Production Dossier

By Charlotte Dobson and Charlotte Spencer

Richard Nicoll

Contents Designer ProfileRichard Nicoll has a highly established Womenswear line and newly established menswear line, which he debuted in June 2012 at London Fashion Week. The focus of the brand is predominately on day-to-night versatility, making his clothes wearable and functionable at the same time. Richards initial training in menswear is also evident in the collections, for example contrasting feminine pieces undeneath a mas-culine tailored coat. His personal experience of growing up in Austral-ia and living in London has culturally influenced the brand style, as he calls it A bit London, a bit Australian and a bit fantasy. The brand has many stockists globally, however the majority are located in Lon-don, in prestigious stores such as Harvey Nichols, Matches and Liber-ty. They have had various collaborations with brands such as; Topshop, Fred Perry, Whistles, Vodafone, Tropicana, Ksubi and also the artist Linder Sterling. Mainting the integrity of his design vision whilst also producing a product that customers can relate to is at the heart of the Nicoll brand.

Richard Nicoll Spring/Summer 2014

Page 2: Designer ProfilePage 3: Reasons and Influences

Page 4: Film Narrative InspirationsPage 5: Concept Moodboard

Page 6: Cinematic ReferencesPage 7: Fashion Film Inspiration

Page 8: Photography InspirationPage 9: Film Concept

Page 10: Narrative ManifestoPage 11: Styling Concept

Page 12: Styling MoodboardPage 13: Hair and Make-up

Page 14: Model Page 15:Storyboard/Location 1Page 16: Storyboard/Location 2

Page 17: Time Plan Day 1Page 18: Time Plan Day 2

Page 19: Contact SheetPage 20: Set Design/Props

Page 21: EditingPage 22: Editing

Page 23: Release Form

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Reasons and Influences Film Narrative Inspirations

We chose Richard Nicoll as our brand due to his very simple but modern aesthetic and felt that this designer has an appeal to his brand that is quite subtly entrancing. We felt he was a good brand to investigate as he seemed to have done several col-laborations with various creatives. The idea of fashion film is to experiment with an idea as it doesnt have boundaries and is a very artistic and creative platform. We therefore began researching into Richards inspirations and found several key inspirations that later influenced our ideas about the direction of the brand.We wanted to explore the artistic and creative direction that the designer is taking through his collaborations. His collaboration and long standing relationship with Linder Sterling shows a brand development and expansion into other creative industries. From the research that we have collated, the inspiration has led us to an artistic direction, deriving influences from 20th century art including Lou-ise Bourgeois and her cage series. The art work that became the main focus was the concept of looking in on the cage at the woman inside. The idea of breaking free from tradition. Richard Nicoll has stated that he has also been inspired by film director Woody Allen, as well as Bauhaus and Modernism. Woody Allens cinematic references of using real characters and a feminine elegance on screen has therefore influenced our characterisation of the model. Modernism is a large aspect of the brand and holds the context of the film by revealing a Futuristic art manifesto, about the futurism of Mens clothing by Giacomo Balla as a voiceover for the fashion film. The visual takes the audience on a journey of revealing the destruction of the funeral and decadent clothing that she is wearing, to reveal the Richard Nicoll woman, of who is a modern and elegant woman. The symbolism of the flower represents the collaboration with Linder sterling and the essence of femininity and remains a cohesive element throughout the film.

Andy WarholLinder Sterling

Louise Bourgeois Bauhaus

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Concept Moodboard Cinematic References

Stoker directed by Chan-wook Park

Interiors directed by Woody Allen

Stoker is a psychological film with a lot of contrasting visuals and false surface emotion which gave us inspiration in the creation of our fashion film. We wanted to represent different emotions through our film; the restriction and unhapiness at the start, to the freedom and happiness at the end. Visually we took inspiration from Nicole Kidmans character Evelyn Stoker at the funeral of her husband, from the mourning dress to how she plays out her emotions.

