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FINAL IMAGES

ABOVE HERE YOU CAN SEE A SELECTION OF SOME OF THE FINAL IMAGES FROM THE SHOOT WHICH HAVE BEEN EDITED. ALL-EMBRACING, I THINK AS A FINAL OUTCOME, OVERCOMING SOME LIKES AND DISLIKES THE FILM AND PHOTO BOOK WORK WELL TOGETHER. SEEING GLIMMERS OF HOW EACH FACTOR OF THE PROJECT COMPLEMENTS EACH OTHER WAS CRUCIAL FOR THE COMPREHENSIVE AESTHETIC OF THE PROJECT.

I WOULD LIKE TO NAME THIS PROJECT 'SHE IS POWER'.

WEARING A SUIT CAN BE A TRANSFORMATIVE EXPERIENCE FOR WOMEN, INSTILLING A CONFIDENCE AND POWER THAT RADIATES. IT IS NOT JUST THE FABRIC AND THE STITCHING ITS THE MINDSET AND SYMBOLISM OF STRENGTH, EMPOWERING US TO NAVIGATE THE PATH WE CHOOSE WITHOUT THE OPINION OF MEN OR WHAT MEN CHOOSE FOR US. HENCE, SHE ISN'T JUST POWER SHE EMBODIES IT.

SHE IS POWER, PERSONIFIED.

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EDITING GIVING VINTAGE, CHAOS, DARKNESS, BRISK, WOMANLY AND PLAYFUL ELEMENTS TO THIS FILM ALL CAME INTO THE EDITING ELEMENTS OF THE VIDEO. ADDING MANY TRANSITIONAL ELEMENTS, GRAINS. PLAYING AROUND WITH SEQUENCES AND TIMELINES AND WHICH CLIPS FITTED BETTER IN WHICH SEQUENCE. IT CAME TO A CONCLUSION OF A CIRCULAR KIND OF LOOP WHERE SOME OF THE CLIPS WE SEE AT THE START WE SEE ADDITIONALLY AT THE END AND IN THE MIDDLE MORE OF THE NUDITY AND FAST PACED CLIPS FELT MORE COMPOSITIONALLY WHOLE. IN THE BEGINNING, THE LONGER CLIPS JUST SLOWLY TRANSITIONED INTO SHORTER MORE ERRATIC SEQUENCES BUT THIS DIDNT FEEL IMPACTFUL ENOUGH. THEREFORE, THE DECISION OF ADDING MY FINAL PHOTO BOOK IMAGES INTO THE SECTIONS WHERE IT BECAME EXTREMELY FACED FOR FOUR COUNTS BECAME MORE HISTRIONIC AND THEATRICAL. THE OVERALL PROCESS OF THE VIDEO WAS DEFINITELY TRIAL AND ERROR WHEN IT CAME TO THE OVERALL EFFECT USED AND TIMING IN CONNECTION TO THE MUSIC.

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HERE WE HAVE A SCREEN SHOT OF A SECTION OF THE BTS SCENE 27 SECONDS IN. A PINNACLE POINT OF THE SHORT FILM WHERE THE PACE BEGINS TO BUILD UP AND WE SEE 'SHE IS POWER' ON THE SCREEN. SIMPLISM WAS A BIG APPROACH AT THIS POINT AS WE CONTINUE TO ALLOW THE AUDIENCE TO TAKE WHAT THEY FEEL FROM THE EMOTIONS PORTRAYED. WE SEE GLIMMERS OF HAPPINESS, SERIOUSNESS, PLAYFULNESS, ANGER AND BEAUTY. I WANTED TO ACCUMULATE AND CONVEY ALL OF THESE FEELING TO SHOW BEAUTY IN POWER AND WHAT A SUIT OR BLAZER CAN MAKE UP FEEL LIKE.

