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Page 3 of 24 Stage 2 Visual Arts - Art; Student Response Ref: A560308 (August 2016)

© SACE Board of South Australia 2016

NICOLA FORMICHETII BIOGRAPHY FASHION DESIGNER (costumes)

Nicola Formichetti was born on May 31, 1977 in Japan. His unique style was sa id to be a result of his upbringing for example his multiculturalism with his father being Italian and his Mother being Japanese, modern and traditional. As a fashion designer he is predominantly known as lady gaga's designer although his career began before working with her.

At age 21 Nicola moved to london to study architecture and music but wasn't that enthusiastic in this line of work, as he often spent nights out and looking at street fashion. It was in London when he began work at a boutique ca lled "The Pineal Eye" where many other designers also began .

His first major job began in London when he met the fashion directors of the magazine"Dazed and Confused". They offered him a monthly page called "eye spy" for the magazine where he could express the things he like E.G. writing, styling and photography. From this job onwards he was creative director for other magazines li ke; V, Another magazine, Arena Homme and more. As he developed he eventua lly became one of the most notable creative directors in the fashion industry.

His career really took off when he became the designer for Lady Gaga. He met her in 2009 at "The Beauty Issue of V shot by Sebastian Faena". While he was working with Lady Gaga he was often accompanied by two assistants; Anna Trevelyan and Brandon Ma)(well. A big step for him was when he used his name to secure clothes for Gaga, wh ich many designers are re luctant to do. He had his first ever collaboration with Lady Gaga at the "Much Music Video Awards" in 2009. He became part of the "Haus of Gaga" and was one out of three most well known members.

September 2010 he was announced to be the new creative director of the "Thietty Mugler brand" now know and just "Mugler"ln a ten year period between 2001 to 2011 Nicola worked with many fashion houses and brands. He was the soon to release his own fashion line and a pop- up boutique in Manhatten's Tribeca District.

Nicola Formichetti finds his inspiration from many places and people. The main way he finds his inspiration is by travel ling and visiting new places. People that inspire him are his friends, other designers, photographer and posts from people on Facebook and

Tumblr. He also fi nds inspiration in his huge toy collection.

An e)(ample of his inspiration from Facebook when he created "muse" in his "mugler range" he got the idea for "Rico the zombie boy". He had the skeleton tattooed allover his body as it would be on the inside.

I_ ~· .. ·-- ---· .-----. I

I really like the work of this designer as it shows creativity and he L :... i.~ • .,...'" is constantly taking risks on all of his design with make it interesting. I find that he unique designs are all appropriate and well thought out for the role of act it was designed for in particular costumes he designed for Lady Gaga' s songs and videos.

Amber Stockley, 1234

Word count: 498

Authors name, year, tit le (assess date)

• Biography, 2010, Nicola Farmichetti {online access date: 2/2/2013j

http://ladygaga.wikia.com/wiki / Nicola Formichetti

• http://www.cimuk.com/styling/nicola-formichettilbio

• Howard, September i h 2011, Nicola Fomichetti biography of an extraordinary creative talent,

{online access date: 2/2/2013j

http://www.weareyourstudio.com/nicola-formichetti/

• Clare, 201O,fashion focus : Nicola Formichetti, (online access date: 2/2/2013

http://stylebible.ie/Fashion/FeaturesFashion%20Focus:%20Nicola%20Formichetti.htm

• Showstudio, 7-8-2012, Nicola Formichetti - stylist & Fasion director, Vogue Hommes Japan

http://forums.thefashionspot.com/f71/nicola-formichetti-styl ist-fashion-director-vogue

hommes-japan-56064.html

• Paul Flynn, Thursday 3 June 2004, why I love .. . ... The Pineal Eye, (online access date :

2/2/2013)

http://www.guardian.co.uk/iifeandstyle/2004/jun/03/fashion .shopping




AKIRA ISOGAWA

BIOGRAPHY

FASHION DESIGNER (costumes)

Akira Isogawa was born in 1965 in Japan,Kyoto. He emigrated to

Austra lia in 1986 when he was 21 years old. His first work in Australia

was a waiter and a tour guide in 1995, meanwhile he was studying and

graduating fashion school in Austra lia's east Sydney tech. Collage.

