Fashion media blog.

Discussion topic: Fashion and Image. Constructing Meanings in Fashion Film. 

Lecturer: Vicki Karaminas (Associate Professor).

Vicki described fashion film as a genre in terms of three sub-categories. They are:

1) to replace Catwalk shows 

2) as an installation (cross between fashion/art/film)

3) as cinema (high budget and narrative)

Lady Blue Shanghai

While the type of fashion film may vary, the objection to sell remains the same. In reference to John Berra's (2012) analysis on the collaboration of Dior and David Lynch in creating fashion film Lady Blue Shanghai, the notion of the mediated consumer is discussed. In other words, the film may be interpreted differently depending on the circumstance to which the film is viewed. For example, if viewed on the Dior homepage, the film would be viewed as a commercial, while if it was viewed at a film festival it could be interpreted as an art film. Understanding this relationship between covert fashion promotion and art film is crucial to successful marketing.

Understanding the collaboration between Dior and Lynch

This noir film was created to launch Dior within an emerging and growing China market. As a highly credited and renowned producer, Lynch acts as a vehicle to establishing Dior as an authentic and credible brand within this new market. Therefore by developing such a film, the brand becomes exclusive, unreachable and desirable. 

The nostalgic film appeals to the Chinese market through nationalistic images of 1920 Shanghai and the Pearl Tower. The success of this film lies in its wide appeal to both Western and Eastern audiences despite its intended China audience. The film positions China as an intriguing other nation (Edward Said 1974).  

Movement from Fashion editorial to Fashion Film

As discussed by Market Uhlivora (2012), fashion films work by creating a hyper-real world that immerses the audience. The film entrances the viewer to feel the unmeasurable experiences of the brand, and therefore presents them with a snapshot of an unreachable goal. The viewer is left desiring that experience, and consequently buys the product. Fashion editorials try to sell readers a lifestyle, but as a 2D image, they fail to completely immerse the viewer into an experience. The Ralph Lauren 4D fashion film (below) illustrates the effectiveness of a hyper-real world. (New York 2010)