Window designs

As like with liberty’s Christmas displays other stores have also used a minimal colour scheme again using line drawings and 2D cut out displays which work well amongst bold colours of clothing or that clean minimalistic feel. I think this way of design in my opinion will draw more public attention to stop and look at the work that has been created I guess its like a movie or theatre set in some ways.


Coach’s display melts my heart this was one of the only 3D structured Windows I saw, but still non complicated and again an animal theme like many, The cute creatures become as important as the products being displayed like little furry helpers. Again if I could have seen this at night it would have given a complete new take on the feel and mood of what the windows looked like as from what I could visually see the whole thing is back lit by fairy lights


 

 

 

Liberty’s at Christmas

One of my favourite department stores in London which I never often get to see at Christmas. But was determined to see at least the window displays this year.

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The cute animal theme running throughout each window. I love the way in which this has been curated in a fun festive way, the 2d structures being placed in such a way as id they come to life with the gorgeous gifts and fabrics this consistency running throughout each window. I wish that I could have seen this at night. For me the use of line drawing and no colour is what makes this all work so well dressed amongst other treasures you can find in store.

“For this year’s theme, The Liberty Christmas, Liberty Fabric print designer, Ffion Griffith and emerging poet, Gabrielle Djanogly worked closely together to create the enchanted world of these yule-tide creatures for print, verse and display. 

Hand drawn by Ffion in Liberty’s London-based design studio, the animals have been reimagined to create a series of Christmas prints, whilst Gabrielle’s A Liberty Christmas joyously describes the antics of the magical animals at night and how they help and hinder Christmas preparations.” 

I just wish I had time to go in as from photos I have seen its truly magical for all ages to see.20181211_103231

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This i think is my favourite photo I took with the cheekiness of the monkey. Soft smiling lion amongst bohemian style fabrics and vintage looking dresses everything working compositionally perfectly

Sequencial communication

Everyone that knows me, the word ‘Narrative’ stops me from working don’t ask why but it has such a hold over me of what a narrative is! BUT this term our main focus being about Narrative. Just changing up the language and even when the brief states narrative ignoring this and chancing to sequence has allowed me to explore and make work ultimately narrative based.

Storytelling in the 1920’s using distinctly geometric shapes, is this due to the limitations of technology during these periods? not that there is anything wrong as these three videos are amazing for the time period. I have been looking at how the sound is a very important part to telling the stories within certain pieces, These eras the sound is often a similar type of music. Is this to create distinct unique sounds to help set the scene and create the mood?



 

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.


https://www.whowhatwear.co.uk/fashion-runway-show-set-design

“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.”

 

 

 


https://www.vogue.com/article/production-designer-mary-howard-vogue-interview

MARY HOWARD

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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.”

Moving image and sound

This was challenging to be restrictive in the amount of content I decided to use for this blog post each video opening up this new way of seeing moving image and sound, but not how we know it think this is what makes it all so much more special than how we would see or produce this in our era with the technological advances. But are we now to reliant? (even though I do produce a lot of my work reliant on modern day technology)

It was my tours that introduced Len lyes work to me showing me how moving image colour and sound can work in harmony and take something that extra mile…


Then I got sucked into looking more into 1920’s-1960’s moving image and sound there is something really amazing about all of these they flow seamlessly and considering none of these were made with anything like what we have, it would have been film drawing on film cutting it up and working I would have thought a long process to achieve some of these. They all hold these hand made like qualities which I no for me is something i am always trying to add back into my work even if none of it is done by hand.


Lucienne Roberts

https://www.itsnicethat.com/watch/ideal-client/lucienne-roberts

The Ideal Client

Lucienne Roberts

It’s Nice That worked with Represent Recruitment to explore what makes for a healthy, productive and enjoyable designer-client relationship. We interviewed a range of creatives about what factors they felt were the most important when considering this all-important rapport, to get a sense of what makes The Ideal Client…

Graphic designer Lucienne Roberts has a wealth of experience working across print, identity, exhibition and digital design. Her she talks about her experience with clients of all shapes and sizes, and shares some of the lessons she’s learned along the way.

https://integratedconf.org/speakers/lucienne-roberts

The way in which design and type is used in her work is clean fresh and exciting. At the same time focuses on meaningful campaigns. What I find really interesting and exciting about the type of work that she is creating thew communication is sometimes indirect, subliminal messages which is really effectively used. This is something I am really interested  in, over the last two years I have looked into this way of design and advertising even if its positively or negatively used. This is an area i want to write my dissertation on in my final year of uni.

https://www.designweek.co.uk/issues/9-15-october-2017/mission-show-graphic-design-can/

Fashion and moving image

Continuing with research for my current project, I am finding more ways in which fashion is being communicated through moving image. I think that by using this technique is an effective way to show an over-view of a collection as these in particular link to various fashion weeks this process is being used all over the world for this purpose. It allows a quick interesting insight to the designers collections of work, in my opinion more so than just a photograph. They catch your eye quicker and hold your attention for longer than  photograph due to them moving so quickly from each model. For me it makes me want t know more about the designer or the brand compered to looking through a static collection can  transitioning one image into another. Gives you a feel of the mood the collection is trying to create as a body of work. I would love to explore this way of communicating more within my own practice.

http://www.dazeddigital.com/fashion/gallery/20749/2/paris-fashion-week-ss16-gifs

DECO gif Paris SS16OCCULT gif Paris SS16


 

http://www.dazeddigital.com/fashion/article/23809/1/london-aw15-gifs

London AW15 GIFs | Dazed

 


http://www.dazeddigital.com/fashion/article/26785/1/milan-fashion-week-as-told-by-gifs

Milan Fashion Week GIFS, SS16, Dazed Digital