In 1995 he also set up a store in Woollahra in Sydney. He first realised

his work was getting recognition when he spotted Naomi Campell

wearing one of his dresses on the front cover of a magazine. By the late 1990's his reputation had

built up and he was quite well known by other designers. 1996 was a big break for him as her

showed his first ever collection which he got great responses from, in particular Joan Burstein. Joan

Burstein was from 'BROWNS' who are famous for discovering many successful designers. The

company like his work so much they bought the whole collection.

By 1997 to 1999 his second collect ion was being reviled. It was a spring/ summer range called

'Satori collection' meaning sudden enlightenment. This collection had favourable reviews from many

sources of the media for exam ple 'New York Times' . A new collection was released in 1998, it was a

spring/ su mmer range ca lled' Botanica collection. This was his first private showing in Paris.

1998 he took his career to a new level by collaborating with the Sydney dance company. 1999 was a

high in his career as he won the designer of the year award from the Australian Fashion Industry

Awards.in 2005 he became so well know that he was awarded by the Austra lian post, he was named

an Australian ledgend and his face was put on a stamp.

His brands are now found all over the world and are retailed in fourteen countries. He has two

boutiques in Sydney, one in Melbourne and one in Brisbane

He has now also worked with the Australian ballet in September 2011 designing costumes for

Graeme Murphy productions.

Hes designs often strongly resemble his Japanese heritage and different places as when he is

travelling he gets inspired by the different types of fashions and styles

I really like this designer as it shows unique designs that

are effective yet still appropriate for the role or

envi ronment that they wil l be seen and or displayed in .

For example the costumes for Australian Ballet ;Romeo

and Juliet' shows soft yet strik ing designs that suit the

story line well.

Amber Stockley, 1234

Word count: 405

• 2012, biogrophy, [online access date 3/2/13J

http ://akira.com.aulprofile

• 1998 -2013,Akira 'sogawa, [online access date 3/2/13J

http://www.fashionmodeldirectory.com/designers/akira-isogawa/

• Vogue, 2013, Akiro 'sogowo designers, [online access date 3/2/13J

http://www.vogue.com .au/people/designers/akira+isogawa.1

• December 24 2007 Monday, Akira 'sogawa Australian Fashion Designer Biography, [online

access date 4/2/13J

http://fashion-designers-info.blogspot.com.auI2007 /12Iakira-isogawa-australian

fashion.html

of 24 Stage 2 Visual Arts - Art; Student Response Ref: A560308 (August 2016)


Design Analysis

Harlequin:

• Bright colours stand out (red, white and black)

• The simple diamond design on the front is sharp and effective but it also portrays the

character well

• It has no tricky fasteners which makes it easy for quick changes for the dances

• Material: all is elasticized, stretchy leotard with a light floaty red skirt underneath that will

bounce making movement look bigger

• Lots of detail but still kept simple, for example the arm sleeves with the same pattern on the

front adding uniqueness

• This character was of high energy so the stretch materials made it easy to move.

• For the other characters that share the stage this costume stood out as it was designed too

as it was bright bouncy and glittery. • The contrast on the diamond pattern with the black and white are striking as they take up a

large portion of the costume • Other harlequin costumes I have seen in my research I don't believe they are as successful as

they have too much detail it is too distracting.

• Minimal sequins and bead as a lot of partner work was required and you didn't want to get

attached.

Orange Jazz Dress:

• Bright orange colour stands out on stage with lights

• Sequins add sparkle that will look really effective with movement

• Clear straps give the impression of a strapless dress but ensures it will stay up

• It has a frilly skirt that looks effective with movement and turning in particular

• This dress has no fasteners that can get caught or be a hindrance when trying to change

with minimal time

• As this was a jazz dance it was of high energy and movement so the stretch material it is

made of causes no restrictions

• The gathers at the side provide for extra movement extra detail in the dress and gives the

body a good shape.

• The length of this dress is a good length that it can't be knelt on in floor work

• The head piece adds extra interest and also hold hair back




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AKIRA ISOGAWA - ANALYSIS

unique by adding colour rather than the expected plain white.

