Jessie LookBook Small 120513

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I N S P I R A T I O NC H A R A C T E RN A R R A T I V ES T O R Y B O A R D SA M B I T I O U S E X P E C T A T I O N S B I G H A I R9 0 ’ S G R U N G ED O V E G R E YD A R K L I P SB O L D G R A P H I C SC O N T R A S TH I G H G L O S SG L O S S Y W A V E ST H E S I L E N T S C R E E NB E A U T Y D I S HV I C T O R I A N AS T A T E L Y H O M E SD O W N T O N A B B E YM I S S H A V E R S H A ML I T E R A T U R ED A R K R O M A N C EA V A N T - G A R D EA R I S T O C R A C YA T T I T U D ES P E C T A C L EB U B B L E G U M P O PP O W ! F R E N C H N E W W A V EC A F É C U L T U R EM I L K S H A K E SM E D I U M F O R M A TI D E N T I T YG R E E K M Y T H O L O G YC H I N E S E C U L T U R E A S I A N F U S I O ND O P P E L G Ä N G E R T W I N ST A - D A H ! O N L O C A T I O NI N S T U D I OC L I E N T SW O R D O F M O U T H C O L L A B O R A T I O N O N L I N EI N D E M A N DJ E S S I E L E O N G P H O T O G R A P H Y

J E S S I E L E O N G S / S2 0 1 3 C O N T E N T S

T H E M I D D L EP 5 - P 1 0

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B R I T I S H B O R N J E S SP 1 0 - P 1 2

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B R U D E N E L L S O C I A L C L U B , L E E D SP 1 2 - P 1 4

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B L U E R I N S EP 1 4 - P 1 6

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F E N W I C K SP 1 6 - P 2 0

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S P E C T A C L EP 2 0 - P 2 4

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T H E N Y M P HP 2 4 - P 2 8

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E X P E C T A T I O N SP 2 8 - P 3 2

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T H E F A L L E N S C R E E N G O D D E S SP 3 2 - P 3 6

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J E S S I E L E O N G2 0 1 3P 3 6 - P 3 9

T H E M I D D L E

I want to show my version of cultural stereotypes as a representation of the concept of ‘intersections’ between two cultures. Each of these stereotypes forms part of a judgement about a view of a culture the viewer might have had some exposure to. I am interested in the manipulation of the viewer’s response, which I hope to heighten by the use of a clean palette; a ‘look-book’ of clothes and styling that exaggerates the visual characteristics and the mixed-cultural identity operating in part of my photography work.

I have projected my self in the work itself through setting up a sort-of-performance element in my work. By asking my models to take upon the roles of the three stereotypes, I have asked them to consider their own interpretations through exaggerating their poses, their expression and receptiveness to the styling. This shows how the project has both Fine Art intentions as well as sitting within the boundaries of Fashion photography and embraced the collaborative element of working with a wide team of people.

B R I T I S H B O R N J E S S

My personal experience of being ‘British Born Chinese’ has been a key project on identifying my cultural background/. In doing so, I have embarked on a highly personal project where I have acknowledged the application of the word to myself in order to bring in my social history into my work.

My initial investigation was to join the British Born Chinese (‘BBC’) Society and to find out more about the issues of possessing a dual identity and how individuals chose to sustain an ‘in-between’ cultural identity. I personally found it fascinating, almost bizarre that there was a group set up for people’s ethnicity, in a way that seemed to me to be quite segregated, co-existing alongside the normal student body. However, having attended one of their meets, I learnt that the society was a highly supportive social group who could share their experiences and pass it onto someone else who is born Chinese but growing up in Britain.

I photographed another member in the society who has many similarities, which I shared with her. Like me, Jess had adopted a more western identity in order to ‘fit in’ with the youth culture of Leeds and possessed startling similarities to me from her dip-dyed her hair, the same cultural background to the same Navy Blue Doc Martens. In doing so, the project was titled ‘British Born Jess’, a comment on finding ones identity shared and similarly adopted to someone else who was also called Jess.

B R U D E N E L L S O C I A L C L U B , L E E D S

I was set a brief by a close friend, Kaitlyn Bullen, who works in the vintage fashion industry in Leeds She asked me to photograph a series of images that featured part of a fashion editorial article for the Live at Leeds event that took place on May 2013, which was partly co-ordinated with Stephanie Pullen. The images were about isolating the figures and using the lighting available to introduce a sense of isolation.

I was interested in the way the models responded to the location of Brudenell Social Club and the way they held the viewer’s gaze. I loved the aesthetic glow of the tungsten lights overhead, which set the mood of the shoot.

B L U E R I N S E

Blue Rinse approached me to photograph the strong Nineties vibe that has influenced the aesthetic and the styling in many contemporary fashion editorials. Armed with jelly shoes, fishnets and bobbles, the shoot was about being fun and light-hearted to show off a mix between a moody playfulness and couldn’t-care-less attitude.

I wanted to capture the stillness in the models who had been previously sipping on milkshakes and playing games in order to show a sense of time being captured at that moment.

