audit 2

Juanita Richards
Creative Direction for Fashion
Final Major Project
RIC13398243

Contents Page
Background Context
Recycling and reinventing
Market analysis
The Ed Hardy brand
The capsule collection
Brand Opportunity Options
Target audience
Initial communication ideas
The brief
Concept development
Ed’s back campaign
Design Development
Initial design ideas
Styling
Location scouting
Hair and make-up
Model scouting
Film experiment 1
Film experiment 2
Film experiment 3
Pre-Production
Production Plan
Sourcing collaborators
Confirming locations
Lighting experiment
Film treatments
Call sheets
Post-Production
Editing film content
Editing advertorial content
Placement
Social media
Website redesign
Advertorial; booklet, posters and media pack
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108,109,110
Evaluation
Appendices
Bibliography
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Abstract

This project explores how brands that were once defunct
are able to reposition themselves in order to make a revival.
Focusing specially on the controversial fashion brand Ed
Hardy, market analysis identified the opportunity for the
brand to utilise their original brand aesthetic and capitalise on
current trends. An exploration into the most effective method
to communicate the brands original ethos whilst employing
contemporary references, it was discovered how the target
audience will perceive the brand as fashion-forward within a
manner authentic to the brand. Specific focus was on creating
a communication strategy adapted to the position of the
current cultural landscape. The ‘Ed’s Back’ campaign will work
across an array of platforms, the main part of the campaign
will be film content which will be distributed via social media
and specific online fashion platforms. Additionally, advertorial
content in the form of a booklet and poster will be created
to interest audiences further. This project will delve into how
audiences who consider the brand undesirable can rid their
negative perceptions, as well as discovering how to engage
new audiences who have no awareness of the brand.

Background
context

1
Recycling + Reinventing
Audiences are driven to buy a brand because of their innovative offerings. Brands that were once unique
become undesirable to audiences due to ‘trickling down’. Theorist, Veblen (1889) identified fashion trends
‘trickle down’ referring to how fashion flows from the upper class to the lower class. His theory highlights
how lesser social groups imitate fashions from higher social groups. In response, the latter seek innovative
fashions to differentiate themselves from the former. Subsequently, audiences seek a continuous cycle of
change and innovation continues to drive fashion forward. This puts pressure on brands to continuously
have innovative offerings. One could question -
How do brands not destined for longevity keep up
with this continuous demand?
Through research into a 2017 trend report on LSN Global it was discovered millennials are now looking for
newness by wearing clothes that are considered bad and uncool to others (Mickiewicz, 2017). Within the
book The Tipping Point (2005) Gladwell uses the example of Hush Puppies to explain how the notion of
newness can drive trends. Sales for Hush Puppies were down when suddenly they became hip in downtown
Manhattan. This happened through the shoes passing a certain point in popularity and ‘tipping’ (2005, p.5).
Left to right: Gosha Rubchinskiy, AW15, Vogue.
Kappa 2016 campaign photographed by Vicky
Grout. Champion 2015, Asos look book
Gosha Rubchinskiy is a brand who has successfully recognised desire for uncool and authentic items
within culture and responded appropriately. The brand modelled itself on knock-off versions of US brands
such as Tommy Hilfiger and Nike (Mickiewicz, 2016). Champion and Kappa were once seen as uncool in
fashion and weren’t even considered relevant within the realms of sportswear. However, through the revival
of styles many once-popular brands are able to re-emerge and tap into the renewed obsession of all things
old school (Rayment, 2015).

A brand of particular interest is Juicy Couture, Juicy Couture regained initial attention through collaborating
with Vetements within their Spring Summer 2017 ready-to-wear collection. Post collaboration, Juicy Couture
created the #TRACKISBACK campaign which pays homage to the brands original ethos, attempting to
revive the brand through print, digital and social media. Societies current obsession with nostalgia and
revival trends contributed to Juicy’s success. Reynolds supports this notion within his writing Retromania
stating ‘there has never been a society in human history so obsessed with the cultural artefacts of its own
immediate past’ (2011, p.3). This research lead to exploration on how brands who are considered uncool
and not currently relevant can strategise to regain validation within contemporary culture.
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#TRACKISBACK
Juicy Couture Fall 2016 campaign,
photographed by Nagi Sakai

3
Market analysis
Investigating into popular current trends
Brands that were once considered uncool have been able to regain validation through positioning themselves
at a precise point in the trend cycle. For a brand to make a comeback their aesthetic must illustrate current
popular trends. Determining which brands have the potential to make a comeback should be preceded by
establishment of popular current trends.
Previous research helped to understand the popularity of revival trends. There is a popular current trend
of 90s revival, with many popular high fashion designers referencing the 90s. Additionally, an article on
popular fashion forecasting site Highsnobiety discusses the popularity of the 00’s revival (Dhillon, 2017).
MISBHV is a brand utilising 00’s revival and nostalgia. The brand has gained an array of social media
attention, Dazed identifies MISBHV as the ‘brand who killed it at New York Fashion Week’ (So, 2016).
A trend report on Vogue (Yotka, 2016) helped identify the popular current trend of brand merchandise
aesthetic. LVMH shortlisted designer Dilara Findikoglu employs this aesthetic within her Spring Summer,
2016 collection. Also, Vetements, arguably one of the most popular contemporary fashion brands (Li, 2016)
use brand merchandise style typefaces and goth skull illustrations on their garments.

Through Ed Hardy being a brand that was once considered uncool and embodying a similar aesthetic to
trends that are contemporarily popular I was able to recognise the opportunity for the brand to capitalise on
the current trend cycle in order to make a revival.
4
Vetements using Ed Hardy motifs within their Fall 2016 ready-to-wear collection, Vogue
Left to Right: Vetements Fall 2016 readyto-wear,
Vogue. Dilemma Findilkoglu
cone bra, Machine-A. Vetements Spring
Summer 2016 top, La Garçonne. MISBHV
Black 2000 hoody, Sense. MISBHV
Techno hoody, Sense.

5
Ed Hardy is a brand that gained commercial success in the early 2000s. The brand became popular
through signing a deal with Christian Audigier. This deal meant he had the rights to produce products with
Ed Hardy’s art. An incredibly profitable deal led to the Ed Hardy brand being renowned worldwide. Celebrity
endorsement rapidly increased sales, however it also meant the brand contained extreme character
associations which quickly made the brand non-exclusive. Gradually, the brand became considered uncool
as not everyone wanted something that lots of people had.

6
Ed Hardy
In 2016 the brand launched a menswear collection, which was stocked exclusively
at FootAsylum. Comparative analysis of the 2016 menswear collection to the original
brand makes it evident that the brand’s new line has tried to change direction to the
original brand aesthetic. There is still reference to the spirit of the brand but the overall
aesthetic is more subtle and toned down. Ed Hardy’s original brand has a strong
identity. Trying to disrupt this could cause issues and could leave audience confused
and left feeling the brand is inauthentic. The new collection’s current techniques fail to
be fashion forward and could leave the brand one step behind due to their attempt to
pursue high street trends. In 2016 the brand also collaborated with Illustrated People,
effectively tapping into nostalgia and revival trends. However it lacked confidence
similar to the menswear collection and due to being a collaboration only partially
communicates the original brand aesthetic.
Logo from Ed Hardy x FootAsylum 2016
collection, photographed by Juanita
Richards
Top to bottom: Illustrated People x Ed
Hardy 2016 collaboration, Asos. Ed
Hardy x FootAsylum 2016 collection,
photographed by Juanita Richards

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MAKING A COMEBACK
The original Ed Hardy brand making an apperance within
current culture
An article ‘Ed Hardy is making a comeback’ on Refinery 29, identifies that ‘in the last few weeks alone,
we spotted several cool labels and ‘it girls’ on Instagram trying to make that gaudy cursive lettering and
rhinestone goodness a thing (Coscarelli, 2016). This article, alongside Vetements featuring Ed Hardy motifs
within their Fall 2016 collection and several popular, social media enthusiasts wearing original, vintage
Ed Hardy garments proves there is potential for the Ed Hardy brand to capitalise on their original brand
aesthetic in order to make a comeback.
Left to right: social media enthusiasts @samimiro
and @red_shiraz in original Ed Hardy garments

8
On the brands Instagram this is evident through them posting content of individuals within original Ed Hardy
garments using #edsback, however the content fails to contain contemporary references and is not curated
in a manner fashion-forward individuals would engage with. The majority of the content is from celebrities
wearing the brand within 2000’s, lacking contemporary content.
#edsback
Screenshot taken from Ed Hardy’s
Instagram page, posted in 2017

