Evaluation

I feel very pleased with my final outcomes of this project. I have deepened my knowledge and understanding of the fashion business in more than one way. I have learnt how to apply my work from magazines to film to web based programmes in what I believe as a professional standard.

I began this project with an idea of looking in to the Grand Tour and bringing back the life of the aristocrats that shaped Britain today. After the brief with Zoe Sinclair from The Girls it was discussed that I try to incorporate the Paper Eaters live project within my brief. I therefore took my original 18^th century approach and combined it with The Girls 80’s inspiration.

During the project I felt that I really pushed myself to the best of my abilities. I have learnt that most things do not work out how you plan, for example I had a lot of people cancel, become ill and other problems but I think in this industry you have to learn early on that you cannot rely on people. Because I was so organised it meant that when things changed I could show clearly what I wanted and needed from new collaborators. I also found that sometimes when things don’t seem to be going to plan a positive usually arrives that may change the project but it can usually be for the better. I learnt this when I contacted Stanmer House as I had not heard back from Kingston Lacy, later when Kingston Lacy got back to me it meant that I had two locations to work with. This opened up new possibilities and I think added a new dimension and connection to my project that I had not previously considered. I could play around with the whole inside and outside concept which has become the basis of my final outcomes. You must always be prepared to change and it is from these changes that I felt really pushed my work forward.

Throughout this project, my main task was to collaborate and make as many new contacts that I could work with in the future. I think due to the constant change of people it meant that I could also find out who I would defiantly want to work with in the future and who I now know are not the most reliable, that has also led to people wanting me to work for them in their future projects.

I found that my PDP documentation was the best way to communicate with people and very early on I transferred all my information from my sketchbook to my blog as I could easily show my team my changes, thoughts and reflections that I wanted to produce from this project. I therefore stopped using my sketchbook as it stopped the easy access of information the blog supplied.

Having done a tester shoot for this project I have found that it enabled me to clearly plan what, when and where I wanted my shots to be at the location. Visiting the location in advance with the photographer and film director helped us to discuss the best possible shots and make the day at Kingston Lacy run smoothly. Because I had planned all of this, it meant that when my photographer became ill another was able to step in with a clear idea of what was needed.

Having the film and photographers edit the final footage really helped me out as I was able to transfer my skills to producing a well thought out website and magazine layout.

By using a magazine to base my layout of my photographs on has really enabled me to understand the thoughts and processes that go behind putting an editorial magazine together. I found that everything from font, size, shape and layout has to be addressed to make the magazine work well. From doing this it has made me consider what I would apply if I were to create my own magazine. It has also shown that there is a lot more thought processes than just putting a photograph on a page with some text.

I think the biggest change for me from my original synopsis is the fact that I have decided not to work with The Girls on The Paper Eaters Project, the main reason being due to the time constraints. As my schedule kept being pushed back due to changes I felt that it would be better to propose my final outcome once I had done the shoot. However, due to signing the National Trusts Photographers Contract for Amateur/Private Use documentation this meant that I now have to get granted permission from the National Trust if I want to let The Girls use my work. I felt that I have stepped too far into my own work that The Girls Paper Eaters Project now has little connection to my final outcome. I have therefore decided that I will probably enter the film into the French Fashion Film Festival this summer to gain more publicity and try to start getting my work out in the public eye.

Another thing that has increased in this project has been my budget, whilst I intended to only spend £100 I have found that I have had to spend more on travelling costs and food for my team, this however comes with working with a bigger team and I will need to address this again when working with as many people.

From this project I want to take forward my professional approach to organising and planning a photo-shoot. By doing this I think it will enable me to produce work to the best of my ability.

Next year I will start collaborating with Naomi Farmer who is also studying Fashion Studies communication. The reason for this is because we feel that we work very well together, she has assisted me with my work and I have done vice versa. By doing this we hope to transfer both our skills and knowledge that will hopefully mean that our work can move forward together. We are hoping to create a styling team/business that can work alongside magazines, film, wardrobe and television work. Working together will also help us to share out the work load and push our boundaries even further, this will mean that we will be able to bring together bigger and better projects.

Collaborators

Producer and Stylist

Victoria Smith

Film Director and Editor

Alex Gardiner

Website

Joshua Stanbridge

Logo Designer

Lewes Jillett

Photographers

Emily Passmore

Ben Quinton

Models

Katie Roberts

Lizzy Perry

Elise Price

Ilana Goddard

Emma Sutton

Matt Small

Holly Macedo

Make-Up Artists and Hair Stylists

Lydia Pankhurst

Laura Hyman

Charlotte Stagg

Charlotte Millerchip

Lauren Ward

Emily Indah

Costume Designers

Scott Perkin

Richelle Rudeen

Beka Lucy Russell Pulling

Jennifer Hughes,

Ilishio Lovejoy

Costume Assistant

Anushka Tay

Stylist Assistant

Naomi Farmer

Assistants

Jonjo Chester

Emily Smith

With Special Thanks to:

Martin Granados at Kingston Lacy

Samantha Holland at Stanmer House

And The Nation Trust