Jean Paul Gaultier’s fragrance Scandal, helps let out our inner party animal. At least, that’s what we get from Laura Marciano’s directing efforts in a campaign shot by rising cinematographer Antoine Cormier for the fashion brand. The campaign features Imaan Hammam and Parker Van Noord as the lives of the party. The lively styling composed of the latest Jean Paul Gaultier collection does not go unnoticed. In fact, the overall crucial attention to detail is what sets Laura Marciano apart as a filmmaker.
Before switching to film making French filmmaker Laura Marciano worked as a photographer's assistant in NYC and Paris and then as a stylist. She began her career in cinema soon after working with directors and models. Since 2018, Laura has created a documentary series for YSL Beauty, editorial pieces for L'Officiel, and films for the fashion label Maison Michel. For her work with designer Eric Schlosberg, she was nominated for Best Fashion Film at the Fashion Film Festival Milano in 2019. She directed a campaign video for the Los Angeles-based company Miaou in 2022 and also produced content for Kitsune, and Off-White. Her aesthetic is passionately sensual, fun, and vibrant. She enjoys to direct while drawing from her extensive background in the arts and fashion.
IRK was able to go deeper into the mind of the director regarding her process of creation and more specifically, regarding this particularly scandalous campaign. Gaining new insights on her evolution as a filmmaker, her inspirations and creative intentions, as well as a hint of her next steps!
Who is Scandal for?
Scandal is for anyone looking for a night of decadence!
In all of your work, there seems to be special attention to color detail and aesthetic. The film for this campaign transitions from warm to cool tones, what was the intention behind that? How do you use color to convey a message?
In this campaign, I used colors and different lighting atmospheres to inject some rhythm in the party narrative. That was a way to create little bubbles all along the night.
Before you got into filmmaking you started as a full-time stylist. Did you always know that you had a natural inkling for directing? Was it always the goal for you to gain more creative control or did you discover this passion as you went along?
I started as a stylist assistant in NY and then I had a fashion brand and a store in the Marais, Paris. I started by doing a lot of videos for my brand, at the time fashion videos were definitely not a thing as today. Fashion has been my background, I studied it as well and it has for sure been a big influence in my work. I always had a passion to tell - create stories, I just think I couldn’t picture myself as a director. Priscilla Royer, Art Director of Maison Michel gave me the opportunity to express myself after an idea I pitched to her. This is how it started. I just threw myself in it and I knew I was exactly where I should be!
In a time where more and more people have been trying to make it out independently, how has working with Henry supported your career goals? Do you have any advice for someone who’s looking to become a filmmaker?
After being on my own for a while, I found a big support with the Henry team. It has been a relief to be able to find the right people to work together toward a common goal. They understand my work’s DNA and the direction I am aiming for in my career.
I think for a filmmaker it is important to start on his own, before joining a company. To build our own style, to build a vision. Having no special support from a production helped me to understand on my own how to make it work with a small team and practically no budget. Always having to find solutions pushed me to be more creative I think.
How do you go through the process of materializing an idea you envision into reality?
From the treatment to the actual shoot, I think the first thing is who will be fitted the best to embody this vision or idea. What DoP would be the best pair for this project? What editor? What kind of music will suit our shots best? Attention to every detail and the crew selection are crucial choices, every person involved will bring their input to help me to bring my imagination to life.
How would you describe your view on modern times where it almost feels like everything has been done before? People always say fashion is recycled, during a time when people are becoming more outspoken and liberated in their sense of being. Does this have a push-and-pull effect on your work and the ideas you create?
I don’t feel it is something that I think about too much. I just try and do. I am obviously inspired by artists, movies, photography, cities, and I hope I will inspire others one day too!
You've been focusing a lot on working with renowned brands throughout different industries. Is there anything personal and special that you're working on, any totally different direction you may be embarking on?
Yes, I have been working on a personal project, a feature. But for now, it is still the me & my laptop stage :)
How does being French and coming from such an epicenter of rich intellect and elevated culture manifest in your work? Is there a pressure to honor the great filmmakers that came before you?
For sure, being Parisian influenced my style, but I am also super amazed by some American aesthetics, which I think we can see in my work as well. And I am also amazed and influenced by the Middle East - North African culture. So I think in my case, it is a mix of different horizons.
Are there any rituals or resetting mental strategies you perform when moving from one project to the next?
A good night of dancing!
Stills from JPG Scandalous campaign, directed by Laura Marciano featuring Parker Van Noord.
Produced by: HENRY (@henry.tv)
Director: Laura Marciano (@lolomarciano)
Producer: Fanny Fragu (@fragute)
DOP: Antoine Cormier (@antoinecormier)
Photographer: Axel Aurejac (@axel_aurejac)
Digital Marketing & Brand Content Director: Johanna Najar (@johanna.njr)
Brand Content Manager: Tamara Friz (@tamacitam)
Brand Content Executive: Jorge Trigo Ruiz (@jorgetrigoruiz)
Set Designer Film: Lucie Libotte (@lucielibotte)
Set Design film Assistants: Delphine Tilliard (@delphinetilliard), Thibaut Morisset, Théo Franceskinj
Set Designer photography : Victoria Salomoni (@victoria_salomoni)
Set Design photography Assistant: Emma Culla
Stylist: Georgia Pendlebury (@georgia.pendlebury)
Stylist Assistants: Georgia Toscani, Michiel Heemskerk
Hair Stylist: Yann Turchi (@yann_turchi)
Hair Stylist Assistants: Mills Mouchopeda, Cloé Hobi, Lucile Bertrand
Makeup Artist: Min Kim (@minkimmakeup)
Makeup Assistants: Beatrice Han Ching, Alice Gabbi
Nail Artist: Julie Villanova (@julievillanovanails)
Line Producer: Ségolène Vial (@segolenevial)
Production Coordinator: Léa Depienne
1st AD: Léo Belaisch
2nd AD: Auréliane Bonnefoy
Focus Puller: Pierre Giraud
2nd Camera Assistant: Barbara Navarro
Steadicamer: Adam Gulbol (@adam_gulbol)
Photographer Assistant: Erwan Petersen
Gaffer: Hugo Brossard
Electricians: Hubert Eudeline, Louis Jamaux, Axell Katomba
Spark : Arthur Langlois
Digitech: Pedro Teles
Grips: Laurent Dray, Maxime Toublant, Lucille Leroy
Unit Manager: Geraldine Note
2nd Unit Manager: Pamela Stein
Editor : Ariane Kajdan (@arianekajdan)
Colorist : Arthur Paux (@arthurpaux)
Post-production Manager: Sebastien Gros
Post-production company: McMurphy