled, bright pink starry handbag which screams out femininity yet childish imagery. The contrast between an image of Bambi and stars and a man who looks rather rugged and to have had quite a hard life is extremely polar opposite. However, in a genius way, these contrasts are so polar opposite that it increases the uniqueness of the shot and Westwood's eye for mixing up her narratives to create something so dynamic.
But the question is. Why does this man have such a bright, energising and joyful handbag when he looks so sad and emotional? Why does he look so shocked? Maybe it is something no one is meant to see or find out about? What is he trying to hide?
Nevertheless, Westwood leaves us questioning her campaign but also makes sure she maintains her theme of unisex fashion by modelling such a feminine and innocent handbag on a model who visually looks the complete opposite. These images are far from boring and while they present androgynous and transsexual themes, there is still a real authenticity to the shoot which Westwood does so successfully.
Take a look at the shots taken of Christie and Freeman below, a perfect unisex couple.
I am also captivated by this shot from the campaign which portrays 90's grunge meets, in my opinion, an image of a high school disco. Controversial right?
Purposely, Teller and Westwood unfold the narrative of that acid rock ecstasy culture depicting visions of bright neon's, fluorescents and graphic spectrums to really play on the image of a hedonistic eccentric environment filled with lots of alternative music and fashion identities. Free spirit is definitely something that spreads across the whole of the campaign without a doubt.
As a viewer I am drawn to the musicians centred in the photograph surrounded by tinsel and spotlights. The image may not entirely represent that loose 90's rave night scene but we cannot dismiss that the 90's was an era which gave birth to rock bands such as the Foo Fighters, Oasis and Blur a year before in 1989 who really adventured out of the 70/80's music comfort zone and brought new innovations to the music world.
3)Fashion meets Modern Punk
Vivienne Westwood advert campaign Autumn/Winter 2015
Photographer: Juergen Teller
Models: Leebo Freeman and actress Gwendoline Christie
Juergen Teller and Vivienne Westwood. Could it be possible to pair up a better twosome for a combination of modern punk styling and bizarre new wave photography for the Autumn/Winter season!? I certainly disagree. From one glimpse it is noticeable that each photograph is a direct visionary of Teller's objective and realistic style of “straight photography” where he captures everyday life subjects in simple poses. Teller has maintained a fluidity of his signature style in his shots for Vivienne Westwood's Gold Label AW ad campaign for 2015/16. However, with Westwood's influence, there is quite an unsettling and freakish American Horror Story twist to the shoot. And I am not just talking about Gwendoline Christie's stance in the second image along.
But what else could you expect from the queen of modern punk and unconventional fashion? Westwood is always a step ahead in coming up with the most wicked yet activist fashion campaigns in the industry as she creates a homage in this collection to the weirdly wonderful aspects of unisex clothing.
Bambi vs Tattoos
As part of my fashion communication and promotion course I was set a task called 'Deconstruct it' where we were divided into smaller groups and we were told to deconstruct an image by looking into the denotations and the connotation it conveyed. There were so many connotations behind the portrait style photographs taken by Teller. For instance, both models appear to be disturbed, uncomfortable and almost possessed or distracted by something behind the photographer. However, there were also so many visual contrasts within these images, especially the photograph of Leebo Freeman whom has been photographed with a very girlish vibrant pink bag placed on top of his head. It can be seen that Freeman, portrayed as a male with such a dark, grunge and rebellious background has be placed in the shoot with a large scaled, bright pink starry handbag which screams out femininity yet childish imagery. The contrast between an image of Bambi and stars and a man who looks rather rugged and to have had quite a hard life is extremely polar opposite. However, in a genius way, these contrasts are so polar opposite that it increases the uniqueness of the shot and Westwood's eye for mixing up her narratives to create something so dynamic.
But the question is. Why does this man have such a bright, energising and joyful handbag when he looks so sad and emotional? Why does he look so shocked? Maybe it is something no one is meant to see or find out about? What is he trying to hide?
Nevertheless, Westwood leaves us questioning her campaign but also makes sure she maintains her theme of unisex fashion by modelling such a feminine and innocent handbag on a model who visually looks the complete opposite. These images are far from boring and while they present androgynous and transsexual themes, there is still a real authenticity to the shoot which Westwood does so successfully.
Take a look at the shots taken of Christie and Freeman below, a perfect unisex couple.
I am also captivated by this shot from the campaign which portrays 90's grunge meets, in my opinion, an image of a high school disco. Controversial right?
Purposely, Teller and Westwood unfold the narrative of that acid rock ecstasy culture depicting visions of bright neon's, fluorescents and graphic spectrums to really play on the image of a hedonistic eccentric environment filled with lots of alternative music and fashion identities. Free spirit is definitely something that spreads across the whole of the campaign without a doubt.
As a viewer I am drawn to the musicians centred in the photograph surrounded by tinsel and spotlights. The image may not entirely represent that loose 90's rave night scene but we cannot dismiss that the 90's was an era which gave birth to rock bands such as the Foo Fighters, Oasis and Blur a year before in 1989 who really adventured out of the 70/80's music comfort zone and brought new innovations to the music world.
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