Thursday, April 19, 2012
inspiration
I'm trying to be more proactive in collecting images of things which inspire me, excite me or just cause a stir to my senses. I will try to make this a regular thing
Friday, April 13, 2012
Fashion Images Tutorial
We are set to do another photo shoot in the next two or so weeks hence my posts will reflect on that. This week we've been working with a high end Salon on a photo shoot for re branding purposes and I must say I learned a lot. First of all I do not LIKE such shoots...give me a clean fashion shoot any day!!!!!! That said and done I worked with some of the teenagers and they were the best! Today I want to breakdown the different fashion images and perhaps breakdown for those interested in the industry and others who hears the terms but have no inkling what they mean.
I would categorize fashion images as Commercial/catalog, Editorial and High-end fashion. Lets look through each category. For those of you who can’t wait for the elaborate answer, here is the quick overview:
Commercial Photography sells a product.
High end Fashion Photography sells a lifestyle.
Editorial Photography sells a story.
COMMERCIAL/CATALOG: This is an informational image. The end result is to sell a particular product using the image. Hence, the emphasis of the whole shoot is on the product. That means that the lighting, the styling, and the background are usually very plain (not in a bad way).The model may be standing on a simple background such as white or Grey. The styling is clean and simple, we are selling the wardrobe and showing the details of the material.One big difference between the two is that with commercial photography, the client generally has the most creative control. With editorial photography, the photographer generally has the most creative control.
EDITORIAL This usually involves several shots telling a particular story or following a particular theme. The model is on location, in an environment, or living/interacting with a lifestyle. These images are not as posed and the styling and makeup/hair can be more extreme. Editorial also implies more of an edge to the shot. That's what separates the style from more commercial types of photos.The wardrobe may have more accessories such as jewelry, scarves, hats, shoes, and handbags. Everything on the model and in the background is very styled to create a powerful still image or slice-of-life. We see this style in the better fashion magazines such as Vogue, Harper’s Bazaar, and Elle, it is usually the featured spreads and stories consisting of 5-10 pages. The models are put in a role or theme and tend to act out a story. The most obvious give away is the continuity of the wardrobe or poses In lieu of a storyline, editorial is often highly styled: IOW, heavy makeup, hair, or wardrobe concepts. Sometimes these strong visuals are what unites the series of shots. Editorial photography does not pay nearly as well as commercial, but with editorial, you usually get much more creative freedom, and you get a credit line. You do it to add to your portfolio - then show the portfolio to get commercial work.
HIGH FASHION. The image is selling a particular lifestyle rather than a product.This is an area that goes all out.The styling of the wardrobe may be a fantasy and may never be worn as pictured, rather it is styled to create a dramatic and powerful image. The models poses are eclectic and exaggerated, facial expressions can be calm or piercing. Sometimes the models face is calm and everything below the chin is in turmoil…or vice versa…a contradiction. All the individual elements of the models look and pose, the wardrobe, the styling, hair/makeup, and the lighting all work together to create a single powerful image…..an image that would completely fall apart and fail if one of the elements did not work. Every object and accessory has its place in this organized chaos, to create a flawless image.That is why we hire a crew of talented stylists that can work together and complete the vision. Most high-fashion ads are "art" ads-- think of the latest Jil Sander spreads in which a mod androgyne alienesque figure sticks out his-her hips and glares out from under a pair of massive brow bones. hair is swept back under a hat, mod coat is a pale white like the background. we no longer focus on the clothes-- we instead focus on the contortions of face and body. the fact that the pose is not relaxed, natural or normal makes us think. the ads are, in essence, interactive. most of my work has led up to making an ironic statement such as those mentioned.
In essence, your style of photography depends on the clients’ needs and wants. If the client wants to sell a lifestyle associated with his product rather than the product itself, you will have to deliver fashion photography. If the client on the other hand just wants to show off his products (such as for a catalog shoot), you will have to deliver commercial photography. If the client already has a story or a script and just wants the photos to support the story, it’s your turn to get the mood of the story and deliver an editorial piece on it.
I would categorize fashion images as Commercial/catalog, Editorial and High-end fashion. Lets look through each category. For those of you who can’t wait for the elaborate answer, here is the quick overview:
Commercial Photography sells a product.
High end Fashion Photography sells a lifestyle.
Editorial Photography sells a story.
COMMERCIAL/CATALOG: This is an informational image. The end result is to sell a particular product using the image. Hence, the emphasis of the whole shoot is on the product. That means that the lighting, the styling, and the background are usually very plain (not in a bad way).The model may be standing on a simple background such as white or Grey. The styling is clean and simple, we are selling the wardrobe and showing the details of the material.One big difference between the two is that with commercial photography, the client generally has the most creative control. With editorial photography, the photographer generally has the most creative control.