F E N W I C K S

For unique group collaboration, I photographed the final major collection of hats for Millinery. The collection of hats spanned a total of 25 looks, which I did with another photographer. The hats were shot with low-lighting to introduce an element of drama and intensity on the colour and the detail in the hat to illustrate the craftsmanship.

I wanted to bring out strong colours from the model’s complexion and for the hats to grab the attention of the viewer. I made sure the hats looked as dramatic and yet ready-to-wear as possible so that they would be suitable for a high-impact shop window.

S P E C T A C L E

Using the pun of a pair of spectacles, I was interested in the aesthetic expression of each of the creative individuals I work with. I focused on photographing my Make - Up Artist, who as a result of his own social media and online presence, has created his own cult-following that includes a mixture of the gay community as well as other MUA and photographers. I was drawn to the image he projected of himself online, and wanted to emphasize a new context.

I felt his presence could occupy as a spectacle on the gallery wall, giving the subject a certain, unique power.

T H E N Y M P H

I wanted to use big swathes of fabric and atelier pieces to evoke something of the rebellious bride much like Marie Antoinette and earlier influences such as Greek sculpture.

Greek for bride is ‘Nymph’ and each title of the image was inspired by Greek Numerology.

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E X P E C T A T I O N S

With a respectful nod towards Charles Dickens, the setting of Temple Newsam was used as the chosen setting for a narrative-based shoot to show off the drama of the fashion pieces I helped put together. I worked in collaboration with a large team of people on location, and I found a narrative in my work, which reflected a story woven round characters I lifted from the novel Great Expectations. The isolation in the female characters was a perfect starting point, and researching roles which included appointing my main model as the ‘Femme Fatale’ character, Estella. I led a key editorial shoot, which showed off the moody interiors and the vast stretch of landscape in the grounds of the house.

I used my model to show off a female figure that I felt was often side-lined in the original story to set up a highly original, complex shoot.

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T H E F A L L E NS C R E E N G O D D E S S

Following a narrative driven shoot, I wanted to work with the lone female in a modern take on the screen goddesses of the 1920s. I wanted the location, Hyde Park Picture House, to suggest a mix between jubilation and sadness at the loss of the silent film, which made way for the first of the ‘talkies.’ The styling references the art of Art Deco and highlights the freshness of the 1920s-influenced fashion.

We styled pieces together to bring out a drama and a subtle provocativeness that was lifted from old images of screen stars.I wanted my model to feel as if she has been left behind in the theatre of an old cinema, with a sense of loss emanating from her.

J E S S I E L E O N G 2 0 1 3

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T E S T I M O N I A L S

Throughout my second year at university stud-ying Graphic Design, it has been highlighted that we must start to consider how we present our design work in a professional manner.

I have always been interested in how work is presented however I have never photo-graphed it in a professional environment where there is a clean space to lay out work and appropriate lighting. This is where the collaboration between Jessie and myself came in as I needed someone who knew how to use the photography studio to it’s full advantage. Jessie has an eye for detail and with my art direction we came up with some great shots. Jessie’s lighting skills and knowledge of composition has gained me a lot of external interest on my Behance profile.

- Eve Warren, Graphic Designer

I’ve worked with Jessie on many shoots and each time she brings a little piece of her magic and enthusiasm on to the set, which shines through into her photographs- an absolute pleasure to work with. Let the magic in this girl stay strong and inspire others.

- Jack Tyson, Make-up Artist

Working with Jessie throughout the past year has been a wonderful and privileged experience. What was first intended to be a short and sweet collaboration has turned into not only a continued, strong working relationship, but also an unexpected, yet greatly cherished friendship.

Working with Jessie is a delight. It’s not often you will find individuals as motivat-ed, passionate, and ambitious as her, no matter at what stage in their career and professional practice.

It’s been a pleasure.

- Sophie Wilson, Graphic Designer

Jessie is a great creative to work with. She knows exactly what she wants to achieve on a shoot and shares her thoughts and ideas before beginning so that the team working with her know exactly what the main goal is. It’s quite inspiring to work alongside her.

- Lauren Danks , Photographic Assistant

C O L O P H O N A N D C R E D I T S

B R I T I S H B O R N J E S SP 8 - P 1 2

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

B R U D E N E L L S O C I A L C L U B , L E E D SP 1 2 - P 1 4

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

B L U E R I N S EP 1 4 - P 1 6

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

F E N W I C K SP 1 6 - P 2 0

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

S P E C T A C L EP 2 0 - P 2 4

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

T H E N Y M P HP 2 4 - P 2 8

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

E X P E C T A T I O N SP 2 8 - P 3 2

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

T H E F A L L E N S C R E E N G O D D E S SP 3 2 - P 3 6

Model(s)Stylist(s) and WardrobeMUAAssistant(s)

All images copyright of Jessie Leong and Jessie Leong Photography, unless otherwise clearly stated. Images should, under no circumstances, be used without prior and express permission.