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(BTS) BEHIND THE SCENES HERE WE COME TO THE BEHIND THE SCENES 120 SECOND FILM OF THE PROJECT. ERRATIC MOVEMENTS AND SHORT CLIPS PIECES TOGETHER TO CREATE A DRAMATIC SCENE. I DECIDED TO GO FOR THE SONG 'ALL FOR US' BY LABRINTH AND ZENDAYA. A SONG WHICH STARTS OF WITH A CHOIR AND SLOW MELODY THEN CHANGES AND SPEEDS UP INTO THESE HARSH BEATS, BASS AND UNDERTONES OF CHOIR SINGING. I THINK THIS WAS A GOOD SONG CHOICE FOR MY STYLE OF FILM WHICH I WANTED TO CREATE AS IT ALLOWED FOR A FLOWING STEADILY PACE AND ALLOWED MY CLIPS AND STILL IMAGES TO BECOME MORE IMPACTFUL WITH THE DRAMATIC MUSIC CHANGES WHICH CONTINUE AS THE MUSIC PROGRESSES. WITH THIS SONG I DID HAVE TO OVERCOME SOME STRUGGLES AS IT IS STILL FACED PACED MATCHING THE CLIPS UP IN ALIGNMENT BECAME DIFFICULT.

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MOREOVER, FROM THE TWO SHOOTS CONDUCTED IMAGES OF ANGER AND DESTRUCTION USING THE OBJECT OF A HIGH HEEL STILETTO FOR NOTES OF FEMAL DESTRUCTION AND FEMININITY AGAIN EMPHASISING THE FEMINISATION OF THE SUIT. I REALLY LIKES THE OUTCOME OF THESE IMAGES AND DECIDED TO ADD A BLUR OF AROUND 20% TO EACH PHOTOGRAPH TO CREATE MORE OF A ERADIC AND MOVEMENT FEEL. I ALSO FEEL, PLACING THESE IMAGES IN MY FINAL PUBLICATION ALLOWS THE AUDIENCE TO SEE TWO SIDES OF THE SAME EMOTIONS FROM THE EXPRESSIONS.

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HEADSHOTS PROPS - DOLCE AND GABANNA VINTAGE STILLETOS & ROSARY BEADS ABOVE THIS POST YOU CAN SEE SOME OF THE FINAL OUTCOME HEADSHOT IMAGES WHICH HAVE BEEN EDITED AND WILL BE USED WITHIN THE FINAL PORTFOLIO. I REALLY ENJOY THE DIFFERENT ELEMENTS THESE SHOTS HAVE PROVIDED FOR THE AUDIENCE. GOING WITH AN EDITORIAL STYLE PHOTO BOOK FROM THIS POINT I HAVE DECIDED TO KEEP WITH JUST THE IMAGES THEMSELVES AS I WANT INTERPRETATION TO BE AS AN OPEN CONCEPT AS POSSIBLE AND A MINIMAL DISTRACTION. LOOKING INTO THE EYES OF THE MODELS THEMSELVES TO BE ABLE TO FEEL SOMETHING WHICH YOU CAN DECIDE AND MAKE AN INDIVIDUAL CONNECTION TO CREATE YOUR OWN STORY LINE.

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HERE WE CAME TO MY FINAL SELECTION OF SHOOTS 1 OF 2 WHERE I GAINED OVER 500 PHOTOS. MANY DIFFERENT POSES, HEADSHOTS, PROPS AND EMOTIONS HAD BEEN CONVEYED BY MY CHOSEN MODEL KYLA. THE MODEL HAD DARK EYES AND HAIR. WE REPLICATED THE DESIRED MAKEUP AND HAIR CLOSE TO THE REFERENCES AS POSSIBLE AND MADE THE MODEL AS COMFORTABLE AS POSSIBLE WHEN IT CAME TO THE NUDITY ASPECTS OF THE SHOOT. EXTENDING FEATURES SUCH AS THE ARMS LEGS AND OVERALL BODY WHEN IT CAME TO POSITION OF THE MODEL BUT MORE OVER THE CAMER WAS IMPORTANT TO MAKE AN ASSERTIVE AND DOMINANT STANCE.

