Understanding the complexities of a successful fashion film by Elliott Gunn

IT AIN’T JUST PRETTY GIRLS IN PRETTY DRESSES UNDERSTANDING THE COMPLEXITIES OF A SUCCESSFUL FASHION FILM

Ruth Hogben, [Screen shot from]SHOWSTUDIO X VEUVE CLICQUOT “THE WIDOW

SERIES”, 2015

Elliott Gunn BA (Hons) Editorial and Advertising Photography 8th February 2016 7,318 words Presented as part of the requirement for an award within the Academic Regulations for Taught Provision at the University of Gloucestershire

DECLARATION: This dissertation is the product of my own work. I agree that it may be available for reference and photocopying at the discretion of the University.

Elliott Gunn 7th February 2015

Thank you to Nick Knight OBE for your invaluable advice.

CONTENTS

List of Illustrations............................................................................................................. 5 Introduction........................................................................................................................6 Chapter one: Fashion film and what makes a good fashion film?.....................................7 Chapter two: Experimental Fashion Film.........................................................................17 Chapter three: Linear Narrative Fashion Film..................................................................23 Chapter four: Collection Fashion Film..............................................................................28 Conclusion.......................................................................................................................34 Bibliography.....................................................................................................................36

List of illustration Cover - Ruth Hogben, [Screen shot from]SHOWSTUDIO X VEUVE CLICQUOT “THE WIDOW SERIES”, 2015

Fig.1 - Ruth Hogben, [Screen shot from] Gareth Pugh Pitti 2011, Gareth Pugh, 2011......................9 Fig.2 - Ruth Hogben, [Screen shot from] Gareth Pugh Autumn Winter 2009, Gareth Pugh, 2009....9 Fig.3 - Mcqueenworld, [Screen shot from] Alexander McQueen Women's Spring/Summer 2001 Runway Show, Alexander McQueen, 2001, Gareth Pugh, 2011......................................................10 Fig.4 - Guy Bourdin, [Screen shot from]guy bourdin (1/10), 1974....................................................11 Fig.5 -Erwin Blumenfeld, [Screen shot from] Beauty in Motion: The Films of Erwin Blumenfeld,Nowness, 2011..............................................................................................................12 Fig.6 - Nick Knight, [Screen shot from]Florental, Comme Des Garçons, 2015................................13 Fig.7 - Wes Anderson, [Screen shot from] PRADA presents "CASTELLO CAVALCANTI", PRADA, 2013.................................................................................................................................................14 Fig.8 -Nick Knight, [Screen shot from] Amor, SHOWstudio, 2015...................................................18 Fig.9 -Nick Knight, [Screen shot from] Amor, SHOWstudio, 2015...................................................18 Fig.10 - Tyrone Lebon, [Screen shot from] Trend Preview, Topshop, 2011.....................................20 Fig.11 - Glen Luchford, [Screen shot from] Gucci Spring Summer 2016 Campaign Film, Gucci, 2016......................................................................................................................................24 Fig.12 - Glen Luchford, [Screen shot from] Gucci Cruise 2016 Campaign Film ‘A short Edit’ ,Gucci, 2016.................................................................................................................................................25 Fig.13 - Glen Luchford, [Screen shot from] Gucci Cruise 2016 Campaign Film ‘The Directors Cut,Gucci, 2016...............................................................................................................................26 Fig.14 -Ruth Hogben, [Screen shot from] Gareth Pugh Autumn Winter 2015, Gareth Pugh, 2015 .........................................................................................................................................................29 Fig.15 - Ruth Hogben, [Screen shot from] Gareth Pugh Spring Summer 2016, Gareth Pugh, 2015.................................................................................................................................................31

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Introduction

I am focusing my discussion on two different views regarding fashion film, from the people who many would consider to be the pioneers of fashion film. The first of these is ‘Thoughts on Fashion Film’ by Nick Knight OBE, the curator and founder of ‘SHOWstudio’, and the second is ‘Fashion & Film: The Cross-Pollination Between’, which is an interview with Diane Pernet, curator and founder of ‘A Shaded View On Fashion’ by Fashion Forward Dubai. Throughout, I will be presenting my own views on these videos, which will help cultivate my opinions on the topic, as well as reach a well-informed conclusion. ‘Great fashion makes a great fashion film, the narrative is already in the pieces of clothing’ (Nick Knight: 2011), is perhaps the best starting point for this discussion. A good fashion film is undoubtedly dependent upon great fashion, however, careful consideration and a strong development of thought and process is needed, before it is possible to create a successful fashion film. I will be covering a range of subject matters, including fashion film and what goes into the making of a good one; fashion film platforms, and how the increase in technology has evolved fashion film; how designers are able to use fashion films to their advantage, and what the distinguishing features are between a good and a bad fashion film. The aforementioned issues will be analysed and expanded upon in three different categories of ‘Fashion Film’: Collection Films, Experimental Film, and Linear Narrative Films.