EDITORIAL This usually involves several shots telling a particular story or following a particular theme. The model is on location, in an environment, or living/interacting with a lifestyle. These images are not as posed and the styling and makeup/hair can be more extreme. Editorial also implies more of an edge to the shot. That's what separates the style from more commercial types of photos.The wardrobe may have more accessories such as jewelry, scarves, hats, shoes, and handbags. Everything on the model and in the background is very styled to create a powerful still image or slice-of-life. We see this style in the better fashion magazines such as Vogue, Harper’s Bazaar, and Elle, it is usually the featured spreads and stories consisting of 5-10 pages. The models are put in a role or theme and tend to act out a story. The most obvious give away is the continuity of the wardrobe or poses In lieu of a storyline, editorial is often highly styled: IOW, heavy makeup, hair, or wardrobe concepts. Sometimes these strong visuals are what unites the series of shots. Editorial photography does not pay nearly as well as commercial, but with editorial, you usually get much more creative freedom, and you get a credit line. You do it to add to your portfolio - then show the portfolio to get commercial work.
HIGH FASHION. The image is selling a particular lifestyle rather than a product.This is an area that goes all out.The styling of the wardrobe may be a fantasy and may never be worn as pictured, rather it is styled to create a dramatic and powerful image. The models poses are eclectic and exaggerated, facial expressions can be calm or piercing. Sometimes the models face is calm and everything below the chin is in turmoil…or vice versa…a contradiction. All the individual elements of the models look and pose, the wardrobe, the styling, hair/makeup, and the lighting all work together to create a single powerful image…..an image that would completely fall apart and fail if one of the elements did not work. Every object and accessory has its place in this organized chaos, to create a flawless image.That is why we hire a crew of talented stylists that can work together and complete the vision. Most high-fashion ads are "art" ads-- think of the latest Jil Sander spreads in which a mod androgyne alienesque figure sticks out his-her hips and glares out from under a pair of massive brow bones. hair is swept back under a hat, mod coat is a pale white like the background. we no longer focus on the clothes-- we instead focus on the contortions of face and body. the fact that the pose is not relaxed, natural or normal makes us think. the ads are, in essence, interactive. most of my work has led up to making an ironic statement such as those mentioned.
In essence, your style of photography depends on the clients’ needs and wants. If the client wants to sell a lifestyle associated with his product rather than the product itself, you will have to deliver fashion photography. If the client on the other hand just wants to show off his products (such as for a catalog shoot), you will have to deliver commercial photography. If the client already has a story or a script and just wants the photos to support the story, it’s your turn to get the mood of the story and deliver an editorial piece on it.
Thursday, April 12, 2012
FASHION STYLIST LOOKBOOK
Thankfully there are more and more fashion stylist coming up in Kenya. So today's post is an article I read that I thought would be helpful.
http://itruebeauty.com/creating-a-fashion-styling-course-look-book.php
How ready are you for fashion school? In addition to the basic items every class will require, do you have a look book? Do you even know what one is? Here are some tips for creating a fashion styling course look book.
A look book is basically a collection of tear sheets, swatches and photographs. This book is the first step to defining your signature style. This is what you want to hand Nina Garcia and Michael Kors on the runway. It answers the question: “Who are you as a stylist?”
While training to be an Image or Fashion Stylist, it’s never too soon to begin building this personal collection of visuals. All you need is a binder with plastic inserts into which you can slip things. Make sure the pages are not adhesive as you want to be able to add and subtract inspiration with ease.
Section your book into three categories: Everybody Else, Me Me Me, and Strike A Match. You’ll be filling these sections with everything and anything you come across that stimulates you visually. You’re looking for elements that make you salivate; creatively speaking
Everybody Else
What does everybody else think is hot today? Look through magazines and pay attention to current trends that are influencing the major designers. This can be anything from color palettes, to fabric combinations, to tailoring.
If it seems like everybody has a Capri pant in their summer collection, tear pictures from magazines that demonstrate this fad. If you notice that every supermodel on every cover is wearing that same shade of cobalt blue, tear a sample page and save it.
Do you see the same insane knit pattern everywhere? Find out what it’s called and try to get a sample of the fabric. If you’re traveling and you observe trends specific to certain locations, definitely take note. All of this information will be helpful in your fashion styling course.
Me Me Me
If you’re entering this field, you probably have exceptional personal style, and your point of view is just as important as that of current designers. Every thought or concept that tickles your imagination is important.
This section will most likely be a jumble of ideas, sometimes scribbled on cocktail napkins, and that’s okay. It doesn’t have to be pretty or organized. It just needs to capture and safeguard your creative genius.
Say you happen to be getting ready to go out, and you’ve accidentally matched up the outfit of the century. This is a moment that must be recorded. Take a picture and memorialize what worked well.
If you do this consistently, you’ll soon discover that you naturally gravitate towards certain combinations. That’s your signature look!