• This costume has the look of a traditional ballet tutu

• It has a lot of detail and patterns within the leotard with stitching, sequins and

pleating

• Along with the tutu there is added accessories like the arm bands and the tiara/

crown both which are as detailed as the dress

• The plain white of this dress would be effective on stage as the lights would

reflect well off of it

• This costume is elegant yet gives the feeling of a strong emotional character

with the refined detail

• This costume is well designed as it is simple but it has the detail to make it

unique and special

• The arm band really make this special as it creates extra detail and makes the

dress more elegant

• In my opinion I believe that this costume could have been made a little more


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Akira Isogawa - ANALYSIS

• Colour: black and gold

• Top a matalic black, strapless and half length

• Skirt (tutu) black, gold rim around edge, ripple texture and material has the appearance that it has been folded like a fan

• Skirt is made of a mesh like material that holds its shape well

• This costume interests me as it is not the traditional ballet costume and it has a unique twist of have the stomach exposed and just the skirt.

• The costume was completed with black stockkings and black pointe shoes which is also another element that you wouldnt normally see.

• this costume is effective because of its dark colour and gives the impression of

demanding and strong

• The bottom photo showes that this was for a strong character by the

body language so i believe that this designer portrayed this well in the

costume.

• 1m my opinion I believe that this cosume could include a bit more

colour and some texture on the top half of the costume.





NICOLA FORMICHETTI- ANALYSIS

J T

• This dress worn by lady gaga shows a simple design made interesting.

• The base of this costume is a plain white/black dress

• Embellishments of diamond shapes covering in glitter have been attached in all

shapes and sizes

• 3D attachments add depth

• The headpiece in this design match the dress making them go well together

• The black and gold dress stands out really well as they are to very different colour

which also makes the embellishments

• The white dress having matching embellishments is not as stand out but has a

different look that is more subtle but still the same concept.


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I have replicated my design of a tiara by using bendable wire so that I could see the shape in

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Although Isogawa's most recognised work is the dresses and costuming that he did for the Australian

Ballet he also has a wide variety of clothing designs. His clothing designs are both street wear and

photo shoot clothing. His clothing designs are both street wear and photo shoot clothing.

After looking into his clothing his background of Japan really showed through in his designs, for

example the basic shape of a kimono is shown but often with a modern western influences

patterned material. In saying this it is also shown in the reverse with western styles and Japanese

influenced patterns.

His designs consist of bright colours, simple but effective shapes corresponding, unusual creativity,

elegance in a creative way and his culture shines through in majority of his designs whether it is the

material pattern or shape.

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Nichola Formichetti is a well known designer due to his out there designs for famous singer Lady

Gaga. I find that his designs reflect the personality of either the person of the performance that they

are showing well. A prime example of this is Lady Gagas unusual loud character is reflected through

big elaborate designs. Although Lady Gaga is the main person he designs for he also has collections

for example the most known 'Mugler' and also for other performers like Beyonce.

After looking at and analysing some of his designs I have come to notice that he pushes the

boundaries and many of his designs are socially questionable. His costumes and clothing lines

challenge people's expectation and ideas of what is socially normal! expectable. I have noticed that

with many of his designs he takes something quite regular and modifies it to be unique and

signature to his design style.

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EVALUATION

For my visual study I chose to do costume design initially as I dance and I find the different variety of

costumes interesting. I wanted to look further into them and have a go at showing off my knowledge.

I thought that as I have visualised, worn and helped make many costumes previously that looking

deeper into it would help in the future. I find that the costume makes the performance whether it is

dance, music or drama the costume will always bring the performance value to a higher level. I also

love how material can respond to movement from the body. A designer that has always intrigued

me was Nichola Formichetti as I like Lady Gaga who he designs for and find the costume quiet

unique.

To reach the end of my visual study there where many different things I did to progress and develop

my ideas. Initially I researched two different designers, looked at their work and learnt from the

techniques that they used. I then analysed their working particular ones that I found interesting

related to costuming. I put further research into the costumes that I recognised as something I could

relate to the style of design I want to do. I replicated key features of the designs so that I could get a

better idea ofthe structure. From what I had learnt I appropriated and created my own ideas

incorporating different techniques.

I put further research into my designers so I could analyse and draw more ideas from them for my

own designs using influences from the designers.

