Production Dossier

By Charlotte Dobson and Charlotte Spencer

Richard Nicoll
Contents
Designer Profile
Richard Nicoll has a highly established Womenswear line and newly
established menswear line, which he debuted in June 2012 at London
Fashion Week. Te focus of the brand is predominately on day-to-
night versatility, making his clothes wearable and functionable at the
same time. Richards initial training in menswear is also evident in the
collections, for example contrasting feminine pieces undeneath a mas-
culine tailored coat. His personal experience of growing up in Austral-
ia and living in London has culturally infuenced the brand style, as
he calls it A bit London, a bit Australian and a bit fantasy. Te brand
has many stockists globally, however the majority are located in Lon-
don, in prestigious stores such as Harvey Nichols, Matches and Liber-
ty. Tey have had various collaborations with brands such as; Topshop,
Fred Perry, Whistles, Vodafone, Tropicana, Ksubi and also the artist
Linder Sterling. Mainting the integrity of his design vision whilst also
producing a product that customers can relate to is at the heart of the
Nicoll brand.
Richard Nicoll Spring/Summer 2014
Page 2: Designer Profle
Page 3: Reasons and Infuences
Page 4: Film Narrative Inspirations
Page 5: Concept Moodboard
Page 6: Cinematic References
Page 7: Fashion Film Inspiration
Page 8: Photography Inspiration
Page 9: Film Concept
Page 10: Narrative Manifesto
Page 11: Styling Concept
Page 12: Styling Moodboard
Page 13: Hair and Make-up
Page 14: Model
Page 15:Storyboard/Location 1
Page 16: Storyboard/Location 2
Page 17: Time Plan Day 1
Page 18: Time Plan Day 2
Page 19: Contact Sheet
Page 20: Set Design/Props
Page 21: Editing
Page 22: Editing
Page 23: Release Form
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Reasons and Influences
Film Narrative Inspirations
We chose Richard Nicoll as our brand due to his very simple but modern aesthetic
and felt that this designer has an appeal to his brand that is quite subtly entrancing.
We felt he was a good brand to investigate as he seemed to have done several col-
laborations with various creatives. Te idea of fashion flm is to experiment with
an idea as it doesnt have boundaries and is a very artistic and creative platform.
We therefore began researching into Richards inspirations and found several key
inspirations that later infuenced our ideas about the direction of the brand.
We wanted to explore the artistic and creative direction that the designer is taking
through his collaborations. His collaboration and long standing relationship with
Linder Sterling shows a brand development and expansion into other creative
industries. From the research that we have collated, the inspiration has led us to
an artistic direction, deriving infuences from 20th century art including Lou-
ise Bourgeois and her cage series. Te art work that became the main focus was
the concept of looking in on the cage at the woman inside. Te idea of breaking
free from tradition. Richard Nicoll has stated that he has also been inspired by
flm director Woody Allen, as well as Bauhaus and Modernism. Woody Allens
cinematic references of using real characters and a feminine elegance on screen
has therefore infuenced our characterisation of the model. Modernism is a large
aspect of the brand and holds the context of the flm by revealing a Futuristic art
manifesto, about the futurism of Mens clothing by Giacomo Balla as a voiceover
for the fashion flm. Te visual takes the audience on a journey of revealing the
destruction of the funeral and decadent clothing that she is wearing, to reveal the
Richard Nicoll woman, of who is a modern and elegant woman. Te symbolism
of the fower represents the collaboration with Linder sterling and the essence of
femininity and remains a cohesive element throughout the flm.
Andy Warhol
Linder Sterling
Louise Bourgeois
Bauhaus
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Concept Moodboard Cinematic References
Stoker directed by Chan-wook Park
Interiors directed by Woody Allen
Stoker is a psychological flm with a lot of contrasting visuals and false surface emotion
which gave us inspiration in the creation of our fashion flm. We wanted to represent
diferent emotions through our flm; the restriction and unhapiness at the start, to the
freedom and happiness at the end. Visually we took inspiration from Nicole Kidmans
character Evelyn Stoker at the funeral of her husband, from the mourning dress to how
she plays out her emotions.
