Output 1

By Harvey Lenton
 FINDINGS DEVELOPMENT << Keyword 1
The focus groups consisted of fourth year fashion students in their early twenties, of all genders. A common opinion shared
between the participants was how critical they were of their own knowledge, specifically with modern fashion’s origins and
history. When asked whether they thought their fashion knowledge was broad (appendix 1), the whole group answered ‘no’,
with a participant describing their knowledge as “embarrassingly not good, especially for a fashion student” which set the
tone for the creative output. The creative output utilises the early works of anti-fashion and avant-garde designers in order
to make readers aware of fashion history and the development of pastiche in fashion. The wardrobe used took on another
theme from the transcript- a feeling of entrapment in retrophilia that Jameson (1990) and Walsh (1992) highlighted. Focus
group participants looked for vintage clothing or clothing which functioned as fetishised garments of the past; for example
one participant mentioned she bought a top from H&M because it expressed ‘60s vibes’.

There was also lengthy discussion around participants’ fashion inspiration, where
they expressed that their main inspirations at present comes from 1990s catwalk
shows that are publicised through social platforms like Pinterest. This theme of
retrophilia was portrayed through the large majority of the wardrobe selected
originating from the 1980s to 2000s.

The photo elicitation section of the focus group further progressed this idea of
retrophilia within consumers today. This section required participants to pick a photo
of their favourite outfit for it to be analysed to see if it would fall into this theme of
pastiche culture. One participant in particular had an outfit with strong allusions to Raf
Simons’ collections; more specifically his later work from around 2017. The outfits
stand out feature is an oversized turtleneck which is a frequent garment from this era
of Raf Simons. It also featured suit trousers with large boots which also corresponded
to a theme of unusual proportions, also similar to the works of Junya Watanabe-
although this style was more recent, the idea of participants looking into the past for
inspiration can still be acknowledged.

Furthermore, Jameson’s (1990) describes Pastiche culture as work which pays homage or creates a parody of past styles- the
participants were not familiar with the definition. However, once informed, participants could provide examples of pastiche in
fashion by discussing fast fashion brands are notorious for producing ‘dupes’. Participants expressed their opinion that fast
fashion’s affordable alternatives have become audacious, and that past generations would avoid such products. Participants
agreed when products are established as a dupe, that the word has begun to create positive connotations. A dupe’s designs
take direct inspirations from leading brands’ key features with no acknowledgement of the original (Vogue Business 2022).
Participants explained that looking through social media and even searching online results would drive them towards these
affordable alternatives due to price tag and introduction of influencers. This feeling could link back to Baudrillard’s
understanding of simulacra and how these dupes have come to produce their own history and reality. According to Cavallaro
(2001) simulacra have no direct relationship to the original that may have inspired it. This very much can be seen in the findings
through photo elicitation with participants initial reaction of the breakdown of their outfits being that feedback was farfetched,
due to their non-explicit nature.

Related to this theme are some statements made by Rabkin (2021) on how fashion has developed a postmodernist
landscape, with many garments needing to be deciphered to uncover the true influence of an individual piece. Clothing has
manipulated a single truism through a ‘Chinese whispers’ style process- repetitive copying being twisted along the longevity
of the garment’s life span. This was conveyed through the thoughts of the focus groups, with participants stating that fashion
circles back frequently and it can feel like copy and paste. This finding was the foundation for the magazine’s development,
creating its own cases of pastiche to see the first hand reactions. The magazine will derive from Jameson (1990) and Denzin’s
(1993) ideas of pastiche interacting with nostalgia to create blank parodies of original works from the past. This will be seen
in the shoots using past Comme des Garcons campaigns as a reference.
MOOD BOARD << Keyword
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 Locations >>
SHOOT PREP << Keyword
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Photoshoots pivoting between industrial land and
the outdoors in reference to majority of Comme des
Garçons campaigns revolving around the brand’s
ideologies through the iconoclasm and creative
ways to depict fashion.

1. The landscape and water of Lochnagar & Loch

Muick will be used to mimic photos from Comme de
Garçons campaigns from the 80s

2. To create a sense of pastiche using myself as a

subject, the same setting used in the fashion
magazine will be brought in to be seemingly new to
those not knowledgeable

Models & Photographer >>

Also in keeping with the themes of

pastiche culture, photographer Simie
Simpson shall be used. Simie
specialises in film photography adding
a sense of retrophilia to the project.
Shooting in film helps to keep the
clothes/outfits presents the viewer with
an almost period correct viewing. The
photographer will make artistic choices
in which he believes will portray the
references given.

Three models will be used in group

formats as well as singular shots. This
also relates back to previous
campaigns with models being placed in
similar poses.
Wardobe >>
SHOOT PREP << Keyword
4

Above is an example of the main pieces in which will be used for the shoots. The wardrobe consists
of mainly those mentioned in the written portion of this project: garments from Kawakubo’s
Comme des Garcons, Yohji Yamamoto, Martin Margiela and Issey Miyake. The items have been
specifically gathered due to the season/year of production or the significance to the project. All
clothes follow an anti-fashion and avant-garde feel due to the overall theme of the pieces. The
pieces follow this feeling of clothes which were worn by the working class, because of the
silhouette or the wash in which the garment possess. A large majority of the jackets used will be
from the Comme des Garcons Homme line, ranging from 1989-1993. These jackets as well as most
of the pieces shown play into the feeling of entrapment in retrophillia in order to create an ironic
tone. However much of the wardrobe is not excepted from pastiche culture; Comme des Garcons
jackets aredirectly inspired by Japanese work jackets, rolling back to Trebay’s (2002) one true
origin. Finally, following on from the complex argument of the categorising of fashion whether they
are modern or postmodern, the collaboration between Asics and Comme des Garcons has been
used, featuring artwork by Yue Minjuns. Minjuns' artwork is an ideal example of postmodernism as
well as pastiche, with his work revolving around irony and the manipulation of well known classical
European masterpieces.
Styling >>
SHOOT PREP << Keyword
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Styling has stayed true to the avant-garde and

