William Clarke

In Johnny’s third blog post ‘Project Outcomes and Personal Development’, his portrait photography outcomes are a direct response is to his own emotional reaction to the ongoing Covid-19 global pandemic. Here he has managed to communicate this “overwhelming” and euphoric loss of all normality, sense of time and perspective in his images. Immersed and drowning, the pencil sketched figure is fighting the rippled surface above, making the conscious effort to stylise his work to feel “dated” and almost weathered in its sepia tones. The capillary waves above the subject signify a greater force in control; the ‘data overload’ pandemic.

Using his knowledge learnt through his ‘portrait photography as performance’ lecture, the viewer of his work is indeed transported to this emotional deluged soul – you almost forget that the subject is a sketch and begin to give him your own human empathy.  Here Johnny has manged to reflect the Better Lives theme of social responsibility, or rather create a piece that is socially reactive to the current context. When approaching any work, it may become too difficult to acknowledge all three Better Lives themes directly. I certainly didn’t when it came down to my own work, and I think this was an unrealistic target of the course. However, within the thought and concept behind the piece as explained, there is an underlying feeling of imminent change suggested by the uncertain feelings and how advancements in communication technology has and will continue to change societies behaviours. Whilst the themes of diversity and sustainability are not directly addressed, the unsustainable future, and general uneasy consensus that we all feel will not be able to be sustained – and by extension this includes ALL of society and therefore this is a diverse notion. 

It’s clear that through specific photographic practitioners, Johnny has embraced that” the camera becomes a participant in the performative act” when considering perception. This is reflected clearly, as the distance and then sudden focus on the subject in his collection of six photos shows his thought about compilation and narrative. He has identified the power that thoughtful photography holds, and he has expressed how he now feels more confident on a technical level to be able to produce his visualisations. It would be interesting to see how Johnny would react now after gaining this valuable insight; how would he build a project surrounding other stimulus for content? For example, a more direct link to diversity – how would he communicate the deep routed anger in under-represented diverse minorities in fashion through his photography? 

STYLING MASTERCLASS ONE: 

When preparing for the first of the two styling masterclasses, I considered the use of the garments over their lifetime, all be it in a very conceptual way as we were challenged to explore the endless possibilities; reinventing the style and look of the garments and detaching their original functions from the colour, texture and shape they offered. For example, in look one you can see that this fabulously electric, smoothed python trench coat cinched in at the model’s waist has been redefined as a gowned skirt. The heavy weight makes the trench lose all sense of itself, and as the sleeves end, more volume begins. The skirt now reflecting this lurid nocturnal brilliance of the trench coat in a new form. The original is indistinguishable, mocking the archetypal shapes seen across the 90’s supermodel era with a small tennis upper half. Essentially here I am proposing that the life of a garment does not end when lime python trench’s are no longer in fashion, rather I am suggesting playing more and reinvent – it’s just fabric! 

Convention also doesn’t have to be boring. In look 2, a dropped shoulder and some volume added to the beneath layer gives this an off-kilter, opulent effect; the original construction of the trench is more apparent, but it has been given this wide shouldered, slackened tailored feel, the opulent formal shoulders have been reduced in their formality adding a more casual feel. A tropical ribbed turtleneck, studded boots and a sport-tech fabric cross body bag complete the look. 

I wanted these looks to become the forward slash between street/sportwear, I therefore referenced Virgil Abloh’s Off White women’ collections, where he manages to create the overall feeling of a very delicate silhouette, yet there being harder sportswear references. Clear and as bold as a Nike swoosh. Upon reflection of this masterclass, I think both outcomes are effective in communicating this sustainable ideology also – being able ‘reduce’ our consumption, ‘reuse’ our garments and ‘repurpose’ the ideas seen on a huge commercial level were achieved.

STYLING MASTERCLASS TWO: A COVID-19 WORKOUT

Adapting to these unprecedented times, I used Facetime to orchestrate a socially responsible, simple and effective quarantined editorial shoot within the theme of sportswear, set within the 80’s at home workout DVD niche genre – drawing influence from Jane Fonda and others alike. Working with what my friend (the model) had to hand, I paired lavender bicycle shorts and a pastel blue sports bra with a custom fluorescent matching sweat band and leg warmer set. A yoga mat (used as an exploded sleeve) and campy heels were added to combine the nostalgic feel with a light hearted modern spirit.

Whilst attempting to be socially responsible it is approach; my masterclass outcome also became SOCIALLY REACTIVE to the current context of quarantine. There is no doubt that the fashion industry has many layers of creatives and logistics behind a finished editorial – here, there were only three people involved. I held the position of creative director and stylist, a photographer using an iPhone on the other side of the facetime call and the model herself (both are sisters isolating together). This huge reduction in the chain of creativity essentially has the power to shift how the industry will operate in the future. Post pandemic, fashion will feel familiar but far away, as businesses spot opportunities to save on scarce resources and still receive quality content – things will undoubtedly change. However, whilst these Facetime editorials may not stick around as we rush to get back to the glossy productions of the past, they will become this great archaeology of panic, where brands were still desperate to sell their new season product. And they do suggest imminent change -Interesting times!