9
THE CAPSULE
COLLECTION

Naturally, I assumed the original Ed Hardy garments were still being created. However, research soon
revealed the Ed Hardy brand is currently only distributing their new menswear collection and the original
Ed Hardy garments are no longer being produced. This created an initial step back in researching how
the brand could revive with no garments being produced. However, the decision soon arose to propose
a capsule collection of vintage Ed Hardy garments. The capsule collection will be made up of specifically
selected exclusive garments which truly embody the height of the original Ed Hardy brand.
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Brand
OPPORTUNITY
Options

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Target audience
Investigating who the capsule collections consumer would be
In order to think of the most effective way to revive the original Ed Hardy
brand I had to gain a thorough understanding of the target audience
to whom the capsule collection would appeal to. Initially, I recognised
the original Ed Hardy brand had to appeal to young demographics
due to market analysis revealing the original brand embodies current
trends popular within youth culture. I considered targeting Generation
Z as many individuals would not be aware of Ed Hardy’s brand due
to their young age. This could work to an advantage as they would
not have negative perceptions of the brand. However, targeting an
older generation who knew the brand, such as millennials could spark
interest through the theme of nostalgia being tapped into, similar to
Juicy Couture repositioning ‘intended to revive interest among onetime
fans’ (Nick Woodhouse quoted in Morency and Jiang, 2016).

Left feeling confused about the age of the demographic to target, I expressed my
concerns within a specialist tutor with Ben Freeman (founder of Ditto Press). Ben
highlighted the importance of not placing too much focus on targeting an audience
based on their age. An article on Marketing weekly supports Ben’s notions in stating
‘attitude replaces age for targeting consumers’ (Chahal, 2015). I decided on an age
range of 16-26 for the target consumer but recognising that their attitude would be
of key significance. It was integral to recognise the target audience will be niche
due to the original Ed Hardy brand being tacky, vulgar, bold, gaudy and loud.
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15
initial communication ideas

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17
Still focused on the trend of customisation, I considered creating an exclusive Ed Hardy toy, motorcycle
merchandise and exclusive Ed Hardy motorcycle jackets created in collaboration with Ava Nirui, a
popular contemporary fashion designer. These ideas were based around tapping into the brands
original ethos of motorcycle rebel culture.

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Through a class critic session it was evident all of these communication methods contained many issues.
A peer member questioned ‘why would an individual spend money on a publication for a brand that have
little-to-no awareness?’. A significant question, which made me re-think the best method of promotion.
The class critic also highlighted that making communication exclusive while trying to promote a brand that
is not perceived as fashion-forward would be irrelevant. This led me to conclude my main focus needed
to lie within increasing brand awareness in a way that targets the correct audience; the communication
method had to start off by reaching the audience on an already connected platform. Additionally, it was
significant to recognise despite appealing to a new target audience the communication method should
not alienate existing fans of the Ed Hardy brand.
I considered creating a pop up store for the Ed Hardy capsule collection with Selfridges design studio.
However, I soon identified in order for the revival to be successful the audience need to see how the
clothes can be style and on the correct people in order to spark interest and allow the clothes to be
demonstrated within a fashion-forward way.

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FURTHER DEVELOPMENT
Confused on the best method to target the audience, I met with Ed Hardy’s current PR and marketing
agent, Lorna Milken. After explaining my aims and objectives to Lorna, she advised creating a film which
can be shared across an array of platforms as an effective method of promotion. Through creating a film I
would be able to showcase the original brand aesthetic, prompting it through styling, casting and locations.
Additionally, moving image is a great way for audience to gain emotional engagement with a brand.

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THE BRIEF
THE OBJECTIVE
To engage a young, edgy and fashionable audience with the brand and to
create desire for the product - hypothetical capsule collection.
The objective will be delivered to the audience through a campaign which raises
awareness of Ed Hardy’s original brand aesthetic and illustrates how it can be
relevant within contemporary culture.
THE message
The original Ed Hardy brand can make a revival and be a successful à la mode
fashion brand.
THE audience
The communication is intended for fashion-forward females, particularly those
interested in cutting-edge experimental and innovative fashions. A cult follower
who utilises the current trends of revival and brand merchandise.

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concept
development

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ED’s
BACK

The campaign will also involve advertorial print content being created in the style of a pamphlet. This
will be distributed within a variety of fashion magazines the target audience engage with, as well as being
distributed in various, innovative fashion-forward shops within London. Awareness will be created through
the audiences being able to physically engage with the content making it visible to them the capsule collection
can be fashion-forward within contemporary culture
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I decided the ‘Ed’s Back’ campaign will work through creating film and advertorial content which will
communicate the original brand’s ethos on an array of platforms. The brand is already using #edsback.
Using the same hashtag within this project will increase interaction and further reinforce the notion. With a
2016 report on Ofcom (the UK’s communications regulator) recognising 99% of 16-24 year olds spending
an average of 2 hours 26 minutes a day on social media this affirmed a social media campaign was one of
the correct methods to promote the ‘Eds Back’ campaign.
Social media will be able to increase the brand recognition; using the platform as a way to express the brands
voice and content. Additionally the content will have the opportunity to syndicate, for example, a frequent
Facebook user could become engaged with ‘Ed’s Back’ through stumbling across it on their newsfeed.
Additionally, an apathetic customer may become more acquainted with the Ed Hardy brand after seeing
the content appear across multiple platforms. Additionally, the campaign will give Ed Hardy the opportunity
to convert audiences who had a negative perception of them. Every post creates a new opportunity and a
chance to gain interest from the audience. All of the content posted will state www.edhardyoriginals.com
informing audience where they can shop the collection.
The film content will also be posted on online contemporary fashion magazine platforms that are renowned
for their dedication to fashion and youth culture in order to reach a wider audience. Additionally, through
audience seeing the film posted on renowned fashion platforms the audience will perceive the campaign
as fashion-forward.
The campaign will also involve advertorial print content being created in the style of a booklet and poster.
This will be distributed within a variety of fashion magazines the target audience engage with, as well as
being distributed in various, innovative fashion-forward shops within London. Awareness will be created
through the audiences being able to physically engage with the content making it visible to them the capsule
collection can be fashion-forward within contemporary culture.

25
Communicating the original Ed Hardy brand ethos was the main driver for concept development. It was
discovered the fundamental characteristics which best communicate the height and spirit of the Ed Hardy
brand are; Hollywood stardom, motorcycle rebel Culture, youth of America and tattoo art. Therefore, I decided
to focus on these three themes with an overall theme of the Youth of America represented throughout.
Youth Of America
Hollywood Stardom
Motorcycle Rebel Culture
Tattoo Art

Hollywood Stardom
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Top to bottom: Ed Hardy by Christian
Audigier campaign. Ed Hardy custom
painted Suzuki Hayabusa Edition. Ed
Hardy’s artwork
This theme explores the Ed Hardy brand in the height of their 00’s commercial success; the brand was
heavily associated with flashy LA and Vegas lifestyles. The brand was worn a lot by socialites, including
the likes of Paris Hilton and Kim Kardashian. It focusses on the very girlie clothes within the original brand,
particularly garments embellished with diamantes.
Motorcycle Rebel Culture
The original spirit of the brand is associated with a rebellious nature. Additionally, the brand created a lot of
motorcycle gear. Ed Hardy himself had a strong passion for motorcycle culture, this is reflected within the
original brand. This theme will particularly focus on the dark, rebellious, grunge spirit communicated within
the original brand.
Tattoo Art
The original brand contained designs with Ed Hardy’s tattoo work showcased on the garments. His work
specifically focuses on Japanese art, skulls / cross bones and roses. This theme effectively communicates
Ed Hardy’s tattoo designs.

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DEsign
development

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Hollywood
Stardom
In order to communicate the themes and engage the target audience it was integral to use contemporary
references. The initial phase in achieving this was through creating mood boards. The following three mood
boards illustrate general inspiration which associate each theme with popular current trends.

