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Photography // Deborah Turbeville


In order to adeptly discuss Deborah Turbeville, I should probably set some background information on the photography scene of the seventies - 
There were the sleekly aestheticised provocations of the contemporaries; Guy Bourdin, Steven Meisel and Helmut Newton. 
Then there was Turbeville, who, along with the likes of Paolo Roversi and Sarah Moon, provided the stark contrast of soft focus styles which were unknowingly and desperately needed by the world, longed for by the sensual.


To me great fashion photography should not be focussed on the clothing, but on the feelings contained by an image and its subject. Every shot of Turbeville's striking spreads manage to capture shock, melancholy and sadness whilst forever alluding to the multitudes of Womanhood. Unlike other fashion photographers of her time Turbeville's work, ambiguously positioned between fashion and fine-art, is focussed beyond the 'beauty'. 
Comme des Garçons, Escalier dans Passage Viviennem Paris, November 1980 (veiled model in black descending staircase)

Finally, there became an intuitively rebellious photographer whose timeless imagery displayed women who were not trying to please the viewer. Through subdued romance and languid elegance is the revelation of their complicated and private lives; an authenticity rarely seen in front of the camera.

"I go into a woman's private world, where you never go" Deborah Turbeville to the New York Times, 1977

Her idiosyncrasy is revealed through the collages that often contained up to twenty photographs. There is no interest in the pristine print. Rough textures, blur, grain, flair and accidents are the small flecks of imperfection that create the true realism and innocence centred in her work.

Diana Vreeland, 1981
Mantova, Italy, 1977
Asser Levy Bathhouse, New York, 1975, for Vogue

"I wanted to take photographs that were outside time, of people in today's world with the atmosphere of the past reflected in their faces, of palaces and gardens abandoned and overgrown.
"Photographs that retain a history" Deborah Turbeville

Every quote on or from Turbeville is one that I have the upmost agreeance with. Every description of her style describes what I look for and innately link to in images. The settings and locations are not documented. They are hallucinated.
Even in today's photography the images are manipulated and even mutilated to be as 'clean' and 'crisp' as possible in order to sell the garments or story. Few show the honesty that Turbeville's does. It is the rarity of her work is what makes it forever timeless, classic and relevant.

XXX





#DeborahTurbeville #FashionPhotography #FashionCommunication #Photography #FashionStudent #FashionBlog #FashionJournalism

Influencers // 'Walking', Peter Lindbergh, and the late Franca Sozzani


"The entire October 2016 issue of Vogue Italia, titled 'Walking', was shot in Manhattan around mid June. We shot for three days - 30 pages and seven models per day, 21 models altogether.
It was a great challenge to do the whole issue as a single story. The short film was shot at the same time by Thomas Lachambre, who is a very talented director of photography and filmmaker himself."
Peter Lindbergh

On December 22, the death of Franca Sozzani was announced on social media and channels world wide, after a year of suffering a prolonged illness. 
Franca Sozzani, has always had a massive impact on my own style and creative. In my opinion, Vogue Italia is the most forward thinking and boundary pushing to date; it makes use of those photographers and creative directors that I hold the upmost regard for myself. I find myself hypnotised by the work of great photographers. Their power to communicate is the strongest of any method. And it was Franca that nurtured Mario Testing, Paolo Rovers, Herb Ritts, Peter Lindbergh, Bruce Weber and Steven Meisel; what is essentially a list of my absolute top modern day photographers.

Sozzani's first cover of Vogue Italia, August 1988, shot by Steven Meisel
Her work went beyond the pages of Vogue Italia. She was an indispensable power broker whose unequaled reach with designers, manufacturers and industrialists was what made the Italian fashion scene what it is today. Today we know for a fact that fashion stories as a platform to discuss broader affairs, and willingness to tackle provocative and controversial social and cultural issues, is a regular occurrence. It was Franca that brought this to us and so created for herself a pinnacle point for the industry. Such commissioned issue included fashion's weight debate, plastic surgery, racism and her landmark all-black issue.

"Franca doesn't realise what she's done for people of colour... It reminds me of Yves [Saint Laurent] using all the black models" Naomi Campbell



"It's not that I don't think of the past, but it's a waste of time... If you're stuck in the past, beholden to it, then your creativity is stuck there, too, because you don't give yourself a chance to evolve."

As you can see, her knowledge and thinking is unparalleled and there is an endless quantity of her quotes, or quotes of her, forever applicable to society and the industry; I will forever look back to her in my future and use her as an inspirational driving force in my creativity and career.

"I listen... but I must go my own way." Franca Sozzani


A photo posted by Charlotte E. Johnson (@charlottteeve) on



"Dear Franca,

You, the most talented, unconventional
and spirited women...
and all over beautiful!"

