Murray and Vern: a shoe-in for prestige promo projects
Though less publicised than its affordable rubber fashion, prestigious commercial projects are a crucial part of business for Murray and Vern. Typical of this work, the London label’s collaboration with Inniu Shoes’ recent Chinese publicity campaign is fine testament to M&V’s 30 years of latex creativity. Banner picture: Nic & Becky Gaunt
Long-established London label Murray and Vern has earned much kudos in recent times for the affordable latex styles it offers through its diffusion range, Pure, available via its Miss Rub eBay store.
But while the firm’s standing among bargain-hunters is well deserved, great value basics are actually only one part of its business.
There is another important side to M&V that has had less exposure — namely its custom work for film and television commercials and print ad campaigns.
This kind of work allows designer Stuart Vern (who has been in sole charge of the business since the departure of original partner Angela Murray) to flex his creative muscles and produce the kind of eye-catching pieces that helped propel the label to fame in the pioneering years of Britain’s fetish fashion revolution.
in the past, Vern may have been less inclined than other latex designers to seek public appreciation for his prestige projects.
But with the label’s 30th anniversary coming up this year (Murray and Vern started in Manchester in 1984 before relocating to London in the early ’90s), he was happy to help us put together the story behind one particularly impressive recent collaboration that had caught our eye.
The pictures for last year’s promotional campaign in mainland China by Italian shoemaker Inniu — dressed by Murray and Vern and shot by top Hong Kong photography team Nic and Becky Gaunt — were just stunning. We felt their tale was not only worth telling — it also deserved the cover of our February 2014 edition.
The story begins with Nic and Becky being asked by Inniu to promote its new collection by producing what Nic describes as “ground-breaking advertising that had not been seen behind the Red Curtain before”.
Accepting the challenge, the couple assembled a small, international creative team to produce something that would not only do justice to the shoes’ design but also take “a bold, daring and sexy aesthetic into a traditionally conservative market”.
It was Becky who enlisted Stuart to produce the outfits for the models. The pair had known each other since Becky visited Murray and Vern as a student many years ago.
“Then later,” explains Stuart, “we worked together on a big ad campaign for Virgin Radio where we dressed and shot all the DJs in rubber.
“It was quite brave for the time and there were some big names in there. And after that we were in touch off and on until this latest campaign came up, and now, having completed it, we’re also collaborating on an ongoing art project.”
‘I was slightly apprehensive about how far we could push it, but our chats at three in the morning convinced me it would be worth it’ – Stuart Vern
What was the latex designer’s initial reaction to the opportunity to dress the shoot?
“I thought it was a great chance to venture into massively uncharted territory for latex fashion,” he says. “I was slightly apprehensive about how far we could push it, but our chats at three in the morning convinced me it would be worth it.”
Completing the team were Hong Kong hair stylist Paul Gerrard and Mexican make-up artist Daniel Minakata, both of whom clearly rose to the challenge of creating looks imbued with a sense of theatre and pizzazz.
Three days were scheduled for the shoot and the models could hardly wait to get into their latex outfits, which had been flown express from the UK. “I have never felt so sexy on a shoot!” confessed Dora from Model Genesis.
Jonathan from Inniu had flown over from Italy to oversee the shoes’ part in the shoot and found himself being roped into making sure the girls stayed shiny and polished in their latex. He observed:
“It certainly makes a change from my usual desk job!”
“Lighting latex is an artform in itself,” Becky comments. “The latex has to stay polished at all times… but I think Jonathan thoroughly enjoyed the task.”
Nic was more than pleased with the shoot. “Everybody brought their own individual skills to the table. I think it’s important that creative licence is given to specialists, so there was no way I was going to tell Stuart, Paul, Becky or Daniel what to do.
“Much of what we did was based on existing Murray and Vern designs that were sometimes reworked or exaggerated. Take the dresses for example: we added at least a metre to the length to get the shape.
“When it came to the shoot, the model was standing on a stool (hidden under the dress) so we could get that elongated drop, and gauntlets were attached to the sleeve to further accentuate the length of the arms to give her a lithe, stretched look.
“We did make some things specially, such as the cape, accessories and cages. We also made up some tight-fitting boleros to add some dynamism to the catsuits through the use of pointed or rounded shoulders.
“We could have just incorporated this design directly into the suits,” he continues, “but working this way gave more flexibility, allowing us to get three different looks from one catsuit by interchanging the shoulders.”
The importance of time saved like this is not to be underestimated, he points out. “A photographic shoot often develops a momentum, and complicated or time-consuming changes can work against this.
