By Lynden Campbell
Head of Synchronisation for the Domino Recording and Publishing Companies Limited – licensing music to fashion film - and guest contributor to the BFFF blog. For her second piece, Lynden will take us through five music uses in fashion film which significantly changed her understanding of fashion film as a class of film.
METAMORPHOSIS BY THE NORTH CIRCULAR (2011)
dir. Lorna Love and LJ Hopkinson and featuring Lily Cole. An ethical knitwear brand employing home-working grannies (and one man) to produce a handmade collection with wool from rescue sheep. Music by Owen Pallett 'E is for Estranged' (Domino Records).
Occasionally with music licensing we need to take a step back and review the strength of artistic credibility of the finished film before we make our decision about permitting music.
Whist this license was not commercially viable, the music seem to swirl
and pair up with the visuals in such a compelling way that made it impossible to deny usage.
Whilst some fashion film can seem fanciful the imaginative direction of these visuals seems all the more feasible and flowing thanks to the circling music.
dir. Saskia Reis for MA12 Fashion Media Production - London College of Fashion. Filmed in LONDON, Rupert Street for street fashion blog the Lovestreet. Music by Cecilia Lopez and Kraus
The music chosen has a perfectly distracting quality thanks to the discordant chaos of the soundtrack which works with the visual clash of the film’s hero – Rose.
Rose’s voice and soundbites are beautifully clear and edited in an engaging way.
This film is personally significant as we denied a piece of commercial music for usage within the soundtrack.
Whilst disappointing for the student, I still believe the film is better for that decision.
As a result we formed a close connection with the London College of Fashion MA in Fashion Media Production to offer some support to students keen to use commercial music in fashion film.
dir. Andrew Huang. Original Soundtrack by Andrew Huang
Though not a film driven by a fashion concept – this film should inspire fashion film makers to understand how music and sound design can draw attention to embellishing the texture of fabrics.
HATSTAND FOR PHILIP TREACY (2012)
dir. Nick Knight and Ruth Hogben. Soundtrack: Darren Berry. On 16 September 2012 Philip Treacy made an explosive return to London Fashion Week with a star-studded show featuring black models clad in iconic outfits from Michael Jackson's stage wardrobe and incredible, gravity-defying headwear. In celebration of the fierce attitudes and fabulous fashion on show, Nick Knight and Ruth Hogben collaborate on 'Hatstand', an energizing film starring Grace Bol.
When I first saw this film we had released Chunk by Archie Bronson Outfit which took advantage of a lone guy just letting his body react choreographed to some music – relying on instinct alone.
Grace Bol in this film seems unchoreographed, relying on her instinct as a model to work her body along to the beats drawn from a Michael Jackson influence.
From a music point of view, this film is a great example of how to get around some expensive and timely music licensing for a well-known song whilst retaining a tribal credibility.
dir. by Monica Menez. Music: Yo van Lenz / HearDis! Corporate Sound
With music and humour being core to Monica’s output – it would be wrong to overlook Monica Menez in a fashion film retrospective.
Whilst the quality of some of the music synchronisation in other of Monica’s films don’t quite hit the mark for me,
this film is exceptional because of its unique awareness of sound as being crucial to creating heightened tension, curiosity and finally a comedy payoff without compromising on style.
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