- Peter Lindbergh

XOXO

#PeterLindbergh #FrancaSozzani #Vogue #FashionFilm #NewYork #MillaJovovich #Nowness #FashionCommunication #FashionBlogger #FashionBloggerUK

The FCP Course and Reflection // The FCP process

It wasn't until this Summative Brief that I was able to fully appreciate and understand the full FCP process. Being broken down into different projects during most of the first semester was helpful in the creation of the Summative Brief over Christmas; but it wasn't until the end of this brief that I was able to look back at the previous modules and realise their significance as a linked process. 
At this point I also began to realise I had probably been following a rough plan or adaption of this in previous years without even recognising it for what it was, a process in which to create almost anything.

Context, Big Idea, Creative Concept, Execution

Without each of these being complete it is hard to progress. But you will find you are constantly returning to each and adding more research, ideas and points to include. 



Context

Without this you will get absolutely no where with your brief. Although I admittedly get carried away with this section and then have to remind myself of the time restriction, absolutely everything anything even if only slightly linked is important in being noted down and included; you never know how it could end up linking to something else or being included in the final parts. It could be the key to your entire outcome. 

Not only is it of the highest importance within each individual brief, but these are things you are going to remember and learn. They are transferable nuggets of knowledge and in fashion everything is related to everything. The more you know, the further you'll get in the industry... not to say this means you get to act like a know it all mind you.

Big Idea

In the brief, it's at this point that I went wrong. The Big Idea section and Creative Concept sections may appear to be very similar, and they are! But the Big Idea is the point in which you collect all your contextual research, process it, and come up with as many different ideas as possible. And by this I mean different ideas. Not different concepts in communicating one idea. My bad
This is the part of the process in which everyone's influences and all the ideas can be used and recreated into something of your own creation. Nothing is 'stolen' from another artist, writer, or culture. It all acts as inspiration. 

Creative Concept

It's this section that you're to begin experimenting with methods of interpretation. You're free to create as many mind maps, concepts and visuals as you humanly can within the time frame. Make sure you progress with each of your main ideas as far as you can to work out how it will appear or function. Include all points that are positive and negative on each so you can address, improve on or eliminate anything appropriate. 

And finally...

Execution

Merely carry out the chosen Creative Concept and work from as many angles as possible to see it's best outcomes. And that's the end of the process. Ensure you have been reflective and analytical throughout the whole process and you will have successfully followed through with the FCP Process. 

After this first brief and finally understanding how the process works in it's entirety, I'm sure that on my next brief the entire work piece will be slightly easier in carrying out no matter how hard the brief itself may be. 
The process could also be applied to something already created, to analyse how the brand used the process, such as the reinvention of a label.

Did anyone else have any initial issues getting to grips with the FCP Process? 

XOXO

Additional points of research for understanding the process:


#FashionCommunication #FCP #FashionStudent #FashionBlogger #FashionBloggerUK

HIGH FASHION AND COUTURE // Maison Margiela Artisanal Couture Spring 2017

Primarily, I'm working towards a career, certainly linked if not wholly, in high fashion and luxury; whichever avenue I decide to follow through with at the start of my career. So I'd like to try talk more about this level in the industry.

Maison Margiela isn't a exactly a house that is directly alongside my own personal style, but I am absolutely a fan of Galliano's progressive work for the Artisanal line and this season's creativity level was really rather refreshing compared to that of other houses. Being a man not afraid to cause a raucous and follow off onto great tangents in order to create otherworldly pieces, the Picasso-esque tulle and crocheted faces worked into the deconstructed garments were as prolific as I have seen for really quite a long time in all honesty.

In the industry at current there are certainly lots of collaborations and innovative new fabrication and construction processes pushing in a new direction, but I find myself craving to see excessing creativity as the years progress. Certainly the collections often carry the boundary-pushing issues facing society and cultures of the world; but lack of personalities, not afraid of criticism or upsetting their business financials, with unparalleled talents, like that of Alexander McQueen, are creating an ever growing gap in the industry. I understand that there is no point in creating pieces that won't sell, but couture itself is rarely sold and the lines are used more as advertising for the brand than anything. So surely these are the catwalks in which the 'craziest' designs and pieces can be created, acting as even greater advertising if successful in the boundary pushing garments. And without such designs there is much less of a pressure for other designers to follow suit in anarchistic designs.

McQueen's work is referenced almost every season despite its often lack of wearability. It changed what fashion meant. I cannot say I've seen many designers with this kind of controversy and subversiveness, and although I'll readily admit Galliano certainly isn't at that level of McQueen, his recent work here is certainly what I view as a step in the right direction.

