Prada RAW interview – Vida Vega

What was the brief from Prada??
The brief was great. I was sent a sequence from the film Point Blank (1967). The sequence follows Lee Marvin's character Walker coolly walking down corridors, up stairs towards some unknown destination. His walk is intercut with these incredibly atmospheric and unsettlingly framed shots of his ex wife, all the while soundtracked by his metronomic footsteps. The effect is really menacing and kind of blank, it hints at all sorts of things whilst actually showing you very little. This sequence was the reference for the whole project and Walker's pacing the basis for the 3 walk cycles in the animation. These 3 walk cycles were the only part that Prada explicitly wanted me to produce, the 3 intercuts were open to interpretation, the only stipulation was that they represent clothing from the SS15 collection albeit abstractly and feature the Raw sunglasses.

What was your intention with the short animation?
I really loved the unusual framing in Point Blank as well as the slightly uncanny tone. That 1960s french new wave enigmatic quality where everyone is kind of blank and kind of depressed looking but you can feel the tension simmering in the subtext of every gaze. I wanted to play with that in the animation, in particular because this is for sunglasses and sunglasses for me are really interesting in their mask like quality. They are glamourous and look-at-me! but also a piece of armour. That's why all the girls in my shots are hidden or cropped mostly out of the frame. 

Has illustrating for Prada differed from other projects, if so how??

Aside from the dream references I was given to work with, it was really refreshing and fun to work with a client so happy to let me go to quite a weird space with the work from a tonal point of view and also to be actively encouraging of a hand made look. They always wanted the look to be expressive, rough and un-slick. They were really happy for the clothes and branding to be experimented with and abstracted out of recognition, it was surprising to be able to take that many liberties with it! The work was also made entirely in a week from start to finish so I had little choice but to be instinctive! All of that is pretty unusual, my experiences of illustration and animation for commercials have previously involved lots of approval stages and even legal checks and testing so this was a completely different experience... much less cautious, much more brave.