I have explored in different designers designs and taken their concepts and tried to incorporate

them into my own designs, for example in my appropriation dress two I was inspired by Nichola

Formichetti's work as I took a simple shaped dress, added a few details and then enlarged them.

Nichola Formichetti is known for his big and bold outfits. In dress one I have incorporated Akira

Isogawa's work as I got the idea of a long flowing skirt that would react well with movement from a

dress he designed for the Australian Ballet. \

With my three appropriations I have thought about style and I believe that each one demonstrates

something unique of its own. My first one shows elegance and smoothness, my second shows

simplicity but a unique twist with oversized aspects and my third shows layers and different

contrasts of colours with a royal sort of feel to it.

For performance materials is a big thing as there is a lot to be considered such as; functionality

lighting, fixtures and movement with the body.

These two designers show the similarity of designing for performance preposes, one being for a

ballet and one for a singer which relates to my topic. They do also have collections and clothing wear

though. I believe that researching into different designer's works was really helpful for me as I learnt

new techniques and it helped spur on ideas for me. Throughout doing my visual studies I learnt

many things but one main thing I did learn was not to be ·afraid to push the boundaries. I also learnt

that sometimes with designing less is more but that can be amped up but getting creative from a

simple base.

Word count: 547



VISUAL ARTS - ART I DESIGN

Assessment Type 3: Visual Study

Student SACE No:

Assessment Design Detail of Evidence Assessment Design Criteria - Specific Features Criteria

Some elements of conceptualisation evident of designers with attempts to P

Conceptualisation, development, and resolution of resolve ideas related to the study. A Limited evidence of media 1

imaginative or personally relevant visual ideas. Practical experimentation.

Application P Disjointed documentation, little

reference to compositional elements A Documentation of creative visual thinking and/or problem-

or style. 3 solving processes.

A Some simplistic interpretations of S Critical analysiS and interpretation of works of art or design design works. Superficial reference from different contexts. to context and visual evidence. 1

Analysis Restricted use otvisual arts

and language with attempted reference A Use of visual arts language to interpret, respond to, and Synthesis to descriptions, issues and question S synthesise thoughts on visual arts, including issues and/or

related to the topic. . 2 questions.

Limited evidence of personal A learning. S Evaluation of, and conclusions about, visual arts learning.

4

Basic research skills to provide I Use of research skills and understanding of inquiry methods insights into visual arts. Some Inquiry and attempt at acknowledgement. E to locate and acknowledge sources, explore, experiment,

Exploration 1 and develop insights into aspects of the visual arts.

Superficial recognition of the role of visual arts in the personal development of ideas. Limited I

Exploration and self-analysis in development of a personal personal experimentation. E aesthetic through the visual arts.

2

GRADE Word Count Approx. 2000

D 10

Performance Standards for Stage 2 Visual Arts – Grade D 10

Practical Application Knowledge and Understanding Analysis and Synthesis Inquiry and Exploration

A Initiation of complex or challenging and well-planned conceptualisation, development, and resolution of innovative, imaginative, or personally relevant visual ideas.

Comprehensive exploration to refine technical skills and use different media, materials, and technologies.

Insightful and thorough documentation of creative visual thinking and problem-solving processes.

Highly effective application of refined technical skills and sensitive use of media, materials, technologies, and processes to communicate visual ideas in a

work or works of art or design.

In-depth knowledge of selected visual arts concepts, forms, styles, and conventions, and a clear understanding of their practical application.

In-depth knowledge and understanding of visual arts in different cultural, social, and/or historical contexts.

Insightful and discerning understanding of aesthetic and/or functional qualities in a variety of works of art or design.

Highly perceptive critical analysis and interpretation of a variety of works of art or design from different contexts.

Extensive and sophisticated use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and/or questions.

Discerning evaluation of own work and connections or comparisons with other practitioners’ work.

Insightful evaluation of, and conclusions about, visual arts learning.

Productive and thorough use of research skills and a clear understanding of inquiry methods to locate and appropriately acknowledge sources, explore, experiment, and develop perceptive and clear insights into a range of aspects of the visual arts.

Astute exploration and self-analysis in development of a personal aesthetic through the visual arts.

B Thoughtful and well-planned conceptualisation, development, and resolution of imaginative or personally relevant visual ideas.

