Archaeology of Fashion Film Workshop 2

VENUES: 21 March: CENTRAL SAINT MARTINS, 1 GRANARY SQUARE, KINGS CROSS, LONDON N1C 4AA; ROOM K302

22 March: BFI, 21 STEPHEN STREET, FITZROVIA, LONDON W1T 1LN; SCREENING ROOM IN BASEMENT (ASK AT RECEPTION IF UNSURE)

AIMS AND FORMAT

This two-day workshop series is part of ARCHAEOLOGY OF FASHION FILM, a two-year research project based at University of the Arts London and University of Southampton (for now basic info on project and team here: http://www.arts.ac.uk/research/current-research/ual-research-projects/fashion-design/archaeology-of-fashion-film-/). It brings together a diverse group of participants from fields including fashion and film studies, curating, archiving, and contemporary image-making.

The aim of the workshops is to explore a range of historical and contemporary films that can be considered under the umbrella of ‘fashion film’. For our purposes we take ‘fashion film’ to mean short, presentational, largely non-narrative films dedicated to the display and promotion of fashion. NB - the workshop will no doubt address this ‘definition’, explore its horizons, and very possibly challenge it too.

One of the key aspects of the workshops is a deliberate confrontation of historical and contemporary film material, emphasising that the way we think about historical fashion film is (at least to a degree) conditioned by the current developments in moving image cultures.

The idea of the workshops is to watch a range of short films and debate them – make observations, raise questions, think about new aspects of these – all in relation to your knowledge and expertise. Each workshop is loosely based on a concept or theme, and each has a moderator who opens the session and helps steer the discussion, supported by the project team. All these topics (and their titles) are for guidance only, not to set boundaries. It is intended that all participants contribute fully and equally in each workshop.  There will be eight sessions over two days, and in each we will alternate between watching films and discussions.

Organised by Marketa Uhlirova

WORKSHOP SCHEDULE

DAY 1 : Wednesday 21 March 2018

9.45 – WELCOME AND INTRODUCTION TO DAY 1 (FOCUS ON BOTH SILENT AND CONTEMPORARY CINEMA)

The project team (Caroline Evans, Marketa Uhlirova, Jussi Parikka and Lucy Moyse Ferreira) briefly explain the aims of the workshops, the key questions it raises, and the way in which the workshops will run.

10.00 – 11.30 SESSION 1: FRAMING FASHION FILM: WHAT IS IT AND WHERE ARE ITS HORIZONS?

Moderated by Oriole Cullen and Marketa Uhlirova

This introductory session showcases the variety of genres and styles, filmmaking techniques and approaches as well as contexts (creative, commercial) that may be considered under the umbrella of fashion film. It highlights certain correspondences between historical films and contemporary fashion films, with the aim to explore some parallels in their functions, uses and contexts and aesthetics.

Films:

Hussein Chalayan, Aeroplane Dress. Dir. Marcus Tomlinson. UK, 1999. COLOUR. 2’. Digital.

Métamorphoses du Papillon (A Butterfly’s Changes). Dir. Gaston Velle. Pathé Frères, France, 1904. STENCIL-COLOUR. 1’40. Digital

Sweet. Dir. Nick Knight and Jane How. UK, 2000. COLOUR. 1’53. Digital.

Les Chapeaux des belles dames (Beautiful Ladies’ Hats), excerpt. Dir. Émile Cohl. Gaumont, France, 1909. BW. 2’. Digital. [START 1.45-END 3.45]

L’Art et la Mode. Photographed by Studio Rahma Paris. Shows Chapeaux Camille Roger. 1920s. STENCIL-COLOUR. 27’’. Digital.

*

Video-graphics for Prada and Mulberry. Dir. JJ Guest, UK, 2017-18. COLOUR. 2’. Digital.

Gareth Pugh Pitti Immagine #79. Dir. Ruth Hogben, UK, 2011. BW. Digital.

Note: Gareth Pugh made his Italian fashion debut at Pitti Immagine #79 with this film, projected onto the ceiling of a 14th-century church.

Lady Gaga. Dir. Kathryn Ferguson. Dazed Digital, UK, 2009. COLOUR. 1’55. Digital.

*

Fransche Mode-show in ‘Hotel di vieux doelen’, from Journaal: Teddy gaat naar Albert Frères-bioscoop, poppententoonstelling en mode-show. Netherlands, Willy Mullens, 1921 - 1923, Haghe Film, a compilation of various newsreels. Digital.