On reflection of the entire process and short introductory to styling as a whole, I have enjoyed widening my own creative direction; recognising the smaller significant details in styling that are so important when aiming to create significant appeal. In this world of too much content, I value thought placed into important topics such as fashions footprint and its reaction to societal change – and of course created by REAL diverse people. 

Styling, put simply, is the art of making clothes look good on the body. Commercially this is used to sell product, making these garments look their best on a body shape, that you most likely as a consumer you can identify with. In this blog post, I will be discussing the power play that consistently shifts around between brands and consumer, as well as the environmental implications that undoubtedly occur when a brand is continuously attempting to sell more product, and how I am to tackle this theme of sustainability through a stylist’s eye. 

When placing myself into the role of a stylist, I initially think about the existing way in which stylists operate. Often way more looks are requested to set than necessary. This offers the stylist choice, although timings and editorial briefs usually only permit and require one or two complete looks. This of course presents the challenge of waste and complex logistical work, with increasing effects to the carbon footprint of the finished shoot. When approaching masterclasses within the Better Lives course, I will carefully consider what pieces would be transversal enough to work alongside other sportswear pieces brought in by other group members. This also in my opinion feels like a more ethical approach to promoting garments; using the mentality of ‘look how many different ways this garment can be worn’. This ethical power is held by the stylist, as they conceptualise and create these looks. However often enough the brand/magazine has to meet certain advertising expectations and therefore these commands can be seen to come from above all creatives working on the editorial. It’s at this point we, as consumers, we must really debate the necessity of these new garments that we are being sold from every angle. The real power here, as we know lies within the consumers’ pockets. 

Within whatever medium I happen to be working in, it’s important to remember who is leading and driving the discussion. Who is really carving the path for the future of the fashion industry? Through my creative direction, and my business acumen, I would like to think that when working with or for a brand, the product or service that is being marketed and effectively sold has the greatest possible amount of consumer agency. I see It that both parties should have equal power when influencing and consuming. Without clarity and a general mission statement that aims to tackle these huge sustainability issues, the work cannot feel genuine within a modern society that should not just superficially care about the environment.

Therefore, when thinking about the more immediate future, I would like to enact this mentality within my next styling masterclass, and how as a stylist in these unprecedented times I will really consider how the viewer/consumer of my work is left feeling. The Better Lives project brief looks at how the outside world more often than not, becomes a part of the inside of fashion. The sportwear element to this brief has also become exceptionally prevalent, as we now live in a time where exercise has become one of very few forms of escape permitted from the confinements of one’s home. I’ll be thinking about what this will mean for the evolution of sportwear and how these restricted times are influencing dress and style. 

Thoughtful, engineered design is such a large contributing factor to a products success, along with trending aesthetics and clever ergonomic design – especially with garment production. However, through Lorraine Gamman’s lecture on Empathy and user centred design, my outlook on how to design empathetically, to gain the emotional contentment of the user has changed. 

The lecture began with understanding that as a designer within any practice, you must place yourself within the shoes of the imagined user/viewer, whilst also creating a successful balance between complete emotional investment and detached non-user centred design. Gamman emphasised through the words of Koskinen, K(2015)that ‘designers should be more sensitive to users in order to understand them’. Remaining in this state of equilibrium whilst still being able to identify with the other and understanding their needs from your own perspective, requires designers to use a framework known as the 4 stages of empathy design. 

Empathy Design Stages

• Discovery.At this stage you must be able to enter the user’s world and understand their utility needs as well as their unspoken needs (by observing struggles that they face through existing products or lack of. Through this stage designers uses intuition, imagination and convey emotional sensitivity in order to create and design to make a valuable difference. 

• Immersion.Here the designer must place themselves in the position of the users immediate context and environment to better understand them. The idea being that through this stage of empathetic research you begin to uncover the intangible needs that are missing in the product you’re looking to change or create. This process can be carried out through fieldwork, which is most effective as you can study a person’s kinesicsand general movements directly. 

• Connection. Designing empathetically requires more than just listening to the subjects, you have to interpret the world through their values and understand what is most important to them. Their cultural backgrounds and social structures are massively important to the functionality of day to day lives. At this stage you have to appear sincere and understanding which in turn will give you a more empathetic insight when designing. 

• Detaching. As mentioned, to remain professional and focussed on the products design, you must then remove yourself from the research and apply the experiences into the design process. The valuable insights that you’ve learnt will allow for products to be designed to solve problems but to also understand what has led to these solutions. Being able to step in and out of the user’s life will give the greatest framework when designing for the user. 

Gamman also taught through this empathy design process that the creation of these empathy things, and not just surplus objects or experiences, lead to genuine improvement in the lives of the users/viewers. Although there remained a few arguments against empathy design as its been noted as a reason that people promote inequality and immorality in society, which Paul Bloom explores in his work entitled ‘Against Empathy: the case for rational compassion which I will follow up with.