Home to main page of BERLiNiB Fashion magazine, BERLiNiB.com: The Making of an Editorial via ECD
--ECD, Editorial Content Description, as a creative alternative to moodboards Background. Through a century of sometimes wildly popular fashion magazines across the world, roles which sometimes were rather heaped on top of one another in one creative, skilled person have been separated into various compartments. The making of a good fashion editorial was almost always the result of group-work, but in the past decades, this group-work has had the feature of being split in pre-assigned roles among a group of people. Thus, for instance, in a typical Vogue fashion editorial making in these days, we find that there is not only a photographer and a make-up artist and one or more models, but also typically a dozen other people involved--not just as assistants to the above, but having various degrees of roles in deciding on the project as a whole and furnishing its wholeness afterwards. Words like stylists, creative directors, production directors proliferate. Sometimes, of course, external skilled help must be called in to satisfy particular features, eg props & set design, manicure, hair stylists, and production assistants in complicated circumstances. In order to bring all these people together so that something at least resembling coherence is brought about, it is common to line up a series of photos and/or videos and/or sketches and call this for a 'moodboard' or 'moods'. Typically, a moodboard is a mosaic of past productions, and while it can explain without much use of words what the upcoming photo session is all about, it has dangers: and the chief danger is that it distracts attention from the truly excellent and novel and authentic aspects of the fashion photography session, and provides a 'glued-together' wholeness rather than wholeness in depth. In contrast to this, at BERLiNiB we have never used moodboards--although at times we have let some single photographs of the past consciously inspire us-- but rather worked out an approach that involves, among other things, a gradually more and more concrete Editorial Content Description, or ECD, associated with a furious intensity of photographic activity and a very creative after-period in which excellent photos are picked from a huge collection, whether or not the fit with a pre-conceived idea, as long as each photo and the collection fit with certain criterions. These include: * a reflection of the peak of mainstream fashion * superb elegance, creative energy * that the photos are in no way tacky nor vulgar * and so that a sense of development and story can be sensed in the editorial. In our approach of ECD, we begin, essentially, with the inspiration of planning to work with a particular model or models, combined with our acute and always updated sense of fashion. We then consider the alternatives as to clothes that might fit the style and energy that naturally radiates from this model as well as that aspect of this season's fashion that this editorial ought to high-light in the relevant magazine. The clothes are selected in collaboration with the model. The stylist may be the photographer. The after-production must then happen on the principle that 'art is rarely made by groups'--in other words, it is the active creative intelligent spirit of a single individual who must here meet with the masses of photos and do the sometimes also tough decisions of what to exclude from the results. It is quite clear that in a group-process guided by a moodboard and several leaders, the moodboard can be used by some to argue in favour of inclusion of photos that in other circumstances never would have made it. It is also therefore we see that such as Vogue quite often have issues with the quality of their productions. The person who does after-production this must have full editorial decision-powers and awareness of all criterions that the photos individually and as a whole must meet. The editorial reflects the creative energies and insights of the person who is in charge of all essential aspects of the editorial. Aristo Tacoma June 2019