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Y-3 Communication

Fronted by Zinedine Zidane, the new campaign film for Yohji Yamamoto's collaborative range launches this September

For Autumn/Winter 2010-11, Y-3’s communication campaign has been inspired by the emotional context of a fashion photograph, where the campaign presents a direct fashion correlation married with an abstract representation of the team, Once again Zinedine Zidane fronts the campaign amongst black and white photography coupled with contrasts of lightness and darkness creates a dramatic and poetic story. The results translate into still images, inserted into the most relevant international print media; a short mood film, released in three instalments globally; as well as an updated brand website design.

Y-3’s communication campaign reveals a mood rather than a focus on actual garments. For the coming season Y-3 departs from the FIFA 2010 World Cup of Spring/Summer 2010, and arrives with a collection that is slightly dark and brooding that taps into the urban desire of breaking out of the confinements of everyday life, and ventures into the unknown. "Recently the trend has been for tighter and shorter and sexier clothes, I wanted to wrap the body again, and not show too much." Yohji Yamamoto 2010. We speak to cinematographer, Theo Stanley, about the concepts of the film...

Dazed Digital: What were the leading inspirations behind the new film?
Theo Stanley: This is a visual poetic and synthesis of the Y-3 brand for the fall / winter collection set in an urban landscape at the edge of a river offering a perimeter between the forward looking conceptual world of the Y-3 brand, and the natural elements of water and wind. It is continuing to build a relationship with the iconic presence of Zidane and a group figures moving through the space. The film evokes an environment, mood, and world in which the collection lives within, both activating each other in a loose narrative of movement, and emphasizing the severe visual aesthetic of  the collection. The film presents abstractions on the movement of figures, the clothes, and the conceptual visualizations of wind and energy in the negative spaces of the empty landscapes...

DD: How does it differ from the last film made for Y-3?
Theo Stanley: The last film was based from the concept of a team portrait, timed in coincidence with the World Cup, in this film the group dynamic is not organized as a team, but as figures in space, the recent film is more organic in the presentation of the group. The music for the last film was based from the concept of a national anthem, but reconstructed in a modern way. The SS'10 film took the classic format of the team portrait, with Zidane as the team captain... the campaign reinvented the portrait on an urban rooftop, the figures moving and gathering as a group in coincidence with Zidane as a conceptual center point and his movement to join the group

This film, based on the SS'10 collection, utilizes color and a filmic aesthetic of this basic narrative of movement pulling both the team and Zidane together in portrait, the AW'10 film utilises black and white to portray this stark urban landscape and the strong graphic quality of the Y-3 collection. Rather than the poetics of absence and presence of the AW'10 film, the SS'10 film is rooted in the collective inspiration and integrity  that a team represents, and which Zidane as a sports icon embodies.

DD: What is the purpose of this film? What does it aim to do?
Theo Stanley: The aims for the film is a visual experience or equivalent of the concepts of the season's collection, best stated as a mood film or an experiential film. It communicates in a visual language free from a direct narrative, a visual poetic, a visual equivalent, which gets to the core of the Y-3 brand's aesthetic. It aims to take a viewer in and absorb them in this world, and leave them with a fragment of the experience.

DD: What was the working relationship like between yourselves and the brand itself?
Theo Stanley: The working relationship is a collaborative one, the concepts based from the over arching campaign as developed by Lloyd and Co and Y-3. The film evolves as a balance of conscious approach which gives it form, and then becomes an entity which demands its aesthetic solutions. I personally resonate with the brand aesthetic, and greatly appreciate both the freedom and structure that the brand presents in these creative ventures.
Creative Direction: Lloyd & Co.
Still Photography: Alasdair McLellan
Cinematography: Theo Stanley / New Mountain
Editing: Frederic Taxi
Styling: Nicola Formichetti
Music: David Salom
Hair & Make-Up: Didier Malige & Gucci Westman
Location: Pier 54, Hudson River Park – New York City