When first given the brief of Pretty
Ugly, there were unlimited variations of non-traditional forms of beauty that I
could choose to study. I created a mind map to discuss these possible
directions, as well as a Pinterest board. I then narrowed my concepts down to:
wrinkles, cellulite, freckles, moles, warts, scars, stretch marks, and other
skin “defects”. I settled with these ideas because they are seen as
abnormalities of the skin; we are taught to hide and feel ashamed of these
things, despite the fact that almost everybody has them. I created a mood board
to portray my ideas. On further reflection, I decided that perhaps there were
too many topics that I wanted to explore; therefore, I narrowed my focus down
to cellulite and stretch marks.
As well as focusing on non-traditional
variations of beauty, I also discussed the idea of the 4 D’s: distort, deform,
disguise and decorate. Discussing these four concepts, allowed me to see how
easily the face can be completely altered; portraying how easily one’s
appearance can be changed so dramatically, this was all in preparation for my
final outcome of a mask which was to be showcased in my fashion film.
Inspiration for the masks would come from the concept of the 4 D’s.
I collated a range of primary imagery,
in relation to the 4 D’s. I first began by using a variety of materials to
physically distort my own face; e.g. wrapping string and cellotape around my
face, pressing my face up against a sheet a plastic etc. I portrayed the
photographs I took of these in the form of a mood board. I also illustrated
some of these images to add to my visual journal; an A5 booklet, containing
images to support my concepts, which I would continually add to throughout the
course of this brief.
I then used a model and with the use of
found objects from around the home photographed her, depicting the 4 D’s, using
my Polaroid camera. I used makeup to create a scar and birthmark for disfigure,
wrapped string round the face and had the model pull the skin on her face for
deform, I used a wig and a mask and then covered the models face with her own
hair for disguise and finally, used drag queen style makeup and also used
makeup to create tribal markings for decorate. I also studied artists who also
use these four ideas; I also took the work of these four artists and
interpreted them by digitally altering photographs that I had taken prior to
this brief.
My primary research also consisted of
taking photographs of cellulite and stretch marks; both on myself and family
members and friends, as well as looking at two books: "The instruments of
torture" by Michael Kerrigan and "Masks. The Art of Expression"
edited by John Mack.
With my primary research in place; I
then began working into the photographs I took of my own distorted face, to
further develop my ideas. I printed off these images and re-arranged the images
to further distort my face. However, I felt as though these images were not
enough to portray the distortion of my face; therefore, I used a photocopier to
create images of my face from an entirely different perspective. I then used
different techniques: repetition, paint, biro, only using sections of the
imagery, etc, to convey my own unique interpretation of these photocopied
images.
My work so far had mostly came from
primary research; therefore, I decided to do some artist research to gain
further inspiration. I firstly looked at Hattie Stewart; an artist who
decorates the covers of already printed magazines, by drawing over them in
markers, in a cartoon/anime style of work. Taking markers and Tipex, I mimicked
her style of work by drawing over the covers of Elle magazine. I also looked at
photo montages during my artist research, although I am unsure of the artist’s
actual name. I did these montages digitally, using eyes, ears, noses, mouths
and other facial features that all belonged to different faces, and collated
them all onto one face. I also added these montages to my visual journal.
I decided to then look an artist who
worked with masks, in order to influence my outcome. I first mimicked the work
of Junior Fritz Jacquet; distorting toilet roll holders into faces, by moulding
their expressions and facial features into shape with water and painting them,
once dry.
The next artist I studied was Paddy
Hartley. The work of Hartley's which I studied, consisted of facial corsets,
influenced by historical reconstructive surgery given to post-war soldiers. I
then used an image of myself to create a 2D facial corset. I also looked at
three artists: Lucy Mcrae, Rosa Verloop and Matt Wisniewski, whose work I felt
would influence my design ideas for the creation of my mask; despite Hartley’s
work being affective; it is not particularly my style and I felt I was
influenced more by the work of the Mcrae and Verloop.
