Tag Archives: Project 4: Enveloping the body

Project 4: Exercise 1 ~ Analysing a fashion image

I was initially unsure of how to approach this exercise so I chose a few different fashion images, printed them out and annotated them in my physical learning log. Doing this helped me to decide which image to analyse in more detail for this exercise. I took some photo’s of the annotated fashion images I’ve stuck in my physical learning log, see below:

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Project 4: Research ~ Mary Katrantzou

Having read the review in Vogue Runway; Mary Katrantzou Fall 2011 by Sarah Mower, I found and listened to Mary Katrantzou’s TedxAthens 2012 Talk; Challenge yourself to define your limits (see video below).

 

Whilst she talks at length about philosophical and practical limits which she fought to against to develop herself and her brand she also touches upon key interests and theme’s within her work. Mary Katrantzou was born in Athens, and initially began her creative journey by studying towards a BA in Architecture at Rhode Island School of Design. She transferred part way through to Central Saint Martins to complete a BA in Textile Design. Following on from this she graduated in MA Fashion from Central Saint Martins being awarded distinction.

Her MA collection featured printed dresses which played with tromp d’oeil  jewellery. It was this collection that really helped her to marry together ides of shape and print in creating strong designs with an element of visual illusion or trickery. There’s an interesting interview with her after the MA show with fashion magazine Dazed – Mary Katrantzou Does Pretty Robots by Alexa Hall.

Dresses from MA Graduation Collection 2008 Mary Katrantzou.

Dresses from MA Graduation Collection 2008 Mary Katrantzou.

Katrantzou taught herself how to use photo-shop to apply digital patterns initially to interiors and subsequently onto female clothing.See’s her practice as a marrying of the theoretical and a practical approach to fashion. It’s clear from her Ted talk that she’s driven to test and push boundaries in print and textiles. With each collection her technical expertise develops and she pushes herself into different avenues, not just pursuing print design but thinking about new shapes and approaches to women’s wear.

Her Fall 2011 RTW collection was a critical success and in another Vogue Review by Tim Blanks talks about the collection being about ‘the woman in the room’ as opposed to ‘the room on the woman’. I think this is referring to the collection having a greater focus on how textiles are used, in terms of shape and drape on the female figure as opposed to the garment simply being another surface (much like any interior surface) on which to place a print. I think the collection marked a significant turning point for Katrantzou away from interior design to women’s wear/fashion design.

Mary katrantzou Fall 2011 RTW Look 6 Photo Yannis Vlamos.

Mary Katrantzou Fall 2011 RTW Look 6 Photo Yannis Vlamos.

 

 

 

 

 

 

 

 

 

Look 22 Mary Katrantzou Fall 2011 RTW Photo by Yannis Vlamos.

Look 22 Mary Katrantzou Fall 2011 RTW Photo by Yannis Vlamos.

 

 

 

 

 

 

 

 

 

It’s clear looking at her collections since 2008 and 2011 Katrantzou is not a one trick pony, her drive to push the boundaries of print and her own understanding of how fashion works on the female form is consistently evident.

Her Spring 2016 RTW & Fall 2016 RTW collections are an example in point;

Look 1 from Spring 2016 RTW Mary Katrantzou Photo Yannis Vlamos.

Look 1 from Spring 2016 RTW Mary Katrantzou Photo Yannis Vlamos.

On the dress opposite embellishment and sequins are used to from pattern rather than digital printing methods. The silhouette and shape of the outfit are much more streamlined, sophisticated.

 

 

 

 

 

 

 

Look 22 Spring 2016 RTW Mary Katrantzou Photo Yannis Vlamos.

Look 22 Spring 2016 RTW Mary Katrantzou Photo Yannis Vlamos.

On the maroon coloured dress opposite texture, colour and shape become the dominant features (and print is unseen). A much heavier weighted material gives the dress a different drape than in previous outfits, showing an understanding of different fabrics.

The texture appears to be created almost by way of quilting or embossing a pattern onto the surface of the fabric. The solid single block of colour on the dress also marks a departure from the bold multi coloured dresses of Katrantzou’s previous collections.

 

 

 

In The Vogue Review of Spring 2016 RTW Mary Katrantzou by Sarah Mower, speaks of Katrantzou’s versatility; “in her intelligent way, senses the danger of being boxed into a trend. In this outing she also showed she can take on the challenge of proving she’s able to design without print, without colour and without embroidery or texture…Compared with the clothes she was making when she came out of CSM, this collection bore almost no relation stylistically.”

