Patricia Vilani

Patricia Vilani

Patricia Vilani is an ardent filmmaker, producer and stylist specialising in work for fashion designers, fashion brands, publicity and music videos. She came to attention most recently at London Fashion Week S/S 2011 with the screening of her award-winning film Four Seasons of Love, showcasing the work of Hermione De Paula in a project supported by the London Fashion Council, Liberty and Imagine Fashion.

Of mixed Japanese-Italian parentage, Patricia graduated in 2004 from Santa Marcelina University in Sao Paulo, Brazil, with a BA in Fashion Design, having already carved out a reputation as a precocious filmmaker. She worked as a fashion stylist and producer on numerous photo and film shoots while still a student, then began experimenting as auteur of her own projects, including a film for a bridal-wear catwalk show. This film, A Noiva, garnered recognition from fellow students, tutors and influential critics outside the faculty leading to major public screenings: her films Glove and Vestida para Matar were presented for two consecutive years at Sao Paulo Fashion Week, and in 2005 her short Amarelinha, um Jogo entre o Ceu o Inferno premiered at the Festival do Minuto.

Patricia relocated to London in 2008 and began working as a fashion trends researcher.  In 2010, she enrolled in the London College of Fashion’s newly launched Masters programme for Fashion Media Production, fueling her passion for film. On the back of her success at London Fashion Week in 2011, she was commissioned to produce a series of filmed interviews for London, Paris and Milan Fashion Week (S/S 2012) between Godfrey Deeny and a host of big names from the world of fashion, including Bill Gaytten, Isabel Marant, Peter Dundas and Nicolas Andreas Taralis.

Patricia describes herself as a “fashion lover”, but is quick to point out that this goes beyond a simple appreciation of great labels and designs. She is intrigued by the interface between people and fashion and how fashion’s image in the wider public imagination is ever-changing. Her work not only endeavours to create visually appealing and artistically satisfying pieces; it also occasionally addresses political and social issues beyond the insular world of fashion.

In this vein, the final project she submitted for her Masters’ degree was a short documentary entitled (Un)Dressed to Protest, which explored the role of clothing in female resistance movements of the 21st century. Through interviews with leading feminists and fashion designers, the film explores the reciprocal relationship of influence between contemporary catwalk shows and feminist street protests.

Michael Hall, London, 2012


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