Zoe Bradley & Olivia Burton collaborate on first brand campaign AW17

ZOE BRADLEY & OLIVIA BURTON AW17

Moving into a new area of printed florals on a much smaller more delicate scale!

Bradley brought a real sense of wilderness to the brief. Creating a sense of magic and a dreamlike quality to the compositions by playing with the subtle colours and textures. The delicate nature of the flowers echoed the sense of craftsmanship of the small delicate flowers painted onto the new Bloom collection of watch dials.

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To create the Campaign design Bradley went into her rural surrounding of the studio and took many of her own photographs of real flowers. Collecting bundles of different varieties of flowers to be photographed. Some of these flowers and foliage were quite literally foraged from local hedgerows, which helped in translating the wild hand picked nature of the finished compositions.

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After a careful edit, these photographs were then tinted to the pastel tones of the collection and printed onto a special paper, that could be manipulated to form a 3D styled edge.

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Bradley explored flowers that had contrasting textures and petals, along with grasses, leaves and stems that would trail off to help build up the layers of depth in the set.

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The composition of The Bloom set design was also inspired by the author and naturalist Edith Holden’s ‘The Country Diary of an Edwardian Lady’ where she documented in words and images of the floral and fauna of the British countryside.

Bradley used a soft pastel palette of lilac, nude, pinks, grey and rose gold, to compliment the Olivia Burton AW17 Abstract Floral range. The flowers added a sense of feminine romance and beauty to the campaign.

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Working with Photographer Marie Valogne’s who’s beautiful lighting subtly captured the paper sets casting light and shadow over the carefully positioned flowers. The photographers eye for detail highlighted the delicate nature of these hand-cut paper flowers.

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The end result was a beautifully hand cut paper set of Abstract Florals to launch the NEW floral designed watches by Olivia Burton.

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Why Making a Spectacle of Christmas Windows Is So Important For Brands

CHRISTMAS WINDOWS

Much like Charles Dicken’s protagonist in his novel, A Christmas Carol, the big luxury department stores have focused on Christmas past, present and future, when they unveiled their all important windows, to an ever expectant audience this month.

