process

Thesis: Feeling Trumped

This year long project has been melting my brain into mush. Like yesterday, I actually got out of my house to go to the uni admin office, the library, and the bank. Oh, it was a SUNDAY. Also wrote "Holiday Break" in big bold letters in the middle of November($@!#^@%U&^I#*) in my agenda last night... nbd.

I thought Thesis was supposed to make me smarter...
So far, it's made me into the next Joey Tribbiani.

It's no lie that this project has definitely taken a toll on my health and wellbeing... And it's only been a few months. TBH, I fully expected to find myself with my head in the oven. With my ideas being constantly challenged, subjecting yourself to constant doubt and uncertainty, and pushing your research further and further into the deep depths of the Internet, it's hard to take your head out and look at the big picture. It's easy to forget what you love about your idea. 

Today I came across the point when I just had to stop doubting myself, my capability, and chose to stop being afraid of the possibilities of failure, because it just got so goddamn exhausting fighting myself. Rather than working hard towards something I love, the creative process became a daunting time that I wanted to avoid. I wanted to make sure my baby wouldn't get hurt, I wanted to prove it right. That's when I started getting too attached to "my" idea.

I once read in Ed Catmull's book "Creativity Inc." that an idea is never 'yours'.

It's not something written in stone, it's a fluid, flexible thing in the cloud that changes and should be open to change by anyone at any appropriate time. The OCAD Advertising Thesis Project is often lonesome. You spend most of your time alone in a room, a coffee shop with headphones in, at the library. But it's always YOU and the IDEA. It's easy to let that idea become a part of you, instead of a shareable, flexible thought. I'm starting to understand why this project may be called a 'Thesis' after all. Given a year's time, I've really got a chance to ponder an idea, this thought. Toss it around, see if it fits here or there... Ask questions, and not expect any particular answers. An experiment with an unknown end result. Worried about failure? Isn't failure embedded in the nature of what a thesis is? To be fearful of it, would be to fear the process itself.

Trumping on people's dreams and ambitions with their own fears? What kind of coward does that? 

Trumping on people's dreams and ambitions with their own fears? What kind of coward does that? 

Hankyul Oh
Swimming Pools

For Thanksgiving weekend slash October reading week, I decided to visit the fam in my quaint home town in Ottawa. I couldn't wait to make the 5 hour drive back, because every time I come home, it's a glorious couple days of peaceful calm and quiet, on top of the home cooked meals. 

1 day in, and I'm already beginning to notice how much more conscious I'm becoming of my dependency on social media. With peace & quiet comes clarity, and suddenly, I'm aware of my peculiar actions from updating my virtual life, to staying updated on others' virtual lives. 

Wake up, Instagram. Sit down, Snapchat. Stand up, Insta-Snaps. Faded... Faded...

At some point in my young adult life, I became addicted to, not alcohol, but social media. Specifically the Instagram-Snapchat-kind. Maybe 'addiction' is a harsh word, but it's not the movie-type addiction where you end up throwing your life away, cry in desperation, get sent to rehab, then bounce back with some broken pieces left behind. It's the kind that's creepier because you can't see it. Where the effects are hard to notice because they're already somewhat accepted through parodied memes and Buzzfeed "You-Know-You're-When" articles. 

I'm scrolling through my Insta-dashboard and come across some 10 different art directors, creatives, bloggers, and stylists' vibrant posts. TBH, all I gain are underlying feelings of emptiness, a little bit of self-defeat, and an odd sense of online peer-pressure. For someone who started using Instagram as a bank of inspiration, I'm feeling anything but inspired. Seeing the landfills of cool content online, I even start doubting my authenticity.😱 If this is what all the scrolling, liking, and following is actually doing "for" me, how often have I been breaking my own spirit, and bending my attitude to cater others and no longer myself? Day by day, hour by hour, as often as I check my phone? 

Tonight I picked at this question, and kept picking at it until I thought of a way to start turning this addictive dependency to good use. But we're not always fortunate enough for a change of location & scenery to want to sit down and introspect on these things. Sometimes we just go with the flow because thinking too often feels like work. Sometimes social media is the only escape we can afford. But let me just say, in a pool full of un-reality, you're not gonna want to dive in it. Perhaps this Thanksgiving weekend is a chance to ponder that thought.

