An Interview With: VCCP Berlin


Ms. Anne Coté - Senior Art Director and Jeremy Hofmeister Mac Lynn - Creative Director and Head of Interaction

Jeremy has gone full circle during his career. Starting during the early, heady days of the Internet 1.0, all the way 'through the line' and back again. 

As a result, he’s an advocate of what he calls the ‘Connected Experience’ - Pushing brand stories in a seamless, relevant and innovative way.

VCCP Berlin is based on the principles of simplicity, collaboration, un-preciousness and integration, with everything centred on ideas rather than channels. 

Ms. Anne realized early on that she had something to say. At the age of fourteen she chose graphic design as her form of expression, and over time she has developed to a Senior Art Director with a unique, bold and colourful style. 

Ms. Anne has successfully been performing the balancing act between her own artistic ambition and the commercial demands of the big industry names of Nike, Converse, BMW Motorrad, W+K Portland, Vice, Acne and now VCCP Berlin.

The small lead agency with one big client has grown to a shop with a broad portfolio of German, European and global clients.

#1 In what way have the changes in the digital world changed the progression of fashion film and its ability to connect individuals?

people to enter the market.

Secondly, digital platforms like Facebook, Instagram, Twitter, Periscope, allow people to cut through, communicate more directly and develop new work more rapidly than ever before. Just like MTV did back then, every day we are confronted with new and inventive ways of telling stories.

First up, it’s liberated lots of film makers, giving them a much larger platform. For many it’s not just the WWW that’s done this, it’s also the equipment, the cameras, the software, the computer processors.

It has become a much more open playing field, democratised through technology andthat’s allowed newer ‘less established’ 


#2  What is your view on fashion film being the new medium used to both market and advertise brands? Do you think that the message of the brand can be conveyed more clearly through the use of fashion film?

media for fashion that never existed before. While longer formats allow people to immerse themselves more in to  product and brand, (essential for products with a bigger story, refined design and materials and a price tag to match) integrating interaction with films allows people to engage on a much more effective level online, at events and in-store.

Overall, I think the fashion world is truly embracing this medium.
The image, attitude, flow and voice of a fashion brand needs to be communicated, and film does this beautifully.

But film alone won’t work.  The web as well as social channels have created a new 

"The image, attitude, flow and voice of a fashion brand needs to be communicated, and film does this beautifully"

#3 What are some of the challenges faced, in your opinion, between artistic ambition and the commercial demands of clients?

By doing this analysis work, we can then help our clients (as well as ourselves) by suggesting bold new ways of communicating with less risk.
In our work for Converse we knew very early on that some platforms would work better than others. But we also wanted to make sure that the content would be valuable in other places.
Data and strategic planning can be the friend of both the creative and the client.

There is a massive sliding scale of how our clients treat their briefs. Some are more commercially driven than others.
Our goal is to show that our communications have been effective, either by shifting brand awareness, or increasing ‘eyeballs’ or improving direct sales.It’s not always easy to quantify but we’regetting better at it. And we’re trying to measure what works best for each brand without compromising the creative ambition.

#4  How important can fashion films be to brands in order to reinforce the shared branded experience and delivery of a constant message?

Creating a series of films as part of a campaign is a start, because it keeps people interested. But if the film is used to unpack more information about a product, or drive somebody in-store, or give them a ‘discount through Twitter’, then more than likely you’ll have them hooked. Once this happens you can concentrate on loyalty, or keeping the conversation going.

Film is probably the richest way of communicating the attitude of a brand. It’s definitely the most seductive. It has time to tell a story without feeling rushed (like you would in a TVC); it can take more risks; it has a voice and a sound. Overall it leaves an impression of the brand that in-store, catwalk, and online usually can’t achieve.However, I think in isolation it isn’t enough.

#5  What was it about The Berlin Fashion Film Festival that made you want to get involved?

Converse, VCCP has achieved the creation of credible work for a style-oriented audience.
We’d like to keep it that way and hopefully, through the lineup and attendees at this year’s event, we’ll make some new friends and perhaps spark off some chats about future collaborations and projects. 

Both Anne and I are pretty new to the city. Because of our backgrounds, some of the projects and places we worked together, it seemed like a festival with a good fit. BFFF is still in its infancy and it seemed like a great time to jump on board. 
In our agency’s past work for Nike and