Fashcene Reverie campaign film, cinematography

Fashcene’s next show needed a way to introduce itself. The plan was one production that feeds the whole campaign: a trailer, social edits, posters and key visuals, behind-the-scenes and material for sponsors and funding.

I’m on camera and cinematography. I also put together the production document templates and a script from the team’s notes, so everyone worked from the same pages.

My main idea for the look was framing that people recognise but that is deliberately off: tilts and compositions that break the usual rules, so the film feels beautiful and slightly wrong. From the start I thought the key was locations and acting, and whether the deliverables fit the shoot days we had.

The shoot was planned as four days, three of them in September 2026 (10, 14 and 15 September). We worked in three very different places: a restaurant, a museum cellar and an old building in the city centre.

Every day ran from its own call sheet, with the schedule, the locations and everyone’s call time, so a crew of about twenty and a cast of more than thirty knew where to be and when.