Fine Art

Brief 3
Statement of Intent
In this project we aim of using multiple collaborative experimentation methods to discover
which way of collaborating works best for us. As well as this, we plan on trying many
possible options of carrying out the brief, thinking outside the box to answer in the most
creative way possible. We will both bring our separate strengths to the project to create
the strongest outcome possible. I want to try to incorporate some of my main interests
including fashion into this project whilst still staying in line with the still life section of the
brief. We will use a combination of mark making, photography and construction
experimentation to create and idea and to execute our final piece.
 Initial Ideas
Our first step in the collaboration project was to think of ways we could experiment with collaborating on
art pieces:
• Create still life drawings for each other to manipulate
• Ties two pens together and draw with restricted movement
• Repetitive patterns that we both create
• Create models of creatures out of still life objects and draw them

We then considered ways we could develop these:

• Create a series of drawings of different still life creatures
• Create a vintage outfit using paper, manipulate it together and then either present the art as images or
draw the final product.
• Each choose something related to the other to draw and then manipulate each other's and
present them as a diptych.
Fashion Through Time
 Corset evolution

The first known corset is depicted on a figurine of Minoan art made before 1600 BCE. But they weren't
routinely worn as a fashion piece until the 16th and 17th centuries. In the Elizabethan era whale bone was
commonly used to structure the corsets to ensure a strong foundation for the shape created and stiffen the
front of the bodice. In the 1700s the most popular type of corset was an inverted conical shape to create
contrast between the torso and the full skirts. The main purpose of the stays in this era was not only to create
shape but also to improve posture and to support the back. In informal situations women could wear quilted
linen instead of whalebone. By 1830s steel stays began to replace whalebone and corsets began being made
in factories. In the late 19th century, there were a collection of dress reformists arguing against the existence
of corsets. Some were men creating exaggerated lies about the dangers of corsets to stop women being able
to express themselves and some were women trying to free themselves of this patriarchal norm and become
more independent. Then in Edwardian times a new fashion required the lengthening of corsets to shape the
hips to make the waist appear higher and wider. Then during ww1 a return of waist sinching corsets took
place and then when America entered the war women were asked to stop buying corsets to clear up metal
for use in the war effort. The waist sinching corset reintroduction came to an end in ww2 as the Merry Widow
corsets were introduced designed to separate the breasts not push them together. This continued through the
50s and 60s until at the miss America protest corsets and other instruments of 'female torture' were thrown
into a 'Freedom Trash Can'. Throughout the history of corsets there were two main types used, stays often
made with whalebone or metal, and jumps made with reinforced linen and softer materials and were tied at
the front to make it easier for the women to dress herself.

https://en.wikipedia.org/wiki/History_of_corsets
 Tim Noble and Sue Webster
Tim Noble and Sue Webster are artistic collaborators who mainly focus on the use of sculpture and the
shapes and shadows that they can create. What I find really inspiring about their work is how they can
turn such seemingly mundane and overlooked objects into something beautiful using angles and lights.
Not only this but they focus on turning the abstract into something familiar in a thought-provoking
way. They use art as a form of transformation that gives surprising results. Their work echos the idea of
'perceptual psychology' (http://www.timnobleandsuewebster.com/biography.html) which is a type of
evaluation commonly used for psychological patients. Perpetual psychology is the idea that your brain
processes the world by labelling and grouping things using senses to perceive them. Thye have
experimented with this by testing how humans perceive seemingly abstract images.
Hari and Deepti