Alexander McQueen, Plato’s Atlantis (Spring-Summer 2010 show) (excerpt) featuring Nick Knight and Ruth Hogben’s film Plato’s Atlantis. SHOWstudio, UK, 2010. COLOUR. 5’20. Digital. [START 0.00 – END 5.20]

*

Various Fashions 1960-1969. A British Pathe compilation from Pinewood Stock Cans material. UK, 1960-69. BW. 2’05. Digital. [START 0.00 – END 2.05]

Alexander McQueen - The Bridegroom Stripped Bare: Transformer. SHOWstudio, UK, 2002. Colour. 3’19. Digital.

11.30 TEA BREAK

11.45-13.00 SESSION 2: CONTEMPORARY FASHION FILM: WHAT IS IT? TECHNIQUES OF MOTION AND TIME; STORYTELLING.

Moderated by Raven Smith

This session provides an opportunity for a closer examination of the different approaches taken, and techniques used, across a range of contemporary fashion films. It asks if many digital fashion films are effectively moving stills, and looks at ways of storytelling through film. It also considers social and cultural uses of fashion film – temporalities, commercial pressures, capturing attention, and social media…

Films:

Raf Simons Autumn-Winter 1995-1996. Belgium, 1995. COLOUR. Digital. 6’22.

Note:This video featured in Simons’ debut A-W 95-96 runway show at the Daniele Ghiselli showroom in Milan, which also featured two street models.

Raf Simons, Spring-Summer 1996 (excerpt). Dir. Mike, Raf, Yourick. Belgium, 1995. Digital. 7’ [START 0.00 – END 7.00]

*

Calvin Klein Men’s x Charles Atlas: Human Symmetry and the Fall 2015 Collection. Dir. Charles Atlas. Nowness, UK, 2015. COLOUR. 4’25. Digital.

YSL Fall-Winter 2010-11. Dir. Inez and Vinoodh, France, 2010. COLOUR. Digital.

*

Electric Jungle: KENZO Women Resort Spring-Summer 2013. Dir. Mat Maitland with Smith & Read; animation Natalia Stuyk. UK/France, 2013. COLOUR. 54’’. Digital.

KENZO World - The new fragrance. Dir. Spike Jonze, France, 2016. COLOUR. 3’49. Digital.

CHANEL Rouge Allure: A Tribute to Erwin Blumenfeld. Dir. Sølve Sundsbø, Psycho (Paris), France, 2012. COLOUR. 1’04. Digital.

*

The Way We Dress. Dir. Chelsea McMullan. USA, 2015. COLOUR. 2’54. 16mm/digital.

The Sound of Cos. Dir. Lernert & Sander. UK/Netherlands, 2014. 2’05. Digital.

Phillip Lim/Foot Models. Dir. Lernert & Sander. USA/Netherlands, 2014. COLOUR. Digital.

Note: film was created to coincide with the Resort 2014 / Pre-Spring 2015 footwear launch.

13.00 LUNCH : THE GREEK LARDER, ArtHouse, 1 York Way, Kings Cross, London N1C 4AS

14.00 – 15.30 SESSION 3:  SILENT CINEMA’S FASHION FILM

Moderated by Jay Weissberg

This session digs deeper into the different kinds of silent fashion film forms and genres we consider in this project (including fashion newsreel/cinemagazine, costume film, advertising film, and ethnographic film) and their various {re)presentational techniques; it asks how fashion houses and retailers may or may not have been involved in their production and looks at their common conventions and styles. It also considers their production and reception in their time, including the ‘reading’ of black and white footage as colour. It asks about the conditions of emergence, establishment, dissemination and consumption of early fashion films.

Films:

Les Costumes de la Femme a travers les ages. Pathé Freres, France, 1908. BW. 5’20. Digital.

La Mode française aux Etats-Unis. Robes de soirée/La Mode parisienne aux Etats-Unis. Robes et manteaux de soirée. Journal Gaumont, France, 1915. BW. 1’33. Digital.

*

Paris. Mode pour le bal/La mode du soir preséntée dans un salon a Paris. Journal Gaumont, France, 1912. BW 1’37. Digital.

Film showcases creations from Galeries Lafayette (name not advertised on screen).

La Mode aux courses. Gaumont, France, 1911. BW. 4’45. Digital.

La Mode a Paris (Eté 1923). Pathé Baby, France, 1923. Focuses on the Parisian couturier Doucet. BW. 2’. Digital.

Note: A surviving script at Gaumont-Pathé archives.

