Project 4- Exercise 1- Fashion Image.

Fashion Photography of 1950s by Norman Parkinson (5)

Barbara Mullen at the Red Fort, British Vogue, November 1956.- Norman Parkinson.

SilhouetteThe way that the outer jacket of the outfit puffs up doesn’t really give any silhouette. I think if the model was standing you would see it better but you can see that the skirt is very slim fitting like a pencil skirt so this may give more of a shape.

VolumeThe volume of the outfit is seen in the size of the jacket. Quite a lot of fabric  has been used and the creases in the top from the shoulders makes it look oversized.

DrapeI would say that the main drape of the fabric is on the jacket and can be seen with the way it falls on the models shoulders. The skirt looks like a long pencil with a split up the front so if it is a two piece it would go well together with the size of the top and the thinness of the skirt.

Movement – The movement aspect for me comes from the creases in the top, which I think is a cape from looking at it again.

Colour –  As this picture is in black and white it is not a very good indication of what colours there are to see, but lets as a guess say it is white. If the tiles are like those Moroccan ones then they will be vivid blues,  greens, reds and whites mixed together and the ladies white outfit will contrast against those colours. It could be pink though? Or powder blue?

Print/PatternThere doesn’t seem to be any pattern but it does look furry like maybe mohair.

What is the context of the garment?

To me it looks like an autumnal suit for going out and about in. The model is wearing very 50’s inspired clothes and the hat is lovely. I can imagine if I managed to find this picture in colour it would be very bright and we would be able to see all of the fabric and the how the background compliments it.


How do you relate to the image?

To me I relate to the hat more as it is a really nice shape and even though this is 1956 it is still quite 40’s in design. I am going to guess that it is bottle green in colour. It is very french in design, classic and extravagant. It gives a look of style and glamour that you can wear where you like, anytime.

Is the model important?

I think her pose is important as it looks religious. Either that or she is too hot in the mohair and this was taken in the summer. I am going off the tiles and the way her face is lit. Summer shade can still be harsh. She looks like she is either at a party, going to one or coming back from one and has had a little rest on the way back. Her whole image here is mysterious and as if you won’t know what she is really up to.



Research Point- Notes on- Mary Katrantzou.

‘Mary Katrantzou launched her label in 2009 but the digital print illusions and colourful trompe l’oeil have given it a look that’s instantly recognisable and utterly unique and has made the young Greek designer the talk of London’ 9th September 2017.

The room on the woman and the woman in the room.

Bright, geometric, printed, eye catching, printed, Aztec, silk, short.




‘Last season, Mary Katrantzou’s tour de force of interior-exterior decoration put “the room on the woman.” So she said. This collection was more about “the woman in the room.” Stated the designer backstage today, “It’s more fluid, more real.” But the “more fluid” her “more real” got, the more you were left in the same jaw-dropped state of irreality that her Spring show had induced. That was mostly because Katrantzou imagined the woman as a connoisseur, surrounded by objects of beauty like Fabergé eggs, Meissen porcelain, cloisonné enamel, and Ming vases. And all of them were reproduced in hyper-vivid prints. The koi in one print were all but swimming before your eyes’ 9th September 2017

The room on the woman aspect of this research point to me means either- the woman and her shape is used more than the clothes. Highlights her figure and the clothes sit well maybe? The environment she is in and who she is, is reflected in her clothes?

The woman in the room to me is all eyes on her, her clothes, the way she moves. Having all of her things around her portrayed in her outfit, her lifestyle?


00030fullscreen 9th September 2017

I like the colours she has used but that is probably all. It is very clashy and I would have years back worn such things but I just think it is a bit messy and I don’t really like it or feel anything for it.

Research Point- Pattern and Print.

Finding examples of pattern and print that are found on the high street or by designers.

There were quite a lot of pattern designers I could think of that were twee and to be honest everywhere, Emma Bridgewater, Cath Kidston etc. So I chose to look at Matthew Williamson. Mainly as I went to TK Maxx and saw a dress of his in there last week.

‘Do you think the 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?’

Matthew Williamson

To me he is known for his big statement pieces and for his butterfly prints. I tried on one of his dresses in Debenhams years ago and yes it was nice, in fact it was beautiful and yes I flounced around and did a sashay but I couldn’t afford it plus there were no sleeves or pockets so it was a distinct no. However his prints and designs are well-known and here are some of his designs.


He keeps his designs true to his style but his new range for 2017 is very Aztec and tribal based. The large geometric print can be transferred onto almost anything. You can see this with this butterfly and peacock feather designs. They can be inverted, colours changed and made smaller to be used on lots of different things. You could have a blue peacock print dress, with a smaller pink peacock print scarf and small gold peacock print bag to hold your peacock print notebook. It is even on wellies!


As his designs branch out from clothes he also has a wallpaper line, which once I found I fell into and wanted all of the paper. £118 a roll.

The Peacock feather pattern as well as the butterflies are quite synonymous with his style but in recent years he has become very floral, still with the vivid prints and patterns.


The butterfly design has been scaled down a bit here and although still recognisable they are put into frames and printed onto the wallpaper. I like it very much but I wouldn’t trust myself sticking it up on the wall.


The note card set has his peacock design but with a leopard print mixed in. The colours, the golds and the opulence is wonderful and one day this will be my notebook.

I think his brand is identifiable as his. People recognise and know his patterns and they can be and have been transferred onto other items, such as wallpaper and notebooks and also furniture. Look at this butterfly settee!


You can see all of the beauty on his website here-

All websites/images and links accessed 7th September 2017.

Research Point -Chanel’s Tweed.