Hari and Deepti are lightbox artists who use lights, shadows, layers and tones to create
backlit dioramas. Their work began as an experiment back in 2010 and their
collaborative work has taken off and they have created much with this concept
since then. They also create clay sculptures to create their imaginative scenes.
'They believe that “Paper is brutal in its simplicity as a medium. It demands the attention
of the artist while it provides the softness they need to mold it in to something beautiful.
It is playful, light, colorless and colorful. It is minimal and intricate. It reflects light,
creates depth and illusions in a way that it takes the artist through a journey with
limitless possibilities.”' (https://blackbookgallery.com/artists/hari-deepti/). They are very
drawn to storytelling and find the versatile nature of paper allows them to convey the
many depths of their stories. Since the beginning of their collaborative work they have
simplified their work from being colourful to being one colour in multiple tones, while
also making it even more intricate and detailed.
 Netflix and British Fashion
Council
Netflix and the British fashion council collaborated to create creative twists on regency outfits for the hit
shows Bridgeton. Jenny Peckham coached three designers in designing the regency inspired costumes.
The goal was to reflect both the period and the personalities of the characters. Ifeaynj Okwuadi wanted to
connect the Bridgeton brother's connection with the Wedgewood tableware by using cyanotype printing
and using this to express their personalities and connections through the costumes. Jeongmin Ji (who
designed the costumes for Lady Danbury and Edwina Bridgeton) wanted to take more modern inspiration
in her costume creations adding a twist inspired by "the drama, romance and extravagance".(1)

1. (https://netflixjunkie.com/netflix-reveals-second-collaboration-with-the-british-fashion-council-for-another-bridgerton-collection-featuring-adjoa-andoh-luke-newton-and-others/)
Alice in Wonderland – John
Tenniel
Tenniel was and English politically inclined illustrator who worked prominently in the second half of the 19th
century. As part of his art, he Illustrated Lewis Caroll's book 'Alice's Adventures in Wonderland'. His style inspired
us, and we planned on using it to influence the creation of our outfit. Originally Lewis carol illustrated the book
himself but after his engraver reviewed them, he suggested going to a professional which is where Tenniel
stepped in. His illustrations were engraved onto wood blocks to be printed for the final copy. He then never delved
into book illustration again. The line work of his drawing style brings a sharp and accurate shape to his character
and outfit designs which followed through well when we tried to create fashion from folded paper. As well as this,
his bold ruffled style of costume influenced the shape and silhouettes we aimed for in out creation.
 Photography influences
Initially for experimentation I was inspired by the photographic style used in the 'Mrs Perrigins home for
peculiar children' books. I thought if I took some images of outfits inspired by old fashion and this
creepier vibe, then we could collaborate on them by Bet adding to them both physically and digitally. A
few of the photographers who took the images for these books were John Van Noate, Murial Moutet,
Peter Cohen, Yefim Tovbis and Robert Jackson. The characters in Peculiar children were inspired by
these creepy vintage photographs and the photographers are all credited for the character inspiration
and imagery they provided. I found the vintage style of these very inspiring as I love the look of old art, a
bit discolored and old artefacts included gives a creepier vibe. As well as this the vintage aspect ties
into the vintage fashion I have been researching thus far. Using this as inspiration allowed me to
combine both vintage and creepy aspects and bring them into the collaboration.

PC YT RJ
Primary Research from the
Peculiar children's books.
Shoot Plan
What: Spooky, old fashioned, vintage, nature, fashion

Influence: Bridgeton collaboration and the photography for Peculiar Children

Lighting: I won't be using any controlled lighting and so will be relying on natural light in my
shoot.

Weather: I am hoping for a bright but slightly misty setting for my shoot

Equipment: Canon camera

Location: The woods near my house.

