How this digital whiz is shaking up the luxury fashion world, one piece of content at a time

In early 2020, as lockdowns began to lift, Fred Stauffer emerged as a digital content sensation with a groundbreaking project for The Louvre Museum: a cutting-edge video featuring the Mona Lisa. This high-profile collaboration catapulted his career, and since then, he’s been leading the charge in digital innovation, collaborating with fashion giants like Balmain, Gucci, Prada, and Hermès. Louis Vuitton’s Art Director even lauded Stauffer for his talent in "creating bridges between generations". From his early Instagram reels to his current projects, Stauffer’s distinct voice—marked by sharp wit, playful irreverence, and bold originality—has kept him ahead of the curve. Via zoom from his Paris base, the Brazilian-born filmmaker dives into the art of content creation and shares his insights on helping luxury brands maintain a unique edge. 

 

We dive straight into how the Louvre assignment shifted the game for him. “Working with the Louvre was a major turning point for my career," Stauffer says. “My business was already growing, but that project really amplified my exposure. The Louvre was looking for creators, Meta recommended me, and I gladly accepted. And although it wasn’t the biggest paycheck I’ve ever received, it’s quite easily the largest, in terms of scale. It was also one of the Louvre’s first forays into digital concepts, which drew mixed reactions. Some people, especially from the older generation, were skeptical about integrating modern elements into the traditional museum setting, but as they say, you can’t always please everyone.”

The Louvre gig was just the start. Not long after, Stauffer got a DM from Miu Miu that he first suspected was fake. Turns out, it was a genuine invite from them to make nine to twelve videos for a campaign in France. This pioneering project, along with his subsequent work with the mothership—Prada, says Stauffer, “not only cemented my credibility with other brands but also allowed me to innovate and experiment creatively”.

 

Sounds like a total G.O.A.T. move. Does he see himself as a trailblazer for driving classic brands into the digital age, especially on social media? He responds, “In a sense, sure. In the U.S., some were doing it, but not on a large scale. I helped bring significant change by creating content specifically for platforms like Instagram and TikTok rather than repurposing campaign footage. I noticed others creating similar content that may have been inspired by my work. Initially, I was the only one in Europe doing this, handling everything solo, which gave me an edge, especially with COVID restrictions; traveling alone minus an entourage was seen as a plus.”

Given his digital know-how, what’s his secret recipe for luxury brands to stay au courant in keeping with today’s social media-savvy generation? “Brands should experiment and step out of their comfort zones,” says Stauffer. “Though there’s no one-size-fits-all strategy. On platforms like TikTok, authenticity often trumps polish—simple, real content shot with a basic iPhone can be highly effective. This is especially crucial for younger brands with restrictive advertising budgets. Stay current with emerging platforms and trends. If TikTok is the latest thing, dive in and experiment, as the next generation of luxury buyers is already there. Finding a unique voice is crucial. For instance, Balenciaga has successfully established their distinctive style on TikTok with content that aligns with their brand DNA, even if it’s not shot with high-end equipment or large productions. Jacquemus is also supremely cool, with his husband’s creative agency adding a quirky, out-of-the-box touch to their digitals. Meanwhile, LV has so organically evolved to appeal to a younger audience online.”

 

With short attention spans ruling the day, how does he distill the essence of a seasonal collection into brief social media videos? “In today’s fast-scrolling environment, the key is a strong hook,” Stauffer says. “Given how content consumption is constantly evolving, my approach is to find visually intriguing elements that spark curiosity, making viewers want to watch again. For context, instead of simply having the model hold the bag, I sometimes use optical illusion, like having her sit on a giant bag. The strong visual contrast is more appealing than presenting some staid content an audience has seen before. I recently worked on a cool project for Tumi, where I shot a holiday campaign with just suitcases and bags—no models or hands, just products against a sleek white and gray background, to create an interesting holiday vibe without the cheesy clichés. To make it stand out, I used a motion control robot as an actor. The robot interacted with the suitcases, placing passports in bags, adding a touch of tech to the visuals. It’s not out yet, but I’m excited to see how people react to this fresh approach.”

 

 

Even with all his tech-smarts and brainstorming prowess, a fashion set is hardly without chaos—it's a whirlwind of a million moving parts. Got any high-pressure stories from the trenches? Stauffer exclaims, “Oh, so many! But to recount a few—a recent project for Prada, where I had to use a motion-control robot. Programming the robot’s movements on-site in Milan, with a revolving door of models, accessories, and a constantly evolving creative brief, was a real challenge. I had to think on my feet, ensuring everything went smoothly under tight time constraints. Another that comes to mind is filming Louis Vuitton’s guests at the Met Gala. I was assigned a small corner with minimal lighting, capturing high-profile celebrities like Emma Stone and HoYeon from Squid Game with just one take per person. The pressure was intense, the most extreme being a 30-second shoot with Scarlett Johansson to get the perfect shot. But frankly, I thrive on these high-stakes challenges.” 

Stauffer’s innate ability to thrive under pressure and his flair for visual creativity have certainly caught the attention of the industry's elite. His signature style—a dynamic blend of humour and magic, infuses his videos with what he calls "a touch of the unexpected".

He explains, "I do enjoy adding a playful twist. I probably see myself more as a magician though, creating tricks and surprising people. It’s not always intentional, but yes, many of my videos end up with a humorous edge that resonates well (with the audeince)." Asked how many brands embrace this playful side, he replies, “Boss is a great example—they let me go wild with some creative videos. Hermès is another favourite; they gave me free rein, a sort of carte blanche to make three videos however I wanted. Given their traditionally serious brand image, it was interesting to mix my playful style with their classic aesthetics. For one video, I used only my hands to perform magic tricks with their scarves, making the Eiffel Tower appear and disappear.”

David Copperfield, but make it fashion, right? “Exactly,” Stauffer adds with a grin. And what’s next in his magical repertoire? He says, “One day, I’m going to make a movie and premiere it at the Cannes Film Festival.”

Lead image: Getty

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