Still from Kendrick Lamar's 'Swimming Pools (Drank)' music video.

Still from Kendrick Lamar's 'Swimming Pools (Drank)' music video.

Hankyul Oh
Thesis: the Introduction
"All about standing out, yet fitting in."

A short, paradoxical, but very true sentiment on the Millennials' mindset toward fashion, really gets me thinking. I'm mid-paragraph in a long article... One of many long articles opened up on one of many tabs opened up on many Google Chrome windows. I'm currently doing researching for my Thesis on a fast-fashion brand, 8seconds.

I thought I'd take my final year in Advertising at OCADU and document my Thesis Project through it's own segment on this blog. I know this will be a huge commitment, on top of the ACTUAL huge commitment that is Thesis. However, as I sit here at 3AM with roughly 40 tabs waiting to get picked-at and jotted-down, I can't ignore this urge to share some thoughts brewed by this research process.

Among one of the 4C's of advertising/marketing research, is CONSUMER. Googling the 8seconds brand's target market, comes up with a lot on Millennials, or Gen Y. And research on the Millennials comes up with a lot on topics other than fashion. A look into the Gen Y's future economic and cultural landscapes proves more insights than a list of what today's 20-30 somethings find "YAS" and "NAH". 

It's pretty interesting how a program people think only churns out 'jingles' and clever 'slogans' actually opens up learning potentials in social science fields like human psychology and behaviourism; topics I often explore in my fine art photography works. Perhaps this can explain why I've voluntarily written down (currently) 32 pages of notes typed single-spaced in 10pt Avenir Next. I've always been and will always be fascinated by how people think & behave and why. Although I've only scratched the surface of social science, it's an itch I've wanted to scratch for a while, especially within the context of communication arts. 

This is just the intro, but I hope to continue keeping myself, and YOU intrigued by these personal insights I can find in every nook and cranny of the various facets of this Thesis Project. At the end of the day, an ad is just an ad, but what you learn from making an ad, is a journey of its own.

 

Hankyul Oh
Uncommon Thread

A few months back, I was working away with some freelance styling here, some photo assistant work there, when photography duo Saty+Pratha offered me a place on a gig that was going to be one of their most ambitious ones yet. A 2-day shoot, each one 12 hours min, for a brand that was a personal favourite of theirs. 

After gladly accepting the job as the photo assistant, it turned out they needed someone to shoot the fittings for 2 days prior to the actual shoot. Luckily, my availability and practise in photography landed me the job, and while I was more than excited, I still had no clue who this was all for. Little did I know, I had completely skipped the subject line of every email that was being passed back and forth from the photographers, to the producers, to me and the rest of the photo team: 'Uniqlo Studio Shoot'.

I'd never been a stranger to the brand. It's not only one of the most well-branded clothing companies I've come to experience over my travels from New York to Tokyo, but it's also the most innovative. Asian brands may have found a strong hold on the beauty market in North America with their technologically-advanced-yet-kawaii-cute products, but they've yet to break through the commercial fashion market. Zara, H&M, Gap; these are the brands we gravitate for their fast-fashion trends, but there's something to be said about their lack of focus on the functionality of their products. It's refreshing to go into a store—any Uniqlo store across the world—and understand the use of each product whether it starts from the material or way of the production of the garment. And Uniqlo has owned this unique experience as part of their brand image. 

I couldn't wait to find out who took on the advertising for this richly branded company. On the day of the walk-through, the photography assistant team met up at the studio of S+P, and we began going over how each day would roll out. We'd make a mock set up in their studio to test lighting, movements, and positions. This was when I heard the name 'Leo' tossed around like the name of someone's dog. Leo Burnett Toronto was the agency taking on the campaign that would launch Uniqlo's first locations in Canada. There was a massive synergy about to take place between two huge households: S+P and Leo Burnett, and I couldn't wait to see it in action.

