The aesthetic for my fashion film has deviated from my original plan. After speaking with RMIT Graduate designer, Grace Alateras, I decided that my film would showcase the individuality of both the garments, and the models.
My objective is to create a compelling Fashion Film that is cohesive in both its form and its content. The clothing will relate aesthetically and thematically to location, HMU and props. My theme is to focus on the temporal qualities of fashion, its ephemeral nature, and its fleeting trends. I will attempt to encapsulate the individuality of my models in order to express the title of the designer’s collection ‘Eponymous’. In order to capture this idea, I must infuse the personality of the models with the style of the clothing, the models will embody the garments and vice versa. The film will showcase the relationship between the garment and the model as being one of dynamic interplay; that one always affects the other.
After I presented my pitch, Nick made a great point of allowing the visual potential of the clothing to be expressed in as many ways as possible. Although this may seem like an obvious idea, it completely changed the way I thought about my project, and how I can apply the ideas of Photogénie to garments in order to create a visually stunning project. He also recommended I slow the frame rate down when filming in order to achieve the slowed, clear effect that I am captivated by. I am aware that although visual aesthetic is important in fashion films, the ideas that are being expressed are of equal, paramount importance. In order to link the visuals to the content, I am thematically exploring the concept of gestures in my fashion film. The fashion film will highlight the natural gestures of the garments, the gestures of the models with the garments, and the gestures of the models with each other. This film, titled ‘Gesture’, will also explore the gesture of collaborations, and will include music created and produced from a local Melbourne artist, Yollks. This ‘Gesture of Collaboration’ is extremely important to me and my practice, as I believe that peoples’ talents become appreciated, and are able to flourish when working with other creatives.
Robin also provided me with comforting commentary. He did not say much, but him telling me to ‘just go do it’ was enough confirmation I need from Robin to know that he believes my idea is interesting. As a previous teacher of mine, I feel as though he recognises my new found confidence in myself and my abilities, and really wants me to explore my idea. He also made me realise that I have something to prove to myself, this studio is my first attempt at creating a Fashion Film, and I want to prove to myself that I am capable of pulling this off.
Justin and I have been speaking regularly about our projects and are excited to begin the filming process, I have locked in a date of May 7th as the filming date and am decided between the locations of The Great Ocean Road, Phillip Island, or Four Pillars. I have decided on using a coastal location as there are usually high winds, with yellow tones and brown shrubbery. This provides a great contrast against the tonal qualities of the garments and allows for the fluid nature of the garments to be accessed and become visually animated. I recognise that high winds may create some sort of visual distortion, but I am confident that between Justin and I, we will be able to troubleshoot effectively.
Visual Inspiration: ‘BANKSIA BOYS’ – Alexandra Kirwood
Music: ‘Substance’ – Yollks
Collection: ‘Eponymous’ – Grace Alateras