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Seamless (2005) More at IMDbPro »

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A look at what it takes for young designers to make it in the fashion world. | Add synopsis »
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An interesting look into the world of fashion. See more (7 total) »


Peter Arnold ... Himself - Judge

Michael Bloomberg ... Himself
Shawn Carter ... Himself
Edmundo Castillo ... Himself - Designer

Doo-Ri Chung ... Herself - Designer
Michael Colovos ... Himself - Designer
Nicole Colovos ... Herself - Designer

Sean Combs ... Himself (as Sean 'P. Diddy' Combs)

Claire Danes ... Herself
Robert Duffy ... Himself - Judge
Arthur Elgort ... Himself

Karen Elson ... Herself
Bridget Foley ... Herself
Julie Gilhart ... Herself - Judge
Cindy Greene ... Herself - Designer
Johnson Harting ... Himself - Designer
Lazaro Hernandez ... Himself - Designer

Carolina Herrera ... Herself

Karolina Kurkova ... Herself
Derek Lam ... Himself - Designer
Jack McCollough ... Himself - Designer

Isaac Mizrahi ... Himself
Alexandre Plokhov ... Himself - Designer

Zac Posen ... Himself

Parker Posey ... Herself
Narciso Rodríguez ... Himself - Judge (as Narciso Rodriguez)
Stephen Ruzow ... Himself - Judge
Behnaz Sarafpour ... Herself - Designer

Liev Schreiber ... Himself
Sally Singer ... Herself - Judge
Lisa Smilor ... Herself - Judge

Peter Som ... Himself - Designer

Vera Wang ... Herself

Pharrell Williams ... Himself

Anna Wintour ... Herself

Directed by
Douglas Keeve  (as Doug Keeve)
Produced by
Josh Braun .... executive producer
Melissa J. Cates .... co-producer
Tom Florio .... executive producer
Douglas Keeve .... producer (as Doug Keeve)
Candy Pratts .... senior producer (as Candy Pratts Price)
Sabrina Tubio-Cid .... producer
Jim Winters .... senior producer
Original Music by
James Sizemore 
Cinematography by
Marcus Burnett  (as Marcus G. Burnett)
Rob Featherstone  (as Robert Featherstone)
Joseph Van Harken 
Film Editing by
Kurt Engfehr 
David S. Tung 
Art Department
Melanie Abramov .... additional graphic designer
Louis Moreno .... graphic designer
Brian Singbiel .... additional graphic designer
Sound Department
Kristian Borysevicz .... sound recordist
Patrick Donahue .... re-recording mixer (as Patrick Donohue)
Patrick Donahue .... sound editor (as Patrick Donohue)
Jeff Rowe .... sound effects editor (as Jeffery Rowe)
Jeff Rowe .... sound mixer (as Jeffery Rowe)
Charles Brion Snyder .... additional sound recordist
John Steadwell .... additional sound recordist
Irin Strauss .... additional sound recordist
Dane Thomsen .... additional sound recordist
Heidi Williams .... sound mixer
Camera and Electrical Department
Alexis Boling .... additional photographer (as Alexis Bowling)
Gordon Chou .... additional photographer
William DeVizia .... additional photographer
Matthew Hale .... gaffer (as Matthew D. Hale)
Joan Logue .... additional photographer
Diana Nikkah .... additional photographer
Sam Rider .... additional photographer
Editorial Department
Joey Borges .... on-line editor
George Chung .... assistant editor
John Crowley .... on-line editor
Becky Goldberg .... assistant editor (as Rebecca Goldberg)
Luis Ortiz Guillen .... assistant editor (as Luis A. Ortiz-Guillen)
Abbi Jutkowitz .... assistant editor (as Abby Jutkowitz)
Grace Kline .... assistant editor
April Merl .... associate editor
Music Department
Barry Feldman .... music consultant
Other crew
David Reed Anderson .... production assistant
Nicolas Bernardine .... production assistant
Kemba Bloodworth .... production assistant
Ramon Broza .... office production assistant
Stephanie Cahn .... production assistant
Thomas Carley .... production assistant
Mike Dill .... assistant: Douglas Keeve
Matthew M. Drumm .... production assistant
Teresa Ernst .... assistant: Douglas Keeve
Bari Fleisher .... production assistant
Benjamin Florencio .... assistant: Douglas Keeve
Gretchen Gnaedinger .... assistant: Douglas Keeve
Kaoru Ima .... intern (as Kaoru Imafuku)
Roger Kass .... legal services (as Roger E. Kass)
Phil K. Kline .... production assistant
Sasha Mitchell .... intern
Ronald Morelli .... production assistant
Justin Parnofiello .... production assistant
Polly Pence .... office production assistant
Tina Polzin .... assistant: Douglas Keeve
Alan P. Raines .... legal services
Sam Rider .... production assistant
Jenny Rae Scarton .... production coordinator
Robert L. Seigel .... legal services
Deidre Sheehan .... production coordinator
Stephanie Sloan .... intern
Julia Wilk .... production support
Michael Bloomberg .... thanks (as Michael R. Bloomberg)
William DeVizia .... thanks
Wendy Ettinger .... thanks
Dean McCann .... thanks
Glenn Morrow .... thanks
Anna Wintour .... special thanks

