Month: March 2017

Egyptian Reflection

Project Brief 2– Reflection

Project Brief 2 was an eye-opener for all of us in the group. When we first introduced ourselves at the formation of groups, we had no idea of what we as individuals are aiming for. Each of us had very different tastes, styles and subjects during the initial brainstorming presentation on the whole studio. Though, as we have known more of each other’s visions, we came to a more narrowed down idea and were getting a sense of what we can do to incorporate each other’s focuses.

What had greatly inspired our experimental short (30 sec) piece are the Egyptian themes and subjects we practiced with when we attended the camera workshop. During this collaborative workshop, we brought Egyptian props that Jenny had to experiment in relation to the cameras we can use. We used both RMIT’s camera and Steph’s DSLR to get some footages of the fabrics and bracelets which then are used as we did an individual edits to see each of our different techniques. Jenny’s vision of the themes and mood board allows her to take upon the director’s role while Steph and Annie each experiment on different camera techniques. I have posed as the actor for creating body as well as fabric movements we could capture in different speed. We agreed that all of us would incorporate slow motion and close up focus on the fabric pattern, accessories and movements.

With all our individual edits, we came together to see the different versions of tastes and I was surprised of how other’s works are techniques that I have never tried before. I was very fond of Jenny’s experimental style of playback and white flashes that compliment the Egyptian music she used. I was also inspired by Steph’s use of slow motion to focus on the fabric movements and glad that they liked my use of overlays and light techniques. Therefore we contributed these different editing styles towards our Egyptian themed piece.

Our further shooting day on the beach was a great lesson for the cameramen as we tried to capture consistent footages according to the sun lighting. Due to this change of weather, Annie had to colour-grade the footages in post-production. Both Jenny and Steph worked well together to use their cameras to capture different angles at the same time and action. Though, we learned that because we were also using hand-held motion, it is a great idea to use stabiliser or a monopod to avoid too much shaky movements. Our other actor and myself tried to create the dancing movements and waited for the right moment for the wind to come. We figured out that the more turns we did as we danced, there is a greater chance that the camera can capture the focal points without the camera following the subject constantly.

We came together as a group as much as we can to edit the final Egyptian piece so that everyone can contribute their ideas during the process. We also did some individual edits when it is difficult to meet and use any part of our edits into the final piece. Overall, from the few challenges we’ve faced in availabilities to meet, shooting day and though we omit some parts of our own edits, I feel successful that we are able to combine all of our ideas into one final piece.

My progress versions:

https://vimeo.com/210215250

Define Fashion film..

What is fashion film?

We are still on the dark side that we don’t know which direction fashion films go. From advertisements, runaway shows, behind the scene or the making of… to art videos and even music videos, it can be all that in different forms. There is the intertextuality between films such that we see “fashion” in for example Rihanna or Katy Perry’s music videos just as fashion films can include well-composed music. We can say that fashion is indeed everywhere, as we’ve seen it in the cinemas showing Hollywood film, The Devil Wears Prada. But with all the ambiguity of where fashion films lead to, I appreciate its freedom. We as filmmakers, in particular fashion filmmakers can have that freedom to experiment, explore and invent new ideas.

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They’re aesthetically pleasing

Project Brief 1– 5 images

Seafolly Magazine Shoot

The Dressmaker Film Photoshoot

The Great Gatsby Film Still

Elie Saab Perfume Ad Still

J’adore Dior Perfume Ad Still

I find these five images aesthetically pleasing because of their ability to camouflage the subject matter to the context or landscape. Haute couture fashion in J’adore Dior, The Dressmaker, The Great Gatsby and Elie Saab images signifies the fashion statement and style with elegance and glamour. Charlize Theron became part of the context because of the also elegant, gold and fancy architecture. It’s as if they all blend in together. Similarly, The Great Gatsby shows the fashion aesthetics of the actors to reflect the 1920s roaring twenties period. These setting and context that are constructed as its mise-en-scene act as an extension of the wearable fashion and became part of the main subject.

We can also see in The Dressmaker fashion costume which are in contrast of the bare nature of the Australian landscape, that its fashion still complements and support that nature due to its pale colours and simple haute couture designs. Perhaps, the wing (like Australian birds) and hat designs symbolises the local Australian inhabitants such as its animals. They also symbolises the international influences that took place during the period such as fashion influences from France, Paris. Wearable fashion also does incorporate functional properties. Which is shown with how Seafolly’s bikini are constructed in the context of beaches and rocks. Which again, these images are relating fashion to the Australian nature and landscape as the rocks became part of the wearable fashion, even in contrast (no beach within the image’s frame).

Another reason why I found these images interesting is its use of symbolism that relates to the setting. Both J’adore Dior and Elie Saab images are perfume advertisement stills that uses free flowing light fabric dress that looks like the fragrance. The are combined in the context of a fancy building and the glamour style in the city as part of that landscape. So fashion that complements its landscape or context is what I want to focus on within fashion films.

Entering the world of fashion through media

Project Brief 1– Reflection

The best thing about starting this studio; More Than Fabric is that my satisfaction is fullfilled with coming to learn about the collision of both media and fashion. I’ve had a dilema before I started my media and communication degree… That I was either going to study media or fashion… or anything to do with art. So I am glad, very, very jumpy that I can now incorporate both departments in this one studio. It really is a dream come true, in terms of where I want my life to be headed as well. Fashion can be everywhere we are, from marketting, business and the media. We see clothing shops and immediately relate that to fashion. But also, these products are originated from designs that are from a form of art, which is often portrayed in fashion shows, TV or even films where we see costumes. The obvious example, The Devil Wears Prada, implements the idea that fashion and the media collide in art forms or medium such as film.

We went ahead to the exhibition in the design hub building. There, we listened the panel talked about high risk in fashion media, focusing on documentaries that reflect the new emerging form of communicating fashion; through art films.

From this gallery, I learned that there is more to fashion than just wearable art. Its also the art of functionality and other properties. A fluffy fabric was used as a chair cover while patterns we normally see on clothing fabrics are used as window designs. I want to show that fashion is more than fabric with the artistic fashion films that I will make. I want to help fashion companies, whether it is to market or advertise or simply to just express, to bring to the community the message that there is more to it than wearable fashion. Film can enhance that idea.