anti-fashion feel of the late 80s and early 90s
emphasising retrophilia. Outfits were curated
to resemble early works of Rei Kawakubo,
creating the ‘Hiroshima-chic’ style through
workwear silhouettes and distressed textures,
SHOOT CONCEPTS << Keyword
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The first shoot concept references the Comme des garcons

spring summer 1987 editioral. Using Loch Muick’s many
waterfront locations a similar photo can be created using two
models. To put emphasis on ‘similar’ these photos will not be
exact recreations of the original but interpretations and
quotations. Through these slight references an ironic undertone
will be created, corresponding to the written piece of the
dissertation talking about how fashion is becoming consumed by
pastiche culture.

This concept is more to do with composition as opposed to purely

the location. Comme des Garcons also uses its media to portray
collaborations between the brand and outside parties. The bottom
right shows the works of Peter Lindberg for the brand in 1987. The
advertisement showcases a very common trait of Comme Des
Garcons campaigns, with models being cut off or placed in the
middle of a 2 page spread. This alignment of models is very much
in line with the brands clothing, with their most recognisable
garments being clothing with harsh splits created by shirts being
cut and sewn back together in a new order.
 SHOOT TIMETABLE
12/02/2022
<< Keyword
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9:00 am: Packing and getting organised

10:00 am: Travel to the location

11:00 am: Arrive at location and begin the

hike to the first shoot

12:00 am: Take first shots

1:00 pm: Hike to second location

2:00 pm: Begin the rest of the outfits using

the surrounding area

4:00 pm: Pack up and head home

 SHOOT EVALUATION
The shoot started off behind schedule with the team leaving an
hour later than planned, as well as the drive to the location being
<< Keyword
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underestimated. Consequently, a stricter plan is needed as well
as more in-depth investigation is needed in order to keep on
track. Weather was the biggest problem of the day, starting the
first hike to the first shoot the team experienced heavy rain and
high winds as well as the temperature being close to zero
degrees. Using weather forecast apps before the shoot was the
only way to gauge the unpredictable nature of weather also due
to the tight deadline as well the team’s availability this was the
only chance to get the shot done. With a lot of perseverance, the
team made it to the first shoot which incorporated an old boat
house at the end of the loch. This location allowed for the team
to dry off and discuss a game plan. Using a picnic blanket to
preserve the clothes. After initial problems, the first shoot went
fairly smoothly, choosing a time when the weather had calmed
down.

The walk from each shoot location was approximately an hour.

For the duration of the walk from locations the inclement
weather had picked up again. Due the houses’ location planted
in a small enclave of trees it was sheltered. Using the houses’
resources such as the bothy allowed the team to dry off clothes
as well as use it as a studio- this meant models could change in
the warmth away from the cold.

Shoot 2 took place using the snowy peaks as a backdrop. This

shoot featured 2 models to fulfil the shoot concepts decided
upon. This shoot produced multiple photos with models
changing place as well as the photographer switching the focus
between models creating a split in the photo.
 SHOOT EVALUATION
The shoot 3 incorporated location 3. This shoot went smoothly
and there were no disturbances. The shoot made full use of
<< Keyword
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the wardrobe’s functionality of reversible clothing thus having
the same shoot with a seemingly new outfit.

Shoot 4 composition took full use of all models, taking

inspiration of the 1987 editorial. In the future more planned
choreography may be needed to keep on track and to keep the
photographer informed of composition. Additionally because
of the location seclusion there was no cell phone service
meaning extra references couldn’t be brought up using the
internet. Although more choreography was needed, the shoot
was still composed in order to produce directly inspired
compositions of older editorials.

After the shoot was done the executive decision was made to
keep all the photos for the creative output to be placed at this
location. Stated in Shoot Prep: Location, the discussion of
using both natural and industrial locations in order to fulfil the
overall themes portrayed from the long line of Comme des
Garcons campaigns. The main reasons of this decision to stick
with one location was due to continuity and resemblance.
Speaking with the photographer before the shoot we agreed
having one location throughout the whole magazine will be
more pleasing as well as supply viewers with a snapshot. Also
as this projects main focus is pastiche and its traits like
retrophilia it was thought to be more appropriate to take
inspiration from the earliest of Comme des Garcons men’s
campaigns. Majority of these campaigns stick to the outdoors
such as the photos shown in shoot concepts as well as the
mood board to really put emphasis on a homage to earliest
roots of this brand
 SHOOT REFERENCES
The magazine has a large supply of
<< Keyword
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references within, below are a few examples
with compositions. Only a few examples
have been given as a goal was to reference
Jameson’s (1990) description of Pastiche
being comprised of new work that creates
parodies of past styles without reference. By
not offering the reader the direct inspiration
of each shot we relate further into what
fashion has become with more allusions to
the past. Even small details in the magazine
such as the font and other features have
been chosen with historic reasoning in
mind.
 CONCLUSION << Keyword
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The creative project produced helped to develop the findings from the written section and focus group. The visuals
help to encapsulate many themes found in previous literature as well as to centre some comments made by focus
group participants in order to highlight the central themes of the project. The magazine was meant to incorporate more
locations, however the project developed into an output utilising more effective references and allusions using the one
location. The magazine dives into the many decades of Comme des Garcons campaign with the main goal being for
those who are aware of the original to see the irony behind the output and for those who are not familiar with the
originals to believe this work is completely original, thus creating a bespoke example of this phenomenon to illustrate
how apparent this culture is in the present.