Showing posts with label final. Show all posts
Showing posts with label final. Show all posts

Monday, 23 February 2015

22/02/15 - CHARACTER PROJ. (Final Shoot)

Rem girl, aged 14 - Caroline Wong
Rem girl, aged 18 - Caroline Wong
Rem girl, aged 22 - Caroline Wong
Rem girl, aged 27 - Caroline Wong
For the shoot, I shot with my usual model (and I should now probably refer to her as my muse) Mori/Lisa. We shot in her flat in Tooting Bec and I styled her outfits to resemble what we remember me wearing when I was younger to what I imagine I'd wear when I'm older. There was an awful great emphasis on the color black in all the outfits but it's now a well known fact to my friends and family that I tend to stick to certain colours (black being one of them).

I enjoy shooting on Polaroids as it gives film photographs and quality instantly without the need to fill an entire roll of 24 or 36 exposures and so it made sense to shoot on polaroid as I also wanted to achieve an outdated but undated look to the photographs. Polaroids have the ability to look old but very modern and so time stamps can never really be applied to the images.

This project has been very enjoyable as I've been able to really look at myself and research into the things I think make me who I am. I've delved into my own personal research, finding out things that I've kept (as I'm a notorious hoarder) and discovering what it is exactly that I enjoy in life as my target audience for Rem would hopefully enjoy the same to some extent. Completing this project has left me very eager to start on the FMP and I await the impending stress and excitement with baited breath.

Wednesday, 26 November 2014

25/11/14 - DECON/RECON PROJ. (Dazed Digital)

Feature on front page of Dazed Digital - Caroline Wong 
Feature on my film in the Arts + Culture section - Caroline Wong

26/11/14 - DECON/RECON PROJ. (Final Film)



An art film exploring the deconstruction of a mind through mental health disorders whilst guiding and retelling a personal journey.
Model: Ina KoFilm: Caroline WongWords: Caroline Wong, Ina Ko
With thanks to: 
Lisa Dunt, Christele Mbosso, Loredana Pozzuto, Phoebe Smith, 
Maymana Arefin, Philippe Barbaroussis, Blanc Kim

26/11/14 - DECON/RECON PROJ. (Final Editorial)

Front Cover - Caroline Wong
Opening editorial page - Caroline Wong

Model: Ina Ko
Photography: Caroline Wong
Garments: Lisa Dunt, Loredana Pozzuto, 
Christele Mbosso, Phoebe Smith
Lighting assistants: Lisa Dunt, Christele Mbosso
Maymana Arefin, Philippe Barbaroussis



Wednesday, 12 November 2014

12/11/14 - INDUSTRY PROJ. (Fashion Film)


Filmography/ Editing: Caroline Wong

Styling: Christele Mbosso, Beau Scarlett-Pitt

Models: Phoebe, Dieter

Tuesday, 11 November 2014

Friday, 7 November 2014

07/11/14 - INDUSTRY PROJ. (teaser campaign)

Teaser campaign - Caroline Wong 
Shooting the teaser campaign proved to be semi-difficult but I was able to reap the rewards when I began post-production editing. As I shot the campaign myself, I had to use a tripod and a self timer as I was also the hand model in the photographs. I waited until the sun was beginning to set as I found that the photos I'd taken earlier in the day without flash were a bit lack lustre. When I tried photographing with flash, the resulting photos were a lot more interesting and felt like a new Jil Sander. There is a rawness to the images that wasn't seen in the photographs taken earlier in the day.


Were I to recreate the shoot again, I would have experimented with different hand models. As the print I used was that of the 'male' face, I thought that using a feminine hand could send a subliminal message that would have to be sought hard to find. I believe it would have been interesting to have been able to create a series of teaser campaign images that featured women holding the male print and men holding the female print because then the underlying concept to the collection may have appeared to be a little more obvious without being overbearing. 

Thursday, 6 November 2014

06/11/14 - INDUSTRY PROJ. (perfume advert)

Jil Sander 79 (7 side) - Caroline Wong
Jil Sander 79 (9 side) - Caroline Wong


Monday, 20 October 2014

STRUCTURAL ATTACHMENT PROJECT FINAL OVERVIEW

This project as a whole has been eventful which is why I've felt the need to sum up all my thoughts in a post starting from the beginning of this project to the end.

My starting point for this project has always been psychological attachment. I am always interested in the human mind and psychology and my A-Levels were in Art, Biology and Psychology. The topic of psychological attachment seemed like the best way to marry my interests. My starting point for the word 'structure' came from everything that is the opposite to the usual connotations it has. Usually, structure makes one think of large robust buildings, heavy metals etc, but I wanted to look at it in a lighter light (pardon the awful pun) and decided I'd focus on fragility and dainty structures.

