Directed by Gordon von Steiner
The most surprising trend to emerge from the resort collections (i.e, clothes to buy now) and spring 2015 (clothes to buy soon) is the all-weather, all-ages, naïve-yet-knowing frock in snowy lace. The LWD is fashion’s most alluring new staple and, let’s face it, you probably don’t own it . . . yet.
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Vogue places fashion in the context of culture and the world we live in—how we dress, live and socialize; what we eat, listen to and watch; who leads and inspires us. Vogue immerses itself in fashion, always leading readers to what will happen next. Thought-provoking, relevant and always influential, Vogue defines the culture of fashion.
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The women's changing room through the eyes of the art-house prodigy
“We wanted the piece to feel outside of time and space,” says Canadian filmmaker Chelsea McMullan of her breakthrough 2007 short Slip, which launches our new seasonal series Directors’ Cuts. Over the next two weeks, NOWNESS’s valued contributors will be uncovering their archives with unaired, unedited and uncensored passion projects. For McMullan, this meant re-watching all 13 takes of her complex and beguiling dance piece set in the changing rooms of a women’s public bathing facility in Toronto. Interpreting the rich history and range of clientele coming together in the most private of spaces, from homeless people to new immigrants, the director conjured a rhapsodic short that coincided with the advent of YouTube."
Agency: BBH New York
Executive Creative Director: Ari Weiss
Prod: Smuggler
Director: Ivan Zacharias
Via themill.com:
BBH, Smuggler director Ivan Zacharias and The Mill create a classic sixties world for Axe "Hotel" for the "White Label" campaign.
The shoot spanned from Prague to Lake Como, Italy. A mystery man is seen moving through the hallways of a swanky hotel, catching the eyes of a few classy ladies and a swanky dog. Each imagines who this mystery man might be; a superstar, a spy, a surgeon or even 'Best in Show'? He is, in fact, a handsome waiter, wearing Axe White Label.
Shoot Supervisor and 2D Lead Artist Iwan Zwarts used a combination of drone photography and subtle visual effects to create the flawless environment. The campaign was shot digitally, which allowed The Mill team to integrate the visual effects. In order to achieve the final look and texture, the commercial was transferred back to film print. Colorist Adam Scott then created the vintage look by pushing the soft pastels and warm contrasts often seen in films of the era.