Contact Sheets

Too far Too The ones I

away bright chose
Photography experimentation
Evaluation
I think overall this shoot created the atmosphere I wanted it to. The editing part also helped
accentuate this as I could add vignette and black and white filters. I was also able to deepen the
contrast and bring up the highlights to create a spooky atmosphere. The composition in some of
these especially the landscape veiled one are quite strong. I used the rule of thirds in some to
create an even composition. I also experimented with angles to create different shapes with my
model and to create shadows on different parts of the face. I think my shoot could have been a
little more successful in places with a wider aperture to let more light in, however as a whole
the lighting levels were quite successful. Another thing I would improve about the shoot is to
make the images less grey. In places they all feel like a very similar shade throughout so in
future editing I will focus on making the darks more of a contrast to the highlights, especially in
black and white photos.
 Collaboration Experimentation
The next thing me and Freddie did was swap creations to start experimenting with ways we could
collaborate. I gave her the photos I had taken, and gave me some detailed still life drawings and we started
to add to them and alter them to create new pieces of art.
First I experimented with For this piece I cut both For this one, I decided to
tearing apart and images in half and experiment with enhancing
rearranging the image to sewed to two halves it by adding a pop of colour.
create a new one. Then to together using wire to I used bold primary colours
add more definition of the add a 3D element to the to add more movement to
original image I used a piece. I then also the piece. I then used
paint marker on top of experimented with opposite colour threads to
acetate to sketch out part burning holes to add sew in some of my own
of the original design. Then texture and a more photography to add even
to add texture I melted the macbre atmosphere. I more depth to the level of
top corner of the acetate so like the concept of using collaboration. I like the
the image has depth. I liked the wire as a way to movement and definition the
my idea of drawing on the structure it more than if colour adds and having the
acetate I think that worked it was just flat however, images poking out of the
quite well however, the for it to be nearter the middle adds an interesting
collage underneath makes paper would have to layer to the concept of
the image unclear and thicker and further collaboration which we got
messy so next time I would thought would have to to explore.
try to make it more go into the placement
uniform. and angle of the wire.
Freddie's addition to my photos
 The next exercise we did to experiment
with collaboration involved restricted
movement. All four of our wrists were tied
together and we were told to draw
something with a political message
inspired by the work of Barbara Dougan.
Much of her work speaks on the
restrictive nature of society especially for
women. Therefore, to create the art in
such a restricted way speaks to the
restrictive nature of society we were
trying to portray. Since I have researched
Collaboration into the history of corsets, we decided to
draw a corset wrapped in tight black rope

Experimentation to represent the restriction of the

patriarchy.

part 2
Collaboration
Experimentation
Part 3

The next day we decided to experiment with collaboration by

both drawing on the same paper to create one piece. We did
this exercise in chalk on black paper. The first piece we created
by drawing things related to the topic and our research thus far.
The second comprised of drawing images of hands from the
collaboration task from the day before to practice our still life
and anatomy skills. These worked well and taught us another
option for collaborating on a final outcome. I enjoyed how our
two styles came together to create one piece of art. Next time
however, on the random objects one I think it would have been
more cohesive if we had muddled all our drawings together
rather than mostly using each half.
 Outfit planning
Once we had decided to narrow down and focus on an outfit w began planning the different aspects it
would have:
• A headpiece
• Neckpiece (ruffles)
• Jewlery (necklace, earrings etc)
• Torso (corset)
• Sleeves
• Cuffs (ankles and wrists)
• Skirts
• White shoes
Then our ideas for defacing it
• Teabags to ages
• Rips and tears
• Burning
• Acrylic (splatters or big brush strokes)
• Charcoal
• Vintage clown makeup
Shoot Plan
• What: Shoot displaying the different aspects of the paper outfit we created and documenting
the stages of its destruction.
• Meaning: to record the creation and destruction of our art piece using a clear narrative
• Influence: Hari and Deepti, Tim Noble and Sue Webster, Bridgeton collaboration, Alice in
Wonderland
• Lighting: flash side lighting and photography reflector to create dramatic shadows
• Weather: I will be in the studio so the environment will be controlled
• Where: In the studio
• Equipment: Nikon camera, standing flash lights, photography refector, black backdrop
Contact Sheets

