Above The typography is retro sci-fi themed and the microcopy is tongue-in-cheekAbove The shoe is presented in a 360 environment that spins with the productAbove The site allows the user to view the new
sneaker in 360 degrees
How we built
blue-sky one yet. Because today’s
audience doesn’t experience anything in
a vacuum, there was also a physical facet
to the digital launch that took place in
the Lower East Side in NYC. Ultimately,
we landed on a broad enough concept
that could be uniquely exciting in both
mediums: the future of style.
How did you begin to progress from the
initial concept?
AR: ‘The future of style’ is a hypothetical
that we’d all daydreamed about in one
way or another, so everyone was able to
chime in with their own what-ifs. The
future of the supply chain. Materials and
silhouettes that we’ll need to navigate a
warmer earth. The blurring lines between
gender. What digital editorial would look
like in 60 years.
Since the current ridiculous pace of
culture could justify anything, we all
were able to contribute suggestions that
eventually made it into the experience
- as a headline, part of the story, or a
styling input. It was absolutely thrilling
to see how such an out-there creative
process [went on to] contribute to a really
cohesive vision.
How involved was the client on a day-
to-day basis?
CL: We were lucky enough to work with
people from adidas who were just as
passionate about culture and pushing
the bar as we were. The brief felt quite
collaborative in the sense of the creative
vision, thanks to the three-day workshop
that kicked off the project. We’d pitch
one idea and build on it with them in real
time, based on what they’d learned from
previous campaigns. Despite the tight
timeline, our producers were absolute
champs in coordinating communication
and feedback across multiple time zones.There’s a very clear graphic style
present in this site! How difficult was
this to nail in practice?AR: The visual direction took cues from
the fluid lines of the Ozweego silhouette,
as well as a sense of retro-futurism that
is meant to bridge the computational
aesthetics of the 1990s, with 3D z-axis
navigation to represent the future.What technologies did you use to build
the site and what were the biggest
technical challenges overall?
DN: We built the site in WebGL.
The biggest challenge was ensuring
performance while also maintaining
the fidelity and lighting of the Ozweego