fashfilmfête (FFF) is a premiere film festival celebrating the role of fashion in filmmaking. The inaugural event, which is presented by TheChicSpy.com, is a celebration of the impact fashion has in telling a story.

Our mission is to curate a selection of indie, documentary and Hollywood films, as well as ad campaigns and music videos to showcase the significance of fashion storytelling.

Would the iconic Audrey Hepburn have been so memorable in "Breakfast at Tiffany's" without her classic little black Givenchy dress and opulent Tiffany baubles?

Could F. Scott Fitzgerald's "The Great Gatsby" come to life so eloquently in both Jack Clayton (1974) and Baz Luhrmann's (2013) renditions without the sartorial help of Ralph Lauren and Prada, respectively?

Thankfully, we will never know, because the producers of these films understood all too well the significant impact fashion has on film.

We are excited to invite you to join us on this journey where we explore the intersection of fashion and film. The event will include awards, industry panels and a VIP party to kick off the festival.


What are filmmakers and costume designers saying?

In exclusive interviews from TheChicSpy.com, we had the opportunity to get intel from filmmakers and costume designers on how fashion played a role in their films.

“Show all young girls and boys and grown women that they are enough and they can do whatever they set their minds to. Their body image should not stand in the way of this….The reality is real change has to happen on a holistic level deep within the fashion industry and be reflected in the media for it to impact society at large.”
~ Producer and Director Jenny McQuaille for Straight/Curve (2017 Documentary)

“You want the character to be the focus, not the clothes. Michael Bay has tremendous taste…on a movie like ‘Transformers’ it has to be fashionable, clean, a great look–and the actors look fantastic.”
~ Costume designer Lisa Lovaas for “Transformers: The Last Knight” (2017) starring Mark Wahlberg

“The costumes help transport you to that era and time and especially in this film where everyone knows many of Jackie’s iconic outfits.”
~ Costume designer Madeline Fontaine for “Jackie” (2016) starring Natalie Portman

“I wanted to use British designers because I wanted to champion British fashion. I do think it’s extraordinary, the fashion we have here, it’s very atypical. We’re quite quirky and eclectic.”
~ Costume designer Rebecca Hale for “Absolutely Fabulous: The Movie” (2016) adapted form the popular British TV series of the same name

“I’d like people to come out of the film with a renewed appreciation for the seamstresses who work in the shadows of the designer. They do amazing work, and they’re rarely acknowledged. I wish they had a credit at the end of every runway show, where everyone would be acknowledged, like in a film, but fashion is different.”
~ Director Frédéric Tcheng for “Dior and I” (2014 Documentary)

“The project all started with my interest in [Bergdorf’s] windows…It was also an opportunity for me to collectively support and exploit the common demeanor all the designers had in common.”
~ Director Matthew Miele for “Scatter My Ashes At Bergdorf” (2013 Documentary)

“I take my design inspirations from many sources. But when you’re working with a director and you’re trying to interpret his vision for a film, the very first inspiration is always how the director envisions telling a story and your job is to help support that telling.”
~ Costume designer Catherine Martin for “The Great Gatsby” (2013) starring Leonardo DiCaprio

“[Director Cary Fukunaga] sent dramatic images from the Victorian era. We discussed the fabrics and the textiles and why I was choosing a particular textile and how I represented it. He said it would be great if when you’re designing for Jane Eyre, think of the surroundings and reflect the buildings she’s living in.”
~ Costume designer Michael O’Connor for “Jane Eyre” (2011) starring Mia Wasikowska

For more information, visit www.fashfilmfete.com.


In order to participate, the entrants must submit a nonrefundable entry fee. All films submitted and accepted to fashfilmfête (FFF) will be displayed to the jury for possible award recognition. Winners will receive an engraved award at the conclusion of FFF, will be listed on the FFF website and social media channels, as well as be included in all press materials.


The FFF Jury will award films in the following categories:

• Best Feature Film
• Best Documentary Film
• Best Short Film
• Best Student Film
• Best Web Series
• Best Ad Campaign
• Best Music Video
• Best Costume
• Best Makeup


The FFF film awards will be announced in January 2020 listed here on FilmFreeway and on www.fashfilmfete.com.


• Feature (60 minutes or more, up to 2 hours)
• Short (59 minutes or less)
• Documentary (60 minutes or more, up to 2 hours)
• Web Series (Two episodes, 30 minutes or more, up to 60 minutes)
• Ad Campaign (15 minutes or less)
• Music Video (5 minutes or less)


• Movie and video files must be submitted in .mov format.
• Minimum resolution is 1920x1080.
• Projects must be submitted through FilmFreeway.


Films should have been completed no earlier than three years prior to the submission date.

Films must appear in their original language, if not English, the FFF requires subtitles.

Submissions may not contain pornographic material; contain threats to any entity, place, group, or world peace; or violate any applicable laws.

Submissions may not infringe any third party’s intellectual property rights or infringe any third party’s privacy rights.

Submissions must not contain any third party work, including any musical recording or composition, unless:

You have a license to use such work in the submission from the owners/licensors and such work is in the public domain.

You must not breach any contractual obligation in submitting your film or video.

You must provide any licenses, permissions or releases to FFF upon request. Failure to provide such documentation or comply with any of the foregoing requirements may result in the disqualification of your submission and a loss of your submission fee.


Filmmakers retain 100% of the rights to their projects and materials that they submit to FFF.

FFF is granted the right to utilize an excerpt from any film submitted for promotional purposes and reserves the right to hold a press screening or show clips of up to three minutes in length of awarded films on its website.

The individual or corporation submitting the film hereby warrants that it is authorized to submit the film for screening, and understands and accepts these requirements and regulations.

The undersigned shall indemnify and hold harmless FFF from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney's fees, and costs of the court, which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of, or damage to the screening videos entered. The admission fees are non-refundable.

You agree to indemnify and hold harmless the producers of FFF, our officers, affiliates, employees, and partners from any and all claims and liability arising out of entering or transmitting your film or screenplay to FFF.

By submitting your film or screenplay to FFF, you agree that you have read, understood, and agree to all of the rules and terms for submissions.