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Chapter One: The fashion film and what makes a good fashion film?

At this point in time in the age of fashion film, the medium has become so open that there is really not a lot of commentary or literature regarding the subject in existence. Most of what is said is based on opinion rather than fact, but my argument is as follows - how many opinions does it take to create a fact? Due to an increase in technology available, film is inevitably going to change the way we view fashion. For instance, you are now able to take live photos on your iPhone, which is an instant way of creating Graphic Interchange Format images (GIF’s) of fashion in motion and, as phones evolve, a whole new genre and generation of fashion filmmakers will emerge accordingly. As we are aware, the digital age is no longer an elusive vision of the future, since we are now living in its prime. This is exemplified by the fact that we now spend most of our waking days on our phones, tablets and laptops, either sharing our everyday lives on social media, or keeping up to date with what is happening in the world of fashion, as well as the world in general. Everything about the society in which we live is now so instantaneous, that we are able to capture any moment of our lives whenever we please, and we are able to share this with the world at just the touch of a button. Through the increased influence of technology, fashion film has 7

become more dominant within the industry, and is now used by most major high end and high street brands every season, in order to show their new ready-to-wear collections. This is achieved through more of a documentary style of film-making, for example, showing details of the clothing and the models having fun wearing them, as opposed to being an actual fashion film with an obvious concept and artistic vision.

SHOWstudio is the leading platform for fashion film, curated by Nick Knight in November 1990, with the intention of being able to engage its viewers in an intimate portrait of the fashion industry, from behind the scenes live streams, to interviews from pioneers of the industries. It was devised ‘on the belief that showing the entire creative process - from conception to completion - is beneficial for the artist, the audience and the art itself’ (Nick Knight, 2009 : online). Over the past ten to fifteen years, SHOWstudio has evolved into a project which now transcends its initial expectations. It has become the main gateway for fashion filmmakers to view films, experiment with new ways of working, or even just to act as a source of inspiration. SHOWstudio is the best and most accessible platform for this, because they do everything right! However, there are other established platforms like Dazed Digital, i-D online and Nowness, which promote fashion films, although they do not seem to have embraced the notion of fashion film in the same way that SHOWstudio has.

This may be because they lack the crucial ability to distinguish what it is that makes a fashion film, a good fashion film. Alongside these platforms, there are also festivals for fashion films which are mainly held in the fashion capitals: London, Milan, Berlin, New York, and Paris; although the one in Paris is run by Diane Pernet and is called ‘ A Shaded View On Fashion Film’. The existence of all these platforms and festivals help filmmakers to understand what makes a good fashion film, as well as help develop their own unique style. Having said this, they also need to understand that while narrative films present fashion through cinematic means, this does not necessarily mean that they qualify for the title of ‘fashion film’.

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Fig.1 - Ruth Hogben, [Screen shot from] Gareth Pugh Pitti 2011, Gareth Pugh, 2011

Fig.2 - Ruth Hogben, [Screen shot from] Gareth Pugh Autumn Winter 2009, Gareth Pugh, 2009

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There has been a rise in fashion films being shown at fashion weeks all around the world in recent years. Designers are now able to collaborate with fashion filmmakers to create a fashion film for their collection, instead of just showcasing the garments on their own. For example, we have already seen Gareth Pugh collaborate with Ruth Hogben on a fashion film he released as an alternative to a catwalk show at Pitti Immagine #79 (Fig.1), which was projected onto the ceiling of a 14th-century church. They also created a film for Gareth’s Autumn/Winter 2009 collections (Fig.2), which coincided with his show at Paris Fashion Week. Despite the fact that there are currently only a few designers creating films instead of shows, it will likely be the path most designers choose to follow in the future, that is, either to release a film which coincides with the show, or to simply show a film to an audience. In comparison to catwalk shows, fashion films are more cost effective, which means you are able to create a much better video than you are runway show. If you look at most of the shows during fashion week, they are still only use models walking up, down, and around a set, and there are not many performance pieces.

Fig.3 - Mcqueenworld, [Screen shot from] Alexander McQueen Women's Spring/Summer 2001 Runway Show, Alexander McQueen, 2001

However, if you look back to the era when Lee McQueen was alive (1969-2010), and how all of his shows were mainly performance pieces (Fig.3), which are very similar to fashion films because they possess the ability to captivate the audience, then we can appreciate how times have changed since then. For instance, fashion film is arguably the best and 10

newest form of expression within the realm of fashion, and the quote, ‘when a fashion designer creates a garment, he or she always creates that garment to be seen in movement’ (Nick Knight, 2011: Online), demonstrates this as being the reason why the fashion show was created; to show the physical movement that fashion illustration and photography could never convey. Furthermore, with platforms like SHOWstudio, we are now able to live stream these shows so that the whole world can view them, as opposed to just the elite who gain access to the seats at fashion shows. This is another reason why the fashion film is so important, as these films are released to the audience of the show, and the viewers online, at the same time, thus enabling them to feel part of a world which they could otherwise only dream of knowing intimately.

