Cut & Paste

(Photography Damien Blottiere, Styling Robbie Spencer, Models Christian Ochsenfahrt at Major, Victoire Macon Dauxerre at Elite)

Cut and Paste -Dazed & Confused.This is a shoot that Robbie Spencer worked on for Dazed and Confused - Calvin Klein - with photographer Damien Blottiere. Each image is merged by two separate shots in a collage manner, creating shapes and gaps that unveil a little of the other. These days images appear flawless and almost perfect with little need for physical alteration, but I think that the beauty of these images lie in the simple, old fashioned medium of cut and past. They're abstracted by this practice, creating another dimension to each image. Although these images are highly modified and very abstract, I do not intend to replicate this visualisation entirely through my own work. I do however aim to experiment with this idea of manipulating two images together to create one. I explained previously that I lacked whole outfits with the samples I wanted to photograph, so the idea of manipulating the two together could ensure than my idea goes further.

(Photography, Bela Borsodi in Cut & Paste" by Richard Brereton)

Bela Borsodi.I came across an amazing book called "Cut & Paste" by Richard Brereton which brings together over 250 images from more than 40 contemporary collage artists. In the digital age that we are living, most images are created using computer based programs, that tend to look very "computerised" and sometimes obvious. When exploring the idea of cut and paste in Fashion photography it became apparent that traditional methods of visual art are fading I aim to try and use the medium of cut and paste in my final imagery to create new ideas based on the smaller samples I have collected from my designer. I came across graphic designer and photographer Bela Borsodi, through combining aspects of fine art, graphic design, craft, and psychology, his work offers a surreal imagery that makes clothing and accessories 3-dimensional. Borsodi says of his work “I love making things and putting things in an unusual context incorporating various visual languages coming from art and graphic design–eroticism is also a fascination of me that I love exploring". Borsodi does in fact use a meticulous method on a computer based programme like photoshop to create these amazing cut and paste images, but they still have a traditional feel about them. I would like to experiment with the idea of cut and paste and play around with scale and proportion in the same way.

(Authors own, experiments with samples)

In the images above I have tried to capture the diverse nature of the garments that I intend to use, and how would like them to be portrayed. The green garment is curvaceous and and quirky and works well with the female body, whereas The pink garment is fun and bouncy and has a lot of volume and character to it. With this in mind I think I have already achieved depicting the green garment in this way, and the plans I have for the pink garment coincide with its characteristics. I recently discovered the concept of using one garment and displaying in two very unique with ways, and as I now intend to use the idea of cut-and-paste in my work, I have come up with an idea that can transform a small orange sample into a finished garment. A problem I initially faced was not having enough samples to create garments suitable to cover the body, I was also in doubt as to how I could use one of my models for a second time throughout the editorial. But with my recent experimentation with the idea of cut-and-paste I aim to use the same sample that appears as a collar in one photo and transform it into a dress for another. I have suggested way I could display the collar as a dress on a miniature figure, but a problem I have faced is finding out ways in which I can display it on the body without making it look too sexy. I aim to re-photograph the orange sample and style it in ways in which I think is suited to my model.

After researching various artists that use the technique of cut and paste I decided to roughly try it out myself. As I have only photographed head shots of my model (that I would like to be seen in the longer garment sample), I had to improvise with images on Google to create the rest of the body, which I would like to avoid in the final outcome. For my final outcome I will have to re-photograph the models body in tightly fitting clothes e.g. a leotard or underwear, so that everything is in proportion and looks realistic. As you can see above I have experimented with with scale, I photographed some of the pieces in a studio so that the quality was of a professional, usable standard. I think the idea is progressing but it needs a lot more attention to detail so that the final outcome will appear more professional.  I aim to re-photograph the models body in in a studio So that I have a realistic backdrop with realistic shadows etc... Below shows how I have experimented with repetition using cut and paste with a sample or garment. I think the continuous flow of the curvy samples is effective, and in some cases works really well e.g. the shoulder piece that is presented in image one.  This idea could also help me to create a final image, depicting  larger garments that can cover the entire body, to work alongside a full body shot but I aim to capture. 

Initial Photo Shoots

Below shows a selective sample of contact sheets from three photo shoot I produced over the last week. As you can see my models vary in height age and ethnicity. I did not choose my models as a way of tokenising them just to suit the theme of diversity, but I chose them to compliment each individual piece in a unique way based on their unique appearance. The green sample is complemented by a young female model with short hair and quirky tattoos, her pale skin and short hair compliment the form and colour of the piece. In this particular session I decided to experiment with some reflective material in order to emphasise and celebrate the colour of the garment. I feel that the idea could have worked well but as it was a last-minute decision, the space I photographed in was not complimentary of the reflective material. Following this shoot, I decided to cast a very tall and elegant female model, to complement a long slender dress. Using the failed method of reflective material from the previous shoot I decided to experiment with it one more time. This time I decided to place it on the floor so that the oranges and yellows of the dress could be reflected, I think it worked really well reflecting colours onto the floor rather than the backdrop. As this is the only finalised garment in my shoot, I decided that I could show its diversity by adorning the body with the dress in an unconventional way.  I challenge my own preconception of a "dress" and experimented with styling the model in different ways using it. The idea that seem to work the best, which we discovered quite quickly, was to let the dress hang around the neck as if it had not been put on properly or only halfway. Learning that single garment can be placed on the body in multiple ways has led to visualise my final outcome.  I would like my four models to display one garment or sample in two very different ways, this way I will be demonstrating the theme of diversity through the garments. At this point I have also decided that I would prefer to shoot just female models for my final outcome, have experimented with using male models and it seemed that the male physique does not complements the samples as much as the female figure does. I have plans for two full body compositions that I would like to photograph in my final shoot. I think this composition will complement the specific garment perfectly, and with this in mind I decided that it would be mandatory to shoot head shots for my third shoot. Unintentionally, but undoubtably aesthetically pleasing, my third model also had short hair, which compliments all of the garments and samples. I used an orange collar to accentuate and compliment the texture and colour of my models hair and skin tone. I am yet to discover what shot i would like to use this model for again, but for now I have a great head shot that works with the other final images flawlessly.

