Uniqlo 5th Avenue Flagship in New York | Source: High Snobiety

Fast Retailing May Buy Bigger Rival in U.S., Europe on Yen (Bloomberg)
“Fast Retailing Co., Asia’s largest clothing chain, may buy a bigger rival in the U.S. or Europe after the yen’s advance to a postwar high against the dollar boosted the Japanese company’s purchasing power… The billionaire aims to take advantage of the yen’s climb to expand outside Japan, where an unexpectedly long summer damped demand for fall and winter clothing, contributing to a 12 percent decline in profit in the year through August.”

Calvin Klein’s largest market outside the US – China (Red Luxury)
“Outside of the US, China is Calvin Klein’s largest market with 50 percent annual sales growth for the past two years. Its China business has pulled ahead of other international markets… The company continues to expect stellar growth ahead. ‘Our business grew 50 percent in 2010, it will grow 50 percent this year and the way we’re going, we could see 50 percent again next year,’ said Tom Murry, chief executive officer and president of Calvin Klein. ‘Our global business has been growing at 10 to 15 percent, so you can see the business here is outpacing the global business by a long shot.’”

Gareth Pugh: His Dark Materials (Independent)
“‘She’s very beautiful. But she looks like she might kill you,’ says Gareth Pugh of model Alla Kostromichova, the lovely if admittedly somewhat intimidating face of his soon-to-launch, limited-edition line of make-up and accessories, designed in collaboration with Mac. And that just about sums up not only the designer’s aesthetic more broadly, but also this latest venture.”

Gucci coup: the Italian fashion house celebrates 90 years in fashion (Telegraph)
“If an essential element of a successful luxury brand is its history and heritage, then Gucci’s is more richly textured than most. In this, the 90th year since the establishment of the first Gucci boutique, the company has celebrated the opening of the Gucci museum in Florence, its founding city.”

Pierre Cardin on banks and working at 89 (BBC News)
“He began his career making costumes for the film-maker Jean Cocteau. Christian Dior took him under his wing and he launched his own label in 1950… In 1959, Cardin courted their further contempt when he launched the first ever ‘pret-a-porter’ (ready-to-wear) show for the mass market. Later he went into merchandising in a major way, with hundreds of Cardin franchises all over the world, many of them not exactly top-of-the-range.”

L-R Rick Owens, Balmain, Balenciaga S/S 2012 | Source: Style.com

Raid the Archives With Caution (NY Times)
“Mr. Ghesquiere can come away refreshed from the Balenciaga archive, but for most designers the postwar couture is an element in the cut-and-paste process that largely defines current fashion. Designers saw the Madame Grès exhibition here this summer; they know Balenciaga’s volumes and bullring pomp by heart. But they always have to do something extreme to make you think it’s new.”

Don’t Forget the Clothes! (IHT)
“They are the champions of the Internet age — designers who can tap into the ultra-modernity of image and sound as part of a multimedia experience. But as the catwalk moves into cyber space, there should be one dictum: Don’t forget the clothes! Two fashion labels — the revived Mugler brand and the British-born Gareth Pugh — were in the same territory as the Paris season clicked onto spring/summer 2012. Or make that the year 2099 as these shows streaked into the future.”

H&M cost control cushions fall in profits (Reuters)
“Hennes & Mauritz accelerated its expansion plan and said it was gaining market share as it delivered a fall in third-quarter profits that was smaller than feared. The world’s no.2 fashion retailer suffered a 15 percent drop in third-quarter profit, hit by costs such as higher cotton prices. It said sales so far in the fourth quarter were below its expectations and markets remained challenging.”

From shopping sprees to marketing technique (FT)
“So-called ‘haulers’ are tween-to-twentysomething, largely female shoppers who haul their purchases back home and post video reviews on YouTube for their followers to watch…Chris Sanderson, co-founder of The Future Laboratory, a trends and innovation consultancy, says: ‘If that’s your world, to go to the shops and show off your stuff, then it’s incredible. This becomes a whole new mechanism for [retailers to] understand and target a demographic’.”