This mood board illustrates contemporary references that can be associated with the theme of Hollywood
Stardom. Through market analysis I was able to identify the current popular trend of nostalgia / revival
trends, as well as deliberately tacky and uncool fashions being worn as a means to be fashion-forward. A
reference of particular importance is the editorial of Kim Kardashian, in Wonderland magazine, shot by Petra
Collins, the images illustrate each of the contemporary trends I aim to communicate within the Hollywood
stardom shoot. Additionally, the Kehlani editorial in Galore magazine shot by Amber Asaly illustrates popular
current trends in which the content for the Hollywood Stardom shoot aims to communicate. The styling for
this theme will be incredibly girlie with a slightly sexy undertone, tapping into 90’s / early 00’s revival and
kitsch aspects.
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All images taken from Pinterest
All images taken from Pinterest

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Motorcycle
Rebel Culture
With rebellious fashion and grunge style being an evident trend within contemporary culture, this mood
board illustrates how this style can be tapped into in conjunction with motorcycle rebel culture. This mood
board illustrates reference to punk culture, with the trend of mullet hairstyles featuring in contemporary
fashion magazines such as Teeth, this is a particular aspect which can be associated with motorcycle rebel
culture and can be utilised through the casting of the model.
Teeth magazine, Isabel Alsina-Reynolds
photographed by Erika Bowes and Yuki
Haze, 2016

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Tattoo Art
Market analysis revealed there is a current popular trend of brand merchandise aesthetic, with many fashion
brands employing this. The original Ed Hardy brand contained brand merchandise typeface similar to that
used within brand merchandise aesthetic. This trend could be employed to communicate the tattoo art and
heavy, vulgar designs used in the original Ed Hardy brand.
All images taken from Pinterest

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STYLING IDEAS
Exploring Ed Hardy garments which can be used for each theme
I explored which particular Ed Hardy garments could be used in order to communicate the height of the
themes as well as which garments best embody contemporary current cultural trends. These images
illustrate clothes from the original Ed Hardy brand which could be part of the capsule collection. Through
researching into the clothes I was able to gather an idea of which garments could be used for the styling
within the film and advertorial content.
Hollywood
Stardom
Motorcycle Rebel Culture
Tattoo Art

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All images are screenshots taken from Ed Hardy Store Sale online

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The following visualisations illustrate experimenting with how garments could be styled
together in order to discover outfits which best communicate the original spirit of the
brand as well as employing the contemporary references.
STYLING visualisations
The first styling experiment uses
a denim mini skirt and cropped
hoody due to being popular trends
within 00’s. Additionally, the look is
effective in illustrating the theme of
Hollywood Stardom, however the
overall look is minimal and lacks a
uniqueness and a fashion-forward
edge.
The styling of this look was heavily
inspired by Juicy Couture’s velour
tracksuits, the success of Juicy
Couture inspired thought on how
a similar aesthetic could work
in reviving the original Ed Hardy
brand. However, the look is very
casual and contains a specific look,
which risks limiting the audience in
which it appeals to.

Browsing eBay I came across this
Ed Hardy swimsuit, the garment
embodies the height of Hollywood
Stardom. However, through creating
this visualisation I discovered the
swimsuit was extremely low cut and
looks too overtly sexual.
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Modifying the swimsuit using
Photoshop I was able to
experiment with how it could
look if altered into a crop top.
The crop top worked effectively
in referencing 90s nostalgia and
created an overall aesthetically
pleasing look. I experimented
with trying the top on with tracksuit
bottoms but the trousers made
the overall look appear too casual
and didn’t tap into the theme of
Hollywood Stardom effectively.
Through further experimentation I
paired the crop top with low-rise
jeans; the jeans embody the theme
of Hollywood Stardom through the
dimante embellishments which
tap into contemporary references
through the current theme of tacky
items being worn. Pairing the crop
top and jeans with the bright Ed
Hardy hoody made the overall look
more colourful. This was successful
in communicating the Hollywood
stardom elements of the brand whilst
tapping into current contemporary
trends.

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Hollywood
Stardom
LOCATION SCOUTING
Finding locations which complement each of the themes was essential alongside employing
contemporary references to interest the target audience for the campaign to be successful. The
main inspiration for location for the Hollywood Stardom theme was girlie, particularly focusing on
the colour pink and having a tacky aesthetic.
Left to right: South-end-on-sea, Pinterest. Palm Vaults, London, Time
Out, 2016
II considered using an amusement park such as South-end-on-sea in order to tap into nostalgia.
However due to the logistics of travel and planning on shooting within the half term break (when
the location would be very busy) I decided against this. While considering locations within London
I discovered Palm Vaults, a place which Time Out (Manning, 2016) recognises as ‘London’s most
Instagramable cafe’. The location looked effective from the exterior; however the interior was
minimal and lacked the dramatically tacky element.

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ROWANS
I visited Rowans arcade in Finsbury Park. The location carried the tacky element and contained
nostalgic elements; however the location didn’t connote ‘girlie’. The visit to Rowans sparked thought
of how effective a location with bright, colourful lighting would be in communicating Hollywood
Stardom, as well as success from an effective purpose in highlighting the styling.
GODS OWN JUNKYARD
Top to bottom: Rowans arcade, Finsbury Park, photographed by Juanita Richards.
Gods Own Junkyard, Walthamstow, photographed by Juanita Richards
After researching locations with bright and interesting lighting in London, I discovered Gods Own
Junkyard. Right from the minute I stepped into the location I knew it was perfect for what I had
envisioned. The bright lights, girlie aesthetic and tacky elements perfectly embodied the spirit of
Hollywood stardom for the Ed Hardy brand. Certain aspects within the location perfectly illustrated
the original brand, such as the Las Vegas sign; this illustrated the link to youth of America and
Ed Hardy being associated with the Vegas lifestyle within the height of the brands success. With
Instagram being filled with shots of audiences at the location this will allow for further interest from
the audience of the ‘Eds Back’ campaign due to the location being contemporarily popular.

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Motorcycle rebel culture
Top to bottom: Ace Cafe, Fat Boys Diner, The
Diner, Meat Liquor
The initial stage in discovering a location for motorcycle rebel culture was considering where motorcyclists would
hang out. Discovering an American style diner or cafe could be successful, I researched an array of locations within
London, including Ace Cafe and the Diner (please see appendix A for full conversations). I contacted Fat boys diner,
a location having an aesthetic I had envisioned but was unfortunately way higher than my budget. When contacted,
Meat and Liquor expressed this was not something they were keen to partake.

After various emails and phone calls to diners within London, I finally discovered Big Moe’s within my budget. They
agreed to allow shooting for 4 hours across two days, prior to their opening hours allowing full access across the diner.
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Big Moe’s Aldgate East, photographed by
Juanita Richards, 2017
BIG MOE’s
Big Moe’s contained the American aesthetic I had envisioned but was too neat, sleek and sophisticated which didn’t
represent a place in which a motorcyclist would hang out. Therefore I researched bars with an American aesthetic
within London. I visited Far Rockaway, Shoreditch and realized that it didn’t illustrate American or motorcycle culture.
On the contrary Rowans bar represented American and motorcycle culture but the location was minimal and ran the
risk of creating boring content.
Top to bottom: Far Rockaway, Shoreditch
photographed by Juanita Richards.
Rowans, Finsbury Park photographed by
Juanita Richards
Slim Jim’s, Time Out, 2017
far rockaway
slim jim’s
ROWANS
The final location I scouted was Slim Jim’s Liquor Store, the bar had an American vibe and effectively illustrated a
place in which a motorcyclist would hang out. The low-lighting, neon lights and bras hanging from the celling were
perfect elements for communicating the theme effectively and creating interesting content.

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Tattoo Art
For the theme of tattoo art, I had envisioned the location would be a tattoo parlour. I began my initial
search by contacting tattoo parlours outside central London and decided to focus on smaller less popular
parlours as I had no budget. My search revealed many parlours that either didn’t look the part or looked
outdated as opposed to being contemporary and complementing the styling. Furthermore, tattoo parlours
with the correct aesthetic where typically the most popular and denied access (please see appendix A
for full conversations). As a result, I had to widen my search contacting over fifty tattoo parlous via phone
and email. I was able to gain permission from 5 tattoo parlours, however only 2 allowed permission with no
budget.
THE SLEEPING BUDdHA
Photograph and screenshot of a video taken at Sleeping Budha tattoo
parlour by Juanita Richa
One of these locations was The Sleeping Buddha, containing vast amount of art work on the walls. However,
the overall aesthetic didn’t embody the Ed Hardy brand. The purple walls didn’t represent the original brand
and would mismatch with the styling. Another disadvantage was the location was within the outskirts of
London, which from a logistical point of view could contain many issues.