The day came for the fittings and I found myself at Silverline Studios bright and early. Surprisingly, I was greeted by some familiar faces, among them Mirian, the stylist assistant I worked with on the 'Work' music video for Rihanna. Another a fellow Flare fashion intern, Sarah and even the Senior Flare Fashion editor I worked with, Truc remembered my face. It was a foreign but comforting feeling being surrounded on a new set by the people you not only admire and respect, but also share the same past experiences and passions with. 

Soon, I was meeting the stylist who flew in from London, Davey Sutton, his assistant Josh Tuckley (who graced me with his excellent taste in electro music), the clients from Uniqlo Japan, and Leo Burnett's creative directors Lisa Greenberg and Ryan Crouchman, and art producer Sabrina De Luca. After the producer mentioned how I was almost casted as one of the talents for the campaign, I finally began shooting the fittings. On the first day, I met with the rest of the talents. Most of them weren't models from agencies but unique individuals from different walks of life living in Toronto. Over the course of 4 days of seeing the same people every single day, I noticed there was definitely a thread weaving its way to tie us all together, from the talents, to the photo team; the wardrobe crew, to HMU; tailors, to clients and even the agency. 

Some people say advertising is giving people false hope and expectations, or that it's over-packaging a product or brand. And sometimes I agree, even as a student studying the practise and hoping one day to put my skills to the test in the industry. However, by being a part of the campaign, from seeing how these ideas come to production, I truly felt something unifying everyone in that studio for those 4 days. And pardon me if I sound a bit corny, but I do believe good ideas also have the power to bring like-minded people together. Rather, I can now testify to that.

 Check out some of the fittings I shot, as well as the final shots from the Uniqlo Canada campaign below (also found on their website). The first Canadian location, Toronto Eaton Centre will be opening September 30, just a day after the launch party at the Drake General Store, which also happens to fall on my birthday! 

So come fall, keep your eyes peeled around the city for billboards and transit posters shot by photographers Saty+Pratha, as well as digital gif billboards shot by the photo team and I, capturing the spirit of these unique and beautiful people in full Uniqlo gear! 

 

Be seeing you.

On a really hot Monday afternoon, myself, Mo, and Angelique set out to the Toronto Island ferry dock to board one of the boats setting out to Ward's Island for a shoot I had been working hard preparing for, for the past month. I was dying to get to the dock to meet up with our makeup artist, and my former intern colleague from our times at FLARE Magazine, Rebecca, as well as our Montreal beauty, Eve.

In grade 11, I took a film class (surprising for a high school with barely an art department) and quickly got hooked on a late 70's British television show we were analyzing. 'The Prisoner' drew me in instantly, and I think it's because of how well put together the show was, visually. I'm still awe-struck by the amount of brainstorming and planning that must have gone into the art direction, and even the set, prop, and costume design. The contents of the show are curated so beautifully that I could literally make a Pinterest board out of them (I might just do this...).

But not only was it the visuals that grew my obsession for the show, it was the story. And in the world of 'The Prisoner', also known as the 'Village', there is a strange white balloon called 'Rover' that attacks anyone at sea who tries to escape the Village (don't ask me how, just go watch it!). So after I had finished a model test shoot on the Toronto Beaches a few weeks prior the really hot Monday, I felt inspired to take my grade 11 obsession and turn it into a photoshoot. Next thing I knew, I was taking the train to Burlington to pick up 2 latex weather balloons from a Science Centre in the middle of nowhere (did I mention I picked them up from, not an office desk, but behind a bush? Long story..), and purchasing an electric air pump from Canadian Tire. 

I'm extremely happy to say that I couldn't be more proud of the final shots that came from what felt like a long journey rather than a test shoot. From ideation to planning, from gathering materials to shopping for clothes, from blowing up a 300g weather balloon in 30 degrees heat to almost stepping in a bird carcass to get a shot knee deep in Lake Ontario (yep..), I felt more passionate than I already did about what I do and what I hope to continue in the years to come. 

CREATIVE DIRECTION & PHOTOGRAPHY myself

HMU Rebecca Pilozo Melara

MODEL Eve, Dulcedo

ASSISTANT Mahmoud, Angelique

Check out the full sized images.

Hankyul Oh
#LOUDMINDS
Loud independent stances can only come from a state of silent introspection.

Created and Produced by RM810 

True creatives. What does it really mean to be one?