Official: Alexander McQueen is cooler than Chanel (Telegraph)
“Alexander McQueen, the British fashion label that scored the commission of the century – designing Kate Middleton’s wedding dress – has topped a list of cool designer fashion brands… The label, headed up by creative director Sarah Burton since Lee McQueen’s death in 2010, came eleventh overall in the 2011 list of cool global brands – four places ahead of iconic Parisian fashion brand, Chanel, at number 15.”

Gucci Museo | Source: Oyster Magazine

Gucci Feeds Its Florentine Roots (IHT)
“The museum, housed in a 14th-century building in the Piazza della Signoria, is designed to honor the company’s leather goods legacy and to bring it into the 21st century by juxtaposing the innovation of bamboo-handled bags or luxe sports equipment with modern art… The idea of facing off past with present — under the slogan “forever now” — was the brainchild of Frida Giannini, the creative director of the famous brand.”

Paris fashion week strutting under cloudy economy (Reuters)
“Paris Fashion Week kicked off on Tuesday under a cloud of economic pessimism mixed with uncertainty about the creative direction of some of the world’s biggest fashion brands… After New York, London and Milan, Paris closes the season of presentations for next spring and summer with nine days of shows at which designers will be fighting for buyers and media attention amid worries about a possible economic slowdown.”

Cavalli Chief Sees Luxury-Goods Slowdown (Bloomberg)
“Luxury-goods companies should brace for weaker growth in 2012 asEurope’s sovereign debt crisis leads to a slowdown in spending, according to Gianluca Brozzetti, chief executive officer for designerRoberto Cavalli… ‘The luxury sector is not immune,’ CA Cheuvreux analysts including Pierre Lamelin, wrote in a note this month. They estimate that so-called organic sales growth across the industry will slow to 9 percent in 2012 from 15 percent in 2011.”

Hearst Passes 300,000 Monthly Digital Subscribers, Takes a Bow (All Things Digital)
“Hearst, which is about to sell its digital magazines via Amazon’s new tablet, wants the world to know it’s selling its digital magazines on plenty of other gadgets, too: The publisher says it is now racking up more than 300,000 paid digital downloads per month.”

20 Q&As: Gareth Pugh (Dazed Digital)
“In 1991, Gareth Pugh and Katie Shillingford were ten years old. They’re a bit older now – one is a successful fashion designer, and the other works as his stylist and senior fashion editor of Dazed. Graduating from Central Saint Martins in 2003, Dazed was the first to celebrate his work, featuring the red and white balloons from his BA collection on the cover in April 2004… Shillingford talks to her friend about life in 1991, and how the past 20 years have shaped their worlds.”

LONDON, United Kingdom — This season, fashion brands embraced fashion film like never before, integrating digital videos more meaningfully into a wide spectrum of communications strategies, from Nicola Formichetti’s formidable social media machine for the House of Mugler to Tom Ford’s contrarian approach that defied the industry trend towards greater access and immediacy.

In past seasons, fashion films have often been geared at editors, buyers and other industry insiders, accompanying — and sometimes even replacing — runway shows and presentations. But as brands grappled with the tug-of-war between digitally-enabled consumers with real-time expectations and the challenging realities of syncing the physical atoms of their supply chains with the virtual bits of their digital communications, momentum swung in the direction of consumer-facing fashion films designed to coincide with the retail schedule and build intrigue around new collections, just as they hit stores.

Chanel launched a robot animation with terrific viral appeal to support its Spring 2011 makeup line, while Tom Ford synced the arrival of his first womenswear collection in stores with the debut of a film that captured his ultra-exclusive fashion show held last September. But our top honours go to Prada, which released an irresistible fashion film with just the right energy to match the stripes and monkeys of Miuccia Prada’s current collection and accompanying ad campaign.

The following is a BoF selection of what we think were the most compelling fashion films of the Spring 2011 season. As you sit back and enjoy the films, let us know which ones you like best.