 

Look 22 Mary Katrantzou Fall 2016 RTW Photo Kim Weston Arnold.

Look 22 Mary Katrantzou Fall 2016 RTW Photo Kim Weston Arnold.

Print was more of a feature in her Fall RTW 2016 collection. However prints where taken to new levels in combination with other textile techniques. In the dress opposite print is married with embellishment in the form of sequins and new form is considered in the shape of a shirt dress.

The cut away details of the shoulders is also a different consideration of shape or form against the female figure.

 

 

 

 

Look 29 Mary Katrantzou Fall 2016 RTW photo Kim Weston Arnold.

Look 29 Mary Katrantzou Fall 2016 RTW photo Kim Weston Arnold.

In the design left, print and pattern are boldly applied to the surface of a (presumably fake) fur coat. The shift onto the form of the coat represents a step into considering other garment shapes beyond dresses for Katrantzou. It also represent’s her continued experimentation with different kinds of fabrics and textiles in women’s fashion.

The colours of the print are vivid but the shapes are kept simpler, fitting with the simpler outline or silhouette of the coat.

 

 

 

 

Look from Mary Katrantzou Fall 2016 RTW Photo Kim Weston Arnold.

Look from Mary Katrantzou Fall 2016 RTW Photo Kim Weston Arnold.

In the dress opposite the scale of print used is much smaller and subtler fitting with the lightness and drape of the fabric it’s printed on. I think here there’s an example of playing with volume, by using a lighter almost crepe fabric and pleating the skirt sits further away from the body.

It’s also a much more restrained colour palette than in previous garments or collections.

 

 

 

 

 

My final finding from research was an video of a conversation between Mary Katrantzou and Alexander Fury (then fashion editor of The Independent). They discuss her AW 2013 collection, but more revealingly she elaborates on her approach to designing women’s wear. To me it’s clear she’s interested in textiles, the treatment of fabrics, through print or embellishment, or distressing or pattern, and then secondly is interested in shape, how a fabric can be used on the female form.

 

Project 4: Research ~ Pattern and Print

For the purposes of this research point I have been asked to find examples of  any designer/high street brands that are characterised by their use of print and pattern. The two that instantly came to mind were; Cath Kidston and Orla Kiely.

I’ve been asked to consider this question when looking at the brands;

Do you think this (use of print and pattern) is primarily about aesthetic considerations or is it in part an attempt to create an identifiable brand that can then extend to other products such as fashion accessories, household items etc?

Orla Kiely:

When considering how to approach this research project. the first thing I began to do was look for examples of Orla Kiely’s work and how that might provide evidence to answer the question above. It doesn’t take much digging around to find plenty of examples where certain shapes, or forms emerge in patterns across several different formats from; women’s fashion, to candles, to home furnishings and kitchen goods.

I decided to focus on one pattern or form which found different expressions across a variety of goods, textiles and non textiles. I picked the ‘Wallflower pattern’, seen in the photo below:

Orla Kiely Wallflower pattern on scarf.

Orla Kiely Wallflower pattern on scarf.

This ‘Wallflower’ motif is seen across a range of collections, seasons and kinds of products. In the series of photographs below you’ll see examples where Orla Kiely has really adapted and kept the print interesting by playing with different scale motif’s, varying colour and application onto different kinds of surfaces.

My personal favourite application of the ‘Wallflower’ pattern is the application in a orange/red colour on women’s wear for fair-trade fashion pioneer’s People Tree.

 

 

Orla Kiely Textured Vinyl Winter Wallflower Print Bag. Photo from polyvore.com

Orla Kiely Textured Vinyl Winter Wallflower Print Bag. Photo from polyvore.com

The scale of the pattern has been reduced on the bag opposite to create a greater repeat for the pattern.

The introduction of  the yellow/creme colour in the shape of the flower adds a contrast to the navy blue which keeps things feeling fresh and simple at the same time.

 

 

 

 

Orla Kiely Wallflower Pattern on Candle. Photo from PrintPattern Blog.

Orla Kiely Wallflower Pattern on Candle. Photo from PrintPattern Blog.

