As part of the 2016 Showcase Screenings at ASFF 2016, Plymouth College of Art invite you to a discussion about the importance of creative freedom and individuality, focusing on a personalised approach to filmmaking. Encouraged to forge a unique path for their practice, students set their own goals whilst developing a clear sense of voice. Ahead of the event this weekend, directors of Pulp Fashion, one of the films included in the screening, Dajain Daley, Amber Letizia-Amare & Nathaniel Walters catch up with Aesthetica to talk about their feature.
A: Pulp Fashion draws inspiration from popular culture works such as Star Wars, Pulp Fictionand Harry Potter. How did you go about combining the qualities of these distinctive works into one coherent film?
PCA: These are all films that are really distinctive in current culture, and so we wanted to explore through fashion film how the imagery might be reused and made relevant to other areas of life. We also wanted to symbolise how a particular demographic might be introduced to an unfamiliar area of life, using ourselves as an example of filmmakers being introduced to the unfamiliar world of fashion.
A: In your opinion, why is fashion film important today, and how do the disciplines of fashion and film interrelate?
PCA: We really enjoy fashion film because there no extreme too extreme and there is always room to explore an idea without boundaries. With traditional filmmaking, there are criteria and rules which creatives generally abide by to make a ‘good’ film, but fashion film isn’t subject to the norm. Everything in fashion film has a reason. It’s also a challenge thinking through what kind of fashion film you want to produce, some are perfect, some are experimental, all are different.
A: The film promotes the Spanish brand Leowe. What prompted you to create a piece for the company?
PCA: The company was not very well known to us and we researched quite a bit. They’re such an enigma despite being one of the worlds biggest brands. We haven’t yet seen a fashion film for them so we hope we created one which they can be proud of.
A: How has your time at Plymouth College of Art supported the development of your practice?
PCA: Plymouth College of Art supported us the entire time, with numerous studio spaces and equipment, and the space to share and develop ideas. We are allowed to explore not only our film productions but our own personal practice through tutorials, and in class explorations and critiques. The environment is incredibly supportive of creative experimentation, and interdisciplinary approaches to practice. It was a collaboration with the Fashion, Media, Marketing students that initially inspired us to make our fashion film. PCA is such a fun environment to try new ways to create film.
A: Three of you worked on the Pulp Fashion project. Can you discuss the collaborative process of filmmaking?
PCA: We knew we would have to double up on roles, including acting in the film, but we were all focused enough to know exactly what we wanted. The three of us are all expert in different areas so the process moved quickly. We were still able to communicate ideas when all of us were working on the project separately, and then bring them together in the studio and in the edit suite. As is usual when collaborating on a project, the idea develops, and has an energy of it’s own, and soon it becomes everyones idea, not just your own.
Plymouth College of Art: No House Style runs Saturday 5 November, 16:30 – 18:30 Reel Cinema, York. www.asff.co.uk/asff2016/showcase-screenings
1. Still from PULP FASHION (LEOWE). Courtesy of Dajain Daley, Amber Letizia-Amare & Nathaniel Walters (Plymouth College of Art), UK, 2015, 02:54.