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Film director Mārtiņš Grauds. Photo from the personal archive

Do you think that the situation could change in the future, creating an understanding of fashion and about fashion shorts?

At the Latvian Academy of Art, five classes of fashion students graduate each year and continue to work on their projects. Aigars Bikše, the head of the academy’s Fashion Department, invited me to supervise the video works by fashion students this year. For graduates of the department, this year will be different from previous years: there won’t be the usual academy shows, and fashion students will immortalize their thesis projects in short videos. Right now twenty-five works have been handed in; now the sweet-and-sour editing process awaits. It’s significant and interesting that all of this began with the fashion short film competition.

Next year I may give a lecture about fashion short films, so the future perspectives look interesting.

Is it possible that, alongside fashion and style photography, fashion and style short films could develop as a way for fashion designers to represent themselves?

Why not!? But this begs the question about the medium where these films can be seen. If it’s the internet, then we must immediately think how to protect against ideas being stolen—though it isn’t bad that this “exchange of thoughts” takes place.

This compact format can appear not only on the internet—we have telephones and iPads, and this genre is well suited to small mobile devices.

But in the end, shorts are a much more attractive way to show your collection—not as a filmed show, but as a work with a story. I definitely see a future for the genre. After all, the ASVOFF compilation parade secured a place for itself at the Cannes festival…

How do things stands with long-format cinema? How are things with your quests for narrative and cinematic language?

As long as civilization exists, people will tell each other stories. The form may change, but stories will remain—people will always fall in love and suffer… What was told thirty years ago will need to be told today as well, though differently. 

It was interesting to look at Cannes winner Terrence Malick’s latest achievement, in which he combines two story lines: there is a big circle and a small circle, and both of them unite. Through the small circle you understand the large one. It’s possible that a cobbler, doing one and the same repeated activity, understands the greater things and the cosmos much better than people who just toss about, hither and thither.

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