To bright

Too dark

Final pieces
Evaluation
In this shoot I wanted to draw on Hari and Deepti's work and use shadows and layers to really bring out all
aspects of the outfit, which was important because it was all made from paper of one shade. To do this I
used flash lighting only on one side which allowed big shadows to form along the creases and ridges of the
costume. Then for images where there wasn’t enough light Bet would use a photography reflector to
bounce some light onto the models face. However, I didn’t use it to its full potential and there are some
images especially in the second half of the shoot where I feel that the images could have been better if I
had bounced more light up into the face. This should be rectifiable in the editing process, however. I like
the composition of many of these photos however many of them could have been stronger so next time I
shoot I will avoid some of the weaker composition methods I have used for this. I think the poses used for
this shoot clearly show the outfit as a whole and some important details through all three stages of the
piece, however, I think that there probably was more room for some more interesting poses. Movement was
however restricted for this shoot by the nature of the paper.
Problems
A problem we encountered early on was wondering what the best way to go about
collaborating would be. We had ideas of one person creating something and the other
adding to it and since we are both quite interested in fashion, we wanted to go down that
route. Because creating an outfit is a long process, we realised we wouldn’t have time for
us each to make an outfit for the other to add to. We solved this problem by both
collaborating on one outfit and then defacing and planning the poses for the photos
together.
Problems
Presenting the final piece: we weren't sure what format to present the final product of our
project whether to draw the outfit we create, take images of our final creation or simply
present the constructed outfit. To solve this problem, we decided to experiment with both
drawing the end product and capturing images of it to see which we preferred.

The actual construction of the piece also posed a problem because it had to be strong
enough to hold together and to stay in one piece while our model moved around. To do
solve this we used many layers of rolled paper to reinforce the important shapes. I also
used a glue gun to add texture and ultimately structure to the corset area.
Problems
Attaching the outfit to the model neatly and securely also posed an issue as the costume
itself was so fragile and bits kept falling off. The way we solved this problem was by
experimenting with layers of double-sided tape and the glue gun in areas it was safe to do
so. This allowed for secure attachment and for everything to hang at the angle we wanted
it to.

The corset size also presented an issue. I had made the corset slightly too long and wide
which meant it had to be altered. To sinch in the waist slightly we gathered the paper at
the sides and taped it tighter. To alter the length, we chopped a small bit of the bottom off
and then utilised it as a neck piece later in the process.
Problems
Once we had created the outfit there was an awkward join between the skirt and the
corset, so we set about finding a way to rectify this. We tried creating belts out of paper but
these all seemed plain and messy. Eventually we tried using some of the spare ruffles in a
bow shape at the waist and then to tie it together with the swirling pattern of the corset we
created a swirling circle to stick in the centre of the bow.

The lighting also posed an issue because at first the flash wasn’t sinking up to both the
lights, however moving the flash device over to the other light solved the problem and they
were synced up. As well as this, to create dramatic lighting I experimented with lighting
solely from one side, which gave the shadows I was after.
Problems
Camera settings also posed a problem because at first all the photos either came out over
or underexposed. I fixed this issue by figuring out how to alter the aperture to closely
control how much light was entering the Lense to ensure the image came out clearly.