MY NEXT STEP MOVING ON FROM THIS WILL BE MY FINAL HEAD SHOOT IMAGES AND RENDERING THESE PHOTOS INTO A COHESIVE END PRODUCT.

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YVES SAINT LAURENT 1967

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TAILORING - NUDITY - HARSH LINES - STRUCTURE - SULTRY - POWER - EMOTION

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MY AIM WAS TO CONTINUE PLAYING WITH THESE IMAGES TO COME TO A POINT WHERE I WAS HAPPY AND AIMED TO RECREATE THESE WITH MORE CLOSE UP SHOTS TO GAIN MORE DETAIL AND INCREASE THE STYLING WHEN IT CAME TO HAIR AND MAKE-UP TO ACCENTUATE THE IMAGES.

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AFTER THE TEST SHOOT WAS COMPLETE, ONCE WE HAVE LOOKED INTO TONES, POSITIONING, POSING, PROPS, SHADOWS AND LIGHTING. FINDING THE EDITING TECHNIQUES WHICH WORKED BEST FOR MY DESIRED OUTCOMES WAS THE NEXT STEP. I THINK IT WAS FUNDAMENTAL FOR MY FINAL OUTCOME TO CONSIDER BLACK AND WHITE IMAGES, A TECHNIQUE I HAVEN'T BEEN TOO CONFIDENT IN EXECUTING IN THE PAST, BUT TO CREATE THE SHADOWS AND ANGLES I WANTED FOR A POWERFUL IMAGE WAS NECESSARY. I FOUND FROM WORKING WITHIN PHOTOSHOP THE VIGNETTE ALLOWED MORE FOCUS ONTO THE PRIMARY CENTRE OF THE PHOTO. MOREOVER REDUCING THE NOISE AND INCREASING THE SHARPNESS BOTH HELPED WITH THIS FURTHER.

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THIS INITIAL SHOOT WAS WHERE WE BEGAN TO PLAY WITH POSITIONING, POSING, LIGHTING AND ANGLES. ALL IN AN EFFORT TO BECOME REFINED AND FOCUSED ON WHAT WORKED BEST TO CONVEY THE EMOTIONS WE WANT TO PROGRESS WITH. IN SOME POINTS, IT IS CLEAR THAT THE BRIGHTNESS AND BRILLIANCE WAS TOO LIGHT AND CREATED TOO MUCH OF A BLOCKED IMAGE. THIS BECAME A CRUCIAL POINT OF REFLECTION WHERE I SAW WHAT DID AND DID NOT COMPLIMENT THE OVERALL OUTCOME OF THE IMAGE AND HOW I WAS GOING TO CHANGE THESE FACTORS IN THE FUTURE FOR IMPROVEMENT. MOVING INTO MORE DARKNESS ALLOWED FOR MORE EMOTION AND REAL LIFE TEXTURE TO SEEP THROUGH FROM THE IMAGES. PLAYING WITH SEATING, PROBS AND MOVEMENT HAS LEAD ME TO A BIGGER UNDERSTANDING OF HOW I WANT THE MODELS TO MOVE AND FEEL WHEN IT COMES TO THE SHOOT DAYS. AIMING TO GIVE VULNERABILITY AND FLUID MOVEMENT BY THE END OF THE SHOOT TO POSITIONING OF THE MODEL IS CRUCIAL FOR THE AUDIENCE.

IN SOME SCENARIOS OF THE TEST SHOOTS SUCH AS PLAYING WITH THE STOOLS, THE POSING BECAME TOO MASCULINE AND DOMINANT WHERE I WANTED TO PROVIDE FEMININITY. MOREOVER PLAYING WITH THE ACTUAL FABRIC ALSO BECAME UNSUCCESSFUL AS THE TAILORING WAS TOO FLUID AND ALTERED WHEN LOOKING FOR STRUCTURE.