Fig.4 - Guy Bourdin, [Screen shot from]guy bourdin (1/10), 1974

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Fig.5 -Erwin Blumenfeld, [Screen shot from] Beauty in Motion: The Films of Erwin Blumenfeld,Nowness, 2011

Fashion film is a medium which has evolved around the growth of technology, but it only really emerged onto the scene during the late 1990s with the birth of the digital age, even though it had been around since the beginning of cinema. The first ‘fashion films’ (Fig.4 and 5) were created by fashion photographers, Guy Bourdin and Erwin Blumenfeld, before the idea of fashion film was deemed a form of art. Many of their films used similar techniques to those found in Avant-garde and experimental film, namely in the work of film makers such as Jonas Mekas, who was seen as the ‘Godfather’ of experimental film. The purpose of experimental film is, in some ways, to be able to create the opposite of a narrative based film; an idea which has entirely changed the way filmmakers direct and produce films. The development of this genre has meant that there are now minimal limitations on what could be defined as a film. If it is true that our definition of what counts as a film has become more liberal in recent years, then experimental fashion film could simply be someone moving in front of a camera, but would this necessarily make a good fashion film? With the subject in question being so expansive, it is possible to argue from many differing standpoints.

There are two types of experimental fashion film, firstly, the analogue method, which is still used by a lot of filmmakers, including Tyrone Lebon and others at Dobedo (a collection of image makers), where they use techniques like painting, scratching, and burning negatives; non-synchronous sound, or sometimes no soundtrack at all. The other is the 12

digital side of experimental film making, which is heavily post-production based. However, with the help of technology, we are now able to take the old techniques and apply them to digital videos. Most recently, ‘Glitché’, a photo editing application which has just released a video feature, has made it very easy for filmmakers to give their video experimental aesthetics, whether it be the DV camcorder look, strobe effects, or even a scan effect to make it look like the video is leaking off the screen (Fig.6). We may suggest that 'digital art' would be the most fitting name for it, which is the category also most suitable for computer generated imagery.

Fig.6 - Nick Knight, [Screen shot from]Florental, Comme Des Garçons, 2015

If we look at still life photography in comparison to fashion film, we can see that they are very much informed by one another in a number of different ways. For instance, when you look at what makes a good still life photograph, the authenticity of its impact relies upon more than simply a few objects placed in front of a camera in an aesthetically pleasing way. Instead, it is important to look beyond the visual elements of said objects; the forms, shapes, materials, textures, feelings, to the atmosphere which surrounds them. ‘Things are never purely what they seem but always bearers of meanings that extend beyond their objective reality’ (Seelig and Stahel, 2005, pp. 174), accentuates the idea that objects themselves do not have to be ‘pretty’; they can be dead or alive, worn in or new, expensive 13

or inexpensive. It is the photographer's ability to show the objects ‘beyond their objective reality’, as well as being able to make the audience have an emotional connection with them, which makes a good still life. In comparison to fashion film, the aforementioned components also make up a few of the main contributors to a good fashion film, because, in a fashion film, the garments are, in fact, the objects. As Knight says, ‘great fashion makes a great fashion film’ (Nick Knight, 2011: Online). However, in order to understand what makes a good fashion film, one has to be able to understand that, like object photography, you are required to delve deeper than simply viewing fashion films as projecting ‘great fashion’ onto a screen. Instead, the garments have to be shown beyond their everyday usage by expressing their full potential in movement, their ability to create an atmosphere, and how the filmmaker is able to express the emotion through the garments themselves. Another crucial aspect of what makes a good fashion film is having a well-developed concept behind it, which can be supported by thorough research. If a film has been made, whether there be any movement in the film or not, there must still be elements included which create emotion, and convey the feelings and power which the garments were intended to stimulate. A good fashion film always has a concept behind it, and whether it is a political affair, or a social or cultural epidemic, it should still coincide with the garments shown on screen.

Fig.7 - Wes Anderson, [Screen shot from] PRADA presents "CASTELLO CAVALCANTI", PRADA, 2013 14

It could be argued that short fashion films are not fashion films, because everyone is entitled to hold a different opinion. Like Diane says, ‘the fact someone's moving in front of the camera does not mean it is a fashion film’ (Fashion Forward Dubai, 2015: Online), and, in a way, she would be correct if we were to look at it from a short film perspective.

