3D fashion · A Retour Labs concept

BLOOD
LINE

A CRTZ × Nike capsule in oxblood and black cherry. The tracksuit is sewn from flat patterns on a cloth solver we wrote ourselves, then dressed with a merino balaclava, a herringbone cap, goggles and the Shox R4 R419. Built, lit and filmed entirely in Blender.

Spin the fit Watch the film

The BLOODLINE look standing in the chrome room under the Alcatraz sculpture

Drag to turn

Spin the fit

Turn it all the way round.

72 rendered angles of the full look, front to back and round again. Switch to the headwear to read the cap, the goggle strap and the balaclava up close.

Every frame is a path traced render, not a photo.

The commercial · 64 seconds

27 shots, one room.

Drone dives, a god's eye drop, dolly zooms and macro inserts on the hardware. Every shot is a multiple of the beat, so each cut lands on a 120 BPM score.

01 · Behind the camera

How the film was shot.

Five camera moves from the commercial. On top, the set, with the real camera, its path and its view drawn in brass. Below, the shot it films. Every number on screen is read from the camera in Blender.

01 / 05The shoe shot
A 24 mm lens 60 cm off the floor, sliding past the Shox R4 R419.
02 / 05Dolly zoom
The camera pulls back from 0.9 m to 2.3 m while the lens goes from 35 mm to 89 mm, so the room stretches behind the look.
03 / 05Drone dive
Drops from 3.3 m to 1.6 m on a curved path and banks in, the lens pushing from 16 mm to 26 mm.
04 / 05Orbit
Half a circle at 2.2 m on a 28 mm lens, slowing right down as it passes the side profile.
05 / 05Crane
Rises from the shoes to the face on one smooth curve.

02 · Sewn, not sculpted

From clay to BLOODLINE.

The same cameras and light, rendered twice: once in grey clay, once finished. The tracksuit is cut as flat pattern pieces and sewn together on the body by the solver, with stretch, bend, seams and collision, so the piping follows every seam like a real garment.

03 · The details

Read it up close.

Macro of the oxblood herringbone cap with the puff Alcatraz — **The cap**Oxblood herringbone melton, a puff Alcatraz with a brass chain ring, RULES THE WORLD arched over the back.

The goggle strap running round the hood — **Goggle strap**A 38 mm jacquard routed from measured ear tops, clearing each ear by 5 mm.

The brass zip puller engraved CORTEIZ — **Hardware**Antique brass throughout, with CORTEIZ laser engraved on the zip puller.

Engraved brass drawcord aglets — **Aglets**Engraved CRTZ brass tips on the drawcords.

The Shox R4 heel with R419 print and chevrons — **Shox R4 · R419**Rebuilt from photos of the real pair: oxblood upper, brass columns, chevron heel.

The back of the jacket with the Alcatraz badge — **The back**An Alcatraz badge printed on the pattern piece, so it sits true across the seams.

BalaclavaFine merino 2x2 rib, an Alcatraz jacquard snapped to the stitch grid, a pointelle mouth.

Worm's eye view looking up at the full look — **The silhouette**Barrel legs over rib cuffs, sitting on the R419s.

04 · The room

A brand moment on every wall.

A 360 degree set in fluted chrome with a chrome Alcatraz and Swoosh overhead, a brass inlay in the floor and a halo ring above. Every camera angle finds the brand.

The fluted chrome walls with RULES THE WORLD — **The walls**Fluted chrome, a mark on each side.

Dolly zoom frame on the look in the room — **The dolly zoom**The room stretches while the look holds still.

Top down view onto the look standing on the brass Alcatraz inlay — **God's eye**The brass Alcatraz inlay, straight down.

05 · Packaging

The box it arrives in.

Black cherry rigid box with tissue, brass seal and hangtag — **The box**A black cherry rigid box with the R419 shoe box behind.

Brass foil Alcatraz on the lid — **Brass foil**The Alcatraz foiled on the lid.

The open box from above with tonal Alcatraz tissue — **Tissue**Tonal Alcatraz print, crumpled by hand.

Brass seal and garnet cord on the tissue — **The seal**Brass seal, garnet cord tucked underneath.

06 · How it was built

From an empty scene to the drop.

The build log, captured in Blender as it happened: the body, the headwear, the jacket, hood and pants, the UVs and artwork, the shaders, the goggles, the shoes part by part, the room and the final render.

27shots in the commercial

460+renders along the way

79scripts written for the build

15,940lines of code, cloth solver included

Retour Labs · 3D fashion, product and film

Want your collection built like this?

We sew your garments from real patterns, build every trim and finish, and take the look into films, stills and a live 3D page.

Message @retourlabs [email protected]