This season, brands embraced strong scripts, serious acting talent and heavy-hitting directors like never before, resulting in a crop of winning fashion films largely driven by the kind of compelling storytelling long missing from the genre. Sit back, relax and enjoy BoF’s Top 10 Fashion Films of the Season.
On the occasion of the sixth instalment of “A Shaded View on Fashion Film,” held at the Centre Pompidou in Paris, BoF brings you an exclusive look at designer Manish Arora’s latest fashion film, ‘Holi Holy,’ and sits down with the festival’s founder, Diane Pernet, to discuss the state of the medium.
BoF editor-in-chief Imran Amed sits down with Charlotte Tilbury, Chris Levine and Malcolm Edwards at London’s Selfridges to discuss the making of She’s Light (Pure), a striking lenticular image of fashion icon Kate Moss.
Starring Lea Seydoux and co-directed by Wes Anderson and Roman Coppola, Prada’s mini-trilogy for its Candy L’Eau fragrance proves that fashion films can be much more than the moving print campaigns that have come to typify the genre. If only there were more fashion films like these.
This season, the most successful fashion films broke away from the old template, embracing the unexpected plots, quirky music and bursts of humour that resonate with online audiences. Sit back, turn up your speakers and enjoy BoF’s Top 10 Fashion Films of the Season.
On the day of the announcement of BoF’s seed investment round, founder and editor-in-chief Imran Amed spoke to the BBC Global News about the rise of The Business of Fashion, the disruptive forces re-shaping the fashion industry, and the special role that London plays in the global fashion ecosystem.
BoF spoke to the precise and sculptural London-based designer Thomas Tait in the hours before his Autumn/Winter 2013 show, just as the components of his creative vision — including lighting, sound, staging, venue, and of course, the collection itself – were all coming to life.
NEW YORK, United States — “Are we failing to fulfil the potential of fashion film?” asked Quynh Mai’s Op-Ed for BoF earlier this year, citing misallocated budgets, uncompelling content, poor distribution strategies and established power structures that favour still photographers. Indeed, it’s fair to say that, while seasonal fashion shorts have become an essential part of the marketing toolbox for megabrands and emerging labels