I further developed my visual journal by
editing photographs which I put on my Pinterest boards, relating to my theme
and edited them to make them my own. These images included: wrinkles, freckles,
stretch marks, scars and other body ‘defects’. In preparation for writing my
own magazine article for the college in-house magazine ‘Iconic’; I first began
by analysing ‘AnOther’ magazine. I created a mind map discussing all the key
features of the magazine: layout, advertised brand names, theme, target market,
editor’s name and a variety of other features. This information then allowed me
to understand fully how a magazine was put together, allowing me to make a more
informed decision of the way I wanted my article for the magazine to be put
together.
As the theme for my magazine article was
going to be discussing cellulite and stretch marks; I made the decision to only
use text for my article, as I felt that the images of both these body markings
wouldn’t sit right around the text. I therefore, decided by laying out the text
in a creative way, it would still be aesthetically pleasing, despite the lack
of images. The concept of my article discussed: despite cellulite and stretch
marks being normal markings to have on our bodies, why is it that we feel
ashamed of them and does the media constraint society’s view on these ordinary
attributes. I approached the article in a laid-back, informal manner, almost as
though I was having a conversation with the reader; I feel this allows for a
bond between the reader and the writer, almost as though they are listening to
a friend, rather than a stranger.
For my final outcome of a fashion film
and editorial, I will be including a mask; the mask will be based upon my
chosen theme of cellulite and stretch marks. I began with design development;
this was inspired by both my primary and artist research, in which I designed
several ideas for potential masks. In the end I decided to create my mask out
of liquid latex; the texture of it appears skin like and therefore, I thought
if I put it on unevenly across the models face, it would resemble the uneven
surface that cellulite and stretch marks give the skin.
Before creating my own film, I first
thought it important to study other fashion films; by looking at other films,
not only can I gain inspiration and ideas, but it also allows me to understand
what makes a successful fashion film; “Holi Holy” A Manish Arora film by Bharat
Sikka and “Primal Scream” by Show Studio were the two films which I compared.
With a better understanding of what
makes a successful fashion film, I could then begin to plan my own film.
Firstly, I created a mind map, conveying my ideas; which I then further
developed into a visual story board; this board discussed how the film would be
produced, frame by frame. The primary basis for my film developed the concept
of my magazine article further: the constraints the media and society put on
beauty. Why do people (women in particular) feel pressured to have a certain
appearance within Western society? In our ‘Photoshopped’ world, do we feel that
this unrealistic look that we are surrounded by, is the goal that we should be
working to achieve? I also wanted to show how, despite the fact the model’s
face is covered, the audience is still attracted to her; due to her sexualised
movements and lack of clothing; which poses the question: is beauty really all
that important?
The pace of the film is quick; with each
scene being no more than approximately 2 seconds longs. A/B Machines by Sleigh
Bells is the accompanying music, which mimics the speed of the clips within the
film; at certain points throughout the song, were the beat drops or changes, I
have collaborated a change in direction within the film; for example, the
atmosphere alters from aroused to intimidated. I decided that in order to
collaborate the two base ideas together: the media's constraints and
questioning the importance of the model’s beauty (if her face is covered), I
felt that both these concepts needed to be present at all times. I styled the
model in duct tape (across her breasts), black lacy knickers and the liquid
latex mask; I thought that by using bondage type clothing, this represented
restriction, both in a sexual and metaphorical way. I feel like my fashion film
is a positive representation and equal balance of discussing both my
hypothesises; I believe my film leaves the audience both attracted to the model
but also freaked out by her psychotic behaviour at the same time. It also
allows them to think deeper about the concepts discussed and be able to
question their initial views about the two main ideas which this film conveys.
For my editorial images, I photographed
the model during various stages throughout the filming to capture the same
ideas as the film represents, but portray them through strange yet sexual
poses. I added the black and white optical illusions to the background of these
photographs to represent the media. The unrealistic ideals portrayed on the
covers on magazines are just that: an illusion. These images are deemed to be
the Western ideals of beauty; we are challenging ourselves to achieve these
expectations; when in reality, we are tricked by the deception of Photoshop.