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It’s the one time of year, that the bricks and mortar of retail can seize their chance of creating something truly magical to engage with the passing public.
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Zoe Bradley’s first Christmas Window for Liberty department store 2005
Despite the rising significance of digital touchpoints, where consumers are increasingly switched onto their mobile devices to purchase goods, brands continue to pour money and creativity into their elaborate Christmas windows. The stakes have never been higher. It will certainly take more than a few switched on twinkly lights in the window to entice prospective shoppers over this festive season.
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Christmas All Wrapped Up? Zoe Bradley installation for Lane Crawford Hong Kong for Christmas 2006
Christmas windows have become a popular attraction in London, with many people flocking to see the festive displays every year. Its a chance for stores to really turn on the theatre and create drama and storytelling. Consumers want to be taken on a journey, whether that’s through nostalgia and sentiment or into the future with technology and wonderment. America has long held this tradition of making family outings to view the magic of the Holiday windows. Windows at Christmas is all part of the bigger brand story. Brands need to show a sense of escapism and capture the spirit of Christmas. At the very least create a narrative. Tell a story. Take those customers into another world. It should encourage a smile, a sense of revelation. A sense of fun and childlike amusement. It is Christmas after all.
We take a look at those that have caught our attention and impressed with their creative dialogue, along with revisiting some of our own windows from Christmas past.
HARVEY NICHOLS
The Knightsbridge based department store created the drama of the Italian Renaissance for their Christmas window offering, even down to the marble effect front facade.
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It captures all the drama we have come to expect from this store, along with lots of detail, props and styling. There are 100,000 glittering ice white balls that form into clouds, elaborate suspended chandeliers and over 90 hand made stars decorating the ceiling. The windows feature a sizeable 1300 kg of paper, scrunched up to make props. Around 500 litres of paint was used for the marble-effect columns.
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Janet Wardley, head of visual display at Harvey Nichols for the past 20 years, says “It has been an exciting challenge to transform the store’s facade with marbled panels inspired by the Italian Renaissance architecture to bring Italy to our UK and Ireland sites this year. “The use of lighting effects to create two different night and day displays highlights our iconic, playful and daring brand identity’ offers Wardley.
HARRODS
Perhaps the worlds most iconic store, Harrods has teamed up with another very iconic British brand, Burberry for their window campaign, titled A Very British Fairy Tale, this wonderfully visual tale, tells the story of two children on an enchanting adventure through a snow-swept English country house.
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The impressive display occupies the store’s 29 windows, complete with flying cars, floating bathtubs and secret passageways. What is very impressive in this partnership, is the clever mix of old fashioned story telling with state of the art technology, where the tale can be bought to life by the passing public.
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Visitors can interact with a sensory window using a motion sensor, through which they can experiment with the lighting and music. This is when the adults become kids again. Who doesn’t love playing with a new gadget at Christmas time? Director of Creative Marketing at Harrods, Deborah Bee, told the Evening Standard last week,“Innovation is very important for our customers. We wanted the windows to be visually stimulating and adding a digital element allows visitors to engage with the installation in a more meaningful way.” We couldn’t agree more, and if that wasn’t enough to engage all those SW1 Christmas shoppers, this genius collaboration have created a short animated film. As a paper artist, I was struck by how detailed and effective the paper characters and scenes looked. It wonderfully captures this fairytale through the imagination of the children.
SELFRIDGES
Situated on one of London’s prime retail sites, these windows offer up the cheeky side of Santa Claus. It’s definitely party time for Santa in his full sequinned sparkly red suits. Having taken a two year sabbatical from the iconic Selfridges windows, he’s back with a party bang and shows his irreverent side, mischiellously mixing with a host of penguins, poodles and polar bears, not to mention some 70’s Disco divas.
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Santa feature’s in five windows along Oxford Street, where each set took over 100 hours to make and include 90 mirrored disco balls. It should be noted that no Polar Bears or Penguins were harmed in the making of these windows.
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The store has also added a fun interactive feature for the estimated 100,000 passing public. A revolutionary speaker system which vibrates the window glass to produce unique soundtracks for the display behind. It really is the season to be jolly. Selfridges Creative Director, Linda Hewson comments”We are very excited about our Christmas displays this year. We’ve been thinking of creatively expressing the idea of party and togetherness at the heart of the well-known phrase ‘celebrating Christmas’ for a while now.”
LIBERTY
You could argue Liberty is retail’s spiritual home of Christmas and perhaps looking to Christmas past, its fitting that the world famous Tudor building collaborated in an exclusive partnership with The Royal Ballet this season. Showcasing the enchanting story & well known ballet, The Nutcracker.
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Carved wood ballerinas and toy soldiers stand proudly amongst the turning cogs of clocks and piles of presents in the Liberty windows. Each of its windows is themed around a different scene from Drosselmeyer the magician’s magical kingdom to the Nutcracker’s battle with the Mouse King.
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Liz Silvester, Head of Visual Identity at Liberty commented: “This year it was decided that music, dance and drama would be used to bring out the spirit and charm of an exciting and emotive Christmas time: The Nutcracker was the perfect choice!”
 SAKS
The luxury retailer’s overall theme this year is “Land of 1000 Delights,” which includes magical landscapes of colourful sweets and festive fashion. There is larger than life lollipops swirls, skyscraper size sticks of stripy rock, that will have the kids eyes and tongues pressed against the Fifth Avenue windows.
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Saks Fifth Avenue also features six windows along Fifth Avenue titled, “The Nutcracker Sweet,” where you’ll find Clara and the Mouse King frolicking amongst a luscious playground filled with treats. The multicoloured ten-story tall light show, which the department store is most known for during the holidays, is not to be missed. It play’s daily from 5 to11pm every ten minutes until 2nd January.
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Nancy Hansell, senior strategist at branding firm Siegel+Gale, comments the importance of this time of year for department stores like this. “Window displays, and holiday windows in particular, are really effective in helping brands elevate themselves beyond a transactional experience and remind people of the wonders of shopping,” she says.
BLOOMINGDALES
If we are referencing the Dicken’s Christmas Carol, then world famous store Bloomingdales have looked to the Christmas future with their collaboration. Teaming up with a group of young dynamic artist’s in aid of The Child Mind Institute. These creative visual artists have produced one-of-a-kind chandeliers that are works of their artistic expression based on a word about “light”, the stores holiday campaign theme.
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These works of art will be auctioned off for charity as “Bloomingdale’s Lights Up A Young Mind”. In the spirit of giving, Abby Modell, Allison Eden, Susanne Bartsch, Inma Barrero, Sean Augustine March, Erika deVries, Jonan Meyer, George Kroenert and Esmeralda Kosmatopoulos gave much of their time and their passion to support these children and the Child Mind Institute.
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Bloomingdale’s operating VP of Visual Merchandising says “Holiday windows are a big part of Bloomingdale’s heritage and an annual tradition for so many of our customers,” he says. “Our goal is to create a unique holiday experience that is like no other store in the world.”
BERGDORF GOODMAN
We were certainly transported with the magical theme of ‘Destination Extraordinary’ with luxury department store Bergdorf Goodman. We can  completely relate to this other world at Zoe Bradley, taking the viewer on a journey of discovery and getting lost in another world.
David Hoey, Senior Director of Visual Presentation, characterises the department store’s displays as “delirious remakes of the classic dioramas seen in natural history museums.” He cites the work of Henri Rousseau and 12th-century Chinese water-colour mountainscapes as inspiration for the lush, larger-than-life windows, each of which depicts a unique destination. A special highlight is the wonderful work of New York based paper artist Daniel Sean Murphy,creating the 10 foot pair of praying mantis.
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Zoe Bradley creates Red Rose Dress for Chatswood Chase Sydney

