The Finer Things

Ali Bin Ali Luxury · 2025

A fashion film built around a recognised performer has two subjects: the person the audience already knows and the collection the brand wants them to notice.

“The Finer Things” features Burak Özçivit for Ali Bin Ali Luxury. The approach is closer to a portrait than a catalogue, with performance carrying a significant part of the film’s character.

A person inside the presentation

A catalogue needs to show the range. A portrait asks the audience to spend time with a presence. Bringing that second approach into fashion changes how the work can communicate.

The clothing still matters, but it belongs to a person rather than appearing as a succession of products. A look, a posture or a small change in attitude can give an image a reason to remain on screen.

Recognition is the beginning

A familiar face can attract attention quickly. The directing task begins after that recognition. What is the viewer being asked to notice now?

For me, that is why celebrity-led work needs a clear interpretation rather than an assumption that casting has solved the film. The person brings associations; the treatment decides how those associations belong to this particular brief.

The balance of the piece

The value of a portrait-led fashion approach is in allowing the performance and the product to support one another. Neither should feel like an interruption to the other.

This project sits within my work across fashion, luxury and recognisable talent. Its focus is a specific relationship between a performer and a brand presentation, rather than a general demonstration of luxury. That specificity is what gives a short commercial room to have a personality.