*

[Promotional film for Les Magazins Aubrun]. France, 1926. TINTED. 8’50. Digital. [START 2.45 – END 11.33]

La Mode. Photographed by Studio GL Manuel Frères, Pathé Revue, France, 1925-9. 1’20. Digital. Features fashion by Brialix, Le Monnier. STENCIL-COLOUR. Digital.

*

Calais De sleutel van Frankrijk. Pathé revue 26, France, 1924. (excerpt) 1’30. Digital.
‘The inhabitants of this district, still wear the picturesque dress of their ancestors.’

Schilderachtig Portugal (FR, 1912 or 1921-4, Pathé Cinéma), STENCIL-COLOUR. 50’’. Digital.

Elif Rongen note: From Pathé catalogue it seems that they made two series of reportages in Portugal, one in 1912 and another one around 1921. Both serials were coloured with Pathécolor. According to EYE curators this is possibly from 1912 as there are no cars on the streets.

15.30 TEA BREAK

15.45 – 17.30 SESSION 4: SETTING THE SCENE, FILMING FASHION ‘IN MOTION’

Moderated by Tom Gunning

This session investigates the spaces and places of fashion – the mises-en-scene – showcased in fashion films and the practices of their representation. It also explores the filming techniques used, considering devices such as staging, framing, close-ups and long shots, editing, stasis and motion.

Films:

Mode 1910. Pathé Journal, France, 1910. BW. 1’24. Digital.

A surviving script at Gaumont Pathé archives.

Creaties van de firma Nicole Groult (Creations by Nicole Groult). From Wat zal ik morgen aandoen...? Messter Projektion, Netherlands, 1926. A compilation of German and French fashion items. STENCIL-COLOUR. 1’15. Digital.

‘Japonnen en mantels met paarlen geborduurd en med hermelijn afgezet van de firma Nicole Groult.

*

Journaal: Modeschau im Zoo (Fashion Show in a Zoo), Germany, 1915, Messter Projektion. TINTED. 2’55. Digital.

*

Mode. Pathé Cinéma, France, 1926 - 1927, Pathé Cinéma. The footage is at least partly Pathé-revue n° 43 – 1927. STENCIL-COLOUR. 3’50. Digital.

La mode et la couture à Deauville (coloris) (75 m): Élégantes habillées par Doucet, chapeaux d’Esther Meyer, ensembles d’aprèsmidi de Premet et Maria Guy, robes de Philippe et Gaston, chapeaux Georgette, modèles de Jeanne Lanvin, de Jenny et Marie Alphonsine, de Worth, chapeaux Lemonnier, robes du soir de Jenny, Paul Poiret, Jeanne Lanvin.

*

Fourrures. Pathé Revue, France, 1920s. Pathécolor/STENCIL-COLOUR. 2’39. Digital.

Features Fourrures Max.

Fantasies parisiennes. Pathé revue, France, 1920s. STENCIL COLOUR. 2’29. Digital.

17.30 – WRAP UP

DAY 2: Thursday 22 March 2018

BFI, 21 STEPHEN STREET, FITZROVIA, LONDON W1T 1LN; SCREENING ROOM IN BASEMENT (ASK AT RECEPTION IF UNSURE)

All silent films will be accompanied by Stephen Horne.

9.45 – INTRODUCTION TO DAY 2

10 – 11.30 SESSION 1: FILMING LUXURY AND DETAIL: MATERIALITY, TEXTURE AND THE ROLE OF COLOUR  

Moderated by Eirik Hanssen

This session asks about the relationship of the haptic and the optic in fashion films. Is there such a thing as a haptic gaze, or embodied knowledge of fashion that affect viewing competences? What is the difference between fashion as object, as image, and fashion in motion? What colour technologies are used in fashion film, and what significance does colour have here?

Films:

A moda em Pariz: Penteados à Decoux. (Fashion in Paris: Hairstyles at Decoux. Pathé Journal, France, 1911). HAND-COLOURED. 1’. Digital. [START 2:12-END 3.11]

Two Women in a Garden. A fragment, probably a fragment of Journal Gaumont, France, c. 1913. STENCIL-COLOUR. c. 45’’. 35mm.

Another Chapter of History Unveiled/Fashions from Paris. A compilation of various items, possibly all from Journal Gaumont, France, c. 1913. (includes Fashion for Fishers, orig. La Mode au Bois de Boulogne. Pêche à l ligne, The Gaumont Graphic No. 289. 1913). Combination of STENCIL-COLOUR/TINTING? 1’25. 35mm.