ZOE BRADLEY CREATES RED ROSE DRESS FOR CHATSWOOD CHASE SYDNEY

‘Fashion can create a dream, create fantasy. Its a kind of theatre’. says American Vogue Editor in Chief Anna Wintour and we couldn’t agree more with her. British paper artist and former fashion designer Zoe Bradley has created a large scale piece of theatre with her most recent commission the Red Rose Dress. Asked by prestige shopping centre, Chatswood Chase in Sydney to create a special piece of paper art that reflected the new season of Spring fashion collections, Zoe and her team got to work on designing and making the bespoke paper gown back in August.

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It’s not the first time of course that Bradley has created something so spectacular and theatrical. Previous couture style creations have been installed both in Sotheby’s London and Chelsea Design Centre, London. What always surprises the people that come to view these applied art pieces is the fact they are made entirely from paper. A material Bradley has built her name and brand on over the last decade, since leaving the house of the late great designer, Alexander McQueen, where creating wearable art with unconventional materials was seen as ground breaking.

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The dress was designed in the UK and the metal framework that supports the 3 metre high and 4 metre long dress was manufactured in Sydney under Zoe Bradley’s design and specifications. ‘My aim was to create a modern topiary like floral gown created entirely from red roses’ comments Bradley.

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Decorated with 392 individual rose’s and with over 12,000 petals individually hand curled, it took Zoe and her team over 100 hours of work both in the UK and Sydney to produce the breathtaking gown.

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John Klein, Marketing Manager for Chatswood Chase, comments ‘Our customers are absolutely loving it’. The Red Rose dress will be on display until the 30th November.

