Toronto designer, NADA (pictured here before the exclusive screening of her film) made history this evening when she unveiled the world's first 3D fashion film, Fashion Future/Future Fashion featuring looks from her FW10 collection at the Scotiabank Theatre downtown.
The 7-minute short, set up in a video game format, has characters first choose make-up looks by Elizabeth Arden, then an outifit from Nada's collection--which they don whilst engaging in martial arts combat sequences. Call it Kill Bill meets the Matrix in 3D. The first sequence has our heroine "fembot" choose a flowy, black and white paint-splashed ensemble with mukluk-style boots. Next she chooses from more simple daywear in corals and blues, high-waisted pants and sheath dresses. After that come a series of Victorian-inspired grey coats, dresses and skirts with tiers and ruffles on sexy fitted silhouettes.
The film which will premiere on-line tomorrow at nada3d.com represents a new way of marketing a designer's collection that is more cost-effective while reaching a wider audience than the traditional runway show:
"What is a runway show has never been looked at," explains Nada. "The demand to see it has gotten bigger and bigger and the room is so small and everybody wants front row."
The idea of the "fembot" was partially inspired by a trip to China where Nada was overwhelmed by the scope of mass production. It got her thinking about what would happen if people could be manufactured.
"I feel in my lifetime we will see female robots built to do our dirty work," she said.
I had the opportunity to interview Nada about her film innovation before the screening.
Laura: The 3D film format you've chosen and the futuristic theme speak to a forward motion. Is that representative of your approach to fashion? Are you more interested in what's ahead than what has already taken place?
Nada: I am very interested in past silhouettes. Two of my favourite periods are the 40s and 50s. However, technology is really impacting the world of fashion and I feel it is a force I cannot ignore. From fabrics to production to marketing, technology is opening up new possibilities for the fashion industry.
L: Your designs are undeniably sexy and I've heard you quip that your mind is "in the gutter". How do you want women to feel when they wear your garments?
N: The gutter is so much more fun. I want women to feel like women when they are in NADA.
L: You are one of the favourites at LG Fashion Week, always highly anticipated. Especially in Toronto, which tends toward the conservative, you offer something unique in your sensual approach to womenswear. There is much escape, drama, and fantasy in your designs. What inspires you?
"I am lucky to be designing in an age where women are equally represented in the work force."
N: Thank you. I try not to question where the inspiration comes from. I just know when I have found it. I am lucky to be designing in an age where women are equally represented in the work force. I think it has taken a long time for us as a society to get where we are now. Women can wear a suit, dress, or skirt and be appropriate for work as well as feminine, unlike the 80s where women were encouraged to look like men.
L: With whom did you collaborate on the film? How/when did the film germinate and can you describe the process of bringing it to life?
N: This was an organic evolution. I have been thinking about "what is a fashion show" for a some time. I feel Fashion evolves but the presentation of fashion is stagnant. I have wanted to present a video presentation instead of a runway show for some time. I felt this was the right time to do so based on the futuristic theme of the collection. It was actually my husband, David's idea--and keep in mind this was prior to Avatar--but we were not sure how feasible this idea was. The very next day I called Grant Padley of Atomic Clock who was one of the directors we were considering. As it turns out, Grant was friends with Tim Dashwood of Stereo 3D Unlimited. Tim created a software program called "Stereo 3D Toolbox" which is revolutionizing the way 3D is shot and processed. We had a test shoot booked later that week and since that moment we hit the ground running.
"Every aspect of this collection is leading the Canadian fashion industry into the future."
Our Fall 2010 campaign is truly a multi-media international campaign. With the driving focus of the Future, every aspect of this collection is leading the Canadian fashion industry into the future. Imagine a future where our entertainment is constructed. Virtual gaming arenas are the backdrop for stunning battles for our amusement. The 3D Fashion Film is an illustration of these fembots in action. The print campaign, shot by Ivan Otis, is a high-concept revelation of what they are. Both will be showcased around the world over many different platforms.
The initial collaboration started with a core creative team I have worked with in the past which includes Sabrina Rinaldi for hair and make-up direction, Roslyn Griffith-Hall for styling, Pheinixx Paul of Pencil as art director and overall graphic designer. During one of our initial creative meetings the story for the campaign started to gel. I knew I wanted to represent robots that were created for human pleasure/entertainment but what they actually did came to us once we sat down as a group.
The creative was presented to Tim Dashwood and the film crew started to form. The icing on the cake was when Cineplex agreed to come on board as a platform for the entire gang to showcase our Fall 2010 "fashion show".