ABSTRACT
We frequently come across short films that show, over a brief period of time, a whole concept of a fashion collection. These are called Fashion Films—the perfect combination of cinematographic techniques and the contents suggested by fashion, in a set of referents that communicate a product, coordinate, collection or brand. It is unnecessary, in this paper, to justify the importance of these tools as far as communicating fashion is concerned. An attempt will be made to explain some of the concerns arising when structuring and producing a Fashion Film—the discursive level and the orders of signification based on social and visual semiotics, building upon the seminal work of R. Barthes, Deleuze, Greimas and Kress. The focus of this research is not on the effective analysis of modes, but rather on furthering the inter-relational analysis ensuing. It builds upon the theories of multimodality, so as to enable the collection of data that encourage an effective brand communication and promotion.