(Photography, Authors Own - Knitwear, Karen Moore - Model, Nelly Smith)

(Photography, Authors Own - Knitwear, Karen Moore)

(Photography, Authors Own - Knitwear, Karen Moore - Model, Cynthia Granfield)

At first I decided that I would use simple white paint across the eyes to show purity and freshness.  I didn't want my imagery to be too contrived or to be seen as tokenising the idea of African tribal body art,  so this simple makeup technique seemed appropriate. When I composed the first shoot with the green garment and tattooed female model I forgot to apply the white paint around the eyes, at first I was disappointed and wanted to shoot again with makeup,  but as I began to upload images on my computer to edit them in photo shop I actually preferred this natural look. Although the model wearing the orange collar was not one of my first, I didn't intend to apply makeup to her as I wanted to keep her looking natural and celebrate her age and identity.

Test Shoot

Due to the unconventional nature of the garments in my shoot, I thought it would be a good idea to get a test shoot out of the way with to highlight areas in which I needed to improve. I started this process by thinking about what sort of models I'd like to cast for my shoot. I decided that the pieces would probably create a better aesthetic on "real" and "interesting" looking models, contrasting with the experimental samples. I recored the process, and above shows some of the people I would like to cast in my shoot. They vary in age, gender, height and race. Since the project is based on the theme of diversity, I think it is easy to "tokenise" models, merely using someone to indicate allegiance to a particular group of individuals. I think I have avoided this issue by using models I think can bring the garment to life, rather that just a pretty face.

Following the casting process, I decided I would benefit form arranging a test shoot, so I chose the most readily available model and conducted one in a pop-up-studio. The idea of the test shoot was to experiment with styling the samples on the body in a variety of ways, but as the samples are not finished garments it proved difficult to “adorn” the body substantially. This task was extremely helpful to me as it encouraged me to style the samples in various different ways, and helped me to  guide my usual style towards something more interesting and unconventional - which i think is needed to celebrate these pieces. The samples have an abundance of diversity in the ways in which you can style them on the body, but I noticed that they were too small and too incomplete to fashion a whole 8 page editorial. 

I didn't want to scrap my idea because the samples I have decided to use are stunning in so many ways: shape, colour, texture and most importantly, versatility. To overcome this problem I created ways in which I could make the samples go further in terms of “outfits”. I experimented with colour correction to begin with and produced some mediocre outcomes. But something that really interested me from my previous visit to the Guy Bourdin exhibition at somerset house, was his use of scale. Extreme post production of images is something I am not fond of, as I think it can lead to amateur results, but after experimenting with scale in photoshop in a similar style to Guy Bourdin, I realised this might be a way forward in my project. Above shows a small percentage of the images I have taken for the test shoot. As you can see the light changes half way through the shoot, this is due to one of the bulbs in the flash kit overheating and breaking. Even though I encountered  a problem during this shoot I carried on, and ended up producing some images that could work well as a final. Although the test produced some good results, the contact sheet clearly demonstrates the lack of material / outfits.

Term 2 - Researching Mastheads

For this unit we must develop the ability to tell stories through visual means. This unit explores the power of storytelling within fashion communication, specifically for editorial fashion images. Our brief is to create a narrative fashion editorial that addresses issues of diversity. Fashion images are often criticised for their dependence on rigid beauty ideals that exclude groups of people based on issues including but not limited to age, race, and body type. This brief is being run in conjunction with the All Walks Beyond the Catwalk Diversity NOW! 2015 campaign supported by i-D online.

Narrative: a representation of a particular situation or process in such a way as to reflect or conform to an overarching set of aims or values: 

Diversity: 

The concept of diversity encompasses acceptance, respect and understanding that each individual is unique, and recognizing our individual differences. These can be along the dimensions of race, ethnicity, gender, sexual orientation, socio-economic status, age, physical abilities, religious beliefs, political beliefs, or other ideologies. It is the exploration of these differences in a safe, positive, and nurturing environment. It is about understanding each other and moving beyond simple tolerance to embracing and celebrating the rich dimensions of diversity contained within each individual. 

I have started off this unit by exploring different Mastheads online. I received the latest issue of Tank magazine for Christmas, I have never actually had my own copy of this magazine until now and I really enjoyed the contemporary approach to fashion. Included in the magazine is a variety of coexisting cultural themes, such as art, architecture, fashion, current affairs, and music. The magazine has acquired an "idiosyncratic, distinct voice through design, critical approach to writing and eclectic style". Acquiring this magazine encouraged me to do some of my own research into it, and through this process I was connected to multiple different magazines that I had not come across before, such as - "10" , "Purple Fashion" and "Soon international". Although magazines such as VOGUE and ELLE have immense credibility in the fashion-sphere, I feel that my style does not collate. As you can see through my mood board, I have chosen magazines that celebrate emerging talent, culture and youth with a bit more "edge". 

After researching mastheads I decided to really get a feel for some of the magazines I had initially looked into. With assistance from the internet I started collecting editorial style imagery from each magazine. This process helped me to identify which style Id like to adopt for my own editorial style shoot, and which mastheads didn't really coincide with the style I was looking for. I have managed to narrow down my options to a handful e.g. Dazed&Confused, I.D, Garage, 10, Love, Tank and Another magazine. To narrow my options down further I intend to view these in person and purchase either recent copies or past copies on eBay.