TOPSHOP
Topshop began in 1964 in the basement of a Peter Robinson department store and grew into the trend barometer of the British high street, with Topman giving menswear its own edge from 1978. The digital shift outpaced its parent company, and after ASOS bought the brand it was reborn as a digital-first business. The name still carries an unusual amount of affection. The job now is earning it again, season by season.
A Winter Fashion Campaign for Topshop
Topshop came to us in that moment of transition, preparing a winter collection that needed a campaign to do more than show clothes. The brand was rebuilding its emotional pull with the audience that made it iconic, and it was looking for sharper creative direction, more editorial, more attuned to the way its audience moves through the world. The campaign had to carry Topshop and Topman through the run-up to Christmas, and it had to support their wholesale partners with imagery that felt considered and premium.
It also had to happen on a lean production. A relaunched brand spends carefully, so every choice on this shoot had to earn its place twice.
Twenty Looks, Made To Work
The maths of the shoot was simple. Six weeks from concept presentation to final delivery. Eighteen outfits whittled down to twelve final looks. One South Tottenham studio, one day, a small crew doing several jobs well.
Concept locked within two days of presenting. Cast, location and crew confirmed inside a fortnight. Looks signed off a week before the shoot. A production planned tight rather than thin.
Fashion campaign photography by Tom Silvester, with our stylist Jack Ferguson Ray doubling as creative producer and helping direct on the day. Casting was the boldest saving. Instead of familiar faces we cast new ones, and they repaid the decision, taking direction quickly and giving the images the unforced quality the brand was after. By wrap, all twelve looks were done, stills and moving image both.
The stills anchor everything else. They are the images that travel furthest, on the site, in wholesale decks, across the brand's channels, so they were built to hold up everywhere at once.
Topshop Homepage
Topman Homepage
moving image designed to drop into feeds
Alongside the stills we made one master film, three banner films for the web, and a full suite of social snippets, each cut for its own format and aspect ratio, with and without logos. Fashion film built to drop into feeds and hold the same look and pacing as the still work.
The whole package came from a single, carefully planned shoot production. Nothing was shot that didn't have a destination.
Social Snippets Fashion Film
Hero On Both Homepages
Launches in the run-up to Christmas don't come with leisurely feedback rounds, everyone is heads down until January. The clearest signal came from how the work was used. The campaign ran across the brand's site, social channels and digital partners, and the imagery took the hero slot on both the Topshop and Topman homepages. When a brand puts your work in its front window for the biggest trading weeks of the year, that's the review.
We've since proposed the next shoots, and the conversation is live. It's a simple campaign on the surface, but simplicity often asks for the most attention.
Let’s Work Together
We work with fashion and luxury brands at every stage, from early brand identity work to e-commerce builds and full campaign production. If you'd like to talk about a project, we'd love to hear from you.
Client
Project
TOPSHOP WINTER CAMPAIGN
TOPMAN WINTER CAMPAIGN
CREDITS
MARK BAGE
CHRIS LAND
JACK FERGUSON RAY
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