- Understand the meaning
- get the concept through to the audience concisely
- what is it responding to, trying to solve, improve or communicating?
1 sentence that covers 3 things - what, why, how?
what is the core idea?
how does it work?
why does it work?
Monday 30 April 2018
Sunday 29 April 2018
OUGD603: Pitching for LRFS
John Lewis
In order to get clothes for the show, we needed to convince designers, boutiques and even high street stores to lend us their pieces for the runway. After making a personal connection to the John Lewis Personal Styling department through Instagram, I made contact and asked for a meeting.
In preparation for pitching to big brands such as John Lewis, I made a presentation and practiced with one of the directors Jonathon so we knew exactly what we were saying in there. Working in sales has also helped me as it is just selling yourself (or LRFS) to the client - in all the meeting went extremely well with them posting about us on their Instagram.
Everything was going so smoothly - we picked out the clothes I wanted for the show (aprox 50 pieces!) and Jess and Victoria were really keen to get involved, until one very unpleasant phonemail from the head of PR for John Lewis Leeds. She said that she had not been informed about their participation with LRFS and that they had to withdraw as they did not see how LRFS aligned with the John Lewis brand. I, not taking no for an answer, requested a meeting with them as it was extremely unprofessional to pull out of a show ONE WEEK BEFORE, after it had been in discussions for over 2 months, and even ruder to do that over the phone. In the time between the phone call and my meeting with John Lewis 'pr & higher management', I knocked up another, sleeker, presentation, focusing on the scenes concept but without the 'arty' 'abstract' references, as I felt that this is what would be offputting to them after researching the company. John Lewis is very traditional, classic and elegant, therefore those aspects of each scene needed to be brought to the front to position LRFS/Time.less with their brand image. This was successful in part, as was discussing the other brands such as M&S who were getting involved, however the final clincher to make sure they were still on board was implying that their withdrawal now would be taken as a sign that they do not support mental health charities. They quickly changed their mind and lent us more than we needed for the show :)
<embed presentation>
Harvey Nichols
In order to get bigger brands and actual fashion featured in the show, I contacted an old employee of Azendi who roumer-had-it was the new assistant manager of a concession within Harveys - Louise then managed to point me in the direction of Clare Johns who is the store manager for H.N Leeds. After a few no replies from Clare, I took to LinkedIn and messaged the Leeds PR Manager with my proposal for their brands within the show, as well as asking for a meeting. This was successful! The next day I had a long phone call with Carlson discussing the show, its current contributors and how they could get involved.
<screenshots>
<embed presentation>
Marks & Spencers Archives
In order to get clothes for the show, we needed to convince designers, boutiques and even high street stores to lend us their pieces for the runway. After making a personal connection to the John Lewis Personal Styling department through Instagram, I made contact and asked for a meeting.
In preparation for pitching to big brands such as John Lewis, I made a presentation and practiced with one of the directors Jonathon so we knew exactly what we were saying in there. Working in sales has also helped me as it is just selling yourself (or LRFS) to the client - in all the meeting went extremely well with them posting about us on their Instagram.
Everything was going so smoothly - we picked out the clothes I wanted for the show (aprox 50 pieces!) and Jess and Victoria were really keen to get involved, until one very unpleasant phonemail from the head of PR for John Lewis Leeds. She said that she had not been informed about their participation with LRFS and that they had to withdraw as they did not see how LRFS aligned with the John Lewis brand. I, not taking no for an answer, requested a meeting with them as it was extremely unprofessional to pull out of a show ONE WEEK BEFORE, after it had been in discussions for over 2 months, and even ruder to do that over the phone. In the time between the phone call and my meeting with John Lewis 'pr & higher management', I knocked up another, sleeker, presentation, focusing on the scenes concept but without the 'arty' 'abstract' references, as I felt that this is what would be offputting to them after researching the company. John Lewis is very traditional, classic and elegant, therefore those aspects of each scene needed to be brought to the front to position LRFS/Time.less with their brand image. This was successful in part, as was discussing the other brands such as M&S who were getting involved, however the final clincher to make sure they were still on board was implying that their withdrawal now would be taken as a sign that they do not support mental health charities. They quickly changed their mind and lent us more than we needed for the show :)
<embed presentation>
Harvey Nichols
In order to get bigger brands and actual fashion featured in the show, I contacted an old employee of Azendi who roumer-had-it was the new assistant manager of a concession within Harveys - Louise then managed to point me in the direction of Clare Johns who is the store manager for H.N Leeds. After a few no replies from Clare, I took to LinkedIn and messaged the Leeds PR Manager with my proposal for their brands within the show, as well as asking for a meeting. This was successful! The next day I had a long phone call with Carlson discussing the show, its current contributors and how they could get involved.
