The problem
On the website — mythology: sins, limited runs, a manifesto. In the feed — showroom reels with joke captions and a link in every post. Two different brands. The job was to bring the mythology into the feed.
The world
Khrushchyovka flats with floral wallpaper and crystal in the cabinet. Courtyards with wet asphalt and rusty playgrounds. Rows of garage doors vanishing to a point. Industrial zones at night under sodium lamps, tyre smoke, a BMW E36. The World Cup arena rising over five-storey blocks. Each sin got a scene: Pride alone in a circle of headlights, Greed lying on concrete among losing bet slips, Wrath as a courtyard fight ringed by phones, Sloth at an open window while money is handed out below.
Rules learned the hard way
The print goes on the back only — any frame with a print on the chest is a reject. The print is attached as a reference with "copied faithfully, do not redesign"; without it the model reinvents the collage. In video the body is frozen and only the camera moves, on-axis only — a lateral pass turns the back and the print falls apart. Against the "neural" look: asymmetry, litter, blown highlights, a broken nose, weight on one leg. All of it is written down and handed over, so the next person can continue without me.
Formats
A sketch per sin ("sin as an act" — Sloth is finished: he won't get off the couch even for free money). A trunk unboxing. A drop announcement at a chain-link fence with a blank cardboard sign for the date. WANTED posters: SINNERS DEPT. BULLETIN, last seen Saransk, Kommunisticheskaya 35, reward — the price. A catalogue with no shoot: every shirt on a hanger against concrete. And a strategy: two audiences (Saransk — "this is ours, it's here"; Russia — "this is what you don't have"), a seven-day drop cycle, ten formats to pick from.