HATE COUTURE

Short List
ClientDIESEL
Category A05. Cinematography
TitleHATE COUTURE
Product/ServiceCLOTHES
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
Credits
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.

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