Baz Luhrmann with designer Erdem on set.
Baz Luhrmann brought his dream cinematic vision in a short film for ERDEM x H&M collection.
Film director of movies such as Romeo + Juliet, Moulin Rouge! And The Great Gatsby, takes us on a journey to a magical mansion inhabited by the beauty of endless spring to reflect Erdem’s wide use of floral prints in his collections.
With young cast of new actors and models, the film captures the essence of Erdem and the youthful spirit of the high-street giant. Watch the behind the scenes and learn more about Luhrmann’s inspiration below.
Why did you agree to collaborate with H&M on its ERDEM collection?
There’s something very gentile, civilized and romantic about Erdem’s work that I greatly admire. It feels like we’re living through very harsh times, and I thought this could be the opportunity to make something beautiful and H&M gave us a chance to do that.
What do you think about ERDEM and his design?
I remember the first time I met Erdem. I was at an event in London, and out came this very smart, keen-eyed, sharply dressed person, with a little bit of a Saint Laurent touch about him. His work was on display, and what was striking to me was just how detailed he was, and how particular he was about his own sensibility. A lot of people don’t realise how technically adept he is. A lot of designers are great, but not all of them can cut a dress themselves, or have such a feel for fabric.
How did you come up with the idea for the film?
When I talked with Erdem, it was clear that his early ideas of England and Englishness came from his mother, who is English. The family lived in Canada at the time, and his mother instilled in him this love of romantic English films, like those of Merchant Ivory. That was a really good starting point for coming up with the story set in this grand country home.
How important was Erdem’s love of narrative in his collections?
Erdem is a storyteller in his clothes. There’s drama, and there’s sense of time and location that runs throughout his design. When you meet him, you really get a sense of how he expresses himself and his life through clothing.
What was it like fitting the collection into the film?
It was completely natural for me, because whatever film I’m doing, the character is revealed in the clothes. If you think about the first time you see Nicole Kidman in Moulin Rouge, you see first her corseted silhouette, and then her face is revealed. It’s a classical device from theatre: you reveal a character first through their clothes, and then the final moment is the face.