Interiors is a very dark flm, tackling themes of depression, adultery and suicude. Te intima-
cy portrayed in the flm between the viewer and characters was something that we wanted to
capture within our fashion flm, higlighting the angst of the model at the start to her transfor-
mation and transition. Richard Nicoll has stated previously that he is ofen inspired by Woody
Allen flms, therefore we felt it necessary to watch some and found Interiors the most inspi-
rational to our flm concept.
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Fashion Film Inspiration Photography Inspiration
Come and fnd me directed by Ruth Hogben
Dynamic Blooms directed by Nick Knight &Tell no one
Nick Knights series of fashion, dance and art collaborations called Dynamic Blooms in-
spired us to think about introducing foral elements into our flm in a creative manner. As
we were relying on the fowers for colour and femininity, it was important to look at many
other creative sources to inspire us in their placement in our flm.
Tis flm portrays Cara Delevignes various character transformations; from girly girl to
white queen to black leather clad dominatrix. It inspired our flm through Caras Alice in
Wonderland style garden scenes at the beginning of the flm, which showed her journey
and transforation. It also helped us creating our storyboards, with how she moved and in-
teracted with the garden features.
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Film Concept Narrative Manifesto
We Futurists, in those brief gaps between our great struggles for renewal, have spent the
time discussing, as is our wont, very many subjects. For quite some time now we have been
convinced that todays clothes, while they may be somewhat simplifed to suit certain mod-
ern requirements, are still atrociously passist.
WE MUST DESTROY ALL PASSIST CLOTHES, and everything about them which is
tight-ftting, colourless, funereal, decadent, boring and unhygienic. As far as materials are
concerned, we must abolish: wishywashy, pretty-pretty, gloomy, and neutral colours, along
with patterns composed of lines, checks and spots. In cut and design: the abolition of static
lines, all uniformities such as ridiculous turn-ups, vents, etc. Let us fnish with the humili-
ating and hypocritical custom of wearing mourning. Our crowded streets, our theatres and
cafs are all imbued with a depressingly funereal tonality, because clothes are made only to
refect the gloomy and dismal moods of todays passists.
WE MUST INVENT FUTURIST CLOTHES, hap-hap-hap-hap-happy clothes, daring
clothes with brilliant colours and dynamic lines. Tey must be simple, and above all they
must be made to last for a short time only in order to encourage industrial activity and to
provide constant and novel enjoyment for our bodies. USE materials with forceful MUSCU-
LAR colours - the reddest of reds, the most purple of purples, the greenest of greens, intense
yellows, orange, vermilion - and SKELETON tones of white, grey and black. And we must
invent dynamic designs to go with them and express them in equally dynamic shapes: trian-
gles, cones, spirals, ellipses, circles, etc. Te cut must incorporate dynamic and asymmetrical
lines, with the lef-hand sleeve and lef side of a jacket in circles and the right in squares. And
the same for waistcoats, stockings, topcoats, etc. Te consequent merry dazzle produced by
our clothes in the noisy streets, which we shall have transformed with our FUTURIST archi-
tecture, will mean that everything will begin to sparkle like the glorious prism of a jewelers
gigantic glass-front, and all around us we shall fnd acrobatic blocks of colours.
Te flm features a woman on her search for femininity and colour
through the abandonment of day to day normality and lacklustre
clothing. Te concept is narrative based and visually portrays the Fu-
turist Manifesto of Mens clothing by Giacomo Balla from 1913. It
begins with the model destroying a suit, literally wanting to get rid
of the uniformity popular in current fashion. Te strong city archi-
tecture is featured at the start, almost negatively looming upon the
landscape. Te sharp contrast in locations illustrates the stripping
back to nature and colour, introducing femininity through the vivid
colours of nature and fowers. Te flm could have been a lot more
extreme in the abolition of uninteresting and traditional clothing in
favour of colour and futuristic dynamics, however we wanted it to
refect the subtlety of the Richard Nicoll brand and ethos. Terefore
we needed to create a balance between leaving uniformity behind
and stripping back, one which would be appreciated by the brand
consumer. We found that the introduction of colour and fabrics was
enough to represent this, and the use of unusual props surrounding
the tree highlighted a stand against uniformity and social normality.
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Styling Concept
Styling Moodboard
For our fashion flm we needed to show a contrast in styling, to vis-
ually narrate the transition in our art manifesto from the rejection of
day to day clothing , to something less manufactured, stripped back
and natural. Essentially for both halves we needeed unfussy and min-
imalist clothing that refected not only the concept of our art man-
ifesto but also the ethos and style of the Richard Nicoll brand.
