Dark City: Neo-Noir Masterpiece

As I'm sure many of you may already know (I have a tendency of mentioning it...quite a lot) I'm strongly inspired by film. I don't like to limit myself by genre either, as I believe that you can harmonise elements of inspiration from all manner of film, art, music etc. The more you exposure yourself to -even if not typically your 'genre of choice'- the more you mentally gather, ready to use as inspiration when the moment arrives.

If there was ever a film for inspiring neo-noir cinematography this would be incredibly high, if not top of my list. From a visual perspective the lighting is incredibly stylised; a futuristic progression of Renaissance chiaroscuro, and a further development from 30s/40s Film Noir. 

The image above on the left is a film still from 'Dark City' and on the right is an editorial photograph from Numero China by Yin Chao. You can see the similarity of lighting style and strong sense of cinematic emotion, enhanced through this multi-toned/coloured conceptual lighting and cinematography.

I absolutely recommend this film, a perfect example of science fiction neo-noir at its visual best. Bonkers storyline yet also very relative to the concept of 21st century hyper-reality we currently live in, more relevant to the fashion industry than we may think...

Alice Luker
www.aliceluker.co.uk

Martha Parsey: Echos of Fashion Photography

It was a couple of weeks ago at the MATCHES.com press afternoon/ evening (which was rather wonderful I must add) that I first came across the remarkable work of Martha Parsey. It isn't often that I see a modern piece of art that I must know who the artist is and knew if I walked away without asking it would haunt me for quite some time...

Martha's work is alluring and emotive, evoking a sense of wealth and beauty often combined with an enigmatic overtone of melancholy. Art that you can get utterly lost in, gazing at the subject in search for meaning within the frame she will forever reside.

I  also see resemblances in a number of her subjects to current fashion figures. Taking the above images for example; the first painting is a carbon copy of fashion model Frida G, the brunette below Jaclyn Jablonski. I'm not entirely sure whether this was intentional but it would be interesting to find out. 

There is no denying that Martha Parsey is an exceptionally talented artist; utilising her studies of film and painting to produce works of art reflective of both film stills and high fashion photography, perfectly pertinent to the 21st century. 

Alice Luker

www.aliceluker.co.uk

'Wedding Dresses 1775-2014' exhibition at the Victoria & Albert Museum

On Friday 2nd of May I had the pleasure of attending the V&A members preview of 'Wedding Dresses 1775-2014' exhibition. After a major revamp in the fashion galleries, this is the 3rd exhibition hosted in the new mezzanine space, following a rather similarly stylised 'Ballgowns' exhibition and 80s club kid-tastic 'From Club to Catwalk'

Although the V&A is currently undergoing an epidemic of bookings from the much anticipated, recently announced exhibition 'Savage Beauty' featuring a retrospective of Alexander McQueen's designs, this is a rather beautiful exhibition of exquisite couture to stimulate your eager tastebuds before it arrives.

A feast for the eyes with both contemporary and vintage couture; a real 'history of art' style collection downstairs, with a more classical normcore-I really can't believe I just said that- outlook, whilst upstairs is brimming with both classical contemporary (see Alice Temperley 'jean dress') and aspirational, truly unique pieces such as Gareth Pugh's creation for fashion editor Kate Shillingdon and John Galliano's dip dyed dress for Gwen Stefani.

Talking of Normcore, queen of the norms Kate Middleton's wedding footage projected in a cosy corner was perhaps the most popular attraction of the exhibition, flocked with both nostalgic smiles of this generations most anticipated royal wedding complete with envious glares at Pippa Middleton's perfectly pert bottom.

The queen of Kates fashion-wise in this exhibition however was filled long before the royal wedding, with Kate Moss' John Galliano dress from her 2011 wedding to Jamie Hince on display. Taking a mind blowing 701 hours to embroider the dress and 253 to complete the veil, seeing the dress (most often referred to as understated..!) in all it's glory puts the beauty of couture into perspective.

With perhaps a more appropriate use of the word, the set design was perfectly understated, with minimalist illustrations on the glass and in the cabinets reflective of a contemporary wedding venue.  One of the highlights of the set were the mannequins; posed, styled and formed to reflect the character and aesthetic of the wearer. The finest example of this I believe to be the purple corseted Vivienne Westwood number for Dita Von Teese, with perfectly enhanced cleavage to accurately fit the corsetry splendour.

My personal favourite from the exhibition has to be the Christian Lacroix finale dress from his 1992/93 collection. The dark romantic concept of the black veil and spectacular gold intricacy on the collar and cuffs was an instant attraction for me. Probably one of the least wearable as a mere mortal wedding dress, this showpiece encapsulates couture wedding fantasy in its finest form, not to mention a spectacular piece of art.

Wedding Dresses 1775-2014' runs from the 3rd May 2014- 15th March 2015

Alice Luker
www.aliceluker.co.uk