Back in December during winter break, I received a picture message on my WhatsApp from my roommate and creative partner. It was an advertising campaign brief for Dazed Magazine presented by Design & Art Direction (also known as D&AD). This is where it all started. 

For weeks onwards, my roommate and I would meet up 1:00 PM every Saturday (or at least we would try to keep the date...) and try to answer the inevitable lingering question. A research professor once told me: "If you're given 10 minutes to answer a brief, you should spend 9 minutes understanding the problem, and 1 minute solving it." I think it's safe to say that every weekend from then on, was spent thinking about how we wanted to differentiate the true creatives from the self-proclaimed "creatives" that exist in the online world. The white walls of our living room soon became the blank canvas for a collage of blue and green Post-its. As part of the brief, we also needed to capture the independent spirit that Dazed has birthed since their founding in 1991. How Dazed declaring independence shouldn't be such a hard problem to solve right? They're one of the most bold and rebellious magazines on the news stands today. Straight up talks about the things people fear to mention in public, uses their name to bring difficult topics into an open conversation. Dazed has always been different. But that's precisely why this brief struck us with a chord we couldn't decipher. How were we going to present a unique idea that would not only inspire their audience, but the Dazed creatives themselves, to an already beautifully authentic brand? Most importantly, how were we going capture all this in just 15 seconds? Did I not mention we had to create unique content for Dazed social media?—Ironic, right?

While juggling classes, a part time job, and something called a social life, this project continued to take hold much of our energy and time. After much planning, a well thought out 2-day photoshoot soon took place. All of a sudden, we were an advertising agency, a production team, and a film studio all at once. Luckily, our friends helped make our strategy soon become a reality. From the true creative artists who would become the heart of our concept, to our assistants on set, to the friends who shared their spaces and skills, we were undeniably grateful for all the help we got. We were nearing the half-way mark and we had come up with a team name (hi, we're RM810), and found a song that would keep us motivated even in the struggliest of times (2001 Space Odyssey opening song). Before we knew it, we were staying up week nights at school finishing up projects and spent weekends at home editing until dawn. 

Wednesday March 16, after yet another night spent staying up until 6:30AM, the videos were submitted to D&AD. It wasn't easy as Murphy's Law always has a way of finding the most stressed out creatives to annoy at the last minute; within the four walls of Maria's small room, a series of website crashes, errors, and export failures took place. Silent prayers were being made, and tears were being held back. Problem after problem, after problem. But if these past few months full of group projects and countless collaborative meltdowns have taught us anything, it's to never let go of that string of hope especially when you've worked so goddamn hard.

#LOUDMINDS

Hankyul OhComment
Me haffi work...

The internet's been buzzing over a certain video that's been giving me the biggest grin of life. Just a few days back while I was over-stressed about being over-worked with school and that part-time job life, I was ready to give up on all the projects and papers on my table when I was giving my Facebook page a mindless scroll and a thumbnail image quickly caught my attention. Nylon magazine was quick to share the newest and hottest music video. I quickly pressed the play button and with my mind suddenly awake and my eyes wide open, I watched the dancers suited in Rasta and dance hall gear move their bodies around Rihanna and dance vigorously to the song I already knew too well. I couldn't stop myself from pointing out in my head which dancers' shots didn't make into the final cut, and which ones did. Out of the ones that did, I couldn't stop but this time literally point out at who I remember dressing personally, which accessories we decided to switch out for the ones that were clinging to their bodies as they grinded down in the tight frames. It was a-whole-nother experience seeing the final result of a 24 hour shift of madness and fatigue. Flashback to the end of the 24-hour shoot when I got out of the cab and slumped my way into my overdue bed, I remember thinking, "How do people do music videos? It's a completely different energy required than photoshoots..." before I passed out for another 12 hours. But after watching the MV on YouTube along with millions of comments from absolute strangers making a conversation about something you made a contribution to, I already felt ready to take on another one. I'm realizing after every job, every opportunity, there are so many challenges but no matter what in the end, the final product, that completed video on YouTube, that finished campaign on a website, that edited series of photographs on your portfolio pays off more than the money you earned, more than the difficulties you had to go through, and more than all of those things combined. I'm thrilled that I had this opportunity, even if this ends up being my first and last music video shoot ever... *KNOCKS ON WOOD*

Hankyul Ohmv, rihannaComment
Jeans All Day

It seems like these days, the universe is shouting from the mountains, "Buy a new pair of jeans!!!". Not only did I recently finish a strenuous brief for Levi Strauss & Co. but a few weeks back, I had a blessed opportunity to style an advertising campaign for Jean Machine's Spring Collection. 

