We have asked two of our fashion short film jury members, Matt Lambert and Kathryn Ferguson, about their thoughts regarding body, gender and identity.
CFF: Why do you feel it is important to focus on body, gender and identity?
ML: I’m hyper-sensitive of the trend that fashion is riding when it especially comes to trans bodies as fetish. I think it’s incredibly important to present new narratives that evolve our identities by way of renewed aesthetics, but also feel like we should be empowering those who own these narratives to tell their stories rather than capitalising on their experiences. My work doesn’t often touch on gender/body, but rather intimacy and sexuality, as these are themes most connected to my own narrative.
KF: It was a very natural progression within my own practice. I’d been gradually moving towards themes of identity and the body whilst completing a Masters at the Royal College of Arts four years ago. Fashion is all about expression of personal identity but I began feeling very restricted by the general perception of ‘fashion film’ at that time - i.e a young Caucasian model dancing/posing in expensive clothes. I felt it could be so much more. I started thinking about what I would really want to hear and see and therefore identity and storytelling began to find its way into my work. I wanted to hear people and what they had to contribute rather than simply gaze at them.
CFF: How are contemporary fashion films exploring these themes in a new way?
ML: By expanding narratives and casting to be more inclusive of a broader spectrum identities.
KF: Lots of directors are using the genre as a way to explore much more than the commerciality of simply selling clothes. It now stands alone as a unique and expressive area of short form content. For a lot of emerging directors it is now their first step into film-making. It’s gives a wider chance for expression as it’s still in it’s infancy so really it’s open to all to have a go and try and define it. To me identity and style are synonymous so it makes total sense that fashion film is now providing a platform for directors to showcase work which engender more in depth discussion. A major plus with fashion imagery is that it draws people in and if you can draw in your audience with an aesthetically interesting visual film then you can pack a punch with your message while you have them there.
CFF: Are they helping to change common perceptions of what gender is and what the fashion body should look like?
ML: The fashion industry has definitely begun to push forward a progressive agenda when it comes to gender and body issues, but I really hope it’s not just a surface and passing sentiment.
KF: I hope they are helping and encouraging more diversity, gender fluidity and a more honest look at who we are as a society. The fairly regressive days of Caucasian beauty ideals, an obsession with youth and thinness are hopefully slowly coming to an end as brands, editors and advertisers wake up to the fact that people want and expect more than this.
WATCH SOME OF MATT AND KATHRYNS FASHION FILMS
Matt Lambert “Heile Gänsje”
Matt Lambert: “Marc by Marc Jacobs - The Feeling”
Kathryn Ferguson: “Control for SelfridgesxStrenght featuring Georgia”
Kathryn Ferguson: “He, She, Me”
