What role has fashion played in your work, and how does this film relate to that?

I was developing an awareness for fashion rather late, when I got a crash course in it by making a film about Yohji Yamamoto. Notebook on Cities and Clothes. I made the film all alone, mostly as a one-man team, and was therefore very connected to Yohji’s craft. I followed him at a very close distance with my own craft, operating my machines myself, just like he took a pencil or scissors. And in doing so, we recognized that our crafts, and jobs, were very related and quite often followed the same patterns of “storytelling.” A research period followed by a writing or designing period, then going into a producing stage, then into editing, then into marketing and distribution.

Anyway, I learned so much about fashion in that year, directly from one of its great 20th-century masters, that I remained open and interested in the phenomenon afterwards. Our short film relates to that by showing a lot of fashion on one hand, but including all of that in a storyline that makes it quite obvious and natural that we see all these different outfits. So in the end, you almost do not notice watching fashion, as you enter the world of our central characters, a director and a sound engineer. They are in their world, and you enter it willingly. If you watch a fashion show, you must be willing to watch a fashion show, otherwise you’d be very bored. We showed just as much fashion as you could see on a catwalk, only you’re never really aware of it. You see it through the eyes of our protagonists.

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