'DADDY'S ART'
RICH HALL
.digital
THE AURIC EPOCH
Editorial 9TH DECEMBER / Fashion Movie
'DADDY'S ART'
This narrative rips into the theatre of privilege—where nepo-babies perform hustle in designer tailoring and vintage sportswear, staging “struggle” against peeling walls and million-pound art. It’s bold, ironic, and painfully real, exposing how wealth masquerades as work and aesthetic becomes identity.
Daddy’s Art
There’s a certain kind of grind that exists only as performance. In Daddy’s Art, ambition is a costume rather than a necessity, worn like a tailored blazer or a borrowed surname.
Inside a cramped, half-ruined apartment with cracked tiles, broken blinds, the residue of old tenants, a set of young creatives enact their own credibility. Or try to.
It begs the question:
What does hustle look like when you never truly had to hustle?
Blending 90s corporate power dressing with the effortless cool of vintage sportswear; think Balenciaga swagger meets Hugo Boss tailoring. A visual dialect of effort and entitlement, worn by an ensemble of nepo-babies, whose wealth cushions them from the harsh reality of real labour. Their ambition becomes choreography, their faux struggle a costume, and their “work” merely an aesthetic. From the stained and peeling walls hang expensive fine-art: Warhol brightness, Renaissance precision, objects worth more than the real-estate they occupy. The irony is right there.
Rich Hall, who directed the film, puts it simply:
“Daddy’s Art is a study of people who inherit not just advantage, but the aesthetics of struggle; even when they’ve never actually touched the real thing.”
Daddy’s Art isn’t moralising so much as fascinated by the absurd theatre of privilege, the romanticisation of hustle, the way authenticity becomes a brand asset. More than a commentary on fashion or class, it reflects how identity is curated, signalled and staged in a world governed by social currency, clout, and aesthetics. It asks whether success is still something earned or merely arranged, performed, and art-directed into being.
FULL TEAM CREDITS
PRODUCTION COMPANY – RIFF RAFF FILMS
DIRECTOR & PHOTOGRAPHER – RICH HALL
PUBLICIST – DAISY MAY
EXECUTIVE PRODUCERS – KATE BRADY & KATIE KIETH
PRODUCER – ZOE GUNN
PRODUCTION MANAGER – MADDY SMITH
1ST AD – KITTY RAJAKULASINGAM
RUNNERS – JAKE FONE, GUS SPENCER
DOP – KAROL JURGA
CLAPPER LOADER – JACK AINSWORTH
RIGGER – MARK REDMOND
LIGHTING DIRECTOR & 1ST PHOTO ASSISTANT – BARNEY COUCH
2ND PHOTO ASSISTANT – EZRA JOLLY
PRODUCTION DESIGNER – STEPHANIE KEVERS
ART ASSISTANTS – ROISIN JENNER, SARAH FINNEY
MOVEMENT DIRECTOR – MIKEY BOATENG
STYLIST – GABRIELLE DYER
STYLIST ASSISTANT – ANNA LINTON
HAIR & MAKE UP ARTIST – TINA KHATRI
HAIR & MAKE UP ASSISTANT – MAI SAITO
MODELS
THE TROPHY WIFE – MEG JAMES
THE CARDIO QUEEN CEO – AKTI KONSTANTINOU
THE EQUINOX ANARCHIST – ASSAN
THE BLEACHED BROKER BRO – HANNE
THE RAH-RAH WRECK – AMINA
THE VENTURE BRAT – JADE HSU
THE 24/7 HUSTLER (ON XANAX) – ROHIN
THE COKEHEAD CONSULTANT – JOSHUA
BANKER – KREE AMANE
CASTING AGENT – MIKEY BOATENG
MOVING IMAGE CAMERA EQUIPMENT & FILM STOCK – KAROL JURGA
RETOUCH - PURPLE MARTIN STUDIOS