On the Candle ( see photo on left) colour has been add in a sophisticated on trend slate grey. Kiely has manipulate the scale of the ‘wallflower’ here, making the shape larger emphasises the form of the shape for a bolder appearance. The effect is I think fitting for a candle which you want to add interest to a room without appearing too busy (a small repeated pattern might have that effect).

By highlighting the flower shape in white another form within the whole shape becomes apparent and breaks up the grey overall.

 

 

wallflower pattern on duvet cover photo john lewis

Orla Kiely Wallflower Pattern on Duvet Cover. Photo: John Lewis

For the duvet cover (left), the wallflower pattern has been scaled up again to create a large repeating pattern. The ochre or mustard yellow colour gives a retro graphic quality to the print overall. Here there’s an sense of use of negative space too as the flower head is white and recedes into the white background of the cover. I think the use of the negative space in using white helps stop the print from becoming too busy or making it hard for the eye to settle. In a bedroom a sense of calm or rest is probably a good idea so this simple bold repeated pattern works well.

 

 

wallflower pattern on melamine jug photo by john lewis

Orla Kiely Wallflower Pattern on Melamine Jug Photo by John Lewis.

I think the melamine jug pattern (left) is the most retro looking application of the wallflower motif. The mustard coloured background provides contrast next to the white body or stem of the wallflower. Another two colours are added by the pink flower head, and grey circle. These colours feel justified when applied to a surface or product (melamine) which has a strong association with the 1970’s and all things retro.

 

 

 

Photograph of Wallflower print in use on People Tree Spring-Summer 2015 Collection. Photograph: Christy Archer.

Photograph of Wallflower print in use on People Tree Spring-Summer 2015 Collection. Photograph: Christy Archer.

In my final example of application the wallflower motif is seen in a small, closely repeating pattern on women’s garments (see photo left). I think this works well partly due to the limited colour palette, the use of two shade of red/pink and a contrasting grey circle for the flower head.

 

 

 

 

I wanted to include examples of Orla Kiely’s collaboration with People Tree as I feel this is in part evidence of activities which help build a sense of brand, by bringing greater brand awareness by reaching different groups of people (in this case ethical shoppers). There’s a link to two video’s about her collaboration with People Tree in Spring Summer 2014 & Spring Summer 2015 below:

And for a final measure a couple of images from previous People Tree collections against examples of pattern or print found in Orla Kiely’s book ‘Pattern’:

Orla Kiely 'Alpine Forest print in Ruby for A/W 2016, seen in book 'Pattern by Orla Kiely'. Seen in context in People Tree Spring/Summer 2012 Collection.

Orla Kiely ‘Alpine Forest print in Ruby for A/W 2016, seen in book ‘Pattern by Orla Kiely’. Seen in context in People Tree Spring/Summer 2012 Collection.

 

 

 

 

 

 

 

 

 

 

Teacup Print/Pattern in Book; 'Pattern by Orla Kiely' and in use on People Tree Collection Autumn Winter 2011. Photograph: Christy Archer.

Teacup Print/Pattern in Book; ‘Pattern by Orla Kiely’ and in use on People Tree Collection Autumn Winter 2011. Photograph: Christy Archer.

 

 

 

 

 

 

 

 

 

 

Orla Kiely has had several collaborations with Uniqlo, a collaboration with Clarks to create a shoe range in 2014 and an unusual collaboration with Halfords; Olive and Orange, a range of bikes, tents and outdoors equipment with her signature prints.

Orla Kiely’s willingness to use print and pattern on a broad range of surfaces and in collaborations strikes me as more of a brand approach than an purely aesthetic or artistic venture.

I didn’t think my word alone, or my observations of her collaborations are evidence enough of there being a concerted effort to create an identifiable brand. So I did a little bit more research to find some kind of interview in which Orla Kiely discussed these kinds of considerations. I found a suitable interview on the Drapers Business website. I had to sign up for 12 weeks free access so I’m not sure if this link will be accessible to others but nevertheless its; The Drapers Interview; The World of Orla Kiely by Graeme Moran, 9 Dec 2015.

It’s certainly clear in this interview that not only is Orla Kiely regarded as a brand by those within the industry (she won Drapers Premium Brand of the Year award in 2015) she is also happy to discuss the business as a brand herself. She refers to colour and pattern as ‘the two cornerstones of what we do’. Moran says “unwavering focus on her signature quirky style has enabled the 53-year old designer to build her name from small handbag collection into a flourishing business with global reach”.

