What is your background and how did you get involved with the fashion film genre?
We are a director duo with a growing focus on animation and love to experiment with different visual worlds to combine them into one film. “The Coup” is our first approach to the fashion world. We have been asked by our friends at Cleptomanicx to create a film and we proposed a concept heading for the humorous and unconstrained spirit of the brand.
Which aspects of fashion attract or inspire you cinematographically? And how important is the physical fashion object for you when you make a fashion film?
Fashion has the power to be anything and everywhere in a cinematographic picture. It is a universal language. We believe that the fashion object itself does not have to be the primary item of communication in a brand film. We try to fetch the cultural attributes and personality of the fashion brand and create a story around that.
What draws you to film as a medium specifically to portray/tell stories about/through fashion, rather than another medium (like photography)?
Even if fashion works on different levels and can adapt to any available medium, we wanted to tell this particular story with the help of a film, because it uses classical movie genres and works in a linear storyline. The images merge with the sound into one solid piece and create a seamless time based medium, which is able to represent the feeling of a brand like no other.
How do you think fashion film as a new genre is changing the way we perceive, create and consume fashion?
When you think of fashion as a world of commercial products and look at the history of advertising, you can always observe the need of the brands to reach out to the “real” world. This means, the brand has to become a cultural influencer and provide additional values. Far more than just manufacturing a fashion product and advertise it. With fashion films it’s possible to create a world for the brand and the fashion. Besides the communication of a new product, stories can be told, visions shared and feelings transmitted. This leads to a more involving way of thinking about fashion: As a diverse global culture made by people for people.
What is your ultimate goal when making a fashion film? What feeling or vision do you wish to communicate?
We like to play around with different worlds in film. For us, it feels good, when the “fashion” in fashion film becomes one with the film-world during the process of making. The goal is to create a perfect unit of people and culture while telling a unique story.