Advertising and Partnerships Director at NOWNESS
titles, Under The Influence and Please! Magazine. After that, Charlotte launched the advertising department of the first real time fashion media, Nowfashion.com.
She then joined NOWNESS, in 2014, as Advertising & Partnerships Director under the creative leadership of Jefferson Hack and the direction of Daniel Coutinho.
A graduate from HEC Montreal and the London College of Fashion, Charlotte La Salle has been working in the fashion and media industry for the last 10 years between London and Paris.
Starting her career working for global brands such as Chloé, Balenciaga and Hermès, her passion for brand image and creativity led her to work for independen
#1 Have you seen a change in the way that fashion film has been used by brands in order to help sell products and define themselves in the market?
but overall more and more brands are placing short films as a crucial element of their digital communication. In any case there is still a lot of room for growth.
It’s still a recent thing to see fashion brands developing films that are part of their communication strategy. We have seen some great evolution. There are brands doing it extremely well and others still finding their way;
#2 What is the process for creating a fashion film, how much freedom does the artist have in comparison to the demands of the client?
project being different. Most of the time we develop the creative according to our client communication objectives and then we develop treatments with filmmakers that we believe are a good fit to the project. Sometimes our clients allow for more freedom, sometimes less, but often when they come to us they are expecting us to lead the creative process and it usually works that way.
It really depends on the objectives for the film and always a case-by-case thing. On the one hand you have the more established fashion-luxury brands, which highly control their image. Usually there is not a lot of freedom left to the filmmakers. On the other hand, smaller brands tend to allow for more freedom, as I previously mentioned there is not a unique process; each case is different. NOWNESS is very similar - with each
#3 What do you view as being a successful fashion film, what key elements are important to ensure a successful campaign?
A common mistake is to think that making a great film will be enough to make it successful. A great film needs a great and qualified audience – how you will amplify your film is also crucial. You may need to find the right partners to do so and NOWNESS can be one of them.
It depends if the film relates to a global ad campaign or if it has been developed for another purpose. In my opinion, a fashion film should not be a “moving lookbook” – this can be very boring. A good film, not only fashion, needs to be engaging. Usually this is achieved with a strong storytelling element and if possible, some surprises!
"A COMMON MISTAKE IS TO THINK THAT MAKING A GREAT FILM WILL BE ENOUGH TO MAKE IT SUCCESSFUL"
#4 How important is the use of cultural icons and recognizable names to that of the Nowness brand and the fashion films that it features?
increasing the appeal of the film to a wider audience.
It’s not the main and most important thing for us but it does help in
#5 HOW DO YOU VIEW THE IMPORTANCE OF FESTIVALS LIKE THAT OF BERLIN FASHION FILM FESTIVAL IN COLLABORATION WITH PLATFORMS LIKE THAT OF NOWNESS?
help bring brands, publishers and talent together, serving as an amazing opportunity to network and develop relationships.
I think the BFFF is very inspiring and a great place to discover new talent. From a business point of view, short films and festivals like BFFF