Take ‘Castello Cavalcanti’ (Fig.7) by Wes Anderson for Prada, for instance; it is well made, well lit, it shows the clothes that the actors are wearing well, and it is also well directed. It may be created by one of the best directors of all time, but, in my opinion, it is still only a film, as opposed to a fashion film. This is because there is no way of telling that it is a fashion film for Prada, unless the viewer possessed this knowledge prior to watching it. Of course, the protagonist is wearing a Prada racing suit, but there is still no other way of knowing that it is a fashion film for Prada from the perspective of a first-time viewer.

Instead, you would just consider that is was a short film which Anderson had created. It is necessary, therefore, to bring up one major question which can be applied to everything related to fashion, from the early illustration to the fashion films being made now, which is whether or not these types of films are simply made to sell clothes.

It could be argued that this is the intention of every fashion film being made, as well as being the overall intention of the industry itself; to sell the clothes and to also show the consumers how the garments will move when they are warn. It could also be said that Anderson's film for Prada is mainly based on suits, and that the only movement you can get from a suit has to be generated through walking, as well as other everyday movements, which are shown in this film.

This is where I find collection and experimental style fashion films more successful than short films, because more movement can be achieved in the clothes, such as how the fabrics respond to certain actions, and the shapes they create whilst doing so. This, then, leaves us to consider whether there is actually any difference between a short fashion film or feature length fashion film, and an ordinary short film or feature film. This is because they both have the same elements to them, for instance, both have a clear, strong narrative, both have a start, middle, and an end, and both have actors who read from a script. However, an area of ambiguity emerges as we begin to consider how both types of film use designer clothing as costumes.

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For instance, Giorgio Armani, who is well known for his style of suit jackets, made all of the suits that Richard Gere (actor) wore in the film American Gigolo, which must surely mean that it has the potential to be classed as a fashion film. This is where I personally think that these types of ‘fashion films’ should maintain the label of ‘short films’, as essentially that is all they are. This is because the narrative is in the film as opposed to the clothes, unlike the other categories of fashion films where they are purely based on the form, shapes, tones, textures, patterns, lines and colours of the garments.

It is necessary to return to the sub question posed about whether short films actually sell clothes more effectively than the other two genres of fashion film that will be analysed. It could be argued that short films are better equipped to sell clothes, rather than act as fashion films, because the audience are captivated by the persona adopted by the character in the film, which may lead them to make a conscious or unconscious decision to change their own style to something similar to what they have seen on screen, as well as to investigate where the clothes come from, and where to buy them. Short films and feature films have been a prominent feature of fashion since the start of the industry, not just because of the garments themselves, but also because of the enormous influence that the actors and actresses wearing the clothing can exert over an audience. For instance, the little black dress which the actress Audrey Hepburn wore in the film ‘Breakfast at Tiffany’s’ (1961), created by Givenchy, has been an iconic piece of clothing for many decades, and is still one of the biggest selling styles of dresses worn today. Although many people cannot afford the Givenchy dresses, consumers still hold these feature films in high esteem as inspiration for their own personal style. So, in a way, it could be argued that short and feature length fashion films do, in fact, make good fashion films, but only for the benefit of the brands, as these films are a media to encourage the consumers to buy the clothes, as opposed to the ‘collection/editorial show films’, which are created to show the pure beauty of garments in movement, just like the films of SHOWstudio.

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Experimental Fashion Film

Nick Knight has always taken his image making to the next level by trying to think of alternative creative processes, which seems fitting given how the medium of fashion film has been left largely undefined. This is what renders a lot of his work experimental; Knight is trying to challenge, and even manipulate boundaries, and by pushing his ideas to the very limit in order to create such innovative work, Knight is ‘Identifying movement, time, rhythm, and metamorphosis as some of the vital features of the recent Fashion Film’ (Marketa Uhlirova, 2013: Journal). As discussed in chapter one, in order to make a good fashion film, the ability to look beyond the dress is needed to appreciate that there are specific elements needed to create a good fashion film besides what can physically be observed. For this reason, experimental fashion film differs greatly from other forms of fashion film, because it is more concerned with the concept and the originality of ideas; however, it is still important that the garments of clothing carry a significant impact in their own right.

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Fig.8 -Nick Knight, [Screen shot from] Amor, SHOWstudio, 2015

Fig.9 -Nick Knight, [Screen shot from] Amor, SHOWstudio, 2015

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One of Knight’s most recent films, ‘Amor’ (Fig.8 and 9), ‘is an expression about the romance of thinking, the algebra of love, the equation of thought and how it is expressed’ (Harlech, 2015: Online). The film shows the final images from a shoot Knight undertook for V magazine, being burnt, in order to reveal the images below them. Although there is no movement from the model, as they are still images in the film, it shows the intricate thought process behind the film and how it combines the attributes needed to become a good fashion film.