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STOKTER
Stokter tattoo parlour photographed by Juanita Richards
The other location which allowed for permission was Stokter tattoo parlour. The location had a contemporary
feel and red being the predominant interior colour felt appropriate for communicating the original Ed Hardy
brand. Prior to location scouting I had envisioned a model on a red tattoo chair for the film and advertorial
content and Stoker contained this. Another advantage was the friendly staff, having a comfortable ambience
was of key importance.

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HAIR + MAKE - UP
The correct hair and make-up looks were essential in effectively tapping into the three themes alongside
complimenting the styling. The initial phase for confirming hair make-up looks was done by gathering
inspiration from Pinterest. These mood boards illustrate the initial phase.
Hollywood Stardom
Motorcycle rebel culture

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In order to engage the audience to the theme of Hollywood stardom I decided to tap into the current trends
of nostalgia and popular 90s/00s revival trends for the hair and make-up such as crimped hair and twisted
style buns. I also considered using dimante hair clips similar to the original Ed Hardy brand alongside
tapping into the popular trend of tackiness. I gathered inspiration for make-up which explored the notion of
being dramatically girlie, looking at bright pinks and glitter for the eyes and lips, which again taps into the
nostalgic/ revival trends.
All images take from Pinterest
photoshop experiment
Marques’Almeida,
2014 Show
Autumn Winter,
For the theme of Motorcycle rebel culture, I experimented with Photoshop to create the above visualisation mockup
of a model with a head scarf tied around her head, in reference to female motorcycle gangs. The experiments
while providing an interesting aesthetic could mismatch with the clothes and cause a distraction away from them
which is a main focus for the campaign. Therefore, I looked at hairstyles which involved having the hair down, messy
backcombed style hair tapping into the rebellious nature the themes embodies. Particular inspiration was taken from
the hairstyling of models within fashion designers, Marques Almeida’s Autumn Winter, 2014 Show. I also considered
the use of hair braids, hair rings due to this being a current trend and to make it interesting. Due to the themes
focusing on rebellion, I gathered inspiration from dark, smoky eyes make-up looks. I discovered the eye make-up had
to be messy, as looking neat could look too sleek and sophisticated, failing to communicate motorcycle rebel culture.

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Tattoo Art
Due to tapping into tattoo art I initially thought it was essential for the model to have fake tattoos, done with make-up or
using transfer tattoos. Gathering the below references I was inspired to do tattoo designs on the models face.
‘FACE POST” by Johnyuyi
All images taken from Pinterest

These experiments were created using Photoshop by placing Ed Hardy logos and motifs onto the models faces
illustrating how the transfer tattoos could look. Testing transfer tattoos of several companies on my own face I
encountered issues like not laying smoothly and design of tattoos not being clearly identified.
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Experiments
As the theme of tattoo art was already being communicated through the styling and location I then decided it wasn’t
essential for the tattoo designs to be on the model’s face. Additionally, the face tattoo design may take the attention
away from the clothes. I considered creating make-up with strong graphical lines in order to complement the strong
prints within the clothes. I gathered inspiration from different styles of eyeliner, specifically focusing on winged black
eyeliner and the dramatic effect this could have on the eye while being contemporary. I was keen to cast a model with
very short or shaved hair, in order to add an edgy element to the tattoo art while communicating the rebellious nature
associated with tattoo culture. Subsequently, hair styling could be kept within the models natural state and didn’t need
to be explored for this theme.

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Model Scouting
I began searching for dancers and actors to model for the film and editorial content (please see appendix
C for full email threads) due to needing a female who was confident and someone who has the ability to
act and move in front of camera. However, the model had to have a specific look, so I searched for models
but enquired if they could act before finalising the booking. Initially planning to use the same female model
for each of the themes brought issues within the initial phase of scouting when I realised finding one model
who was versatile enough to encompass all three different make-up and styling looks was going to be
challenging. I then realised casting three different models would be more effective in truly tapping into each
theme, allowing to cast females who best suit the theme, allowing them to heighten the theme. I specifically
set out to cast three models with three very distinct looks in order to create more interesting content. Each
model had to relate to the theme but also had to be someone in which I could envision wearing the original
Ed Hardy brand with confidence. Due to having no budget for models, I contacted various model agencies
and requested to have new face packages sent over, as well as this I contacted unsigned models via
Instagram. .
Hollywood
Stardom
Motorcycle rebel culture
Tattoo Art

After contacting over 27 agencies and 18 girls via Instagram, I finally managed to gather a significant
amount of models who could work for each theme. The images below illustrate the narrowed down list of
all the models for each theme. For the Hollywood Stardom theme I had planned to use a model with a girlie
aesthetic, who was typically pretty and blonde. However, I then came to the realisation the model had to
have an edginess to her, in order to avoid the content combined with the girlie styling, hair and make-up
looking too similar to a commercial high-street brand campaign, which is not the aim nor the objective or the
aesthetic in which the target audience will buy into.
For the Motorcycle Rebel Culture theme I envisioned a model with an edgy haircut, such as a mohawk due
to this being a current popular trend within fashion. Also associated with motorcyclists. I had to find a model,
who would come across as moody and rebellious.
For the theme of tattoo artistry I imagined a model with a short haircut, ideally her head would be shaved. I
wanted the girl to look like a rebel and have piercings due to typically being associated with someone who
also has tattoos. The model had to have an androgynous essence and look like someone who was fearless
in order to communicate a story within the tattoo parlour that she was not afraid to get a tattoo.

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FINAL MODELS
Confirming models with their agencies
These are the final three models that I decided to conform. I chose each of the models as I feel they embody
each theme effectively and portray the look I envisioned alongside the hair, make-up and styling. I also
chose these girls as they look very different to one another, allowing for more versatile content to be created.
Despite being different, each of the girls looks within the same age range and has a contemporary look, so
when the films co-occur together no model will appear out of place.
Bee @ NEVS
Johanna

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@ NEVS
yvonne @ milk

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FILM STYLES
The initial stages of film style development
Initially, confused about the style of film best suited for the campaign, I conducted research on LSN global to
discover there is currently a trend of brands using ‘anti-advertising’ (Mickiewicz, 2016) to engage audience.
The images below depict how different brands are using lo-fi, VHS camera style footage in attempts to
make their advertisements appear authentic. I discovered brands are creating content with personas acting
nonchalant in front of the camera; the natural style of facial expressions and poses is used to insinuate
authenticity and effortlessness to the audience.
Lily Mcmenamy x Moschino, film by Sharna Osborne, 2014
Amandla Sternberg – Dazed’s Spr
Joyce / MACHINE-A, film by Nick Knight & Rei Nadal, 2015

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s Spring 2017 cover star, film by Ben Tom, 2017
Gosha Rubchisnky x Vans A/W 2015, film by Julian Klincewicz

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Initial FILM EXPERIMENTATION

After research, experiments were conducted using an iPhone to try and achieve a similar style. The model
was filmed outside a warehouse restroom in order to appear effortless and ‘authentic’. The test was effective
in employing similar techniques to the references, through capturing the model in a carefree manner;
laughing and randomly posing unaware that the camera was filming.
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After gaining inspiration from VHS, vintage style film content I was keen to experiment by tapping into the
trend of nostalgia. I initially experimented by zooming my phone closely on the footage being played in a
laptop, the footage didn’t look lo-fi or grainy enough thereby failing to demonstrate the intended style.
These experiments show how I then experimented using the iPhone application ‘retro cam’. Its use of brighter
colours was less effective in tapping into the trend and didn’t embody the original Ed Hardy brand aesthetic.
After evaluating the success of these initial tests, I decided using the VHS style camera and lo-fi film effect
undermined the authenticity of something which was initially innovative. Due to Instagram being filled with
film content in this style using this could leave the Ed’s Back campaign one-step-behind and failing to stand
out across social media platforms.

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Further film references
Looking at films with sleek and professional elements
I decided creating film content with a sleek and professional style felt more authentic to the original Ed
Hardy brand. Despite the capsule collection being trend based, a sleek and professional feel will allow it to
have a timeless essence, thus aiding the brand to withstand far more judgement. The shots involve models
using direct address to the camera, posing, touching objects and clothes in a sensual way. In a lot of the
references, despite the films containing additional substance, it was evident the sole purpose of the content
was based around promoting the clothes with the main difference being high quality and cinematographic
elements.
Bleu Reine, film by Akim Laouar Aronsen, 2017
Kocca Fall Winter 2013 campaign, film by Hunter and Gatti
Prada Resort 2014 campaign, film by Gordon von Steiner, 2014

Zara Woman Spring Summer 2015 film by Gordon von Steiner
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Further film experimentation
Experimenting with a sleek and professional film style
I experimented by filming on an SLR in attempt to gain a more sleek and professional feel than the initial
iPhone test. The test was effective in considering initial composition ideas and how attention could be drawn
to the subjects clothes. However, the experiments lack a professional, high quality feel due to the bright light
outside which made certain elements of the footage to be over exposed.