To see more magical work in paper by Zoe Bradley visit www.zoebradley.com

Sotheby’s Royal & Noble Descent auction exceeds in sale with Zoe Bradley collab

ZOE BRADLEY & SOTHEBYS COLLABORATION 
Paper Artist Zoe Bradley describes in her own words how her collaboration with auction house Sotheby’s produced some of her most memorable and challenging works to date. The recent success of this collaboration in London has meant that the Zoe Bradley pieces are likely to be shown in more of Sotheby’s markets, including Paris, Milan, New York and Hong Kong throughout 2016
‘Sotheby’s contacted my studio as they were looking for a collaboration with an artist that could use the stark simplicity of paper to compliment the artistry of the Old Masters period. They wanted to bring awareness to their forthcoming Of Royal & Noble Descent exhibition and auction alongside a contemporary artist.
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I met with Sotheby’s Old Master paintings specialist and magazine columnist Jonquil O’Reilly. A resident fashion historian and style ambassador. She inspired me with stories behind the paintings of the Old Masters and the traditions behind the garments and reasons for the styles of the fashion pieces. This proved a springboard for my own research. I began looking into paintings and costume books of etchings that documented the fashions of the time. I found the opulent wigs adorned with feathers, flowers, birds, and powdered with wheat flour stories fascinating. Visually these looked like works of art themselves! The enormous dresses with metres upon metres of the finest silks were tremendous fashion statements. Covered in ruffles, bows, fine lace work and jewels. We worked on scoring techniques with the papers to recreate the fine silks that were used in the court dress to emulate the luxurious nature of the fabric. A challenging but an exciting brief.
THE RED DRESS: EAST GALLERY
This monumental dress is 6m in length and 2.5m in height. It consist’s of over 6000 hand sculpted paper ruffles and was adorned with magenta Swarovski crystals along with individual hand crafted roses and ribbons. The symbolism of using red and the shear scale of the piece was created for its symbolism, relating to vast wealth in the 17th and 18th Century. Inspired by the Elizabethan period and the Spanish court dresses, the designs began with the Farthindales (the distinctive shape that goes underneath the dress) and commonly associated with the Tudor’s and worked up to the plunging neckline of a corseted bodice complete with large puff sleeves. The paper ruffle textile was created by hand folding each ruffle and fixing into place to create a delicate shell like textile, that reflected the ornate dress style of the period. The metallic finished paper was chosen for it’s luminous silky quality.

LONDON, ENGLAND - JANUARY 14: Monumental red paper dress sculpture by British Artist Zoe Bradley is unveiled along side Royal and Aristocratic Heirlooms. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby's)

 SHOE: EAST GALLERY
These gold shoe’s were based upon a Venetian shoe, from 1700. Often heels would be worn by men as well as women. A fine and expensive shoe always had red heels and soles – the dye was expensive and carried a martial overtone. This fashion soon spread overseas – Charles II of England Coronation portrait of 1661 features him wearing a pair of enormous red, French style heels – although he was over 6ft (1.85m) to begin with. It was also indicative of how the wearer of a red sole or heeled shoes was part of the elite inner court circle.

LONDON, ENGLAND - JANUARY 14: A gallery technician adjusts paper sculpture shoes adorned with Swarovski crystals. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby's)

 

The texture of the chinese silk was recreated through scoring by hand a scratched line across the metallic card to emulate this fine surface texture. The carnation and blossom flowers and 3D scroll effect were brought to life through pressing textures into the paper to bring these details to life. Every part of the shoe was recreated in acute detail, plaited edging and rolled strips make up the carved paper heals. The paper shoes were finished with a row of clear cut crystals that were placed around a paper buckle. A truly detailed work of art, if only they could be worn!

 

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   CROWN: NORTH GALLERY

This majestic sculpture was based upon Elizabeth I crown from the Tudor era. The crown is clad with over 3000 hand cut gold leaves and scored by hand 36,000 times. We finished this very fine detailed crown off by adorning it with Swarovski crystals and pearls. The detail in this piece really has to be seen to be believed.