With a quick call from a creative producer I work with from time to time, I found myself clearing up my schedule, and penning in the day of the pull as well as the shoot date. I would have 2 days to prepare myself for my first ever (legit) commissioned styling job, and for some reason, the nerves just didn't kick in. Perhaps it was due to my thankful opportunities to work with some driven stylists in the past, perhaps it was thanks to my experiences assisting on sets as an intern at FLARE... Perhaps it was all the days spent running around buying clothes on my credit card to dress models for my own personal shoots, or perhaps it was the lack of coffee in the morning. For whatever reason, I felt ready. Although the amount of time I had was barely enough to finish all my homework for the week and buy accessories on budget before and after classes, I pulled through. On the day of the style pull, I jumped on the subway at 8:30 missing my morning Research class, and made it to the Yorkdale Jean Machine location in time. After a run through with all the models (did I mention there were 8?) of their sizes and looks, I started creating a mental image of each look (did I mention there were 3 looks per model?) for each model and began putting 24 outfits together. I had no clue how I was going to pull this off, especially with the buyers, art director, and creative director behind me watching my every selection, but within just 3 hours, I had set aside 24 completed outfits with roughly 20 extra pieces as backup. 

Just a hectic day after running around by myself in the Eaton Centre to pull accessories and shoes (S/O to my Call It Spring girls who helped me so much <3), the day of the shoot arrived. With my packed up suitcase filled with my budgeted purchases, I jumped into a cab and arrived at the Backroom Agency in time. As we were shooting at the building of the ad agency that was taking this campaign on, I had a very cool opportunity to check out the place. Thanks to the assistant buyer and social media coordinator of Jean Machine, I was able to unpack all the clothes, accessories, and shoes all in one small room and begin styling the models one by one. Whenever you do any creative shoots (film, photo, ad, whatever) you always have to take into consideration Murphy's Law. Unfortunately a few pieces I had pulled were not packed so of course, some improvisation had to occur; I had to improvise 3 new outfits for an additional model who was not present at the style pull that I had totally forgotten about; and I had to modify some of the outfits as per the buyers requests from the set. All in all, the experience was a fantastic one, where not only did I get to watch and work next to the amazing Caitlin Cronenberg, but I learned so much about what it really takes to be a stylist, who depends on you, what responsibilities you have to be ready to take on. It was definitely a lot more than I had considered, but not an experience that turned me off from the job. If anything I've definitely become more aware if anything, of the tremendous focus that's required and expected. I've gained even more respect for the stylists I've worked with and I'm so happy to have had the opportunity. Excited to take on more of these challenging and demanding opportunities, I'm hungry and ready for more.

Waiting for the final campaign to take over Jean Machine stores and website soon... for now, here's the BTS shots from JM's insta.


Hankyul Oh
Work work work work work work...

"...It will be this Friday, roughly a twelve to sixteen hour day, and you'll mostly be assisting the stylist's first assistant. Oh, and I confirmed it's for Rihanna." 

It's been a long time coming since my internship at FLARE Magazine when I first worked with a stylist on a set for the September and November 2015 Beauty frontis pages of the magazine. I remember trying to be on my best behaviour, making sure to shake every crew member's hand with a strong grip, and making firm eye contact per hand I shook (something I still get nervous with), reminding myself that it takes more than just the 'intern' label to make a good impression. I guess my reminder as well as my experience in dealing with Critical Path worked, because months after my internship ended, I found myself on various other sets for various other magazines working with various other (and now some familiar) crew members. I never once took these opportunities for granted, and to this day, I find myself truly lucky when I get a call from a stylist or agent with another job opportunity. So when I got a phone call from an agent on Wednesday February 3, I was ready to clear my schedule for whatever project they wanted me to help on. Just a few minutes into the job-slash-shoot description conversation, he mentioned one name that caught my attention. It wasn't a brand, or a magazine. What do you say when you hear that you will be on a music video set for a multi-millionaire pop artist, one whose songs you've sang for ages?