*

Paris Fashions: Latest Creation in Gowns of the House of Raudnitz (Pathé Frères Cinema, UK, 1922). BW VIEWING COPY FROM A TINTED ORIGINAL. 2’. 35mm.

For Afternoon (‘A Pathécolor Study’). Eve's Film Review. Pathé Frères Cinema, UK, 1922. STENCIL-COLOUR 2.20’. 35mm.

Fashion Show. Unknown, UK?, 1920. 30’’. STENCIL-COLOUR. 35mm.

*

Couleurs. Mode. Présentation de différents modèles dans un ovale. (Colours. Fashion. A presentation of different models in an oval). Gaumont, France, 1920. Featuring Bernard et Cie., Jeanne Lanvin, Claire Margaine, Rolande, Philippe et Gaston. STENCIL-COLOUR. 7’. Digital.

Pour le soir. (Pathé Revue, France, 1920s). Pathécolor/STENCIL-COLOUR, 2’30. Digital.

La Mode de Paris/Paris Fashions: Latest Spring Hats (Gaumont, France, 1912). TRICHROMIE 1’13. Digital.

Note: Trichromie (also known as Chronochrome) was a colour film process patented by Leon Gaumont in 1911 and presented publicly in 1912, and although it was used to shoot France’s victory parade in Paris in 1919, it had fallen out of use by the early 1920s. The Trichromie process involves photographing the same image on black-and-white film stock three times simultaneously through three colour filters—green, blue, and red—and then projecting the images through a single projector with three lenses of those respective colours.

*

Sonia Delaunay: Film gaufre. France, c.1927. KELLER-DORIAN. 3’36. Digital.

Note: Keller-Dorian was a film colour technique developed in France. Principle: a lenticular process to separate red, green and blue colours and record them on a single frame of black-and-white film. Used between 1922–1930.

Fashion News: First Showing in Advanced Spring Millinery. Fashion Features, Inc., New York-Hollywood, USA, 1927. TECHNICOLOR. 1’30. Digital.

Features Jeanette Loff, Raquel Torres, Laura La Plante, Edna Murphy, Corliss Palmer, Barbara Bedford, Ruth Elder.

11.30 TEA BREAK

11.45-13.00 SESSION 2: BODY, MOVEMENT AND CHOREOGRAPHY

Moderated by Caroline Evans

This session focuses on the techniques of modelling, posing and filming bodies and garments in motion or stillness. It examines the practices of staging and representing fashion bodies and dress in interior and exterior spaces.

Films:

Ladies of Fashion. Unknown, UK, 1910. 6’’. 35mm.

Paris Fashion in colour afternoon toilette (orig. title: La mode parisienne: tenues pour l'heure du thé, le ‘five o'clock’. Journal Gaumont, France, 1911. STENCIL-COLOUR. 49’’. 35mm.

Great British Fashions Exhibition. Topical Budget 940-2, UK, 1929. BW. 54’’. 35mm.

Chez le grand couturier. Unknown, France, 1923. STENCIL-COLOUR. Intertitles painted by Marcel Bloch. 1’30. Digital.

Note: compare with PG footage PR 1923 14 1

*

Duitsland, 1926: Damesmode van Marie Latz Berlijn (Germany, 1926: New Summer Fashions for Women from Berlin (Marie Latz models). From Wat zal ik morgen aardoen? Nieuwe damesmodes voor den zomer 1926 (What will I do tomorrow?, a compilation of German and French fashion items). Messters Projektion, Germany, France, 1926. 2’30. Digital

Laaste Parijsche Mode No 20. Elegance Film. A compilation of various fashion items, including: a presentation at Bois de Boulogne; ‘Robes voor buiten/dresses for outdoors’; Wintermode; plus an older item, probably from 1911: Parijsche Mode: Verschillende manieren om het haar op te maken (Firma Decoux) (different hair styles at Decoux). From: Modeflitsen film compilation, France, 1911–1926. 4’. Digital.

*

Hairdressing and footwear, UK, c. 1929. BW. 50’’. 35mm. 

Extremities in Feminine Fashion. Topical Budget, 954-2. UK, 1929. BW. 50’’ 35mm. 

Fancies of Footwear. Probably UK, c. 1929. BW. 35’’. 35mm. 

*

Masks for Mannequins. Topical Budget 784-1, UK, 2 September 1926. (Filmed at Holland Park Dress Exhibition). BW. 1’. 35mm.

Fashions of Fifty Years Ago. First National-Pathé, UK, 1928. A compilation of diverse footage in BW and STENCIL-COLOUR. 2’50. 35mm.

