October 2016_by Luisa Pagani
Among the 750 films coming from all around the world, 180 were selected by curator Gloria Maria Cappelletti. It was during the second half of last Milan fashion week, precisely from 24th to 26th of September, that the screenings and meetings programmed by the Fashion Film Festival at Cinema Anteo were held.
An international jury had been chosen to proclaim the winners of the different competition sections. There were eight names that brought to the festival the experience and talent from the different fields of fashion as judges. Claudia Llosa, Olivier Zahm (founder of Purple Magazine), Miroslava Duma (founder of the platform Buro 24/7), the fashion photographer Michelangelo Di Battista, Andrea Lissoni (Senior Curator at the International Art of Tate Modern), the Torino Film Festival director Emanuela Martini, Walter Thompson (Italy's chairman), the chief creative officer Enrico Dorizza and the Vogue Italia editor in chief, Franca Sozzani.
During the last day of the festival a talk was held by Olivier Zaham, who, first of all, is a promoter of the authentic language of fashion, the one in which the artistic view is not conditioned by the commercial side.
Olivier stresses how the seventh art remains far from the fashion film category. Maybe cinema and fashion films are two different image concepts, one is more related to a traditional language, the other is more inclined to explore experimentation and to meet with contemporary art.
Among the various categories present at the festival the one that best represents this inclination towards a multidisciplinary language is the ''experimental fashion film" one.
The winner of the section "best experimental fashion film" is "The coded body" by Luke Clayton Thompson.
The protagonists of Thompson's fashion film are shapes and evolution, starting from the image of a body at the mercy of a disordered and mechanical movement.
The surreal environment in which the film is set is an aseptic and cold gallery of modern art. This context is filled with the image of a body that is harmoniously accompanied by an electronic – lyrical sound.
Those characteristics together make Thompson's fashion film a work of art on its own, irrational and timeless.
A similar perception of how art and image can create something new when mixed, is the fashion film with the art direction of Elena Petitti di Roreto "A tribute to Ernest Trova". Paying tribute to a great artist, in this fashion film 3d frames show the artist's work enhancing Ernest's pieces of art.
Therefore, it almost seems that both the experimental vision and irrational combination of art, fashion and image give to the fashion films a significant importance in the art world.
From these experimental works, it can be inferred that, not as the last ingredient in a fashion film, there is the power of “mistake”. Mistake as the capacity of letting the technical viewpoint aside and seeing the unexpected result of the picture revisited by irrationality coming out. That sort of approach to art and technique should create a unique and unrepeatable work of art.