JANA CRANDAL & MARISSA DUTTON | Interviews
Interview by Alexandre Orlowski
Driven by a belief in art as a powerful exchange of ideas and perspectives, 11th HOUSE AGENCY represents exceptional artists working across set design, creative direction, film and photography, styling, costume design, movement direction, and casting.
Based in New York and operating internationally, the agency brings together distinctive creative voices in fashion, film, and events, connecting bold creative vision with a collaborative spirit and an instinct for turning unexpected challenges into new possibilities.
GLEESON PAULINO — THOM BROWNE
GLEESON PAULINO — DAKOTA JOHNSON for ELLE BRAZIL
GLEESON PAULINO — ELLE, METAMORPHOSE
Marissa & Jana, it's been over six years since you first opened your agency. What was the defining vision behind 11th House?
Since the start of 11th House, we've set out to do things differently from the old guard. We wanted a home where artists could be represented and valued as multifaceted creatives. Despite the changes we've seen in the last six years and the threat of technology in creative spaces, we still believe in and want to protect art as a powerful exchange that changes how people see the world and fosters connection. At the center of that is championing authentic relationships, with our artists, our clients, and each other. We put incredible care and attention into how we build our roster and how we conduct ourselves as an agency.
STEVE BAKER — ADIDAS, FOR THE PLACES WE PLAY
STEVE BAKER — THE NORTH FACE
STEVE BAKER — LES MILLS
You represent a diverse roster of artists — how does that shape the direction of your agency?
It means we're never thinking in silos. When you have set designers, photographers, movement directors, costume designers, and music composers all under one roof, the best work happens in the connections between them. Our artists know each other personally, create friendships, and support and encourage each other's craft and unique capabilities. We try to set ego aside and focus on collaboration over competition.
PETER SZOLLOSI — BANANA REPUBLIC
PETER SZOLLOSI — ULLA JOHNSON
How do you define "exceptional talent" when signing new artists?
Technical skill gets an artist in the room, but it's not what keeps us excited about someone. We're looking for a strong point of view and way of seeing that's unmistakably theirs. Beyond that, we work exclusively with people we genuinely respect. People we want to have dinner with and would choose as friends. We believe both talent and character are important, so we are selective in who we work with.
LUISA OPALESKY — MULBERRY
LUISA OPALESKY — PARKER POSEY
How involved are you in shaping the careers of the artists you represent?
Very. We view every relationship with an artist as a long-term creative partnership. That means being in the room for portfolio direction at every stage of their career, being honest about which jobs move an artist's career forward, and sometimes saying no to work that would blur what makes them distinct. We strategize both internally at the agency and in collaboration with our artists so everyone feels aligned in how we are moving through this industry, which is an ever-evolving landscape.
MICHAEL SAINT ONGE
MICHAEL SAINT ONGE — CHAPPELL ROAN for MAC VIVA
Is it challenging to align a commercial commission with an artist's unique vision? And do brands generally understand the value of commissioning such distinctive talent?
It varies by client and roster, but at the forefront, the agency always champions an artist's POV. That's at the heart of how we sell an artist, and why we have so many loyal clients. Trust is built over time and we have high standards for ourselves and our artists. The best clients are those who see the value in collaborating with exceptional talent, and are excited by their ideas and input.
JARED KOCKA — MICHAEL KORS
JARED KOCKA — BLUE BIRD BOOK
What do top-tier clients in luxury and fashion expect today that they didn't five years ago?
Speed and range, mostly. A single shoot now has to work as a campaign, as social content, as film, sometimes all in the same day, which can limit the ability to work creatively and to have moments to improvise on set.
BEN DRAGHI — CHARLI XCX BOILER ROOM
BEN DRAGHI — LEMME PLAY
BEN DRAGHI — CALVIN KLEIN, ETERNITY
How do you maintain a strong point of view while remaining adaptable in a changing industry?
A lot of it comes down to who we choose to work with in the first place. We sign talent we truly believe in and people who are true artists at their core. They want to make provoking work, not chase trends. When that's the foundation of your roster, adaptability becomes less complicated because the point of view is baked into the artist. Formats change, platforms change, and technology changes and so we are all constantly evolving and adapting. What doesn't change is the type of artist we choose to represent.
LUISA OPALESKY — LEN DUNHAM for INTERVIEW
And in closing, how would you describe THE AGENTS CLUB in three words?
COMMUNITY, COLLABORATION & ARTISTRY