Te frst half of the flm represented the restriction of clothing, where the
model frantically tried to destroy them. To state the manifest, We must
destroy all Passeist clothes, and everything about them which is tight ft-
ting, colourless, funeral, decadent and boring the model tears apart a
suit jacket which is a part of her mourning clothes. Tis is a link to the
manifest where it says that we must destroy all funeral elements of cloth-
ing, so the styling had to be minimal and in a sense boring. For the flm
we used Richard Nicolls Spring/Summer 2014 collection as inspiration,
which featured a blend of masucline tailoring, contrasting colour pal-
ettes as well as a lot of layering and feminine detailing. Te second half
of the flm had to represent a sofer and undecadent side of the mod-
el, so we chose to layer a sheer white dress underneath a navy collarless
dress. Although the manifesto talked about futuristic colourful clothing,
we did not feel like it would represent the Richard Nicoll woman, so we
introduced colour through fowers. Te simplicity of the styling was in-
fuenced by the minimalist look introduced in the 1990s from designers
such as Calvin Klein, Maison Martin Margiela and Ann Demeulemeester.
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Hair and Make-Up Model
Make-Up Inspiration
Hair Inspiration, Look 1 Hair Inspiration, Look 2
For the hair we needed 2 looks, the frst to be classic and restrained for the frst half
of the flm, the second to be more free and versatile. For the London and graveyard
scenes we chose to have a classic low-bun, as she would also be wearing a veil over
her face. It visualized uniformity and social structure, perfect for mourning (as she
was at a graveyard). Te second had to be a lot more relaxed, so we opted for a
sleeked back hair down look.
For the make-up look we wanted something natural and minimal, so we kept the
face, and lips neutral but empasized the eyes and defned the eyebrows to shape the
face.
Name: Georgina Gillman
Age: 20
Location: London
Height: 5f 11
Dress size: 8
Eye colour: Blue
Shoe size: 7
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Storyboard/Location 1 Storyboard/Location 2
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Time Plan/Day 1
Time Plan/Day 2
Time Name Group Notes
11:00-11:10 Meet All London Victoria
11:10-11:30 Travel All Green Park
11:30-11:45 Preparation Model Hair/Make up
11:45-12:00 Prop Scene Props Petals
12:00-12:10 Georgina Model Bridge
12:10-12:20 Skyline Location Wide shot
12:20-12:40 Travel All Liverpool street
12:40-12:50 Architecture Location Close up
12:50-13:00 Georgina Model Walking
13:00-13:10 Trafc Sound Audio recording
13:10-13:15 Public Location Crowds
13:15-13:45 Travel All Kensal green cemetery
13:45-14:00 Preparation Model Hair/Make up
14:00-14:10 Georgina Model Destruction of jacket
14:10-14:15 Georgina Model Close up
14:15-14:20 Prop Scene Props Ripped paper close-up
14:20-14:30 Georgina Model Wide shot
14:30 End End End
Time Name Group Notes
10:00-10:15 Preparation Model Hair/Make up
10:15-10:30 Preparation Model Hair/Make up
10:30-10:45 Drive to location All Dunorlan Park
10:45-11:00 Georgina Model Tree scene
11:00-11:15 Georgina Model Close ups
11:15-11:30 Georgina Model Wide shots
11:30-11:45 Props Props Chair and fabric
11:45-12:00 Georgina Model Stone building
12:00-12:15 Glass Material Camera efects
12:15-12:30 Georgina Model Hand on tree
12:30-12:45 Georgina Model Feet on stepping stones
12:45-13:00 Water Water Water shot
13:00-13:30 Water Sound Audio recording
13:30-14:00 Georgina Model Waterfall scene, wide
shot
14:00-14:15 Georgina Model Water, fower close up
14:15-14:30 End End End
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Contact Sheet Set design/Props
Te main set design that we created was in Dunorlan park, as
all the other locations didnt need anything as we were focus-
ing on the original landscape. We used a variety of feminine
fabrics, materials and clothes to drape through a large tree in
the middle of the park. We wanted to created the link between
femininty and stripping back from day to day normality, ref-
erenced earlier in the London and graveyard scenes. Te set
was perfect for the model to wander through and feel her way
through the fabrics. We also wanted to create the illusion of
the unexpected, referencing Louise Bourgeoise and her clothes
cage structures.
