Thursday, May 23, 2013

Future of Luxury Fashion: Kevin Burg and Jamie Beck


Kevin Burg and Jamie Beck, co-creators, Cinemagraphs

Have you ever seen a cinemagraph? No? Then go here right now. Wow, right? That's what brands like Oscar de la Renta, Chopard, Veuve Clicquot, and others thought about the beautiful mashup of gif tech and photographic technique created by photographer Jamie Beck and digital designer Kevin Burg. The husband-and-wife team may have just created an entire new art form custom-made for the digital age — one that's propagating quickly thanks to its use in top-tier luxury advertising.

Photo Shop:

Beck: “Creating the first cinemagraphs was a very organic experience. We were shooting the shows at New York Fashion Week, and I wanted to capture something beyond a still photo, to make people really see something more — but we didn't believe that people would have the patience to watch videos. Kevin had been working for a couple of years on the idea of a hybrid of photo and video. It took three days of shooting and failing until we got one to work. I'll never forget the moment that photograph came alive, staring at it, and thinking it was going to change our lives.”

Paid Content:

Burg: “These days, luxury brands can allow their audience to find them. Before digital, if you wanted to reach your audience, you had to figure out where they might be — like, say, watching a golf tournament on TV, and present to them there. Now, they find you, and stay with you in a digital space. If the content is compelling, they'll actually want to watch what we in previous generations considered advertising. ”

Arts and Crafts:

Beck: “We’re privileged to work with incredible artisans who make the luxury goods we shoot, and there's a really beautiful parallel from what they create to what we do. In luxury, details matter. With so many resources going into making a product, you can’t lose the message in the delivery. When we make a cinemagraph, we’re hand-stitching an image back into motion and bringing products to life, frame by frame.”



Photographed by Winnie Au, Hair and Makeup by Bethany Brill.  Content originally published from Refinery29.
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Wednesday, May 22, 2013

Future of Luxury Fashion: Taylor Tomasi Hill


Taylor Tomasi Hill, artistic director, Moda Operandi

When the crimson-haired street-style star Taylor Tomasi Hill left her plum print-publishing position as accessories director at Marie Claire for Moda Operandi — Vogue editor Lauren Santo Domingo and former Gilt Groupe exec Aslaug Magnusdottir's ultra-luxe online retailer — the industry took notice. With one of fashion's favorite young, rising editors poached by e-commerce, we began to wonder if the future of glossy, high-end content was shoppable. We're not wondering anymore.

Attention, Shoppers: “Moda Operandi launched at a time when online retail was dominated by discount shopping. But the thing was, consumers were increasingly comfortable with shopping online for unique, limited, or luxury products. Because we all follow designers and street-style images online, shoppers aremuch savvier about how they define luxury and what pieces they want to buy. The Internet transformedfashion shows from exclusive trade events to global consumer events. Still, the full-priced consumer was largely being ignored. We leveraged all that Fashion Week excitement by giving women access to the pieces they already loved, that might not be at brick-and-mortar luxury retailers.”

Broadband Connection: “One of the best things about technology is the potential for wide outreach. We recently collaborated with goop, which focuses on an impressive range of topics for women — a great opportunity to extend far beyond fashion. Even when I conceptualize and style editorial stories for Moda Operandi, we’re helping our customers imagine new ways to wear our products.”

Learning Curves: “Even though I work at an online company, I’m not the most tech-friendly individual. I carry a BlackBerry for emails and texts, and an iPhone for everything else (especially Instagram!). I was told recently that I have good Instagram etiquette, which was huge! When I first started Instagramming, I did really offensive things like use Kelvin with the border. I should also probably add learning Excel to my to-do list!”

Photographed by Winnie Au.  Content originally published from Refinery29.
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Tuesday, May 21, 2013

Who is this Gatsby?

Vogue: October 1926
Vogue: November 1925
Vogue: May 1924
Vogue: August 1932
Vanity Fair: December 1928

With the luxury and the glamour of The Great Gatsby, many are becoming enthralled by the era of the 1920's.  While not everyone was "roaring", the fashion of the elite and privileged was certainly on-display on our iconic magazines.  The models and actresses that graced the covers of these publications epitomized the lasting memory of this era.  Gorgeous, independent, and dripping in magnificent jewelry.  The beauty of these images is hard to ignore.  The inspiration that one can draw from them is even harder to ignore.  So soak them up, throw on some fabulous jewelry, and always keep hope for that green light across the way. 




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Glamourous

Glamourous


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