"Oh, okay."

It just didn't sink it. I've never found myself gagging over who or what the projects were for, perhaps because I had already internalized that I don't get the chance to work directly with the artists, since my job has always been to assist the crew. So I simply said, "Okay." As part of the job description, we were not allowed to talk of the shoot to anyone until it was over, for obvious reasons, and because of this I didn't think too much of it.

When Friday crept up, I woke up early for the 7AM call time, and made it to the hotel where the stylists set up and began packing. Hours of logging in all those jewelry pieces and designer garments at FLARE still prove their worth to this day, as logging in 30 sunglasses specially delivered from London for Rihanna was a simple task to say the most. As the morning went on, things ran smoothly. When we got to basecamp, a church in the middle of nowhere, we began styling the 60 dancers, each one-by-one head to toe, including accessories. It was probably the fastest I ever styled random strangers, not to mention the style was something I wasn't used to working with at all; hell, it was fast and it was fun. 

Once we got to the set, a little joint called 'The Real Jerk' on 842 Gerrard St East, my brain was still in work mode, so I began fixing up rips and tears, buckle problems and jewerly malfunctions of the dancers who had already been getting down and dirty to the song of the hour, 'Work' by Rihanna feat. Drake. Hours and hours went on, and I watched from the sidelines as Director X and his assistant shouted out camera directions, the production team ran back and forth making sure everything was moving along on schedule, the art department amplified the Rastafarian atmosphere of the bar with neon lights, and hair & makeup team rushed in between every take to either dampen the sweats beading down every dancer's neck, or adding more to create the desired effect. Styling on our part was already done, until Rihanna and her friends walked into the set with the head stylists. Their work I knew must have taken hours to put together. From head to toe, they glistened in designer pieces, and managed to stand out from the 60 extras. I don't know what it is, but watching Rihanna dance and seeing her in her comfortable but professional setting was an experience in itself. There's something in seeing the person who's songs you've listened and sang to since you were in grade school that makes you believe in their art even more when they are working professionally right in front of your eyes. And of course, I still fan-girled inside, and dare I say, even more when Drake walked onto set for his scenes. 

After 24 hours of working endlessly (who said 16 hours? lol), the day came to a close. I felt insanely tired when I got home, and now after a long sleep, I only feel incredibly blessed. This experience provided so many learning opportunities and took me deep into uncharted territory that is music videos. It's become one of those experiences where only when it's over, I can say, "If I made it through that, I can definitely do this." It also gave me the chance to work with some of the most motivated individuals I've ever had the pleasure to work directly with, and it has seeded that motivation in me as well. This job was not about getting to see one of my favourite artists in real life, nor the money; I realized to the core of my own tired bones, how much to respect the tremendous efforts of those working behind the scenes and the amount of sweat and tears that go into creating something for someone else. A dear stylist I worked with said something on our way to basecamp, and it's been lingering in my mind ever since I began reflecting on this experience and thinking about my own future: "I want to be heard, not seen." Thanks Haylee. 

 

Photography : NOIR

Recently I worked on my first project for a class called 'Light and Shadow'. As the brief called for a film noir aesthetic, I decided to practise my lighting skills. I knew this wasn't going to be easy since this lighting set up would require special attention to lost details and clipped highlights. But challenges are no dangerous zones to me, and I wanted to push the limits a little further. So I called upon a few friends who I had been anxious to work with for quite some time, and in a few short days, I had my creative team set up and ready to make my film 'NOIR' a reality; using 1940s Hollywood glamour and early Hitchcock lighting, we fused the old with the new aesthetic of modern and shapely pieces from the COS F/W15 collection. 

Comments are always welcome below!

Photography, Art Direction, HMU – Hankyul Oh

Styling – Kelsea Schnitzler

Photography Assistant – Mahmoud Shahabi

Model – Jacqueline at Elite Model Management.

 

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