1. Prada S/S 2011

In a highly addictive film that almost pops off the screen with infectious charm and masterfully executed quick edits, Tati Cotliar, Kinga Razjak, Arizona Muse, Mariacarla Boscono and Zuzanna Bijoch show off their monkey moves in the stripes and banana prints of Prada’s Spring 2011 collection to the glitchy sounds of Ratatat’s Mirando. “This is just BEGGING for gifs,” added an enthusiastic Tavi Gevinson, referring to simple user-generated animations often based on a few frames of a film, as she reblogged the video on her Tumblr. Indeed, with hundreds of thousands of views on YouTube, there is something about the film’s quick bursts of colour and body movements that both resonates with today’s remix culture and triggers instant desire, making the video and the collection it displays, completely irresistible.

2. Tom Ford Spring 2011 Fashion Show

While Tom Ford has taken a strong stand against fashion immediacy, preventing the media from photographing or tweeting his ultra-exclusive shows, it would be wrong to conclude that he has rejected the internet entirely. With a stylishly edited film that nicely captures the extraordinary glamour of his Spring show, Mr. Ford has skillfully embraced digital video on his own terms. The film, whose launch was timed to coincide with the arrival of his clothes in store, features an utterly fabulous cast including Julianne Moore, Beyoncé Knowles, Lauren Hutton, Rachel Feinstein, Daphne Guinness, Julia Restoin-Roitfeld and more. Capturing the special ambiance of a very small and glamorous fashion show — we catch glimpses of Anna Wintour, Grace Coddington, Hamish Bowles, Joe Zee, Stefano Tonchi, Cathy Horyn, Carla Sozzani and Jefferson Hack, amongst the 100 top editors in attendance — Mr. Ford’s film may have proven that in the internet age, one thing that people crave even more than immediacy is a feeling of intimacy.

3. Here Comes The Beauty Pack by Chanel

Peter Philip, Chanel’s terrifically talented global creative director for makeup, conceived this fabulously fun animation featuring robots made of Chanel’s iconic packaging. Released to coincide with the launch of the brand’s latest beauty line and drive interest around Chanel Makeup Confidential, a new website featuring exclusive video content, backstage beauty looks from Chanel shows and how-to guides, the video was a runaway success that spread like wildfire across thousands of fashion blogs.

4. Gareth Pugh Pitti 2011

Gareth Pugh made his Italian fashion debut at Pitti Immagine with a visual tour de force by Ruth Hogben. Projected on the ceiling of the 14th-century Orsanmichele church in Florence, the film perfectly complemented a collection that was inspired by Christian iconography and Florentine opulence. But the overall communication transcended reference, colliding the ancient and the hyper-modern to form one powerful vision. With immaculate styling by Katie Shillingford and a dramatic soundtrack by Matthew Stone, this was a fashion film that verged on religious experience.

5. Seven Henrietta Street by Kate Spade New York

Shot by music video director Kinga Burza in a Georgian townhouse in Covent Garden and featuring English actress Anna Brewster and a soundtrack by the disarming chanteuse and MySpace phenomenon SoKo, this film beautifully tells the story of the Kate Spade girl — and brand. Unconventional, curious and imaginative, she “laughs out loud, sings off key and believes in taking chances,” says a text that accompanies the film on the brand’s official YouTube channel.

6. Anatomy of Change for House of Mugler Menswear

House of Mugler creative director Nicola Formichetti launched a captivating web film to build online anticipation and post-show buzz around the creative director’s debut for the brand, using a powerful trinity of fashion, film and music (supplied by Formichetti’s friend and creative co-conspirator Lady Gaga) to transform both his menswear and womenswear runway outings into real-time fashion entertainment. We think integrating the film into the show (a version of the film appeared as a backdrop to the catwalk, while the online edit featured video from the runway) was a smart move, striking a chord with a broader public, but also helping to extend the show’s impact online, giving  fans of Lady Gaga and Mugler a piece of digital content they quickly shared with their friends and followers, carrying Mugler’s new image across the internet.

