Title	HATE COUTURE
Brand	DIESEL
Product/Service	CLOTHES
Category	A05. Cinematography
Entrant	PUBLICIS ITALY Milan, ITALY
Idea Creation	PUBLICIS ITALY Milan, ITALY
Production	STINK STUDIOS New York, USA
Production 2	MILL+ New York, USA
Production 3	MPC LONDON, UNITED KINGDOM
Additional Company	SIZZER AMSTERDAM, THE NETHERLANDS

Name	Company	Position
Bruno Bertelli	Publicis Italy	Global Chief Creative Officer Publicis WW & CEO Publicis Italy
Cristiana Boccassini	Publicis Italy	Chief Creative Officer Publicis Italy
Thiago Cruz/Mihnea Gheorghiu	Publicis Italy	Creative Director
Simone Di Laus	Publicis Italy	Associate Creative Director
James Andrews/Anton Kuerschner	Publicis Italy	Copywriter
Alex Eftimie	Publicis Italy	Junior Art Director
Bela Ziemann/Monica Radulescu	Publicis Italy	Planning
Francesca Zazzera/Marijana Vukomanovic	Publicis Italy	Production
Caterina Collesano	Publicis Italy	Art Buyer
Gianluca Chinnici	Publicis Italy	Corporate Designer
Eleni Charakleia/Barbara Pusca	Publicis Italy	International Client Service Director
Filippo D’Andrea	Publicis Italy	Account Supervisor
Stefano Perazzo	Publicis Italy	Head of Social
Doina Tatu	Publicis Italy	Social Media Manager
Jovan Todorovic	Stink	Director
Blake Powell	Blink	Executive Producer & Partner
Natalie Jacobson	Stink	Producer
Christophe Collette	Stink	DOP
Vitali Gelwich	Stink	Head of Photography
Milena Petrovic	Milena Petrovic	Editor
Samuele Schiavo	Prodigious Italy	Editor
Mikey Rossiter	The Mill New York	Colourist
Evan Bauer	The Mill New York	Colour Producer
Edward Taylor/George Brunt/Alex Snookes/Lucie Brant	MPC London	VFX Artists
Morten Vinther	MPC London	DMP Artist
Abhinav Sharda/Salil Thapa/Uday Veerapalli/Prasanth Palaparthi/Shyam Babu/Yoki	MPC London	Prep Team
Michael Bertoldini	Sizzer	Music Supervisor
Seppl Kretz/Michiel Marsman	Sizzer	Executive Music Producers
Jo Sandow/Marcel Wiebenga	Sizzer	Creative Strategy
Ilana Goldstoff/Stefano Binotto	Sizzer	Sync & Licensing

Tell the jury anything relevant about the cinematography.

The cinematography is thought in such a way to frame each character like they’re performing on an “online stage”, the one we’re used to watch them, and the place where they’re exposed to online hate the most. The sets were built inspired by the style of photography of Gregory Crewdson, and the voyeuristic feeling so present in his work, which itself references Edward Hopper, who mastered the art of placing us in the middle of an intimate scene. An Arri65 camera with a large chip was used to be able to frame every scene beautifully in vertical, horizontal and square formats at the same time, without losing the detail of each character scene. We used Mk-V AR rig, to create the circular movement and switch quickly from one mobile format to another throughout the film.

Write a short summary of what happens in the film

Diesel is well known for its irreverent and ironic approach to life. Recently the brand has tackled the beauty standards, the fashion industry and even fashion knockoffs. We didn’t just need to come up with a new campaign promoting Diesel’s latest collection, and we didn’t just need to be lighthearted or frivolous. We needed to define a new enemy for the brand. And then, we needed to show the world how to deal with this enemy in a totally ironic way.

Cultural/Context information for the jury

Diesel Hate Couture is more than a campaign. It’s a collection that combines message, content, influencers and customization. At its core this idea is about making entertainment out of something that is the opposite of entertaining. In addition, our use of celebrities and influencers, as well as music was specifically geared towards being something that entertains first. It’s a way of flipping online hate on its head; turning negativity into something to be celebrated, and something destructive into something creative.