The art of the selfie is turning digital voyeurism on its head, whether it’s solely for branded self-promotion or the carefree dropping of 10 pictures via Instagram carousel. Director and Models.com contributor Alec Maxwell of Kloss Films has spent the last 5 years subliminally inserting himself front and center in fans’ digital portraiture with PopSockets, those handy grips that can act as a stand and help to hold your phone, emblazoned with ƧƧO⅃ꓘ backward so in mirrors they read like a subtle advert for those in the know. Archiving over 5,000 images and videos of his curated digital community of models, creatives, and influencers (full disclosure: even this editor got one) Maxwell sets his eyes on expansion with new merch, sold exclusively at Browns, and the launch of a new book KLOSS – The Community Album. “When people look at the book, I hope they see so many different types of people all somehow connected but being uniquely themselves,” Maxwell explains. We spoke to the British director about how he first started working in the industry, curating a community via social media, and communication as a driving force behind his work.
Where are you originally from and how did you first get into your chosen career?
I’m from a town called Ellesmere Port, which is just outside of Liverpool in the UK. I was a creative kid, always drawing or styling my sisters and then photographing them, and have been obsessed with fashion and imagery ever since I was tiny. So in some ways, I first got into my chosen career as a kid. I then went on to study fashion design which included a work placement year in London.
What was one of your first jobs and what have you learned since then?
One of my first official video jobs was behind the scenes of an Emma Summerton and Edward Enninful cover shoot with i-D, with the models Jourdan Dunn, Chanel Iman, Sessilee Lopez, and Arlenis Sosa. It was an incredible early experience and I’ve learned so much about communication and leadership since then.
For those that don’t know, what was the inspiration behind the name Kloss Films?
When I started making films, I wanted an alias for my work, so that I could retain the shier, more private side of my personality. I wanted the name for my work to be connected to fashion somehow and at the same time for it to also mean nothing.
Generally, what is the creative starting point for your shoots?
It varies depending a lot on the project. For example with British Vogue, it may be a concept that is already partly realised. If that’s the case, then I immerse myself in the talent to understand them and their character, and how to make them feel comfortable. Or, if it’s a concept that I am leading, it usually begins with a train of thought which I map out as a storyboard of fashion photography and archive image references. Then it’s about building the right team to bring it to life and communicating the ideas as clearly as possible.
Where do you look for inspiration?
I am always listening to people. When I hear something that I connect with or that I’m curious about, I lock it in my mind. Then I wait for another. Once I can connect a few of these links I feel inspired. A good example is the Models.com Open Mic video from 2017. This started with Duckie Thot opening up to me about her family. Shortly afterward, speaking to Andreja Pejic and realising that she had been through so much, I linked these together. I was inspired that I could make a film that would show that just because models are beautiful to the eye, it doesn’t mean that they haven’t lived difficult and challenging experiences.
What sparked your interest in directing and creative directing?
There was never an interest sparked, the fire was burning for as long as I can remember.
How would you describe your work as an artist?
I would say that I am comfortable handling social conversations within a fashion context. I want people to feel comfortable and for them to feel like themselves on camera so that I can capture as much humanity as possible. Somebody else described my work as ‘exclusive inclusivity’ which I found funny and interesting.
What brought on the idea of creating “The Community Album” book and what do you hope readers gain from it?
I had gathered an archive of over 5,000 images of people who had taken selfies with a KLOSS on their phone, over 5 years. I knew that I had to do something long-lasting with these images and so the idea of the book was born. As my medium is motion, for the most part, I worked with a small team to develop an augmented reality version of the book, so that there was still a way to experience this project in motion. When people look at the book, I hope they see so many different types of people all somehow connected but being uniquely themselves. I describe the book as a balance of curation, voyeurism, and branding.
Merch was an essential way for you to cleverly get your name out — what first led you to self-promote and why did you start with pop sockets?
I came across the pop socket on a job. I thought it was a great idea. I discovered you could print your own. I gave the first ones to a couple of model friends (Naomi Campbell, Maria Borges, Amilna Estevao, Jillian Mercado, and Colin Alexander) and it grew organically from there. I noticed that after a short period of time, they had forgotten it was on their phone and the images of themselves they were posting on social media was an insight into their lives, just with a KLOSS attached subliminally.
You’ve managed to build a substantial digital community – how did you first go about that and is social media an essential tool for you?
The only social platform I use is Instagram. I don’t post so much but it has been an essential tool for me. Instagram has allowed me to feel connected to lots of people around the world who I haven’t met in real life. It really enabled me to have a creative exchange with that community. I have ensured that I have a connection and dialogue with anyone who has a KLOSS on their phone, I think this is how I’ve been able to gather a community.
What have been the biggest challenges you have faced professionally?
A challenge I have is to speak up about my work more and to ask for things that I want, but I’m getting there!
What’s your favorite part about what you do?
I love to edit. I will edit anything if it’s near me for too long.
What future plans do you have for Kloss?
There are many things on the horizon. I feel like this is just the beginning for KLOSS; augmented reality, screenings, community experiences, and more low waste merch drops.