7. Vanessa Bruno “Miracle”

Directed by Stephanie di Giust, this fantastical film beautifully communicates the colour and prints of Vanessa Bruno’s Spring collection. Featuring actresses Lou Doillon (the brand’s muse) and Jessica Joffe on a mysterious island, the film has a impetuous, tribal tempo that brings new energy to a brand that’s better known for its gentle romanticism. Indeed, the clashing soundtrack, reality-defying camera effects and cascade of colours make this film feel like a rite of liberation.

8. Spying on Kate Moss

Released in early January on NOWNESS, we thought this surreal and charming video of Kate Moss, shot by Inez van Lamsweerde and Vinoodh Matadin on the set of the Fall 2010 Balmain campaign, was a refreshing take on the traditionally dull behind-the-scenes video. We especially love the soulful Antony and the Johnsons soundtrack and the “half horror, half Disney” animations by Jo Ratcliffe.

9. Miu Miu “The Powder Room”

The first installment of “The Miu Miu Women’s Tales,” a series commissioned by the Italian brand to celebrate female directors and “explore the feminine love affair with Miu Miu,” this short film by Zoe Cassavetes revolves around the ritual of the power room. Starring redheaded beauty Audrey Marney and set at London’s Claridges Hotel, the film has a visually lush and dreamy quality that nicely shows off this season’s colourful Miu Miu dresses. The Power Room will soon be followed by a new Miu Miu film from another female director, so stay tuned.

10. Net-a-Porter Bag Guide

While not a new concept, Net-a-Porter’s “Bag Guide” uses the sounds of zips and clasps to terrific effect in this fun ode to the season’s hottest arm candy. With the recently launched Net-a-Porter TV, streaming online and on Google TV, we’re looking forward to more fashion videos from this pioneer of shopable content.

Did we miss anything? Which fashion films captured your imagination this season? Let the BoF community know which films you liked best.

“I’m not saying that I’m never going to do a fashion show again. I’m not saying fashion film is the future. It’s just an idea…and it’s nice to have the option to do both.”

Avant-garde designer Gareth Pugh speaking to BoF founder Imran Amed in Florence, Italy at Pitti Immagine, where he projected a critically acclaimed fashion film on the ceiling of a 14th century church. On Wednesday in Paris, Mr. Pugh will present his A/W 2011 collection in a fashion show, his first since March 2010.

Hogan A/W 2011 Presentation | Source: The Business of Fashion

MILAN, Italy — In the wake of the financial crisis of 2008, luxury fashion brands found themselves scrambling to develop strategies for the so-called “new normal.” Logos and conspicuous consumption were out, it was said. Customers were now looking for understated luxury, value and discretion.

And so, in uncanny lock-step syncopation, brands from Louis Vuitton to Gucci to Dolce & Gabbana began a strategic march to the same heritage tune, showcasing their age-old manufacturing techniques in carefully constructed advertising campaigns designed to appeal to notions of timelessness and quality and designing entire collections dedicated to their “iconic heritage.”

But, if the menswear collections just concluded in Milan are any indication, for many fashion brands, the focus on heritage was just another passing trend, in one season and gone the next. The industry has now embraced digital, “the next big thing,” in the same superficial and fleeting way. But generally speaking, if you scratch the surface, their real understanding of digital opportunities and risks is only screen deep.

Yes, Italian fashion has caught the digital bug that has swept across much of the fashion industry over the past 24 months. There are digital screens everywhere you look — alongside the runways at fashions shows, inside the store windows, and even within glass boxes with artfully projected holographic images, as at the A/W 2011 Hogan presentation.

Several brands successfully incorporated digital media into the fabric of their fashion shows. At the beginning of the Ermenegildo Zegna presentation for A/W 2011, we were welcomed to the brand’s “digital world,” which included the use of green screen technology to project the models’ images onto iconic Chinese backdrops like the Great Wall of China, just before the real models came out onto the runway. (In case we didn’t grasp that the images were just projections, the show concluded with a real green screen to hammer home the point that this was all brought to us by the magic of technology.)

