A FASHION FILMMAKING TALE (AS TOLD BY ALEX TURVEY)

It was in 2009 when Dazed & Confused exclusively commissioned Alex Turvey to shoot “Frankenfashion,” the video that marked his debut in the glittering world of fashion; a self-taught filmmaker, Turvey had already been working on music videos, commercials, short films, installations and live visuals. Since then, his name has been associated with successful video campaigns, such as the multi-awarded “River Island x Joseph Turvey” video and “H&M Fashion Shower,” starring Anna Dello Russo. Fast forward to 2015, he has received many accolades from the industry’s leading press for his work, and his videos have attracted the attention of Yohji Yamamoto and the house of Givenchy. We caught up with Alex when he had just finished shooting for a Mulberry project to discuss what makes “fashion film” a new medium, his creative approach to his work and future plans.

At what point did you first attempt fashion film? Did you always want to pursue it or did it just happen?

My venture into directing fashion film was essentially a product of multiple disciplines colliding. I was raised with a broad understanding of both textile and costume design through my mother’s works as well as a passion for illustration, music and film which was predominantly influenced by my father; on that note please see his amazing film .
My lust for bringing ludicrous ideas to life transitioned from pen and paper to the medium of film in my early teens, and from that I began to develop a “look” that was unknowingly a fusion of the above influences coupled with an a self taught approach to film. I’ve never been conscious of my aesthetic or targeted specific fashion clients. The one rule I’ve lived by is that I essentially choose projects purely based on weather I connect with the initial brief/client/designer/track. If I’m not excited by the project, or can’t see a way in which I can bring a voice to the creative then I can’t be part of it. This is an entirely instinctual process and so far has served me well. So I would say this process naturally led me towards working with fashion/luxury clients. There is a clear synergy in my detailed/design-led approach to film and meticulous craft that is required to succeed in the fashion world, which naturally attracts me to working with designers.

Do you do everything yourself – from casting and directing to filming and editing?

I am an incredibly hands-on director with a detailed understanding of both the creative and technical aspects of filmmaking which fortunately allows me to fully exploit the limitations of challenging budgets. I am with my projects every step of the way, from the initial conception, through casting, storyboarding, set/prop/costume and effects to the eventual release. I believe the more the director can directly contribute to their own vision, the closer the final result will be to that initial seed of an idea. Of course, nothing is possible without a well-curated team of loyal collaborators able to realize and enhance the directors vision. I have developed a close bond with my crew over the years, and founded some of my most important friendships through work. For me the most integral part of my process and identity as a director is production design. I prefer to design and create as much as I can in camera, which, in this current climate where budgets are constantly being slashed, can be tricky as everyone is looking for the quick/cheapest option.
Around six years ago, I was prepping for a tiny music video project that resulted in Cheatahs Warrior. I had been given an impossibly tiny budget of just £250 pounds to realize a concept I had developed with the artist that involved a ludicrously labour-intensive set build. Clearly the budget and creative didn’t align, but, being new to the game, I was hell bent on bringing this treatment to life, so I decided to take a chance on a friend of a friend Mark Connell who had reached out to me a few weeks prior to the commission. At the time, he was an architectural model maker who was looking to venture into set design. Essentially what Mark did on that project was a miracle, and shaped the future for both of us. Mark is now in my opinion the best production designer in the industry; he has made the impossible possible on every project.

How have the commercial and music videos you have created influenced your work in fashion?

I approach fashion film, music video and commercial film work with the same process. And each project I embark on essentially informs the next. I make a conscious effort to keep evolving my work by exploring at the very least a new technique with each project I’m involved in. I learn from the the previous project then build on the next. It’s so vitally important to step outside of you comfort zone as frequently as possible; this forces you to grow.

What has been the most memorable project you have worked on so far?

I invest so much of myself in each project, commercial or personal, that every project I have been involved in holds a wildly memorable journey. I’m very intense and give a lot of myself to the work I create, so it’s impossible to create a life-work balance. My journey so far has been insanely unpredictable, exciting and terrifying in equal measures. There are of course landmark moments that help define one’s career, and although my insanely low budget music video for Cheatahs Warrior was an extremely low-key one, it is still the project that united me with one of my most trusted collaborators, Mark Connell.

What is it about film that makes it so appealing to the fashion industry? How could fashion designers benefit from film?

For me, I believe the life the filmmaker can bring to a collection through moving image is what makes film such a successful and valuable format to the fashion industry. We are able to build a world around a collection, its own universe if you will. This allows us to explore the garments, craftsmanship and inspiration behind a collection in a detailed and immersive way, expanding the designers world.

You are a self-taught video artist. Was there a moment in your career that made you wish you had received professional education?

Honestly NO! The mistakes I have made in the past (and there have been many) have been integral to my development as a filmmaker. I approach my work with an entirely organic process, one that is natural to me and not a product of an institutionalized set of rules. I believe this is why my work has its own unique stamp, I developed my own rules, techniques and solutions to the mindfuck that is film production, and I wouldn’t change that even if I could.

How has the fashion film industry evolved since you started working? What do you think the future holds for the medium?

The genre has grown rapidly in the past few years. It’s truly thrilling to see filmmakers challenging the medium, not just relying on aesthetic but exploring narrative and the importance of storytelling in film. I feel as if the genre is finally developing its own credible voice within the medium of moving image, stepping away from the tired tropes that once held it back. No longer are we seeing fashion film as an extension of editorial stills shoots; we are now seeing it as an opportunity to tell stories enhanced by powerful and utterly unique aesthetics.

What advice would you give to anyone wishing to pursue fashion filmmaking?

First and foremost you must find a designer that inspires you. For me fashion film is all about collaboration; the filmmaker needs to connect with the designer. They are representing on a personal and aesthetic level equally. Again, collaboration is key.

What are you currently working on, and what are you most excited about in the future?

It’s been an extremely exciting end to the year. Firstly, I have just finished a fun collaboration with the UK luxury brand , which is my first project with my new UK film reps Academy. Alongside this, I have just a wrapped a huge project in the US which I sadly can’t reveal too much about. However, what I can say is that it features four of Ru Paul’s (Ru Paul’s Drag Race) alumni (Manila Luzon/Shangela/Trixie Mattel/Tammie Brown) and is set for release March 2016! I am in post production on a short Narrative “body horror” called SOM, a film I shot on location in the remote village of Abrantes, Portugal earlier this year. The film will be released in 2016, and will be my first venture into narrative. I’m also working on two feature film scripts, these are very much work in progress but I aim to have these finished put these into production asap.

Visit www.alexturvey.com to view Alex’s work.
Images © Alex Turvey
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