A collaboration between photographer and director Edmund Fraser and rapper Jay Boogie
How did your collaboration with Jay Boogie come about?
Jay got in contact via Instagram. He has such an amazing look, a great sound and occupies such a unique space. I immediately wanted to work with him.
As it happened Jay was touring the UK / Europe at the end of the summer, so we got a date in for him to come into the studio.
How did you come up with the idea behind it?
I didn’t prep any specific concept, this was a personal project I wanted to do with Jay and my amazing styling, hair & makeup team.
So the pressure was off with no set brief or endless concept sheets.
What technique are you using for this video? Can you tell us more about it?
None of this film is ‘filmed’ conventionally speaking - it's made up completely of stills. I’ve been working on bullet time ‘3D’ motion imagery for a couple of years now. This video was an extension of that work,
but with the benefit of Jay’s and L-vis-1990’s great track. Technically it’s relatively simple, a combination of stop motion stills and a rig of 10 DSLR’s firing simultaneously around Jay freezing his movements.
Music and fashion once come together in this video. What's your view on fashion films?
In my head this was always a fashion film, not an official music video, but obviously the lines become blurred in this instance. I wanted to do it with Jay as the subject, and his track not just fitted perfectly, but made the finished piece. From a ‘fashion / music’ perspective, it’s old news but I think a powerful model is no longer either a mannequin, or just even just conventionally visually pleasing. As consumers, we now have access to their lives and characters. The more compelling and talented across the board you are the better – Jay embodies that. In terms fashion film, I’m fascinated by constantly emerging ways viewers can engage with content. Motion offers more possibilities than stills, so it seems a natural progression.
Web platforms, motion billboards and micro content are a whole new game to conventional print publications and advertising. My interest is reflective of the technology we use and possibilities of placement – how we consume imagery enables motion content more and more every day. The key to me is placement – conventional film is still a passive medium. I’m currently working on interactive uses, both for web and experiential installations. I love giving viewers a sense of control and authorship over their experience. The space in which they engage, either in a defined location, or very personally with their mobile, is challenging, but has massive possibilities.
Jay, can you tell us more about what's behind this song? What is it about?
The song "Lady" is produced by my good friend L-vis-1990. The song is about demanding respect for the lady and everything that the lady embodies.
That includes, sass, the hustle, seduction, style, the wittiness and so much more.
In your view, what's the relationship between fashion and music?
In my view they share self expression as a mutual ground. Everyone is entitled to a unique voice
via fashion and music because you can make them your own.
What were you first thoughts on seeing this video? How involved were you in the creative concept?
My heart jumped, I smiled really hard, I clinched my butt cheeks and started to vogue in my living room and I wished it became a full length music video. I was very involved but also very submissive to being the subject.
I really trust the creatives of London. Every piece of work I did out there was impeccable just like this one to be honest.
You are merging genres and styles - what's next?
I wouldn't like to say I'm merging. I would consider it more like disregarding labels, because with the labels I have been given in life I wasn't even expected to be in London making art. What is next?
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