Production Companies

Additional Details

USA:75 min

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2 out of 3 people found the following review useful.
An interesting look into the world of fashion., 8 June 2005
Author: Mike_Wiggins from Newport, Rhode Island, USA

I just saw this documentary film at the Newport International Film Festival last night (June 7, 2005) and have to say that I liked it a lot.

This is a film about how the fashion industry (which included Vogue magazine), in order to encourage new and upcoming fashion talent, create a fund to provide incentive capital to a designer who has, not just well thought out clothes, but also has the business sense to survive. It is a tale about how the fashion industry realizes that there doesn't seem to be anyone replacing the likes of well known but aging designers and how they realize that something needs to be done to encourage growth. It is also a look about how terribly difficult it is to take a business idea, especially in the fashion industry, and make it grow.

A panel of judges is formed to screen approximately 175 potential candidates. The movie starts at the point where there are 10 semi-finalists. The movie follows three of these semi-finalists from visits to their workshop(s), putting on a public fashion show, putting on another "show" in front of the judges with the designers choice of 5 of his/hers best outfits (one finalist, who was not one of the three filmed, only made shoes, another made jewelry), plus grill sessions concerning business sense, etc. At the end of the movie there is a banquet where the top prize is awarded. With only one winner, you, as an audience, have been so well manipulated by the film that you feel almost instant grief for those others who didn't win. It is a well told story! To give you an idea as to how well, considering I don't follow the glitterati of the world (especially in fashion), I came away from the movie thinking how I would like to get a tuxedo from this one designer.

So why did I rate this a 7? In short: cinematography and editing. After the screening last night I came close to asking the director if the budget had been so tight that he couldn't afford a tripod. This was because the entire movie (at least it SEEMED like the entire movie) was one jerky scene after another (especially in the public fashion show). In a few other scenes the camera was not focused on the subjects but, rather, on the wall beyond the subjects. This, to me, was quite irritating because I was not allowed enough opportunity to appreciate and evaluate the clothes that were so vital to the survival of the contestants. I realize that the hand-held camera technique is supposed to lend an air of authenticity to the film. In my opinion, however, it should only be used when a) it is absolutely mandatory (filming in a white-water raft or in very close quarters with a moving subject, for example), b) when you can't afford SteadiCam equipment and/or operators, or c) when you can't afford a tripod. A good example of a good balance between hand-held technique and traditional tripod/dolly/etc. methods is "Day For Night" (La Nuit Americaine) by Francois Truffaut.

And as for editing, is it really too much to ask to have a minimum cut of 3 seconds instead of 3 frames? While this complaint did not happen much (fortunately), when it did occur during the public fashion show I felt cheated because I was not allowed the opportunity to make my own evaluations of what had been created by these people the movie was trying to get us to embrace. The only time I have seen quick cuts used effectively is for flashback sequences, otherwise I find it irritating, as it was when I saw "Moulin Rouge".

Don't get me wrong, I liked the movie well enough to want to see it again. Only next time I'm going to wear glasses with self-leveling electronics in them.

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