Adidas has released the most recent Y-3 Future of Sports Fashion film, promoting the Adidas Y-3 Spring/Summer 2017 collection. The film traverses a futuristic dystopia where the protagonists, Louie and Zlata, find themselves on the wrong side of an authoritarian regime. This world is derived from the unique features and innate details that make up the S/S17 collection. From the artistic underground to the corridors of power, the film is a compelling investigation of political hierarchies. It questions the viability of privacy in a world of state-sponsored surveillance while revealing the shifting interplay between consciousness and memory. Strength, power, protection, creativity, and function struggle to co-exist in this disjointed world.

https://youtu.be/0dCB0yaisPE

“The SS17 collection had a specific cinematic feeling that all I wanted to do was build a beautiful world around it and let it emanate this strange and hopefully entertaining story,” noted director Robert Broadhurst. “I was incredibly lucky that Blackrose and Y-3 loved the concept and gave it so much support – that’s the greatest part of working with a forward-looking brand, especially as a new director. It was exciting to explore some of the contemporary anxieties that I find really enrich Yohji Yamamoto’s famous notion of ‘clothing as armor.’ And, as with all things sci-fi, the sound design and mix were particularly vital to the film. Brian worked his magic to elevate it beyond the high standard we had achieved the last time around and once again helped refine story through sound.”

Adidas Y-3 Future of Sports Credits

Creative concepts were developed by Blackrose NYC. Filming was shot by director Robert Broadhurst, director of photography Aaron Platt, producer Kori Shadrick, lighting designer John Torres, set designer Anthony Asaro, VFX lead John Shafto, UI designer Toros Köse. Colorist was Paul Harrison at Freefolk.

Sound was produced at Sonic Union by mix engineer Brian Goodheart, sound designer Owen Shearer, studio director Justine Cortale, scheduling producer Pat Sullivan. Music was by Son Lux.