<screenshots>
<embed presentation>
Marks & Spencers Archives
OUGD602: Boss Creatives
Boss Creatives is a subsection to Boss Model Management, a Manchester based model agency who has started collecting and developing creative talent. The creatives on the Boss book's includes Photographers, Stylists, Models, Set Designers & linked magazines. Having the ability to be freelance but part of an agency means getting access to more work and meeting more people within the fashion industry, and potentially charging higher day rates due to the credibility agency backing can give a freelancer.
I think I'd personally thrive in an agency or like collaborative environment, as this is where I am the most driven and can utilise the majority of my skills. I enjoy meeting and working with new people, which is another byproduct of agency life.
Current Stylists on Boss Creative Management
After having a flick through some of the different stylists portfolio's, it is clear that Boss take people on based on their style and individual take on both editorial and commercial styling. My work is slightly different to all of these, however it is the most similar to Kyle Lawson - the stylist currently working with Harrison France.
In an effort to get on the books, I tracked down the email of the person who handles recruiting new creatives via LinkedIn and sent over this, alongside my portfolio. Other ideas were posting them one of my look books, however as I am in the process of making something with higher production value so don't want to give an unfinished version over just yet.
<email screenshot>
I also followed this email up with a phone call 2 days later and spoke to someone called Craig, who I'm planning to take out for coffee once deadlines are over.
I think being signed to an agency such as Boss will open so many doors for me as a stylist, not just financially but also the quality of items I can pick, brands and clients may have more faith in me and I'll have the opportunity to meet and connect with people I may not otherwise be able to which is why Boss (or like agency) is the next step in my career plans, hopefully alongside interning at magazines.
I think I'd personally thrive in an agency or like collaborative environment, as this is where I am the most driven and can utilise the majority of my skills. I enjoy meeting and working with new people, which is another byproduct of agency life.
Current Stylists on Boss Creative Management
After having a flick through some of the different stylists portfolio's, it is clear that Boss take people on based on their style and individual take on both editorial and commercial styling. My work is slightly different to all of these, however it is the most similar to Kyle Lawson - the stylist currently working with Harrison France.
In an effort to get on the books, I tracked down the email of the person who handles recruiting new creatives via LinkedIn and sent over this, alongside my portfolio. Other ideas were posting them one of my look books, however as I am in the process of making something with higher production value so don't want to give an unfinished version over just yet.
<email screenshot>
I also followed this email up with a phone call 2 days later and spoke to someone called Craig, who I'm planning to take out for coffee once deadlines are over.
I think being signed to an agency such as Boss will open so many doors for me as a stylist, not just financially but also the quality of items I can pick, brands and clients may have more faith in me and I'll have the opportunity to meet and connect with people I may not otherwise be able to which is why Boss (or like agency) is the next step in my career plans, hopefully alongside interning at magazines.
Wednesday 25 April 2018
OUGD602: INTERNSHIPS - Wonderland Magazine
I have been applying for internships regularly through various websites, as well as emailing magazines that I like the work of (particularly New York based) in the hope to get something after graduating. The potential to intern with Angie Smith could be a great route into styling, or they could just use me for more mundane jobs where I don't end up learning anything.
I read Wonderland regularly and I love their content and the people they collaborate with - in terms of fashion editorial, the designer potential is limitless (so that is one step closer towards my goal). Furthermore, I'm much more interested in the editorial and runway aspect of fashion more so than celebrity dressing. It would be interesting to see if the styling process for editorial is the same as I'm familiar with - chasing couriers etc.
I tried to find her name when making the application - I searched Linked in etc however there were multiple people who it could have gone to, so I played it safe. Dear Sir/Madam..
