Vivienne Westwood in Conversation with Caroline Lucas: Get a Life!

On Friday November 18 of last year, I attended a talk at the Brighton Dome whereby infamous fashion designer Vivienne Westwood spoke about going green and the fragile state that our government and earth is in. To my surprise, Westwood barely touched on the subject of fashion and when it came to the part of the talk where former Green Party MP, Caroline Lucas asked her some of the audience’s questions that were very much fashion related, she would answer them of course but very much go off on a tangent and end up talking about the environment and the rotten financial system again. The rotten financial system was one of Westwood’ s biggest focuses throughout the entire talk and he response to the government and power was so interesting and powerful as she is really striving to achieve a green state for our country because global warming is such a severe problem in our world that we must act now to bring about change. I found her to be very insightful not to mention unbelievably passionate about her cause and her plea of urgency and importance of this issue definitely did not go unnoticed with me and is something that I too feel very strongly about.



The Infinite Mix – The Store

Ugo Rondinone

‘THANX 4 NOTHING’ is an immersive video installation that features the beat poet, John Giorno performing the poem with the same name. The way in which its filmed, mirrors the twists and turns that the poem takes as Giorno looks back at important moments and people in his life, sharing his outlook and relationships, sex, death through the combination of up-close and long shots as well as high speed editing Rondinone’s uses. This emphasies the importance of pace as well as the relationship between verbal and visual representation and the importance they hold to each viewer. For me personally, the two go hand in hand but some may choose to focus more on the dialogue whereas others will pay more attention to the way in which its being filmed and the transitions and the reasons for these transitions and changes in tempo. The mix of both intimate and endearing messages and the frank conversations brought humour and seriousness to the piece, making it a very deep piece. I loved how the TVS and screens surrounded you, making it impossible to escape – you were truly immersed.


Dominique Gonzalez

OPERA (QM. 15) is a holographic illusion whereby the artist himself disguises himself as Maria Callas, the legendary soprano. As you approach the piece all you can only hear the arias from Cherubini’s ‘Medea’, Verdi’s ‘La Traviata’ and Ponchielli’s ‘La Gioconda’ and you have no idea what you’re about to walk into. Situated at the very end of a cold, industrial corridor, as you get closer you start to see a cluster of people straining to view the piece. You can only see it clearly from a distance of 30 metres, so you all crane to see the projection that waits for you. It was a truly rare and unique experience as this was the only hologram I have physically seen making it a very special experience as the only hologram I’ve seen are on Star Wars. This was a dramatic piece that demanded the attention of the audience instantly and the contrast between the piece itself and where it was presented offers up an interesting contrast for the viewer to interpret.


Rachel Rose

Everything and More showcases the astronaut David Wolf telling the audience about his experience on looking down on Earth from space. The use of footage preparing astronauts for zero gravity, elated crowds and gigs, and galactic imagery all work to showcase the disorientation that Wolf felt upon his return to Earth. This amalgamation of scenes worked to entice the viewer and I in particular loved the scenes involving the water and the transitions between Earth events and space itself as it created a strong sense of disconnect that mirrored what Wolf was feeling.


Elizabeth Price

K is a two-screen video installation where Price uses a combination of techniques to explore collective emotion, performance, and merchandised production. It is in this piece where you start to see connections between all three elements that come into play here and how they all interlink. Putting the video on a loop as well as the text that appears alongside that is also spoken by a synthetic voice enforces the message onto the viewer. The repetitiveness of the piece brings drama to the piece and really emphasises the importance of the artist’s focus and by it being quite a short piece initially and putting it on a loop makes it quite an intense experience.


Cyprien Gaillard

‘Nightlife’ is a 3D film and audio installation lasting 15 minutes long. Sticking to the artist’s M.O. Gaillard uses his footage, of Cleveland, LA, and Berlin over a period of 2 years, to showcase the ways in which traumatic events of recent history can be read in, or have been memorialised by, urban settings, natural elements as well as architectural and public space. Exploring these different areas bring great depth to the piece, as it works to really strengthen the message as the 3D effect gives it great clarity and a strong sense that this is having a heavy impact on us as a society. I absolutely fell in love with the shots of the blowing trees and I love the shadows they cast on their surroundings, whether it be buildings or a clear empty space, the space they invade and shapes they move to take are so captivating and is definitely my favourite aspect of the piece.