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MOVING ON FROM INITIAL MAKEUP RESEARCH, I THINK THE PROGRESSION WE SHOW IN THE STYLING OF THE HAIR IS EQUALLY SIGNIFICANT TO ALLOW US TO INFLUENCE THE AUDIENCES EMOTIONS. WAVES, SLICK BACK, SHARP LINES AND ANGLES ALL WITHIN THE WET LOOK I THINK WILL REALLY COMPLIMENT THE STRUCTURAL SUIT ELEMENTS THESE SHOOTS ARE FOCUSING ON AND BRING BALANCE. IN SOME CASES ADDING SHAPE AND YOUTHFULNESS AND IN OTHERS INCREASING HOW DEFINED THE STYLING ALREADY IS.

THE CURTAIN WAVES, AND GELLED FACE PEICES I WANT TO IMPLEMENT I THINK PAY HOMAGE TO MORE VINTAGE STYLES AND CONNECT OTHER PIECES I HAVE DRAWN INSPIRATION FROM. THESE RANGE FROM EARLY CHANEL CATWALKS, THE ICONIC MARLENE DEITRICH WHO BECAME THE MUSE FOR DIOR'S WINTER/AUTUMN 2024 SHOW AFTER HER WAR EFFORTS AND FASHIONABLE STYLE AND YSL'S 'LE SMOKING' WOMEN SUXEDO WHICH STILL REMAINS NOW A REBELLIOUS AND SIGNIFICANT MOMENT IN WOMENS FASHION.

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ON THIS DAY, THE CONSIDERATION OF WHAT MAKE-UP STYLES AND HOW INFLUENTIAL THIS WOULD BE ON MY FINAL SHOOT CAME TO LIGHT. AS IT IS SOMETHING I LOVE AND REALLY APPRECIATE WHEN IT COMES INTO CONSIDERATION WITH FASHION AND STYLING CHOICES, I WANTED TO CONVEY THIS IN REGARDS TO HOW STRONGLY I FEEL IT IS IMPORTANT TO AN OVERALL COMPOSITIONALLY BALANCED IMAGE. HERE FROM THE LEFT HAND SIDE MOVING OVER TO THE RIGHT WE CAN SEE THE PROGRESSION IN THE MAKEUP STARTING FROM A PERFECT COMPLEXION TRANSFERRING INTO A MORE DETERIORATED AND UNDEFINED EXPRESSION CONVEYING EMOTIONS OF SADNESS CONFUSION AND ANGER. AIMING TO FIND A MIDDLE GROUND OF GRUNGE AND ELEGANCE POSSIBLY USING A MODEL WITH DARKER FEATURES AND ONE WITH LIGHTER TO HIGHLIGHT THE DIFFERENT FEATURES WHICH CAN BE SHOWN. BRINGING DARKNESS AND LIGHT TO DIFFERENT AREAS OF THE FACE TO SHOW THIS EMOTION AND CAPTIVATING A BREATHTAKING STILL IMAGE.

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HERE WE CAN SEE MY INITIAL RESEARCH IDEAS. ALEXANDER MCQUEEN 1998 SPRING COLLECTION REALLY INITIATED MY INTEREST IN A DARK AND EMOTIONAL STYLE OF SHOOT. THE CONSISTENCY IN MAKEUP AND HAIR STYLING CHOICES ALONG WITH THE 100 AMAZING STYLES AND TAILORING CHOICES OF ALEXANDER MCQUEEN MAKES THIS COLLECTION ONE OF MY FAVOURITES. THE EMOTIONAL CONNECTION HE CREATED WHEN IT CAME TO STYLING CHOICES IS MEMORABLE AND MAKES HIS LEGACY WHAT IT IS TODAY. ADDITIONALLY TO THIS, THIS RUNWAY SHOWED NOT ONLY EMOTION BUT A DISTINCTIVE STRUCTURAL ELEMENT TO ITS TAILORING AND SILHOUETTES WHICH I WANT TO TRANSLATE INTO A POWER MOVE. A LARGE DRIVE ON EMOTION WILL BE PREVALENT IN THIS FILM AND SHOOT AS A SERIES IN INCREASING DEPTH, STARTING STRUCTURAL SILHOUETTES AND PROGRESSING INTO A FASTER PACED MOVEMENT. THE KEY MOMENTS OF ANDROGYNY, VULGARISM, FEMINISM AND MASCULINITY IN HARMONY.