If you’re hanging out and you get a vision of a white jeans paired with a mesh leotard, write down your idea. If you’re out shopping and you see a shirt dress, which would work better with some indefinable “itness,” value that inkling.
Don’t be selective, catalog every notion, every crazy and goofy rambling. You never know which one will result in sheer brilliance.
Strike a Match
In your fashion styling course, one important fact will be highlighted. The best designers are those who’ve successfully matched current trends with their own signature look. It’s what the public wants, but your spin on it elevates it to couture status.
In this final section of your look book, mix and match theories and concepts from the first two sections. Be open to unlikely combinations and magic will happen!
Cal State LA is holding an Open house on Thursday, September 9, 2010 at the Golden Eagle Building, Room 219, to introduce its new fashion styling course of studies. Students will have a unique opportunity to speak with instructors and learn about the ins and outs of the fashion industry with a focus on past, present and future trends.
http://itruebeauty.com/creating-a-fashion-styling-course-look-book.php
How ready are you for fashion school? In addition to the basic items every class will require, do you have a look book? Do you even know what one is? Here are some tips for creating a fashion styling course look book.
A look book is basically a collection of tear sheets, swatches and photographs. This book is the first step to defining your signature style. This is what you want to hand Nina Garcia and Michael Kors on the runway. It answers the question: “Who are you as a stylist?”
While training to be an Image or Fashion Stylist, it’s never too soon to begin building this personal collection of visuals. All you need is a binder with plastic inserts into which you can slip things. Make sure the pages are not adhesive as you want to be able to add and subtract inspiration with ease.
Section your book into three categories: Everybody Else, Me Me Me, and Strike A Match. You’ll be filling these sections with everything and anything you come across that stimulates you visually. You’re looking for elements that make you salivate; creatively speaking
Everybody Else
What does everybody else think is hot today? Look through magazines and pay attention to current trends that are influencing the major designers. This can be anything from color palettes, to fabric combinations, to tailoring.
If it seems like everybody has a Capri pant in their summer collection, tear pictures from magazines that demonstrate this fad. If you notice that every supermodel on every cover is wearing that same shade of cobalt blue, tear a sample page and save it.
Do you see the same insane knit pattern everywhere? Find out what it’s called and try to get a sample of the fabric. If you’re traveling and you observe trends specific to certain locations, definitely take note. All of this information will be helpful in your fashion styling course.
Me Me Me
If you’re entering this field, you probably have exceptional personal style, and your point of view is just as important as that of current designers. Every thought or concept that tickles your imagination is important.
This section will most likely be a jumble of ideas, sometimes scribbled on cocktail napkins, and that’s okay. It doesn’t have to be pretty or organized. It just needs to capture and safeguard your creative genius.
Say you happen to be getting ready to go out, and you’ve accidentally matched up the outfit of the century. This is a moment that must be recorded. Take a picture and memorialize what worked well.
If you do this consistently, you’ll soon discover that you naturally gravitate towards certain combinations. That’s your signature look!
If you’re hanging out and you get a vision of a white jeans paired with a mesh leotard, write down your idea. If you’re out shopping and you see a shirt dress, which would work better with some indefinable “itness,” value that inkling.
Don’t be selective, catalog every notion, every crazy and goofy rambling. You never know which one will result in sheer brilliance.
Strike a Match
In your fashion styling course, one important fact will be highlighted. The best designers are those who’ve successfully matched current trends with their own signature look. It’s what the public wants, but your spin on it elevates it to couture status.
In this final section of your look book, mix and match theories and concepts from the first two sections. Be open to unlikely combinations and magic will happen!
Cal State LA is holding an Open house on Thursday, September 9, 2010 at the Golden Eagle Building, Room 219, to introduce its new fashion styling course of studies. Students will have a unique opportunity to speak with instructors and learn about the ins and outs of the fashion industry with a focus on past, present and future trends.
Wednesday, April 4, 2012
Tuesday, March 27, 2012
BMP...and not beats per minute
NOT BEAUTIFUL
NOT MANAGEABLE
NOT PROFESSIONAL
Natural Hair is so on and it’s on with a bang. Designers have followed suit and incorporated the trend on the runway; why I believe that real fashion is more often on the streets rather than on the runway.
That said and done natural hair still draws negative reactions from all walks of society. A woman will be bombarded with such messages starting from her family, friends, media and colleagues at work…but more insidious are the messages she will be sending to herself for unlike the rest whom she can block ‘ she is ever with herself. We all have bad hair days or so we claim but it’s actually interesting how hair determines how we feel about ourselves. Below are quotes from different women:
“When I first went natural to be honest I was not too fond of it. Although my relaxed hair was thinned out and breaking I didn’t want to let go of my brittle strands. As my Aunt chopped away my scrawny strands I cried even though this is what I had requested. For whatever reason, in my younger years I always equated my hair with my femininity and with each strand that fell away from my head I felt as though it were escaping me.”
