It’s hard to separate fashion and film—the two industries co-mingle constantly. Be it a designer like Tom Ford taking a seat in the director’s chair, a model like Cara Delevingne, who made the leap from runway to the red carpet of her own movie premiere, or Baz Luhrmann, who’s undeniably a genius when it comes to creating beautiful cinematic films (Moulin Rouge, Romeo + Juliet, etc.) but can also craft a stunning fashion campaign. The latest of which is the film for Erdem x H&M.
While the new teaser seems much more like a preview to a full-length Luhrmann feature than a commercial, the Australian director assured us last night at the New York preview that his work with H&M's collaboration is simply a "trailer for a film that'll never get made." However, should you want to infuse a bit of the movie magic that Luhrmann is so famous for into your personal life, this Oscar winner says there are two specific dresses from the Erdem x H&M line that are "built for cinema." At the very least, we're sure they'd look amazing in a Boomerang or your Instagram Stories.
Scroll down to find out which designs have Luhrmann's stamp of approval and to watch the entire, recently debuted film as well.
Erdem Moralioglu and Baz Luhrmann
WHO WHAT WEAR: What’s the difference between shooting a fashion campaign and filming a movie?
BAZ LUHRMANN: My attitude is never different. We attack it with the same passion and absolutism. However, this one is particularly fun. Normally, like when we worked on those Chanel films all those years ago, we'd bring the character, and Karl [Lagerfeld] would interpret character—like on the one I did with Gisele [Bündchen], we came up with the basic idea, but Karl said, "What about the five on the back?" On Romeo + Juliet, I also worked with Miuccia Prada. Very little people realize her first-ever menswear was Leo's suit [in the film].
This is different because in the [Erdem x H&M] collaboration, the idea was that Erdem would make a range, and I had to conceive with him a faux movie that you could credibly believe those clothes lived in.
WWW: Even so, do you focus on the clothing to make them shine a bit more on screen?
BL: Erdem was like, "I don't care about the clothes, just make a good movie." Having said that, when Ruby [Dagnall, one of the film's leads] enters in the sparkling dress, I guarantee if I was shooting a movie I'd do the same thing. You have to look at the great dress, but really, the dress is an amplification of the body, and her body is an amplification of her.
WWW: Are there any pieces in the collection specifically that look incredible on film?
BL: That dress, and there's another one that isn't in it much. That dress [Ed note: seen below] moves in a great way that's built for cinema.
Luhrmann says this dress from Erdem x H&M was "built for cinema."
Meanwhile, this design is a star in the film, seen in full below.
WWW: With social media, it seems as though everyone can be a photographer or director these days. Being a professional, is there anything you see on Instagram that you kind of hate?
BL: I think it's the opposite. You see extraordinary pictures taken on iPhones by ordinary people. And why? Because they're in the right place at the right time. Having said that, there's a difference between a great picture and a picture that tells a story. I think it's extraordinary what goes on Instagram. My only negative is how many of us have 15,000 pictures on our phone, and how many of us will even look at those pictures again?
WWW: This is the first time Erdem is designing for men specifically, but it feels like there's not really specific gender assignment in the collection.
BL: And I went for that in the film when I started to shoot Ruby and the whole idea of them kissing in the same coat. I'm happy he makes clothes that he wears, she wears, they wear. It's about Does it look good? Do you feel good? Is it you? I love that.
WWW: You've said that this film is the trailer to a movie that will never be made. But hypothetically, if someone were to hand you a check right now, what would happen next in the film?
BL: To be honest with you, I don't really have that problem. I'm never going to make that movie, but the trailer is enough in a way. In two days, you need to shoot enough scenes to believe that maybe it was a movie. So it's quite an unusual—it's a conceit.