I first looked into my friendships. The art foundation had been underway for a few weeks and I still didn't have a proper idea in my head. I knew I wanted to do psychological attachment but the spectrum was too wide and I had no idea what I wanted to do within that realm. My friends were all started to slowly move out of London and I had a two week period of tension headaches due to the stress of it all. Personally, I am someone that relies heavily on my friends as they're my support network and when I went to the hospital fearing a brain tumour after a week of violent head pain, I was told it was probably due to my subconscious dread that my friends were moving away. With that knowledge, the headaches only began to subside one week later and my medication was 'Calpol, lots of water and fun times with friends'.

My best friend called me one day that week to ask how I was and it was then that I decided I would look into relationships between people as my field of psychological attachment. Since friends were on my mind so much, it made sense to look into the emotions that come with attachments. For example, babies often cry when their mothers leave the room and this is because they're psychologically attached to them. In the same way, I was feeling low because my friends had all moved away.

The two themes merged into one when I began looking at twins as a step up from friendships. I've known a few pairs of twins and they always seem like the best of friends. They typically live together, have the same friendship group and can even be identical to each other. Furthermore they were born from the same sperm and egg. This idea of birth fit in with my idea of fragile structures and this is when my headpiece designs took off in an alien/embryo/amniotic-sac-esque way. My inclusion of this headpiece in a final piece would incorporate 'structural' accessories into a very 'attachment' focused concept.

Another tangent off of twins was to look at Dr Seuss' characters Thing One and Thing Two. No one knows exactly what kind of creatures they are but they could be friends or twins, who knows? To tie in with my structural concept, I created simple headpieces out of thin wire resulting in a big 'One' and 'Two' for my models to wear. This would capture the essence of Thing One and Two which was derived and inspired by best friends/twins whilst also maintaining a stance on being a dainty structure.

Moving on into applying these concepts, my editorial looked into my original feelings of missing friendships. The emotions felt and portrayed in the photos are supposed to mimic that of an ending friendship (read: psychological attachment) and so the expressions shown by the models aren't happy but more subdued and sad. With the film however, it is the opposite. I wanted to explore the realms of psychological attachments and their implications on our emotions to the full extent and so I looked into how I would portray the happiness that comes with relationships and friendships.

As a whole, I have learnt a great deal through this project about myself, about the industry and about the subject in general. I've learnt how to take an idea, turn it into a concept and finally take it through to realisation. I've learnt how necessary it is to conduct thorough research and I've felt proud being able to use my own knowledge to help others. Watching my project and everyone else's projects bloom from the beginning stages into great final pieces has been the greatest reward for me along with the knowledge and skills I've picked up along the way.

Saturday, 18 October 2014

STRUCTURAL ATTACHMENT FASHION FILM



I have aptly named the final film 'Troublemakers'. It was awfully hard coming up with a name but I think that Troublemakers sums up the concept pretty well. I am probably 90% happy with my film and would add the extra 10% had some of the shots been sturdier through using a tripod. However, I am extremely pleased with the way I edited the film.

The focus on the scarf isn't too pushy which I guess can be seen as both a plus and a minus for an advert campaign. It's not 'in your face' which consumers will like but I can't say how well the film sells the product. The final film is also more tailored to children's wear and I think this is due to the playfulness of the footage so I don't mind. As this was the concept I was looking for, I am glad it turned out this way. I think that if I were to use children in an advert for womenswear, it would definitely have to be serious and demure (like Karen Walker's sunglasses campaign).

The Youtube description is as follows:

'Troublemakers' is a fashion film responding to the title, 'Structural Attachment'. It focuses on the fun side a psychological attachment has by showing the playfulness between two twins. 

Styling/Film: Caroline Wong 
Model: Marlene Ko 
Clothing: unbranded (from Copenhagen), Disney store
Scarf: Stylist's own, handmade
Headpiece: Stylist's own


With the film focusing on psychological 'attachment', the elements of 'structure' are small. In order to incorporate 'structure', my model wore the crown headpiece I'd made for a small section of the film right at the beginning. The headpiece was inspired by fragile structures such as embryos and amniotic sacs and this was my way of incorporating the two words into one film.

Monday, 13 October 2014

STRUCTURAL ATTACHMENT EDITORIAL

Blue Without You - Caroline Wong (October 2014)

These are my images for my editorial. The photos used are both digital and film photos and I used shots of the location we shot at to emphasise the concept and theme of psychological attachment throughout the spread.