Setting the Mood: The Secret Behind Moodboards

As a photographer and creative director of most of my shoots I'm often involved in developing moodboards; a presentation of visuals and text to reflect the concept/ aesthetic of a brief. This stage is so important, not only for production value (proposing to publications, model agencies etc) but also to share full mutual understanding of the concept with the team.

It is advantageous as a fashion photographer to attain a level of knowledge in all aspects of fashion- most importantly styling, makeup and casting models. Luckily for me, I attended various short courses at LCF in makeup, styling and the history/evolution of fashion which have been beneficial when communicating and translating ideas with the creative team. I would never refer to myself a makeup artist or stylist based on this experience but dexterity of knowledge within the fashion industry is key.

Moodboards need to be in depth, clear and concise. I'm rarely fond of a single page moodboard as I feel its important to spread the layout over a couple of pages, enriched with visual references and accompanied by short, pertinent sentences. I'm fond of Microsoft Powerpoint or the equivalent 'Keynote' with my new Macbook Pro. Both programmes are simple and professional, containing all the necessary actions to create the perfect board.

I separate each creative component into individual pages; concept, styling, hair & makeup, lighting/ art direction, poses and models. If its a major editorial shoot or brand campaign, I will often devise a shoot plan in a similar style to the moodboard too, with each page hosting 2 shot ideas with visuals to elaborate. An example page from an editorial shoot plan is below.

Key benefits of allocating a full page per creative focus come into action on the shoot day. They are flexible to physically move back and fourth from prep room to shoot location; allowing the team to stay on point and are ideal to incorporate additional annotations if required- a black sharpie pen is perfect for this.

Most of my moodboards begin with a title page. Sometimes if I feel it's strong enough, I will include a title suggestion for an editorial, or if a S/S brand campaign for example I will simply call it ' (brand name) S/S Campaign'.

The moodboard images featured below are from my editorial shoot 'The Third Degree' for Stylenoir Magazine. I haven't included the page describing the concept (which would be featured directly after the title in a PDF presentation) or the page suggesting specific models.

If I had skills in illustration I would avoid using other photographer's imagery where possible, especially in the shoot plan. Film still references are great to broaden the horizon of inspiration in addition to face charts created exclusively by the MUA for the shoot.

Useful websites for Moodboards

Pinterest- Visuals

Pinterest is fantastic at the pre-moodboard stage- collecting a vast range of imagery relevant to each shoot brief. I'm often a little frivolous at this stage, pinning all images that may reflect the aesthetic/ mood (without too much thought) to be filtered down during the next stage; sub-conscious pinning as it were. You can also invite others to pin to any selected board and create a number of secret boards only be viewed by yourself and those invited. I'm an avid nocturnal pinner...

Style.com- Styling

Style.com contains a filtered selection of catwalk shows/lookbooks during fashion week season, ideal for Pinterest boards. I create 4 boards every season on Pinterest featuring my personal highlights from Milan, New York, Paris and London Fashion Week which are useful when putting boards together. I may even take it a step further and create a trend based sub board from the season as a whole, titled 'futuristic' or 'metallic' for example.

Models.com- Models

To stay in the loop of the current circuit of models, models.com contains all top agency packages from major fashion weeks in addition to top newcomer faces. I have folders on my Macbook and save the model's cards that particularly stand out for future reference.

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I hope this has been helpful, happy moodboarding!

Alice Luker
www.aliceluker.co.uk

Day in the Life of a Film Extra: Martin Scorsese's Mermaid

Before my days of fashion photography I was signed to a number of 'supporting artiste' film extra agencies. I have been on the set of adverts, TV series in addition to big budget films such as Robin Hood and Xmen; each an entirely different, unique experience to the next. I've been painted a luminous shade of orange as a Zodangian civilian in 'John Carter of Mars', choreographed to learn 1920s dance steps for a period drama and doubled for Marion Cottilard in a Miss Dior advert.

My most memorable experience on a film set was Martin Scorsese's Hugo. The scene was inspired by John Méliès, a real life french filmmaker leading many developments in the early years of cinema. His vision was experimental, often using special effects including multiple exposures, time-lapse photography and hand painted colour work to depict narrative scenes. A still from Méliès most recognised film 'A Trip to the Moon' is below. 

My role was to be transformed into a 19th century mermaid, the scene inspired by Méliès 'Kingdom of the Fairies'. In the lead up to filming I attended 3 costume fittings (two of which were at one of the largest costumiers in London, Angels) and one rehearsal on set. The set itself was breathtaking, a greenhouse like structure at Shepperton studios, designed to mimic the Parisian studio where filming would have taken place in the early 1900s. 

You can see me below on the right in the film stills. 

Poseidon sleeping whilst we play a comparably non 19th century game of Uno in wellys and hair nets...

Film production is an unbelievably complex medium, with one 20-30 second clip for example often taking a full day to film. The team involved to make it possible and the attention to detail in continuity, set building, hair & makeup, costume etc is phenomenal.

Although witnessing film production first hand is a bit of an anticlimax when it comes to eventually watching it at the cinema, my involvement has opened my mind to the limitless opportunities of creating visually stimulating images- a valuable experience which continues to inspire me today. 

Alice Luker
www.aliceluker.co.uk

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