How do you turn an old-school BMX sports brand into a desirable lifestyle brand? Sure, there’s plenty of ways, but there’s one that stands out. You follow the growing shift away from ‘traditional’ ads towards a more branded cultural content. Let’s take Kodak’s lovely resurrection of the iconic 90s look or G-Star’s journey into the history of denim wear, the Uniform for the Free, as two ‘fitting’ examples. Today’s case follows a similar path, only this way it leads deep into American street culture.

Today, it’s not about clothing. It’s about Hip Hop! And bikes. BMX bikes to be precise.

Since 1974, legendary BMX bike brand Redline has been developing innovative BMX race and freestyle bikes that “can take the heat when people are pushing their limits on the track, in the street, or at the park.” Given their history, Redline decided not to opt for a traditional ad campaign, but to promote their new bike with a move towards a more authentic and deeply rooted collaboration with one of its customers – rapper A$AP Ferg. It’s a match made in Harlem, as Ferg being an avid biker spent his formative years biking on Redline bikes.

So, after designing his own Redline BMX, A$AP Ferg’s decided to depict his birthplace, New York’s Harlem, through his own eyes and capture ‘the spirit of Harlem’ in a stylish music video for ‘Floor Seats’ – Ferg’s first track on his new album, also called Floor Seats, which was launched on 25 July 2019. The song also works perfectly as a promo for Redline by hitting an authentic, cultural punch.

‘We’re driving culture – as a way to create authentic advertising.’

The viscerally cinematic film is sent in NYC and was created by Amsterdam’s creative start-up, the HERC agency, and one of Paris’ hottest young directors Valentin Petit. As Redline has not only deep roots in racing but also in authentic street culture, the collective decided to keep the feel quite real by organising the casting process on the streets, via Instagram, and by tapping into the members and followers of the Ferg crew and A$AP Mob, which encompass visual artists, stylists, dancers, musicians, and other performers.

A$AP Ferg himself shares his take on the strong campaign: “When you think BMX bike in Harlem, you think Redline. This collaboration is something I was really involved in and passionate about.” It’s clear that when you want to make a desirable lifestyle brand, it’s great having a long-time supporter on your side. This way the brand can say that they have designed 2019’s most desirable bike.

The idea of leading a marketing strategy with a music video—and the concept behind the film—comes from Amsterdam’s creative agency HERC. It’s clear that HERC provides a unique take on the space where street culture meets marketing – and believes in creating advertising that feels like entertainment. Speaking about the growing shift away from ‘advertising’ and more towards branded cultural content, Creative Directors and Founders of HERC, Rogier de Bruin and Emilio de Haan told branding.news that: “We’re driving culture – as a way to create authentic advertising. For us, this is what great advertising is about. Creating original content, that moves on the edge of product design, fashion, and music. Our vision is to make brands popular by making them part of pop culture.”

As for the unique style of the video, Valentin Petit—an up-and-coming director based in Paris who works through production company Division—decided to build on the real, raw and authentic feel and shot the authentic ‘ad’ in analogue, mixing 16mm and 35mm film. Petit gives his side of the story: “I tried to bring the viewer on a crazy bike ride in Ferg’s neighborhood – immersing the spectator into his lifestyle. I consider biker crews like wolf packs: they own their territory by riding them. But, in this film Harlem is the real hero…. It speaks for itself; its spirit is literally coming from everything: the buildings, people, shops, cars… I mean, you just can’t cheat that.”

The video for ‘Floor Seats’ references UK band The Prodigy, and Petit gives homage to The Prodigy’s anarchic spirit by applying some of the techniques and style elements used by the band: “Obviously, The Prodigy was an unavoidable element of this project. And it’s an honor to be able to work with such great material. I tried to transcribe their energy through the movement of the camera and dynamical editing. It was easy for me to stay true to their universe – in addition to using film, I just had to push the art direction with effects I love to use, like time-lapse or freeze time. Those tricks bring modernity while at the same time remaining faithful to the origins of their music.”

So, now just sit back and enjoy the ride… On a Redline BMX!

Credits:

Client: Redline BMX

Agency: HERC the agency

FLOOR SEATS – A$AP FERG

Directed by: Valentin Petit
Produced by: Division

Director of Photography: Hunter Daly
Executive Producer: Theo Gall

Creative Agency: HERC the agency
Creatives: Emilio de Haan & Rogier de Bruin
Producer: Niels Heimens
Redline: Thecla Schaeffer & Karin Campbell, Steven Behen,
Evan Moss

Bikers: PJ, JT, Emmanuel, Jonathan, Jeremy, Julius, Hyrone,
Tay Tay, Laquan & derrick

Produced by: Roofeeo
Recorded by: Vic Wainstein at Paramount Studios, Los Angeles, CA
Mixed by: Jaycen Joshua for The Penua Project at
Larrabee Sound Studios, North Hollywood, CA
Assisted by: Jacob Richards, Mike Seaberg & DJ Riggins
Mastered by: Dave Kutch at The Mastering Palace, NYC

Editor: Maxime Caro
Editor Assistant: Valentin Bordeau
Sound Designer: Emilien Bernaux
Color Grader: Arthur Paux
Organic VFX: Nathan Almeras
VFX: Vincent Heine
Graphic Designer: Charlotte Louis