Valentino: Master of Couture at Somerset House

My latest exhibition trip was to Valentino: Master of Couture. With a designer and subject matter of such prestige and talent, I had high expectations of the show, especially to be gracing the rooms of Somerset House- the hub of London Fashion Week.

Amidst the fumes of fabulously dressed older women fragranced by Chanel No. 5, I was reminded of my time spent in Milano, the birthplace of Valentino. There is an unquestionable air of Italian craftsmanship in all of his pieces; whether it may be a zebra print 60s creation or an elegant little black dress, Italian refinement -like no other- is a distinct quality affiliating every one of his pieces.

In addition to number of letters, a video of Valentino and a fascinating insight to the production of his creations, the 'catwalk' was undoubtedly the key component of this exhibition. Over 100 of his pieces lined the walls of the rather long and narrow space. It was displayed in a very literal manner, with a small booklet offered with the numbers of the pieces and physical description as you weave your way around the crowds.

I do however feel that based of the title of the show 'Master of Couture' it would have been even more insightful to have more details of the 'catwalk' section in the booklet- perhaps a little more on the wearer of the dress, a quote or two or an image on the mannequin. I really do appreciate something to take home and treasure for many years to come.

This show would be of interest to a diverse spectrum; unifying to witness one of the most successful and accomplished couturiers in existence.

Whether it may be inspiration or aspiration, the fashion industry is one which continues to seduce, assembled by a provenance of desirable opposites- both realistic and unrealistic, attainable and unattainable- proving that dreams and visions will enchant our creativity and imagination for many years to come.

www.aliceluker.co.uk

Is all that we see or seem, but a dream within a dream? -Edgar Allen Poe

Fyador Golan: The Next McQueen?

I was first introduced to the spectacular work of Fyador Golan at  London Fashion Week 2012; the design duo's conceptual yet visually stimulating designs proving to be one of my personal favourites from the season. As these designers reaching the tipping point of their career, they certainly offer a lot of promise for artistic greatness yet to come.

One particular quality which I feel that true conceptual artists display with their collections is the use of narrative- a real theme and story collectively showcasing a unique viewpoint each season. Each season acts as a new chapter-or in the case of McQueen (and I predict for Fyador Golan) - a new book entirely. 

From what we have seen so far, Fyador Golan has already offered us a true vision of a conceptual artist, proving that although fashion is a business, the perspective can still be visually stimulating and above all things, exceptionally inspiring. 

I feel that since the death of (in my opinion) our greatest conceptual artist/ designer of our time, we have a large fashion shaped hole still waiting to be filled. A designer offering equal levels of passion and talent, proving that they can create beauty and art in almost anything through the medium of design.

Perhaps this is who we are looking for, a designer glowing with passion and talent; so evocatively that success inevitably follows their every footstep. The V&A have showcased an immense spectrum of design talent over the past few years: from Craig Lawrence, Stephanie Rolland and Kenzo, each collection I have personally seen seems underlined with passion.

How do they do it? I personally feel that any creative- be it designer, stylist or in my case photographer; one must immerse themselves in culture, art and -secondly- in fashion. As stated on Fyador Golan's website 'behind the brand is a muse- gentle yet bold, sophisticated and explorer'. It seems that many successful designers (including McQueen) seem to abide by their ideals of an all important 'Muse'. One both determined yet ambiguous, constantly striving to be reborn season after season. 

www.aliceluker.co.uk

Dreams: Metaphor for the Making of Art?

With no surprise, my entire train journey from Ascot (my home town) to London tends to be very much phone related- either tweeting, emailing or texting...I usually end up depleting over a quarter of my Iphone battery in this time alone with many hours ahead to fuel.

With 10 minutes to spare before reaching Waterloo, I read a tweet from the National Gallery regarding a lunchtime talk focusing on dreams and visions in art. This talk acted as an introduction and taster of what is to come when a new exhibition opens this week in association with 'Seduced by Art'. For more information on this exhibition please click here.

 

Not only do I love art and painting on both a personal and professional level; the subject matter of this talk strongly related to the very reason why I began this blog. Art and photography attain the power to be as ambiguous yet as symbolically rich as desired- linking into this fantasy, dreamlike realm which can be so apparent in visual imagery- especially fashion.

In addition to confirming and expanding the knowledge I already have in this subject; I also learnt about Baroque art and the divine powers associated with the dream state which was fascinating. Before we reached the era of scientific evidence supporting dream studies (Sigmund Freud, REM sleep etc), dreams were looked upon as privileged, glorified messages; most often relating to messages from God.