“You have to remember it’s not just the stylist or designer who wants to get their hands on the models between sets; the hair and make-up team also need time to work their magic!
“I’ve worked with Nic and Becky before and they are a joy to work with. On set, they quickly establish a rapport with everyone involved, infecting everyone with their vision and enthusiasm.”
While many aspects of the looks were executed in latex in the studio, it’s clear that creative Photoshop post-production work also played a part.
“In this respect,” says Stuart, “my favourite shot has to be the girl lying down in the smoky transparent catsuit, her reflection worked into the foreground of the image.
Inniu campaign featuring Murray and Vern latex
HK shoot credits
Creative team, top to bottom: Nic Gaunt, Becky Gaunt, Stuart Vern, Paul Gerrard, Daniel Mikata
Photography: NIC & BECKY GAUNT
Working out of Hong Kong, English-born husband and wife team Nic and Becky Gaunt’s close dynamics allow them to envisage strong concepts and creative ideas bringing a single view and direction to their photography. Working throughout Europe and Asia with the music and fashion industries has given them a unique perspective on and understanding of world advertising.
info@nicgaunt.com
becky@nicgaunt.com
Latex clothing: STUART VERN
Stuart’s legendary fashion label Murray and Vern, pioneers of the London fetish scene, brought the design and imagery of latex clothing into the world of mainstream culture. The label, now in its thirtieth year, is defined by its sexy minimalist approach with an emphasis on clean lines and silhouette. Much of M&V’s work over recent years has been in the film and commercial world.
Hair: PAUL GERRARD
Paul Gerrard arrived in Hong Kong from England 20 years ago with literally nothing but his Filofax, pager and a black bag of equipment. Since then he has established himself as one of the hottest, most respected and sought after hairstylists in HK today. His Paul Gerrard salon now has a team of 40 highly dedicated staff.
Make-up: DANIEL MINAKATA
Daniel has worked in hair and make-up for brands through out the world, both on the catwalk and for renowned publications predominately in Mexico and the USA. His work has also led him to be involved within the film and television industry.
Inniu Shoes: JONATHAN CHU
Inniu is a fashionable Italian footwear and accessories label whose name symbolises ‘stepping into the new trend’ in the mother tongue. Stylish footwear made entirely in Europe, every pair of Inniu shoes is lovingly created through dozens of intricate and delicate procedures, from cutting, cementing and stitching to insole construction. This creative process is full testimony to the company’s respect for the tradition and pursuit of quality in shoemaking.
Models: ILONA TATAR at Primo Management (February’s cover model); DORA O at Model Genesis
“I just provided a concept and rough framework for them to work inside. The shoot went incredibly smoothly and the results speak for themselves.
‘It’s wonderful to have such powerful images in Chinese mainstream mags such as Harpers Bazaar, Trading Up, Modern Lady and OK’ – Nic
“It’s wonderful to have such strong, powerful images in Chinese mainstream magazines such as Harpers Bazaar, Trading Up, Modern Lady and OK.
”The true test has been the buzz it has created in China,” he maintains. “It is always exciting doing something for the very first time.
“There aren’t many opportunities to be groundbreaking in this world today. Hopefully it will open the floodgates for more creativity and risk-taking in the Chinese market.”
Given the crucial contribution Murray and Vern made to the project, what could Stuart tell us about the label’s part in the creative process? And could he reveal any of the backroom secrets of the final images?
Initially, he recalls, “a fair bit of dialogue and Skyping” was involved. “Nic and Becky have a good idea of how they want the images to look before shooting, so once the images are decided, it’s a question of working out what kind of outfits will work for each image.
“I like the way Nic used colour in the fore and background to complement the colour of the shoes in what otherwise would be an almost monochrome image, but then that’s the whole point.”
After the success of the Hong Kong project, more collaborations are planned and, says the designer, “I must say I can’t wait to get stuck in.”
In our first gallery (above left), you can see a selection of images from the shoot. In some cases we’ve included both the original, plain-background version of the image in a square frame, followed by the extended landscape-format version of the same image with painted background that was created for use in the shoe firm’s billboard campaign.
The second gallery (above right) offers a selection of production shots from this and other recent Murray and Vern commercial collaborations, along with some ‘image milestones’ featuring people you may well recognise, clad by M&V.
Finally, check out the dropdown panel beneath the galleries for potted biographies of the Hong Kong project’s creative team and appropriate links.
After the Hong Kong project’s success, more collaborations with the Gaunts are planned, and, says Stuart Vern, ‘I can’t wait to get stuck in’
Saturday, 1 February 2014
Tags: Clothing