Other brands began their fashion shows with film presentations, sometimes with no apparent link to the collections that followed. When quizzed on the puzzling fit between the fun, light-hearted film by Walter Pfeiffer — which drew both catcalls and groans from the gathered fashion masses — and the serious, rugged collection of delectable knitwear conceived by creative director Claire Waight-Keller that followed, Pringle could only cryptically say that it wanted to give artists the freedom to “express their views on Pringle collections and the brand…clarifying our positioning through a multitude of individual viewpoints.”

Fine, but why try to show the two things together if the mood and creative direction of the film and the show were so different? Both the film and the collection were enjoyable enough, but there was no need to force them together just to be on digital trend if they had so little in common. Rather than clarify the brand’s positioning, it created a dissonant experience and left more than a few editors scratching their heads as they walked out of the venue into the crisp Milan evening.

The most successful digital presentations during the Italian menswear season took place at Pitti Uomo, where Gareth Pugh’s tour de force film, projected like a digital fashion fresco on the ceiling of the 800 year old Orsanmichele church, was a powerful combination of Italian cultural history and fashion’s digital future. Who’s On Next winner Andrea Incontri, also showing at Pitti, began his fashion show with a compelling narrative film which artfully showcased his sumptuous accessories, while not coming off as crassly commercial, integrating thematically and logically with the fashion show that followed. The filmmaker and designer had clearly worked together to create one seamless creative presentation, with a consistent message.

While at Pitti, I also had the pleasure of meeting several local Italian bloggers, who reported that many Italian brands — including those that are supposedly amongst the most digitally sophisticated — don’t know how to manage relationships with bloggers. “They’re only interested in inviting the famous foreign bloggers to their shows because it gets them publicity,” I was told by one local blogger. “But still, they send us their press releases and images afterwards, and then wonder why we don’t post them on our blogs,” he continued.

Notably, it was often the brands who weren’t caught up in the digital hysteria, who made the most impact. Even though I spent a scant 10 minutes scanning the goods on offer at Marni’s small but immaculately conceived A/W 2011 presentation, the excellent product has stuck in my head, because I got to touch it and feel it. Umit Benan’s presentation was another breath of fresh air in an otherwise stale Milan Fashion Week. Though the clothes themselves may not have been exceptionally different from what was on offer elsewhere, fused together with the unique narrative challenging the homogeneity of the investment banker set, the collection spoke to me in ways that many others simply did not.

Lest I be too negative, Italian executives I spoke to insisted that they understood that digital was an important consideration for their businesses going forward. Many of them are genuinely curious about how to approach digital and some brands like Dolce & Gabbana — boasting a team of 23 people working on digital projects alone — have invested heavily in digital talent.

But all of this is of little use if brands are simply embracing digital communication as a superficial trend and a way of obscuring a lack of focus on the product and their seemingly limited understanding of how to strategically integrate digital initiatives into a fashion business.

Imran Amed is Founder and Editor of The Business of Fashion

Givenchy Spring/Summer 2011 | Source: Givenchy

Pushing Fashion Boundaries in an Era Without Any (NY Times)
“In some ways, the focus on sexuality reflects the fairly narrow thinking of designers and photographers… the Internet represents a world that is livelier, more daring and actual than what currently takes place on runways and in mainstream magazines.”

Stepping Into the Sole of Luxury (WSJ)
“The U.K.’s reputation for making the finest cars, building the most luxurious ocean liners and running the greatest leading hotels may have waned, but in the county of Northamptonshire… workshops still produce what are regarded by many as the finest gentlemen’s shoes in the world.”

China’s rich: Armani or Vuitton? (FT)
“The country now boasts 1,900 renminbi billionaires – a third more than in 2009, and a stark jump from 24 in 2008 – and 875,000 renminbi millionaires. And so, with increasing numbers of Chinese making more money than they can spend, it’s useful to know: what do they want.”