Kahlil Joseph

‘m.A.A.d’ is a dual-screen installation that combines the music from the album ‘good kid, m.A.A.d city’ by legendary rapper, Kendrick Lamar and scenes from Compton, LA. With Joseph being Lamar’s uncle means that this response is authentic, pure and incredibly impactful. Presenting home videos, footage from the streets of Compton, and projecting a dreamlike state to the audience only work to propel this piece further in terms of beauty and great strength. The way in which the music works with the footage achieves symbiosis in the most seemingly effortless way and some of the underwater mixing effects, whereby the track gets muffled, quieter and the quick, sharp cuts when the focus shifts are pure genius. Painting a picture of both the people and setting of the LA town, accompanied by the work of a man Compton born and bred, sets the tone for the strong message of gang violence and gun violence in America and the portrayal of the black man makes for a truly powerful piece of art that will stay with me forever.




Ceremony – Saatchi Gallery

Dan Hiller

These pieces by Hiller, ‘Ghost (Gold)’, ‘Undreamt (Gold)’, ‘Undreamt (Gold)’, and ‘Point Digital’ are part of a much larger collection. All using the same style and technique of screen-printing followed by being hand-finished by the artist himself on either 300 or 400gsm Somerset soft-white paper and framed. A beautiful combination of gold and neutral, with black and greyscale tones, these pieces work to connect with the audience spiritually and through the use of intricate detailing, thus introducing great delicacy to the work as well as a calming aesthetic, which is elevated by the images themselves. However there is also an unsettling feeling accompanied by the first piece, through the way in which the man is faceless and instead his face is replaced with trees. This presents a ghostly feeling to the piece, which is strengthened by it being entitled ‘Ghost’, but although I say that it is unsettling its also quite soothing. This is through the way in which the artist has made the image we see so stunning and the trees are almost hypnotic, demanding you to stare into its soul almost. The work of mirroring in the following pieces works to produce very powerful pieces as it brings great depth to the work and forces the viewer to delve further into the message the artist may be trying to send and the feelings they’re trying to evoke.


Painters’ Painters – Saatchi Gallery

Raffi Kalenderian

The work displayed in this exhibition by Kalenderian was definitely bold and eye-catching. This was primarily due to the incredibly large scale that he creates his pieces in but also because of the beautiful vivid, colours he uses. Colour is such a dominant element of all of his pieces, not just these three, ‘Dasha (Chelsea Hotel)’, ‘Highlanders’, and ‘Spirit Guides and Sunflowers’, as they work to emphasise key motifs or aspects in the scene that he is trying to highlight or shine a light on to the audience. The amazing lines present work to create the most hypnotizing aesthetic. Up close and personal, the use of the medium of oil paints makes every stroke that much more striking and full of depth, as this introduces the most amazing texture. Although I personally prefer a more life-like approach to be taken to characters, as I really love to see the detail in portraiture and am truly amazed at the skill some people have for scale, proportionality etc. his more ‘cartoon-esque’ technique is very fitting with his style in terms of the image as a whole.


David Salle

These three pieces by Salle, ‘Bigger Rack’, ‘Mr. Lucky’, and ‘Mingus in Mexico’ all showcase individuality within the work, whilst greatly representing the style of the artist simultaneously. Again, the use of oil paints works to introduce many layers to the work and really draw the viewer in. Searching for a connection between all of the elements is something that is very much at the forefront of all of these pieces, symbolically and that is something that really excites me personally. Different techniques are used in each piece in order to bring depth to the work through layering; in the first its through a ‘joiner-esque’ approach (made famous by artist and photographer David Hockney), in the second its splitting up the canvas with individual scenes to come together to represent a whole, and in the final piece its through adopting a ‘pop art’ aesthetic and colour palette to project a message. Visually, these are amazing works of art. I love the rich colours in his pieces, as a true blast projects such strong intensity.


