Did the uber trendy Fashion savvy ditch the traditional fashion show without telling us? It seems that fashion show addicts are ghosting on their attendance for something much cooler.
Take, for example, Rag & Bone’s latest fashion film ‘Why Can’t We Get Along.’
“Starring Kate Mara and Ansel Elgort, Why Can’t We Get Along follows in the same vein as Rag & Bone’s previous shorts, where the actual clothes are secondary to the concept being expressed and the creators having total control over that concept.” As reported by Fast times
The clothes are important but we don’t care about selling clothes, says Marcus Wainwright , cofounder and CEO of retailer Rag & Bone. Todays fashion brands are pouring all of their innovation into production mini-film productions that showcase the fashion of coarse but are much more focused on telling a story.
“There’s no set creative vision for the brand–every marketing push is tailor-fit to the director, photographer, or other creative partner behind it, which was refreshingly new for Why Can’t We Get Along‘s codirector Aaron Duffy.” says Wainwright.
This comes at a time when social media is an unbalanced atmosphere and the only way to stand out as a fashion brand is to melt culture with media in an innovative way that surprises us. But the real questions is.. at what point do we stop being surprised and just get numb to everything new.
The new short film, which was shot in one day, features an eclectic mix of talent from the worlds of cinematography, music, choreography, dance, and film. Alongside Elgort and Mara, rag & bone tapped eight members of the American Ballet Theater, three HipLet Ballerinas, YouTube sensation Kandi Reign, and three members of Bulletrun Parkour. Benjamin Millepied co-directed the new rag & bone Films production alongside Aaron Duffy and Bob Partington as well as celebrated cinematographer Darius Khondji to explore the medium of film while shifting perspectives for the viewer. The track overlay, produced exclusively for rag & bone by Thom Yorke creates a feeling of friction, which is paralleled by the movement of the cast of characters. Khondji worked closely with camera rig veteran, Tony Hill to deliver a film which seamlessly choreographs not only the dancers and actors featured, but also the cameras used.