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I decided to conduct a similar test indoors, to achieve the desired style due to having control over the lighting.
Both experiments were effective in enabling an understanding of effective composition styles. Capturing
close up details of the models clothes, sparked thought on the importance of showing the detailing on the
garments from the capsule collection. Additionally close ups of the models faces and accessories were
effective in indicating personal style. Shots of the model walking, sitting down, putting her hands in her
pocket proved effective. I discovered that despite the model being aware of the camera she didn’t need to
constantly address the camera directly in order for the film to look polished and professional. The overall
aesthetic looked unprofessional due to my camera equipment and lack of filming experience. I concluded
the need to collaborate with a videographer for the film content to achieve the envisioned style.

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photography references
These references depict the overall aesthetic in which I envisioned the embodiment of a sleek professional advertorial
content. I was particularly inspired by fashion campaigns in which the clothes are the main focus. To achieve the
envisioned look, the images would need to be of a high quality and undergo post-production making it essential for
collaboration with the correct photographer.
Each of the themed photo shoots would have the same overall sleek and professional style, however the mood and
tone would vary slightly for each. These mood boards helped inspired thought on the different moods and tones that
could be used within each film. Additionally, aided thought in composition and lighting ideas.
Hollywood Stardom
Left to right: Kaia Gerber for Pop magazine Autumn/ Winter 2016, photographed by Kaia
Gerber. Pinterest, 2016 .Left to right: Yvonne for Complex, 2017. Stella Lucia Deopito,
Pinterest 2015, Pinterest. for i-D photographed by Alasdair McLellan
Left to right: Pinterest, 2015.Pinterest, 2017. Marques’Almeida 2015 campaign, photographed by Ronan McKenzie

Motorcycle rebel culture
Left to right: Yoanna House, photographed by Nigel Barker 2004. King Kong magazine editorial 2017. Pinterest 2016
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Tattoo Art
Left to right: Yvonne for Complex, 2017. Stella Lucia Deopito, Pinterest 2015,
Pinterest.
Left to right: Girlhood photographed by Niklas Haze.
Alexander Wang Spring Summer 2016 campaign
photographed by Steven Klein
overall aesthetic

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prodcution
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pre -

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Week-by-week production plan
A brief plan created prior to production
PRE-PRODUCTION: 13.03.2017 - 19.03.2017
Find all collaborators by the end of the week (videographer, photographer and hair / make-up artist)
Contact Lorna Milkien to discuss loaning Ed Hardy garments
Have five solid video and photography references to show videographer and photographer - informing them
of ideas
Have a rough date for shoots in mind
20.03.2017 - 26.03.2017
Contact locations, brief them on what the team and I will be doing and confirm a date
Continue to source Ed Hardy clothes
Consider accessories that can compliment the clothes
Keep in contact with collaborators, continue to update them on ideas as they progress
Continue to research film references and push ideas along
27.03.2017 - 02.04.2017
Go to each of the locations; plan out shots, take pictures and videos to send to photographer and videographer
Inform collaborators the date of the shoots
Confirm dates and locations with model agencies
Send over pictures of models to the hair and make-up artist
Ensure all styling looks are sorted
03.04.2017 - 09.04.2017
Discuss with photographer and videographers lighting needed to create desired looks
Find a place near the locations for Hair and make-up artist to do models hair and make-up
Towards the end of the week send out call sheet with exact times and directions on how to get to each location
Check-in with location managers, update them with exact times
Confirm each collaborator know equipment to bring for each day
Work with videographer to create solid final shot list for each location
Finalise hair and make-up looks and discuss with hair and make-up artist
SHOOT WEEK: 10.04.2017 - 16.04.2017
POST-PRODUCTION: 17.04.2017 - 23.04.2017
Meet with videographer, go through all footage and catergorise footage
Start editing with videographer
Browse music that could be used for film content
Get photographer to send over contact sheets of images
Send videographer and photographer editing references
Discuss best photographs with photographer and make a final selection
Gather inspiration for advertorial booklet
Look at contemporary brands social media campaigns and gather inspiration for ‘Eds Back’ campaign
24.04.2017 - 30.04.2017
Finish editing all film content
Receive final edited photographs back from photographer
Design booklet and posters
Create visualisation for social media campaign

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BUDGET
Identifying the production value to create the outcomes
As ideas began to develop I realised this project was going to have a high production value. I knew
collaborators and clothes were going to be a large expense so I was keen to shoot within locations with
little to no fees.
Before starting production I had a rough budget of around £500, which I intended to use for clothes
and accessories, as well as collaborators travel, food and drink on shoot days. However, I ended up
spending over this amount due to making leeway on styling as I felt certain garments were essential in
creating the desired aesthetic.
Total expenses:
Clothes - £320
Shoes - £40
Accessories - £27
Collaborators travel - £35
Food and drink on shoot days - £32
Videographer cost - £150
Videographers taxi’s - £42
Extension wire - £15
Total = £661

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Collaborators
Videographers
I decided to invest the majority of the budget into a videographer due to it being the most integral part of
the campaign alongside creating and editing film content being a time consuming process. I contacted
a variety of videographers through Instagram scouting and emailing those I discovered on online fashion
platforms (please see D appendix for full conversation threads). However, with the majority of professional
videographers averaging around £600-800 for the job, I decided to post the below advertisement on
Facebook groups; LCF Fashion Network and London Fashion, Art and Design as well as LCF’s Common
Place. A vast amount of people contacted me but unfortunately their style was incorrect and lacked the
professional elements I was looking for.

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In order to broaden the search, I decided to contact videographers not just limited to fashion film. One
such person I contacted via Instagram was Nathaniel; a videographer, director and editor specialising in
creating music videos and short films. His work captured the sleek, professional feel I envisioned for the
campaign. After pitching my idea to Nathaniel, he wanted to make it a fashion project that would be good
for his portfolio and agreed to film and edit for a price that was within my budget (£150).
Nathaniel and I collaborated on the project for around two months. Prior to the initial phase of planning I
expressed the need for three short films (around 30 seconds) and one longer edit (around 1minute) to give
him an indication of the amount of footage that needed to be created. The lengths were chosen based
on Lorna Milkien expressing the importance of creating a short film. LSN Global supports Lorna’s notion
through recognising ‘today, brands have just a few seconds to make an impression as consumers scan
their social news feeds faster than ever’ (Mickiewicz and Smith, 2016). It was integral the film contained
short, quick exciting footage to grab audiences attention. I sent these references for him to understand the
aesthetic and style I had initially envisioned. In order to achieve this look I recognised post-production was
a key element.

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PHOTOGRAPHERS
I posted an advertisement for photographers on various creative social networking platforms, including
Facebook groups; LCF Fashion network and Fashion, Art and Design in London and UAL’s the Common
Place. Over 40 photographers reached out to me and I discovered Eve after combing through all the portfolios
to see depiction of my envisioned aesthetic. Eve was excited by the project and I communicated with her on
a daily basis in the lead up to the shoot confirming final alterations and updating her with changes. However,
two days prior to the shoot, Eve cancelled due to being unwell. Subsequently, I contacted photographers
who were advertising on LCF Fashion network and I discovered Niklas. His work was not what I had initially
envisioned but he had a sleek professional element which I felt could work. I sent Niklas mood boards and
references. I had to communicate the importance of capturing the clothes in the images due to the main
objective of making the capsule collection desirable to the audience.

