Valentino – My V Experience

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My V Experience is the new Valentino app to access all your favorite items. Here we show our Director’s Cut of the video.

The project starts in Brasil and expands to many other territories to make the shopping experience smarter and easier.

Art director Valentino

Director Matteo Di Gioia

Graphic design The Most, Luca Ferrario

Animators Luis Felipe Bueno, Luca Ferrario, Maryvéronique Lecoq

Animation & editing Matteo Di Gioia

Music & sound Chris Gramaglia

Mastering Alessandro Picciafuochi

Valentino commissioned us a powerful and snappy kinetic typography video to promote their new app.

They gave us a script, which are the words you read in the video, and a bunch of product photos. The use of a popular chat at the beginning followed by a geo-localization moment was mandatory.

To fill the free space in the brief, we were immediately thinking of colorful brutalism and quirky, grotesque, sans serif graphic design, but Valentino surprised us by stating that the only color allowed was red #990000, plus the company was strictly tied to the use of Bell MT, which would become the official Valentino tupeface.

Bell is a late 18th century typeface designed in England for a newspaper, The Oracle.

It wouldn’t be the first choice that comes to mind while approaching a work of modern motion graphics.

Its limited variants, virtual absence of glyphs and general stiffness are limiting the design and animations possibilities. Also, compositions of Bell look mostly messy and inconstistent whenever we are not looking at bodies of printed text.

Nevertheless, challenge accepted.

Let’s settle with Bell and try and alternate it with a potential nemesis, Knockout, to create quick alternation & repetition.

While Bell delivers the readable message set in a quasi-print approach, Knockout deconstructs it with geometric compositions that quickly kick in shape-shifting montages.

After a couple of tests, Valentino agreed with the style, as long as this secondary visual language would stay secondary, meaning to be used only as a support to the main typography.

As a compromise, we could also grant ourselves the use of a second and a third shade of red, plus a rare apparition of an off-black tint.

Animation wise, along with hard cuts we adopted shifts, stretches and inflation effects to spice up the motion, and banned soft approaches such as dissolvences and motion blur.

As we love doing our stuff, music came first.

As soon as we started thinking of the style frames, we created a tightly rhythmic track made of organic sounds, and didn’t proceed with design or animation before a convincing piece of music came to life.

Of course it had to sound fashionable, but we wanted to avoid any overly glamorous or tacky delivery (let alone millenial-vibed hymns).

The idea was from the beginning to seek for an exact dialogue between sound and visuals. The two had to dance in a down to the frame, precise and spasmodic coreography.

To enhance the effect, further sound elements were added to the mix to punctuate the animation, always staying within the concept of keeping a non-noticeable difference between music and sound fx.

There is also a folk-inspired section that comments the moment of the map-localization. In this case the sound elements are South American, but they change in the other versions, to entertwine with the local sound of the different territories.