Dexter Dalwood

Dexter Dalwood has been an artist that I have admired for a long time. My sister and I found the band Nirvana in high school and you could say they left a mark. ‘Kurt Cobain’s Greenhouse’ was and is to this day one of my favourite pieces of art. I just love the approach Dalwood took to this collection of work, true imagine to mirror representation and a sense of judgment that we all have for idols or heroes. To conjure up a vision of what someone’s space will look like is something that we do all the time so it could arguably seem to be a seen as a ‘non-thought’ so the fact that he used this in the best way: fragmented, structured, and in a collage-esque style is absolutely amazing. His ability to create such definition with his strokes, heightened by his use of colour, particularly to outline an element of his work is present in both ‘Bay of Pigs’ and ‘The Deluge’. This technique works to produce the most beautiful scenes, reminiscent that of film-noir, which is what makes his pieces so bold and captivating.



Business Cards

After having the idea to produce business cards for everyone in the Peeled team, and seeing how well the photograph examples of the geo-filters turned out, I decided to turn idea into reality. I modified the design ever so slightly, simply just removing the swirly shape at the top, keeping it at the bottom, and taking the text underneath the logo.

The text on the front of all the business cards state the business with the presence of the logo accompanied by the role each person plays in the team. Each team member submitted an image to me. This would be the shot that would both showcase their work as well as embodying elements that Peeled stands for.


I love how there is a variety of images used. Test shoots, core shoots, landscape shots, beauty shots – all of these work as a collective to give a little taster of what Peeled has been up to and individually display a quick insight into our interests.

The second row of images presents the text that is printed on the back of the business cards. So you will initially be presented with a beautiful image with the magazine’s logo and position of the person, then when you flip it over you then receive further information. Their name, the role they play again (this is so if you weren’t to see the ‘typical’ front of the card and this was the ‘front’ that was presented to you, you would still be able to see everything you need to know), and finally their contact details including their mobile phone number and e-mail address.


Peeled’s Sponsors

After doing further research for potential sponsors for Peeled, I found three great brands that fully embody what the magazine stands to represent as well keeping one that I previously looked at, Yogahaven. The first image showcases one of our sponsors being Saf Life which works to help individuals achieve optimum health and well-being through holistic nutrition. Our philosophy is based on the idea to ’Eat pure and nourish your life’. The image on the bottom left is from our third sponsor, Corinne Taylor who specialises in making products for holistic therapy. Our final sponsor is displayed in the fourth image. Philosophy is a skincare line that believes in celebrating beautiful skin as well as beautiful days.




Body Scrub Packaging

A body scrub stand will be set up at the launch party. This will include testers for people to sample before purchasing as well as a station stocked with various ingredients that were used in the making of our own scrubs available for people to create their own personalised body scrub. The price for making your own body scrub will be £4.50 and £6 will be charged for Peeled’s own creations. A more simplistic design of the Snapchat geo-filter version will be printed onto clear vinyl and stuck onto glass jars. There will be two body scrubs made by Peeled. The first is Blueberry & Coconut and the second is Banana, Oat, Honey & Vanilla.



Marketing Ideas


In terms of marketing, I have a few ideas of how we can promote Peeled magazine. One of which is merchandise. For a magazine, it might sound odd to suggest merchandise, but given its holistic and organic feel I felt that it would provide us with an outlet to work with organic and eco-friendly materials in order to strengthen the magazine’s philosophy and share it with our readers. The merchandise Peeled has to offer are organic canvas bags and eco-friendly badges.

Selling these particular products will work best for the magazine as they’re quick and easy to produce but are also incredibly popular ways to promote Peeled and spread the word of our arrival to the magazine world. Simple but effective, the logo of the magazine against a clean, white background is bold and striking, tying in with the aesthetic of the magazine itself in terms of how it will appear in print, thus creating a cohesive collection of products to support the magazine.



During two of the main shoots for Peeled magazine (photographed by Mikaela and styled by Lydia), our photographer took a series of quick snapshots whilst the model was in motion, creating a large quantity of stills of her movements. I then took these images and used the lasso tool on Photoshop to draw round the image to put onto a new file with just a white background. This was done so that I could go on to make flipbooks for each shoot.

The two flipbooks that include the pink material that drapes around the model works incredibly in this form as although the camera cannot catch the movement of the model or this beautiful free-flowing material, it can capture multiple shots done on rapid fire in order to use these stills to showcase the movement. This brings great depth to these pieces and I’m really happy with how they’ve turned out.