A New Vision for Lacoste: Felipe Oliveira Baptista (Dazed Digital)
“Four months into his new gig (replacing Christophe Lemaire, who is now at the helm of Hermès), the Paris-based fashion designer sits down with Dazed Digital to talk about his visions for the famous sportswear brand.”

Gareth Pugh Pitti Immagine #79 2011 (SHOWstudio)
“With a collection inspired by religious iconography and Florentine opulence, Gareth Pugh made his Italian fashion debut at Pitti Immagine #79. Showcasing his clothes via a unique fashion film… Pugh melded the grand traditions and art of this ancient city with his own hyper-modern fashion vision.”

Gucci "Forever Now" Campaign | Source: Gucci

Heritage Luxury: Past Becomes the Future (IHT)
“The subject of heritage is red-hot because, faced with fierce global competition, brands have to decide which way to go: back to the comfort zone of craftsmanship and quality…fast forward into the world of live screening and e-commerce; or a delicate balance between the two?”

In China, the Lure of Patrimony (NY Times)
“When it comes to attracting China’s new wealth, the challenge for some of the world’s most iconic luxury brands is figuring out how to appeal to a consumer base that is constantly evolving and is, in many ways, very different from traditional markets in the West.”

The Luxury Market: Contradictory Clues (Luxist)
“[Included are] highlights of the Fall 2010 Affluent Market Tracking Study, #18, as well as some controversial results from Unity Marketing, and Bain & Co. These results and trends are diverse, arguable, and contradictory, pretty much mirroring the state of our economy right now.”

Asos continues to defy market gravity (Independent)
“The online boutique asos.com posted a 59 per cent rise in first-half profit which, even in boom time, would be impressive, but given the current climate is nothing short of miraculous.”

Gareth Pugh to show at Pitti in Florence (The Cut)
“The video [that Pugh] screened at the last Paris fashion week brought new energy to the discussion on the use of multimedia technologies in fashion. So we had all the right reasons for inviting Gareth Pugh to Florence and Pitti, where there is plenty of space for fashion experiments.”

But what makes a good fashion film? And are these the same primary concerns that go into a good fashion photograph? While these questions have been circulating since SHOWstudio’s early experiments in moving image, this season, as the medium of fashion film matures, we saw the debate condense around two distinct points of view.

Some industry figures say that creating a successful fashion film is very different to creating a fashion photograph and underscore the primary importance of elements like narrative and acting. “What makes a good fashion film is exactly what makes any good film: direction, lighting, acting, script, sound,” said Diane Pernet, influential fashion blogger and founder of A Shaded View on Fashion Film. “These are elements that go beyond a static photo shoot,” she continued.

Ms. Pernet’s emphasis on the fundamentals of filmmaking was echoed by Alistair Allan, Digital Director at Dazed Group: “Anything near or over two minutes needs to have some form of narrative to keep the viewer engaged. The pace of editing is also important, as is the correct use of cinematography technique, which sadly a lot photographers don’t understand or sympathise with.”

Others think that great fashion films are driven by exactly the same concerns as great fashion photographs where the visual or stylistic story comes first. “I don’t think there are any rules when it comes to communicating a feeling, but for me, a fashion film is always led by the fashion — the lines, the colours,” said pioneering fashion filmmaker Ruth Hogben, who frequently collaborates with Nick Knight’s SHOWstudio. “Rather than film, it’s better to think about fashion: what makes a good fashion communication? It’s exactly the same as a photograph,” she emphasised.

Over the last two fashion cycles, we’ve brought you our seasonal ranking of the Top 10 Fashion Films. This season, the Top 10 includes powerful narrative films, like Karl Lagerfeld’s “Remember Now” for Chanel, as well as stunning films driven primarily by a stylistic story, like Ruth Hogben’s latest film for Gareth Pugh. We’ve also included “Act da Fool,” Harmony Korine’s controversial piece for Proenza Schouler, a piece that, we think, manages to place equal importance on narrative and visual storytelling. As you sit back and enjoy the films, let us know which approach you think works best.

