In 100 Years of the Fashion Film, Marketa Uhlirova describes the relationship between fashion and cinema as a “mutual attraction.”
In some instances, fashion surrounds film in secret, with the costume director aiming to integrate the costumes so deeply that their artificiality is undetectable, such as Alejandro Amenabar’s aim in designing for The Others. In other circumstances, the relationship between fashion and film is made more explicit, with costume design sharing the centre stage. This is especially prominent when the topic addressed by the film relates to fashion, such as in The Devil Wears Prada, where Patricia Field’s work with costume cemented the film’s timelessness. You might also find the stage shared in films where the designer actively pushes costume to the front, such as Jean Paul Gaultier's designs for The Fifth Element. And then in yet other instances, the mutual attraction leads to film and fashion merging, becoming synonymous. A prime example is the contemporary fashion film - which has been gradually solidifying its presence in fashion since the turn of the millennium.
This November, FashionClash celebrated the 16th version of its multidisciplinary fashion festival. But even before the electric blue opening night at the Sint Anna-Kerk on Friday, the fashion film programme at Lumière had already begun, attendees with attention-catching dress included; printed fur coats, red corsets, red heels, bright tweed, big colourful framed glasses, and even tall magician like hats, chic and unique.
In line with its’ inclusivity-orientation and focus on supporting up-and-coming designers, FashionClash started organising a yearly fashion film project in 2023. It starts with a fashion film boot camp during the summer. Teams are created based on multidisciplinary, and participants are given the opportunity to pitch a film, which they may subsequently be able to develop and present at the November festival, in collaboration with an experienced filmmaker.
On Saturday, three premieres were shown as a part of the Fashionclash film project: m i k, which follows its protagonist through a world where she encounters characters that embody forms of non-verbal communication, A Breathe Moment, about a group of workers stuck in the cycle of labour and attempting to reclaim control in an unchangeable system, and Purification, which presents two figures from parallel universes, whose journey signifies the contrast between destruction, exertion and desire for liberation.
Also on Saturday, the films of the finalists competing for the FashionClash fashion film award and the KALTBLUT magazine award were shown: BLACK TEETH by Lisa Konno, Dell'Altro Mondo by Delia Simonetti, Donkomi by Sel Kofiga, Hong Kong Ballet: Tutu Academy by Dean Alexander, and Shame (عيب) by Hadi Moussally.
The winner of the FashionClash fashion film award was Hadi Moussally with Shame (عيب), which, as its name suggests, explores the complex concept of shame within Arab culture, focusing on its impact on social and gender norms, as well as self-expression. Meanwhile, the winner of the KALTBLUT award was Sel Kofiga with Donkomi, which centres spirituality and how it is shaped socially, spatially, and by capital.
Overall, 31 short fashion films were shown from different countries - aiming to portray a range of perspectives, disciplines, cultures, and stories. The limited selection described already indicates that this aim was achieved. Even in terms of atmosphere, there was a sharp shift of ambiance in the theatre each time a new film started rolling. However, they do have one commonality - their profundity. Perhaps when elements of storytelling, direction, and cinematography are interlaced so tightly with the fabrics that directly cover our skin until the different elements are indistinguishable, a certain amount of profoundness cannot be avoided.
Charlotte’s Favourites
BLACK TEETH by Lisa Konno
CHARLOTTE: This film portrayed women dressed like geishas. The gentle sounds of porcelain clacking and clicking were present throughout the film. In general, the sounds of the film were reminiscent of ‘asmr,’ if you will. Upon observation, their clothing was not quite as gentle as a true geisha’s would be - their clothing was elaborate, but not at all harmonised or feminine, seeming impractical and uncomfortable. Their teeth were painted black.
In one scene, the geisha attempts to eat something, and after each bite she must reapply the black paint to her teeth. This resembled complete oppression as a result of committing to a specific style of dress. Not only was the clothing the geishas wore difficult to move in, restricting their range of motion, but they could not even eat without having to cover the true white of their teeth with thick heavy paint.
Dell'Altro Mondo by Delia Simonetti
CHARLOTTE: Direct translation from Italian ‘otherworldly’- relating to an imaginary or spiritual world. I would summarize this film like this: techno, party, psychedelics, spirits, ghosts, punk, grunge, edgy.
Donkomi by Sel Kofiga
CHARLOTTE: This was the most beautiful of the five in my opinion. Taking place in Ghana, the film explores 3 sets. Each adds depth to the story it tells, the story that I'm not sure you are ever meant to fully grasp rather let it feed you until you feel full. The first set is of a nude woman sitting on a chair with her back to us, while she faces a large pile of clothes.
Then a shift occurs, where we see shots of a man being chased by something. He runs for his life first in the jungle and then down a long road, making me wonder if he was supposed to run forever. That which is chasing him is making the sounds of a lion but is shot in a way that the camera is what is going after him. In that sense, it is you - the viewer going after the man. We are attempting to grab him, we are the lion. The last set is done with a fisheye lens going down a busy market. In the background, we hear what sounds like a Ghanaian chant or monologue. Of course, many of the people in this specific audience may not have understood what was being said -the majority if not all the people in this specific audience did not understand what was being said - but I think this added to the intriguing mysterious, and abstract nature of the film. The words said are not understood but the voice who speaks is serious, severe, and full of meaning, thereby conveying plenty of meaning as it is.
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