by Mira Postolache
Laura Marciano is a French filmmaker based in Paris. She started as an assistant for various photographers in NYC and Paris before becoming a full-time stylist. Working with directors and models quickly led her to a journey into filmmaking. Since 2018, Laura has directed videos for the fashion brand Maison Michel, editorial pieces for L’Officiel, a documentary series for YSL Beauty. In 2019, she received a nomination for Best Fashion Film at Fashion Film Festival Milano for her work for designer Eric Schlosberg. In 2022, she directed a campaign film for the LA-based brand Miaou and worked for Kitsune, Off-White and Jean-Paul Gaultier. Her style is vividly sensual, playful and colorful. Mixing her directing skills with her strong background in arts and fashion, she likes to experiment and create films that are always a surprise.
The latest fragrance campaign for Jean Paul Gaultier was directed by Laura Marciano and produced by HENRY, a French production company founded in 2010 and representing a community of directors from diverse backgrounds, mixing art, storytelling and strong visuals, while having a boutique approach, the company quickly gained a strong reputation. The film embodies the sensual and unapologetic DNA of the French brand. Extravagant, thrilling and over-the-top, Scandal invites us to join the most decadent party we have yet to attend.
The campaign is a true reflection of Marciano’s aesthetics, flawlessly connecting Jean Paul Gaultier’s fashion and beauty worlds. Her true passion for and deep understanding of the fashion industry revisits the Jean Paul Gaultier brand in a more contemporary setting while paying homage to its rich heritage. We thus find ourselves in the heart of the dance floor of the iconic Parisian venue Le Palace, along with Imaan Hammam – the glamorous and elegant Moroccan-Egyptian-Dutch face of Jean Paul Gaultier since 2021 – and Parker Van Noord – the Dutch model representing a new generation of men and a new form of masculinity.
“I wanted to be joyful, extravagant and scandalous. All through the night our lens lingered on some iconic moments shared by our duo, Imaan and Parker. It’s the party we all dream of, it’s elegant but wild – elevated by the punchy Run DCM’s beat It’s Like That. It was fun for me to think, to shoot and to edit. I took a lot of pleasure in working with all the talents we cast, their energy was easy to capture. We could feel this ongoing energy throughout the day. It was also the first time I worked with Antoine Cormier, who enhanced our imagery. We had a great synergy and he really knew how to translate the needs and directions I had in mind. I hope it makes your heads move when you watch it!” – Laura Marciano
When did you realise that film direction is your purpose and how was the transition from fashion styling?
I had a narrative in mind for a while, about an asian girl gang. I proposed it to Priscilla Royer, the Maison Michel artistic director. She trusted me on this concept and it all started from here! I immediately knew I was at the right place when we started shooting.
What was the most challenging issue as a fashion stylist? What is the most challenging issue as a film director?
As a film director, the biggest challenge is to choose the perfect team that will understand your vision. As a director, you need every single person on set to translate your imagination to reality. You need a solid team and matching souls.
How do you recognise the right people when it comes to choosing them for a specific role? What are the first things are you looking at?
There is not a specific criteria to cast models or actors for me. I can’t really explain it.
Mainly charisma and energy which are super relatives. A singularity or an attitude that will catch my attention.
There is one important person in your life, who pushes and motivates you to believe in yourself?
The person who embodied this role the most, has been my grandmother ‘Mimi’ . She has impacted my life, my tastes, my art culture and the confidence I needed. She is definitely an inspiration till this day.
How do you manage to connect with your clients and what kind of actions are you taking for this?
I do my best to match their needs and my style. I usually write a treatment that will explain the film, the rhythm, the art direction and general direction I would like to take. They will then give me notes on this – this is the starting point to exchange and check all the questions we all have before shooting.
Are there any film directors that you appreciate a lot?
There are many, but right now I want to say The Safdie brothers, Tarantino, Arnaud Deplechin and Almodovar.
How long do you need when it comes to create a storyboard and make research for a client?
To be able to do it properly and have the luxury to come back to it with second thoughts, a week is ideal. But it is usually more rushed, so I do what I have ;)
What do you think are the main factors when it comes to signing a contract with a client for a fashion film?
I think they need to trust you, and like your style of course!
Do you think visual + cultural identity is important for a creatine in fashion? How important is the constant research + study to achieve that?
Yes I research all the time, not only when I have a treatment to deliver. It is a non-stop ongoing thing, exhibition, movies, art books, street pictures, I always digg for pictures or films that will inspire me. That is why I like to create my treatments myself because the main idea grows in the making process. One image or one thought will lead me to another idea or scene. I know I will develop the idea during writing.
We love the lights mixing in your last fashion film x Jean-Paul Gaultier – ’Scandal’. Walk us through the creative process of it.
The client brief was a ‘party’ so I envisioned what would be for me the lighting that I would like to dance on. With the input of the DOP of course, Antoine Cormier.
What would you write in a letter to your future self?
Dear Laura,
I loved your first feature film, do more!
Credits Jean Paul Gaultier – Scandal
Produced by: HENRY (@henry.tv)
Director: Laura Marciano (@lolomarciano)
Producer: Fanny Fragu (@fragute)
DOP: Antoine Cormier (@antoinecormier)
Photographer: Axel Aurejac (@axel_aurejac)
Puig:
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
Talents
Imaan Hammam (@imaanhammam), Parker Van Noord (@parkervannoord), Sarah Nyanchar, Cici Tamez, Amber Later, Ali Latif (@ali.latif_), Reilly Patton