(RSS and Email subscribers, click here to view the films).

1. Gareth Pugh S/S 2011 by Ruth Hogben

Starring a future-forward, silver-haired Kristen McMenamy, Ruth Hogben’s 11-minute geometric epic for Gareth Pugh captivated hundreds of editors, buyers and other industry insiders at Paris Fashion Week, where it was projected at giant scale in the Palais Omnisports in Bercy. Since then, it’s been beamed across the world via SHOWstudio and video sharing sites Vimeo and YouTube, entrancing thousands more. Directed by Ruth Hogben and conceived in collaboration with a close-knit team that included artist Matthew Stone, stylist Katie Shillingford and set designer Simon Costin, this is a film that puts fashion first, exploring Mr. Pugh’s S/S 2011 collection with laser-like focus. But the film also demonstrates with great effect how a designer can leverage abstract, visually-centered storytelling to perfectly communicate a collection and articulate a broader brand vision in one powerful communication.

2. Proenza Schouler “Act da Fool” by Harmony Korine

Proenza Schouler gave Harmony Korine, writer of “Kids” and director of disturbing features like “Gummo” and “Julien Donkey-Boy,” carte blanche to create this controversial film about teenage angst, resulting in what is possibly the most controversial fashion film released since the movement began a few years back. Shot in Nashville, Tennessee (where Korine lives) the film follows a group of African-American girls in as they drink, smoke, write graffiti and skulk around a schoolyard in Proenza Schouler’s Fall 2010 collection. “It’s about girls who sleep in abandoned cars and set things on fire,” said Korine. “It’s about the great things in life. The stars in the sky and lots of malt liquor.” While the film has attracted both severe criticism and praise — provoking a raging debate and discussion online — we rate it highly because it feels like an authentic piece of cultural content and perfectly integrates both narrative and visual storytelling by threading a poetic and mesmerising voiceover through a series of beautifully composed “moving stills.”

3. Chanel: Remember Now by Karl Lagerfeld

Karl Lagerfeld’s “Remember Now” for Chanel is a great example of a successful fashion film that’s driven primarily by narrative. Pascal Greggory stars as a veteran playboy who encounters a young and glittering group of friends played by a high-wattage cast including Elisa Sednaoui, Baptiste Giabiconi, Heidi Mount, Abbey Lee and others. We think the film nicely complements Mr. Lagerfeld’s nostalgic, Riviera-inspired 2011 cruise collection and tells a powerful brand story that perfectly captures the gilded and care-free hedonism of summer in Saint-Tropez. Mr. Lagerfeld’s cameo appearance is fun. But our favourite part is the brief intro sequence where Leigh Lezark plays Coco Chanel.

4. Iris by Barnaby Roper

Barnaby Roper’s techno-robotic “Iris,” starring Iris Strubegger, is a stunning visual experiment that dissects a range of fall looks from Stella McCartney, Miu Miu, Givenchy, Céline and Proenza Schouler. We love the way Roper — who has directed music videos for bands like Razorlight, Snowpatrol and Moby, alongside his work for fashion magazines — hypnotizes the viewer with his surgically precise editing technique. “It’s the rhythm of the edit that’s the key to the film, the key to all films,” said Roper in an interview with Nowness, where the film first appeared.

5. H&M Designer Collaboration Teasers (series)

H&M developed a brilliant short video teaser campaign to get consumers excited for the launch of their annual designer collaboration. Featuring stereotypical designer types like a man in a skinny dark suit and a woman in an extreme blouse and chunky jewelry, the series of black-and-white videos engaged viewers in a collective guessing game on the identity of the yet unannounced designer, dropping a sequence of clues specifically designed to lead fashion-savvy viewers one way, then another. Discussion raged on YouTube, spilled onto Twitter and sparked countless posts in the fashion blogosphere that named Carolina Herrera and Thomas Maier of Bottega Veneta among suspected collaborators, before the identity of the real designer was revealed to be Alber Elbaz of Lanvin. Overall, we thought this was a fun and highly effective use of the short video format that was intelligently conceived to generate positive conversation across the social web. Bravo.

