Redefining the Femme Fatale
Jenna Elizabeth | Director

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Why Should You Care

It would be an understatement to say that Jenna Elizabeth‘s star is on the rise. This charismatic young director is paving her own path in the fashion industry and giving everyone a product they never thought of, but now all need: fashion films.

Garnering attention when she directed her first project for Yves Saint Laurent while working at an advertising agency, Elizabeth’s future came into focus.

In this interview, Elizabeth talks about her love of James Bond, how she develops film concepts, and reconstructing the femme fatale.


Jenna Elizabeth is an American filmmaker and photographer based in New York City. Born and raised in Los Angeles, Elizabeth moved to London to pursue an international career in film.

Selected for Armani’s “Power List of Influencers”, and profiled in the September issue of Elle Magazine as one of fashion’s most successful game changers under thirty-two, Elizabeth specializes in fashion and music related projects. Her work has been described as both “nouveau goth” for its romantic aesthetic and active embrace of darker concepts as well as “challenging traditional biographic format.”

Elizabeth has shot such subjects as Julian Casablancas, Kanye West, Julianne Moore, Chanel Iman, Erin Wasson, Ginta Lapina, Lykke Li, Soo Joo Park, Brady Corbet and Andrej Pejic.

Jenna Elizabeth is a recipient of the 2011 Davey Awards for “From Civilization to Power”, documenting the collaboration of Kanye West and Marco Brambilla.

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I used to just sit in the dark and watch clips of Bond movies thousands and thousands of times in a row. When I was, I want to say 16, I started doing film restoration and I restored the entire James Bond Collection, which was this incredible experience. I remember one of the opening scenes that I got to do was for Goldfinger, and it was just knowing… even though I couldn’t hear the music because we were working on just the clips, I felt it.

I would describe my work as nouveau-Goth in the sense that there’s sort of a nod to rather darker undertones, but there’s a freshness to it. My films have this femme fatale… in that the woman isn’t necessarily being a seductress for a man, the woman can be a seductress for herself or struggling with issues with other women.

Particularly there’s a piece that I did called the Heimlich Maneuver with Erin Wasson and the scene opens with this elaborate feast and the other model, played by Lydia Carron starts choking. And Erin just takes her time and cuts into that meat and waits and watches her choke. She holds the power and she just saunters around and then performs the Heimlich. And they never touch on the mouth, but there’s almost a sexual rivalry in the sense that I feel like women are so competitive with each other and yet they’re the first to be flippant and let it go.

There’s an underlying indescribably feeling of where there’s a tonality and there’s a tension.  And because of that I’ve…I think fashion affords something rather unusual in that you can play with exaggeration. The girl is literally chokin on luxury, she’s choking on fashion, she’s spitting up a necklace.

I would say that the themes in my work have become more streamlined as I’ve gotten older in that I know exactly the woman that I am now, and I think when you’re first starting out, you have a lot of ideas. There was a maturity that came with me in my work now. And even though we’re in a day and age where things are rushed, it’s like no, you should do it now when you’re young, there’s something to be said letting things stay with you and revisit and how can I make this better?

Made By

Cinematography: Danielle Calodney

Interviewed by: Laura Lehmann

Edited by: Danielle Calodney

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