Fashion Film

  1. Day for night captures a mysterious fugitive impression of vital strength which is deployed in the darkness of the night.

    In the light of day, it becomes sensual and delicate.
    Valentine Fillol Cordier has a sort of power over nature. She makes the trees quiver and the wind rages.

    She carries in her wake flowers and petals of the tree of life.
    Day breaks, Lou Doillon appears. Valentine goes through the night and encounters Lou who brings forth daylight.  A hovering magical moment on the surface of water. Lou sings a haunting melody. Her voice rings out and brings peace to the storm in the night.
    With Lou and Valentine all the feminin ambiguities start moving. Catlike and delicate, embodied but secretive…

    After this soft and sensual parenthesis, the race between the two women, between night and day, between Lou and Valentine, becomes a liberation. Lou sets off for the sun.

    With Day for Night, womanhood goes with masculin coats wrapped around soft sensual dresses. Colors are like dawn and dusk…
    Here Vanessa imposes the group “Efterklang” a bewitching folk music. Then the sensuality and emotion of Lou’s song which she has composed. The movie sets off with “ The books”.

    Day for Night is an emotion. A movie like a poem. A collection that is strong and slightly erotic.

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  2. For the summer season, Vanessa Bruno has once again worked together with director Stephanie Di Giusto on a film with actress Lou Doillon.

    A three-measure visual poem like three exquisite moments with composer Gonzales appearing like an unforeseen encounter. A punctuation of sound. In this way the film sets free three life movements: three tempos expressing the poetry of a garment, delicate gentleness in motion, freedom of gesture bringing forth life.
    The first measure. The sound of percussions thudding a race, impromptu choreography by Lou, barefoot, a throbbing corporeal experience, an awakening. The arousal of sensations. The second measure. An inner searching ambience. Introspection, the emotion of a composition played on the piano by Gonzales. Lou’s tears, those of a breathless heart, brimming over. The third measure. Release, self-discovery, a soothing deed. A silent cry, brute. Lou standing upright, in a car. A long travelling, uplifted arms. As if she’s flying. Escape. Music composed specially by Gonzales to accompany Lou.
    A film or tale of inner adventure.

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  3. The Vanessa Bruno catalogues are already seen as out of the ordinary offerings in the world of fashion. Her work with photographer Mark Borthwick has always expressed a desire for freedom in tune with nature and the body.

    This season, Vanessa has decided to go further by asking Stéphanie Di Giusto to film Lou Doillon, already seen in the last catalogue. Stéphanie is a young artist, both video director and photographer, who has worked notably with Brigitte Fontaine, Camille and the New Young Pony Club, as well as Sliimy.

    Lou is a presence where all the ambiguities of femininity seems to be in motion, both feline and delicate, incarnate yet secret.

    The film captures this fleeting impression of a life force wishing to unfurl in shadow and light.
    It consequently unfolds in three movements:
    -The intimacy of a woman, fragile and animal-like, in the depths of the earth. Time is seemingly suspended.
    -The wind rises, the rhythm gets carried away to the beat of percussion. Determined, she gains momentum against a red background. Hearts race and the editing goes wild.
    - Her black silhouette is freed in the sky. She reflects the radiance of a sun in her mirror, triumphant and dazzling. She wakes up to the world, to shapes, to materials.
    Finally her stolen smiles are a reminder that, for Vanessa Bruno, the most important things about a woman are naturalness and authenticity.

    Always very present in the world of Vanessa Bruno, here the music calls for the voice of Linda Perhacs, a fragile folk sound, before the march and flight of Final Fantasy. This musical trend is also found in her fashion show.

    This is both story and emotion. A film like a poem. A delicate and refined collection.

    The film can be viewed on the vanessa site from 9th September, 2009.

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  4. ‘Cause a taxi in town is like an interlude, a starting point opening up the prospect of a retreat into oneself. Just for a few minutes. Lou escapes, drifts, fantasizing the rising water in the taxi immersing her in a “beyond” which is not her everyday life. A kind of romanticism. Another kind. A contemplation lulled by the music of “Four Tet” and “The bewitched hands on the top of their hands”.

    The water becomes a beach, a mysterious island, a seashore so remote from noise as urban fictions. Exile is here and now. A time of levitation. The other girl on the beach: another life. The story is divided in two, speeds up some more, a disheveled fantasy charged with the music clashing against the eardrums. (“Loud-E Africa”). This undisturbed sea sets off to a staccato tempo, comes to a forest where the drumbeats rouse impetuous emotions into movement. The girls move, the girls fly, the girls dance, the girls live. No sun around, however, colours touch the dresses and become tropically sultry extending right to the prints. The path has been found: a dazzling energy expands to the image, to the sound.
    The performance doesn’t stop. The girls tussle in a cascade of colours that almost stain the screen like a tribal rite and celebrate the triumph of being alive. So alive.

    For summer 2011, Vanessa Bruno has given the director Stephanie Di Giusto free rein to interpret the collection where colour and prints open up a new scope for the brand. A time in exile like a trip where one’s bag is stuffed with items, clothes and exotic accessories to energize a Western wardrobe. On the horizon, a film that gives us a glimpse of the changes in the brand, from gentle romanticism, trademark of Vanessa Bruno to expressing herself in Technicolor, in movement and with whirling energy. Actresses Lou Doillon, the designer’s muse and Jessica Joffe interpret with amazing freedom the will to exalt colour and sensations.

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  5. Direction & Art direction: Zorica Radovic
    Fashion design: Marie Jersild Viltoft

    DoP: Ola Magnestam
    Assistant camera: Erik Vallsten
    Best boy: Adrian Wigerdal
    Model: Isabelle B, Elite
    Makeup: Elva Ahlbin
    Stills photographer: Roy Rossovich, Spectacular Studios
    Production assistants: Sheila Johansson and Edvard Odhammar

    VFX: Redrum
    Grading: Karl Larsson, The Chimney Pot
    Music: Young Lindberg

    Thanks to:
    Per Skoglund at Sita
    Ica to Go
    Statoil Hägersten
    Saleh Najib
    Björn Stigson at The Chimney Pot

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Fashion Film

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