Updating the Dancer's Styling/Meeting with Zhane

After my project proposal feedback I felt I needed to update my dancer's styling because the dress I had designed previously was too cliche for an expressive dance scene. I still want the styling to have texture, to capture the dispersed powder paint beautifully, and movement, to complement the dancer's lines; however I want to embrace the avant-garde aspect of my film.

I initially wanted this styling to be very feminine and elegant to portray an ethereal scene; however after researching different dance styles and talking to Harrison about experimental lighting techniques I have now decided the styling should portray strength, confidence and power as the scene reflects how liberated and strong She feels when envisioning her life free of discrimination and hate.

Design

I presented Zhane with the images below to show her the aspects of each look I thought would work and could inspire my design. I showed her the choreography I was thinking of and the music inspiration to make sure the styling complemented the entire concept. We then discussed possible options and combinations to come up with the most effective and appropriate design. I still wanted the whole design to be white as I want the look to be strong and portray confidence, but I still want it to be ethereal; the styling also needed to be white to emphasise the bright colours of the powder paint.

Image 1 - Tassels

Image 2 - Shoulder pads and designs

Image 3 - Translucent, light material

Image 4 - Cage designs and feathers

We initially discussed creating a skirt similar to the mid length skirt in Image 1 with the khaki coloured tassels; however Zhane was concerned it would look too much like a 'party skirt' as it was so short and playful. She also said the tassels would need to be constantly moved to ensure it didn't look flat and lifeless. We decided on the long caged skirt design in Image 4 as it has a high fashion look, is long and flexible, but you can still clearly see the model's silhouette. When I first envisioned the dancer I gave her a long flowing dress; however I don't want it to look cliche so I think this loose caged effect will work perfectly in adding movement and also representing that she no longer feels caged in by society and can control it freely. Zhane suggested making it shorter in the front to elongate the legs and accentuate the leg movement; this would also make the skirt look less heavy and restricting.

Feathers used in 1800s
(Queens Of Vintage, 2012.)

For the top section I knew I wanted some type of shoulder pads to represent her new found strength and I wanted to give her a powerful hourglass silhouette. After discussing the shoulder design options we both agreed on the feathered shoulder pads in Image 4 because they look glamorous but still quirky and strong. Feathers has always been seen as luxurious since the Middle Ages when men and women of high status decorated their headdresses with feathers. Feathers have continued to exude wealth and high standing, from the Kings and Queens adorning them in the Medieval times to the 1800s where women accessorized their hats with increasingly flamboyant designs. I therefore think the use of feather in She's dream-like sequence will represent how she finally feels worthy of such elaborate and luxurious clothing as her confidence grows. I also think feathers can look rebellious as the use of real feather in fashion is very controversial. I will be use faux feathers in my design; however this use of feathers will mirror her confidence to be adventurous and courageous without worrying what others will say.

I was further inspired by the bottom, left design in Image 4 to create a V shape neckline. I want the two feathered shoulder pads to join in the middle to give a strong, deep V shape and to cover her breasts as I don't want the design to be too revealing or seductive. I want this look to portray strength and empowerment so I don't want to sexualize the look too much in risk of degrading the model. Zhane suggested combining the top and bottom half of the design with a white faux leather belt to sinch in the waist to emphasize her hourglass silhouette.

Final Inspiration Images

I felt there was too much empty space on her neckline so I found the image above of a white leather belt wrapped round the neck which inspired me to use the same material as the skirt to create the same choker effect. This restricting aspect will represent that the lasting effects of discrimination will always lurk in the victim's subconscious; however the cross shape acts like a shield that will continue to grow as their confidence and self-love increases.

Sketch

Making the Garment

Zhane was concerned the white netted skirt would not stand out enough against the dancer's pale skin so she suggested using faux leather material for this to give a subtle sheen and to give it more structure. She said I would need to buy her about 2 metres by 4 metres of faux leather fabric for her to cut in strips and sew together in a cage design.

For the feather shoulder pads she said she'd need to create a strong structure out of metal and padding to them cover in a white fabric. I was concerned with the amount of feather she would need; however she suggested I buy white feather bowers as they are affordable and they can be easy stuck onto the fabric.

I will have one more meeting with Zhane to finalise the design, materials needed and my dancer's body measurements. I will then buy all the materials and set her a deadline to finish to give me time to have a fitting with the dancer before the shoot.

I have enjoyed working with a designer for this look as I had so much freedom when researching design ideas. I am eager for Zhane to get started so I can watch the process and see the final outcome!


References:
QUEENS OF VINTAGE, 2012. A History of Style: The Feather [viewed 7th February]. Available from: http://www.queensofvintage.com/a-history-of-style-the-feather/