Nikla’s photography work
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hair + make-up artists
It was important I found a collaborator who could do hair and make-up due to Gods Own Junkyard restricting
the amount of people in my team. Through LCF Fashion Network I found Georgia, a professional make-up
artist and hairdresser. I sent over these initial mood boards for each of the model’s hair and make-up looks.
Georgia and I communicated via email in detail over the best products she should use on each of the
models in order to create the desired looks. After discussion with Georgia these pages illustrates the final
looks decided on.
All references taken from Pinterest
Hollywood
Stardom
Hair references - two strand at the front
and twisted back using butterfly clips
Natural face make-up, subtle blusher on the models cheeks with bright
pink shiny eyes and lips

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Motorcycle rebel culture
Messy styled hair with studs and braids in
Smudged smokey eye-make up and natural
minimal make-up on the models face
Tattoo Art
Dramatic winged eye liner, clumpy dramatic mascara and purple lipstick

Confirming locations
Gods Own Junkyard was the best location for the Hollywood Stardom
shoot. During communication, the manager offered free access if the
team and I followed the policies and shot footage on a day it was open
to the public. Polite email communication led the manager to allow some
leeway with the policies, including allowing us access to tripods and
extra members of the team being present during the shoot. (please see E
appendix for full conversation threads).
PHOTOGRAPHY POLICY
1. We allow mobile phone cameras only and your imagery must be
for personal or social media use only.
2. Full format cameras and other equipment, lighting, tripods, etc,
may be allowed, but only by arrangement. You must pre register
with your requirements directly by email to Ms Jo Child. Her
address is: jo@godsownjunkyard.co.uk
3. Your email proposal must declare your status, ie: student,
photographer, video maker, etc, the purpose of your visit,
amount of crew and use of your images.
4. Upon arrival, you must show your pre register email and ID
before you can shoot, otherwise you will only be allowed to use
your mobile phone camera for personal and social media
images.
5. Permitted individuals will be allowed one camera person plus
one model only per proposal (including students). Extra crew ie.:
make up artists, stylists, assistants, etc are by arrangement and
will incur an extra cost.
6. Gods Own Junkyard is available privately and by arrangement on
non public days for professional photoshoots and filming.
7. The artworks within our studio have copyrights and any break of
this will result in legal action.

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Stokter tattoo parlour was analysed as the best location for the
theme of tattoo artistry. The location manager agreed to let the
team and me shoot on a day with no appointments for tattoo
bookings allowing for limited restrictions. Despite the manager
being relaxed it was integral to inform the team to be careful due
to health and safety issues within a space dealing with needles
and other dangerous utensils.
Slim Jim’s Liquor store was the best location for the theme of
motorcycle rebel culture. Polite phone conversations and emails
led way for the manager accepting to shoot before opening
hours, allowing the team and me to utilise the space comfortably
to create the content I envisioned. Another advantage to Slim
Jim’s was in it being a 10 minutes walk away from Stokter,
allowing for two shoots to be conducted within one day.

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gods own junkyard
A second visit to the location
Prior to shooting at each location, a further visit was conducted in order to plan and visualise where specific
shots could be created. Capturing pictures and videos and subsequently sending them to the photographer
and videographer sparked way for further discussion on the lighting equipment needed to achieve the
desired effect.
These screenshots are taken from a video I captured to depict what I wanted the videographer and
photographer to avoid capturing. Certain aspects such as the mannequins with Gods Own T-shirts, and the
cafe needed to be avoided due to not being relevant and not relating to the brands aesthetic. Additionally,
due to shooting during public opening hours it was integral to ensure members of the public were not
captured within shots.
X

These images and video screenshots illustrate some of the places in which I envisioned shots.
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STOKTer
Through a second visit to Stokter I was able to discover which elements could work, the visit sparked
thoughts on shots that could be composed with the model within the tattoo chair. This aided in some
guidance in constructing a brief overview and concept for the film content.
Through filming and photographing I discovered certain aspects needed to be avoided. For example, the
door and the ceiling (illustrated within the images and video screenshots below) didn’t employ a professional
or sleek aesthetic.
X

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slim jim’s
Despite the visit to Slim Jim’s helping with visualising certain shots through photographing and filming it was
evident details within the location were not visible due to the lack of lighting.

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Lighting experiment
Exploring lighting techniques which could be used at Slim Jim’s
Photographing and filming at Slim Jim’s made it evident that details within the location were not visible due
to the lighting of the location. This test was carried out to experiment different lighting techniques that can be
used to light the models face in Slim Jim’s. Despite the light being pink and giving off a different mood and
tone to the red lighting in Slim Jim’s, the test was effective in establishing how different the model appeared
using an iPhone light on her face. Through further discussion with the photographer and videographer I was
informed that correct lighting could be used to see the interior at Slim Jim’s and light up the models face.

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FILM TREATMENTS
Further film preperation for each theme
HOLLYWOOD STARDOM
Overview: The character will portray a ‘girlie’ girl who is amazed by her current location.
Shot list:
Model looking up to signs within location
Reaching up to touch signs
Walking around centre of location, drops her jacket (see the back detailing of the top)
Close ups of all jewellery and accessories
Detail of the back of the jeans
Sat down on toy car
Picking up the phone pretending to be receiving a phone call
All scenery within the location
Close up shot of Las Vegas sign
Equipment
Videographers equipment:
Camera - Canon 5D Mark III
Lights - Aperture LED, Samynang 24mm
Stabilisation System - DJI Ronin
Photographers equipment:
Camera - Canon 5D Mark II
Profoto 1200 pack - 2 x profoto heads
Lenses - 35mm, 50mm and a 85mm
Extras:
Bubblegum and lollipops
Constrains and contingency:
Only four members of the team allowed within location at a time, restricted shooting time and shooting
within public opening hours - must be cautious of members of the public.

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Motorcycle Rebel culture
Overview: A motorcyclist walks into a bar, has a few drinks. The character is moody, the film will have a
dark and rebellious tone.
Shot list:
Walking into the bar
Taking off gloves and helmet
Close up shot of back of the helmet
Removing jacket
Embroidery on the jacket
Sitting down at the bar and having a drink
Leant on bar looking moody
Climbing up onto the bar
Walking on the bar and reaching up to touch the bras on the ceiling
Close ups of location detail - wallpaper, band posters and neon signs
Equipment:
Videographers equipment:
Camera - Canon 5D Mark III
Lights - Aperture LED, Samynang 24mm, Samyang 85mm
Stabilisation System - DJI Ronin
Photographers equipment:
Camera - Canon 5D Mark II
Profoto 1200 pack - 2 x profoto heads
Lenses - 35mm, 50mm and a 85mm
Extras:
Glass
Bottle of rum
Extension cable
Constraints and contingency:
Caution must be taken when the model is walking on top of the bar. Also the team must be careful to ensure
no items are damaged.

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Tattoo Art
Overview: A girl goes to get a tattoo, she is scared at first but ends up liking the tattoo.
Shot list:
Looking through book of designs
Hands getting gloves ready
Picking up utensils
Looking in the mirror at tattoo design
Back of the jacket
Removing jacket
Close up of tattoo
Tattoo fun close to models face pretending to tattoo her
Equipment
Videographers equipment:
Camera - Canon 5D Mark III
Lights - Aperture LED, Samynang 24mm
Stabilisation System - DJI Ronin
Photographers equipment:
Camera - Canon 5D Mark II
Profoto 1200 pack - 2 x profoto heads
Lenses - 35mm, 50mm and a 85mm
Gels - blue and red for profoto
Extras:
Black latex gloves
Red folder with tattoo designs printed out
Constrains and contingency:
particular caution must be taken when tattoo equipment is being handled. Also, due to shooting within
public opening hours be aware of surrounding, members of the public may be walking in and out.

Hollywood
Stardom
Accessories were essential in creating an additional element to the styling and
truly tapping into what each theme represents. After research into popular 90s /
00s accessories, the popular butterfly clips and the ‘tattoo’ chocker were used.
A customised letter ‘E’ was added to the chocker in order to represent Ed Hardy.
Additionally, dimante body gems were used to add an additional nostalgic element
and to depict the current trend of tacky.
Motorcycle rebel culture
Motorcyclist gloves and a helmet were finalised to truly embody a
motorcyclist.
Tattoo Art
Fake facial piercings and gothic style earrings were to be used to illustrate what
is stereotypically associated with tattooists.
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ACCESSORIES

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call sheets
Call sheets sent out to each member of the team two days prior to shoots
Friday 14th April
Hollywood Stardom
Creative Director and Stylist: Juanita
Videographer: Nathaniel
Photographer: Niklas
Photography assistant: Lilian
HMUA: Georgia
Model: Bee
Location:
Gods Own Junkyard
Unit 12,
Ravenswood Industrial Estate,
Shernhall St,
London
E17 9HQ
Plan:
9am - HMUA, model and creative director meet at Gods Own - walk to cafe (171 Shernhall Street) do
models hair and make-up there.
10.45am - Meet videographer at Gods Own Junkyard
11am - Creative director and videographer do walk through and recap on shot list
2pm - Photographer arrives and sets up lighting
2.30pm - Once film content is finished, photographer and creative director do walk through and recap on
shot list
Photographer shoots until location staff deny
Potentially take some shots outside (back-up location) if short on time

