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Gareth Pugh

source: style

It’s somehow typical of Gareth’s Pugh-ness that the designer would encourage his soundtrack-ist Matthew Stone to come up with something a little more up-tempo than last season’s stentorian sounds…and, for his pains, get the pounding techno that accompanied the 11-minute film that budding genius Ruth Hogben made to replace his show this time around. (“Half the length of Coronation Street,” was Pugh’s stipulation, referring to the episodic, quintessentially English TV series.) But it all worked so completely that, among the people filing out of the auditorium where they’d just been exposed to an almost-IMAX-scale projection of the movie, several must have been thinking it was time more designers ditched the catwalk drudgery. Mind you, the scope of Pugh’s vision lends itself to cinematic interpretation. Kristen McMenamy, a model whose hold on a rung on the ladder of nineties supermodel-dom probably qualifies her as iconic, gave her all to animate clothes that would have lain limp in a standard fashion presentation. Her all, in this case, included the injury she suffered when she was pitched off a treadmill during filming.

If that hard edge would once have been equally applicable to Pugh’s clothes, his Spring collection suggested a move toward something softer, though equally bewitching. Flowing kimono shapes were cut from a nylon printed with aluminum to give an extraordinary two-way mirror effect. Scales of rubberized neoprene added a snaky futurism to tops and pants. Pugh pulled off a feat of cutting in tunics he called “modular,” the same front and back. And, keen as he was to avoid the sci-fi tag that has been continually attached to his clothes, he still showed sinuous silvery pieces that clung to the body like thirty-first-century armor.

What Hogben’s film highlighted was the fluidity and movement inherent in Pugh’s clothing. A runway could never have done that—nor could the lookbook images that were circulated after the screening.
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source: showstudio

Ruth Hogben is a filmmaker based in London. She assisted Nick Knight between 2005 – February 2009, both as his first photographic assistant and editor of his fashion film projects. Hogben has continued to collaborate with Knight on numerous films for SHOWstudio as well as creating films with creatives such as Gareth Pugh, Rick Owens, Katie Grand and KT Shillingford and for brands such as Louis Vuitton, Barneys, Mac Cosmetics and Selfridges. Her work was recently screened at the ICA, part of the 2009 Birds Eye View film festival, ASVOFF 2009 and Fash/On Film Festival London 2012.
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source: espacomog

Ela nasceu e cresceu em Brixton e Cambridge, na Inglaterra, e estudou fotografia na Universidade de Cheltenham.

Embora formada em fotografia, é mais conhecida pela produção e direção de filmes fashions, marcados por serem provocantes, intensos e com um alto teor psicodélico. Ela é parceira de um site chamado SHOWstudio que une fotografia, música, arte, moda etc. Ele foi fundado e é dirigido pelo também fotógrafo britânico Nick Knight, desde o início do século XXI, sendo pioneiro na criação dos filmes de moda. No vídeo abaixo da música “Lost In The World” de Kanye West, as mulheres parecem estar num estado de insanidade tentando alcançar o céu, esteja ele sobre suas cabeças ou sob seus pés.

Um outro vídeo, com o nome de Fanclub, produzido por ela e pela jornalista Katie Grand, é inspirado no coreógrafo hollywoodiano Busby Berkeley. Através da dança e do som retrô de Judy Garland, elas contam a história da marca Louis Vuitton desde que Marc Jacobs assumiu a direção criativa, em 1977.

Ruth tem uma capacidade de nos fazer imergir no conceito dos seus filmes que possuem ritmos bastante marcados e tem colaborado com grandes nomes como Gareth Pugh, Alexander McQueen, Katie Shillingford, Lady Gaga entre outros. Abaixo você confere um vídeo realizado para apresentar a primeira linha de maquiagem assinada pelo estilista Gareth Pugh em parceria com a marca M.A.C.
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source: lagb5wordpress

Ruth Hogben nació en Londres. El diseño de moda y el cine están relacionados de manera directa en el caso de la carrera de esta joven cineasta, que ha demostrado su capacidad creativa y estética en diversos desfiles y videos de alta costura. Con un estilo visual muy cercano al video arte lleno de contrastes, opulencia, desaceleración genial así realiza parte de su trabajo, puras performances visuales.

La artista londinense utiliza técnicas que se compenetran perfectamente para lograr imágenes muy poderosas e intrigantes. Sus vídeos rozan el conceptualismo, sus fotos son impecables en todos los sentidos y particularmente el uso de la postproducción digital, el manejo del color, las poses, la multiplicidad, las texturas que la caracterizan

La gran mayoría de sus trabajos son combinaciones simétricas que parece trabajar digitalmente. Retoca una parte de la imagen que después duplica, triplica o cuadriplica hasta la invierte para conformar una nueva película, gesto característico del estilo cinematográfico de la artista Para el retoque de los acabados del color y de la iluminación utiliza el Photoshop por su facilidad organizativa en trabajar indistintamente con capas.