Prada

Fashion product film usually isolates the object. Here we did the opposite — the environment was modelled first, at architectural scale, and the product was staged into it the way it would be staged into a store.

That inversion changes the lighting problem entirely. Bounce comes from surfaces that actually exist in the scene, so the product sits in the space instead of floating on top of a gradient.

The set was built as a reusable asset. Subsequent seasons drop into the same digital architecture, which is what keeps a campaign visually continuous over time.