Since getting the internship I have helped out on shoots, but mainly acted as a free courier for the team of stylists. I've learnt I don’t want to work with people like that, but I want to see if more people in fashion are like that - as the ones I’ve met have been quite friendly. I do wish I was in the North when I’m in London, so perhaps working for a Manchester based magazine, where I get to go on shoots (and hopefully have more control) would be a good option for me if I don’t make Wonderland work best for me quickly. As I’m still in contact with them (even in the interns group chat - ‘The New Emily’) they often send out messages requesting assistants for shoots on specific days, often with Celeb’s, I’m helping out at one with Lucky Blue Smith
I read Wonderland regularly and I love their content and the people they collaborate with - in terms of fashion editorial, the designer potential is limitless (so that is one step closer towards my goal). Furthermore, I'm much more interested in the editorial and runway aspect of fashion more so than celebrity dressing. It would be interesting to see if the styling process for editorial is the same as I'm familiar with - chasing couriers etc.
I tried to find her name when making the application - I searched Linked in etc however there were multiple people who it could have gone to, so I played it safe. Dear Sir/Madam..
<pic>
OUGD602: Rosie Verney Styling Collab
Rosie is a L5 Fashion Photography student who contacted me via Instagram asking to collaborate- she was fairly blunt in her approach (it looks like a copied and pasted message) so I was pretty unsure about doing it at first. However, with my main extended practice magazine dwindilling in content I thought a quick extra shoot couldn't hurt, and if the images turn out good then another potential addition to my portfolio. Her Instagram images are pretty good, and the concept of the shoot is super easy for me to pull clothes for as it is workwear - something I am a huge fan of and have experience working in this area..I literally already have the clothes.
I plan to also get some of my own shots on the day to make use of the studio space - she said the shoot will only go on to 6:30, meaning hopefully the remaining 2.5 hours of that slot is up for grabs - I have plenty of looks at home that I want to shoot, so this is the perfect opportunity for me to get as much content (wether for adverts or portrait/makeup series) as possible for the magazine.
The shoot day itself was actually really enjoyable, Rosie was lovely and I learnt more about studio lighting by helping assist her setting up on the day.
I learnt how to think on my feet more and lead others, as well as articulate my styling concepts and I felt brave enough to say no, that doesn't look right, let's do it like this, which is a really positive step
Images - on the day they looked really good when they were coming up on the computer, but then she sent me over these... . Over edited, awful vignettes and bad colouring on the model Lenny's face. I asked Rosie if she could send me the unedited selects or even just a contact sheet and she said no. I understand that photographers are very precious about their work so it is hard to always achieve the desired result. Collaborating with peoples work you like is essential - so I've learnt not to do things like this again.
I plan to also get some of my own shots on the day to make use of the studio space - she said the shoot will only go on to 6:30, meaning hopefully the remaining 2.5 hours of that slot is up for grabs - I have plenty of looks at home that I want to shoot, so this is the perfect opportunity for me to get as much content (wether for adverts or portrait/makeup series) as possible for the magazine.
The shoot day itself was actually really enjoyable, Rosie was lovely and I learnt more about studio lighting by helping assist her setting up on the day.
I learnt how to think on my feet more and lead others, as well as articulate my styling concepts and I felt brave enough to say no, that doesn't look right, let's do it like this, which is a really positive step
Images - on the day they looked really good when they were coming up on the computer, but then she sent me over these... . Over edited, awful vignettes and bad colouring on the model Lenny's face. I asked Rosie if she could send me the unedited selects or even just a contact sheet and she said no. I understand that photographers are very precious about their work so it is hard to always achieve the desired result. Collaborating with peoples work you like is essential - so I've learnt not to do things like this again.
 |
| Best of the bunch - add typography. Rate this look. |
Saturday 21 April 2018
OUGD602: Stay Boutique - Paid Commission
After doing lots of work for free, the Blue Rinse shoot lead me to get contacted by their photographer, asking me to style an upcoming shoot for Stay Boutique magazine.
https://issuu.com/stayboutique/docs/blla_stay_boutique_magazine_digital
The publication is only very small, however it is linked to a clothing company and social media warrior which has the possibility of helping get my name out there.
Considering my rates has been hard; Through Start up Wednesdays and the Life After Uni program I attended last summer I have calculated my rate needs to be £160 for a day rate, however as this is my first proper paid job I doubt I'm going to get that much. I am willing to do it for basically any money, as long as it does not make me out of pocket and my expenses are definitely covered as well.
The style of the shoot is not yet confirmed, however the client is keen to do studio work alongside 'anything fitting to the brand'. Brainstorming with the photographers over Instagram led us to consider hotels around Leeds and possibly heading down to Sketch in London.