Thorough exploration to refine technical skills and use media, materials, and technologies.

Thoughtful and organised documentation of creative visual thinking and/or problem-solving processes.

Effective application of some refined technical skills and some sensitive use of media, materials, technologies, and processes to communicate visual

ideas in a work or works of art or design.

Some depth of knowledge of selected visual arts concepts, forms, styles, and conventions, and a sound understanding of their practical application.

Some depth of knowledge and understanding of visual arts in different cultural, social, and/or historical contexts.

Clear understanding of aesthetic and/or functional qualities in several different works of art or design.

Well-informed and well-considered critical analysis and interpretation of several works of art or design from different contexts.

Proficient use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions.

Thoughtful evaluation of own work, and connections or comparisons with other practitioners’ work.

Thoughtful and well-explained evaluation of, and conclusions about, visual arts learning.

Systematic use of research skills and a sound understanding of inquiry methods to locate and appropriately acknowledge sources, explore, experiment and develop mostly clear insights into different aspects of the visual arts.

Thoughtful exploration and self-analysis in development of a personal aesthetic through the visual arts.

C Considered conceptualisation, development, and resolution of imaginative or personally relevant visual ideas.

Competent exploration to refine technical skills and use media, materials, and technologies.

Organised documentation of creative visual thinking and/or problem-solving processes.

Competent application of technical skills and elements of sensitivity in the use of media, materials, technologies, and processes to communicate visual ideas in a work or works of art

or design.

Appropriate knowledge of selected visual arts concepts, forms, styles, and conventions, and some understanding of their practical application.

Considered knowledge and understanding of visual arts in different cultural, social, and/or historical contexts.

Appropriate understanding of aesthetic and/or functional qualities in different works of art or design.

Informed and considered critical analysis and interpretation of two or more works of art or design from different contexts.

Competent use of visual arts language to interpret, respond to, and synthesise thoughts on visual arts, including issues and questions.

Considered evaluation of own work and connections or comparisons with other practitioners’ work.

Competent and appropriate evaluation of, and conclusions about, visual arts learning.

Competent use of research skills and considered understanding of inquiry methods to locate and appropriately acknowledge sources, explore, experiment, and develop some insights into different aspects of the visual arts.

Some considered exploration and self-analysis in development of a personal aesthetic through the visual arts.

Practical Application Knowledge and Understanding Analysis and Synthesis Inquiry and Exploration

D Elements of conceptualisation and some development and resolution of visual ideas.

Some exploration of technical skills using media, materials, and technologies.

Disjointed or partial documentation of creative visual thinking and/or problem-solving processes.

Partial application of technical skills and some use of media, materials, technologies, or processes in

developing a work of art or design.

Some basic knowledge of selected visual arts concepts, forms, conventions, and styles, and an emerging understanding of their practical application.

Some reference to knowledge or understanding of visual arts in a cultural, social, or historical context.

A superficial understanding of aesthetic or functional qualities in works of art or design.

Some basic consideration and interpretation of at least one work of art or design with superficial reference to their context.

Restricted use of visual arts language to interpret, respond to, and describe thoughts on visual arts, including issues or questions.

Some description of own and others works, with some tenuous connections or comparisons.

Some basic summary and description of visual arts learning, with elements of evaluation.

Some use of basic research skills and awareness of inquiry methods to locate one or more sources (with attempted acknowledgment), explore, and experiment.

Superficial recognition of the role of visual arts in personal development.

E Emerging skills in the conceptualisation, development, and resolution of visual ideas.

Attempted exploration of technical skills using media, materials, or technologies.

Limited documentation of creative visual thinking or problem-solving processes.

Attempted application of technical skills to develop a work of art or design.

Limited knowledge or understanding of concepts, forms, or styles in visual arts.

Emerging awareness of different visual arts contexts.

Some awareness of the need to understand aesthetic or functional qualities in works of art or design.

Emerging awareness of connections between at least one work of art or design and the context.

Limited use of visual arts language for interpretation or response in the visual arts.

Attempted description of own and others’ work.

Attempted description of aspects of visual arts learning.

Attempted engagement in a directed research process.

Emerging awareness of the role of visual arts in personal development.

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