When the film is viewed, it can be seen that, through the use of burning, editing, and the soundtrack, there is the ability to define what makes this an experimental fashion film, but also what establishes its greatness. If one of these elements were taken out of the film, for instance, it would not create the same emotional impact that it would if they were all working in unity. For example, the music creates an atmosphere of intensity for the viewer to immerse themselves in, as they process the images of burning paper, and this is complemented by the editing, which ranges from full length shots or close ups of the images being burnt, all of which helps to create the emotion needed to attract the viewer’s attention.

The ash is perhaps the most impactful aspect of this film, due to how it can be seen as elegant in the same way that the garments themselves can be. We can all recognise how ash falls and crumbles when touched, and ‘the relation between what we see and what we know is never settled’ (Berger, 1990, p. 7), aptly summarises the ambiguous relationship between what we infer from the film, and what the film portrays in reality. Although we can identify the physical attributes of ash, it is not often we think about them in any great depth; it is simply defined as the residue left by a non-aqueous object which has been burnt.

In ‘Amor’, it may be deduced that the ash comes to represent the elegance of the garments, whilst simultaneously being able to show the concept of the film through the symbolic meaning of ash. ‘Amor’ is the Latin name for Cupid the God of Love, and Ash can be a bearer of laughter and happiness, but, like the Phoenix, ashes symbolise rebirth in the same way that the Phoenix would burn itself and rise from its own ashes in order to live through another life cycle. This interpretation could allude to the immortality of the garments in the film. For instance, as physical objects they may turn into ash, but as a concept they can be seen as timeless.

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The reference to rebirth in this video, although only a single interpretation, can be identified when the burning is edited to become reversed, so the viewer is able to see the images coming back together after they have crumbled to ashes, which then leads to the video ending with everything on fire. This could be a sign of transitory life; showing that the designers have become fixed into this season schedule, as well as not being afraid to destroy what they have created, because the statement will transcend time and space, and will always carry the garments forward into newer designs.

With ‘Amor’, and many of Knight’s other fashion films that would fall into the category of experimental fashion film, they tend to be more centred on the concept, and how researching the subject or theory can help evolve a simple idea into a piece of art. To be able to label a piece of artwork good, there has to be a strong enough concept behind it, which, to Knight’s work, there is, since he is able to make the viewer consider the metaphysical ideas which help establish meaning and purpose in the films he creates.

Fig.10 - Tyrone Lebon, [Screen shot from] Trend Preview, Topshop, 2011

Tyrone Lebon is another image maker whose films fit into the category of experimental fashion film, although he achieves this through technique as opposed to concept, unlike Knight. Lebon uses all of the editing and filming techniques known in experimental film, 20

from cutting up negatives to his use of sound. Even in the digital age, Lebon is the best example of this, since everything he creates is still shot on 8 or 16mm cine film.

In 2011, Lebon created this fashion film for the high street brand Topshop’s spring summer 2011 preview (Fig.10), ‘all they asked is that we communicate their four key trends for the season’ (Alexander, 2011: Online). When it comes to these types of fashion film, they seem to work best if the directors are free to create anything, because experimental film is such a broad vehicle for expression, that almost anything can be accepted into this category. This is because they do not have a linear narrative to them. However, when it is a fashion film, the clothes always become the narrative, in the same way that in Knight’s film, the form follows function. The audio track is one of the key elements that helps convey the narrative in the film, as it is able to depict the trends of the season through the use of the sound. Lebon uses innovative techniques in film making, but many of them are still borrowed from experimental film, so if the techniques he incorporates are already in use, then is this approach to film making really experimental?

We have seen filmmakers using film burn, and making jump cuts in videos, to the beats in the soundtrack for a long time, so when does something which was deemed as experimental become commonplace? Experimental fashion film is about expressing your vision through the use of film, and being able to process thoughts with no boundaries or guidelines. Lebon demonstrates this perfectly in this video, as he is able to adapt techniques from experimental film in order to make his vision a reality This is due to the free reign he was granted to do whatever he desired during the creative process. The most interesting aspect of Lebon’s work here is how he is able to show the contrast between the abstract filming techniques and the use of inanimate objects and everyday actions, for example, lighting the sparkler, eating a banana, and drinking from a glass. By putting these basic and almost mundane movements into an experimental context, Lebon provides them with a new meaning.

