The 7 Photographs That Changed Fashion

During yesterday’s film club we watched the Rankin documentary- “The 7 Photographs that Changed Fashion.” It was very easy to watch, and I really enjoyed the entire film. It would be easy for me to write about each image and Rankin’s efforts, however, I am going to reflect on how the documentary helped inspired me for my next studio shoot next week.

• Even if I do not get chance during the next week, I would like to try to work with different film, exposure and digital cameras over the summer. I was pleasantly surprised at the difference between cameras and developing techniques. Rankin’s attempt at Cecil Beaton’s ‘White Panton Hat’ held a whole new emotion and mood when taken in film compared to digital. The much slower and gentle technique conveyed a much softer image and added power to the model’s emotion.
• I was struck by the power and importance of lighting. It is crucial we know exactly what we are after before walking on set. I think we should play with gels, filters and angles before the day of the shoot.
• I think that David Bailey’s portrait of Jean Shrimpton held the most context that had to be conveyed by Rankin. However, despite being both powerful images, it made me aware of the context and depth needed behind a successful image. I think that this is the weakness of our existing image proposal.

“We are painting our faces and dressing in thoughts from the skies”

During a lecture on David Bowie, Lucy Noris highlighted several great reference texts worth watching.

The lecture focused on two major components of Bowie’s construct- 1.masks 2.space

Masks were Bowie’s tool for reinvention; make-up and masks were always important in conveying the style and image of Bowie throughout his career. I never knew how interested David Bowie was in the art of mime. This was re-inforced by his work with Lindsey Kemp. A short film by Bowie, “The Mask,” uses a physical mask to connect with the emotional metaphor of fame.

I am aware that Bowie had a huge fear regarding the temptation of suicide. Suicidal behaviour ran throughout his family. I do believe that there could be a connection between this fear and the use of masks. Whenever Bowie becomes afraid of the future or his actions, he can simply ‘kill’ himself off and reinvent. This could also explain the reason behind his several famous alter egos.

The documentary ‘Cracked Actor’ is available online and provides a great insight into Bowie’s ways. This is going to be one of my next documentaries to watch!

The second connection made by Lucy Norris, is a well-known fact. Bowie was fascinated by space. However, I was unaware of the connections between the 2001 film Space Odyssey by Kubrick and Bowie’s album ‘Space Oddity.”

The relationship and controversy surrounding IBM and Stanley Kubrick‘s film was something I learnt today. I am very eager to watch the 2001 film and try to spot the connections myself. The connection between IBM and HAL- (one letter behind), the appearance of IBM logo and the light projection on a very similar looking font type.

Film- Helvetica

Last Friday’s film club showed Helvetica, the film gave a huge insight into the world of visual communication and visual codes. Based around the popular font ‘helvetica’ the slightly disorganised film portrayed a range of opinions and developments of the type face.

“it is like off-white paint”

“beautiful, timeless things, something’s shouldn’t be played with”

Rick Poner described how the 1957 type face is a visual expression for the public to understand- a symbol of swiss design.

Wim Crouwel believes that Helvetica is the “most neutral typeface.”

Controversy surrounding the font have had connections with it’s use during the Vietnam war.

I found the opinion of font designer Alfred Hoffman particularly interesting; that a good font uses the shape of the space surrounding the letterform. A font is the shapes behind and between the letters. 

Neville Brody is a graphic designer in the UK who loves creating an emotion from type and font. He sees Helvetica as “a mark of membership” with the “perfect balance of push and pull.”

“type face of socialism”

“perfume of the city”  says Lars Mûller

The film did make me question the huge importance of the font we should chose to represent our brand- St. George Street. We could use Helvetica as a symbol of society and lifestyle, holding its own simple beauty, or should we avoid it and presume that our politically conscious consumer would have negative connotations of the type and therefore the brand?

Very Emotional Dove Campaign

A very clever and moving experiment.

Perspectives- Portillo on Picasso

 

https://www.itv.com/itvplayer/perspectives/series-1/episode-1-perspectives-portillo-on-picasso

Great chance to remember the Picasso Black and White exhibition at the Guggenheim in New York. The influence of war never fails to overwhelm me!

BBC4 Documentary- David Bowie

Really good documentary! Found this when looking through BBC documentaries after the 60’s Fashion film.

Worth a watch again, just before I go to London for the V&A Bowie exhibition.

Oz the Great and Powerful- film

Seen in the cinema on March 20th. Full credit to costume designer Gary Jones. In particular the first costume worn by Mila Kunis was very current.

Disney used the producers of the recent Alice and Wonderland; in doing so they are starting to build upon a current brand identity for the 21st century. Keeping with the original Disney cartoons and sketches, whilst updating aesthetics with animation and actors. Disney are certainly aware of how to develop themselves into a current brand whilst keeping within their ethos surrounding the value of memories and family.

BBC Documentary- Britain on Film

BBC Documentary- Britain on Film

Although not the most exciting documentary I have ever seen, it was very easy to watch and involved great original footage! The 1960’s is known to be one of the most pioneering and exciting decades in fashion, and I am not sure that this piece showed it to it’s full potential! Good reference point for footage filmed throughout the decade; in particular the recorded evidence of the origin of fashion shows as we know them today!

As a dancer, I was pleasantly surprised at the reference made involving the ballet throughout the decade. It remained a strong influence on many designers and culture.

http://www.bbc.co.uk/iplayer/episode/b01p2pd4/Britain_on_Film_Dedicated_Followers_of_Fashion/

I have decided that the next BBC documentary I would like to watch is on the subject of fragrance and hugely relevant to my current module!

Trainspotting

Film- Trainspotting and Heroin-Chic

Trainspotting follows the drug crazed and rocked-up lifestyles of a group of  young males. The 1996 hit is often associated with anything heroin-chic- the most influential trend of the film. It reports on the wanna-be rockstar lifestyle of the 1980’s. When matched with amazing cinematography and screen play, we witness the brutal truth of the consequences of drug addictions.

At the forefront of recreating this casual coolness is designer and photographer, Hedi Slimane.

One of his most memorable moments in fashion was his influence on the male silhouette. It became super-skinny. Even Karl Lagerfeld lost weight as he “I suddenly wanted to wear clothes designed by Hedi Slimane.”

Dior Homme by Slimane. A/W 2001. Image: R.Avedon

Recently, Slimane was responsible for the removal of ‘Yves’ from the brand name Saint Lauren, he was appointed creative director in Mach 2012.

The mid-1990’s saw the rise of the pale, thin and ill-looking models claiming to have ‘edge,’ and to be heroin chic. A back lash against the healthy and feminine look of high models. These individuals claimed to be representing the movement of the cynical trend. Understandably, huge controversy was created, whilst films such as Trainspotting and model Kate Moss, were blamed for glamourising the trend.

-see fashion photographer Davide Sorrenti- associated with heroin chic.

Goldin has said that her photographs are about “an awareness of pain, a quality of introspection” (The Ballad of Sexual Dependency, 1986)

Greer and Robert on the bed, NYC 1982. © Nan Goldin