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 NECK RUFF: NEW GALLERY


With a diameter of 100cm, which allegedly was the largest size neck ruffs were ever made to, this was technically the most challenging piece .
The 1580s saw the increasing use of lace in ruffs, it was a symbolic fashion accessory that showed wealth & status. The bigger and more frivolous these lacy wheels were the more ostentatious and vain the wearer appeared. We created a repeat laser-cut artwork inspired by Elizabeth I neck ruff, the finely cut details referred back to intricate lace designs of the Elizabethan era. We tried to emulate this detail through the laser cut design. The Ruff is created from over 30 metres of paper. The edges were finely cut to create opulence and delicate edging. Edges were historically kept crisp with straightening irons and we used the same method to give the paper a crisp finish.

LONDON, ENGLAND - JANUARY 14: A gallery technician adjusts a paper sculpture or a ruff made from 48 meters of white paper, cut with an intricate lace pattern. At Sotheby's on January 14, 2016 in London, England. (Photo by John Phillips/Getty Images for Sotheby’s)

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WIG: WILSON GALLERY

The 18th Century was the era of big hair for both men and women alike. Women’s hair was piled up into towering mounds, helped by padding and hair pieces and added chignons and this was to be my approach in creating the paper wig. Building the strands of paper hair onto an exaggerated mould, I was then able to build up the wig using all the decorations synonymous with this period, from ornament feathered birds, clusters of roses and bows with jewelled centres. Flower chains held in place by Swarovski coloured pearls were placed either side while a plume of feathers jutted from the back of the wig into the air. The fine ringlets at the back of the wig were twisted and rolled around modern day curling tongs, but that’s about where any similarity with today’s hair preparation ended!

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Zoe Bradley creates huge paper chandelier for Team GB British House in Rio

ZOE BRADLEY CREATES HUGE CHANDELIER FOR TEAM GB

Some weeks ago, Zoe Bradley Design studio was asked to design and create a paper sculpture for Team GB’s hospitality venue in Rio de Janerio for the Olympic Games. Known as British House, the venue is to provide a relaxed sanctuary for Team GB and their VIP guest’s away from the sporting venue’s.

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It’s not the sort of commission you get everyday, while at least not for every four years. Bradley set to work on designing a show stopping large floral chandelier to celebrate Team GB’s new home in Rio. It was certainly a challenge! The studio had to cut and curl hundreds of flowers with less than 4 weeks until the structure had to be shipped from London to Rio.
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The entrance to British House in Parque Lage situated opposite the iconic Christ the Redeemer.
‘I wanted to create a piece that celebrated the rich tropical colours that are synonymous with Brazil, and capture the exotic nature of the host country’s flowers.’ comments Bradley. The design studio was poised to create something quite special. It required Bradley’s renowned paper sculpting skills to produce a floral chandelier on an Olympic scale.
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Artistic rendering of how the paper floral chandler will appear.
‘I wanted the floral chandelier to engulf the space and draw you into the building, which can be viewed from many angles. I want the athletes and guests to be inspired and uplifted as they walk through the entrance.’ says Bradley
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Hundreds of paper flower garlands waiting to be hand curled.
The result was a dense cascading paper floral chandelier that will take pride of place in the entrance to the impressive Parque Lage building. Inspired by Rio’s native Bougainvillea plant, the design has been created from over 2500 hand curled flowers in fuchsia pink, burnt orange, deep violet, lilac, and, of course, gold to symbolise the ultimate achievement. Hundreds of florals cascade down from three separate circular rings inside one another. The piece measures 2.5 metres in diameter and 2.8 metres in hanging length.
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The final Zoe Bradley Paper Chandelier ready to be raised up
Zoe Bradley’s work is aimed at bringing awareness to cultural events, and she believes that art can enhance environments in which we work and live. Bradley recognises ‘This is a great opportunity to take a contemporary art installation outside the usual gallery walls. Hanging the chandelier at the entrance to Team GB British House I hope, will provide a warm and uplifting welcome to the athletes and invited guest’s over the coming weeks.’