The final problem we encountered was engineering the sleeves. At first, I had planned to
create ruffles around the hands to add more shape and detail to the costume and bring
attention towards the hands. However, my design proved fiddly to execute and messy when
worn so to solve this we repurposed some shoulder pads I had created into gloves which
came down and joined the base of her middle finger, so her arms weren't bare, but they
were simple and elegant enough to not distract from the rest of the outfit.
 Editing Process
When editing this photo my focus was accentuating the shadows. To
do this, I began by adjusting the brightness and the contrast to bring
out the highlights while increasing the difference in the dark and
light tones. Then I used the Gamma Corrector to increase the depth
of the shadows. Finally, I used the vibrance tool to bring out more
colour in the hair and the tone of the paper. Increasing the depth of
the shadows made the folds and silhouette of the paper costume
clearer in the image.
 Editing Process
For this image again I wanted to focus on the development of the
shadows to make each fold and aspect of the costume clearer. I
again began with bringing up the brightness slightly and increasing
the contrast to counter the low lights to the highlights and then used
to gamma corrector to further this depth. The vibrance then added
more contrast as it brought out the colours in the face and hair to
differentiate them further from the whiteness of the paper.
 Editing Process
For this image again to bring out the shadows I used the comparison
of the brightness and the contrast along with the gamma Correction.
However, because there is so much extra colour from the model's
hair in this image, I thought it was very important to accentuate this
to add more depth to the image. Therefore, the increase of vibrance
on this particular image was a vital step in the editing process.
 Editing Process
In this images creating the contrast between the dark third of the
image and the two brighter thirds was important to increase the
depth and quality of the image. To do this, I increased the brightness
slightly and increased the contrast. I then relied on the gamma
correction to again accentuate the depth of the shadows. I then also
used to vibrancy to bring out the colour of the skin and the hair.
 Editing Process
When editing this I wanted to make the contast between the costume
and the backdrop even more dramatic. I decreased the brightness
and increased the contrast to begin this effect. I then increased the
Gamma Correction to and yet more depth to the shadows and
increased the vibrance of the skin tone.
 Editing Process
This image is very bright and so accentuating the shadows is also
important here. I predominantly used contrast and Gamma
Correction to edit this image, which added depth to the shadows. I
also lowered the brightness to make the details clearer. I then
increased the vibrance to bring out the colour of the skin tone and
increased the gamma correction further.
 Editing Process
When editing this photo, I again wanted to focus on bringing out
the shadows and the contrast. To do this I first increased the
contrast on the photo. I then increased the gamma corrector to
enhance the shadows and brought up the vibrance to highlight the
shades and tones in the skin and paper.
Editing Process
My goal for this photo was to increase the brightness in the darker
areas and increase the contrast. First, I increased the brightness
slightly and increased the contrast. Then I increased the vibrance
to give it more depth by bringing out any of the colours. I then
edited the levels to bring out the highlights more and increase the
contrast while ensuring all details of the picture are visible.
 Editing Process
When editing this photo, I wanted to increase the texture and
contrast. First, I increased the brightness slightly and brought up the
contrast. I then used the gamma corrector to add further depth to the
contrast. Finally, I increased the vibrance to highlight the different
tones in the paper.
 Editing Process
When editing this photo, I wanted to focus on bringing out the
details and ensuring there was still a high level of shadow and
contrast. To begin with I increased the brightness and the
contrast, then I increased the gamma correction to add depth to
the shadows. Finally, I increased the vibrance to bring out the
different tones in the paper and skin to add further depth.
 Editing Process
With a focus on making the aspects of this image clearer, I began by
bringing up the brightness and contrast slightly to lighten dark areas, I also
used the …... tool to allow me to lighten up specific areas. Then I used the
gamma correction tool to add further darkness to the darker areas. I then
also increased the exposure slightly and increased the vibrance to bring out
the rest of the tones in the photo.
Editing Process
When editing this photo, I wanted to highlight the layers and depth
in this photo. To do this, I first increased the brightness and
contrast slightly. Then I used the dodge tool to lighten certain
areas. I focused specifically on the hand and the part of the paper
ruffle closest to the Lense which helped to accentuate the depth of
the photo. I then used the gamma correction tool to slightly
increase the depth of the shadows. Then finally, I increased the
vibrance to highlight the different shades.
 Editing Process
This photo has very strong contrast so in the editing process I
wanted to focus on highlighting this. To begin with I raised the
contrast and brightness to deepen the shadows and bring out the
highlighted areas. I then increased the exposure and gamma
corrector to further this process. Finally, I increased the vibrance
to add further contrast in the tones of the paper and the skin.
 Editing Process
For this photo, I again focused on contrast. I began by increasing
the contrast and the brightness and contrast of the image and then
slightly increased the exposure to lighten the photo and then the
gamma correction to add depth to the shadows. Finally, I increased
the vibrance to add further depth to the skin tones.
 Editing Process
My first step on this photo was to increase the brightness and the
contrast. Once I was done with this however there were still areas
which seemed to dark. To rectify this, I used the dodge tool to
