Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide
Cosmopola - Joseph Ford - .. with Arnold Worldwide

– .. with Arnold Worldwide

Agency Arnold Worldwide

Country USA

CD Emily Taing, Martin Berman, Joe Marcoux, Aaron Alamo

Agency producer Alex Tasch

General info

I recently spent several months working on a mammoth project for an American pharmaceutical company with Arnold Worldwide.

After seeing my Invisible Jumpers project, Arnold invited me to work on a multifaceted campaign including stills, cinemagraphs and films, using the wardrobe and location design techniques I’d developed for my personal project.

I collaborated with the agency on the camouflage art direction, working on initial location scouting to develop how we would blend real patients into their backgrounds.

I designed the overall look of the camouflage areas of most sets to ensure the patients would melt into their backgrounds and created the wardrobe brief for both stills and TVC. I also acted as consultant on the TVC set, overseeing the best way of blending the talent into their backgrounds.

For the majority of the project I shot on location over two months in Florida, North Carolina, Texas, Pennsylvania and California.

The shooting process also included several remote shoots done from the UK where I worked from home with a live stream from the camera on set, directing models and lighting while my assistant in the USA physically triggered the camera.

We created stills and cinemagraphs of real patients both camouflaged and in a range of lifestyle scenarios, ranging from beaches to theatres, swimming pools, shops and restaurants. I oversaw post-production, working with a team split between the UK and USA to produce a bank of around 80 final assets for use in all media. 

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