Ultimately, the magazine is in conjunction with Ariela's hotel empire, which focuses on luxury lifestyle and international living, meaning the publication would be distributed worldwide through these channels. As the audience of the magazine will not necessarily be the same as a fashion editorial would be, I may need to play up the femininity within my styling more so than previous jobs, drawing additional inspiration from the styles of dress she clearly likes on Instagram.
As my eyes are tentatively looking at Boss Creatives, I will use this opportunity to develop a mature and professional body of images which differ from their current stylist's repertoire with the intention to establish me as 'slightly different' from the talent they are currently representing. After speaking to a few model agency reps, they value diversity and having a wide spectrum of people under them, so fitting into an untapped niche could work to secure a place with them.
https://issuu.com/stayboutique/docs/blla_stay_boutique_magazine_digital
 |
| Ariela's Page (the client) |
 |
| The Company Page |
Ultimately, the magazine is in conjunction with Ariela's hotel empire, which focuses on luxury lifestyle and international living, meaning the publication would be distributed worldwide through these channels. As the audience of the magazine will not necessarily be the same as a fashion editorial would be, I may need to play up the femininity within my styling more so than previous jobs, drawing additional inspiration from the styles of dress she clearly likes on Instagram.
As my eyes are tentatively looking at Boss Creatives, I will use this opportunity to develop a mature and professional body of images which differ from their current stylist's repertoire with the intention to establish me as 'slightly different' from the talent they are currently representing. After speaking to a few model agency reps, they value diversity and having a wide spectrum of people under them, so fitting into an untapped niche could work to secure a place with them.
 |
| Styling Inspo - Virgil Abloh, Off-White / Vetements / @fengfan / Ader Error / Balenziaga Fall 18' / Lowe Fall 18' / Heron Preston / Supreme x LV Collab / Calvin Klein 2015W39NYC / Kate Moss in the 90's when she was dating Johnny Depp. |
Thursday 19 April 2018
OUGD603: Dealing with clients
Okay so I've been doing he branding for Unentitled; for some reason they decided to set me internal deadlines but not tell me about them.. also set work without me knowing. How am I suppose to design a book cover with no knowledge of what the book is about or even the aspect ratio? What...?
Its been tricky
- Learnt how to negotiate
- Learnt to lay out terms first
Its been tricky
- Learnt how to negotiate
- Learnt to lay out terms first
Wednesday 18 April 2018
OUGD603: Leeds International Festival Events
FASHION EAST
As part of Leeds International Festival, Leeds BID are running a series of fashion/culture/lifestyle events all across the city. Fashion East are a highly respected platform to propel fashion design graduates into the designer-sphere. I made lots of contacts through LRFS by being proactive on Fashion East, but the reply rate to my messages was still very low. I'd love to get to know more of the designers on the platform, become friends and utilise their pieces within my styling repertoire - having an ever growing list of designer connections is a top tip from Sara Gore Reeves, fashion editor of Harpers Bazaar USA.
SADIE WILLIAMS
Sadie Williams is an influential British Fashion Designer who has made the Forbes TOP 30 UNDER 30 LIST - twice. Naturally the event will be busy and I doubt i'll get chance to speak to Sadie, but that is my intention of this event! I want to ask her some questions about making your mark within fashion, and ask her her top tips on how to grow your empire and yourself.
OUGD603: LRFS - THE SHOW
On the day of the show, we only had access to the Refectory and VIP area from 4pm, meaning we had 2 hours to decorate the venue. I was running backstage, making sure all models were looking the way they should, prepping clothes, overseeing hair and makeup development. The VIP team and other members of committee organised a lovely VIP area, consisting of a jazz band, cocktail bar and private waiting area twinkling in fairy lights and giant 3D Letters welcoming guests to LRFS.
Organising the lights and VIP staff was a nightmare but the day ran fairly smooth all in all. Working in this kind of fast paced stressful situation was good practice for in the real world and taught me how to think on my feet fast.
OUGD603: INTERNSHIPS - Interview Prep
Learning from experience, preparation for an interview is essential to success. I have crafted my own 4 golden rules to live by for interview's and professional encounters.
Inspiration also provided by 'Good Fucking Design Advice' by Brian Buirge & Jason Batcher. I first saw this in September 2017, and it definitely gave me the burst of motivation I needed this upcoming year.
1) DO YOUR FUCKING RESEARCH
- Research into the company, the individual, the person you're meeting > their past work you like (or don't like), what are their goals? how did they start?
