The talented and eminent Nick Knight joined forces with stylist Simon Foxton to create an arrestingly optical fashion film for VMAN magazine that illustrates and explores the extraordinarily graphic language of the digital domain. Knight, Foxton, and the SHOWstudio team collected and manipulated imagery from the Internet and reinterpreted the curated data into a culturally relevant film titled “#asif,” that exemplifies our digital reality. The creative team also shot and styled a complementary editorial that parallels the Internet-focused video.
The eclectic fashion film begins with a trivialized disclaimer warning those with epilepsy (or any individuals that experience the occasional seizure induced by turbulent visuals) to view with caution. This comes as no surprise: Knight, who’s known for enrapturing the senses through dynamic visuals, would create a product so stimulating and evocative that it held the power to convulse the human body.
Immediately when the film starts, the viewer gets pulled into a wildly sinuous roller coaster that’s sure to abate one’s attention span. The film revolves around the distinct characteristics of the Internet and how all the elements of the technological realm influence us today. Knight and his team fused high and low aesthetics to create a kinetic demonstration of provocation.
The three and a half minute video is a seemingly incoherent film that emphasizes the various symbols and imagery that we (as a society) associate with the Internet. With no clear storyline, viewers instantly become consumed and captivated by the flashing colors, transformative shapes, and active models. The striking visuals were permutated to create a sense of indecipherable noise while the significant amount of negative space allowed it to maintain a high aesthetic of minimalism.
By using different types of digital media, the video takes a step beyond telling and actually shows the elements of the online world that we all know too well. Allusions to Photoshop, Facebook, YouTube, and Apple are present in the film. These Internet-specific motifs manifest into unique designs created through new media and technology—a fitting means of execution, considering the subject of the film.
Optical illusions created through movement, negative space, contrast, and perspective make it a dubious, but ultimately formidable film. It also allows the viewer to gain a more integrated experience and reaction to a concept that is universally relevant. The video offers the illusion of interaction and sustains the viewer’s intrigue throughout the entire duration of the film. #asif establishes the idea that the online experience is truly a virtual ride lacking a distinguished start and end that unapologetically whips you into overloads of information.
#asif is far more than a fashion film; it stands as a highly conceptual culmination of multimedia technology and aesthetic. Multiple digital art forms were incorporated into the film to detonate preconceived templates of digital media. Active graphics and 3D animation throw the viewer around while overwhelming their senses. Not a single moment of the movie is stagnant, mimicking the immediacy and swiftness of the digital realm. The zestful perspective and interchanging visuals provide constant juxtaposition. The obscure yet penetrating film not only portrays modern fixations of the web, but also reflects the ever-growing transience and distortion of our increasingly digital world. Knight goes beyond displaying the relevant images and semiotics of our time and delves into connecting the digital language and its mediums into a larger culture.
FILM DIRECTOR: Nick Knight
STYLIST: Simon Foxton
ART DIRECTOR: Jon Emmony
RETOUCHER: Tom Wandrag
FILMAKER: Younji Ku
MAKEUP ARTIST: Bea Sweet
Media Source: SHOWstudio