And on that note I should probably go into more detail of the Seasons' line:



Like many of us, Galliano is intrigued by the role of social media and it's increasing imposition on not just our daily lives, but on our work and visual communication. App filters layered onto photos creating an, ultimately, altering reality is translated in Spring 2017 into his own form of applications - 'high-skill haute-worthy techniques'. Appropriating the concept for large, bold graphics using fabrics and layering of unlikely pieces, such as wool and lace "like a mille-feuille", Galliano cut away various layers, thus creating surface depth and texture in the garments.


“All these advancements, I just wonder if we are all at the moment genetically prepared to absorb so much information...”


A video posted by Suzy Menkes (@suzymenkesvogue) on


“...I’m grateful to know how important it is to live in the present.” Galliano

His vast historical knowledge and deep emotion, combining with his penchant for deconstruction and reconstruction, Galliano created and made use of a new technique he has named "décortiqué" in order to get to the core of the garment, "a memory of it". Furthermore, this season saw his return to the use of the bias cut, of which is iconographic of his own designs, on a slipdress and a couple of the skirts. The facial imagery made me think back to Jacquemus' Fall 2015 beauty look, and even Givenchy's of the Spring 2016.

Double Face no. 30, Sebastien for Jacquemus AW 2015           Pat Mcgraph for Givenchy SS 2016

Image/collage created by myself



























Did anyone else see Maison Margiela Artisian Spring 2017? What are your opinions on these issues?

XOXO

#MaisonMargiela #MaisonMargielaArtisanal #Couture #HighFashion #JohnGalliano #FashionCommunication #FashionBlogger #FashionBloggerUK 

The FCP Course and Reflection // Paul Arden's 'It's not how good you are, but how good you want to be'



This book is one that I am positive I shall be coming back to time and again as the industry changes, and as my career progresses from where it is today. I have to admit, a lot of the points that were included are ones that I myself had already believed or acted upon, but the book does act to reiterate and confirm these points as sturdy and significant enough ideas to intrust in. Furthermore I think it's context, that are issues or methods I hadn't thought of for myself, will be most useful as I progress in entering the industry and exit the academic world. Of course it's all relative, but to be honest I knew a lot of these already so what I can take and use at present from the book is a little limited. 

At this realisation I wanted to ensure that I, in fact, was able to make the most use of what I had learned from Arden, and so I thought it best to create a list. This could perhaps act as a plan of action or rather plan of thought-process, things to do in certain situations, or to lift me up when I'm stuck in one of those lost and low collection of feelings that come with stress occasionally. Although some may technically not be grammatically correct, it is for my own personal use so I was aiming for each point to get the message across as opposed to be for others to understand and use


Feel free to use this process yourself, however for it to take the most effect upon you it is perhaps necessary that you make your own version of the list having read the book. The list could be used as a background on your MacBook, stuck to your noticeboard or wall, or even placed in the front of folders.

XOXO

#FashionCommunication #Reflection #FashionStudent #PaulArden #FashionBlogger #FashionBloggerUK

The Industry // Kurt Geiger, Sales & Shopping Habits

I thought I knew how great sales wear, as I'm sure we all do! But I was astonished not only at how large a price drop Kurt Geiger's footwear and accessories dropped in towards the end of sale, but by the fact that so many people would walk over to Topshop shoes to buy theirs instead. Topshop's high street shoes seem to often be a similar price level AND lower quality, the majority are trend shoes that I imagine most purchasers won't be wearing next season and thrown to the back of the wardrobe. The fact that these are constantly chosen over footwear of a higher quality and more classic style, that will be able to worn with each seasonal trend, surprises me. Especially when many customers are students who have limited income and would be much better off, financially and stylistically, making investment purchases. Especially when the price of said investment pieces are the same price as those with limited wear!

I thought I'd include some of their current designs that we have in stock that I personally adore, and believe are an absolute bargain!


Taxx, Carvela - Was £160 now £36

Both Carvela, from £110 to £59

Carvela £99 to £29

Lizard, KG Kurt Geiger, was £110 now £29

At this point, I thought I'd also bring up an issue I've noticed. Working in Topshop, and whilst spending my time browsing other highstreet stores, in the past 6 months or so I've seen, much to my annoyance, that even though the prices of clothing have been increasing, in certain stores the quality of the actual clothing and accessories has dramatically dropped. Fabrics, embellishments and the general sewing and cutting is absolutely not of the quality it use to be. These seems a rather outrageous prospect considering the increase in price during the time period. Obviously this is a reaction to Brexit and an attempt in remaining in profit. But surely this cannot be the way to go, producing even lower quality products that last even less with wear and time, must only add to the fact that we already waste so much money on unnecessary clothing (myself included) thus getting ourselves into more debt, as a whole, whilst have a negative impact on the environment and sustainability. 
I've always preferred spending a bit more on items that last and aren't as likely to go in and out of current trends; classic, timeless and investment pieces with the occasional trend piece if it's in keeping with my own style. My pieces last a great deal longer and I am sure that I end up spending less overall whilst also looking more put together. At the beginning of gaining my current job, I found myself saving piles of shoes and clothing, but as time has gone on and I've noticed this high street situation, I've found myself swiftly attempting to switch back to my old, more investing spending habits... 
Has anyone else noticed this or found themselves thinking the same things?