13.00 – 14.00 LUNCH:  WAGAMAMA: 81 Dean St, Soho, London W1P 3HP

14.10 – 15.30 SESSION 3: DISPLAY, ADVERTISING AND PROMOTION

Moderated by Nico de Klerk

This session explores the ways in which manufacturers utilised, and benefited from, cinema as a novel means of advertising. It draws on existing work on how cinema was a shop window for fashion to see what new research questions can be generated.

Films:

Paris. La mode. Coiffures du soir et éventails / La mode des éventails crée par les Galeries Lafayette. (Journal Gaumont, France, 1912). 1’14. Digital.

Film advertises fans created by Galeries Lafayette.

La Mode a Paris. Robes et chapeaux crées par les Galeries Lafayette, Journal Gaumont, France, 1916. 56’’. Digital.

*

Warner Corset Advertisement. USA, 1910. 3’40. Digital.

Sen, Baťův žurnál číslo 8 (A Dream, Baťa Journal no. 8;). Czechoslovakia, 1928. 1’45. Digital [START 7:05 – END 8.50]

*

Módní přehlídka firmy Karakul - Karla Čížková, (Karakul Fashion Show), Czechoslovakia,1927. 3’. Digital.

Čaj o páté v Alhambře (Tea at Five in Alhambra Hotel), Elekta-Journal, Czechoslovakia, 1928 (film promotes Fiehl furs, a Prague-based company). 2’40. Digital.

Advertisement for a ‘Haute Couture’ department at Les Magasins Aubrun. (Bourges, France, 1926), 6’. Film name-checks Jean Patou, Philippe et Gaston, Bernard. Digital.

*

My Lady's Boudoir: ‘Latest Spring Models by Baroque’. Topical Budget 811-1. 1927. 1’. 35mm.

Velvet and Sable: A New Pathécolor Mode. (focus on British fashion house Reville, designer for Queen Mary). 1’. 16mm.

15.30 TEA BREAK

15.45 – 17.30 SESSION 4: FILMING THE PROCESS

Moderated by Patrick Russell

This session focuses on industry/process/sponsored films, examining ‘the making of’ as well as the ‘behind-the-scenes’ of a fashion company. It highlights some of the genre’s history and filmic conventions while asking about its popularity and significance, as well as its uses.

Films:

Calais De sleutel van Frankrijk (excerpt). Pathé revue 26, France, 1924. 25’’. Digital.
Showing, according to surviving script: ‘Ateliers de fabrication mécanique de dentelles et broderies (principale industrie de la ville). In the original Pathé revue this item was followed by intertitle: Cette dentelle est recherchée par la haute couture, followed by three women presented lace-trimmed dresses + close-ups.

Intertitle: Calais’ principal industry is the mechanical fabrication of lace and embroidery, which are renowned all over the world.

Handschoenenfabricage, France, 1924; identical to Fabrication des gants (though the film’s opening title reads only Les gants), Pathé-revue 1924 (24-1). (The manufacture of gloves). 2’03. Digital.

NB- Surviving script at Gaumont Pathé archives.

*

From Wool to Wearer: ‘The romance of Pesco underwear’ (excerpt). Prod. Peter Scott Knitwear (aka Pesco) in Hawick.Promotional, UK, 1913. 4’. Digital. https://player.bfi.org.uk/free/film/watch-from-wool-to-wearer-1913-online [Play from laptop].

Industrie de la soie au Japon (excerpt). Netherlands, dated 1917; originally produced by Pathé, France 1914. TINTED. 5’. Digital. [Play entire excerpt].

Note: Manufacture of silk fabrics ending with a presentation of fashionable kimonos. Has footage in common with a BW film held at Gaumont-Pathé archives. Catalogue entry: Henri Bousquet, Catalogue Pathé des années 1896 à 1914.)

Parures / Vom Spinnen und Weben (excerpt). Of Spinning and Weaving). Dir. Werner Dressler. Switzerland, 1939. 5’13. Digital. [START 6:42 – END 11.55]

*

Making Fashion (excerpt). Dir. Humphrey Jennings, UK 1938/9. 5’. Digital (Blu-ray). [START 1.04 – END 6.13]

The Story of a Pioneering Sock (alternative titles: Project 048; Mr Strauss' Rediscovered Long Socks), dir. Elliott Cranmer, UK, 2014. 5’11. Digital.

17.30 – FINAL OBSERVATIONS AND WRAP UP