highlight certain areas. This also added an area of highlight around
the arm which accentuates this and the ruffle further. I then
increased the exposure and the gamma correction slightly to add
further contrast and depth before increasing the vibrance.
 Editing Process
When editing this photo, I again wanted to bring out the contrast. I
first Increased the brightness but left the contrast at 0. I then used
the dodge tool to add further highlights top specific areas of my
image. Then to add the depth of shadow and contrast I increased
the gamma corrector and the exposure. Finally, to bring out the skin
and paper tines I once agin increased the vibrance.
 Editing Process
The first step I took when editing this photo was to increase the
brightness and contrast. I then used the dodge tool to further
highlight the areas that still needed lightening. I then increased the
exposure and the gamma correction to further add to the contrast
in the image. I then edited the vibrance to increase the depth of
colour in the paper and skin tones.
 Editing Process
When editing this photo, I began by increasing the brightness and
contrast. I then increased the gamma corrector to add further depth
to the shadows, before increasing the vibrance to bring out the tones
in the paper.
 Editing Process
In this photo I wanted to focus on the negative space, the smaller
details of mess created in the final stage of the piece. It was
important here to make all the details clear and the shadows varied.
The first step I took was to increase the contrast a lot and the
brightness a small amount which began the process of pulling out
the details. Then I lowered the exposure which added far more
depth to my image before finally increasing the vibrance.
 Editing Process
In this photo bringing out the shadows was important. I began by
increasing the brightness and contrast to add more depth. Then I
increased the gamma correction to deepen the shadows further.
Finally, I increased the vibrance to add further depth in tone.
Editing Process
When editing this photo, I wanted to bring out the contrast in all the
paper folds. To do this first I increased the contrast and brightness.
Then, I used the gamma correction tool to deepen the shadows
making both the background and folds darker. Finally, I increased
the vibrance to add more colour to the paper.
Editing Evaluation
The editing process really allowed me to lean into the influence from Hari and Deepti and
their use of shadows. Especially in these images the use of shadows allowed all the
details and layers to be accentuated. This successfully gave room for the different
aspects and elements of the piece to be displayed though the photos. I liked how in the
editing process I was able to rectify my mistake of not using the photography reflector in
some of my photos as I was able to brighten up certain areas, highlighting certain details
in the images. Also, the Gamma Corrector allowed me to add a more dramatic contrast
giving it a theatrical look that is mirrored in the costume itself.
Process Evaluation
This brief was asking us to use our skills of collaboration to create an outcome using our fine art and still life
skills. Our first step in planning this project was to brainstorm different ways we could experiment with
collaborating through art. This was helpful because it allowed us a springboard with which we could use to
create a more developed idea for our final product based off the successes and downfalls of our
experiments. The research we did separately and as a pair really helped to angle our project towards areas,
we are interested in. For example, my research into the Bridgeton collaboration, corsets and shadows all
came in very useful when constructing our outcome. We used a variety of materials to experiment including
burning, defacing and joining back together, creating layers with different materials, chalk and photography
(which we later used in our outcome). These created a series of developed test out comes as we had a
variety of materials used and a variety of collaboration methods experimented with.
Process evaluation, pt.2
The process of creating the final test outcomes was varied depending on the piece. For
example, our first tests comprised of us both going away and creating our own art following the
theme of the research we had completed thus far and then we came together and edited the
other persons work to create new pieces, further developed than the original. Another task
where we were joined together to draw was quite the opposite as we were forced by proximity
to work together completely throughout the entire creation of the piece. They both taught us
very valuable lessons in collaboration, and we learned how important communication is
whether you are working closely together or separately on the same thing. We then used these
skills to create two further test pieces where we worked separately but in close proximity both
working on the same piece with similar themes but creating ideas and drawing separately
communicating to figure out placements of the drawings.
Process evaluation, pt.3
I think what went best in the project was the development of the final piece was the construction of the paper
outfit. The planning and the construction of the costume was greatly helped by the skills of collaboration we had
developed through all the tests. And because of this when we came in to photograph our final piece the two
separate areas, we had been working on came together and worked very well. Not only this, but throughout the
whole creation process me and Bet were discussing what we were creating and sharing ideas as to how best
to go about certain aspects of the construction. I think the most successful part of the experimentation was the
activity where we were tied together to create a piece of art. This is because we created and executed an idea
that accurately conveyed our meaning, and both had equal parts to play in the creation of it. A part of our
project which didn’t go as well was the additions I made to Bets drawings as they felt messy and rushed.
However, this provided mistakes to learn from when I created further collaboration work as I learnt what I didn’t
like and how to avoid creating similar outcomes in the future. A full list of the problems we overcame togetheris
explained on the problem-solving slides above.
Drawn final piece
(Freddie's work)

