TJ Andrade has directed Ad Lucem – which is Latin for 'towards the light' – for Paris-based brand Imemoi with music by BAFTA-winning composer Cliff Martinez.With evocative imagery shot by Andrade himself, a woman (played by Alicia Ruelas) escapes from her dangerous life in the city to the wide open spaces of a dream-like desert...

London-based French photographer/director Yvan Fabing directs this fashion film for Garage Magazine of the spring '15 collections, featuring the unfalteringly statuesque Lindsey Wixson advancing through an abandoned warehouse corridor as if on a catwalk, with the various outfits igniting complimentary visual effects.With Band of Skulls' punchy Death by Diamonds and Pearls on the soundtrack, and camerawork by DoP Jake Scott, the dovetailing of the collection and the VFX is beautifully executed. A fashion film that's worth watching, even if you're not into fashion - and Yvan Fabing is certainly one to watch.

Zoe Grisedale is put through her paces in Rob Hackett's good-looking and atmospheric fashion promo for clothing and interiors company Komana - with music by Andrew Gardiner.

Matilda Finn delivers a cool fashion shoot for UK dance bible Mixmag focusing on three models shot largely in slo-mo - Sydney Lima at The Anti-Agency, Jonothan Bellini at D1 Models, Kai Devenish at Nevs - soundtracked by Harry Fraud's mix of Bipolar Sunshine's Deckchairs.

Directing duo Tell No One - aka Luke White and Remi Weekes – have pioneered a new stage in fashion film, exploring the possibilities of interactive editorial content (as well as toying with the idea of online shopping) with their 'motion touch-enabled' film Mine All Mine, commissioned by and exclusive on NOWNESS.The two-minute film stars five Sadler’s Wells dancers engaging in what Tell No One have called “a game of tag with clothes”. At the start, the dancers are clad only in underwear, but as the routine begins and the film progresses, items of designer clothing are introduced (including pieces by Louis Vuitton, Kenzo, Rick Owens, Bottega Veneta, Haider Ackerman and La Perla), instantly shifting from body to body as the dancers connect with each other and part again.The choreography by Paolo Mangiola is expressive and beautiful but exuberantly unpolished, playing on notions of the online shopper’s acquisitive desire, the elegance of the catwalk, and the down-to-earth rumpus of the playground.By clicking on the dancers, the environment, and the clothes featured in this motion-touch- enabled film, viewers are able to create a list of links without disrupting the viewing experience.“The film has a sense of urgency – you have to act fast to click on something you like as within seconds it’s left behind in another shot, the film moving on," say Tell No One. "It feels like a chase...”

'Alive' is the first of two visually arresting fashion films for costume designers Prangsta, to promote the company's bespoke style and collections, by director Samuel Martin, reworking a classic story of a puppet coming alive at the hands of her master. “I wanted to steer away from the classic fashion film look and create a visual experience with a storyline, however ambiguous," says Samuel. "The challenge was to create a film that portrayed Prangsta’s fashion range, style and feel and, at the same time, deliver a concept with visuals that are unique, fresh and eyecatching."

Caspar Balslev's directed his third fashion film for menswear designer Han Kjøbenhavn, with Caspar and Han coming up with this impressionistic narrative of a pigeon-fancying hard man and his run-ins with his nemesis at the illegal plushy-head boxing bouts and elsewhere... embellished with some random, eyecatching femininity...

Edward reveals his thoughts behind this wonderful surreal fashion film that's funny, smart and sophisticated and certainly an antidote to black and white, serious fashion films: "The concept for the film came from chatting to Agi & Sam about the origins of the collection. The clothes were inspired by trips to their respective grandparent's houses when they were kids, where they would be subjected to '80s cop shows like Miami Vice. These two worlds (one of guns, babes and Don Johnson, and the other of floral patterns and cups of tea) melded together to create the collection. I wanted the film do the same. The initial idea came from imagining a scene in Miami Vice where a drug deal takes place on yacht scattered with bikini clad girls and men with uzis and moustaches, but instead of a yacht in Miami, the scene instead awkwardly takes place in a little old ladies living room in England." "Agi & Sam were very much up for doing something that had a sense of humour and wasn't overly cool or typically fashiony, which is an attitude that definitely reflects their designs. It was a lot a fun to shoot, and I believe that Nigel Barber (who plays the big boss) actually appeared on Miami Vice and worked with Tom Selleck in the '80s, which was very fitting. The film also features some '80s theme song inspired music by my brother, Paul Housden"