Tuesday 11th April
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Motorcycle Rebel Culture + Tattoo Art
Team:
Creative Director and Stylist: Juanita
Videographer: Nathaniel
Photographer: Niklas
Hair and make-up artist: Georgia
Model 1 (motorcycle rebel culture): Johanna @ NEVS
Model 2 (tattoo art): Yvonne @ MILK
Location 1:
Booked from 10-3:30pm
Slim Jim’s Liquor Store
112 Upper St,
London
N1 1QN
Location 2:
Booker from 4pm until 8pm
Stokter Tattoo Studio
11 Barnsbury Rd,
London
N1 0HG
Plan:
8am - model 1, hair and make-up artist and creative director meet outside Slim Jim’s, walk to Costa (62
Upper Street) have models hair and make-up finished by 9.30am
10-10:30am - meet photographer at Slim Jim’s, photographers sets up and discusses shots with creative
director, model 1 ready and at location 1
10.30-12pm - photographer shoots model 1
12pm - videographer arrives, plans shots with creative director, then sets up lighting
12-3pm - Videographer shoots model 1
3pm - model 2 arrives at location 1, hair and make-up artist gets her ready for 4pm
3pm - videographer packs away
4pm - model 2 and whole team get a taxi to location 2
4-4.30pm - Photographer sets up lighting and recaps on shots with creative director
4.30-5.30pm - Photographer shoots model 2
5pm - videographer get lights read
5.30pm - videographer and creative director recap on shots
5.30-7.45pm - videographer shoots
7.45-8pm - pack away and tidy up all equipment

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SHOOT DAYS
On the day of the shoots I briefed the photographer and videographer with recaps of the initially planned
shots with some adjustments made based on how the lighting would work best. I directed both Niklas and
Nathaniel at every stage of shooting, ensuring all the content created was successful in reaching the aims
and objectives of the brief. I requested both Niklas and Nathaniel to re-shoot content which did not capture
the detail of the clothes or the models hair or simply didn’t capture what I had envisioned for the Ed Hardy
brand.
All images taken behind-the-scences of the shoots by Juanita Richards

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91

prodcution
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post -

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Editing
nathaniel x juanita
Nathaniel and I edited all of the film content together. I sent
references that were discussed prior to shooting expressing
post-production look. It was important for each of the final
videos to have impact, build up and the shock factor all
anticipating the idea that ‘Ed is back’. Music was going to
be essential in achieving the desired feeling from each film.
I looked at all of the film footage for each theme in order
to gain an indication of the style of music that would suit
each theme. Initially I imagined rock and heavy metal music
for the motorcycle theme, however after creating a rough
edit I soon discovered the importance of the music having a
contemporary feel in order to engage the target audience.
Due to knowing the style of each film and having a vision
of the edited look, I decided to experiment by creating my
own music specifically altered for each video. The music
was effective in having the desired style but lacked a
professional element and balance between sounds due to
my inexperience producing music. I browsed a vast amount
of music on the Copyright free section on Soundcloud.
Nathaniel and I conducted numerous experiments with the
music and footage in order to find the appropriate soundtrack
for each film.

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Each video was edited differently to suit the theme, pace
and style of the content. For example the motorcycle
rebel culture had a very dark, moody tone and the music
contained dramatic synth sounds. As a result I decided to
ask Nathaniel to incorporate contemporary glitch effects so
the music would be edited on beat and suited the mood.
The process of video editing was time consuming, shots had
to continuously be re-arranged in order to ensure the films
had enough substance to keep audiences interested, whilst
ensuring the clothes appeared desirable and the overall
content communicated the brands original aesthetic. The
longer edit was the most difficult due to incorporating each
theme and style into one video. Selecting the correct music
and choosing clips that worked inline together were integral.

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Editing
niklas x juanita
Niklas didn't give me access to all of the raw images so he created and sent me a contact sheet of images
from each day, removing any shots that were blurred or not to a professional standard. Niklas and I deliberated
over the best shots he could retouch. Finally, we reached a compromise on the images which combined the
best photographic elements as well as illustrating the Ed Hardy brand alongside capturing the themes.
A selection of images from the contact sheets

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Before Niklas retouched the images, I sent him over these references indicating the look of the final images.
The images would be edited to have a subtle glow and colours would be enhanced in order to create bright
images that capture the audience’s attention.
Anna Zelthonosova for Glamour Germany, photographed by Jamie Nelson
Miles Aldridge for Vogue Italia, 2013
Bottom left and right photographed and edited by Niklas
Haze, 2017

The following pages consist of some of the retouched final images.
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99

100

101

Certain retouched images were effective in communicating the themes and tapping
into popular contemporary trends. However, images such as this were not suitable
to use for the posters or booklet due to the clothes not being a main feature.

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PLACEMENT
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social media
Further exploration into the correct platforms to distribute the campaign on
A Mintel (2017) report looked at 726 internet users aged 18-37, findings revealed Facebook was the most
popular with YouTube, Twitter and Instagram following closely behind. Therefore, each of the 30 seconds
films will be posted on each of these platforms. It is important that the film content is exported in different
ways to function best in line with their practice and to ensure the consumer views the content within the best
way. For example, the film content for Instagram will be exported into a square formatted video due to the
majority of Instagram content being viewed on mobile devices. With square video taking up to 78% more of
a person’s mobile newsfeed compared to landscape, using square videos will allow for more detailing of the
clothes to be seen. The longer edit will be posted on Facebook, Twitter, YouTube and the online platforms
using a landscape format (16:9).
This visualisation depicts how the content will be curated for Instagram, Inspired by Versace Versus
Instagram page, close-up details of the garments and advertorial images alongside the film content in order
for the page to look well curated and showcasing the detail of the garments to the audience.

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Influencer Marketing
Initially deciding to promote the social media campaign via Ed Hardy’s social media platform, it was
recognised that the target audience will not be following the brand on social media. Researching into
how start-up brands are engaging audiences through social media marketing, I discovered the benefits of
influencer-led campaigns. Through the target audience seeing influencers they are aspire towards posting
the content it will increase three engagement.An example of how Influencer-led marketing will be used is
revealed in the media pack.
Additional to using influencer marketing to reach a wider demographic, the longer 1 minute edit which
showcases all three themes within one video will be distributed on online contemporary fashion magazine
platforms; Wonderland, Dazed and i-D due to the target audience the brief is intended for engaging
with these magazines. Also, the aesthetic in which the campaign will employ embodying the aesthetic
represented within these magazines.

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website ReDesign
Updating the Ed Hardy brand’s current website
Due to the Ed Hardy brand’s current website failing to engage a young demographic and
communicating their original brand aesthetic it was integral to design a mock-up website that
illustrates a new website in keeping with the aesthetic of the Ed’s Back campaign. This visualisation
of the mock-up site communicates how the original brand aesthetic has been utilised in order to
keep existing audience of the brand engaged as well as containing contemporary references to
sparking interest from the audience on the Ed’s Back campaign.
Website layout inspiration

Designing a header which illustrates the brand’s original style and utilising it on their website, Twitter and
YouTube platforms keeps a consistent aesthetic for the brand.
Advertorial CONTEnT
The advertorial images alongside brief information of the ‘Ed’s Back’ campaign will be used as an A5
booklet style print publication (mini-zine). The advertorial images used will be different to the ones used for
the Instagram campaign due to giving audiences of the booklet different additional content. It was important
the booklet was designed communicating the original brand aesthetic whilst containing contrary layout and
style. The typeface employs a similar style aesthetic as the popular brand merchandise trend. The paper
for the booklet will be gloss in order to heighten the sleek and professional element of the images and inkeeping
with the tacky, gaudy aesthetic of the Ed Hardy brand. Inside the booklet I was keen to use tattoo
original tattoo designs as stickers, tapping into the theme of nostalgia. However, due to the high price of
having stickers professionally created and cut this had to be avoided.
The booklet will be free and will be slipped into fashion magazines: i-D, Dazed and Wonderland. Additionally,
the mini-zine will be distributed across University of the Arts London campuses, WAH Nails in Soho, as well
as stockists of the capsule collection; Topshop and Selfridges - all locations which work in line with the
target audience. The aim of the print is to be seen in several places free of cost encouraging many people
to pick one up and see how the new capsule collection can be worn. It contains links to the social media
campaign and brand website, linking each platform from the campaign together and creating synergy.
For the mini-zine I was inspired by ‘Mushpit presents Forever’ the A5 mini-zine created by Mushpit in
collaboration with Converse.