There are two ways of interpreting fashion and fashion film, which are both documented with immense effect in this film. One is that it is tangible and accessible to everyone, as shown through the everyday objects and actions which the viewers can relate to, and the other is that it is more ambiguous and remote, as shown through the abstract soundtrack and filming which make it more experimental. We may argue that the experimental factors of this film serve to represent the commercial aspect of fashion, and how audacious it can 21

be at times, whereas the inanimate objects signify those moments where we are still able to recognise and relate to the fashion we are presented with.

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Linear Narrative Fashion Film

When the attributes needed to make a good fashion film are considered, the viewer is drawn to the concept behind it and how the narrative is embedded in the clothes, which is similar to the way photography editorials are received. So, if short films, or linear narrative films, were added into the equation, it is important to consider how successfully these films would help increase sales in the clothing being modelled, and, as referred to in chapter one, this can only be achieved if a persona is created, which the audience wishes to imitate. This would arguably render them advertising films as opposed to fashion films, because many of these films are seasonal campaigns for ready-to-wear clothes, rather than a collection film. 23

Fig.11 -Glen Luchford, [Screen shot from] Gucci Spring Summer 2016 Campaign Film,Gucci, 2016

If we take Gucci’s Spring Summer 2016 Film (Fig.11), it is clear that the narrative of this film is a group of friends racing to see the sunset. Due to its short length, the film gives the viewer the impression that it is a clip taken from a feature film, and so they start to question what the group was doing before this, and where they are going to go after. In this instance, it may be argued that the film is not merely driven by the garments, like most of the other films are. This would then stop it from being classed as a fashion film, and instead it would just become an advertising campaign film. This is because it is not purely created to show the designer's vision and the concept behind their collections; instead, it is created to sell the clothes and the lifestyle being portrayed in the film. Having said this, the garments can still be studied, because the film manages to focus on their movement on the human body in a way which means the consumers are able to see what they will look like in everyday use. It is arguably a more commercialised way of creating a fashion film, as it is the intention of the film to exploit society's consumerist tendencies. Furthermore, the film is devoid of any notion of seriousness, which you would expect to find in the other types of film. Instead, there is a more humorous value to it, which helps the viewer to engage with the on-screen persona, ultimately making them want to become one of the characters, and be there with their friends, racing around the shopping mall and trying to be the first one to the roof.

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To be able to make a successful advertising campaign film, the to focus needs to be on the attributes that create a good short film, as they share many similar traits. For instance, it is important that these films have a good director and cast, a strong script, and high production values, as well as a convincing dialogue. Furthermore, it is essential that the director is able to capture the attention of the audience in the first scene, making sure that it encourages the viewers to continue watching.

When the characteristics which establish a good ‘short fashion film’ are considered, we are still drawn to think about film in a more general context. The new generation of fashion filmmakers, fashion brands, and many platforms besides SHOWstudio, are labelling these types of films as ‘fashion films’, which is perhaps not entirely true. It may even be argued that they have a limited understanding of what contributes to the making of a good fashion film. So, when Knight says that having a narrative in addition to the one found in the clothes is superfluous, one is inclined to agree with Knight's remarks.

Fig.12 - Glen Luchford, [Screen shot from] Gucci Cruise 2016 Campaign Film ‘A short Edit’ ,Gucci, 2016

For example, if we look at the magazine Dazed and Confused’s top ten fashion films from 2015, there is only one film shown which can truly be classed as a fashion film; this being 25

Gareth Pugh’s AW15 film by Ruth Hogben. It is possible to argue that the other nine are advertising campaigns, short films, or ‘behind the scenes’ films of runway shows, which are not fashion films, as they do not portray the characteristics required to make it successful. Furthermore, just because Chanel, Prada or Gucci have made a film for their collections, it does not mean that they are fashion films, which is where these platforms need to be more specific when deciding which films are worthy of being labelled as fashion films, and which are perhaps better suited to a different category. However, the Gucci Cruise 2016 collection film (Fig.12), which also appears in the Dazed and Confused’s top ten fashion films of 2015, bears more resemblance to a conventional fashion film, similarly to the Spring Summer film by Glen Luchford (Fig.11). However, this time, there is more of a focus on the clothes and the concept behind them, rather than a clear narrative, until you see that the film on the Dazed website was a short edit of the actual film. Through creating a new edit of the director’s cut, Gucci are able to take this ‘narrative’ out of the film in order to focus on how the narrative can be contained within the clothes themselves. The more effective approach to exhibiting them would be to show the models dancing, because the type of movement achieved from ready-to-wear garments is complemented by this form of expression.

