Cinematic LZF ‘Telling Tales’ Campaign Invokes Edward Hopper Paintings
Architecture & Interiors
Spanish modern lighting brand, LZF, has launched a remarkable promotional campaign for 2016 which centers around American art, Mid Century design, and film noir. Entitled, “Telling Tales : A Collection of Illuminated Stories,” the campaign painstakingly recreates domestic scenes between fictional characters Julie & Nelson, whose fraught, nighttime encounters inform a series of moody stills seemingly lifted from the paintings of Edward Hopper, each imbued with the mystery and tension of Alfred Hitchcock’s classic film, Rear Window—and, most tellingly, illuminated by the sculptural contemporary lighting designs of LZF.
To create the ‘Telling Tales’ campaign, LZF assembled an impressive roster of talent: creative director Mariví Calvo, who envisioned an artistic, non-traditional campaign, Valencia’s Masquespacio Studio, which masterminded a cinematic period piece, and novelist Grassa Toro, who fleshed out the written narrative to the lives of the central characters, Julie & Nelson. Impressively thoughtful details instrumental to the campaign’s success—location scouting, set decorating, and actor auditions—rivaled that of a small independent film.
LZF’s Telling Tales campaign will extend through the year, thanks to several hours of film footage and hundreds of photographs illustrating six story lines involving Julie & Nelson. The company will be releasing images and their associated narratives through their social media channels throughout 2016, keeping followers engaged with—and in breathless anticipation of—the next chapter. Even luddites will be satisfied, as a glossy magazine and a special, six-volume book edition of the full campaign completes this highly original initiative.
“Soon she’ll wake up. She’ll go back to her room and she’ll make a call, and Nelson will pick up from somewhere in the city. She’ll ask him to come home and she’ll get dressed as if she were going out again. I’m sure Julie and Nelson must be siblings, because I’ve never seen them kiss on the lips.”
“Julie never gets back home before six in the morning. She lives alone. I perceive that she is tired as she has been driving all night. Julie doesn’t want to make any noises that might wake up Nelson. She lives alone, with Nelson. She gets undressed in silence.”
“Nelson will get home and he won’t kiss her today, either. He’ll caress her hair, that’s all. Julie will read off the list of her passengers from the cab last night, including the two lovers she drove to a nearby hotel, and who wouldn’t stop kissing. Nelson won’t answer; he never does. The radio broadcaster will remind them that it rained all night and will announce the President’s agenda for today, Thursday.”
“Nelson’s armchair is empty. Nelson’s not home. He is never home when Julie gets in. Just for once she would love to find him there waiting for her, even if he was asleep. Once again, Julie does not want to sleep in her bed, yet instead, she sleeps in the living room while dreaming of blue birds. All women who sleep with one leg uncovered dream of blue birds; I read it in a book called Animal Life.”
Photography by Cualiti Photo Studio: www.cualiti.com