Interiors is a very dark film, tackling themes of depression, adultery and suicude. The intima-cy portrayed in the film between the viewer and characters was something that we wanted to capture within our fashion film, higlighting the angst of the model at the start to her transfor-mation and transition. Richard Nicoll has stated previously that he is often inspired by Woody Allen films, therefore we felt it necessary to watch some and found Interiors the most inspi-rational to our film concept.

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Fashion Film Inspiration Photography Inspiration

Come and find me directed by Ruth Hogben

Dynamic Blooms directed by Nick Knight &Tell no oneNick Knights series of fashion, dance and art collaborations called Dynamic Blooms in-spired us to think about introducing floral elements into our film in a creative manner. As we were relying on the flowers for colour and femininity, it was important to look at many other creative sources to inspire us in their placement in our film.

This film portrays Cara Delevignes various character transformations; from girly girl to white queen to black leather clad dominatrix. It inspired our film through Caras Alice in Wonderland style garden scenes at the beginning of the film, which showed her journey and transforation. It also helped us creating our storyboards, with how she moved and in-teracted with the garden features.

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Film Concept Narrative Manifesto

We Futurists, in those brief gaps between our great struggles for renewal, have spent the time discussing, as is our wont, very many subjects. For quite some time now we have been convinced that todays clothes, while they may be somewhat simplified to suit certain mod-ern requirements, are still atrociously passist.

WE MUST DESTROY ALL PASSIST CLOTHES, and everything about them which is tight-fitting, colourless, funereal, decadent, boring and unhygienic. As far as materials are concerned, we must abolish: wishywashy, pretty-pretty, gloomy, and neutral colours, along with patterns composed of lines, checks and spots. In cut and design: the abolition of static lines, all uniformities such as ridiculous turn-ups, vents, etc. Let us finish with the humili-ating and hypocritical custom of wearing mourning. Our crowded streets, our theatres and cafs are all imbued with a depressingly funereal tonality, because clothes are made only to reflect the gloomy and dismal moods of todays passists.

WE MUST INVENT FUTURIST CLOTHES, hap-hap-hap-hap-happy clothes, daring clothes with brilliant colours and dynamic lines. They must be simple, and above all they must be made to last for a short time only in order to encourage industrial activity and to provide constant and novel enjoyment for our bodies. USE materials with forceful MUSCU-LAR colours - the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermilion - and SKELETON tones of white, grey and black. And we must invent dynamic designs to go with them and express them in equally dynamic shapes: trian-gles, cones, spirals, ellipses, circles, etc. The cut must incorporate dynamic and asymmetrical lines, with the left-hand sleeve and left side of a jacket in circles and the right in squares. And the same for waistcoats, stockings, topcoats, etc. The consequent merry dazzle produced by our clothes in the noisy streets, which we shall have transformed with our FUTURIST archi-tecture, will mean that everything will begin to sparkle like the glorious prism of a jewelers gigantic glass-front, and all around us we shall find acrobatic blocks of colours.

The film features a woman on her search for femininity and colour through the abandonment of day to day normality and lacklustre clothing. The concept is narrative based and visually portrays the Fu-turist Manifesto of Mens clothing by Giacomo Balla from 1913. It begins with the model destroying a suit, literally wanting to get rid of the uniformity popular in current fashion. The strong city archi-tecture is featured at the start, almost negatively looming upon the landscape. The sharp contrast in locations illustrates the stripping back to nature and colour, introducing femininity through the vivid colours of nature and flowers. The film could have been a lot more extreme in the abolition of uninteresting and traditional clothing in favour of colour and futuristic dynamics, however we wanted it to reflect the subtlety of the Richard Nicoll brand and ethos. Therefore we needed to create a balance between leaving uniformity behind and stripping back, one which would be appreciated by the brand consumer. We found that the introduction of colour and fabrics was enough to represent this, and the use of unusual props surrounding the tree highlighted a stand against uniformity and social normality.