Thanks for reading, Charly xoxo

#KurtGeiger #FashionStudent #FashionTrends #InvestmentPieces #FashionStudent #FashionBlogger #FashionBloggerUK

Classics // Dial M for Murder...

Hitchcock is amongst the great influencers upon myself and work, and I can remember watching this precise film, alongside Marnie and Rear Window to name a few, on television from an extremely young age in anticipation. And the same can absolutely be said for that of Grace Kelly. 



Warning: I honestly tried not to go off on a tangent at this point, nor to sound to stuck up or snobbish on the subject... but the subject i progressed to address is one of my absolute pet peeves and I could argue my point till, probably, the end of time 

I often find myself questioning the casualness of peoples garment and style choices, the condition of said garments being worn, and whether most people consider or realise how they are representing themselves. At current, saying athleisure is a massive trend is certainly an understatement, it is one that is creeping into every brand, company and designer's line; and for the majority of these I can safely say I won't be wearing the trend's known associates. Not that I'm looking down or putting down those that are or do, or that I'm trying to act or dress for anyone's approval, it's just that personally I find it too casual, and don't feel comfortable dressing this way. And I'm happy to admit in certain stylings it can certainly make an impact and be as fabulous as a classic pointed stiletto, I have no issue working with these pieces. 
But, all in all I believe people should dress to be who they want to become or be perceived. You wouldn't go to a job interview in leggings or trainers, and in an industry like this you never know who you might meet or where you might meet that one connection than can make all the difference to your career, a piece of work, or just that comment that makes your day little brighter.

n.b. I admittedly also cringe at the fact that when I walk down the street about 90% of people are wearing trainers, usually with some form of jeans, often ripped (don't get me started on ripped jeans...), or leggings. Every, single, day. (obviously not an accurate figure but you get my point)

Which brings me to another point, wearing certain items or dressing a certain way is something I see have absolute correlation in how one carries themselves and acts. For example, I know that if I'm at home in pyjamas I get nothing done for the duration of wearing, yet if I got dressed then I seem to whip around achieving everything and more I set out to do. This is probably a more literal comparison.... This notion itself reminds me of the late Diana Vreeland; a woman I have the upmost admiration for in work ethic, career and strength of character, Diana used to believe that your toes should always be painted and polished, because then you would walk a certain way, carry yourself a certain way. 

Anyway, back to Hitchcock, Grace Kelly and a time of very little athleisure.


As an avid film and psychological thriller fan, especially of those of the past. And music from the past... In fact I'm pretty sure I was born in the wrong decade....
But, as a said fan of these, and as a creative, watching all possible Hitchcock films is a necessity. Today films rarely carry quite the same level of thrill. Too much focus is on the complicated storyline and plot twists, that I always end up guessing in the first 20 minutes or so. Hitchcock's are of a time where the storylines were simpler and more, well, thrilling; the plot twists hadn't been repeated time and again, and therefore are not easily recognisable and predictable. The characters, no matter what villainy they're implementing, carry themselves with poise, grace and are dressed to the nines with class, style and sophistication. Mostly. Dial M for Murder isn't exactly the most known of his films, it isn't The Birds or Psycho level of notability. But in my opinion it should be right up there with the others. And in it it sees Hitchcock plays the claustrophobic settings and paradoxes, jealousy and violence, adultery and blackmail, fate and man's willpower. 




Grace Kelly's presence and role in this film is another reason for my obsession over the film, as is Rear Window, To Catch a Thief and Marnie (the latter a role which was initially written for Grace but her engagement caused retraction of the role, leading to it being played by Tippi Hedron; another actress and woman I hold the upmost admiration for). Everything from both Grace Kelly's and Tippi Hedron's character to their style is something I try to emulate or at least remind myself of (and if I was able to pull off golden blonde hair, it would have been that coloured long ago).




What started out as a film/director/actress recommendation seems to yet again ended while mainly consisting of a completely different point of conversation. In the near future, I may do a piece on perhaps what or how to dress reminiscent of this film or Grace, or of the more glamourous Hollywood styling... But I absolutely recommend all of the above, and wonder if there's anyone else that agrees with any of the points? 

XOXO

#Hitchcock #AlfredHitchcock #GraceKelly #Athleisure #DialMForMurder #RayMilland #RobertCummings #FashionCommunication #FashionBlogger #FashionBloggerUK