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POSTERS
Additional to the booklet a free, eye catching A3 poster of the advertorial content will be distributed in the
same places as the pamphlet prompting audiences to pick up the poster and thereby increasing coverage
of the ‘Ed’s Back’ campaign. The posters will work as an additional form of promotion and will allow for
further interaction between the audience and the brand. It was integral to choose images for the posters
which best highlighted the garments.
Poster campaign layout inspiration

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MEDIA PACK
The Ed’s Back campaign will involve a strategic release plan; all information and visualisations on how this
will work will be placed within a media pack. The media pack is intended to be seen with the films and given
to press, an important element which will clearly explain the campaign and aims to increase coverage.
I wanted the media pack to be concise, clear and professional. I deliberated over how to write the PR pack
as I recognise this is a student project but also wanted it to mimic a live project. I wanted to maintain a
professional writing quality so I chose to write from the hypothetical perspective of the Ed Hardy marketing
team.
I decided to make the media pack in a square format (21x21cm) to entice the press companies to hand-pick
and scroll through the pack whilst still being large enough to portray the visualisations to the best of their
ability.
Media pack layout and design inspiration

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evaluation
Embarking on this project, I knew reviving one of the most controversial brands of all time would be challenging.
Throughout the project I faced several issues, a significant one being deciding the most effective method of
communication to successfully reach the aims and objectives. Thorough investigation into what the target
audience is engaged with, peer critique and an interview with Ed Hardy’s PR and Marketing Director helped
me to gain an array of insights on the best method. Once I established that creating a shareable film was
a strong form of promotion, I was initially reluctant to follow through due to creation of unsuccessful field
content within previous projects and low confidence within the field. However thorough research into the
realm increased my confidence. Subsequently, I created film content in which I feel is successful in reaching
the originally planned objective. In reflection, I am pleased I chose to distribute the content created for the
‘Ed’s Back’ campaign on multiple platforms, allowing synergy to be created across platforms and reach a
wider demographic, thereby creating more awareness of the original Ed Hardy brand and further promoting
the capsule collection.
Many of the issues faced during the project were out of my control. An exemplification being the photographer
cancelled two days prior to the photoshoot. This created a step back as I had envisioned the aesthetic of this
particular photographer in creating my vision for the Ed Hardy brand. To overcome this I searched for another
photographer with a similar style but with limited time and budget options were very few. Under pressure
to confirm a photographer, I decided to use one who employed a different aesthetic to what I originally
envisioned. Working with this photographer encountered challenges, including not having access to all raw
images and a vast amount of deliberation over the final images I was allowed to use. The photographer
wanted to only allow me access to images which projected his photography competence whilst my main
focus was on procuring images which accurately communicated the Ed Hardy brand and promoted the
clothes. This was frustrating, however paving way for learning how compromises have to be made whilst
working with collaborators. Vast amount of deliberation aided us to select the best final images which were
competent photographically alongside showcasing the brand effectively. Effective communication through
deliberation will be an important skill needed in my professional development.
Another predicament I faced was time management. The project allowed me to identify the consequence of
not sticking to scheduled time frames. Time restrictions were a particular issue within Gods Own Junkyard.
Filming with the videographer was done prior to the photoshoot. The videographer and I spent a prolonged
time filming, creating an extensive amount of footage. We continued to film, despite being content with the
footage and knowing we had acquired what was needed. This resulted in the photographer’s shoot being
limited to 15 minutes. The location managers were annoyed we had exceeded the time restrictions and
also didn’t allow for light set ups for the photoshoot, resulting in images different to ones originally planned.
Despite knowing the aesthetic of the image could have been improved, I feel the images were successful
in communicating contemporary styles whilst still representing the original Ed Hardy brand ethos, which is
what I had aimed for them to do. A further issue due to location restrictions was faced within Stockter tattoo
parlour. Planning to shoot within the tattoo parlour was challenging, due to having no budget for this location I
had to shoot during public opening hours. However, immense planning with the manager led to confirmation
of shoot on a day with no tattoo appointments resulting in limited restrictions. I contacted Stocker everyday
leading up to the shoot to ensure no bookings were scheduled on the day of the shoot. Unfortunately, a
booking was scheduled on the morning of the shoot. The team and I had to use a tattoo studio at the back of
the building, which was plain and small, limiting photographer and videographer movement and resulting in
a limited variation of shots. This specific location had been chosen for the aesthetic and last minute changes
resulted in the creating content different to what I had envisioned. Through this I learnt the importance
of having alternate options. Initially knowing there was a risk for tattoo bookings on the day I planned to
shoot, I should have been more cautious and made backup options. When progressing onto work within a
professional environment I have learnt to not leave anything down to chance.
From research to post-production; I have learnt an extensive amount through this project. Many things I
have never done before, for example using agency models and learning how the whole process of booking
a model works. A new significant understanding which will benefit me within future projects.

Another new learning was styling, I have always shied away from styling, however for this project I decided
to style each look myself due to having completed a vast amount of research on the Ed Hardy brand
and contemporary trends. I had a clear vision of the looks I wanted to achieve. I feel the styling worked
successfully due to my attention to detail, from the connotations of specific jewellery pieces to deciding
on whether to add an additional layer of mascara onto the models, each decision had to be carefully
considered.
Through collaborating with professionals I have never met before and receiving commendation after the
process has made me realise I possess strong social skills to inspirit a team. I maintained a calm front
with all of the Team even while I was stressed. I ensured that every member of the Team was looked
after adequately through means of continuously offering food and drink and ensuring that all their needs
were met. This resulted in pleasant shoots and each collaborator thanking me for the experience they had
enjoyed. Social skills were also integral when asking location managers to shoot with no budget. Through
being polite and friendly to the manager of Slim Jims liquor store, I was able to obtain four hours shoot time
free of charge outside his normal work hours.
Many of the issues I faced within this project were a result of lack of experience. This can be overcome by
creatively directing more projects that continue to challenge me; boosting my confidence levels, learning
from my mistakes. A key aspect I have learnt is the severity of planning. Prior to the project I was aware of
the importance of organisation. However, I was surprised at how much needed to be taken into account
when shooting at locations. Another aspect that surprised me was the budget. My budget was miniscule
and limited, the majority of which I invested in the videographer and clothing. When creating the budget
plan I thought I was overestimating but soon realised how quickly it got used up. I spent way over my
budget due to allowing leeway on certain items of clothing I felt were essential in communicating the correct
aesthetic. Through this I learnt the importance of being strict with budget, in particular when working on a
professional client- based project with specifically tight budgets.
The long time frame for the project was beneficial in allowing through research and deep consideration,
allowing ideas to develop to their best ability. However, this also meant I became over exposed to my
outcomes, despite being proud of the final outcome; I was left feeling a lack of excitement as the project
came to an end. Through this I realised my desire to work on short, consecutive jobs within the future. I work
well under pressure and feel this would allow me to remain excited by the work I create.
Furthermore, throughout the duration of the course I have developed both personally and professionally.
A significant development is having the ability to direct numerous working professionals. The course was
valuable in pushing me to collaborate; it has offered an array of opportunities and given access to work with
other collaborators at the London College of Fashion. The course has enabled me to push and challenge
myself, not solely thinking of the obvious route but taught me how to think and consider different, alternative
routes, resulting in interesting work. Through being taught its acceptable to make mistakes, take risks and
not be afraid to produce work that may fail within the first two years of the course has had a positive effect in
allowing me to exceed my potential within the final year. This notion is communicated through the risk I took
within my final major project. The result - creating a unique innovative project which pushes the boundaries
of what once defunct brands are able to revive within the current cultural landscape.
A key area for development which I have identified is the need to learn to not become overwhelmed and
confused by different opinions. Throughout the course I have been faced with feedback from peers, tutors,
specialists and working professionals. I need to develop my skill in absorbing the feedback, taking opinion
on board but remembering how subjective creative direction is, so not allowing feedback to entirely shadow
my view.
The course allowed me to access a vast amount of opportunities, from studios to work shops. Regretfully,
I wish I had taken full advantage of the opportunities presented to me on the course. Additionally, I regret
not doing additional projects outside of the ones set by tutors, in order to gain more work for my portfolio
and increase my experience. Through doing this I feel I would have learnt from mistakes at an earlier phase.
The course has introduced me to the diverse opportunities available within the realm of fashion. Through

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Appendices
Appendix A
Appendix B

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Appendix C

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Appendix D
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Appendix E
120

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