AS AN OVERALL, THESE POWERFUL IMAGES LEAD TO MY PERSEVERANCE TO CREATE A VISUALLY POWERFUL AND AESTHETIC SERIES OF IMAGES REGARDLESS OF MEANING.I THINK AS A STARTING POINT IMAGES SUCH AS THESE ARE GOING TO POINT ME INTO A GOOD DIRECTION OF WHERE TO DERIVE MY FURTHER INSPIRATION FROM.

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ALEXANDER MCQUEEN 1998 SPRING COLLECTION

LOOKING FOR INSPIRATION AND GUIDANCE AS I CAME TO THE START OF MY PROJECT I STARTED TO LOOK INTO SECONDARY SOURCES. THIS SHOW WAS NAMED THE GOLDEN SHOWER SHOW, WHERE WE SAW A PROGRESSIVE MATTER OF ANDROGYNY AND DARKNESS ALL CAPTURED IN THESE BREATH TAKING IMAGES. HERE I HAVE SELECTED LOOK 79, 80 AND 100 THE FINAL MODEL OF THE SHOW AS MY FAVOURITE IMAGES. FEATURING MODELS SUCH AS GISELE BÜNDCHEN AND KATE MOSS. THE WHITE GOWNS AND SLIPS WERE SPRAYED AND TURNED SHEER WITH THE 'GOLDEN' RAIN LEADING TO THE KINK UNDERTONES. AMONGST WITH TAILORING AND DRAMATIC SCENES THIS SHOW HAD A CONTINUATION OF HARD WEAR, ACCESSORIES AND NUDITY WHICH I FOUND WORKED IN A GREAT HARMONY OF SHOWING STRENGTH BUT ALSO VULNERABILITY. A THEME WHICH LINKS TO THE IDEOLOGY OF THE SUIT WELL.

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ROBERT WUN SPRING 2024 HAUTE COUTURE

HI WELCOME TO STYLEDBYEVE. HERE WE ARE GOING TO WALK THROUGH THE PROCESS OF MY UPCOMING STYLING PROJECT. INITIALLY OVER THE NEXT FEW POSTS WE LOOK INTO MY INSPIRATION AND MY DECISION TO SHOOT WITH SUITS. INITIALLY BLAZERS AND SUITS STARTED OFF AS A MALE WARDROBE ITEM. HOWEVER, AS TIME HAS SHIFTED SO HAS STYLE. WE HAVE BLURRED THE LINES BETWEEN THIS MALE STIGMATISED WARDROBE STAPLE AND WITH FEMALE INFLUENCE HAVE ALLOWED IT TO BECOME A TIMLE-LESS MODULAR PIECE OF OUR EVERYDAY WARDROBE. SPEAKING FOR ALL WOMEN INCLUDING MYSELF, A BLAZER AS A SINGULAR ITEM HAS NOW BECOME A SYMBOL OF POWER AND HAS BEEN RECLAIMED AS UNISEX. EVIDENTLY, I THINK IT IS COMMON TO SEE THIS AS A SIGNIFICANT GARMENT CHOICE WHICH CAN BE SHOWCASED BEAUTIFULLY AND INTO SOMETHING SPECTACULAR RATHER THAN WORK WEAR. THIS IS A REASON I WANTED TO WORK WITHIN THIS AREA IN MY FINAL PRODUCT AND CREATE A STUNNING AESTHETIC IMAGE.

Robert Wun Spring 2024 Haute Couture