Lacoste by Martini — concept campaign

Two brands from different worlds, one visual language. This is a concept campaign — no client, no brief — produced to answer a single question: can AI hold a campaign together across five frames and a film, the way a real shoot does?

The system

Everything started with one image: a martini glass resting on the strings of a red tennis racket. That collision — a fragile object where it shouldn’t be — set the rules for the rest.

• Palette. Crocodile green, cream, lacquer red, silver. Nothing else enters the frame.
• Light. Low hard sun, long shadows. Not a single frame with soft light.
• Era. 1972, shot on film, Ektachrome grain.
• Test. If a frame works in black and white, it isn’t finished.

The sequence

Hero still, muse, world, detail, closing frame. The series moves from object to person to place and back out to the empty court at sunset — the campaign’s own aftermath. The last frame carries no product at all, which is exactly why it works.

The film

A 15-second spot closes the campaign. Every cut is motivated by a sound: a cocktail pick against crystal, a distant ball, one upright bass note. When the sound tells you where to cut, the edit feels inevitable — even though no camera ever existed.

The workflow

Stills art directed and finished in the Magnific suite, motion in Seedance. The tools render frames; the decisions — palette, hour of day, period, what gets rejected — are the work. Consistency is not a bonus in a campaign. It is the requirement.

Concept work. Not affiliated with or commissioned by Lacoste or Martini.