Gore-Tex
Our Work is Never Done
Directed by Caraz
Interview by Tatevik Avetisyan
Over the last 50 years, the GORE-TEX’s high-performance fiber has revolutionized the outdoors with its thin breathable membrane capable of repelling water. This waterproof fiber broke through thick and thin, pulling through some extreme tests – placed in the spacesuits worn by Space Shuttle Columbia astronauts in 1981, and in an expedition to Antarctica in 1990. The technology that has proven to offer long-lasting protection and comfort to professionals and outdoor enthusiasts is now the main hero of the latest production directed by Montreal-based Caraz and produced by Bonaparte.
Caraz carefully approached the task of exhibiting GORE-TEX’s rich history, emphasizing that even indoors can masterfully reveal the outdoors. She takes the viewer through the brand’s evolution with an all-encompassing set: vivid shots representing a wide range of sports, focusing on the fabric’s high-caliber performance. In our conversation with her, she shares her behind-the-scenes memories from the set and speaks frankly about her aspirations.
Much has been written about GORE-TEX as a brand, but little about the behind-the-scenes journey. What did the first layout of ideas for visuals and storyline look like in the beginning? What was the feedback and how much did you have to change from the initial idea?
A mysterious aura hovers above Gore-Tex. The brand has been around for decades, partnering with the biggest and hypest brands out there, and although the Gore-Tex name has been on every lips, its own identity remains enigmatic probably due to the fact that Gore-Tex is not a regular clothing brand but a waterproof patented fabric membrane used in the confection of high quality outdoor apparel.
The original idea has always been to source and feature real Gore-Tex products from the 70s up to today. Not much changed from the first board, except its execution. The spot was constructed around the usage of LED screens to play archive footage from the brand with a model walking center frame wearing different sport gear. Turns out the screens were too expensive and I preferred a regular studio to design the lighting and staging of each era up to my taste. Then I integrated the usage of media available during the different decades to strengthen the concept.
“Embracing the indoors allowed us to jump from rain, to snow, to ice to a summer environment in a hot minute”
You have compressed 40 years of a brand in 44 seconds; what have you prioritized, and what was left behind?
It was important that we got straight away in which era the action was happening, so I prioritized the « feeling » of each decade. Focusing on building an aesthetic for the brand. Another priority was to reflect an array of sports in the most minimalistic way possible: hiking, skiing, climbing, running and lifestyling (because life is a total sport) using appropriate gear to reveal them. Sourcing materials from the 70s, 80s and 90s was a true styling challenge because there is not a lot of apparel remaining from these years. We had to thrift in Berlin, Bucharest and Gore-Tex also provided us with a few products they had archived. Given the quick turnaround, this was by far the biggest production challenge.
GORE-TEX is a brand that produces outdoor clothes; how did you decide on the set up indoors to reflect the feeling of the outdoors?
Embracing the indoors allowed us to jump from rain, to snow, to ice to a summer environment in a hot minute. Ironically it gives us a larger representation of the outdoors. I like when brands like Gore-Tex are open to magnifizing an idea instead of representing it in a literal way, it makes space for more creativity.
This year you won two Gold Screens for Video Art and Short Film at the Young Direct Awards. Yet, growing up, you confessed that you dreamt of being an F1 driver. Did your passion for speed transcend in some way into the film works that you are doing?
Funny, I keep thinking Gore-Tex ain’t fast enough! I love when there’s motion on screen, I find it emotional and a great way to achieve a sense of motioness when filming a still model in its environment is to either move the camera or the lights in the scene. Therefore, with Tim Bieker director of photography and savvy F1 fan, we designed the light of each scene using all sorts of sources and complex (sometimes sketchy) riggings to make things move fast.
You are currently pursuing a minor in Comparative Literature Studies. Why did you decide to continue your studies, but this time to cover a new path within the arts?
By curiosity really. I think it is great to expose yourself with as many different stories as possible when you are a director and university gives you a bit of structure to pursue learning.
You already have an impressive portfolio of works. As an artist do you follow the trends, if any, to create content?
I was asking myself the same question today... Advertising is tough, because the clients always want to see a reference of something that already exists. I think it is important to stay away from trends especially in more personal work. But for advertising, I try to provide different references and tell the client it will be an amalgamation of all of them instead of following someone else’s recipe.
In your opinion, how important is video content in helping shape the identity of a brand?
I like to believe it is crucial but the truth is that it depends on the media buy. Whatever has the most placement will be seen the most. Sometimes it is a picture, a film or even a banner. The difference with films is that they convey far more emotions than a still, so the medium carries a greater potential of shaping a brand’s identity.
Director: Caraz
Director of Photography: Tim Bieker
Producer: Allison Lang
Editor: Simon Klinkertz
Colorist: Simon Boissonneaux
Music: Wolfsrudel Music
Sound Design: Denis Elmaci
Sound Design: Theo Porcet
Production Company: BONAPARTE
Post Producer: Aratrika Das
Client: GORE-TEX
Agency: AKQA
Service Company: FILM39