Kenzo Pace

Year: 2023
Client: Kenzo
Discipline: Procedural Modeling, Look Development & Rendering
Role: Procedural Modeling, Shading, Lighting, Camera Work, and Editing & Rendering

Close-up of the side of a silver and black running shoe: a large blue K over layered metallic panels and fine mesh, above a pale green midsole.

Close-up of a floating shoe's toe: dark mesh, a silver overlay embossed with the word PARIS, and a blue-edged sole, on a soft beige background.

Top view of the shoe's laces crossing over grey mesh, with a black tongue printed with KENZO in neon yellow.

Three-quarter rear view of a black shoe heel with KENZO outlined in neon yellow, a pale midsole and a blue outsole.

The shoe's outsole seen from below: a bright blue tread with a black central channel and a small K on the heel.

A silver running shoe floating at an angle against a beige background, its blue outsole turned towards the camera.

A silver and white running shoe on a rough stone plinth against a pale beige wall.

A silver running shoe with a blue K and blue sole details on a rough stone plinth against a pale beige wall.

A white and grey running shoe with a black heel on a rough stone plinth against a pale beige wall.

A turquoise running shoe with a white K on a rough stone plinth against a pale beige wall.

An all-black running shoe with a white K on a rough stone plinth against a pale beige wall.

A pink and silver running shoe on a rough stone plinth against a pale beige wall.

Grey untextured render of a knitted shoe panel on black: rows of fine fibres forming a raised hexagonal pattern.

Grey untextured render of a white shoe panel filled with an interlocking woven pattern of fine threads.

Grey untextured close-up where a smooth white ribbed knit meets a patch of dark, fuzzy fibres.

Grey untextured render of a knitted heel covered in small raised stitches, with a KENZO label in relief.

A sneaker campaign for Kenzo’s Pace, produced with Onshore Studio. I joined the project to handle shading, lighting, and camera work, starting from 3D models of the shoes created by another artist.

Shading alone could not bring the knitted materials close enough to reality, so I added procedural detail to the models themselves. Curve patterns projected through the shoes’ UVs, swept into geometry and shaped by procedural masks, build the textile structures and fine surface fibres seen in the close-ups.

With several patterns and colourways to deliver in a few weeks, the priority was consistent realism across every variation. I also proposed camera setups, explored camera animations, and assembled edits with Onshore, refining the sequence through successive iterations. I handled the shading, lighting, and all final renders.