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Styling Concept Styling Moodboard

For our fashion film we needed to show a contrast in styling, to vis-ually narrate the transition in our art manifesto from the rejection of day to day clothing , to something less manufactured, stripped back and natural. Essentially for both halves we needeed unfussy and min-imalist clothing that reflected not only the concept of our art man-ifesto but also the ethos and style of the Richard Nicoll brand. The first half of the film represented the restriction of clothing, where the model frantically tried to destroy them. To state the manifest, We must destroy all Passeist clothes, and everything about them which is tight fit-ting, colourless, funeral, decadent and boring the model tears apart a suit jacket which is a part of her mourning clothes. This is a link to the manifest where it says that we must destroy all funeral elements of cloth-ing, so the styling had to be minimal and in a sense boring. For the film we used Richard Nicolls Spring/Summer 2014 collection as inspiration, which featured a blend of masucline tailoring, contrasting colour pal-ettes as well as a lot of layering and feminine detailing. The second half of the film had to represent a softer and undecadent side of the mod-el, so we chose to layer a sheer white dress underneath a navy collarless dress. Although the manifesto talked about futuristic colourful clothing, we did not feel like it would represent the Richard Nicoll woman, so we introduced colour through flowers. The simplicity of the styling was in-fluenced by the minimalist look introduced in the 1990s from designers such as Calvin Klein, Maison Martin Margiela and Ann Demeulemeester.

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Hair and Make-Up Model

Make-Up Inspiration

Hair Inspiration, Look 1 Hair Inspiration, Look 2

For the hair we needed 2 looks, the first to be classic and restrained for the first half of the film, the second to be more free and versatile. For the London and graveyard scenes we chose to have a classic low-bun, as she would also be wearing a veil over her face. It visualized uniformity and social structure, perfect for mourning (as she was at a graveyard). The second had to be a lot more relaxed, so we opted for a sleeked back hair down look.For the make-up look we wanted something natural and minimal, so we kept the face, and lips neutral but empasized the eyes and defined the eyebrows to shape the face.

Name: Georgina GillmanAge: 20

Location: LondonHeight: 5ft 11Dress size: 8

Eye colour: BlueShoe size: 7

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Storyboard/Location 1 Storyboard/Location 2

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Time Plan/Day 1 Time Plan/Day 2

Time Name Group Notes11:00-11:10 Meet All London Victoria11:10-11:30 Travel All Green Park11:30-11:45 Preparation Model Hair/Make up11:45-12:00 Prop Scene Props Petals12:00-12:10 Georgina Model Bridge12:10-12:20 Skyline Location Wide shot12:20-12:40 Travel All Liverpool street12:40-12:50 Architecture Location Close up12:50-13:00 Georgina Model Walking13:00-13:10 Traffic Sound Audio recording13:10-13:15 Public Location Crowds13:15-13:45 Travel All Kensal green cemetery13:45-14:00 Preparation Model Hair/Make up14:00-14:10 Georgina Model Destruction of jacket14:10-14:15 Georgina Model Close up14:15-14:20 Prop Scene Props Ripped paper close-up14:20-14:30 Georgina Model Wide shot14:30 End End End

Time Name Group Notes10:00-10:15 Preparation Model Hair/Make up10:15-10:30 Preparation Model Hair/Make up10:30-10:45 Drive to location All Dunorlan Park10:45-11:00 Georgina Model Tree scene11:00-11:15 Georgina Model Close ups11:15-11:30 Georgina Model Wide shots11:30-11:45 Props Props Chair and fabric11:45-12:00 Georgina Model Stone building12:00-12:15 Glass Material Camera effects12:15-12:30 Georgina Model Hand on tree12:30-12:45 Georgina Model Feet on stepping stones12:45-13:00 Water Water Water shot13:00-13:30 Water Sound Audio recording13:30-14:00 Georgina Model Waterfall scene, wide

shot14:00-14:15 Georgina Model Water, flower close up14:15-14:30 End End End

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Contact Sheet Set design/Props

The main set design that we created was in Dunorlan park, as all the other locations didnt need anything as we were focus-ing on the original landscape. We used a variety of feminine fabrics, materials and clothes to drape through a large tree in the middle of the park. We wanted to created the link between femininty and stripping back from day to day normality, ref-erenced earlier in the London and graveyard scenes. The set was perfect for the model to wander through and feel her way through the fabrics. We also wanted to create the illusion of the unexpected, referencing Louise Bourgeoise and her clothes cage structures.

