Keith Lissner (Photo: Getty Images)
Cover Keith Lissner was the executive vice president of design at Vera Wang before discovering he had a knack for AI filmmaking (Photo: Getty Images)
Keith Lissner (Photo: Getty Images)

Initially hesitant about AI, fashion designer and filmmaker Keith Lissner, who has worked at Vera Wang and Ralph Lauren, is now producing films with the technology

When Keith Lissner first posted an AI-generated video of Christmas trees designed in the style of legendary fashion houses on Christmas Day, he expected perhaps five likes from friends. By the time his flight to Miami landed 2.5 hours later, the clip had been viewed 125,000 times. Within days, that number soared to 1.5 million. 

“Initially I thought, what is this thing I’m doing,” he recalls with a laugh. Instead, he’d accidentally stumbled upon a new way to spread joy through the marriage of his two great loves: fashion and technology.

A classically trained fashion designer who had worked his way through Perry Ellis and Ralph Lauren before spending nearly 14 years at Vera Wang—the last five as executive vice-president of design—Lissner was initially resistant to using AI. “A friend of mine said, ‘You really should check out this AI stuff, because I think it’s going to take over our industry,’” he recounts. “I didn’t want to be unemployable.”

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Tatler Asia
Keith Lissner (Photo: Keith Lissner)
Above Keith Lissner’s viral AI video of Christmas trees in the iconic style of fashion houses has been seen more than 1.5 million times (Photo: Keith Lissner)
Keith Lissner (Photo: Keith Lissner)

For about four years, he experimented by creating images of luxury properties and boats. But it was that Christmas tree video that changed everything. More importantly, it was the comments that followed. “People were saying that I was making them smile,” Lissner says. “They were saying, ‘Thank you. Everything in my feed is so negative right now. It’s so nice to see something positive.’ When I read that, I thought, this is not just a hobby. This is a way that I could spread some joy in a world that really needs it.”

Today, Lissner creates AI films that reimagine fashion through fantastical narratives: flowers in the style of luxury houses, zodiac signs interpreted as haute couture gowns, museum paintings brought to life with movement and drama. His videos blend art history, floral motifs and fashion codes into short, mesmerising clips that have captivated millions.

But it’s his decades in the industry that give his work its particular resonance. When Lissner interprets a brand’s aesthetic, he draws on an encyclopaedic knowledge of fashion history and an innate understanding of design codes. It started with his mother teaching him to love flowers as a child; his obsession with art as “the greatest source of inspiration”; and his years studying the work of designers like John Galliano—his favourite, who now follows him on Instagram—and legendary fashion editor Grace Coddington.

“I am not just creating imagery or taking a stab in the dark,” he says. “That is the advantage of having had that formal education and working in the fashion industry for as long as I did.”

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AI, my design collaborator

When asked whether he thinks AI is a threat, Lissner’s response reflects how much his perspective has evolved since that friend’s warning years ago. To him, the technology is neither threat nor master; it’s a tool. “I look at AI as my literal design partner,” he says. “That’s why in the fashion industry, people work in teams. No one’s doing it all by themselves, and you feed off each other.”

But make no mistake, he’s firmly in the captain’s seat. “I’m too much of a control freak to say, ‘AI, take it from here,’” he admits. ‘I have these visions in my mind of what it is that I want to accomplish.”

His process can involve five to ten different tools for a single 5-second clip. His longest project? A video featuring sunglasses with film projectors on the lenses. He shares that it took two weeks of constant work. 

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Despite his facility with AI, Lissner is adamant about its limitations. “Human beings have the magic to move forward, AI doesn’t,” he says. “If we stop putting out new ideas, if we start relying solely on AI, it will just regurgitate. We won’t move on anymore.”

Lissner is particularly opposed to using AI-generated likenesses of real actors in films, believing it would “rob the world of a little bit of magic”. He captions his posts with “An AI film by me” to ensure transparency. “It’s on us as AI creators to acknowledge what we’re using; that we’re using AI in some way,” he says.

Lissner sees AI transforming fashion in profound ways. Design expectations will change dramatically. Where a designer might have sketched 300 designs for a collection, they’ll now generate 10,000 with AI assistance. But more significantly, he believes AI could address fashion’s sustainability crisis.

“I think the fashion industry should be using AI-generated images to sell an idea of a dress or whatever before producing it,” he proposes. “The result of that will be less waste and pollution to the world.”

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Humans have the magic to move forward, not AI. If we stop putting out new ideas, if we just start relying solely on AI, it will just start regurgitating

- Keith Lissner -

A way of self-expression

To those worried that the technology will eliminate design jobs, Lissner offers a historical perspective. “Before AI came along, everyone was saying, there’s too much work to be done. I can’t get everything done in one day. Now, there’s a tool to help us with that, but oddly enough, people are afraid of it.” Unlike his initial hesitation, he now encourages others to “dive in, explore and have fun.” For an artist, he likens the technology to “a new set of paint brushes to express the way we want to see the world”.

He also adds that rather than fixating on mastering specific AI tools because “the technology is evolving constantly”, he recommends keeping abreast with the latest developments in the space. “I follow different Instagram accounts on AI technology, so that I’m keeping up with the latest. Then, I dive in. I practise, I fumble around until I figure out what’s right for me and what’s not.”

On maintaining creative identity while using AI as a design tool, Lissner is clear: “Your identity comes through your taste. You become like a curator of the imagery that is coming your way.” He distinguishes this from traditional design processes, acknowledging that AI generates its own interpretations. “It doesn't make the process any less valid in my mind, because this is the future of what I think fashion will look like—stretching the limits of our imagination with the help of AI.”

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Valerie Lim
Digital editor, Tatler Power and Purpose, Tatler Asia

Work

Based in Singapore, Valerie Lim is the digital editor for Tatler Power and Purpose, Tatler Asia’s dynamic platform spotlighting industry leaders across the region. Valerie leads the charge in shaping the platform’s digital presence, from overseeing and producing website content to curating social media strategies.

With a finger on the pulse of the region, she keeps an eye out for news and trends in business, innovation and leadership, ensuring the brand stays ahead of the curve in delivering stories that inspire and inform its community of changemakers.

About

Prior to this role, she worked in marketing and communications. She considers herself Singaporean at heart and international by passion. You may recognise her from her 15 minutes of fame when she was crowned Miss Universe Singapore 2011. When she is not at her desk, you can find her in the gym or at a yoga studio.

Connect with her via Instagram @msvalerielim, LinkedIn or send press materials, and media invites to valerie.lim@tatlerasia.com