For those of you looking to get into the fashion game, it may be one of the most creatively fulfilling industries to boot, but I’ll tell you now that you have to deal with just as many (if not more) outstanding assholes, bruised egos, unnecessary social politics and complete lack of logic, as you would in any other industry. Or perhaps, just life in general. Am I right?
But, in times of supreme stress (my house mate in London said I was grinding my teeth in my sleep, which only used to happen if I was working a lot just before end-of-semester exams), it’s the hair-rising moments like Ghesquière’s brilliant FW16 collection for Louis Vuitton or witnessing Alessandro Michele’s emotional expression in the flesh, and personal milestones like Forbes’ 30 Under 30 or floating your first fashion film out to the universe, that remind you why you spend half your time dragging yourself across broken glass to goddamn finish line after finish line.
This is one of those moments.
Last night, while in a fit of delirious, jetlagged rage over a logistical mess surrounding an unrelated upcoming job, this text from my producer of a snap from this new Kookaï campaign I shot blown up 10 times life size at home in Sydney, definitely stopped me from hurling my phone across my hotel room.
I mentioned in an interview recently that, particularly in digital, we often work so hard and so continuously on things that aren’t slated to surface for at least 3-6 months, that when it does come out your headspace is so far gone to the next season, that it’s just a “cool, whatever”, and onto the next. But real world, tactile things like billboards, bus stops, even magazines… are difficult to ignore. And it’s ok to stop for a second and be proud of what you’ve done.
All that said, the process can also be such a refresher to the transient nature of what we do. You learn
pretty quickly that people who are as passionate about their job as you are, and who aren’t afraid to break a sweat and put in the hard yards, are actually quite difficult to come by. The whole team on this project worked so tirelessly over several days in December and January to pull together a creative direction that the brand hasn’t taken before. Sara and Georgia both over-extended themselves in heat and bloody long hours (and looked ridiculously good in the process) to push through the number of stills and the amount of footage we needed for the campaign imagery and the brand film. Thanks legends.
PHOTOGRAPHY // MARGARET ZHANG
ASSISTING // NICOLE COOPER
HAIR & MAKE-UP // MAX MAY