Nick Rees-Roberts - Fashion Film: Art and Advertising in the Digital Age

The long journey I took to finish this book began in 2012 when I first mentioned the idea to Anna Wright, then commissioning editor for fashion titles at Bloomsbury, who encouraged me to develop a proposal. I thank Anna for commissioning the book and to my subsequent editors, Emily Roessler, Hannah Crump, and Frances Arnold for being so committed to the project and so patient while they waited for the manuscript. I have a number of friends and colleagues to thank in France, the UK, and elsewhere: Maxime Cervulle for commissioning a short piece on the subject for the French journal POLI: Politique de limage in 2011, which first made me think about the subject more thoroughly. An invitation later that year to speak at the Film and Fashion seminar at the University of Nottingham at Ningbo in China also helped me to formulate some early thoughts and I would like to thank Armida de la Garza for organizing the event and to the other participants, particularly Eugenia Paulicelli, Sarah Street, and Pamela Church Gibson for their feedback. I am indebted to Pamela for her support and friendship throughout and for engaging with my ideas at every stage. At the University of the Arts London, I am extremely grateful to Agns Rocamora for early collaboration on fashion and screen media, Marketa Uhlirova for reading and engaging with the manuscript in so much detail and for her invitation to interview Nick Knight at the Fashion in Film Festival in London in 2015, and Caroline Evans for her constant encouragement and generous invitations to give talks, and for commenting so insightfully on a late draft of the manuscript. I also thank Shaun Cole, who kindly invited me to act as external examiner for the MA in Fashion Cultures at the London College of Fashion, where it was a privilege to engage with the inspiring work of so many postgraduate students, and Nilgin Yusuf for inviting me to speak at the New Medium, Diverse Messages: Convention and Transgression in the Fashion Film event at LCF in 2014. Closer to home, I thank my colleagues ric Maigret and Raphalle Moine at the Sorbonne Nouvelle in Paris for invitations to give research papers and for their warm welcome to French academic life. At Parsons Paris, I would like to thank milie Hammen and Marco Pecorari for inviting me to lecture their MA students, who gave me such thoughtful feedback. Beyond Europe, I would also like to thank Chen Chen, senior video editor at Vogue China , for his insights into fashion film in China and Hilary Radner from the University of Otago, New Zealand, for her continuing encouragement and interest in the project. A number of the filmmakers whose work features in the book very generously engaged with my ideas and provided some of the illustrations. Thank you to Justin Anderson, Kathryn Ferguson, Kevin Frilet, Matthew Frost, Meghna Gupta, Jessica Mitrani, and Marie Schuller. Olivier Meyrou also very kindly allowed me to view his unreleased documentary Clbration . Thank you to Elle Fanning and Nicolas Winding Refn for allowing me to use images from The Neon Demon . Finally, Im extremely grateful to both Charlotte and Nick Knight at SHOWstudio for their interest in the project and for so generously providing not only the alluring cover image but also some of the others inside. Last but not least, thank you to Kate Moss for green-lighting the cover.

Earlier drafts of some of the ideas in the book were published in different versions in Film, Fashion and Consumption , The Journal of European Popular Culture , and Fashion Tales: Feeding the Imaginary (Peter Lang: 2017). I am grateful to the editors for granting me permission to use parts of that material here.

On a more personal note, I want to thank friends and family for love and support, particularly Anissa Eddnadni and Gnter Tschiderer for their friendship, Tim Rees-Roberts for constant encouragement and technical prowess, and Silvano Mendes, whose thoughts have nourished my own, whose love has sustained me throughout, and without whom this book would never have been written.

Paris, February 2018.

The material world of commodities and technologies is profoundly cultural

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