As with most of my internet searches when trying to research the most unoriginal words can give very good results. I typed in Coco Chanel Tweed and this beauty turned up; 5th September 2017.


Karl Lagerfeld- 5th September 2017.

Further research brought me to this link- September 2017

and this- September 2017.

54a789b5dd90c_-_elle-chanel-00-h– Accessed 5th September 2017.

If I had the money I would have many tweed Chanel suits. I would swan about with a spritz of my very precious Coco on and feel like I have arrived. Unless I find one in the charity shop for £5 or under this isn’t going to happen but my duty free Coco saves everything.

Chanel Autumn 2013 ready to wear collection-

This is all new ground for me, I love clothes but I don’t spend hours looking at the latest things or expensive stuff so to look on these websites at all of these things was like a secret tweed world.

 September 2017

It just so cool! The music, the clothes,the fabrics, the settings, I became embroiled in a YouTube void like this where this is a bit of tweed as well;



All websites/images/links/videos accessed 5th September 2017.

Project Four- Research- Enveloping the Body.

Looking at fashion images and the textile qualities the photographer has brought to the fore.

Firstly I looked at Irving Penn.

‘Irving Penn (June 16, 1917 – October 7, 2009)was an American photographer known for his fashion photography, portraits, and still life. Penn’s career included work at Vogue magazine, and independent advertising work for clients including Issey Miyake and Clinique. His work has been exhibited internationally and continues to inform the art of photography.’ September 2017.

irving_penn01 5th September 2017.

Textile qualities;



Drape and movement

irving_penn04 5th September 2017.

Textile qualities;



Drape and movement


Mario Testino

‘Mario Testino OBE (born on 30 October 1954) is a Peruvian fashion and portrait photographer. His work has featured internationally in magazines such as Vogue, V Magazine,Vanity Fair and GQ. He has also created images for brands such as Gucci, Burberry, Versace, Michael Kors, Chanel, Stuart Weitzman, Carolina Herrera, Estée Lauder and Lancôme.’ 5th September 2017.

Mykonos-by-Mario-Testino10-700x906 5th September 2017.

Textile qualities;



Drape and movement

Mykonos-by-Mario-Testino5-700x906 5th September 2017

Textile qualities;



Drape and movement


Sarah Moon


‘Marielle Warin was born in Vernon in 1941. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modelling, adopting Sarah Moon as her new name. She successfully captured the fashionable atmosphere of London after the “swinging sixties”, working closely with Barbara Hulanicki, who had launched the popular clothes store Biba.’– accessed 5th September 2017.

sarah-moon_05 5th September 2017.

Textile qualities;



Drape and movement

sarah_moon_2– accessed 5th September 2017.

Textile qualities.



Drape and movement

Assignment 5 Research-Everyday Textiles.

Looking at everyday textiles when prompted can all of a sudden feel very flat. You look and feel and touch things all the time, whether in your house, out at the shops or in work etc and you admire but never really focus on what said textile/material something is. I started this task by visiting the garden centre where they sell lots of different things all pattern based in the home section.

From the top- Cushion-Fluffy wool- acrylic, felt a bit rough and it wasn’t real wool.

2nd- Blanket- herringbone weave- Very nice heavy fabric and very thick. I think it really was weaved, but probably on a machine.

3rd- Skirt- heavy wool with pattern, the label said it was 82% wool so a good amount considering it was £75.

4th -Skirt-light, stretchy, viscose, elasticated. A bit see through but the many patterns and stitches were nice on the skirt.

I then took a quick trip to Sudley House where they have excellent textile spotting times.

Nets- They looked and felt like lace but I think they were a mix of voile and lace swirls.



Wool rug- It was a bit thread bare from being old and walked on but I liked it very much. Lots of colour and pattern and I am guessing it is wool. I couldn’t get down to find any labels and I thought it might be a bit rude to ask.


Very posh edging on the curtain- Brocade of green and gold.



Curtains- They were very heavy and embroidered with large crest patterns. I am unsure as to what material they are but I reckon cotton.


More nets as they are nice.


Textile samples from Marks and Spencer.
– More about Sudley Houses history.

All websites and links accessed 4th September 2017.

Research Point- Christian Boltanski- Personnes, 2010.

ch-500– accessed 3rd September 2017.







I read this- 3rd September 2017.

The noise of heartbeats permeates the exhibition, why do you think that may be?

I think they are there to get the viewer more involved and to have it be an ‘experience’. As you are walking and seeing bits of others people lives on the floor,you are in that room with a lot of different thoughts about it, and also hearing a heartbeat. It is a very personal and humbling thing to hear as you are walking through the exhibition and it gives the piece a lot of meaning.

To what extent are the textiles transformed into something other than fabric?

The clothes are are a representation of lots of things. They take on a person, a life, a way of life even and put onto the floor for all to see. Struggles, death and living are all things I thought of when looking and reading about the exhibition.

What’s the significance of the installation title – and of the mechanical grabber?

The mechanical grabber according to Boltanski represents the ‘element of chance’. I can see what he means by it but also I see people and their things. The grabber is I suppose a chance item,  like the seaside arcade grabbers where you are desperate to win a teddy but never do.

What associations does this work conjure up in your mind?

I associated the work as being reminiscent of refugee camps, abandoned towns and what people leave behind either in their houses or from leaving somewhere never to return.

The heartbeats teamed with this is reminiscent of death and also life. I would be worried if I went in there and kept hearing it for it to suddenly stop. I think the rhythm of the beats and the clothes are kind of a life rhythm and the things that we do each day compliment it. We don’t know when that will stop.