Fig.13 - Glen Luchford, [Screen shot from] Gucci Cruise 2016 Campaign Film ‘The Directors Cut,Gucci, 2016

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However, after viewing the actual advertising campaign (Fig.13), the director’s cut appears to adopt qualities similar to most linear narrative films, namely the way they are filmed with an opening shot, a shot to set the scene, and then close ups which show the full extent of what is unfolding around the protagonist. So, as soon as the camera moves from the opening shot, to following the girl into the villa where everyone is dancing in Gucci’s new collection, it can be instantly recognised that this is a narrative based film. Immediately, this is reminiscent of Gucci’s Spring Summer 2016 film, as well as the point previously mentioned regarding what they were doing before, or after, they began running to the roof of the building.

One point Pernet makes in her interview with Fashion Forward Dubai is that ‘Fashion Film is not just a fashion shoot in motion’ (Fashion Forward Dubai, 2015: Online). This is what all of the advertising campaigns on Dazed and Confused top ten fashion films of 2015 are, when they are given a basic analysis. Luchford also photographed the images used for the print campaign as well as the video, both of which are almost the same shots. Fashion film is not something to be categorised alongside stills, instead it should replace them.

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Collection Fashion Film

Ruth Hogben is one of the few fashion filmmakers creating genuinely captivating fashion films. After graduating from the University of Gloucestershire, she went on to assist Knight at SHOWstudio where his own expertise taught her the true faculty of this new platform for fashion filmmakers. Hogben has created many fashion films in her career, but she works most often with the designer Gareth Pugh, having created films for each of his collections since Autumn Winter 2009. Pugh’s designs are notoriously dark and gothic, which is clearly magnified in the aesthetics of Hogben’s film. However, in an interview with SHOWstudio, she says that the ideas which amount to any given film come from Pugh himself, rather than her.

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Fig.14 -Ruth Hogben, [Screen shot from] Gareth Pugh Autumn Winter 2015, Gareth Pugh, 2015

The first film is Pugh’s Autumn Winter 2015 collection film (Fig.14), which is the perfect of example both of how form follows function, and how the concept can be the driving force behind many fashion films.

The first sustained image that can be seen of the model in this film is immediately striking, since she appears to almost play the role of a damsel in distress sitting on her throne.

However, the contrast between her fair hair and skin, and the dark throne and dress is one of profound unconventionality, which is unsettling to the audience. The soundtrack creates an aura of anxiety and tension, as though the model is trapped and isolated, both on her throne and in the restrictive clothing she is wearing. Metaphorically speaking, she is trapped in the idealistic state of beauty. The close up of the model gripping the scissors, which almost gives the impression of being filmed using a hand held camera, cuts to the model’s face which is deep in meditation. Although only alluded to, this allows the audience to connect with the internal panic and thought process which leads to her next actions, and by doing this, we become encapsulated in the obscure atmosphere of the film. Multiple implications can be drawn from the model cutting her hair, with the most interesting one being that it symbolises the point in which she breaks from convention.

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Long, fair hair has long been a symbol of female beauty, thus, the act of cutting it in such a harsh and frantic way, when coupled with the soundtrack, leads us to view this as rebellion. However, as the camera slows and she cuts the final piece of hair in a poised manner, the viewer realises that this is simply an act of liberation. The atmosphere of the film changes with dramatic affect at this point, as the cuts become longer and more measured, to symbolise the tension in both the model and the audience being released.

Overall, the act is empowering as it suggests that our self-image and inner strength can only be established as we begin to take control of our own bodies and the way we use them. The film’s ending, when she holds her arms out and clenches them whilst looking upwards may be interpreted, as her looking to God or the heavens whilst making the shape of the Christian cross with her body. It is at this precise moment that she appears to transform into an entity which transcends the limitations of her former body, for instance, she could perhaps have become a martyr or heroine. When she opens her fists again and moves her hands above her head, it could signal her ascent to heaven or the afterlife. The concept of Pugh’s collection is shown with immense impact in Hogben’s film. For instance, after the scene where she is burning, the camera then cuts to a new shot of Britannia, and, although the role she now adopts is ambiguous, the audience are left to assume that she becomes the embodiment of Britannia itself. Since she has broken from convention, it shows that, by adapting to this new role, she now possesses the strength to face whatever wars, be them literal or metaphorical, she is presented with.

