SEEN IT.

An original fashion film series. Impossible characters, ordinary New York, and nobody looks twice.

SEEN IT.2026

SEEN IT., Season One. 60 seconds.Sound on in the player

The briefSEEN IT.

Show taste, wit, light, lens and art direction in work a brand would want to hire.

Fifth→ Don’t Look

Hattie→ The Swan

Pearl→ Walk

Disco→ Signal Problem

The brief I set myself. Fashion editorial first, joke second.

SEEN IT. is an original fashion film series I created, directed and art directed as a personal project. Each film is one beat, eight to fifteen seconds long, and New York doesn’t react: that’s the joke. An experimental concept, made with AI tools, directed and finished by me.

SeriesSEEN IT.

Year2026

RoleCreator, creative director, art director, editor

FormatShort films for Instagram and TikTok in 9:16 and 4:5, with stills and covers

So far4 characters, 4 films, 4 screen tests, a supercut in 60 and 45 seconds, 4 character cuts

TypeArchivo Expanded Bold

SoundOriginal score. Recordings from Freesound: announcement by katiecarman (CC BY 3.0), recordings by Trashcan_Studios (CC BY 4.0), and CC0 recordings

Part IThe series

Nobody looks twice

In which New York has seen it all.

A mannequin sneaks out for coffee. A milliner waits for her laundry under a sleeping swan. A pigeon in pearls works the crosswalk like a runway. A woman in mirror tiles turns a stalled subway car into a disco.

Season one, the supercutTap for sound

Hattie in a black coat and gloves hailing a cab on Seventh Avenue, a red sailing ship balanced on her head — Hattie hails a cab on Seventh Avenue

Pearl, a pigeon in a pearl necklace, on stone steps while legs in grey coats walk past — Pearl on the steps

Part IIThe look

Today’s New York, shot like 1978

In which the first test looked expensive. It also looked generated.

Newton’s staging, a point-and-shoot flash and the grain of Unzipped. One look for every character and every episode, so the series reads as one photographer’s work.

A window mannequin in a hot pink coat, flash flaring on the glass — 01 Staging

Two mannequins in a shop window, one in a yellow gown, lit by a direct flash — 02 Light

A yellow gown in a grey-blue window, the only color in the frame — 03 Color

A woman with a coffee walks past the window, grain and halation over everything — 04 Finish

Look test: Fifth in pink at a sunny Fifth Avenue window

Look test: Hattie and the ship hat by a yellow taxi in daylight

Look test: Pearl on the steps beside red patent heels

Look test: a woman in a yellow coat on a subway platform — Look test · Rejected

The locked look: Fifth at the window under a hard flash

The locked look: Hattie and the ship in a grey-blue street, one yellow taxi

The locked look: Pearl on grey steps among passing coats

The locked look: Vera in yellow on a dark subway car — The look · Locked

A Fifth Avenue window at dusk, flash on the glass, a yellow taxi — New York is the other character: ten locations10 images, swipe →

Subway stairs going down under a hard light — New York is the other character: ten locations10 images, swipe →

Part IIIThe cast

Thirty-six written, four cast

In which each one owns one color.

Each character had to be described in a single line and carry a run of one-beat jokes. The launch four each own one color, so you can tell them apart from a thumbnail.

Fifth, a window mannequin in a hot pink coat, a hand on the glass — Fifth. The Fifth Avenue window mannequin. Moves only when nobody is looking.

Hattie in black at a laundromat table, a white swan hat on her head — Hattie. The milliner. Enormous hats, ordinary errands.

Pearl, a pigeon in pearls, on a stone step as coats pass — Pearl. A pigeon in pearls with the best taste in the city.

Disco, her head a column of mirror tiles, light scattering through a subway car — Disco. Covered head to toe in mirror tiles. Throws light on everyone.

Vera, white hair and black glasses, in a black coat on the street — The wider cast: Vera, Vesper, Lex, Duchess, Astor, Otis6 images, swipe →

Vesper, pale with a white bob, at a beauty counter — The wider cast: Vera, Vesper, Lex, Duchess, Astor, Otis6 images, swipe →

Fifth, turnaround

Fifth pose library: hand on hip, standing, walking, a hand at the collar — Fifth, poses. Locked before she moves.

Disco, turnaround. Shape and attitude, never likeness.

Disco, details

Disco poses: one arm raised to a subway bar, carrying groceries, standing, seated — Disco, poses

Part IVThe films

One beat each

In which, if it can’t be said in one line, it doesn’t get made.

Every episode starts as one line with a cause, an effect and an ending you don’t see coming. Then four beats are boarded with timing, angle and sound. Only then does anything move.

Fifth, Don’t LookTap for sound

Hattie, The Swan

Fifth’s legs and pink coat mid stride on a Fifth Avenue sidewalk — The sidewalk

Fifth frozen on the sidewalk, hand on hip, the crowd moving around her — The freeze

Fifth at a coffee cart, a paper cup in her hand, the vendor looking down — The coffee cart

Close on Fifth’s white hand holding the coffee cup against the pink coat — The evidence

I don’t really understand the story.

My note on the first cut of Hattie. Version seven, waiting for the dryer, is the one I locked.

The laundromat seen through its window, Hattie seated in black, the swan asleep on her head — Waiting for the dryer, the swan asleep

Closer: the swan lifts its neck on Hattie’s head — The buzzer, the swan wakes

The swan fully upright, Hattie perfectly still beside a man on his phone — She never moves

Pearl, WalkTap for sound

Disco, Signal Problem

Disco standing in the aisle of a lit subway car, one arm up to the bar — The F train

The car in the dark, spots of light on the ceiling — The power dies

Disco’s tiled head flaring with light in the dark car, riders on their phones — The mirror ball

Lights back, Disco holding the bar among seated riders — Lights back

Part VScreen tests

Eight seconds. Nobody looks away.

In which they look back.

On the street nobody looks at them. In the screen tests, after Warhol, the camera does nothing but look. Same dark room, same 16mm stock, one take, one small unexplained break, then the roll burns to white.

Fifth, Nobody SawTap for sound

Hattie, Lights Out

Pearl, Other Side

Disco, Only in the Dark

Part VITitles

A type system cut like film

In which every capital I becomes a dot over a stem.

The single films carry no type. Everywhere else the type behaves like footage: Archivo Expanded Bold, off-white on near-black, and the only color is hers. Cards are timed in frames, not seconds.

The Godard I

The title building over Fifth’s empty plinth: S — Frame 3

The title building: SEEN and the dot of the i — Frame 11

Title card: «Don’t Look» in off-white — «Don’t Look», 11 fr

Title card: SCREEN in off-white — SCREEN, 6 fr

End card: FiN, one character’s color per letter — FiN, 18 fr

Part VIISeason one

Sound sells it

In which the picture says it happened, and the sound makes you believe it.

Real recordings only: street beds, a New York loft, the crosswalk signal, a real conductor’s announcement. Under the supercut, an original jazz trio of piano, upright bass and brushes, with a theme for each character.

Season one, the 45 second cutTap for sound

Fifth, the character cutTap for sound

Hattie, the character cut

Pearl, the character cut

Disco, the character cut

The season one cover: SEEN iT. over a grid of Fifth, Hattie’s swan, Disco on the subway and Pearl on the crosswalk — The season cover

Hattie in a yellow cab, a red sailing ship hat leaning out of the window — Next for Hattie: The Ship

Vera in a yellow coat and black glasses on a subway car — Vera, in build

The tools did the rendering. The decisions were mine: what to make, what to cut, and when it was right.

Process

Next project2026

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