Although this was all very interesting art history, what really inspired me and appeared so relevant to my position as a fashion photographer is the concept of dreams themselves. Dreams attempt to explain the surreal, yet at the same time are designed to be interpreted in a subjective manner; similar to the dream itself. They also leave us with the big question, what really is reality?

Contemporary fashion photography could arguably be more about hyper real fantasy than dreams; determined through both the content within the frame and the ever increasing techniques of post production. I personally believe that one of the key attributes and foundation of conveying a sense of a dream, vision or fantasy relates to the 'space of otherness' - something which can never fully be in reality, often appearing to be a fully conceptual construction.

On this note, I will leave you with a beautiful image by Tim Walker; unquestionably inspired by his personal depictions of the dream realm, inspired by childlike fantasy and unconventional conceptual visions. Having visited an exhibition at Somerset house focusing on Tim Walker's work, this quote seemed particularly fitting:

'The editorial spreads of a modern fashion magazine allow the photographer to construct fictive worlds, which unfold, page after page, like series of stills from unrealised films'.

The Allure of Ophelia

From my first meeting with Ophelia in 2009 at the Tate Britain, I was inspired by her fragile, innocent beauty. There are so many reasons why my eyes are generally drawn to painting more so than photography, especially lifelike realist works of the Renaissance and Pre-Raphaelite era.

The industry is saturated by thousands of fashion images; a medium so much more accessible than it ever had been in the past. I feel there is something special inside a painting which is tends to be harder to achieve in photography without looking too constrained and false.

In this industry there is also such pressure to produce images quickly that the value of imagery can be lost- I feel that my positive relationship with painting allows me appreciate the importance of photography; that every conceptual image should be a powerful refection on my vision of the world. 

There are so many ways to deconstruct a painting; being a constructed concoction of truth, mystery and fantasy. Not quite as real as a photograph yet often with strong refections of reality. I feel that fashion photography contains a similar element of this, most specifically highlighted by the fundamentals of retouching and post production.

A new exhibition is to open at the Tate Britain called 'Pre Raphaelites, Victorian Avant Garde'. I am very much looking forward to this show and will be sure to write a follow up blog post after my visit! 

I believe that one must learn to deconstruct imagery/art in order to learn to construct. The photographs below are part of the editorial series shot at the V&A museum in 2009- although I only had two days to plan this shoot, at the time I was completing my final year project inspired by Renaissance Art. This has conditioned me to always keep my eyes open for inspiration, even if it may not be relevant to that exact moment in time- the chances are that it will be useful in the future.

 © Alice Luker

'Have nothing in your house that you do not know to be useful, or believe to be beautiful' - William Morris.

The Masters

When I was a student, I loved the psychological side to imagery... 'discourse and representation' as it was called; which may sound a little OTT and unnecessary (!) but in my opinion its plays a fundamental role in creating a stimulating and invigorating piece of work.  

I strongly believe that every image I personally create (even those which I feel haven't involved as much thought as others) are based on my subconscious experience and perspective of how I see the world. We dream what we dream for a reason; perhaps during the creative thought process we experience something quite similar.

During the last year of my studies I chose to focus on Renaissance Art. During this project I basically spent all of my spare time visiting art galleries, reading books, browsing the internet...you name it I was determined to make it stimulating both on the surface level and when digging a little deeper. 

There were a few techniques that particularly appealed to me; techniques that undoubtedly stuck in my mind, more than likely influencing my recent projects without too much conscious thought. I'm now approaching the subject of Renaissance/ Baroque art in an editorial soon to come which made me realise the positive impact that my graduate project had on me. One technique in particular continues to interest me; never failing to catch my eye when successfully implemented....

Chiaroscuro

Chiaroscuro is a technique first adapted in art. The term relates to the relationship between light and shadow, often evoking a strong sense of atmosphere and drama based on such visible contrast within the frame.

Baroque artist Caravaggio is known for his contributions to this technique, most famously breaking a hole in one side of the ceiling in his dark studio to encourage a natural stream of sunlight to catch one side of his subject.

My recent interpretations of Chiaroscuro are shown below, taken from my shoot 'The Opium Den' for Ben Trovato earlier this year.  This shoot was also inspired by Oscar Wilde's Dorian Grey; a book focusing on vanity and a more sinister side to beauty.

 

 

My suggestions to all you creatives out there? Delve into the abyss of history... so much beauty that we may not even comprehend originates in the work of the great masters. Although I hate to admit it, nothing is original in this world- but in my opinion, there is nothing quite like the beauty of history; especially the combination of fashion and history combined.

'All art is at once surface and symbol. Those who go beneath the surface do so at their own peril. Those who read the symbol do so at their own peril' - Dorian Grey