“Our sense of attractiveness is strongly connected to confidence and positive self-esteem. Many men and women associate confidence with feeling in control, and hair is one way most of us can be in charge.”
In 2007, a Glamour editor later identified as Ashley Baker told a room full of lawyers that an Afro was an office Don't. "'No offense,' she sniffed, but those 'political' hairstyles really have to go," wrote American Lawyer.
Try and get the three messages that the above quotations give you. If you cut your hair or go natural you may not feel beautiful as if your femininity is lost. The second has a ring of truth on it. The more you are able to manage your day to day styling of your hair i.e manageable the more you will like that hairstyle and the general perception is that Natural hair is unmanageable. My ‘favourite’ and a pet peeve is how natural hair is often deemed unprofessional…to me I would equate this to one of our local banks in Kenya that has a wide network of branches in the whole country and as part of their policy the women are not allowed to wear trousers at work. It is discrimination and sexist.
All that said and done I believe the whole natural hair movement also has some down side more so those with a superiority complex feeling that anyone else with relaxed hair or a weave is of a lower rank and should either be converted or demeaned in such a manner to let the person know their place in the hair hierarchy. These are the natural hair Nazis’ or extremist. But that is a discussion for another day.
I have used a few of my own photos....so comment away
Wednesday, March 14, 2012
Full Figured Fashion Week
A friend of mine liked the post I did on DVF but felt plus-size women were left out in all these runway trends. I promised i would do a post to take care of that. As we all know runway shows more or less promote super thin look..if you ask e anorexia..and I guess we have Twiggy to thank for that....and in all honesty I almost felt like throttling her when she was judging ANTM and so proud of the fact that she brought in that trend.
When former fashion model Gwen Devoe attended her first New York City Fashion Week event, she realized that no matter how much she liked a designer's fashion line, she would never be able to wear it.It wasn't because she could not afford it. It was because none of the lines were made in her size. Devoe is a plus size model who, like tens of millions of women everywhere, loves the world of fashion. But also, like millions of women everywhere, she did not fit the prototype of the women showcased on the runways and in the fashion magazines donning haute couture.That’s when Devoe decided to throw the fashion industry a curveball and create an internationally known fashion event catered to plus size women: Full Figured Fashion Week.
From the official FFFW:
Full Figured Fashion Week™ (FFFWeek) is produced by DeVoe Signature Events (DSE), a boutique events management company with an extensive background in the production of fashion related events and a strong and effective mix of proven plus industry experience and success.
With over 15 years experience in fashion show production, Gwen DeVoe, CEO of DSE, Creator and Executive Producer of FFFWeek says, "It is time for designers, retailers, boutique owners and businesses with an interest in the plus size market to combine their resources and talents and partner with a plus fashion event that will rival other Fashion Weeks and Full Figured Fashion Week™ IS that event."
Now in our fourth year as the exclusive producers of Full Figured Fashion Week™, DSE continues to receive accolades throughout the plus community and national and international media coverage of the event.
Thank you for your support and we look forward to seeing everyone at Full Figured Fashion Week™ in New York City, June 13-16, 2012
In all honesty I was clueless before I started doing reserch for this post that such a fashion week existed. It tells you how much the fashion fraternity is apathetic in covering this important event. I am now informed and will be looking forward to June to follow and fully report on the designs showed. In the meantime I have included previous years photos. I will review the looks at a later date in a separate post.
NEW YORK FASHION WEEK AW 2012-Badgley Mischka
Mark Badgley and James Mischka have been hailed by Vogue as one of the "Top 10 American Designers" and as the darlings of the Hollywood set. The design duo has made their mark over the past two decades with glamorous, stylish and wearable evening wear and accessories. In the Autumn-Winter 2012collection the first thing that struck me were the really cool' albeit some may say crazy hairstyles. I love the hairdos and for that I will review this collection despite my lukewarm attitude towards couture.
"Our style harks back to the glamorous Hollywood of the Forties" say Mischka. “The Badgley Mischka signature style is simple, streamlined and thoroughly elegant.”
As i said I love the fluffed hair which has served as the main accessory for most of the looks. When creating the bevy of bouncy curls for Badgley Mischka, hairstylist Peter Gray for Moroccanoil found his inspiration in somewhat of an esoteric concept, using the late 1920s German film Metropolis as a starting point. The light, airy look took a nod to the geometric shapes in the movie's make-believe backdrop, and metallic nails and makeup reflected a similar science-fiction feel.
Long slinky dresses were the majority with a few separates but in all the looks there's sophisticated elegance and not the usual over the top designs associated with Haute couture. Main styling tip is simplicity. Sometimes a dress or outfit is so elegant on it own it does not need those extra accessories
On a side note the Asian Model was my favourite for this particular show
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