After I had taken the photos for the shoot Freddie experimented with
creating some drawn final pieces using graphite and chalk. This allowed for
a further level of interpretation to be applied to the photos depending on the
style with which the photos were drawn, the level of detail and how
accentuated the shadows were. These outcomes were very successful as
they continued to portray the message behind the photos clearly, the use of
paper collage in the top right-hand image especially added to this message
causing the person in the drawing to appear even more trapped. However,
we decided that whilst these were good experimentations to further our
knowledge of collaboration that the photos stood well alone in a series and
conveyed the message without adding further level of detail to the project.
 This outcome shows our paper costume piece from the front. We
were trying to communicate an Alice in wonderland vibe,
Final Piece 1 incorporating fashion elements from the past. The piece
comments on the restrictiveness of the expectations on females
(through the corset and delicate material) but also the power in
the more androgynous elements in women's fashion in the
modern day. The material and both feminine and masculine
aspects of the outfit made this successful. This idea was inspired
by 19th and 18th century fashion, the Bridgeton design
collaboration, John Tenniel and the photography in the 'Peculiar
Children' novels. This photo has been taken at a 45-degree angle
which allows for shadow to fall on the left side of the image from
the lights on the right. The shadows are important for displaying
the different textures and layers of the outfit. As well as this I
used flash lighting to allow for further shadow to be created. The
contrast between the background and the costume allow the
image to have a stronger impact on the viewer making it more
eye catching. If I was to take this image differently, I would
probably bounce more light up onto the face to make her facial
features clearer.
 Final Piece 2
This outcome speaks solely on the more masculine
aspects of the outfit. This therefore gives a singular
image to the power of the freedom for women to
express themselves in more masculine ways. This
photo was taken using the rule of thirds and the shape
of the neck ruffle creates lead in lines to the face
highlighting the detail on the hat. The negative space
in the left side of the picture also draws the eye
towards the most important features of the photo
highlighting the masculine aspects even more. This
image was inspired by the style of the Alice in
Wonderland illustrations and Tudor fashion,
specifically Queen Elizabeth as she was such a
prevalent figure when it came to breaking down
sexism in leadership. If I was to take this image
differently, I may experiment with her looking through
the chains at the camera to accentuate the power of
the androgyny
Final Piece 3 This photo displays the structure of the back of the
costume clearly. With this photo we were trying to display
the many layers, uncomfortable nature and restriction of
women's fashion in this time. In this image the hat is
covered which lends well to displaying only the feminine
aspects of the outfit. This makes this photo successfully
solely about the unreasonable expectations on women.
Both the Bridgeton fashion project, the Peculiar Children
photos and the general research into Victorian and Tudor
fashion inspired this piece. This photo is symmetrical, and
the model is standing in the center displaying the
importance of the subject. The use of contrast and
negative space also show the importance of the picture
strongly. If I were to take this photo again, I would
probably ensure that there was no light in the background
as I feel it takes the eye away from the important aspect of
the image.
 This image shows a comparison with the previous back
Final Piece 4 image to show the difference once destroyed. This image
was taken to display the beginning of the destruction that
the weight of society causes for women and makes it
comparable to the fresh start of the previous image. This
image uses contrast and negative space to draw attention
to the violence of the image. The image is also mostly
symmetrical, in the places that it isn't it draws attention to
the destruction. I think it successfully speaks on the
destructive nature of society as there is such a stark
shocking contrast to the previous almost angelic image.
There is an implied comparison between angels and
