A play on perspective and scale to give the impression of depth and 3-dimensional space accompanied Drake’s energetic performance for constant excitement and distortion of
the senses.

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The design for Florence + The Machine’s ‘High As Hope’ tour reflects the subtle ferocity
of her new album. The stage mimics Florence’s organic performance by using natural
scenic elements and materials.

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Re-approaching the mundane with a hybrid of brutalism, essentialism, and post-modernism to create a flexible design and art space.

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Florence + The Machine’s The Voice Finale performance of ‘Hunger’, a flowing set was created to match Florence’s unconfined and fluid performance. The all-encompassing design transformed The Voice into Florence’s world.

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Continuously evolving the Stussy retail language of deconstructed basic materials, we kept familiar elements of the previous stores while at the same time introducing new ones such as perforated metal and molded fiber glass.

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Doodles and her own handwriting gives the impression of peeking inside Florence Welch’s notebooks for the ‘High As Hope’ Album.

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Using Anderson Paak’s own visual language to bring a two-dimensional collage to life, we turned the stage into a surreal 3-dimensional space.

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An elemental geometric floorplan comprised of right angles, circles, and triangles all built out of common construction materials, keeping in line with the new Stussy retail aesthetic of elevated unfinished construction site.

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An oversized elemental architectural form serves as the stage and is exposed to intensify the focus on Jay-Z as he delivers an equally transparent performance.

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Attention to texture and form highlight West’s precision of color and convert the showroom into a full immersion of Season 3’s palette.

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Roving monoliths and a surprise performance force the audience to react as two titans of sport come together to connect fans and athletes. Elements are revealed in segments and without warning to displace audience and force interaction.

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A disorienting romp through St. Vincent’s colorful fifth album carves out space in our collective brain matter for a new female pop personality—one that is equal parts sexy, smart, surreal, and absurd. Strong bright colors and high contrast visuals are carried across album packaging, faux interviews, music videos, and general campaign.

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Clean and elemental construction materials are used to create an open and bright retail space. Light-colored wood and clean metal edges parallel the smooth lines of the store.

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Directed by Willo Perron, inspiration is drawn from Florence’s relationship to the alchemical symbols of water, air and fire. The film is broken into a three-act sequence, where Florence opens submerged in water, dances with the wind, and ultimately reckons with fire.

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Drawing inspiration from the modern reality of how our experiences and consciousness are constantly mediated through technology, the Tour video is a teaser to come and explore G Dragon’s glitchy and subversive discovery of self.

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For the launch of KKW Cosmetics the private residence of Mrs. Kim Kardashian West is transformed into a landscape of elegant geometry. The monochromatic nude color palette allows for travel through rooms of the residence to feel like seamless transitions and celebrates the ethos of the lines packaging.

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For Tame Impala’s Panorama Festival performance, towering video screens bath the crowd in technicolor visuals, obscure the band on stage and lead the audience to zone out on the beautiful visuals.

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WP&A conceived a minimal and restrained vision for Jay-Z’s most transparent album yet. Using ‘4:44’ as the only artwork for the album forces the consumer to focus solely on the message without distraction.

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The design of St. Vincent’s ‘Fear the Future’ tour reflects the dominance, vulnerability, and humor of the album. Strong colors incorporated in the outfits and instruments, mixed with visuals from faux interviews and music videos, create an ongoing visual through line.

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Split through three acts, the show takes the audience on a journey through G Dragon’s subversive and sometimes harrowing identity journey. Act One celebrates G-Dragon, the performer. Act Two displays the conflict between G-Dragon the performer, and Kwon Ji Yong, the man. Act 3 leaves us in introspection as the facade is dismantled to reveal Kwon Ji Yong, the man, alone and unadorned.

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The xx’s I See You album shifts the band’s focus. No longer in need to reconcile with one another, the I See You Tour turns defiantly inward and calls for self-reflection. The result is serenity and reconciliation with oneself.

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Concrete cinder blocks meet marble slabs, giving Stussy’s newest Toronto retail store a sense of polished industrialism. Living florae breathe life into the cold, unfinished construction site environment.

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By dancing with gravity, the fantastical world of Stargate is unlocked for their debut single, “Waterfall”, featuring Sia and P!NK.

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Louis Kahn’s Franklin D. Roosevelt Four Freedoms Park design breathes modernism, while its location on the island allows for Manhattan to serve as a spectacle in itself.

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For an intimate performance of “Breathing Underwater,” viewers feel as if they have, by some divine inspiration, stumbled upon a church choir at dawn.

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The 2016 VMAs honors Rihanna with the Michael Jackson Video Vanguard Award. In rejection of the traditional, singular, long-winded medley performance, the show is split into four unique sections, celebrating the versatility of Rihanna.

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A channel flip through pop culture and history conjures an American dystopia. The world is devilishly simple, comedic and stark, allowing for the immediacy of Kendrick’s lyrics to land.

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Jamie xx’s plexiglass booth, with mirrors and white neon lining, is a spectacle of light and reflection while also serving as a backdrop for Romy and Oliver.

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An ethereal and seductive world is established in three acts as Florence traverses through the elements of Air and Water, building up to the apex of Fire.

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Paradise Lost has been taken into an achromatic society of the future. Viewers stumble upon the last orchestra on a desolate planet, where Woodkid leads the show, serving as an outlet for the hopeful in a dystopian world.

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Directed by Willo Perron, “Los Ageless” plays on the stereotypes of Los Angeles and draws the viewer into St. Vincent’s farcical yet relatable world. Bright contrasting monotone colors are used to tie the visuals to St. Vincent’s album campaign. Special effects create disturbing and beautiful scenery.

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ANTI tour moves through six strikingly different acts. The deliberately smooth transitions inspire a sense of traveling through a stripped down and unearthly future.

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How Big, How Blue challenges the masculine nature of design and seeks to harness the feminine fluidity that is Florence.

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In pursuit of surreal living, Miguel’s ethos is abstracted into a series of interactive installations finding life in the rooms of the Wildheart Motel.

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For the release of Kanye’s Yeezy Season 2 zine, a series of glowing, oversized photographs by Jackie Nickerson served as the only source of light for the venue located in a dark Manhattan garage.

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A stage reminiscent of a pimp’s den from yesteryear lends a vintage feel and speaks to the sense of intimacy and ease desired for the deliberately small tour.

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Mundane construction materials are exposed, made modern and punctuated by polished elements, giving a nod to several schools of modernism for Stussy’s La Brea storefront.

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We wanted to create a simple and classic setting for Selena to sing a stripped down medley of Good For You into Same Old Love. As for Hands to Myself, one of Selena’s most sexy songs, we wanted to create a sensual environment but also a fun and unpredictable one.

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Inspired by the visual language of 1960s counterculture and heavy metal iconography, the album artwork for Miguel’s Wildheart is a sensual, contemporary take on psychedelia and surrealism.

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