On the subject of her collaboration’s Moran says, “while there have been numerous collaborations that have seen her signature patterns appear across a range of products, they’ve always been beneficial to the growth of her brand”. Orla Kiely is quoted as saying, “we’re approached with a lot of projects and we don’t do all of them. I want to work with people that I like and I feel understand us”, which indicates a considered attitude and efforts to maintain a certain style or feel of brand.

I do think it’s important to state now that I don’t think this is a completely contrived effort on Orla Kiely’s part. What I mean by that is she doesn’t design pattern or prints solely with the objective of creating whatever will make the most money or achieve the highest brand recognition. These factors are considered but it seems at the heart of the business is her personal love for and pleasure in creating these things. She says in the aforementioned interview; “I never design anything thinking, ‘this is going to be a winner’. I just do what I like. It’s good when you’re [making] things that you love, or would wear. I want to like it. I want to love it”.

Project 4: Research ~ Channel’s Tweed

According to an article in Ellie magazine; How Coco Chanel Discovered Her Iconic Tweed, by Ruthie Friedlander, March 2014 Chanel first discovered Tweed in the from of Menswear worn by the Duke of Westminster. In 1924 she began creating her now infamous tweet using a Scottish Factory. Today Chanel tweed is made in the House of Lesage in Paris.

I watched a beautiful video about The making of Chanel tweed on the Telegraph Luxury page.  The video makes it clear how innovative and creative Chanel are with their designs, but also how skilled the House of Lesage weavers must be to fulfil the demands set.

We were asked to begin our research by looking at Chanel’s Fall 2013 Ready to Wear Collection. 

Fall 2013 RTW Collection:

Chanel Fall 2013 RTW Tweed with metallic strips photograph by Yannis Vlamos.

Chanel Fall 2013 RTW Tweed with metallic strips photograph by Yannis Vlamos.

In the picture opposite a different kind of tweed or woven fabric is created using black velvet ribbons and silver ribbons and thread. The effect is a much large check detail and a metallic sheen or quality to the piece. It’s also interesting to see a different garment shape created from the fabric in the top or cape that covers the shoulders as well as a skirt with a perhaps more traditional (although shorter) shape.

Overall it has the effect of something ultra modern, even futuristic made using an ancient hand based skill (weaving).

 

 

 

 

Chanel- Bright Pink Tweed in traditional coat and skirt form Fall 2013 RTW photo by Yannis Vlamos.

Chanel- Bright Pink Tweed in traditional coat and skirt form Fall 2013 RTW photo by Yannis Vlamos.

Perhaps a more traditional ensemble in terms of shape and garment choices is seen opposite, tweed has been used to make coats and skirts for a long time due to it’s durability. The twist here is I think the bold bright pink colour and the addition of a cape or hood made from tweed with a leather tie fastening. It makes the tweed feel much more contemporary.

 

 

 

 

 

 

 

Spring 2014 RTW Collection:

The garments and textiles used in their Spring 2014 ready to wear collection had a number of interesting/varied approaches to the construction of tweed. I’ve picked a few of my favourite/stand out examples below.

Chanel - Woven top with cut away Spring 2014 RTW Photo Gianni Pucci.

Chanel – Woven top with cut away Spring 2014 RTW Photo Gianni Pucci.

In the photo a left the raw edges of the top have been left mostly exposed showing the threads of the woven fabric. It gives a much more free almost punk style to the top. It’s a tactile looking garment. Also interesting is the giant slash across the middle of the top, I’m not sure how long lasting this fabric would be as the strength of the tweed is due to unbroken woven strands! They’ve also used thread or ribbon of different widths, colours and textures to create a bold, raw look. The colour hear is also reminiscent of the clashing bright pinks and blacks associated with the punk movement. It’s softened a little by the hint of blue thread running throughout the garment.

 

 

 

Chanel - Woven Plastic neon threads Spring 2014 RTW photo Gianni Pucci.

Chanel – Woven Plastic neon threads Spring 2014 RTW photo Gianni Pucci.

I’m not sure if you can call the textile used to create the arms of the coat (see photo left) tweed, it seems more of an new take on that method. It appears to be a mix of neon plastic  ribbons and fabric ribbons held together by a fabric woven structure underneath? It’s very bold and striking against a more traditionally shaped main body of the coat. Although in the main body of the coat it seems that neon colours have been woven underneath which are just visible in the dots between the woven chevron shapes. I really like the way they’ve taken the idea of a woven fabric to an extreme here, it’s playful.

