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69 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.
70 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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Juanita Richards Creative Direction
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Abstract
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Background context
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A brand of particular interest is J
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Through Ed Hardy being a brand that
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6 Ed Hardy In 2016 the brand launch
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8 On the brands Instagram this is e
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Naturally, I assumed the original E
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12 Brand OPPORTUNITY Options
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Left feeling confused about the age
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Page 25 and 26: 18 Through a class critic session i
Page 27 and 28: 20 THE BRIEF THE OBJECTIVE To engag
Page 29 and 30: 22 concept development
Page 31 and 32: The campaign will also involve adve
Page 33 and 34: Hollywood Stardom 26 Top to bottom:
Page 35 and 36: 28 DEsign development
Page 37 and 38: This mood board illustrates contemp
Page 39 and 40: 32 Tattoo Art Market analysis revea
Page 41 and 42: 34 All images are screenshots taken
Page 43 and 44: Browsing eBay I came across this Ed
Page 45 and 46: 38 ROWANS I visited Rowans arcade i
Page 47 and 48: After various emails and phone call
Page 49 and 50: 42 STOKTER Stokter tattoo parlour p
Page 51 and 52: 44 In order to engage the audience
Page 53 and 54: These experiments were created usin
Page 55 and 56: After contacting over 27 agencies a
Page 57 and 58: 50 @ NEVS yvonne @ milk
Page 59 and 60: 52 s Spring 2017 cover star, film b
Page 61 and 62: After research, experiments were co
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Page 65 and 66: Zara Woman Spring Summer 2015 film
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Page 71 and 72: Motorcycle rebel culture Left to ri
Page 73 and 74: prodcution 66 pre -
Page 75: 68 BUDGET Identifying the productio
Page 79 and 80: Nikla’s photography work 72
Page 81 and 82: 74 Motorcycle rebel culture Messy s
Page 83 and 84: 76 Stokter tattoo parlour was analy
Page 85 and 86: These images and video screenshots
Page 87 and 88: 80 slim jim’s Despite the visit t
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Page 91 and 92: 84 Motorcycle Rebel culture Overvie
Page 93 and 94: Hollywood Stardom Accessories were
Page 95 and 96: Tuesday 11th April 88 Motorcycle Re
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Page 99 and 100: prodcution 92 post -
Page 101 and 102: 94 Each video was edited differentl
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Page 105 and 106: The following pages consist of some
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Page 109 and 110: Certain retouched images were effec
Page 111 and 112: PLACEMENT 104
Page 113 and 114: 106 Influencer Marketing Initially
Page 115 and 116: Designing a header which illustrate
Page 117 and 118: 110 MEDIA PACK The Ed’s Back camp
Page 119 and 120: Another new learning was styling, I
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123 bibliography Veblen, T. and Mil
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