demons through the nature of the images. If I was to take
this image again, I would probably ensure the whole
background was a solid tone so as not to distract from the
center image. I would also bounce light onto the other
side using a photography reflector to give the other side
of the image slightly more light.
Final Piece 5 This is the first photo that shows the beginning of the
destruction of the piece. We wanted this destruction to
symbolise the ultimately destructive nature that the
expectations on women have. The destruction of the
masculine aspect of the hat further shows that no matter
how many 'masculine' qualities a women has the
patriarchy continues to target you in fear of no longer
being superior. It also shows how no one can escape the
crushing pressure. I think this was successfully conveyed
as the model is blinded showing lack of control and the
disheveled nature of a previously string image further
conveys the message. The photo utilises the rule of thirds
to bring attention to the torn aspects and the use of
contrast and negative space bring even more focus onto
the destruction of the model's power. If I were to do
something different next time I would try and show more
of the detail in the ruffle at the back.
 Final Piece 6
This image displays some of the details of the
destruction. It shows up close some of the
symbolism relating to the danger of society on
women. The use of chalk also relates to the
corruption of society as it shows how the woman
becomes dirtier, the longer she tries to exist in
society. This image fills the frame making the
contents up close and clear to the audience they
can have a clear view of the destruction on this
costume. The image also uses the rule of thirds
and leading lines to bring more attention to the
subject and lead to key aspects. If I were to take
this image again, I would definitely bounce more
light onto the left side to make the details of the
image clearer.
 Final Piece 7
This image details the process of the final
destruction. It could also symbolize the power a
woman has to turn her back on the toxicity of
society. The fact that this image shows the model
removing the clothes makes it appear very self-
motivated and controlled. I think this makes it
successfully present a view of rebellion against the
constriction. The image includes some of the
background of the studio as well which could show
the choice to stop performing and being perfect for
society. The photo uses the rule of thirds and
negative space to create leading lines for the viewer
to take in all aspects of the image. If I was to take
this image again, I would bounce more light using a
photography reflector onto the left side of the skirt to
enable more of the details to be seen.
 Final Piece 8
This image details the aftermath of the destruction.
This image of the destructions results could show
an alternative, if the woman never steps away and
fights against society it destroys her leaving nothing
but rubble behind. The contrast in this image
highlights the melancholy tone of this image
showing the sadness and injustice of this
destruction of a previously innocent being. The rule
of thirds and negative space highlights the loss as
well. This makes this image successful because it
evokes emotion in the viewer relating to the
destructive act that has taken place. If I was to take
this image again, I would rearrange the lighting to
create more shadows and texture on the subject.
Successes
I think our final product successfully answered the brief as there are three different stages to the piece
which each hold different qualities. Whilst the project took a direction that utilised photography and
construction of physical items over fine art, we still achieved still life through the images we took. This is
especially seen in the final stage of the piece displaying the destruction at the end as an installation piece.
In the second stage we were able to use mark making and different tones of chalk to add to the creation
displaying the beginning of the destruction, which fulfills the fine art part of the brief. Authorship and
Ownership are both displayed through the style of collaboration we used. We both took more control in
parts where we felt more knowledgeable which allowed us both to get deeply involved in areas while also
having impact on the project as a whole. The ownership of the separate areas also lends itself to the
concept of women being owned and controlled throughout history giving the actual creation and
development of the project symbolism as well.