2) BE FUCKING PREPARED
- Beautifully printed portfolio and CV > bad quality reflects poorly on me as an individual.
- Even if they don't ask for a folio, take a small one anyway to seem super on it
- Update CV/Portfolio per person or company you meet (always make it relevant!)
- Have your elevator pitch ready, but don't sound sales! You need to convince them YOU are what they have been looking for - but don't seem desperate about it.
3) ARRIVE EARLY
- No-one likes a sweaty betty
- Links into point 2, learning from experience if you arrive late or are fussing to get there then things will probably go wrong, you could even leave your portfolio in the uber...
- It is just more professional to be sat, having a coffee, minding your own business, chilled, with a book or reading an online 'Business of Fashion' article (or whatever is relevant to their discipline) when they arrive.
4) CHECK YOUR FUCKING LIPSTICK/TAKE A COMPACT
- No fashion professional wants to sit opposite you with a big chunk of red on your tooth. This does not give the illusion that you have your shit together or that you fit into the fashion world.
Alternatively to always remember my father's advice- The '7 P's. Piss poor preparation, proceeds, piss poor performance.
Inspiration also provided by 'Good Fucking Design Advice' by Brian Buirge & Jason Batcher. I first saw this in September 2017, and it definitely gave me the burst of motivation I needed this upcoming year.
1) DO YOUR FUCKING RESEARCH
- Research into the company, the individual, the person you're meeting > their past work you like (or don't like), what are their goals? how did they start?
2) BE FUCKING PREPARED
- Beautifully printed portfolio and CV > bad quality reflects poorly on me as an individual.
- Even if they don't ask for a folio, take a small one anyway to seem super on it
- Update CV/Portfolio per person or company you meet (always make it relevant!)
- Have your elevator pitch ready, but don't sound sales! You need to convince them YOU are what they have been looking for - but don't seem desperate about it.
3) ARRIVE EARLY
- No-one likes a sweaty betty
- Links into point 2, learning from experience if you arrive late or are fussing to get there then things will probably go wrong, you could even leave your portfolio in the uber...
- It is just more professional to be sat, having a coffee, minding your own business, chilled, with a book or reading an online 'Business of Fashion' article (or whatever is relevant to their discipline) when they arrive.
4) CHECK YOUR FUCKING LIPSTICK/TAKE A COMPACT
- No fashion professional wants to sit opposite you with a big chunk of red on your tooth. This does not give the illusion that you have your shit together or that you fit into the fashion world.
Alternatively to always remember my father's advice- The '7 P's. Piss poor preparation, proceeds, piss poor performance.
OUGD602: LRFS Features
The Gryphon (1)
Sadly (and ironically) around the time of print, I was way to busy to swing by Uni of Leeds to get a copy because of my role within LRFS. So all that I have of this article are these screenshots from the LRFS Instagram. Despite being just a small student ran organisation, us at LRFS had no idea we would be front and cover, so it was quite flattering to see our work out there in a wider sense before the promo video's had even been released. This was the first peak of Time.less to the world and the feedback was ultimately positive.
Additional Gryphon Articles:
http://www.thegryphon.co.uk/2017/11/24/leeds-rag-fashion-show-returns-for-its-10th-year-set-to-tackle-mental-health/
Yorkshire Evening Post - https://www.yorkshireeveningpost.co.uk/city-buzz/featured/leeds-rag-fashion-show-tells-tale-old-time/
The Yorkshire Post - https://www.yorkshirepost.co.uk/lifestyle/fashion/leeds-rag-fashion-show-a-time-less-display-of-creativity-and-energy-1-9027316
Her Campus (Student ran) - https://www.hercampus.com/school/leeds/her-campus-x-lrfs-timeless-show
One thing which has really started to bug me throughout the whole LRFS / Styling process, is for people, the press especially, not to credit the team involved. This has happened frequently over Instagram in Her Campus and also in the Student High Street articles. As a young creative wanting to get her name out there, being credited for my work is SO important, so naturally before doing shoot etc I pre-agree terms with the models/MUA's and photographers for full credits all around, for everyone not just myself.