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TIME NAME GROUP NOTES
10-00-10-15 PREPERATION MODEL HAIR/MAKE UP
10-15-10.30 PREPERATION MODEL HAIR/MAKE UP
10.30-10.45 DRIVE TO LOCATION
10.45 11.00 GEORGINA MODEL TREE SCENE
11.00 11.15 GEORGINA MODEL CLOSE UPS
11.15-11.30 GEORGINA MODEL WIDE SHOTS
11.30-11.45 PROPS PROPS CHAIR, FABRIC
11.45 12.00 GEORGINA MODEL STONE BUILDING
12.00-12.15 GLASS MATERIAL CAMERA EFFECTS
12.15-12.30 GEORGINA MODEL HAND ON TREE
12.30-12.45 GEORGINA MODEL FEET ON STEPPING STONES
12.45 1.00 WATER WATER WATER SHOT
1.00 1.30 WATER WATER AUDIO RECORD
1.30 2.00 GEORGINA MODEL WATERFALL SCENE WIDE
SHOT
2.00 2.15 GEORGINA MODEL WATER AND FLOWER
CLOSE UP
2.15 2.30 END END END
NAME CONTACT NUMBER
Charlotte Spencer and Charlotte Dobson
Charlotte Spencer 07803 765068
Crew
Georgina Gilman 07738 092877 Model
Olivia Brandon 07957 773379 Hairstylist
Charlotte Dobson 07718206687 Assistant
Title: Femininities Future
Date: Tuesday 12
th
November and Tuesday 19
th
November 2013
Call Time: 10:00 am
Description: Tuesday 12
th
November
Location: Dunorlan Park
5-10 x Short 30 secs pieces in 6 different locations
previously scouted, waterfall backdrop scene,
stepping stones, tree, stone building, river with model. Green filter
to be provided for waterfall scene. Framing to allow various camera
angles.
Parking: Open to Public

KIT
1 x Canon 700 D
1x Film Tripod
1x Light Reflector
1x Nikon D2OO
Location
Dunorlan Park
Royal Tunbridge Wells
Kent
London
Editing Editing
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Te editing of the flm took over 2 weeks to complete as we had to add our audi-
os, transitions and special efects. We used Final Cut Pro to get the fnal version.
Troughout the flm, the voice over is played with the support of a track called mem-
ories. Te efects that were added were called saturation and dream efect. Plus the
use of sound enhancers made our audios that we recorded of the water and busy
streets stand out against the manifesto. Tere was a slight echo on the manifesto re-
cording, which was read out by Charlotte Spencers grandad, it was quite noticeable
so we managed to reduce that with audio editors. Te reason why we chose an older
person to read out the manifesto was because we wanted the backing to sound aged
and knowledgeable. Te flm is just under 2 minutes in length, although we had
extra footage we thought it necessary to keep it consistent to the theme without any
other footage whose sole purpose was to bulk it out. Te credits and title were easy
enough to put in, and the end credits were displayed over a dropping petal scene that
we created when flming. We also had petals as transitions, we felt this ft in with our
concept of femininity.
Release Form
Contributors Release Form
Project Working Title: Richard Nicoll Femininities Future
Contributor Appearing: Georgina Gillman
Production Date: Tuesday 12th November and Tuesday 19th November
Production Location: 1. Dunorlan Park, Kent. 2. Kensal Green Cemetary. 3. Green Park, London
For legal reasons we must ask your permission to release the rights to your contribution to this fashion
flm. Please read the guidelines below and if you agree to the terms, please sign and date below:
1. You hereby consent to the release of this fashion flm through accordance with Charlotte Spencer and
Charlotte Dobson with any necessary distribution to other companies and reproductions.
2. You hereby consent to the copyright of the flm to Charlotte Spencer , Charlotte Dobson and any oth-
er existing contribution.
3. It is agreed that by signing and dating this agreement that Charlotte Spencer and Charlotte Dobson
have the sole rights of copyright to this flm and you agree to the process of your personal information
through credit of the flm for your contribution.
Agree and accepted:
Signature: ________________________________
Printed Name: ____________________________
Address: _________________________________
Town: ___________________________________ Country: ______________________
Postcode: ________________________________
Date: ___________________________________
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