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

Jean Paul Gaultier at The Barbican

I had the pleasure of visiting one of London's latest, most anticipated fashion exhibitions last week'; 'The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk' at the Barbican. Organised by the Montreal Museum of Fine Arts and having already caused quite a stir in a number of museums, the all embracing irresistable legacy of Monsieur Gaultier appears to be stronger now than ever.

Collaborating with countless icons within fashion and music, Gaultier has claimed some of the most exalted and memorable moments of the 21st century, the most celebrated of which being the infamous cone bra for Madonna. He provided a breath of fresh air in the fashion industry at an opportune moment- when pop stars were dominating contemporary culture as the new 'icons' of society and when supermodels were household names. Fashion photography and film were becoming more developed, accessible and creative by the day; with Gaultier's vision fully embracing this.

If there was ever a fashion exhibition expressing the very epitome of  'feast for the eyes', this would be it!

'The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk' runs until 25th August at the Barbican...AND has its own cocktail bar!

Alice Luker
www.aliceluker.co.uk

'The Glamour of Italian Fashion 1945-2014' Exhibition at the V&A

I have a slightly unhealthy obsession with the V&A museum. Ever since I was commissioned to shoot an editorial there back in 2010 (involving not only models but cats and caviar!) I have felt quite a special connection, as though the V&A is my London refuge amidst the bustling streets I regularly prowl for meetings and shoots.

Sparked by my infactuation with the V&A and admiration for Italian fashion, I was delighted to be offered the opportunity to visit their press view of new exhibition 'The Glamour of Italian Fashion 1945-2014', enriched with flawless craftsmanship and a perfect compilation of words, illustrations and interesting documents at the forefront of the italian fashion industry between 1945-2014.

As a self confessioned film fanatic, I wholly appreciated the film references, from Audrey Hepburn's dress in War and Peace to the glimmering emerald Bulgari jewellery gifted to Elizabeth Tailor by Richard Burton during their 'Cleopatra' days in the early 60s.

There were a couple of standout pieces for me (habitually influenced by editorial concepts I currently have on the go)- mainly leopard print, leather and strong tailoring. I also appreciated the selection of more contemporary pieces, including a pair of Prada shoes from 2012, inspired by 1950s motor cars and a S/S 2014 Mui Mui coat.

The 2012 Prada shoes and a tailored leather dress by Trussardi from 1963 is below.

The exhibition is in depth and prosperously laid out over a satisfying number of themed rooms. It seems they have taken note of their often crampt video alcoves, with the key projection towards the end with significantly more room, fit for a clear(ish!) view.

'The Glamour of Italian Fashion 1945-2014' is well worth a visit and thoroughly inspiring..especially for a creative soul like myself. The gift shop you are directed through at the end is also notably tempting, with relevantly themed film posters, jewellery, accessories and books.

'The Glamour of Italian Fashion 1945-2014' opens Saturday 5th April - 27th July 2014
The V&A is open daily from 10-17:45 and until 22:00 every Friday

Alice Luker
www.aliceluker.co.uk

'The Grand Budapest Hotel'

Over the past couple of years I have been increasingly inspired by film. Film is such a powerful, emotive tool, enriched with ambiguity via vast mechanically reproduced concepts of reality. From Marvel superheroes to less conspicuous protagonists, the spectrum of ideas and thematic sequences appear almost infinate.

Cinema also illustrates a fine example of how relative and thought-provoking the creative industry can be, stimulating both visual palette and conceptual thought.

Earlier this week I watched 'The Grand Budapest Hotel' (directed by Wes Anderson; known previously for Moonrise Kingdom, The Darjeeling Limited and Fantastic Mr Fox) at the Odeon in Marble Arch. I found the cinematography and set beautiful, complimented by a quirky script and satirically camp characters.

Wes Anderson's vision is alluring and unique; set within a parallel yet culturally stimulating universe to our own. Overall, I found 'The Grand Budapest Hotel' perfectly stylised and a visual treat to absorb as a photographic artist- 4/5 stars!

Alice Luker
www.aliceluker.co.uk

Psychology, Science and Art: Part 2

Minds are constantly 'evolving'; in a flux as new knowledge is processed and chemical/ emotional reactions follow. I feel in a privileged position as I believe that I have always had a strong connection with my concious mind as it has developed through the years.

I'm intrigued by psychology & science and it's connection within the arts. I'm both a product of society and a rebel of my own terms, conciously (yet in many ways unconciously) seeking ways to project my perspective through the form of art.

I remember a moment in school at 13 years old with my friend during lunch. We were discussing reality of life and philosophy, whether there could be a possibility that we were living in a simulacrum (not that I knew what the word meant at the time!), more simply described as living in 'The Truman Show'.  From an early age we were were often discussing philosophy as a theory to challenge and debate our existence.

As radical as it may sound, I believe that individuals either have a real interest in the complexities of philosophy within world or don't, often dependent on education. All opinions that we have are mere theories and contradictions but contradictions are challenges, stimulating our minds, inspiring art. 

There is a fascinating interconnection between reality and fantasy. Reality is a mindset. We cannot single handedly modify the inevitable that we are born into a world pre determining the majority of who/ what we are but what we can educate and stimulate our mindset. 

Experiences are what makes us as individuals who we are; positive or negative, our mind is in control of determining fulfilment and healthy reality of self. There is too much pressure in this world of conventional, pop culture 'reality'- when it comes down to it, confidence and individuality is key.

Alice Luker
www.aliceluker.co.uk