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'Fashion Designer Be Inthavong of 'The White Lotus' to Discuss at Seriesly Berlin'

Berlin-based event Seriesly highlights serialized television content, set to showcase the wardrobe designer responsible for the ensembles seen in the recent season of "The White Lotus."

'Fashion Designer Be Inthavong of 'The White Lotus' to Discuss at Seriesly Berlin'
'Fashion Designer Be Inthavong of 'The White Lotus' to Discuss at Seriesly Berlin'

'Fashion Designer Be Inthavong of 'The White Lotus' to Discuss at Seriesly Berlin'

In the heart of Berlin, the second edition of Seriesly Berlin took place from September 15 to 18, 2022. This event, dedicated to series, served as a platform for exploring the evolving role of fashion as a narrative and cultural element within TV shows.

A significant topic of discussion was the collaboration between TV creators and fashion designers, and how these partnerships influence the industry and viewer experience. One such collaboration was highlighted by Laos-born designer Be Inthavong, creative director at Jim Thompson. Inthavong shared his experience of working with the art department of "The White Lotus" Season 3, where his elegant kaftans and signature textiles became an integral part of the show's visual language.

Another notable figure in the discourse was costume designer Alex Bovaird, who has worked on "The White Lotus," a series that has received Emmy nominations in Outstanding Contemporary Costumes for a Series in recent years.

Seriesly Berlin's mission is to create spaces for stories and themes that are often overlooked, spark conversations, and push the boundaries of storytelling. The event featured a variety of panels and workshops, including "Dressed to Impress: Fashion as a Narrative Force," which explored how designers and fashion brands use series as creative platforms.

The panel "Building Fear That Stays With You" focused on horror storytelling in episodes, discussing long-term dread, tension-building, and mythologies. Can Evrenol and Till Kleinert led this discussion, providing insights into the art of crafting fear that lingers with viewers.

The workshop series included sessions like "Germany 2026: Film & Series Funding - Turning New Rules Into Opportunities," offering insights into the latest developments in German funding.

Elsewhere, the panel "Storytelling 2030: Who Pays, Who Plays? Power, Platform, and the Price of Creativity in a Changing World" delved into the future of storytelling, addressing power dynamics, platforms, and the financial aspects of creativity in a rapidly evolving industry.

In addition, the panel "Nordic-German Co-Producing" featured Miira Paasilinna, COO of Anagram Group and managing director of Anagram Sweden, discussing the potential for collaborations between Nordic and German producers.

Klaus Zimmermann, co-producer and serial storytelling mentor, presented a case study about the trilingual (English, French, Japanese) co-production of "Drops of God," which won the 2024 International Emmy Award.

Rahul Patel, principal analyst at Ampere Analysis, provided data support for mapping out the market reality and opportunities for co-productions in 2025.

The panel "What the Heck Is a Queer Show?! Queerness in Mainstream TV" addressed ongoing challenges in queer representation on television, with speakers including Stijn Van Kerkhoven, creator and director of "Oh, Otto!".

Finally, a panel featuring Palestinian and Jewish creators from the Albi Fund's Shared Society on the Small Screen program discussed collaborative storytelling and its impact on identity portrayal, empathy, and change.

Sabine de Mardt, president of Gaumont Germany, and Benjamina Mirnik-Voges, VP original production at the Walt Disney Company Germany, also participated in the panel "Storytelling 2030."

Seriesly Berlin 2022 was a vibrant gathering for the TV industry, providing a platform for discussions on various aspects of storytelling, from fashion as a narrative element to the future of queer representation on television. The event served as a testament to the power of collaboration and the evolving nature of storytelling in the modern media landscape.

[1] Adapted from provided bullet points.

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