Chengge Tan: Fashion Filmmaker Shaping Creativity and Commerce with AI

Chengge Tan
Website: https://www.cht7studio.com/
instagram:@ch_g_t31

Fashion filmmaker blends strategic marketing (Fordham University) and luxury branding expertise (SCAD) to craft visual stories for high-profile fashion events.Key projects include the 2024 CFDA Fashion Award Night campaign, where films highlighted nominees and honorees through dynamic close-ups, fabric textures, and backstage moments. With prior experience at Kaleidoscope PR and mentorship under filmmaker Douglas Keeve, the work focuses on translating runway collections into short films that balance brand messaging with emotional storytelling.

Given the increasing commercialization of the fashion industry, what new techniques or approaches do you plan to develop in your fashion filming work to stay ahead of the curve?

AI is definitely a tool I need to explore further. Initially, I wasn’t fond of AI, believing that over-reliance on it could stifle creativity. Fashion, for me, is about human expression, and AI can’t replicate that. However, while working with Douglas Keeve on an archival project, I realized AI could be useful in achieving things that seemed unattainable. For example, we needed 1970s images that didn’t exist in our archives, so I used MidJourney to generate them. This experience shifted my perspective on AI. Additionally, AI has been featured in brand campaigns, like Coach’s collaboration with Lil Nas X and Imma, an AI-generated character from Japan.

Storytelling remains essential in fashion filming. As the industry commercializes, it becomes even more critical, especially in advertising. Storytelling helps brands communicate their values to their audience. During my studies at SCAD, I learned how vital it is to understand different cultures and communities. Creating well-researched content is key, as it can enhance a brand's exposure. For instance, SK-II’s ad in China, which addressed societal pressures on women, was an inspiring example of storytelling that showed genuine care for customers.

The continuous evolution of filming equipment and techniques is also vital. Staying current with new technology is crucial for keeping up in today’s commercialized landscape. Finally, passion and love for the craft are irreplaceable. These elements are what elevate work from the ordinary to the exceptional.

Chengge Tan's 2020 film, "Self Portrait," photo courtesy of Chengge Tan.

Can you analyze a specific scene from the CFDA films where finding the balance between creative vision and market pragmatism was crucial to your role as a bridge between the two?

In the HONOREE Film, featuring Daniel Roseberry for Schiaparelli as International Designer of the Year, we included a segment showing the "work in progress" of the SS24 Couture collection before presenting a snippet of the Schiaparelli runway show. From a creative standpoint, this quick cut served as a seamless transition between the previous show footage and the next, which had no direct connection. Visually, Schiaparelli’s haute couture production is incredibly refined, and these moments added a unique sense of unfinished beauty and anticipation for the audience.

From a market pragmatism perspective, showcasing the brand’s creative process emphasizes Schiaparelli’s exceptional design and technical expertise, lending the brand significant credibility. Personally, I believe that fashion is not just about surface-level glamour; the craftsmanship, design, and technicality behind the garments are equally important elements that attract consumers to a brand. I find it particularly compelling to weave behind-the-scenes footage of the creative process into a glamorous runway show. The scenes of the designer working with the atelier help engage viewers on a deeper level, allowing them to experience the making of fashion firsthand. This approach highlights the value beyond the label and reinforces the uniqueness of the designer’s brand, bridging the gap between the brand and the audience.

How do you think the integration of art, technology, and fashion will shape the future of fashion filming, and what steps are you taking to be at the forefront of this trend?

For many brands, the fusion of art, technology, and fashion has already become inseparable. Balenciaga, for example, has pioneered the use of technological fabrics and carbon fiber materials in both accessories and ready-to-wear collections. In the realm of fashion films, we’re beginning to see the emergence of new aesthetic concepts driven by AI, reshaping the way fashion videos are created. For me, it’s crucial to invest time in studying and learning about new technologies, seeking a balance between these innovations and my personal aesthetic vision. Finding that equilibrium between technology and art not only pushes the boundaries of fashion filmmaking but also ensures I stay at the forefront of this rapidly evolving trend.

How do you see AI transforming the fashion filming industry in the next 5 years, and what role do you think your AI-fashion projects will play in this transformation?

I believe AI will make fashion videos more extraordinary and visually innovative. While it's difficult to predict exactly what will change in the next five years, AI will certainly bring about stunning shifts in how visuals are created.

Personally, I am drawn to traditional aesthetics, and highly experimental visuals may not be my style. However, AI will help me push the boundaries of visual effects, reducing dependence on physical conditions during filming. For example, AI could allow me to create extreme lighting conditions that don't rely on natural light, offering more creative freedom.

AI will also enable me to recreate the exact visuals I envision, cutting costs on set design and reducing reliance on real-world environments. This, I believe, is where AI will be most beneficial to my work.

Your educational background spans marketing, luxury branding, and fashion design. How do these different areas of study complement each other in your role as a creative director assistant in fashion filming?

I believe that combining these diverse educational backgrounds allows me to approach challenges from multiple perspectives. My studies in fashion design and my passion for the industry have cultivated my personal aesthetic, which enables me to develop a unique visual direction. It also helps me understand the aesthetic of the director I work with. After a period of adjustment, I can effectively interpret their vision and provide more efficient support.

Luxury branding and marketing have given me insight into a brand’s external value, as well as the commercial strategies and operational models behind them. This knowledge allows me to assist my director in a variety of ways. Before deciding on the direction a brand wants to present, I can use my background in marketing and branding to conduct preliminary research via social media, publications, and other platforms, helping the director quickly align on a clear vision.

Among the 11 films made for the 2024 CFDA Fashion Award Night, which one was the most challenging to produce, and what made it so?

The most challenging film to produce was the Honoree Film for Geoffrey Beene’s Lifetime Achievement Award, featuring Stephen Burrows. The difficulty arose from the fact that most of Stephen Burrows' fashion work is from the 70s, 80s, and 90s, and the quality of these archival materials was very poor. We had to spend a significant amount of time restoring and optimizing the footage, carefully selecting appropriate visuals and audio. Additionally, we needed to record the designer’s voice on-site to complete the film.

Chengge Tan's 2022 film, "The Margiela Project," photo courtesy of Chengge Tan.

As a director assistant, your role involved "archive searching" and "visual direction." How do these seemingly contradictory tasks - digging into the past and defining a forward-looking aesthetic - interact in your workflow?

For me, this was a completely new challenge and an incredibly interesting combination. Archive searching allows me to explore various brand styles through different mediums (still or video) and artistic expressions, helping me understand and learn different aesthetic approaches. It requires a significant amount of time to conduct thorough searches and curate a comprehensive collection.

On the other hand, visual direction demands a highly creative process. During the production of the 2024 American Fashion film, for example, we had to showcase the work of 43 American designers and highlight their standout moments for 2024. This required us to establish a theme and organize the film into sections based on the brands' distinct styles, while also searching for footage of stars wearing these brands at major award ceremonies in 2024. This involved extensive and detailed archive research.

This project greatly enhanced my ability to merge different styles and brand assets effectively, providing me with more inspiration for visual direction in future projects.

In creating your personal fashion films, how do you balance artistic expression with commercial viability?

Given my background in marketing, branding, and fashion, I’m not particularly opposed to the increasing commercialization of fashion. In fact, I embrace the shift, as it allows for more direct, impactful visuals that deliver a quick sensory experience. I believe I can effectively navigate this growing commercialization, blending it with my personal style. This ability enables me to handle projects like the 2024 CFDA Award Night films, where the commercial aspect of branding is becoming ever more prominent.