Student High Street - https://studenthighstreet.com/articles/leeds-rag-fashion-show-far-more-than-just-models
Despite not being credited I am happy LRFS got a student high street feature, as they are such a growing platform taken seriously by the student population. Sponsorship also managed to bag SHS as a silver sponsor, where my stylists team and I facilitated a pop up shop for them in Leeds Union... but they still didn't credit me :)
The Tab is another hugely notarised student newspaper, breaching to universities all over the country and ran by a huge collective student body. The Leeds TAB is constantly getting shared all over Facebook, and despite the lack of quality journalism, a great way to keep in-the-know with student related city living aspects.
The Gryphon (2) - http://www.thegryphon.co.uk/2018/02/22/re-living-lrfs-time-less-performance/
Post show review, crediting me as head stylist (finally)
Fashion in Leeds - http://www.fashioninleeds.com/event/leeds-rag-fashion-show/
Tuesday 17 April 2018
OUGD602: LRFS - Promo Shoots (War.)
WAR.
Shot shortly after Birth, War focuses on the conflict. For this, Nick (LRFS Director) & I created this narrative of love, hate and passion between two seemingly normal individuals. War as a scene represents the internal war we have with ourselves and within relationships, so by showing the pair arguing, then coming back together was a way of visualising this. We introduced a double narrative by making the characters switch roles within the editing, first showing Morris as the antagonist and then flipping to Lin- and vice versa.
Initially we planned to film at Beaverworks, an abandoned warehouse turned club in Leeds, however after the success of using the Tetley for the Birth shoot, we wanted to develop the relationship with them and chose to shoot in the left-wing room yet again. The benefit of using that space was also it was F.O.C, whereas Beaverworks would have been £80 for the day- yet it was a slightly bigger and edgier venue.
Inspo Videos
Story Board:
For ease of the committee and external videographers, we composed all admin, call sheets and storyboards in the same pdf document. This was the best format as the A4 portrait adapted well to peoples phones for access on the go and on set. It also meant it was easy to print and didn't consume too much time to create.
From an organisational point of view, I also felt that the set up and preparation was perfect. Learning from previous shoots, fabrics can often get creased in transit or throughout the day of shooting and wear. Having an ironing board/lint rollers became really useful, as did a table and clothing rail which became key items I'd source and pack for shoots in the future.
Shot shortly after Birth, War focuses on the conflict. For this, Nick (LRFS Director) & I created this narrative of love, hate and passion between two seemingly normal individuals. War as a scene represents the internal war we have with ourselves and within relationships, so by showing the pair arguing, then coming back together was a way of visualising this. We introduced a double narrative by making the characters switch roles within the editing, first showing Morris as the antagonist and then flipping to Lin- and vice versa.
Initially we planned to film at Beaverworks, an abandoned warehouse turned club in Leeds, however after the success of using the Tetley for the Birth shoot, we wanted to develop the relationship with them and chose to shoot in the left-wing room yet again. The benefit of using that space was also it was F.O.C, whereas Beaverworks would have been £80 for the day- yet it was a slightly bigger and edgier venue.
Inspo Videos
Joyner Lucas - I'm not a racist - https://www.youtube.com/watch?v=43gm3CJePn0
Sia - Elastic Heart - https://www.youtube.com/watch?v=KWZGAExj-es
American Psycho
Kendrick Lamar - DNA & Loyalty - https://www.youtube.com/watch?v=NLZRYQMLDW4
Southpaw - https://www.youtube.com/watch?v=ua2fWPG9nJE
Moonlight - https://www.youtube.com/watch?v=9NJj12tJzqc
Miguel - Going to hell - https://www.youtube.com/watch?v=zWUzCfuAyzU
After going through countless songs, we settled Nicholas Britell - The Middle of The World & the Spot, due to the dramatic narrative and emotive progressions depicted through the classical music and variable undertones.
Story Board:
For ease of the committee and external videographers, we composed all admin, call sheets and storyboards in the same pdf document. This was the best format as the A4 portrait adapted well to peoples phones for access on the go and on set. It also meant it was easy to print and didn't consume too much time to create.
This video concept was primarily handled by Nick, one of the directors, who had a fairly specific way of how he wanted the video to be structured. The use of transitioning between perspectives was an idea generated from discussion, something we found to be a great way to come up with ideas.
From an organisational point of view, I also felt that the set up and preparation was perfect. Learning from previous shoots, fabrics can often get creased in transit or throughout the day of shooting and wear. Having an ironing board/lint rollers became really useful, as did a table and clothing rail which became key items I'd source and pack for shoots in the future.
 |
| Final Promo Image |
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