Unconventional is by no means a negative label. By breaking down the traditional means of filmmaking, Agusta’s work is filled with the spectacular. Her most recent project is a video for London designer Yang Li’s Paris Fashion Week show, in collaboration with ShowStudio. Describing the project as “insane”, Agusta was given the opportunity to work with a group of people she’s looked up to for a while, “which was completely surreal”. Shown during Paris’ fashion week, the film is accompanied with live music from The Jesus and Mary Chain. An idyllic brief for the creative, due to the fact that the most prominent lyric of the song Just Like Honey is “I’ll be your plastic boy”, Agusta “replicated this by adding a plastic sheen to the models, echoing my previous work.”
Much of her work consists of 3D scanned objects, and this project was no different. Agusta scanned 38 looks and then placed them into a surrealist animated world. Each model moves in a 360-degree space reverberating with “acid trip” projections and four different ‘stages’ – the playground where models dance, walk and play guitar. Near the end of the film, the models assemble and start dancing in unison. “They become statues in a dreamlike museum world in the finale, with all of the looks spread throughout all four screens,” she says.
Another project, this time for Moschino, saw Agusta take a more “reserved” approach – reserved, but “still out there because of the scans”. She adds: “We used a mixture of beautiful busts, full-body scans and animated walking scans with classical music alongside them.” What’s most interesting about this one is that it was finalised remotely, with Moschino creative director Jeremy Scott based in LA, Agusta based in London and her assistant based in Milan. “The way all of the pieces came together was a testament to the power of the internet – a kind of digital recreation of what had happened on the runway in Milan that I made, without having been there.”
The power of the internet is astonishing. And, with the rise of digital manipulation and fashion shows, in particular, heading towards more digitally generated realisations, what does this mean for our future? Well, Agusta sees the products of digital as a less affecting issue than the platforms in which we share it. “I think the effects of social media on representation in real life are more the core of the issue, especially for people who have had social media their whole lives.” She concludes: “My work is more about a fantasy world, so I don’t really think about how to make anything seem real; technologically we’re a long way away from being able to blur the lines of reality.”