5. Holly Fulton by Quentin Jones

“Holly Fulton” by London-based illustrator, animator and director Quentin Jones is a riot of flash bulbs, humming birds, lions and Manhattan skyscrapers that brought a great big smile to our faces, and recalled the signature aesthetic of one of London’s rising design talents. Commissioned by British Vogue art director Jaime Perlman for her experimental fashion platform TEST, we think the film is a perfect complement to Fulton’s bold and graphic, 60s meets Art Deco collection.

7. Burberry Acoustic (Series)

Debuting three days before the brand’s menswear show last June, the “Burberry Acoustic” series cleverly highlights the brand’s longstanding connection to British rock bands with a collection of nicely styled music videos that populate the brand’s YouTube channel and Facebook page. The short films feature Burberry product, integrate with in-store happenings and function as a kind of digital support platform for emerging British music talent. Plus, the music selection is great.

8. Chronology by Luca Guadagnino for NOWNESS

NOWNESS commissioned Luca Guadagnino, director of “I Am Love,” to create this abstract, surrealist film featuring a stunning Mariacarla Boscono in tightly edited highlights from the fall 2010 collections of luxury fashion etailer Net-a-Porter, styled by Cathy Edwards. In a characteristically sharp move from Net-a-Porter, famous for their shopable weekly web magazine and accompanying iPad app, the video content leads consumers directly to commerce opportunities. When the film launched, all the looks seen on Boscono — including fashion from Christopher Kane, Chloé, Miu Miu, Valentino, Yves Saint Laurent, Sigerson Morrison and Azzedine Alaïa — were available for instant purchase.

9. Nike Gyakusou (Dark Edit) by Jamie Morgan

Jamie Morgan created this evocative film to launch the first collaboration between Nike Sportswear and Jun Takahashi’s cult brand Undercover: the Nike x Undercover Gyakusou performance running collection. The slow-motion visual treatment and playful yet deliberate soundtrack brilliantly capture the surreal sense of pace, stamina and inner focus that lies at the heart of performance running. We think the rain and smoke looks amazing as well.

10. Black Light by Suzie Q & Leo Siboni

Commissioned by Diane Pernet in collaboration with Vogue Italia, Suzie Q and Leo Siboni’s Blacklight appeared at A Shaded View on Fashion Film in Milan last May as part of a special series of one-minute fashion films inspired by “light.” The film plays on codes of fantasy and sporadically immerses the viewer in a blacklit netherworld to dramatic and haunting visual effect.

Did we miss someone? Which fashion films captured your imagination this season? Let the BoF community know which films you liked most.

Ungaro Spring/Summer 2011 | Source: Style.com

Giles Deacon’s Ungaro debut (Independent)
“Deacon, who became creative director of this grand French fashion house in spring this year, said he wanted to take it back to its distinctly French roots – and he has done just that.”

Is this the future of media? (Independent)
“Many companies have, in recent years, moved into the customer publishing sector, distributing their own glossy magazines to their client database. But the web version has so much more potential, being open to all and offering opportunities for instant purchase.”

Why a mobile strategy for retailers matters more than ever (Luxury Daily)
“By 2013 mobile devices will overtake PCs as the preferred way of accessing the Internet… sooner or later retailers will have to make well-informed technology decisions about how to tackle mobile commerce.”

On Message and on the Screen (IHT)
“This kind of cerebral and visual imagination makes a Hussein Chalayan fashion movie an ideal way of transmitting the designer’s thoughts and feelings in a poetic, but practical, way.”

Jefferson Hack interviews Gareth Pugh (Fashionista)
“In a series presented by Dazed and Confused called ‘Meet the Designer’ the magazine’s co-founder Jefferson Hack talks with [Pugh] about the tentative future of catwalk shows, his sold-out shop in Hong Kong and why Saint Martins does not a star make.”