 

 

 

Chanel- Half woven coat Spring 2014 RTW photo Gianni Pucci.

Chanel- Half woven coat Spring 2014 RTW photo Gianni Pucci.

Another complete re-working of tweed is seen opposite. Here a combination of fabrics meet half way through a sort of suit jacket. Ribbons are woven together, again with the raw edge exposed at the tops and bottoms. The colours are an assortment of pastel tones with some bright pink thrown in which draws the eye to the pattern created by the weaving process. The ribbons have a crochet appearance which is quite organic looking and a contrast against the more smooth looking top half of the jacket.

 

 

 

 

Fall 2016 RTW:

Chanel- Two kinds of tweed fabric in one coat Fall 2016 RTW Photo Marcus Tondo

Chanel- Two kinds of tweed fabric in one coat Fall 2016 RTW Photo Marcus Tondo

The coat left is a really interesting mix of textured fabrics within a red colour scheme. The jacket shape is more formal or traditional but elements have been adapted for a dramatic look. The top half is woven with a mix of different shade of red ribbons and some metallic looking red threads. The bottom half is a tightly woven traditional tweed but in a brilliant red shade. I love how they’ve used the fabric from the top half of the coat again on the pockets for a contrast.

 

 

 

 

 

Chanel - Fall 2016 RTW Tweed and Denim Combination Bag and Jacket Photo by Marcus Tondo.

Chanel – Fall 2016 RTW Tweed and Denim Combination Bag and Jacket Photo by Marcus Tondo.

In my final pic from the fall 2016 collection (left) a surprising combination of denim and tweed. For me this is an unusual mix of fabrics because denim is normally associated with informal or casual wear and tweed slightly more formal or at least professional wear. I think part of what makes this work is the choice of soft pink’s and blues throughout the weave of the tweed. if you look more closely at the garment you can also make out an almost pearl like sheen to some of the tweed, I think they’ve incorporated some metallic or pearl threads to the weave.

 

 

 

 

Fall 2016/17 Haute Couture Collection: 

Chanel’s Fall-Winter 2016/17 Haute Couture collection feels a bit more traditional in terms of it’s colour palette; taupe’s, grey, black, cream, very sophisticated muted colours. Also it seemed like a more traditional use of tightly woven woollen tweeds. The twist or contemporary touches seem to come in the shape of the garments; strong angular shoulders, suits with pants and in the form of embroidery.

Chanel - Layered tweed dress and jacket, with embellishments and sequins. Haute Couture Fall- Winter 2016/17.

Chanel – Layered tweed dress and jacket, with embellishments and sequins. Haute Couture Fall- Winter 2016/17.

An tailored bolero shaped jacket is placed over a layered, almost tiered dress to create a more contemporary shape garment. The embroidery is carefully place, not overwhelming the garment but providing visual points of interest and flow down the garment. It feels a much more subtle arrangement than in previous collections.

 

 

 

 

 

 

 

Chanel - Tweed and embroidery Haute Couture Fall 2016 photo Marcus Tondo

Chanel – Tweed and embroidery Haute Couture Fall 2016 photo Marcus Tondo

The use of tweed here is really subtle, different shades of grey woven into black for a soft effect. The tweed is also interspersed with tiny reflective sequins, as well as the bolder embroidered flowers and forms across the top half of the coat and the arms. I think the use of the embroidery towards the top half emphasises the angular lines of the shoulders and stand up collar.

 

 

 

 

 

Chanel - Tweed and satin suit Haute Couture Fall 2016, photograph by Marcus Tondo.

Chanel – Tweed and satin suit Haute Couture Fall 2016, photograph by Marcus Tondo.

Opposite – a fairly traditionally woven and coloured tweed gets a modern update with satin trimmings on the collar, tops of the pocket and cuffs. It’s an unusual mix but I think it works because it’s on a formal or more traditional jacket setting.

 

 

 

 

 

 

 

Another part of the show I think is noteworthy is the decor or background setting. For the show Karl Largerfield made a point of flying in the atelier’s who worked to create the garments seen in the collection. The premiere’s can be seen working with the fabrics and fitting garments to models in the background of the show. They’ve recreated the workshop space that would normally be part of the atelier too. In an interview with Karl Lagerfield about the show he mentions that nobody see’s the ‘craftsmanship’ or the craftsmen that go into making the garments and that they in turn don’t usually get to see the finished garments on show. I mention this because it seems to be within the trend towards show casing ‘craftsmanship’ within contemporary culture today, Chanel have chosen to really pick up on this and champion it in this collection.

