SHOWstudio

Bobby Gillespie and Katy England swap clothes and identities in a playful fashion film.

Actress and director Asia Argento created this mesmerising series of film shorts exclusively for SHOWstudio over the course of October 2006. The vignettes, drawing on an ad-hoc 'video diary' aesthetic but in fact painstakingly directed, intertwine reality with fantasy thanks to a script devised by Emma Forrest that confuses fiction with reality.

Erin O'Connor explores the meaning of fashion consumption in a short performance film.

Proper doesn't have to mean prim: Alice Hawkins gives the bourgeoisie mood of the Autumn/Winter 2010 collections a terribly British spin in a tongue-in-chic ode to Margot Leadbetter, Beverly Moss and quintessentially English class consciousness.

Inspired by the controversial and shocking death of the all-American actress Jean Seberg in 1979, Daphne Guinness collaborates with filmmaker and photographer Joe Lally to create The Murder of Jean Seberg, an atmospheric art film exploring Seberg's cinematic legacy, haunting beauty and the tragedy of her story.

Translated from German, Die Verwandlung means, 'The Metamorphosis', a title that aligns with King Kong Magazine's 'Metamorphosis Issue' (September 2017), in which Jacobsen's imagery also appears. This notion encompasses a variety of the elements that were studied during Jacobsen’s residency at SHOWstudio in London. Jacobsen cites human shapes found in everyday objects, the intervention of the body through digital techniques, his experiences living abroad, and a focus on raw-looking materials and the unfinished in this work. Working with materials including plastic, dough, and inflated latex condoms, Jacobsen collaborated with mistress of make-up Alex Box to create a shape-shifting character played by dancer Jonathan Luke Baker. The final film and imagery reflect states of discord and harmony in the natural world, manipulated by Jacobsen's digital skill.

Jazzelle Zanaughti, wakes up in a haze to discover a new tattoo, reading Mutiny. As the day before plays out, fragments of the night are revealed.

Nick Knight's fashion film explores and unpicks society's obsession with images of celebrities and our voyeuristic tendencies when it comes to icons. The film was shot in 1995 during Knight's first ever session working with Moss, who was twenty years old at the time and fast becoming a worldwide star. It features footage from security cameras - a nod to the debate and controversy that surrounded surveillance culture at the time of filming - and presents Moss going about a normal day, from waking up to visiting a Madison Avenue studio, to returning home.

Alice Hawkins indulges her obsession with Page 3 girls and the domestic politics of sex, gender and taste in a paean to glamour model Danni Wells.

Follow Couceiro and Hall's lens as their iterations of an angelic character à la Final Fantasy's Lightning to their own version of DC Comics' Harley Quinn are presented in 'hero mode'.

Experimental artist Joseph Lally continues his exploration into the dark side of beauty. Lally’s latest film mediates on the allure of violence in the cinema and questions society’s need for horror in the arts.