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Fig.15 - Ruth Hogben, [Screen shot from] Gareth Pugh Spring Summer 2016, Gareth Pugh, 2015

Nevertheless, whereas it seemed as though the model was one of the main focuses in Pugh’s Autumn Winter 2015 collection film, in Pugh’s Spring Summer 2016 collection film (Fig.15), the performers are all in full body suits, which completely disregards the idea of a persona, as well as the idea that the only object you can focus on is the garment itself. The quote, ‘For me Soho’s a little bit like Disneyland or a fairground, it’s about fantasy or escapism, you can go there and be somebody else’, said by Pugh backstage at his show (Allwood et al., 2015: Online ), emphasises how the collection was inspired by London club nights and Soho itself. This becomes more apparent to the audience as they endeavour to uncover the concept behind this film, where the garments show the glitz and glamour of the night life, as well as appearing curiously strange and statuesque. It is evident that the theme of identity has played a major role in the concept behind this film. For instance, Pugh suggested that we all have the capacity to inhabit multiple character traits and p e r s o n a l i t i e s , s o b y c o v e r i n g u p t h e i d e n t i t y o f t h e s e p e r f o r m e r s , i t has simultaneously turned them into objects, meaning that the viewers are able to focus more on the garments, and how successfully Hogben shows the individual elements which complete them. However, it also allows the viewers to feel inspired to create their own persona and become who, or what, they want to be, ‘to create a very strong desire of the 31

garment in the film, so you should want to have that garment [...] That girl or that boy looks amazing, and I want to look like them’ (Knight, 2016: Phone Interview). Either way, the ultimate intention of both the designer and the film director, is to create a persona which the viewer seeks to embody, and this can be achieved through making them want to go out and buy the clothes being displayed.

The way that the performers have been presented in this film portrays the impression that, due to the high rising value of London and how Soho has changed over the years, one feels that there must be a secluded message in the video, which plays a fundamental role in the audience's understanding of its content. For instance, it may be wondered what these protagonists actually do for a living, as it would appear that because of the clothes and the effect of the film, they are simply girls getting ready to hit the clubs. However, the film starts off with a pole dancer dancing on a pole, with the spot light on her, so instantly the audience presumes that she is a performer because of the nature of the job.

The image of the pole dancer reappears several times throughout the film, almost becoming the film’s central motif. It may inferred that the act of pole dancing symbolises a transformative period, as well as the unravelling of a new character, for instance, she could represent the movement away from everyday life and jobs, and into the realm of ambivalent identities and actions. The film then cuts to someone walking down the street with the police just behind them, which then cuts to a woman dancing on what seems to be a stage, due to the camera being at the point-of-view of a spectator. This leads to a woman in a dress made out of pennies being checked out by a passer-by, as well as a woman wearing a big coat in an alleyway, who seems to be waiting for something or someone, and then, finally, a person in a red dress, which seems to take the place of curtains in a window, possibly covering the window to an adult shop. As a result of the rise in London prices, it means that the girls shown in the film, who want to live this rich London lifestyle, are having to go from working their day job to becoming ‘ladies of the night’ in order to live this high end life. By covering up their identities, it shows that they are creating a public facade for themselves in order to carry out this work, which could, in fact, prove to be a severe threat to their social and professional credibility alike, if their employers were to find out their actions. However, it could be viewed this from an opposing standpoint, for instance, because of the change in personnel around Soho, there is now an abundance of different characters to observe. This could simply be seen as a reflection of the originality which this particular community encourages individuals to 32

embrace. Arguably, the real concept behind Hogben and Pugh's film is that, when in Soho, you are at liberty to become whoever you please.

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Conclusion

Fashion film is a steadily evolving concept, and is still in its initial stages of formation, but it really is time it defined itself as the unprecedented medium that it is. Fashion film is about good fashion, but as discussed, it is also about concept and how the narrative is emblazoned in the clothes, rather than simply acting as ‘an event sequence’, as Nick Knight describes it. These are the types of fashion films that many contemporary fashion filmmakers are creating and digital platforms are showing; except, that is, for SHOWstudio.

As also discussed, fashion film can be very open and experimental, accepting into its category films devoid of any movement in the clothes whatsoever, to films where the clothes are being shown at their full potential. If the fundamental elements are correct, then fashion films can be amazing concepts!

Although the list of successful and unsuccessful fashion films could be more expansive than the ones that have been analysed, I have chosen to focus on two of the leading fashion filmmakers and ambassadors of this medium, Nick Knight and Ruth Hogben, as I 34

feel it is important that every new and emerging fashion filmmaker should follow their work, in order to increase their understanding of what makes a good fashion film. In the future, fashion film is going to be as eminent as fashion photography, but due to the growth in technology, fashion film will not take as long to define itself within the industry. The next five to ten years are going to be pivotal, as they will be the years where fashion filmmakers will rise to acclaim, and the list of pioneers in the medium will grow immeasurably.

Studying this topic in such depth has undoubtedly helped to mature my views with regard to this medium, and indeed, has forced me to consider what makes a good fashion film from a magnitude of differing angles. It will notably help to evolve my own practice, as well as the concepts behind my own films. It is important for everyone to realise that the extent of the fashion film is not simply a video of someone moving in front of a camera, but rather that it involves a whole host of complex, intelligent, and ambitious ideas, which I feel I have successfully shown in my discussion.

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