 

Chanel Houte Coture Fall -Winter 2016/17; Background scenes. Photograph by Alessandro Garofalo.

Chanel Haute Couture Fall -Winter 2016/17; Background scenes. Photograph by Alessandro Garofalo.

 

 

 

 

 

 

Chanel Ateliers on show at Haute Couture Fall-Winter 2016/17. Photograph by Alessandro Garofalo.

Chanel Ateliers on show at Haute Couture Fall-Winter 2016/17. Photograph by Alessandro Garofalo.

 

 

 

 

 

 

 

In the Making – of the Fall-Winter 2016/17 Haute Couture CHANEL Collection Video you can see the beautiful meticulous process that went into creating the garments (and a couple of glimpses of the use of tweed).

I will finish my musing with this video of the ‘Story of the Fall-Winter 2016/17 Haute Couture CHANEL show.

 

 

 

Project 4: Research ~ Fashion images and photographers

Irving Penn

Irving Penn, whose photography was said to ‘bridge the gap between commercial photography and fine art’ photographed fashion for the likes of Vogue magazine and many designers, he was well known for his his photographic work for designer Issey Miyake. I read an article about their collaboration; Cross Disciplines: A New Exhibition Celebrates the Collaboration Between Irving Penn and Issey Miyake by Lynn Yaeger for Vogue.

Issey Miyake Dress photograph by Irving Penn

Issey Miyake Dress photograph by Irving Penn

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Issey Miyake Dress; White and Black, New York 1990 photograph by Irving Penn.

Issey Miyake Dress; White and Black, New York 1990 photograph by Irving Penn.

 

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

Dovima, March 1947 photographed for Vogue by Irving Penn.

Dovima, March 1947 photographed for Vogue by Irving Penn.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

1950 Christian Dior Dress, photograph by Irving Penn.

1950 Christian Dior Dress, photograph by Irving Penn.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Richard Avedon

Photographer for Harper’s Bazaar, then Vogue, Avendon was highly regarded as a fashion photographer. His photographs were full of personality and movement, he sought to bring an element of his own character and that of those he photographed into every picture he took.

Veruschka, dress by Bill Blass, New York, January 1967, photograph by Richard Avedon.

Veruschka, dress by Bill Blass, New York, January 1967, photograph by Richard Avedon.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Doe Avedon and Diana Vreeland New York 1946 by Richard Avedon.

Doe Avedon and Diana Vreeland New York 1946 by Richard Avedon.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Theo Graham evening dress by Dior Le Pre Catalan Paris August 1949, photograph by Richard Avedon.

Theo Graham evening dress by Dior Le Pre Catalan Paris August 1949, photograph by Richard Avedon.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Linda Evangelista Versace Advertising campaign New York Nov 9 1992 by Richard Avedon.

Linda Evangelista for Versace Advertising campaign New York Nov 9 1992 by Richard Avedon.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

 

Mario Testino

Testino is well known for his fashion and commercial photography. A current favourite with Vogue, having photographed celebrities and models for the US, UK and Paris editions of the magazine. His commercial clients include; Dolce and Gabanna, Burberry, Versace and more.

 

Taylor Swift Photographed for Vogue November 2014 by Mario Testino.

Taylor Swift Photographed for Vogue November 2014 by Mario Testino.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Taylor swift photographed for Vanity Fair 2015 photograph by Mario Testino.

Taylor swift photographed for Vanity Fair 2015 photograph by Mario Testino.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

 

Kiera Knightly in Chanel Haute Couture Dress photographed for Vogue Us Oct 2012 by Mario Testino.

Kiera Knightly in Chanel Haute Couture Dress photographed for Vogue Us Oct 2012 by Mario Testino.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

 

 

Mario Testino photograph for British Vogue.

Mario Testino photograph for British Vogue.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

British Vogue June 2016 photograph by Mario Testino

British Vogue June 2016 photograph by Mario Testino

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern

 

Bruce Willis photograph by Mario Testino.

Bruce Willis photograph by Mario Testino.

Textile qualities brought to the fore:

Silhouette

Volume

Drape and movement

Colour and or/Pattern