page 2 Isn't it fascinating how obsessed a new generation of fashion fans are with ad campaigns? They follow them almost like some people follow sporting teams or blockbuster movies! Raul: The media is so obsessed with culture and style at the moment it makes perfect sense. People want to be a part of the process in any way they can. Alex: A great ad campaign is like seeing a movie. Different campaigns have different storylines and plots. They appeal to different aesthetics. The best ad campaigns are thematic. There's an inherent entertainment value to them. Campaigns are an integral part of the message of the house. Now it's part and parcel of the success of the house. What would you say that a | R Media brought to the world of fashion advertising that was unique?   R: Ultimately when you build a campaign, you build a world. Because of our background in editorial high fashion I really think, from both ends, we had the history that allowed us to put all the key figures, into play. For each of the elements that goes into creating that world, from the location scouting, the prop styling, the hair, the make-up, we have been able to pull in all the right contacts and resources to build the ideal look for each house. Click A: Without a doubt the challenge is to create a visual world per designer. When you look at each individual fashion company, what you have is a signature, an identity that is applicable to that company. What we do is we try to really focus on that particular world. We digest what we can do visually and then try to make it more contemporary. It's a large part of our job to break the mold. But to do that of course you have to listen to what the house is feeling. Very often when working with young photographers you hear the tale of woe "But I don't have the kind of resources that Sorrenti, or Meisel or McDean has!" Does having lush resources make that difference?  Click A: We've found that if you come up with a great concept and you have a million dollars then you end up with very strong work. And if you have a great concept and a limited budget, it's equally possible to create something powerful. R: There were one or two campaigns where there really was no money. It's about being resourceful. A lot of the money sometimes goes into the actual ad buy itself. The challenge is to try to give the best creative to our clients with limited budgets through really good negotiations and contracts with prop stylists and make-up artists. Often times, if you have the right project, people will work for very little or for nothing because they're inspired and they get to express something new and immediate. But that presumption that there's always piles of money for everything... not true!