Stage/set design

When art and fashion collide, even though in my own opinion there is not a separation between the two art is fashion and fashion is art. They cross over so fluidly that you don’t have one without the other they are both forms of visual communication. I guess the way in which they differ can be the production or final outcome would not always be the same.

“As Vogue accurately put it, it was a “set meant to evoke Washington Square circa a century ago.” Simply magical.”




“Set inside of the old Selfridge’s hotel, Erdem sent models around an attic-like room amid overgrown flowers and even a giant polar bear.”


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“She’ll study each shoot’s theme for weeks in advance, gathering facts about everything, from the location itself to finer points of a photographer’s historical references, and scour flea markets around the world for spectacular and unexpected vintage props.”


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I have taken two parts of Marys interview that I feel are such an important thing to think about and she gives a nice brake down to how she develops and pushes her idea until the final shoot. Her responses hold a set of important working methods and questions which could be helpful across may areas of art and design. This makes me want to explore what are important questions I ask myself? when exploring or developing work. I feel a set of fundamental guidelines and questions would be beneficial to me and sets a guide within my own working process I am definitely going to explore into this area more for next term thinking if anything it will help me to feel more grounded and constantly move forward effectively.

“You do extensive research and create binders for each shoot, but what is the most rewarding part of that pre-shoot process?
I would say the discovery part—figuring out what the look and the set can be. Sometimes it’s very simple or specific, so there isn’t a lot of research to be done, though it’s often more open and will start as an initial idea, which will transform. There’s a lot of material that I come across during the prep that will inform what I bring to each shoot. And the transformation can continue on set, especially when you see it in reality—things are added, taken away. It can be a constant process of editing, exploring, and developing until the last frame is taken.”

“Given that you’ve done so many shoots, how do you keep your ideas and concepts fresh?
This always concerns me, since I hate looking back or repeating. It’s important to me to push the image forward. I think it’s a case of always being aware of images and working out what can be fresh in the picture. This takes knowing what came before, borrowing from that, and then adding some new twist or dimension to it.”

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