These are homemade prototypes, meaning that with every extra page meant that the spine thickened thus continuingly extending the length of the flipbook there is a slight hiccup in the construction of the flipbooks physically. However, this obviously won’t be the case when they get printed professionally as they will be printed and bound to scale perfectly. I like how the flipbooks are balanced in terms of being viewed as a collection as two consist of full-body images and the other two are more zoomed in, only focusing on the top half.

For the front cover of these flipbooks I thought I would utilise a technique that I found to be successful when experimenting with edits in past shoots: the use of acetate with the Peeled logo printed across the centre. I then used a white embroidery thread and a needle bind the pages together, which I think turned out very neat and looks very strong visually. Since these are physical flipbooks, I would love to explore their potential digitally, perhaps by making them into Gifs to use on our social media pages and website as well as at the launch party.



I thought it would be great idea to transform the flipbooks into GIFs and I’m really pleased with the outcome. This will help to promote Peeled through social media by giving both our readers and sponsors a taste of the magazine’s style and aesthetic, keeping them engaged in time for the pre-launch and launch events.

The fluidity and motion that is present in these GIFs is an element that makes them all incredibly captivating both individually as well as a collective. The image size of each GIFs was made to the scale of an iPhone in order to communicate their digital importance. Putting these GIFs onto our social media accounts will add another layer to Peeled, as it were.


Snapchat Geo-Filters


Snapchat is the new Twitter. Well that’s what the ‘kids’ are saying these days. Snapchat is one of the apps for social media with an estimated 150 million users documented this year, making it a must for Peeled. Creating a geo-filter on Snapchat for the pre-launch and launch events for the magazine is another idea I had in order to market and promote the magazine. The image on the left and on the next page is the design for the filters of both events. Both filters will be available in portrait and landscape, in order to be flexible for the user in terms of camera preference. The design is simple yet bold, keeping with the clean, polished aesthetic of Peeled and adhering to our chosen colour scheme to maintain cohesion. The price for the pre-launch yoga morning at SOAS Japanese Roof Garden is $15.81, which is £12.82. This means that the filter will be available for the guests to use on Snapchat during the event when in the ‘green zone’ shown in the above image, in a 158, 131 square foot zone around SOAS University, London.



To the left, is the portrait style of the geo-filter and showcases the ‘launch party’ version. This particular idea provides Peeled with great exposure to the public as it is not only accessible to guests present at our events but will be seen by so many other people from being uploaded to users’ ‘Stories’, thus promoting the magazine immensely. Social media is such a big platform today for companies and brands, and with Snapachat arguably being at the forefront of it, along with Instagram, makes it so important to promote in order to gain support and readership.

The launch party price is slightly more as it will last longer as it is an evening event and also covers a wider area making the cost for this geo-filter $121.63 which is £98.61. I would’ve liked to expand the ‘green zone’ for this event even more to Barbican station so that it could be used to document the journey to the event as well as reaching so much more people but unfortunately that made the price just ridiculous so the area where the filter is available is 304, 074 square foot around the Barbican Centre, London.


These images present what the Snapchat geo-filter design would look like over a photograph. The design of the geo-filter has been made to be available for both portrait and landscape format. The photographs I used as demonstrations for the filter are all from shoots that will feature in Peeled magazine’s first issue. Our stylist Lydia took the first image; our photographer Mikaela took the second by myself, and the final image. The colour palette used in the design of the geo-filter is solely based on the colours seen in our logo as the layering of a pastel lilac mirroring the dusky purple that stands at the forefront adheres to Peeled’s clean, natural, and light aesthetic.


These image examples again showcase what our geo-filter would look like with real photographs, but this time are presented in the landscape format. The first shot is by our photographer Mikaela, the second image is by myself, and our stylist Lydia took the third and final photograph.

Looking at all six of these images now, an idea has formed to use photographs that will be included in the magazine, and pair it with the geo-filter design as business cards for each member of the Peeled team. However, I would obviously alter the top part of the design by changing the words “yoga morning” and “launch party” to our perspective positions in the magazine; “photographer”, “stylist”, and “art director”. I could possibly do some mock-up designs for this and potentially even get some printed and make some prototypes myself to see the result because I think this would present a strong brand image and would be great things to have available for everyone to pass out at the pre-launch and launch parties when networking as well as putting stacks of them at all of the stands we have available.