Zara continues to take strides to remove the taint of “fast fashion” from their brand.
Employing Toronto-born von Steiner is a strong step in the right direction. The 26 year olf film maker has already seen a lot of action having filmed and edited winning cinema for Parda and Lanvin, and directing films for Barney’s New York, Bottega Veneta, Chanel, and Vera Wang.
Honestly it is exciting to see a new crop of filmakers enter the league.
“I really want to further my craft and make new things so I try to approach every time a little bit differently.”
A precocious, creative child, von Steiner made “a ton” of videos when he was growing up. By the time he was 12, he had become somewhat of a sophisticated cinephile, voraciously watching the cerebral and visually arresting films of David Lynch, Pedro Almodovar and Woody Allen. These “cinema masters” inspired von Steiner to study experimental film making at NYU’s prestigious Tisch School of the Arts. It was there that he discovered the works of legendary fashion photographers Richard Avedon, David LaChapelle and Steven Meisel. “I became really interested in that aspect of this super, super beautiful aesthetic transferred onto film,” says von Steiner, who cites Meisel as an influence.
Working with Meisel, von Steiner has learned the importance of detail. “It’s not just about light or location but having such knowledge of hair and make-up… even paying close attention to the colour of the models’ eyelids,” says von Steiner. “Most importantly, he has such an appreciation for each member of the team as well.”
For his part, von Steiner still works with the same core team who initially worked together (for free) when he opened his studio a few years ago in Bushwick, where the closest form of ‘catering’ was a nearby gas station. “It was always things like bananas and tuna fish sandwiches,” reminisces von Steiner of his studio’s humble beginnings.
Now, in a capacious Williamsburg studio, von Steiner and his team have built up a diverse body of work. Like most perfectionists, he oversees most of the projects himself, from shooting films to post production — even editing them himself. Aesthetically, his films are, by design, hard to define. “The one thing I’m always trying to avoid is having everything look the same, but of course there are some things that are always common in every film,” he explains. “I want the viewer to feel something.”
referenced from: The Business of Fashion