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TIME NAME GROUP NOTES 10-00-10-15 PREPERATION MODEL HAIR/MAKE UP

10-15-10.30 PREPERATION MODEL HAIR/MAKE UP

10.30-10.45 DRIVE TO LOCATION

10.45 11.00 GEORGINA MODEL TREE SCENE

11.00 11.15 GEORGINA MODEL CLOSE UPS

11.15-11.30 GEORGINA MODEL WIDE SHOTS

11.30-11.45 PROPS PROPS CHAIR, FABRIC

11.45 12.00 GEORGINA MODEL STONE BUILDING

12.00-12.15 GLASS MATERIAL CAMERA EFFECTS

12.15-12.30 GEORGINA MODEL HAND ON TREE

12.30-12.45 GEORGINA MODEL FEET ON STEPPING STONES

12.45 1.00 WATER WATER WATER SHOT

1.00 1.30 WATER WATER AUDIO RECORD

1.30 2.00 GEORGINA MODEL WATERFALL SCENE WIDE SHOT

2.00 2.15 GEORGINA MODEL WATER AND FLOWER CLOSE UP

2.15 2.30 END END END

NAME CONTACT NUMBER

Charlotte Spencer and Charlotte Dobson

Charlotte Spencer 07803 765068

Crew

Georgina Gilman 07738 092877 Model

Olivia Brandon 07957 773379 Hairstylist

Charlotte Dobson 07718206687 Assistant

Title: Femininities Future Date: Tuesday 12th November and Tuesday 19th November 2013 Call Time: 10:00 am Description: Tuesday 12th November Location: Dunorlan Park 5-10 x Short 30 secs pieces in 6 different locations previously scouted, waterfall backdrop scene, stepping stones, tree, stone building, river with model. Green filter to be provided for waterfall scene. Framing to allow various camera angles.

Parking: Open to Public KIT 1 x Canon 700 D 1x Film Tripod 1x Light Reflector 1x Nikon D2OO

Location Dunorlan Park Royal Tunbridge Wells Kent London

Editing Editing

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The editing of the film took over 2 weeks to complete as we had to add our audi-os, transitions and special effects. We used Final Cut Pro to get the final version. Throughout the film, the voice over is played with the support of a track called mem-ories. The effects that were added were called saturation and dream effect. Plus the use of sound enhancers made our audios that we recorded of the water and busy streets stand out against the manifesto. There was a slight echo on the manifesto re-cording, which was read out by Charlotte Spencers grandad, it was quite noticeable so we managed to reduce that with audio editors. The reason why we chose an older person to read out the manifesto was because we wanted the backing to sound aged and knowledgeable. The film is just under 2 minutes in length, although we had extra footage we thought it necessary to keep it consistent to the theme without any other footage whose sole purpose was to bulk it out. The credits and title were easy enough to put in, and the end credits were displayed over a dropping petal scene that we created when filming. We also had petals as transitions, we felt this fit in with our concept of femininity.

Release Form

Contributors Release Form

Project Working Title: Richard Nicoll Femininities Future

Contributor Appearing: Georgina Gillman

Production Date: Tuesday 12th November and Tuesday 19th November

Production Location: 1. Dunorlan Park, Kent. 2. Kensal Green Cemetary. 3. Green Park, London

For legal reasons we must ask your permission to release the rights to your contribution to this fashion film. Please read the guidelines below and if you agree to the terms, please sign and date below:

1. You hereby consent to the release of this fashion film through accordance with Charlotte Spencer and Charlotte Dobson with any necessary distribution to other companies and reproductions.

2. You hereby consent to the copyright of the film to Charlotte Spencer , Charlotte Dobson and any oth-er existing contribution.

3. It is agreed that by signing and dating this agreement that Charlotte Spencer and Charlotte Dobson have the sole rights of copyright to this film and you agree to the process of your personal information through credit of the film for your contribution.

Agree and accepted:

Signature: ________________________________

Printed Name: ____________________________

Address: _________________________________

Town: ___________________________________ Country: ______________________

Postcode: ________________________________

Date: ___________________________________

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