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Is Fashion Taking Over the Film Industry?
It’s hardly a revelation that cinema and luxury fashion are closely intertwined. A glance at a film festival’s red carpet or the front row of a fashion show suffices to reveal the frequent collaborations between actors and designers. However, recent trends suggest that these two worlds are becoming even closer.
The involvement of external companies in film began with product placements. The film "Wings" (1927) was the first Academy Award-winning film to feature product placement, with a lingering shot of a Hershey’s chocolate bar. By the late 1930s, MGM was receiving over 100 weekly requests from advertisers wanting their products featured in films.
Product placements quickly became more prevalent, with characters even mentioning brands in scripts. When done aggressively, it becomes obnoxious, but seamlessly integrating products into a story can also make them more personal and relevant to fans.
Iconic examples include James Bond and Aston Martin, Eleven from Stranger Things and her love for Eggos, and Tom Cruise and aviators in Top Gun, which saw a nearly 40 percent increase in sales of Ray-Ban aviators following the film's release.
The buzz around Luca Guadagnino’s "Challengers" is just beginning to subside, with fashion playing a significant role in the buzz. It’s not just Zendaya’s themed press tour looks we have to thank.
The Adidas logo appeared frequently throughout the film, and Art (Mike Faist) was dressed in a crisp Uniqlo tennis uniform. Tashi (Zendaya) wore Cartier jewelry and Chanel espadrilles, clear product placements that also highlighted the character’s taste for luxury and success.
Jonathan Anderson played a significant role, creating many of the film’s outfits. Loewe even launched a capsule collection featuring the 'I told ya so' T-shirt worn by the characters in the movie.
The Barbie film set a new standard for marketing integration. Margot Robbie wore Chanel, Moschino, and vintage Versace in the film, complemented by numerous themed designer looks for the press tour.
However, that was just the beginning. What really intensified the hype, beyond the proliferation of film posters and online ads, was the abundance of limited edition ‘barbiecore’ merchandise and experiences leading up to the film’s release.
These included non-fashion brands like Airbnb’s “Barbie Malibu Dreamhouse” available for rent in Malibu, as well as fashion collaborations such as Balmain x Barbie, Gap x Barbie, and Zara x Barbie.
With streaming largely replacing the cinema experience, filmmakers are striking more deals to make up for the loss of box-office revenue. But should marketing overloads like these concern us?
Product placements and brand collaborations blur the line between movie and advertisement, raising questions about the influence of luxury houses in shaping the content we consume. If luxury brands start producing films, how much control will they exert over the content?
Saint Laurent made its debut in full-scale film production with Pedro Almodóvar's short film "Strange Way of Life," starring Ethan Hawke and Pedro Pascal in 2023.
Now, three of its feature-length films are part of the official selection for the 77th edition of the Cannes Film Festival in 2024: Jacques Audiard's "Emilia Perez," David Cronenberg's "The Shrouds," and Paolo Sorrentino's "Parthenope."
While short campaign films, such as Chanel’s "A Man and a Woman" starring Brad Pitt and Penelope Cruz, or Prada’s "Luna Rossa Ocean" film with Jake Gyllenhaal, are common, producing full-length films represents a significant leap.
Kering’s involvement in cinema deepened by the end of 2023 when François-Henri Pinault, CEO of Kering, became a majority stakeholder in the American talent agency CAA (Creative Artists Agency) through his investment company Artémis.
The agency represents stars including Pinault’s wife, Salma Hayek, as well as celebrities like Scarlett Johansson, Brad Pitt, and Tom Hanks. This partnership allows CAA to benefit from Kering’s financial power, while Kering can leverage the agency's extensive network and prestige within the film industry.
Sometimes, simply supporting independent content can elevate a brand’s presence and image.
For more than a decade, Miu Miu has financed the short-film series Women's Tales, which serves as a platform for female filmmakers to showcase their work. The brand refrains from direct involvement in the filmmaking process but has significantly enhanced its reputation as an advocate of culture.
Pinault has already financed or co-produced several films, including Yann Arthus-Bertrand’s “Home” and Luc Jacquet’s “Ice and Sky,” which tackle themes of climate change.
It seems inevitable that if a fashion company produces a film, all the fashion within the film will come from them.
Will costume designers have to source exclusively from brands, or will their roles be directly handed over to creative directors?
It's wouldn't be the first time famous designers were recruited for costume design- think Giorgio Armani for American Gigolo, Jean Paul Gaultier for The Fifth Element and Hubert de Givenchy's "little black dress" for Breakfast at Tiffany's. Anthony Vaccarello’s involvement with Saint Laurent production could be through costume creation.
We’ve already seen a narrowing of the talent pool with the appointment of celebrities like Future and A$AP Rocky to creative positions. No hate - these are talented people - but this trend risks limiting opportunities for new designers who have worked hard to establish themselves in the fashion industry.
So, are luxury brands taking over the creative landscape? Is their involvement a step toward the monopolization of culture, or will it simply provide more financial opportunities and support for film creatives?
The evolving relationship between luxury brands and cinema raises important questions about the future direction of both industries.
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